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The Los Angeles Philharmonic (LA Phil) is an American orchestra based in Los Angeles, California.[1][2][3][4] The orchestra holds a regular concert season from October until June at the Walt Disney Concert Hall and a summer season at the Hollywood Bowl from July until September. Gustavo Dudamel is the current Music Director, while Esa-Pekka Salonen serves as Conductor Laureate, and Zubin Mehta as Conductor Emeritus. John Adams is the orchestra’s current composer-in-residence, holding the title of "Creative Chair."

Key Information

Since the opening of the Walt Disney Concert Hall on October 23, 2003, the Los Angeles Philharmonic has presented 57 world premieres, one North American premiere, and 26 U.S. premieres, and has commissioned or co-commissioned 63 new works. The orchestra's former chief executive officer, Deborah Borda, has said, "Our intention has been to integrate 21st-century music into the orchestra's everyday activity, especially since we moved into the new hall".[5]

History

[edit]

1919–1933: Founding the Philharmonic

[edit]
Walter H. Rothwell, first conductor, and W. A. Clark Jr., founder of the Los Angeles Philharmonic
Los Angeles Philharmonic performing at the Hollywood Bowl on August 28, 1921

The orchestra was founded and single-handedly financed in 1919 by William Andrews Clark, Jr., a copper baron, arts enthusiast, and part-time violinist. He originally asked Sergei Rachmaninoff to be the Philharmonic's first music director; however, Rachmaninoff had only recently moved to New York, and he did not wish to move again. Clark then selected Walter Henry Rothwell, former assistant to Gustav Mahler, as music director, and hired away several principal musicians from East Coast orchestras and others from the competing and soon-to-be defunct Los Angeles Symphony. The orchestra played its first concert in the Trinity Auditorium in the same year,[6] eleven days after its first rehearsal. Clark himself would sometimes sit and play with the second violin section.[7]

After Rothwell's death in 1927, subsequent Music Directors in the decade of the 1920s included Georg Schnéevoigt and Artur Rodziński.

1933–1950: Harvey Mudd rescues orchestra

[edit]

Otto Klemperer became Music Director in 1933, part of the large group of German emigrants fleeing Nazi Germany. He conducted many LA Phil premieres, and introduced Los Angeles audiences to new works by Igor Stravinsky and Arnold Schoenberg. The orchestra responded well to his leadership, but Klemperer had a difficult time adjusting to Southern California, a situation exacerbated by repeated manic-depressive episodes.

Hollywood Bowl

The situation grew more challenging when founder William Andrews Clark died without leaving the orchestra an endowment. The newly formed Southern California Symphony Association was created with the goal of stabilizing the orchestra's funding, with the association's president, Harvey Mudd, stepping up to personally guarantee Klemperer's salary. The Philharmonic's concerts at the Hollywood Bowl also brought in much needed revenue.[7][8] As a result, the orchestra navigated the challenges of the Great Depression and remained intact.

After completing the 1939 summer season at the Hollywood Bowl, Klemperer visited Boston, where he was diagnosed with an acoustic neuroma. Brain surgery left him partially paralyzed in the face and with impaired hearing in his right ear. He went into a depressive state and was institutionalized. When he escaped, The New York Times ran a cover story declaring him missing. After he was found in New Jersey, a picture of him behind bars was printed in the New York Herald Tribune. He subsequently lost the post of Music Director, though he still would occasionally conduct the Philharmonic. He led some notable concerts, including the orchestra's premiere performance of Stravinsky's Symphony in Three Movements in 1946.[7][9]

John Barbirolli was offered the position of Music Director after his contract with the New York Philharmonic expired in 1942. He declined the offer and chose to return to England instead.[10] The following year, Alfred Wallenstein was chosen by Mudd to lead the orchestra. The former principal cellist of the New York Philharmonic, he had been the youngest member of the Los Angeles Philharmonic when it was founded in 1919. He turned to conducting at the suggestion of Arturo Toscanini. He had conducted the L.A. Philharmonic at the Hollywood Bowl on a number of occasions and, in 1943, took over as Music Director.[11] Among the highlights of Wallenstein's tenure were recordings of concertos with fellow Angelenos, Jascha Heifetz and Arthur Rubinstein.[7]

1951–1968: Dorothy Buffum Chandler's influence

[edit]

By the mid-1950s, department store heiress and wife of the publisher of the Los Angeles Times, Dorothy Buffum Chandler became the de facto leader of the orchestra's board of directors. She led efforts to create a performing arts center for the city, which would eventually become the Los Angeles Music Center and serve as the Philharmonic's new home. In addition, she and others sought a more prominent conductor to lead the orchestra. Following Wallenstein's departure, Chandler led efforts to hire Eduard van Beinum, then principal conductor of the Concertgebouw Orchestra, as the LAPO music director. The Philharmonic's musicians, management and audience all held Beinum in high regard, but in 1959, he suffered a fatal heart attack while on the podium during a rehearsal of the Concertgebouw Orchestra.[8]

In 1960, the orchestra, under Chandler's leadership, signed Georg Solti to a three-year contract as music director. This followed his guest conducting appearances in winter concerts downtown, at the Hollywood Bowl, and in other Southern California locations including CAMA concerts in Santa Barbara.[12] Solti was scheduled to officially begin his tenure in 1962, and the Philharmonic anticipated he would lead the orchestra when it moved into its new home at the then yet-to-be-completed Dorothy Chandler Pavilion. He had even begun appointing musicians to the orchestra.[13] However, in 1961, Solti abruptly resigned before officially taking the post[14] after claiming that the Philharmonic board of directors did not consult him before naming then 26-year-old Zubin Mehta to be assistant conductor of the orchestra.[15] Mehta was subsequently named to replace Solti.

1969–1997: Ernest Fleischmann's tenure

[edit]

In 1969, the orchestra hired Ernest Fleischmann to be Executive Vice President and General Manager. During his tenure, the Philharmonic instituted several ideas, including the creation of the Los Angeles Philharmonic Chamber Music Society and the Los Angeles Philharmonic New Music Group and its "Green Umbrella" concerts. These adjunct groups, composed of the orchestra's musicians, offered performance series separate and distinct from traditional Philharmonic concerts. These initiatives were later adopted by other orchestras worldwide. This concept, considered innovative for its time, stemmed from Fleischmann's philosophy, which he articulated in his May 16, 1987, commencement address at the Cleveland Institute of Music titled, "The Orchestra is Dead. Long Live the Community of Musicians."

When Zubin Mehta left for the New York Philharmonic in 1978, Fleischmann convinced Carlo Maria Giulini to take over as Music Director. Giulini's tenure with the orchestra was well regarded, but he resigned after his wife became ill and returned to Italy.

In 1985, Fleischmann turned to André Previn, hoping that his conducting credentials and experience at Hollywood Studios would bring a local flair and strengthen the connection between conductor, orchestra, and city. While Previn's tenure was musically solid, other conductors including Kurt Sanderling, Simon Rattle, and Esa-Pekka Salonen, achieved greater box office success. Previn frequently clashed with Fleischmann, notably over Fleischmann’s decision to name Salonen as "Principal Guest Conductor" without consulting Previn. This mirrored the earlier Solti/Mehta controversy. Due to Previn's objections, the offer of the position and an accompanying Japan tour to Salonen was withdrawn. Shortly after, in April 1989, Previn resigned, and four months later, Salonen was named Music Director Designate, officially assuming the post in October 1992.[16] Salonen's U.S. conducting debut with the orchestra took place in 1984.

Salonen's tenure began with a residency at the 1992 Salzburg Festival in concert performances and as the pit orchestra in a production of the opera Saint François d'Assise by Olivier Messiaen. This marked the first time an American orchestra was given that opportunity. Salonen later led the orchestra on numerous tours across the United States, Europe, and Asia, as well as residencies at the Lucerne Festival in Switzerland, The Proms in London, a festival in Cologne dedicated to Salonen's own works, and in 1996 at the Théâtre du Châtelet in Paris for an Stravinsky festival conducted by Salonen and Pierre Boulez. During the Paris residency, key Philharmonic board members heard the orchestra perform in improved acoustics, inspiring renewed fundraising efforts for the soon-to-be-built Walt Disney Concert Hall.

