| Los Angeles Philharmonic | |
|---|---|
| Orchestra | |
 Los Angeles Philharmonic concert at the Hollywood Bowl | |
| Short name | LA Phil |
| Founded | 1919; 106 years ago (1919) |
| Location | Los Angeles, United States |
| Concert hall | Walt Disney Concert Hall Hollywood Bowl |
| Music director | Gustavo Dudamel |
| Website | www |
TheLos Angeles Philharmonic (LA Phil) is an Americanorchestra based in Los Angeles, California.[1][2][3][4] The orchestra holds a regular concert season from October until June at theWalt Disney Concert Hall and a summer season at theHollywood Bowl from July until September.Gustavo Dudamel is the current Music Director, whileEsa-Pekka Salonen serves as Conductor Laureate, andZubin Mehta as Conductor Emeritus.John Adams is the orchestra’s current composer-in-residence, holding the title of "Creative Chair."
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]
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The orchestra was founded and single-handedly financed in 1919 byWilliam Andrews Clark, Jr., a copper baron, arts enthusiast, and part-time violinist. He originally askedSergei 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 selectedWalter Henry Rothwell, former assistant toGustav 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 theTrinity 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 includedGeorg Schnéevoigt andArtur Rodziński.
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 byIgor Stravinsky andArnold 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.
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 theHollywood Bowl also brought in much needed revenue.[7][8] As a result, the orchestra navigated the challenges of theGreat Depression and remained intact.
After completing the 1939 summer season at theHollywood 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 theNew 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'sSymphony 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 theNew 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 ofArturo 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 fellowAngelenos,Jascha Heifetz andArthur Rubinstein.[7]
By the mid-1950s, department store heiress and wife of the publisher of theLos 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 theLos 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 hireEduard van Beinum, then principal conductor of theConcertgebouw 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, signedGeorg Solti to a three-year contract as music director. This followed his guest conducting appearances in winter concerts downtown, at theHollywood 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-completedDorothy 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-oldZubin Mehta to be assistant conductor of the orchestra.[15] Mehta was subsequently named to replace Solti.
In 1969, the orchestra hiredErnest 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 theCleveland Institute of Music titled, "The Orchestra is Dead. Long Live the Community of Musicians."
When Zubin Mehta left for theNew York Philharmonic in 1978, Fleischmann convincedCarlo 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 toAndré 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 includingKurt Sanderling,Simon Rattle, andEsa-Pekka Salonen, achieved greaterbox 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 1992Salzburg Festival in concert performances and as the pit orchestra in a production of the operaSaint François d'Assise byOlivier 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 theLucerne Festival in Switzerland,The Proms in London, a festival inCologne dedicated to Salonen's own works, and in 1996 at theThéâtre du Châtelet in Paris for anStravinsky festival conducted by Salonen andPierre 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-builtWalt Disney Concert Hall.
Under Salonen's leadership, the Philharmonic became known as a highly innovative and respected orchestra.Alex Ross ofThe 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 ofphrasing, breathing, attacks, colors, the indefinable whole. That shouldn't be unusual, but it is."John Adams calls the Philharmonic "the mostAmurrican [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]
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 theConcertgebouw 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 appointingJohn Clayton as the orchestra's first Jazz Chair. In addition, he established a newWorld Music series withTom 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 theNew 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, andYasuhisa Toyota, for the orchestra's successful transition toWalt Disney Concert Hall, and for supporting and complementing Salonen's artistic vision. One example is cited byAlex Ross:
Perhaps Borda's boldest notion is to give visiting composers such as[John] Adams andThomas Adès the same royal treatment that is extended to the likes ofYo-Yo Ma andJoshua 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 composerBrett 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 establishedYOLA (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 – isEl 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 inTime's "The Time 100: The World's Most Influential People."[22]
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 theAmerican 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 designingDon Giovanni[29] and continued in 2013 with Jean Nouvel and Azzedine Alaïa designingLe Nozze di Figaro.[30] In 2014, the featured designers for theCosì 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 premiereFrom Space I Saw Earth for three conductors byDaníel Bjarnason. In 2020 and 2021, Dudamel and the LA Phil were awarded consecutive Grammy awards for Best Orchestral Performance for their recordings ofAndrew Norman'sSustain (2020),[35] and for the collected symphonies ofCharles Ives (2021).[36]
In May 11, 2021, following 18 months of canceled concerts due to theCOVID-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, featuringJessie Montgomery'sStarburst, the BarberAdagio 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) byThomas 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, withOrtiz: Revolución diamantina the first full album of orchestral works by Mexican composerGabriela 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 the2025 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]
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 asClune's Auditorium, but was renamed Philharmonic Auditorium.[45] From 1964 to 2003, the orchestra played its main subscription concerts in theDorothy Chandler Pavilion of theLos Angeles Music Center. In 2003, it moved to the newWalt Disney Concert Hall designed byFrank 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 theHollywood 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 theCommunity Arts Music Association (CAMA), along with other regular concerts throughout various Southern California cities such asCosta Mesa as part of theOrange County Philharmonic Society's series,San Diego,Palm Springs, among many others. In addition, the orchestra plays a number of free community concerts throughoutLos Angeles County.
