Cp 2013 14 program(issuu) by Camerata Pacifica

2013/2014 24TH SEASON

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VENTURA

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Camerata Pacifica in Residence at the Ramon C. Cortines School of Visual & Performing Arts

Camerata Pacifica is very excited to be working with the Ramon C. Cortines School of Visual and Performings Arts in downtown Los Angeles. In this innovative high school, students pursue a normal high school education, but through the portal of one of 4 academies; dance, theatre, visual arts and music. Students do not have to audition for these academies, and so the power of these arts is delivered to a wide population, enhancing their academic education. Camerata Pacifica artists work with the music students through demonstration performances, lectures, coachings and lessons and by providing tickets to concerts. The kids are always keen and eager, inquisitive and appreciative. They are an inspiration to our musicians, who enjoy every opportunity to meet them. Camerata Pacificaâ&#x20AC;&#x2122;s residency at VAPA is supported by: The Sally and Dick Roberts Coyote Foundation The Philip and Muriel Berman Foundation and by support from The Chamber Music America Endowment Fund

www.cameratapaciďŹ ca.org | 805 884 8410 The Essential Chamber Music Experience

PH OTO : DAV I D B A Z E MO R E

HORNER & ASSOC IAT ES

ATTORNEYS AT LAW wish Camerata Pacificaâ&#x20AC;&#x2122;s 24TH season of chamber music to be another unparalleled success.

Mission Statement Camerata Pacifica’s mission is to affect positively how people experience live performances of classical music. The organization will engage our audience intellectually and emotionally by presenting the finest performances of familiar and lesser-known masterworks in venues that emphasize intimacy and a personal connection with the music and musicians.

BOARD OF DIRECTORS Jordan Christoff, President Richard Janssen, Treasurer Wendy Cowen, Secretary Judith Farrar Sharon Harroun Peirce Richard Roberts David Robertson Adrian Spence

CAMERATA PACIFICA STAFF Adrian Spence, Artistic Director

Donna Jean Liss, Director of Operations

Amanda Probst, Production Manager

Timothy Eckert, Education Outreach Director

Christopher Davis, Production Associate

Andrea Moore, Program Annotator

Maria Norris, Bookkeeper

LIFETIME MEMBERS OF CAMERATA PACIFICA William A. Stewart Donald McInnes Warren Jones

P.O. Box 30116, Santa Barbara, CA 93130 (805) 884-8410 (800) 557-BACH www.cameratapacifica.org

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This Renaissance Is You! Welcome to Camerata Pacifica’s 24th Season. The proximity of our 25th season sees reminiscences of seasons past, thoughts of the years ahead, and reflections upon just what makes Camerata Pacifica what it is today. While I often speak of the unique community assembled around our music, recently I’ve been thinking about what makes our community so dynamic and what it takes to make the experiences we share so ‘live’. Certainly I have to create programs that possess an emotional coherence (you may disagree with how effective I am in that regard!) to provide our very special artists a platform for expression. The excellence of our musicians is undeniable, far beyond that though, it’s clear our musical friends are a particularly characterful and creative bunch with a capacity to reach deeply into our common souls. However, I’ve concluded the key to our success is our audience. For over two decades you’ve been returning to programs such as you’ll hear in this season — which speaks to your musical creativity and curiosity. If you didn’t come to our concerts, if you didn’t buy tickets, if you didn’t make donations, the programs would mean nothing… indeed they would cease to exist. This is important! Across the country we see groups, mostly orchestras, mired in trouble — a primary cause being a harvest of ever-diminishing interest from decades of stultified programming paired with passive performance experiences. An aging audience is not the problem — that’s a thoughtless analysis — every day there are more new old people. For many groups the problem is an audience that has been irreversibly programmed into a torpor that extends well beyond their expiration date! The original Camerata came about in 16th century Florence; a collection of musicians, poets, humanists and intellectuals who gathered to discuss and influence trends in their arts world. This has always been an inspiration for our Camerata. Our community — on stage and in the auditorium — is a population of smart, intellectually curious people, and you are influencing our trends. Your curiosity has to be satisfied and that’s a participatory process. The experience of live music is not one of passive reverence. This music is to be handled, examined, discussed, argued over and passed from one person to another. It’s durable — it relishes your approval and welcomes your discomfort or anger. No matter what, when you’re done with it (for the time being) it should have your dirty fingerprints all over. This applies to new music and to the acknowledged masterwork equally, to Huang Ruo and the Schubert String Quintet. And if you’re not ‘getting it’, push back— we know you do and we can handle it. Do you remember when The Voice of the Whale was shocking? Intelligent people need to be treated intelligently, whether during the Italian renaissance or today, when I’m convinced we are well into the beginning of a second renaissance for our artform. At the beginning of the 21st century we can look around to see classical music at the most creative, fertile and dynamic time in its history. It’s happening now with Camerata Pacifica, and with groups across the United States and across the world. Make no mistake though, this renaissance is you. You are the leaders of this movement, right at its front. Be aware of it, continue to move it forward, and don’t miss a moment!

Yours,

Adrian Spence Artistic Director

AlwAys striving For new HeigHts!

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SEPTEMBER 2013 Celebrating the Marriages of David Robertson and Nancy Alex Jose Franch-Ballester and Cristina Enguídanos Campos Sponsored by

Stan Tabler

Friday 20, 1 p.m. & 7:30 p.m. Sunday 22, 3 p.m. Tuesday 24, 8 p.m. Thursday 26, 8 p.m.

Santa Barbara Ventura Pasadena Los Angeles

*Lunchtime program

* John Harbison (b. 1938)

Four Songs of Solitude

15’00”

John Serry (b. 1954)

Night Rhapsody

Huang Ruo (b. 1976)

Drama Theater No. 4, “To the Four Corners”

Paul Huang, violin

10’00”

Ji Hye Jung, marimba

22’00”

Scene I Scene II

Adrian Spence, flute; Jose Franch-Ballester, clarinet; Paul Huang; Richard Yongjae O’Neill, viola; Ji Hye Jung, percussion

INTERMISSION * John Harbison (b. 1938)

Amazing Grace Careless Love Will the Circle Be Unbroken Aura Lee What a Friend We Have in Jesus

27’00” St. Louis Blues Poor Butterfly We Shall Overcome Ain’t Goin’ to Study War No Mo’ Anniversary Song

Adrian Spence; Jose Franch-Ballester; Paul Huang; Ani Aznavoorian, cello; Warren Jones, The Robert & Mercedes Eichholz Chair in Piano

* John Novacek (b. 1964)

Songs America Loves to Sing

Four Rags for Two Jons

13’00”

Schenectady 4th Street Drag Recuperation Full Stride Ahead Jose Franch-Ballester, Warren Jones

Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

SEPTEMBER NOTES John Harbison Four Songs of Solitude The composer John Harbison has been prominent in American music for decades, known equally for his string quartets, his symphonies, and his operas, including the Metropolitan-commissioned The Great Gatsby (1999). Among the many influences he cites are Stravinsky and Bach, Schoenberg and Birtwistle, along with the Four Freshmen and jazz. It was as a jazz pianist that Harbison first experienced professional musical life, beginning around age 12 to perform as a soloist and with small ensembles. He is also an eloquent writer on music, and has written and lectured about the influence of jazz standards on his understanding of how music works for both musicians and listeners. He has been composer-in-residence with orchestras and festivals across the country, and his works have been extensively recorded. A 1989 MacArthur Fellow, Harbison remains a committed melodist, producing works whose formal structures are impeccable but whose emotional content is their true reason for being. The “Four Songs of Solitude” were written for Harbison’s wife, the violinist Rose Mary Harbison, to whom he has dedicated numerous works. The four movements are distinct in character, the more plaintive Song 1 followed by Song 2 which opens lyrically, but quickly becomes more chordal and rhythmically propulsive. Song 3 is relatively spare, using silence to evoke the titular solitude, and Song 4, after a virtuosic eruption in the middle, returns to the melancholic feel of the piece’s beginning. Harbison writes, “…They are songs, not sonatas or fugues. The first song often returns to its initial idea, always to go a different way: the constant lyrical outward flow is balanced by a refrain line that occurs twice. The second song begins with a folksong-like melody, which is immediately answered by a more athletic idea in a key a half step higher. The dialogue between these ideas eventually fuses them together. The most intense piece is the third song, its melody carrying large intervals and leading toward increasingly brief and intimate reflections upon itself. The last song is the most virtuosic and intricate…The solitude is the composer’s but even more the performer’s. The player’s world is like that of the long distance runner, especially in challenging pieces like these, and I wanted our conversation in those hours of preparation to contain subjects of equal interest to both. The listeners can, if they wish, add in their own inner distances.”

John Serry Night Rhapsody The American composer John Serry is enormously versatile, accomplished as a jazz pianist and classical percussionist, and has also worked extensively as both a performer and composer for motion picture and television soundtracks. While the bulk of his public musical career has been in jazz performance and pedagogy, Serry’s earlier formal musical training was as a percussionist, training he has used in composing a number of significant and often-performed pieces for solo and duo percussion. “Night Rhapsody,” written in 1980, is becoming part of the standard repertoire for marimba, and was commissioned by Leigh Stevens, a pioneer of the marimba as a solo instrument and career path, and a developer of one of today’s most widely used performance techniques. Among other things, the piece makes extensive use of the one-handed roll, a technique that is entirely mainstream among today’s percussionists, but which was highly virtuosic at the time the piece was written. Of “Night Rhapsody” and its performances by Ji Hye Jung, Serry writes, “I wrote Night Rhapsody in 1980 at the request of Leigh Stevens for his…New York City debut. The work was well received, I think partially because it was a near perfect fit for his, then, newly developed techniques and abilities. In effect, Leigh and the piece were on the same wavelength due to my having witnessed his developments first hand. Now quite a few marimbists are doing what it seemed only Leigh could do all those years ago. One of the striking (pardon the pun) examples of that evolution is the playing of Ji Hye Jung. The piece is often correctly perceived as having been composed with the intention of creating a difficult work. That is because both Leigh and I wanted to showcase the things which were, at that time, unique to his playing. There is a long history of virtuosi commissioning composers to feature their particular abilities

and technical discoveries. The technical hurdles may sometimes distract players from the musical aspects of the composition, an issue which was recently addressed very well by Tom Burritt in his internet series on the work. A youtube comment stated that I obviously did not understand the difficulty of the work since I am a jazz pianist. Well, not only am I also a percussionist with a conservatory degree (Eastman ‘75), but I knew exactly what I was doing and, moreover, I did it deliberately and at the request of the commissioning artist.”

Huang Ruo To the Four Corners Huang Ruo’s To the Four Corners is a work that takes inspiration from a form of ancient Chinese drama called Nuo. Nuo began as a physical movement one would do to drive away evil spirits, devils, and disease. The step became first a dance, then a drama. Masks are an important part of the Nuo drama, especially because the masks themselves are said to house spirits. In some ceremonies, a mask may even transform into a living god. Huang Ruo’s To the Four Corners consists of two scenes, each of them a drama. The musicians may move about the stage following Ruo’s directions, or they may simply sit and play. The directions also indicate that dancers, actors, and multi-media visuals may be added to the performance. Ruo describes the work: “Scene I is scored for percussion, clarinet, and viola, although all three instruments never play together as a trio. Scene II, with the addition of the flute and violin, is written for all five instruments. With the exception of the percussionist who should be placed in the center of the stage, the other four musicians should be positioned at the four corners of the stage or around the performance space. During this Drama, instrumentalists at the four corners should rotate their positions. Towards the end of the Scene II, all five musicians should gather together and walk slowly around the four corners to create a funeral ritual.” The first section is extremely rhythmic, with unique metallic timbres in the percussion. The uproar is interrupted by a clarinet solo, which explores many of the instrument’s sound possibilities including extended techniques like bending pitches. The original percussive elements return, and new ones are added. The viola enters, and like the clarinet, uses unexpected techniques. The second scene begins with low notes in the clarinet, answered by high notes in the flute. Ruo seems to take great pleasure in finding the most unexpected timbres. He devises fascinating ways to make these Western instruments sound like ancient traditional Chinese instruments. Ruo does not neglect the voices of his players who sometimes chatter, whisper, or cry out in ways almost indistinguishable from the instruments. The mood of this scene is sometimes frantic, almost violent, but even the quieter parts rumble with possibility. – Christine Lee Gengaro, Ph.D.

John Harbison Songs America Loves to Sing John Harbison has an abiding interest in American music of all kinds, including jazz, the Great American Songbook, and hymns. The songs he has rewritten as “Songs America Loves To Sing” are some of the most familiar in American music, including “Amazing Grace” and a song made famous by the great blues singer, Bessie Smith, “St. Louis Blues.” Many other 20th and 21st century composers have also made settings of folk songs, a compositional impulse whose roots extend as far back as Bach (and further), who used Italian dances and other colloquial forms even in his church music. The Italian composer Luciano Berio’s “Folk Songs” (1964) are one example. Harbison’s fellow American, Frederic Rzewski, has also elaborated on folk and other popular music, often with a political bent, as with his monumental set of variations on the Chilean worker’s song, “The People United Will Never Be Defeated,” (1975) and his “Four North American Ballads,” (1978-79) both for solo piano. Harbison set these songs for the “Pierrot” ensemble, a now-standard instrumentation derived from Schoenberg’s “Pierrot Lunaire.” He writes, “It is a distant, quaint vision: the family around the piano singing familiar songs, a Currier and Ives print, an album of sepia photographs. But I remember it well (or did I imagine it?). The album which our family sometimes used may have been called Songs America Loves to Sing. The present collection of solos and canons on some of these still familiar melodies is dedicated to my sister Meg (of five singers, now only two left). Ideally many of the tunes will still be recognizable. In the chorale preludes of the Continued on page 42

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OCTOBER 2013 Sponsored by

Sunday 20, 3 p.m. Tuesday 22, 8 p.m. Thursday 24, 8 p.m. Friday 25, 1 p.m. & 7:30 p.m.

Ventura Pasadena Los Angeles Santa Barbara

*Lunchtime program

Lera Auerbach (b. 1973)

24 Preludes for Violoncello and Piano, Op. 47

46’00”

Ani Aznavoorian, cello; Lera Auerbach, piano

INTERMISSION

* Wolfgang Amadeus Mozart Divertimento in E-Flat Major, K. 563 (1756-1791)

43’00”

I. Allegro II. Adagio III. Menuetto: Allegretto – Trio IV. Andante V. Menuetto Allegretto – Trio I – Trio II VI. Allegro Amy Schwartz Moretti, violin; Ani Aznavoorian; Richard Yongjae O’Neill, viola

Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

OCTOBER NOTES Lera Auerbach 24 Preludes for Violoncello and Piano, Op. 47 The composer and pianist Lera Auerbach has become familiar to Camerata Pacifica audiences over the last several seasons. Championed by principal cellist, Ani Aznavoorian, Auerbach’s works have been regularly programmed on Camerata concerts, and this season’s March concert will bring the world premiere commission of Auerbach’s new work for cello (written for Aznavoorian) and chamber ensemble. Auerbach is a multi-disciplinary artist, working as a poet and artist as well as musician. Major recent instrumental commissions include those for violist Kim Kashkashian and the Tokyo String Quartet. Auerbach has been especially active as a composer for the stage. Her ballet, The Little Mermaid, has quickly become part of the ballet repertory, receiving over 100 performances since its premiere in 2005 at the Royal Danish Ballet. The Twenty-Four Preludes for Cello and Piano, written in 1999, have recently been the basis of another staged work, Preludes CV, a Hamburg State Ballet production that also uses Auerbach’s other set of preludes, for violin and piano. The Preludes, Op. 47, which make their way through the twenty-four keys of Western music, follow in a tradition that extends back to Bach’s Well-Tempered Clavier and include Auerbach’s compatriot, Shostakovich, and his extraordinary Twenty-Four Preludes and Fugues, Op. 87. Where Bach moved through the keys by parallel major and minor (e.g., C major is followed by C minor), Shostakovich and Auerbach choose the relative major and minor, a different key relationship separated by a greater distance on the keyboard (e.g., C major is followed by A minor). Of her Preludes, Auerbach writes, “Re-establishing the value and expressive possibilities of all major and minor tonalities is as valid at the beginning of the 21st century as it was during Bach’s time, especially if we consider the aesthetics of Western music in its regard — or disregard — to tonality during the last century. In writing this work I wished to create a continuum that would allow these short pieces to be united as one single composition. The challenge was not only to write a meaningful and complete prelude that may be only a minute long, but also for this short piece to be an organic part of a larger composition with its own form. Looking at something familiar yet from an unexpected perspective is one of the peculiar characteristics of these pieces — they are often not what they appear to be at first glance.” Liner note writer Andrea Lamoreaux described the Preludes this way: “Combining intense lyricism with fierce sonic clashes, the Preludes demand extreme virtuosity from the performers and explore both instruments’ extreme ranges. The score contains an abundance of unusual sonorities and extended techniques: for the pianist, tone clusters, prolonged pedaling, and complex layering of passages. The cellist is constantly changing from arco (bowed) to pizzicato (plucked) motives and often playing harmonics: faint, whistling tones produced by a finger only partially depressing the string. There are constant glissando passages (sliding through a quick succession of notes) for the cello and frequent directions to play sul ponticello, on the bridge, the small piece of wood that separates the bottom of the strings from the resonating body of the instrument. Drawing the bow close to the bridge creates a harsh and unreal sound that dramatically contrasts with the smooth tone we’re accustomed to hearing from this instrument. Many of the preludes end quietly, echoing the line from Auerbach’s poem, Fugue: ‘that moment of infinite loneliness when sound dies.’” Auerbach and Aznavoorian’s recording of the Preludes, released in 2012 on Cedille Records, has garnered enormous praise, with the Chicago Tribune saying “I would not hesitate in calling “24 Preludes” a major addition to the contemporary chamber repertory…It is played with tremendous bite and concentration by the composer and her duo partner, the splendid, Chicago-born cellist Ani Aznavoorian.”

