“The true artist is not proud: he unfortunately sees that art has no limits; he feels darkly how far he is from the goal, and though he may be admired by others, he is sad not to have reached that point to which his better genius only appears as a distant, guiding sun.”—Beethoven
THE CAMERATA PACIFICA 2018 | 2019 AND 2019 | 2020 SEASONS OF CONCERTS SAN TA BARBAR A | LO S ANG ELE S | SAN MARIN O | VEN T U R A
CAMERATA PACIFICA IS AN INTERNATIONALLY RECOGNIZED CLASSICAL MUSIC GROUP PERFORMING A RESIDENT SERIES OF CONCERTS IN 4 SOUTHERN CALIFORNIA CITIES: SANTA BARBARA, VENTURA, SAN MARINO, AND LOS ANGELES.
THESE BUSINESSES HAVE GENEROUSLY SUPPORTED CAMERATA PACIFICA AND THE MUSIC YOU ENJOY. PLEASE SUPPORT OUR SPONSORS
DRAWING ITS MUSICIANS FROM ALL OVER THE WORLD, THE PERFORMANCES ARE DYNAMIC AND THE MUSIC WILL TAKE YOU TO THE MASTERWORKS AND FAR, FAR BEYOND. IF YOU’RE A REGULAR CONCERT-GOER, OR COMPLETELY NEW TO THIS MUSIC, THE CAMERATA EXPERIENCE WILL HAVE YOU RETURN TIME AND TIME AGAIN. SEE FOR YOURSELF BY VISITING: YOUTUBE.COM/CAMERATAPACIFICA FACEBOOK.COM/CAMERATASB
“Beethoven’s music awakens the infinite longing that is the essence of Romanticism” —ETA Hoffmann
VENUES LOS ANGELES | ZIPPER HALL SANTA BARBARA | HAHN HALL SAN MARINO | THE HUNTINGTON VENTURA | MUSEUM OF VENTURA COUNTY TICKETS & SUBSCRIPTIONS $58 - $522 CONTACT US INFO@CAMERATAPACIFICA.ORG 805 884 8410 800 557 BACH (2224) CAMERATAPACIFICA.ORG
PHOTOS BY: DAVID BAZEMORE AND AUTUMN DE WILDE
This project is funded in part by the Organizational Development Grant Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission
FOR AN AUGMENTED BROCHURE EXPERIENCE: • DOWNLOAD THE AURASMA APP. • FOLLOW CAMERATA PACIFICA. • HOVER YOUR PHONE OVER IMAGES MARKED WITH THE AURASMA SYMBOL TO VIEW SPECIAL VIDEO CLIPS.
SEPTEMBER 2018 SUNDAY, SEPTEMBER 9 | 3:00 P.M., VENTURA TUESDAY, SEPTEMBER 11 | 7:30 P.M., SAN MARINO THURSDAY, SEPTEMBER 13 | 8:00 P.M., LOS ANGELES FRIDAY, SEPTEMBER 14 | 7:30 P.M., SANTA BARBARA Beethoven Haydn Brahms
Piano Trio in E-flat Major, Op. 1, Nº.1 Piano Sonata in E-flat Major, Hob. XVI/52 Sonata No. 3 in D Minor for Violin & Piano, Op. 108
Paul Huang - The Bob Christensen Chair in Violin, Ani Aznavoorian, Warren Jones - The Robert & Mercedes Eichholz Chair in Piano
SEPTEMBER/OCTOBER 2018 THURSDAY, SEPTEMBER 27 | 8:00 P.M., LOS ANGELES FRIDAY, SEPTEMBER 28 | 7:30 P.M., SANTA BARBARA SUNDAY, SEPTEMBER 30 | 3:00 P.M., VENTURA TUESDAY, OCTOBER 2 | 7:30 P.M., SAN MARINO Frescobaldi Bach Rochberg Schubert Alard Ponce Albéniz Halffter Albéniz
Partite sopra l’Aria detta “La Frescobalda” * Suite No. 4, BWV 1010 (originally for Violoncello) * Muse of Fire Sonata in A Minor, D. 821, “Arpeggione” Estudio Brillante † Estrellita * Torre Bermeja * Habanera * Sevilla * (* arr. Eliot Fisk) († arr. Francisco Tárrega)
Eliot Fisk, Adrian Spence, Richard O’Neill
CAMERATA PACIFICA IS AN INTERNATIONALLY RECOGNIZED CLASSICAL MUSIC GROUP PERFORMING A RESIDENT SERIES OF CONCERTS IN 4 SOUTHERN CALIFORNIA CITIES: SANTA BARBARA, VENTURA, SAN MARINO, AND LOS ANGELES.
