Page 1

On the Upbeat FEBRUARY 2010 • VOLUME 3, EDITION 4

Nir’s Notes:

2009-2010 SEASON

Dear Friends, What a grand way to start off a New Decade...thank you for your presence at the January concerts and for making it one of my most memorable concerts since arriving here! And to continue on our mission of presenting exceptional performances, I am thrilled to showcase our leading violinists Caroline Campbell and Serena McKinney. We are very fortunate to have these ladies lead the orchestra amidst their very busy schedules. In addition to their duties with the Santa Barbara Symphony, they represent us in versatile performances and recordings on various continents and platforms throughout the world. Caroline and Serena will be featured in the eloquent “Double Concerto” by Johann Sebastian Bach – one of the most famous oeuvres written by the Baroque composer. Joining us for the Bach on the harpsichord is Natasha Kislenko, the recent winner of our Principal Keyboard auditions. Natasha is a familiar face to Santa Barbara audiences as a faculty member of both U.C.S.B’s Music Department and the Music Academy of the West. The first part of the concert will showcase not only our two soloists, but the entire string section. Elgar’s Introduction and Allegro features a solo string quartet in addition to the rest of the strings. The work was composed for the newly formed London Symphony back in 1905 and was soon recognized as a masterpiece. It’s a very luscious work full of expressiveness that will sure to warm your aural senses. The Beethoven “Eroica” Symphony needs no introduction. A masterpiece among masterpieces, the Symphony No. 3 is one of the most revered works for many historical reasons including the end of the “Classical’ era and introduction to Romanticism as well as Beethoven’s original desire to dedicate the work to Napoleon Bonaparte before changing the dedication upon news that Napoleon had proclaimed himself “Emperor”, an act which dismayed the composer. I look forward to seeing you at this heroic concert in February featuring our Symphony heroines and this fine orchestra. Musically yours,

Nir Kabaretti



The Momentum Continues...

Double Treble

Saturday, Feb. 20, 8pm & Sunday, Feb. 21, 3pm THE GRANADA

Caroline Campbell, Principal Concertmaster Serena McKinney, Assistant Concertmaster BACH : Double Violin Concerto in D Minor, BWV 1043 E LGAR : Introduction and Allegro, Op. 47 BEETHOVEN : Symphony No. 3 in E-flat Major, Op. 55 “Eroica”

Caroline Campbell, violin Caroline Campbell, the current Concertmaster for the Santa Barbara Symphony, has been featured onstage playing solos with artists ranging from Josh Groban to Garth Brooks to Michael Bublé. She is highly in demand in Los Angeles studios and can be heard on the recent albums of major recording artists like Destiny’s Child and Andrea Bocelli. Ms. Campbell can also be heard on numerous major movie scores and has made television appearances such as the Grammy’s, the Tonight Show with Jay Leno and American Idol. Campbell has won numerous awards in national and international competitions including top prizes in the Tibor Varga International Violin Competition in Switzerland and its prestigious Paganini Prize, top violin prize in the Klein International String Competition, Grand Prize in the Corpus Christi International Young Artists Competition and its best solo Bach prize and many more.



Mr. and Mrs. Robin Frost Join Ramón Araiza for “Music Behind the Music” beginning one hour before each concert! Sponsored by Marlyn Bernard Bernstein

