Camerata Pacifica 2018-19 Season Program by Camerata Pacifica

2018/2019 29TH SEASON

S A N TA

BARBARA

VENTURA

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BEETHOVEN’S VIENNA June 7-21, 2019

Led by the celebrated Beethoven biographer Jan Swafford, we’ll take a close look at Beethoven’s life in Bonn and Vienna, walking in the composer’s footsteps and visiting his favorite haunts. The trip begins in Frederick the Great’s Berlin and includes a visit to his summer palace at Sanssouci. Other highlights: the Lorelei Rock in the Middle Rhine, the Danube’s Wachau Valley, the Berlin Philharmonic, the Vienna State Opera, the Vienna Philharmonic’s Sommernachtskonzert, private chamber music performances, acclaimed restaurants and wineries, and the company of like-minded travelers. Accommodation: Hotel de Rome, Berlin; Ritz Carlton, Vienna. 18 participants max. Further information at cameratapacifica.org/beethoven-tour donnajean@cameratapacifica.org 805 884 8410

Mission Statement Camerata Pacifica’s mission is to affect positively how people experience live performances of classical music. The organization will engage our audience intellectually and emotionally by presenting the finest performances of familiar and lesser-known masterworks in venues that emphasize intimacy and a personal connection with the music and musicians.

BOARD OF DIRECTORS Sandra Tillisch-Svoboda, President Peter Beuret, Treasurer Susan Keats, Secretary Adrian Spence Amalia Taylor Kimberley Valentine Judith Vida-Spence

CAMERATA PACIFICA STAFF Adrian Spence, Artistic Director Amy Williams, Managing Director Donna Jean Liss, Operations Manager Jack Fischer, Patron Services Manager Dani Couture, Production Manager Aki Freshman, Bookkeeper

LIFETIME MEMBERS OF CAMERATA PACIFICA Warren Jones Jordan and Sandra Laby Lillian Lovelace Donald McInnes John Steinmetz William A. Stewart P.O. Box 30116, Santa Barbara, CA 93130 (805) 884-8410 (800) 557-BACH www.cameratapacifica.org

WHY BEETHOVEN? I’m not sure there’s another composer who has had a greater impact on this music we know as classical. Bach, it can be said, created the foundation whence all else springs, and Mozart and Haydn, of course, deserve their place in the pantheon. However, we can view the genius of their music in linear development from that which preceded it. Beethoven single-handedly changed the direction of this music. It can be persuasively argued he created what many recognize as today’s music: subjective and emotionally expressive. At the same time, I don’t think there’s another composer whose impact today is so under-appreciated. He is so well known someone who has never heard a note of his music will recognize his name. His music is so familiar to so many people it’s iconic: the “Ode to Joy” theme of his Ninth Symphony, the “Moonlight” Sonata — the first four notes of his Fifth Symphony are almost a logo, purloined for use as pop music, jingles and ring-tones. “Can Beethoven ever elude the fate of monumental meaninglessness to which he seems consigned?” said the writer Alex Ross.

“We believe that the greatness

of man stems from the fact that

This is the context in which Camerata Pacifica is presenting our next two seasons of programming. Many listeners don’t ‘hear’ Beethoven’s music at all with its radical nature almost completely lost, as going to a concert frequently means ‘Please don’t disturb my recognition of the familiar’. It’s our intention to disrupt such passivity. We’re going to examine his music and its impact on his time, the influences on and from Beethoven and his impact on our time. We’re going to look at how we receive music from today’s composers and how that descends from his lineage. Is there actually a relationship, or is today’s music almost completely divorced from its 19th century heritage?

“I am afraid there are moments in life when even Beethoven has nothing to say to us. We must admit, however, that they are our worst moments.” —Henry James

he bears his fate as Atlas bore the heavens on his shoulders. Beethoven’s hero is a lifter of metaphysical weights.” —Milan Kundera

The impetus for these two seasons of programming are his late quartets, all of which will be heard in performance by The Calder Quartet. Misunderstood and not well received in their time they now possess almost mythological status. Beethoven’s late works forge a new path, the development of which was continued by subsequent composers but they are firmly of the 19th century. Misperception, reputation and overwrought reverence perhaps impairs ready appreciation of the works, whereas direct listening and open-mindedness will provide immeasurable reward. 2020 will mark the 250th anniversary of Beethoven’s birth so we can expect that around the world concert seasons will be jam-packed with his music, with each musical organization attempting to out-Beethoven the other. “Why Beethoven?” will serve as a prelude to the global all-you-can-hear Beethoven buffet. Before we are Da-Da-Da-Dummed to the point of insanity, we’ll develop a clear understanding of the man, his music and his impact upon the concerts we attend. —Adrian Spence, Artistic Director, Camerata Pacifica

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PRESENTS

Complementing the musical programs, we’re presenting a series of in-depth panel discussions in which leading scholars will be invited to explore topics related to “Why Beethoven?” 6 lectures will be presented each season: 3 in Santa Barbara and 3 in the Los Angeles area. Participating scholars include Jan Swafford, author of the acclaimed Beethoven biography, “Anguish and Triumph” and Derek Katz, musicologist at the University of California at Santa Barbara, Andrea Moore, Professor of Music at Smith College and co-founder of the “Musicology and the Present” conference series and Richard O’Neill, principal Violist for Camerata Pacifica. These panel discussions are presented in collaboration with Santa Barbara City College’s School of Extended Learning and Pasadena Conservatory of Music. Tickets will be available from the venues directly.

REVOLUTIONARY OR EVOLUTIONARY?

January 24, 2019 | Pasadena Conservatory of Music January 25, 2019 | Santa Barbara City College

A product of the Enlightenment and of the French Revolution, Beethoven reached maturity as man and artist while the Napoleonic wars ravaged Europe. Invaded repeatedly by the French, Vienna was ultimately to suffer from within under repressive police rule. These regimes and epic, destabilizing conflicts created the modern world. How did they impact Beethoven’s view of society, his sense of self and his music? Today his music is so iconic it has lost much of its impact, but just how radical was it in his time, and how has his music influenced the composition and reception of that which followed?

TONALITY, THE LATE QUARTETS, AND BEYOND… OR NOT.

February 28, 2019 | Pasadena Conservatory of Music March 1, 2019 | Santa Barbara City College

Composers favored certain keys for certain moods, most famously the driving and demonic C minor for Beethoven. Why is this the case, and why his rare and special use of, for instance, C# minor? How does the use of keys within movements help define their nature? When we come to Beethoven’s late music, why are quartets so hallowed and, indeed, just how forward looking are they? “By the late years, an uncanny duality develops: On the one hand, the sense that Beethoven might do anything harmonically, that he would venture to the far ends of the musical earth; on the other, always there, rock-solid, the triads, the tonic and the dominant, the familiar landmarks of classical harmony.” –Jeremy Denk

THE ROMANTIC HERO

April 4, 2019 | Pasadena Conservatory of Music April 5, 2019 | Santa Barbara City College

Grounded in the objectively classical world of Mozart and Haydn, Beethoven flourished in the era of Goethe and Kant, emerging as the archetypal genius for Romantics, who declared the artist to be a world-shaking demigod and hero. Was this deification the first step in a stultification of the concert experience, resulting in the imperious reverence of the concert hall and the rigid canonization of the 18th and 19th century masters? 250 years after his birth is part of Beethoven’s legacy a constriction of the concert experience that makes it harder for a contemporary audience to enjoy the music of today?

Jan Swafford’s “Anguish and Triumph” is the Beethoven biography recommended as the companion to our Beethoven Project. “Impassioned and informed...Swafford’s exuberance is infectious, prompting the reader to revisit works both famous and obscure.” –The New Yorker Purchase the book from Chaucer’s Bookstore in Santa Barbara (805) 682-6787 — an independent, arts-supporting bookstore — or through Camerata Pacifica. In both cases, all proceeds will benefit Camerata Pacifica.

Compass is a licensed real estate broker (01991628) in the State of California and abides by Equal Housing Opportunity laws. All material presented herein is intended for informational purposes only. Information is compiled from sources deemed reliable but is subject to errors, omissions, changes in price, condition, sale, or withdraw without notice.

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Sunday 9, 3:00 p.m. Ventura Compass is a licensed real estate broker (01991628) in the State of California and abides by Equal Housing Opportunity laws. All material presented herein is intended for informational purposes only. The Jordan and Sandra Laby Series Information is compiled from sources deemed reliable but is subject to errors, omissions, changes in price, condition, sale, or withdraw without notice. To reach the Compass main office call 805.253.7700 Tuesday 11, 7:30 p.m. San Marino Thursday 13, 8:00 p.m. Los Angeles Friday 14, 7:30 p.m. Santa Barbara Ludwig van Beethoven

Piano Trio in E-flat Major, Op. 1, Nº. 1

(1770 – 1827)

I. Allegro II. Adagio cantabile III. Scherzo. Allegro assai – Trio IV. Finale. Presto

30’00”

Paul Huang, The Bob Christensen Chair in Violin; Ani Aznavoorian, cello; Warren Jones, The Robert & Mercedes Eichholz Chair in Piano

INTERMISSION Joseph Haydn

Piano Sonata in E-flat Major, Hob. XVI/52

(1732 – 1809)

I. Allegro (moderato) II. Adagio III. Finale. Presto

20’00”

Warren Jones

Johannes Brahms

Sonata No. 3 in D Minor for Violin & Piano, Op. 108

(1833 – 1897)

I. Allegro II. Adagio III. Un poco presto e con sentimento IV. Presto agitato

20’00”

Paul Huang; Warren Jones

Programs & Artists subject to change without notice.

The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

SEPTEMBER NOTES By Christine Gengaro

Ludwig van Beethoven, Piano Trio in E-flat Major, Op. 1, Nº. 1 It might appear from the designation of Op. 1, Nº. 1 that we begin this concert at the very beginning of Beethoven’s career. That is slightly misleading, however, as there are numerous works that predate Opus 1, and some of his earlier works had been published without opus numbers. But Beethoven, who had been living in Vienna after moving from his hometown of Bonn, knew his first official Viennese publication should be something special. He waited nearly three years after moving to the city to publish his first Opus. He chose the piano trio as his medium, knowing that the public was especially hungry for piano works. Beethoven’s brilliance as a performer and improvisor at the keyboard was already quite the talk of the town. He sought to capture some of that magic with these pieces. Beethoven’s instincts were correct, as the works from this set earned a positive response from critics, an enthusiastic reception from the public, and a tidy profit. The three trios in this Opus, published in 1795, are for piano, violin, and cello. Opus 1 was dedicated to Prince Karl Lichnowsky, and his residence was the location of the first performance. There are four movements in the Trio in E-flat major, with an opening Allegro in the home key. The first chord bids one to sit up and take notice, and this is followed by rocket-like rising arpeggios in the piano. The movement proceeds with the three participants sharing melodies and harmonies. There is no shortage of ideas in this first movement, which may be compared to a vivacious conversation. The piano is often the initiator of conversation topics, with the violin and cello offering commentary and their own renderings of the subject matter. The cantabile second movement in A-flat major begins with a lovely melody in the piano. The three voices all emerge for moments in the spotlight, with the cello bringing out a particularly beautiful version of the main theme. The Scherzo is lively and opens with a gesture that toggles between C minor and the home key of E-flat major. The trio section provides a lyrical diversion from the more humorous scherzo. The finale is an exercise in both speed and skill, with the instruments working through brilliant passagework. The opening octaves in the piano form a recognizable returning motif; there is also a falling arpeggio to mirror the rising one in the first movement. Beethoven saves some musical development for the coda. In Beethoven’s hands, codas in general would become more substantial; more than just a glorified ending cadence. The Trio in E-flat major certainly impressed both the Prince and the Viennese public, who were anticipating great things from this young talent, just twenty-five years old.

Joseph Haydn, Piano Sonata in E-flat Major, Hob. XVI/52 Beethoven had come to Vienna in part to study with Haydn. Haydn was Beethoven’s teacher for about a year, and the two shared an interesting (and sometimes prickly) friendship. Haydn offered Beethoven paternal affection and advice, generously sharing opportunities with the younger man. Beethoven, however, bristled under the tutelage, perhaps seeing Haydn’s own fame and streak of traditionalism as obstacles for his own genius. The two shared a much easier mutual respect later, once Beethoven had struck out on his own. We move from the music of Beethoven to that of Haydn for our next piece. In the grand scheme of things, Haydn’s work for piano is often ignored in favor of his symphonies and string quartets, but he wrote beautiful music for the instrument. The Piano Sonata Hob. XVI/52 dates from the same period and shares the same tonality as Beethoven’s Op. 1. It is one of Haydn’s three late sonatas, and the last he composed. Haydn had also been working on his first set of London symphonies at this time. He composed Piano Sonata Hob. XVI/52 for a pianist in London, Therese Jansen, and only published the work in 1798 (allowing her some time to be the sole interpreter of the work). The published version in Vienna has another dedicatee, Magdalena von Kurzbeck, while a London edition bears the dedication to Jansen, under her married name of Bartolozzi. The style brings out a focus on harmony and a thicker texture. The more complex style for the piano may very well have been influenced by Beethoven. The opening movement has a courtly elegance but also an assured sense of rhythmic and thematic drive. Haydn’s thoughtful Adagio is a respite from the flurry of activity of the outer movements. The central movement’s shift to the remote key of E major was an unexpected innovation. The finale

is a fast-paced delight, playful and dynamic in character. In the final moments, Haydn alternates between slow thoughtful chord progressions and quick outbursts, preparing us for the final breathless phrases.

Johannes Brahms, Sonata No. 3 in D Minor for Violin & Piano, Op. 108 Brahms composed three violin sonatas during the course of his career. Violin Sonata No. 3, Op. 108, is the last of these, dating from 1886-1888. The two earlier sonatas had three movements, while this one adds a fourth. The dedicatee of this work was Hans von Bülow, conductor and pianist, who was an important champion for the work of Brahms. Bülow had been a gifted student of Franz Liszt, and the first husband of Liszt’s daughter, Cosima (her second husband was Richard Wagner). Violin Sonata No. 3 was premiered in Budapest in 1888 with Brahms at the piano and Hungarian-born violinist Jenö Hubay. Hubay had studied with Brahms’ good friend Joseph Joachim, who himself had been instrumental in Brahms’ composition of other works for violin including his Violin Concerto. There are four movements in the sonata. Brahms, who favored some of the older traditions present in the late Classical and early Romantic period, structured the opening movement in a sonata form. This structure is usually characterized as having two contrasting themes, which are first presented and then developed in a central section. The final part of this form is a restatement of the original themes, but with subtle differences. The opening theme is a lyrical melody played by the violin. The piano then takes the theme and recasts it with a bold new perspective. The second theme is presented by the piano. There are shifts in mood and no shortage of drama in this opening movement. The second movement has a somewhat lighter character, with the violin providing the melody to a cavatina. If the first movement was about drama, surely this movement is about lyricism. The piano is the focus of the third movement, which is both rhapsodic and passionate. The violin contributes a heartfelt outpouring of emotion. Finally, the virtuosic fourth movement returns to D minor, and provides an energetic and feverish tarantella. The piano and violin share the spotlight more evenly here, and their intense exchanges drive the movement forward. The relentlessly stormy character continues right up to the final emotional cadence.

Presenting the world’s finest classical artists since 1919

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classical artists since 1919

CAMA AT 100: The Centennial Season of Santa Barbara’s oldest arts organization. Together we continue a legacy of excellence and step into the next century of community engagement in classical music. This thriving 100-year-old tradition is happening here, now, in your community, in your lifetime. Welcome!

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SEPTEMBER/OCTOBER 2018

Thursday 27, 8:00 p.m. Los Angeles Friday 28, 7:30 p.m. Santa Barbara Sunday 30, 3:00 p.m. Ventura The Jordan and Sandra Laby Series Tuesday 2, 7:30 p.m. San Marino

Girolamo Frescobaldi

Partite sopra l’Aria detta “La Frescobalda” * 6’00”

(1583 – 1643)

J.S. Bach

Suite No. 4, BWV 1010 (originally for Violoncello) *

25’00”

(1685 – 1750) I. Prélude II. Allemande III. Courante IV. Sarabande V. Bourrée I VI. Bourrée II VII. Gigue Eliot Fisk, guitar

George Rochberg (1918 – 2005)

Muse of Fire 18’00” Adrian Spence, flute; Eliot Fisk

INTERMISSION Franz Schubert

Sonata in A Minor, D. 821, “Arpeggione” *

(1797 – 1828)

I. Allegro moderato II. Adagio III. Allegretto

25’00”

Richard O’Neill, viola; Eliot Fisk

Jean-Delphin Alard

Estudio Brillante †

3’00”

Estrellita *

2’00”

Torre Bermeja *

4’00”

Habanera *

3’00”

Sevilla *

5’00”

(1815 – 1888)

Manuel Ponce  (1882 – 1948)

Isaac Albéniz  (1860 – 1909)

Ernesto Halffter (1905 – 1989)

Isaac Albéniz  (1860 – 1909)

Eliot Fisk

* arr. Eliot Fisk † arr. Francisco Tárrega Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

SEPTEMBER/OCTOBER NOTES By Eliot Fisk

Girolamo Frescobaldi, Partite sopra l’Aria detta “La Frescobalda” (arr. Eliot Fisk) Girolamo Frescobaldi was one of the greatest keyboard virtuosos of the baroque era, a master of the organ and practically the father of the newly invented harpsichord, for which he wrote numerous Toccatas, Canzoni, Correnti, Gagliarde, and a number of ground bass variations called Partite (“Divisions”). The present work consists of an original theme (“La Frescobalda”) followed by four variations, of which the final one is also marked Corrente. Frescobaldi’s music was known to J. S. Bach, and indeed even a work as massive as Bach’s famous Goldberg Variations owes a historical debt to more modest earlier works such as the present exquisite Partite heard tonight. Frescobaldi was one of the first composers to openly embrace the “seconda pratica” (“second” or modern style) once described by Frescobaldi’s great contemporary, Claudio Monteverdi. In this style the power of music as an art form capable of exciting the feelings (“gli affetti”) and expressing emotion is extolled, this in contrast to the more severe earlier style (“prima pratica”).

J. S. Bach, Suite No. 4, BWV 1010 (originally for Violoncello) (arr. Eliot Fisk) Around the time of the thoroughly unexpected death of his first wife, Maria Barbara, during his tenure in the tiny principality of Coethen, J. S Bach composed his two astonishing cycles of solo works: for the violin, the six Sonatas and Partitas, BWV 1001-6, and for cello the six solo Suites (BWV 1007-12). Limiting himself to the unthinkable discipline of writing works of orchestral scope using just the four strings of the soprano and bass instruments of the string family seems to eerily reflect Bach’s new but not long-lasting state as widower: are the solo violin works the apotheosis of the recently departed Maria Barbara, the cello suites the intimate voice of the then 35-year-old Bach, alone again for the first time since his marriage? Bach himself later transcribed complete works from each set, either for keyboard (the Sonata BWV 1003 and the Partita 1006) or for lute (Cello Suite V, which reappears during Bach’s Leipzig years as the Pieces pour la luth, BWV 995). When Bach made these arrangements, he usually changed the key, added bass notes and ornaments, filled out harmonies and just in general indulged his endless musical fantasy to create an utterly transformed new version. The most extreme case of such transcription transformed the famous E major Prelude from the Partita BWV 1006 into the opening Sinfonia of the Kantate BWV 29. In the process of this reworking, in addition to changing the key (E down to D), Bach fleshed out the solo violin score with trumpets, timpani, organ and full complement of strings and basso continuo... so much for the image of Bach as some sort of rigid, uptight, puritanical figure! The Fourth Cello Suite, BWV 1010, is one of the most beautiful of all the Cello Suites: from its stil brisé (arpeggiated-style) opening Prelude with its daring harmonic excursions through the gorgeous flowing Allemande, vigorous Courante, sublime Sarabande, danceable Bouree I and II and joyous concluding Gigue, the fourth suite is one of Fisk’s absolute favorites. Transcribing all twelve of the solo violin and cello works for solo guitar has been one of the great labors of love of Eliot Fisk’s professional career.

George Rochberg, Muse of Fire George Rochberg’s Muse of Fire was commissioned by Carnegie Hall to celebrate the 100th anniversary of the opening of that iconic venue. It was dedicated to and premiered by the eminent American flutist, Paula Robison, and Eliot Fisk, in early 1991. Rochberg began his career as a twelve-tone composer, but the tragic, early death of his only son from a brain tumor radically altered Rochberg’s approach to composition and caused him to reject the serial style and gravitate to a new postmodernist language, fusing elements from the entire Western canon into a new heterophonic style. The present work is a loose fantasy that shows Rochberg’s eclectic style at its ever-surprising best: the anguished opening sets the stage for a series of Shakespearian dialogues and short soliloquies in almost recitativo style...but this center cannot hold either and gives way to a big romantic tune heard twice over the course of this

intriguing, sprawling work. Finally, after numerous waves of Sturm und Drang, the work concludes in one final, prolonged primal scream with the flute stuck at the top of its register as the guitar frantically accompanies in ever accelerating sforzando chords below. The Muse takes its title from the opening line of Shakespeare’s Henry V: “O for a muse of fire, that would ascend/ The brightest heaven of invention...” Eerily enough, just as George was writing the piece, the first Iraq War under President George H. W. Bush was about to explode.

