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On the Upbeat OCTOBER 2009 • VOLUME 3, EDITION 1 2009-2010 SEASON

Nir’s Notes: Dear Symphony Friends: Greetings to all and a Happy New Symphony Season! I am truly excited to be back to begin my fourth season with The Santa Barbara Symphony in this magical city. I hope you joined us in our historic pre-season concert with Lang Lang and can assure you that this was just the upbeat to a spectacular 2009-2010 season! We start “From The Top” in October with a tantalizing program of the familiar and unfamiliar. I have chosen the celebratory “American Festival Overture” by William Schuman that will serve as our musical champagne toast to kick off the Symphony Season. I am delighted to welcome back the stellar violinist Augustin Hadelich who many of you will remember as the violin soloist who played the most exquisite Beethoven Concerto in our final, farewell concert at the Arlington a few years ago. Since then Augustin made his Carnegie Hall debut and we are very fortunate to have him back in Mozart’s Violin Concerto No. 5 “Turkish,” a work that Augustin will perform again in December in his second command performance at Carnegie Hall. Considered “the greatest” of Mozart’s set of five violin concerti, this is sure to be a season highlight. Finally, I am most excited to lead our orchestra in Tchaikovsky’s Fifth Symphony—one of the most romantic works of the symphonic literature and an audience favorite. Starting in pianissimo and building up to a triumphant finale, the “Faith Theme” of this monumental piece will certainly leave you emotionally charged. Join us “From The Top” and I look forward to seeing you throughout the season! Musically yours,

Nir Kabaretti CONCERT SPONSOR:

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The Momentum Continues...

From The Top

Saturday, Oct. 17, 8pm & Sunday, Oct. 18, 3pm THE GRANADA

Augustin Hadelich, violin W. S CHUMAN : American Festival Overture MOZART: Violin Concerto No. 5 TCHAIKOVSKY: Symphony No. 5

Augustin Hadelich, violin With his poetic style and dazzling technique, Augustin Hadelich has established himself as a rising star among the new generation of violinists. Winner of the 2009 Avery Fisher Career Grant and gold medallist of the 2006 International Violin Competition of Indianapolis, his versatility across the entire spectrum of the violin repertory is astounding. At the competition, he also received special awards for best performance of a Romantic concerto, Classical concerto, Beethoven sonata, violin sonata other than Beethoven, Bach work, commissioned work, encore piece and Paganini caprice. In August 2009, Augustin made a sensational debut with the Cleveland Orchestra playing Lalo’s Symphonie espagnole. In the words of the Cleveland Plain Dealer, “A consummate showman, Hadelich pranced over considerable technical obstacles with fluent ease, then dashed off a Paganini caprice as an encore.” Other recent debuts ARTIST SPONSOR:

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include the Houston Symphony, Los Angeles Philharmonic, Pacific Symphony, Tokyo Symphony, and recitals at Kioi Hall (Tokyo), the La Jolla Music Society, and Kennedy Center in Washington, D.C. Augustin made his Carnegie Hall orchestral debut in January 2008, performing the Brahms Double Concerto under Miguel Harth-Bedoya with cellist Alban Gerhardt and the Fort Worth Symphony; he returned to Stern Auditorium in March 2008 for his captivating, highly acclaimed recital debut. In his third appearance at Carnegie Hall during 2008, he performed Mozart’s Violin Concerto No. 5 with the New York String Orchestra under Jaime Laredo on Christmas Eve. Other orchestral engagements include the symphonies of Alabama, Columbus (OH), Fort Worth, Indianapolis, Jacksonville, Kansas City, New Orleans, Louisville, Santa Barbara, Syracuse and the IRIS Chamber Orchestra in Memphis, among others. Outside the United States, Augustin has performed with the Capetown Philharmonic, Deutsche Radio Philharmonie/ Saarbrücken-Kaiserslautern, Dresdner Philharmonie, Museumsorchester Frankfurt, Orquesta Sinfónica Nacional de México, Staatsorchester Stuttgart, Südwestdeutsche Philharmonie Konstanz, and the chamber orchestras of Bavaria, Berlin, Budapest, Cologne, Hamburg, Kiel, Lucerne and Toulouse. He has collaborated with such renowned conductors as Miguel Harth-Bedoya, Günther Herbig, Yakov Kreizberg, Christof Perick, Christoph Poppen, Stefan Sanderling, Michael Stern and Mario Venzago. Augustin has recorded two highly acclaimed CDs for Naxos: Haydn’s complete violin concerti with the Cologne Chamber Orchestra, and Telemann’s complete Fantasies for Solo Violin. A new CD of masterworks for solo violin (including the Bartók solo sonata) will be released by AVIE in October 2009. An enthusiastic recitalist, Augustin has appeared at the Chamber Music Society of Detroit, Chautauqua Music Festival, the Walter Reade Theater at Lincoln Center and the University of Texas at Austin, as well as in collaboration with Midori at Lincoln Center’s Rose Theater. He recently participated in a highly successful east coast tour with artists from the Marlboro Music Festival. Born in Italy in 1984, the son of German parents, Augustin holds a diploma (summa cum laude) from the Istituto Mascagni in Livorno, Italy, as well as a graduate diploma and Artist Diploma from The Juilliard School, where he was a student of Joel Smirnoff. He has been a participant at the Marlboro, Ravinia, and Seattle chamber music festivals and in numerous master classes with renowned violinists such as Uto Ughi, Christoph Poppen, Norbert Brainin, Pinchas Zukerman, Zachar Bron, Yehudi Menuhin and Miriam Fried. As first-prize winner of the Indianapolis Competition, Augustin plays on the 1683 ex-Gingold Stradivari violin.

