On The Upbeat January 2015 • Volume 8, Edition 3
2014-2015 Subscription Series JANUARY 17 & 18, 2015
From the Board President
Dirk Brossé, Conductor Jessica Guideri, Violin
Dear Friends, Welcome to the Symphony’s first concert of 2015! We are thrilled to welcome conductor Sir Dirk Brossé to share the magic of Charlie Chaplin with you. We are grateful to the Granada Theater for providing a wonderful movie screen for this innovative collaboration. The past month has been action packed for the Symphony family, beginning with the appointment of our new concertmaster, Jessica Guideri. Jessica is a New York native and graduate of the Juilliard School. She has worked her way west and won her post after an extensive audition process, including performances with the Symphony last year. Her warmth, intelligence and musicianship have already resulted in positive steps forward for the Symphony’s violins. Please welcome Jessica to the Symphony family! On December 18th, after a thorough search process, the Symphony announced the appointment of our new Executive Director, David Pratt. A native of Australia and coming to us from his current post as the successful Executive Director of the Savannah Philharmonic, Mr. Pratt will begin his duties on March 2. His appointment enhances the artistic and operational excellence the Symphony has achieved to date. On a sad note, we mourn the passing of Léni Fé Bland last month. She was a tireless and generous supporter of the Symphony, and the entire arts and education community. The Symphony will dedicate our April concert to her memory. She will be dearly missed.
WINTORY “Apotheosis” from Journey
YARED Suite from Camille Claudel
BROSSÉ Black, White and In Between for Violin and
String Orchestra — INTERMISSION — CHAPLIN City Lights arr. Davis Produced, Written and Directed by Charlie Chaplin Original Film accompanied by the Santa Barbara Symphony THE CAST
A Blind Girl. . . . . . . . . . . . . . . . . . . . Virginia Cherrill Her Grandmother. . . . . . . . . . . . . . . . . Florence Lee An Eccentric Millionaire . . . . . . . . . . Harry Myers His Butler. . . . . . . . . . . . . . . . . . . . . . Al Ernest Garcia A Prizefighter. . . . . . . . . . . . . . . . . . . . . . Hank Mann A Tramp. . . . . . . . . . . . . . . . . . . . . . . . Charlie Chaplin sponsored by CHRIS AND DAVID CHERNOF Principal Concert Sponsors
ROBERT WEBER Concert Sponsor
Have a musical New Year!
CHRIS LANCASHIRE AND CATHERINE GEE Selection Sponsors
Join Ramón Araïza for “Behind the Music” beginning one hour before each concert!
Arthur Swalley President, Santa Barbara Symphony Board of Directors
Sponsored by Marilynn L. Sullivan & Marlyn Bernard Bernstein
Dirk Brossé conductor Dirk Brossé, born in Ghent, Belgium, in 1960, is a multi-faceted composer and a respected conductor on the international music scene. He is currently Music Director of ‘The Chamber Orchestra of Philadelphia’, Music Director of the Filmfestival Ghent and Music Director and principal conductor of the ‘Star Wars in Concert World Tour’. He began his music studies at the Music Conservatories of Ghent and Brussels. He subsequently specialised in conducting, which he studied in Maastricht, Vienna and Cologne. Alongside his many guest professorships, he is currently Professor of composition and conducting at the School of Arts / Royal Conservatory of Music in Ghent. Dirk Brossé has conducted all the leading Belgian orchestras, among them, the Brussels Philharmonic, the Royal Flemish Philharmonic, the Orchestra of the Flemish Opera and the National Orchestra of Belgium. Outside his native Belgium, he has conducted the London Symphony Orchestra, the London Philharmonic Orchestra, The Royal Philharmonic Orchestra London, l’Orchestre de la Suisse Romande, the Philharmonic Orchestra of Shanghai, the Vancouver Opera, the KBS Symphony Orchestra of South Korea, l’ Orchestra de l’Opéra de Lyon, the World Symphony Orchestra (Japan), City of Birmingham Symphony Orchestra, the Ulster Symphony Orchestra of Northern Ireland, the Camerata St Petersburg, the Hong Kong Philharmonic, the Rotterdam Philharmonic Orchestra and the National Orchestras of Venezuela and Ecuador. Dirk Brossé is a versatile and prolific composer. He has written some 200 works, including concerti, oratorios, lieder, chamber music and symphonic works, that have been performed all over the world and have been recorded in more than 40 countries. His most important works are ‘La Soledad de América Latina’, written in collaboration with the Nobel Prize winner Gabriel Garcia Marquez, ‘Artesia’, a universal symphony for orchestra and ethnic instruments, the ethno-classical symphony ‘The Birth of Music’, the oratorio ‘Juanelo’, the lieder cycles ‘Landuyt Cycle’ and ‘La vida es un Sueño’, the ‘War Concerto’ for clarinet and orchestra, and