Los Angeles Philharmonic - Lincoln Center's Great...

Monday Evening, March 14, 2016, at 8:00

Symphonic Masters

Los Angeles PhilharmonicGustavo Dudamel, ConductorSergio Tiempo, Piano

JOHN WILLIAMS Soundings (2003) (New York premiere)The Hall AwakensThe Hall GlistensThe Hall RespondsThe Hall SingsThe Hall Rejoices

GINASTERA Piano Concerto No. 1 (1961)Cadenza e variantiScherzo allucinanteAdagissimoToccata concertata

Intermission

ANDREW NORMAN Play: Level 1 (2013) (New York premiere)

COPLAND Appalachian Spring Suite (1943–44)

This program is supported by the Leon Levy Fund for Symphonic Masters.

Symphonic Masters is made possible in part by endowment support from UBS.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

The Program

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Steinway PianoDavid Geffen Hall

Great Performers

We would like to remind you that the sound of coughing and rustling paper mightdistract the performers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who mustleave before the end of the performance are asked to do so between pieces. The takingof photographs and the use of recording equipment are not allowed in the building.

BNY Mellon is Lead Supporter of Great Performers

Support is provided by Rita E. and Gustave M. Hauser, Audrey Love Charitable Foundation,Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center.

Public support is provided by the New York State Council on the Arts.

Endowment support for Symphonic Masters is provided by the Leon Levy Fund.

Endowment support is also provided by UBS.

MetLife is the National Sponsor of Lincoln Center

UPCOMING SYMPHONIC MASTERS EVENTIN DAVID GEFFEN HALL:

Monday Evening, March 21, 2016, at 8:00Academy of St. Martin in the FieldsJoshua Bell, Director and ViolinPamela Frank, ViolinBACH: Concerto in D minor for two violinsBEETHOVEN: Symphony No. 8TCHAIKOVSKY: Violin Concerto

For tickets, call (212) 721-6500 or visit LCGreatPerformers.org. Call the Lincoln Center InfoRequest Line at (212) 875-5766 to learn about program cancellations or to request a GreatPerformers brochure.

Visit LCGreatPerformers.org for more information relating to this season’s programs.

Join the conversation: #LCGreatPerfs

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By John Henken

“Americas & Americans” is a signature festi-val theme of Los Angeles Philharmonic Musicand Artistic Director Gustavo Dudamel. As heexplains it, “This is our music. It is the lan-guage which links us as a people: Bordersdissolve, colors emerge and mix, and we findthose voices that unite North, Central, andSouth America as one.”

That concept underlies this evening’s pro-gram of music from North and SouthAmerica. It begins with John Williams’sevocative Soundings, which was written forthe opening of Walt Disney Concert Hall in2003. Venezuelan/Argentine pianist SergioTiempo is the soloist for Ginastera’s wildPiano Concerto No. 1, as the musical worldcelebrates the centennial of Ginastera’s birth.The program also includes a “level” from thevideo game–inspired Play by Andrew Norman,whose work has been featured regularly inrecent LA Phil seasons, and the suite fromCopland’s iconic Appalachian Spring balletscore. Ginastera became friends withCopland at Tangle wood, and though this con-certo is one of his early 12-tone pieces, itsstrong, obsessive rhythms and meditativeadagios echo some of the style and texturesof Copland’s pioneer Americana.

—Courtesy of the Los Angeles Philharmonic

Snapshot

1944Copland’s AppalachianSpringEdward Hopper paintsMorning in a City.

1961Ginastera’s Piano ConcertoNo. 1Irving Stone’s The Agony andthe Ecstasy, a biographicalnovel of Michelangelo, ispublished.

2003John Williams’s SoundingsChicago wins the AcademyAward for Best Picture.

1944Last eruption of MountVesuvius

1961Cosmonaut Yuri Gagarinbecomes the first human inspace.

2003China launches its firsthuman spaceflight mission.

1944On the Town opens onBroadway.