Wolfgang Amadeus Mozart Divertimento in E-Flat Major, K. 563 The term “divertimento” most often denotes an 18th century musical work designed to entertain or amuse both listeners and performers. A divertimento could be written as background music, and did not require listeners to follow a particularly complex development. Usually in multiple movements by Mozart’s time, earlier divertimenti had been structured more like later sonatas, in three movements. Mozart wrote a number of divertimenti, along with other works in light genres like serenades and notturnos. Earlier divertimenti were often written for larger, more mixed ensembles, including the K. 113, for pairs of clarinets and horns along with strings, or the Serenade, K. 320, whose ensemble is almost big enough to be a chamber orchestra. In the case of K. 563, written in 1788 just three years before Mozart’s death, the title “divertimento” seems misplaced; this piece may be one of Mozart’s most significant chamber works, lyrical and dramatic, and certainly requiring close attention. 1788 was a productive year for Mozart, during which he wrote his last three symphonies; it was also a difficult period for him financially, and he resorted more than once to asking friends for loans. Among these friends was fellow Freemason, Michael Puchberg, and in response to his generosity (and perhaps in lieu of repaying the loan), Mozart dedicated the Trio, K. 563 to him. This was Mozart’s first divertimento in years, and it was the only real string trio he ever wrote; it is also his most substantial chamber work in terms of length. In six movements, the piece includes two minuets and a theme and variations, along with an opening movement in sonata form. This is followed by a slow sonata form, Adagio, whose thematic material, a simple major arpeggio, is introduced by the cello. The first Menuetto plays with the time signature; in the expected triple meter, Mozart sometimes places the accompanying beats in such a way that the piece sounds temporarily as though it’s in duple meter. The fourth movement, Andante, begins with such a simple theme that any Mozart lover will immediately suspect that variations lie ahead. Mostly quiet and reflective, sometimes elaborate, this movement anchors the work. The second Menuetto is clearly influenced by country dances, with its heavy downbeats and fleeting dissonances. This piece concludes with a rondo in 6/8 meter, in which, while the violinist does a great deal of the melodic work, the voices are beautifully balanced and the counterpoint is beautifully wrought. – Andrea Moore

Jan Weimer Memorial Concert 2013 Six years have gone by with lightning speed. With a spectacular weekend in Palo Alto and Napa Valley, we culminated the fund raising drive for the Jan Weimer Chair in Research and Clinical Care in Oncology at Stanford Medical School. Jan took a Masters in Speech and Audiology at Stanford before changing to a sterling career in food and wine. She was a chef, author, editor and kitchen designer. Her work ethic and energy exhausted all who knew her. Her loss was felt throughout the food world and the Los Angeles community where she gave tirelessly of her time to raise money for LACMA, the Joffrey, the AIWF, Washington High School Music Program and many other charities. We are particularly grateful to Adrian Spence and the Camerata Pacifica for all the help in fund raising, with the annual concert at Zipper and at Janâ&#x20AC;&#x2122;s home in Los Angeles. Now we are raising money for research funds to support the Chair in the pursuit of better detection and treatment in Breast Cancer. Please visit the website and consider helping in our efforts. www.janweimerfund.org

November 2013 The Jan Weimer Memorial Concert Sponsored by

Sunday 10, 3 p.m. Tuesday 12, 8 p.m. Thursday 14, 8 p.m. Friday 15, 1 p.m. & 7:30 p.m.

Ventura Pasadena Los Angeles Santa Barbara

*Lunchtime program

* Ludwig van Beethoven (1770-1827)

33 Variations on a Waltz by Anton Diabelli, Op. 120

52’00”

INTERMISSION

Ludwig van Beethoven Piano Sonata No. 29 in B-Flat Major, Op. 106, (1770-1827) “Hammerklavier”

I. II. III. IV.

49’00”

Allegro Scherzo: Assai vivace Adagio sostenuto. Appasionato e con molto sentiment Introduzione: Largo – Fuga: Allegro risoluto Adam Neiman, piano

Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

NOVEMBER NOTES Tonight’s program consists of two of Beethoven’s late works for the piano. The last decade or so of the composer’s life was a difficult time, in which (according to some musicologists) he “felt a growing sense of uncertainty as to artistic ends and means.” Younger composers were emerging with musical allegiances that were not necessarily to Haydn and Mozart; for Beethoven, whose sense of scale had created new possibilities for the sonata form, the ongoing validity of that structure was now in question. Beethoven responded to changing musical times in a number of ways. One was by developing a new interest in variation movements, which by their nature create a structure that is not unified in the same way as sonata form, with its obsessive working out and synthesizing of two themes. Diabelli Variations is only one example of this interest, in which Beethoven “evolved a new type of variation in which the members (ie, variations) take a much more individual and profoundly reinterpreted view of the original theme.” Beethoven also returned to an earlier form, the fugue, displaying previously unknown feats of counterpoint and sustaining them over astonishing lengths of musical time. Fugue is important in both works on this program, forming the development section of the first movement of the Hammerklavier sonata, the bulk of its finale, and the penultimate variation of the Diabelli.

Ludwig van Beethoven 33 Variations on a Waltz by Anton Diabelli, Op. 120 Among those who responded to composer/publisher Anton Diabelli’s 1819 invitation to write a variation to one of his waltzes were Schumann, Hummel, and Liszt, as well as Beethoven. Yet while each of the others quickly produced a single variation, Beethoven had something much bigger in mind. His work on the Diabelli Variations began in 1819, but wasn’t completed until 1823. According to musicologist William Kinderman’s exhaustive research on the piece, Beethoven sketched out 19 of the 33 variations before setting the piece aside to work on the Missa Solemnis. Kinderman describes the work as “the most paradoxical work that Beethoven ever wrote, an enormous musical edifice built on a trivial waltz that he originally dismissed as ‘a cobbler’s patch’…It is astonishing and yet characteristic of Beethoven in his last decade that such a commonplace stimulus could trigger a major creative brainstorm.” Indeed, Beethoven made extensive use of the theme and variations technique late in his life; examples include the String Quartet, Op. 127, the Piano Sonata, Op. 111, and the third movement of the Symphony No. 9. Author Milan Kundera writes about this seeming incongruity: Beethoven, whose formal innovations set a standard for the rest of the century, reverting to what was considered a far more trivial, if still virtuosic, structural technique at a time he was also producing some of his most profound music. Kundera writes, “Variation form was Beethoven’s favorite toward the end of his life. At first glance, it seems the most superficial of forms, a simple showcase of musical technique, work better suited to a lacemaker than to a Beethoven. But Beethoven made it a sovereign form (for the first time in the history of music), inscribing in it his most beautiful meditations. Variations are like a voyage. But that voyage does not lead through the infinitude of the exterior world…The voyage of variations leads into the other infinitude, into the infinite diversity of the interior world hidden in all things. …Variation form is the form in which the concentration is brought to its maximum; it enables the composer to speak only of essentials, to go straight to the core of the matter. A theme for variations often consists of no more than sixteen measures. Beethoven goes inside those sixteen measures as if down a shaft leading into the interior of the earth. It is not surprising that in his later years variations become the favorite form for Beethoven, who knew all too well…that there is nothing more unbearable than lacking the being we loved, those sixteen measures and the interior world of their infinitude of possibilities.” Each of these variations has a different tempo and develops its own motive; accordingly, each has its own character, and the overall effect is that of 33 distinct miniatures, more than a large-scale trajectory (such as going from the simplest to the most complex, for example). Performers, listeners and critics have characterized the variations in different ways as part of a process of understanding the work as a whole. Among many other observations: Continued on page 44

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Restaurant Patrick Guilbaud, Dublin

St. Kevinâ&#x20AC;&#x2122;s Monastery, Glendalough, Wicklow

Harpists Bridget Kibbey & Carolan

Powerscourt Estate, Wicklow

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*Lunchtime program

* Wolfgang Amadeus Mozart Allegro from Piano Sonata No. 16 in C Major, K. 545 (1756-1791) Arr. Edvard Grieg

5’00”

*Sergei Rachmaninov (1873-1943)

8’00”

Barcarolle from Suite No. 1, Op. 5, “Fantaisie Tableaux”

Wolfgang Amadeus Mozart Sonata for Two Pianos in D Major, K. 448 (1756-1791) I. Allegro con spirito

23’00”

II. Andante III. Molto allegro

INTERMISSION * Franz Schubert (1797-1828)

Fantasie in F Minor, D. 940, for Piano Four Hands

* Claude Debussy (1862-1918) Arr. Maurice Ravel

“Fêtes” from Nocturnes, L. 91, for Two Pianos

7’00”

* Sergei Rachmaninov (1873-1943)

“Tears” from Suite No. 1, Op. 5, “Fantaisie Tableaux”

7’00”

Witold Lutosławski (1913-1994)

Variations on a Theme by Paganini

8’00”

20’00”

I. Allegro molto moderato II. Largo III. Scherzo. Allegro vivace IV. Finale. Allegro molto moderato

Joanne Pearce Martin & Gavin Martin Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

DECEMBER NOTES The piano duo genre has a long history, and comprises both works for two pianos, and the more intimate four-hands subgenre (two performers on the same piano). The repertoire includes original works by composers like Mozart, Schumann, Brahms, Debussy, and Stravinsky; in addition, there have been countless arrangements of orchestral works (including Stravinsky’s Rite of Spring) for two pianos. Other offshoots include piano arrangements of the orchestral part of concertos, so that two players can perform a piano concerto together. Some musicologists have suggested that the four-hands subgenre created opportunities for romance and courtship among the buttoned-down 19th century European and American bourgeoisie. Sitting close together on the piano bench, touching hands during elaborate crossovers…such rare thrills were made possible by the keyboard. The pianists on this program are of course already married, but that may only enhance the likelihood of flirtation on the bench.

Wolfgang Amadeus Mozart (Arr. Edvard Grieg) Allegro from Piano Sonata No. 16 in C Major, K. 545 While it is part of classical music’s mythology that its works are immutable, never to be tampered with, that is not borne out by reality. Composers have always been willing to arrange, orchestrate, rewrite their music as needed or desired, whether for performance opportunities, publication possibilities, or fun. The Norwegian composer Edvard Grieg arranged four of Mozart’s piano sonatas as duos, simply leaving the original intact and writing an entirely new accompanying part. The Grieg arrangement of Mozart’s Sonata in C Major, K. 545 (which Mozart called “The Little Sonata for Beginners,” and which may be familiar to listeners who have had a few years of piano lessons) thickens the texture and leaves the relative simplicity intact. Still, the 19th century composer’s tendency toward more overt expressivity and denser harmonies is audible here in the first movement, performed on this program, which is more symphonic than the original.

Sergei Rachmaninov Barcarolle from Suite No. 1, Op. 5, “Fantaisie Tableaux” Rachmaninov’s “Barcarolle” comes from his Suite No. 1, written in 1893, early in his career, for two pianos. Rachmaninov composed multiple smaller scale works around this time, including two song cycles and two solo violin works. The title of the Suite is “Fantaisie-Tableaux,” and it was dedicated to Tchaikovsky. A barcarolle is a Venetian gondolier’s song, or any piece written to evoke such a song. Rachmaninov’s does so with repetitive, almost hypnotic rhythms, and a dark sweet sound that evokes the night. Each movement of the Suite is inspired by a Russian poet, the “Barcarolle” by Lermontov.

Wolfgang Amadeus Mozart Sonata for Two Pianos in D Major, K. 448 Mozart’s Sonata in D Major, K. 448, is one of the few works he wrote for two pianos (others include his Concerto for Two Pianos, K. 535). By the early 1780s, Mozart had established himself as the most formidable pianist in Vienna, though he was given a run for his money by the Italian composer Clementi, with whom he competed publicly, to the emperor’s delight. Mozart wrote the Sonata K. 448 for one of his students, Josepha von Auernhammer, who was also the dedicatee on the two piano concerti. The Sonata’s two voices are entirely equal; while there is the necessary element of melody and accompaniment, it is traded back and forth between the performers. According to some of Mozart’s letters to his father, von Auernhammer fell in love with the composer during the course of her study; whether or not regular duet playing had anything to do with it is unknown.

Franz Schubert Fantasie in F Minor, D. 940, for Piano Four Hands Franz Schubert’s Fantasie in F Minor, D. 940, can reasonably be considered one of the greatest works for piano four-hands. Written in 1828, the last year of the composer’s life, it is one of three works for piano duo he wrote the same year. The piece is in four sections within a single movement, and moves fluidly among keys and moods, pathos and hope. The opening theme, in the piece’s key of F minor, modulates briefly into F major, but closes

in minor. The second section shifts to F-sharp minor (close together on the keyboard, but distant in traditional western harmony); this section is also notable for its controlled, dotted rhythms. The third section is brighter, in D major; the final section restates the opening F minor theme and includes a substantial contrapuntal development; it, too, flirts with major keys before the close of the work.

Claude Debussy (Arr. Maurice Ravel) “Fêtes” from Nocturnes, L. 91, for Two Pianos Debussy’s Nocturnes is a three movement piece for orchestra, written from 1897 to 1899. Originally intended as a work for solo violin and orchestra, to be performed by violinist/composer Eugene Ysaÿe, Debussy’s decision to make an orchestral piece (with wordless women’s chorus in the third movement) contributed to the difficulty of finishing. The composer wrote, “The title Nocturnes is to be interpreted here in a general and, more particularly, in a decorative sense. Therefore, it is not meant to designate the usual form of the Nocturne, but rather all the various impressions and the special effects of light that the word suggests…‘Fêtes’ (Festivals) gives us the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling fantastic vision), which passes through the festive scene and becomes merged in it. But the background remains resistantly the same: the festival with its blending of music and luminous dust participating in the cosmic rhythm.” Maurice Ravel made the arrangements of this piece for piano duo.

Sergei Rachmaninov “Tears” from Suite No. 1, Op. 5, “Fantaisie Tableaux” The third movement of Rachmaninov’s Suite No. 1, Les larmes (Tears) opens with a pianistic representation of church bells, specifically the bells of the Cathedral of St. Sophia at Novgorod. The movement in G minor, and gains in volume and emotional intensity throughout; the four-note bell motive is almost continuous.

Witold Lutosławski Variations on a Theme by Paganini The great Polish composer Witold Lutosławski graduated from the Warsaw Conservatory in 1936 as a pianist, and received a composition diploma the following year. His career and further musical training were inevitably altered by the war, and after serving in the signals and radio unit, he was captured by the German army. Fortunately, he escaped and returned to Warsaw, where he made his living for several years as a café performer with his fellow composer, Andrzej Panufnik. Following the Warsaw uprising of 1944, Lutosławski fled the city with a handful of compositions, of which the Variations on a Theme by Paganini was one. The Paganini Caprice (No. 24) on which this piece is based is itself a set of variations, and is so difficult for the performer that it contributed to Paganini’s reputation in his lifetime for being in league with the devil. In the 1970s, having been exposed to many of the century’s compositional techniques, Lutosławski would rewrite the piece for two pianos and orchestra. In the two piano version heard here, the theme remains largely recognizable, although its rhythms are altered and stretched; it is also made dissonant, ironic, intense, and above all, pianistic: Lutosławski fully exploits the possibilities of two dueling and equally matched instruments and performers. – Andrea Moore

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*Lunchtime program

* Franz Josef Haydn (1732-1809)

Piano Trio No. 43 in C Major, Hob. XV: 27

19’00”

I. Allegro II. Andante III. Finale: Presto

Amy Schwartz Moretti, violin; Ani Aznavoorian, cello; Warren Jones, The Robert & Mercedes Eichholz Chair in Piano

Johannes Brahms (1833-1897)

Quintet No. 2 in G Major, Op. 111 I. II. III. IV.

