NEW YORK, NY.- Nobody will be able to take in the entire California Festival, a statewide series of classical music events spanning 650 miles with such density that some nights will have 10 or more performances happening at once.

The festival, from Nov. 3-19, was conceived by the music directors of the state’s three largest orchestras: Esa-Pekka Salonen of the San Francisco Symphony, Gustavo Dudamel of the Los Angeles Philharmonic and Rafael Payare of the San Diego Symphony. But it grew to involve nearly 100 organizations, which are presenting a host of world premieres and programs of contemporary music under the festival’s banner.

It’s an overdue pat on the back for a state that has long encouraged new music, providing freedom and a sense of possibility that has made it the center of gravity for composers who work with a spirit of innovation, a long list that includes Harry Partch, Lou Harrison and Pauline Oliveros in the past, and Terry Riley and John Adams today.

Much has centered on distinct communities in the San Francisco and Los Angeles areas. “Those of us who make music in San Francisco,” wrote Michael Tilson Thomas, who led the city’s orchestras for 25 years, “are blessed with an audience that comes to the concert hall more to discover the world than to escape it.” That was one reason he championed what he called American mavericks.

Farther south, Los Angeles became a microcosm of the California spirit, with sky-high ambition and musical curiosity cultivated by power players like philanthropist Betty Freeman and Philharmonic leader Ernest Fleischmann. And Dudamel brought pop-star power to the orchestra before he announced this year, in a jolt to the city, that he would leave for the New York Philharmonic in 2026.

Ara Guzelimian, who grew up in Los Angeles and now leads the Ojai Music Festival nearby, described California’s classical music culture as “the lingering positive presence of the pioneers heading west and looking to escape a kind of conformity” before adding: “That’s sort of romanticized, but I think the reality is that a lot of good work has been done by individuals and institutions to develop that.”

Here are edited interviews with some of those people, who shared their ideas about the various histories and beliefs that brought about the California Festival.

Far From Europe

MATTHEW SPIVEY (chief executive of the San Francisco Symphony): This goes back to the émigré composers, what Stravinsky and Schoenberg were doing in Los Angeles. You have this European tradition that felt like it was being evolved into a new, American version.

ARA GUZELIMIAN: The East Coast has historically been weighed down by facing the Atlantic and Europe. But here, there hasn’t been the same glare of the spotlight of everything having this kind of weight of being on the record. So there’s just been a lot more freedom to experiment and move away from any sense of orthodoxy.

JOHN ADAMS (composer who lives in Berkeley): When I arrived, there was a far-out community mostly centered around Mills College [in Oakland]. Robert Ashley was the guru. There was a lingering scene of academia composers, sort of the last echoes of the Schoenberg-Sessions influence. But at the same time, there was this very romantic myth about San Francisco, and when I got there, I felt it was very open and gave me the freedom to experiment, which I just didn’t feel in the East.

A Hungry Audience

MARTHA GILMER (chief executive of the San Diego Symphony): People are always looking for the next and the new, so it is a canvas in which to create.

JEREMY GEFFEN (executive and artistic director of Cal Performances): This is an enormous state. There’s a whole part of life outside the metropolitan areas, which is what attracted Lou Harrison and others. And there are smaller orchestras that are just as adventurous, because that is the standard.

GUZELIMIAN: As a teenager, I saw Julius Eastman not in some isolated, alternative venue, but with the Los Angeles Philharmonic and Zubin Mehta. I saw Stravinsky at a concert of “Les Noces.” I saw Lawrence Morton’s Monday Evening Concerts. And I saw Xenakis because that was a completely normal thing to do. Here’s the great secret of arts management: Organizations create their own audience expectations. You can’t blame a so-called conservative audience.

Why California?

GUZELIMIAN: I’ve rarely experienced the arts here as having a critical mass as they do in New York City, in which randomly on a subway or walking down the sidewalk you overhear people talking about an opera they’ve seen, or a play, or whatever show at MoMA that’s “unmissable.” That has incredible virtues, but in a funny way it can create a constraint. Whereas on the West Coast, it’s not as pervasive, not as self-conscious. So, there’s room for an imaginative venture to kind of make a go of it. Now, LA is bursting with new music groups and series, and to me the height of that spirit in New York is more historical. It doesn’t feel that it’s bursting at the seams.

ADAMS: I was really struggling, because back East [he grew up and was educated in New England] there was enormous prestige granted to the sort of Elliott Carter brand of composition back in the ’70s, and I had absolutely no interest in it. But the composers I knew of in California gave me more of a sense of freedom and permission to experiment.

ESA-PEKKA SALONEN: Many composers came here to find themselves, to find their language. And, as opposed to the East Coast and Europe, there has never been a sense of mainstream modernism, of what new music should be.

