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    Bob Heil, Whose Innovations Enhanced the Sound of Rock, Dies at 83

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    A groundbreaking audio engineer, he provided the large-scale systems that brought tours by the Who and the Grateful Dead to life.Bob Heil’s career as a groundbreaking sound engineer who brought thunder and rich sonic coloring to tours by rock titans like the Grateful Dead and the Who began behind a pipe organ in a 1920s movie palace.Mr. Heil, who helped usher rock into its arena-shaking era by designing elaborate sound systems that allowed rock juggernauts of the late 1960s and ’70s to play at volcanic volumes, first learned to appreciate the full spectrum of musical tones as a teenager, when he took a job playing the massive Wurlitzer pipe organ at the opulent Fox Theater in St. Louis.“We had to voice and tune 3,500 pipes, from one inch to 32 feet,” he said in a 2022 video interview with the audio entrepreneur Ken Berger. “Voicing taught me to listen. Very few people know how to listen. Listening, you’ve got to mentally go in and dissect.”Mr. Heil died on Feb. 28 of cancer in a hospital in Belleville, Ill., his daughter Julie Staley said. He was 83. His death was not widely reported at the time.Although he worked behind the scenes, Mr. Heil was enough of a force that the Rock & Roll Hall of Fame in Cleveland credited him with “creating the template for modern rock sound systems” In 2006, the Hall installed a public display containing his mixing boards, speakers and other items.Mr. Heil developed some of the first effective sound systems for large rock concerts in the 1970s. The two men here were unidentified.via Heil SoundWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      After Decades, the Philharmonic’s Hall Sounds and Feels More Intimate

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      Raise your hand if you ever thought you would go see the New York Philharmonic, America’s most venerable orchestra, by entering off Lincoln Center’s plaza through a wide-open garage door. No one?But yes: The main entrance of David Geffen Hall — the Philharmonic’s home, newly, completely and happily renovated after a wait of decades — is now a big glass wall that can swoop up in good weather. And the past week has been bright and mild in New York. So as audiences drifted in for some of the first concerts in the revamped hall, the lobby inside and the plaza outside merged, without any barrier.It’s a new degree of informality, matched once you get into the transformed auditorium. The vast, drab shoe box that the city knew as Avery Fisher Hall after 1973 — a few years before a major remodeling attempted to fix the acoustics that had been criticized since the building first opened as Philharmonic Hall, in 1962 — has been gutted.Five hundred seats have been eliminated, along with the proscenium. The stage has been pulled 25 feet forward, and seating has been stretched around it. The once-dingy interior is now acres of honey-colored wood, the seats upholstered in a floating-flower-petal motif. A theater in which it once felt like miles from the back row to the timpanis now verges on intimacy.There is intimacy in how it sounds, too. Any judgment on a hall’s acoustics is highly provisional after just a few visits. For the rest of October’s opening events — and the rest of this season — I will be listening to the Philharmonic play in the new Geffen, and hearing how the experience changes as I sit all over. The orchestra will be changing, too, adapting to its home the way a player adjusts to a new instrument.But a mighty improvement is already obvious. The acoustical problems of the hall post-1976 have perhaps been overstated. Especially as it aged, it sounded so bad at least in part because it looked and felt so bad.Now the sound, like the whole experience of being there, is far more immediate and warm. We hear with our eyes as well as our ears, and simply seeing your fellow audience members sitting above and around the stage makes Geffen sound more human.On Wednesday, the Philharmonic’s first subscription program in the space, the third movement of John Adams’s “My Father Knew Charles Ives” demonstrated that magical orchestral alchemy in a superb hall: the way dozens of musicians playing softly can feel huge. A low growl in the basses was palpable, not just audible. At quiet dynamics throughout the evening — like the brooding opening of the catacombs section of Respighi’s “Pines of Rome” and the ambiguous haze of Tania León’s “Stride” — the sound was glistening and lucid.Van Zweden and the orchestra on Wednesday; the sound was glistening and lucid in quiet passages.Amir Hamja for The New York TimesIf, at its loudest and densest, the Philharmonic seemed