Franz Schubert, Sonata in A Minor, D. 821, “Arpeggione” (arr. Eliot Fisk) Happily for music lovers, the star of the divinely talented Franz Schubert has risen in recent years. A recent NY Times’ critics poll had him in fourth place (after Bach, Beethoven and Mozart) amongst all composers of the Western canon. Not that such puerile pursuits should concern us in the least, but it is interesting that as our own time seems to become ever more hysterical, as we seem to have less and less time for any sort of uninterrupted thought, Schubert’s “heavenly length” has become a refuge for us all. Even as we willingly surrender our lives to ever more complex electronic gadgets, perhaps in some unsuspected way we now feel closer to the wandering poet which Schubert was always, to that tragic figure who already at the start of the Winterreise exclaimed: “Fremd bin ich eingezogen; fremd ziehe ich wieder aus!” (“I moved in a stranger/ As a stranger I leave again”). Earlier generations tended to see Schubert’s life as merely incomplete and reflective of great, if unrealized talent, but those febrile fifteen years when Schubert created his vast oeuvre, composing almost non-stop at white-hot heat, seem as complete a life as one could imagine, even though that life was shorter by four years than that of Mozart! Perhaps the most astonishing aspect of Schubert’s music is his ability to wrest from the simplest themes, a heartrending poetry and intimacy. Schubert took the most basic elements of Austrian folk music, took the hackneyed folk ensemble sound (at times seemed to even use elements of yodeling!) and transformed it all into the sublimest, most intimate of human utterances. This is true in every note of the famous, late Sonata Schubert composed for a now defunct instrument called the arpeggione, a sort of bowed guitar, whose plaintive sound inspired this its only masterpiece. Fisk has played both parts of this piece but returns to playing a transcription of the accompaniment part Schubert originally wrote for the piano.

Jean-Delphin Alard, Estudio Brillante (arr. Francisco Tárrega) The great Spanish guitar virtuoso, Francisco Tárrega, was the father of the modern school of the classical guitar. His wide-ranging interests resulted in many original compositions and innumerable transcriptions. In harmony with late romantic style, Tárrega’s transcriptions are far freer than we would perhaps dare to make today. But often, as in the present instance where Tárrega has radically cut and reworked a violin Etude by Alard, the results are charming.

Manuel Ponce, Estrellita (arr. Eliot Fisk) Manuel Ponce was perhaps Andrés Segovia’s favorite composer of all the long list of “philharmonic” composers who answered his call to create an original repertoire for the guitar in the early decades of the 20th century. The popular song, Estrellita, was Ponce’s biggest hit, and he did make a version for solo guitar. However, in making this version Fisk has changed the key of Ponce’s original guitar version and added some gestures of his own based on the original song.

Isaac Albéniz, Torre Bermeja (arr. Eliot Fisk) The great piano virtuoso and nationalist Spanish composer, Isaac Albéniz, is performed more widely on the guitar than on the piano. It is his smaller pieces that best suit the guitar, and all guitarists have a number of them Continued on page 50

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Wednesday 17, 7:30 p.m. San Marino Thursday 18, 8:00 p.m. Los Angeles Friday 19, 7:30 p.m. Santa Barbara Sunday 21, 3:00 p.m. Ventura The Jordan and Sandra Laby Series

Thea Musgrave

Dawn for Solo Oboe

(b. 1928)

3’00”

Nicholas Daniel, oboe

W.A. Mozart

Oboe Quartet in F Major, K. 370

(1756 – 1791)

I. Allegro II. Adagio III. Rondeau. Allegro

13’00”

Nicholas Daniel; Kristin Lee, The Bernard Gondos Chair in Violin; Richard O’Neill, viola; Ani Aznavoorian, cello

Ludwig van Beethoven

String Quartet in G Major, Op. 18, Nº. 2

(1770 – 1827)

I. Allegro II. Adagio cantabile III. Scherzo. Allegro IV. Allegro molto, quasi Presto

26’00”

Kristin Lee, Jason Uyeyama, violins; Richard O’Neill; Ani Aznavoorian

INTERMISSION Emma-Ruth Richards

De Stâmparare for Solo Oboe

(b. 1985)

Helen Grime (b. 1981)

John Adams

4’00”

Nicholas Daniel

Oboe Quartet

12’00”

Nicholas Daniel; Kristin Lee; Richard O’Neill; Ani Aznavoorian

Book of Alleged Dances 30’00”

(b. 1947) I. Judah to Ocean VI. Habanera II. Toot Nipple VII. Stubble Crotchet III. Dogjam VIII. Hammer & Chisel IV. Pavane: She’s So Fine IX. Alligator Escalator V. Rag the Bone X. Ständchen: The Little Serenade Kristin Lee, Jason Uyeyama; Richard O’Neill; Ani Aznavoorian

Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

OCTOBER NOTES By Christine Gengaro

Thea Musgrave, Dawn for Solo Oboe Thea Musgrave turned 90 in May of 2018. To celebrate this momentous occasion, many musical events have fêted Musgrave including the U.S. premiere of a solo oboe piece called Dawn. It was written in 2012 to celebrate another birthday, that of dedicatee Nicholas Daniel. A fitting beginning to our concert, Dawn brings us on a journey from a nighttime in E-flat to a brilliant sunrise in A major.

W.A. Mozart, Oboe Quartet in F Major, K. 370 Mozart was a gifted composer, equally adept at writing for voices and instruments, and perfectly at ease composing both symphonies and chamber works. He had gotten experience writing for ensembles of winds and strings not just in the symphonies but in various serenades and divertimenti, and he showed a real knack for using the instruments to their highest ability. Mozart’s Oboe Quartet in F Major was composed in 1781 in Munich while he was rehearsing the opera Idomeneo for its premiere. Mozart wrote it with a particular musician in mind, Friedrich Ramm, who was the principal oboist of the Electoral Orchestra of Munich. Knowing Ramm’s abilities, Mozart penned a challenging and delightful work, full of lyricism and virtuosic touches like having the soloist play at the very highest and lowest extremes of the instrument’s range. The work is scored for oboe, violin, viola, and cello. It is best described as a chamber concerto, because the oboist often emerges as the one in the spotlight while the rest of the quartet functions as the larger ensemble. In fact, Mozart balances and moves seamlessly between two different textures: one in which the oboe is featured soloist and the strings are supporting players, and another in which the oboe and strings equally share in the conversation. The opening Allegro features a lively theme introduced by the oboe. The violin steps into the spotlight now and then, all the better to give the oboe an opportunity to sail above the proceedings with beautiful sustained notes. The slow second movement begins with the strings. The D minor tonality and the somber mood established by the strings is offset by long cantabile lines in the oboe. The oboe-as-soloist texture flourishes here, especially in the cadenza-like passage toward the end of the movement. The Allegro finale is a rondo, and as such, the theme presented at the beginning returns again and again. Mozart’s masterstroke here is rhythmic: for just over a dozen measures, Mozart gives the strings and the oboe different meters. The resultant flurry of activity as the oboe packs more notes into each measure than can seemingly fit is a brilliant way to show off the remarkable talent of his intended soloist.

Ludwig van Beethoven, String Quartet in G Major, Op. 18, Nº. 2 About twenty years after Mozart’s Oboe Quartet, Beethoven published his Op. 18 string quartets. The half dozen quartets fulfilled a commission from frequent Beethoven supporter, Prince Lobkowitz. At this point in his career, Beethoven’s exploration of the string quartet is in part a synthesis of the work of the masters of the string quartet that preceded him, namely Mozart and Haydn. String Quartet in G Major, Op. 18, Nº. 2 is the second one in the set, but was the third written. The first violin’s opening gestures in the first movement fit so perfectly into the Classical style established by Haydn, one imagines that Beethoven is nodding to him and to the established styles of the mid-18th century. Beethoven is sly in beginning this way, allowing the listener to think that his work is in the 18th century mold, but there’s more invention here than initially meets the eye. There is a bit more humor as well. The second movement, Adagio cantabile, brings out the first violin for a few sonorous declarations, but for much of it, the four voices move together in a rich texture. A quick section in the middle of the movement interrupts the adagio,

but the slower tempo returns, assuring us that we haven’t prematurely jumped into the scherzo or finale. The Scherzo is fun and brilliant, with lively rhythmic and melodic touches. The fourth movement is pleasing and witty, again echoing his teacher Haydn, whose sense of humor was hearty and well used. The enterprise is not without substance, of course, as Beethoven showed throughout his career that he could create works of weight from the lightest of materials.

Emma-Ruth Richards, De Stâmparare for Solo Oboe Emma-Ruth Richards composed De Stâmparare expressly for Nicholas Daniel, notably for the same 2012 birthday occasion as the one that inspired Dawn. The translation of the title is “soul cry” or “ease one’s soul.” Richards drew upon the Romanian folk song Hora Spoitorilor, which is woven into the piece. Richards intended to explore a sense of stretching and reaching in this piece with its single line, and was especially interested in the “quasi-vocal” character of the high register. In a sense, Richards reaches for an imperfect, human-like cry, achieving this with sustained notes, pitch bends, and the emotional expressiveness of the soloist.

Helen Grime, Oboe Quartet Helen Grime composed her Oboe Quartet in 2011. The composer describes the work as mostly abstract. In some ways it is an exploration of the timbre of the oboe and how that plays alongside the string instruments. The Quartet is in a single movement with multiple sections. The oboe is the focus, with the strings providing either support or contrast. The mood changes throughout, with moments of virtuosity and energy growing out of more melancholy passages. The oboe soloist must play to the extreme high and low points of the instrument, and a cadenza allows for an extended moment of expression. The ending is both calm and serene, with the oboe reaching up to its highest register while the strings play glissandi.

John Adams, Book of Alleged Dances John Cage is credited as the originator of the “prepared piano” in the late 1930s. In “preparing” a piano, a composer will place objects like screws, bolts, and plastic tabs in between the strings of the instrument. The resulting timbres can mimic, among other things, percussion instruments. Many composers have revisited this idea over the years including John Adams, who used a prepared piano in his Book of Alleged Dances from 1994. The piece calls for string quartet and recorded prepared piano. There are ten movements, which do not have to be played in a particular order. Some of the movement titles are humorous like “Alligator Escalator” and “Stubble Crotchet.” Each dance has its own distinct character that may or may not be reflected in its title. The modifier “Alleged” in the overall title refers to the fact that the steps for these dances have not been devised (although some choreographers have indeed put dances to this music in the years since its composition). Early performances used an on-stage sampler to trigger the prepared piano loops, but technical concerns eventually necessitated a simple recording. Within each movement there may be subtle and humorous nods to other musical styles and forms. Regardless of the order of movements chosen by the performers, the work brims with kinetic energy that will provide a fitting and lively end to the evening.

Camerata Pacifica’s Commissioning Portfolio Commissioning new music has become an integral part of Camerata Pacifica’s artistic mission. Not because we are a new music group — we are not. But because this is a live, dynamic art form. Even if the music originated in the 18th or 19th century, at that moment of performance, the minute it becomes a reality, it is live and of the moment. No matter when the music was written, it has that in common with every other piece. Hopefully hearing new music also informs our listening to pieces we know very well — there can be a danger that with familiarity we lose awareness of the innovation and novel nature of pieces now acknowledged as masterworks. Commissioning has become a favorite means to support our work. From the beginning of the compositional process, commissioners get to engage with the composer and the musicians as the work is brought to life. Finally the manuscript arrives and the musicians begin preparation. Commissioners attend first rehearsals and after the premiere performances, when corrections are made, the score arrives from the publisher engraved with the commissioners’ names on the title page — forever. Commissioning opportunities begin with an investment of as little as $2,000.

COMMISSIONS JAKE HEGGIE | WINTER ROSES (MEZZO SOPRANO & CHAMBER ENSEMBLE) | Premiered October 9, 2004, Santa Barbara Commissioned by Richard & Luci Janssen for Frederica von Stade and Camerata Pacifica IAN WILSON | MESSENGER CONCERTO (VIOLIN & CHAMBER ENSEMBLE) | Premiered May 18, 2007, Santa Barbara Commissioned by Richard & Luci Janssen for Catherine Leonard and Camerata Pacifica Toured Internationally April 22nd – May 3rd, 2008: Cathedral of Our Lady of Angels, Los Angeles; Library of Congress, Washington DC; Morgan Library, New York; The Guidhall, Londonderry; Northern Ireland; National Concert Hall, Dublin, Ireland; Wigmore Hall, London, England; St. Anne’s Cathedral, Belfast, Northern Ireland IAN WILSON | HEFT (FLUTE/ALTO FLUTE & PIANO) | Premiered January 11, 2008, Santa Barbara Commissioned by Jordan & Sandra Laby for Adrian Spence/Camerata Pacifica HUANG RUO | BOOK OF THE FORGOTTEN (OBOE & VIOLA) | Premiered April 17, 2010, Los Angeles Commissioned by a consortium led by Hyon Chough for Richard Yongjae O’Neill and Nicholas Daniel BRIGHT SHENG | HOT PEPPER (VIOLIN & MARIMBA) | Premiered September 10, 2010, Santa Barbara Commissioned by Bob Peirce as a birthday present for his wife Sharon Harroun Peirce for Catherine Leonard and Ji Hye Jung BRIGHT SHENG | MELODIES OF A FLUTE (FLUTE/ALTO FLUTE, VIOLIN, CELLO & MARIMBA) Premiered April 10, 2012, San Marino

Commissioned by Luci Janssen for her husband Richard on the occasion of their 40TH wedding anniversary for Camerata Pacifica 18

JAKE HEGGIE | SOLILOQUY (FLUTE & PIANO) | Premiered May 10, 2012, Los Angeles Commissioned by Adrian Spence in memory of Suzanne Makuch HUANG RUO | IN OTHER WORDS (CONCERTO FOR VOCALIZED VIOLIST & CHAMBER ENSEMBLE) Premiered September 20, 2012, Los Angeles

Commissioned by Frank & Ann Everts in celebration of their 50TH wedding anniversary for Richard Yongjae O’Neill and Camerata Pacifica IAN WILSON | DREAMGARDEN (MEZZO SOPRANO & CHAMBER ENSEMBLE) | U.S. Premiere May 16, 2013, Los Angeles Supported by Robert M. Light and Anne Koepfli in memory of Sandy & Lulu Saunderson for Camerata Pacifica LERA AUERBACH | DREAMMUSIK (CELLO & CHAMBER ENSEMBLE) | Premiered March 6, 2014, Los Angeles Commissioned by Sandy Svoboda in memory of her husband Al for Ani Aznavoorian and Camerata Pacifica JOHN HARBISON | STRING TRIO (VIOLIN, VIOLA, CELLO) | Premiered September 11, 2014, Los Angeles Commissioned by Peter & Linda Beuret; Bob Klein & Lynne Cantlay - in memory of Michael Benjamin Klein; Roger & Nancy Davidson; Stanley & Judith Farrar; Ann Hoagland - in memory of her husband Stephen C. Hoagland; John & Susan Keats; Jordan & Sandra Laby; Alejandro Planchart - in memory of Milton Babbitt Recorded for international release on the Harmonia Mundi label IAN WILSON | THREE SONGS OF HOME (ALTO FLUTE, VIOLA & HARP) | A gift from the composer to celebrate Camerata Pacifica’s 25TH Season

Premiered October 10, 2014, Santa Barbara

IAN WILSON | AT (FLUTE, VIOLA & CELLO) | Premiered October 8, 2015, Los Angeles Commissioned by Jordan Christoff for Adrian Spence, Catherine Leonard & Ani Aznavoorian DAVID BRUCE | THE CONSOLATION OF RAIN (OBOE, HARP, CELLO & PERCUSSION) | Premiered April 10, 2016, Ventura Commissioned by Bob Klein & Lynne Cantlay for Nicholas Daniel, Bridget Kibbey, Ani Aznavoorian and Ji Hye Jung JOHN LUTHER ADAMS | there is no one, not even the wind | Premiered September 2017 Co-commissioned by Camerata Pacifica, The Chamber Music Society of Lincoln Center, Chamber Music Northwest, Emerald City Music, and Redlands Symphony LERA AUERBACH | 24 PRELUDES FOR VIOLA & PIANO | Premiered April 18, 2018, San Marino Commissioned by: Hyon Chough; May Chung; Christina Chung; Sookee Chung; May Kim; Sook Hee Lee & Seong Ae Kim; Chae Ma; Karin Nelson, Maren Henle, & Rick Hibbs; Stuart & Judith Spence; Diane Henderson; Marion Stewart; David Robertson & Nancy Alex; and Arnold & Gretl Mulder for Richard Yongjae O’Neill

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Charles Villiers Stanford

Three Intermezzi for Clarinet & Piano, Op. 13

(1852 – 1924)

I. Andante espressivo II. Allegro agitato III. Allegretto scherzando

9’00”

Jose Franch-Ballester, clarinet; Molly Morkoski, piano

Ludwig van Beethoven

Quintet in E-flat for Piano & Winds, Op. 16

(1770 – 1827)

I. Grave - Allegro ma non troppo II. Andante cantabile III. Rondo. Allegro, ma non troppo

30’00”

Nicholas Daniel, oboe; Jose Franch-Ballester; William Short, bassoon; Martin Owen, horn; Molly Morkoski

INTERMISSION Mikhail Glinka

Trio Pathétique in D Minor

(1804 – 1857)

I. Allegro moderato II. Scherzo. Vivacissimo III. Largo IV. Allegro con spirito

16’00”

Jose Franch-Ballester; William Short; Molly Morkoski

Bohuslav Martinu° Sextet (1890 – 1959)

16’00”

I. Prélude II. Adagio III. Scherzo IV. Blues V. Finale

Adrian Spence, flute; Nicholas Daniel; Jose Franch-Ballester; William Short; Martin Owen; Molly Morkoski

Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

NOVEMBER NOTES By Christine Gengaro

Charles Villiers Stanford, Three Intermezzi for Clarinet & Piano, Op. 13 Not every composer is fortunate enough to be famous in their own time, but Irish-born composer Charles Villiers Stanford enjoyed great fame and renown during his career. He was even knighted before his fiftieth birthday for his substantial contribution to the music of Great Britain. After his death, however, much of his music faded from the repertoire, but his influence was likely a greater gift than any single piece. Stanford studied in Germany and admired the music of Brahms. His style, especially at the beginning of his career shows a heavy Germanic influence, but he was also at the forefront of the English Musical Renaissance and the developing national style in England. His use of Irish music is notable, especially in his Irish Symphony and his Irish Rhapsodies. He was one of the founders of the Royal College of Music, and his students include some of the greatest English composers of the next generation including Holst and Vaughn Williams. Stanford’s Three Intermezzi were composed in 1879. Each one has a distinct character, but Stanford allows for contrast in each. The opening piece is both expressive and contemplative. A livelier section in the middle briefly breaks the dreamy mood. The long lines of the original tempo reappear, but the playful gestures from the middle section return to end the piece. The second intermezzo begins a little more quickly and moves forward purposefully. Again, Stanford gives us a new mood in the center of the movement, in this instance, we feel the music becoming a bit more pensive and less carefree. Stanford saves the most playful mood for the final intermezzo. The central section of this intermezzo has a more rustic character, which slows things down a bit, all the better to set off the lively and frolicsome ending.

Ludwig van Beethoven, Quintet in E-flat for Piano & Winds, Op. 16 Beethoven composed the Quintet in E-flat for Piano & Winds in 1796. As with many of his early works, Beethoven was influenced by Mozart and Haydn. In this case, Beethoven seems to have looked closely at Mozart’s Quintet from 1784, which is scored for the same arrangement of instruments. The two works also share the same key. When Beethoven was working on the Quintet, he was also writing his Opus 18 string quartets, which were heavily influenced by Haydn. Of course, even at this early stage, Beethoven’s unique style emerges. It is heard most distinctly in the moody shift of dynamics and the texture of the writing. The piano in particular feels like Beethoven’s voice, introducing themes, carrying transitions, and showing off some lovely flourishes. There are three movements in the work, first beginning with a slow introductory section that might evoke the idea of hunting calls. This musical gesture returns and is bandied about by the ensemble even beyond the introduction. As the first movement continues, Beethoven uses the standard sonata form and allows for some interesting contemplation by the winds in the development section. Beethoven seems to let loose and have the most fun in the first movement’s substantial coda, which allows for wonderful moments in both the piano and the horn. The second movement is a rondo form, with the main theme introduced by the piano. Each reiteration of this melody emerges in a more ornate version. The slower tempo seems to give more space to the individual expression of each member of the ensemble. First the oboe steps into the spotlight, and then the bassoon provides a long beautiful melody. The horn in particular has some beautiful moments on its own. The Finale is a rollicking rondo, that barely stops to pause, even when a stormy section appears briefly. Again, Beethoven hints at the hunting calls, and the whole affair gallops away until the very satisfying final cadence.

Mikhail Glinka, Trio Pathétique in D Minor Mikhail Glinka is best known as the leader of the Russian nationalist school of composers. Some of his larger scale works are widely celebrated, but his smaller chamber works are often overlooked. The Trio Pathétique does not have the same nationalist flavor that one might expect from Glinka, but it’s a fairly early work, and the composer was still sorting through his influences. Indeed, he was traveling around Europe, meeting many composers, and hearing lots of new music. This work was composed in 1832 when Glinka was in Milan, studying at the Conservatory there. He was paying particular attention to Italian opera composers, specifically Bellini and Donizetti. The Trio was originally scored for piano, clarinet, and bassoon, but can also be played as a traditional

piano trio. The “Pathétique” of the title might refer to an unhappy romantic situation, as Glinka noted in the score “The only way I know love is by the pain it causes.” There are four movements, but in some ways, it feels more like a single movement with multiple sections, especially because the first three movements are played without pause. The opening is bold, with a main theme that feels passionate yet pensive. The three voices in the trio are remarkably balanced, and their conversation is one of equals. The scherzo is quick and playful, with contrast in the lyrical trio, which features the bassoon first and then the clarinet. The influence of the Italian composers Glinka had encountered is evident in his omission of a formal development in the first section and in the dramatic structure of the third movement Largo. After a brief pause, the finale begins. It is something of a recapitulation of earlier themes and motifs, which are divided into brief sections. The ending is solid, definite, and serious.

