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FrieNDs

about the artists

Saturday, February 2, 2013, 8pm Soka Performing Arts Center

HONORARY SEASON SPONSOR Disneyland Resort • Mr. Sam Ersan • Donna L. Kendall Foundation Barbara Roberts • Michelle Rohé • Segerstrom Center for the Arts The Segerstrom Foundation • Shanbrom Family Foundation The Committees of the Philharmonic Society

CHAIRMAN’S CIRCLE

PLATINUM BATON

Mr. and Mrs. Donald P. Evarts Mr. and Mrs. Milton S. Grier, Jr. Maralou and Jerry M. Harrington Mr. and Mrs. Lawrence Hull Dr. Burton L. Karson Mr. David H. Koontz and Mr. James Brophy Macy’s Mr. and Mrs. Anthony Mastrangelo Mrs. Michael McNalley

GOLDEN BATON

Dr. William Lycette

U.S. Bank Mr. and Mrs. Christopher Zumberge Wells Fargo Foundation Mr. and Mrs. Noel Hamilton Mr. and Mrs. George Wentworth Bobbitt and Bill Williams

Mrs. William L. Cook Ms. Carol Dalton William Gillespie Foundation Elizabeth F. Hayward and Robert M. Carmichael Milli and Jim Hill Drs. Siret and Jaak Jurison

Igor StrAvInSKy

Introduzione Serenata Aria Tarantella Minuetto e finale

Igor Stravinsky heitor vIllA-loBoS arr. Jorge Calandrelli

oblivion

arr. Kyoko yamamoto

Camargo GuArnIerI

7 Canciones Populares españolas, G. 40 Marcia Kay and Ronald Radelet

Mrs. Elaine Redfield

Mrs. Victor Klein Dr. and Mrs. Fritz Lin Mr. and Mrs. Michael D. Nadler Dr. Susan Powers The Orange County Register Mr. and Mrs. James Reynolds Dr. and Mrs. Chase Roh

Mr. Dickson Shafer – In memory of Lois Shafer Mr. and Mrs. John Stahr Richard and Elizabeth Steele Fund

manuel De FAllA

El Paño Moruno Seguidilla muricana Asturiana Jota Nana Canción Polo

IntermISSIon louange à l'Éternité de Jésus olivier meSSIAen from Quatour pour la fin du temps

Mr. and Mrs. Walter Hahn Mr. and Mrs. Robert J. Hall Dr. Renee Harwick Ms. Sigrid Hecht Dr. and Mrs. Howard J. Jelinek Mr. G. Berk Kellogg Dr. and Mrs. Tae S. Kim Mr. and Mrs. Louis J. Knobbe Lockie and Clark Leonard Mr. and Mrs. Albert A. LoSchiavo Mrs. Linda Mandelbaum Mr. and Mrs. Orville L. Marlett Mr. and Mrs. William McCormick

Millstream Fund City of Mission Viejo Mr. and Mrs. Carl Neisser Mr. Patrick Paddon Dr. William Pedler Mrs. Frank M. Posch Dr. and Mrs. Paul Qaqundah Mr. and Mrs. Walter Rados Mary Rence Karen and Philip Ridout Mr. and Mrs. Walter Rios Mrs. Howard Roop Mr. and Mrs. Fred Schneider Mr. and Mrs. Lawrence S. Spitz Diane and Michael Stephens

Target Mrs. H. Lloyd Taylor Mr. and Mrs. Robert A. Teitsworth Mrs. Mary J. Wallace Dr. and Mrs. Fritz Westerhout Dr. Gayle Widyolar and Mr. David Scott Dr. and Mrs. Peter Willens Chava and Ted Wortrich

STRAvINSkY: Suite italienne, AfTER THE BALLET Pulcinella

Ástor PIAzzollA

arr. Jorge Calandrelli

($1,200+)