THESE BUSINESSES HAVE GENEROUSLY SUPPORTED CAMERATA PACIFICA AND THE MUSIC YOU ENJOY. PLEASE SUPPORT OUR SPONSORS
DRAWING ITS MUSICIANS FROM ALL OVER THE WORLD, THE PERFORMANCES ARE DYNAMIC AND THE MUSIC WILL TAKE YOU TO THE MASTERWORKS AND FAR, FAR BEYOND. IF YOU’RE A REGULAR CONCERT-GOER, OR COMPLETELY NEW TO THIS MUSIC, THE CAMERATA EXPERIENCE WILL HAVE YOU RETURN TIME AND TIME AGAIN. SEE FOR YOURSELF BY VISITING: YOUTUBE.COM/CAMERATAPACIFICA FACEBOOK.COM/CAMERATASB
“Beethoven’s music awakens the infinite longing that is the essence of Romanticism” —ETA Hoffmann
VENUES LOS ANGELES | ZIPPER HALL SANTA BARBARA | HAHN HALL SAN MARINO | THE HUNTINGTON VENTURA | MUSEUM OF VENTURA COUNTY TICKETS & SUBSCRIPTIONS $58 - $522 CONTACT US INFO@CAMERATAPACIFICA.ORG 805 884 8410 800 557 BACH (2224) CAMERATAPACIFICA.ORG
PHOTOS BY: DAVID BAZEMORE AND AUTUMN DE WILDE
This project is funded in part by the Organizational Development Grant Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission
FOR AN AUGMENTED BROCHURE EXPERIENCE: • DOWNLOAD THE AURASMA APP. • FOLLOW CAMERATA PACIFICA. • HOVER YOUR PHONE OVER IMAGES MARKED WITH THE AURASMA SYMBOL TO VIEW SPECIAL VIDEO CLIPS.
SEPTEMBER 2018 SUNDAY, SEPTEMBER 9 | 3:00 P.M., VENTURA TUESDAY, SEPTEMBER 11 | 7:30 P.M., SAN MARINO THURSDAY, SEPTEMBER 13 | 8:00 P.M., LOS ANGELES FRIDAY, SEPTEMBER 14 | 7:30 P.M., SANTA BARBARA Beethoven Haydn Brahms
Piano Trio in E-flat Major, Op. 1, Nº.1 Piano Sonata in E-flat Major, Hob. XVI/52 Sonata No. 3 in D Minor for Violin & Piano, Op. 108
Paul Huang - The Bob Christensen Chair in Violin, Ani Aznavoorian, Warren Jones - The Robert & Mercedes Eichholz Chair in Piano
SEPTEMBER/OCTOBER 2018 THURSDAY, SEPTEMBER 27 | 8:00 P.M., LOS ANGELES FRIDAY, SEPTEMBER 28 | 7:30 P.M., SANTA BARBARA SUNDAY, SEPTEMBER 30 | 3:00 P.M., VENTURA TUESDAY, OCTOBER 2 | 7:30 P.M., SAN MARINO Frescobaldi Bach Rochberg Schubert Alard Ponce Albéniz Halffter Albéniz
Partite sopra l’Aria detta “La Frescobalda” * Suite No. 4, BWV 1010 (originally for Violoncello) * Muse of Fire Sonata in A Minor, D. 821, “Arpeggione” Estudio Brillante † Estrellita * Torre Bermeja * Habanera * Sevilla * (* arr. Eliot Fisk) († arr. Francisco Tárrega)
Eliot Fisk, Adrian Spence, Richard O’Neill
“To perform Beethoven to the exclusion of the living is to display a total lack of imagination.” —Alex Ross
NOVEMBER/DECEMBER 2018 THURSDAY, NOVEMBER 29 | 8:00 P.M., LOS ANGELES FRIDAY, NOVEMBER 30 | 7:30 P.M., SANTA BARBARA SUNDAY, DECEMBER 2 | 3:00 P.M., VENTURA TUESDAY, DECEMBER 4 | 7:30 P.M., SAN MARINO
OCTOBER 2018 WEDNESDAY, OCTOBER 17 | 7:30 P.M., SAN MARINO THURSDAY, OCTOBER 18 | 8:00 P.M., LOS ANGELES FRIDAY, OCTOBER 19 | 7:30 P.M., SANTA BARBARA SUNDAY, OCTOBER 21 | 3:00 P.M., VENTURA
Kristin Lee - The Bernard Gondos Chair in Violin, Jason Uyeyama, Richard O’Neill, Ani Aznavoorian, The Calder String Quartet
Musgrave Mozart Beethoven Richards Grime Adams
Arensky Beethoven Mendelssohn
JANUARY 2019 TUESDAY, JANUARY 8 | 7:30 P.M., SAN MARINO THURSDAY, JANUARY 10 | 8:00 P.M., LOS ANGELES FRIDAY, JANUARY 11 | 7:30 P.M., SANTA BARBARA SUNDAY, JANUARY 13 | 3:00 P.M., VENTURA
Dawn for Solo Oboe Oboe Quartet in F Major, K. 370 String Quartet in G Major, Op. 18, Nº. 2 De Stâmparare for Solo Oboe Oboe Quartet Book of Alleged Dances
Mozart Poulenc Beethoven
