On the Upbeat March 2014 • Volume 7, Edition 5
2013-2014 Subscription Series
March 15 and 16, 2014
A few words
Nir Kabaretti, Conductor Timothy Chooi, Violin
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!
ROSSINI Overture to William Tell
BRUCH Violin Concerto No. 1 in G minor, Op. 26 Prelude: Allegro moderato — Adagio Finale: Allegro energico
— INTERMISSION —
BROSSÉ Millennium Overture
PROKOFIEV Symphony No. 1 in D major, Op. 25, “Classical” Allegro Larghetto Gavotte: Non troppo allegro Finale: Molto vivace
GRIEG Suite No. 1 from the Incidental Music to Ibsen’s Peer Gynt, Op. 46
Morning Mood: Allegretto pastorale The Death of Åse: Andante doloroso Anitra’s Dance: Tempo di Mazurka In the Hall of the Mountain King: Alla marcia e molto marcato sponsored by
The Girsh & Hochman Families PRINCIPAL CONCERT SPONSOR
Robin and Kay Frost
Mrs. Suzanne Bock
Join Ramón Araïza for “Behind the Music” beginning one hour before each concert!
Sponsored by Marilynn L. Sullivan & Marlyn Bernard Bernstein
Timothy Chooi violinist
Canadian born violinist Timothy Chooi, is currently enrolled at the Curtis Institute of Music studying with Ida Kavafian. At the age of 16, Chooi captured the 2010 Grand Prix of the 71st l’Orchestre Symphonique de Montréal Standard Life Competition, bringing him numerous concert engagements. Chooi debuted his performance with the l’Orchestre Symphonique de Montréal under the command of Maestro Jean-François Rivest. The La Presse Newspaper of Montréal described Chooi’s debut as ‘’le miracle (the miracle).’’ He has since played with l’Orchestre Symphonique de Montréal again TIMOTHY CHOOI under the baton of Maestro Kent Nagano. In 2010, Chooi won the ‘’Special Violin Prize’’ at the 2010 Yehudi Menuhin International Violin Competition for Young Violinists in Oslo, Norway receiving a violin made by Jacob von der Lippe based on the Guarneri del Gesu model. Chooi was the winner of the Morningside Musicbridge Competition in Calgary, Vancouver’s Musical Society Club Competition and the recipient of the Roberto and Mary Wood Scholarship. In 2011 Chooi made his debut recital at the ‘’Next’’ Series at the National Arts Centre in Ottawa for upcoming musicians along with recitals at the Orford Arts Centre, Montréal Chamber Music Festival, Banff Centre of the Arts and the Vancouver Winter Chamber Music Festival. In 2012, Chooi debuted with the Toronto Phillharmonia, Newfoundland Symphony Orchestra, Edmonton Symphony, Highland Park Symphony in Chicago, Place des Arts Recital Series in Montréal, and Northern Arts Centre in Northern Canada. That summer Chooi was featured as a solo artist along with violinist Sarah Chang and pianist Louis Lortie in Chile with the Orchestra of Americas under the baton of Maestro Benjamin Zander and Maestro Carlos Miguel Prieto. He made his Carnegie Hall debut in May 2013 as winner of the Vadim Repin’s Masterclass Scholarship organized by the American Fine Arts Festival. As winner of the Canada Council Musical Instrument Bank Competition 2012, Timothy is currently using the 1729 Guarneri del Gesu.