Bohuslav Martinu° , Sextet Czech-born composer Bohuslav Martinu° started his musical career on the violin, which he studied at the Prague Conservatory. His heart, however, was in composition. He moved to Paris and received lessons from Albert Roussel. He also heard jazz music, which was a great influence on him. In the 1930s, a streak of Czech nationalism would emerge in his work, but there is no trace of it in the Sextet. He composed the piece in 1929 and intended to enter it in a competition that had asked for a work for wind quintet with or without piano. He chose the somewhat unusual scoring of piano, flute, oboe, clarinet, and two bassoons, although the work is most frequently performed with a standard wind quintet with French horn replacing one of the bassoons. Replacing the traditional choice of French horn with a second bassoon yielded some unusual colors, which delighted Martinu° . The work didn’t win the competition, nor was it published in his lifetime, but it is quite charming. The influence of jazz and ragtime—which were popular in Paris in the 1920s—are evident. There are five movements. The Prélude brims with neo-classical flavor. The Adagio features long, beautiful melodies. The central movement is an entertaining scherzo for flute and piano. The fourth movement is titled “Blues” and highlights Martinu° ’s contemporary influences. The final movement is a fun affair with imitative writing, imaginative counterpoint, and plenty of syncopation.

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Anton Arensky

String Quartet in A Minor, Op. 35

30’00”

(1861 – 1906) I. Moderato II. Variations sur un thême de P. Tschaikowsky. Moderato III. Finale. Andante sostenuto Kristin Lee, The Bernard Gondos Chair in Violin; Richard O’Neill, viola; Ani Aznavoorian, Eric Byers, cellos

Ludwig van Beethoven

String Quartet in F Major, Op. 135

(1770 – 1827)

I. Allegretto II. Vivace III. Lento assai, cantante e tranquillo IV. Grave, ma non troppo tratto – Allegro

25’00”

The Calder String Quartet

INTERMISSION Felix Mendelssohn

Octet in E-flat Major, Op. 20

(1809 – 1847)

I. Allegro moderato con fuoco II. Andante III. Scherzo. Allegro leggierissimo IV. Presto

30’00”

Kristin Lee, Jason Uyeyama, violins; Richard O’Neill; Ani Aznavoorian; The Calder String Quartet

Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

NOVEMBER/DECEMBER NOTES By Andrea Moore

Anton Arensky, String Quartet in A Minor, Op. 35 The composer Anton Arensky first trained at the St. Petersburg Conservatory where he studied composition with Nikolai Rimsky-Korsakov. Following his studies, he moved to Moscow to teach at the Conservatory there. These two conservatories, founded by brothers Anton (St. Petersburg) and Nikolai (Moscow) Rubinstein, were central to Russia’s musical life, and had different musical aims and priorities. St. Petersburg became home to the “Mighty Handful,” a group of composers including Rimsky-Korsakov and Cesar Cui, who pursued the idea of a specifically “Russian” sound, while the conservatory in Moscow was closely associated with Tchaikovsky, and pursued a cosmopolitan orientation to composition and the development of virtuosic performers. During his faculty years at Moscow, Arensky forged a strong professional relationship with Tchaikovsky, to whose memory this quartet is dedicated. One scholar has written that the “elegiac vein was characteristic of Arensky,” and he is certainly effective at it in this piece. This is partly due to the unusual instrumentation: though accurately labeled “string quartet,” this piece dispenses with the second violin in favor of a second cello. The four movements each play with a theme, outlined in the score. The opening and closing of the first movement is based on a “theme religieux,” a setting of an Orthodox psalm. The second movement, Variations on a theme by Tchaikovsky, opens with a complete statement of the theme, which comes from Tchaikovsky’s song Legend from Children’s Songs, Op. 54. Arensky shows a great deal of ingenuity in the seven variations (and coda) that follow; in Variation II, for example, he sets the theme in the upper register of the second cello, while the violin and viola play almost unrelated, and quite orchestral, passages above. The rhythm of Variation III may evoke the second movement of Beethoven’s Symphony No. 7, itself elegiac in tone. The final movement has two stated themes—“La messe de Requiem” and “Chant national.” It opens with the first theme (from a Russian Orthodox funeral mass), played by muted instruments, and then transitions into a folksong (folksong was the basis for many claims of “nationalist” music), one used by Beethoven in one of the Op. 59 quartets, and by Mussorgsky in Boris Godunov—it will be familiar to many listeners. In doing so, Arensky both pays tribute to the complicated project of musical Russianness, and transforms it—at least briefly—into a statement of musical internationalism.

Ludwig van Beethoven, String Quartet in F Major, Op. 135 This is the last of the quartets, written in 1826 and premiered in 1828, after Beethoven’s death. It is the most indebted to Classical forms and gestures of the late quartets, returning (after the seven movements of Op. 131) to a traditional four-movement form. This is the third of Beethoven’s quartets in F major; the others are Op. 18, Nº. 1, his first string quartet, and Op. 59, Nº. 1. One of the characteristics of this piece is its alternating between what one scholar calls “childlike simplicity and demonic fury,” though levity generally wins out. The opening gesture, in the viola, evokes the Beethoven of the Fifth Symphony—the one who became irreversibly associated with the idea of “fate.” The viola’s darker timbre, the rhythmic uncertainty, and the nervous response from the first violin, all suggest a fraught journey ahead. But it quickly becomes apparent that Beethoven has something else in mind, as the first theme is established in F major, over a kind of walking bass line in the cello. No sooner is this established than Beethoven casts another shadow, with a short series of dissonant descending intervals, which again suggest a bleak movement unfolding; but this quickly resolves, by way of a run of triplets that will recur throughout, into major as well. All of this takes place within the first twenty measures of the piece, and the effect is of Beethoven joking with the listener, as though insisting that they lighten up. The second movement, Vivace, is rhythmically complex, with the main theme of its outer sections set in heavy syncopation. In the middle section, there is an abrupt and unmistakable shift from F major to G major—two keys that, despite their proximity on the keyboard, are quite distant in Western harmony—and the sudden brightening of the sound is thrilling. The process is reversed, with an extended diminuendo, to return to the home key. The third movement, in the remote key of D-flat major, is one of Beethoven’s most beautiful slow movements, and often described as “hymn-like” for its simplicity and tranquility. The first theme is introduced in the low register

of the first violin over gorgeous, slow-moving harmonies in the lower voices. The first variation shifts into C-sharp minor, and the long, flowing lines of the first theme are traded for a slower tempo and a halting, uncertain rhythm; likewise, the melody-accompaniment texture of the opening gives way to greater unison of texture. The first tempo returns for the second variation, which is similar to the opening in key and evokes the first theme. The last variation offers a fragmented version of the theme in the first violin, which transports it from the lower to the upper registers. The final movement is marked with the ambiguous phrase, “Der schwer gefasste Entschluss,” or roughly “The Difficult Resolution.” This is followed by two musical phrases, each setting a text: the first, “Muss es sein?” (“Must it be?”), and the second, repeated, “Es muss sein!” (“It must be!”). The first, which follows the contours of the language, becomes the slow, somewhat ominous introduction of the movement, and the second becomes the primary theme in the Allegro that follows. Beethoven scholars have grappled with the meaning of this question and answer, with conclusions ranging from the extension of a private joke to some of the great difficulties in Beethoven’s family life at the time. Near the end of the movement, Beethoven raises the question once more, before a pizzicato section leads to the ultimately optimistic conclusion.

Felix Mendelssohn, Octet in E-flat Major, Op. 20 Classical music history is full of child prodigies, and one of them was Felix Mendelssohn. The scion of a wellestablished German-Jewish family, Mendelssohn was the grandson of Moses Mendelssohn, the philosopher of the Jewish Enlightenment, and Felix’s family on both sides were granted political protection in Prussia. Despite these protections, the family gradually converted to Christianity: Felix and his sister, composer Fanny Mendelssohn Hensel, were baptized in childhood, and their parents converted by 1822. The family was wealthy, and hosted weekly concerts in their Berlin home, where the first performance of this Octet took place. Felix and Fanny received musical training from an early age, with their mother Lea, and other musicians during the family’s travels. Both performed as children, and Felix began to study organ and joined the Berlin Singakademie, which under the direction of Carl Friedrich Zelter, was devoted to 18th-century choral music. By 1820, Mendelssohn was underway as a composer, and produced two Singspiels at the age of 12. The Octet is often considered one of Mendelssohn’s first truly mature works, written when he was 16. The instrumentation is unusual, a combination of two string quartets. The composer made the most of the possibilities this ensemble offered: while the piece often features the first violin in a soloistic role, Mendelssohn also explored the potential of eight-part counterpoint, and made the most of the thick textures available to him. The first movement, in sonata form, is immense in scale, and is characterized by its relentless motion and partly by a dialogue between the first violin and the rest of the group. The second movement technically remains in the major home key, but is inflected by minor sonorities throughout. The Scherzo is remarkable; Fanny claimed it was influenced by Goethe’s Faust, specifically a scene depicting a kind of witches’ Sabbath, and in style this movement shares something of the magical quality of the next year’s Overture to a Midsummer Night’s Dream, full of trills and quick-moving gestures. The Finale opens with a display of contrapuntal skills, as each of the voices enters one at time with a statement of the propulsive first theme; the second theme takes the opposite approach, being written in thick unison textures. Listen, too, for what sounds an awful lot like a Handel quote from Messiah, specifically the music to the line “And he shall reign forever and ever.”

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JANUARY 2019 Sponsored by:

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Tuesday 8, 7:30 p.m. San Marino Thursday 10, 8:00 p.m. Los Angeles Friday 11, 7:30 p.m. Santa Barbara Sunday 13, 3:00 p.m. Ventura The Jordan and Sandra Laby Series

W. A. Mozart

Quintet for Piano & Winds in E-flat Major, K. 452

(1861 – 1906)

I. Largo – Allegro moderato II. Larghetto III. Allegretto

25’00”

Nicholas Daniel, oboe; Jose Franch-Ballester, clarinet; Peter Kolkay, bassoon; Martin Owen, horn; Molly Morkoski, piano

Francis Poulenc

Sextet

(1899 – 1963)

20’00”

I. Allegro vivace II. Divertissement: Andantino III. Finale: Prestissimo Adrian Spence, flute; Nicholas Daniel; Jose Franch-Ballester; Peter Kolkay; Martin Owen; Molly Morkoski

INTERMISSION Ludwig van Beethoven

Septet in E-flat Major, Op. 20

(1770 – 1827)

I. II. III. IV. V. VI.

45’00”

Adagio - Allegro con brio Adagio cantabile Tempo di menuetto Tema con variazioni. Andante Scherzo. Allegro molto e vivace Andante con molto alla marcia - Presto

Jose Franch-Ballester; Peter Kolkay; Martin Owen; Kristin Lee, The Bernard Gondos Chair in Violin; Richard O’Neill, viola; Ani Aznavoorian, cello; Timothy Eckert, double bass

Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

JANUARY NOTES By Andrea Moore

W. A. Mozart, Quintet for Piano & Winds in E-flat Major, K. 452 Mozart’s years in Vienna from 1784 to 1788 were some of the most productive in his career. Active as a performer, Mozart was also busily organizing subscription concerts during this time, and wrote a dozen piano concertos for those concerts in just under two years. He was also in great demand for private performances, which helped him professionally, as he could cultivate patrons and donors. In addition to his symphonies, piano concertos, and operas, Mozart was an exceptional composer for wind instruments. The small wind band, often called the Harmonie, was a popular 18th century ensemble. Smaller and more adaptable than a full orchestra, the Harmonie could perform outdoors, and its repertoire ranged from newly composed divertimenti (entertainment music) to arrangements of popular hits. Mozart’s contributions to the Harmonie include numerous divertimenti and serenades, as well as concertos for trumpet, clarinet, and four for horn, along with chamber music for winds that was not part of the Harmonie repertoire. The Quintet for Piano and Winds, K. 452, both reflects his preoccupation with the piano concerto, and draws on his skill in wind writing. The piece is scored for oboe, clarinet, horn, bassoon, and piano, a difficult combination in terms of tuning and blending; Mozart often solves such problems before they emerge by handing the melody around the woodwinds, rather than relying on unison playing throughout. The dialogue between winds and piano is part of the piece’s structure, and Mozart would use this newly found balance in his subsequent piano concertos, especially the K. 453. This piece is not quite concerto, nor serenade, but it has elements of both. The first movement, in sonata form, opens with a Largo introduction in which each instrument is given solo space. The second movement, in B-flat, presents the themes in a seamless sequence of entrances from the winds, each of which the piano restates near the end of the movement. The finale, Rondo, includes a cadenza for all five instruments.

Francis Poulenc, Sextet The French musical tradition of writing for winds has a different lineage from the German, tracing not necessarily to the Harmonie but to the works of Anton Reicha, a contemporary of Beethoven’s. Reicha taught at the Paris Conservatoire, where his students included Franz Liszt, and is best known now for his 25 wind quintets. A flutist by training, Reicha understood how to write for wind instruments, and saw a gap in the repertoire that he was eager to fill. Twentieth-century composers like Francis Poulenc, Jacques Ibert, and Darius Milhaud further explored this tradition. Poulenc was one of the composers known collectively as Les Six, a group of young French composers who advocated for simplicity and directness in musical expression, and who were influenced by Erik Satie and Jean Cocteau. While Poulenc may be best known for his opera, Dialogues des Carmélites, the Sextet is also one of his most popular pieces. Here he combines the traditional wind quintet instrumentation—flute, oboe, clarinet, bassoon, and horn—with piano. First written in 1932, Poulenc revised this piece in 1939. It opens with an explosive, ascending gesture, leading into a kind of sardonic dance. Later in the movement, a solo bassoon rumination disrupts things, followed by an extended lyrical and section, before the sudden recapitulation and coda. The second movement is titled Divertissement, referring to the lighter wind works of Mozart and others. The restrained opening gives way to a lively B section. The Finale is energetic, in a rondo form, and may evoke Stravinsky’s early ballets with its syncopated rhythms. The work is dedicated to Georges Salles, who was a curator at the Louvre and a friend of Poulenc’s.

Ludwig van Beethoven, Septet in E-flat Major, Op. 20 Beethoven’s Septet fits directly into the German lineage of wind music: its model is the divertimento form used extensively by Mozart, and this Septet in turn became a model for Schubert’s later Octet. This piece, from 1799, predates much of Beethoven’s larger-scale music, including his “Eroica” symphony (often considered a stylistic turning point), and is more melodically driven than much of his later works. While divertimenti were typically written for pairs of instruments, Beethoven adapted the form by writing for an unusual combination of single instruments. In 1799, he was completing work on his first big series of chamber works; thus, his emphasis on individual instruments can be seen as an extension of other projects, including piano trios, string trios, and the Opus 18 string quartets.

Continued on page 50

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Ludwig van Beethoven

Sonata for Piano & Violin in C Minor, Op. 30, Nº. 2

(1770 – 1827)

I. II. III. IV.

27’00”

Allegro con brio Adagio cantabile Scherzo. Allegro Finale. Allegro; Presto

Kristin Lee, The Bernard Gondos Chair in Violin; Gilles Vonsattel, piano

Piano Sonata in C Minor, Op. 111

I. Maestoso - Allegro con brio ed appassionato II. Arietta. Adagio molto semplice cantabile

30’00”

Gilles Vonsattel

INTERMISSION Steve Reich

Different Trains 27’00”

(b. 1936) I. America—Before the war II. Europe— During the war III. After the war Kristin Lee, Jason Uyeyama, violins; Richard O’Neill, viola; Ani Aznavoorian, cello

Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

FEBRUARY NOTES By Andrea Moore

Ludwig van Beethoven, Sonata for Piano & Violin in C Minor, Op. 30, No. 2 The early years of the 19th century were important for Beethoven—he wrote prolifically, but also began to share with a very small group his discovery that he was going deaf. In 1801, he wrote to an old friend from Bonn: “I must confess that I am living a miserable life. For almost two years I have ceased to attend any social functions, just because I find it impossible to say to people: I am deaf. If I had any other profession it would be easier, but in my profession it is a terrible handicap. As for my enemies, of whom I have a fair number, what would they say?” And in 1802, he wrote (though never sent) his famous “Heiligenstadt Testament,” a moving outpouring of anguish and emotion addressed to his two brothers, written in the small town of Heiligenstadt. While doctors were unable to do anything for Beethoven’s hearing loss, a few months later he wrote to another friend, indicating that life had got somewhat better, and certainly he wrote extensively during this and the years that followed, completing his second symphony within the year, along with several piano works, and the three sonatas for violin and piano, Op. 30. This sonata shares its key, C minor, with some of Beethoven’s most legendary works, in particular his Fifth Symphony, Third Piano Concerto, and the Pathétique Sonata. Much has been made of Beethoven’s use of this key as a vehicle for intense emotion and passion. Given the original designation of this work as “Three Piano Sonatas with the Accompaniment of a Violin,” it is perhaps not surprising to often hear the violin in a supporting role, playing arpeggiated chords and long tones as much as elaborate melodies and themes. Yet the constant balancing act between the two voices is also important. In the first movement, the piano’s elaborations often evoke the idea of a solo, and yet it is the violin that establishes the second theme. The slow movement is essentially a set of variations on a theme that is given a complete statement by both instruments. The very short third movement, Scherzo, shows off Beethoven’s often-overlooked sense of musical humor, as when the violin seems to test the waters with a few triplets, growing more and more obsessive about them over the course of a phrase. The Finale opens dramatically, with short phrases that span extremes of range and dynamics, and the jittery energy that results permeates the movement, which—somewhat unusually— does not make a transition to the major key, but ends with a short minor-key Presto.

Ludwig van Beethoven, Piano Sonata in C Minor, Op. 111 Beethoven’s 32 piano sonatas were written between 1793 and 1822, and helped transform the genre itself from a lighter, domestic entertainment kind of piece, into a legitimate outlet for a composer’s personal expression. This is the last of Beethoven’s sonatas, and it is in two movements, rather than the more usual three; when asked why, Beethoven apparently told his associate Anton Schindler that he had not had time to write a third movement, and so simply made the second movement longer. The publisher initially assumed the last movement was forthcoming, but Beethoven was occupied with other pieces—the Sonata Op. 110, and especially Missa Solemnis. Like Pathétique, this sonata opens with a slow introduction, leading into a conventional sonata form, but there the resemblance ends. The introduction ends with a long, low trill that picks up speed and establishes the new tempo Allegro con brio ed appassionato. Here, the primary theme takes us back to Beethoven at his most motivic, that is, building entire movements—even pieces—out of tiny musical fragments and phrases. The three emphatic octaves that comprise the theme (along with the triplet that leads to them) sound sinister in their first iterations, and yet the movement does not stay with that mood throughout. The development section features brilliant contrapuntal writing in the upper registers, and in major key areas. The movement is full of conflict—high/ low, major/minor, movement/stasis, fast/slow, all often in dizzying, dazzling proximity. Its eventual resolution into C major offers a gentle segue into the second movement, Arietta. This is just one example of Beethoven’s affinity for variation form in his later works, consisting of six variations on a theme. If the first movement is characterized by dualities, so is the relationship between the two movements—where the first is con brio ed appasionata, this one is molto semplice e cantabile. The theme is simple, and almost static—for Beethoven, this comes quite close to using silence as a musical element. The first variation offers a more elaborate meter and rhythm, as does the second; the dotted rhythms of the third variation have often astonished 20th and 21st century listeners, who hear in it an anticipation of boogie-woogie or swing. The fourth variation pulls back on the exuberance, with a more static iteration of the theme, which is nonetheless agitated by the relentlessness of the left hand. It is in this variation, too, that the music moves into the upper registers, getting farther and farther away from the low-register

intensity with which the piece began. The fifth variation is all but taken over by trills, contributing to the sense of stasis and silence. In the final variation, the theme moves higher than ever, perhaps one of the most ethereal passages in Beethoven’s output, and a final statement of the theme, completely enveloped by trills, affirms this movement’s sense of otherworldliness.