Nicholas Daniel, Kristin Lee - The Bernard Gondos Chair in Violin, Jason Uyeyama, Richard O’Neill, Ani Aznavoorian NOVEMBER 2018 THURSDAY, NOVEMBER 1 | 8:00 P.M., LOS ANGELES FRIDAY, NOVEMBER 2 | 7:30 P.M., SANTA BARBARA SUNDAY, NOVEMBER 4 | 3:00 P.M., VENTURA WEDNESDAY, NOVEMBER 7 | 7:30 P.M., SAN MARINO Stanford Beethoven Glinka Martinů
Three Intermezzi for Clarinet & Piano, Op. 13 Quintet in E-flat for Piano & Winds, Op. 16 Trio Pathètique in D Minor Sextet
Nicholas Daniel, Jose Franch-Ballester, William Short, Martin Owen, Molly Morkoski
String Quartet in A Minor, Op. 35 String Quartet in F Major, Op. 135 Octet in E-flat Major, Op. 20
Quintet for Piano & Winds in E-flat Major, K. 452 Sextet Septet in E-flat Major, Op. 20
Adrian Spence, Nicholas Daniel, Jose Franch-Ballester, Peter Kolkay, Martin Owen, Kristin Lee - The Bernard Gondos Chair in Violin, Richard O’Neill, Ani Aznavoorian, Timothy Eckert, Molly Morkoski
“I am afraid there are moments in life when even Beethoven has nothing to say to us. We must admit, however, that they are our worst moments.” —Henry James
“We mortals with immortal spirits are born only to suffering and joy, and one could say that the most distinguished among us obtain joy through suffering.” —Beethoven
“With Beethoven, the human element first came to the fore as the primary argument of musical art” —Busoni
“To perform Beethoven to the exclusion of the living is to display a total lack of imagination.” —Alex Ross
NOVEMBER/DECEMBER 2018 THURSDAY, NOVEMBER 29 | 8:00 P.M., LOS ANGELES FRIDAY, NOVEMBER 30 | 7:30 P.M., SANTA BARBARA SUNDAY, DECEMBER 2 | 3:00 P.M., VENTURA TUESDAY, DECEMBER 4 | 7:30 P.M., SAN MARINO
OCTOBER 2018 WEDNESDAY, OCTOBER 17 | 7:30 P.M., SAN MARINO THURSDAY, OCTOBER 18 | 8:00 P.M., LOS ANGELES FRIDAY, OCTOBER 19 | 7:30 P.M., SANTA BARBARA SUNDAY, OCTOBER 21 | 3:00 P.M., VENTURA
Kristin Lee - The Bernard Gondos Chair in Violin, Jason Uyeyama, Richard O’Neill, Ani Aznavoorian, The Calder String Quartet
Musgrave Mozart Beethoven Richards Grime Adams
Arensky Beethoven Mendelssohn
JANUARY 2019 TUESDAY, JANUARY 8 | 7:30 P.M., SAN MARINO THURSDAY, JANUARY 10 | 8:00 P.M., LOS ANGELES FRIDAY, JANUARY 11 | 7:30 P.M., SANTA BARBARA SUNDAY, JANUARY 13 | 3:00 P.M., VENTURA
Dawn for Solo Oboe Oboe Quartet in F Major, K. 370 String Quartet in G Major, Op. 18, Nº. 2 De Stâmparare for Solo Oboe Oboe Quartet Book of Alleged Dances
Mozart Poulenc Beethoven
Nicholas Daniel, Kristin Lee - The Bernard Gondos Chair in Violin, Jason Uyeyama, Richard O’Neill, Ani Aznavoorian NOVEMBER 2018 THURSDAY, NOVEMBER 1 | 8:00 P.M., LOS ANGELES FRIDAY, NOVEMBER 2 | 7:30 P.M., SANTA BARBARA SUNDAY, NOVEMBER 4 | 3:00 P.M., VENTURA WEDNESDAY, NOVEMBER 7 | 7:30 P.M., SAN MARINO Stanford Beethoven Glinka Martinů
Three Intermezzi for Clarinet & Piano, Op. 13 Quintet in E-flat for Piano & Winds, Op. 16 Trio Pathètique in D Minor Sextet
Nicholas Daniel, Jose Franch-Ballester, William Short, Martin Owen, Molly Morkoski
String Quartet in A Minor, Op. 35 String Quartet in F Major, Op. 135 Octet in E-flat Major, Op. 20
Quintet for Piano & Winds in E-flat Major, K. 452 Sextet Septet in E-flat Major, Op. 20
Adrian Spence, Nicholas Daniel, Jose Franch-Ballester, Peter Kolkay, Martin Owen, Kristin Lee - The Bernard Gondos Chair in Violin, Richard O’Neill, Ani Aznavoorian, Timothy Eckert, Molly Morkoski