Under Salonen's leadership, the Philharmonic became known as a highly innovative and respected orchestra. Alex Ross of The New Yorker said:

The Salonen era in L.A. may mark a turning point in the recent history of classical music in America. It is a story not of an individual magically imprinting his personality on an institution—what Salonen has called the "empty hype" of conductor worship—but of an individual and an institution bringing out unforeseen capabilities in each other, and thereby proving how much life remains in the orchestra itself, at once the most conservative and the most powerful of musical organisms. ... no American orchestra matches the L.A. Philharmonic in its ability to assimilate a huge range of music on a moment's notice. [Thomas] Adès, who first conducted his own music in L.A. [in 2005] and has become an annual visitor, told me, "They always seem to begin by finding exactly the right playing style for each piece of music—the kind of sound, the kind of phrasing, breathing, attacks, colors, the indefinable whole. That shouldn't be unusual, but it is." John Adams calls the Philharmonic "the most Amurrican [sic] of orchestras. They don't hold back and they don't put on airs. If you met them in twos or threes, you'd have no idea they were playing in an orchestra, that they were classical-music people."[1]

1998–2009

[edit]

When Fleischmann decided to retire in 1998 after 28 years at the helm, the orchestra named Willem Wijnbergen as its new Executive Director. Wijnbergen, a Dutch pianist and arts administrator, was the managing director of the Concertgebouw Orchestra in Amsterdam. Initially, his appointment was hailed as a major coup for the orchestra. One notable decision during his tenure was to revise Hollywood Bowl programming by increasing the number of jazz concerts and appointing John Clayton as the orchestra's first Jazz Chair. In addition, he established a new World Music series with Tom Schnabel as programming director.[17] Despite some successes, Wijnbergen departed the orchestra in 1999 after a year marked by controversy. It remains unclear whether he resigned or was dismissed by the Philharmonic's board of directors.[18]

Later that year, Deborah Borda, then Executive Director of the New York Philharmonic, was hired to lead the orchestra's executive management. She began her tenure in January 2000 and was later given the title of President and Chief Executive Officer. Following the financial challenges of Wijnbergen's brief tenure, Borda focused on stabilizing the organization's finances. Described as "a formidable executive who runs the orchestra like a lean company, not like a flabby non-profit," she is credited with putting the "organization on solid financial footing."[1] Borda is widely recognized, along with Salonen, Frank Gehry, and Yasuhisa Toyota, for the orchestra's successful transition to Walt Disney Concert Hall, and for supporting and complementing Salonen's artistic vision. One example is cited by Alex Ross:

Perhaps Borda's boldest notion is to give visiting composers such as [John] Adams and Thomas Adès the same royal treatment that is extended to the likes of Yo-Yo Ma and Joshua Bell; Borda talks about "hero composers." A recent performance of Adams's monumental California symphony "Naïve and Sentimental Music" in the orchestra's Casual Fridays series ... drew a nearly full house. Borda's big-guns approach has invigorated the orchestra's long-running new-music series, called Green Umbrella, which Fleischmann established in 1982. In the early days, it drew modest audiences, but in recent years attendance has risen to the point where as many as sixteen hundred people show up for a concert that in other cities might draw thirty or forty. The Australian composer Brett Dean recently walked onstage for a Green Umbrella concert and did a double-take, saying that it was the largest new-music audience he'd ever seen.[1]

On July 13, 2005, Gustavo Dudamel made his debut with the LA Philharmonic at the orchestra's summer home, the Hollywood Bowl.[19] On January 4, 2007, Dudamel made his Walt Disney Concert Hall debut with the LA Philharmonic.[20] On April 9, 2007, the symphony board announced the departure of Esa-Pekka Salonen as music director at the end of the 2008–2009 season, and the appointment of Dudamel as Salonen's successor.[13][15][16] In 2007, two years before Dudamel officially became music director, the LA Philharmonic established YOLA (Youth Orchestra Los Angeles). "The model for YOLA – a nonprofit initiative that supplies underprivileged children with free instruments, instruction, and profound lessons about pride, passion, community, and commitment – is El Sistema, Venezuela's national music training program which, 27 years ago, nurtured the talents of a 5-year-old violin prodigy named Gustavo."[21] On May 11, 2009, shortly before the start of his inaugural season with the LA Philharmonic, Dudamel, was included as a finalist in Time's "The Time 100: The World's Most Influential People."[22]

2009–present

[edit]

Dudamel began his official tenure as music director of the Los Angeles Philharmonic in 2009 with concerts at both the Hollywood Bowl (¡Bienvenido Gustavo!) on October 3, 2009[23] and the Inaugural Gala at Walt Disney Concert Hall on October 8, 2009.[24] In 2010 and 2011, Dudamel and the LA Phil received the Morton Gould Award for Innovative Programming by the American Society of Composers, Authors and Publishers (ASCAP),[13][25][26] and in 2012 Dudamel and the orchestra won the first place Award for Programming Contemporary Music by ASCAP.[27]

In 2012, Dudamel, the Los Angeles Philharmonic and the Simón Bolívar Symphony Orchestra of Venezuela performed all nine of Mahler's symphonies over three weeks in Los Angeles and one week in Caracas. The project was described as both "a mammoth tribute to the composer" and "an unprecedented conducting feat for the conductor."[28] That same year, the orchestra launched a three-year project to present the Mozart/Da Ponte operas, directed by Christopher Alden with each designed in collaboration with famous architects (sets) and clothing designers.[29] The series launched in 2012 with Frank Gehry and Rodarte designing Don Giovanni[29] and continued in 2013 with Jean Nouvel and Azzedine Alaïa designing Le Nozze di Figaro.[30] In 2014, the featured designers for the Così fan tutte production were Zaha Hadid and Hussein Chalayan.[31]

In October 2011, Dudamel was named Gramophone Artist of the Year.[32] In 2012, Dudamel and the LA Phil were awarded a Grammy award for Best Orchestral Performance for their recording of Brahms' Fourth Symphony.[33] Dudamel was also named Musical America's 2013 Musician of the Year.[34]

The LA Phil's Centennial celebration featured all three of its living music directors: Zubin Mehta (Conductor Emeritus), Esa-Pekka Salonen (Conductor Laureate), and Gustavo Dudamel (Music & Artistic Director). They shared the stage at Walt Disney Concert Hall on October 24, 2019, the orchestra's actual 100th anniversary, according to the LA Phil. Each director led a specific program, culminating in a world premiere From Space I Saw Earth for three conductors by Daníel Bjarnason. In 2020 and 2021, Dudamel and the LA Phil were awarded consecutive Grammy awards for Best Orchestral Performance for their recordings of Andrew Norman's Sustain (2020),[35] and for the collected symphonies of Charles Ives (2021).[36]

In May 11, 2021, following 18 months of canceled concerts due to the COVID-19 pandemic, the Los Angeles Philharmonic announced that it once again will perform for a live audience in summer at the Hollywood Bowl. The season began on May 15 with a free concert for frontline and essential workers given by the LA Phil with Dudamel, featuring Jessie Montgomery's Starburst, the Barber Adagio for Strings and Beethoven's Symphony No. 3, Eroica.

In February 2023, the orchestra announced that Dudamel is to conclude his tenure as its music director at the close of his current contract, at the end of the 2025–2026 season.[37] In February 2024, Dudamel and the LA Phil won the Best Orchestral Performance Grammy award for a fourth time, with their performance of Adès: Dante (2020) by Thomas Adès.[38] In May 2024, the orchestra announced the appointment of Kim Noltemy as its next president and chief executive officer, effective July 2024.[39][40]

In February 2025, Dudamel and the LA Phil won the Best Orchestral Performance Grammy award for a fifth time, with Ortiz: Revolución diamantina the first full album of orchestral works by Mexican composer Gabriela Ortiz.[41]As the composer for some of the most intense and arresting music of our time, Ortiz’s work unites disparate worlds and lives through a compelling rhythmic drive, a street-born authenticity, and a vivid sense of color. The album was nominated for four awards at the 2025 Grammys, receiving three, including Best Classical Compendium and Best Contemporary Classical Composition.[42]

In September 2025, with the search for a new Music Director still ongoing, the orchestra announced that Salonen would take the newly created title of "Creative Director" beginning in Fall 2026 for a five-year term; responsibilities including conducting six weeks of concerts per seasons.[43] The orchestra later clarified that the position will be concurrent to the eventual Music Director and also to John Adams' role of Creative Chair, that Salonen would keep his title of Conductor Laureate, and not be involved in either programming decisions outside his six weeks or have any role in filling open chairs within the orchestra.[44]

Performance venues

[edit]
Walt Disney Concert Hall
Hollywood Bowl

The orchestra played its first season at Trinity Auditorium at Grand Ave and Ninth Street. In 1920, it moved to Fifth Street and Olive Ave, in a venue that had previously been known as Clune's Auditorium, but was renamed Philharmonic Auditorium.[45] From 1964 to 2003, the orchestra played its main subscription concerts in the Dorothy Chandler Pavilion of the Los Angeles Music Center. In 2003, it moved to the new Walt Disney Concert Hall designed by Frank Gehry adjacent to the Chandler. Its current "winter season" runs from October through late May or early June.

Since 1922, the orchestra has played outdoor concerts during the summer at the Hollywood Bowl, with the official "summer season" running from July through September.

The LA Philharmonic has played at least one concert a year in its sister city, Santa Barbara, presented by the Community Arts Music Association (CAMA), along with other regular concerts throughout various Southern California cities such as Costa Mesa as part of the Orange County Philharmonic Society's series, San Diego, Palm Springs, among many others. In addition, the orchestra plays a number of free community concerts throughout Los Angeles County.

Conductors

[edit]

Music Directors

[edit]

Georg Solti accepted the post in 1960, but resigned in 1961 without officially beginning his tenure.

Conductor Laureate

[edit]

Conductor Emeritus

[edit]

Creative Director

[edit]

Principal Guest Conductors

[edit]

Rattle and Tilson Thomas were named Principal Guest Conductor concurrently under Carlo Maria Giulini, though Tilson Thomas's tenure ended much earlier. Until 2016, they were the only two conductors to officially hold the title as such (though as stated above, Esa-Pekka Salonen was initially offered the position under Previn before having the offer withdrawn).

