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

Programs at a Glance ....................................................4Los Angeles Chamber

Orchestra Biography .................................................6Orchestra Roster .............................................................8Board of Directors .........................................................10Administration .................................................................11Letter from Margaret .................................................. 13Handel’s Water Music ................................................. 15Baroque Brass III ............................................................ 21Beethoven & Strauss Septets.................................27Music Director Jaime Martín ................................... 34About the Artists .......................................................... 36Donor Recognition ........................................................ 41Gifts in Tribute ...............................................................45Institutional Donors and

LACO Legacy Society ............................................46Special Thanks ............................................................... 47Endowment Funds and

Matching Gifts ............................................................48 WIN

TER

PROG

RAMLOS ANGELES

CHAMBER ORCHESTRA

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PROGRAMS AT A GLANCEBAROQUE CONVERSATIONS HANDEL’S WATER MUSIC (pg. 15)THURSDAY, NOV. 21 @ 7:30 p.m.,

First Presbyterian Church FRIDAY, NOV. 22 @ 7:30 p.m., The Huntington

JAIME MARTÍN CONDUCTORJOSHUA RANZ CLARINETKENNETH MUNDAY BASSOON

TELEMANN Selections from Overture in F majorR. STRAUSS Duet-Concertino

for Clarinet and BassoonHANDEL Water Music, Suite No. 1

BAROQUE BRASS III (pg. 21)THURSDAY, JAN. 16 @ 7:30 p.m.,

First Presbyterian Church FRIDAY, JAN. 17 @ 7:30 p.m., The Huntington

MICHAEL THORNTON CO-LEADER & HORNDAVID WASHBURN CO-LEADER & TRUMPET

MOLTER Symphony in C majorANONYMOUS UntitledHANDEL Eternal Source of Light DivineVIVALDI Concerto in F major for 2 HornsPURCELL “Sound the Trumpet”

from Come ye Sons of ArtA. SCARLATTI Mio tesoro per te moroHANDEL “Va tacito” from Julius CaesarBACH Fugue in B minor (arr.)A. GABRIELI Ricercar del duodecimo tuono

Santa Monica

David Washburn

The Huntington

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IN FOCUSBEETHOVEN & STRAUSS SEPTETS (pg. 27)THURSDAY, FEB. 20 @ 7:30 p.m.,

First Presbyterian ChurchFRIDAY, FEB. 21 @ 7:30 p.m., The Huntington

MARGARET BATJER CURATOR

R. STRAUSS Metamorphosen (arr. for string septet)BEETHOVEN Septet, Op. 20

ADDITIONAL EVENT 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 “Mädchen oder Weibchen” from Die Zauberflöte

LUTOSŁAWSKI GraveBARBER Cello SonataRACHMANINOFF Cello Sonata

2020 GALA CELEBRATIONSATURDAY, MAY 9 @ 5:30 p.m., InterContinental

Los Angeles Downtown

JAIME MARTÍN CONDUCTOR

HONOREESJAMES NEWTON HOWARDEXECUTIVES OF THE CAPITAL GROUP

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Sheku Kanneh-Mason

Isata Kanneh-Mason

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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

Jeffrey Kahane Conductor Laureate

Ellen Reid Creative Advisor & Composer-In-Residence

Derrick Spiva Jr. Artist Educator

Juan Pablo Contreras 2019/20 Sound Investment Composer

VIOLIN IMargaret Batjer

concertmasterTereza Stanislav

assistant concertmaster

Jacqueline BrandJennifer MundayJulie Gigante*Maia Jasper WhiteTamara HatwanSusan Rishik

VIOLIN IIJosefina Vergara

principalSarah Thornblade

associate principalCheryl Norman-BrickCarrie 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 Musician’s Lounge.

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BOARD OF DIRECTORS2019/20officersLeslie Lassiter

chairRuth L. Eliel

vice chairRaymond Lowe

treasurerShaheen Nanji

secretary

members at largeAhsan AijazLee 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 GastlerAhmad Gramian,

in memoriamWarner HenryStephen A. Kanter, MD,

in memoriamHanna M. Kennedy,

in memoriamStuart LaffGary LarsenMartin C. RecchuiteJudith RosenBrigitta 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

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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

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,I welcome you to the 2019/20 season of Baroque Conversations and In Focus. In my new role as Director of Chamber Music and Training programs at LACO, I hope to share my love of chamber music with you for many years to come.

This season marks the beginning of our two-year celebration of Beethoven’s 250th birthday. His 16 string quartets are arguably some of his greatest compositions and were a large part of my own personal journey as a musician. I felt it was important to present two of these miraculous works during this celebration. We are thrilled to welcome the Miró String Quartet at the end of April, who will perform his Opus 127 string quartet, followed by Mendelssohn’s string octet. During the 2020/21 season, In Focus will welcome the great Emerson Quartet in a performance of Beethoven’s middle string quartet, Opus 95, followed by the octets of Shostakovich and Bruch.

