FRIDAY, MAY 24, 2013, 8PMPre-concert lecture by Rich Capparela, 7pm

Segerstrom Center for the ArtsRenée and Henry Segerstrom Concert Hall

DONNA L. KENDALL CLASSICAL SERIES

LoS anGeLeS pHiLHarmonicGUSTaVo dUdameL, condUcTor

ariana GHez, oboe

micHeLe zUkoVSky, cLarineT

WHiTney crockeTT, baSSoon

andreW bain, Horn

Ciaccona from Polish Requiem Krzysztof PENDERECKI(b. 1933)

Sinfonia Concertante Wolfgang Amadeus MOZARTin E-flat major, K. 297b (1756-1791)

Allegro AdagioAndantino con variazioni

Ariana Ghez, Michele Zukovsky, Whitney Crockett, Andrew Bain

- INTERMISS ION -

Symphony No. 5 in D major, Felix MENDELSSOHNOp. 107 “Reformation” (1809-1847)

Andante; Allegro con fuocoAllegro vivaceAndante —Andante con moto; Allegro maestoso

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Notes by Hugh Macdonald

penderecki: ciaccona from Polish Requiem

Composed: 2005Length: c. 7 minutesOrchestration: strings

First Los Angeles Philharmonic performance

The Ciaccona is an extract from one ofPenderecki’s major works, his Polish Requiem,for soloists, chorus, and a large orchestra. Ananalogy to Brahms’ German Requiem does notapply to this work, for, with the exception of ahymn sung for the Offertory, the texts are notin Polish, but are the traditional Latin words asset by Mozart, Berlioz, Verdi, and countlessother composers. Unlike some of those com-posers, Penderecki is a devout Catholic,although he himself has stated that the humansignificance of the Requiem text means more tohim than its traditional liturgical function.

Born in 1933, Penderecki has watched his coun-try survive the grim years of German occupationand Soviet colonization; the experience of suf-fering and endurance lies behind his setting ofthe Requiem, with its profound meditation ondeath. The work has existed in many forms, forit was fashioned in 1984 by absorbing two earli-

The Philharmonic Society gratefully acknowledges Donna L. Kendall Foundation and Elaine Weinberg

for their generous sponsorship of tonight’s performance.

Gustavo Dudamel

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but there is no solution to the problem of whenor for whom it was written, or even whether itis truly by Mozart. Robert Levin has devoted awhole book to this last question without beingable to resolve it conclusively. The last editionof the revered Köchel catalog removed it fromthe list of authentic works. While most listen-ers’ ears will tell them that this is genuineMozart without a doubt, those who also enjoysleuthing historical questions will find the puz-zle intriguing.

In short, the problem is to figure out how awork which Mozart said he wrote for fourfriends in Paris in 1778, who were respectivelyflutist, oboist, bassoonist, and hornist, shouldturn up in Berlin in 1870 in a manuscript copy,not in Mozart’s hand, with solo parts for oboe,clarinet, bassoon, and horn. Could the manu-script be an arrangement for different instru-ments of the lost concerto? If so, who did thearranging? Listening to the clarinet’s superblyidiomatic writing, we cannot imagine that thework might have existed in a form in which aflute was the soloist and not a clarinet.Assuming that the original autograph, whichMozart said he left behind in Paris, is lost,could he have written a second work for slightlydifferent instruments without leaving any traceother than this mysterious posthumous copy?The rather lame excuse he offered his father for

er works, his Lacrimosa, from 1970, and hisAgnus dei, from 1981. The Lacrimosa was aresponse to events in the Gdańsk shipyards in1970 and is dedicated to Lech Wałęsa and theSolidarity Union. The Agnus dei, for unaccom-panied eight-part chorus, was composed for thefuneral of Penderecki’s friend, Cardinal StefanWyszyński, in 1981. The Requiem had its firstfull performance in Stuttgart on September 28,1984, conducted by one of the composer’s mostardent supporters, Mstislav Rostropovich, whohad been the first to introduce the Lacrimosa tothe U.S. in a performance in 1981 inWashington, DC, with his wife GalinaVishnevskaya as the soprano soloist.

More was yet to be added to the Requiem, forin 1993 Penderecki wrote the Sanctus and gaveits first performance in Stockholm that year.The Requiem was still not complete, for at thedeath of Pope John Paul II in April 2005, thecomposer inserted an instrumental movementbetween the Agnus dei and the Sanctus in mem-ory of the Polish Pope and gave the first per-formance on September 17, 2005, in Wrocław.This is the Ciaccona for strings.