the violin concertos ‘Black, White & Between’, ‘Sophia’ and ‘Echoes of Silent Voices’. In 2010, at the request of the Hong Kong Chinese Orchestra, he wrote ‘The Hallow-e’en Dances’. This Halloween-inspired work is specially written for age-old, traditional Chinese instruments. He is currently working on a guitar concerto. Besides this, on numerous occasions, Dirk Brossé has composed for the theatre and the cinema. His bestknown soundtracks are ‘Koko Flanel’, ‘Licht’, Stijn Coninx’s ‘de Kavijaks’ and ‘Daens’ (Academy Award Nominee, 1993), Marian Handwerker’s ‘Marie’, Martin Koolhoven’s ‘Knetter’, and Jaques Feyder’s 1925 silent film ‘Visages d’Enfants’. He wrote the scores for the musicals ‘Sacco & Vanzetti’, ‘The Prince of Africa’, ‘Tintin – The Temple of the Sun’ (based on Hergé’s world-famous cartoon character Tintin), ‘Rembrandt, the Musical’, and ‘Musical Daens’, each time in close collaboration with Frank Van Laecke. In 2007 Dirk Brossé made his debut in the Royal Albert Hall, conducting the London Symphony Orchestra in ‘A Night of Music from the Movies’, featuring the music of Patrick Doyle, with guest appearances by such renowned actors as Emma Thompson and Kenneth Branagh. Dirk Brossé has made more than 60 CD recordings and has conducted in numerous world-famous concert halls, such as the Concertgebouw in Amsterdam, the Royal Festival Hall, the Barbican Centre and the Royal Albert Hall in London, la Monnaie in Brussels, the Victoria Hall in Geneva, the Seoul Arts Center, the Tokyo Forum and the Concert Hall Shanghai. He has collaborated with world-class artistes such as José Van Dam, Philip Webb, Barbara Hendricks, Claron McFadden, Julia Migenes, Derek Lee Ragin, Sabine Meyer, Julian Lloyd Webber, Daniel Blumenthal, Salvatore Accardo and, on a broader musical platform, with John Williams, Toots Thielemans, Hans Zimmer, Elmer Bernstein, Emma Thompson, Kenneth Branagh, Randy Crawford, Lisa Gerrard, Mel Brooks, Maurane, Sinead O’Connor, Viktor Lazlo, Maurice Jarre and Youssou N’Dour. Dirk Brossé has been awarded the title “Cultural Ambassador of Flanders”. He has received numerous prizes, among them, the Flemish Government’s ‘Gouden Erepenning’ award for merit and the prestigious Achiel Van Acker Award. He is an Advisory Board Member of the independent think tank ‘Itinera Institute’. Since 2010 Dirk Brossé has been a Freeman of the town of Destelbergen. 2
Jessica Guideri violin American violinist Jessica Guideri currently serves as Associate Concertmaster of the Los Angeles Opera Orchestra, Assistant Principal Second Violin in the Pacific Symphony, and Associate Concertmaster of the Eastern Music Festival. She also performs with the Los Angeles Philharmonic, plays for recordings of major motion picture soundtracks, and is featured on the upcoming public television series the “All Star Orchestra,” comprised of musicians from major orchestras around the country, led by Gerard Schwarz. Before moving to Southern California, Jessica was Associate Principal Second Violin of the Phoenix Symphony, and was awarded a position in the Seattle Symphony. She has also performed as concertmaster of the Juilliard Orchestra, the Schleswig-Holstein Music Festival Orchestra in Germany, and the Tanglewood Music Center Orchestra, and was invited as guest concertmaster of the Phoenix and Santa Barbara Symphonies. Since her Carnegie Hall solo debut with the New York Youth Symphony, which James Oestreich of The New York Times called “a lovely account,” Ms. Guideri has performed as soloist with several orchestras, including the Queens Symphony, Westchester Symphony, and the Symphony Orchestra of Campinas in Brazil. She has also given numerous solo recitals, including appearances at Lincoln Center and Steinway Hall in New York. An accomplished chamber musician, Jessica was the first violinist of the Fry Street Quartet, artists-inresidence at Utah State University. During her four years with the ensemble, they performed numerous concerts nationally and internationally, won prizes at the Banff International String Quartet Competition, were sponsored by Carnegie Hall and the U.S. Department of State as cultural ambassadors to the Balkan states, and worked with hundreds of students throughout the U.S. to promote arts education. Jessica performs each summer with the Eastern Chamber Players in North Carolina, and has performed in various chamber ensembles in such concert venues as Alice Tully, Merkin, and Weill Halls in New York. Jessica has also served on the violin and chamber music faculties at San Diego State University, Utah State University, and the Eastern Music Festival. Jessica received both the Bachelor and Master of Music degrees in violin performance from the Juilliard School, where her teachers included Dorothy Delay, Masao Kawasaki, and Joel Smirnoff.