“I am afraid there are moments in life when even Beethoven has nothing to say to us. We must admit, however, that they are our worst moments.” —Henry James
“We mortals with immortal spirits are born only to suffering and joy, and one could say that the most distinguished among us obtain joy through suffering.” —Beethoven
“With Beethoven, the human element first came to the fore as the primary argument of musical art” —Busoni
FEBRUARY 2019 FRIDAY, FEBRUARY 8 | 7:30 P.M., SANTA BARBARA SUNDAY, FEBRUARY 10 | 3:00 P.M., VENTURA TUESDAY, FEBRUARY 12 | 7:30 P.M., SAN MARINO THURSDAY, FEBRUARY 14 | 8:00 P.M., LOS ANGELES Beethoven Reich
Sonata for Piano & Violin in C Minor, Op. 30, Nº. 2 Piano Sonata in C Minor, Op. 111 Different Trains
Kristin Lee - The Bernard Gondos Chair in Violin, Jason Uyeyama, Richard O’Neill, Ani Aznavoorian, Gilles Vonsattel FEBRUARY 2019 (Tickets for purchase from The Santa Barbara Symphony) SATURDAY, FEBRUARY 16 | 7:30 P.M., GRANADA THEATRE, SANTA BARBARA SUNDAY, FEBRUARY 17 | 3:00 P.M., GRANADA THEATRE, SANTA BARBARA Beethoven
Concerto in C Major for Violin, Cello & Piano, Op. 56, “Triple”
Paul Huang, Ani Aznavoorian, Gilles Vonsattel, The Santa Barbara Symphony
“…in it we hear the apparent proof of an aggrandizing metaphysics of self, the ultimate music of the modern post-Kantian world, and an abiding hedge against the nameless terrors of an indifferent universe.” —Scott Burnham MARCH 2019 SUNDAY, MARCH 10 | 3:00 P.M., VENTURA TUESDAY, MARCH 12 | 7:30 P.M., SAN MARINO THURSDAY, MARCH 14 | 8:00 P.M., LOS ANGELES FRIDAY, MARCH 15 | 7:30 P.M., SANTA BARBARA Ives Beethoven
Piano Sonata No. 2, Concord, Mass., 1840–60 String Quartet in E-flat Major, Op. 127
Molly Morkoski, Adrian Spence, The Calder String Quartet
“If by ‘hero’ we understand the complete, whole Man, to whom belong all the purely human feelings-of love, pain & power- in their highest fullness and strength, we then grasp the correct subject that [Beethoven] shares with us in the gripping musical speech of his work.” —Richard Wagner
APRIL 2019 SUNDAY, APRIL 14 | 3:00 P.M., VENTURA TUESDAY, APRIL 16 | 7:30 P.M., SAN MARINO THURSDAY, APRIL 18 | 8:00 P.M., LOS ANGELES FRIDAY, APRIL 19 | 7:30 P.M., SANTA BARBARA Beethoven Mozart Schubert Brahms
String Trio in G Major, Op. 9, Nº. 1 Piano Quartet in G Minor, K. 478 String Trio in B-flat Major, D. 471 Sonata in A Major for Violin & Piano, Op. 100
Paul Huang - The Bob Christensen Chair in Violin, Paul Coletti, Ani Aznavoorian, Warren Jones - The Robert & Mercedes Eichholz Chair in Piano
“The joy of listening to Beethoven is comparable to the pleasure of reading Joyce: the most paranoid, overdetermined interpretation is probably the correct one.” —Alex Ross
FEBRUARY 2019 FRIDAY, FEBRUARY 8 | 7:30 P.M., SANTA BARBARA SUNDAY, FEBRUARY 10 | 3:00 P.M., VENTURA TUESDAY, FEBRUARY 12 | 7:30 P.M., SAN MARINO THURSDAY, FEBRUARY 14 | 8:00 P.M., LOS ANGELES Beethoven Reich
Sonata for Piano & Violin in C Minor, Op. 30, Nº. 2 Piano Sonata in C Minor, Op. 111 Different Trains
Kristin Lee - The Bernard Gondos Chair in Violin, Jason Uyeyama, Richard O’Neill, Ani Aznavoorian, Gilles Vonsattel FEBRUARY 2019 (Tickets for purchase from The Santa Barbara Symphony) SATURDAY, FEBRUARY 16 | 7:30 P.M., GRANADA THEATRE, SANTA BARBARA SUNDAY, FEBRUARY 17 | 3:00 P.M., GRANADA THEATRE, SANTA BARBARA Beethoven