As with the traditional Baroque chaconne, theCiaccona is built on a simple descending bassline with richly ornamental writing for thestrings. There are nine reiterations of the basicpattern, supporting a strong melodic line heardmostly in the violins, but also in the cellos. Theending vanishes in high harmonics over a fading,misty chord.

mozarT: Sinfonia concerTanTe in e-fLaT major, k. 297b

Composed: 1778Duration: c. 30 minutesOrchestration: 2 oboes, 2 horns, and strings,with solo oboe, clarinet, bassoon, and horn

First Los Angeles Philharmonic performance:November 18, 1928, Georg Schnéevoigt conducting

The mysteries surrounding this work are deepand impenetrable. There is no mystery about itscharm, its melodiousness, or its wide appeal,

Krzysztof Penderecki

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not bringing this manuscript (and others) homefrom Paris raises the suspicion that he neveractually wrote it, a fact he would have reason toconceal from the over-concerned Leopold.

It is sufficient to know that Mozart was muchtaken by the special problems of composing formore than one soloist. We have a concerto fortwo pianos and one for three pianos, and wehave the beautiful Sinfonia Concertante for vio-lin and viola probably composed in Salzburg in1779, and a promising Sinfonia Concertante forviolin, viola, and cello, of which, alas, only 134bars were completed. In the 1770s, the Frenchwere particularly fond of these multiple concer-tos, so it was natural that Mozart would thinkof composing one while he was in Paris, evenmore natural to imagine him writing another(with clarinet) for his friends in the superborchestra in Mannheim either before or afterthey were transferred to Munich, althoughthere is no evidence whatever to link the workas we have it with these, or any other, players. No composer understood wind instruments bet-ter than Mozart, so the solo lines are composedwith a fine feeling for their special qualities: theoboe’s expressive, penetrating voice; the clar-inet’s liquid fluency over a wide range; thehorn’s elegant adventures in its upper octave;and the bassoon’s many functions as bass line,tenor line, or tune. Their interplay is balanced

and lucid, and they have a neat cadenza at theend of the first movement, carefully composed,as such cadenzas have to be, not left to groupimprovisation. The slow movement is, unusual-ly, in the same key, E-flat major, and unusuallylong. In contrast, the finale is a series of varia-tions on a brief and simple theme. One phrasefrom this melody is taken directly from the sec-ond main melody of the first movement. Tenvariations reproduce the outline of the themewith increasingly decorative display from thesoloists. Then the tenth variation dissolves intoan Adagio before the jolly close in hunting style.

mendeLSSoHn: SympHony no. 5 ind major, op. 107 “reformaTion”

Composed: 1830Length: c. 30 minutesOrchestration: 2 flutes, 2 oboes, 2 clarinets, 2bassoons, contrabassoon, 2 horns, 2 trumpets, 3trombones, timpani, and strings

First Los Angeles Philharmonic performance:April 2, 1953, Alfred Wallenstein conducting

Between the ages of 12 and 14, Mendelssohncomposed 13 symphonies for strings (with occa-sional surprise entries for percussion), a fluencyquite at odds with his mature approach to thesymphony, for the five grown-up symphonieswere composed at wide intervals and regardedwith considerable unease by their composer, yetusually admired for the polish and approacha-bility we find in all his music. They were num-bered according to their order of publication,and since he never published the popular“Italian” Symphony nor the “Reformation”Symphony, they ended up misleadingly num-bered 4 and 5.

If the “Reformation” Symphony had been per-formed according to Mendelssohn’s originalintentions, it might have escaped the disdain inwhich he seems to have held it ever since.Aware that the year 1830 was to be celebratedas the tercentennial of the Augsburg Confessionsubmitted by Luther and Melanchthon to theEmperor Charles V in 1530, Mendelssohn wasalready thinking about a suitable compositionduring his adventurous trip to the British Isles

Wolfgang Amadeus Mozart

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in 1829. As a devout Protestant himself and aboundless admirer of Bach (whose St. MatthewPassion he had recently revived in Berlin),Mendelssohn felt drawn by the idea of a sympho-ny that symbolized the Protestant Reformationnot with a grand choral work on a sacred text, asmight be expected, but with a four-movementsymphony without words.

Two other impulses were at work. Since writinghis previous symphony “No. 1” in 1824,Mendelssohn, like all alert German musicians,had become aware of Beethoven’s NinthSymphony and its overwhelming power. As thebearer of a message of universal brotherhood, itstood as a model of how dramatic a symphonycan be, even in its opening three movements,which are not sung. Mendelssohn was alwaysaware that the finale can bear the climacticweight of a symphony, and not be, as one mightinfer from Haydn or Mozart, a mere happy end-ing.

The other thread in Mendelssohn’s mind was thepursuit of what later became known as “programmusic.” He had already composed an overturethat depicted the world and action of AMidsummer Night's Dream, and on his visit to theScottish islands he had begun to sketch out a pic-torial overture eventually to be known as TheHebrides. Music as the bearer of a narrative wasnot new, but it had great attraction to aRomantic generation anxious to illustrate events,places, and feelings with the colorful resources ofthe modern orchestra.