30’00”

Allegro non troppo, ma con brio Adagio Un poco Allegretto Vivace, ma non troppo presto

Amy Schwartz Moretti, Paul Huang, violins; Richard Yongjae O’Neill, Jonathan Moerschel, violas; Ani Aznavoorian

INTERMISSION * Elliott Carter (1908-2012)

Elegy for Viola & Piano

5’00”

Richard Yongjae O’Neill; Warren Jones

* John Harbison (b. 1938)

Piano Quintet

25’00”

I. Overture II. Capriccio III. Intermezzo IV. Burletta V. Elegia

Paul Huang, Amy Schwartz Moretti; Richard Yongjae O’Neill; Ani Aznavoorian; Warren Jones

Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

JANUARY NOTES Franz Josef Haydn Piano Trio No. 43 in C Major, Hob. XV: 27 Haydn spent the first half of the 1790s working in London thanks to the impresario Johann Salomon. Upon hearing of the death of Haydn’s long-time patron, Salomon traveled from London to Vienna to recruit Haydn for a series of London concerts; Haydn would remain there for four years, achieving musical and social success, and producing (among other things) the six “London” symphonies. While in his previous job at the Esterházy court, Haydn often felt “stuck in the country,” as he put it in a letter; his release from the Esterházy estate freed him to find a different kind of life. When he returned from London in 1795, he settled in Vienna, where he was wellreceived and promoted by people like Baron van Swieten, who was instrumental in making Beethoven’s reputation a few years later. While Haydn is most often thought of as a symphonist and string quartet composer, his output in other areas was remarkable as well. In both his keyboard sonatas and keyboard trios, he made the transition from writing for harpsichord to the more modern piano over several decades. As he did with the symphony, Haydn’s work in writing keyboard trios overhauled the genre, which was previously considered little more than an accompanied work for keyboard solo. The three trios that comprise Hob. XV were dedicated to Therese Jansen (Bartolozzi), a formidable concert pianist whom Haydn met in London, where she had an especially successful career. Indeed, Haydn dedicated many of his piano works to women, including former students and professional acquaintances. The dedication to Jansen explains the brilliance of the piano writing, along with the fact that the 18th century piano trio was considered to be a piano showcase more than a meeting of three equal voices. The Trio No. 27 is exuberant and doesn’t disguise its virtuosic demands. The outer movements are in sonata form, meaning their primary musical task is the eventual synthesis of two main themes. The lyrical piano part is supported by a more gestural violin, which provides embellishment and harmonic confirmation. The second movement is in ABA form; it opens in A major, then shifts into A minor (a key closely related to the piece’s C major), before reemerging into the sunnier major key. The final movement, Presto, is energetic, and the violin is a much more equal partner, providing a dialogue with the virtuosic piano.

Johannes Brahms Quintet No. 2 in G Major, Op. 111 The full scope of Brahms’s contributions to the musical canon is beyond the program note format, but he was often concerned with combining traditional forms and genres with an original musical language. He also had a sense of scale and developed new models of variation that would not only hearken back to the classical era and earlier, but also be influential in the coming twentieth century. His two string quintets, Op. 88 and Op. 111, take quintets by Mozart as their models, each being scored for two violins, two violas, and cello. Written in 1890, the String Quintet Op. 111 is preceded by a series of five other significant chamber works, including a cello sonata, a violin sonata, and the previous string quintet. In addition, Brahms wrote his second Piano Concerto and his Double Concerto, for violin and cello, during the same decade. Perhaps it is not surprising, given the sheer quantity of his output— he was also making sketches for his fifth and sixth symphonies — that upon completing the Op. 111 during a vacation to Italy, Brahms would decide to retire. A note he included to his publisher that year said, “With this note you can take leave of my music because it is high time to stop.” He didn’t stop, of course; the next year, he would be inspired by hearing the clarinetist Richard Mühlfeld, and begin a series of chamber works for him. That said, the Op. 111 would have made a cheerful ending to Brahms’s career. The four-movement work opens with the theme in cello, beneath a thick layer of sound in the four upper voices. This opening created great consternation at first due to the difficulty the cellist has being heard. The second theme is a Viennese-sounding waltz. The cello’s opening theme recurs near the end of the movement, but only in the last few measures do the opening tremolos return as well for an energetic resolution. The second movement is characterized by the viola’s timbre, introducing the melody, a march-like rhythm and a somber

mood. The theme recurs multiple times in different combinations and with different harmonies, and the movement includes a viola cadenza. The third movement is the typical scherzo and trio form, the outer sections sometimes stormy, sometimes wistful in G minor, and the trio sweeter (marked dolce), in G major, with a melodic line that divides quickly among the instruments. The final movement opens with an anxious-sounding chromatic motive that soon yields a major key, rhythmically propulsive dance. Brahms knew his folk music and dance idioms, and the movement grows more and more driven, building on the opening motive; a sudden descending and ascending scale, played by the whole ensemble, leads into a wild Hungarian-style dance, which concludes the work.

Elliott Carter Elegy for Viola & Piano The American composer Elliott Carter had what must have been one of the longest careers in classical music, studying piano from childhood on, and pursuing other musical studies while a Harvard student beginning in 1926. He received a Harvard MA in music, and went to France in 1932 to study with the famous pedagogue, Nadia Boulanger, who trained so many of the century’s composers. His career really began at that time, although he preserved few of the works he produced; nonetheless, one can safely say that he was a composer for almost 80 years, as he continued to produce significant works until his death in 2012. Between his 90th and 100th birthdays, Carter published at least 40 pieces, and over a dozen more after he turned 100. Longevity aside, Carter was not always well received. Beginning around 1950, he wrote music that was atonal and rhythmically dense, using a technique he called “metric modulation” to move from one time signature to another. His complex developments with regard to pitch choices led to interesting advances in music theory, but again, were not always loved by audiences. His much later works are often gentler, more informed by lyricism and traditional structures. Elegy for viola and piano is an early piece, predating Carter’s explorations in complexity by about 15 years. His early music is often lyrical and accessible and shows the influence of composers like Samuel Barber and Aaron Copland; the latter called Carter “one of America’s most distinguished creative artists in any field.” Elegy’s long, continuous melody is set against a contrapuntal accompaniment, with multiple voices emerging from the texture; Carter’s study with Boulanger, as well as his rigorous Harvard training, is being put to good use here. Elegy exists in multiple versions, including one for string quartet and one for cello and piano. This is essentially a tonal piece, emotionally frank and musically conservative, giving little indication of the direction Carter would take in the coming decades.

John Harbison Piano Quintet John Harbison’s Piano Quintet was premiered in 1981. The distinguished critic John Rockwell wrote in the New York Times that, “Mr. Harbison has been hailed as one of the finest American composers of the younger generation…what is most impressive about [the Quintet] is its suggestions of space…there is an openness to the chordal spacing, to the textural delineation, and even to the rhythms…the many points of rest, culminating in the lyric Elegia at the end, lend the piece a moving undercurrent of seriousness…” Harbison has always eschewed the seemingly de rigueur compositional styles, especially serialism (a systematic approach to composition, pioneered by Arnold Schoenberg and taken to what some consider extremes by composers like Boulez and Babbitt), preferring to write accessible music using styles and references of his choosing. Partly as a result, his work has been widely performed and commissioned. The Piano Quintet is a 19th century European genre, but Harbison, who dedicated this piece to the painter Georgia O’Keefe, brings it into the American 20th century; he writes “In looking at the work of Georgia O’Keefe it struck me that the point of contact was this characteristically American search for clarity out of complex forces. In opening my piece I thought of the unfilled parts of her canvases, the open space, and the pleasure of leaving something out.” The piece is in five movements, and each movement title gives an accurate impression of the musical content: an introduction sets up the piano in dialogue with the strings, and is followed by the playful Capriccio, full of Continued on page 44

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*Lunchtime program

* Johann Sebastian Bach (1685-1750) Arr. Ji Hye Jung

Violin Sonata No. 1 in G Minor, BWV 1001 I. Adagio

Santa Barbara

15’00”

II. Fuga (Allegro) III. Siciliana IV. Presto

Ji Hye Jung, marimba

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Sonata for Flute & Piano, H. 306

19’00”

I. Allegro moderato II. Adagio III. Allegro poco moderato

Adrian Spence, flute; Adam Neiman, piano

* Frédéric Chopin BRISAS

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Adrian Spence; Ji Hye Jung

John Psathas (b. 1966)

One Study

7’00” Ji Hye Jung

Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

FEBRUARY NOTES J.S. Bach (Arr. Ji Hye Jung) Sonata No. 1 in G Minor, BWV 1001 Before Bach moved to Leipzig, where he would spend the bulk of his career, he worked for six years as Kapellmeister in the town of Köthen. It was there that he wrote a great deal of his surviving instrumental music, including the Brandenburg concertos, the six French Suites, and the six suites for unaccompanied cello. He also wrote his six works for unaccompanied violin, BWV 1001-1006, consisting of three sonatas and three partitas. Although they were completed in 1720, they were not published until the early 19th century, and became part of the violin repertoire thanks to their championing by the concert violinist Joseph Joachim. The three sonatas follow the basic church sonata form of the time, in four movements alternating slow-fastslow-fast. The second movement of each is a fugue, while the outer movements are titled either by form or tempo marking (e.g., Adagio or Siciliana). The three partitas’ movements carry the titles of the popular dance form on which they’re based; examples include Gavotte, Menuet, Bourree, etc. The Sonata in G Minor, BWV 1001 is the first of the six. The first, second, and fourth movements are in G minor, while the Siciliana shifts to the relative major, B-flat. Part of the challenge of writing unaccompanied violin music was learning how to treat it as a multi-voiced instrument, one that could carry both melody and accompaniment, and one that could manage a four-part fugue. The violinist John Holloway describes it this way: “…while for the Baroque violinist, and for any violinist since, the Sonatas and Partitas are an encyclopedia of 18th century violin techniques, for Bach, who was teaching himself what the limits of the violin were, it was part of his ongoing exploration of what the possibilities were for the instruments that interested him.” Who knows what Bach would have made of the marimba? His violin, cello, and flute music has all been extensively adapted for the instrument; indeed, in many cases it requires no adaptation, and can be read directly from the score. The development of an increasingly virtuosic four-mallet technique among today’s performers is ideally suited to Bach’s four part fugues and his emphatic chordal writing (as in the first chord of the piece), and the ability to drop two mallets in between makes movements like the Presto a perfect challenge.

Bohuslav Martinu° Sonata for Flute & Piano, H. 306 Bohuslav Martinu° began studying violin as a child in east Bohemia, and started composing by the age of ten. At sixteen he enrolled in the Prague Conservatory, and after being expelled (apparently for “incorrigible negligence”), he remained in the city, drawn to its cultural life and the access to multiple art forms it offered. After WWI, Martinu° moved to Paris, where his pace of composition increased. An earlier work came to Koussevitzky’s attention in Boston, and the composer’s international reputation began to develop. When the Nazis invaded Czechoslovakia in 1939, Czech refugees began to come to Paris, where Martinu° assisted them in his role as cultural attaché. As the Germans approached, Martinu° and his wife eventually fled to the U.S., where they would remain for many years, including stints in New York, Connecticut, and Cape Cod. It was on Cape Cod that Martinu° wrote the Sonata for Flute and Piano, in 1945. In this three movement work, the flute and piano function as equals; indeed, they often seem more to be speaking a single musical statement than ° style is often described as eclectic, but this piece reflects his immersion in neoengaging in a dialogue. Martinu’s classicism, as well as some echoes of Czech folk music, especially in his rhythms. The final movement incorporates the call of the whippoorwill, a bird whose song Martinu° heard on Cape Cod and which he repeats several times in the finale. Martinu° is considered to have been one of the most significant Czech composers of the twentieth century along with Janácek. ˇ Like Janácek, ˇ too, he was inspired by the rhythm and sound of the Czech language, and his formal structures are often based on variation and repetition of small motives.

Frédéric Chopin Ballade No. 2 in F Major, Op. 38 Nocturne in D-Flat Major, Op. 27, No. 2 Waltz No. 7 in C-Sharp Minor, Op. 64, No. 2 Nocturne in F-Sharp Major, Op. 15, No. 2 Chopin was a composer and pianist, one of the 19th century’s true virtuosi. Although he abandoned his public performing career early, his piano music (which constitutes almost his entire oeuvre) truly explores the instrument’s technical possibilities and its emotional, expressive capacities. In addition, while he stopped playing public concerts, Chopin continued to draw audiences in private performances, playing for fashionable crowds in society salons. After spending his youth in Warsaw, Chopin moved to Paris, where he met and became involved with the novelist George Sand, who was his romantic partner for ten years. His early genres, including the polonaise, reflect a concern with an idealized Polish nation, and an effort to devise for it a suitable musical representation. Later, Chopin was influenced by 19th century Italian opera, and by the piano works of the Irish composer John Field, whose nocturnes were a direct influence on Chopin’s own. In Chopin’s nocturnes, one can hear the influence of bel canto singing, with long melodic lines and expressive gestures. These are some of his most introspective pieces, although they are not uniformly reflective or even serene. The Nocturne in D-Flat, Op. 27 is lyrical, with a texture that grows in complexity; the melody often appears in chords in the right hand. The early 20th century Chopin biographer, Frederick Niecks, wrote of this piece, “Nothing can equal the finish and delicacy of execution, the flow of gentle feeling lightly rippled by melancholy, and spreading out here and there in smooth expansiveness. But all this sweetness enervates, there is poison in it. We should not drink in these thirds, sixths, etcetera, without taking an antidote of Bach or Beethoven.” The earlier Nocturne in F-Sharp, Op. 15, No. 2 is in ABA form, with the first section, Larghetto, an elaborately wrought, though tender, melody over a steady bass line; the melody becomes more ornamented as the section proceeds. The middle section is marked doppio movimento, double speed, and while the left hand remains steady, the right hand’s rhythms are complex. The final section is a shortened version of the first. Chopin’s four Ballades are a genre of his own invention, a single movement form whose influence is the poetic ballade, a storytelling genre. Ballade No. 2 in F Major opens tenderly but quickly becomes dramatic, with the marking presto con fuoco (fast, fiery). The last section is a waltz, and the opening theme returns only in the most fleeting, passing way, a final truncated statement. Of Chopin’s preferred genres, the Waltz was one he developed early in his career, and he subsequently deployed it in multiple compositions and genres (e.g., the ending of the Ballade No. 2). Although his waltzes grew more complex mid-career, by the time he wrote the Op. 64 he had achieved what has been described as an “eloquent simplicity which severely excludes the extraneous and the gratuitously ornamental.” This is true of the Op. 64, No. 2, often performed and likely familiar to many listeners.

Gareth Farr Kembang Suling: Three Musical Snapshots of Asia Gareth Farr is one of New Zealand’s prominent composers. Also a percussionist, he studied in Victoria and Auckland before moving to the U.S. for further studies at the Eastman School of Music. He has been the subject of a Television New Zealand documentary and composer-in-residence for Chamber Music New Zealand. Widely commissioned, Farr is influenced by music of Pacific Rim cultures, Shostakovich, and gamelan; he also attributes a great deal of his personal musical style to his study of rhythm, western and non-western, as a percussionist. His percussion concerto, Hikoi, was performed at the Sydney Olympics with Evelyn Glennie as soloist. In addition to orchestral and chamber works, he has written incidental music for theater and scores for ballet. Farr also draws on his percussion skills when he performs as Lilith Lacroix, star of the sell-out show, Drumdrag, described as “… booming bass drums, crazy costumes, death-defying dance, terrifying tom-toms, preposterous platforms, big bad bongos and wild wacky wigs!” Continued on page 46

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Thursday 6, 8 p.m. Friday 7, 1 p.m. & 7:30 p.m. Sunday 9, 3 p.m. Tuesday 11, 8 p.m.

Los Angeles Santa Barbara Ventura Pasadena

*Lunchtime program

* Thomas Adès (b. 1971)

Catch, Op. 4

10’00”

Jose Franch-Ballester, clarinet; Tereza Stanislav, violin; Andrew Janss, cello; Adam Neiman, piano

* Johannes Brahms (1833-1897)

Clarinet Quintet in B Minor, Op. 115 I. II. III. IV.

38’00”

Allegro Adagio Andantino Con moto

Jose Franch-Ballester; Amy Schwartz Moretti, Tereza Stanislav, violins; Richard Yongjae O’Neill, viola; Andrew Janss

INTERMISSION * Benjamin Britten (1913-1976)

Temporal Variations

14’00”

I. Theme. Andante rubato II. Oration. Lento quasi recitativo III. March. Alla Marcia IV. Exercises. Allegro con fuoco V. Commination. Adagio con fuoco VI. Chorale. Molto lento VII. Waltz. Allegretto rubato VIII. Polka. Tempo di Polka – Allegro IX. Resolution. Maestoso, ma non troppo lento Nicholas Daniel, oboe; Adam Neiman

Lera Auerbach (b. 1973)

New Work for Cello & Ensemble — World Premiere

25’00”

Commissioned by Sandy Svoboda for Camerata Pacifica and Ani Aznavoorian in memory of her husband Al. Ani Aznavoorian, solo cello; Adrian Spence, flute; Nicholas Daniel; Jose Franch-Ballester; Tereza Stanislav; Amy Schwartz Moretti; Richard Yongjae O’Neill; Andrew Janss; Ji Hye Jung, percussion; Adam Neiman Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

MARCH NOTES Thomas Adès Catch, Op. 4 The English composer and pianist Thomas Adès read music at Cambridge, and from his early twenties received significant commissions, including those from the London Sinfonietta and the City of Birmingham Symphony, among others. By 1999, when he received two major international composition prizes (the Ernst von Siemens and the Grawemeyer), he was well known to contemporary music audiences, particularly following the enormous success of his opera, Powder Her Face (1995). Catch is an early chamber piece, written while the composer was still at Cambridge but not premiered until 1993. Of this piece, The Guardian said, “the essence of the music is not technical difficulty, but a sense of unbuttoned fun with sinister undertow…the glittering cascade of notes tossed from instrument to instrument and the sumptuous melody stitched between them inhabit a world where every texture seems freshly minted.” The piece is occupied equally with its musical content and with the dramatic enactment of that content required from the performers. The composer writes, “Catch structures itself around various combinations of the four instruments. There are several games going on: at the start, the clarinet is the outsider, the other three are the unit, then, after a decoy entry, the clarinet takes the initiative. All four then play jovial ‘pig-in-the-middle’ with each other. The clarinet is then phased out leaving a sullen piano and cello, with interjections based on the clarinet’s original tune. This slower passage gradually mutates back into fast music, and this time the game is in earnest: the piano is squeezed out, only to lure the clarinet finally into the snare of its own music.”

