2024.01.21 | Pacific Symphony with Benjamin Beilman Program

Pacific Symphony plays Gounod & Vivaldi with Benjamin Beilman, violin Sunday, Jan. 21 | 3 PM Soka Performing Arts Center at Soka University of America

Pacific Symphony with Benjamin Beilman

PROGRAM CHARLES GOUNOD Petite Symphonie for Wind Nonet in B-flat Major, Opus 216 Adagio; allegretto Andante cantabile (quasi adagio) Scherzo: Allegretto moderato Finale: Allegretto

ANTONIO VIVALDI The Four Seasons Concerto in E Major “Spring” RV 269 Allegro Largo Allegro

Concerto in G Minor “Summer” RV 315 Allegro non molto; Allegro Adagio; Presto; Adagio Presto

Concerto in F Major “Autumn” RV 293 Allegro Adagio molto Allegro

Concerto in F Minor “Winter” RV 297 Allegro non molto Largo Allegro

ABOUT THE PROGRAM Petite Symphonie for Wind Nonet in B-flat Major, Opus 216 CHARLES GOUNOD Born June 17, 1818, Paris Died October 18, 1893, St. Cloud We remember Charles Gounod as the composer of one of the most popular operas ever written, Faust, and of a vast amount of liturgical music. But Gounod also wrote instrumental music–this includes two delightful symphonies that are hardly ever played and one piece that everyone knows, the Funeral March of a Marionette, made famous by its use as the theme music of Alfred Hitchcock Presents on television.

One other instrumental work by Gounod has enjoyed an active life in the concert hall, his Petite Symphonie for wind instruments.

In 1879, the distinguished French flutist Paul Taffanel founded the Society of Chamber Music for Wind Instruments in Paris, and for that group he commissioned a work by Gounod. The composer, then in his sixties, responded with a piece of chamber music for a unique ensemble of nine wind instruments: one flute and pairs of oboes, clarinets, bassoons, and horns. Gounod called the work Petite Symphonie (“Little Symphony”), and that is exactly what it is: a brief (twenty-minute) symphony in classical form for nine wind players. Premiered in Paris on April 10, 1885, and beautifully written for wind instruments, the Petite Symphonie has become one of the cornerstones of the wind repertory.

Haydn himself would have had no trouble recognizing the four movements of this symphony.

The first movement opens with a somber introduction before the music steps out smartly at the Allegretto, which is in sonata form. Gounod writes sensibly for the wind instruments in this movement. Recognizing that winds cannot sustain long sounds in the way stringed instruments can, Gounod gives them short phrases and emphasizes a staccato sound. The Andante cantabile is built on a graceful solo for flute; in the central episode the other instruments spring to the fore, but at the end the flute takes up its long melody to round the music off. The third movement, a Scherzo that Gounod marks Allegretto moderato, is set in 6/8 rather than the customary 3/4 of scherzos. A series of horn fanfares opens this scherzo, which is in the expected ternary form. The outer sections dance energetically, and a horn solo leads the way into the bucolic trio. The Finale opens with a brief introduction marked Allegretto. The fundamental rhythm of this introduction (longshort-short) gives shape to the main body of the movement, which is also marked Allegretto and which has a sort of jaunty energy. Again, the writing for the nine players is graceful and idiomatic, and–after all this bright energy–the Petite Symphonie comes to a surprisingly subdued close.

Pacific Symphony with Benjamin Beilman The Four Seasons ANTONIO VIVALDI Born March 4, 1678, Venice Died July 26/27, 1741, Vienna Are Vivaldi’s The Four Seasons the most popular work in the classical literature? The evidence seems to suggest that–it has been recorded hundreds of time times. Only Bach’s Brandenburg Concertos, Beethoven’s Fifth Symphony, and Ravel’s Bolero approach that number. Yet seventy-five years ago, hardly anyone had heard of The Four Seasons. It was a recording of this music that led to the revival of interest in baroque music after World War II, and today new recordings appear all the time. A mark of its popularity is that–in addition to the violin version–the current catalog lists arrangements for flute, recorder, trombone, brass quintet, guitar trio, electronic synthesizer, and koto ensemble.