The “Reformation” Symphony was thus conceived as celebrating the triumph ofProtestantism, represented in the finale byLuther’s chorale “Ein feste Burg,” overCatholicism, which is depicted very briefly at thebeginning of the Symphony in beautiful, butsymbolically old-fashioned Palestrinian polyphony.

After his visit to Scotland in the summer of 1829Mendelssohn spent a few weeks in north Walesat the home of John Taylor, a wealthy mine-owner, and it was in the depths of a lead-minethere, 500 feet beneath the surface, thatMendelssohn found himself thinking about theconclusion of his Symphony. Back in Berlin by

the end of the year, he started the Symphony inearnest and had finished the first three move-ments by April 13. But he was held up by ill-ness, also perhaps by the feeling that theSymphony had not actually been commissionedby King Friedrich Wilhelm III for the Berlincelebrations planned for the month of June, andby the time he completed the Symphony, May13, it was too late. Mendelssohn had in any caseplanned to be gone from the city by then on hisnext series of foreign adventures, this time toItaly.

On his way south he attempted to get a hearingfor the Symphony in Leipzig and Munich butwas unlucky in both cities. Early in 1832 he wasin Paris, where it was at least tried out underthe enterprising baton of François Habeneck.But the orchestra rejected it as “too learned”and it was not until Mendelssohn returned toBerlin that he was able to include the work in aseries of concerts he gave in the fall of 1832. Bythis time he had made a number of revisions,mostly shortening the last movement. Berlin’sleading music critic objected to the idea of asymphony carrying some kind of external mes-sage, but whether or not this was enough toturn the composer against his own work, helater refused to have it performed, describing itas “juvenile.” He even said he thought it shouldbe burnt.

Felix Mendelssohn

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Happily for us, the “Reformation” Symphonyhas survived, and it can give great satisfaction asa four-movement symphony with or without itsreferences to the great events it was intended tocelebrate. The two middle movements, after all,have no explicit connection with history but aresimply a scherzo and trio followed by an expres-sive slow movement.

The first movement persuasively carries thenotion of conflict, at first in the slow introduc-tion where clarion figures seem to call out forreform over the aspiring counterpoint in thelower strings. Mendelssohn also cites the“Dresden Amen,” a simple rising scale heardtwice very softly in widely spaced strings, whichhe may have regarded as a symbol of theProtestant church even though it was originallyintended for the Catholic royal chapel inDresden and later adopted by both churches.Then the main Allegro, in the minor mode,comes close to Beethovenian anger, dramaticallyinterrupted at the end of the development whenthe music speeds up almost out of control, onlyto be stopped in its tracks by the strings quietlysinging out the “Dresden Amen” and bringingorder out of chaos.

The Scherzo second movement might well havestruck its composer as juvenile since it evokesthe world of Haydn, or perhaps earlyBeethoven, although its Trio is closer toMendelssohn’s own style in its elegant melodi-ousness. The slow movement resembles a vocalaria, the voice line entrusted to the first violins,and like an aria it is compact and short.

At this point Mendelssohn originally composeda short linking movement in which a solo fluteevokes Luther the musician (he is known tohave played the flute) leading directly into thestatement of the chorale “Ein feste Burg.” Thisplan was later dropped. The first strain of thechorale is heard on the flute alone, and thewinds and lower strings gradually join in. Whatfollows is a surprise, for the chorale is treated injaunty fashion as if it were to be a set of varia-tions. But the tune is never completed, and thefull orchestra interrupts it with the start of thefinale proper, a vigorously positive statement tosupport the triumph of the Reformation.

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Fragments of the chorale are admitted into thetexture and eventually the chorale appears in astrong statement from the winds. Its final strainprovides a close from which all elements ofdoubt and conflict have been banished.

Hugh Macdonald is Avis Blewett ProfessorEmeritus of Music at Washington University, St.Louis. He has written books on Scriabin, Berlioz,and Bizet, and his latest book, Music in 1853: theBiography of a Year, was listed by the FinancialTimes in its Books of the Year for 2012. He hasprovided singing translations of operas for manycompanies in the UK and the U.S.

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GUSTaVo dUdameL, condUcTor

Dynamic conductor Gustavo Dudamel’s pas-sionate music-making invigorates audiences ofall ages worldwide. He is concurrently serving asMusic Director of the Simón Bolívar SymphonyOrchestra of Venezuela and the Los AngelesPhilharmonic, and the impact of his musicalleadership is felt on several continents.

While his commitment to his music directorposts in the United States and Venezuelaaccounts for the major portion of his yearlyschedule, Dudamel also guest conducts withsome of the world’s greatest musical institutionseach season. This season he returns to theVienna Philharmonic, Berlin Philharmonic, andLa Scala in both opera and concert, along withappearances with the Royal Concertgebouw,Berlin Staatskapelle, Israel Philharmonic, SantaCecilia Orchestra, and Gothenburg Symphony,where he is now Honorary Conductor.