Johannes Brahms Clarinet Quintet in B Minor, Op. 115 The German composer Johannes Brahms is fundamental to the classical music canon, having followed Beethoven and Schubert in writing and developing the 19th century’s large instrumental genres, while also extending the reach of the intimate genres of art song and chamber music into the last decade of that century. The pressure of following Beethoven into the symphonic realm was immense, as composers throughout the 19th century vied to be considered Beethoven’s true musical heir. The composer and critic Robert Schumann, a remarkable symphonist himself, wrote in 1853 that he had discovered Beethoven’s rightful successor: “His name is Johannes Brahms from Hamburg…he carries all the marks of one who has received a call…” Despite, or perhaps because of this, Brahms did not premiere his first symphony until 1876, though sketches show he began working on it in 1854. Despite this pressure to follow or exceed Beethoven’s achievements, however, Brahms had other significant influences as well, including Haydn and Mozart. While the clarity of the so-called “classical style” is not always apparent in Brahms’s more overwrought moments, he did tend toward a synthesis of historical styles and influences. The Clarinet Quintet, Op. 115, written in 1891 owes a great debt to Mozart’s Quintet in A Major, K. 581, written more than 100 years earlier, with which it shares its instrumentation. Upon hearing the clarinetist Richard Mühlfeld perform in 1890, Brahms was inspired to resume his creative work, having previously announced his retirement; by all accounts, he was truly amazed by Mühlfeld’s virtuosity and expressivity. In the last few years of his life, Brahms produced four significant chamber works featuring the clarinet, along with his piano works, op. 116-119. The clarinet pieces would be Brahms’ final chamber works, and perhaps it is this fact that has led so many critics to describe the Quintet as “autumnal.” Certainly Brahms had a gift for musical nostalgia, based in his adeptness at historical forms and his haunting melodic themes. As is so often the case with Brahms, the work’s formal unity is impeccable; his ability to transform material harmonically, melodically, and by small motive was unparalleled. The piece alternates between major and minor modes, sometimes subtly and gently mid-phrase, at other times unmistakably, as in the second movement’s minor-key dance in the middle of a major-key Adagio. In the final movement, the main theme from the Adagio gradually reappears, as does the primary theme of the first movement; both are seamlessly used as part of the movement’s theme and variations, a device Brahms often used (as did Beethoven toward the end of his life, and

as Mozart did for the last movement of his Clarinet Quintet). If anything, it is this musical recurrence that gives the piece an aura of nostalgia, recurrence itself standing in for the past, while the formal structure suggests a larger ordering force at work.

Benjamin Britten Temporal Variations Benjamin Britten was born in 1913, and was one of the most significant English composers of the 20th century. Unlike some of his contemporaries, Britten achieved international acclaim, which his music has maintained into the current century partly through his large-scale works like the War Requiem and his opera, Peter Grimes. He resisted the pressure to adhere to a system in his compositions; always dedicated to musical accessibility, this drove his interest in raising musical awareness via meaningful outreach efforts. Britten’s music played a significant role in last summer’s popular film, “Moonrise Kingdom.” Temporal Variations was written early in Britten’s career, a few years after he completed his musical training at the Royal College of Music. He started having some success around this time, with performances of choral works and a job writing film scores for documentaries. His symphonic piece, Our Hunting Fathers, comes from the same year, and was set to a text assembled by Britten’s close friend, the poet W.H. Auden. His use of variation form in that piece was followed by his orchestral work Variations on a Theme of Frank Bridge (a composer whose work Britten had heard and loved as a child). Critical response to his various variations was somewhat withering, as in this review of the Temporal Variations: “It is the kind of music that is commonly called ‘clever’.” The theme is very free, and consists primarily of a minor second (the smallest interval available in classical music). That interval recurs at the beginning of the second movement in the piano part, and the unmeasured quality of the original theme gave Britten a great deal of freedom in developing it over the course of the variations. March, Walk, and Polka all demonstrate a sardonic sense of humor, while the Finale is the most somber of the piece. The piece was premiered in 1936, but not performed again until 1980, the year it was finally published. – Andrea Moore

Lera Auerbach New Work for Cello & Ensemble — World Premiere Notes to be provided by composer for premiere.

APRIL 2014 Offered in Memory of Mercedes H. Eichholz, with affection and gratitude. Sponsored by

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Sunday 6, 3 p.m. Tuesday 8, 8 p.m. Thursday 10, 8 p.m. Friday 11, 1 p.m. & 7:30 p.m.

Ventura Pasadena Los Angeles Santa Barbara

*Lunchtime program

* Jake Heggie Soliloquy (b. 1961) Premiered by Adrian Spence & Warren Jones, February 10, 2012, Santa Barbara

6’00”

Commissioned by Camerata Pacifica in memory of Suzanne Makuch.

Adrian Spence, flute; Warren Jones, The Robert & Mercedes Eichholz Chair in Piano

* Thea Musgrave (b. 1928)

Narcissus for Flute and Digital Delay System

Herbert Howells (1892-1983)

Sonata for Oboe and Piano

16’00”

Adrian Spence

I. II. III. IV.

23’00”

Placido, teneramente, ma con moto Lento; assai espressive e tranquillo Allegro mosso, scherzando Epilogue: tranquillo, mesto, ma con moto

Nicholas Daniel, oboe; Warren Jones

INTERMISSION Madeleine Dring (1923-1977)

Trio for Flute, Oboe, and Piano

11’00”

I. Allegro con brio II. Andante semplice III. Allegro giocoso Adrian Spence; Nicholas Daniel; Warren Jones

* Wolfgang Amadeus Mozart Quintet in E-Flat Major for Piano and Winds, K. 452 (1756-1791) I. Largo – Allegro moderato

24’00”

II. Larghetto III. Rondo. Allegretto

Nicholas Daniel; Jose Franch-Ballester, clarinet; John Steinmetz, bassoon; Martin Owen, horn; Warren Jones Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

APRIL NOTES Jake Heggie Soliloquy Jake Heggie’s renown as a composer of opera is rapidly approaching the status of legend. Beginning with Dead Man Walking then The End of the Affair and now Moby Dick, Jake’s operas have been performed in opera houses around the work with a frequency not seen since the 18th century. Before Dead Man Walking, Adrian Spence asked Jake to write a song cycle for Camerata Pacifica. This work, commissioned by Richard and Luci Janssen, became Winter Roses and was premiered by the Camerata with Frederica von Stade as the vocalist; the piece will have another Camerata Pacifica performance in May 2014. One of Jake’s greatest strengths as a composer is as a melodist— with the simplest lines he can penetrate deeply into our emotions. And so it is here. Soliloquy was commissioned by Adrian Spence in memory of Suzanne Makuch.

Thea Musgrave Narcissus The Scottish composer Thea Musgrave studied at the University of Edinburgh, where she received a solid musical education, especially in counterpoint (the musical art of setting multiple independent lines in motion at the same time, with harmonious results). In 1949, she went to Paris to study with the great pedagogue Nadia Boulanger, something of a rite of passage for many twentieth century composers. She came to the public’s attention with a piece written for a BBC commission, titled Cantata for a Summer’s Evening. Musgrave continued to expand her musical vocabulary, developing a personal voice in multiple idioms and techniques, including serialism, over several decades. In the late 1960s she began working with tape as a musical material, and produced a series of educational programs (BBC) designed make electronic music more accessible to the public. Among her tape pieces are Soliloquy for guitar and tape, and From One to Another I, for viola and tape. Exploring tape turned into other technological experiments, and Narcissus is one outcome. Written for solo flute and digital delays, Musgrave considers this piece a “duo for soloist.” Technology has changed a great deal since 1976, and flutists who wish to perform this piece today have to find ways to replicate equipment that is now defunct. Musgrave writes, “The work follows the myth of Narcissus closely: the “live” flute taking the part of Narcissus and the echo effects produced by the digital delay system evoking Narcissus’ reflection. Perhaps the story is best summed up in the quotation from Hermann Melville’s Moby Dick: “And still deeper the meaning of that story of Narcissus, who because he could not grasp the tormenting mild image he saw in the fountain, plunged into it and was drowned. But that same image, we ourselves see in all rivers and oceans. It is the image of the ungraspable phantom of life...”

Herbert Howells Sonata for Oboe and Piano The English composer Herbert Howells was an accomplished organist, and used his skills as an improviser to develop his personal compositional style over time. He had an extensive career as a teacher, spending almost thirty years as the music director for St. Paul’s Girls’ School (where he followed Gustav Holst), as well as teaching at the Royal College of Music and at London University. The Sonata for Oboe and Piano was written in 1942, during a time when Howells was primarily concerned with writing liturgical music for the Anglican church. He was a devoted amateur student of cathedral architecture, and much of his church music was written for specific places, or for choirs associated with specific places. His style incorporates elements of modal counterpoint, and reflects the influence of fellow Englishmen like Edward Elgar and Ralph Vaughan Williams. He was also indebted to folk music, and while the Sonata doesn’t always have a folk-like “sound,” Howells borrows from folk music structures in his use of small variations.

The piece is in four movements, which are divided into two large sections: the first and second movements are performed without a pause, as are the third and fourth. The first movement is conventional, having as its musical goal the synthesis of two contrasting themes; it segues into the Lento movement, where the oboe’s melody does have a folk-like quality. This movement is also based on a nine-measure phrase, an odd number that is highly irregular in Western classical music. The third movement follows the pause, and is a scherzo punctuated by oboe cadenzas, and the Epilogue is an elegiac restating of the piece’s opening material.

Madeleine Dring Trio for Flute, Oboe, and Piano The English composer Madeleine Dring studied with Herbert Howells. She was especially influenced, however, by composers who were influenced by jazz, Poulenc in particular. Despite her considerable gifts as a composer, Dring is not well known to contemporary concert audiences; this is partly because the bulk of her musical output was commercial, chiefly incidental music for film and television in the U.K. In addition to composition, Dring was also a talented lyricist, actor, and cartoonist. The “Trio” is in three movements, and calls for equity among the three voices throughout. Poulenc’s influence is apparent in the first movement, which is in mixed meter and has the effect of a slightly tipsy dance. The second movement’s seeming simplicity is offset by its harmonic adventurousness; the constant shifting of themes and key signatures is somewhat stabilized by the chordal piano accompaniment. The third movement is a quirky romp, in which the two woodwinds work together to converse with the piano, but also have dialogues of their own. Toward the end, the flute and oboe take over in a cadenza, extending their banter; the cadenza ends with the re-entry of the piano, which states the woodwinds’ opening theme. Dring’s Trio is a thematically well-organized piece that showcases the composer’s multiple talents both musical and otherwise: a lyrical musical sense, an understanding of dramatic tension, and a keen sense of humor.

Wolfgang Amadeus Mozart Quintet in E-Flat Major for Piano and Winds, K. 452 Mozart’s years in Vienna from 1784 to 1788 were some of the most productive in his highly fruitful career. Active as a performer, Mozart was also busily organizing subscription concerts, for which he wrote a dozen piano concertos in just under two years. He was also in great demand for private performances, and often used them to cultivate patrons and donors. In addition to his remarkable output as a composer of symphonies, piano concertos, and operas, Mozart was an exceptional composer for wind instruments. The small wind band, often called the Harmonie, was a popular ensemble in the 18th century. Smaller and more adaptable than a full orchestra, the Harmonie could (and did) perform outdoors, and its repertoire ranged from newly composed divertimenti to arrangements of current popular hits. Mozart’s contributions to the Harmonie include numerous divertimentos and serenades; however, his contribution to the wind repertoire doesn’t end there. He wrote concertos for trumpet, flute, oboe, clarinet, and four for horn, along with chamber music for winds that was not part of the Harmonie repertoire. The Quintet for Piano and Winds, K. 452, draws on Mozart’s experience in writing for winds, but also reflects his simultaneous preoccupation with the piano concerto. The piece is scored for oboe, clarinet, horn, bassoon, and piano, a difficult combination in terms of tuning and blending; Mozart often solves these potential problems before they emerge by writing short, balanced phrases and often handing the melody around the woodwinds rather than relying on unison playing throughout. The dialogue between winds and piano is part of the piece’s innovation, and Mozart would use this newly found balance in his subsequent piano concertos, especially the K. 453. This piece is not quite concerto, nor is it a serenade, but it has elements of both. The first movement, in sonata form, opens with a Largo introduction in which each instrument is given solo statements. The second movement, in B-flat, presents the themes in a seamless sequence of entrances from the winds, each of which the piano restates near the end of the movement. The finale, Rondo, includes a cadenza for all five instruments. – Andrea Moore

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Sunday 4, 3 p.m. Tuesday 6, 8 p.m. Thursday 8, 8 p.m. Friday 9, 1 p.m. & 7:30 p.m.

Ventura Pasadena Los Angeles Santa Barbara

*Lunchtime program

Olivier Messiaen (1908-1992)

“Appel Interstellaire” from Des canyons aux étoiles… 7’00”

* Jake Heggie (b. 1961)

Winter Roses

Martin Owen, horn

25’00”

Prologue: Winter Roses (Baldridge) I. Two Birds 1. The Wren (Baldridge) 2. The Robin (Dickinson) II. Three Shades (in memorium C.v.S.) 3. A Hero (von Stade) 4. Sleeping (Carver) 5. To My Dad (von Stade) III. Looking West 6. Sweet Light (Carver) Epilogue: Late Fragment (Carver) Premiered October 9, 2004, Santa Barbara, with Frederica von Stade Commissioned by Richard & Luci Janssen for Frederica von Stade and Camerata Pacifica Kate Allen, mezzo-soprano; Adrian Spence, flute; Jennifer Johnson, oboe; Jose Franch-Ballester, clarinet; John Steinmetz, bassoon; Martin Owen; Amy Schwartz Moretti, violin; Tereza Stanislav, violin; Richard Yongjae O’Neill, viola; Ani Aznavoorian, cello; Tim Eckert, bass; Adam Neiman, piano

INTERMISSION Robert Schumann (1810-1856)

Adagio & Allegro in A-Flat Major, Op. 70

10’00”

I. Adagio. Langsam, mit innigem Ausdruck II. Allegro. Rasch und feurig – Etwas ruhigert – Tempo I Martin Owen; Adam Neiman

* Josef Rheinberger (1839-1901)

Nonet in E-Flat Major, Op. 139 I. II. III. IV.

34’00”

Allegro Menuetto Adagio molto Finale: Allegro

Adrian Spence; Jennifer Johnson;Jose Franch-Ballester; John Steinmetz; Martin Owen; Amy Schwartz Moretti; Richard Yongjae O’Neill; Ani Aznavoorian; Tim Eckert Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

MAY NOTES Olivier Messiaen “Appel Interstellaire” from Des Canyons aux étoiles The French composer Olivier Messiaen can be difficult to fit into a simple music historical timeline. An organist and teacher as well as composer, Messiaen developed his own system of modal composition early in his career, to which he adhered for the rest of his life, even as he expanded it further. His system was based partly on his synesthesia, of which he said, «whenever I hear music, or even if I read music, I see colours. They correspond to the sounds, rapid colours which turn, mix, combine and move with the sounds…The colours do just what the sounds do.» Messiaen never became a serialist, nor did he fit stylistically with other French composers like Debussy and Ravel. A devout Catholic for his whole life, Messiaen wrote a great deal of music on Catholic and liturgical themes, including his monumental opera, Saint-François d’Assise. This piece for solo horn, “Appel Interstellaire,” comes from a much larger work for piano and chamber orchestra, Des canyons aux étoiles. This piece was commissioned in 1970 by the American philanthropist Alice Tully, who wanted a new work to honor the upcoming American bicentennial. The work was premiered in Alice Tully Hall in 1974. Messiaen said in a 1978 interview about the piece, “It was a commission for a work in honour of the United States. I thought it over for a long time, I looked at my geography books… and I said to myself, the grandest and the most beautiful marvels of the world must be the canyons of Utah. So, I’ll have to go to Utah.” And so he did, traveling with his wife to explore Bryce Canyon, Zion National Park, and Cedar Breaks National Monument. Messiaen’s synesthesia informed his response to these locations; he said “Bryce Canyon was of special interest to me. That’s because it had all those wonderful colours, and I wanted to put them into music.” While the piece is titled “Appel Interstellaire,” Interstellar Call, Messiaen once referred to it as “Interstellar Appeal,” saying, “one calls for help in the midst of the stars, to the void between the stars.” The piece is incredibly difficult for the soloist, calling for multiple techniques, unusual timbres, and the ability to impart a sense of great space and powerful emotion. Always a believer, Messiaen’s further inspiration for this piece comes from two Biblical passages, one from Psalms, including “He determines the number of the stars and give to all of them their names,” and one from Job, “O earth, cover not my blood, and let my cry find no resting place!” “Appel Interstellaire” is by turns forceful, spare, jagged, anguished, and lyrical.

Jake Heggie Winter Roses Jake Heggie is one of America’s most commissioned and performed composers of vocal music. Realizing early in his career that he was most drawn to texts that had “theatrical and transformative” potential, Heggie’s operas, including Dead Man Walking and Moby-Dick have been well-received by critics and audiences, and become part of the opera repertoire. A pianist since childhood, Heggie trained with Johana Harris at UCLA, but was forced by injury to let go of his performance aspirations. While working in the PR department at the San Francisco Opera, Heggie befriended many of the singers, some of whom became champions of the songs he was writing. One singer who heard his work early on was the mezzo-soprano Frederica von Stade; she later starred in Dead Man Walking, a work commissioned when Heggie was still unknown. The relationship with von Stade has continued, and other singers have taken up Heggie’s works, both in operatic roles and in his more intimate song cycles. Winter Roses was commissioned by longtime Camerata Pacifica patrons, Richard and Luci Janssen, and premiered by von Stade with the ensemble in 2004. It sets texts by von Stade herself, along with those by Emily Dickinson, Charlene Baldridge, and Raymond Carver. Heggie writes, “[Frederica] and I have worked together extensively, and it has been one of the most deeply meaningful collaborations and friendships of my life. When I received this commission to create something for her, I asked if it would be all right to base it on her own personal struggle to come to terms with the loss of her father in World War II before she was born. She agreed, and then did me the honor of writing two of the texts. To make the cycle more universal, I structured it so that it tells the story of somebody who has lost a loved one too soon, too young.”

