On the Upbeat April 2014 • Volume 7, Edition 6
2013-2014 Subscription Series
April 12 and 13, 2014
A few words
Nir Kabaretti, Conductor Don Foster, Clarinet
Dear Music Lovers, It is my pleasure to continue welcoming you to our 61st season. Each program of our subscription series is offering something unique and special which combines the greatest works of the symphonic repertoire together with some works that we are delighted to unveil for you. The programs of the season bring flavors from four centuries of music history, and include versatile styles and different emotions and experiences. Join us to rediscover some of your favorite music, with interesting connections that you may not have thought of before. Because education is at the core of our mission, we strive to make each season a feast of learning and growth. Whether you’re new to the world of the classics or a seasoned expert, our goal as a symphony family is to explore, teach and learn together. Discovering something new and making classical music part of our community is our vision and by joining us this season you can help make it a reality. No season is complete without a celebration of some of the very best this art form has to offer—and this season we’re performing works by Mozart, Beethoven, Brahms, Copland, Wagner, Verdi and many others, from the exquisite talents of Hélène Grimaud to the undeniably powerful compositions of Dmitri Shostakovich, all played by the motivated and passionate musicians of the Santa Barbara Symphony. Joining us this season gives you the chance to rediscover the music you love. Come celebrate with us, and I look forward to seeing you at the fabulous Granada Theatre!
With Animation by Carolyn Chrisman
MILHAUD La Création du Monde, Ballet in One Act
COPLAND Clarinet Concerto
Slowly and expressively — Cadenza — Rather fast
— INTERMISSION — BEETHOVEN Symphony No. 7 in A major, Op. 92 Poco sostenuto — Vivace Allegretto Presto Allegro con brio
PRINCIPAL CONCERT SPONSOR
Richard Wille and Catherine Clark & Jamey Marth and Karen Chin CONCERT SPONSORS
Joan and Bob Jacobs SELECTION SPONSORS
Join Ramón Araïza for “Behind the Music” beginning one hour before each concert!
Sponsored by Marilynn L. Sullivan & Marlyn Bernard Bernstein
Donald Foster clarinet
Donald T. Foster is one of Southern California’s most active clarinetists, serving as Principal Clarinetist of both the Pasadena and Santa Barbara Symphonies. He is a frequent auxiliary/substitute musician with the San Diego Symphony and the Los Angeles Opera Orchestra and is the Founding Artistic Director of Mládí, LA’ s first conductorless chamber orchestra. In addition, Don is very active in the motion picture and television studios, and can be heard on many soundtracks for feature films. Foster graduated from the University of Southern California with a Master’s degree in Music while in the studios of Yehuda Gilad DON FOSTER and Michele Zukovsky. He has received Fellowships from both the Tanglewood and Aspen Music Festivals and is a former first prize winner of the Pasadena Instrumental Competition, among others. Prior engagements include serving as Principal Clarinet with the Philharmonie der Nationen based in Hamburg, Germany. He has also served as Principal Clarinet of the Colorado Music Festival, in Boulder, Colorado. He is currently on the faculty of the Moreno Valley campus at Riverside Community College.
Carolyn Chrisman animator
Carolyn Chrisman is a 2D animator recently graduated from the USC School of Animation. She currently lives in LA, but as a Santa Barbara native, she often finds herself drawn back to her hometown in the artistic community. She particularly loves making films with an emphasis on music and dialogue-free storytelling. She is currently working on directing an animated feature film.
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Program Notes by Dr. Richard E. Rodda La Création du Monde, Ballet in One Act (1923)
and the scenery with African divinities expressive of power and darkness.... At last, in La Création du Monde, I had the opportunity I had been waiting for to use those elements of jazz to which I had devoted so much study. I adopted the same orchestra as used in Harlem [two flutes, oboe, two clarinets, E-flat saxophone, bassoon, horn, two trumpets, trombone, much percussion, two violins, cello and bass], and I made wholesale use of the jazz style to convey a purely classical feeling.” Robert Lawrence gave the following synopsis of La Création du Monde: “The chaos of pre-Creation is seen on a darkened stage as the curtain rises. Three aboriginal deities move among a tangled mass of bodies, muttering incantations. The mass responds to their charms. First a tree rises and lets fall one of its seeds, from which rises still another tree. Now animals appear, every one of them springing — as in the process of evolution — from a more primitive predecessor. Finally, as the three deities pronounce new spells, Man and Woman emerge. They perform a dance of desire, excited by the presence of primeval sorcerers and witch doctors. At last the frenzy of the celebrants subsides; the dancers disperse; and Man and Woman are left alone in a symbolic embrace which assures the fertility of human life.”