At each concert this season and next, you will hear the artistry of our own LACO musicians, special guest artists Jaime Martín, Jeffrey Kahane, and Andrew von Oeyen, as well as new LACO commissions by Sarah Gibson and Samuel Adams.

I look forward to sharing these two seasons of beautiful and compelling concerts with all of you!

Warmly,

Margaret BatjerConcertmaster & Director of Chamber Music & Training Programs

JAIME MARTÍN CONDUCTOR (pg. 34)JOSHUA RANZ CLARINET (pg. 38)KENNETH MUNDAY BASSOON (pg. 37)

THURSDAY, NOV. 21 @ 7:30 p.m., First Presbyterian Church FRIDAY, NOV. 22 @ 7:30 p.m., The Huntington

TELEMANN Selections from Overture in F major, TWV 55: F3 Ouverture Sarabande La Badinerie Réjouissance FanfareR. STRAUSSDuet-Concertino, Trv 293 Allegro moderato Andante Rondo

Mr. Ranz, Mr. Munday

INTERMISSION

HANDELWater Music : Suite No. 1, HWV 348, F major Ouverture (Largo – Allegro) Adagio e staccato [Allegro] Andante [Allegro] Minuet Air Minuet Bourrée Hornpipe [Allegro moderato] Alla Hornpipe from HWV 331

HANDEL’S WATER MUSICPART OF BAROQUE CONVERSATIONS

This concert is dedicated to Warner & Carol Henry for their unflagging support of chamber music in Southern California.

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PROGRAM NOTESTONIGHT IN LACO HISTORY

Tonight’s performance begins with selections from Telemann’s Overture in F major, which has never been performed in LACO’s history. The Duet-Concertino for Clarinet and Bassoon, composed by R. Strauss, was last performed in 1980, conducted by Music Director Gerard Schwarz. Selections from Water Music were last performed in 2013 and featured Principal Flute David Shostac.

Telemann Selections from Overture in F major, TWV 55: F3 (1728–1729)

Orchestration: 2 oboes; bassoon; 2 horns; strings and continuo

Estimated duration: 18 minutes

R. Strauss Duet-Concertino (1947)

Orchestration: harp; strings; solo clarinet; solo bassoon


Handel Water Music Suite No. 1, HWV 348, F major (1717)

Orchestration: 2 oboes; bassoon; 2 horns; strings and continuo


George Frideric Handel and Georg Philipp Telemann were contemporaries. Along with Johann Sebastian Bach, this group formed something of a triumvirate of the best in the late Baroque period. They were all highly skilled, prolific composers, each with his own specialty. Handel made his greatest fortune in vocal music, opera and oratorios, although this evening’s concert features one of his best-known instrumental works. Telemann excelled at composing music that incorporated French, Italian, and German styles. We round out our program with Richard Strauss, a composer born two centuries after the other two, yet in the Duet-Concertino for Clarinet and Bassoon, Strauss gives a nod to the baroque genre of the concerto grosso.

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PROGRAM NOTESDID YOU KNOW?

Handel composed Water Music in 1717, more than 300 years ago. The suites were written for an outside performance for King George I on the River Thames.

Georg Philipp Telemann was a composer who wrote quickly and with confidence. This led some early critics to dismiss him as careless and inauthentic. Reappraisal, however, finds that Telemann was quite masterful in his writing. He incorporated elements of German high baroque, Italian opera, and French rococo styles into a tapestry uniquely his own. The Overture in F favors the French style established by Jean-Baptiste Lully, an Italian-born composer who dominated the French musical scene from the court of Louis XIV. His many contributions to musical life included numerous operas and dances, the latter often collected into suites. The French were captivated by dance — Louis XIV was an avid dancer himself — and suites allowed for audiences to enjoy stylized versions of these dance forms. Telemann composed well over a hundred of these suites, which he called “Overtures.” The traditional structure of a suite like this begins with a French overture followed by a collection of dances, often in the same key but contrasting in mood, meter and tempo. There is a pleasing variety in these dances, and they were chosen according to the composer’s taste and the available instrumentation.

Richard Strauss was born two hundred years after Handel and Telemann, and although his musical style reflects late German romantic sensibility, he sometimes drew on earlier styles. Strauss learned music first from his father, a successful musician. Franz Strauss was the principal horn player at Munich’s Court Opera. The younger Strauss attended rehearsals there, and it was an assistant conductor there who taught the budding musician and composer music

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PROGRAM NOTEStheory and orchestration. Strauss was a precocious little boy, writing his first piece at the age of six, and his exposure to all the important operas by Wagner and Mozart certainly had a great effect on his development as a composer. He composed most of his chamber works in his early years, but the Duet-Concertino for Clarinet and Bassoon was the last instrumental piece Strauss wrote. It was completed in 1947 and premiered in 1948, one year before Strauss’s death.