Robert Schumann Adagio & Allegro in A-Flat Major, Op. 70 Robert Schumann was both composer and music critic, and widely influential in both arenas. He was equally remarkable as a composer for piano (a virtuoso himself, he was also married to one of the 19th century’s great pianists, Clara Wieck Schumann) and of art songs and symphonies. Gains and developments in musical instrument technology usually yield interesting musical results, and sometimes usher in significant changes: the eventual dominance of the modern piano over the harpsichord, for example, or more recently, the increasingly mainstream use of altered vocal effects made possible by Auto-Tune. Improvements in horn construction caught Schumann’s attention around 1849, specifically the invention of the valved horn, which gave performers much more control and range. Schumann wrote the Adagio and Allegro quickly, and it was the first of several works for the instrument; his Konzertstück, Op. 86, for four horns, also exploited the instrument›s new capacities. These capacities included the ability to play more than three octaves, which Schumann calls for in this piece, along with other technical demands. The Adagio is a lyrical conversation between horn and piano, with long horn lines over a chordal accompaniment. The Allegro opens with rapid-fire triplets from the horn, evoking years’ worth of “horn call” tropes in concert music. Marked “rasch und feurig” (fast and fiery), the movement takes the horn into high registers, and alternates between the triplet horn calls and more melodic material. Near the end, the score is marked “etwas ruhiger” (somewhat quieter), with the horn playing a gentle melody over a kind of strumming in the piano. This makes a quick crescendo into the final section, which is back to the original tempo before picking up the pace once more a few bars from the triumphant ending. The piece can also be performed as a cello-piano or oboe-piano duo.

Joseph Rheinberger Nonet in E-Flat Major, Op. 139 Joseph Rheinberger’s Nonet is one of a very few pieces for this particular instrumentation: flute, oboe, clarinet, bassoon, horn (a traditional wind quintet), joined by violin, viola, cello, and bass. Rheinberger was a German who was born in Liechtenstein (the radio announcer Jim Svejda has called him “the most celebrated musician produced by the tiny duchy of Liechtenstein”), and he was accomplished as an organist, conductor, and teacher as well as composer. By age seven he was performing professionally as an organist, and had begun composing; he moved to Munich to pursue his studies at the age of 12, and remained there until his death. While he was fundamentally a conservative composer during the increasingly experimental second half of the 19th century, his technique was exceptional, especially by the standards of compositional coherence and unity. A gifted melodist and brilliant writer of counterpoint, Rheinberger brought those skills to bear on the Nonet, published in 1885. Written in four movements, the first, Allegro, is in sonata form and, somewhat unusually for a first movement, is in triple meter. The second movement is a minuet and trio; the third, Adagio molto, is the work’s emotional center, with a lullaby-like first theme and an almost Schubertian second. The finale is energetic and punctuated by horn calls in the opening theme; the second theme is introduced by the bassoon. While Rheinberger is best known today for his legacy as a teacher (he taught Americans George Chadwick and Horatio Parker, among others) and for his organ music, he also wrote symphonies and symphonic poems. The Nonet borders on the symphonic in the way Rheinberger uses the instrumental forces, sometimes blending the whole ensemble, sometimes dividing the group by instrument category, and at other times truly taking advantage of each instrument’s distinctive character. – Andrea Moore

September Notes, continued from page 9 German baroque common melodies are embedded in the composer’s invention (strict against free); if we know the tunes our enjoyment of the pieces is enhanced. It is my hope that choosing well-known musical material will make these settings transparent.”

John Novacek Four Rags for Two Jons Ragtime is one of the United States’s original musical genres, and emerged around the turn of the twentieth century. The term ragtime today usually refers to music for piano; however, in its earlier days, it could refer to other instrumental music, vocal pieces, and dance as well. Piano rags tend to be virtuosic within a relatively simple structural frame, usually based on earlier dance forms like the two-step and polka. The most marked characteristic of ragtime is the steady and regular bass line underneath a highly syncopated, often chordal upper line. While early ragtime had a significant element of improvisation, popular demand created a market for published rags; as usual, what is written down is most likely to be disseminated and preserved. The most well known composer of rags was Scott Joplin, an African-American composer and pianist; ragtime’s rhythms were considered representative of African-American culture and music. Ragtime’s popularity waned in the 1910s and the genre was gradually replaced by jazz, the new genre of syncopated original (and African-American) music. In the hundred years since, there have been a few revivals, most recently in the 1970s, with the publication of a two-volume collection of Joplin’s music, followed by the use of his rags in the film The Sting (1973). Composers William Bolcom and William Albright have also revived ragtime idioms in their music. Composer John Novacek is also a concert pianist, having toured internationally as a recitalist, concerto soloist and chamber musician. He is also well versed in contemporary music, having worked with composers like John Adams, John Harbison, and John Zorn. He has made a study of ragtime as both a performer and composer; his recording, Novarags, includes original rags as well as works by Joplin, Bolcom, and others. “Four Rags for Two Jons” was written for clarinetist Jon Manasse and pianist Jon Nakamatsu, although each of the four pieces can also be performed by piano alone. The first, “Schenectady,” has a four measure introduction that leads into a straightforward rag, with a left-hand piano part that rarely deviates from a steady rhythm, supporting the right hand and clarinet in their elaborate, syncopated lines. “4th Street Drag” is grace-note and triplet driven, a leisurely stroll in contrast with the first rag’s more frenetic energy; the tempo marking here includes the word “sauntering.” “Recuperation” makes a point of switching the clarinet and piano’s melodic and harmonic roles, with the clarinet sometimes playing lower and slower pitches while the piano takes the melody before reverting to the more standard configuration. “Full Stride Ahead” opens with a fanfare-like gesture in the clarinet and is rhythmically uncertain until it hits its stride, a reference to stride piano, an offshoot of ragtime in which the piano part usually plays a chord on the second and fourth beat. The piece ends with a dramatic tremolo in the piano under a cadenza-like descent from the clarinet. – Andrea Moore

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November Notes, continued from page 17 What is called Variation 1 was written toward the end of the overall composition. It completely upends the lightness of the theme with its pomposity and sense of grandeur. Variation 8 uses Diabelli’s harmonies underneath a newly composed melody. Variation 9 deploys the grace note from the theme in the service of creating dissonance and tension. Variation 10 concludes a process of rhythmic diminution (shorter and shorter rhythmic values in each variation), and may be the most virtuosic of the piece. Although most of the variations are in C major, Beethoven turns to C minor near the end (variations 29, 30, and 31). He then shifts harmonic gears and moves to the relative major of C minor, E-flat major, for the penultimate, which, in keeping with his formal explorations late in life, is an elaborate fugue. The final variation refines the popular waltz form through a more classicized tempo marking, minuet.

Ludwig van Beethoven Piano Sonata No. 29 in B-Flat Major, Op. 106, “Hammerklavier” The Sonata No. 29, Op. 106, commonly known as the Hammerklavier sonata, is still, almost 200 years later, considered one of the most difficult works in the piano repertoire. During Beethoven’s lifetime, it was only performed privately; its first public champion was the exceptional piano virtuoso, Franz Liszt. The first movement opens with a grandiose fanfare, and is built on small motives. The movement is rhythmically energetic, full of explosive dynamics and quick key changes, and Beethoven chose a fugue for the development section. The second movement, a short scherzo (in earlier sonatas, the scherzo would usually come third), alternates between B major and B minor, a conflict that informs much of the first movement as well. The frenetic opening gives way to a more contemplative middle section, which all but disintegrates before the restatement of the A section material. The third movement, Adagio, is the longest of the piece. As in the Diabelli Variations, Beethoven’s interest in earlier forms is manifested here, this time in the form of a colossal fugue, larger in scale than any known earlier fugue, which is the heart of the final movement. Bach’s fugues, the primary model for all that followed, were generally built on short, manageable themes (called subjects), consisting of four to twenty notes. Beethoven’s fugue subject here has close to sixty notes, which the composer then has to invert, shorten, lengthen, transpose, and blend with other statements of the subject. – Andrea Moore

January Notes, continued from page 25 pizzicati and similar articulations from the piano. The Intermezzo is quiet, almost plaintive; the Burletta, as its title suggests (“little joke”), is a satirical romp, full of pitch bends, propelled by the piano and anchored by a recurring emphatic unison gesture. The Elegia opens with dramatic ensemble playing, and is the most spacious and haunting of the movements. – Andrea Moore

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February Notes, continued from page 29 Kembang Suling is scored for flute and marimba, and was commissioned by New Zealand Symphony flutist Alexa Still. Farr writes, “I – On the magical island of Bali, flowing gamelan melodies intertwine with the sound of the “suling” (Balinese bamboo flute) to form rich colourful tapestries. The marimba and flute start out as one, their sounds indistinguishable. Bit by bit the flute asserts its independence, straying further and further from the marimba melody. An argument ensues – but all is resolved at the climax. II – The haunting sounds of the Japanese “shakuhachi” flute float out over the warm echoes of the rolling landscape. III – Complex rhythms and South Indian scales set the two instruments off in a race to see who can outplay the other. The marimba is set in a three bar cycle of 5/4 + 5/8 + 5/6 but the flute plays a different cross rhythm each time, returning to the marimba’s pattern at the end of every cycle.”

John Psathas One Study Born in Wellington, New Zealand to Greek parents, John Psathas received his Master’s from the Victoria University of Wellington, where he now teaches. Drawing on eclectic influences, Psathas has written extensively for percussion, and been championed around the world by the soloist Evelyn Glennie. Psathas also draws from folk music and jazz improvisation, and has a developing interest in other musical cultures. He has spoken in interviews of a persistent sense of being a stylistic or cultural outsider, and perhaps this informs his eclecticism and ongoing search for new and extended musical languages. His composed music sometimes includes actual improvised sections. This is still rare in western classical music, where, since at least the 19th century, one of the defining characteristics is notation; consequently each piece is assumed to be permanent and immutable, each performance a realization of the identical score. Younger composers are not necessarily bound by those standards, happily, and have a great deal of freedom to draw from multiple musical histories. Psathas first used improvisation in his Saxophone Concerto, which was premiered by the late virtuoso, Michael Brecker, who was an exceptional improviser. “One Study” is half of a two-part piece, “One Study One Summary.” This piece is written for marimba and “junk percussion,” accompanied by electronic track. Before the performer can begin to truly learn the piece, he or she must assemble the proper selection of “junk,” which consists of pans, salad bowls, and other metal objects, along with cymbals, gongs (not junk), and a five-octave marimba (definitely not junk!). This is not the same as musical improvisation, but as with many percussion works, the flexibility in instrumentation means that no two performances will sound identical. Psathas’s music is often based in driving, repetitive rhythms, and “One Study” is no exception. It is virtuosic in its technical demands and relentlessness, as well as the challenges it presents the performer with the pre-recorded third voice. Opening with marimba and electronics, the junk percussion is introduced shortly and reappears throughout, including a short section where the marimba drops out altogether and the percussion and electronics have a duet. The electronic track itself provides harmonic support and accompaniment and also serves as an anchor, often sounding a bell-like tone at the beginning of a measure. While the rhythm is fairly straightforward and driving throughout, Psathas uses a wide range of dynamics to create and sustain musical tension, and while the rhythm remains propulsive to the end, the piece tapers off almost without warning at the end, a quick and unexpected fade. – Andrea Moore

CAMERATA PACIFICA’S 2013 AUDIENCE SURVEY Last season we asked for your input and many of you responded— a huge 49.45% response rate, thank you very much. Here are the results.

79.89% 86.57% 66.42% 70.78% 32.92% 48.93% 26.18%

CAMERATA PACIFICA’S AUDIENCE IS OLDER, WELL EDUCATED AND WELL ESTABLISHED: are over 55 have a degree from a 4-year college completed graduate or post graduate work have household incomes in excess of $75,000 in excess of $150,000 have a household net worth in excess of $1,000,000 in excess of $2,000,000

97.79% 83.68% 91.25% 91.12% 86.94% 86.64%

33.46%

87.87% 48.88% 42.75%

IS WELL TRAVELLED: travel internationally at least once annually, with 33.06% of that group traveling internationally 2 or more times each year. have lived abroad. speak more than one language. have worked abroad.

INFO SOURCES: 57.56% of you prefer to receive information from us via email, with only 11.44% preferring the Postal Service. 31% have no preference. PRIMARY SOURCE OF NEWS: 54.31% Newspaper 22.10% Television 21.35% Radio And interestingly, while 34.46% of the respondents have the internet as a primary news source and the majority of you prefer to receive Camerata information via email, only: 37.41% have viewed our video performances on YouTube. 25.10% listen or watch our performances on InstantEncore.com. 14.39% have found us on Facebook.

77.12% 90.67% 91.79%

0.75% 0.75% 7.55% 27.17% 63.77%

YOU ARE A SMART BUNCH WITH IMPECCABLE TASTE: say they seek new ideas and opportunities in their life. find Camerata Pacifica more innovative than other groups they attend. like it when the Camerata presents music unfamiliar to them. like that Camerata Pacifica commissions new pieces of music. say Camerata has helped develop their appreciation of classical music. find Camerata Pacifica concerts friendlier than others they attend. have played an instrument or sang, and 35.79% of you still do. enjoy the spoken introductions. find them informative. On a scale of 1 = Poor/5 = Excellent, you rated Camerata Pacifica’s programming mix of old & new music 1 2 3 4 5

87.21% OF YOU CONSIDER CAMERATA PACIFICA TO BE ONE OF YOUR FAVORITE ORGANIZATIONS BUT… ONLY 44.36% MAKE A DONATION TO THE CAMERATA!

CAMERATA PACIFICA Artists Kate Allen, MEZZO-SOPRANO Hailed by the San Francisco Classical Voice as “a diva in the making” mezzosoprano Kate Allen has just completed a very successful summer in the Merola Opera Program. While in the program, Allen was awarded the prestigious Zheng Cao Memorial Scholarship for ‘outstanding mezzo soprano’. During her time at Merola she performed the title role in Britten’s The Rape of Lucretia and a scene from Offenbach’s La Belle Hélene with the San Francisco Opera Orchestra. She was also selected to perform on the main San Francisco Opera stage alongside composer Jake Heggie and cellist Emile Miland as a tribute to Zheng Cao’s memorial service. In May 2013, Kate made her debut with Camerata Pacifica performing Dvoˇrák’s Gypsy Songs and the U.S. premiere of Irish composer Ian Wilson’s Dreamgarden. This year also saw Kate in the finals of Opera National de Paris’ audition season, as well as being selected to be a Studio Artist with Opera Santa Barbara, covering the role of Amneris in Verdi’s Aida. Her repertoire includes the title role in Handel’s Giulio Cesare, Dorabella in Così Fan Tutte, the Witch in Hansel and Gretel, Baba the Turk in Stravinsky’s The Rake’s Progress and Mother Marie in Dialogue of the Carmelites. Equally at home on the recital stage, she performed a diverse recital program at the Kennedy Center in Washington, D.C. as part of the Conservatory Project Performances, representing the San Francisco Conservatory of Music. She also took part in the Lieder Alive! masterclass seminar with renowned baritone Håkan Hagegård. She holds degrees from the Conservatory of Music and Drama in Dublin and the San Francisco Conservatory of Music, where she studied with César Ulloa. She was a 2010 First Prize Winner in the San Francisco district Metropolitan Opera National Council Auditions.

Lera Auerbach, PIANO AND COMPOSITION Virtuoso pianist and composer Lera Auerbach is one of today’s most sought after and exciting creative voices. Her boldly imaginative and evocative compositions are championed by today’s leading musicians, conductors, choreographers, and opera houses. Ms. Auerbach’s uniquely personal interpretations of the standard keyboard repertoire are making her a favorite of audiences worldwide. She regularly appears as soloist in the world’s great halls, and her published oeuvre includes more than 90 works of opera, ballet, symphonic and chamber music. Her creative output is interdisciplinary and encompasses music, literature, and visual art. She has published three volumes of poetry and prose in Russian, contributes regularly to the Best American Poetry blog, writes her own librettos, and has recently been working on a series of gesamtkunstwerk installations. Theater performances scheduled for the 2012/13 season include “Préludes CV”, a fulllength ballet by John Neumeier based on Lera Auerbach’s “24 Preludes for Violoncello and Piano” and “24 Preludes for Violin and Piano”, to commemorate the 40th anniversary of the Hamburg Ballett. There will also be world premieres of two new ballets —“Faust” by the Staatstheater Nürnberg, with choreography by Goyo Montero (which features Lera Auerbach as pianist on stage), and “Heroes” for the Munich State Ballet, choreographed by Terence Kohler. Auerbach’s groundbreaking a-cappella opera “The Blind” will be staged at the Stanislavsky Theatre in Moscow.