The Bay Area

DEBORAH BORDA (longtime chief executive of the Los Angeles Philharmonic, who worked earlier with the San Francisco Symphony): I got to the San Francisco Symphony when I was 27 [in the mid-1970s], and there was almost no contemporary music. But then came Edo de Waart, and he was really a devotee of new music. We brought John Adams, who was doing New and Unusual Music concerts, we brought in Diamanda Galás, you name it. We did a lot of Louis Andriessen music, like “De Staat.” Sometimes the audiences would boo and hiss his music, but he would come out and laugh in his ripped jeans.

ADAMS: There was a lot of talk about a West Coast aesthetic, and I suppose that included composers like Daniel Lentz and Terry Riley, and for sure Lou Harrison. I made my own synthesizer, which was a really West Coast thing at the time, and I think the person that did most creatively was Ingram Marshall. He made this amazing amalgam of Balinese influences and these wonderful rich drones and himself singing at what we called performance sites, which were usually just someone’s garage; we didn’t have the term “pop-up.”

PAMELA Z (composer and performer): I moved to San Francisco in 1984, and I distinctly remember being excited by the broad range of new music and performance scenes. There were all these different factions: the improvisers, the instrument-builders, the avant-garde contemporary music, people who were doing performance art and people who were doing live performance with electronics, like Diamanda Galás. I was interested in all those different scenes and I wanted them to be in the same room with each other. I started doing these events called Z Programs, that were almost like an avant-garde variety show. And when Michael Tilson Thomas was at the San Francisco Symphony, he was always interested in opening up things more. So there were connective tissues across the city.

San Diego

CLAIRE CHASE (flutist): I grew up in north San Diego County, and went to public schools where there was no music program. A lot of my musical education happened instead at the San Diego Youth Symphony, which is, I think, a really important cultural organization. It has this storied and really progressive history. California is this maze of contradictions. It has this DIY fervor — and I don’t mean in the corporate, Silicon Valley co-opting of that word — that gave birth to and sustains every artistic organization: Asian Improv Arts, the Tape Music Center and Pauline Oliveros, Terry Riley’s “In C” being a totally DIY concert.

I have these beautiful memories of Pauline barefoot with her accordion embodying this you-can-be-whatever-you-want-to-be feeling that’s so typically Californian and beautiful and true. She was this queer iconoclast doing her thing but also community building.

GILMER: When I was going to move out here, someone told me, “Whatever you can dream, it’s possible.” I really think that’s true. I don’t know where else I could have opened the Rady Shell [an open-air stage on the San Diego Bay] and started a hall renovation within five years.

RAFAEL PAYARE: And anyone can see us at the Shell because it’s outside in the park. We are rehearsing, and there’s someone walking their dog.

Building in Los Angeles

SALONEN: When I did my debut with the LA Philharmonic [in 1984], I’d never been to this country. They put me up in the Biltmore, which in those days had a suite with a grand piano. I tried to go for a walk, and the doorman said, “Shall I call you a cab?” I said I’d just stroll around a bit, and he said, “I don’t recommend that.” Anyway, there was an older cellist who came up to me after the second rehearsal and said, “Welcome to your new home.” I started coming back every season, and when André Previn stepped down, there was this letter from the board that modestly said they would like to develop the LA Phil into the world’s best orchestra; would I like to be a part of that process?

One morning much later, when I was living in Santa Monica, I got up really early, and my kids were still asleep. I sat in the kitchen, made myself a coffee and thought, What is this weird feeling? And I realized: I’m happy. I feel free, not straight-jacketed by some kind of European, dusty modernist discourse.

BORDA: There was a real community around music in Los Angeles. In the audience you’d see composers. You’d see Annie Philbin, who runs the Hammer Museum. You’d see politicians.

SALONEN : Somebody who has to be mentioned in all this is Betty Freeman [who died in 2009 and was an influential donor in the Los Angeles music scene]. She was quite spiky. She would call me and say: “I heard your new chamber piece. Utter rubbish. Would you like to come over for dinner?” But she did commission quite a lot of stuff and was behind the scenes supporting composers when they fell on hard times.

THOMAS ADÈS (composer): Betty picked me up from LAX my first time in LA. She sped out to wow me with Los Angeles in those first hours. We were on our way to visit David Hockney, and we were driving past the Hollywood Bowl when I saw a sign that said, “Thomas Adès, Piano.” Then I stayed with her, and not only did she have these [Joseph] Cornell boxes that she got directly from Cornell, but I also knew that this was the house where she had salons with Nancarrow, or Stockhausen and Boulez. So, in a way, I had this impression of Los Angeles as avant-gardist more than any of the reasons other people go to live there.

She had very strong taste. She used to put Post-it notes on everything; one on a CD said “BORING” and another said “I DON’T LIKE THIS.” She was bracing, but could get away with it because she was also so sweet. I came back, year after year, and bought a house there, and I would trace it all back to her.

FRANK GEHRY (architect): Betty didn’t want me to do Walt Disney Concert Hall, but she did invite me to her house for dinner. The person who got me involved with that project was Ernest Fleischmann [who ran the Philharmonic from 1969 to 1998]. He asked me to do the competition, and of course I was excited to do it. There was a lot of anti-Frank sentiment, because I worked with plywood, chain link and corrugated metal. But we proved them all wrong.

