![]() He has almost 30 years of experience as a primary care physician and has a deep interest in health disparities and outcomes in the African American population. Her lasting legacy was her thoroughness in sweeping away the shards for the next generation, which could well be ushering us into a golden age.Gregory Hall, MD, is an internal medicine physician at University Hospitals and serves as the medical director for University Hospitals Cutler Center for Men. cultural scene, she wasn’t the one who broke the glass ceiling. The rest, of course, is a history that included getting the Music Center built, making her a true master of men.īut crucial as Mrs. Chandler was only too happy in 1948 to take over the influential women’s pages and use them to promote her own cultural tastes. Jones, however, went on to found the Music Academy of the West in Santa Barbara.Ĭrete Cage left The Times at the beginning of World War II, and Mrs. ![]() She disapproved of Jones as too bohemian she had her husband remove Jones and hire a more traditional critic from Chicago, Albert Goldberg, in 1947. Chandler was also a woman who wanted to run the show herself. Neither Jones’ proselytizing nor Crete Cage’s role in persuading the wives of wealthy businessmen to contribute to the early efforts to build a new hall have been properly acknowledged. Phil (which also happened to be run by a female administrator at the time). Jones and Crete Cage became friends at The Times, and it was the two of them who first agitated for a new concert hall for the L.A. She and Crete Cage, John Cage’s mother, who oversaw the Times society pages, held great sway over L.A.’s cultural life. in the ‘30s, she wrote that “we are indeed on the threshold of a profound change in musical art.” Not only was Jones the first major music critic on the West Coast, chronicling the unprecedented growth of classical music in Southern California, but she was a radical. Leginska was, Jones wrote, “a master of music, not men.” That concert didn’t go well thanks to what Jones described as an attitude of hostility from the all-male orchestra (women weren’t allowed in until the 1950s). One of her first reviews was of the debut that year of Ethel Leginska, a composer and pianist and the first woman to conduct the L.A. ![]() Times music critic in 1925, a position she held for 22 years. Dorothy Chandler commissioned her to write the intermission chimes theme for the Music Center, still in use today.Ī cellist in the Women’s Orchestra, Isabel Morse Jones, became the L.A. Fannie Charles Dillon, a concert pianist and a remarkable composer who wrote pieces based on birdsong, taught at Los Angeles High School, and among her pupils in the 1920s was John Cage. Women weren’t influential only as musicians or administrators they also were more readily accepted as composers in L.A. But she ran the Bowl for only a short while before being forced out by a prominent and reportedly misogynist businessman. A short while later, Artie Mason Carter, another champion of new music, founded the Hollywood Bowl and donated the early Lloyd Wright shell. The Pasadena Symphony has just named a new president: a woman.įounded in 1919, the Los Angeles Philharmonic had as its first board chair Bessie Bartlett Frankel, a singer who championed Schoenberg and Ives (and for whom Frankel Hall at Scripps College is named). Our latest glamorous venues, the Broad Stage in Santa Monica and the Wallis in Beverly Hills, were founded by and initially headed by women. This includes the Los Angeles Master Chorale, Los Angeles Chamber Orchestra, the Music Center’s dance series and the Center for the Art of Performance at UCLA. The majority of our largest classical music organizations are run by women, and most are doing well in a time when that is not the norm elsewhere. Last week the orchestra received a $20-million gift in her honor.īut look around town. So has the current president and chief executive of the orchestra, Deborah Borda, arguably the most successful arts administrator in America at the moment. Chandler’s contribution to the musical life of L.A., which included the enviable pursuit of a major performing arts center downtown and home for the Los Angeles Philharmonic (which she also ran for decades as the imperious board chairwoman), has deservedly gotten a lot of attention lately. This being a major anniversary season of the Music Center, Mrs. This was very funny because the Times building has a Norman Chandler Pavilion and we all know about the Dorothy Chandler Pavilion, which turned 50 this month.īut it was also an acknowledgment of something quite rare, a major concert hall named for a woman. Comedian Jack Benny once introduced Dorothy Buffum Chandler and her husband, Los Angeles Times publisher Norman Chandler, as Mr.
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