Strauss composed the work with Hugo Burghauser in mind. Burghauser had been the principal bassoonist for the Vienna Philharmonic, which Strauss had conducted on various occasions. In 1946, Strauss corresponded with Burghauser, mentioning an idea for a double concerto with bassoon and clarinet. In a later letter, Strauss wrote that the underlying program could be about a dancing princess and a dancing bear, the latter of whom turns into a prince. Strauss didn’t specify this program — or any program — but in hearing the music, one can imagine this as a fitting story. It’s almost a bit of a throwback to the tone poems Strauss had composed decades before, but he very pointedly offered no descriptive title.

The Duet-Concertino was dedicated to Burghauser. It has three movements, with the second acting as a short transitional interlude between the more substantial outer movements. The orchestration has a few special elements, including a harp. Strauss also draws upon the structure of a baroque concerto grosso by designating five soloists from the strings: leaders from each of the five sections (violin 1, violin 2, viola, cello, and double bass). These five, which would have formed the concertino, or solo group, in a baroque concerto grosso, open the first movement before the sweeping melodic entrance of the clarinet. The bassoon’s entrance brings a dramatic change in mood. The bassoon appears to try to match the graceful lyricism of the clarinet line, haltingly at first, and with greater success as the passage goes on. The bassoon solo of the central movement is quite lovely and gentle; when the clarinet enters, the two solo lines truly mesh for the first time. In a dramatic touch, the orchestra drops out as the soloists play each other’s themes; it is a moment of true understanding between them. The final movement is a lively rondo — another touch from earlier musical forms — which draws upon already established musical ideas.

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PROGRAM NOTESGeorge Frideric Handel was in the employ of the Elector of Hanover when he had an opportunity to move to London in 1712. The two would meet up again two years later when the Elector became King George I of England in 1714. The king requested some entertainment for a large boating party on the Thames, which was to take place on July 17, 1717. Handel composed music for fifty musicians to play on a barge adjacent to the king’s. Handel called his collection of musical pieces Water Music. The composer’s great skill is evident here, as he takes music that could have simply been light entertainment and makes it artful. If it had just been background music, it might have faded into the past without a second thought, but it was a hit not only on the night it was performed (the king reportedly called for encores) but has stood the test of time. Water Music is a collection of movements, often separated into three suites, each in a different key: F major, G major and D major. Handel specified no set order for the movements, leaving that up to the discretion of the conductor. This arrangement allowed the musical performance to be long or short, loud or soft, depending on the length of the journey and how close Handel’s barge was to the king’s.

Water Music begins with a French overture, a two-part, stand-alone piece that opens the proceedings. The first part of the overture is a majestic processional with dotted rhythms and a stately character. The second part is faster and imitative. Each section is repeated, but the ending usually recaps the opening mood and musical material. The following movements feature dances like the Bourrée and the Minuet, and some other forms common to suites like Airs. In the scoring Handel chose, not every instrument is present in every movement, lending a sense of variety to the suite. Because the piece was written for performance on a moving watercraft, Handel omitted two instruments he would have normally used in a piece like this: harpsichord and timpani. The harpsichord would not have fared well on the water. Handel was sensitive to the absence of those instruments and masterfully orchestrated the piece to respond to this, although later versions for indoor performance sometimes restore these instruments to their place in the orchestra. Handel was also sensitive to the outdoor performance venue and chose instruments whose sounds traveled well outside like trumpets and winds. Handel’s Water Music was a fantastic night’s entertainment that surely pleased all in earshot that evening on the Thames and continues to please today.

Christine Lee Gengaro, PhD.

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BAROQUE BRASS IIIPART OF BAROQUE CONVERSATIONS

MICHAEL THORNTON HORN & LEADER (pg. 39)DAVID WASHBURN TRUMPET & LEADER (pg. 40)ELISSA JOHNSTON SOPRANO (pg. 36)JESSIE SHULMAN MEZZO-SOPRANO (pg. 38)

THURSDAY, JAN. 16 @ 7:30 p.m., First Presbyterian Church FRIDAY, JAN. 17 @ 7:30 p.m., The Huntington

MOLTERSymphony in C majorANONYMOUSNo TitleHANDELEternal Source of Light Divine

Ms. JohnstonVIVALDIConcerto in F major for 2 horns, RV 538 Allegro Largo Allegro non moltoPURCELL“Sound the Trumpet” from Come ye Sons of Art

Ms. Johnston, Ms. Shulman

INTERMISSION

A. SCARLATTIMio tesoro per te moro

Ms. JohnstonHANDEL“Va Tacito” from Julius Caesar

Ms. ShulmanBACHFugue in B minor, BWV 579 (arr)A. GABRIELIRicercar del duodecimo tuono 21


Tonight’s program features seven pieces new to LACO: Molter’s Symphony in C major, Handel’s Eternal Source of Light Divine, Purcell’s “Sound the Trumpet” from Come ye Sons of Art, Scarlatti’s Mio tesoro per te moro, Handel’s “Va tacito” from Julius Caesar, Bach’s Fugue in B minor, and Gabrieli’s Ricercar del duodecima tuono. This is the second performance of Vivaldi’s Concerto in F major for Two Horns. The first performance, in 1993, was conducted by LACO’s third Music Director, Iona Brown.

