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On the Upbeat APRIL 2012 • VOLUME 5, EDITION 6

The Santa Barbara Symphony

Nir’s Notes Dear Music Lovers, I am very excited to be back in Santa Barbara to work with our wonderful musicians, and to offer you this special program. In these concerts, we are welcoming back to our stage the Santa Barbara Choral Society. And I am happy to introduce you to the four soloists, two of them Santa Barbara natives, who, together with the chorus and the orchestra, will sing Mozart’s Coronation Mass, one of the most popular settings of this genre. This masterpiece is very rich in its musical texture both vocally and instrumentally, combining spiritual moments with dramatic and festive character. The first half of the concert will be dedicated to music for strings, featuring Tchaikovsky’s charming Serenade in C, one of the composer’s most popular works which enjoys worldwide popularity among performers and music lovers. While using earlier forms (like the first movement—written in a classical 18th century Sonatina form), the composer mixes his unique romantic musical language with imitation of a Mozartean style. I am sure you will recognize the 2nd movement of this masterpiece, the Waltz, which is often played on its own. Prior to the Tchaikovsky, I want to introduce you to a piece that is not part of the standard orchestral repertoire, a Study for Strings by Czech composer Pavel Haas. You will find in our program book a deep insight into the horrible conditions in which the composer was living while composing this piece as a prisoner in the Theresienstadt concentration camp. I truly believe that that this work has a notable quality and deserves to be performed in its own right, regardless of its tragic history. One can hear the influence of Haas’ teacher, Leos Janácˇek, and some other 20th century echoes like Bartók and Stravinsky with the repetitive rhythmical patterns and the dense harmonies. Lovely folk-like passages will be heard as the work speeds to its conclusion. Musically yours,

April 21 & 22, 2012 Nir Kabaretti, Conductor

Nicole Heaston, Soprano Nina Yoshida Nelsen, Mezzo-Soprano Benjamin Brecher, Tenor DeAndre Simmons, Bass

Santa Barbara Choral Society

Jo Anne Wasserman, Artistic Director HAAS Study for String Orchestra (1899-1944) TCHAIKOVSKY Serenade for Strings in C major, Op. 48 (1840-1893) Pezzo in forma di Sonatina: Andante non troppo —

Allegro moderato — Andante non troppo Waltz: Moderato Elégie: Larghetto elegiaco Finale (Théma russe): Andante — Allegro con spirito — Molto meno mosso — Allegro con spirito

— INTERMISSION —

MOZART Mass for Soloists, Chorus and Orchestra (1756-1791) in C major, K. 317, “Coronation”

Kyrie: Andante maestoso (Chorus) —

Più andante (Soloists) — Andante maestoso (Chorus) Gloria: Allegro con spirito (Chorus and Soloists) Credo: Allegro molto (Chorus) — Et incarnatus: Adagio (Soloists and Chorus) — Et resurrexit: Allegro molto (Chorus and Soloists) Sanctus: Andante maestoso (Chorus) — Osanna: Allegro assai (Chorus) Benedictus: Allegretto (Soloists) — Osanna: Allegro assai (Chorus) — Benedictus: Allegretto (Soloists) — Osanna: Allegro assai (Chorus) Agnus Dei: Andante sostenuto (Soprano) — Dona nobis pacem: Andante con moto (Soloists) — Dona nobis pacem: Allegro con spirito (Chorus)

Dick and Marilyn Mazess

Nir Kabaretti Music and Artistic Director

CHORAL SOCIETY SPONSORS

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JoAnne Ando CONCERT SPONSOR

MEZZO-SOPRANO SPONSOR

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F

 EATURING

Nicole Heaston

soprano

Soprano Nicole Heaston has appeared with opera companies throughout the world including the Metropolitan Opera, Houston Grand Opera, San Francisco Opera, Dallas Opera, Glyndebourne Festival, Deutsche Oper am Rhein. Since her debut at the Metropolitan Opera as Zerlina in Mozart’s Don Giovanni, Ms. Heaston has appeared regularly with the theater and was heard as Ilia in Mozart’s Idomeneo, as Pamina in Die Zauberflöte (conducted by James Levine) and Echo in Ariadne auf Naxos. In recent seasons Ms. Heaston made her Italian debut in Adriano in Siria at the Fondazione Pergolesi. She made her debut with the Los Angeles Opera as Musetta in La Bohème, joined New Orleans Opera in Rigoletto, and returned to Carnegie Hall for the Marilyn Horne Foundation “The Song Continues” annual recital. Recent engagements include Le Nozze di Figaro at Opera de Lille, Haydn’s The Creation for Teatro Carlo Felice and her debut at Glyndebourne Festival as Donna Elvira in Don Giovanni. Ms. Heaston also appeared as the title role of L’incoronazione di Poppea for her debut at Semperoper Dresden. Among her engagements for the 2011/12 season are Alice in Falstaff for Opera de Lausanne, as well as her return to Dresden as Poppea.