Serena McKinney, violin Violinist Serena McKinney, whose performances have been described as “sensitive,” “elegant,” and “emotionally draining,” enjoys a diverse career of solo, chamber, and orchestral engagements. Since her solo debut at age twelve, she has performed as soloist with orchestras in the United States and Canada, including the Utah Symphony, the National Repertory Orchestra the Colonial Symphony, and Canada’s National Academy Orchestra. She is the violinist and founding member of the internationally acclaimed Janaki String Trio, whom the New York Times praised as “magnificently polished” and exhibiting an “irresistible electricity.” Ms. McKinney is also a motion picture recording artist. Ms. McKinney has performed as concertmaster and assistant concertmaster of the Santa Barbara Symphony, the National Repertory Orchestra, the Boston Philharmonic, the Colburn Orchestra, the Aspen Conducting Orchestra, Los Angeles’ Émigré Orchestra, Opera Pacific, and all of the New England Conservatory orchestras, and has worked with noted conductors including James Conlon, David Zinman, Herbert Blomstedt, Alan Gilbert, and David Robertson. She has performed with the San Francisco Symphony, the Pacific Symphony, the Los Angeles Chamber Orchestra, and the Hollywood Bowl Orchestra in addition to making appearances at the Yellow Barn, Aspen, Banff, Mendocino, Ojai, Martha’s Vineyard, and the Tanglewood music festivals. She regularly performs with New York’s Signal Ensemble, which specializes in new music. McKinney’s activity with the Janaki Trio has allowed her to expand her musical horizons. Two months after they formed in early 2005 at The Colburn School, the group won Grand Prize at the Coleman Chamber Music Competition and a management award at the 2006 Concert Artists Guild International Competition in New York. Recent performances include a New York debut in Carnegie’s Weill Recital Hall and an Australian tour. The Trio’s debut CD, which included works by Penderecki, Beethoven, Lefkowicz, and Los Angeles based composer Jason Barabba, was released in Fall 2006 on Yarlung Records and has received praise from the New York Times and the New Yorker Magazine. The Janaki String Trio’s second CD was released in Summer 2007 on the Naxos label. Highlights of their 2008-09 season include Washington D.C.’s Kennedy Center and New York’s Lincoln Center. A keen advocate of arts education, Serena McKinney has organized and performed in outreach concerts throughout the United States, Canada, and Australia. With the Janaki String Trio, she has partnered with the Da Camera Society in Los Angeles in a program designed to promote music education in elementary schools, hospitals, retirement homes and community venues throughout the LA area. Ms. McKinney holds degrees from the Walnut Hill School, the New England Conservatory of Music, and recently received an Artist Diploma from the Colburn School, where she studied with Robert Lipsett. Ms. McKinney performs on a Nicolaus Gagliano violin c. 1760 on generous loan by the Mandell Collection of Southern California.


FOR FEBRUARY 20 & 21, 2010

by Dr. Richard E. Rodda


Concerto for Two Violins, Strings and Harpsichord in D minor, BWV 1043 Composed around 1720. Approximately 17 minutes.

Bach wrote his violin concertos —two for solo violin and one for two violins —while serving as “Court Kapellmeister and Director of the Princely Chamber Musicians” at Anhalt-Cöthen, north of Leipzig. He was responsible for secular music during his tenure in Cöthen (1717-1723), and it was during that time that he composed many of his instrumental works, including the Brandenburg Concertos, the orchestral suites, many suites and sonatas for solo instruments

and keyboard, the suites and sonatas for unaccompanied violin and cello, and such important solo keyboard pieces as the French Suites and the first book of The Well-Tempered Clavier. Prince Leopold of Cöthen was a well-trained and appreciative musician, and Bach worked diligently to provide him with music of the finest quality in the latest styles. For the violin concertos, Bach studied the fashionable works of the Italian school, particularly the compositions of Vivaldi, and distilled their influence into his own works for the instrument. EDWARD ELGAR (1857-1934)

Introduction and Allegro for Strings, Op. 47 Composed in 1905. Premiered on March 8, 1905 in London, conducted by the composer. Approximately 15 minutes.