Beginning in the summer of 2005, the Philharmonic created the new position of Principal Guest Conductor of the Los Angeles Philharmonic at the Hollywood Bowl. Leonard Slatkin was initially given a two-year contract, and in 2007 he was given a one-year extension. In March 2008, Bramwell Tovey was named to the post for an initial two-year contract beginning Summer of 2008; he subsequently received a one-year extension. After Tovey's term ended, no conductor has since held the position at the Hollywood Bowl.[46][47]

In April 2016, the LA Phil announced Susanna Mälkki as the orchestra's next principal guest conductor, becoming first woman to hold the post. Her tenure began with the 2017–2018 season under an initial contract of three years.[48] She held the post through the 2021–2022 season.

Other notable conductors

[edit]

Other conductors with whom the orchestra has had close ties include Sir John Barbirolli, Bruno Walter, Leopold Stokowski, Albert Coates, Fritz Reiner, and Erich Leinsdorf;[49] more recently, others have included Kurt Sanderling, Pierre Boulez, Leonard Bernstein, Charles Dutoit, Christoph Eschenbach, and Rafael Frühbeck de Burgos.

Many composers have conducted the Philharmonic in concerts and/or world premieres of their works, including Igor Stravinsky, William Kraft, John Harbison, Witold Lutosławski, Aaron Copland, Pierre Boulez, Steven Stucky, John Williams, Jerry Goldsmith, John Adams, Thomas Adès, and Esa-Pekka Salonen.

A number of the Philharmonic's Assistant/Associate Conductors have gone on to have notable careers in their own rights. These include Lawrence Foster, Calvin E. Simmons, and William Kraft under Mehta, Sidney Harth and Myung-whun Chung under Giulini, Heiichiro Ohyama and David Alan Miller under Previn, and Grant Gershon, Miguel Harth-Bedoya, Kristjan Järvi, and Alexander Mickelthwate under Salonen. Lionel Bringuier was originally named Assistant Conductor under Salonen before being promoted to Associate Conductor and, finally, Resident Conductor under Dudamel; since then, Mirga Gražinytė-Tyla has served as Assistant Conductor and Associate Conductor under Dudamel.

Other resident artists

[edit]

Composers

[edit]

Kraft and Harbison held the title "Composer-in-Residence" as part of a Meet the Composer (MTC) sponsorship. Steiger was given the title "Composer-Fellow", serving as an assistant to both Harbison and Stucky.[50]

Stucky was also a MTC "Composer-in-Residence" from 1988 to 1992, but was kept on as "New Music Advisor" after his official MTC-sponsored tenure ended; in 2000, his title was again changed to "Consulting Composer for New Music." In the end, his 21-year residency with the orchestra was the longest such relationship of any composer with an American orchestra.[50][51]

Adams has been named the orchestra's "Creative Chair" beginning in Fall 2009.

Artistic director and creative chairs for Jazz

[edit]

Reeves was named the first "Creative Chair for Jazz" in March 2002. Instead of just focusing on summer programming, the new position involved the scheduling of jazz programming and educational workshops year round; as such, she led the development of the subscription jazz series the orchestra offered when it moved into Walt Disney Concert Hall. In addition, she was the first performer at the 2003 inaugural gala at the Walt Disney Concert Hall. Her contract was initially for two years, and was subsequently renewed for an additional two years.[52]

McBride took over the position in 2006 for an initial two-year position that was subsequently renewed for an additional two years through to the start of the 2010 summer season at the Hollywood Bowl. In 2009, the orchestra introduced Hancock as McBride's eventual replacement.

In 1998, prior to the establishment of the Creative Chair for Jazz, John Clayton was given the title "Artistic Director of Jazz" at the Hollywood Bowl for a three-year term beginning with the 1999 summer season. His band, the Clayton-Hamilton Jazz Orchestra, acted as the resident jazz ensemble.[16]

Recordings

[edit]
Main article: Los Angeles Philharmonic discography

The orchestra occasionally made 78-rpm recordings and LPs in the early years with Alfred Wallenstein and Leopold Stokowski for Capitol Records, and began recording regularly in the 1960s, for London/Decca, during the tenure of Zubin Mehta as music director. A healthy discography continued to grow with Carlo Maria Giulini on Deutsche Grammophon and André Previn on both Philips and Telarc Records. Michael Tilson Thomas, Leonard Bernstein, and Sir Simon Rattle also made several recordings with the orchestra in the 1980s, adding to their rising international profile. In recent years, Esa-Pekka Salonen has led recording sessions for Sony and Deutsche Grammophon. A recording of the Concerto for Orchestra by Béla Bartók released by Deutsche Grammophon in 2007 was the first recording by Gustavo Dudamel conducting the LA Phil.

The Los Angeles Philharmonic has performed music for motion pictures, such as the 1963 Stanley Kramer film It's a Mad, Mad, Mad, Mad World (composed by Ernest Gold), the 2025 film Superman, the pilot film of the original Battlestar Galactica TV show (composed by Stu Phillips and Glen A. Larson), and the most recent 2021 film version of the Broadway musical West Side Story (composed by Leonard Bernstein). The LA Philharmonic also performed the first North American concert for the Final Fantasy franchise game music, Dear Friends: Music From Final Fantasy by Nobuo Uematsu. The orchestra has most recently recorded the sound track for the video game: BioShock 2 as composed by Garry Schyman.

The album Fandango includes a performance of Alberto Ginastera's Four Dances from Estancia, recorded live at Walt Disney Concert Hall in October 2022 and Arturo Márquez's new violin concerto Fandango, written for violinist Anne Akiko Meyers.[53]

Recent world premieres

[edit]
Season Date Composer Composition Conductor
2011–12[54] October 20, 2011 Enrico Chapela Concerto for Electric Guitar Gustavo Dudamel
November 11, 2011 Richard Dubugnon Battlefield Semyon Bychkov
November 25, 2011 Anders Hillborg Sirens Esa-Pekka Salonen
December 2, 2011 Dmitri Shostakovich (posth.) Prologue to Orango (reconstructed by Gerard McBurney) Esa-Pekka Salonen
April 10, 2012 Oscar Bettison Livre de Sauvages John Adams
May 8, 2012 Joseph Pereira Percussion Concerto Gustavo Dudamel
May 31, 2012 John Adams The Gospel According to the Other Mary Gustavo Dudamel
2012–13[55] September 28, 2012 Steven Stucky Symphony Gustavo Dudamel
October 16, 2012 Daníel Bjarnason Over Light Earth John Adams
January 18, 2013 Peter Eötvös DoReMi Pablo Heras-Casado
February 26, 2013 Unsuk Chin Graffiti Gustavo Dudamel
February 26, 2013 Joseph Pereira Concerto for Percussion and Chamber Orchestra Gustavo Dudamel
April 16, 2013 Matt Marks TBD Alan Pierson
April 18, 2013 Ted Hearne But I Voted for Shirley Chisholm Joshua Weilerstein
2014–15[56] November 20, 2014 Stephen Hartke Symphony No. 4 "Organ" Gustavo Dudamel
May 14, 2015 Kaija Saariaho True Fire Gustavo Dudamel
May 26, 2015 Christopher Cerrone
Sean Friar
Dylan Mattingly		 The Pieces That Fall to Earth
Finding Time
Seasickness and Being (in love)		 John Adams
May 28, 2015 Bryce Dessner
Philip Glass		 Quilting
Concerto for Two Pianos		 Gustavo Dudamel
May 29, 2015 Steven Mackey Mnemosyne's Pool Gustavo Dudamel
2015–16 2016-02-25 Andrew Norman Play: Level 1 Gustavo Dudamel
2016-05-06 Louis Andriessen Theatre of the World Reinbert de Leeuw
2016-05-28 Arvo Pärt Greater Antiphons Gustavo Dudamel
2016–17 2017-02-24 James Matheson Unchained James Gaffigan
2017-04-15 María Huld Markan Sigfúsdóttir Aequora Esa-Pekka Salonen
2017–18 2017-10-12 Gabriela Ortiz Téenek – Invenciones de territorio Gustavo Dudamel
2017-10-15 Arturo Marquez Danzón No. 9 Gustavo Dudamel
2017-12-02 Tania Leon Ser (Being) Miguel Harth-Bedoya
2018-01-25 Joseph Pereira Concerto for timpani and two percussion Gustavo Dudamel
2018-02-23 Nico Muhly Organ Concerto James Conlon
2018-03-31 Isaac Pross