Nina Yoshida Nelsen

mezzo-soprano

Hailed as a “rich voiced, expressive mezzo-soprano” by San Francisco Classical Voice, Nina Yoshida Nelsen is thrilled to be making her debut with the Santa Barbara Symphony. Ms. Nelsen has sung in New York City’s Carnegie and Avery Fisher Halls, and London’s Royal Albert Hall. Nina has performed major roles with many opera companies including New York City Opera, Sarasota Opera, Utah Opera, Opera New Jersey and Opera Santa Barbara. In 2006, Ms. Nelsen was a National Semi-Finalist in the prestigious Metropolitan Opera National Council Auditions. She has also been a recipient of grants from the Gerda Lissner Vocal Competition, Loren L. Zachary Society Vocal Competition, and the Jensen Foundation Vocal Competition. Upcoming performances include appearances in New York at the Phoenecia International Festival of the Voice, and with the Nashville Symphony Orchestra. Nina holds an Artist Diploma from the Academy of Vocal Arts in Philadelphia, PA and a Master’s degree in Vocal Performance from Boston University. She earned her undergraduate degree at Boston University in Violin Performance and Psychology. Nina was born and raised in Santa Barbara, CA and currently lives in Bloomington, Indiana with her husband Jeff and their 18 month old son Rhys. www.ninanelsen.com

Benjamin Brecher

tenor

The “Coronation” Mass marks Benjamin Brecher’s Santa Barbara Symphony debut. Mr. Brecher has performed over fifty operatic roles and sung with over fifty symphonies throughout the world. He has performed over ten roles with The New York City Opera since 1997, specializing in the bel canto opera repertoire. Other performances include: Santa Fe Opera, Opera de Montreal, Opera de Nice, and Glimmerglass Opera. On the concert stage, he has sung with the orchestras of Chicago, Chautauqua, Mexico City, Rome, Seattle, Indianapolis, Pittsburgh, Budapest, Cincinnati, St. Louis, Toronto, Milwaukee and the National Symphony at Kennedy Center. He has eight recordings to his name including The Barber of Seville with The Franz Liszt Chamber Orchestra and the 2010 DVD release of Candide recorded in Rome, Italy. Benjamin continues his rigorous performance schedule with performances this past year with the National Arts Orchestra Ottawa, Rochester Philharmonic, and


the symphonies of Baltimore, Jacksonville, Ft. Worth and Knoxville. In 2013 he will perform Ernesto in Don Pasquale along with the world premiere performances of Shot! A World Changed, an opera about the assassination of President McKinley in Buffalo. He attended The New England Conservatory and The Juilliard Opera Center. Benjamin is an Associate Professor at UCSB where he serves as the head of the voice department.

DeAndre Simmons

bass-baritone

DeAndre Simmons has worked with several opera com-panies including Opera Company of Philadelphia, San Diego Opera, Little Opera of New Jersey, and others. Also comfortable on the concert stage, he has sung varied works with New Jersey Concert Opera, Collegiate Chorale of New York, Philadelphia Orchestra, Columbia Pro Cantare in Maryland. He has sung such roles as Leoprello in Don Giovanni, Sam in Un Ballo in Maschera, Angelotti in Tosca, Truffaldino in Ariadne auf Naxos, and Voce in Idomeneo. His concert performances include Handel’s Messiah, Rossini’s Stabat Mater and Pettite Messe Solennelle, Mozart’s Requiem, the Faure Requiem, Brahms’ Requiem, Seven Last Words of Christ, among others. His upcoming engagements include Mozart’s Requiem with the Kansas City Symphony, Alidoro (study cover) in La Cenerentola and Jim in Porgy and Bess—both with the Opera Company of Philadelphia; Riff in West Side Story with the New Jersey Concert Opera, Major Domo in La Rondine with the Curtis Opera Theatre, Sparafucile with Boheme Opera Company, and recitals in San Diego, Philadelphia, and New York. Currently Mr. Simmons is a young artist at the Curtis Institute of Music.