Molter Symphony in C major

Orchestration: 2 trumpets; 2 horns


Anonymous No Title

Orchestration: 2 trumpets; 1 horn


Handel Eternal Source of Light Divine (1713)

Orchestration: trumpet; continuo; solo soprano


Vivaldi Concerto in F major for 2 Horns, RV 538 (1742)

Orchestration: 2 horns


Purcell “Sound the Trumpet” from Come ye Sons of Art (1694)

Orchestration: horn; trumpet; soprano; alto


A. Scarlatti Mio tesoro per te moro

Orchestration: trumpet; strings; continuo; solo soprano


Handel “Va tacito” from Julius Caesar (1724)

Orchestration: horn; strings; continuo; solo alto


Bach Fugue in B minor, BWV 579 (arr) (1708–1717)



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Andrea Gabrieli was reluctant to publish his own work, so much of it was published by his nephew, composer Giovanni Gabrieli, after his uncle’s death.

A. Gabrieli Ricercar del duodecimo tuono



This Baroque Conversations concert features members of Los Angeles Chamber Orchestra’s brass section. The co-leaders of this program — Michael Thornton, principal horn, and David Washburn, principal trumpet — have curated a colorful selection of musical works. The pieces touch on everything from birthday odes for royalty to opera arias to purely instrumental pieces.

The music of Johann Melchior Molter begins the program. Molter was born in Germany in 1696. He was a notable violinist and composer, who studied his craft in Italy for two years. He was Kapellmeister first at Karlsruhe and at the court of Duke Wilhelm Heinrich in Eisenach. Although he wrote some vocal music, he is probably best known for his instrumental works, which include the symphony featured on this evening’s concert, but also concertos and chamber music. The Symphony in C major was written, presumably, for two horns and two trumpets, based on the evidence of the surviving autograph score. The movements are quite short but show the balance and clarity common to the style of the very early Classical symphony.

Celebratory songs from two birthday odes appear on our program. The first is Eternal Source of Light Divine, the Ode for the birthday of Queen Anne, composed by George Frideric Handel in 1713. Elissa Johnston is the soloist for this

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PROGRAM NOTESbeautiful and thoughtful piece which allows the voice and the trumpet to share both the spotlight and the long and sinuous melody. The second Ode was composed by Henry Purcell for the birthday of Queen Mary in 1694 (the ode is also known by the title Come ye Sons of Art). The third movement of this ode is the one we present this evening, a duet for voices called “Sound the Trumpet.” For this work, soprano Elissa Johnston is joined by Jessie Shulman, alto.

Antonio Vivaldi wrote hundreds of concertos, many of them for strings. The Concerto in F major, RV 538 features two horns as the solo instruments. Throughout, Vivaldi drew upon the two musical gestures in which the natural horns of the time excelled: fanfares and hunting calls. In the opening movement of the work, the horns often work in tandem, either echoing each other or playing lines in harmony. The central movement slows the tempo and changes to a minor key. Because natural horns were unsuited to the shift in mode, they remain tacet for the second movement, allowing the cello to play a heartfelt aria. The last movement is a lively Allegro non molto in which the horns return, conversing and harmonizing in a sprightly fashion until the final chord.

Each of our featured singers will present a solo aria that also features brass. Johnston will be singing “Mio tesoro per te moro,” for voice, trumpet, and continuo, by Alessandro Scarlatti (father of the celebrated keyboard composer, Domenico Scarlatti). The elder Scarlatti, whose style fits firmly into the high baroque, is best known for his vocal music, and is recognized as the main exponent of the Neapolitan school of opera. This aria is constructed in an ABA form, known as “da capo,” since it returns to the beginning for the third section. (Da capo means literally from the head or top). The central section provides contrast, and the second A allows the singer to improvise on the established melody. In the text, the singer calls to be reunited with a sweetheart. Shulman will sing the aria “Va tacito” from Handel’s opera, Julius Caesar. Originally intended for a castrato, the aria speaks of a hunter who works silently and stealthily. The use of brass is fitting here as part of the hunting metaphor. Like “Mio tesoro per te moro,” “Va tacito” is constructed in the da capo form, which was standard for operas and oratorios in the Baroque period.