strident and blurrily blaring rather than richly massed and blended, with the brasses and percussion overwhelming the woodwinds and strings, that may be less an inherent quality of the room than a remnant of the orchestra’s notoriously blunt and punchy style.That style — which has not always been discouraged by Jaap van Zweden, on the podium as music director for another two seasons — evolved partly because of the shortcomings of the old hall, the need to force the sound to reach its distant upper reaches. But what felt necessary merely to be heard in that former space could profitably be eased in this new one. The Philharmonic no longer has to blast to a faraway audience, but can play more like it is sharing the music with a bunch of friends gathered around the campfire.The Reopening of David Geffen HallThe New York Philharmonic’s notoriously jinxed auditorium at Lincoln Center has undergone a $550 million renovation.Reborn, Again: The renovation of the star-crossed hall aims to break its acoustic curse — and add a dash of glamour.‘Unfinished Business’: After a 17-year run in Los Angeles, Deborah Borda returned to the New York Philharmonic, which she led in the 1990s, to help usher it into its new home.San Juan Hill: Etienne Charles’s composition for the reopening of the hall honors the Afro-diasporic musical heritage of the neighborhood razed to build Lincoln Center.Timeline: From a troubled opening in 1962 to a full gutting in 1976 to the latest renovations, here is a brief timeline of the long road to the new hall.It’s been a long journey to that campfire. Most observers swiftly recognized that the 1976 renovation, which built a new theater in the shell of the 1962 building, had not solved the hall’s acoustical issues, and had introduced new aesthetic ones. But the will was not present — and relations between the Philharmonic and Lincoln Center, its landlord, were too dysfunctional — to do much about it.Around the turn of the 21st century, a plan emerged to demolish the building entirely and start over, but the Philharmonic was so spooked by the scheme’s probable cost and duration that it tried to pick up and move to Carnegie Hall, its home before Lincoln Center was built. That escape failed miserably, leaving Avery Fisher Hall as the center’s problem child, ignored in a sweeping, six-year campuswide refurbishment that finished in 2012.In 2015, David Geffen restarted the hall project with a $100 million gift — minus the $15 million required to buy off Avery Fisher’s heirs, who were surprised to learn that Fisher’s name wouldn’t be permanently attached to the building. But the design that was developed in the wake of Geffen’s donation once again spiraled out of control in ambition and price tag.It wasn’t until two pragmatic chief executives, Deborah Borda at the New York Philharmonic and Henry Timms at Lincoln Center, arrived a few years ago that a workable project — which would, as in 1976, fill the existing shell with new contents — was finally agreed on. And when the pandemic shut down performances, construction was fast-tracked so that the opening has come two years earlier than planned, without exceeding the $500 million budget.The only part of the 1960s auditorium that remains is the zigzag ceiling, and it’s been painted black and hidden behind a billowing silvery sheath. In one crucial way, though, this is a restoration: At 2,200 seats (versus 2,700 starting in 1962), the hall finally has the capacity for which its acoustics were originally designed.Over the next weeks and months, the orchestra will be adapting to its home the way a player adjusts to a new instrument.Amir Hamja for The New York TimesIn pulling the stage forward and surrounding it with seating, the new theater, designed by Gary McCluskie of Diamond Schmitt Architects, with Paul Scarbrough in charge of the acoustics, borrows the approach that was workshopped with a temporary structure for over a decade at Lincoln Center’s summertime Mostly Mozart festival. That setup was in turn influenced by the “vineyard” seating of the Philharmonie in Berlin and its most famous American descendant, the Frank Gehry-designed Walt Disney Concert Hall in Los Angeles.If it lacks Disney’s flair, the Geffen auditorium, clean and straightforward, is more successful than the hall’s public spaces, which have been redesigned by Tod Williams and Billie Tsien. Their main achievements are in decluttering. The box office has been moved to a corner, allowing the lobby to extend far deeper off the plaza, reducing crowding in a space now more appealing to linger in. Having lost its weird mudroom of an archival display, the grand promenade one floor up is much more expansive, too. The corner of 65th Street and Broadway has become a small performance space visible from the street.But the