Adam Karelin

Benjamin Beckman

Under the Table

Constructs

a(de)scendance

Ruth Reinhardt
2018-04-13 Esa-Pekka Salonen Pollux Gustavo Dudamel
2018–19 2018-09-27 Julia Adolphe Underneath the Sheen Gustavo Dudamel
2018-09-30 Paul Desenne Guasamacabra Gustavo Dudamel
2018-10-04 Andrew Norman Sustain Gustavo Dudamel
2018-11-01 Steve Reich Music for Ensemble and Orchestra Susanna Malkki
2018-11-18 Christopher Cerrone The Insects Became Magnetic Roderick Cox
2019-01-10 Philip Glass Symphony No. 12 Lodger John Adams
2019-02-07 Du Yun Thirst Elim Chan
2019-02-17 Adolphus Hailstork Still Holding On Thomas Wilkins
2019-03-07 John Adams Must the Devil Have All the Good Tunes? Gustavo Dudamel
2019-04-05 Unsuk Chin SPIRA Mirga Gražinytė-Tyla
2019-05-02 Louis Andriesson The only one Esa-Pekka Salonen
2019-05-10 Thomas Ades Inferno Gustavo Dudamel
2019–20 2019-10-03 André Previn Can Spring be Far Behind? Gustavo Dudamel
2019-10-10 Esteban Benzecry Piano Concerto "Universos infinitos" Gustavo Dudamel
2019-10-19 Esa-Pekka Salonen Castor Esa-Pekka Salonen
2019-10-24 Daníel Bjarnason From Space I saw Earth for three conductors Gustavo Dudamel, Zubin Mehta, Esa-Pekka Salonen
2019-10-26 Esa-Pekka Salonen Castor and Pollux (Gemini) Esa-Pekka Salonen
2019-10-27 Gabriela Ortiz Yanga Gustavo Dudamel
2020-01-18 Julia Wolfe Flower Power John Adams
2020-03-22 Julia Adolphe Cello Concerto (Postponed) Karen Kamensek
2020–21 2021-08-24 Arturo Marquez Fandango -Violin Concerto, written for Anne Akiko Meyers Gustavo Dudamel
2021–22 2021-12-03 Julia Adolphe Woven Loom, Silver Spindle Xian Zhang

Awards

[edit]

2010 & 2011, ASCAP Morton Gould Award for Innovative Programming

2012, ASCAP Award for Programming Contemporary Music

Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra)

Grammy Award for Best Orchestral Performance

Grammy Award for Best Choral Performance

Management

[edit]

Funding

[edit]

The Los Angeles Philharmonic's endowment grew significantly in the early 21st century, reaching around $255 million in 2017. In 2002, it received its largest gift to date when the Walt and Lilly Disney family donated $25 million to endow the music directorship. David Bohnett donated $20 million in 2014 to endow the orchestra's top administrative post and create a fund for technology and innovation.[57]

As of 2019, the Los Angeles Philharmonic's annual budget is at approximately $125 million.[58]

Chief executives

[edit]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Los Angeles Philharmonic

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from Grokipedia
The Los Angeles Philharmonic is a premier American symphony orchestra based in Los Angeles, California, recognized as one of the world's leading ensembles for its artistic excellence, innovative programming, and commitment to music education. Founded in 1919 by philanthropist and amateur musician William Andrews Clark Jr. as the city's first permanent orchestra, it held its inaugural concert on October 24, 1919, under the baton of its first music director, Walter Henry Rothwell. The orchestra performs approximately 165 subscription concerts each season at its winter home, the Walt Disney Concert Hall, which opened in 2003, and serves as the resident ensemble for summer performances at the Hollywood Bowl since 1922. Since 2009, Venezuelan conductor Gustavo Dudamel has led the Los Angeles Philharmonic as its music and artistic director, with his tenure set to conclude at the end of the 2025/26 season; he has overseen a period of global acclaim, including annual international tours since the 1969/70 season and a focus on commissioning new works through series like Green Umbrella. Previous music directors have included luminaries such as Zubin Mehta (1962–1978), Carlo Maria Giulini (1978–1984), Esa-Pekka Salonen (1992–2009), and others who shaped its reputation for precision and versatility across classical repertoire. The orchestra's 110-plus musicians also engage in community outreach, notably through the Youth Orchestra Los Angeles (YOLA) program established in 2007, which provides free instrumental training to underserved youth, fostering the next generation of musicians. The Los Angeles Philharmonic has earned widespread recognition for its recordings and performances, securing multiple Grammy Awards, including three in 2025 for Best Orchestral Performance, Best Classical Compendium, and Best Contemporary Classical Composition for its rendition of Gabriela Ortiz's Revolución diamantina under Dudamel. Earlier accolades include consecutive Best Orchestral Performance wins in 2020 for Andrew Norman's Sustain and in 2021 for Charles Ives' Complete Symphonies, highlighting its dedication to contemporary music alongside core classical traditions. Beyond the stage, the ensemble has performed at prestigious venues worldwide, such as Carnegie Hall (33 times since 1967) and international festivals, solidifying its role as a cultural ambassador for Los Angeles.

History

Founding and Early Challenges: 1919–1950

The Los Angeles Philharmonic was founded in 1919 by William Andrews Clark Jr., a philanthropist, amateur violinist, and son of copper magnate William A. Clark, who sought to establish the city's first permanent professional symphony orchestra. Clark personally financed the venture with an initial investment of $100,000 to recruit and hire full-time musicians, many drawn from New York and other established ensembles due to the limited local talent pool in Los Angeles at the time. The orchestra's debut concert took place on October 24, 1919, at Trinity Auditorium in downtown Los Angeles, conducted by the first music director, Walter Henry Rothwell, and featuring a program that included works by Beethoven, Wagner, and Saint-Saëns. The ensemble began with approximately 75 musicians, marking a significant commitment to year-round operations in a city previously reliant on visiting or ad hoc groups. Under Rothwell's leadership until 1927, the orchestra navigated early logistical and artistic challenges, including securing suitable venues and building an audience in a burgeoning but culturally nascent metropolis. Subsequent music directors Georg Schnéevoigt (1927–1929) and Artur Rodziński (1929–1933) expanded the repertoire and introduced innovative programming, such as the orchestra's pioneering radio broadcasts beginning in January 1927 from the Hollywood Bowl, making the LA Phil the first major U.S. symphony to air performances nationwide and broadening its reach during the medium's golden age. By the late 1920s, the ensemble had grown to over 90 members, reflecting increased subscriptions and summer series at the Bowl, though financial dependence on Clark's subsidies persisted until his death in 1934. Guest appearances by prominent figures like Sergei Koussevitzky in the 1920s further elevated the orchestra's profile, helping to attract top talent amid competition from rival groups like the Los Angeles Symphony. The Great Depression exacerbated the orchestra's vulnerabilities, leading to severe financial strain as ticket sales plummeted and Clark's estate could no longer fully support operations. In 1933, the ensemble faced bankruptcy, prompting a crisis that threatened its survival; Otto Klemperer assumed the music directorship that year amid the turmoil, bringing innovative programming but also personal health challenges. Rescue came through mining engineer and philanthropist Harvey S. Mudd, who, as president of the Southern California Symphony Association, personally guaranteed loans from the California Bank and helped form the Allied Arts Association in 1935 to provide broader support for local arts organizations. This intervention stabilized the orchestra, allowing it to merge resources with federal relief efforts under the Works Progress Administration (WPA) in the mid-1930s, which supplemented musician employment and enabled growth to over 100 members by the decade's end. These efforts laid the groundwork for post-war expansion, later advanced by philanthropists such as Dorothy Buffum Chandler.

Growth and Institutionalization: 1951–1997

The post-World War II era marked a period of substantial expansion for the Los Angeles Philharmonic, driven by influential philanthropy and administrative reforms. Dorothy Buffum Chandler emerged as a pivotal figure in 1951 when she assumed the chairmanship of the orchestra's board of directors, leveraging her prior efforts to stabilize the institution through the 1945 integration of the Hollywood Bowl Symphony Orchestra, which had been formed under Leopold Stokowski and drawn players from the Philharmonic to bolster summer performances at the venue. Chandler's leadership extended to spearheading the creation of the Los Angeles Music Center, culminating in the 1964 opening of the Dorothy Chandler Pavilion as the orchestra's new permanent home, following decades of advocacy that raised millions for cultural infrastructure. This development addressed the orchestra's long-standing venue instability, including its residency at the Philharmonic Auditorium from the 1920s until 1964, after which temporary spaces like the Shrine Auditorium were used during the transition. Ernest Fleischmann's appointment as executive director in 1969 ushered in nearly three decades of professionalization and global outreach, transforming the Philharmonic into a premier ensemble. Under his guidance, the subscriber base expanded to over 8,000 by the 1980s, reflecting broadened community engagement and financial stability. Fleischmann initiated regular international tours, which opened diplomatic and artistic doors. He also championed contemporary music by commissioning more than 200 new works from leading composers, integrating innovative programming into the core repertoire and elevating the orchestra's role in 20th-century musical development. Artistic leadership during this period was defined by music directors Zubin Mehta (1962–1978) and Carlo Maria Giulini (1978–1984), whose tenures solidified the orchestra's reputation for technical excellence and interpretive depth. Mehta, the youngest music director of a major U.S. orchestra at the time, led the ensemble through prolific recording sessions in the 1960s and 1970s, including landmark releases with Decca that captured performances of symphonies by Mahler, Brahms, and Tchaikovsky, earning critical acclaim and introducing the Philharmonic's sound to global audiences. His era emphasized dynamic concerts and tours to Europe and Asia, fostering artistic growth amid the orchestra's rising prominence. Giulini succeeded Mehta, bringing a refined, introspective approach that prioritized Italian and late-Romantic repertoire; his recordings with Deutsche Grammophon, such as Beethoven's symphonies, highlighted the ensemble's maturing ensemble cohesion and earned Grammy nominations. These developments underpinned key institutional milestones, including the orchestra's relocation to the Music Center and a dramatic financial scaling that mirrored its artistic ascent. The annual budget grew from roughly $500,000 in the early 1950s—sufficient for modest operations—to approximately $30 million by the mid-1990s, supported by increased philanthropy, ticket revenues from the Hollywood Bowl, and corporate partnerships that enabled sustained programming and outreach. This era's focus on stability and innovation positioned the Philharmonic as a cultural cornerstone of Los Angeles, bridging mid-century challenges with late-20th-century eminence.