Notes on the Program by Dr. Richard E. Rodda
Apotheosis from Journey (2012)
After returning to France, he arranged and composed for many popular artists, and in 1980 wrote his first film score for Jean-Luc Godard’s Sauve qui peut la vie (titled in English Every Man for Himself). Yared has gone on to score more than seventy French and American feature films, receiving Academy Award nominations for The Talented Mr. Ripley (1999) and Cold Mountain (2003) and winning both an Oscar, Golden Globe and Grammy for Anthony Minghella’s The English Patient (1996).
Austin Wintory (born in 1985)
Denver-born Austin Wintory was inspired to become a composer at age ten when he first heard the score of the biopic Patton by Oscar-winner Jerry Goldsmith. Wintory started to compose in high school and went on to study composition at New York University and USC as preparation for a career that has come to encompass music for concert, films and video games. He made history in 2012 when his music for Journey became the first video game score ever nominated for a Grammy; he has since won an Academy of Interactive Arts and Sciences D.I.C.E Award, two British Academy Awards, and the IGN Entertainment Network’s Overall Music of the Year Award. In addition to more than two dozen video games, Wintory has scored some forty feature films and written for orchestra, wind band, chamber ensembles and solo instruments; he was Composer-in-Residence with the Boulder Symphony in 2011.
Camille Claudel (1989), directed by Bruno Nuytten, is based on the troubled life of the eponymous French sculptress, older sister of poet and diplomat Paul Claudel and student and lover of Auguste Rodin, who struggled to establish her own reputation under the shadow of her famous mentor and ultimately spent her last thirty years in a psychiatric hospital. The film, starring Isabelle Adjani as Camille and Gérard Depardieu as Rodin, won five César Awards (the French Oscar) and was nominated for Academy Awards for Best Foreign Language Film and Best Actress.
Journey, released in 2012 by Thatgamecompany, is an award-winning game in which the player controls a robed figure in a vast desert who travels towards a mountain in the distance, a metaphor for a life quest. Apotheosis accompanies the visually stunning final scene.
Black, White and In Between for Violin and String Orchestra (1998) Dirk Brossé (born in 1960)
Suite from Camille Claudel (1989)
The Belgian pianist, critic and Leuven Conservatory faculty member Vincent Goris wrote in his notes for six-CD compendium of Dirk Brossé’s compositions on EMI, “The subject of Black, White and In Between is ‘the truth.’ Or better still: the truth that does not exist. Because the world is constantly changing. This goes for both thoughts and matter. Today’s truth may turn out to be tomorrow’s falsity and vice versa. It is neither black nor white, but rather lies somewhere in between ...” Black, White and In Between is in a single movement in two contrasting sections, the first pensive and lyrical, the second buoyant and virtuosic.
Gabriel Yared (born in 1949)
Gabriel Yared took piano and theory lessons as a youngster in his native Beirut, Lebanon but largely explored the classical music literature on his own. He first enrolled in college as a law student but abandoned the legal profession in 1969 to study composition at the École Normale de Musique in Paris with Henri Dutilleux. From 1971 to 1975, Yared lived with his uncle in Brazil, where he was influenced by the Latin musical styles and earned his first success as a composer writing songs. 4
City Lights (1931)
City Lights was an anomaly, a silent film released when the “talkies” had made the old visuals-only process all but obsolete. Chaplin began developing the script and the production early in 1928 and started filming before the end of the year, just as the major studios were committing to sound. He resolved to complete City Lights without spoken dialogue, though he decided that it should have a synchronized soundtrack with the score and some sound effects, including one hilarious gag giving an orating politician the unintelligible voice of a kazoo. (Chaplin was dismissive of sound films at that time, telling a reporter he would “give the talkies three years, that’s all.” He was deeply concerned that developing a voice for his iconic Tramp character, which would have to speak a specific language, would adversely affect his gigantic international audience). He worked on City Lights until September 1930, painstakingly supervising every aspect of the production, as he did for all his films (he shot the early scene in which the Tramp buys a flower from the Blind Girl 342 times), and then decided to take further advantage of the new possibilities that sound offered and compose the score himself, his first for one of his films. City Lights premiered at the Los Angeles Theater on January 30, 1931 (Albert Einstein and his wife were the guests of honor) and in New York at the George M. Cohan Theater the following month. It was received enthusiastically by press and public alike (“a film worked out with admirable artistry,” New York Times; “an orgy of laughs,” Los Angeles Examiner) and earned $5 million in its initial release, a triumphant acclamation for Chaplin and his work in the midst of the Great Depression.