Dudamel is in his fourth season as MusicDirector of the Los Angeles Philharmonic,where his contract has already been extendeduntil 2018-19, the orchestra’s 100th season.

Under his leadership the Los AngelesPhilharmonic has extended its reach to anunprecedented extent via LA Phil LIVE, experi-mental theater-casts of Los AngelesPhilharmonic concerts which have reachedaudiences throughout North America, Europeand South America, and through YouthOrchestra Los Angeles (YOLA), influenced byVenezuela’s widely successful El Sistema. WithYOLA, Gustavo brings music to children in theunderserved communities of Los Angeles, andalso serves as an inspiration for similar effortsthroughout the United States, as well as forprograms in Sweden and Scotland.

It is not only the breadth of the audiencereached, but also the depth of the programmingperformed under Gustavo Dudamel that isremarkable. Programs at the Los AngelesPhilharmonic in 2012-13 represent the best andthe boldest: ranging from an LA Phil-commis-sioned and now staged oratorio by John Adamstitled The Gospel According to the Other Mary,which the LA Phil and Dudamel toured to NewYork’s Lincoln Center, London’s Barbican

Gustavo Dudamel

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Paris’ Salle Pleyel; to a staged Marriage of Figarowith sets by architect Jean Nouvel, representingpart two of a three-consecutive-year project ofpresenting the Mozart/Da Ponte trilogy.Having triumphed in performances at the 2012Olympics in London, Gustavo Dudamel contin-ues to lead the Simón Bolívar SymphonyOrchestra in his native Venezuela as well as ontour, in this his 14th season as Music Director.Late fall 2012 touring included performances atBerkeley’s Cal Performances, Chicago’sSymphony Hall, Washington’s KennedyCenter, Philadelphia’s Kimmel Center, and NewYork’s Carnegie Hall, where they were part ofthe Voices from Latin America festival.Additional highlights included a fully stagedRigoletto in July 2012 in Caracas, which is partof a multi-year collaboration of shared produc-tions with La Scala. In April 2013, Dudameland the Bolívars were joined by Lang Lang forthe world premiere of the Benzecry PianoConcerto, jointly commissioned by Dudameland Lang Lang. The orchestra then embarks ona five-country tour of South America. TheBolívar season rounds out with a production ofTannhäuser at the Bogotá Opera in June 2013,followed by a 2013 summer residency at theSalzburg Festival.

An exclusive Deutsche Grammophon artistsince 2005, Gustavo Dudamel has numerousrecordings on the label, ranging in repertoirefrom Stravinsky’s Le sacre du printemps toBeethoven’s Symphonies Nos. 3, 5 and 7. InFebruary 2012, Dudamel and the Los AngelesPhilharmonic won the Grammy for BestOrchestral Performance for their live recordingof the Brahms Symphony No. 4. In spring2012, an LP of Mendelssohn’s Symphony No. 3with the Vienna Philharmonic was released,with proceeds donated to charity for the pur-chase of instruments for young musicians of ElSistema in San Vicente, Venezuela. In August2012, the CD, DVD and PBS telecast of the liveVienna Philharmonic Schönbrunn concert, TheSummer Night Concert, was released. TheSeptember 2012 release, Gustavo Dudamel:Discoveries, is a compilation of recording activi-ties with the Vienna and Berlin Philharmonics,

the Simón Bolívar Symphony Orchestra and theGothenburg Symphony (CD, CD+DVD).Released in October 2012, Dudamel: Mahler 8 -Symphony of a Thousand Live from Caracas(DVD + Blu-Ray), features the combined forcesof the LA Phil and the Bolívars, and the MahlerNo. 9 (CD) with the LA Phil was released inearly 2013. Also, anticipated for release duringthe 2013 season are the Mahler Symphony No.7 (CD / Bolívars) and an all-Strauss disc withthe Berlin Philharmonic (CD).

In the area of video/DVD, many releases cap-ture the excitement of important concerts inGustavo Dudamel’s musical life, including TheInaugural Concert documenting his first concertin 2009 as Music Director of the Los AngelesPhilharmonic, New Year’s Eve Concert Gala2011 with the Berlin Philharmonic, and aBirthday Concert for Pope Benedict XVI, amongothers. In June 2011, a documentary, Let theChildren Play, featuring Dudamel, was shown inmore than 500 Fathom movie theaters nation-

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Gustavo Dudamel

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wide. Gustavo Dudamel has been featured threetimes on CBS’s 60 Minutes and appeared on a2010 PBS special, Dudamel: Conducting a Life,with Tavis Smiley. He appeared on SesameStreet with Elmo in February 2012.