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PROGRAM NOTESOur concert ends with two instrumental works. Johann Sebastian Bach’s Fugue in B minor, originally written for keyboard, was arranged for brass quartet by Mike Magatagan. The fugue is an imitative work; that is to say, it presents a musical theme that is repeated and expanded upon by other voices. The different timbres of the instruments allow for the listener to follow the musical theme more easily as it moves from voice to voice. Andrea Gabrieli has the final word, with his Ricercar del duodecimo tuono. Composed in the late sixteenth century, it explores some counterpoint, albeit much simpler than that in the fugue of Bach. The attraction here is in the mixing of timbres and the different pairings of instruments. Beginning in duple meter, the work also has triple-meter sections that break up the structure and provide contrast. It is a majestic and fitting end to a varied and eclectic program.


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BEETHOVEN + STRAUSS SEPTETSPART OF IN FOCUS

MARGARET BATJER CURATOR (pg. 36)

THURSDAY, FEB. 20 @ 7:30 p.m., First Presbyterian ChurchFRIDAY, FEB. 21 @ 7:30 p.m., The Huntington

R. STRAUSSMetamorphosen for String Septet

INTERMISSION

BEETHOVENSeptet, Op. 20 in E-flat major Adagio - Allegro con brio Adagio cantabile Tempo di menuetto - Trio Tema con variazioni. Andante Scherzo. Allegro molto e vivace - Trio Andante con molto alla marcia - Presto

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Tonight’s performance of R. Strauss’s Metamorphosen for String Septet is LACO’s fifth in its history. Its first performance of Metamorphosen — in April 1971 and with it’s original 23 musicians — was conducted by LACO’s first music director, Sir Neville Marriner. This is the first time LACO performs the version arranged for septet. This is also LACO’s first performance of Beethoven’s Septet, Op. 20.

R. Strauss Metamorphosen for String Septet (1945)

Orchestration: 2 violins; 2 violas; 2 cellos; 1 bass


Beethoven Septet, Op. 20 (1800)

Orchestration: 1 clarinet; 1 bassoon; 1 horn; 1 violin; 1 viola; 1 cello; 1 bass


Septets are the star of this In Focus concert. The first is a string septet: two violins, two violas, two cellos, and one double bass. Together, these instruments are capable of creating varied textures, but especially excel at exuding both warmth and richness. We begin our program with music that Richard Strauss originally composed for an ensemble of twenty-three strings. Metamorphosen was completed in 1945; this arrangement — by Rudolf Leopold — was published in 1996. The other septet features violin, viola, cello, and double bass along with clarinet, bassoon, and horn. Beethoven’s Septet, Op. 20 was composed in 1799 and premiered in 1800 to instant popularity. It was cast in the Mozartian mold of Classical divertimenti and displays a gentility we don’t automatically associate with our moody image of Beethoven.

Richard Strauss began writing the original version of Metamorphosen in the late summer of 1944. Europe had been at war for nearly five years, and the destruction of lives, institutions (including all of the great opera houses), and spirit had taken its toll on the population. Strauss, who courted controversy by attempting to work within the system to protect his Jewish daughter-

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R. Strauss collaborated with the Jewish dramatist Stefan Zweig on a comic opera, Die schweigsame Frau (The Silent Woman) in 1935. This collaboration was unacceptable to the Nazis and was banned after four performances. It was revived in Dresden in 1946.

in-law and his grandchildren and to preserve the musical legacies of other composers whose works might have been lost, was heartsick at what Nazi leadership and war had cost his homeland. It was in this state of mind that he took up composition of Metamorphosen, a deeply emotional work with a dark ending. Although Strauss did not directly indicate what he felt the music represented, musicologist Michael Kennedy described the work as “an elegy for the German musical life of which Strauss had been a leader for half a century.” Strauss wrote of his feelings at the end of the war, stating that for a dozen years, ignorance and “anti-culture” reigned, bringing about the end of two thousand years of “cultural evolution.” Some verses by Goethe were also on his mind at the time (he was sketching a choral setting for them), and in these the poet strives to understand his role in the world.

Metamorphosen was commissioned by Swiss conductor Paul Sacher, who had founded the Basel Chamber Orchestra and the Zürich Collegium Musicum. The Collegium is the dedicatee of Metamorphosen and premiered it in early 1946. This was part of a group of important works that Strauss wrote near the end of his life, among them the Oboe Concerto and the Four Last Songs. In Metamorphosen, as in these other works, Strauss focused on small melodic motives, continually developing them throughout the course of the piece. In Metamorphosen, there are a few of these, like a minor-mode motive with triplets that dip down and then ascend. Another gesture that permeates the work consists of three notes followed by a longer note. We might see this as a nod to the opening gambit of

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https://www.merriam-webster.com/dictionary/collaborated

PROGRAM NOTESBeethoven’s Fifth Symphony or even to Mozart’s “Jupiter” Symphony finale. We know without a doubt that Strauss quoted directly from Beethoven’s “Eroica” Symphony a few measures before the ending. The three lowest instruments quote the funeral march from the “Eroica.” As if the significance of this might be lost, in the original score, Strauss wrote “IN MEMORIAM!” under the lowest staff. We don’t know for sure what Strauss was grieving for, but the sense of loss is unmistakable.