The Four Seasons are the first four concertos in the set of twelve Vivaldi published in 1725 as his Opus 8, which he nicknamed Il cimiento dell’ armonia e dell’ inventione (“The Battle between Harmony and Invention”). Each of the four is a small tone poem depicting events of its respective season, and in the published score Vivaldi printed the four anonymous sonnets his music was intended to depict (the poems may have been written after the music was composed, however). The Four Seasons are thus one of the earliest examples of program music, but audiences should not expect the kind of detailed musical depiction

of a composer like Richard Strauss.

Strauss, who once said that his highest aim was to write fork music that could never be mistaken for a spoon, was a master at painting scenes with an orchestra.

Vivaldi’s music, written nearly two centuries earlier, can seem a little innocent by comparison: his fast movements tend to depict storms, the slow movements shepherds falling asleep. But this music is so infectious and appealing, the many little touches so charming, that The Four Seasons seem to have an air of eternal freshness about them.

Certainly these four concertos continue to win new friends for baroque music every day.

Each of the four is in the standard form of Vivaldi’s concertos–the first movement opens with a ritornello, or refrain, that will recur throughout the movement; between its appearances, the soloist breaks free with florid, virtuoso music of his own. The slow movement is usually a melodic interlude, while the finale–dynamic and extroverted–is sometimes cast in dance forms.

Spring marches in joyfully with a buoyant ritornello, and soon the solo violin brings trilling birdsongs and the murmur of brooks and breezes. Thunder and lightning break out, but the birds return to sing after the storm. In the slow movement a shepherd sleeps peacefully while his dog keeps watch; the dog’s quiet “Woof!

Woof!” is heard throughout in the violas. Nymphs and shepherds dance through the final movement,

ABOUT THE PROGRAM which shows some relation to the gigue. But the movement is no wild bacchanal, and Spring concludes with this most grave and dignified dance.

At the beginning of Summer the world limps weakly under a blast of sunlight–the ritornello is halting and exhausted. Soon the solo violin plays songs of different birds– cuckoo, dove, and goldfinch–and later the melancholy music of a shepherd boy, weeping at the prospect of a storm. The Adagio depicts more of his fears: buzzing mosquitoes and flies (quiet dotted rhythms) that alternate with blasts of thunder. The concluding Presto brings the storm. A rush of sixteenth-notes echoes the thunder, and lightning rushes downward in quick flashes The jaunty opening of Autumn depicts a peasants’ dance, and the solo violin picks up the same music. Soon the violin is sliding and staggering across all four strings–the peasants have gotten drunk and are collapsing and falling asleep; the Adagio molto, an exceptionally beautiful slow movement, shows their “sweet slumber.” The final movement opens with the sound of the orchestra mimicking hunting horns. Vivaldi’s portrait of the hunt is quite graphic–the violin’s rushing triplets depict the fleeing game that finally collapses and dies from exhaustion.

The beginning of Winter is one of the most effective moments in The Four Seasons: quick turns

in the orchestra “shiver” with the cold, and later vigorous “stamping” marks the effort to keep warm. In the wonderful Largo, a graceful, melodic violin line sings of the contented who sit inside before a warm fire while outside raindrops (pizzicato strings) fall steadily.

In the concluding Allegro, the solo violin shows those trying desperately to walk over ice. The ice shatters and breaks and strong winds blow, but Vivaldi’s music concludes with a sort of fierce joy– this is weather that, however rough, brings pleasure.

Program Notes are Copyright © Eric Bromberger 2023

Benjamin Beilman, violin Benjamin Beilman is one of the leading violinists of his generation.

He has won international praise for his passionate performances and deep rich tone which The Washington Post called “mightily impressive,” and The New York Times described as “muscular with a glint of violence.” The Times has also praised his “handsome technique, burnished sound, and quiet confidence,” and The Strad described his playing as “pure poetry.”

Beilman’s 23/24 season includes his debut with the St. Louis Symphony under Cristian Macelaru, and returns to the Minnesota Orchestra with Elim Chan, the Oregon Symphony with David Danzmayr, and the Pacific Symphony, whom he will play-direct in a program of Vivaldi.