eclectic decorations — the vaguely tree-shaped lighting fixtures on the first tier balcony, for example, and the scattering of curvy couches in the lobby — have the brightly clashing patterns and generic whimsy of a Marriott, a college student center or the new Delta Sky Club at LaGuardia. The champagne-colored curtains surrounding the grand promenade, stitched with bits of light-catching gold, have the mass-market feel of those spaces, too — bathed in the permanent deep blue light of a catering hall cocktail hour.A week in, the sprawling spans of frosted glass around the promenade are already smudged, which is a little icky and a little charming: The new Geffen Hall already has a comfortable, lived-in feel. That seems to be the point. After all, Marriotts, student centers and airport lounges are designed to be antitheses of the intimidation often associated with classical music. But in eschewing intimidation, did the space have to reject glamour, too?Some of the ways the new hall intends to embrace a broader audience already feel persuasive. A concert hall’s quality in unamplified music is no indication it will work when amplified, too. (Carnegie Hall is a classic example.) But when its retractable fabric dampening panels are opened and line the walls, the new Geffen is as good with amplification as without.“San Juan Hill: A New York Story,” Etienne Charles’s multimedia excavation of the history of the neighborhood razed to build Lincoln Center, which officially opened the hall on Saturday, begins with a small jazz ensemble playing alone for half an hour. The amplified sound was direct but resonant; even Charles’s slightest finger taps on a drum registered, just enough.And on Tuesday, the mandolin virtuoso Chris Thile convened a handful of guests for the first in his series of events this season modeled on bluegrass jam sessions. Merrill Garbus, the singer of the band Tune-Yards, came onstage in bright green socks, so Thile took his shoes off, too. The sound was crisp yet tender, the moody lighting classily done.It was astonishing and delightful to realize that Geffen Hall had become a place where artists could pad around the stage in their socks, or groove as quietly as they would in a tiny jazz club. On Tuesday there wasn’t that vaguely embarrassing feeling of an orchestra hall slumming it with pop. Geffen felt — and sounded — natural.Near the end of the show, Thile looked out into the darkness and smiled broadly. “Let’s do this lots more times,” he said. More

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      David Geffen Hall Reopens, Hoping Its $550 Million Renovation Worked

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      When the New York Philharmonic opened its new home at Lincoln Center in 1962, it held a white-tie gala, broadcast live on national television, with tickets having sold for up to $250 apiece, or nearly $2,500 in today’s dollars.It was a glittering affair, but the hall’s poor acoustics — a critical problem for an art form that relies on unamplified instruments — ushered in decades of difficulties. After the last major attempt to fix its sound, with a gut renovation in 1976, the hall reopened with a black-tie gala and a burst of optimism. But its acoustic woes persisted.Now Lincoln Center and the Philharmonic are hoping that they have finally broken the acoustic curse of the hall, now called David Geffen Hall, which reopened on Saturday after a $550 million overhaul that preserved the building’s exterior but gutted and rebuilt its interior, making its auditorium more intimate and, they believe, better sounding.But this time they are taking a different approach to inaugurating the new hall. Geffen reopened to the public for the first time not with a pricey formal gala, but with a choose-what-you-pay concert, with some free tickets distributed at the hall’s new welcome center.And instead of opening with Beethoven (as the orchestra did in 1962) or Brahms (as in 1976), Geffen opened with the premiere of “San Juan Hill,” a work by the jazz trumpeter and composer Etienne Charles that pays tribute to the rich Afro-diasporic musical heritage of the neighborhood that was razed to clear the land for Lincoln Center. The work, commissioned by Lincoln Center, was performed by Charles and his group, Creole Soul, and the New York Philharmonic under the baton of its music director, Jaap van Zweden.