Marking Lera Auerbach’s achievement as one of today’s most recognized composers, her full-length ballet “The Little Mermaid” is the recent winner of the 2012 ECHO Klassik award, and has already received over 150 performances worldwide. This season, the work will be staged by John Neumeier for the National Ballet of China in Beijing, the Hamburg Ballet, and the Stanislavsky Theatre in Moscow. Auerbach has recently collaborated with the Netherlands Dance Theatre and resident choreographers Sol León and Paul Lightfoot on “Shine a Light” ballet; with Aszur Barton and the National Ballet of Canada on “Watch Her”; with Goyo Montero and the Nuremberg State Ballet on “Don Juan”; with Tim Plegge on “Momo” for the Badisches Staatstheater Karlsruhe; and with Terence Kohler on “Take Your Time” for the Chinese National Ballet, “11:11” for the Flanders National Ballet, and last season’s full-length ballet “Cinderella” for the Finnish National Ballet. Bidding a fond farewell to her tenure as Composer-in-Residence of the Staatskapelle Dresden, Ms. Auerbach is currently Artist-in-Residence for BASF’s highly regarded “Kunst und Kultur” program, now in its 91st season, as well as resident composer of the New Century Chamber Orchestra, the Sao Paolo Symphony Orchestra, the Marlboro Music Festival in Vermont and the International Verbier Festival, which has commissioned her to write a new symphonic work to commemorate their 20th Anniversary. Recent career highlights include the critically acclaimed premiere of Auerbach’s fullscale opera, “Gogol”, based on her original stage play. The opera was commissioned by Vienna’s Theater an der Wien and premiered in November 2011. Her residency with the Staatskapelle Dresden in 2011-12 showcased the world premieres of “Requiem — Ode to Peace” conducted by Vladimir Jurowski, and “Post Silentium” conducted by Sakari Oramo. Auerbach’s a-capella opera “The Blind” received its world premiere in October 2011 at the Konzerthaus Berlin with the Berliner Kammeroper and Vocalconsort Berlin. Lera Auerbach’s music has been performed by the New York Philharmonic, National Symphony Orchestra, Tokyo Philharmonic, Orchestra Ensemble Kanazawa, Staatskapelle Dresden, Dresdner Philharmoniker, NDR Radiophilharmonie Hannover, Bamberger Symphoniker, and Radio-Sinfonieorchester Stuttgart, among others, and by such choruses as St. Thomas Boys Choir in New York, St. Paul’s Cathedral Boys Choir, Estonian Opera Boys Choir, the Latvian National Choir, and Vienna’s Arnold Schoenberg Choir. She regularly collaborates with violinists Gidon Kremer, Leonidas Kavakos, Hilary Hahn, Vadim Gluzman, and Julian Rachlin; cellists Alisa Weilerstein, David Finckel, Gautier Capuçon, and Ani Aznavoorian; violist Kim Kashkashian; and the Tokyo, Borromeo, Artemis, and Jasper string quartets. Auerbach has been Composer-in-Residence at various international music festivals, including the Marlboro Music Festival, Verbier Festival, Musikfest Bremen, the Pacific Music Festival, Kammermusikfest Lockenhaus, and Les Muséiques Festival. She has also written works for the Schleswig-Holstein Music Festival, Caramoor Music Festival, Tucson Winter Chamber Music Festival, Lucerne Festival, Lincoln Center’s White Light Festival, the Chamber Music Society of Lincoln Center, and was Artist-in-Residence with the Deutschlandfunk Radio. Lera Auerbach was born in the city of Chelyabinsk at the gateway to Siberia. After writing her first opera at twelve years of age, she was invited for a concert tour to the United States in 1991, where she decided to stay and continue her studies in piano and composition at the Juilliard School in New York. Auerbach has been awarded the prestigious Hindemith Prize by the Schleswig-Holstein Musik Festival in Germany, and Deutschlandfunk’s Förderpreis. She recieved a Paul and Daisy Soros Fellowship and recently was selected as a Young Global Leader by the World Economic Forum in Davos, Switzerland.

Ani Aznavoorian, PRINCIPAL CELLO The Strad magazine describes cellist Ani Aznavoorian as having “Scorchingly committed performances that wring every last drop of emotion out of the music. Her technique is well-nigh immaculate, she has a natural sense of theater, and her tone is astonishingly responsive.” Ms. Aznavoorian is in demand as a soloist and chamber musician with some of the most recognized ensembles, and she has appeared with many of the world’s leading orchestras including the Chicago Symphony Orchestra, the Boston Pops, the Tokyo Philharmonic, the Helsinki Philharmonic, the Finnish Radio Symphony, the International Sejong Soloists, the Belgrade Philharmonic, the Juilliard Orchestra, and the Edmonton Symphony. Ms. Aznavoorian has also appeared as recitalist and chamber musician in over twenty countries spanning five continents. This season marks Ms. Aznavoorian’s eighth year as principal cellist of Camerata Pacifica.   Ms. Aznavoorian received the prestigious Bunkamura Orchard Hall Award for her outstanding cello playing and artistry. Some of her other awards include first prizes in the Illinois Young Performers Competition (televised live on PBS with the Chicago Symphony), the Chicago Cello Society National Competition, the Julius Stulberg Competition, and the American String Teachers Association Competition. She was a top prizewinner in the 1996 International Paulo Competition, held in Helsinki, Finland. As a recipient of the 1995 Level I award in the National Foundation for the Arts Recognition and Talent Search, Ms. Aznavoorian was named a Presidential Scholar in the Arts and performed as soloist at the Kennedy Center in Washington, D.C. where she met former U.S. President Bill Clinton.   As a first-year student at The Juilliard School, Ms. Aznavoorian won first prize in the institution’s concerto competition — the youngest cellist in the history of the school’s cello competitions to do so. As a result, she performed with the Juilliard Orchestra in a concert with conductor Gerard Schwarz at Avery Fisher Hall. With only 12 hours notice, Ms. Aznavoorian stepped in to replace Natalie Gutman in three performances of the Shostakovich Cello Concerto No. 1 with the San Jose Symphony — concerts that were hailed by the San Jose Press. Other notable appearances include concerts at Weill Hall and Zankel Hall at Carnegie Hall, Alice Tully Hall, Ravinia’s Bennett Hall, Aspen’s Harris Hall, the Dame Myra Hess Memorial Concert Series, WFMT Live from Studio 1, and NPR’s Performance Today. She has been a member of the renowned string ensemble the International Sejong Soloists, and also performs frequently on the Jupiter Chamber Music series in New York. Ms. Aznavoorian received both her Bachelor and Master of Music degrees from the Juilliard School where she studied with Aldo Parisot.   In addition to performing, teaching plays an important part in Ms. Aznavoorian’s career. She has been a member of the distinguished music faculty at the University of Illinois in Champaign/Urbana, and in the summers has served on the faculty of the Great Mountains Music Festival in South Korea. Ms. Aznavoorian enjoys performing new music and has made the world premiers of two important pieces in the cello repertoire: Ezra Laderman’s Concerto No. 2 with the Colorado Springs Philharmonic under the baton of Lawrence Leighton Smith; and Lera Auerbach’s “24 Preludes for Cello and Piano” on stage at the Hamburg Staatsoper with the Hamburg State Ballet— choreographed by John Neumeier. Among this season’s highlights will be a world premier performance of a cello concerto written for her by Lera Auerbach. Ms. Aznavoorian records for Cedille Records, and she proudly performs on a cello made by her father Peter Aznavoorian in Chicago. www.aniaznavoorian.com www.cameratapacifica.org

Nicholas Daniel, PRINCIPAL OBOE Nicholas Daniel’s long and distinguished career began when, at the age of 18, he won the BBC Young Musician of the Year Competition and went on to win further competitions in Europe. As one of the UK’s most distinguished soloists as well as a highly successful conductor, he has become an important ambassador for music and musicians in many different fields. In recognition of this, he was recently awarded the prestigious Queen’s Medal for Music. Nicholas has been heard on every continent, and has been a concerto soloist with many of the world’s leading orchestras and conductors, working under conductors such as Sakari Oramo, Sir Roger Norrington, Oliver Knussen, Richard Hickox, Jiri Belohlavek, David Robertson , Sir Mark Elder and Sir Peter Maxwell Davies. In addition to his extensive experience in baroque and 19th-century music, he is an important force in the creation and performance of new repertoire for oboe, and has premiered works by composers including Sir Harrison Birtwistle, Henri Dutilleux, Thea Musgrave, Nigel Osborne, John Tavener, James MacMillan and Sir Michael Tippett. He made his conducting debut at the Proms in 2004 with Britten Sinfonia, of which he is an artistic associate and founder member. He has conducted many projects with the orchestra over 20 years including BBC broadcasts, with repertoire ranging from the Strauss Metamorphosen and Finzi Dies Natalis with Ian Bostridge to the Britten Serenade, Mozart, Haydn and many new works. As a conductor in Europe, he has strong associations with Scandinavia, having worked with the Jonkøping Symphony Orchestra in Sweden, Lapland Chamber Orchestra, Kristiansand Chamber Orchestra and this summer he returns to the Kuhmo Festival to conductor Mozart’s Zaide opera. Other European orchestras he has worked with include Spectrum, Berlin, (in Philharmonie Kleine Saal), Budapest Strings and the New Symphony Orchestra Sofia, He is oboist to the California-based chamber ensemble Camerata Pacifica and is Artistic Director of the Leicester International Festival. He teaches in the UK and in Germany, where is he Professor of Oboe at the Musikhochschule, Trossingen. An active chamber musician, Nicholas is a founder member of the Haffner Wind Ensemble and the Britten Oboe Quartet and enjoys a long history of collaboration with artists including the pianist Julius Drake and the Maggini and Lindsay string quartets. http://nicholasdaniel.co.uk/

Timothy Eckert, BASS Described by Placido Domingo as “an artist of musicality and dedication” (LA Times), Timothy Eckert enjoys a diverse career in Los Angeles as a double bassist, composer and teacher. Mr. Eckert performs as a member of the Los Angeles Opera and has appeared with ensembles including the Los Angeles Philharmonic, Los Angeles Master Chorale and the Pasadena Symphony. Past positions include the Long Beach Symphony and assistant principal bass with the Kalamazoo Symphony. An avid chamber musician, Timothy performs with the Camerata Pacifica, the Idyllwild Chamber Music Festival and Santa Monica’s Jacaranda series. Recent highlights include performances with pianist Barry Douglas, Frederica von Stade, and appearances at Wigmore Hall, the Library of Congress, Dublin’s National Concert Hall, and the Morgan Library.

Mr. Eckert is also active in the recording industry, having appeared live or in studio with a diverse array of artists such as Eric Clapton, Madonna, Bjork, Dave Matthews Band and Alanis Morrisette. Composers with whom he has worked include Thomas Newman, James Newton Howard, Hans Zimmer, Alan Silvestri and James Horner. In addition to his performing activities, Timothy is on the faculty at Azusa Pacific University and the Pasadena Conservatory of Music. As a composer, his compositions have appeared in a variety of series on networks such as ABC, CBS, MTV, Bravo, the History Channel, National Geographic, and E!. Mr. Eckert holds a Master of Music degree from Indiana University, where he was awarded the prestigious Performer’s Certificate, and a bachelor’s degree from Western Michigan University. He was also part of the Advanced Studies Program at USC. In 1993 Timothy traveled to Italy to be part of renowned bassist Franco Petracchi’s master class at the Accademia Chigiana in Siena, where he was awarded the Diploma di Merito, and at the Sermoneta Corsi. He has performed extensively at the Aspen Music Festival, where he was twice awarded fellowships, and at the Spoleto Festival in Italy, where he served as principal bass of the Spoleto Opera. Eckert’s principal teachers have included Bruce Bransby, Franco Petracchi, Eugene Levinson, and Paul Ellison.

Jose Franch-Ballester, PRINCIPAL CLARINET Spanish clarinetist Jose Franch-Ballester is a captivating performer of “poetic eloquence” (The New York Sun) and “technical wizardry” (The New York Times). A soloist and chamber music artist in great demand, he plays regularly with The Chamber Music Society of Lincoln Center, Camerata Pacifica, and at the Bridgehampton Chamber Music Festival, Chamber Music Northwest, the Saratoga Chamber Music Festival, the Skaneateles Festival, and the Music from Angel Fire Festival in New Mexico. Abroad, he has appeared at the Usedomer Musikfestival in Germany, the Verbier Festival in Switzerland, the Cartagena Festival Internacional de Música in Colombia, and the Young Concert Artists Festival in Tokyo, Japan. This season Mr. Franch-Ballester launches his new and exciting chamber group, miXt, of which he is a member and Artistic Director. miXt is comprised of award-winning soloists from the Young Concert Artists roster, performing in a variety of configurations. This season, the ensemble appears in debuts in the Young Concert Artists Series at Merkin Hall in New York and at the Kennedy Center in Washington, D.C, as well as in concert engagements around the country. Also during the 2012-2013 season, Mr. FranchBallester tours with the Chamber Music Society; appears as soloist with the Wisconsin Philharmonic and the Louisiana Philharmonic; performs at the Kon-Tiki Festival in Norway, Music@Menlo, and the Mainly Mozart Festival; and appears in recitals across the country, as well as in Spain. As concerto soloist Jose Franch-Ballester has appeared with numerous orchestras including the Orchestra of St. Luke’s at Lincoln Center, the BBC Concert Orchestra, the Santa Barbara Chamber Orchestra, the Wisconsin Philharmonic and the Hilton Head Symphony Orchestra. Mr. Franch-Ballester also has a strong presence in Spain. Last season, he premiered two new works by Spanish composers: the II Concerto by Oscar Navarro with the Orquesta Sinfónica del Principado de Asturias in Oviedo, Spain and Concerto Valencia by Andrés Valero-Castells with the Orquesta de Valencia. He has also appeared with the Orquesta de Radio y Television Española and the Orquesta Sinfónica Castellon. In addition to performing regularly, he is the founder of “Jose Franch-Ballester & i amics,” (and friends) a new series of concerts in which young musicians from all over

the world are presented in Moncofa, Mr. Franch-Ballester’s hometown, and throughout the Valencia area. Winner of the 2004 Young Concert Artists International Auditions, he was awarded the Claire Tow Prize which sponsored his New York debut and the Alexander KaszaKasser Prize which sponsored his debut at the Kennedy Center. In 2008, he won a coveted Avery Fisher Career Award. As the “Revelation of the Year” he was awarded the 2010 Midem Prize for Classical Music for “Outstanding Young Artist,” which aims to introduce the currently unsigned recording stars of the future to the classical recording industry. He has recorded Bartok’s Contrasts with members of Lincoln Center’s Chamber Music Society on the Deutche Grammophone label. Mr. Franch-Ballester has appeared in recitals at the Isabella Stewart Gardner Museum in Boston, Iowa State University, the Buffalo Chamber Music Society, and at the Mondavi Center for the Performing Arts. In 2004 he performed the world premiere of Jake Heggie’s Winter Roses with mezzo-soprano Frederica von Stade with Camerata Pacifica. Mr. Franch-Ballester has commissioned new music and worked with contemporary composers such as Kenji Bunch, Paul Schoenfield, Edgar Meyer, William Bolcom, George Tsontakis, and Kevin Puts. He has also been a dedicated music educator, developing new audiences by playing countless educational concerts and workshops for young people and community audiences. Born in Moncofa, Spain into a family of clarinetists and Zarzuela singers, Jose FranchBallester began clarinet lessons at the age of nine and graduated from the Joaquin Rodrigo Music Conservatory in Valencia. He earned a Bachelor’s degree from The Curtis Institute of Music in Philadelphia in 2005, where he studied with Donald Montanaro, and Pamela Frank.

Paul Huang, VIOLIN Hailed by The Washington Post as “an artist with the goods for a significant career,” and praised by The Strad for his “stylish and polished playing,” 22-year-old TaiwaneseAmerican violinist Paul Huang is already recognized for his eloquent music making, effortless virtuosity, and compelling stage presence. Among his honors are First Prize of the 2011 Young Concert Artists International Auditions and First Prize at the 2009 International Violin Competition Sion-Valais in Switzerland. His 2013-2014 season includes Mr. Huang’s Lincoln Center concerto debut with the Orchestra of St. Luke’s in the Young Concert Artists Gala Concert, his Boston recital debut at the Isabella Stewart Gardner Museum, and an appearance with the Bilbao Symphony in Spain performing both Mozart’s Violin Concerto No. 3 and Walton’s Violin Concerto. He will also appear in recitals at Jordan Hall in Boston, the Strathmore Center in Washington D.C, and a return engagement at Merkin Hall in New York City. Mr. Huang has performed as soloist with the Louisville Orchestra (KY) and the Hilton Head Symphony (SC), as well as in Hungary with the Budapest Dohnányi Symphony, in Mexico City with the Orquesta Sinfónica Nacional, Finland’s St. Michel Strings, and in Taiwan with the Taipei Symphony and National Taiwan Symphony. He has been heard in recitals at the Stradivari Museum in Cremona, Italy, the National Concert Hall in Taiwan, and at the Museé du Louvre in Paris. Recipient of the 2012 Helen Armstrong Violin Fellowship of YCA, he made critically acclaimed recital debuts last season in the Young Concert Artists Series in New York at Merkin Hall and in Washington, D.C. at the Kennedy Center.