The same season will also see six weeks of performances in Europe, including concerts with the SWR Symphonieorchester Stuttgart alongside Elim Chan, a return to the Kölner Philharmonie with the Deutsche Radio Philharmonie Saarbrücken, and appearances at the Grafenegg Festival, Festpielhaus St. Pölten, and the Musikverein in Vienna with the Tonkünstler Orchester and Tabita Berglund. Beilman will also return to play-direct the London Chamber Orchestra, and will reunite with Ryan Bancroft in making his debut with BBC National Orchestra of Wales, and with Roderick Cox in returning to Orchestre National Montpellier Occitanie. He will also continue his performances of the Britten Concerto with the Estonian

National Symphony.

In April 2022, Beilman became one of the youngest artists to be appointed to the faculty of the Curtis Institute of Music, and in 23/24 will lead a Curtis string ensemble in a national tour.

In recent seasons Beilman’s commitment to, and passion for, contemporary music has led to new works written for him by Frederic Rzewski (commissioned

by Music Accord), and Gabriella Smith (commissioned by the Schubert Club in St. Paul, and the San Francisco Conservatory of Music). He has also given multiple performances of Jennifer Higdon’s violin concerto, and recorded Thomas Larcher’s concerto with Hannu Lintu and the Tonkünstler Orchester, as well as premiered Chris Rogerson’s Violin Concerto (“The Little Prince”) with the Kansas City Symphony and Gemma New. In past seasons, Beilman has performed with many major orchestras worldwide including the Chicago Symphony, Philadelphia Orchestra, San Francisco Symphony, Rotterdam Philharmonic, London Philharmonic, Trondheim Symphony, Oslo Philharmonic, Taipei Symphony, Frankfurt Radio Symphony, Zurich Tonhalle, Sydney Symphony, and Houston Symphony. He has also toured Australia in recital under Musica Aviva, including stops in in Melbourne, Sydney, Newcastle, Adelaide, Brisbane, Canberra, and Sydney.

ABOUT THE ARTISTS Conductors with whom he works include Yannick Nézet-Séguin, Cristian Măcelaru, Lahav Shani, Krzysztof Urbański, Ryan Bancroft, Matthias Pintscher, Gemma New, Karina Canellakis, Jonathon Heyward, Juraj Valčuha, Han-Na Chang, Elim Chan, Roderick Cox, Rafael Payare, Osmo Vänskä, and Giancarlo Guerrero.

In recital and chamber music, Beilman performs regularly at the major halls across the world, including Carnegie Hall, Lincoln Center, Concertgebouw Amsterdam, Kölner Philharmonie, Berlin Philharmonie, Wigmore Hall, Louvre (Paris), Bunka Kaikan (Tokyo) and at festivals he has performed at Verbier, Aix-enProvence Easter, Prague Dvořák, Robeco Summer Concerts (Amsterdam), Music@Menlo,

Marlboro and Seattle Chamber Music, amongst others. He also continues to perform with Chamber Music Society of Lincoln Center.

Beilman studied at the Curtis Institute of Music with Ida Kavafian and Pamela Frank, and with Christian Tetzlaff at the Kronberg Academy, and has received many prestigious accolades including a Borletti-Buitoni Trust Fellowship, an Avery Fisher Career Grant and a London Music Masters Award.

He has also recorded works by Stravinsky, Janáček and Schubert for Warner Classics. He perfoms with the ex-Balaković F. X. Tourte bow (c. 1820), and plays the “Ysaÿe” Guarneri del Gesù from 1740, generously on loan from the Nippon Music Foundation.

Pacific Symphony Orchestra Pacific Symphony, led by Music Director Carl St.Clair for the last 34 years, has been the resident orchestra of the Renée and Henry Segerstrom Concert Hall since 2006. Currently in its 45th season, the Symphony is the largest orchestra formed in the U.S. in the last 50 years and is recognized as an outstanding ensemble making strides on both the national and international scene, as well as in its own community of Orange County.

In April 2018, Pacific Symphony made its debut at Carnegie Hall as one of two orchestras invited to perform during a yearlong celebration of composer Philip Glass’ 80th birthday, and the following month the orchestra toured China. The orchestra made its national PBS debut in June 2018 on Great Performances with Peter Boyer’s Ellis Island: The Dream of America, conducted by St.Clair.