“It really is like a homecoming, but there are some different family members around this time, which is a great thing,” Henry Timms, Lincoln Center’s president and chief executive, said in an interview.The reopening of the hall drew several elected officials, who saw it as a hopeful sign for a city still trying to recover from the damage wrought by the coronavirus. Gov. Kathy Hochul of New York predicted that people would look back at the moment as more than the opening of a new concert hall: “They will say you got it done in the middle of a pandemic.”Senator Chuck Schumer was among the elected officials at the reopening of the hall, which was described as a hopeful moment for a pandemic-battered city. Christopher Lee for The New York TimesBoth Lincoln Center, which owns the hall, and the Philharmonic, its main tenant, see the new hall as an opportunity to become more accessible and welcoming. They are seeking both to lure back concertgoers and to reach a more diverse cross-section of New Yorkers, including Black and Latino residents, who have long been underrepresented at these events.“This is not your grandmother’s Philharmonic,” said Deborah Borda, the orchestra’s president and chief executive. “We are thinking of the totality of the artistic and human and social statement.”Instead of one big celebration, there will essentially be a month of festivities, part of an effort to showcase the hall’s versatility, to break through into the consciousness of media-saturated New Yorkers — and to avoid placing too much emphasis on a single high-pressure night that could yield quick-fire judgments on the renovation and the acoustics.Dozens of people lined up outside the hall on Saturday morning for a chance to get free tickets to “San Juan Hill.” Joanne Imohiosen, 83, who has been attending concerts since the Philharmonic came to Lincoln Center in 1962 and lives nearby, said she hoped the renovation would finally remedy the hall’s acoustic issues. “They should have figured it out by now,” said Imohiosen, who used to work as an assistant parks commissioner. “They’ve been fiddling with it for years.”After “San Juan Hill,” the Philharmonic will return with a couple of weeks of homecoming concerts pairing works by Debussy and Respighi with pieces by contemporary composers including Tania León, Caroline Shaw and Marcos Balter, whose multimedia work “Oyá” is billed as a fantasia of sound and light.There will be not one, but two galas — one featuring the Broadway stars Lin-Manuel Miranda, Brian Stokes Mitchell and Bernadette Peters, and another featuring a performance of Beethoven’s Ninth Symphony. A free open-house weekend will close out the month, with choirs, youth orchestras, Philharmonic players, hip-hop groups, dance troupes and others performing each day in different spaces in the hall.Much is riding on the success of the revamped Geffen Hall. The 180-year-old Philharmonic, which is still recovering from the tumult of the pandemic and grappling with longstanding box-office declines, is hoping that a more glamorous hall with better sound will lure new audiences.“The stakes are very high; everybody’s waiting and hoping that it’s going to work out,” said Joseph W. Polisi, a former president of Juilliard whose new book, “Beacon to the World: A History of Lincoln Center,” has sections tracing the trials and tribulations of the building. “$550 million is a lot of money. It’s a very big bet.”At the core of the Philharmonic’s strategy is a desire to make Geffen Hall not just a concert venue, but a welcoming gathering place. The new hall includes a coffee shop, an Afro-Caribbean restaurant and a welcome center next to the lobby. Small performances, talks and classes on music and wellness will take place inside a “sidewalk studio” visible from Broadway.The renovation, which equipped the main auditorium with a film screen, an amplified sound system and other technical improvements, gave the Philharmonic an opportunity to reimagine its programming. “San Juan Hill” and “Oyá” showcase the Philharmonic’s new abilities, mixing music with film, 3-D imagery, electronics and light.“The new hall can do things that we’re going to do as a 21st-century orchestra,” Ms. Borda said.A critical test of the new hall will be its audiences. The Philharmonic and Lincoln Center have worked over the past several years to attract more low-income residents to performances, and Lincoln Center has been handing out fliers at nearby public housing complexes advertising upcoming events at Geffen Hall. For the opening, they made a point of inviting former residents of the San Juan Hill neighborhood, as well as schools that serve large numbers of Black and Latino students.“This is a home for all New Yorkers,” Ms. Borda said. “We want to invite them in.”Throughout the hall’s history, politicians, architects, musicians and critics have at times declared past renovations successful, only to see acoustical issues resurface soon after.Mr. Polisi, the former Juilliard president, said that this time seemed different, given the crucial decision to reduce the size of the hall — it now seats 2,200 people, down from 2,738. He said if the Philharmonic had finally remedied the sound problems, it would allow the orchestra to focus on other priorities, including building closer ties to the community and finding a conductor to replace van Zweden, who steps down as music director in 2024.