Camerata Pacifica Season 30 Brochure

The Camerata Pacifica 2019 | 2020 Season 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

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

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

SEPTEMBER 2019 Sunday, September 8 | 3:00 p.m., Ventura Tuesday, September 10 | 7:30 p.m., San Marino Thursday, September 12 | 8:00 p.m., Los Angeles Friday, September 13 | 7:30 p.m., Santa Barbara Auerbach Beethoven

24 Preludes for Violin & Piano Piano Trio in B-flat Major, Op. 97, “Archduke”

Paul Huang - The Bob Christensen Chair in Violin, Ani Aznavoorian, Gilles Vonsattel OCTOBER 2019 Thursday, October 3 | 8:00 p.m., Los Angeles Friday, October 4 | 7:30 p.m., Santa Barbara Sunday, October 6 | 3:00 p.m., Ventura Tuesday, October 8 | 7:30 p.m., San Marino Beethoven Schubert

String Quartet in A Minor, Op. 132 Piano Sonata in B-flat Major, D. 960

Joseph Lin, Tricia Park, Melissa Reardon, Andrew Janss, Gilles Vonsattel

“The Camerata audience is always prepared to listen to whatever we’re going to play them.

They’ll always start with an open mind, with an open heart.”

—Nicholas Daniel, Principal Oboe

OCTOBER 2019 Sunday, October 20 | 3:00 p.m., Ventura Tuesday, October 22 | 7:30 p.m., San Marino Thursday, October 24 | 8:00 p.m., Los Angeles Friday, October 25 | 7:30 p.m., Santa Barbara Copland Harbison Crumb Bolcom

Duo for Flute & Piano Songs America Loves to Sing 11 Echoes of Autumn 2nd Sonata for Violin & Piano

Melanie Lançon, Jose Franch-Ballester, Kristin Lee - The Bernard Gondos Chair in Violin, Ani Aznavoorian, Huw Watkins

DECEMBER 2019 Sunday, December 1 | 3:00 p.m., Ventura Tuesday, December 3 | 7:30 p.m., San Marino Thursday, December 5 | 8:00 p.m., Los Angeles Friday, December 6 | 7:30 p.m., Santa Barbara 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

NOVEMBER 2019 Sunday, November 10 | 3:00 p.m., Ventura Tuesday, November 12 | 7:30 p.m., San Marino Thursday, November 14 | 8:00 p.m., Los Angeles Friday, November 15 | 7:30 p.m., Santa Barbara Mozart Beethoven Vierne

Duo for Violin & Viola in G Major, K. 423 String Quartet in E-flat Major, Op. 74 Piano Quintet in C Minor, Op. 42

Kristin Lee - The Bernard Gondos Chair in Violin, Jason Uyeyama, Richard O’Neill, Ani Aznavoorian, Warren Jones - The Robert and Mercedes Eichholz Chair in Piano

Demarre McGill, Paolo Bordignon, Joseph Lin, Tricia Park, Richard O’Neill, Ani Aznavoorian

“This audience is actively listening and the energy that we get from the audience members is really, really unique and fantastic… They make us play better!”

—Ji Hye Jung, Principal Percussion

“The moment that you walk onto stage to any of the Camerata Pacifica concerts, you can feel that energy of curiosity, expectations of what they [the audience] are going to hear.”

—Jose Franch-Ballester, Principal Clarinet

MARCH 2020 Thursday, March 19 | 8:00 p.m., Los Angeles Friday, March 20 | 7:30 p.m., Santa Barbara Sunday, March 22 | 3:00 p.m., Ventura Tuesday, March 24 | 7:30 p.m., San Marino

JANUARY 2020 Sunday, January 12 | 3:00 p.m., Ventura Tuesday, January 14 | 7:30 p.m., San Marino Thursday, January 16 | 8:00 p.m., Los Angeles Friday, January 17 | 7:30 p.m., Santa Barbara

Benjamin Smolen, Nicholas Daniel, Jose Franch-Ballester, Pascal Archer, Judith Farmer, Martin Owen, Angel Subero, Kristin Lee - The Bernard Gondos Chair in Violin, Jason Uyeyama, Melissa Reardon, Ani Aznavoorian, Jennifer Kloetzel, Timothy Eckert, Brian Head, Ji Hye Jung, Robert Koenig, Bridget Hough

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

Jasmine Choi, Nicholas Daniel, Claire Brazeau, Jose Franch-Ballester, Pascal Archer, Judith Farmer, William Short, William Wood, Martin Owen, Steven Becknell, Amy Sanchez, Ani Aznavoorian, Timothy Eckert FEBRUARY 2020 Sunday, February 2 | 3:00 p.m., Ventura Tuesday, February 4 | 7:30 p.m., San Marino Thursday, February 6 | 8:00 p.m., Los Angeles Friday, February 7 | 7:30 p.m., Santa Barbara Mozart Beethoven

Brahms

Duo for Violin & Viola in B-flat, K. 424 Sonata in C Major for Piano & Cello, Op. 102, Nº. 1 String Trio in C Minor, Op. 9, Nº. 3 Sonata in G Major for Violin & Piano, Op. 78