Presenting more than 100 concerts and events each year and a rich array of education and community engagement programs, the Symphony reaches more than 300,000 residents—from school children to senior citizens.

The Symphony offers repertoire ranging from the great orchestral masterworks to music from today’s most prominent composers. Just over a decade ago, the Symphony launched the highly successful opera initiative, “Symphonic Voices,” which continues in April 2024 with Puccini’s La Bohème.

It also offers an in-demand Pops season, enhanced by state-ofthe-art video and sound, led by

celebrated pops conductors.

Each season also includes Café Ludwig, a chamber music series; an educational Family Musical Mornings series; and Sunday Matinees, an orchestral matinée series offering rich explorations of selected works led by St.Clair.

Founded in 1978 as a collaboration between California State University, Fullerton (CSUF) and North Orange County community leaders led by Marcy Mulville, the Symphony performed its first concerts at Fullerton’s Plummer Auditorium as the Pacific Chamber Orchestra, under the baton of then-CSUF orchestra conductor Keith Clark. Two seasons later, the Symphony expanded its size and changed its name to Pacific Symphony Orchestra. Then, in 1981-82, the orchestra moved to Knott’s Berry Farm for one year.

The subsequent four seasons, led

by Clark, took place at Santa Ana High School auditorium where the Symphony also made its first six acclaimed recordings. In September 1986, the Symphony moved to the new Orange County Performing Arts Center, and from 1987-2016, the orchestra additionally presented a Summer Festival at Irvine Meadows Amphitheatre. In 2006, the Symphony moved into the Renée and Henry Segerstrom Concert Hall, with striking architecture

by Cesar Pelli and acoustics by Russell Johnson. In 2008, the Symphony inaugurated the hall’s critically acclaimed 4,322-pipe William J. Gillespie Concert Organ.

The orchestra embarked on its first

ABOUT THE ARTISTS European tour in 2006, performing in nine cities in three countries.

Recordings commissioned and performed by the Symphony include the release of William Bolcom’s Songs of Lorca and Prometheus (2015-16), Richard Danielpour’s Toward a Season of Peace, Philip Glass’ The Passion of Ramakrishna (2013-14), as well as Michael Daugherty’s Mount Rushmore and The Gospel According to Sister Aimee (2012-13). In 2014-15, Elliot Goldenthal released a recording of his Symphony in G-sharp Minor, written for and performed by the Symphony. The Symphony has also commissioned and recorded An American Requiem by Danielpour and Fire Water Paper: A Vietnam Oratorio by Goldenthal featuring Yo-Yo Ma. Other recordings have included collaborations with such composers as Lukas Foss and Toru Takemitsu. Other leading composers commissioned by the Symphony include Paul Chihara, Daniel Catán, James Newton Howard, William Kraft, Ana Lara, Tobias Picker, Christopher Theofanidis, Frank Ticheli, John Wineglass, Sir James Macmillan, and Chen Yi. In both 2005 and 2010, the Symphony received the prestigious ASCAP Award for Adventurous Programming. Also in 2010, a study by the League of American Orchestras, Fearless Journeys, included the Symphony as one of the country’s five most innovative orchestras. The Symphony’s award-winning education and

community engagement programs benefit from the vision of St.Clair and are designed to integrate the orchestra and its music into the community in ways that stimulate all ages. The Symphony’s Class Act program has been honored as one of nine exemplary orchestra education programs by the National Endowment for the Arts and the League of American Orchestras. The list of instrumental training initiatives includes Pacific Symphony Youth Orchestra, Pacific Symphony Youth Wind Ensemble, Pacific Symphony Santiago Strings, and new this season, Pacific Symphony Youth Concert Band. The Symphony also spreads the joy of music through arts-X-press, Class Act, Heartstrings, OC Can You Play With Us?, Santa Ana Strings, Strings for Generations, Symphony on the Go!, and Symphony in the Cities.