1961The Throgs Neck Bridgeopens.

2003Daniel Libeskind’s design ischosen for the rebuilding ofthe World Trade Center.

SCIENCE

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IN NEW YORK

Timeframe

Great Performers I Notes on the Program

Soundings (2003)JOHN WILLIAMS Born February 8, 1932, in Floral Park, New York

Approximate length: 12 minutes

In writing Soundings, I’ve tended to think of it as an experimental piece forWalt Disney Concert Hall in which a collection of colorful sonorities couldbe sampled in the Los Angeles Philharmonic’s new environment. The pieceis in one extended movement and is divided into five sections.

In the first section, The Hall Awakens, I decided to begin with four measuresof silence in order to, symbolically at least, capture the hall in its quiescence.The flutes then break the silence by murmuring softly in their lowest regis-ter. Horns and brass sonorities follow, and an unaccompanied section of uni-son strings allows us to test the hall’s friendliness to that magnificent group.This is followed by The Hall Glistens, in which a full battery of percussion andfully scored shimmering effects suggest glittering flashes of light that mightemerge as the sun is reflected off Frank Gehry’s great exterior “sails.”

Earlier, as I admired the hall and studied its interior, I wondered what itmight be like if the building’s brilliant exterior surfaces could be soundedand the hall actually “sang” to us. These thoughts suggested the third sec-tion, The Hall Responds, in which the hall itself becomes a partner in themusic-making. The orchestra sounds a vibrant low D, and the hall reverber-ates and responds. Three other great sails are sounded as the orchestra,led by the solo flute, sends messages that are returned to us from variouslocations in the hall.

In the fourth section, The Hall Sings, the four great sail notes—D, E, C-sharp,and B—reach their maturation and freely move about the hall as theorchestra supports them. They eventually ascend and vanish above us asthese vibrating units of sound return to take their fixed molecular place inthe building structure...at least, in our imaginations.

The piece closes with the fifth section, The Hall Rejoices, and here theorchestra celebrates with its full voice. The motivic material for this finalecomes from the suggestion of Los Angeles Philharmonic President andChief Executive Officer Deborah Borda that I write a sequence for carillonbells that would be sounded in the lobby to signal the end of intermission.To accomplish this, I’ve suggested five “call” notes (F-sharp, D-sharp, F-sharp, G-sharp, F-sharp) supported by clusters and a six-note group (G, G,F-sharp, A, D, B) that gently remind us that it’s time to conclude our con-versations and return to our seats. These sequences of notes form thebasis of the finale and the piece closes with the hall itself “chiming in” atthe celebratory conclusion.

—John Williams

Notes on the Program


Piano Concerto No. 1, Op. 28 (1961)ALBERTO GINASTERABorn April 11, 1916, in Buenos AiresDied June 25, 1983, in Geneva


Ginastera composed brilliantly in most genres—concertos, songs, string quar-tets, piano sonatas, and a number of film scores—but is best known for hisearly ballets Panambí and Estancia and the operas Don Rodrigo, Bomarzo, andBeatrix Cenci. Argentine folk songs and dances inspired and informed muchof his music, whether in direct reference or in stylistic allusion. Later in hiscareer he began to incorporate 12-tone techniques and avant-garde proce-dures into his music, ultimately reaching a synthesis of traditional and post-serial elements.

One of his early 12-tone, neo-expressionist works was the Piano Concerto No. 1, written in 1961 and premiered at the Second Inter-American MusicFestival in Washington, D.C., in 1961, along with his Cantata para AméricaMágica for soprano and percussion orchestra. (It was commissioned by theSerge Koussevitzky Music Foundation at the Library of Congress and dedi-cated to the memory of Koussevitzky and his wife, Natalie.) Of this period inhis music Ginastera wrote: “There are no more folk melodic or rhythmic cells,nor is there any symbolism. There are, however, constant Argentine elements,such as strong, obsessive rhythms and meditative adagios suggesting thequietness of the Pampas; magic, mysterious sounds reminding us of the cryp-tic nature of the country.”