Darius Milhaud (1892-1974)
Approximately 16 minutes In 1922, Milhaud was on tour to the United States as composer, lecturer and pianist. “When I arrived in New York,” he wrote, “I told the newspaper men interviewing me that European music was being considerably influenced by American music. ‘But whose music?’ they asked me; ‘MacDowell’s or Carpenter’s?’ ‘Neither the one nor the other,’ I answered, ‘I mean jazz.’” Milhaud sought out jazz performances at every opportunity. He heard Leo Reisman’s band (which played, he recorded, with “extreme refinement”) and the famous orchestra of Paul Whiteman (“a sort of Rolls-Royce of dance music”), the ensemble that would help Gershwin “make a lady of jazz” (said Walter Damrosch) two years later with the Rhapsody in Blue. Milhaud’s strongest impressions of American jazz, however, were not received in the swank midtown hotels and nightclubs, but further uptown: “Harlem had not yet been discovered by the snobs and aesthetes: we were the only white folks there. The music I heard was a revelation to me. Against the beat of the drums melodic lines crisscrossed in a breathless pattern of broken and twisted rhythms.... When I went back to France, I never wearied of playing over and over the Black Swan records I had purchased in a little shop in Harlem.” “As soon as I came back from the United States,” Milhaud continued, “I got in touch with [the designer] Fernand Léger and [the writer] Blaise Cendrars, with whom I was to work on a new ballet for Rolf de Maré [impresario of the Swedish Ballet]. Cendrars chose for the subject of his scenario the creation of the world, going for his inspiration to African folklore.... Léger wanted to adapt primitive Negro art and paint the drop-curtain
Clarinet Concerto (1947-1948) Aaron Copland (1900-1990)
Approximately 18 minutes Though Aaron Copland is most widely known in his role as composer, he also established reputations as a pianist (he played the premiere of his own Piano Concerto in 1927), author, conductor, lecturer, publisher, advocate of new music, concert producer — and ambassador. Early in 1941, with war raging in Europe, the United States sought to strengthen relations with its Continues 3
NOTES, From Page 3 neighbors in Latin America. Nelson Rockefeller, then Coordinator for Inter-American Affairs, chose Copland to undertake a “cultural mission” whose purposes were to spread information, recent scores of American composers and good will. Copland visited Mexico, Colombia, Ecuador, Peru, Chile, Uruguay, Argentina and Cuba, and produced the Danzón Cubano as a souvenir of his trip. (“Other tourists will pull out their snapshots to show you what a country looks like, but a composer wants to show you what a country sounds like,” he once said.) In 1947 Copland was again sent to South American as a good-will ambassador. He carried with him not just the greetings of the government, but also a commission to compose a clarinet concerto from Benny Goodman, then at the height of his career as “The King of Swing.” In addition to his mastery of jazz, Goodman was also a concert artist of considerable accomplishment: he commissioned Béla Bartók to write the Contrasts for Clarinet, Violin and Piano in 1938, played the Mozart Concerto with the New York Philharmonic two years later, and made commercial recordings of music by Stravinsky, Gould and Bernstein. Copland worked on Goodman’s Concerto in Rio de Janeiro, and later admitted that “some of this material represents an unconscious fusion of elements obviously related to North and South American popular music. For example, a phrase from a thenpopular Brazilian tune, heard by the composer in Rio, became embedded in the secondary material [of the first movement].” The slow opening movement was written in Rio (is there a tinge of homesickness in its bittersweet mood?), and the Concerto was finished at Tanglewood late the following summer. Goodman gave the premiere with the NBC Symphony and Fritz Reiner on a network radio broadcast of November 6, 1950. Like Copland’s 1927 Piano Concerto, the Clarinet Concerto is disposed in two movements — slow–fast — which, in this work, are connected by a solo cadenza. Though the piece largely grew from the populist expression of Copland’s post-1936 works (i.e., El Sálon Mexico), Arthur Berger noted that some of the Clarinet Concerto’s episodes which “evoke the sharp-edged, controlled, motoric style of Goodman’s old sextet are often the ones recalling most strongly the stark, dissonant devices that gave Copland the reputation for being an esoteric in the early thirties.” The Concerto’s movements also reflect the two essential elements of Goodman’s popular music — sentimental blues and hot jazz. In his characteristic, plain-spoken manner, the composer wrote of the Concerto, “The first movement is simple in structure, based upon the usual A–B–A song form. The general character of this movement is lyrical and expressive. The cadenza that follows provides the soloist with considerable opportunity to demonstrate his prowess, at the same time introducing fragments of the melodic material to be heard in the second movement. The overall form of the final movement is that of a free rondo, with several side issues developed at some length. It ends with a fairly elaborate coda in C major.”