SALONEN (who inaugurated Disney Hall in 2003): The timing was a bit problematic, because the LA riots happened in ’92, and in the aftermath the idea of building a sensational concert hall in downtown LA didn’t feel like a huge priority. But the hall changed everything. Now, if you ask people about any kind of visual idea of LA, it’s the hall. Any action scene in LA in a movie, at least one car chase goes by the hall.

And for me, I started to understand how much nonverbal messaging there is in a building. It was open from the street level, so it was warm and inviting, and it was complex but not incomprehensible. And there’s this kind of amazing feeling of unity; the geometry is such that everybody inside the hall sees a bunch of other people at all times. It also sounds pretty good. For me, it’s still the reference for balance and sound, and it will be so until the end of my days.

Away From the Center

BORDA: We started the Green Umbrella [free-form contemporary music concerts], and had Steven Stucky and John Adams as partners for contemporary music. Steve and Esa-Pekka were extraordinarily close; they spent hours eating together, and drinking together, and talking about music and life. It was very difficult for Esa-Pekka when Steve passed on [in 2016]. Now you have Wild Up and other small groups. And you have what Yuval Sharon has done with opera. The Green Umbrella concerts are still going. There’s an appetite for all this.

YUVAL SHARON (founder of the Industry opera company in Los Angeles): What drew me to LA was the possibility of smaller, more nimble, freer, more entrepreneurial endeavors to move with some fluidity in and among the community. When I think of LA, I think of this John Cage book, “Silence,” in which he talks about having an interaction with a European composer who was deriding him: “How could you write so much serious music away from the center?” And Cage [who came of age in Southern California] says, “How can you write such serious music so close to the center?” That was in the 1950s, but I think there’s an element of that ethos that’s still there today.

GUSTAVO DUDAMEL (who succeeded Salonen at the Philharmonic in 2009): I was a huge admirer of this orchestra and of Esa-Pekka. Los Angeles is about new things. It’s a place that every day is getting built. It’s very open all the time to new things, and I’ve loved having a relationship with John Adams, who brings these very young composers to be part of the programming of this orchestra.

ADAMS: Well, I think Los Angeles is teeming with composers. I wish there was that level of creativity and activity in the Bay Area.

Flying In, Flying Out

SPIVEY: Knowing that Michael Tilson Thomas was going to be stepping down after 25 years at the helm, and all that he had accomplished, there was a sense that those were going to be some difficult shoes to fill. We wanted someone who was not only a great conductor, but also a great orchestra builder. And Esa-Pekka is one of those people.

SALONEN: Honestly, the optics of a major U.S. orchestra hiring a 60-year-old Finnish guy who’s been around the block a few times, I thought: That in itself is not sensational news. But we talked about bringing in collaborative partners [eight artists who include Chase, composer Nico Muhly and computer scientist Carol Reiley], who would energize the thinking of the orchestra.

ADAMS: There are still some wonderful composers from the Bay Area. So when Esa-Pekka came, and the symphony appointed their collaborative artists, and they were pretty much from New York or Europe — flying in and flying out — that was really an insult to California culture.

SPIVEY: Whether it’s successful or not, we’ll learn from what happens.

Lack of Pretension

PAYARE: California has, all the time, been nurturing the music of the future. But everyone has been doing it on their own, which is why it was good to do the California Festival.

SALONEN: We are collectively proud of what has happened in California and what has kept happening, and the California Festival is a manifestation of that. And of how much there is. It’s interesting that there’s no real school. You could say that this is the birthplace of minimalism. I was talking with Terry Riley on Zoom, and I asked him if “In C” was a reaction against East Coast, European modernism. He said: “No, not really. It was more about psychedelic drugs.” I thought, Oh, he kind of nailed it, that lack of pretension here.

Always Changing

BORDA: I think the most powerful force for good and innovation is Esa-Pekka. That gives me hope for the north. And for the south, I think what’s embedded there already won’t go away; the history of Los Angeles is reflected in that integration of different art forms and excitement at the new.

ADÈS: A lot of that world of Ernest and Betty have moved on, but it’s evolved into something else. I don’t know if I’m a part of it or not, but whatever attracted me in the first place is still there, that expansion of my molecules that I instantly felt.

SHARON: This is a moment of real — if we want to put it euphemistically — transition. It’s not just California. Listening to my colleagues on a national level, I think that we have to redefine classical music’s role for contemporary society, and there are a lot of growing pains associated with that. Everyone has seen attendance down, and donations down, across the board. I do think that the ethos of Los Angeles will make things easier to adapt than elsewhere. The LA Phil is going through tremendous change in leadership. This is the moment for that attitude and perspective, the time for that push forward to show the way. It’s an opportunity for California to lead, but it’s not going to be easy.

This article originally appeared in The New York Times.