Gustavo Dudamel is one of the most decoratedconductors of his generation. He has recentlybeen named Musical America’s 2013 Musicianof the Year, one of the highest honors in theclassical music industry. In October of 2011, hewas named Gramophone Artist of the Year, andin May of the same year, was inducted into theRoyal Swedish Academy of Music in considera-tion of his “eminent merits in the musical art.”The previous year, he received the EugeneMcDermott Award in the Arts at MIT.Dudamel was inducted into l’Ordre des Arts etdes Lettres as a Chevalier in Paris in 2009, andreceived an honorary doctorate from theUniversidad Centro-Occidental LisandroAlvarado in his hometown of Barquisimeto. Healso received an honorary doctorate from theUniversity of Gothenburg in 2012. In 2008, theSimón Bolívar Youth Orchestra was awardedSpain’s prestigious annual Prince of AsturiasAward for the Arts and, along with his mentorJosé Antonio Abreu, Dudamel was given the “QPrize” from Harvard University for extraordi-nary service to children.

Named one of Time Magazine’s 100 most influ-ential people in 2009, Gustavo Dudamel wasborn in 1981 in Barquisimeto, Venezuela. Hebegan violin lessons as a child with José LuisGiménez and Francisco Díaz at the Jacinto LaraConservatory. He continued his violin studieswith Rubén Cova and José Francisco del Castilloat the Latin American Academy of Violin. Hisconducting studies began in 1996 with RodolfoSaglimbeni and, that same year, he was given hisfirst conducting position, Music Director of theAmadeus Chamber Orchestra. In 1999, he wasappointed Music Director of the Simón BolívarYouth Orchestra and began conducting studieswith the orchestra’s founder, Dr. Abreu; a fewyears later in 2004, Dudamel was brought tointernational attention by winning the inauguralBamberger Symphoniker Gustav MahlerCompetition. These early musical and mentor-

ing experiences molded his commitment tomusic as an engine for social change—a lifelongpassion.

In 2012, Gustavo and Eloísa Dudamel launcheda foundation which carries their name and isdedicated to furthering music education andsocial justice around the world.

Gustavo Dudamel, his wife Eloísa Maturén, andtheir young son Martín divide their time mainlybetween Caracas and Los Angeles.

Additional information about Gustavo Dudamelcan be found on his website: www.gustavodudamel.com

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ariana GHez, oboe

Ariana Ghez joined the Los AngelesPhilharmonic as Principal Oboe in September2006. Prior to her appointment in Los Angeles,Ghez was principal oboe of the RochesterPhilharmonic Orchestra and of the Santa FeOpera. She has also performed as guest princi-pal oboe with the Chicago Symphony Orchestraand the New York Philharmonic.

As a soloist, she has performed with the LosAngeles Philharmonic, the RochesterPhilharmonic, the Chamber Orchestra of theSouth Bay, the Lake Tahoe Music FestivalOrchestra, and the Aspen Music Festival,among many others. In a recording soon to bereleased on Ancalagon Records, Ghez joins vio-linist Lara St. John and the Simón BolívarYouth Orchestra in the Bach Concerto forOboe and Violin.

An avid lover of chamber music, Ghez performsfrequently with her Los Angeles Philharmoniccolleagues and guests on the chamber series at

Walt Disney Concert Hall. Other chamberengagements include collaborations with JaimeLaredo and Ida Kavafian (92Y) and Gil Shaham(Aspen Music Festival).

Ghez holds a bachelor’s degree in English litera-ture from Columbia University, where she wasenrolled in the Columbia/Juilliard School jointprogram and studied with John Mack and JohnFerrillo. She pursued graduate studies atTemple University in Philadelphia, where shestudied with Richard Woodhams and was anoboe teaching assistant. Ghez is on the facultyof Chapman University of Orange County, andhas given master classes at the OberlinCollege/Conservatory, the University ofSouthern California, the Colburn School, andKent/Blossom Summer Festival. She has servedas a guest faculty member at the Aspen MusicFestival and School.

micHeLe zUkoVSky, cLarineT

Los Angeles Philharmonic Principal ClarinetistMichele Zukovsky has appeared many times assoloist with the Philharmonic, both at theHollywood Bowl and at the Music Center. She

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Ariana Ghez

Michele Zukovsky

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has been a guest soloist with many orchestrasaround the world, including the world premiereperformance of John Williams’ ClarinetConcerto with the Boston Pops. Zukovsky alsoperforms regularly at the Philharmonic’sChamber Music Society concerts, and she hasparticipated in several premieres as a soloistwith the orchestra’s New Music Group.She has collaborated with a number of chamberensembles, most notably the Angeles and the St.Petersburg String Quartets, and has appearedfrequently in 92nd Street Y’s “Concerts at theY” and at the Ravinia, Lincoln Center, MostlyMozart, Lochinhaus, Schlesswig-Holstein, andMarlboro festivals. She was solo clarinetist atthe Casals Festival in Puerto Rico and playedthe Mozart Quintet at the memorial for PabloCasals.