Website www.pacificsymphony.org/

NO PHOTOGRAPHY OR VIDEO

UPCOMING

“Powerful...brimming with confidence and joy” Miami New Times

Pacific Symphony

Plays Beethoven & Mendelssohn with Aubree Oliverson, violin SUNDAY, MAR 24, 2024, 3 PM SOKA PERFORMING ARTS CENTER BEETHOVEN Symphony No. 1 in C Major, op. 21 MENDELSSOHN Violin Concerto in E minor, op. 64 TICKETS & INFORMATION HERE soka.edu/pac tickets@soka.edu 949-480-4278

Soka Performing Arts Center Mission Statement

Our mission is to Engage, Educate, and Elevate the Human Spirit Soka Performing Arts Center strives to elevate humanity through transcendent experiences. Come experience our exquisite acoustics. Come to expand your understanding and appreciation of music. Come to forge community and emotional connections through the shared experience of live music.

Listen.

Feel.

Transform.

ABOUT SOKA PERFORMING ARTS CENTER

Soka Performing Arts Center is located on the beautiful hilltop campus of Soka University of America in Aliso Viejo. Our facility includes the 1,032seat Concert Hall featuring world-class acoustics designed by master acoustician Yasuhisa Toyota, designer of the Walt Disney Concert Hall in Los Angeles and Suntory Hall in Tokyo, among many others. We also have an intimate 350-seat Black Box Theatre that allows for multiple seating configurations including club seating with bistro tables.

More than 750 performances have taken place since the center’s dedication on May 27, 2011. The 2023-24 season marks our twelfth season presenting first-class programming in our world-class concert hall. We are continuing to expand our programming and outreach with the addition of a Children’s Concert Series, Blues Festival, and the only Great Pianists Series on the West Coast. From classical and jazz to world and contemporary music, the Soka Performing Arts Center has become a prized space for artists and audiences alike.

We are proud to be the home of the Pacific Symphony Chamber Orchestra.

Our Sundays @ Soka Series with Pacific Symphony continues to be one of our most popular series year after year. Our presentations with other Orange County arts organizations have enabled us to reach further into our community to offer arts education and programming. Our partnership with the Philharmonic Society of Orange County includes our PSOC Series, which brings superlative artists to our stage. We also partner with PSOC for our Outreach Program, bringing over 7,000 school children to Soka Performing Arts Center to experience live performances with outstanding musicians.

With its world-class acoustics and first-class performances, Soka Performing Arts Center is quickly becoming one of the cultural jewels of Orange County.

SOKA PERFORMING ARTS CENTER DONORS

OUR SUPPORTERS

DIRECTOR’S CIRCLE ($75,000+) Dr. Kenneth & Sandra Tokita Sam & Lyndie Ersan CONCERTMASTER ($10,000+) Ms. Emi Maeda STAGE CHAMPION ($5000+) Anonymous STAGE BENEFACTOR ($1000+) John and Sue Prange Terumi Saito Jochen Schumacher GOLD CLEF ($500+) Jeffrey Hendrix Jane A. Lynch Alex & Sandy Scott SILVER CLEF ($200+) Lorraine Leiser Anson and Marilyn Wong BRONZE CLEF ($25+) Raquel Bruno Sammy Chang Judy Kaufman Jeannette Pease Thomas Prigorac Jonia Suri Naomi Uchiyama Joseph Whitaker Joyce M Wrice Taro Yamanashi Anonymous

List current as of 09/29/2023 The Soka Performing Arts Center deeply appreciates the support of its sponsors and donors, and makes every effort to ensure accurate and appropriate recognition. Contact Renee Bodie, General Manager at (949) 480-4821 to make us aware of any error or omission in the foregoing list.

CREATE YOUR OWN SUBSCRIPTION PACKAGE

This season, we have made exciting updates to our subscription and renewal program, providing you with even more flexibility in our season packages*.

With our enhanced program, you now have the power to curate your very own unique experience.

• 15% Discount for a 3 performance package • 18% Discount for a 4 performance package • 20% Discount for a 5+ performance package *full details online at soka.edu/pac

OUR PARTNERS • Blueport Jazz • Philharmonic Society of Orange County • Pacific Symphony • San Diego Symphony • Parnassus Society

SOKA PAC MANAGEMENT TEAM Renée Bodie General Manager & Artistic Director John Morgan Box Office Manager Jarmil Maupin Technical Services Manager Jenski Nguyen Stage Manager Madeline Webb Lighting Technician Hiroyuki Connor Miki Internal Events Manager Jaime Spataro Marketing & Communications Manager Joe Nicholls Marketing & Communications Assistant Steve Baker Interim Production/House Manager

SokaPAC @SokaPAC SokaPerformingArtsCenter @SokaPAC Website soka.edu/pac

SOKA UNIVERSITY OF AMERICA BOARD OF TRUSTEES Soka Performing Arts Center resides on the beautiful campus of Soka University of America.