Concerto in C Major for Violin, Cello & Piano, Op. 56, “Triple”
Paul Huang, Ani Aznavoorian, Gilles Vonsattel, The Santa Barbara Symphony
“…in it we hear the apparent proof of an aggrandizing metaphysics of self, the ultimate music of the modern post-Kantian world, and an abiding hedge against the nameless terrors of an indifferent universe.” —Scott Burnham MARCH 2019 SUNDAY, MARCH 10 | 3:00 P.M., VENTURA TUESDAY, MARCH 12 | 7:30 P.M., SAN MARINO THURSDAY, MARCH 14 | 8:00 P.M., LOS ANGELES FRIDAY, MARCH 15 | 7:30 P.M., SANTA BARBARA Ives Beethoven
Piano Sonata No. 2, Concord, Mass., 1840–60 String Quartet in E-flat Major, Op. 127
Molly Morkoski, Adrian Spence, The Calder String Quartet
“If by ‘hero’ we understand the complete, whole Man, to whom belong all the purely human feelings-of love, pain & power- in their highest fullness and strength, we then grasp the correct subject that [Beethoven] shares with us in the gripping musical speech of his work.” —Richard Wagner
APRIL 2019 SUNDAY, APRIL 14 | 3:00 P.M., VENTURA TUESDAY, APRIL 16 | 7:30 P.M., SAN MARINO THURSDAY, APRIL 18 | 8:00 P.M., LOS ANGELES FRIDAY, APRIL 19 | 7:30 P.M., SANTA BARBARA Beethoven Mozart Schubert Brahms
String Trio in G Major, Op. 9, Nº. 1 Piano Quartet in G Minor, K. 478 String Trio in B-flat Major, D. 471 Sonata in A Major for Violin & Piano, Op. 100
Paul Huang - The Bob Christensen Chair in Violin, Paul Coletti, Ani Aznavoorian, Warren Jones - The Robert & Mercedes Eichholz Chair in Piano
“The joy of listening to Beethoven is comparable to the pleasure of reading Joyce: the most paranoid, overdetermined interpretation is probably the correct one.” —Alex Ross
Complementing the musical programs, we’re presenting a series of in-depth panel discussions in which leading scholars will be invited to explore topics related to “Why Beethoven?” 6 lectures will be presented each season: 3 in Santa Barbara and 3 in the Los Angeles area. Participating scholars include Jan Swafford, author of the acclaimed Beethoven biography, “Anguish and Triumph” and Derek Katz, musicologist at the University of California at Santa Barbara, Andrea Moore, Professor of Music at Smith College and co-founder of the “Musicology and the Present” conference series and Richard O’Neill, principal Violist for Camerata Pacifica. These panel discussions are presented in collaboration with Santa Barbara City College’s School of Extended Learning and Pasadena Conservatory of Music. Tickets will be available from the venues directly.
Presents
REVOLUTIONARY OR EVOLUTIONARY?
January 24, 2019 | Pasadena Conservatory of Music January 25, 2019 | Santa Barbara City College
A product of the Enlightenment and of the French Revolution, Beethoven reached maturity as man and artist while the Napoleonic wars ravaged Europe. Invaded repeatedly by the French, Vienna was ultimately to suffer from within under repressive police rule. These regimes and epic, destabilizing conflicts created the modern world. How did they impact Beethoven’s view of society, his sense of self and his music? Today his music is so iconic it has lost much of its impact, but just how radical was it in his time, and how has his music influenced the composition and reception of that which followed?