Hope Aldrich and Michael Jeffers Mr. and Mrs. Richard D. Allen Dr. and Mrs. Francisco Ayala John W. Benecke Mr. and Mrs. John C. Carson Dr. and Mrs. David Casey Mr. and Mrs. Stewart A. Clark Mr. and Mrs. William P. Conlin Mr. and Mrs. Roger Davisson Joanne Fernbach Sandra M. French and Donald B. French Mr. and Mrs. Michael Gordon Wanda Gwozdziowski

piano

Dansa negra

($3,000+)

American Business Bank Carol and Raymond Baugh Linda M. Beimfohr Dr. and Mrs. Richard D. Campbell Dr. and Mrs. Shigeru Chino Mr. and Mrs. David Chonette

PRO MUSICA

Mr. and Mrs. Carl Neuss Pacific Life Foundation Deborah and Richard Polonsky Mr. and Mrs. David Rosenberg Schumann Rallo & Rosenberg LLP Dr. and Mrs. Daniel Stein Mrs. Eugenia D. Thompson Ms. Annette Thompson Mr. and Mrs. David Troob Troy Group Inc.- Dirk Family Foundation

($6,000+)

Mr. and Mrs. James Alexiou Ms. Injoa Kim

cello

three Pieces Alma Brasileira

($10,000+)

Ms. Elizabeth An and Mr. Gordon Clune Mr. and Mrs. Darrel Anderson Mr. and Mrs. James W. Anderson Mr. and Mrs. Peter S. Bordas Mr. Douglas T. Burch, Jr. Mrs. Jack Caldwell Mr. and Mrs. Michael Carroll Colburn Foundation Mr. Warren G. Coy Mr. and Mrs. Ben Dolson Mr. and Mrs. James A. Driscoll

KAthryn Stott

Suite Italienne

Breguet • The Crean Foundation • Ann and Gordon Getty Foundation Mrs. Phyllis Jacobs • Phillip N. and Mary A. Lyons • National Endowment for the Arts Music Performance Fund • Orange County Musicians’ Association, Local 7 Sandy and Harold Price • Mr. and Mrs. Douglas H. Smith • Elaine Weinberg

PRESIDENT’S CLUB

yo-yo mA

Sonata no. 3 in D minor, op. 108

Johannes BrAhmS

Allegro Adagio un poco presto e con sentimento Finale: Presto agitato Yo-Yo Ma records for Sony Masterworks Management: Opus 3 Artists 470 Park Avenue South, New York NY 10016 www.opus3artists.com Exclusive Print Sponsor

*Full listing of donors appears in all Segerstrom Center for the Arts program books. Photographing or recording this performance without permission is prohibited. Kindly disable pagers, cellular phones, and other audible devices. Programs, artists, dates, times are subject to change.

The Suite Italienne derives from Stravinsky's ballet Pulcinella, itself a two-fold salute to the past. It is a tribute to both the traditions of the folk theater style known as commedia dell'Arte and the music of the Baroque. Stravinsky wrote it for the Ballets Russes, which had famously—perhaps infamously—premiered his earlier ballet The Rite of Spring, as well as much else. Here, Stravinsky, at the specific request of the dance company’s impresario, produced something in a very different vein. Melodies are borrowed largely from Giovanni Battista Pergolesi (1710-1736), one of the few worthwhile composers who can make Mozart seem to be long-lived. At times, the harmonies are somewhat more modern than Pergolesi himself would have imagined, but nowhere does it sound distinctly 20th-century. Here, Stravinsky was proving himself master of more than one mode of expression by working in the style of the early 20th-century movement known as Neoclassicism. The ballet Pulcinella premiered at the Paris Opera May 15, 1920. Twelve years later, Stravinsky arranged much of the music into a suite for violin and piano and a second version for cello and piano. These suites he graced with the name Suite Italienne, in recognition of Pergolesi's homeland.

