The program for the Los Angeles Philharmonic’s traditional opening night gala is typically the last to be revealed. I checked the orchestra’s website today, discovered it, and was rather flabbergasted, I must admit. Here it is:
Los Angeles Philharmonic
Gustavo Dudamel, conductor
Yo-Yo Ma, cello
Netia Jones, director / video designer
Cage 4’33”
Bach Cello Suite No. 3, Prelude
Tchaikovsky Rococo Variations
Adès These Premises Are Alarmed
Mahler Symphony No. 9
Saint-Saëns Symphony No. 3, “Organ,” 4th movement
Why flabbergasted? These gala programs are usually short and on the light side. This one isn’t. Apparently they mean to perform the entire Mahler symphony. No word on who will “play” the Cage, but little known fact: The work is actually composed for any instrument or combination of instruments, so maybe Dudamel and the Philharmonic will give it a go. I hope so.
UPDATE: See comments on this post.
Classical Life 
You know, I play a bad-ass rendition of 4’33”
The program is not exactly “light”, but don’t worry about its length – the first two and the last of the four movements of the Mahler’s Ninth will not be included (according to a flyer that was mailed to subscribers a few days ago, as well as my other reliable sources). The Cage, however, will definitely be performed in its entirety!
Will the orchestra be playing the Cage?
Only if the orchestra has enough rehearsal time to master all intricacies of the score.
Only the Third Movement of Mahler 9, Tim!
Thanks to both of you for the info. I haven’t received the flyer, at least not yet. My info came directly from the website. Funny, my first thought when I woke up this morning was “that can’t be right,” regarding the program.
Apparently they mean to perform the entire Mahler symphony.
That is a surprising case of where proper truth-in-advertising was breached. It’s odd such an oversight occurred since the season premiere already reads like a rather densely booked program. Or an event in marked contrast to what I originally thought was last year’s season opener, when the focus was on an evening of George Gershwin. However, I then realized that was actually 2 years ago, and that the 2012-13 season actually kicked off with Dudamel’s version of Rite of Spring.
Those presentations stand out a bit clearer in my mind — although my sense of time is no less distorted — because I watched the former on PBS and tuned in to KUSC for the latter. Having grown accustomed to ROS under the baton of Salonen, I remember being slightly uneasy by Gustavo’s rendition in 2012. Not sure why, but perhaps it’s a reaction born out of pre-conceived notions and habit.
It’s hard to believe 2 years have already passed for the first event, one year for the second one, and that — most startlingly — it has been a decade since Walt Disney Concert Hall was completed. The sense of time rushing by is taking on an increasingly disturbing, even rather eerie, tone.
A short while ago I watched a video on Youtube of the LA Philharmonic’s concert in 2011 and a recording of the most recent New Years Day concert of the Vienna Philharmonic in the Musikverein, and I’m reminded all over again why I feel such gratitude for the existence of Disney Hall.
When I watched a Vienna Phil concert recently (the VW bicentennial program), i felt real “gratitude for the existence of” the LA Phil. The quality of playing was surprisingly mediocre for the orchestra that is usually considered to be one of the world’s best. Or maybe i should not have been that surprised considering who was on the podium.