Metamorphosen is organized in three main sections, although there are no breaks between them. A solemn introduction opens the work. Rich chords support long melodic lines brought out by first a viola, then a cello. There is an overwhelming feeling of sadness and grief, yet with sometimes bright moments of hopeful major-mode passages. The center section nudges the tempo a bit faster, and the lines of the instruments likewise become more active, culminating in an Agitato section about halfway through the proceedings. The final section returns to the tempo and mood of the opening, which is all the more devastating in light of the aching beauty of the central section. In this last section, a full measure of rest interrupts a phrase, almost like a voice suddenly silenced. And then we press on until the conclusion, a nod to the past with Beethoven, grief over unspeakable losses, and an uncertain future.

We shift gears entirely with Ludwig van Beethoven’s Septet, Op. 20. Beethoven began composing this work in 1799, when there was nothing in front of him but a new century and his bright future. The models for this work were the divertimenti and serenades that were the popular party music for the aristocracy. Mozart composed numerous works like these during his career. They were written for chamber ensembles, with no set number of movements, but they were mostly bright and sunny, though not too bombastic, so as not to interrupt party conversation or meals. While many of these works disappeared as soon as they were played, the serenades and divertimenti of Haydn and Mozart displayed skill and art, although they were meant to stay in the background. The Septet of Beethoven, however, took center stage at a concert in April 1880, premiering on a bill with his Symphony No. 1. Beethoven dedicated the work to Empress Maria Theresa, sister-in-law of Archduke Rudolf.

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PROGRAM NOTESThere are six movements in the work, starting with an Adagio that gives way to a charming Allegro con brio. The rising melody, first presented by the violin and then echoed by the clarinet, is perfectly balanced and graceful, the epitome of the classical style. The development section makes it feel more like a symphonic movement than a serenade, yet it stays light to the end. Beethoven follows this with a lilting Adagio cantabile, featuring the clarinet and violin as the primary carriers of melody. This is not to say he ignores the other voices. On the contrary, Beethoven shows a wonderful sensitivity to all of the instruments at his disposal, allowing each a moment to shine. The horn solo is particularly lovely here. The third movement is a courtly minuet, followed by a theme and variations. For this, Beethoven chose the folk tune “Ach Schiffer, lieber Schiffer” as his subject. With each passing variation, Beethoven finds new and inventive ways to combine the instruments of his ensemble. In the fifth movement, Beethoven diverges from the Mozartian model by offering a scherzo rather than another minuet. The horn opens this movement and leads the charge. The cello carries the melody of the trio section, shifting both the mood and the color. The finale opens with a minor-mode, slow introduction. It brings to mind sudden cloud cover on an otherwise sunny day. But not to worry, because the clouds dissipate as quickly as they arrived, and in a moment, we’re onto a playful rondo. The violin steps into the spotlight for a cadenza towards the ending. The sprightly closing and the work’s overall good feeling greatly pleased that first audience, and the Septet became one of Beethoven’s greatest hits, so to speak. In fact, the composer later came to resent its relentless popularity, as he was moving on to more serious things and leaving old ways behind. Still, it’s wonderful to enjoy this youthful yet sophisticated work and all the skill and potential displayed in it.


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Fall 2019 marks JAIME MARTÍN’s first seasons 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 Orchestra, 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, “Collage: A Concerto 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 Sebastián 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. A very sought after 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.

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ESMARGARET BATJER has served as Concertmaster of Los Angeles Chamber Orchestra since 1998. She made her first solo appearance at the age of 15 with the Chicago Symphony Orchestra.

She has performed with a succession of orchestras, including the Philadelphia Orchestra, St. Louis, Seattle and Dallas symphony orchestras, Chamber Orchestra of Europe, the Prague Chamber Orchestra and the Berlin Symphony Orchestra. As an esteemed chamber musician, she has appeared at the Marlboro Music Festival and La Jolla Summerfest, among others, and is the curator of LACO’s chamber music series, In Focus. Batjer made her first appearance on BIS Records with her latest album, “Jalbert, Bach, Pärt & Vasks,” featuring LACO and its Conductor Laureate, Jeffrey Kahane. She serves on the violin faculty at USC Thornton School of Music and the Colburn School.