Steve Reich, Different Trains The American composer Steve Reich was born in 1936. He is part of a small group of composers whose work has been classified by critics and scholars as “minimalism,” although not always with the approval of the composers themselves. Whatever his ambivalence about the term, in his very early works, from the late 1960s and early 1970s, Reich did strive to reduce both the musical materials, and the means by which they were realized, to bare forces. It’s Gonna Rain, from 1965, is a recording of a street preacher in which two synchronized recordings gradually move out of sync, with interesting aural results of the slow process of staggering. In many of Reich’s subsequent works, he made use of what he called “phasing,” which duplicates that process as voices gradually “phase” in and out of unison with one another. Another small group of Reich’s works begins with this piece, Different Trains, and involves a technique the composer calls “speech-melody.” This involves using archival or original recordings of people speaking, and using the patterns of their speech as a basis for melodic or motivic material; the live and recorded sounds are then combined to make the piece. Different Trains uses oral histories from Holocaust survivors, as well as people in the composer’s life as its foundation. While Reich’s claim that Different Trains “accurately reflects the whole situation” has been rightly challenged, it is perhaps the most often performed piece that addresses the Holocaust. Steve Reich writes: “Different Trains, for String Quartet and pre-recorded performance tape, begins a new way of composing that has its roots in my early tape pieces It’s Gonna Rain (1965) and Come Out (1966). The basic idea is that carefully chosen speech recordings generate the musical materials for musical instruments. The idea for the piece came from my childhood. When I was one year old my parents separated. My mother moved to Los Angeles and my father stayed in New York. Since they arranged divided custody, I travelled back and forth by train frequently between New York and Los Angeles from 1939 to 1942 accompanied by my governess. While the trips were exciting and romantic at the time I now look back and think that, if I had been in Europe during this period, as a Jew I would have had to ride very different trains. With this in mind I wanted to make a piece that would accurately reflect the whole situation. In order to prepare the tape I did the following: 1. Record my governess Virginia, then in her seventies, reminiscing about our train trips together. 2. Record a retired Pullman porter, Lawrence Davis, then in his eighties, who used to ride lines between New York and Los Angeles, reminiscing about his life. 3. Collect recordings of Holocaust survivors Rachella, Paul and Rachel, all about my age and then living in America—speaking of their experiences. 4. Collect recorded American and European train sounds of the ‘30s and ‘40s. In order to combine the taped speech with the string instruments I selected small speech samples that are more or less clearly pitched and then notated them as accurately as possible in musical notation. The strings then literally imitate that speech melody. The speech samples as well as the train sounds were transferred to tape with the use of sampling keyboards and a computer. Three separate string quartets are also added to the pre-recorded tape and the final live quartet part is added in performance. Different Trains is in three movements (played without pause), although that term is stretched here since tempos change frequently in each movement. They are: 1. America—Before the war 2. Europe— During the war 3. After the war The piece thus presents both a documentary and a musical reality and begins a new musical direction. It is a direction that I expect will lead to a new kind of documentary music video theatre in the not too distant future.”

CAMERATA INTERACTIVE Camerata Pacifica has a significant digital presence, offering many resources to our audience members. A fun way to stay in touch is to “LIKE” and “FOLLOW” our Facebook and Instagram pages — there we post regular updates, stories, and photographs. Camerata Pacifica maintains audio and video libraries online. With over 1,000,000 visits, people around the world are enjoying these resources. Videos of live performances of the following pieces are available at: http://www.youtube.com/user/cameratapacifica

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• Auerbach, 24 Preludes for Cello & Piano, Op. 47 • Bach, Cello Suite No. 1 in G Major, BWV 1007 • Bach, Fugue BWV 1001 arr. for Marimba • Bach, The Goldberg Variations for Sting Trio (arr. Sitkovetsky) • Barber, String Quartet in B Major, Op. 11 • Bax, Quintet for Oboe & Strings • Beethoven, Clarinet Trio in B-Flat Major, Op. 11 • Beethoven, Quintet for Piano & Winds, Op. 16 • Beethoven, String Trio, Op 9, No. 3 • Beethoven, Violin Sonata in G Major, Op. 96 • Bennett, After Syrinx II • Bennett, Tango After Syrinx • Brahms Clarinet Quintet, Op. 115 • Brahms String Quintet No. 2 in G Major, Op. 111 • Brahms, Cello Sonata in E Minor, Op. 38 • Brahms, Piano Quartet No. 2, Op. 26 • Brahms, Piano Trio in B Major, Op. 8 • Bruce, Steampunk • Bruce, The Consolation of Rain • Caplet, Conte Fantastique • Clarke, Viola Sonata • d'Rivera, Bandoneon • Deane, Mourning Dove Sonnet • Debussy, Syrinx • Debussy, Violin Sonata • Destenay, Trio in B Minor for Piano, Oboe & Clarinet, Op. 27 • Dring, Trio for Flute, Oboe & Piano • Dvořák, Piano Trio No. 3, Op. 65 • Franck, Piano Quintet in F Minor • Ginastera, Sonata Para Piano No. 1, Op. 22 • Golijov, Mariel • Gounod, Petite Symphonie • Grieg, Violin Sonata in C Minor, Op. 45 • Haas, Suite for Oboe & Piano, Op. 17 • Harbison, Songs America Loves to Sing • Harbison, String Trio • Harbison, Wind Quintet • Haydn, Piano Trio in G Major • Howells, Sonata for Oboe & Piano • Janácek, Violin Sonata • Lizst, Transcendental études, No. 11 in D-flat Major • Loeffler, 2 Rhapsodies • Messiaen, Appel Interstellaire • Mozart, Adagio for Cor Anglais & Strings, K580a

• Mozart, Divertimento in E-flat Major, K 563 • Mozart, Serenade in C Minor, K. 388 • Mozart, Trio in E-flat Major, K. 498, “Kegelstatt" • Mozart, Violin Sonata in A, K 526 • Novacek, Four Rags for Two Jons • Puts, And Legions Will Rise • Reich, Sextet • Reinecke, Flute Sonata "Undine", Op. 167 • Rubinstein, Sonata for Viola & Piano, Op. 49 • Ruo, In Other Words • Ruo, To The 4 Corners • Saint-Saëns, Fantaisie for Violin & Harp, Op. 124 • Sarasate, Spanish Dances, Op. 22, “Romanza Andaluza” • Schubert, Divertissement sur des motifs originaux français, D.823 • Schubert, Piano Trio in E-flat Major, D. 929 • Shaw, Boris Kerner for Cello & Flower Pots • Sheng, Hot Pepper • Takemitsu, Towards the Sea • Turina, Piano Quartet in A Minor, Op. 67 • Wiegold, Earth, Receive an Honoured Guest • Wilson, Dreamgarden • Wilson, Spilliaert's Beach • Wolfgang, Vine Street Express • Xenakis, Dmaathen for Oboe & Percussion • Ysaÿe, Sonata No. 3 in D Minor for Solo Violin, Op. 27 • Zemlinksy, Thee Pieces for Cello & Piano Audio recordings of live performances of the following pieces are available at: http://www.instantencore.com/cameratapacifica • Auerbach, Prayer for English Horn • Auerbach, 24 Preludes for Cello & Piano • Bach, Sonata for Flute & Harpsichord in A Major, BWV 1032 • Beethoven, Trio for Piano, Clarinet & Cello No. 4 in B-flat Major, Op. 11 • Beethoven, Quintet for Piano, Oboe, Clarinet, Bassoon & Horn in E-flat Major, Op. 16 • Beethoven, Sonata for Violin & Piano No. 10 in G Major, Op. 96 • Brahms, Quintet for Piano & Strings in F Minor, Op. 34 • Chopin, Sonata for Cello & Piano in G Minor, B. 160/Op. 65 • Debussy, Danse sacrée et danse profane • Debussy, Première Rhapsodie for Clarinet & Piano • Grieg, Sonata for Cello & Piano in A Minor, Op. 36 • Harbison, Quintet for Piano & Strings • Haydn, Divertimento in G Major, Hob. XVI: 8 No. 9 • Klughardt, Schilflieder, Op. 28 • Lizst, Transcendental études for Piano, S. 139 • Loeffler, Rhapsodies for Oboe, Viola & Piano • Mendelssohn, Trio for Piano & Strings No. 1 in D Minor, Op. 49 • Mozart, Duo for Violin & Viola No. 1 in G Major, K. 423 • Mozart, Adagio for English Horn & Strings in C major, K Anh. 94 (580a) • Piazzolla, Histoire du Tango • Piazzolla, Oblivion • Piazzolla, Las Cuatro Estaciones Porteñas • Psathas, One Study • Rachmaninov, Sonata for Viola & Piano in G Minor, Op. 19 • Rheinberger, Nonet, Op. 139 • Rubinstein, Sonata for Viola & Piano, Op. 49, “Andante” • Ruo, To The Four Corners • Schoenberg, Verklaerte Nacht, Op. 4 • Schumann, Quartet for Piano & Strings in E-flat Major, Op. 47 • Shostakovich, Quintet for Piano & Strings in G Minor, Op. 57 • Turina, Quartet for Piano & Strings in A Minor, Op. 67 • Villa-Lobos, Capriccio, Op. 49 • Wilson, Dreamgarden • Wilson, Concerto for Violin & Chamber Ensemble, "Messenger" • Wolfgang, Vine Street Express

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Charles Ives

Piano Sonata No. 2, Concord, Mass., 1840–60 50’00”

(1874 – 1954) I. Emerson II. Hawthorne III. The Alcotts IV. Thoreau Adrian Spence, flute; Jonathan Moerschel, viola; Molly Morkoski, piano

INTERMISSION

Ludwig van Beethoven

String Quartet in E-flat Major, Op. 127

(1797 – 1828)

I. II. III. IV.

40’00”

Maestoso – Allegro Adagio, ma non troppo e molto cantabile Scherzando vivace Finale. Allegro The Calder String Quartet

Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

MARCH NOTES By Andrea Moore

Charles Ives, Piano Sonata No. 2, Concord, Mass., 1840-1860 Charles Ives was trained as a composer and organist, and devoted fourteen professional years to playing the organ. Yet his primary professional work was an insurance executive, who produced most of his musical works in off hours. His music has been understood as the foundation of the American experimental tradition, as the output of an amateur, as influenced by his father’s work as a bandmaster, as thoroughly programmatic; there is truth to each of these interpretations, and yet their variety suggests the difficulties of understanding a composer who worked so much outside the traditional musical institutions and circles. Some of Ives’ best-known works include Three Places in New England, The Unanswered Question, and From the Steeples and the Mountains. Although it is difficult to date the real beginnings of this piece, Ives seems to have had ideas for it as early as 1911. Some precursors to Concord include a set of orchestral pieces Ives intended to honor “Men of Literature,” including an Emerson Overture, a Hawthorne Piano Concerto, and another overture honoring the Alcotts. Each of these writers and thinkers had associations with the titular Concord, Massachusetts, the birthplace of Transcendentalism, a philosophy that, in scholar Kyle Gann’s words, “was a theological revolt against the Trinitarian and then Unitarian church on doctrinal grounds…they conceived of God as coextensive with the physical universe and every person as a part of God.” Ives gradually began reworking these pieces into music for solo piano, adding the figure of Thoreau to make a four-movement sonata. In 1920, Ives self-published the piece, along with a companion book, Essays Before a Sonata. In Essays, Ives writes of Ralph Waldo Emerson: “It has seemed to the writer, that Emerson is greater—his identity more complete perhaps—in the realms of revelation—natural disclosure—than in those of poetry, philosophy, or prophecy. Though a great poet and prophet, he is greater, possibly, as an invader of the unknown— America’s deepest explorer of the spiritual immensities—a seer painting his discoveries in masses and with any color that may lie at hand—cosmic, religious, human, even sensuous…” This would make a good description of the massive first movement, famously complex, chromatic, dense, and powerful. In talking to listeners, Gann has said: “I want you to surrender yourself to the first minute of the piece without trying to understand it, because Ives is trying to scare you away by playing all the themes of that movement at once. He’s trying to create the impression that Emerson’s writing had on him, with its piling up of ideas, its attempt to express a jumble of related truths all out of order in one paragraph. Just let it go by.” Of Nathaniel Hawthorne, Ives wrote in Essays, “Any comprehensive conception of Hawthorne, either in word or music, must have for its basic theme something that has to do with the influence of sin upon the conscience— something more than the Puritan conscience, but something which is permeated by it,” later adding, “This fundamental part of Hawthorne is not attempted in our music, which is but an extended ‘fragment’ trying to suggest some of his wilder, fantastical adventures into the half-childlike, half-fairyland phantasmal realms.” Pianist Jeremy Denk writes: “‘Hawthorne’ is essentially and fundamentally a joke. It is a fusion of several ‘supernatural’ episodes from Hawthorne’s short stories, including particularly that of the ‘Celestial Railroad.’ In this story, passengers book a cheap ticket to Heaven on a train, where much celebrating and drinking is going on; the passengers laugh at the slow-moving pilgrims outside the window, singing their hymns; but of course, their cheap ticket does not exactly take them to Heaven. This is the ‘theme’ of the movement perhaps, this dialectic, the constant interplay of the profane and sacred.” The third movement, The Alcotts, refers especially to the philosopher Bronson Alcott and his daughter, the author Louisa May Alcott, who fictionalized her family life in Little Women. This movement makes use of two hymn tunes, Martyn and Missionary Chant, as well as the opening motive of Beethoven’s Fifth Symphony (evoked at the very beginning, and multiple times throughout).

In Essays, Ives wrote: “And there sits the little old spinet-piano Sophia Thoreau gave to the Alcott children, on which Beth played the old Scotch airs, and played at the Fifth Symphony…And so we won’t try to reconcile the music sketch of the Alcotts with much besides the memory of that home under the elms—the Scotch songs and the family hymns that were sung at the end of each day—though there may be an attempt to catch something of that common sentiment (which we have tried to suggest above)—a strength of hope that never gives way to despair—a conviction in the power of the common soul which, when all is said and done, may be as typical as any theme of Concord and its transcendentalists.” It is in this movement that listeners first hear a complete statement of what Ives referred to as the “human-faith melody,” based on Beethoven’s Fifth, recast in a major key and combined with hymn melodies; parts of it appear in Emerson, too, though it is only once fully heard here that it becomes recognizable there. Of Thoreau, Ives wrote: “Thoreau was a great musician, not because he played the flute but because he did not have to go to Boston to hear ‘the Symphony.’ The rhythm of his prose, were there nothing else, would determine his value as a composer. He was divinely conscious of the enthusiasm of Nature…If there shall be a program for our music let it follow his thought on an autumn day of Indian summer at Walden—a shadow of a though at first, colored by the mist and haze over the pond…” Ives indicates in the score that this movement should be “in a lower dynamic ratio than usual.” The humanfaith melody reappears near the very end, demonstrating Ives’ commitment to and control of the overall formal structure of the sonata. In the near-century since Ives published this piece, decades of new music, often dissonant, rhythmically complex, referential, and ever-more virtuosic, may have taken the edge off of what was once the piece’s obscurity (though not its difficulty for performers). Perhaps one result of this is that audiences are well prepared for and receptive to Ives’s use of all these qualities.

Ludwig van Beethoven, String Quartet in E-flat Major, Op. 127 Although Beethoven received the commission from Prince Galitsin in late 1822, he did not complete the first of them, Op. 127, until 1825. He had some sketches toward a string quartet already, as he had tried to interest the publisher Peters in purchasing one in early 1822, but he broke off that project in order to complete the Ninth Symphony, the Missa Solemnis, and the Diabelli Variations. The new quartet was performed twice in March 1825, and critics were mixed in their response. There was some consensus that the piece was extremely complex and needed close attention (and ideally, more than one chance to hear it), but while some saw this is as a drawback, others were ecstatic. In the Berliner allgemeine musikalische Zeitung, Ludwig Rellstab wrote a few months after the premiere, “I [now] know what it is like for us when an immortal spirit in our midst has created something that will survive for centuries, and hand it over to us as an undeserved gift, since he himself still walks in our midst as a mortal being, who has organs and needs like our own…” A few years later in another paper, the anonymous critic identified only as “S” summed up the responses to the recently-deceased composer’s quartet: “The judgments about the last works of this master are, in general, very diverse, indeed often selfcontradictory. Some say that one can find nothing more beautiful and magnificent than precisely the quartet mentioned here; it is the most elevated thing that musical art can produce. Others, on the other hand, say no, everything here is unclear, everything chaotic; there is not even any clear idea to bring out; indeed, the generally accepted rules are sinned against in every measure; the composer, who is, after all, deaf, must indeed have been mad when he called this piece of music to life.” The key of E-flat is also the key of the Eroica Symphony, the “Emperor” Piano Concerto, and string quartet Op. 74. This quartet opens with a short introduction marked Maestoso. A slower introduction to a sonata form is not unusual for Beethoven, but in this movement, the short Maestoso passage returns twice (once in G major, once in C major), thus becoming an element of the structure rather than just a prelude. The second movement in A-flat is a theme and variations with a coda, a form Beethoven used frequently in his late works (most of the late quartets Continued on page 50

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Ludwig van Beethoven

String Trio in G Major, Op. 9, Nº. 1

(1770 – 1827)

I. Adagio - Allegro con brio II. Adagio ma non tanto e cantabile III. Scherzo. Allegro IV. Presto

30’00”

Paul Huang, The Bob Christensen Chair in Violin; Paul Coletti, viola; Ani Aznavoorian, cello

W. A. Mozart

Piano Quartet in G Minor, K. 478

(1756 – 1791)

I. Allegro II. Andante III. Rondo

30’00”

Paul Huang; Paul Coletti; Ani Aznavoorian; Warren Jones, The Robert & Mercedes Eichholz Chair in Piano

INTERMISSION Franz Schubert

String Trio in B-flat Major, D. 471

13’00”

(1797 – 1828) Paul Huang; Paul Coletti; Ani Aznavoorian

Johannes Brahms

Sonata in A Major for Violin & Piano, Op. 100

(1833 – 1897)

I. Allegro amabile II. Andante tranquillo – Vivace III. Allegretto grazioso, quasi Andante

25’00”

Paul Huang; Warren Jones

Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

APRIL NOTES By Andrea Moore

Ludwig van Beethoven, String Trio in G Major, Op. 9, Nº. 1 By the time Beethoven wrote the three string trios that comprise his Op. 9, in 1797-98, he had already been in Vienna for several years, having left his hometown of Bonn in 1792. Having seen his two brothers through their own moves to Vienna, Beethoven began touring in early 1796, performing in Prague, Dresden, and other important musical centers; near the end of that year, he is known to have performed in Pressburg. Very little is known about his activities the following year, as there are only a few remaining letters. However, he did publish several works that year, including his Op. 5 Cello Sonatas and his Piano Sonata in E-flat, Op. 7. This period of chamber music writing continued the following year, when the three piano sonatas of Op. 10 were published, as well as the three string trios of Op. 9—this is the first of these. The trios are dedicated to Count Johann Georg von Browne, a Latvian of Irish descent who rose through the ranks of the Russian Imperial Army, and upon moving to Vienna, became one of Beethoven’s early patrons there. The dedication of Op. 9 calls Browne “the foremost patron of his (Beethoven’s) muse,” and Beethoven dedicated other works to Browne and to Browne’s wife, Anna Margaretha. The first movement opens with a slow introduction, followed by the marking “Allegro con brio,” which launches the sonata form proper. Despite the formal antagonism of the two themes, this movement is largely without too much drama. The second movement, Adagio, ma non tanto, e cantabile, is in a serene triple meter, and emphasizes triplets in its primary theme, played first by the violin and echoed by the lower strings. The Scherzo is waltz-like, and built on a series of repeated phrases. In the middle section, the key changes to C major without warning or preparation, and the dynamic grows quieter, the rhythm more straightforward. The finale, marked “Presto,” is another sonata form. This one offers more contrast than the first movement’s: the first theme is quick, intense, and something of a moto perpetua, while the second is broader, smoother, and more chromatic, a descending line played in the upper strings. The piece ends with a return of the perpetual motion, this time marked by dynamic extremes.

W.A. Mozart, Piano Quartet in G Minor, K. 478 In 1785, Mozart signed a contract with the music publisher Franz Anton Hoffmeister, to write three piano quartets. Hoffmeister likely intended to promote these works in the growing amateur market, but the complexity and scale of K. 478, the first of them, made the piece unpopular with listeners and an unlikely hit with amateurs. Hoffmeister graciously allowed Mozart to keep the balance of his advance, but declined to proceed with the terms of the contract. This piece is in G minor, a key that seems to have had special significance for Mozart. His Symphony No. 40, the so-called “Great G Minor Symphony,” is one of his best-known works, and one of only two symphonies in minor keys that he wrote (the other, No. 25, is also in G minor). The musicologist Alfred Einstein referred to G minor in K. 478 as “the key of fate,” in much the same way that C minor has been interpreted in Beethoven. The intensity of the piece’s opening, a dramatic unison statement, may remind some listeners of the opening of Symphony No. 25. The piano part is especially virtuosic, suggesting a connection between the piano quartet form and the early piano concertos of composers like Johann Christian Bach and others. In this piece, the piano changes roles rapidly, now part of the complete, now a solo instrument, now taking a kind of orchestral role, introducing the second theme, and so on. The second movement opens with an introduction from the piano, in the relative major key of B-flat, and the overall tone of the movement is intimate, reflective, and elegant. Mozart made good use of the rondo form—perhaps most famously, with his Rondo alla Turca—and in the final movement of this piece, he switches to G major and begins offering one complete melody after the next. The dialogue between strings and piano, hinted at in the opening movement, becomes especially apparent here, as does Hoffmeister’s judgment: the virtuosity required would clearly have been beyond most amateurs.

Franz Schubert, String Trio in B-flat Major, D. 471 In his short lifetime (1797-1828), Franz Schubert wrote prolifically across some of the most important genres of his time, particularly symphonies, string quartets, piano sonatas, and Lieder. A violinist himself, he wrote his first string quartets as a young teenager, before setting the genre aside for several years to focus on Lieder and other works. During that time, he also struggled with his professional path, getting certified as a schoolteacher at age 16 (the profession of his father and brothers), while also taking composition lessons with Antonio Salieri and hoping to eventually become self-supporting as a composer. Beginning in 1814, Schubert began a remarkable period of musical productivity. Among other things, he wrote about 150 Lieder in the year 1815 alone, as well as two string quartets, two symphonies, two Masses, and more. He also wrote two string trios: this one in 1816, and D. 581 the next year. While D. 581 is a complete work in four movements, this piece is unfinished, consisting only of the first movement and fragments of the second. The string trio repertoire is small, perhaps partly because of the textural and harmonic challenges it creates for composers accustomed to thinking of harmony in four parts. Of the canonic Viennese composers who so influenced Schubert, Haydn wrote several such trios; Mozart’s K. 563 is a large-scale work for string trio that he oddly titled Divertimento; and of course Beethoven’s early Op. 9, from 1798, comprises three string trios. The surviving movement of this Trio has become a staple of the chamber music repertoire. It shows the young Schubert’s preoccupation with the Viennese classical style, as well as his remarkable gifts for melody and string writing. In a standard sonata form, this piece was likely performed in a domestic setting, possibly with Schubert playing violin, and was not published until 1898.