Notes

FOR OCTOBER 17 & 18, 2009

by Dr. Richard E. Rodda

WILLIAM SCHUMAN (1910-1992)

American Festival Overture

Composed in 1939. Premiered on October 6, 1939 in Boston, conducted by Sergei Koussevitzky. Piccolo, three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion and strings. Approximately 9 minutes.

William Schuman first created a stir within the American musical community with his Symphony No. 2 of 1937. The work was premiered in New York on May 25, 1938 by the WPA Greenwich Village Orchestra, and among those in the audience was Aaron Copland, whose position as a leader of American music had been solidified by the nationally broadcast American premiere of his El Salon México by Adrian Boult and the NBC Symphony ten days before. The following month, Copland published an article in Modern Music that declared, “Schuman is, so far as I am concerned, the musical find of the year.” He brought the Second Symphony to the


attention of Sergei Koussevitzky, music director of the Boston Symphony and an influential champion of modern music, and the piece was heard at Symphony Hall in Boston on February 17, 1939. In appreciation, Schuman wrote the American Festival Overture for Koussevitzky during a retreat that summer on Martha’s Vineyard. Koussevitzky was organizing a festival “in honor of the American composer” for the following October, and he opened the second concert with Schuman’s new composition. The American Festival Overture, tuneful, rhythmically buoyant and harmonically uncluttered, enjoyed frequent performances, broadcasts and recordings, and was the work that brought Schuman his first wide recognition as a composer. WOLFGANG AMADEUS MOZART (1756-1791)

Violin Concerto No. 5 in A major, K. 219, “Turkish” Composed in 1775. Two oboes, two horns and strings. Approximately 31 minutes.

Mozart’s five authentic Violin Concertos were all products of a single year—1775. At nineteen he was already a veteran of five years experience as concertmaster with the Salzburg court orchestra, for which his duties included not only playing, but also composing, acting as co-conductor with the keyboard player (modern orchestral conducting was not to originate for at least two more decades), and soloing in concertos. It was for this last function that Mozart wrote these concertos. He was, of course, a quick study at everything that he did, and each of these works builds on the knowledge gained from its predecessors. It was with the last three (K. 216, 218, 219) that something more than simple experience emerged, however, because it was with these compositions that Mozart indisputably entered the era of his musical maturity. These are his earliest pieces now regularly heard in the concert hall, and the last one, No. 5 in A major, is the greatest of the set. PETER ILYICH TCHAIKOVSKY (1840-1893)

Symphony No. 5 in E minor, Op. 64

Composed in 1888. Premiered on November 17, 1888 in St. Petersburg, conducted by the composer. Woodwinds in pairs plus piccolo, four horns, two trumpets, three trombones, tuba, timpani and strings. Approximately 50 minutes.

In May 1888, after three years with little creative work, Tchaikovsky again took up the challenge of the blank page, collecting “little by little, material for a symphony,” he wrote to his brother Modeste. He worked doggedly on the new symphony, ignoring illness, the premature encroachment of old age (he was only 48, but suffered from continual exhaustion and loss of vision), and doubts about himself. He pressed on, and when the orchestration of the Fifth Symphony was completed, at the end of August, he said, “I have not blundered; it has turned out well.” In their biography of the composer, Lawrence and Elisabeth Hanson reckoned Tchaikovsky’s view of fate as the motivating force in the Symphony No. 5. “In the Fifth Symphony,” the Hansons wrote, “the majestic Fate theme has been elevated far above earth, and man is seen, not as fighting a force that thinks on its own terms, of revenge, hate, or spite, but a wholly spiritual power which subjects him to checks and agonies for the betterment of his soul.” The structure of the Fifth Symphony reflects this process of “betterment.” It progresses from minor to major, from darkness to light, from melancholy to joy— or at least to acceptance and stoic resignation. ©2009 Dr. Richard E. Rodda


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It won’t mean a thing if it ain’t got that

New Year’s Eve Swing! with the Santa Barbara Symphony!

Thursday, Dec. 31, 8:30 p.m. The Granada

Jeff Tyzik, guest conductor

Conductor of the Boston Pops’ 2009 New Year’s Eve! Featuring the music of Duke Ellington, Scott Joplin, Glenn Miller, Count Basie and others to swing you into 2010.

Santa Barbara Symphony’s upcoming performances:

Surround Sound

Saturday, Nov. 7, 8pm & Sunday, Nov. 8, 3pm THE GRANADA

Lara Wickes, oboe; Donald Foster, clarinet; Andy Radford, bassoon; Teag Reaves, horn; Santa Barbara Choral Society Jo Anne Wasserman, Music Director

MOZART: Sinfonia Concertante in E-Flat Major, K. 297B H AYDN : Paukenmesse (“Kettledrum” Mass) For single tickets, call The Granada box office, 1214 State Street, at (805) 899-2222 Santa Barbara Symphony Concerts One-time-only Broadcasts on

Tickets: $35-$100 Granada Box Office 899-2222 Order your tickets TODAY! Concert Sponsor:

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October concerts broadcast: Nov. 1, 7 p.m. November concerts broadcast: Jan. 17, 7 p.m. © On the Upbeat, OCTOBER 2009 VOL. 3, EDITION 1. Published for Symphony Series concert subscribers by the Santa Barbara Symphony, 1330 State Street, Suite 102, Santa Barbara, CA 93101, (805) 898-9386 —A non-profit organization.

From the Top October 2009 On the Upbeat Program Notes  

From the Top