about the ProGraM

The Philharmonic Society gratefully acknowledges the 1,200 individuals, corporations, foundations and government agencies who help us fulfill our mission. Ranging from $50 to more than $100,000, these annual contributions make up the difference between the income generated from ticket sales and the actual cost of bringing the world’s finest orchestras, soloists and chamber ensembles to Orange County and inspiring more than 150,000 K-12 students each year with quality music education programs.


has much lyric beauty, if one remains open to the composer’s quirky rhythms. Tonight’s program offers the quartet’s fifth movement. Its imagery of the “eternity of Jesus” is evoked with long, almost disembodied phrases. This arrangement for cello and piano makes do without the contributions of the clarinet and violin that join in the original, yet still brings forth the haunting, rapt moods of the original, a little tense, but filled with much beauty.

Here, Yo-Yo Ma and Kathryn Stott offer arrangements of three short 20th century works from two different South American nations. Astor Piazzolla (1921–1992) was Argentine; Heitor Villa Lobos (1887–1959) and Camargo Guarnieri (1907–1993) were Brazilian. All three men were fascinated by the idea of conveying their folk culture through their concert works, borrowing the rhythms and energies of the music that one might hear in the streets or in the countryside. For Piazzolla, it was principally the spirit of the tango that caught his attention, as evoked in his sultry Oblivion. Villa-Lobos liked the melancholy Brazilian “chôros” style, and his Alma Brasileira (Soul of Brazil) borrows its moods. As for the least familiar of the three men, Guarnieri was the Saõ Paulo-born son of Italian immigrants, music lovers who burdened their son with the given name of “Mozart.” Upon embarking on his musical career, he set aside that overly weighted name in favor of his mother’s maiden name, and published his music—especially songs and solo piano pieces—under this possibly less assertive appellation. His Dansa Negra is a work of piquant energy, often flavored with a wink. DE fALLA: 7 cancioneS PoPulareS eSPagñoleS The 7 Canciones Populares espagñoles of Manuel de Falla (1876–1946) are the Spanish composer’s own arrangement from a previous set of seven songs for vocalist and piano. The songs derived from popular roots, here specifically those of Spanish gypsies. Tweaking folk rhythms and harmonies somewhat to achieve his own expressive aims, Falla crafted a suite that is by turns melancholy or propulsive. Most famous of the set is the jota, originally a love song, though one lamenting of familial disapproval, and the resulting frustration of thwarted love. In either the original vocal form or the later instrumental vision, lively energy alternates with mournful moods, the changes of atmosphere quicksilver in their shifts.

YO-YO MA, CELLO The many-faceted career of cellist Yo-Yo Ma is testment to his continual search for new ways to communicate with audiences and to his personal desire for artistic growth and renewal. Mr. Ma maintains a balance between his engagements as soloist with orchestras worldwide and his recital and chamber music activities. His discography includes more than 75 albums, including more than 15 Grammy Award winners.

about the artists

about the ProGraM

THREE PIECES

BRAHMS: SONATA NO. 3 IN D MINOR, OP. 108

Olivier Messiaen

MESSIAEN: “LOUANGE A L’éTERNITE DE JéSUS” [PRAISE TO THE ETERNITY Of JESUS], fROM THE Quatuor Pour la fin du temP [Quartet for the end of time] One can scarcely imagine a less promising venue for a major premiere than that of the Quartet for the End of Time of Olivier Messiaen (1908–1992), first performed at Stalag 8A in Silesia January 15, 1941. Messiaen, a prisoner-of-war captured while serving with the army of his native France, had been putting his spare time into sketching out the piece, and when his activity came to the attention of a musically inclined guard, that man managed to provide music staff paper and sharpened pencils for the task. The camp commander then allowed the composer and a few friends access to instruments (specifically clarinet, violin, cello, and piano) and the work was heard by Messiaen’s fellow prisoners and their captors. The hand-written score then managed to survive through the composer’s next year of confinement and come home with him to Paris, where it belatedly made it into print. The quartet’s eight movements bear titles drawn from the Book of Revelations. With such inspirations, one might suppose it to be a dark and grim score, but instead Messiaen crafted a piece that