Script, Direction and Music by Charlie Chaplin (1889-1977) Arranged by Carl Davis (born in 1936) Charlie Chaplin—actor, producer, director, screenwriter, composer, Hollywood icon—always had music in his life. His father (who abandoned the family when Charlie was still an infant) was a music hall entertainer in London, his mother a singer; he made his stage debut in 1894, at age five, filling in for her when she once lost her voice mid-song. His childhood was difficult—he was placed in a series of bleak workhouses and residential schools after his mother had to be institutionalized—and he found much solace in what he called in his 1922 memoir, My Trip Abroad, “the rare beauty of music, a beauty that gladdened and haunted me.” At age eight, he joined a clog-dancing act and later tried out acting (in William Gillette’s Sherlock Holmes), vaudeville and pantomime, and taught himself to play violin and cello (both left-handed), organ and piano, on which he would improvise for hours. The direction of his career was set in 1913, when he left the pantomime troupe with which he was touring America to appear in Mack Sennett’s Keystone comedy films. Chaplin had already started writing songs by that time, and in 1916 he set up a music publishing company in Los Angeles to issue his own works. He made his first starring feature with The Kid in 1921, and beginning with A Woman of Paris two years later, he created and published accompaniments that he distributed with his films, some music borrowed from classical sources or existing studio libraries, some newly composed. His first complete original score was for City Lights of 1931, and in speaking of it he explained his straightforward collaborative process with arranger and orchestrator Arthur Johnson: “I played it on the piano or violin, and Arthur Johnson wrote it down.” For the original releases of his subsequent films and for the new scores he provided for reissues in later years, Chaplin worked with such well-trained musicians as Arthur Kay, David Raksin, Meredith Willson, Skitch Henderson and Eric James.
City Lights has come to be regarded as perhaps Chaplin’s finest work, a screen classic high on countless “Best Films of All Time” lists and a selection for preservation in the Library of Congress’ United States National Film Registry. Orson Welles and Woody Allen said that City Lights was their favorite film, George Bernard Shaw (who attended the London premiere in February 1932 at Chaplin’s invitation) called Chaplin “the only genius to come out of the movie industry,” and critic James Agee thought the final scene to be the “greatest single piece of acting ever committed to celluloid.” In summation, the late Pulitzer Prize-winning critic Roger Ebert wrote, “If only one of Charles Chaplin’s films could be preserved, City Lights would come the closest to representing all the different notes of his genius. It contains the slapstick, the pathos, the pantomime, the effortless physical coordination, the melodrama, the bawdiness, the grace, and, of course, the Little Tramp—the character said, at one time, to be the most famous image on earth.”
Wrote composer, conductor and arranger Carl Davis, who has reconstructed Chaplin’s scores for City Lights and The Gold Rush for modern releases, written new accompaniments for a dozen of the early Keystone comedies, and provided the score (partly adapted from Chaplin’s own music) for the 1983 television documentary Unknown Chaplin, “I discovered that Chaplin—though he was in the strict sense musically illiterate—was extremely musical in his understanding of what a score should be and should do. He had a great melodic gift, largely shaped, I am sure, in the English music halls in which he spent his early career. Above all, he possessed an extraordinary sense of rightness in setting music to his films. Charlie’s music always goes straight to the heart.”
©2014 Dr. Richard E. Rodda
4 l l a e s Choo Save! and The classics you love. A great night out. Terrific Granada seats start at just $25! FEBRUARY 14-15, 2015
Valentine’s Day: Triangle of Love
Steven Sloane, guest conductor Natasha Kislenko, piano Theatrical Readings by Ensemble Theatre Company
Robert Schumann • Clara Schumann • Brahms MARCH 14-15, 2015
Impressions of Spain Maria Rey-Joly, soprano Massenet • Rimsky-Korsakov
APRIL 11-12, 2015
The New World
Philippe Quint, violin Tanaka • Korngold • Dvorˇák
MAY 16-17, 2015
Porgy and Bess
Laquita Mitchell, soprano Michael Sumuel, bass-baritone Santa Barbara Choral Society
Dan Redfeld • Howard Hanson • Gershwin
For Tickets, Call (805) 898-9426 or Visit www.thesymphony.org ©On the Upbeat, JANUARY 2015 VOL. 8, EDITION 3. 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.