A dedicated chamber musician, Mr. Huang has performed at the Moritzburg Festival in Germany, the Sion Music Festival in Switzerland, the Mineria Music Festival in Mexico City, the Great Mountains Music Festival in Korea, and as a guest with the Formosa Quartet at Wigmore Hall in London. He has collaborated with notable instrumentalists including Shlomo Mintz, Gil Shaham, Nobuko Imai, Roberto Diaz, Jan Vogler, and Frans Helmerson. Born in Taiwan, Mr. Huang received his first violin lesson at the age of seven. Since entering the Juilliard Pre-College at 14, he has continued studies at the school with Hyo Kang and I-Hao Lee. He received the 2008 Juilliard Achievement Award and the 2009 Chi-Mei Cultural Foundation Arts Award for Taiwan’s Most Promising Young Artists. Paul Huang plays a 1683 Nicolo Amati violin, which has been generously loaned to him.

Jennifer Johnson, OBOE Originally from Colorado, oboist Jennifer Johnson currently resides in Los Angeles, California. She is Second Oboe/English Horn of the Los Angeles Opera, Principal Oboe of the Santa Barbara Chamber Orchestra, Second Oboe of the Santa Barbara Symphony, and has played with many other orchestras across the state. She has also performed with the Colorado Symphony Orchestra over a span of seven season, acting as Second Oboe for several weeks in 2011. For a few weeks in 2007-08 she made two subsequent trips to Hong Kong, where she served as Guest Principal Oboe of the Hong Kong Sinfonietta. Ms. Johnson completed her Bachelor’s Degree at the University of Colorado with Peter Cooper. She then went to Los Angeles to earn a Master’s Degree at the University of Southern California with Dr. Allan Vogel and David Weiss. Additionally she received an Artist’s Diploma from The Colburn School Conservatory with Dr. Vogel in 2010, and briefly studied with Anne Gabriele and Carolyn Hove of the Los Angeles Philharmonic. After being awarded the second prize in the Aspen Music Festival concerto competition in 2009, Ms. Johnson was the recipient of the Oboe Fellowship in 2011-12 and the English Horn Fellowship in 2013 while studying with Elaine Douvas, Richard Woodhams, and Pedro Diaz. She has also participated in the Lucerne Festival in Switzerland under the direction of Pierre Boulez.

Warren Jones, PRINCIPAL PIANO

THE ROBERT & MERCEDES EICHHOLZ CHAIR IN PIANO

Warren Jones was recently given Camerata Pacifica’s Lifetime Achievement Award; only the third person to be honored in that way, and in 2011 received the “Achievement Award” from the Music Teachers National Association of America—their highest honor. He was named “Collaborative Pianist of the Year” in 2010 by the publication Musical America, and in the same year received an Honorary Doctorate from the San Francisco Conservatory of Music. Mr. Jones continues to perform regularly with many of today’s best-known artists, including Stephanie Blythe, Eric Owens, Denyce Graves, Anthony Dean Griffey, Bo Skovhus, John Relyea, Joseph Alessi, and Richard “Yongjae” O’Neill. In the past he has partnered with such great performers as Marilyn Horne, Dame Kiri Te Kanawa, Samuel Ramey, Håkan Hagegård, Kathleen Battle, Barbara Bonney, Carol Vaness, Judith Blegen, Tatiana Troyanos and Martti Talvela, and performed with the Juilliard, Borromeo, and Brentano Quartets. His collaborations have earned consistently high praise from many publications: The Boston Globe termed him “flawless” and “utterly ravishing”; and The New York Times, “exquisite”. Mr. Jones has often been a guest artist at Carnegie Hall and in Lincoln Center’s “Great Performers Series,” as well as the American summer festivals at Tanglewood, Ravinia, and Caramoor. Internationally he has appeared

at every major venue in Europe, South America, Japan, Korea, and Hong Kong. Mr. Jones has been invited three times to the White House by American presidents to perform at concerts honoring the President of Russia, and Prime Ministers of Italy and Canada, and three times he has appeared at the U.S. Supreme Court as a specially invited performer for the Justices and their guests. At Carnegie Hall, Mr. Jones participates often as an instructor in Professional Training Workshops for young musicians as part of the Weill Education Institute. He has conducted sold-out, critically acclaimed performances of Mascagni’s “L’amico Fritz” with the Merola Opera Program at San Francisco Opera, and Rossini’s “Il barbiere di Siviglia” and Mozart’s “The Magic Flute” at the Music Academy of the West in Santa Barbara. Mr. Jones’ discography includes 29 recordings; he can be heard on every major record label, in diverse repertory from Schubert and Brahms to more esoteric compositions of Gretchaninoff, Clarke, and Smit, as well as contemporary works by Harbison and others. Mr. Jones is a member of the faculty at the Manhattan School of Music in New York City, and each summer he teaches and performs at the Music Academy of the West in Santa Barbara, California. For ten years he was Assistant Conductor at the Metropolitan Opera and for three seasons served in the same capacity at San Francisco Opera. Mr. Jones is also a prominent musical jurist, having been a judge for the Van Cliburn International Piano Competition, the Walter Naumberg Foundation Awards, and the Metropolitan Opera National Auditions. Born in Washington, D.C., Mr. Jones grew up in North Carolina and graduated with honors from the New England Conservatory of Music in Boston, MA, where he currently serves on the Board of Visitors. A resident of New York City, Mr. Jones enjoys cooking, exercise, historical novels, and lively political discussion. Please visit www.warrenjones. com, which features a full listing of his recordings and itinerary.

Ji Hye Jung, PRINCIPAL PERCUSSION Ji Hye Jung is Assistant Professor of Percussion at the University of Kansas. Born in South Korea, Ms. Jung began concertizing at the age of nine. She has performed over 100 concerts as a soloist with every major orchestra in Korea. Soon after relocating to the United States in 2004, Ms. Jung garnered consecutive first prizes at the 2006 Linz International Marimba Competition and the 2007 Yale Gordon Concerto Competition in Baltimore. Ms. Jung frequently performs with many of today’s most important conductors and instrumentalists. She has performed as soloist with David Robertson conducting an all Messiaen program in Carnegie Hall. Shortly after, Ms. Jung made her concerto debut with the Houston Symphony under the direction of its Music Director Hans Graf. Ms. Jung has performed at the West Cork Chamber Music Festival in Ireland, The Intimacy of Creativity in Hong Kong, Grand Teton Music Festival, Martha’s Vineyard Chamber Music Society, Schleswig-Holstein Festival in Germany and the Grachtenfestival in Holland. Recently she has presented masterclasses at the Curtis Institute, Peabody Conservatory, Rice University and Beijing’s Central Conservatory and at universities throughout the United States. With the Percussion Repertoire still in its formative state, Ms. Jung Feels strongly about collaborating with composers to further the creation of a new voice for the art form. She has commissioned and premiered new works by several important composers, such as Michael Torke, Kevin Puts, Alejandro Viñao, Paul Lansky, John Serry, Lucas Ligeti, and Jason Treuting. Jung is also Principal Percussionist with the west coast-based Camerata Pacifica, with whom she will premier works by Bright Sheng and Huang Ruo.

Ji Hye Jung completed a Master of Music degree from the Yale School of Music and a Bachelor of Music degree at the Peabody Institute of Johns Hopkins University, both under the tutelage of Robert van Sice. As an artist endorser, she represents Pearl/Adams instruments, Vic Firth sticks, and Zildjian cymbals.

Joanne Pearce Martin & Gavin Martin, DUO PIANO Joanne and Gavin Martin began performing together in 1984 as fellow students at Philadelphia’s Curtis Institute of Music. Married since 1990, they have made Los Angeles their permanent residence, where they continue to explore both the piano-duet and two-piano repertoire. Pennsylvania native Joanne Pearce Martin was appointed by Esa-Pekka Salonen in 2001 as the Keyboardist of the Los Angeles Philharmonic. Ms. Martin also performs all over the world as soloist, chamber musician, and recording artist. With the L.A. Phil., she has made numerous solo appearances on piano, harpsichord, and the Walt Disney Concert Hall organ, appearing with such conductors as Salonen, Miguel Harth-Bedoya, and John Adams. She has been guest soloist with many other orchestras in the U.S and abroad, including the Philadelphia Orchestra, Charlotte Symphony, L.A. Chamber Orchestra, San Diego Chamber Orchestra, Florida West Coast Symphony, and England’s Huddersfield Philharmonic. In great demand as a collaborative artist, she has performed with such artists as Joshua Bell, Lynn Harrell, Emmanuel Ax, Yefim Bronfman, James Galway, Julius Baker, and Joseph Silverstein. Ms. Martin has performed at dozens of summer music festivals and concert series in Aspen, Sarasota, Park City, Utah, New York’s 92nd St. Y, Carnegie Recital Hall, Lincoln Center Library, Kennedy Center, Sydney, Australia, Taipei, Edinburgh, Cologne, and Nice, France. Southern California audiences have followed her many performances of contemporary music and standard repertoire for over two decades on virtually every concert series in the area. She has appeared on all the major U.S. television networks and recorded commercially for Centaur, Summit, Yarlung, Albany, and Linn records. Ms. Martin has also been the subject of a half-hour feature on The Learning Channel, and most recently on the show “Career Day”. Her latest solo CD is entitled “Joanne Pearce Martin, Barefoot”. Ms. Martin’s playing of Beethoven’s Triple Concerto can be heard on the soundtrack of DreamWorks’ “The Soloist”, starring Jamie Foxx. She has received raves from the Los Angeles Times: “stirring virtuosity…unusual fervor and fluency…persuasive, impassioned…exhilarating power at high speed…an extraordinary recital.” Gavin Martin’s musical endeavors brought him from India to the United States by way of the Royal College of Music in London. He considers his approach to music strongly influenced by the playing of the late Jorge Bolet and Gary Graffman, two pianists with whom he studied extensively. Upon graduating from Curtis, he was awarded the Rachmaninoff Prize. Martin has performed in solo recital on all five continents, in addition to touring extensively as a chamber musician. The conductors he has appeared with as soloist include Rafael Fruhbeck de Burgos and Zubin Mehta, the latter with whom he made his New York Philharmonic debut in 1985. He has toured under the auspices of the US State Department, and has appeared on the television stations of the BBC, Suisse Romande,

and ABC. Reviewing his New York City recital debut at Carnegie Recital Hall, the New York Times carried the caption “Classical Light, Romantic Heat and a Dazzler.” The Martins have been featured as soloists with the Los Angeles Philharmonic on multiple occasions, at both Walt Disney Concert Hall and the Hollywood Bowl. They have also appeared at the Mormon Tabernacle in Salt Lake City, The Music Academy in Santa Barbara, and the Teatro Nacional in San Jose, Costa Rica, where they were invited to perform a recital at the hall’s 100th anniversary celebration. Their 2013-14 season engagements include a duo-recital in India and return appearances with Camerata Pacifica. In addition to their musical pursuits, Joanne and Gavin are both aerobatic pilots and skydivers — they have done BASE jumps off the world’s tallest waterfall, Angel Falls in Venezuela.

Jonathan Moerschel, VIOLA Jonathan Moerschel was born in Boston, Massachusetts into a musical family. His mother, a pianist, and his father, a cellist in the Boston Symphony, fostered his early studies both in piano and violin. At the age of sixteen, he began studying the viola with John Ziarko in Boston and chamber music with the violist from the Kolisch Quartet, Eugene Lehner. Moerschel made his Boston Symphony Hall solo debut with the Boston Pops Orchestra directed by Keith Lockhart in 1997 after taking first prize in the Boston Symphony Orchestra Concerto Competition. He received both his Bachelors and Masters degrees in viola performance from the University of Southern California, studying with Donald McInnes , a Professional Studies Certificate from the Colburn School of Music, and an Artist Diploma from The Juilliard School in String Quartet Studies. He is the violist of the reknowned Calder Quartet, which enjoys a diverse career, playing both the traditional quartet literature as well as partnering with innovative modern composers and performing works by emerging young musicians. Recent highlights include a premiere of a new clarinet quintet by Aaron Jay Kernis at La Jolla Music Society SummerFest; and performances at the Laguna Beach Festival alongside Joshua Bell and Edgar Meyer, and at Stanford Lively Arts and Le Poisson Rouge (NYC) with Grammy-winning pianist Gloria Cheng. The quartet debuted at the Edinburgh International Festival (broadcast on BBC-3), and made its Austrian debut at the Esterhazy Palace. They have performed at top halls and festivals across the globe including Carnegie Hall, Washington Performing Arts Society, Santa Fe Chamber Music Festival, Cleveland Museum of Art, Melbourne Festival, Walt Disney Concert Hall, Big Ears Festival in Knoxville, New Haven’s International Festival of Arts and Ideas, and Hollywood Bowl. Most recently, the quartet played Terry Riley’s concerto for quartet and orchestra, “The Sands”, with the Cleveland Orchestra. Moerschel is an Adjunct Professor of Viola and Chamber Music at Azusa Pacific University in Azusa, California. He has collaborated with eminent musicians Joshua Bell, Edgar Meyer, Joseph Kalichstein, Claude Frank and Menachem Pressler and Anne-Marie McDermott. He plays on the “ex-Adam” Gasparo Da Salo viola made in the late 16th Century on generous loan from the Stradivari Society.

Adam Neiman, CO-PRINCIPAL PIANO American pianist Adam Neiman is hailed as one of the premiere pianists of his generation, praised for possessing a truly rare blend of power, bravura, imagination, sensitivity, and technical precision. With an established international career and an

encyclopedic repertoire that spans nearly sixty concerti, Neiman has performed as soloist with the symphony orchestras of Belgrade, Chicago, Cincinnati, Dallas, Detroit, Houston, Indianapolis, Minnesota, Saint Louis, San Francisco, Slovenia, Umbria, and Utah, as well as with the New York Chamber Symphony and the National Symphony Orchestra of Washington D.C. He has collaborated with many of the world’s celebrated conductors, including Jiri Belohlavek, Giancarlo Guerrero, Theodor Gushlbauer, Carlos Kalmer, Uros Lajovic, Yoël Levi, Andrew Litton, Rossen Milanov, Heichiro Ohyama, Peter Oundjian, Leonard Slatkin, and Emmanuel Villaume. A highly-acclaimed recitalist, Neiman has performed in most of the major cities and concert halls throughout the United States and Canada. His European solo engagements have brought him to Italy, France, Germany, the United Kingdom, and Japan, where he made an eight-city tour culminating in his debut at Tokyo’s Suntory Hall. An avid chamber musician, Neiman became a member of the Chamber Music Society of Lincoln Center II in 2004. He frequently participates in the major chamber music festivals of Belgrade, Caramoor, Croatia, Korea, Macedonia, Manchester, Montenegro, Moritzburg, San Diego, Seattle, Skaneateles, Telluride, Tokyo, Vail, Vancouver, as well as New York’s Jupiter Symphony Chamber Players series. He has made numerous guest appearances with celebrated string quartets, such as the Miro, the Parker, the Saint Petersburg, and the Ying, and he frequently collaborates with Concertante, a Manhattan-based string ensemble. As a former member of the Corinthian Trio, Neiman toured extensively in the Baltic countries and throughout the United States. He has also appeared as a guest artist on the FleetBoston Celebrity series, Frankly Music series in Milwaukee, San Francisco Performances series, and San Francisco Symphony Chamber Music series. Neiman’s ’13-’14 season highlights include a monumental solo recital tour of North America performing Beethoven’s Diabelli Variations, Op. 120 and “Hammerklavier” Sonata, Op. 106, and plans are underway to record the complete cycle of the 32 Beethoven Piano Sonatas over the next several years. He will also premiere his new Concerto for Piano and String Orchestra (commissioned and composed in 2012) with the Manchester String Orchestra and conductor Ariel Rudiakov on tour throughout Vermont and New York. In addition, Neiman joins the celebrated ensemble Camerata Pacifica for four concert tours throughout Southern California, and the Jupiter Symphony Chamber Players for two concerts in New York City. Festival reengagements include concerts at the Mainly Mozart Festival, Four Seasons Chamber Music Festival, Seattle Chamber Music Festival, Rockport Music Festival, Telluride MusicFest, and the Manchester Chamber Music Festival. Recording releases will include the following: Concerto da Camera by Howard Hanson with the Ying Quartet, for Sono Luminus; Dohnanyi’s Sextet for Clarinet, Horn, Violin, Viola, Cello, and Piano with the 45th Parallel ensemble in Portland, OR; piano quartets of Saint-Saëns and Fauré with Maria Bachmann, Hsin-Yun Huang, and Edward Arron; and the Bernstein Piano Trio with Stefan Jackiw and Amit Peled for the Seattle Chamber Music Society. His diverse discography includes three major commercial releases for VAI: a two disc set of Mozart’s early keyboard concertos with the Wisconsin Chamber Orchestra, an award-winning two-disc set entitled “Adam Neiman Live in Recital,” proclaimed “Critic’s Choice” for 2007 and 2008 by the American Record Guide, and a DVD entitled “Adam Neiman: Chopin Recital.” He released a critically-acclaimed recording of solo piano works

by Anton Arensky for Naxos, and his debut recording on Lyric Records of a live, unedited solo recital at Tokyo’s Suntory Hall has recently been re-issued on iTunes. Two-time winner of Juilliard’s Gina Bachauer International Piano Competition, Neiman received the Rubinstein Award upon his graduation in 1999, the same year in which he received the Avery Fisher Career Grant. Neiman’s principal teachers have included Trula Whelan, Hans Boepple, Herbert Stessin, and Fanny Waterman, and he has participated in master classes with legendary pianists Emanuel Ax, Jacob Lateiner, and Gyorgy Sandor. In the fall of 2013, Neiman joins the esteemed piano performance faculty at the Chicago College of Performing Arts at Roosevelt University. In addition to his rigorous performance schedule he has been teaching private lessons for more than a decade, and he has presented acclaimed masterclasses throughout the U.S., Europe, and Korea. He regularly serves on the summer chamber music faculty of the Manchester Music Festival in Vermont, and he has taught at the Great Mountains Music Festival in Korea. As an adjudicator, he has presided over the Philadelphia Orchestra Concerto Competition, KING FM Young Artists Competition, and Reno’s Youth Music Festival. Please visit www.adamneiman.com for more information.