When the London Symphony Orchestra was formed in 1904 by a band of disgruntled musicians who quit Henry Woods’ popular Promenade Concerts Orchestra, A.J. Jaeger of the music publisher Novello and Company asked his friend Edward Elgar to contribute a piece for the ensemble’s inaugural season. In October 1904 Jaeger inquired, “I hope you can write the Symphony Orchestra a short new work. Why not a brilliant quick String Scherzo, or something for those fine strings only? a real bring-down-the-house torrent of a thing as Bach could write .... It wouldn’t take away from your big work for long. You might even write a modern Fugue ...” Elgar was riding the greatest wave of success of his life at the time, not only receiving a cartful of honorary doctorates from universities on both sides of the Atlantic, but also having his name appear on the Queen’s List for knighthood that year. He decided to tackle the work for the new orchestra, and completed the Introduction and Allegro on February 13, 1905. He conducted the premiere only three weeks later (March 8th) with the fledgling LSO. LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No. 3 in E-flat major, Op. 55, “Eroica” Composed in 1803-1804. Premiered in December 1804 in Vienna. Woodwinds and trumpets in pairs, three horns, timpani and strings. Approximately 47 minutes.

The “Eroica” (“Heroic”) is a work that changed the course of musical history. There was much sentiment at the turn of the 19th century that the expressive and technical possibilities of the symphonic genre had been exhausted by Haydn, Mozart, C.P.E. Bach and their contemporaries. It was Beethoven, and specifically this majestic Symphony, that threw wide the gates on the unprecedented artistic vistas that were to be explored for the rest of the century. In a single giant leap, he invested the genre with the breadth and richness of emotional and architectonic expression that established the grand sweep that the word “symphonic” now connotes. For the first time, with this music, the master composer was recognized as an individual responding to a higher calling. No longer could the creative musician be considered a mere artisan in tones, producing pieces within the confines of the court or the church for specific occasions, much as a talented chef would dispense a hearty roast or a succulent torte. After Beethoven, the composer was regarded as a visionary— a special being lifted above mundane experience —who could guide benighted listeners to loftier planes of existence through his valued gifts. The modern conception of an artist—what he is, his place in society, what he can do for those who experience his work— stems from Beethoven. Romanticism began with the “Eroica.” ©2010 Dr. Richard E. Rodda

For a more in-depth look into this concert’s programming please go to

Santa Barbara Symphony Orchestra Association


1330 State Street, Suite 102 Santa Barbara, CA 93101


Santa Barbara Symphony’s upcoming performances:

“Music Behind the Music” Pre-Concert Events with your host, Ramón Araiza FREE TO ALL CONCERT TICKET HOLDERS Concert Saturdays 7pm-7:30pm Concert Sundays 2pm-2:30pm (1 hour prior to each concert)

“ ‘Music Behind the Music’ is one of my favorite parts of the concert! We did not want to miss Ramón!” – Sandra Lindquist, SB Symphony Subscriber Concert pianist, composer/arranger and music scholar Ramón Araiza 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. Araiza’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 Ramon’s creative and artistic “Notes Behind the Notes” in The Granada lobby!

Play On!

Saturday, Mar. 20, 8pm & Sunday, Mar. 21, 3pm THE GRANADA

Mark Russell Smith, Guest Conductor Joshua Roman, Cello

BARBER : Adagio for Strings OSVALDO GOLIJOV : Ausencia TCHAIKOVSKY: Variations on a Rococo Theme S CHUMANN : Symphony No. 2 in C Major, Op. 61 For single tickets, call The Granada box office, 1214 State Street, at (805) 899-2222 Santa Barbara Symphony Concerts One-time-only Broadcasts on

February concerts broadcast: Mar. 14, 7 p.m. March concerts broadcast: Apr. 4, 7 p.m. ©On On the Upbeat Upbeat, FEBRUARY 2010 VOL. 3, EDITION 4. 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.

Double Treble  

The Momentum Continues... Caroline Campbell, violin Mr. and Mrs. Robin Frost Caroline Campbell, Principal Concertmaster Serena McKinney, Ass...

Double Treble  

The Momentum Continues... Caroline Campbell, violin Mr. and Mrs. Robin Frost Caroline Campbell, Principal Concertmaster Serena McKinney, Ass...