TONALITY, THE LATE QUARTETS, AND BEYOND… OR NOT.
February 28, 2019 | Pasadena Conservatory of Music March 1, 2019 | Santa Barbara City College
“We believe that the greatness of man stems from the fact that he bears his fate as Atlas bore the heavens on his shoulders. Beethoven’s hero is a lifter of metaphysical weights.” —Milan Kundera
MAY 2019 SUNDAY, MAY 12 | 3:00 P.M., VENTURA TUESDAY, MAY 14 | 7:30 P.M., SAN MARINO THURSDAY, MAY 16 | 8:00 P.M., LOS ANGELES FRIDAY, MAY 17 | 7:30 P.M., SANTA BARBARA Beethoven
Brahms
The Kiss, Dear Maid, Thy Lip Has Left, WoO 153, Nº.9 The Return to Ulster, WoO 152, Nº.1 The Pulse of an Irishman, WoO 154, Nº.4 String Quartet in B-flat Major, Op. 130 Four Serious Songs, Op. 121
Andrew Garland, Tamara Sanikidze, The Calder String Quartet
Jan Swafford’s “Anguish and Triumph” is the Beethoven biography recommended as the companion to our Beethoven Project.
Composers favored certain keys for certain moods, most famously the driving and demonic C minor for Beethoven. Why is this the case, and why his rare and special use of, for instance, C# minor? How does the use of keys within movements help define their nature? When we come to Beethoven’s late music, why are quartets so hallowed and, indeed, just how forward looking are they? “By the late years, an uncanny duality develops: On the one hand, the sense that Beethoven might do anything harmonically, that he would venture to the far ends of the musical earth; on the other, always there, rock-solid, the triads, the tonic and the dominant, the familiar landmarks of classical harmony.”—Jeremy Denk
“Impassioned and informed THE ROMANTIC HERO ...Swafford’s exuberance is April 4, 2019 | Pasadena Conservatory of Music April 5, 2019 | Santa Barbara City College infectious, prompting the reader to revisit works both famous and obscure.” Grounded in the objectively classical world of Mozart and Haydn, Beethoven flourished in the era of Goethe and –The New Yorker Kant, emerging as the archetypal genius for Romantics, who declared the artist to be a world-shaking demigod and hero. Was this deification the first step in a stultification of the concert experience, resulting in the imperious Purchase the book from Chaucer’s Bookstore in reverence of the concert hall and the rigid canonization of the 18th and 19th century masters? 250 years after Santa Barbara (805) 682-6787 — an independent, arts-supporting bookstore — or through Camerata his birth is part of Beethoven’s legacy a constriction of the concert experience that makes it harder for a Pacifica. All proceeds will benefit Camerata Pacifica. contemporary audience to enjoy the music of today?
Complementing the musical programs, we’re presenting a series of in-depth panel discussions in which leading scholars will be invited to explore topics related to “Why Beethoven?” 6 lectures will be presented each season: 3 in Santa Barbara and 3 in the Los Angeles area. Participating scholars include Jan Swafford, author of the acclaimed Beethoven biography, “Anguish and Triumph” and Derek Katz, musicologist at the University of California at Santa Barbara, Andrea Moore, Professor of Music at Smith College and co-founder of the “Musicology and the Present” conference series and Richard O’Neill, principal Violist for Camerata Pacifica. These panel discussions are presented in collaboration with Santa Barbara City College’s School of Extended Learning and Pasadena Conservatory of Music. Tickets will be available from the venues directly.
Presents
REVOLUTIONARY OR EVOLUTIONARY?
January 24, 2019 | Pasadena Conservatory of Music January 25, 2019 | Santa Barbara City College
A product of the Enlightenment and of the French Revolution, Beethoven reached maturity as man and artist while the Napoleonic wars ravaged Europe. Invaded repeatedly by the French, Vienna was ultimately to suffer from within under repressive police rule. These regimes and epic, destabilizing conflicts created the modern world. How did they impact Beethoven’s view of society, his sense of self and his music? Today his music is so iconic it has lost much of its impact, but just how radical was it in his time, and how has his music influenced the composition and reception of that which followed?
TONALITY, THE LATE QUARTETS, AND BEYOND… OR NOT.