Johannes Brahms, Sonata in A Major for Violin & Piano, Op. 100 Johannes Brahms wrote chamber music across many genres and instrumentations, including string quartets, piano trios, several late works that prominently feature the clarinet, and three violin sonatas. The musicologist Walter Frisch writes that with this output, Brahms “revived chamber music after the death of Schumann, one of its greatest Romantic practitioners, and defined it for the later 19th century.” That Brahms features so prominently on chamber music concerts around the world can be attributed not only to audiences’ devotion to his music, but performers’ equal love of playing his works. Brahms wrote this work in the summer of 1886, which he spent in the town of Thun, Switzerland. It was customary for those who could to leave the sweltering cities during the summers; for Brahms, his times away from Vienna were periods of respite and contemplation, as he took long walks in the countryside and visited with friends, but also of intense productivity. In addition to this sonata, Brahms also wrote the Cello Sonata Op. 99, Nº. 2, the Piano Trio Op. 101, Nº. 3, and several Lieder during this summer in Thun. The first movement quotes one of Brahms’s Lieder, Komm Bald! and the finale also includes snippets from his songs. The piece opens with a kind of question, a partial phrase in the piano that ends on an ambiguous chord. This becomes the first theme of the sonata form. In the second movement, Brahms combines what might have been two movements, an Andante and a Scherzo, alternating between gorgeous, extended song-like lines, and triplemeter jocularity. The final movement is a rondo, and shows off Brahms’s exceptional melodic gifts, opening with an extended melody played by the violin over a simple chordal accompaniment. Again, this evokes the structure of art-songs, and Brahms may have been thinking of Lieder when he wrote this; he was visited that summer by the soprano Hermine Spies, and wrote several songs for her to perform. The pianist and composer Elisabeth von Herzogenberg said of this piece, “The whole sonata is one caress.”

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Ludwig van Beethoven

The Kiss, Dear Maid, Thy Lip Has Left, WoO 153, Nº.9

3’00”

The Return to Ulster, WoO 152, Nº.1

5’00”

The Pulse of an Irishman, WoO 154, Nº.4

3’00”

(1770 – 1827)

Andrew Garland, baritone; Benjamin Jacobson, violin; Eric Byers, cello; Tamara Sanikidze, piano

String Quartet in B-flat Major, Op. 130

I. Adagio ma non troppo II. Presto III. Andante con moto ma non troppo IV. Alla danza tedesca. Allegro assai V. Cavatina. Adagio molto espressivo VI. Finale. Allegro

40’00”

The Calder String Quartet

INTERMISSION

Johannes Brahms

Four Serious Songs, Op. 121

(1833 – 1897)

I. II. III. IV.

20’00”

Denn es gehet dem Menschen. Andante Ich wandte mich und sahe an alle. Andante Tod, wie bitter bist du Bass. Grave Wenn ich mit Menschen und mit Engelszungen redete. Con moto ed anima Andrew Garland; Tamara Sanikidze

Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

MAY NOTES By Andrea Moore

Ludwig van Beethoven, The Kiss, Dear Maid, Thy Lip Has Left, WoO 153, Nº. 9 The Return to Ulster, WoO 152, Nº. 1 The Pulse of an Irishman, WoO 154, Nº. 4 Most of Beethoven’s works have an Opus number, that familiar indication of a work’s place in a composer’s catalog. However, there are over 200 additional works classified by the “WoO” numbers, meaning “Werk ohne Opuszahl,” work without opus number. Many of these were published in Beethoven’s lifetime without an opus number, while some others are only extant in partial or fragmentary form. The WoO catalogue was created in 1955 by two German musicologists, and covers all kinds of works, including many for wind band, chamber music collections, and more than a dozen sets of variations. Also among the WoOs is a remarkable collection of folksong arrangements—around 180 altogether—including the three sets from which these songs are drawn. Originally commissioned by the Scottish publisher George Thomson beginning in 1809, Beethoven worked on these songs for years, eventually extending his arrangements to include non-British songs. WoO 158a, for example, is referred to as “23 songs of various nationality,” and includes German, Danish, Polish, Portuguese, and Spanish songs. The Kiss, Dear Maid, Thy Lip Has Left sets a text (“On Parting”) by Lord Byron. Typical of these arrangements, the accompaniment is piano trio, although Beethoven’s idea seems to have been that they could be performed only with piano and voice. This would have been especially appealing for the likely purchaser of these scores, a member of the emerging middle-class, with an interest in domestic music-making. At the same time, as is true in each of these three songs, the string parts add a great deal of musical interest, the cello especially sometimes taking a very lyrical role. The Return to Ulster is characterized by a minor key, and a somewhat foreboding character, and in The Pulse of an Irishman, Beethoven’s real work is in the elaborate instrumental introduction and coda. While Beethoven is obviously remembered and performed for his more prestigious genres (symphony, string quartet) he dedicated enough time to these songs that in 1819, the Leipziger Allgemeine Zeitung lamented: “Beethoven is now devoting all his energies to arranging Scottish songs and seems to have lost interest in working on larger projects.”

Ludwig van Beethoven, String Quartet in B-flat Major, Op. 130 This is the third of the quartets Beethoven wrote for Prince Galitsin (and thus one for which he wasn’t paid). Its form is different from that of Op. 127 or 135, as it has five movements; additionally, the final movement is a replacement for the original, which was too difficult for most players. Fortunately, that original finale survives in the form of Op. 133, the Grosse Fuge, which is considered one of Beethoven’s late quartets in its own right. (Of the Grosse Fuge’s first performance as part of this quartet, a Viennese critic demonstrated that it was too difficult for listeners, too, writing “But the reviewer does not dare to interpret the sense of the fugal finale; for him it was incomprehensible, like Chinese…Perhaps so much would not have been written down if the master were also able to hear his own creations.”) As in Op. 127, this piece opens with a slow introduction, which then becomes part of the movement’s structure, recurring almost immediately. The shifts between Andante and Allegro are especially prevalent; in the second movement, Presto, is a scherzo and trio, that switches both meter and key for its middle section. Much of the movement is a dialogue between the first violin and lower strings. The third movement is a study in subtle disruptions. Opening with an unmistakable “sighing” gesture (a long-standing musical trope involving a falling pair of notes), the tempo is unhurried, yet the activity is constant. There are sudden and brief shifts to pizzicato, which yield to the almost naïve melodies. The rhythmic steadiness of the primary themes occasionally shifts into dotted rhythms. The overall feeling is of something light, maybe hearkening back to entertainment music like divertimentos. The third movement is in D-flat major, the next in G major—the two keys most distant from one another in all of Western harmony. This fourth movement, (Alla danza tedesca, in the manner of a German dance) shows Beethoven’s deep affinity for folk-like music in his late works. The drones in the lower strings, the waltz-like rhythms, and the ongoing elaborations of a simple melody combine with the straightforward key of G major to create the impression of simplicity. In 1977, the Voyager spacecraft was launched into space, carrying (among other things) two “Golden Records.” According to JPL, these recordings, overseen by Carl Sagan for NASA, were intended to send a message to any “extraterrestrials who might find the spacecraft.” Accordingly, they included greetings in 55 languages, images, and sounds like bird and whale songs, thunder, and more. They also included a large selection of musical works, ranging from a movement of a Brandenburg Concerto to Georgian choral music, to ragas to Senegalese percussion. Among these tracks is a recording of the fifth movement of this quartet, the Cavatina, recorded by the Budapest String Quartet. The significance given to this movement speaks to its remarkable beauty and depth. In opera, a Cavatina is a simple, straightforward solo vocal movement (as opposed to the more virtuosic aria), and here the first violin takes that role. The movement is reflective and deeply expressive. According to Beethoven’s friend Karl Holz, this was Beethoven’s favorite quartet movement; Holz wrote “He truly composed it in tears of melancholy…

even the recollection of its emotions always cost him fresh tears.” The final movement, Beethoven’s replacement for the Grosse Fuge, is highly Classical in style, a rondo built on balanced phrases, and characterized by its clarity of texture and—despite its intensity and trip into a minor key—its exuberance. It was the last thing Beethoven wrote.

Johannes Brahms, Four Serious Songs, Op. 121 During the last decade of his life, Johannes Brahms lost a number of friends, some of them quite young. Among them was the pianist and composer Clara Schumann, with whom Brahms shared an intense closeness, who died in 1896. Perhaps sensing his own mortality, Brahms declared in 1890 that he was finished composing, a claim he repeated a few years later when the first one didn’t take. While it is tempting to assume that there are “unique qualities of perception and form that artists acquire in the late phase of their career,” as the late scholar Edward Said wrote, and to seek evidence of a “new spirit of reconciliation and serenity” in late works, Said also argued that “late style” could just as easily demonstrate “intransigence, difficulty, and unresolved contradiction” as harmony and resolution. These songs, written in 1896 (a year before Brahms’s own death) may be exemplary of both these tendencies. Brahms chose Biblical texts for these pieces, using Martin Luther’s translation into the German (he had used Luther’s translations in his Deutsches Requiem, as well). While the songs are dedicated to the artist and writer Max Klinger, the real subject may in fact have been Clara Schumann, who had suffered a stroke and whose own death was drawing near. Despite this weightiness (or “seriousness”), there is a hint of Christian theology and its ideas of redemption in the structure of the piece: of the first three songs, two are texts from Ecclesiastes, and one from the quasi-apocryphal book of Sirach, but the last song is from the Christian Bible. Brahms’s gift for melody and drama is apparent throughout, perhaps nowhere so much as in the opening of the third song, with its text—“O Tod, O Tod, wie bitter” (“oh death, how bitter”), set as a falling gesture in the voice, echoed by highly dramatic and overwrought chords in the piano. When the text reverses its position—”O death, how welcome”—Brahms completely changes the music as well, switching to long melodies and a gentle, constant pulsing in the piano, although the intensity soon returns. The final song sets a text from Corinthians, and opens somewhat exuberantly. The middle section becomes far more lyrically, with rolling triplets in the piano, and long melodies in the vocal line. The final line may suggest that Brahms indeed found his way to a “spirit of reconciliation”: “Now abide faith, hope, and love: but the greatest of these is love.”

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September/October Notes, continued from page 13 in our repertoire. The Torre Bermeja is one of the gates of the Alhambra, the magical Moorish fortress in the Andalusian city of Granada. Here Albéniz conjures up both the joyous present and the brooding ghosts of the tragic past.

Ernesto Halffter, Habanera (arr. Eliot Fisk) In 1985 at the suggestion of Andrés Segovia, Fisk was engaged to resurrect the Concierto para Guitarra of Ernesto Halffter, whose 80th birthday was being celebrated in a gala concert in Madrid. During one glorious week Fisk worked with Maestro Ernesto on the Concierto and also tried to convince him to write a new solo work for the guitar. Nothing ever came of the latter, but not long after that visit Fisk began to play his transcription of the delicious Habanera, originally composed for the piano.

Isaac Albéniz, Sevilla (arr. Eliot Fisk) Certainly Sevilla is one of the most successful guitar transcriptions among the piano works of Albéniz. Ever since Tárrega made the first guitar version in the late 19th century, successive generations of guitarists have had their hand at adapting the work anew. Fisk’s own approach mixes a return to some aspects of the piano original with improvised effects borrowed from flamenco style.

January Notes, continued from page 30 The violin part was written for the virtuoso Ignaz Schuppenzigh, and has a prominent solo role, complete with cadenzas, that sets it apart from the rest of the ensemble. The piece was an almost instant success; Beethoven came to resent its popularity (the piece is described in the Grove Dictionary of Music and Musicians as “amiable but rather mindless”), feeling that demand for the piece was overshadowing his later achievements. The first movement has an Adagio introduction, which Beethoven also used in his First and Second symphonies; this is a descendant of the 18th century serenade, and is followed (as in the symphonies) by an Allegro con Brio. The lyrical second movement is true to its name—Adagio cantabile, or slowly, and in a singing style. (Beethoven marked the famous second movement of the “Pathétique” sonata the same way). The Minuet’s melody might be familiar to anyone who has studied piano—it comes from the Op. 49, N°. 2 Sonata, a favorite for beginners. In the fifth movement, Beethoven explores the various timbres and possibilities of the ensemble in a theme and variations; the character of this movement is clearly meant to be folk-like. The Scherzo brings the horn to the foreground, where it engages with the violin and cello. The final Presto, preceded by a stately march, takes the tempo up and closes the piece with a dizzying series of instrumental dialogues.

March Notes, continued from page 41 include a set of variations). The long, lyrical theme is built from the bottom up, beginning with a pulsing note in the cello, which then works with the first violin to establish the melody. The first variation maintains this pairing, while the second gives the second violin a more prominent role. Near the end of the movement, the second violin and viola establish a pulse that evokes the opening gestures. The third movement, Scherzando, returns to E-flat and begins with a pizzicato, yielding to two small motives that become the basis for the movement, both introduced by the cello. The first is a four-note dotted rhythm, the second a three-note gesture with a trill. The Trio section moves at a breakneck pace and has a more unified texture in the accompaniment voices; this material breaks in briefly in the second A section before being abruptly halted. The Finale is another sonata form and offers an excellent example of Beethoven’s use of folk-like melodies; the odd patterns of accents also create a sense of music for dance. In the coda, Beethoven changes meters abruptly, shifting from 4/4 into 6/8, rewriting the familiar theme to match the new meter and traveling through multiple key areas, by way of elaborate scale passages, in a short amount of time. The cello anchors the eventual return to E-flat, and the whole piece nearly ends before Beethoven interjects with one last round of runs into the final cadence.

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CAMERATA PACIFICA Principal Artists Ani Aznavoorian, PRINCIPAL CELLO The Strad magazine describes cellist Ani Aznavoorian as having “Scorchingly committed performances that wring every last drop of emotion out of the music. Her technique is well-nigh immaculate, she has a natural sense of theater, and her tone is astonishingly responsive.” Ms. Aznavoorian is in demand as a soloist and chamber musician with some of the most recognized ensembles, and she has appeared with many of the world’s leading orchestras including the Chicago Symphony Orchestra, the Boston Pops, the Tokyo Philharmonic, the Helsinki Philharmonic, the Finnish Radio Symphony, the International Sejong Soloists, the Belgrade Philharmonic, the Juilliard Orchestra, and the Edmonton Symphony. This season marks Ms. Aznavoorian’s thirteenth year as Principal Cellist with Camerata Pacifica. Ms. Aznavoorian received the prestigious Bunkamura Orchard Hall Award for her outstanding cello playing and artistry. Some of her other awards include first prizes in the Illinois Young Performers Competition (televised live on PBS with the Chicago Symphony), the Chicago Cello Society National Competition, the Julius Stulberg Competition, and the American String Teachers Association Competition. She was a top prizewinner in the 1996 International Paulo Competition, held in Helsinki, Finland. As a recipient of the Level I Award in the National Foundation for the Arts Recognition and Talent Search, Ms. Aznavoorian was named a Presidential Scholar in the Arts and performed as soloist at the Kennedy Center in Washington, D.C. where she met former U.S. President Bill Clinton. As a first-year student at The Juilliard School, Ms. Aznavoorian won first prize in the institution’s concerto competition—the youngest cellist in the history of the school’s cello competitions to do so. As a result, she performed with the Juilliard Orchestra in a concert with conductor Gerard Schwarz at Avery Fisher Hall. With only 12 hours notice, Ms. Aznavoorian stepped in to replace Natalia Gutman in three performances of the Shostakovich Cello Concerto No. 1 with the San Jose Symphony—concerts that were hailed by the San Jose Press. Other notable appearances include concerts at Weill Hall and Zankel Hall at Carnegie Hall, Alice Tully Hall, Ravinia’s Bennett Hall, Aspen’s Harris Hall, the Dame Myra Hess Memorial Concert Series, WFMT Live from Studio 1, and NPR’s Performance Today. She has been a member of the renowned string ensemble the International Sejong Soloists, and also performs frequently on the Jupiter Chamber Music series in New York. Ms. Aznavoorian received both her Bachelor and Master of Music degrees from the Juilliard School where she studied with Aldo Parisot. In addition to performing, teaching plays an important part in Ms. Aznavoorian’s career. She has been a member of the distinguished music faculty at the University of Illinois in Champaign/Urbana, and in the summers has served on the faculty of the Great Mountains Music Festival in South Korea. Ms. Aznavoorian enjoys performing new music and has made the world premiers of many important pieces in the cello repertoire. Some of these include Ezra Laderman’s Concerto No. 2 with the Colorado Springs Philharmonic under the baton of Lawrence Leighton Smith, Lera Auerbach’s 24 Preludes for Cello and Piano on stage at the Hamburg Staatsoper with the Hamburg State Ballet— choreographed by John Neumeier, and Lera Auerbach’s Dreammusik for Cello and

Chamber Orchestra, which was written for her and commissioned by Camerata Pacifica and Sandra Svoboda. In addition to return engagements at chamber music festivals around the globe, the 2017-2018 season included a debut concert tour of Armenia, the country of her ancestors. Ms. Aznavoorian records for Cedille Records, and she proudly performs on a cello made by her father Peter Aznavoorian in Chicago.

Nicholas Daniel, PRINCIPAL OBOE Nicholas Daniel has long been acknowledged as one of the world’s great oboe players, and is one of Britain’s best known musicians. In a distinguished career that began more than four decades ago he has become an important ambassador in many different musical fields, most recently the “Every Child a Musician” campaign, and has significantly enlarged the repertoire for his instrument with the commissioning of hundreds of new works. Nicholas dedicates his life to music in many varied ways. He records and broadcasts widely, and he boasts a huge following internationally on social media particularly on YouTube with over 1,000,000 views. He has directed several music festivals and concert series, most notably in Germany and Dartington, and has been Music Director of the highly successful Leicester International Music Festival and lunchtime series for many years. He is much in demand as a teacher and is Professor at the Trossingen Musikhochschule in Germany and at the Guildhall School of Music and Drama in London. In recognition of his achievements he was honoured in 2012 by Her Majesty Queen Elizabeth II with the prestigious Queen’s Medal for Music, and cited as having made “an outstanding contribution to the musical life of the nation”. Having sung in the choir of Salisbury Cathedral as a boy, Nicholas was put directly into the spotlight at the age of 18 when he won the BBC Young Musician of the Year competition. After a short period of study at London’s Royal Academy of Music he quickly established his career with early debuts at the BBC Proms and on disc. He has been a concerto soloist with many of the world’s leading orchestras and conductors, performing a huge range of repertoire from Bach to Xenakis and beyond, premiering works written for him by composers including Harrison Birtwistle, Henri Dutilleux, James MacMillan, Thea Musgrave, John Tavener and Michael Tippett, as well as encouraging many younger composers to write for the oboe. His recording of concertos by Vaughan Williams and MacMillan was awarded the BBC Music Magazine Premiere Award in 2016. As a chamber musician, as well as being a Camerata Pacifica Principal Artist, Nicholas is a founder member of the award-winning Britten Sinfonia, the Haffner Wind Ensemble and the Britten Oboe Quartet, and is a popular guest at music festivals all over the world. Nicholas Daniel is proud to play Marigaux Oboes, including the world’s first “fairtrade” Mozambique Mpingo wood Oboe, certified by the Forest Stewardship Council and made especially for him in Paris.

Timothy Eckert, PRINCIPAL DOUBLE BASS Described by Placido Domingo as “an artist of musicality and dedication” (Los Angeles Times), Timothy Eckert enjoys a dynamic career in Los Angeles as a double bassist and composer. He performs as Principal Bass for Camerata Pacifica and as a member of the Los Angeles Opera Orchestra. Additionally, he has appeared across Southern California with ensembles including the Los Angeles Philharmonic, Los Angeles Chamber Orchestra, LA Master Chorale, and the Santa Barbara and Pasadena Symphonies. An avid chamber

musician, Timothy has performed at the Idyllwild Chamber Music Festival and on Santa Monica’s Jacaranda series. Past orchestral positions include the Long Beach Symphony and assistant principal bass with the Kalamazoo Symphony. Timothy is active in the recording industry, having performed live or in studio with a diverse array of artists including Eric Clapton, Madonna, Bjork, Alanis Morrisette, Bon Jovi, Disturbed, and the Dave Matthews Band. Composers whose scores he has played on include Thomas Newman, Joseph Trapanese, John Debney, Hans Zimmer, Alan Silvestri, James Horner and Jerry Goldsmith, among others. Writing in a broad range of styles, his compositions are heard worldwide in hundreds of television series on networks such as CBS, ABC, Bravo, E!, History, MTV, Discovery and National Geographic. From Nova to the Kardashians, Hunting Hitler to Jesus Conspiracies, and RuPaul’s Drag Race to Toddlers & Tiaras, Timothy has about covered it all. He has performed extensively at the Aspen Music Festival, where he was twice awarded fellowships, and at the Spoleto Festival in Italy, where he served as principal bass of the Spoleto Opera. Timothy holds a Master of Music degree from Indiana University, studying with Bruce Bransby, where he was awarded the prestigious Performer’s Certificate. Working with Paul Ellison he completed the Advanced Studies Program at USC. He has also participated in renowned bassist Franco Petracchi’s master class at the Accademia Chigiana in Siena, where he was awarded the Diploma di Merito, and at the Sermoneta Corsi di Perfezionamento. Additionally, he is an alumnus of the Music Academy of the West, studying with Nico Abondolo, and the Aspen Music Festival as a student of Paul Ellison, Bruce Bransby and Eugene Levinson.

