Get to know bassist David Allen Moore as he looks back on some of the LA Phil’s most iconic galas, shares his favorite Mahler symphonies, and tells us why contemporary music is like gourmet sushi. 

Having been with the LA Phil since 2000, which performances stand out the most from the past 26 seasons?

I will always remember two of the galas. We had the very first gala at Walt Disney Concert Hall with Esa-Pekka Salonen [in 2003], when we performed The Rite of Spring. I've never felt the orchestra so dialed in and energized! 

And then the [Centennial Birthday] Gala [in 2019] that we did with the three maestros—Zubin Mehta, Esa-Pekka Salonen, and Gustavo Dudamel. That was definitely a once-in-a-lifetime kind of experience. 

The double bass you perform on with the orchestra was made in 1735. How did you get it, and why is it so special?  

I acquired it from a shop in Albuquerque. I was just going to get a repair on the instrument that I owned at the time and was looking at the stock. I saw this other bass and thought, “Oh no, I'm going to be leaving here with a lighter wallet than I expected.”  

I was really fortunate to find this instrument. It’s a Nicolò Gagliano, the second generation of the Gagliano family. It’s rare to come across basses that are made by noteworthy makers who are well-known for upper strings (violins, violas, and cellos). We don’t have Strad basses or anything like that.  

Which piece of music…  

…brings you to tears? 

Mahler Five, for sure. It’s hard to narrow it down between the Mahler symphonies because each one of them is this epic journey of life from beginning to end, but this one stands out for sure.  

…gives you chills?

Anything by Bartók—either his Concerto for Orchestra or Music for Strings, Percussion, and Celesta is definitely one that has that vibe to it.  

…makes you smile?

I honestly can’t narrow it down to a single piece, so I would have to say anything by Mozart. To a non-musician, in a lot of ways, Mozart is seen as being very dignified and proper and all this kind of stuff. But I’ve read things that theorize that he might have had Tourette’s and was a relentless prankster. There’s a lot of joy and puckishness in his music that’s always really engaging. 

As a member of the LA Phil New Music Group, you play at many of our Green Umbrella concerts. Have you always liked contemporary classical music?

In short, no, but it's a lot like food. If you’re eating at McDonald’s for three meals a day, and then somebody comes to you with a gourmet sushi dinner you’ve never experienced before, you’re going to say, “Oh my god. This is raw fish and sea urchins! It’s disgusting.” But over time, you gain an appreciation for it and understanding.

I love playing new music because you get to see the expansion of the canon of repertoire in real time. It’s almost like the thrill of watching college football and following and picking out talent before they’re drafted by the pros. You get to have an experience that challenges you with new sounds, techniques, and performance practices that can expand your experience of traditional repertoire as well.

[New music] has always been a trademark of our orchestra, so it’s been fun to be able to participate in it. 

You teach at the University of Southern California and Domaine Forget in Quebec, Canada. What’s your favorite thing about working with up-and-coming musicians?

Honestly, it’s giving them the opportunity to do what I do and helping them gain the skills and the knowledge necessary to become professional musicians.  

I have former bass students in the San Diego, Chicago, Houston, Detroit, and National symphony orchestras—they’re all over the world. Getting to see them fulfill that dream of being able to do nothing but perform full-time is great.