our next performance
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- Saturday, May 18, 2013
- Alex Theatre
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- Sunday, May 19, 2013
- Royce Hall
- — buy tickets
concerto finale
- Jeffrey Kahane, conductor
- Alisa Weilerstein, cello
- Kenneth Munday, bassoon
- Anna Clyne Within Her Arms
- Hugo Gonzalez-Pioli The Love of Zero (Bassoon Concerto with Robert Florey’s 1927 short film) US premiere
- Beethoven Coriolan Overture, Op.62
- Shostakovich Cello Concerto No. 1 in E-flat major, Op. 107
Be there for a triumphant return and an auspicious debut! MacArthur “Genius Grant” recipient Alisa Weilerstein, who graduated from Colombia in Russian history, brings a depth of understanding to the concerto Shostakovich originally wrote for the great cellist Rostropovich. LACO principal bassoon Kenneth Munday introduces you to a novel bassoon concerto he performs with Florey’s avant-garde silent film. The music is the creation of talented USC graduate Hugo Gonzalez-Pioli, and another LACO first.
special event
24th annual silent film
The Los Angeles Chamber Orchestra proudly presents Walt Disney’s Hungry Hobos short and Buster Keaton’s Our Hospitality for this season’s 24th annual Silent Film, featuring live orchestral music.
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- Saturday, June 8, 2013
- Royce Hall
- — buy tickets
about LACO
The Los Angeles Chamber Orchestra was founded in 1968 as an artistic outlet for the film and record studios’ most gifted musicians. The respected music critic Jim Svejda praised LACO as “America’s finest chamber orchestra.” Learn More.
I have been a great fan of film music for as long as I can remember. There is something magical about going to a theater, getting comfortable in those soft seats, and allowing the sounds and the music of a film to swallow you whole. When I decided to make film music a central topic of my research as a doctoral student, people would ask me all the time about the scores to certain films, especially those that I had recently seen. I can speak for hours about certain scores, and I think of myself as something of a connoisseur, but when I see a film for the first time, I try to de-activate that hyper-critical part of my brain. I want to allow myself to see and hear a film without an agenda. Like everyone else, I want to be transported by film, not fixate on whether the composer used an English horn or an oboe.