Contemporary Developments: 1998–Present

Under Esa-Pekka Salonen's music directorship, which extended from 1992 to 2009, the Los Angeles Philharmonic marked a pivotal transition with the opening of Walt Disney Concert Hall in October 2003, establishing a state-of-the-art acoustic space that enhanced the orchestra's performance capabilities and public engagement. Salonen led the inaugural subscription concerts on October 30, 2003, featuring works by Beethoven and Stravinsky, solidifying the hall's role as the orchestra's primary venue. Concurrently, Salonen spearheaded digital recording initiatives, including a 2003 exclusive contract with Deutsche Grammophon that facilitated the release of live concert recordings from Disney Hall, such as the 2005 album Wing on Wing, and introduced digital download formats to broaden global access to performances. These efforts positioned the LA Phil at the forefront of orchestral media innovation during the early 2000s. In 2009, Gustavo Dudamel succeeded Salonen as music director, bringing a dynamic vision rooted in community outreach and inclusive programming that integrated the Youth Orchestra Los Angeles (YOLA), founded by the LA Phil in 2007 to provide free instrumental training to underserved youth inspired by Venezuela's El Sistema. Dudamel's debut concert at the Hollywood Bowl that September emphasized this commitment, conducting YOLA alongside the orchestra in a program highlighting multicultural repertoires. Under his leadership, YOLA expanded to serve over 1,700 students annually, fostering long-term artistic development and diversity within the LA Phil's ecosystem. In February 2023, Dudamel announced his departure at the conclusion of the 2025–2026 season to become music director of the New York Philharmonic, prompting a celebratory farewell including the October 14, 2025, gala "Gustavo's Fiesta" at Disney Hall, which featured YOLA performers, Dudamel's family, and raised over $5 million for community programs. The orchestra navigated significant economic challenges following the 2008 recession, which strained arts funding amid rising unemployment in Los Angeles County exceeding 13%; by the 2009–2010 fiscal year, the LA Phil achieved full recovery through rebounding investments and increased donations, maintaining operational stability. The COVID-19 pandemic further disrupted activities, leading to cancellations from March 2020 through the end of the 2020–2021 season, including the entire Hollywood Bowl summer series, resulting in substantial revenue losses estimated at tens of millions. Live performances resumed in May 2021 at the Hollywood Bowl with capacity-limited concerts for essential workers, conducted by Dudamel, marking a cautious return amid health protocols. The 2025–2026 season, announced on March 6, 2025, underscores this resilience, featuring 14 programs led by Dudamel, including world premieres and Mahler's Symphony No. 2, alongside tours and collaborative events. Recent expansions highlight the LA Phil's growing societal footprint, as detailed in a July 2025 economic impact report revealing a statewide contribution of $947.4 million in 2024, supporting over 4,600 jobs through operations, tourism, and community initiatives. This includes the multidisciplinary Ford 2025 season at The Ford amphitheater—acquired by the LA Phil in 2019—announced on May 13, 2025, which blends music, dance, film, theater, comedy, and spoken word in an eclectic summer lineup to attract diverse audiences and reinforce the orchestra's role in cultural vitality. In September 2025, the orchestra announced that Esa-Pekka Salonen, Dudamel's predecessor as music director, would return as its first creative director beginning in the 2026/27 season, while the search for the next music director continues. The ensemble also conducted its Asia tour from October 21 to 30, 2025, with performances in Seoul, Tokyo, and Taipei.

Performance Venues

Walt Disney Concert Hall

The Walt Disney Concert Hall, located at 111 South Grand Avenue in downtown Los Angeles, serves as the primary modern home of the Los Angeles Philharmonic, hosting its indoor performances since its opening. Designed by renowned architect Frank Gehry, the hall features a striking exterior clad in over 6,000 stainless steel panels that evoke undulating sails, reflecting the surrounding urban landscape and sunlight in dynamic patterns. Completed after years of planning and construction delays, it opened on October 23, 2003, marking a significant upgrade from the orchestra's previous venue at the Dorothy Chandler Pavilion. The hall's interior auditorium accommodates 2,265 seats in a terraced, vineyard-style configuration that wraps around the stage, bringing audiences closer to the performers for an intimate experience while optimizing sightlines and sound distribution. Acoustics were meticulously engineered by Nagata Acoustics, led by Dr. Yasuhisa Toyota, using a concrete "shoebox" structure enhanced with natural materials like Douglas fir and red oak to achieve exceptional clarity and warmth. A standout feature is the 6,134-pipe organ, designed collaboratively by Gehry and organ builder Manuel J. Rosales, which rises dramatically behind the stage like a cluster of abstract pipes, adding visual and sonic grandeur to performances. Construction of the $274 million project was spearheaded by an initial $50 million donation from Lillian B. Disney in honor of her late husband, Walt Disney, with additional funding from foundations, corporations, and individuals, integrating the hall into the broader Music Center complex. In its operational role, Walt Disney Concert Hall anchors the Los Angeles Philharmonic's main season from October through June, enabling a diverse array of classical, contemporary, and jazz programming in a state-of-the-art environment that supports innovative staging and audience engagement. The inaugural concert on October 23, 2003, was conducted by then-Music Director Esa-Pekka Salonen, featuring Igor Stravinsky's The Rite of Spring alongside world premieres and other works, setting a tone of bold artistic ambition for the venue's future. This opening not only celebrated the hall's acoustic excellence but also solidified its status as a cultural landmark for the orchestra's ongoing evolution.

Hollywood Bowl

The Hollywood Bowl, established in 1922 as one of the world's largest natural amphitheaters nestled in the Hollywood Hills, serves as the primary summer venue for the Los Angeles Philharmonic, with the orchestra presenting its season there since the venue's opening concert on July 11, 1922. With a seating capacity of 17,500, the open-air site features a distinctive bandshell originally designed in 1928 by architect Lloyd Wright to enhance acoustics for orchestral performances. The shell underwent significant updates in the 1980s, including the addition of fiberglass acoustic spheres by Frank Gehry to improve sound projection, followed by a complete redesign in 2003–2004 that preserved its iconic silhouette while incorporating modern materials. The Los Angeles Philharmonic's residency at the Hollywood Bowl spans July through September each year, transforming the venue into a hub for accessible, large-scale symphonic programming that draws diverse audiences under the stars. Early highlights include composer George Gershwin's 1928 debut conducting the orchestra in his Rhapsody in Blue and Concerto in F, marking a pivotal fusion of jazz and classical elements in the venue's history. Technical innovations have supported this outdoor format since the late 1920s, when electronic amplification was first introduced to overcome the challenges of the natural setting, evolving into advanced systems today. In 2005, the installation of LED lighting enhanced the visual spectacle, allowing for dynamic illumination during evening concerts without excessive energy use. Following an 18-month closure due to the COVID-19 pandemic, the Hollywood Bowl resumed operations in 2021 with reduced-capacity events, including the traditional July Fourth fireworks spectacular featuring the Los Angeles Philharmonic and guest artists, as well as screenings of film scores like Tchaikovsky's 1812 Overture accompanied by pyrotechnics. The 2025 season highlighted Music Director Gustavo Dudamel's penultimate season with the orchestra, featuring multidisciplinary programs such as collaborations with the Youth Orchestra Los Angeles (YOLA) for educational outreach and innovative blends of classical, jazz, and cinematic music.

Historical and Guest Venues

The Los Angeles Philharmonic's inaugural concert took place on October 24, 1919, at Trinity Auditorium in downtown Los Angeles, marking the orchestra's debut under founding music director Walter Henry Rothwell. This nine-story venue, originally built in 1911 as a Methodist church facility, served as the orchestra's initial performance space before transitioning to a more permanent home. From the 1920–1921 season through 1964, the orchestra's primary venue was Philharmonic Auditorium, a 2,600-seat hall located at 427 West Fifth Street in downtown Los Angeles. Originally opened in 1906 as Temple Auditorium by the Temple Baptist Church, the neoclassical concrete structure—designed by architects John and Donald B. Parkinson—hosted the orchestra's subscription series and became a cornerstone of Los Angeles's cultural life. The building was designated Los Angeles Historic-Cultural Monument No. 61 in 1969, though it was demolished in 1985 to make way for development. In the intervening years, the orchestra performed at other historical sites in Los Angeles, including the Shrine Auditorium served as an interim venue for larger-scale performances before the orchestra's relocation to the Dorothy Chandler Pavilion in 1964. These shifts reflected the orchestra's adaptation to evolving urban infrastructure, paving the way for its modern home at Walt Disney Concert Hall in 2003. Beyond its core Los Angeles venues, the Philharmonic has embraced guest sites for special events and tours, including occasional performances at the Cathedral of Our Lady of the Angels for sacred music programs. Domestically, the orchestra regularly appears at the Renée and Henry Segerstrom Concert Hall in Costa Mesa, such as its May 30, 2025, program under guest conductor Gustavo Gimeno featuring Herrmann's Suite from Vertigo, Joseph Pereira's Naru (Orange County premiere), and Tchaikovsky's Symphony No. 5. Internationally, the ensemble has conducted residencies and tours in Asia during the 2020s, including a 2025 itinerary across Seoul, Tokyo, and Taipei with music director Gustavo Dudamel, performing Mahler's Symphony No. 2 and other repertory to foster global cultural exchange.