February 28, 2019 | Pasadena Conservatory of Music March 1, 2019 | Santa Barbara City College
“We believe that the greatness of man stems from the fact that he bears his fate as Atlas bore the heavens on his shoulders. Beethoven’s hero is a lifter of metaphysical weights.” —Milan Kundera
MAY 2019 SUNDAY, MAY 12 | 3:00 P.M., VENTURA TUESDAY, MAY 14 | 7:30 P.M., SAN MARINO THURSDAY, MAY 16 | 8:00 P.M., LOS ANGELES FRIDAY, MAY 17 | 7:30 P.M., SANTA BARBARA Beethoven
Brahms
The Kiss, Dear Maid, Thy Lip Has Left, WoO 153, Nº.9 The Return to Ulster, WoO 152, Nº.1 The Pulse of an Irishman, WoO 154, Nº.4 String Quartet in B-flat Major, Op. 130 Four Serious Songs, Op. 121
Andrew Garland, Tamara Sanikidze, The Calder String Quartet
Jan Swafford’s “Anguish and Triumph” is the Beethoven biography recommended as the companion to our Beethoven Project.
Composers favored certain keys for certain moods, most famously the driving and demonic C minor for Beethoven. Why is this the case, and why his rare and special use of, for instance, C# minor? How does the use of keys within movements help define their nature? When we come to Beethoven’s late music, why are quartets so hallowed and, indeed, just how forward looking are they? “By the late years, an uncanny duality develops: On the one hand, the sense that Beethoven might do anything harmonically, that he would venture to the far ends of the musical earth; on the other, always there, rock-solid, the triads, the tonic and the dominant, the familiar landmarks of classical harmony.”—Jeremy Denk
“Impassioned and informed THE ROMANTIC HERO ...Swafford’s exuberance is April 4, 2019 | Pasadena Conservatory of Music April 5, 2019 | Santa Barbara City College infectious, prompting the reader to revisit works both famous and obscure.” Grounded in the objectively classical world of Mozart and Haydn, Beethoven flourished in the era of Goethe and –The New Yorker Kant, emerging as the archetypal genius for Romantics, who declared the artist to be a world-shaking demigod and hero. Was this deification the first step in a stultification of the concert experience, resulting in the imperious Purchase the book from Chaucer’s Bookstore in reverence of the concert hall and the rigid canonization of the 18th and 19th century masters? 250 years after Santa Barbara (805) 682-6787 — an independent, arts-supporting bookstore — or through Camerata his birth is part of Beethoven’s legacy a constriction of the concert experience that makes it harder for a Pacifica. All proceeds will benefit Camerata Pacifica. contemporary audience to enjoy the music of today?
“With Beethoven, music first began to find the speech of pathos, of the impassioned will, of the dramatic vicissitudes in the soul of man.” —Nietzsche
SEPTEMBER 2019 Auerbach 24 Preludes for Violin & Piano Beethoven Piano Trio in B-flat Major, Op. 97, “Archduke” OCTOBER 2019 Beethoven Schubert OCTOBER 2019 Copland Harbison Crumb Bolcom
String Quartet in A Minor, Op. 132 Piano Sonata in B-flat Major, D. 960
Duo for Flute & Piano Songs America Loves to Sing 11 Echoes of Autumn 2nd Sonata for Violin & Piano
NOVEMBER 2019 Mozart Duo for Violin & Viola in G Major, K. 423 Beethoven String Quartet in E-flat Major, Op. 74 Vierne Piano Quintet in C Minor, Op. 42
DECEMBER 2019 Bach A Musical Offering, BWV 1079 Thema Regium Ricercar a 3 Canon perpetuus super Thema Regium Canon No. 2: a 2 Violini in unisono Canon No. 1: a 2, cancrizans Canon No. 3: a 2 per motum contrarium Ricercar a 6 Canon No. 4: a 2 per augmentationem, contrario motu Trio (Sonata sopr’il Soggetto Reale) Canon a 2 “Quaerendo invenietis” Canon No. 5: a 2 per Tonos Canon a 2 “Quaerendo invenietis” Fuga canonica in Epidiapente Canon No. 4: a 2 per augmentationem, contrario motu Canon perpetuus, contrario motu [per giusti intervalli] Canon a 4 “Quaerendo invenietis” Ricercar a 6 Beethoven String Quartet in C-sharp Minor, Op. 131
JANUARY 2020 Beethoven Nielsen Beethoven Dvořák
