Program: Donghoon Shin: Dance Card; Franz Liszt: Piano Concerto No. 2 in A major, S. 125; Pyotr Ilyich Tchaikovsky: Suite from Swan Lake , Op. 20 Performers: Los Angeles Philharmonic; Elim Chan (conductor); Yefim Bronfman (piano) Tchaikovsky’s Swan Lake bursts with unflinching beauty, passion, and drama that is known the world over, but when Elim Chan performed a version of the suite in San Francisco last year she compiled herself and structured almost like a symphony, critics praised Chan’s ability to transform the familiar into something both new and timeless. With the ability to “bring out the best in a top-rank orchestra” and a presence that is “as communicative as a dancer,” the San Francisco Chronicle wrote that Chan shaped Tchaikovsky “as if she were born to conduct ballet,” making her performance with the Los Angeles Philharmonic a can’t-miss occasion. Like Swan Lake , Liszt’s Second Piano Concerto exudes unapologetic Romantic indulgence—though with more of Liszt’s trademark showmanship and musical fireworks. Yefim Bronfman performed the concerto at age 15 in an audition that helped catapult his career. Since then, Bronfman has shown an uncommon attunement for the piece’s technical and artistic challenges, leading Bachtrack to say Liszt’s “manic, head-banging moments...were delivered with punch and flair, but it was the poetry [Bronfman] found in the concerto’s opening sections which made one listen with new ears.” The program begins with Dance Card , a new waltz-inspired piece by Donghoon Shin, the South Korean composer admired for his “taste for the esoteric—a love of labyrinths, literary puzzles, and contradictory aspects of the self” ( The Arts Desk ).
Program: Donghoon Shin: Dance Card; Franz Liszt: Piano Concerto No. 2 in A major, S. 125; Pyotr Ilyich Tchaikovsky: Suite from Swan Lake , Op. 20 Performers: Los Angeles Philharmonic; Elim Chan (conductor); Yefim Bronfman (piano) Tchaikovsky’s Swan Lake bursts with unflinching beauty, passion, and drama that is known the world over, but when Elim Chan performed a version of the suite in San Francisco last year she compiled herself and structured almost like a symphony, critics praised Chan’s ability to transform the familiar into something both new and timeless. With the ability to “bring out the best in a top-rank orchestra” and a presence that is “as communicative as a dancer,” the San Francisco Chronicle wrote that Chan shaped Tchaikovsky “as if she were born to conduct ballet,” making her performance with the Los Angeles Philharmonic a can’t-miss occasion. Like Swan Lake , Liszt’s Second Piano Concerto exudes unapologetic Romantic indulgence—though with more of Liszt’s trademark showmanship and musical fireworks. Yefim Bronfman performed the concerto at age 15 in an audition that helped catapult his career. Since then, Bronfman has shown an uncommon attunement for the piece’s technical and artistic challenges, leading Bachtrack to say Liszt’s “manic, head-banging moments...were delivered with punch and flair, but it was the poetry [Bronfman] found in the concerto’s opening sections which made one listen with new ears.” The program begins with Dance Card , a new waltz-inspired piece by Donghoon Shin, the South Korean composer admired for his “taste for the esoteric—a love of labyrinths, literary puzzles, and contradictory aspects of the self” ( The Arts Desk ).
Program: Donghoon Shin: Dance Card; Franz Liszt: Piano Concerto No. 2 in A major, S. 125; Pyotr Ilyich Tchaikovsky: Suite from Swan Lake , Op. 20 Performers: Los Angeles Philharmonic; Elim Chan (conductor); Yefim Bronfman (piano) Tchaikovsky’s Swan Lake bursts with unflinching beauty, passion, and drama that is known the world over, but when Elim Chan performed a version of the suite in San Francisco last year she compiled herself and structured almost like a symphony, critics praised Chan’s ability to transform the familiar into something both new and timeless. With the ability to “bring out the best in a top-rank orchestra” and a presence that is “as communicative as a dancer,” the San Francisco Chronicle wrote that Chan shaped Tchaikovsky “as if she were born to conduct ballet,” making her performance with the Los Angeles Philharmonic a can’t-miss occasion. Like Swan Lake , Liszt’s Second Piano Concerto exudes unapologetic Romantic indulgence—though with more of Liszt’s trademark showmanship and musical fireworks. Yefim Bronfman performed the concerto at age 15 in an audition that helped catapult his career. Since then, Bronfman has shown an uncommon attunement for the piece’s technical and artistic challenges, leading Bachtrack to say Liszt’s “manic, head-banging moments...were delivered with punch and flair, but it was the poetry [Bronfman] found in the concerto’s opening sections which made one listen with new ears.” The program begins with Dance Card , a new waltz-inspired piece by Donghoon Shin, the South Korean composer admired for his “taste for the esoteric—a love of labyrinths, literary puzzles, and contradictory aspects of the self” ( The Arts Desk ).