Jose Franch-Ballester, PRINCIPAL CLARINET The multi-award-winning Spanish clarinetist Jose Franch-Ballester is considered one of the finest classical soloists and chamber music artists of his generation. He has been hailed for his “technical wizardry and tireless enthusiasm” (The New York Times), and his “subtle and consummate artistry” (Santa Barbara Independent). The recipient of a prestigious Avery Fisher Career Grant in 2008, and winner of both the Young Concert Artists and Astral Artists auditions, he is a solo artist and chamber musician in great demand. Mr. Franch-Ballester is a recently-appointed Assistant Professor of Clarinet and Chamber Music at the University of British Columbia in Vancouver, Canada. Mr. FranchBallester regularly performs as the Principal Clarinetist at Camerata Pacifica in Santa Barbara, California and appears with The Chamber Music Society of Lincoln Center in New York. As a concerto soloist, he has performed with orchestras such us the BBC Concert Orchestra, Louisville Orchestra, Santa Barbara Chamber Orchestra, Malaysian Philharmonic Orchestra, Orquesta Sinfonica Nacional of Mexico, I Musici Montreal, and Orquesta of the Radio Television in Spain, among others. He collaborates regularly with chamber music festivals around the globe such as Music@Menlo, Mainly Mozart, Chamber Music Northwest, Nexus Festival Tokyo, Westport Festival Ireland, Kon-Tiki Festival Norway and the Dresden Music Festival. Born in Moncofa into a family of musicians, Mr. Franch-Ballester graduated from the Joaquin Rodrigo Music Conservatory in Valencia, continuing his studies at the Curtis Institute of Music in Philadelphia, where he studied with Donald Montanaro and Ricardo Morales. As a recording artist, he has appeared on labels such as Deutsche Grammophon, Harmonie Mundi and Warner Music.

Paul Huang, PRINCIPAL VIOLIN The Bob Christensen Chair in Violin Recipient of theprestigious 2015 Avery Fisher Career Grant and the 2017 Lincoln Center Award for Emerging Artists, violinist Paul Huang is q uicklygaining attention for his eloquent music making, distinctive sound, and effortless virtuosity. The Washington Post proclaimed Mr. Huang as “an artist with the goods for a significant career” following his recital debut at the Kennedy Center. His recent and forthcoming engagements include his recital debut at the Lucerne Festival in Switzerland as well as solo appearances with the Mariinsky Orchestra under Valery Gergiev (St. Petersburg’s White Nights Festival), Berliner Symphoniker with Lior Shambadal (Philharmonie Berlin debut), Detroit Symphony with Leonard Slatkin, Houston Symphony with Andres Orozco-Estrada, Orchestra of St. Luke’s with Carlos Miguel Prieto, Seoul Philharmonic with Markus Stenz, Taipei Symphony with Gilbert Varga (both in Taipei and on a U.S. tour), and the National Taiwan Symphony Orchestra with Christopher Hogwood. This season, he will also be making his Chicago orchestral debut at the Grant Park Music Festival, as well as appearances with the Buffalo Philharmonic and with the Baltimore, Alabama, Pacific, Santa Barbara, Charlotte, and Taiwan’s National Symphony Orchestras. During the 2018-19 season, Mr. Huang will make debuts at the Hong Kong Chamber Music Festival as well as Santa Fe Chamber Music Festival. In addition, Mr. Huang continues his association with the Chamber Music Society of Lincoln Center and returns to Camerata Pacifica as a Principal Artist. Mr. Huang’s recent recital engagements included Lincoln Center’s “Great Performers” series and return engagement at the Kennedy Center where he premiered Conrad Tao’s Threads of Contact for Violin and Piano during his recital evening with pianist Orion Weiss. He also stepped in for Midori with Leonard Slatkin and the Detroit Symphony to critical acclaim. Mr. Huang has also made debuts at the Wigmore Hall, Seoul Arts Center, and the Louvre in Paris. His first solo CD, Intimate Inspiration, is a collection of favorite virtuoso and romantic encore pieces released on the CHIMEI label. In association with Camerata Pacifica, he recorded Four Songs of Solitude for Solo Violin on their album of John Harbison works. The album was released on the Harmonia Mundi label in Fall 2014. A frequent guest artist at music festivals worldwide, he has performed at the Seattle, Music@Menlo, Caramoor, Bridgehampton, La Jolla, Moritzburg, Kissinger Sommer, Sion, Orford Musique, and the Great Mountains Music Festival in Korea. His collaborators have included Gil Shaham, Cho-Liang Lin, Nobuko Imai, Lawrence Power, Maxim Rysanov, Mischa Maisky, Jian Wang, Frans Helmerson, Lynn Harrell, Yefim Bronfman, and MarcAndre Hamelin. Winner of the 2011 Young Concert Artists International Auditions, Mr. Huang made critically acclaimed recital debuts in New York and in Washington, D.C. at the Kennedy Center. Other honors include First Prize at the 2009 International Violin Competition Sion-Valais (Tibor Varga) in Switzerland, the 2009 Chi-Mei Cultural Foundation Arts Award for Taiwan’s Most Promising Young Artists, the 2013 Salon de Virtuosi Career Grant, and the 2014 Classical Recording Foundation Young Artist Award. Born in Taiwan, Mr. Huang began violin lessons at the age of seven. He is a proud recipient of the inaugural Kovner Fellowship at The Juilliard School, where he earned his Bachelors and Masters degrees under Hyo Kang and I-Hao Lee. He plays on the 1742 ex-Wieniawski Guarneri del Gesù on loan through the generous efforts of the Stradivari Society of Chicago. His website is www.paulhuangviolin.com.

Warren Jones, PRINCIPAL PIANO The Robert & Mercedes Eichholz Chair in Piano Warren Jones enjoys a notably eclectic career that has taken him to virtually every corner of the musical world. He performs with some of today’s best-known artists such as Stephanie Blythe and Anthony Dean Griffey, and in the past has partnered such great singers as Marilyn Horne, Håkan Hagegård, Kathleen Battle, Samuel Ramey, Christine Brewer, Barbara Bonney, Carol Vaness, Judith Blegen, Salvatore Licitra, Tatiana Troyanos, Thomas Hampson, James Morris, and Martti Talvela—and appeared in concerts with the Juilliard Quartet and the Borromeo Quartet. A longtime faculty member at the Manhattan School of Music, Mr. Jones recently finished an appointment as Artist in Residence in Music at Rutgers University. His 2019 schedule includes a residency at the University of Colorado in Boulder during which he will appear in concert with members of the Takacs Quartet. In 2018 Mr. Jones was Artist in Residence in Opera at both New England Conservatory of Music and the University of North Carolina School of the Arts; and that summer he began an innovative training program for young singers and pianists at the Manchester Music Festival in Vermont and taught at the Miami Music Festival. Mr. Jones received the Achievement Award from the Music Teachers National Association of America (their highest honor) and was selected as Collaborative Pianist of the Year by the publication Musical America. He has been an invited guest at the White House to perform at state dinners in honor of the leaders of Canada, Russia, and Italy; and three times a guest of the Justices of the United States Supreme Court for musical afternoons in the East Conference Room at the Court. As a musical jurist, he has wide experience: the Van Cliburn International Piano Competition, the Montreal International Vocal Competition, the Metropolitan Opera National Council Auditions, and the Naumberg Awards. Recently he was invited to be a Faculty Member of the Board of Trustees at the Manhattan School of Music. His discography contains thirty-one recordings on every major label in a wide range of classical, romantic, and contemporary repertory. As an opera conductor in recent years, his work is similarly varied: he has led sold-out critically-acclaimed performances of Mascagni’s L’amico Fritz, Rossini’s Il barbiere di Siviglia, Mozart’s Die Zauberfloete, Donizetti’s Don Pasquale, and Bernstein’s Trouble in Tahiti, and in 2014 he conducted the world premiere of a new operatic version of A Christmas Carol at the Houston Grand Opera.

Kristin Lee, PRINCIPAL VIOLIN The Bernard Gondos Chair in Violin A recipient of the 2015 Avery Fisher Career Grant, as well as a top prizewinner of the 2012 Walter W. Naumburg Competition and the Astral Artists’ 2010 National Auditions, Kristin Lee is a violinist of remarkable versatility and impeccable technique who enjoys a vibrant career as a soloist, recitalist, chamber musician, and educator. “Her technique is flawless, and she has a sense of melodic shaping that reflects an artistic maturity,” writes The St. Louis Post-Dispatch, and The Strad reports, “She seems entirely comfortable with stylistic diversity, which is one criterion that separates the run-of-the-mill instrumentalists from true artists.”

Kristin Lee has appeared as soloist with The Philadelphia Orchestra, St. Louis Symphony, New Jersey Symphony, Rochester Philharmonic, New Mexico Symphony, West Virginia Symphony, the Ural Philharmonic of Russia, the Korean Broadcasting Symphony, the Milwaukee Symphony, the Guiyang Symphony Orchestra of China, the St. Paul Chamber Orchestra, and many others. She has performed at Carnegie Hall, Avery Fisher Hall, Merkin Concert Hall, the Kennedy Center, Philadelphia’s Kimmel Center, the Metropolitan Museum of Art, Steinway Hall’s Salon de Virtuosi, the Louvre Museum in Paris, Washington, D.C.’s Phillips Collection, and Korea’s Kumho Art Gallery. She has been featured on the Ravinia Festival’s Rising Stars Series and has toured throughout northern Italy. She has curated programs that premiered at Philadelphia’s World Cafe Live and New York’s (le) Poisson Rouge in which she commissioned five new works for the violin and various instruments. An accomplished chamber musician, Lee is a member of the Chamber Music Society of Lincoln Center following her completion of a three-year residency as a CMS Two artist. Lee is a principal artist with Camerata Pacifica, sitting as The Bernard Gondos Chair. She is also the concertmaster of the Metropolis Ensemble, with whom she premiered Vivian Fung’s Violin Concerto, written for her, which appears on Fung’s CD Dreamscapes (Naxos) and won the 2013 Juno Award. Lee’s many honors include awards from the 2015 Trondheim Chamber Music Competition, 2011 Trio di Trieste Premio International Competition, the SYLFF Fellowship, Dorothy DeLay Scholarship, the Aspen Music Festival’s Violin Competition, the New Jersey Young Artists’ Competition, and the Salon de Virtuosi Scholarship Foundation. She is also the unprecedented First Prize winner of three concerto competitions at The Juilliard School – in the Pre-College Division in 1997 and 1999, and in the College Division in 2007. Born in Seoul, Lee began studying the violin at age five and within one year won First Prize at the Korea Times Violin Competition. In 1995, she moved to the US to continue her studies under Sonja Foster and in 1997 entered The Juilliard School’s Pre-College Division to study with Catherine Cho and Dorothy DeLay. In 2000, Lee was chosen to study with Itzhak Perlman after he heard her perform Mendelssohn’s Violin Concerto with Juilliard’s Pre-College Symphony Orchestra. Lee holds a Masters degree from The Juilliard School, where she also served as Perlman’s assistant teacher as a Starling Fellow. She is a member of the faculty of the Aaron Copland School of Music at Queens College and the co-founder and artistic director of Emerald City Music, a chamber music series based out in Seattle. She has also served on the faculties of the LG Chamber Music School in Seoul, Korea, El Sistema’s chamber music festival in Caracas, Venezuela, and the Music@Menlo Chamber Music Festival. For more information, visit www.violinistkristinlee.com.

Richard O’Neill, PRINCIPAL VIOLA Praised by The London Times as “ravishing,” The New York Times for his “elegant, velvety tone,” The Los Angeles Times as “energetic and sassy…exceptional” and The Seattle Times as “sublime,” violist Richard Yongjae O’Neill has distinguished himself as one of the great instrumentalists of his generation. An Emmy Award winner, two-time Grammy nominee, and Avery Fisher Career Grant recipient, he has achieved recognition and critical acclaim not only as a champion of his instrument but as a social and musical ambassador as well. He has appeared as soloist with the London, Los Angeles, Seoul,

and Euro-Asian Philharmonics; the BBC, KBS, and Korean Symphonies; the Moscow, Vienna, and Württemburg Chamber Orchestras; and Alte Musik Köln with conductors Andrew Davis, Miguel Harth Bedoya, Vladimir Jurowski, Vassily Sinaisky, Leonard Slatkin and Yannick Nezet-Sequin. Highlights of this season include recitals at the Louvre, collaborations with Gidon Kremer, concertos with Kremerata Baltica and the Hiroshima Symphony and the opening ceremony of the Incheon Asian Games with Lang Lang. As recitalist he has performed in many of the greatest halls of the world including Carnegie, Alice Tully, Avery Fisher, Kennedy Center, Wigmore Hall, Salle Cortot, the Louvre, Madrid’s National Concert Hall, Buenos Aires’s Teatro Colon, Tokyo’s International Forum and Opera City, Osaka Symphony Hall and Seoul Arts Center. An Artist of the Chamber Music Society of Lincoln Center as well as Principal Violist of Camerata Pacifica he frequently collaborates with the world’s greatest musicians including Emanuel Ax, Jeremy Denk, Leon Fleisher, Warren Jones, Garrick Ohlsson, Menahem Pressler, Daniil Trifonov, James Ehnes, Steven Isserlis, Edgar Meyer and The Emerson Quartet, among many others. Festival appearances include Marlboro, Aspen, Bridgehampton, Casals, Chamber Music Northwest, Dresden, Great Mountains, La Folle Journée, La Jolla, Mecklenburg, Menlo, Mostly Mozart, Prussia Cove, Saint Barthélemy, Saratoga, Seattle and Tongyeong. A Universal/DG recording artist, he has made eight solo albums that have sold more than 150,000 copies and has remained for over a decade one of the best-selling South Korean recording artists with multiple platinum disc awards. Dedicated to the music of our time, he has worked with Mario Davidovsky, Jo Kondo, Chris Paul Harman, Matthias Pintscher, George Tsontakis, Melinda Wagner, John Zorn, and has premiered works composed for him by Elliott Carter, John Harbison, Huang Ruo, and Paul Chihara. In his ninth season as Artistic Director of DITTO he has introduced tens of thousands to chamber music in South Korea and Japan: on its first international tour DITTO sold out Tokyo’s International Forum and Osaka Symphony Hall. The first violist to receive the Artist Diploma from Juilliard, he holds a Bachelors of Music from The USC Thornton School of Music magna cum laude and a Masters from The Juilliard School. In 2007 he was honored with a Proclamation from the New York City Council for his achievement and contribution to the arts. He serves as Goodwill Ambassador for the Korean Red Cross, The Special Olympics, and UNICEF, runs marathons for charity and serves on the faculty of The Herb Alpert School of Music at UCLA and The Music Academy of the West.

Martin Owen, PRINCIPAL HORN Martin Owen is regarded as one of Europe’s leading horn players, appearing as soloist and chamber musician all around the world. Martin currently holds the position of Principal Horn at the BBC Symphony Orchestra, having served as Principal Horn of the Royal Philharmonic Orchestra for ten years, and from 2012-13 was contracted as Principal Horn of the Berliner Philharmoniker. He is also Principal Horn in California-based chamber music ensemble Camerata Pacifica and the UK’s Britten Sinfonia and Haffner Ensemble. Performances include concertos by Mozart, Richard Strauss, Schumann, Messiaen, Britten, Elliott Carter, Oliver Knussen and Thea Musgrave with orchestras including the BBCSO, Royal Philharmonic, BBC Philharmonic, Orquesta Nacional de España, The Hallé, New World Symphony, Bucharest Philharmonic, Ensemble Modern, Aalborg Symfoniorkester and Baltic Philharmonic, and recitals with Camerata Pacifica.

Martin Owen gave the world premiere of Malcolm Arnold’s Burlesque with the Royal Philharmonic and in 2007, made his solo debut at the BBC Proms performing Schumann’s Konzertstück with the BBC Philharmonic. Martin has since returned to the Proms as soloist in Oliver Knussen’s Horn Concerto with the BBCSO conducted by the composer, broadcast live on BBC television and radio. In 2008, he made his Barbican debut in the London premiere of Elliott Carter’s Horn Concerto with the BBCSO/Knussen (a performance released by Bridge Records) and later performed the Knussen and Elliott Carter horn concertos with the Orquesta Nacional de España in Madrid. Other recordings include Mozart’s horn concertos with the Royal Philharmonic (RPO classics), Britten’s Serenade with Toby Spence and the Scottish Ensemble (Linn), Schubert’s Octet with Michael Collins (Wigmore Hall Live), Schumann’s Konzertstuck with the BBC Philharmonic Orchestra/Mackerras (BBC Music Magazine), Danzi’s Sinfonia Concertante with the Orquestra de Cadaques/Marriner (Trito), Roderick Elms’ Four Seasonal Nocturnes with the Royal Philharmonic Orchestra/Cleobury (Dutton) and Benjamin Britten’s Canticles with tenor Ben Johnson (Signum Classics). Additionally, Martin Owen has performed on over 300 movie soundtracks to date including James Bond, Star Wars, Harry Potter, Gladiator and Pirates of the Caribbean films. Recent solo performances include Vivaldi Concerto for 2 horns and strings, and Stravinsky Four Russian Peasant Songs with the Berlin Philharmonic, Schumann’s Konzertstück and Musgrave’s Horn Concerto with the BBCSO/Sakari Oramo, Strauss and Mozart concerti with Bucharest Philharmonic and Strauss Concerto No. 2 with the Baltic Philharmonic. Martin joined Mark Padmore and the Bergen Philharmonic/Edward Gardner for Britten’s Serenade, performed Strauss 2 with Barcelona Opera orchestra/ Josep Pons and Strauss 1 with Staatsphilharmonie Nürnberg/Sir Roger Norrington. He also performed Britten’s Serenade in 2016 in Shanghai, Norwich and Cambridge with Britten Sinfonia/Ian Bostridge. 2017/18 includes chamber and solo engagements in the UK, Italy, France, Poland, Austria, Finland, Romania, China, Australia and the USA, and guest principal horn with the Cleveland Orchestra. Martin Owen is a Fellow of the Royal Academy of Music, where he is Professor of Horn, and visiting teacher at institutions including the Hans Eisler Berlin, Maurice André Academy Valencia, Conservatorio de Santiago de Compostela, USC and UCLA in Los Angeles. For reviews, photos, audio samples and all videos—please see www.worldwideartists. com.

Adrian Spence, ARTISTIC DIRECTOR & PRINCIPAL FLUTE Under the leadership of Adrian Spence, Camerata Pacifica has become one of the most notable chamber music organizations in the country, distinctive not only for its exceptional artistic quality, but also for its dynamic sense of community. Spence carefully selected the group’s exceptional international artists over the course of many seasons, giving them the rehearsal and performance environment necessary to form an ensemble unique in style and sensibility. The bond between the artists is clear, as is theirs with the audience. The Los Angeles Times recently highlighted the emphasis of Spence’s work: “What was out of the ordinary was the wildly enthusiastic response that each work received. Whatever it’s doing, Camerata Pacifica seems to be cultivating a passionate audience—and that’s good news.” Spence’s conviction of this music’s viability and of the intellectual curiosity of the Camerata Pacifica audience is evident at every performance, where a broad range of

programming is presented in a manner both welcoming and provocative. Over the course of 28 seasons, Camerata Pacifica has developed a loyal following and now presents resident series in Santa Barbara, Ventura, San Marino and Los Angeles. As an administrator, Spence created a business model that permits the presentation of world class artists in small, intimate venues, thereby preserving the essence of “chamber music.” Spence views classical music as an inviolable record of human emotional history, with distinctions such as period and style less critical to a vital performance than the communication of the expressive intent of the composer. The entire canon is part of that record and the creation of music of our time is essential. Camerata’s commissioning began prominently with Winter Roses, a song cycle by Jake Heggie and premiered with Frederica von Stade. In 2006, Spence announced a major commissioning initiative, commissioning seven works from three composers: Ian Wilson, Huang Ruo and Lera Auerbach. The first commission, Wilson’s Messenger Concerto for Violin and Chamber Ensemble, received its premiere with five southern Californian performances in May 2007 and a subsequent tour to the Library of Congress in Washington DC, New York’s Morgan Library & Museum, Dublin’s National Concert Hall, London’s Wigmore Hall and venues in Northern Ireland. The Irish Times referred to the Camerata as a “miracle of modern artistic organisation” and London’s Daily Telegraph referred to the ensemble as, “a very serious group of fine artists, both innovative and intrepid.”