“If they’re a happy orchestra now and they’re able to feel comfortable in their home, that’s also going to be a very psychologically important element for the organization,” said Mr. Polisi, whose father, William Polisi, had been the principal bassoonist of the Philharmonic.As construction workers made finishing touches on the hall this week, unpacking furniture and installing metal detectors in the lobby, the Philharmonic’s players filed into the auditorium for rehearsals. The early reviews from the musicians have been largely positive: Many say that they can finally hear one another onstage and that the sound feels warmer.Ms. Borda and Mr. Timms said they were confident that the Philharmonic would finally have a hall to match its abilities, though they said they did not want to jinx the reopening. “The thing about curses,” Mr. Timms said, “is you never claim they’re broken. You let them speak for themselves.”Ms. Borda, who first began trying to revamp the hall in the 1990s, when she served a previous stint as the Philharmonic’s leader, said she had prepared an image of an atomic explosion to send to Mr. Timms if the renovation turned out to be a disaster.“If it’s really bad,” she joked, looking at Mr. Timms, “I’m sending you this first.”Adam Nagourney More

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      Timeline: The Long, Long Journey to a New David Geffen Hall

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      After decades of failed attempts, the New York Philharmonic and Lincoln Center are hoping that the new $550 million renovation has finally fixed the hall.The efforts to fix the New York Philharmonic’s troubled Lincoln Center home date back almost to the night it opened in 1962, when the auditorium, originally called Philharmonic Hall, was found acoustically wanting.In 1976 a gut renovation transformed the space, which had been renamed Avery Fisher Hall in honor of a large gift from the audio equipment pioneer Avery Fisher, and tried to fix its acoustics. But problems persisted. More tweaks were made in the 1990s. The Philharmonic tried to leave for good in 2003 to return to its old home, Carnegie Hall. Plans for new designs by Norman Foster and Thomas Heatherwick came and went.Now the hall, renamed David Geffen Hall after a $100 million gift from the entertainment mogul David Geffen, is reopening in early October after a $550 million overhaul that everyone hopes will finally get it right. Here is a brief timeline of the long road to the new hall.Sept. 23, 1962A Glamorous Opening, Troubling SignsLeonard Bernstein conducting the New York Philharmonic at the opening of the hall in 1962.Eddie Hausner/The New York TimesPhilharmonic Hall, which was designed by Max Abramovitz and was the first part of Lincoln Center to be completed, opens with Leonard Bernstein conducting the New York Philharmonic at a white-tie gala attended by the first lady, Jacqueline Kennedy, and other luminaries. But in his review the next day the critic Harold C. Schonberg in The New York Times notes a “decided lack of bass” in the orchestra section that worsens in the loges and at the back of the hall, where he likens it to “a high-fidelity outfit with the bass control out of the circuit.”Sept. 25, 1962“We’re not going to tear down the hall and rebuild.”Philharmonic Hall on opening night.via New York Philharmonic Shelby White & Leon Levy Digital ArchivesThe hall’s acoustician, Leo Beranek, tells The Times that he is “not entirely satisfied” with the sound but believes that adjustments will improve it. “In other words,” the article quotes him as saying, “we’re not going to tear down the hall and rebuild.” A series of remodeling efforts begins, but by 1974 visiting ensembles, including the Boston Symphony and the Philadelphia Orchestra, decide to return to Carnegie Hall.The Reopening of David Geffen HallThe New York Philharmonic’s notoriously jinxed auditorium at Lincoln Center has undergone a $550 million renovation.Reborn, Again: The renovation of the star-crossed hall aims to break its acoustic curse — and add a dash of glamour.