Zukovsky is active as a teacher of master classesthroughout the world, and she is currently onthe faculty of the Thornton School of Music atthe University of Southern California. She stud-ied clarinet with her father, Kalman Bloch, him-self a former principal with the Los AngelesPhilharmonic.

Michele Zukovsky has recorded forLondon/Decca, Avant, Nonesuch, Philips, andSummit Records. Her recent Summit record-ings include works by Martinů and transcrip-tions of pieces by Simon Bellison, the formerclarinetist of the New York Philharmonic.

WHiTney crockeTT, baSSoon

Whitney Crockett joined the Los AngelesPhilharmonic as Principal Bassoon in April2010 as one of Gustavo Dudamel’s firstappointments. He came to Los Angeles after 12years as Principal Bassoon of the MetropolitanOpera Orchestra under James Levine. Prior tohis work in New York, Crockett held the sameposition with the Montreal SymphonyOrchestra. Earlier in his career, he heldPrincipal Bassoon positions with the FloridaOrchestra, the South Florida Symphony, andthe Orquesta Sinfónica Nacionál of theDominican Republic.

As a soloist, Crockett has appeared with theMontreal Symphony Orchestra, the FloridaOrchestra, the Yamagata Symphony Orchestra,the Bellingham Festival Orchestra, and LesViolons du Roy. He has performed regularly onthe MET Chamber Players series at CarnegieHall, and he has recorded, performed, andtoured extensively with the New YorkKammermusiker double reed ensemble.

In recent summers, Crockett has performedwith the Super World Orchestra of the TokyoMusic Festival, as well as at the Affinis MusicFestival (Japan), the Bellingham Festival ofMusic, Instrumenta Oaxaca in Mexico, and theSan Diego Mainly Mozart Festival. He has alsoappeared at the Santa Fe, Caramoor,Bridgehampton, and Cape Cod chamber musicfestivals.

A respected pedagogue, Crockett serves on thefaculty of the Académie de Verbier inSwitzerland. He has also served on the facultiesof the Juilliard and Manhattan schools of music,as well as McGill University in Montreal. Hehas given master classes at numerous institu-

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Whitney Crockett

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the Curtis Institute, the Puerto RicoConservatory, and many universities across theUnited States.

A native of Miami, Whitney Crockett began hisbassoon studies with Michael Finn and LucianoMagnanini. He is a graduate of the JuilliardSchool, where he studied with Stephen Maxym.

andreW bain, Horn

Andrew Bain was appointed to the position ofPrincipal Horn of the Los AngelesPhilharmonic by Gustavo Dudamel in May2011.

Born and raised in Adelaide, Bain is a proudgraduate of the Elder Conservatorium of Music.After leaving Adelaide in 1994, Bain furtheredhis studies with Geoff Collinson in Sydney andHector MacDonald in Vienna, and in 2003completed a Graduate Diploma in ChamberMusic under Will Sanders in Karlsruhe.

Most recently, Bain was Principal Horn of theMelbourne Symphony Orchestra, and since2003 has appeared as the Principal Horn of theColorado Music Festival. He has also held thepositions of Associate Principal Horn of theAdelaide Symphony Orchestra (1997-2000) andPrincipal Horn in the Queensland SymphonyOrchestra (2000-2001 and 2005-2009), theMunich Symphony Orchestra (2001-2003), andthe Australian Opera and Ballet Orchestra atthe Sydney Opera House (2003-2005). He hasappeared as soloist with the QueenslandSymphony Orchestra, the Colorado MusicFestival, and Monash University’s Music in theRound. In 2010 Bain performed as soloist withthe Melbourne Symphony and playedSchumann’s Konzertstück with the ColoradoMusic Festival. The 2000 winner of the MartenBequest, Bain has also performed with theSaarbrücken Radio Symphony, the BavarianState Opera, the Malaysian Philharmonic, theAustralian Chamber Orchestra, and the Sydney,West Australian, and Tasmanian symphonyorchestras.

Bain is heard on several recordings with theQueensland Symphony Orchestra and is on thesoundtracks of numerous recordings and films,including Happy Feet, Australia, Anacondas,RIPD, and Pacific Rim.

Bain has collaborated with such artists asMartha Argerich, World Brass, and theAustralian Art Orchestra. He is a foundingmember of the New Sydney Wind Quintet(2004-2010) and recently toured with theMahler Chamber Orchestra throughout Europe.Bain has been the Principal Horn of theMelbourne Chamber Orchestra since 2009.

From 2004 to 2009 Bain was Lecturer in Hornat the Sydney Conservatorium and has givenmaster classes and lectures at the ElderConservatorium, the QueenslandConservatorium, the Shanghai Conservatory,and the Colorado Music Festival. From 2009-2011 he was Lecturer in Horn at the AustralianNational Academy of Music, University ofMelbourne, and the Tasmanian Conservatoriumof Music.