Johannes Brahms (1833–1897) did compose cello sonatas, but only two of them. This one is borrowed from his works for violin and piano. Dating from 1888, it postdates the Cello Sonata No. 2 by two years, and, in its original form, was intended for the violinist Joseph Joachim, for decades a friend and recital partner of the composer. The work premiered in Budapest on December 20, 1888, and was published the following year with a dedication to Hans von Bülow. A prominent pianist and conductor, Bülow was one of the few men on the continent who managed to be a devoted supporter both of the radical Wagner and the conservative Brahms. Apparently, as long as a work was well-structured and imaginatively crafted, Bülow didn’t mind which side of the expressive envelop it inhabited. The sonata’s first movement offers poignant moods in line with the D minor key. The second, though quite slow of tempo, is more wistful than sorrowful, perhaps even offering echoes of a love scene. For the third movement, brighter ideas of nimble motion appear for the first time, almost as of a folk dance. The finale is all determined motion: agitated indeed, as its tempo marking implies. Brahms may have imagined it all for violin and piano, but the music is equally well suited to the darker timbres of the cello.

© Program notes by Betsy Schwarm, author of “Classical Music Insights” and “Operatic Insights”

Mr. Ma serves as the Artistic Director of the Silk Road Project, an organization he founded to promote the study of cultural, artistic and intellectual traditions along the ancient Silk Road trade routes. Since the Project’s inception, more than 60 works have been commissioned specifically for the Silk Road Ensemble, which tours annually. Mr. Ma also serves as the Judson and Joyce Green Creative Consultant to the Chicago Symphony Orchestra’s Institute for Learning, Access and Training. His work focuses on the transformative power music can have in individuals’ lives, and on increasing the number and variety of opportunities audiences have to experience music in their communities. Yo-Yo Ma and Kathryn Stott (Todd Rosenberg)

Mr. Ma was born in Paris to Chinese parents who later moved the family to New York. He began to study cello at the age of four, attended the Juilliard School and in 1976 graduated from Harvard University. He has received numerous awards, among them the 2001 National Medal of Arts, the 2006 Sonning Prize, the 2008 World Economic Forum’s Crystal Award, and the 2010 Presidential Medal of Freedom. In 2011 Mr. Ma was recognized as a Kennedy Center Honoree. Mr. Ma serves as a UN Messenger of Peace and as a member of the President’s Committee on the Arts and the Humanities. He has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony. For additional information, see: www.yo-yoma.com, www.silkroadproject.org, and www.opus3artists.com.

kATHRYN STOTT, PIANO Born in Lancashire, Kathryn Stott studied at the Yehudi Menuhin School with Vlado Perlemuter and Nadia Boulanger, then at the Royal College of Music in London with Kendall Taylor. A prize-winner at the Leeds International Piano Competition in 1978, she has performed as a concerto soloist throughout Britain, across Europe and in Hong Kong, Japan and Australia. She has given the premiere of many new works, including concertos by Sir Peter Maxwell Davies, Graham Fitkin and Michael Nyman. She is a frequent solo recitalist, and, as a chamber musician, has long-standing partnerships with Yo-Yo Ma, Christian Poltéra, Natalie Clein, Guy Johnston, Valeriy Sokolov and Noriko Ogawa. She also collaborates with younger artists such as the Doric Quartet and baritone Audun Iversen. She is a visiting professor at both the Royal Academy of Music in London, and Chetham School of Music, Manchester, Kathryn

Stott has directed and performed in several major festivals and concert series including, in Manchester, “Fauré and the French Connection” in 1995 (after which the French Government appointed her Chevalier dans l’Ordre des Arts et des Lettres), the Piano 2000 and Piano 2003 festivals and Incontri in Terra di Siena. She is currently Artistic Director of the Manchester Chamber Concert Music Society.

Yo-Yo Ma and Kathryn Stott  

Yo-Yo Ma and Kathryn Stott program

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