‘Unfinished Business’: After a 17-year run in Los Angeles, Deborah Borda returned to the New York Philharmonic, which she led in the 1990s, to help usher it into its new home.San Juan Hill: Etienne Charles’s composition for the reopening of the hall honors the Afro-diasporic musical heritage of the neighborhood razed to build Lincoln Center.Timeline: From a troubled opening in 1962 to a full gutting in 1976 to the latest renovations, here is a brief timeline of the long road to the new hall.1975Gutting the Hall and Starting Againvia New York Philharmonic Shelby White & Leon Levy Digital ArchivesLincoln Center announces plans to gut the hall, now called Avery Fisher Hall, and to completely rebuild it under the supervision of the acoustician Cyril M. Harris and the architect Philip Johnson. “There was no point any longer taking halfway measures in relation to the hall,” Fisher says. “A fresh start was needed.”1976Avery Fisher Hall Reopens, to HopeThe philanthropist Avery Fisher, center, was in the audience when the newly renovated Avery Fisher Hall opened in 1976.Eddie Hausner/The New York TimesAvery Fisher Hall reopens, and the early reviews are good. This time Schonberg writes in The Times that in “any part of the dynamic range, too, from the wispiest pianissimo to the most stupendous forte, Fisher Hall came through with extraordinary clarity.” But for all his early enthusiasm, he notes that the bass sound, while improved, “tends to be a little weak.”1992The Musicians Still Cannot Hear Each OtherSound reflectors were added around the stage to help the players hear each other.via New York Philharmonic Shelby White & Leon Levy Digital ArchivesMusicians still complain that they cannot hear one another on the stage, so sound reflectors — some called “bongos” for their curved appearance — are placed on the walls and ceiling. Allan Kozinn writes in The Times that “Avery Fisher Hall’s acoustics have troubled musicians and listeners ever since it opened in 1962 as Philharmonic Hall. And although the 1976 renovation was considered an improvement, critics continued to complain of an overly bright brass sound and a weak bass.”2003The Philharmonic Tries to Leave Lincoln CenterThe Philharmonic stuns Lincoln Center by announcing that it plans to leave Avery Fisher to return to Carnegie Hall. The announcement throws the center’s on-again, off-again redevelopment plans into chaos (three finalists had been selected to compete to redesign Fisher: Norman Foster, Rafael Moneo and the team of Richard Meier and Arata Isozaki). But the plan, which also called for the Philharmonic and Carnegie to merge, proves unworkable and is soon abandoned.2005Norman Foster Tapped, But Nothing Comes of ItThe Philharmonic board selects the architect Norman Foster to redesign the hall, but plans stall.March 4, 2015David Geffen Gives $100 MillionDavid Geffen, center, with Katherine G. Farley, chairwoman of Lincoln Center, and Jed Bernstein, who was then its president.Richard Perry/The New York TimesDavid Geffen donates $100 million to renovate the hall, which is then named for him, after the Fisher family agrees give up the naming rights in exchange for several inducements, including $15 million.Dec. 9, 2015Heatherwick Studio Briefly on Design TeamThe London firm Heatherwick Studio, led by Thomas Heatherwick, and Diamond Schmitt Architects of Toronto are chosen to redesign the interior of David Geffen Hall. They join the acoustic design firm Akustiks and the theater design firm Fisher Dachs.2017Back to the Drawing BoardLincoln Center and the New York Philharmonic scrap the current plans and go back to the drawing board, saying that the proposals were growing too complicated and too costly, and would force the orchestra out of the hall for three seasons.2019A Plan, and a Design Team, at LastAn artist’s rendering of the plans for the new hall. New York PhilharmonicA new $550 million plan is unveiled to make the hall more intimate, cutting more than 500 seats, reducing capacity to 2,200 from 2,738. It also calls for adding seats behind the stage, fixing the acoustics, rethinking the public spaces and, yes, adding more restrooms. Heatherwick Studios is off the design team, which now consists of Tod Williams Billie Tsien Architects (lobbies and other public spaces); Diamond Schmitt Architects (the auditorium); Akustiks (acoustics); and Fisher Dachs Associates (theater design). The hall is scheduled to open in March 2024.2021The Pandemic Shutdown Speeds ConstructionThe concert hall being rebuilt in 2021.Vincent Tullo for The New York TimesThe pandemic, which has shut down live performance, allows the Philharmonic and Lincoln Center to accelerate the construction schedule, and to push the reopening to this fall. That keeps the orchestra’s nomadic period to just one season, which saw it play at Alice Tully Hall and the Rose Theater with forays to Carnegie Hall.2022David Geffen Hall Set to ReopenThe new hall, so many years in the making and remaking, will come to life this month. There will be two concerts Oct. 8 featuring the world premiere of new piece that Lincoln Center commissioned for the occasion: Etienne Charles’s “San Juan Hill,” about the vibrant neighborhood that was razed to make way for Lincoln Center. It will be performed by Etienne Charles & Creole Soul, and the New York Philharmonic under the baton of Jaap van Zweden. Tickets will be available on a choose-what-you-pay basis. More