Santa Barbara Choral Society Founded in 1948, the Santa Barbara Choral Society is the oldest continuing community performance organization on the Central Coast. A semi-professional group of more than 120 auditioned voices under the direction of Jo Anne Wasserman, dubbed by esteemed choral conductors Paul Salamunovich and Vance George as among the finest community choruses on the West Coast, the Choral Society continues to expand on the tradition of choral excellence that has earned a loyal following. The Santa Barbara Choral Society promotes artistic development and provides opportunities for individual community members to study and perform great works of choral music. Committed to sustaining professional choral musicians in the area, the Choral Society employs a core group of professional singers to lead and mentor their sections. Since 1948, the Choral Society has been a service and educational organization, offering the community an opportunity to discover and enjoy a diverse repertoire of choral music, and assisting other musical organizations and schools through outreach programs and cooperative events.

Jo Anne Wasserman

Artistic Director and Conductor

Jo Anne Wasserman, Artistic Director and Conductor, is in her nineteenth season as conductor and artistic director of the Santa Barbara Choral Society. She has worked with an impressive list of outstanding choral and orchestral conductors, including John Alexander and Lawrence Christensen and was chosen to participate in master classes with Paul Salamunovich, the late Robert Shaw and Roger Wagner. She has been Master Class Conductor of the Oregon Bach Festival, Chorus Master for Opera Santa Barbara, has served on the faculty of California State University, Northridge and currently also conducts the Women’s Chorus at Westmont College. She has conducted the Choral Society’s International Performance Tours in Spain, Eastern Europe, Bavaria, and Italy, including Mass at the High Alter at St. Peter’s Basilica in the Vatican, the acclaimed performances at The Granada of Carmina Burana, Verdi Requiem, Vaughan-Williams’ Sea Symphony and Love Love Love, a Tribute to the Beatles with Sir George Martin.


SANTA BARBARA CHORAL SOCIETY 64th SEASON, 2011-2012 JoAnne Wasserman, Artistic Director and Conductor David Potter, Accompanist

ALTOS Mikki Andina JoAnne Ando Kristin Aylesworth* Laurie Berg Rinda Brown Charlotte Brownlee Sarah Fenstermaker Kate Firestone Gayle Haider Gail Kahan Eleanor Lynn Lisa Maraszek Kathy McGuire Gretchen Murray Kathy Piasecki Joan Renehan Susan Robbins Deborah Rosique Linda Rouhas Paula Rudolph Claudia Scott Lu Setnicka Barbara Shelton Linda Shobe

Sabina Thomas Suzanne Tomlinson-Brown Ruth Warkentin Candace Wheeler

BARITONES Peter Brown Steve Dombek Robert Hale John Lynn John Maxwell Dale Noble Gregory Pantages Jim Robbins Howard Rothman William Strnad

BASSES Bruce Byers Tony DeMartino Brooks Firestone Bart Francis Don Jeske Bob Lally Peter Lombrozo Brian Morris

Mike Pahos Steve Pearson Erik Rodkey Dan Secord Jeffrey Warlick Paul Warner

SOPRANOS Karen Brill Nathalie Confiac Diane Das Karen Decker Erica DiBartolomeo Mary Dombek* Kathy Doughty Mary Dan Eades Pamela Enticknap Ellen Evans Frances Fouch Ann Fryer Kimberly Goldstein Jennifer Griffin Claire Haider Christine Hollinger* Ann Marie King Paula Kirchoff

Gail Lucas Cecilia Martinez Marilyn Mazess Adelle Rodkey Margot Roseman Felicia Saunders Audrey Sharpe Candy Stevenson Debbie Stewart Marylove Thralls Pravrajika Vrajaprana

TENORS Audrius Alkauskas John Baker Pat Christensen William Hurbaugh Tom Hurd Isaac Jenkins Bryan Lane* Dave Peckham John Revheim* John Rodkey Paul Satterblom Desmond Stahl

*Section leader/professional

“Music Behind the Music” Pre-Concert Events with your host, Ramón Araïza

FREE TO ALL CONCERT TICKET HOLDERS Concert Saturdays 7pm-7:30pm • Concert Sundays 2pm-2:30pm (1 hour prior to each concert)

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Connecting You to the Santa Barbara Symphony Connecting You to the nnecting You to the Santa Barbara Symphony a Barbara Symphony

Concert pianist, composer/arranger and music scholar Ramón Araïza presents “Music…Behind the Music!” These lively, interactive events take you on an insightful (and humorous) journey of discovery, shining light on the music you’re about to hear in the concert hall. Mr. Araïza’s extensive musical background, presentation style and passion bring each work and composer to life. Please join us in The Granada. Arrive early, venture in, and experience Ramon’s unique genius! Plus, make sure to read Ramón’s creative and artistic “Notes Behind the Notes” in The Granada lobby!