ELISSA JOHNSTON’S recent performances include Handel’s Messiah in Tokyo and Osaka with the Telemann Chamber Orchestra, the West Coast premiere of Elliott Carter’s What are Years

and the world premiere of Some Things Do Not Move, by Ann LeBaron, both with Southwest Chamber Music, Unsuk Chin’s Akrostichon Wortspiel, Chinary Ung’s Aura at Le Poisson Rouge with the New York New Music Ensemble, and David Lang’s the little match girl passion at the Ravinia Festival. Particularly drawn to the music of J.S. Bach, she has recently performed Bach Cantatas 54 and 84 with Los Angeles Chamber Orchestra, Cantatas 51 and 82 with the Long Beach Symphony, the Mass in B Minor and

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St. Matthew Passion with the L.A. Master Chorale, and has appeared with Los Angeles based Bach’s Circle at the Oregon Bach Festival.

Elissa recorded Chinary Ung’s Aura with Southwest Chamber Music and toured with the ensemble in Vietnam and Cambodia, and has sung Messiaen’s epic song cycle Harawi with pianist Vicki Ray at both Jacaranda Music and Piano Spheres. Elissa can be heard on dozens of film soundtracks, and is featured in Danny Elfman’s Serenata Schizophrana, which was released on the Sony Classical label.

In KENNETH MUNDAY’s 44 seasons as Principal Bassoon of Los Angeles Chamber Orchestra, he has collaborated as soloist with every music director of the Orchestra, beginning with Sir

Neville Marriner.

Kenneth has toured and recorded albums with two chamber music ensembles born from within LACO: Musical Offering and the Los Angeles Chamber Orchestra Winds. He has performed at the Oregon Bach Festival for 25 years, participated in the Marlboro Music Festival in Vermont, and was principal bassoon on the Grammy Award-winning Credo by Krysztof Penderecki.

An active studio musician for 40 years, Kenneth has played on hundreds of film scores and commercial recordings including Star Wars with John Williams.

He has recorded Luciano Berio’s Sequenza XII for Naxos Records, a 19-minute solo bassoon piece requiring double circular breathing and other extensive techniques.

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ESHailed in the Los Angeles Times as offering a “stunning rendition” of the Mozart Clarinet Concerto and an “exciting” version of the Copland Clarinet Concerto, JOSHUA RANZ is Principal Clarinet of Los

Angeles Chamber Orchestra and the New West Symphony. He performs regularly with the Los Angeles Philharmonic.

Ranz has played on over 100 soundtracks for such composers as John Williams, Michael Giacchino, James Horner, Randy Newman and many others. Some of the recent films he has played on include Coco, Lady Bird, Star Wars VII, Rogue One, and The Incredibles 2.

In the fall of 2018, Mr. Ranz joined the faculty at UCLA’s Herb Alpert School of Music as Lecturer in Clarinet. He also teaches at the Biola Conservatory of Music. A graduate of Harvard College and Yale School of Music, Ranz has previously taught at Pomona College and Long Beach City College.

With an extensive background in opera and classical repertoire, JESSIE SHULMAN is an avid performer of concert works with orchestra, art song, choral and chamber music.

Her recent performances include Duruflé’s Requiem and Handel’s Messiah with the L.A. Master Chorale, Respighi’s Il tramonto with the Fiato Quartet, and Madama la Rose in the West Coast premiere of Rossini’s La gazetta with Pacific Opera Project. As a concert soloist, she has also performed Beethoven’s Symphony No. 9, Verdi’s Requiem, Haydn’s Missa in Angustiis, Mozart’s Vesperae solennes de confessore and Berlioz’s Les nuits d’été. Equally at home in the world of opera, Jessie’s roles include Cherubino

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(Le nozze di Figaro), Nicklausse (Les contes d’Hoffmann), Kate Julian (Owen Wingrave), Tisbe (La Cenerentola), and Dorothée (Cendrillon), among others. Shulman can be also heard in many major motion pictures, and she maintains an active session singing career in Los Angeles.

Shulman is a former member of the Chicago Symphony Chorus, Cincinnati Opera Chorus, and Chicago’s Music of the Baroque. She holds a Master of Music degree from the University of Cincinnati College-Conservatory of Music, and a Bachelor of Music degree from the Bob Cole Conservatory at California State University, Long Beach.

MICHAEL THORNTON — recognized for his noble tone and his “sureness of technique, pitch, breath control, and articulation” (Fanfare Magazine) — currently holds the position of Principal

Horn with both Los Angeles Chamber Orchestra and the Colorado Symphony.

Between these ensembles, he has worked with artists from Yo-Yo Ma to Ian Anderson of Jethro Tull. Michael has performed, toured and recorded as a guest with the Philadelphia Orchestra, St. Paul Chamber Orchestra, KBS Symphony (South Korea), Toronto Symphony and many more. He appears regularly as a master clinician and performer at conferences and horn symposia worldwide. Michael is also a faculty member of the University of Colorado at Boulder.

