“There’s nothing more difficult than taking something that’s really, really good and trying to make it better,” says Daniel Harding, newly appointed music director of the Los Angeles Philharmonic.
Harding is perched on a sofa at the Walt Disney Concert Hall in an office that belonged to Gustavo Dudamel for nearly 20 years. The name on the plaque outside the door is now Harding’s, but the decor — particularly the heavy Hollywood Bowl throw blanket that keeps sliding off the cushions behind him — is not. Understandably tired after flying in from Paris the night before, Harding is in town to conduct three concerts of Brahms and Bernstein this weekend.
The LA Phil is heralding a new era after Dudamel left for the New York Philharmonic, having achieved legendary status and leaving a world-class orchestra in his wake. Harding doesn’t officially begin his directorship until the 2027 season, but he has two programs on this season’s schedule.
With Harding’s arrival, the LA Phil has announced a new shared leadership model that represents a departure from the 17 seasons under Dudamel, who served as both music and artistic director. Instead, Harding will split responsibilities with Esa-Pekka Salonen, who holds the title of creative director, and Anna Handler, the new conductor-in-residence. On Wednesday, the LA Phil also announced a new row of artistic chairs: Samara Joy (McLendon) as creative chair for jazz (succeeding Herbie Hancock), Silvana Estrada as creative chair for Latin music, a new position, and Thomas Adés as creative chair for New Music (succeeding John Adams). A chair for film music is still being finalized, and veteran film composer Joe Hisaishi was recently appointed composer-in-residence.
(Hancock and Adams will join Zubin Mehta with emeritus titles. Dudamel holds an artistic and cultural laureate position.)
It’s all very exciting and just a tad chaotic — kind of like a game of musical chairs. Scheduling the interviews and photos for this article has taken nearly four months seemingly because all of these musicians are busy and scattered to the four winds. McLendon is based in Harlem, where she has started a jam session night at a local restaurant. Estrada lives in Mexico City and is currently on tour with her band. Hisaishi lives in his native Japan, and Harding resides in Paris.
President Kim Noltemy’s strategy, to divide labor and empower an array of specialists, is a bold counter to the traditional model of the all-powerful artistic and music director.
“Our new artistic leadership team brings us a remarkable breadth of perspectives and strengths across disciplines,” Noltemy said in a news release about the most recent appointments, “allowing us to imagine new forms of presentation, build unexpected collaborations, and create experiences that challenge, inspire and engage audiences. Perhaps most important of all, this team will amplify the wide range of voices, cultures and genres in Los Angeles.”
It remains unclear just how the new system will work, but all participants seem eager to find the best way as they go, and Harding still emerges as the symbolic head of the system with direct purview over the orchestra itself.
“They have a vision [that] more voices can represent better what they want to do in the future,” says Handler, whom I interviewed at Massachusetts’ Tanglewood music festival in August. “You know, one single voice is not enough to speak for everything they want to do and everyone they want to reach.”
Salonen offers a steady, familiar hand, although neither Harding nor Handler are strangers to this orchestra. Both are well-liked guest conductors, going back as far as 1997 for Harding.
Handler, who turned 30 in April, says that when her appointment was announced, “I think like 25 musicians wrote to me on WhatsApp or on Instagram, and they were all like, ‘This is so deserved,’ or ‘We are so happy, we can’t wait for the projects to come with you,’ or like, ‘We’re so happy you’re part of our family now.’”
Handler embodies the youthful and diverse future of classical music — half Colombian, half German, she speaks fluent Spanish and is interested in new technologies. She is also visibly enthusiastic about the vote of confidence from the LA Phil and the creative sandbox it represents.
“This position for me means a safe space to grow, step by step, and do projects that I couldn’t do somewhere else,” says Handler, who has something “super cool” in mind for a Hollywood Bowl concert next year and is particularly excited to work with children. “You have the Walt Disney Concert Hall which, when you set foot in this building, you are like, ‘Wow, am I in the future? Am I in the present? Am I in the past?’
“The building evokes inside of me a desire to experiment,” she says.
McLendon, 26, and Estrada, 29, have both been contracted to curate four concerts, in different LA Phil venues, for two years. McLendon says she wants to bring some East Coast influence to the L.A. scene, and — in addition to playing with her own septet — she has a dream for “a night where older musicians and younger musicians kind of share the stage in a way that maybe they haven’t done before outside of their respective projects.”
Estrada says one of her goals is exploding the idea many non-Latino people have that “the Latin sound is just one sound.”
“The Latino community is the soul of an entire continent,” she says. “So there are so many sounds and so many stories, really. And I think I’m really excited about, in one hand, bringing all this richness of the Latino culture, but also how this richness reacts to other cultures and to other sounds.”
“I think what is great about the LA Phil and all the venues they have,” Estrada says, “is it’s a really, really beautiful and empowering place to tell any story you want to tell.”
Harding, 51, arguably has the least specific and most challenging mandate.
“The genuine success of everything that’s happened here in the last 20 years is so impressive and so deep,” Harding says, “that coming in and saying, ‘Yeah, I can contribute something,’ that feels like a step. I wouldn’t be here if I didn’t think I could be part of the journey as we continue to grow. But yeah, that’s a big challenge.”
The Oxford-born conductor and licensed pilot, who has co-piloted the London Symphony and captained the Orchestre de Paris and Accademia Nazionale di Santa Cecilia in Rome (among other posts on an impressive CV), brings a dry, erudite charm and a different energy than his charismatic Venezuelan predecessor.
“I inherit from him an orchestra that has great energy and flexibility and knows what it is to sell something with what they call ‘sexy music-making,’” says Harding, “and it’s all there to be enjoyed and to be nourished. It’s a huge gift.”
Still, Harding adds: “We all hear different things. We all have slightly different priorities.”
Harding recalls conducting the orchestra two years ago, in a program of Britten and Strauss, and offering tweaks to color and balance: “I thought, yeah, there’s an orchestra which has a way of doing things which is very coherent, but they have so much available space in their musical awareness, and so much technical ability, that if you give them something else to think about or to munch on, the change is strong and quick.”
“Gustavo and I share a lot of things,” he continues, “but any two musicians hear things differently, see things differently, understand them differently — and I think the orchestra is very, very receptive to that.”
Harding is keeping his big dreams and schemes for the LA Phil close to the vest, but teases that one of them “involves one of our chairs, and it involves some of the people who make this town so admired all around the world, and it involves something that chair and I both grew up with. And that’s looking possible, and even if nothing else were to happen, if we make that one happen, I’ll be very, very excited.”
How this game of musical chairs will play out is a mystery, and it will likely take some time — and possibly trial and error — for Harding and his sprawling cohort to find their rhythm together. But the LA Phil is arguably the perfect band to take a big swing and try bold new things.
Handler cites her experience as a Dudamel Fellow, in 2024, conducting “Swan Lake” selections for the orchestra’s youth series.
“I had five performances, and what the musicians said to me about what they liked was that I did something different every time,” she says. “I tried this idea of experimenting for the sake of getting better, but also keeping it alive.”
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