We thank the SUA Board of Trustees and the SUA Leadership Council for all of their support.

SUA BOARD OF TRUSTEES Steve Dunham, JD Chair Vice President and General Counsel Emeritus, Pennsylvania State University | Baltimore, Maryland Tariq Hasan, PhD Vice Chair Chief Executive Officer, SGIUSA | New York, New York Andrea Bartoli, PhD President, Sant’Egidio Foundation for Peace and Dialogue | New York, New York Matilda Buck Benefactor | Los Angeles, California Lawrence E. Carter, Sr, PhD, DD, DH, DRS Dean, Professor of Religion, College Archivist and Curator, Morehouse College | Atlanta, Georgia Andy Firoved CEO, HOTB Software | Irvine, California Jason Goulah, PhD Professor of Bilingual-Bicultural Education and Director, Institute for Daisaku Ikeda Studies in Education, Director of Programs in Bilingual-Bicultural Education, World Language Education, and Value-Creating Education for Global Citizenship, College of Education, DePaul University | Chicago, Illinois Clothilde V. Hewlett, JD Commissioner of Department of Financial Protection and Innovation, State of California | San Francisco, California Lawrence A. Hickman, PhD Director Emeritus, The Center for Dewey Studies and Professor Emeritus, Department of Philosophy, Southern Illinois University Carbondale | Carbondale, Illinois

Kris Knudsen, JD Attorney | Wilsonville, Oregon Karen Lewis, PhD Sondheimer Professor of International Finance and Co-Director, Weiss Center for International Financial Research, Wharton School, University of Pennsylvania | Philadelphia, Pennsylvania Luis Nieves Founder, Chairman Emeritus AUL Corp, Benefactor | Napa, California Gene Marie O’Connell, RN, MS Health Care Consultant, Associate Clinical Professor, University of California, San Francisco School of Nursing | Corte Madera, California Adin Strauss General Director, Soka Gakkai International-USA | Santa Monica, California Yoshiki Tanigawa Benefactor, Soka Gakkai | Tokyo, Japan Edward M. Feasel, PhD President, Soka University of America (ex-officio member) | Aliso Viejo, California

SUA LEADERSHIP COUNCIL

SUA LEADERSHIP COUNCIL Edward M. Feasel, PhD President Chief Academic Officer Professor of Economics

M. Robert Hamersley, PhD Dean of Faculty Professor of Environmental Biogeochemistry

Archibald E. Asawa Executive Vice President for Finance and Administration Chief Financial Officer Chief Investment Officer

Hyon J. Moon, EdD Dean of Students Title IX and Section 504 Deputy Coordinator for Students

Katherine M. King, PHR Executive Vice President of University Community Chief Human Resources Officer Title IX and Section 504 Coordinator for Faculty, Staff and Others Michael Weiner, PhD Executive Vice President for Academic Affairs Professor of East Asian History & International Studies Kevin Moncrief, PhD Vice President for Mission Integration Bryan E. Penprase, PhD Vice President for Sponsored Research and External Academic Relations Professor of Physics and Astronomy Tomoko Takahashi, PhD, EdD, LHD Vice President for Institutional Research and Assessment Dean of the Graduate School Professor of Linguistics and Education David Welch, JD Vice President University Counsel

Michelle Hobby-Mears, MBA Associate Dean of Students Director of Student Activities Andrew Woolsey, EdD Dean of Enrollment Services Martin Beck, MA Executive Director of Strategic Marketing and Communications

CONCESSIONS

Concessions A wide variety of wine, beer, soft drinks and freshly prepared snacks will be available before the concert and during intermission in the lobby.

Pre-order your concessions and skip the line ahead of time!

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Concessions provided

by FPG Events