Musical Leadership

Music Directors

The Los Angeles Philharmonic has been led by a series of distinguished music directors since its founding in 1919, each contributing to its evolution from a regional ensemble to a globally renowned orchestra. These leaders have shaped its repertoire, performance practices, and cultural impact through innovative programming and international outreach. Walter Henry Rothwell served as the inaugural music director from 1919 to 1927, establishing the orchestra's foundational structure and early performances at Trinity Auditorium in Los Angeles. Georg Schnéevoigt held the position from 1927 to 1929, focusing on building the ensemble's technical proficiency during its initial years of professionalization. Artur Rodzinski directed the orchestra from 1929 to 1933, introducing more dynamic interpretations of the standard repertoire and enhancing its visibility through radio broadcasts. Otto Klemperer was music director from 1933 to 1939, bringing rigorous discipline and advocacy for contemporary works, though his tenure was marked by health challenges that led to his departure. Following a transitional period, Alfred Wallenstein led from 1943 to 1956, emphasizing American composers and expanding the orchestra's recording catalog, which helped solidify its national reputation. Eduard van Beinum served briefly from 1956 to 1959, prior to his untimely death, during which he conducted acclaimed European-style performances that bridged the orchestra's mid-century development. Zubin Mehta, appointed at age 26, was music director from 1962 to 1978, the youngest ever for a major U.S. orchestra; his tenure featured high-profile television appearances in the 1960s that broadened the ensemble's audience, alongside annual international tours starting in the 1969/70 season to elevate its global profile. Carlo Maria Giulini directed from 1978 to 1984, renowned for his profound interpretations of Italian and Austro-German masterpieces, fostering a period of artistic depth and subtlety. André Previn served from 1985 to 1989, integrating jazz influences and cross-genre collaborations while strengthening ties with Hollywood's film community. Esa-Pekka Salonen led from 1992 to 2009, pioneering contemporary programming through initiatives like the Green Umbrella new music series and overseeing the orchestra's move to Walt Disney Concert Hall, which he conducted at its opening in October 2003 with Stravinsky's The Rite of Spring. Gustavo Dudamel has been music and artistic director since 2009, with his tenure concluding in the 2025/26 season; he will conduct 14 programs that year, including world premieres and integrations with the Youth Orchestra Los Angeles (YOLA) to emphasize education and youth involvement in orchestral music.

Laureates, Emeriti, and Guest Conductors

The Los Angeles Philharmonic has appointed honorary titles to distinguished conductors who have significantly shaped its artistic trajectory, allowing them to maintain ongoing involvement. Esa-Pekka Salonen, who served as Music Director from 1992 to 2009, was named the orchestra's first Conductor Laureate in April 2009, a position he continues to hold, enabling regular collaborations that bridge his tenure and contemporary programming. In this role, Salonen returns annually, as seen in the 2025-26 season where he leads two programs featuring world premieres alongside works by Debussy and Busoni. In September 2025, the LA Phil appointed Salonen to the newly created position of Creative Director, effective for the 2026/27 season, in which he will conduct and curate approximately six weeks of concerts per year, emphasizing multi-disciplinary projects and institutional innovation. Zubin Mehta, Music Director from 1962 to 1978, was honored as Conductor Emeritus in January 2019, recognizing his enduring legacy and permitting continued guest appearances. Mehta's emeritus status facilitates his annual returns, such as conducting Bruckner's Eighth Symphony in the 2025-26 season at Walt Disney Concert Hall. These titles underscore the orchestra's commitment to sustaining relationships with former leaders, fostering institutional continuity without formal directorial duties. The Philharmonic has a history of engaging Principal Guest Conductors for recurring, influential roles beyond full-time leadership. Simon Rattle served in this capacity from 1981 to 1994, contributing to a broad repertoire that included contemporary and standard works during a formative period for the orchestra. Michael Tilson Thomas held the position from 1981 to 1985, focusing on innovative programs that highlighted American and modern composers. More recently, Susanna Mälkki was Principal Guest Conductor from 2017 to 2022, emphasizing female composers and Nordic repertoire in her Walt Disney Concert Hall programs. Notable guest conductors have included Leonard Bernstein, who made frequent appearances from the 1960s through the 1980s, notably contributing to the founding of the Los Angeles Philharmonic Institute in 1982 to nurture young talent. John Adams, as John and Samantha Williams Creative Chair since the 2000s, has conducted his own compositions and curated programs, including in the 2025-26 season with works like his Naïve and Sentimental Music. The 2025-26 season features an array of guest conductors such as Thomas Adès, Elim Chan, Manfred Honeck, and Paavo Järvi, alongside collaborations like cellist Sheku Kanneh-Mason in Roberto González-Monjas's program premiering Edmund Finnis's Cello Concerto. These engagements highlight the orchestra's emphasis on diverse artistic voices and premieres.

Resident Artists

Composers and Collaborators

The Los Angeles Philharmonic has maintained a strong tradition of supporting contemporary composition through dedicated residencies and creative chairs, fostering innovation in orchestral music. In the 1990s and early 2000s, composer John Adams served as a key figure in this effort, holding a prominent residency that included the Los Angeles premiere of his opera El Niño under Music Director Esa-Pekka Salonen in the 2002–2003 season. Adams continued his deep involvement with the orchestra, becoming its inaugural Creative Chair in 2009, a role he holds to the present day, where he curates programs and conducts works such as his piano concerto After the Fall, following its world premiere in San Francisco in January 2025, with the LA Phil performance in 2026. Esa-Pekka Salonen, who composed prolifically during his tenure as Music Director from 1992 to 2009, has sustained ongoing collaborations with the Philharmonic as both conductor and composer. In September 2025, the orchestra appointed him to a newly created position as Creative Director starting in the 2026–27 season, in which he will curate approximately six weeks of concerts annually, advise on festival programming, and co-commission new works, building on his legacy of integrating his compositions like Violin Concerto into the orchestra's repertoire. In the 2020s, Mexican composer Gabriela Ortiz emerged as a central collaborator, contributing to the Philharmonic's emphasis on diverse voices through commissions featured in its digital Platoon series. Her orchestral work Revolución diamantina, premiered by the orchestra under Gustavo Dudamel in 2024, earned the 2025 Grammy Award for Best Contemporary Classical Composition, as well as Best Orchestral Performance for the recording, highlighting the Philharmonic's commitment to boundary-pushing contemporary scores that blend Latin American influences with modernist techniques. The orchestra's partnerships extend beyond residencies to include innovative collaborations with filmmakers and scholars, enriching its programming with multimedia and interdisciplinary elements. Historically, under Executive Director Ernest Fleischmann from 1969 to 1998, the Philharmonic commissioned numerous new works that elevated its profile in contemporary music, including pieces by leading international composers that premiered at Walt Disney Concert Hall and the Hollywood Bowl. In recent years, these efforts have involved live orchestral accompaniments for classic films, such as performances of scores for Rebel Without a Cause and Casablanca in 2016, demonstrating the orchestra's role in bridging silent-era aesthetics with modern interpretations. For the 2025–26 season, the Philharmonic announced partnerships with scholars and artists for a dedicated series of events exploring thematic depths in music, alongside ongoing ties to filmmakers through festivals like Reel Change, which highlights contemporary film scoring. Unique programs underscore the Philharmonic's leadership in new music, with initiatives like the Green Umbrella series presenting cutting-edge compositions since 1982. The 2025 artist-scholar series, integrated into the season's Insight programming, features discussions and performances that connect scholarly research with live artistry, such as explorations of field recordings and cultural narratives in contemporary works.

Jazz and Multidisciplinary Chairs

The Los Angeles Philharmonic established its dedicated jazz programming in the late 1990s under the leadership of bassist and composer John Clayton, who served as Artistic Director of Jazz for the Hollywood Bowl from 1999 to 2001, initiating a series of jazz performances that integrated the genre with the orchestra's offerings. In 2009, the orchestra appointed jazz icon Herbie Hancock as its first Creative Chair for Jazz, a role he assumed in 2010 with an initial two-year term that has since been extended multiple times, most recently through May 2027, allowing him to curate jazz initiatives blending improvisation with symphonic elements. Under Hancock's guidance, the Jazz at LA Phil series, which evolved from the Bowl's early jazz efforts, has presented innovative concerts at Walt Disney Concert Hall since the 2010s, featuring artists who fuse jazz with orchestral accompaniment, such as trumpeter Terence Blanchard's 2023 performance of film scores from Spike Lee collaborations, where his E-Collective joined the full orchestra to explore hybrid jazz-orchestral textures. The program expanded significantly in 2023 with the Hollywood Bowl Jazz Festival, co-curated by Hancock and saxophonist Kamasi Washington for its 43rd edition, introducing broader lineups that highlighted emerging West Coast talents alongside global jazz figures, thereby deepening the orchestra's commitment to genre-crossing presentations. In parallel, the LA Phil has developed multidisciplinary artistic roles to incorporate non-musical disciplines, exemplified by the 2025 appointment of Esa-Pekka Salonen as Creative Director—a new position focused on orchestrating festivals and projects that merge music with theater, film, and visual arts—building on existing creative chairs like John Adams's role in contemporary interdisciplinary commissions. This approach manifests in the Ford 2025 season, which features integrated programs such as spoken-word events like the Flypoet Summer Classic and If I Awaken in Los Angeles (combining poetry with dance), theater-infused performances in Cornerstone Theater Company's Direct Address, film screenings of Studio Ghibli animations and horror classics like Get Out, comedy showcases including Perritos World National Tour, and dance collaborations with ensembles like Lula Washington Dance Theatre and Grandeza Mexicana Folk Ballet, all designed to expand the orchestra's narrative scope beyond traditional concerts. At the Hollywood Bowl in 2025, these integrations continue through dance-orchestral pairings, such as Dance Theatre of Harlem's collaboration with the LA Phil on works evoking cultural rhythms alongside symphonic pieces.