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      From a Burger King to a Concert Hall, With Help From Frank Gehry

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      The Los Angeles Philharmonic’s ambitious new home for its youth orchestra is the latest sign of the changing fortunes of Inglewood.INGLEWOOD, Calif. — Noemi Guzman, a 17-year-old high school senior, usually has to find a corner someplace to practice violin — the instrument she calls “quite literally, the love of my life.” But the other Saturday morning, Guzman joined a string ensemble practicing on a stage here that is nearly as grand and acoustically tuned as the place she dreams of performing one day: Walt Disney Concert Hall, the home of the Los Angeles Philharmonic.“This is beautiful,” Guzman said during a break from a practice session at the Judith and Thomas L. Beckmen YOLA Center, her voice muffled by a mask. “To have a space you can call your own. It is our space. It is created for us.”Inglewood, a working-class city three miles from Los Angeles Airport that was once plagued by crime and poverty, is in the midst of a high-profile, largely sports-driven economic transformation: The 70,000-seat SoFi Stadium, which opened here last year, now the home of the Rams and the Chargers, will be the site of the Super Bowl in February and will be used in the 2028 Summer Olympics. Construction is underway on an 18,000-seat arena for the Los Angeles Clippers, the basketball team.But the transformation of Inglewood, historically one of this region’s largest Black communities, is also showcased by the 25,000-square foot building where Guzman was practicing the other morning. The building, which opened in October, is the first permanent home for the Youth Orchestra Los Angeles, and is the product of a collaboration involving two of the most prominent cultural figures in Los Angeles: Gustavo Dudamel, the artistic director of the Los Angeles Philharmonic, which oversees YOLA, and Frank Gehry, the architect who designed Walt Disney Concert Hall.Mario Raven, right, led students in a singing and music reading class: “Here we go — one, two, three!”Rozette Rago for The New York Times“This was an old bank,” said Dudamel, who has long been friends with Gehry, a classical music lover who can often be spotted in the seats of the hall he designed. “Then it was a Burger King — yes, a Burger King! Frank saw the potential. What we have there is a stage of the same dimensions as Disney Hall.”The $23.5 million project is a high-water mark for YOLA, the youth music education program that was founded here 15 years ago under Dudamel and that he calls the signature achievement of his tenure. It serves 1,500 students, from ages 5 to 18, who come to study, practice and perform music on instruments provided by the Los Angeles Philharmonic. It was patterned after El Sistema, the youth music education program in Venezuela where Dudamel studied violin as a boy.And it is one of the most vivid examples of efforts by major arts organizations across the country to bring youth education programs out into communities, rather than concentrating them in city centers or urban arts districts. “You can’t just do it downtown,” said Karen Mack, the executive director of LA Commons, a community arts organization. “If you really want it to have the impact that’s possible with that program you have to bring it out to the community. It has to be accessible.”Gehry called that idea the “whole game.”“It becomes not the community having to go to Disney Hall,” he said, “but the Disney Hall coming to the community.”For Inglewood, the new YOLA Center is a notable addition to what has been a transformative wave of stadium and arena construction, which has spurred a wave of commercial and housing development (and with that, concerns about the gentrification that often follows this kind of development). Until 2016, Inglewood was known mainly as the home of the Forum, the 45-year-old arena where the Lakers and Kings once played before moving to what was known as the Staples Center in downtown Los Angeles, and Hollywood Park Racetrack, which closed to make way for SoFi stadium.Some instruments cannot be played through masks; those lessons are often held outdoors these days.Rozette Rago for The New York Times“We’ve never been known for cultural enrichment,” said James T. Butts Jr., the mayor of Inglewood. “That is why this is so important to us. What’s happening now is a rounding out of society and culture: we will no longer be known for just sports and entertainment.”Even before Beckmen Center opened, YOLA could be a heady experience for a school-age student contemplating a career in music. Guzman, who joined