Connecting You to the


N

 OTES PAVEL HAAS (1899-1944)

Study for String Orchestra Composed in 1943. Premiered in summer 1944 in Theresienstadt, Czechoslovakia, conducted by Karel Ancerl. Approximately 8 minutes. Theresienstadt was a place of horror and of hope, a symbol of the most bestial and the most transcendent traits of humankind. Theresienstadt (Terezín in Czech), an hour’s drive north of Prague, was founded by Austrian Emperor Joseph II in 1780 as a fortress city to protect his empire against attack from the east and to solidify the Habsburgs’ hold on Czech lands. Joseph named the town in honor of his mother, Maria Theresa. As befit its military function, Theresienstadt was laid out in the shape of a star around a central square and completely enclosed within forbidding ramparts. When Nazi forces overran Bohemia and Slovakia in March 1939, they took possession of Theresienstadt, and soon found use for it as a way station for Jews being transported from Prague and elsewhere to the death camp at Auschwitz. After the town had been cleared of its original inhabitants, the first group of Jews arrived in November 1941, deprived of almost everything except the clothes on their backs and the most frail of hopes. The inmates calmed their fears and nurtured their spirits by gathering together to sing the songs of their country and their faith. The Nazis quickly became aware of these activities, but allowed them to continue, deciding that they would be of some use in mollifying the prisoners. Among the constant stream of humanity that flowed into Theresienstadt were large numbers of professional and amateur painters, musicians, writers and actors, the veritable heart of Czechoslovakia’s rich artistic culture, who joined their fellow prisoners in organizing concerts, plays, lectures and even a system of education for the children. The bravest musicians smuggled in instruments — one enterprising cellist disassembled his instrument so that it would fit into his rucksack, and brought some glue and a wood clamp to put it back together again when he arrived — and there was soon a flourishing schedule of events, informal and even clandestine at first, but, after the Nazis instituted the Freizeitsgestaltung (“Administration of Free Time Activities”) in 1942 (when the transports to Auschwitz began), regular and busy. Many of the artists and musicians were released from their menial labors to serve in the Freizeitsgestaltung, and they worked diligently to provide entertainment and spiritual uplift to their fellow captives. There were recitals and concerts of music by Beethoven, Chopin, Smetana, Mozart, Brahms and many others almost daily — the earliest relying on an ancient, legless piano propped up on packing crates that was discovered in the old stables — which were documented by the critic and composer Viktor Ullmann. Staged opera productions included The Bartered Bride, The Marriage of Figaro, The Magic Flute, Rigoletto, Tosca, Die Fledermaus and Carmen, as well as a children’s opera titled Brundibár that Hans Krása composed at Theresienstadt. About the only form of music not cultivated at Theresienstadt was that for full orchestra, since wind instruments were almost impossible to obtain (accordions sometime stood in for the winds in the opera orchestras), though there were enough string players to make two large ensembles. Choral activities reached their peak in 1944 with performances of Haydn’s Creation, Mendelssohn’s Elijah and Verdi’s Requiem. At least fifty compositions written for the programs at Theresienstadt still exist; dozens more were lost. The vibrancy of musical life at Theresienstadt belies the camp’s deprivation, squalor and unrelenting terror. Imprisoned, with meager rations and under constant surveillance, families were separated and people squeezed by the dozens into a single room. Medical help consisted of little more than prayer, and punishment for infractions was frequent and brutal. Over all hung the specter of the dreaded transports to Auschwitz, which took hundreds of people in a single day to almost certain death. Theresienstadt came to world attention in 1944, a year after word of the concentration camp atrocities began filtering into the outside world. Public opinion forced the International Red Cross to investigate, and the Nazi commanders chose to present Theresienstadt to the visiting officials as a model settlement. They refurbished the town, painted the building facades, planted gardens, built a children’s playground, and erected a concert platform in the city square. The musicians were provided with perfect instruments and even fitted with evening wear (though their shoeless feet were hidden by a row of plants along the front of the stage), and ambitious concerts, lectures and sporting events were prepared. The Nazis made a propaganda film so