This was also the time when Ginastera began his opera projects, and hisobsession with dramatic impulses is reflected in his concurrent interest in con-certo writing in the last decades of his life: two piano concertos, two cello con-certos, and one each for violin and harp. The dramatic character of the FirstPiano Concerto is immediately evident—the soloist’s entrance is marked tutteforza, con bravura, and the opening movement is basically an accompaniedcadenza, followed by ten phantasmagorical variations (with markings such asmisterioso and irrealmente) and a coda.

The Scherzo allucinante (hallucinatory scherzo) is as enchanted by theextreme soft side of the dynamic spectrum as the cadenza was by the fortis-simo side, full of ghostly piping and rappings in the orchestra and feathery pat-terned passage work for the soloist. Beginning with a solo viola incantation,the Adagissimo is one of those mysterious meditations that Ginastera men-tioned, though it does rise to an impassioned climax. The concluding Toccataconcertata is a manic metrical game, almost non-stop but for a brief breath-catching lull, that rides rhythm to a ferocious final catharsis.

—John Henken


Play: Level 1 (2013) ANDREW NORMANBorn October 31, 1979, in Grand Rapids, Michigan


A lifelong enthusiast for all things architectural, Andrew Norman writes musicthat is often inspired by patterns and textures he encounters in the visualworld. He enjoys collaborating with performers to explore the act of interpret-ing musical notation, and is fascinated by the translation of written symbolsinto physical gesture and sound.

Norman is increasingly interested in storytelling in music, and specifically inthe ways that non-linear, narrative-scrambling techniques from cinema, televi-sion, and video games might intersect with traditional symphonic forms. Hisdistinctive, often fragmented and highly energetic voice has been praised forits bold juxtapositions, imagination, and colors.

Play, a three-movement work commissioned by the Boston Modern OrchestraProject, premiered in Boston in May 2013, with Gil Rose conducting. (The LosAngeles Philharmonic, under Gustavo Dudamel, will perform the completework next season.) The composer wrote the following note:

Levels 1 and 3 can be performed separately. I am fascinated by how instru-ments are played, and how the physical act of playing an instrumentbecomes potent theatrical material when we foreground it on stage at anorchestra concert. I’m also fascinated by how the orchestra, as a meta-instrument, is played, how its many moving parts and people can play withor against or apart from one another.

While the world “play” certainly connotes fun and whimsy and a child-likeexuberance, it can also hint at a darker side of interpersonal relationships,at manipulation, control, deceit, and the many forms of master-to-puppetdynamics one could possibly extrapolate from the composer-conductor-orchestra-audience chain of communication. Much of this piece is con-cerned with who is playing whom. The percussionists, for instance, spenda lot of their time and energy “playing” the rest of the orchestra (just asthey themselves are “played” by the conductor, who in turn is “played”by the score). Specific percussion instruments act as triggers, turning onand off various players, making them (sometimes in a spirit of jest, some-times not) play louder or softer, forwards or backwards, faster or slower.They cause the music to rewind and retry things, to jump back and forthin its own narrative structure, and to change channels entirely, all with aneye and ear toward finding a way out of the labyrinth and on to somehigher level.

Appalachian Spring Suite (1943–44)AARON COPLANDBorn November 14, 1900, in BrooklynDied December 2, 1990, in North Tarrytown, New York


Some of Copland’s most populist “American” music was produced duringthe Depression and war years, including the overtly patriotic morale boostersLincoln Portrait and Fanfare for the Common Man. Appalachian Springcapped a trilogy of dance interpretations of the American frontier spirit, begin-ning with Billy the Kid (1938) and continuing with Rodeo (1942). This wasmusic that created the concert and theater equivalent of the poignant “highlonesome” bluegrass sound emerging at the same time—music of openchords and spare textures that often drew on traditional sources.