Artistic Output

Recordings

The Los Angeles Philharmonic has maintained an extensive recording catalog since the mid-20th century, partnering with major labels to document its performances under successive music directors. During Zubin Mehta's tenure from 1962 to 1978, the orchestra recorded extensively for Decca (often released under the London Records imprint in the U.S.), capturing a broad repertoire that highlighted the ensemble's virtuosity in Romantic and 20th-century works. Under Esa-Pekka Salonen (1992–2009), the partnership shifted to Deutsche Grammophon starting in 2003, yielding high-fidelity productions that emphasized contemporary and symphonic masterworks. Gustavo Dudamel's era (2009–2026) continued with Deutsche Grammophon for many releases, alongside collaborations with labels like Nonesuch, focusing on live captures from Walt Disney Concert Hall and innovative digital distributions. Notable releases span landmark cycles and premieres. In the 1960s and early 1970s, Mehta led acclaimed recordings of Igor Stravinsky's ballets, including The Rite of Spring and Petrushka (1969, Decca), which showcased the orchestra's rhythmic precision and dynamic range. Salonen's 2000s Mahler series on Deutsche Grammophon featured interpretations like Symphony No. 4 (1997, with Barbara Hendricks) and Symphony No. 9 (2007), blending analytical clarity with emotional depth. Dudamel's 2010s Beethoven symphony recordings, such as Nos. 2 and 3 (Eroica, 2012–2015, Deutsche Grammophon), brought fresh vitality to the classical canon through live sessions emphasizing orchestral color. More recently, the 2023 release of Thomas Adès's Dante (Nonesuch), a three-part ballet score recorded live in 2022 under Dudamel, marked a significant contemporary milestone with its vivid orchestration inspired by The Divine Comedy. Production milestones include the orchestra's embrace of digital archiving and live recording technologies. The LA Phil Media Archive, leveraging extensive audio and video collections, has enabled broader access to performances since its integration into public platforms around the 2010s, supporting projects like immersive installations. Dudamel's Mahler Project in 2012 represented a comprehensive live traversal of the symphonies, though not a single studio cycle, influencing subsequent recordings like Symphony No. 8 (2021, Deutsche Grammophon). Grammy-nominated live recordings from Walt Disney Concert Hall, such as Dante (2024 winner for Best Orchestral Performance), underscore the venue's acoustic excellence in capturing ensemble performances.

World Premieres and Commissions

The Los Angeles Philharmonic has long been a vanguard in presenting new music, with a history of world premieres dating back to its founding in 1919. In the 1940s, following Igor Stravinsky's relocation to Los Angeles, the orchestra became a key venue for his works under his own baton, such as revisions and arrangements of earlier ballets like The Firebird. Stravinsky's frequent guest appearances during this decade, often at the Hollywood Bowl, further solidified the LA Phil's role in introducing his innovative compositions to American audiences. Under Executive Director Ernest Fleischmann (1969–1998), the orchestra dramatically increased its commissioning activities, transforming it into a hub for contemporary works and fostering collaborations that emphasized artistic risk-taking. Fleischmann's visionary leadership, alongside music directors like Zubin Mehta and Esa-Pekka Salonen, resulted in hundreds of new pieces over nearly three decades, including landmark commissions that integrated multimedia and experimental elements, elevating the LA Phil's reputation for innovation. In recent decades, the commitment has intensified, with the presenting numerous premieres through dedicated programming like the Green Umbrella series. Notable examples include Andrew Norman's Sustain (), a pulsating orchestral of and release premiered under , which earned the 2020 Grammy for Best Orchestral . Similarly, Gabriela Ortiz's Revolución diamantina (2023), a vibrant for and inspired by cultural icons, debuted as part of the Pan-American Music Initiative and won three 2025 Grammys: Best Orchestral , Best Classical Compendium, and Best Contemporary Classical Composition. The 2025/26 season, Dudamel's farewell, features 20 premieres, opening with Ellen Reid's co-commissioned work for and choir on September 25, evoking nature's grandeur alongside Richard Strauss's Alpine Symphony. The LA Phil's commissioning process allocates dedicated funds from its annual budget—part of its approximately $210 million operating scale as of 2024—to support about 25 new works yearly, selected through consultations with composers, scholars, and artistic leaders like Creative Chair John Adams. These initiatives prioritize diverse voices and often involve partnerships with institutions worldwide, ensuring premieres not only debut live but inspire subsequent recordings and global performances.

Awards and Recognition

Grammy Awards

The Los Angeles Philharmonic has garnered significant acclaim at the Grammy Awards, winning a total of eight awards by 2025, primarily in classical categories that recognize orchestral and choral excellence. These victories underscore the orchestra's commitment to innovative recordings and live performances, with a particular emphasis on contemporary and canonical repertoire. The ensemble has also received dozens of nominations over its history, reflecting its consistent prominence in the classical music field. The orchestra's Grammy successes have largely occurred under music director Gustavo Dudamel, who assumed the role in 2009 and has been central to four wins in the years immediately following his appointment. These early accolades established a pattern of recognition for meticulously crafted recordings that capture the Philharmonic's dynamic sound. Dudamel's leadership continued to yield triumphs in subsequent years, including multiple awards in Best Orchestral Performance, the category that has defined much of the orchestra's Grammy legacy. Key wins include the 2012 Grammy for Best Orchestral Performance for the recording of Johannes Brahms' Symphony No. 4, conducted by Dudamel and released on Deutsche Grammophon, marking the Philharmonic's first victory in this category. In 2020, Dudamel and the orchestra earned Best Orchestral Performance for Andrew Norman's Sustain, a live recording of the work's world premiere from Walt Disney Concert Hall. The following year, 2021, brought another win in the same category for the complete symphonies of Charles Ives, again under Dudamel's direction and featuring the UCLA Chamber Singers. In 2022, the Philharmonic secured Best Choral Performance for Gustav Mahler's Symphony No. 8, "Symphony of a Thousand", a sprawling recording involving over 300 performers captured in spatial audio. Recent successes have further elevated the orchestra's profile. In 2024, Dudamel and the Philharmonic won Best Orchestral Performance for Thomas Adès' Dante, a live recording from the opera's world premiere production at Walt Disney Concert Hall. The 2025 Grammy Awards marked a historic high, with three wins for the album Ortiz: Revolución Diamantina—Best Orchestral Performance, Best Classical Compendium, and Best Contemporary Classical Composition (the latter shared with composer Gabriela Ortiz)—all conducted by Dudamel and released on Platoon Classical. This triple victory highlighted the orchestra's role in championing new music by living composers.
YearCategoryWork/AlbumConductor/Notes
2012Best Orchestral PerformanceBrahms: Symphony No. 4Gustavo Dudamel
2020Best Orchestral PerformanceNorman: SustainGustavo Dudamel (world premiere recording)
2021Best Orchestral PerformanceIves: Complete SymphoniesGustavo Dudamel (with UCLA Chamber Singers)
2022Best Choral PerformanceMahler: Symphony No. 8, "Symphony of a Thousand"Gustavo Dudamel (spatial audio recording)
2024Best Orchestral PerformanceAdès: DanteGustavo Dudamel (from opera premiere)
2025Best Orchestral PerformanceOrtiz: Revolución DiamantinaGustavo Dudamel
2025Best Classical CompendiumOrtiz: Revolución DiamantinaGustavo Dudamel
2025Best Contemporary Classical CompositionOrtiz: Revolución DiamantinaGustavo Dudamel (shared with Gabriela Ortiz)
These awards, concentrated in Best Orchestral Performance, demonstrate the Philharmonic's technical prowess and artistic vision, often through collaborations with leading composers and innovative recording techniques. The orchestra's nominations in recent cycles, including six for 2025 and multiple in prior years, continue to affirm its influence in classical music.