that they could show the world their humane treatment of these people brought here, according to the camp commander, for their own protection. Two days after the Red Cross representatives left Theresienstadt, 2,500 people were packed into cattle cars for shipment to Auschwitz. As the war turned against Germany in 1944 and the chances of liquidating their prisoners decreased, the Nazis quickened the pace of exterminations. Much of Theresienstadt was evacuated in September, when some 23,500 people were transferred to Auschwitz. The town was liberated in May 1945. (Those interested in reading further about Theresienstadt are directed to Music at Terezín, 1941-1945 by Joza Karas [Beaufort Books, 1985]). Among those who found the will to compose in Theresienstadt was Pavel Haas. Haas, born on June 6, 1899 in Brno, the Moravian capital, into the family of a well-to-do merchant, received his general education in the local German schools and his early musical training at the Music School of the Brno Philharmonic. He was drafted into the Austrian army in 1917, but stationed in Brno and never saw combat. In 1919, he resumed his musical studies at the State Conservatory in Brno as a pupil of Leoš Janáček, whose teaching and folk-influenced creative style profoundly influenced him. After leaving the Conservatory in 1922, Haas wrote incidental music for a number of productions at the Provincial Theater in Brno and provided the scores for three films. His creative output between the wars was limited by his difficulty in finishing works, but he managed to complete an opera (The Charlatan, produced at Brno in 1938), a number of accompanied vocal compositions influenced by indigenous Czech music and poetry, three string quartets (the second “with jazz band ad lib”), a woodwind quintet, a piano suite and a scherzo for orchestra. Haas was among the first deportees to Theresienstadt in 1941 (he legally divorced his non-Jewish wife to spare her the ordeal), and he fought ill health and depression to produce a respectable number of works during his incarceration: Fantasy on a Jewish Folk Song for string quartet, Partita in the Old Style for piano, Variations for Piano and String Orchestra, a cycle of three songs titled The Advent, a male chorus on Jakov Simoni’s Hebrew poem Al S’fod, Four Songs on Chinese Poetry and Study for String Orchestra. He left unfinished a Requiem for the Victims of Nazi Persecution. Only Al S’fod, the Chinese Songs and the Study were saved. Haas died at Auschwitz on October 17, 1944. The Study for String Orchestra was composed in 1943, but not played until the following year, when the Nazis ordered that it be included in their propaganda film and performed for their Red Cross visitors. A few days after the premiere, practically the entire orchestra was sent to Auschwitz. The conductor was Karel Ančerl, who survived Theresienstadt and even Auschwitz to become one of Czechoslovakia’s leading musicians after the war. Ančerl located the work’s orchestral parts in Theresienstadt after the war, but he could neither bring himself to reconstruct the score nor conduct the Study again. Lubomír Peduzzi, a friend of the Haas family, prepared a performance edition in 1991. The Study begins with lively, almost aggressive music with a strong rhythmic drive. An extensive imitative section based on a four-note subject follows. The brief recall of the opening music serves as the bridge to the plaintive central Adagio, which takes as its theme a short-long motive whose shape shows the influence of Moravian folk music. The imitative section and the bracing opening music return before the Study reaches its excited close.

PETER ILYICH TCHAIKOVSKY (1840-1893)

Serenade for Strings in C major, Op. 48 Composed in 1879-1880. Premiered on October 30, 1881 in St. Petersburg, conducted by Eduard Nápravnik. Approximately 29 minutes. In 1879, Tchaikovsky’s publisher, Peter Jurgenson, requested that his client devise some festive strains of celebratory nature to commemorate the Silver Jubilee of the coronation of Czar Alexander II. The project was too important for Tchaikovsky to refuse, so he set to work composing a programmatic overture based on some popular themes that would depict one of Mother Russia’s proudest moments — the defeat of Napoleon at Moscow. “The overture will be very noisy,” Tchaikovsky warned his patroness, Nadezhda von Meck, in a letter dated October 22, 1880. “I wrote it without much warmth or enthusiasm; therefore it has no great artistic value.” He called the piece, simply, Overture, 1812. As though some psychic compensatory apparatus had switched on while he was writing 1812, Tchaikovsky simultaneously created a delightful work on an intimate scale for string orchestra, a score of geniality and grace and nearly Mozartian sensitivity — the Serenade for Strings. “The Serenade,” Tchaikovsky continued in his letter to Mme. von Meck, “I wrote from an inward impulse; I felt it deeply and venture to hope that this work is not without artistic qualities.”