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Program Notes by Dr. Richard E. Rodda Overture to William Tell (1828-1829)
Sondershausen, Berlin, Liverpool and Breslau, and in 1883, he visited America to conduct concerts of his own compositions. From 1890 to 1910, he taught composition at the Berlin Academy and received numerous awards for his work, including an honorary doctorate from Cambridge University. Though Bruch is known mainly for three famous compositions for string soloist and orchestra (the G minor Concerto and the Scottish Fantasy for violin, and the Kol Nidrei for cello), he also composed two other violin concertos, three symphonies, a concerto for two pianos, various chamber pieces, songs, three operas and much choral music. The G minor Violin Concerto is a work of lyrical beauty and emotional sincerity. The first movement, titled “Prelude,” is in the nature of an extended introduction leading without pause into the slow movement. The Concerto opens with a dialogue between soloist and orchestra followed by a wide-ranging subject played by the violinist; a contrasting theme reaches into the violin’s highest register. A stormy section for orchestra alone recalls the opening dialogue, which softens to usher in the lovely Adagio. This slow movement contains three themes, all languorous and sweet, shared by soloist and orchestra. The music builds to a passionate climax before subsiding to a tranquil close. The finale begins with eighteen modulatory bars containing hints of the upcoming theme before the soloist proclaims the vibrant melody itself. A broad melody, introduced by the orchestra, serves as the second theme. A brief development, based on the dance-like first theme, leads to the recapitulation. The coda recalls again the first theme to bring the work to a rousing close.
Gioacchino Rossini (1792-1868)
Approximately 12 minutes In 1824, Rossini moved to Paris to direct the Théâtre Italien, and there became fully aware of the revolutionary artistic and political trends then gaining popularity. Rossini was too closely attuned to public fashion to ignore the changing audience tastes, and he began to cast about for a libretto that would keep him abreast of the latest developments in the musical theater while solidifying his new position in Paris. Schiller’s play William Tell, based on the heroic Swiss struggle against tyranny in the 14th century, had recently created much interest when it was introduced to Paris in a French translation. Rossini decided that the drama would make a fine opera (or, at least, a saleable one), and he seems to have taken special care to incorporate the emerging Romantic style into this epic work, as evidenced by its subject matter, symphonic scope and attention to dramatic and poetic content. The four sections of the Overture represent dawn in the mountains, a thunderstorm, the pastoral countryside and the triumphant return of the Swiss troops.
Violin Concerto No. 1 in G minor, Op. 26 (1865-1866) Max Bruch (1838-1920)
Approximately 24 minutes
Millennium Overture (1999)
Max Bruch, widely known and respected in his day as a composer, conductor and teacher, received his earliest music instruction from his mother, a noted singer and pianist. He began composing at eleven, and by fourteen had produced a symphony and a string quartet, the latter garnering a prize that allowed him to study with Reinecke and Hiller in Cologne. Bruch held various posts as a choral and orchestral conductor in Cologne, Coblenz,
Dirk Brossé (born in 1960)
Approximately 10 minutes Dirk Brossé is a musician protean talents — composer of symphonic works, concertos, musical theater scores, soundtracks, incidental music, oratorios, songs, ethnically inspired Continues 3
NOTES, From Page 3
work is in the four movements customary in Haydn’s symphonies, though at only fifteen minutes it hardly runs to half their typical length. The dapper first movement is a miniature sonata design that follows the traditional form but adds some quirks that would have given old Haydn himself a chuckle — the recapitulation, for example, begins in the “wrong” key (but soon rights itself), and occasionally a beat is left out, as though the music had stubbed its toe. A graceful, ethereal melody floating high in the violins is used to open and close the Larghetto, with the pizzicato gentle middle section reaching a brilliant tutti before quickly subsiding. The third movement, a Gavotte, comes not from the Viennese symphony but rather from the tradition of French Baroque ballet. The brilliant finale calls for remarkable feats of agility and precise ensemble from the performers.