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Guest Artists The Calder String Quartet (Benjamin Jacobson & Andrew Bulbrook, violins; Jonathan Moerschel, viola; Eric Byers, cello) The Calder Quartet performs a broad range of repertoire at an exceptional level, always striving to channel and fulfill the composer’s vision. Already the choice of many leading composers to perform their works, the group’s distinctive approach is exemplified by a musical curiosity brought to everything they perform. Winners of the prestigious 2014 Avery Fisher Career Grant, they are widely known for the discovery, commissioning, recording and mentoring of some of today’s best emerging composers (over 25 commissioned works to date). The group continues to work and collaborate with artists across musical genres, spanning the ranges of the classical and contemporary music world, as well as rock and film/tv soundtracks, and in venues ranging from museums to Carnegie and the Hollywood Bowl. Inspired by innovative American artist Alexander Calder, the Calder Quartet’s desire to bring immediacy and context to the works they perform creates an artfully crafted musical experience. Recent and upcoming highlights include Lincoln Center, Metropolitan Museum of Art, multiple performances at Wigmore Hall, Barbican, Salzburg Festival, Donaueschingen Festival, Frankfurt Alte Oper, Tonhalle Zurich, IRCAM Paris, Hamburg’s Elbphilharmonie, Centro Nacional de Difusión Musical Madrid, a residency at the Perth International Arts Festival and returned to Los Angeles’ Disney Hall and the Ojai Music Festival on a program curated by Peter Sellars. Their long list of collaborators includes the Cleveland Orchestra, LA Philharmonic, Thomas Adès, Peter Eötvös, Barbara Hannigan, Audrey Luna, Johannes Moser, Joshua Bell, Edgar Meyer and Danielle DeNiese. The quartet has been featured in extremely popular TV shows such as The Late Show with David Letterman, The Tonight Show with Jay Leno, KCRW’s Morning Becomes Eclectic, The Tonight Show with Conan O’Brien, Late Night with Jimmy Kimmel, and The Late Late Show with Craig Ferguson. In 2011 the Calder Quartet launched a non-profit dedicated to furthering its efforts in commissioning, presenting, recording, and education, collaborating with the Getty Museum, Segerstrom Center for the Arts, and the Barbican Centre in London. The Calder Quartet formed at the University of Southern California’s Thornton School of Music and continued studies at the Colburn Conservatory of Music with Ronald Leonard, and at the Juilliard School, receiving the Artist Diploma in Chamber Music Studies as the Juilliard Graduate Resident String Quartet. The quartet regularly conducts master classes and has taught at the Colburn School, the Juilliard School, Cleveland Institute of Music, University of Cincinnati College Conservatory and USC Thornton School of Music. The Calder Quartet is represented exclusively worldwide by Intermusica.

Paul Coletti, VIOLA Paul Coletti enjoys a prolific career as a performer, composer, professor, and recording artist. Since 2003 he has taught at the Colburn School. He has been a professor at UCLA where he was Head of Chamber Music, the International Menuhin Music Academy in Switzerland, the Peabody Conservatory and the University of Washington where at 25 he

was appointed Head of Strings. His students hold positions of prominence throughout the world. As a soloist, Coletti has performed in every major European capital, frequently on the BBC, NHK, Classical Arts and NPR’s St Paul Sunday. Solo performances include the Los Angeles Philharmonic, the London Soloists, and the Berlin and Hannover Radio symphonies. He performed a tango show live from the Argentine consulate for CNN. After his New York Debut at 23, The New York Times wrote, “The violist Paul Coletti is a remarkable musician with a distinct artistic personality that is entirely his own. Although Mr. Coletti has an impeccable technique, there is nothing ostentatious about his playing; the mastery is there and needs no promotional fanfare. He is an elegant artist who enhances all he plays.” Paul Coletti has performed at the Sydney Opera House, Queen Elizabeth Hall, Berlin Philharmonie, Kennedy Center, Walt Disney Concert Hall, Suntory Hall, San Miniato Cathedral in Florence, and in Chicago where he performed on Paganini’s Stradivarius viola. Coletti’s full conducting debut was in an all Mozart program with the New Japan Philharmonic orchestra in Tokyo in which he also appeared as soloist. A prolific solo recording artist, Coletti has been Grammy nominated, and has won accolades for Hyperion’s English Music for Viola, which won best CD awards from Gramophone and BBC Music magazines and was named one of the 100 best CDs of all time. With the Menuhin Festival Piano Quartet, their recording of the chamber music of Brahms won the Forderpreiz for Europe’s best recording of the year. In Japan his pioneering group Typhoon performed over 500 sold-out concerts and released two full-length DVD’s and six chart-topping CD’s. He has been featured in articles for Strings and Strad magazines and wrote, acted and produced a music video with actor Leonard Nimoy filmed in the Scottish Isles to his own piece, Dreamocean. Oxford University Press published his composition: Three Pieces for Viola and Piano. It was recorded on Epic Sony, and reached number one. His several viola compositions are performed worldwide. In 2013 Fanfare Magazine wrote, “I don’t believe there is a better violist currently on the musical scene today, and few that can match the standard set by this artist.”

Eliot Fisk, GUITAR Guitarist Eliot Fisk is known worldwide as a charismatic performer famed for his adventurous and virtuosic repertoire. He is also celebrated for his willingness to take art music into unusual venues (schools, senior centers, and even logging camps and prisons!). After nearly 50 years before the public he remains as his mentor Andres Segovia once wrote, “at the top line of our artistic world.” In the 2017-18 season Fisk continues to break new ground for the guitar with marathon performances of his transcriptions of all 6 Bach solo cello Suites, duo performances with guitar legend Angel Romero and with a new trio formed with virtuoso guitarists Joaquin Clerch and Aniello Desiderio. The long-awaited release of Robert Beaser’s monumental guitar Concerto (dedicated to Eliot Fisk) on LINN records in 2017 elicited rave reviews online and in print. In the spring of 2017, Eliot Fisk premiered Son Dementes Cuerdas with the famed Arditti String Quartet with performances on two continents culminating in a performance at Wigmore Hall in London in a concert also featuring the Sequenza XI for solo guitar composed for and dedicated to Eliot Fisk by Luciano Berio. Eliot Fisk has performed as soloist with the Los Angeles Philharmonic, Houston Symphony, Rochester Symphony, Orchestra of St. Lukes, Stuttgart Chamber Orchestra,

Pro Arte Orchestra, American Composers Orchestra, Boston Modern Orchestra Project (BMOP) and many others. He returns regularly to major concert series such as Stanford Lively Arts, Spivey Hall (Atlanta), Duke University Performances, Newman Center for the Performing Arts in Denver; Lincoln Center, The Metropolitan Museum of Art, and the 92nd Street Y in NYC, Da Camera Society of Houston, Da Camera Society of Los Angeles, San Francisco Chamber Music; Segovia Series at Pick-Staiger Hall at Northwestern University; Jordan Hall, Boston; Orange County Performing Arts Center; Brahms, Mozart and Schubert Saal (Vienna); Mozarteum Grosser Saal (Salzburg); Wigmore Hall and Queen Elizabeth Hall (London) and at numerous guitar festivals such as those of Cordoba, Spain; Belgrade, Serbia; and Iserlohn, Bad Aibling and Hersbrueck, Germany. Eliot Fisk has performed with a dizzying array of chamber music colleagues including flutist Paula Robison; clarinetist Richard Stoltzman; cellist Yehuda Hanani; violinists Ruggiero Ricci, Gidon Kremer and Joshua Bell; and the Shanghai, Juilliard, Miro, Borromeo and Arditti String Quartets. He has invented numerous cross over projects with, among others, Paco Peña (flamenco guitar); Joe Pass and Bill Frisell (jazz guitar); chanteuse Ute Lemper; and Turkish music specialist Burhan Öçal. The repertoire of the classical guitar has been transformed through Fisk’s innumerable transcriptions (including works by Bach, Scarlatti, Haydn, Mozart, Paganini, Schubert, Mendelssohn, Granados, Albeniz and many others). In addition, numerous new works have been dedicated to him by composers as varied as Leonardo Balada, Robert Beaser, Luciano Berio, Ralf Gawlick, Nicholas Maw, George Rochberg, Daniel Bernard Roumain and Kurt Schwertsik. Eliot Fisk remains a prolific recording artist. Recent releases include Ralf Gawlick’s Kollwitz Konnex for soprano and guitar (Musica Omnia) Anthony Paul de Ritis’s Pop Concerto with Gil Rose leading the Boston Modern Orchestra Project, a pair of CDs of new music dedicated to and transcribed by Fisk of works by Beaser, Corigliano, Schwertsik, and Rochberg (Wildner Records) and duo discs with flamenco legend, Paco Peña (on Nimbus Records) and cellist Yehuda Hanani (Albany Records). Eliot Fisk was the last direct pupil of Andres Segovia and also studied interpretation with the legendary harpsichordist Ralph Kirkpatrick at Yale University, from which he graduated summa cum laude in 1976, and where, directly following his own graduation in 1977, he founded the guitar department at the Yale School of Music. Described by one New York Times headline as a “Fiery Missionary to the Unconverted,” Eliot Fisk is Professor at the Universität Mozarteum in Salzburg, Austria, where he teaches in five languages, and in Boston at the New England Conservatory where in 2010 he received the Krasner Award as “Teacher of the Year.” In June 2006, King Juan Carlos of Spain, awarded Eliot the Cruz de Isabel la Católica for his service to the cause of Spanish music. Earlier recipients of this honor have included Andres Segovia and Yehudi Menuhin. Eliot Fisk is Founder and Artistic Director of Boston GuitarFest (www.bostonguitarfest. org) an annual cross-disciplinary event co- sponsored by the New England Conservatory and Northeastern University and now entering its 13th consecutive year. In 2017 he created and served as Artistic Director of the first ever and immensely successful Salzburg Guitar Fest at the Universität Mozarteum in Salzburg. In summer of 2014 he toured China performing with his wife, classical guitarist, Zaira Meneses, and the couple’s young daughter, pianist Raquel Fisk.

Andrew Garland, BARITONE Baritone, Andrew Garland, is hailed as a performer whose artistry is a perfect combination between “baritone of strength and vocal opulence” (Opera News) and “cosmic energy and suavity” (Opera News). He is widely recognized as a leader in recital work with dozens of performances around the country including Carnegie Hall with pianist Warren Jones and programs of modern American songs all over the United States and in Canada. Jones, Marilyn Horne, Steven Blier, a number of American composers, and several major music publications all endorse him as a highly communicative singer leading the way for the song recital into the 21st Century. He brings his highly communicative style to the concert stage with orchestras including the Atlanta Symphony, Boston Baroque, The Handel and Haydn Society, Boston Youth Symphony, National Philharmonic, Albany Symphony, Washington Master Chorale at the Kennedy Center and National Chorale at Lincoln Center. Garland is a regular with the New York Festival of Song (NYFOS) and has given multiple recitals at Carnegie Hall, the Ravinia festival as well as Vocal Arts DC, Marilyn Horne Foundation, The Bard Festival, Camerata Pacifica, Andre-Turp Society in Montreal, Voce at Pace, Huntsville Chamber Music Guild, Fort Worth Opera, Seattle Opera, Fanfare in Hammond, LA, Cincinnati Matinee Musicale, Cincinnati Song Initiative, Tuesday Morning Music Club and dozens of college music series around the country. In 2014, he was the featured recitalist for the NATS National convention where that organization’s president declared him “the next Thomas Hampson.” His latest solo CD American Portraits (with Donna Loewy, piano) went to Number 1 on Amazon classical. Garland has five other recordings on the Telarc, Naxos, Roven Records and Azica Labels. In the 2018-2019 season, Garland will grace the stage with the Dover String Quartet as the baritone soloist in Barber’s Dover Beach. Other concerts this season include solo appearances with Moab Music Festival, Rhode Island Philharmonic in Vaugh Williams’ Dona Nobis Pacem, Colorado Symphony’s in Finzi’s In Terra Pax, various concerts with the Takács Quartet. In a collaboration with Warren Jones and the Calder String Quartet, Garland brings the music of Beethoven’s The Kiss, Dear Maid, Thy Lip Has Left, WoO 153, Nº. 9, The Return to Ulster, WoO 152, Nº. 1, The Pulse of an Irishman, WoO 154, Nº. 4, String Quartet in B-flat Major, Op. 130, and Brahms’ Four Serious Songs, Op. 121 to California. Garland began an exciting 2017-2018 season as the baritone soloist in Mozart’s Requiem with the Colorado Symphony. His next engagements were Schaunard in La Boheme with Opera Colorado before joining the Geneva International Music Competition as a past winner. Garland also performed in Four Songs by Loeffler and Mahler’s Songs of a Wayfarer with Camerata Pacifica, the role of Jesus in Telemann’s St. Luke’s Passion 1744 for Boston Baroque, and the world premiere of Abe Soep in Gerald Cohen’s Steal A Pencil For Me. During the 2016-2017 season, Garland performed in the world premiere of William Bolcom’s Dinner at Eight with Minnesota Opera, joined the Houston Symphony for the world premiere of The Conquest Requiem by Gabriela Lena Frank, debuted as Prior Walter in Angels in America with New York City Opera, reprised Guglielmo in Cosí fan tutte with Ash Lawn Opera and Dancaïre in Carmen with Boston Lyric Opera. On the concert stage he joined the New York Festival of Song at the Moab Music Festival and National Sawdust, sung Messiah with Boston Baroque and Colorado Bach Ensemble, sung in orchestral performances of Vaughan Williams’ Five Mystical Songs, Dona Nobis

Pacem and Hodie, soloed in the Bach B Minor Mass with the Amherst Bach Festival and sung recitals in Cincinnati, Indianapolis, Boston, Fort Worth, Springfield, Boulder and other cities. The 2015-2016 season was highlighted by his return to Seattle Opera as Harlekin in Ariadne auf Naxos. During previous seasons he joined Boston Baroque as Papageno in Die Zauberflöte where the Boston Globe said “He had the audience in the palm of his hand.” He also returned to Boston Lyric Opera in La Bohème, Bob Jones University at Dandini in La Cenerentola, and made his debut with the Colorado Symphony for performances of Messiah. Other highlights include Dandini with Opera Philadelphia and Fort Worth Opera, Mercurio (La Calisto) and the title role in Galileo Galilei, by Philip Glass at Cincinnati Opera, and Riolobo (Florencia en el Amazonas) and Schaunard (La Bohème) at Seattle Opera. In past seasons Garland has portrayed Rossini’s Figaro with Dayton Opera, Knoxville Opera and Cincinnati Opera (cover), Schaunard at Boston Lyric Opera, Opera Saratoga, Atlanta Opera, Fort Worth Opera and Dayton Opera; Ping (Turandot) at Arizona Opera, Silvio (I Pagliacci) with Hawaii Opera Theatre, Don Giovanni at Opera New Jersey, Mozart’s Count at Dayton Opera, Guglielmo at Opera Saratoga, Mercutio at Lyric Opera of San Antonio and Annapolis Opera, Giuseppe (The Gondoliers) with Utah Opera and Danilo with Sarasota Opera Artist Concert Series, and Cincinnati Opera’s first Baroque production, La Calisto. Other concert performances include Handel’s Messiah with Boston Baroque, UMS (Ann Arbor, MI), Dartmouth Handel Society (Helmuth Rilling, conductor) the Colorado Bach Ensemble, Arizona Symphony, Virginia Symphony and others; Carmina Burana, Ein Deutches Requiem, Five Mystical Songs, Dona Nobis Pacem, Hodie, Faure’s Requiem and Durufle’s Requiem, various concerts with Boston Baroque, The Handel and Haydyn Society, and Emmanuel Music. Garland is the winner of the Lavinia Jensen, NATSAA, Washington International, American Traditions, NATS and Opera Columbus Competition and was a prize winner in the Montreal International, Jose Iturbi, Gerda Lissner, McCammon and Palm Beach International Competitions. He was an apprentice at the San Francisco Opera Center and the Seattle Opera and Cincinnati Opera Young Artists programs. In addition to sustaining a busy performance schedule, Garland has recently joined the voice faculty at The University of Colorado-Boulder.

Peter Kolkay, BASSOON Called “stunningly virtuosic” by The New York Times and “superb” by The Washington Post, bassoonist Peter Kolkay claimed First Prize at the Concert Artists Guild International Competition in 2002 and was awarded an Avery Fisher Career Grant in 2004. He is an Artist of the Chamber Music Society of Lincoln Center and a member of the IRIS Orchestra in Germantown, Tennessee. Mr. Kolkay also serves as Associate Professor of Bassoon at the Blair School of Music at Vanderbilt University and was named a Chancellor’s Faculty Fellow for 2015-17. Mr. Kolkay’s recent seasons have included solo recitals at the Centro Cultural Ollin Yoliztli in Mexico City, Bargemusic, Wolf Trap, and Merkin Hall; concerto appearances with the South Carolina, Rochester, and Westchester Philharmonics; and chamber music engagements at the festivals of Menlo, Spoleto, and Bridgehampton. Mr. Kolkay actively engages with composers in the creation of new works and has premiered concertos by Harold Meltzer and Joan Tower, as well as solo and chamber works by Judah Adashi, Gordon Beeferman,

Elliott Carter, Katherine Hoover, Tania León, Russell Platt, John Fitz Rogers, and Charles Wuorinen. During the 2018-19 season he will premiere a quintet for bassoon and strings by Mark-Anthony Turnage at the Chamber Music Society of Lincoln Center. Mr. Kolkay holds a bachelor’s degree from Lawrence University in Appleton, Wisconsin, where he studied with Monte Perkins; in 2018 he received Lawrence’s Nathan M. Pusey Young Alumni Distinguished Achievement Award. Kolkay earned a Masters degree from the Eastman School of Music as a student John Hunt and Jean Barr, and a doctorate from Yale University as a student of Frank Morelli. A native of Naperville, Illinois, he now calls Nashville home.

Molly Morkoski, PIANO Pianist Molly Morkoski has performed as soloist and collaborative artist throughout the U.S., Europe, the Caribbean, and Japan. Her playing has been recognized by The New York Times as “strong, profiled, nuanced… beautifully etched… an energetic and focused player… with flexibility and warmth…” and The Boston Globe called her “outstanding”. In June 2007, she made her solo debut in Carnegie Hall’s Stern Auditorium/Perelman Stage playing Beethoven’s Bagatelles, Op. 126. Molly Morkoski has performed in many of the country’s prestigious venues, including Weill and Zankel Halls, Alice Tully Hall, Merkin Hall, Miller Theater, (Le) Poisson Rouge, Boston’s Gardner Museum and Jordan Hall, St. Louis’ Powell Hall, Philadelphia’s Kimmel Center, and Washington D.C.’s Smithsonian. Internationally, she has performed at the Teatro Nacional in Santo Domingo, the Strasbourg Conservatoire, the U.S. Embassies in Paris and Nice, the Glyptoteket Museum in Copenhagen, and in Japan’s Suntory Hall. She has appeared as a soloist at the Tanglewood, Bang-on-a-Can, and Pacific Rim Festivals, and has performed concertos with the Raleigh, Asheville, University of North Carolina at Chapel Hill, and Tuscaloosa Symphonies, and with the Moravian Philharmonic Orchestra. An avid chamber musician, Molly Morkoski is a member of Meme, Open End, and Exponential Ensembles and has collaborated with some of today’s leading musicians, including Dawn Upshaw, John Adams, John Corigliano, and David Robertson. She has performed with the New York Philharmonic Ensembles, Metropolitan Opera Orchestra, St. Louis Symphony, New World Symphony, Speculum Musicae, Brooklyn Chamber Music Society, and Orpheus Chamber Orchestra. An avid proponent of new music, she has worked closely with composers John Adams, Louis Andriessen, John Corigliano, David Del Tredici, Lukas Foss, John Harbison, Aaron Jay Kernis, David Lang, Oliver Knussen, George Perle, Steve Reich, Steven Stucky, Andrew Waggoner, and Charles Wuorinen, among others. Molly Morkoski took part in an acclaimed collaboration with Mark Grey on his Fire Angels in Carnegie Hall in March 2011 and on the Cal Performances Series in Berkeley, with Ensemble Meme and soprano Jessica Rivera. She gave the world premiere of Martin Kennedy’s Piano Concerto, written for her, with the Tuscaloosa Symphony Orchestra, and recorded the work with the Moravian Philharmonic Orchestra, the release of which was in May 2013. Her debut solo CD, Threads, was released in 2012 on Albany Records, to critical acclaim, and her most recent CD of solo and chamber music by Grammy Award winning composer Gabriela Lena Frank, also for Albany Records, was released in December 2013. This disc received the support of illustrious Copland and Ditson Recording Grants. Molly Morkoski was a Fulbright Scholar to Paris, where she was an apprentice with the Ensemble Intercontemporain. She was one of the first recipients of the Teresa Sterne Career Grant and was given the Thayer-Ross Award upon completion of her Doctorate in 2002. She earned her Bachelor of Music from the University of North Carolina at Chapel

Hill, where she studied with Michael Zenge, her Master’s degree from Indiana University in Bloomington- studying with Leonard Hokanson, and her Doctorate degree from SUNY Stony Brook, where her teacher was Gilbert Kalish. Molly Morkoski lives in New York City and is an Associate Professor at Lehman College in the Bronx.