Tchaikovsky titled the first movement Pezzo [‘piece’] in forma di Sonatina, “sonatina” being a sonata form without a development section. A sonorous introduction in slow tempo prefaces the main part of the movement. The principal theme is a lilting strain that sets the sweetly lyrical style obtaining throughout most of the work. The complementary subject is a skittering melody in rapid rhythms. A recall of the introduction rounds out the opening movement. The following movement is one of Tchaikovsky’s best-known and most admired waltzes. The Elégie touches on the deepest emotions elicited by the Serenade. The finale, Théma russe, begins with a slow prologue based on a Volga River work song that appeared in a collection of folk music by Mili Balakirev. The ensuing Allegro con spirito uses another Russian folk song, this one a street ditty from the Kolomna district, near Moscow. The slow introduction from the first movement returns before a final, Cossackian flourish brings the Serenade to a rousing close.

WOLFGANG AMADEUS MOZART (1756-1791)

Mass in C major, K. 317, “Coronation” Composed in 1779. Premiered on Easter 1779 in Salzburg. Two oboes, bassoon, two horns, two trumpets, three trombones, timpani, organ and strings without violas. Approximately 26 minutes. At a place just north of Salzburg known as Maria Plain occurred in 1751 a miracle — a vision of the Virgin Mary, crowned, appeared to the faithful in the small village’s church. Word of the miraculous apparition spread quickly, the hillside was soon filled with an entire complex of religious shrines, and Maria Plain became an important pilgrimage site, a practice encouraged for spiritual (and commercial) reasons by the annual observance of the event on the fifth Sunday of Pentecost. Maria Anna (Nannerl) Mozart, Wolfgang’s older sister, is known to have been among the pilgrims. Soon after Wolfgang returned in midJanuary 1779 from his sad and frustrating tour to Mannheim and Paris, having both failed to secure a regular position and suffered the death of his mother, who accompanied him as chaperone, he agreed to write a grand Mass for that year’s observance of the Maria Plain miracle of the Crowned Virgin — the “Coronation” celebration, as it was known. Since the Mass would be heard not only in Maria Plain but also in Salzburg, Mozart had to work under the restraints imposed by Archbishop Colloredo for all liturgical music in the local cathedral — no elaborate polyphony, no overlapping in different voices of successive text phrases, no more than one solo aria, and — above all — brevity. Though Colloredo liked compact Mass settings, he had no objection to continuing the Salzburg tradition of employing a large orchestra, chorus and group of soloists to make a grand show of his ecclesiastical rites. Wrote Eric Blom, “Mass sung at high festivals, at an installation or some ceremony, was as dressy and flashy at Salzburg as the production of a new opera in Vienna. At the cathedral the archbishop’s bodyguard attended with helmets and halberds, the vestments of clergy and choir were as splendid as the dresses of the fashionable ladies in the congregation, and the music was as ostentatious as was compatible with devotion — in fact, according to the ideas of other times, a good deal more so. The chancel was packed with singers, including the court soloists, and on four galleries that circled half-way around the pillars supporting the dome were perched the orchestral musicians.” Especially prominent in the orchestral complement for these lavish Salzburg services were the brass instruments; pairs of trumpets and horns and three trombones are called for in the “Coronation” Mass. Curiously, violas were proscribed from the Salzburg services of the time for some now-forgotten dogmatic reason, so there are string parts in this work only for two violins and cello/bass. The jubilant “Coronation” Mass mixes elements of the grand Baroque settings of the ancient texts with the newer melodic and harmonic styles of the Classical era. As was typical of Mozart’s works of these years, the “Coronation” Mass shows several of the stylistic influences that he so thoroughly absorbed and so eloquently transmuted — the pompous ceremonial gestures of the early 18th century; the melodic sweetness of J.C. Bach and Italian opera; the orchestral richness of the Mannheim and Paris schools. “But,” added Alfred Einstein, “he never forgot ‘expression.’” It is exactly this marriage of technical mastery and depth of feeling that has allowed the “Coronation” Mass to still be gladly heard two centuries after its creation. © 2011 Dr. Richard E. Rodda


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©On the Upbeat, APRIL 2012 VOL. 5, EDITION 6. 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.

Mozart Coronation Mass  

Nir Kabaretti, Conductor Nicole Heaston, Soprano Nina Yoshida Nelsen, Mezzo-soprano Benjamin Brecher, Tenor DeAndre Simmons, Bass-baritone S...

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