Appalachian Spring was commissioned by Elizabeth Sprague Coolidge forMartha Graham. Copland began work on Graham’s then-untitled scenario inHollywood in June 1943, completing the ballet a year later in Cambridge,Massachusetts. “After Martha gave me this bare outline, I knew certain cru-cial things—that it had to do with the pioneer American spirit, with youth andspring, with optimism and hope,” Copland later wrote. Graham took the even-tual title from a poem by Hart Crane, though not the narrative of anAppalachian housewarming for a pioneer and his bride. Copland originallyscored the ballet for an ensemble of 13 instruments, since the premiere wasin the small Elizabeth Sprague Coolidge Auditorium at the Library of Congress.In the spring of 1945 he arranged a suite from the ballet for full orchestra,which won the Pulitzer Prize for music that year.

The suite is cast in eight uninterrupted sections. It opens with a slowly bloom-ing introduction, which unison strings burst into with an elated Allegro. Thescenes that follow move from a warm, gentle duet for the pioneering couple,through fleetly fiddling dances for a revivalist preacher and his followers, to ananimated dance of anticipation for the bride. A transitional interlude recalls theopening, before the suite’s climax, a set of variations on the Shaker hymn“Simple Gifts,” which supported scenes of rustic domesticity in the choreog-raphy. In the coda, the married couple is left alone in their new home, with ten-der music that bookends and fulfills the opening expectations.

Graham told Copland that she wanted the dance to be “a legend of Americanliving, like a bone structure, the inner frame that holds together a people,” andthe ballet and its music were immediately understood as reflections of anational identity, of hope and fulfillment in a difficult time.

—John Henken

John Henken is program editor for the Los Angeles Philharmonic Association.

—Program notes courtesy of the Los Angeles Philharmonic


Defined by his untiring advocacy of access to music for all, GustavoDudamel is music and artistic director of the Los Angeles Philharmonic andmusic director of the Simón Bolívar Symphony Orchestra of Venezuela. Healso guest conducts some of the world’s greatest musical institutions,including the Vienna Philharmonic, which he returns to lead in Vienna andon tour. This season, opera features prominently in his schedule with anAugust performance of La bohème at Teatro alla Scala with the SimónBolívar Symphony Orchestra, followed by a return to the Berlin State Operafor a new Marriage of Figaro production, and an April 2016 Vienna StateOpera debut conducting a new production of Turandot.

One of the most decorated conductors of his generation, recent distinc-tions include the 2014 Leonard Bernstein Lifetime Achievement Award forthe Elevation of Music in Society from the Longy School, 2013 MusicalAmerica’s Musician of the Year, and induction into the Gramophone Hall of Fame. Mr. Dudamel is now in his seventh season leading the LosAngeles Philharmonic, and his contract has been extended through the2021–22 season.

Under his leadership, the orchestra has expanded its diversified outreachthrough many notable projects, including Youth Orchestra LA (YOLA), influ-enced by Venezuela’s widely successful El Sistema program. With YOLA,Mr. Dudamel brings music to children in the underserved communities of Los Angeles, and has inspired similar efforts throughout the U.S. and in Europe.

A Grammy Award winner, Mr. Dudamel has been a DeutscheGrammophon artist since 2005. He has independently produced an all-Wagner recording, as well as one of Beethoven’s Ninth Symphony with theSimón Bolívar Symphony Orchestra exclusively for digital download.

Meet the Artists

Gustavo Dudamel

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Great Performers I Meet the Artists


One of the most thought-provokingpianists of his generation, SergioTiempo made his professional debutat the age of 14 at the Concert -gebouw, Amsterdam. A tour of theU.S. and a string of engagementsacross Europe quickly followed.Since then he has appeared withmany of the world’s leading orches-tras and conductors, and is a frequentguest at major festivals worldwide.