Symphony No. 7 in A major, Op. 92 (1811-1812) Ludwig van Beethoven (1770-1827)
Approximately 36 minutes The Seventh Symphony is a magnificent creation in which Beethoven displayed several technical innovations that were to have a profound influence on the music of the 19th century: he expanded the scope of symphonic structure through the use of more distant tonal areas; he brought an unprecedented richness and range to the orchestral palette; and he gave a new awareness of rhythm as the vitalizing force in music. It is particularly the last of these characteristics that most immediately affects the listener, and to which commentators have consistently turned to explain the vibrant power of the work. Perhaps the most famous such observation about the Seventh Symphony is that of Richard Wagner, who called the work “the apotheosis of the Dance in its highest aspect ... the loftiest deed of bodily motion incorporated in an ideal world of tone.” “Beethoven,” John N. Burk explained, “seems to have built up this impression by willfully driving a single rhythmic figure through each movement, until the music attains (particularly in the body of the first movement and in the Finale) a swift propulsion, an effect of cumulative growth which is akin to extraordinary size.” A slow introduction, almost a movement in itself, opens the Symphony. This initial section employs two themes: the first, majestic and unadorned, is passed down through the winds while being punctuated by long, rising scales in the strings; the second is a graceful melody for oboe. The transition to the main part of the first movement is accomplished by the superbly controlled reiteration of a single pitch. This device both connects the introduction with the exposition and also establishes the dactylic rhythm that dominates the movement. The Allegretto scored such a success at its premiere that it was immediately encored, a phenomenon virtually unprecedented for a slow movement. In form, the movement is a series of variations on the heartbeat rhythm of its opening measures. In spirit, however, it is more closely allied to the austere chaconne of the Baroque era than to the light, figural variations of Classicism. The third movement, a study in contrasts of sonority and dynamics, is built on the formal model of the scherzo, but expanded to include a repetition of the horn-dominated Trio (Scherzo – Trio – Scherzo – Trio – Scherzo). In the sonata-form finale, Beethoven not only produced music of virtually unmatched rhythmic energy (“a triumph of Bacchic fury,” in the words of Sir Donald Tovey), but did it in such a manner as to exceed the climaxes of the earlier movements and make it the goal toward which they had all been aimed. ©2013 Dr. Richard E. Rodda 4
Dvořák and Shostakovich MAY 17-18
Sara Sant’Ambrogio, cello Noam Sheriff Akeda (The Sacrifice of Isaac) Dvořák Concerto for Cello Shostakovich Symphony No. 5 PRINCIPAL CONCERT SPONSOR
JO BETH VAN GELDEREN
Excellent Granada seating starts at just $35.
For tickets: 899-2222 or visit www.thesymphony.org 5
Behind the Music Ramón Araïza’s pre-concert talks are a hit with concert goers. Get more out of your concert, come early for “Behind the Music.”
Now in his seventh season with the Symphony, we are thrilled to bring you concert pianist, composer/arranger and music scholar Ramón Araïza and his lively, interactive pre-concert talks. These dynamic 30 minute discussions take you on an insightful and humorous tour of the music you’re about to hear. With Ramón’s extensive musical background, presentation style and passion for the subject, he breathes life into each composer and their works. Don’t miss these great talks!
Saturday Evening: 7:00-7:30pm Sunday Matinee: 2:00-2:30pm Behind the Music at the Granada Theatre is generously sponsored by Marilynn L. Sullivan and Marlyn Bernard Bernstein.
Announcing your 2014-2015 Season! Chopin • Rachmaninoﬀ • Haydn Beethoven • Gershwin • Verdi • Chaplin Schumann • Brahms • Massenet • Shostakovich Rimsky-Korsakov • Tanaka • Korngold Dvorˇák • Redfeld • Hanson • Puts
visit www.thesymphony.org for more! ©On the Upbeat, APRIL 2014 VOL. 7, 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.