Program: Claude Debussy: Prelude to the Afternoon of a Faun , L. 86; Samuel Adams: Violin Concerto No. 2, “The Wheel”; Igor Stravinsky: Petrushka (1947) Performers: Los Angeles Philharmonic; Elim Chan (conductor); Karen Gomyo (violin) Elim Chan leads the Los Angeles Philharmonic in two enchanting and colorful orchestral favorites. Debussy’s hues in Prelude to the Afternoon of a Faun are otherworldly if hazy and in watercolor. The Impressionistic atmosphere Debussy conjures exudes a fragile beauty that set off a revolution, which Pierre Boulez said “breathed new air into the art of music.” By contrast, Stravinsky paints with bold, contrasting blocks of sound. Petrushka ’s Picasso-esque approach to musical color and movement sets the stage for the story of a mischievous puppet, packed with Russian folklore and misadventure. In between, Karen Gomyo—who has been described as “a first-rate artist of real musical command, vitality, brilliance, and intensity” by the Chicago Tribune —gives the world premiere of Samuel Adams’ Violin Concerto. The two combined for the premiere of Adams’ “mesmerizing, soulful” ( The Independent ) Chamber Concerto in 2018. The son of LA Phil Creative Chair John Adams, Samuel Adams writes in a musical style that combines his own background as a jazz bassist with his interest in European modernism and acoustic-digital sounds.
Program: Claude Debussy: Prelude to the Afternoon of a Faun , L. 86; Samuel Adams: Violin Concerto No. 2, “The Wheel”; Igor Stravinsky: Petrushka (1947) Performers: Los Angeles Philharmonic; Elim Chan (conductor); Karen Gomyo (violin) Elim Chan leads the Los Angeles Philharmonic in two enchanting and colorful orchestral favorites. Debussy’s hues in Prelude to the Afternoon of a Faun are otherworldly if hazy and in watercolor. The Impressionistic atmosphere Debussy conjures exudes a fragile beauty that set off a revolution, which Pierre Boulez said “breathed new air into the art of music.” By contrast, Stravinsky paints with bold, contrasting blocks of sound. Petrushka ’s Picasso-esque approach to musical color and movement sets the stage for the story of a mischievous puppet, packed with Russian folklore and misadventure. In between, Karen Gomyo—who has been described as “a first-rate artist of real musical command, vitality, brilliance, and intensity” by the Chicago Tribune —gives the world premiere of Samuel Adams’ Violin Concerto. The two combined for the premiere of Adams’ “mesmerizing, soulful” ( The Independent ) Chamber Concerto in 2018. The son of LA Phil Creative Chair John Adams, Samuel Adams writes in a musical style that combines his own background as a jazz bassist with his interest in European modernism and acoustic-digital sounds.
Program: Claude Debussy: Prelude to the Afternoon of a Faun , L. 86; Samuel Adams: Violin Concerto No. 2, “The Wheel”; Igor Stravinsky: Petrushka (1947) Performers: Los Angeles Philharmonic; Elim Chan (conductor); Karen Gomyo (violin) Elim Chan leads the Los Angeles Philharmonic in two enchanting and colorful orchestral favorites. Debussy’s hues in Prelude to the Afternoon of a Faun are otherworldly if hazy and in watercolor. The Impressionistic atmosphere Debussy conjures exudes a fragile beauty that set off a revolution, which Pierre Boulez said “breathed new air into the art of music.” By contrast, Stravinsky paints with bold, contrasting blocks of sound. Petrushka ’s Picasso-esque approach to musical color and movement sets the stage for the story of a mischievous puppet, packed with Russian folklore and misadventure. In between, Karen Gomyo—who has been described as “a first-rate artist of real musical command, vitality, brilliance, and intensity” by the Chicago Tribune —gives the world premiere of Samuel Adams’ Violin Concerto. The two combined for the premiere of Adams’ “mesmerizing, soulful” ( The Independent ) Chamber Concerto in 2018. The son of LA Phil Creative Chair John Adams, Samuel Adams writes in a musical style that combines his own background as a jazz bassist with his interest in European modernism and acoustic-digital sounds.