the youth orchestra seven years ago, has played bow to bow with members of the Los Angeles Philharmonic, under the baton of Dudamel. YOLA musicians have joined the Philharmonic at Disney Hall, the Hollywood Bowl and on tours to places including Tokyo, Seoul and Mexico City.Christine Kiva, 15, who started playing cello when she was 7, is now studying with cellists from the Philharmonic. “It’s helped me develop my sound as a cellist, and work on a repertoire for cello,” she said.Inglewood is the fifth economically stressed neighborhood where the youth organization has set up an outpost. But in the first four locations, it shares space with other organizations, forced to fit in without a full-fledged performing space or practice rooms. “We were making the project work in spaces that weren’t specifically designed for music,” said Chad Smith, the chief executive of the Los Angeles Philharmonic.Now, the words “Judith and Thomas L. Beckmen YOLA Center,” named after the philanthropists and vineyard owners who made the largest donation to the project, stretch out across the front of the renovated building overlooking South La Brea Avenue and the old downtown. Dudamel has an office there. Members of the Los Angeles Philharmonic regularly show up to observe practice and work with students.This building has plenty of rooms for students to practice. There are 272 seats on benches in the main hall, which can be retracted into a wall, allowing the room to be divided in half so two orchestras can practice at once. The acoustics were designed by Nagata Acoustics, which also designed the acoustics at Disney Hall.YOLA, the youth music education program founded 15 years ago, now serves 1,500 students from ages 5 to 18.Rozette Rago for The New York TimesThe building had been owned by Inglewood, which sold it to the Los Angeles Philharmonic. “When we first walked into it, it still had the greasy smell of a Burger King,” said Elsje Kibler-Vermaas, the vice president for learning for the Los Angeles Philharmonic. Gehry, who had worked with Dudamel on projects before — including designs for the opera “Don Giovanni” in 2012­ — agreed to take a look at the building, a former bank that opened in 1965.He said that when they brought him there, he was struck by the low ceilings from its days as a bank.“I said, ‘is it possible to make an intervention?’” recalled Gehry who, even at 92, is involved in a series of design projects across Los Angeles.By cutting a hole in its ceiling and putting in a skylight, and cutting a hole in the floor to make the hall deeper, he was able to create a performance space with a 45-foot-high ceiling, close to what Disney Hall has. “The kids will have a real experience of playing in that kind of hall,” he said.That turned out to be a $2 million conversation; the total price, including buying the building and renovating it, jumped from $21 million to $23.5 million to cover the additional cost of raising the roof, installing a skylight and lowering the floor.The building was bustling the other day. Students had come for afternoon music instruction from elementary schools, most in Inglewood, and after snacks — bananas, apples, granola bars — they raced to their lessons in reading music, percussion and how to follow a conductor.“Pay attention!” said Mario Raven, leading his students in a singing and music reading class. “Here we go — one, two, three!”The brass players were outdoors because of Covid-19 concerns (it’s hard to play a French horn while wearing a mask). As planes flew overhead, they performed High Hopes by Panic! at the Disco, suggesting that a youth orchestra need not live by Brahms and Beethoven alone.Students typically sit through 12 to 18 hours a week of instruction for 44 weeks a year. About a quarter of them end up majoring in music. Smith said that was reflected in the broader aspirations for the program. “Our goal wasn’t we were going to train the greatest musicians in the world,” he said. “Our goal was we were going to provide music education to develop students’ self-esteem through music.”Dudamel said his experience as a boy in Venezuela had been formative in bringing the program to Los Angeles. “I grew up in an orchestra where they called us, in the press, the ‘orchestra without a ceiling,’” he said in a Zoom interview from France, where he is now also the music director of the Paris Opera. “Because we didn’t have a place where to rehearse. We have materialized a dream where young people have the best things they can have. A good hall. Great teachers.”“Look, this is not a regular music school,” he added. “We don’t pretend be a conservatory. Maybe they will not be musicians in the future. But our goal is that they have music as part of their life, because it brings beauty, it brings discipline through art.” More