Currently the Horn Instructor at the ColburnSchool Conservatory, Bain is committed to the

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education of young musicians and presentedmaster classes in London and New York in2013; he looks forward to working at the PacificMusic Festival and Aspen Music Festival thissummer.

As well as playing golf whenever and whereverhe can, Bain enjoys travel, cooking, and the oddglass of good Australian red wine. More infor-mation can be found atwww.andrewbainhorn.com.

THe LoS anGeLeS pHiLHarmonic

The Los Angeles Philharmonic is reinventingthe concept of a 21st-century orchestra underthe vibrant leadership of Gustavo Dudamel.Now in its 94th season, the Philharmonic is rec-ognized as one of the world’s outstandingorchestras and is received enthusiastically byaudiences and critics alike. Both at home andabroad, the Philharmonic is leading the way ininnovative programming and re-defining themusical experience.

This view is shared by more than one millionlisteners who experience live performances bythe Los Angeles Philharmonic each year. ThePhilharmonic demonstrates a breadth anddepth of programming unrivaled by otherorchestras and cultural institutions, performingor presenting nearly 300 concerts throughoutthe year at its two iconic venues: Walt DisneyConcert Hall and the Hollywood Bowl. Theorchestra’s involvement with Los Angeles alsoextends far beyond regular symphony concertsin a concert hall, embracing the schools, church-es, and neighborhood centers of a vastly diversecommunity. Among its wide-ranging educationinitiatives is Youth Orchestra LA (YOLA).Central to YOLA is the Philharmonic’s plan tobuild, with community partners, youth orches-tras in communities throughout Los Angeles. In2012, the LA Phil in partnership with theLongy School of Music (Cambridge, MA) andBard College (New York) furthered this goalwith the new initiative, Take a Stand, whichsupports social change through music by pro-viding leaders with tools for growth through a

series of conferences and workshops, and pro-vides progressive and rigorous training for per-forming and teaching musicians.

The Los Angeles Philharmonic was founded byWilliam Andrews Clark Jr., a multi-millionaireand amateur musician, who established thecity’s first permanent symphony orchestra in1919. Walter Henry Rothwell became its firstmusic director, serving until 1927 and, sincethen, ten renowned conductors have served inthat capacity: Georg Schnéevoigt (1927-1929);Artur Rodzinski (1929-1933); Otto Klemperer(1933-1939); Alfred Wallenstein (1943-1956);Eduard van Beinum (1956-1959); Zubin Mehta(1962-1978); Carlo Maria Giulini (1978-1984);André Previn (1985-1989); Esa-Pekka Salonen(1992-2009); and Gustavo Dudamel (2009-pre-sent).

In October 2003, the doors to one of theworld’s most celebrated venues—the FrankGehry-designed Walt Disney Concert Hall—were opened and the Los Angeles Philharmonictook the stage in its new home, which hasbecome known not only as a local cultural land-mark, but also as “…a sensational place to hearmusic... In richness of sound, it has few rivalson the international scene, and in terms of visu-al drama it may have no rival at all.” (The NewYorker) Praise for both the design and theacoustics of the Hall has been effusive, and theglistening curved steel exterior of Walt DisneyConcert Hall embodies the energy, imagination,and creative spirit of the city of Los Angeles andits orchestra.

Inspired to consider new directions, Dudameland the Philharmonic aim to find programmingthat remains faithful to tradition, yet also seeksnew ground, new audiences, and new ways toenhance the symphonic music experience.During its 30-week winter subscription seasonof 110 performances at Walt Disney ConcertHall, the Philharmonic creates festivals, artistresidencies, and other thematic programsdesigned to delve further into certain artists’ orcomposers’ work. In 2011-12, the Los AngelesPhilharmonic and the Simón Bolívar SymphonyOrchestra of Venezuela, under the baton of

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Gustavo Dudamel, completed a monumentalendeavor by performing Mahler’s nine sym-phonies over the course of just three weeks inLos Angeles and one week in Caracas.

The Los Angeles Philharmonic’s commitmentto the presentation of music of our time is evi-dent in its subscription concerts, its exhilaratingGreen Umbrella series, and its extensive com-missioning initiatives. The Los AngelesPhilharmonic New Music Group, devotedexclusively to performing compositions on thecutting edge of the repertoire, attracts leadingcomposers and performers of contemporarymusic.

The Los Angeles Philharmonic Associationexpands its cultural offerings by producing con-certs featuring distinguished artists in recital,jazz, world music, songbook, and visitingorchestra performances, in addition to specialholiday concerts and series of organ recitals,chamber music, and Baroque music.