Concerto highlights have includedreturn visits to the Orchestre Philharmonique de Radio France in Paris and atour to his native South America, the Singapore Symphony Orchestra, andthe Music Days in Lisbon festival, as well as debuts with the BBC andQueensland Symphony Orchestras, and the Auckland PhilharmoniaOrchestra. Recent recital engagements have included a sell-out recital at theQueen Elizabeth Hall in London in the International Piano Series, debuts atthe Vienna Konzerthaus, London’s Wigmore Hall, the Berlin Philharmonie,and Edinburgh International Festival, as well as return visits to the OsloChamber Music Festival and the Chopin festival in Warsaw.

More recently, Mr. Tiempo performed two return engagements with the LosAngeles Philharmonic with Gustavo Dudamel and Nicholas McGegan, did aEuropean tour with the Buenos Aires Philharmonic Orchestra, and madedebuts with the Zurich Chamber Orchestra, Brussels Philharmonic, andOrquestra Nacional do Porto, as well as recital tours of Seoul, Italy, China, andSouth America.

Mr. Tiempo has made a number of highly distinctive and acclaimed recordings.On EMI Classics’ Martha Argerich Presents label, he recorded Musorgsky’sPictures at an Exhibition, Ravel’s Gaspard de la Nuit, and three ChopinNocturnes, and for Deutsche Grammophon he has recorded several discswith cellist Mischa Maisky.

Los Angeles Philharmonic

The Los Angeles Philharmonic, under the leadership of Music and ArtisticDirector Gustavo Dudamel, is invested in a tradition of the new, through acommitment to foundational works and adventurous explorations. This seasonmarks the orchestra’s 97th season.

Sergio Tiempo

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The orchestra presents and performs more than 250 concerts each season atits two iconic venues: the Frank Gehry–designed Walt Disney Concert Hall andthe Hollywood Bowl. The LA Phil also produces concerts featuring distin-guished artists in recital, jazz, world music, songbook, and visiting orchestraperformances, in addition to special holiday concerts and series of chambermusic, organ recitals, and Baroque music.

The Philharmonic also performs in schools, churches, and neighborhood cen-ters of a vastly diverse community. Among its wide-ranging education initia-tives is Youth Orchestra LA (YOLA). Inspired by Venezuela’s revolutionary ElSistema, the LA Phil and its community partners provide free instruments,intensive music training, and academic support to over 700 students fromunderserved neighborhoods.

Through an ongoing partnership with Deutsche Grammophon, the LA Phil hasa substantial catalog of concerts available online. In 2011 the orchestra andDudamel won a Grammy for Best Orchestral Performance for their recordingof Brahms Symphony No. 4.

The Los Angeles Philharmonic was founded by William Andrews Clark, Jr.,who established the city’s first permanent symphony orchestra in 1919.Walter Henry Rothwell became its first music director, serving until 1927;since then, ten renowned conductors have served in that capacity: GeorgSchnéevoigt (1927–29), Artur Rodzinski (1929–33), Otto Klemperer (1933–39),Alfred Wallenstein (1943–56), Eduard van Beinum (1956–59), Zubin Mehta(1962–78), Carlo Maria Giulini (1978–84), André Previn (1985–89), Esa-PekkaSalonen (1992–2009), and Dudamel (2009–present).

Lincoln Center’s Great Performers

Celebrating its 50th anniversary, Lincoln Center’s Great Performers offers clas-sical and contemporary music performances from the world’s outstandingsymphony orchestras, vocalists, chamber ensembles, and recitalists. Since itsinitiation in 1965, the series has expanded to include significant emergingartists and premieres of groundbreaking productions, with offerings fromOctober through June in Lincoln Center’s David Geffen Hall, Alice Tully Hall,and other performance spaces around New York City. Along with liederrecitals, Sunday morning coffee concerts, and films, Great Performers offersa rich spectrum of programming throughout the season.

Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts (LCPA) serves three primary roles: pre-senter of artistic programming, national leader in arts and education and com-munity relations, and manager of the Lincoln Center campus. A presenter of


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more than 3,000 free and ticketed events, performances, tours, and educa-tional activities annually, LCPA offers 15 programs, series, and festivals includ-ing American Songbook, Great Performers, Lincoln Center Festival, LincolnCenter Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival,and the White Light Festival, as well as the Emmy Award–winning Live FromLincoln Center, which airs nationally on PBS. As manager of the LincolnCenter campus, LCPA provides support and services for the Lincoln Centercomplex and the 11 resident organizations. In addition, LCPA led a $1.2 billioncampus renovation, completed in October 2012.

Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingRegina Grande, Associate ProducerAmber Shavers, Associate Producer, Public ProgrammingNana Asase, Assistant to the Artistic DirectorLuna Shyr, Senior EditorJenniffer DeSimone, Production CoordinatorOlivia Fortunato, House Seat Coordinator


Los Angeles PhilharmonicGustavo Dudamel, Music and Artistic Director, Walt and Lilly Disney ChairEsa-Pekka Salonen, Conductor LaureateMirga Gražinytė-Tyla, Assistant ConductorJohn Adams, Creative ChairDeborah Borda, President and Chief Executive Officer, David C. Bohnett Presidential Chair

First ViolinsMartin ChalifourPrincipalConcertmasterMarjorie ConnellWilson Chair

Nathan ColeFirst AssociateConcertmaster Ernest FleischmannChair

Bing WangAssociateConcertmaster

Mark BaranovAssistantConcertmaster Philharmonic AffiliatesChair

Akiko Tarumoto Michele Bovyer

Rochelle Abramson Camille Avellano Elizabeth Baker Minyoung Chang *Vijay Gupta Mischa Lefkowitz Edith Markman Judith Mass Mitchell Newman *Stacy WetzelCheryl Norman Brick †Aroussiak Baltaian †

Second ViolinsLyndon Johnston TaylorPrincipalDorothy Rossel LayChair

Mark KashperAssociate Principal

Kristine Whitson Johnny Lee

Dale Breidenthal Ingrid ChunJin-Shan Dai Chao-Hua JinNickolai Kurganov Guido Lamell Varty Manouelian Paul SteinYun Tang Suli XueGrace Oh †Jason Uyeyama †

ViolasCarrie DennisPrincipalJohn Connell ChairDale Hikawa SilvermanAssociate Principal

Ben UlleryAssistant Principal

Dana Lawson

Richard Elegino John Hayhurst Ingrid Hutman Michael Larco Hui Liu Meredith Snow *

Leticia Oaks Strong Minor L. WetzelZachary Dellinger †

CellosRobert DemainePrincipalBram and ElaineGoldsmith Chair

Ben HongAssociate Principal Sadie and NormanLee Chair

Dahae Kim †Assistant Principal

Jonathan Karoly

David Garrett Barry Gold Jason Lippmann Gloria LumTao NiSerge Oskotsky Brent Samuel