Georg Solti accepted the post in 1960, but resigned in 1961 without officially beginning his tenure.
|
Rattle and Tilson Thomas were named Principal Guest Conductor concurrently underCarlo 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 ofPrincipal 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 announcedSusanna 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 conductors with whom the orchestra has had close ties include SirJohn Barbirolli,Bruno Walter,Leopold Stokowski,Albert Coates,Fritz Reiner, andErich Leinsdorf;[49] more recently, others have includedKurt Sanderling,Pierre Boulez,Leonard Bernstein,Charles Dutoit,Christoph Eschenbach, andRafael Frühbeck de Burgos.
Many composers have conducted the Philharmonic in concerts and/or world premieres of their works, includingIgor Stravinsky,William Kraft,John Harbison,Witold Lutosławski,Aaron Copland,Pierre Boulez,Steven Stucky,John Williams,Jerry Goldsmith,John Adams,Thomas Adès, andEsa-Pekka Salonen.
A number of the Philharmonic's Assistant/Associate Conductors have gone on to have notable careers in their own rights. These includeLawrence Foster,Calvin E. Simmons, andWilliam Kraft under Mehta,Sidney Harth andMyung-whun Chung under Giulini,Heiichiro Ohyama andDavid Alan Miller under Previn, andGrant Gershon,Miguel Harth-Bedoya,Kristjan Järvi, andAlexander 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.
Kraft and Harbison held the title "Composer-in-Residence" as part of aMeet 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.
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 intoWalt 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]
The orchestra occasionally made 78-rpm recordings and LPs in the early years withAlfred Wallenstein andLeopold Stokowski forCapitol Records, and began recording regularly in the 1960s, forLondon/Decca, during the tenure of Zubin Mehta as music director. A healthy discography continued to grow withCarlo Maria Giulini on Deutsche Grammophon andAndré Previn on both Philips and Telarc Records.Michael Tilson Thomas,Leonard Bernstein, and SirSimon 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 forSony andDeutsche Grammophon. A recording of theConcerto for Orchestra byBéla Bartók released byDeutsche Grammophon in 2007 was the first recording byGustavo Dudamel conducting the LA Phil.
The Los Angeles Philharmonic has performed music for motion pictures, such as the 1963Stanley Kramer filmIt's a Mad, Mad, Mad, Mad World (composed byErnest Gold), the 2025 filmSuperman, the pilot film of the originalBattlestar Galactica TV show (composed byStu Phillips andGlen A. Larson), and the most recent 2021 film version of theBroadway musicalWest Side Story (composed byLeonard Bernstein). The LA Philharmonic also performed the first North American concert for theFinal Fantasy franchise game music,Dear Friends: Music From Final Fantasy byNobuo Uematsu. The orchestra has most recently recorded the sound track for the video game:BioShock 2 as composed byGarry Schyman.
The albumFandango includes a performance ofAlberto Ginastera'sFour Dances from Estancia, recorded live at Walt Disney Concert Hall in October 2022 andArturo Márquez's new violin concertoFandango, written for violinistAnne Akiko Meyers.[53]
| 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 byGerard 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. 12Lodger | 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 forAnne Akiko Meyers | Gustavo Dudamel |
| 2021–22 | 2021-12-03 | Julia Adolphe | Woven Loom, Silver Spindle | Xian Zhang |
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
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]
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