Paul Huang - The Bob Christensen Chair in Violin, Richard O’Neill, Ani Aznavoorian, Warren Jones - The Robert and Mercedes Eichholz Chair in Piano

Auerbach Dreammusik Connesson Sextet Clyne A Wonderful Day Adams Gnarly Buttons

APRIL 2020 Thursday, April 16 | 8:00 p.m., Los Angeles Friday, April 17 | 7:30 p.m., Santa Barbara Sunday, April 19 | 3:00 p.m., Ventura Tuesday, April 21 | 7:30 p.m., San Marino Bach

Rubbra Harty Richards Harbison

“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 for Oboe & Piano, Op. 100 Three Miniatures for Oboe & Piano Dark Radiance for Solo Cello Mirabai Songs

Nicholas Daniel, Sarah Nelson Craft, Ani Aznavoorian, Paolo Bordignon, Tom Poster

“[The Camerata] people are very intellectually curious, and we’ve played some really, really, really difficult things… just everything I can muster to get through the music and the audience has been there the whole way.”

—Richard O’Neill, Principal Viola MAY 2020 Thursday, May 7 | 8:00 p.m., Los Angeles Friday, May 8 | 7:30 p.m., Santa Barbara Sunday, May 10 | 3:00 p.m., Ventura Tuesday, May 12 | 7:30 p.m., San Marino Strauss Beethoven

Metamorphosen String Quartet in B-flat Major, Op. 130 Grosse Fuge, Op. 133

Kristin Lee - The Bernard Gondos Chair in Violin, Joseph Lin, Richard O’Neill, Robert Brophy, Ani Aznavoorian, Jennifer Kloetzel, Timothy Eckert

RECOMMENDED READING FOR “WHY BEETHOVEN?” Please purchase from Chaucer’s Bookstore in Santa Barbara (805) 682-6787 — an independent, arts-supporting bookstore — or through Camerata Pacifica. In both cases, all proceeds will benefit Camerata Pacifica.

“Impassioned and informed... Swafford’s exuberance is infectious, prompting the reader to revisit works both famous and obscure.”

—The New Yorker

• Winner of the 2007 National Book Critics Circle Award for Criticism • A New York Times Book Review Top Ten Book of the Year • Time Magazine Top Ten Nonfiction Book of 2007

“First rate... [Gaines] writes superbly and makes us feel at home with things that would have sounded arcane otherwise.”

—Daily Telegraph

Presents

Complementing the musical programs, we will continue to present our successful series of panel discussions in which leading scholars offer in-depth explorations of topics related to our “Why Beethoven?” program. 6 talks will be presented this season: 3 in Santa Barbara and 3 in Pasadena. Participating scholars include Lydia Goehr, author and Professor of Philosophy at Columbia University, Alex Ross, music critic for The New Yorker, Daniel Chua, Professor and Chair of Music at the University of Hong Kong, and Derek Katz, Associate Professor of Musicology at UCSB.

The Imaginary Museum of Musical Works Beethoven’s Pieces Were Works of Art. Bach’s Were Not. Lydia Goehr, author of The Imaginary Museum of Musical Works that lends this discussion its title, talks with Alex Ross, music critic for The New Yorker, about concert hall culture and the conditions that impact how music is made, heard, and packaged for a public. Goehr’s opening provocation was that “Bach did not intend to compose musical works,” to show that the idea of musical works fully emerged in the period after Bach: namely, with Beethoven. If, to add to the provocation, concert hall experience today still holds to the Beethoven paradigm, would we say that the concert going public is lagging far behind the times? Or should rather we better rethink the entire thesis?

Beethoven in America, Beethoven in China

The panel discussions in Pasadena are presented in collaboration with Pasadena Conservatory of Music.

Tickets will be available from the venue directly.

The venue in Santa Barbara is to be announced.

Ever since the beginnings of a classical music scene in the New World, Beethoven has been the central figure.

The New York Philharmonic performed Beethoven’s 5th symphony at its first concert in 1842, and Boston’s Symphony Hall, which opened in 1900, has a proscenium surrounded by a series of plaques intended to display composers’ names. Beethoven’s is the only name displayed, above the center of the stage. To this day the other plaques remain empty. Today in China, Western art music has the stature it once had in America, and, again it is Beethoven who is most highly revered. Why is that? Is it a question of specifically Chinese cultural values?

Professor Hao Huang suggests Confucian philosophy and classical music both privilege intellectual rigor, personal discipline and regular practice towards self-improvement. Or is it a question of China adopting European values and practices that have been questioned and problematized in America?

Dates to be announced.

Will Beethoven Survive Into the 22nd Century?

Additional support generously provided by:

Barry & Amalia Taylor Bob Weinman The Williams-Corbett Foundation

Grounded in the objectively classical world of Mozart and Haydn, Beethoven flourished in the era of Goethe and 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 reverence of the concert hall and the rigid canonization of the 18th and 19th century masters? 250 years after his birth is part of Beethoven’s legacy a constriction of the concert experience that makes it harder for a contemporary audience to enjoy the music of today?

Last season’s panel discussions are available on our youtube channel: youtube.com/cameratapacifica

TICKETS FOR THIS SEASON ON SALE NOW! cameratapacifica.org 805 884 8410