BassesDennis TremblyPrincipal

Christopher HanulikPrincipal

Oscar M. MezaAssistant Principal

David Allen Moore

Jack CousinBrian Johnson Peter Rofé Frederick TinsleyJoseph Mcfaddan †

FlutesDenis BouriakovPrincipalVirginia and HenryMancini Chair

Catherine RansomKarolyAssociate PrincipalMr. and Mrs. H.Russell Smith Chair

Elise Henry Sarah Jackson

PiccoloSarah Jackson

OboesAriana GhezPrincipal

Marion Arthur KuszykAssociate Principal

Anne Marie Gabriele Carolyn Hove

English HornCarolyn Hove

ClarinetsPrincipal (Vacant)Burt Hara Associate Principal

Andrew LowyDavid HowardAmanda Mcintosh †Afendi Yusuf †


E-flat ClarinetAndrew Lowy

Bass ClarinetDavid Howard

BassoonsWhitney CrockettPrincipal

Shawn MouserAssociate Principal

Michele Grego Patricia Kindel

ContrabassoonPatricia Kindel

HornsAndrew Bain PrincipalJohn Cecil BessellChair

James Ferree †Associate Principal

Gregory RoosaWilliam and SallyRutter Chair

Amy Jo Rhine Loring CharitableTrust Chair

Brian Drake Reese and DorisGothie Chair

Ethan Bearman AssistantBud and BarbaraHellman Chair

Tod Bowermaster †Julie Erdmann Hyams †Anna Spina †

TrumpetsThomas HootenPrincipalM. David and DianePaul Chair

James Wilt Associate Principal

Christopher Still Ronald and ValerieSugar Chair

Stéphane Beaulac

TrombonesJörgen Van Rijen †Principal

James MillerAssociate PrincipalAbbott and LindaBrown Chair

Herbert Ausman

Bass TromboneJohn Lofton

TubaNorman Pearson

TimpaniJoseph PereiraPrincipalCecilia and DudleyRauch Chair

Nicholas Stoup †

PercussionRaynor CarrollPrincipal

James Babor Perry DreimanAlexander Frederick †Brent Kuszyk †Gary Smith †

KeyboardsJoanne Pearce MartinKatharine BixbyHotchkis Chair

Randy Kerber †Gavin Martin †

HarpLou Anne NeillKatie Kirkpatrick †

LibrariansKazue Asawa

Mcgregor Kenneth Bonebrake *Stephen Biagini *

Personnel ManagerJeffrey Neville

Conducting FellowsMatthew Aucoin Adrien Perruchon Jamie Phillips

* not on tour† extra musician on tour

The Los Angeles Phil -harmonic string sectionutilizes revolving seatingon a systematic basis.Players listed alphabeticallychange seats periodically.

In those sections wherethere are two principals,the musicians share theposition equally and arelisted in order of length ofservice.

The musicians of the LosAngeles Philhar monic arerepresen ted by Pro fes -sional Musicians Local 47,AFM.

Great Performers

LINCOLN CENTER FOR THE PERFORMING ARTS

Lincoln Center Education 40th Anniversary GalaMonday, March 14, 2016

HonoringJody Gottfried Arnhold

Gala ChairsChristina Baker

Susan RudinLaurie M. TischAnn Unterberg

GALA SUPPORTERS

UNDERWRITERArnhold Foundation

DIAMONDChristina and Robert C. Baker

HearstAnna-Maria and Stephen Kellen Foundation

Susan and Jack RudinLaurie M. Tisch Illumination Fund

Ann and Thomas Unterberg

40TH ANNIVERSARY RUBYCatherine A. Gellert

EMERALDCheryl and Blair Effron

Meredith and Judd GrossmanNancy and Stanley Grossman

Mimi HaasChip and Sheryl Kaye

Kramer Levin, Carl FrischlingBetty and John LevinJane and Daniel Och

Robert and Gillian Steel

Great Performers

SAPPHIREBNY Mellon

The Fribourg FamilyHunter College

Kate Lear and Jon LaPookThe John P. and Anne Welsh McNulty Foundation

Diana and Joel C. Peterson

TOPAZStephanie and David Abramson

Eleanor S. ApplewhaiteCandace and Rick Beinecke

Lisa and Dick CashinBetsy Cohn

Lewis B. Cullman and Louise Hirschfeld CullmanRichard Gilder and Lois Chiles

Sheila C. LabrecqueArthur L. Loeb

Leni and Peter MayJoan and Robert Rechnitz

Melanie Shorin and Greg S. FeldmanPatricia Brown Specter

Sue Ann WeinbergAnonymous

PEARLEllen and Andrew Celli, Jr.Lucy and Mike DanzigerJane and Robert Draizen

Nancy Fisher and Marc KirschnerCindy KurtinTracia Luh

Andrew J. Malik and Elizabeth Smith-MalikMargery and Edgar MasinterSusan and Lewis Rapaport

Pam and Scott SchaflerBarbara and David Zalaznick

Anonymous

As of March 2, 2016

We are grateful for the extraordinary generosity of Jill and Peter Kraus in honor of the 40th anniversary.

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