Tamara Sanikidze, PIANO “Technically nimble and supportive pianist” (New York Times), “accompanist with wondrous tact and virtuosity” (San Francisco Chronicle) and “Extraordinarily sensitive collaborative synch throughout the evening” (VOICE Magazine) Tamara Sanikidze gave her first performance with the Georgian Symphony Orchestra at age eight and has since appeared as soloist and chamber musician throughout the Republic of Georgia, Russia, Europe, Asia and the Americas. Since 2009, in capacity of an official pianist for Plácido Domingo’s annual World Opera Competition “Operalia” Dr. Sanikidze has performed in such renown opera houses as Hungarian State Opera house in Budapest, Hungary, La Scala in Milano, Italy, Galina Vishnevskaya’s Opera Centre in Moscow, Russia, Teatro Filarmonico in Verona, Italy, Royal Opera house in London, UK, Dorothy Chandler Auditorium in Los Angeles, USA and Teatro Degollado in Guadalajara, Mexico. As a winner of the Marilyn Horne Foundation Award for Excellence in Vocal Accompanying she has performed regularly in the Marilyn Horne Foundation’s “The Song Continues…” and “On the Wings of Song”. Active Song Recitalist she has partnered with such luminaries as Thomas Hampson, Nino Machaidze, Isabel Leonard, Quinn Kelsey, Marjorie Owens, Elizabeth Futral, Nicole Cabell, Leah Crocetto, Nadine Sierra and Amanda Majeski in New York City’s Carnegie Hall, Steinway Hall and other prestigious venues including the Kennedy Center in Washington, DC. By the special invitation, she has traveled to Beijing, China to perform with Mo. Plácido Domingo and also has performed at the White House for President George W. Bush and First Lady Laura Bush. Between 2007-2012 Tamara Sanikidze was a Young Artist Coach at the DomingoCafritz Young Artist Program at Washington National Opera and an Adler Fellow at San Francisco Opera, where she served as an Assistant Conductor and Coach for productions of Don Giovanni (Mo. Plácido Domingo), Rigoletto (Mo. Giovanni Reggioli), Hansel and Gretel (Mo. Steven Gathman), La Traviata (Mo. Plácido Domingo and Mo. Dan Ettinger), Carmen (Mo. Julius Rudel), Turandot (Mo. Keri-Lynn Wilson), Falstaff (Mo. Sebastian Lang-Lessing), La fanciulla del West (Mo. Nicola Luisotti), Aida (Mo. Nicola Luisotti), The Makropulos case (Mo. Jiří Bělohlávek), Die Walküre (Mo. Donald Runnicles), Carmen (Mo. Nicola Luisotti), and Xerxes (Mo. Patrick Summers). Upon finishing the prestigious Adler Fellowship Program, Dr. Sanikidze joined the Music Staff at both San Francisco Opera and Los Angeles Opera where she works closely with Mo. Plácido Domingo, Mo. James Conlon and Mo. Nicola Luisotti. In the capacity of a Pianist, Prompter, Coach and an Assistant Conductor she has prepared and performed a wide range of operatic repertoire, including Simon Boccanegra starring Plácido Domingo, Tosca, Der fliegende Holländer, La Cenerentola, Falstaff, Evgeny Onegin, Die Zauberflöte, Billy Budd, Lucia di Lammermoor, Madama Butterfly, Un ballo in maschera, Le nozze di Figaro, Il barbiere di Siviglia and Aida. She returned to the 2017-2018 season of San Francisco Opera as a prompter for the production of Turandot under Mo. Nicola Luisotti and as an assistant conductor and coach for the production of Wagner’s Ring Cycle under Mo. Donald Runnicles.

Dr. Sanikidze is a prize-winner of numerous International Piano competitions. She has received top scholarships, including a personal scholarship from the former president of the Republic of Georgia Edward Schevardnadze. She has also received the Vocal Piano Fellowship Award from the Music Academy of the West in Santa Barbara and participated in summer programs at Wolf Trap Opera Company, Merola Opera Program at San Francisco Opera, SongFest, Cleveland Art Song Festival and Aspen Music Festival. She has made several recordings for the Excelsior label and her performances have been broadcast on NPR, as well as Georgian and Russian National Television and Radio. Sought after for her coaching skills and extensive experience, Dr. Sanikidze has been invited to work with young singers at the Merola Opera Program, the San Francisco Conservatory, Wolf Trap Opera Center and the Young Artist Programs both at Washington National Opera and Los Angeles Opera. In January of 2015, Dr. Sanikidze joined the faculty of Butler School of Music at University of Texas, Austin, where she is the Principal Coach of Butler Opera Center. Also in 2015, Dr. Sanikidze joined Voice Department faculty at Music Academy of the West. In January 2019, Dr. Sanikidze will assume new position as Director of Butler Opera Center at University of Texas, Austin.Â Tamara Sanikidze holds a Doctor of Musical Arts Degree from the University of Maryland, College Park.

William Short, BASSOON William Short was appointed Principal Bassoon of the Metropolitan Opera Orchestra in 2012. He previously served in the same capacity with the Delaware Symphony Orchestra and has also performed with the Houston Symphony and the Philadelphia Orchestra. William has toured the United States with Curtis on Tour and has performed and taught in Belize, Cuba, Guatemala, and Nicaragua with the Philadelphia-based wind quintet Liberty Winds. His performances have been featured on American Public Media’s Performance Today and on WHYY’s Onstage at Curtis. An occasional composer, his works have been published by TrevCo-Varner Music. A dedicated teacher, William serves on the faculties of The Juilliard School, Manhattan School of Music, and Temple University. He has presented classes at colleges and conservatories around the country and at the 2014 International Double Reed Society Conference. William has performed and taught at the Lake Champlain, Lake Tahoe, Mostly Mozart, Stellenbosch, Strings, Twickenham, and Verbier Festivals. In 2015 he made his solo debut with the Vermont Symphony Orchestra, performing David Ludwig’s Pictures from the Floating World. Committed to forging connections between audiences and performers, William’s articles on the subject can be found on the MET Orchestra Musicians’ website, which has been lauded not only by The Wall Street Journal and The New York Times, but also by noted arts consultant Drew McManus and prolific cultural commentator Norman Lebrecht. William received his Bachelor of Music from the Curtis Institute of Music, where he studied with Daniel Matsukawa and Bernard Garfield, and his Master of Music at Rice University’s Shepherd School of Music, where he studied with Benjamin Kamins. He attended festivals including the Music Academy of the West, Pacific Music Festival, Spoleto Festival USA, and the Verbier Festival. Additional major teachers have included Jeanine Attaway, Kristin Wolfe Jensen, and William Lewis.

Jason Uyeyama, VIOLIN Jason Uyeyama is founder and director of the Orange County String Studio. He is also Associate Professor of Music and Director of String Studies at La Sierra University, where he teaches violin, viola, and chamber music. He holds a Masters degree from The Juilliard School where he studied with Masao Kawasaki. Previous teachers include Itzhak Perlman, Dorothy DeLay, and Yao-Ji Lin. Mr. Uyeyama continues to lead an active career as recitalist, chamber musician, orchestral musician, and soloist. He has performed regularly with the Los Angeles Philharmonic since 2005, and has performed with the Pacific Symphony, Los Angeles Chamber Orchestra, and the St. Paul Chamber Orchestra. Festival appearances include Festival Mozaic in San Luis Obispo, Festicamara in Medellin, Colombia, as well as the festivals of Aspen, Tanglewood, and Taos. Students of Mr. Uyeyama have been accepted to The Juilliard School, New England Conservatory, Cleveland Institute of Music, Jacobs School of Music at Indiana University, The Colburn School of Performing Arts, University of Southern California Thornton

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School of Music, Manhattan School of Music, and the Mannes School of Music. His students have also been accepted to numerous summer festivals including Aspen, Music Academy of the West, Boston University Tanglewood Institute, and the Montecito International Summer Music Festival.

Gilles Vonsattel, PIANO A “wanderer between worlds” (Lucerne Festival), Swiss-born American pianist Gilles Vonsattel is an artist of extraordinary versatility and originality. Comfortable with and seeking out an enormous range of repertoire, Vonsattel displays a musical curiosity and sense of adventure that has gained him many admirers. Recipient of an Avery Fisher Career Grant and winner of the Naumburg and Geneva competitions as well as the 2016 Andrew Wolf Chamber Music Award, he has in recent years made his Boston Symphony, Tanglewood, and San Francisco Symphony debuts, while performing recitals and chamber music at Ravinia, Tokyo’s Musashino Hall, Wigmore Hall, Bravo! Vail, Music@Menlo, the Gilmore festival, the Lucerne festival, and the Munich Gasteig. His most recent 2014 New York solo recital was hailed as “tightly conceived and passionately performed…a study in intensity” by The New York Times. Reengaged by the San Francisco Symphony, he has also appeared with the Warsaw Philharmonic, Calgary Philharmonic, Edmonton Symphony, l’Orchestre Symphonique du Québec, Boston Pops, Nashville Symphony, Musikkollegium Winterthur, Staatskapelle Halle, and L’orchestre de chambre de Genève. Chamber partners include musicians such as James Ehnes, Frank Huang, Ilya Gringolts, Nicolas Altstaedt, David Shifrin, David Finckel, Stefan Jackiw, Jörg Widmann, Gary Hoffman, Carter Brey, Anthony Marwood, Paul Neubauer, Paul Watkins, Philip Setzer, Emmanuel Pahud, Karen Gomyo, David Jolley, Ida Kavafian, and the Swiss Chamber Soloists. He has appeared in concert with the Pacifica, Orion, Ebène, Danish, Daedalus, Escher, and Borromeo Quartets. Deeply committed to the performance of contemporary works, he has premiered numerous works both in the United States and Europe and worked closely with notable composers such as Jörg Widmann, Heinz Holliger, and George Benjamin. His 2011 recording for the Honens/Naxos label of music by Debussy, Honegger, Holliger, and Ravel was named one of Time Out New York’s classical albums of the year, while a 2014 release on GENUIN/ Artist Consort received a 5/5 from FonoForum and international critical praise. His latest solo release (2015) for Honens of Scarlatti, Webern, Messiaen, Debussy, and George Benjamin’s Shadowlines received rave reviews in Gramophone, The New York Times, and the American Record Guide. Recent projects include Berg’s Kammerkonzert with the Orchestra della Svizzera Italiana, a tour with Jörg Widmann and the Irish Chamber Orchestra, Mozart concerti with the Vancouver Symphony and Florida Orchestra, performances at Seoul’s LG Arts Centre and at the Beijing Modern Music Festival, collaborations with Kent Nagano with L’Orchestre Symphonique de Montréal and the Munich Philharmonic (Bernstein’s Symphony No. 2, The Age of Anxiety) as well as numerous appearances internationally and throughout the United States with the Chamber Music Society of Lincoln Center. Mr. Vonsattel received his bachelor’s degree in political science and economics from Columbia University and his master’s degree from The Juilliard School, where he studied with Jerome Lowenthal. He is on the faculty of the University of Massachusetts at Amherst, and makes his home in New York City. Gilles Vonsattel is a Steinway Artist.

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ENDOWED CHAIRS ENDOWED CHAIRS

The Bob Christensen TheChair Bob in Christensen Violin, Chair in Violin, occupied by Paul Huang

occupied by Paul Huang

The Robert & Mercedes

The RobertChair and in Mercedes Eichholz Piano, Eichholz Chair in occupied by WarrenPiano, Jones occupied by Warren Jones

The Bernard Gondos

TheChair Bernard Gondos in Violin, Chair in Violin, occupied by Kristin Lee occupied by Kristin Lee

CHARTER MEMBERS Charter Members are an essential part of Camerata Pacifica’s history. Listed in perpetuity, Charter Members’ contributions at critical times in the organization’s growth helped Camerata Pacifica realize its vision of becoming one of the most acclaimed chamber music ensembles in the country, with an international profile and deep roots in California.

Baroness Léni Fé Bland

Mr. & Mrs. Jon Lovelace

Mr. & Mrs. Stephen Hahn

Mr. & Mrs. Eli Luria

Mrs. Richard H. Hellman

Ms. Deanna McHugh

Dr. & Mrs. Jack Sheen

Mr. Brenton Horner

Mr. Stephen McHugh

Mrs. Jeanne Thayer

Mr. Spencer Nilson & Ms. Margaret Moore

Mr. Michael Towbes

Mssrs. Ralph Quackenbush & Robert Winkler

Anonymous

Mr. & Mrs. Richard Janssen Mr. & Mrs. Donald Kosterka Mr. & Mrs. Jordan Laby Miss Dora Anne Little

The Viscount & Lady Ridley-Tree

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PREMIERE CIRCLE MEMBERS Camerata Pacifica continues to thrive thanks to the support of its patrons. Members of the Premiere Circle are not only supporters, but friends to Camerata Pacifica, meeting several times a year for house concerts, pre-concert parties and other events. For information on becoming a Premiere Circle member, call Camerata Pacifica at 805-884-8410.

Olin & Ann Barrett

Susan Keats

Marianne Battistone & Philip Norwood

Richard & Connie Kennelly

Peter & Linda Beuret

Mahri Kerley

Diane Boss

Robert Klein & Lynne Cantlay

Titus Brenninkmeijer

Jordan Laby

Jeannie Christensen

Elinor & James Langer

Jordan Christoff

John & Barbara Larson

Edith Clark

Sarah Jane Lind

NancyBell Coe & Bill Burke

Samuel Losh & Judith Lovely

Bruce & Marty Coffey

Mrs. Lillian Lovelace

Benjamin J. Cohen & Jane S. De Hart

Leatrice Luria

Marilyn & Don Conlan

Helmut & Vera M. Muensch

Mr. & Mrs. Michael J. Connell

Dr. & Mrs. Arnold Mulder

Joan Davidson & John Schnittker

Karin Nelson & Rick Hibbs

Karen Davidson

Terry & Susan Northrop

Roger & Nancy Davidson

Alejandro Planchart

Edward S. DeLoreto

David Robertson & Nancy Alex

David & Leslie Dodson

Regina & Rick Roney

Frank & Ann Everts

Robert & Ann Ronus

Stanley & Judith Farrar

Elizabeth Loucks Samson & Jack Stumpf

Eric Fischer & Richard West

Jasminka & Richard Shaikewitz

Sarah Fox & Denny Klos

Jack & Anitra Sheen

Marie-Paule Hajdu

Dr. & Mrs. Stephen Sherman

Diane Henderson

Stuart & Judy Spence

Edward Henderson & Carolyn Kincaid

Marion Stewart

Maren Henle

Tim & Charlotte Stratz

Carol & Warner Henry

Stanley Tabler & Teresa Eggemeer

Daniel & Donna Hone

Barry & Amalia Taylor

Brenton Horner

Mr. & Mrs. Lloyd Sherman Telleen

Bridget Hough-Meynenc

Sandra Tillisch-Svoboda

France Hughes Meindl

Anne Towbes

Mr. Palmer G. Jackson

Lawrence Wallin & Kathy Scroggs

Rich & Luci Janssen

Robert W. Weinman

DONORS Our sincerest gratitude to the following individuals, corporations and foundations for their dedication to supporting Camerata Pacifica’s continued success. The following list reflects donations recorded between July 1, 2017 and June 30, 2018. $10,000 +

Diane Boss Chaucer’s Books Jordan Christoff The SahanDaywi Foundation The Michael J. Connell Foundation The Robert and Mercedes Eichholz Foundation Frank & Ann Everts Stanley & Judith Farrar Dr. Bernard Gondos Trust The Henry Family Fund Brenton Horner France Hughes Meindl

The Ann Jackson Family Foundation Susan Keats Robert Klein & Lynne Cantlay Jordan Laby Lee Luria Susan & Terry Northrop David Robertson & Nancy Alex Stuart Spence & Judy Vida-Spence Stan Tabler & Teresa Eggemeyer Barry & Amalia Taylor Sandra Tillisch-Svoboda

$5,000 - $9,999

$1,000 - $2,499

Lyndon Robert Shaftoe

Ms. Ann Horton

Peter & Linda Beuret Diane J. Henderson, MD

Marianne Battistone & Philip W. Norwood

Jasminka & Richard Shaikewitz

Carol Howe & Lucien Lacour

Alejandro E. Planchart

Mr. Titus Brenninkmeijer

Mrs. Delia Smith

Anonymous

Jeannie Christensen

George & Gretel Stephens

Delia Moon & Jaclyn Henretig

Santa Barbara County Office of Arts & Culture

Edith Clark

The Thornton Foundation

Perry & Jody Shapiro

Benjamin J. Cohen & Jane S. De Hart

Lawrence Wallin & Kathy Scroggs

Joan Tapper Siegel & Steven Richard Siegel

Dr. Karen Davidson in Memory of Dr. David Davidson

Sanford R. & Riko Weimer

Mrs. Norma Van Riper

Robert W. Weinman

Mr. & Mrs. A. Jean Verbeck

Jack & Anitra Sheen Stratz Financial $2,500 - $4,999 Olin & Ann Barrett NancyBell Coe & William Burke The Marty & Bruce Coffey Family Foundation Roger & Nancy Davidson Edward S. DeLoreto Eric Fischer & Richard West Bridget Hough-Meynenc Barbara & John Larson Dr. & Mrs. Arnold Mulder Regina & Rick Roney Mrs. Janet & Dr. Stephen Sherman in Memory of Dimitri Hvorostovsky Marion Stewart Telleen Family Charitable Fund

Dr. David & Leslie Dodson Sarah Fox & Dennis Klos Drs. David & Janice Frank David & Susan Grether Mrs. Marie-Paule Hajdu Edward S. Henderson & Carolyn Kincaid Daniel & Donna Hone Richard & Connie Kennelly Elinor & James Langer Mr. Samuel J. Losh & Mrs. Judith Lovely

Brenn Von Bibra $500 - $999

Sheila Wald

Robert C. Anderson Mr. Edward Bigger

$250 - $499

Ella Bishop

Mike Beckage & Bridget Spanier

Barbara Bates Bonadeo Betsy Chess Wayne & Madelyn Cole Caroline M. Coward Linda S. Dickason Tom & Doris Everhart Peggy & Jim Galbraith

Drs. Helmut & Vera Muensch

Martin & Ann Gelfand in Honor of Richard O’Neill

Karin L. Nelson & Eugene Hibbs, Jr.

Lorna S. Hedges

Elizabeth Loucks Samson & Jack V. Stumpf

Barbara Hirsch

Ms. Maren Henle Ken & Sandy Homb

Frank & Cecilia Bellinghiere Virginia Bottorff Patricia Burke Bonnie R. Corman, Ph.D. David S. & Ann M. Dwelley Mrs. June Kambach Jan & Don O’Dowd Dr. Steven & Charlene Pearlman Jennifer & Richard Quint Reiche Charitable Fund Elizabeth & Martin Stevenson

Tony & Anne Thacher

Dennis & Evette Glauber

Les & Maureen Shapiro

Willard & Ronda Hobbs

Mary H. Walsh

Bea Hamlin

Thomas Siebert

Michael James

Catherine Weary

James B. & Mary Jo Hartle

Hyeon Kim

Matt Weiss

Ed & Mary Heron

David & Debbie Whittaker

Mrs. Mary Hintz

Daniel K. Simon In Memory of Col. William A. Stewart: To a Founder With a Smile

Anonymous

Stephen C. Iglehart

Karen Spechler

Frances & Peter Marcuse

Sanford Zisman & Janis Frame

Ruth O. Johnson

Michael Talvola

Carol A. Marsh

Anonymous

Barbara H. Merkle

Anne Towbes

Lyn A. Munro & Robert Barber

Willoughby Johnson & Victoria Matthews

$100 - $249

Eunice M. Koch

Mort & Judy Weisman

Catherine Albanese

Steve & Karen Kohn

Teri Wilde

Richard Allen

Ernest & Mary Lou Kopka

Julie Antelman

William Kraft & Joan Huang

Richard & Frances Bohn

Ms. Jacqueline Lunianski

Jorgia Bordofsky Max Brennan & Sigrid Burton

MacFarlane, Faletti & Co., LLP

$0 - $99 Irwin & Roslyn Bendet George Berg Carol B. Bierhorst

Barbara Maxwell

Ms. Eleanor Brown

Mark & Carol Burrill

Mark McGonigle

Linda Carson

Patricia Carver

Jon Miller

Mike Crawford & Pat Wiese

Ms. Shirley Millligan

Carolyn F. Chase Robbin & Don Close Janice Condit

Doug Crowley

Heather Mobarak

Sylvia S. Drake

Margaret M. Morez

Claire & Patrick Dunavan

Mr. & Mrs. John W. De Haven, Jr.

Jess Morton

Richard & Barbara Durand

Ralph B. Ellis

Mr. & Mrs. William Pollock

Meg & Jim Easton

Joyce Faber Frances L. Gagola

David & Sarah Evans

Prof. Andrews Reath & Mrs. Blandine Saint-Oyant

David R. Falconer

Nancy Renshaw

Miguel Gutierez

Joseph & Elaine Gaynor

Prof. Mark Rose

Harvey & Jessica Harris

Dolores Airey Gillmore

Naomi Schmidt

Shannon Herbert

Jeff Lawrence Levin Lundby

Casey Murphy Elizabrth Olson Barbara J. Parkhurst Anne & Harlan Pedersen Judith A. Pochini Hope Rosenfeld Ann Salahuddin Patricia Savoie Susan Schmidt Christine Smith Kellen Smith Edda Spielmann Julie & Richard Steckel Ray & Flori Turchin Ms. Candace White Miguel Yaksic

Inge Gatz

VOLUNTEERS Volunteers are an indispensible part of our organization. We have had a variety of services and talents given to us during the past year, from ushering to editing, proofreading and translation, consultation, mailings, poster distribution, audience development, piano page turning, general office assistance, photography and more! We remain extremely grateful for the following volunteers and their ongoing contributions:

Barbara Alderson

Debbie Gross & Sam Levy

Dick Malott

Pat Spence

Marie Battle

Janice Hamilton

Jesse McClintock

Sandra Tillisch-Svoboda

Doris W. Blethrow

Julie Henry

Nancy McCurley

Marcella E. Tuttle

Kathleen Boehm

Allan & Lorraine Hoff

Diane Boss

France Hughes Meindl

Dennis & Carolyn Naiman

Nga Vuong

Evelyn Burge

Lois Klein & Ronald Doctors

Kathy & Chris Neely

Lawrence Wallin & Kathy Scroggs

Donna Burger

Judith Kopf

Jeannie Christensen

Maura Lundy & Edward Cooper

Claudia Elmes & Steve Shulkin Cindy Garcia

Stephanie Pawlowicz William Schrack

Katherine Butts Warwick Susie Williams

Michelle Mackel

Erik Siering & Ms. Ann Kramer

Ditte Wolff & Robert Yaris

Pat Malone

Erika Smith

Mary Wolthausen