Octet for Winds in E-flat Major, Op. 103 Wind Quintet Quintet for Oboe, Three Horns & Bassoon, Hess 19 Serenade for Winds in D Minor, Op. 44
FEBRUARY 2020 Mozart Duo for Violin & Viola in B-flat, K. 424 Beethoven Sonata in C Major for Piano & Cello, Op. 102, Nº. 1 String Trio in C Minor, Op. 9, Nº. 3 Brahms Sonata in G Major for Violin & Piano, Op. 78 MARCH 2020 Auerbach Connesson Clyne Adams
Dreammusik Sextet A Wonderful Day Gnarly Buttons
“It was the quartets of Beethoven (numbers 12, 13, 14, and 15) which over fifty years, created and expanded the audience of listeners to the quartets of Beethoven, thus achieving, as all masterpieces do, progress if not in the quality of artists, at least in the company of minds, which is largely composed these days of what was missing when the work appeared: people capable of liking it.” —Proust
APRIL 2020 Bach
Rubbra Harty Richards Corigliano Harbison MAY 2020 Strauss Beethoven
“Sende, Herr, den Segen ein”, from Cantata BWV 193 “Kreuz und Krone sind verbunden”, from Cantata BWV 12 “Gott ist unsre Sonn und Schild!”, from Cantata BWV 79 Sonata in C Major for Oboe & Piano, Op. 100 Three Miniatures for Oboe & Piano Dark Radiance for Solo Cello Three Irish Folk Song Settings Mirabai Songs
Metamorphosen String Quartet in B-Flat Major, Op. 130 Grosse Fuge, Op. 133
“With Beethoven, music first began to find the speech of pathos, of the impassioned will, of the dramatic vicissitudes in the soul of man.” —Nietzsche
SEPTEMBER 2019 Auerbach 24 Preludes for Violin & Piano Beethoven Piano Trio in B-flat Major, Op. 97, “Archduke” OCTOBER 2019 Beethoven Schubert OCTOBER 2019 Copland Harbison Crumb Bolcom
String Quartet in A Minor, Op. 132 Piano Sonata in B-flat Major, D. 960
Duo for Flute & Piano Songs America Loves to Sing 11 Echoes of Autumn 2nd Sonata for Violin & Piano
NOVEMBER 2019 Mozart Duo for Violin & Viola in G Major, K. 423 Beethoven String Quartet in E-flat Major, Op. 74 Vierne Piano Quintet in C Minor, Op. 42
DECEMBER 2019 Bach A Musical Offering, BWV 1079 Thema Regium Ricercar a 3 Canon perpetuus super Thema Regium Canon No. 2: a 2 Violini in unisono Canon No. 1: a 2, cancrizans Canon No. 3: a 2 per motum contrarium Ricercar a 6 Canon No. 4: a 2 per augmentationem, contrario motu Trio (Sonata sopr’il Soggetto Reale) Canon a 2 “Quaerendo invenietis” Canon No. 5: a 2 per Tonos Canon a 2 “Quaerendo invenietis” Fuga canonica in Epidiapente Canon No. 4: a 2 per augmentationem, contrario motu Canon perpetuus, contrario motu [per giusti intervalli] Canon a 4 “Quaerendo invenietis” Ricercar a 6 Beethoven String Quartet in C-sharp Minor, Op. 131
JANUARY 2020 Beethoven Nielsen Beethoven Dvořák
Octet for Winds in E-flat Major, Op. 103 Wind Quintet Quintet for Oboe, Three Horns & Bassoon, Hess 19 Serenade for Winds in D Minor, Op. 44
FEBRUARY 2020 Mozart Duo for Violin & Viola in B-flat, K. 424 Beethoven Sonata in C Major for Piano & Cello, Op. 102, Nº. 1 String Trio in C Minor, Op. 9, Nº. 3 Brahms Sonata in G Major for Violin & Piano, Op. 78 MARCH 2020 Auerbach Connesson Clyne Adams
Dreammusik Sextet A Wonderful Day Gnarly Buttons
“It was the quartets of Beethoven (numbers 12, 13, 14, and 15) which over fifty years, created and expanded the audience of listeners to the quartets of Beethoven, thus achieving, as all masterpieces do, progress if not in the quality of artists, at least in the company of minds, which is largely composed these days of what was missing when the work appeared: people capable of liking it.” —Proust
APRIL 2020 Bach
Rubbra Harty Richards Corigliano Harbison MAY 2020 Strauss Beethoven
“Sende, Herr, den Segen ein”, from Cantata BWV 193 “Kreuz und Krone sind verbunden”, from Cantata BWV 12 “Gott ist unsre Sonn und Schild!”, from Cantata BWV 79 Sonata in C Major for Oboe & Piano, Op. 100 Three Miniatures for Oboe & Piano Dark Radiance for Solo Cello Three Irish Folk Song Settings Mirabai Songs
Metamorphosen String Quartet in B-Flat Major, Op. 130 Grosse Fuge, Op. 133
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