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ESDAVID WASHBURN is Principal Trumpet of Los Angeles Chamber Orchestra, as well as associate principal trumpet of the LA Opera Orchestra. David has been a featured soloist with

many different orchestras including the Los Angeles and Hong Kong philharmonics and the Chamber Music Society of Lincoln Center in New York. Active in the recording studios, David has numerous motion picture soundtracks to his credit — Spider-Man Far from Home, Incredibles 2, Star Wars episode 9, Toy Story 4, Coco, Godzilla, Avatar, Titanic, among others. He has also been a part of the John Williams Trumpet Section for over 20 years.

David is currently a faculty member at Biola University, University of California, Irvine and Azusa Pacific University.

He will be performing the Brandenburg Concerto No. 2 in Taiwan, New York City, Chicago, Hong Kong and Seoul, Korea in the coming season.

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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 September 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 Jelinek

Maurice Marciano Family Foundation

Shaheen & Anil NanjiRobert & Ann Ronus

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

in memoriamJohn & Ginny

CushmanPeggy & Jack FalconSanford M. &

Pat GageThierry &

Katharina LeducCheryl K. Petersen &

Roger H. LustbergElizabeth & Justus

SchlichtingGregory J. Soukup &

Mary Jo Carr

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

Stephen BlockDavid ColburnRay Duncan &

Lauren CrosbyCarol Eliel &

Tom MullerAnne & Jeffrey

GrausamAnn 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 FinchWilliam KennedyGary & Sandi LarsenDr. Ellen J. Lehman &

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

NewmanRandall & Gretchen

NewmanPhyllis Parvin &

Sheldon SlatenRudy & Peekie Schaefer

Robert & 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 KochRenee & Meyer LuskinSteven D. McGintyLeslie Mitchner

Richard Nave & Lois B. Miller

Gay PhinnyMartin & Dorothy

RecchuitePhil 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. Herman

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DONOR RECOGNITIONJeffrey & Martha KahaneSharon 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 RamerKay & Bob RehmeJoanne & Lars ReiersonMr. & Mrs. Alan I.

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

SternMike Stoller &

Corky Hale StollerLois TandyLaney & Tom TechentinDarani TsaoJ. 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 CohnFernando Contreras

PalomarNathalie CorryKate Crane &

the Hon. Milan D. SmithDonald H. CrockettPatrick & 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. McLaughlin

Evelyn & Martin Lutin Sylvia L. & Lanny MillerRay & Cristine MorrisSunny MossMarilyn 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 Bartera

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DONOR RECOGNITIONMr. Steve BeimlerDr. Malcolm BersohnDevra 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 Detlor

Jim & Ginny HeringerJames & Marilynn

HildebrandtDavid Hurwitz &

Kara KleinAnna 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 SlaterLaurie Samitaur SmithLaura & 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 ext. 4.

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

Elena Estrinby Arthur & Rini Krausby Leslie Lassiterby Janice A. Lazarofby Gail Natzlerby John Sonegoby Marc & Eva Stern

Sid Bowerby Rita Bower & Ray Friend

Sylvia Edelsteinby Joseph & Adrienne

Marchland

Sarah Gyerby P. W. Howard

Ahmad Gramian and Hanna M. Kennedy

by Michelle Weger

Sandi Larsenby Anne & Jeffrey Grausam

Roger Mayerby Pauline Mayer

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 Gageby Elaine Caplowby Evelyn & Martin Lutin

Scott Harrisonby Laura & Hugh Stegman

Lacey Huszczaby Martin & Nancy Chalifour

Terri & Jerry Kohlby Martin & Nancy Chalifourby Ruth Eliel & Bill Cooneyby Leslie Lassiter

Andrea LaguniBy Steven Shuman &

Brad Kane

Leslie Lassiterby Jennifer Lassiter

Annie Luckby Kuan Chen

Ned & Dana Newmanby Leslie Lassiter

Robert & Ann Ronusby Louise Edgerton

Andrew Shulmanby Mahnaz &

David Newman

LACO Musicians and Staff

by Friend of LACO

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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 BargerBCM 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

FoundationSupervisor Mark

Ridley-ThomasThomas CompanyWalter J. & Holly O.

Thomson FoundationWestern Asset Management

Company Charitable Foundation

Friend of LACOLynn K. Altman,

in memoriam Salome ArkatovJacqueline BlewJane Buel BradleyT. Robert Chapman,

in memoriamJennifer DienerNadia Doubins

in memoriamRuth Eliel & Bill CooneyH. Allen Evans &

Anna RosickaLois Evans,

in memoriam

Anne & Jeffrey GrausamSusan Greenberg &

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

in memoriamHanna M. Kennedy,

in memoriamAllan & Muriel KotinLeslie LassiterErnest Lieblich,

in memoriam

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

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

Mary Jo CarrLes & Karen WeinsteinNahum Zimmer,

in memoriam

LACO LEGACY SOCIETY

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 VogelJim WalkerWells 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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