The Los Angeles Philharmonic continues tobroaden its audience by touring worldwide,offering an extensive catalog of recorded music,and broadcasting concerts on radio and televi-sion. Through an ongoing partnership withDeutsche Grammophon, the orchestra also hasa substantial catalog of concerts available online,including the first full-length classical musicvideo released on iTunes. In 2012, the LosAngeles Philharmonic and Gustavo Dudamelwon the Grammy for Best OrchestralPerformance for their recording of BrahmsSymphony No. 4.

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Gustavo Dudamel and the Los Angeles Philharmonic

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Gustavo Dudamel Music DirectorWalt and Lilly Disney Chair

Esa-Pekka SalonenConductor Laureate

Lionel BringuierResident Conductor

John Adams Creative Chair

Deborah Borda Presidentand Chief Executive Officer

firST VioLinMartin ChalifourPrincipal ConcertmasterMarjorie Connell Wilson ChairNathan ColeFirst Associate ConcertmasterErnest Fleischmann ChairBing WangAssociate ConcertmasterMark BaranovAssistant ConcertmasterPhilharmonic Affiliates ChairMichele Bovyer

Rochelle AbramsonCamille AvellanoElizabeth BakerMinyoung ChangTamara ChernyakRobert Vijay GuptaMischa LefkowitzEdith MarkmanJudith MassMitchell NewmanBarry SocherLawrence SonderlingStacy Wetzel

Second VioLinLyndon Johnston TaylorPrincipalDorothy Rossel Lay ChairMark Kashper Associate PrincipalKristine WhitsonJohnny Lee

Dale BreidenthalIngrid ChunJin-Shan DaiChao-Hua JinNickolai KurganovGuido LamellVarty ManouelianPaul SteinYun TangAkiko TarumotoSuli Xue*

VioLaCarrie Dennis PrincipalJohn Connell ChairDale Hikawa SilvermanAssociate PrincipalBen UlleryAssistant Principal

Richard EleginoDana HansenJohn HayhurstIngrid HutmanMichael LarcoHui LiuMeredith SnowLeticia Oaks StrongMinor L. Wetzel

ceLLoRobert deMaine PrincipalBram and Elaine GoldsmithChair

Tao Ni Associate PrincipalSadie and Norman Lee ChairBen Hong Assistant PrincipalJonathan Karoly

David GarrettBarry GoldJason LippmannGloria LumSerge OskotskyBrent Samuel

baSSDennis Trembly PrincipalChristopher Hanulik PrincipalOscar M. Meza Assistant PrincipalDavid Allen Moore

Jack CousinPeter RoféJohn SchiavoFrederick Tinsley

fLUTePrincipal (vacant)Virginia and Henry ManciniChair

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

Elise ShopeSarah Jackson

piccoLoSarah Jackson

oboeAriana Ghez PrincipalMarion Arthur KuszykAssociate PrincipalAnne Marie GabrieleCarolyn Hove*

enGLiSH HornCarolyn Hove*

cLarineTMichele Zukovsky PrincipalMonica KaenzigMauk/Nunis ChairDavid Howard

e-fLaT cLarineTMonica Kaenzig

baSS cLarineTDavid Howard

baSSoonWhitney Crockett PrincipalShawn Mouser Associate PrincipalMichele GregoPatricia Kindel

conTrabaSSoonPatricia Kindel

HornAndrew Bain PrincipalJohn Cecil Bessell ChairEric Overholt Associate PrincipalGregory RoosaWilliam and Sally Rutter ChairBrian DrakeLoring Charitable Trust ChairElizabeth Cook-ShenReese and Doris Gothie ChairEthan Bearman AssistantBud and Barbara HellmanChair

TrUmpeTThomas Hooten PrincipalJames Wilt Associate PrincipalChristopher StillMichael Myers

TromboneNitzan Haroz PrincipalJames Miller Associate PrincipalAbbott and Linda Brown ChairHerbert Ausman

baSS TromboneJohn Lofton

TUbaNorman Pearson

TimpaniJoseph Pereira PrincipalCecilia and Dudley RauchChair

percUSSionRaynor Carroll PrincipalJames BaborPerry Dreiman

keyboardJoanne Pearce MartinKatharine Bixby HotchkisChair

HarpLou Anne Neill

LibrarianSKazue Asawa McGregorKenneth BonebrakeStephen Biagini

perSonneL manaGerJeffrey Neville

prodUcTion direcTorPaul M. Geller

condUcTinG feLLoWSMirga Grazinyte-TylaChristopher LeesDietrich ParedesRafael Payare

*on sabbatical

The Los Angeles Philharmonicstring section utilizes revolvingseating on a systematic basis.Players listed alphabeticallychange seats periodically. In thosesections where there are two prin-cipals the musicians share theposition equally and are listed inorder of length of service.

The musicians of the Los AngelesPhilharmonic are represented byProfessional Musicians Local 47,AFM.

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