compositions, and chamber and dance pieces, and conductor of concert and movie music from the film studios of Hollywood to the concert halls of Europe, Asia, and North and South America. Brossé, born in Ghent, Belgium in 1960, began his professional studies at the Royal Conservatory of Music in his hometown and completed his undergraduate work at the Brussels Conservatory; he took advanced training in conducting in Maastricht, Vienna and Cologne, where he received an artist diploma from the Musikhochschule. He began his conducting career as Music Director of the Brussels International Youth Orchestra in 1982 and went on to assume a similar position with the National Youth Orchestra of Belgium in 1988 and, after placing as a finalist in the International Masterclass for Young Conductors in Hilversum, The Netherlands in 1990, guest conduct many of Belgium’s leading orchestras. His international conducting career began in 2001 with appearances with the Rotterdam Philharmonic Orchestra, London Symphony Orchestra and KBS Symphonic Orchestra in Seoul, Korea. Brossé has composed some 200 concert works as well as musicals and more than twenty film scores, including the Oscar-nominated Daens of 1992. He is also Professor of Composition and Conducting at the Royal Conservatory of Music in Ghent, Cultural Ambassador of Belgium, and recipient of such other distinctions as the Flemish government’s Golden Honor Medal and Achiel Van Acker Award. Brossé’s Millennium Overture, commissioned in 1999 by Bill Gates, founder and then CEO of Microsoft, was “composed in celebration of the importance of high-speed telecommunications in the modern world, in order to provide a positive image of a future world in which music will triumph over technology.” Brossé led the London Philharmonic Orchestra in the work’s premiere on a concert of his music in Amsterdam’s famed Concertgebouw in 2000. Millennium Overture opens with a heroic introduction of vaulting brass fanfares as preface to the driving, dynamic core of the work. A lyrical, pastoral section begun by the woodwinds provides expressive and formal balance before the earlier dynamic music returns to bring the work to its confident close.
Suite No. 1 from the Incidental Music to Ibsen’s Peer Gynt, Op. 46 (1874-1875) Edvard Grieg (1843-1907)
Approximately 15 minutes Grieg outlined the plot of Henrik Ibsen’s Peer Gynt, for which he provided the incidental music for a revival of the play in Oslo in 1875: “Peer Gynt, the only son of poor peasants, is drawn by the poet as a character of morbidly developed fancy and a prey to megalomania. In his youth, he has many wild adventures — comes, for instance, to a peasants’ wedding where he carries the bride up to the mountain peaks. There he leaves her so that he may roam about with wild cowherd girls. He then enters the land of the Mountain King, whose daughter falls in love with him and dances for him. But he laughs at the dance and its droll music, whereupon the enraged mountain folk wish to kill him. But he succeeds in escaping and wanders to foreign countries, among others to Morocco, where he appears as a prophet and is greeted by Arab girls. After many wonderful guidings of Fate, he at last returns as an old man, after suffering shipwreck on his way to his home, which is as poor as he left it. There the sweetheart of his youth, Solvejg, who has stayed true to him for all these years, meets him, and his weary head at last finds rest in her lap.” The First Suite of the two suites Grieg extracted from the score opens with Morning Mood, one of the most famous evocations of dawn in the entire musical repertory. The music occurs not at the beginning of the play, however, but in Act IV, when Peer finds himself in Africa. The Death of Åse serves as the poignant background for the passing of Peer’s mother. Anitra’s Dance is a lithe number of exotic character performed for Peer during his adventures in Morocco by the daughter of a Bedouin chief. In the Hall of the Mountain King accompanies Peer’s terrified escape from the abode of the most fearsome of Norway’s trolls.
Symphony No. 1 in D major, Op. 25, “Classical” (1916-1917) Sergei Prokofiev (1891-1953)
Approximately 15 minutes Prokofiev’s penchant for using Classical musical idioms was instilled in him during the course of his thorough, excellent training: when he was a little tot, his mother played Beethoven sonatas to him while he sat under the piano; he studied with the greatest Russian musicians of the time — Glière, RimskyKorsakov, Liadov, Glazunov, Tcherepnin; he began composing at the Mozartian age of six. In 1917, Prokofiev based his own “Classical” Symphony, his first work in the form, on the Viennese models that had formed the core of his musical education. The
©2013 Dr. Richard E. Rodda
Donald Foster, clarinet Milhaud The Creation of the World Copland Concerto for Clarinet Beethoven Symphony No. 7 PRINCIPAL CONCERT SPONSOR
Richard Wille and Catherine Clark Jamey Marth and Karen Chin SELECTION SPONSOR
Mr. and Mrs. Robert S. Jacobs
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.
©On the Upbeat, MARCH 2014 VOL. 7, EDITION 5. 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.