Other Honors and Accolades

The Los Angeles Philharmonic has received multiple awards from the American Society of Composers, Authors, and Publishers (ASCAP) for its innovative programming of contemporary music. In 2010, the orchestra earned the prestigious Morton Gould Award for Innovative Programming, recognizing its commitment to adventurous repertoire under music director Gustavo Dudamel. The following year, in 2011, it received the award again, highlighting ongoing efforts to champion new works. By 2012, the LA Phil secured first place in ASCAP's category for programming of contemporary music, underscoring its leadership in presenting modern compositions during the 2011-2012 season. Former music director Zubin Mehta has been honored with lifetime achievement recognitions tied to his tenure with the orchestra. In 2006, the Los Angeles Philharmonic presented him with its Distinguished Service Award, acknowledging his transformative leadership from 1962 to 1978, during which he elevated the ensemble's international profile. Mehta was further recognized in 2019 when the orchestra named him Conductor Emeritus, celebrating over five decades of association and his enduring contributions to its artistic excellence. On the international stage, conductors associated with the LA Phil have garnered significant honors. Esa-Pekka Salonen, music director from 1992 to 2009, was awarded the rank of Officier in the French Ordre des Arts et des Lettres in 1998 for his contributions to music as both conductor and composer. This distinction was elevated to Commandeur in 2024, reflecting his continued global influence, including his role in shaping the orchestra's innovative sound. In 2025, the Los Angeles Philharmonic was highlighted as a major cultural leader through a comprehensive economic impact report commissioned by the orchestra. The study, conducted by Beacon Economics, revealed that the LA Phil generated $947.4 million in statewide economic activity in 2024 alone, while supporting over 4,600 jobs in Los Angeles County and fostering community vitality through its performances and programs. This analysis underscores the orchestra's role as an economic powerhouse and cultural anchor in Southern California.

Education and Community Engagement

Youth Orchestra Los Angeles (YOLA)

Youth Orchestra Los Angeles (YOLA) was established in 2007 under the leadership of Gustavo Dudamel, the Los Angeles Philharmonic's music director, as a flagship initiative to bring transformative music education to young people from underserved communities. Inspired by Venezuela's El Sistema program, which emphasizes ensemble-based classical music training as a tool for social development, YOLA began with 80 students at a single site in South Los Angeles in partnership with the Harmony Project and the EXPO Center. The program now serves nearly 1,700 low-income students aged 5 through 18 across five sites in Los Angeles, including the EXPO Center, Heart of Los Angeles (HOLA), Camino Nuevo Charter Academy, Edward R. Roybal Learning Center (Torres), and the Beckmen YOLA Center in Inglewood. It provides full scholarships, covering free instruments, intensive after-school instruction, and academic support, with a focus on ensemble playing to foster discipline, collaboration, and personal growth. In 2024, YOLA's College Prep and Access initiative awarded $77,000 in scholarships to 17 alumni, nearly 70% of whom were first-generation college students. YOLA's structure encompasses local youth orchestras at each site, an advanced training ensemble known as the YOLA Institute Symphony Orchestra for top Los Angeles participants aged 12-18, and a national component through the YOLA National Symphony Orchestra and Festival, which draws talented musicians from El Sistema-inspired programs nationwide for intensive summer training. Participants engage in annual performances at premier venues like Walt Disney Concert Hall and the Hollywood Bowl, reaching millions of audience members. Since its inception, YOLA has facilitated international tours to over 20 countries, including Mexico, Colombia, Sweden, and others, exposing students to global stages and cultural exchanges. Alumni, numbering over 300, have achieved notable success, with many pursuing music careers in major orchestras, top conservatories like UCLA and Mannes School of Music, and professional ensembles; for instance, graduates have performed with the LA Phil and joined youth programs leading to orchestral positions. The 2025 Music for All report highlights expanded programs like a new chamber music initiative in the YOLA National Festival and 86% of the Class of 2025 advancing to four-year colleges.

Broader Outreach and Inclusion Initiatives

The Los Angeles Philharmonic's learning programs extend beyond youth orchestras to support teachers and families through resources such as online tools, invited rehearsals, and family-oriented concerts like Symphonies for Youth, which introduce children ages 5-11 to live orchestral performances. These initiatives aim to build musical literacy and engagement, with Engage with the Music designing tailored concerts for diverse audiences to promote accessibility. In 2024, the orchestra's Community Concert Connections distributed over 100,000 free tickets across venues, enabling broader participation in live events. Community concerts have been a cornerstone of the LA Phil's outreach since the 1920s, with the Hollywood Bowl—located in a public park—hosting its inaugural performance in 1922 under conductor Alfred Hertz, establishing a tradition of open-air music accessible to large crowds. Today, the Bowl presents approximately 100 concerts annually, drawing 1.4 million attendees and fostering community connections through affordable, inclusive programming. In the 2020s, the LA Phil has advanced diversity efforts through the Judith and Thomas L. Beckmen LA Phil Resident Fellows program, launched during its centennial to create pathways for early-career musicians from underrepresented groups, including BIPOC individuals committed to equity. The 2025/26 cohort supports a discrimination-free organization by prioritizing access for musicians serving underserved populations. Post-2020, the orchestra enhanced digital access with free online series like Sound/Stage, featuring exclusive performances by Gustavo Dudamel and guest artists, available indefinitely on the LA Phil website to reach global audiences amid pandemic restrictions. These streams, including piano concerts and conversations from 2023 onward, complement broader media efforts with over 500,000 monthly Spotify listeners and 20 million YouTube views, democratizing orchestral content. For the 2024–2025 season, the LA Phil emphasized inclusion through commissions featuring women composers such as Angélica Negrón, Ellen Reid, and Gabriella Ortiz as part of the Program for the Americas. Partnerships with local arts organizations, including annual grants via Partners in Music Learning to 17 nationwide programs totaling $15,000, enhance accessibility for diverse communities by supporting instrument provision and instruction. These efforts align with the orchestra's equity guiding statement, developed with input from over 200 stakeholders to promote a compassionate, inclusive arts ecosystem.

Administration and Management

Executive Leadership

Kim Noltemy serves as President and Chief Executive Officer of the Los Angeles Philharmonic Association, a position she assumed on July 8, 2024. In this role, she oversees the organization's operations, including a budget exceeding $200 million annually, as well as fundraising, strategic planning, and administrative functions amid the transition following Music and Artistic Director Gustavo Dudamel's departure after the 2025-26 season. Noltemy, with over 25 years of experience in symphony administration, previously led the Dallas Symphony Orchestra as its president and CEO from 2018 to 2024, where she expanded community programs and secured long-term venue commitments. Under her leadership, the LA Phil announced a historic expansion of its artistic leadership in September 2025, appointing Esa-Pekka Salonen as the inaugural Creative Director effective for the 2026-27 season to support the orchestra's future vision. Prior to Noltemy, Chad Smith held the position of Chief Executive Officer from 2019 to 2023, during which he collaborated closely with Dudamel on programming and institutional growth while managing day-to-day operations and financial stability. Smith, who had joined the LA Phil in 2002 in various capacities, departed to become President and CEO of the Boston Symphony Orchestra. Following his exit, Daniel Song served as interim CEO in late 2023 and early 2024 to ensure continuity during the leadership search. Simon Woods was appointed Chief Executive Officer in January 2018, succeeding Deborah Borda, but stepped down abruptly in September 2019 after less than two years, with board members Jay Rasulo and Thomas L. Beckmen providing interim oversight. Woods focused on operational efficiency and artistic integration during his brief tenure. Deborah Borda led as President and CEO from 2000 to 2017, a period marked by transformative initiatives including the opening of in 2003 and the appointment of Dudamel as in 2009, while handling and administrative expansion. Her 17-year stewardship elevated the orchestra's profile and budget, drawing on her prior experience as Executive Director of the New York Philharmonic from 1991 to 1999. Earlier, Ernest Fleischmann served as Executive Director from 1969 to 1998, a nearly three-decade tenure that modernized the orchestra's management, secured international tours, and fostered collaborations with conductors like Zubin Mehta and Esa-Pekka Salonen, laying the foundation for its rise as a premier ensemble. Fleischmann's visionary approach emphasized bold programming and institutional growth, overlapping with multiple music director transitions.

Funding, Endowment, and Governance

The Los Angeles Philharmonic operates as a nonprofit organization under the governance of the Los Angeles Philharmonic Association, a 501(c)(3) entity dedicated to artistic excellence and community engagement. Its financial model relies on a diversified revenue stream to support operations, with earned revenue from ticket sales forming the largest portion at approximately 43% of total revenue in fiscal year 2024, totaling $91 million out of $211.2 million overall. Contributions from individual donors and foundations accounted for 17% ($36.6 million), while endowment distributions provided 15% ($31.7 million), corporate sponsorships and miscellaneous contributed 7% ($13.7 million), reflecting post-recession efforts to broaden income sources beyond traditional ticket sales through partnerships and digital initiatives like streaming performances, with other sources accounting for 18% ($36.2 million). The orchestra's endowment, valued at $481 million as of the end of fiscal year 2024, plays a crucial role in long-term sustainability by generating annual income for performances, education, and artist recruitment; it grew by $67 million during that year through targeted fundraising. Historically, major donors such as the Chandler family have been instrumental in building this financial foundation, with Dorothy Buffum Chandler leading transformative fundraising campaigns in the mid-20th century that secured pivotal support for the orchestra and the Music Center. Other key supporters include the Walt and Lilly Disney Foundation and the Annenberg Foundation, which have bolstered endowment growth and program funding. Governance is overseen by a Board of Directors comprising 65 members, including an Executive Committee, with Jason Subotky serving as Chair since October 2024 to guide strategic and fiscal decisions. The board ensures accountability through policies on donor privacy and conflict of interest, while executive leadership implements these frameworks. A 2025 economic impact report highlights the orchestra's broader contributions, generating over $570 million in value added to the regional economy in 2024 through direct operations, wages, and induced spending, underscoring its role in cultural and economic vitality.

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