Richard Yongjae O’Neill, PRINCIPAL VIOLA Violist Richard Yongjae O’Neill is one of few violists ever to receive an Avery Fisher Career Grant, as well as a Grammy Award Nomination (Best Soloist with Orchestra). Concerto appearances include the London Philharmonic with Vladimir Jurowski, the Los Angeles Philharmonic with Miguel Harth Bedoya, the Seoul Philharmonic with François Xavier Roth, the KBS and Korean Symphony Orchestras, the Moscow Chamber Orchestra, Alte Musik Köln and Sejong. Highlights of his 2010/11 season include performances with the London Philharmonic with conductors Vassily Sinaisky and Yannick Nézet-Séguin in Royal Festival Hall at London’s South Bank Centre, as well as on tour to Seoul Arts Center and the National Concert Hall of Madrid; his fifth season as Artistic Director of DITTO, his South Korean chamber music initiative featuring sold-out concerts at Seoul Arts Center, the Tokyo International Forum and Osaka Symphony Hall; and his sixth solo recording for Deutsche Grammophon with the Württembergisches Kammerorchester. Richard has made solo debuts at Carnegie’s Weill and Zankel Halls, Avery Fisher Hall, The Kennedy Center, Herbst Theater, Wigmore Hall, Salle Cortot, and Seoul Arts Center. A UNIVERSAL Classics Recording Artist, Richard has made five solo albums that have sold over 100,000 copies. His three most recent albums, Nore and Winter Journey for Deutsche Grammophon and Mysterioso for ARCHIV Produktion, have earned him Platinum Disc Awards. His second album, Lachrymae for UNIVERSAL Korea, was the best selling Classical as well as International Pop Recording of 2006. Much in demand as a chamber musician, Richard is an Artist of the Chamber Music Society of Lincoln Center and serves as Principal Violist of Camerata Pacifica since 2007. He was the sole violist of Chamber Music Society Two from 2004-06, and for six years served as principal violist and soloist of Sejong, a conductorless string orchestra. Richard has collaborated with many of the world’s finest musicians including Emanuel Ax, Leon Fleisher, Garrick Ohlsson, Menahem Pressler, Gil Shaham, Joshua Bell, Elmar Oliviera, Jamie Laredo, Lynn Harrell, Steven Isserlis, the Emerson and Juilliard String Quartets, Ensemble Wien-Berlin, among many others. A popular figure in South Korea, Richard was the subject of a two-part, five-hour documentary for the Korean Broadcasting System that was viewed by 15 million people, and has been featured on all of Korea’s major television networks, radio, newspapers

and magazines. His chamber music project, DITTO, has introduced over 40,000 people to chamber music and on its first international tour sold-out Tokyo’s International Forum’s Hall A (5000) as well as Osaka’s Symphony Hall. A commercial model, Special Representative to UNICEF, and marathoner, he was recently appointed as cultural ambassador for the South Korea’s Ministry of Culture of Tourism, a position he shares with Olympic Gold Medalist Yuna Kim. In the United States, he has appeared on PBS Live from Lincoln Center and CNN, and has served as Young Artist-in-Residence for National Public Radio in Washington, D.C. The first violist to receive the Artist Diploma from The Juilliard School, Richard has studied with Paul Neubauer and Donald McInnes. Residing in New York City and Los Angeles, he was honored with a Proclamation from the New York City Council for his achievement and contribution to the Arts. A dedicated teacher as well as performer, Mr. O’Neill serves on the faculty of the Herb Alpert School of Music at the University of California, Los Angeles.

Martin Owen, HORN Martin Owen is widely regarded as one of Europe’s leading horn players, appearing as soloist and chamber musician at some of the leading music festivals around the world. He currently holds the positions of Principal Horn of the Berliner Philharmoniker on a temporary contract and Principal Horn at the BBC Symphony Orchestra, having served as Principal Horn of the Royal Philharmonic Orchestra for ten years. Recent highlights include performances of concertos by Mozart, Richard Strauss, Schumann, Messiaen, Britten, Elliott Carter and Oliver Knussen, with orchestras including the BBC Symphony, Royal Philharmonic, BBC Philharmonic, Orquesta Nacional de España, The Hallé, New World Symphony and Ensemble Modern. In 2006, Martin Owen also gave the world premiere of Malcolm Arnold’s recently discovered Burlesque with the Royal Philharmonic in the composer’s home town of Northampton, and, in 2007, made his solo debut at the BBC Proms performing Schumann’s Konzertstück with the BBC Philharmonic. Martin returned to the Proms as soloist in 2009 in a highly acclaimed performance of Oliver Knussen’s Horn Concerto with the BBC Symphony conducted by the composer, broadcast live on BBC television and radio. In 2008, he made his Barbican debut in the London premiere of Elliott Carter’s Horn Concerto with the BBC Symphony/Knussen as part of Carter’s 100th birthday celebrations (the performance was released by Bridge Records in March 2010). More recently, in May 2011, Martin performed both the Knussen and Elliott Carter horn concertos with the Orquesta Nacional de España in Madrid, broadcast live on Spanish national radio. Other recordings include Mozart’s horn concertos with the Royal Philharmonic Orchestra (for RPO classics), Britten’s Serenade with Toby Spence and the Scottish Ensemble directed by Clio Gould (for Linn), Schubert’s Octet with Michael Collins (which was recorded for Wigmore Hall’s Live label), Schumann’s Konzertstuck with the BBC Philharmonic Orchestra/Mackerras (on the BBC’s label), Danzi’s Sinfonia Concertante with the Orquestra de Cadaques/Marriner (on the Trito label) and Roderick Elms’ Four Seasonal Nocturnes with the Royal Philharmonic Orchestra/Cleobury (for Dutton). Additionally, Martin Owen has performed on over 300 movie soundtracks to date including James Bond, Star Wars, Harry Potter, Gladiator and Pirates of the Caribbean films. In 2013, Martin will perform at festivals in the UK, Germany and the Ukraine, as well as giving concerts with Ensemble Berlin in Portugal, Germany and Croatia. A recording

of Benjamin Britten’s Canticles with tenor Ben Johnson (for Signum Classics) was released in February and Martin will perform Banjamin Britten’s Serenade with Ben Johnson at Aldeburgh in 2013, the Centenary of Britten’s birth and in November, Strauss: 2nd Horn Concerto with Aalborg Symfoniorkester. Martin Owen is a Fellow of the Royal Academy of Music, where he is Professor of Horn.

Amy Schwartz Moretti, VIOLIN With an affinity for chamber music and an extensive performing career, violinist Amy Schwartz Moretti is recognized as a versatile and expressive artist. The St. Petersburg Times describes her playing as “breathtakingly rich in tone and color.” She has performed at Carnegie Hall, Weill Recital Hall, Severance Hall, and Spivey Hall and at many festivals and concert series in North America and Europe. Recent concerts include appearances at Le Poisson Rouge in NYC, Nordstrom Recital Hall in Benaroya Hall, Musical Masterworks in Old Lyme, and Chamber Soloists of Detroit. Upcoming engagements include ChamberFest Cleveland, the Bridgehampton, Fayetteville, Rome and Seattle chamber music festivals, and concerts with Camerata Pacifica on the west coast. Additional 2013-14 engagements include the debut of “Shades of Blue,” a violin concerto written for her, jazz trio and orchestra directed by composer Matt Catingub; double concerto performances with the Omaha Symphony and Music Director Thomas Wilkins with cellist Robert deMaine; and concerts at London’s Wigmore Hall and Paris’s Musée du Louvre as a member of the Ehnes Quartet. Amy Moretti is also violinist of the Cortona Piano Trio and the Georgian Chamber Players in Atlanta, and she collaborates in duos with Robert McDuffie. She is Director of the McDuffie Center for Strings at the Mercer University Townsend School of Music and holds the Caroline Paul King Violin Chair. Her dedication to collaboration and performance inspires her teaching. She coordinates the Young Artist component of the Rome Chamber Music Festival in Italy and the Fabian Concert Series on campus. She has made concertmaster appearances with the Atlanta Symphony Orchestra, CityMusic Cleveland, the New York Pops and the festival orchestras of Brevard, Colorado and Grand Teton. In 2011, she released her first solo album, Kaleidoscope (Sono Luminus). Born in Wisconsin, raised in North Carolina and California, Amy now lives in Georgia with her husband and two young sons. Her degrees are from the Cleveland Institute of Music (CIM) with Donald Weilerstein, Peter Salaff and the Cavani String Quartet. Preparatory studies were at the San Francisco Conservatory of Music with concertmaster emeritus of the San Francisco Opera Orchestra Zaven Melikian. She was mentored by Isaac Stern at his Carnegie Hall Chamber Music Workshop and awarded fellowships from the Aspen Center directed by Earl Carlyss. Selected violin winner of the Irving M. Klein International String Competition, she was invited to perform at the San Miguel de Allende International Music Festival. Her Carnegie Hall solo debut came a few months before graduating valedictorian from CIM. The following year, while studying for her Master’s, she won the concertmaster audition of The Florida Orchestra in Tampa, marking the beginning of her professional career. Ms. Moretti also served as Concertmaster of the Oregon Symphony, the position she left to direct the McDuffie Center for Strings. CIM has recognized her with an Alumni Achievement Award. Amy Schwartz Moretti performs on the G.B. Guadagnini violin made in Piacenza, Italy, c1744 known as the “Canadian” on loan through the generous efforts of the Stradivari Society in Chicago.

Adrian Spence, ARTISTIC DIRECTOR AND PRINCIPAL FLUTE Under the leadership of Adrian Spence, Camerata Pacifica has become one of the most notable chamber music organizations in the country, distinctive not only for its exceptional artistic quality, but also for its dynamic sense of community. Spence carefully selected the group’s exceptional international artists over the course of many seasons, giving them the rehearsal and performance environment necessary to form an ensemble unique in style and sensibility. The bond between the artists is clear, as is theirs with the audience. The Los Angeles Times recently highlighted the emphasis of Spence’s work: “What was out of the ordinary was the wildly enthusiastic response that each work received. Whatever it’s doing, Camerata Pacifica seems to be cultivating a passionate audience — and that’s good news.” Spence’s conviction of this music’s viability and of the intellectual curiosity of the Camerata Pacifica audience is evident at every performance, where a broad range of programming is presented in a manner both welcoming and provocative. Over the course of 24 seasons Camerata Pacifica has developed a loyal following and now presents resident series in Santa Barbara, Ventura, Pasadena and Los Angeles. As an administrator, Spence created a business model that permits the presentation of world class artists in small, intimate venues, thereby preserving the essence of ‘chamber music.’ Spence views classical music as an inviolable record of human emotional history, with distinctions such as period and style less critical to a vital performance than the communication of the expressive intent of the composer. The entire canon is part of that record and the creation of music of our time is essential. Camerata’s commissioning began prominently with “Winter Roses”, a song cycle by Jake Heggie and premiered with Frederica von Stade. In 2006 Spence announced a major commissioning initiative, commissioning seven works from three composers: Ian Wilson, Huang Ruo and Lera Auerbach. The first commission, Wilson’s Messenger Concerto for Violin and Chamber Ensemble, received its premiere with 5 Southern Californian performances in May 2007 and a subsequent tour to The Library of Congress in Washington DC, New York’s Morgan Library & Museum, Dublin’s National Concert Hall, London’s Wigmore Hall and venues in Northern Ireland. The Irish Times referred to the Camerata as a “miracle of modern artistic organisation” and London’s Daily Telegraph referred to the ensemble as, “a very serious group of fine artists, both innovative and intrepid.” The most recent commission is an eagerly awaited String Trio from John Harbison, his first, which will open Camerata Pacifica’s Silver Anniversary Season, and be recorded for commercial release, Camerata’s first, on the Harmonia Mundi label. Spence comes from Newtownards in County Down, Northern Ireland. He has three children, Erin, Keiran and Kaeli, is a master-rated skydiver with 900 skydives, and most recently obtained his Advanced Scuba Certification.

Tereza Stanislav, VIOLIN Violinist Tereza Stanislav was appointed Assistant Concertmaster of the Los Angeles Chamber Orchestra in 2003 by music director Jeffrey Kahane. Dividing her time among orchestral, solo, chamber and recording projects, Tereza has been hailed for her “expressive beauty and wonderful intensity” (Robert Mann) and her “sure technique and musical intelligence” (Calgary Herald), “magisterial”, and has “held the audience rapt” (LA Times). An active performer, Tereza was the featured soloist with the Los Angeles Chamber Orchestra in the 2012 world premiere of the Violin Concerto by Benjamin Wallfisch. She has appeared in venues including Alice Tully Hall, the Library of Congress, the Kennedy

Center, Wigmore Hall, the Ravinia Music Festival, Bravo! Vail, the Chautauqua Festival, Merkin Concert Hall, La Jolla Summerfest, Charlottesville Chamber Music Festival, the Banff Center in Canada, St. Barth’s Music Festival and at Carnegie Hall’s Weill Recital Hall. She has performed in concert with artists including Jean-Yves Thibaudet, Gilbert Kalish, Jon Kimura Parker, Jian Wang and Colin Currie. In 2004, Tereza released a CD in collaboration with pianist Hung-Kuan Chen. Tereza has joined the Miró Quartet on several extensive tours in 2009 and 2011, that have taken them to Santa Fe Chamber Music Festival, Chamber Music Northwest, the Kennedy Center, Maverick Concerts, Sprague Concert Hall at Yale University, as well as many others. In 2010, Tereza served as Concertmaster of the Los Angeles’ Opera production of The Marriage of Figaro, conducted by Placido Domingo. In 2009, Tereza was invited to be the Chamber Music Collaborator for Sonata Programs and a member of the jury for the Sixth Esther Honens International Piano Competition. As a founding member of the Grammy® nominated Enso- String Quartet, Tereza was awarded the Second Prize of the 2004 Banff International String Quartet Competition, and led the quartet to win the Special Prize awarded for best performance of the “Pièce de Concert”, commissioned for the competition. The quartet was a winner of the 2003 Concert Artists Guild, Chamber Music Yellow Springs and Fischoff competitions. The Strad magazine cited the quartet for “…totally committed, imaginative interpretation that emphasized contrasts of mood, dynamics and articulation.” With the Enso-, Tereza is featured on the Naxos recording of the complete Ignaz Pleyel quartets, Op.2. The quartet was highlighted on the Minnesota Public Radio’s St. Paul Sunday in 2004 and was appointed to a Lectureship in String Quartet at Rice University’s Shepherd School of Music in the 2004-2005 academic year. An advocate for new music, Tereza traveled to Israel to represent the United States as the violinist in the New Juilliard Ensemble at the World Composer’s Symposium, under the direction of Dr. Joel Sachs. She has worked with composers including Steve Reich, Joan Tower, Toshio Hosokawa, Gunther Schuller and Louis Andriessen. World premieres include Gunther Schuller’s Horn Quintet (2009) with Julie Landsman, Louis Andriessen’s The City of Dis (2007) as Concertmaster of the Los Angeles Chamber Orchestra, James Matheson’s Violin Sonata (2007), Gernot Wolfgang’s Rolling Hills and Jagged Ridges (2009) and the West Coast premieres of Steve Reich’s Daniel Variations and Gernot Wolfgang’s Jazz and Cocktails. She is featured on a new recording of the Wolfgang on Albany Records and the Reich on Nonesuch label. Tereza holds a Bachelor of Music from Indiana University where she studied with Miriam Fried, and a Master of Music from the Juilliard School where her teachers were Robert Mann and Felix Galimir and where she served as Concertmaster of The Juilliard Orchestra. As Concertmaster of the Festival Lyrique d’Aix-en-Provence in 1999, she received intensive orchestral and chamber music coaching from the late Isaac Stern. Tereza also completed quartet residencies at the Britten-Pears School in Aldeburgh, England, at Northern Illinois University under the tutelage of the Vermeer Quartet and at Rice University. Tereza enjoys being active in educational outreach and has participated in several seminars of the LA Phil’s Young Composer Fellowship Program, collaborated with educator Robert Kapilow of NPR’s program, “What Makes It Great?” and musicologist Robert Winter of UCLA. With the Enso- Quartet, she performed over 100 outreach concerts for schoolchildren in the greater Chicago area in 2001-2003.

Tereza was invited to perform at the 2002 G-8 World Summit held in Kananaskis, Canada where she performed for Presidents Jacques Chirac and George W. Bush, and Canadian Prime Minister, Jean Chretien. In 2000, Tereza was awarded the highest grant from the Canada Council for the Arts in the category for Professional Musicians (Individuals) in Classical Music. She is active in the film scoring industry in Los Angeles and in 2009, co-created the new music series, In Frequency.

John Steinmetz, PRINCIPAL BASSOON Between commutes around southern California to work in humble places like classrooms and fancy places like Disney Hall or movie studios, bassoonist-composer John Steinmetz has became fascinated with music’s ability to reach across lines of difference and even animosity. He toured the two Irelands with Camerata Pacifica’s Irish Catholics and Protestants. He played Britten’s War Requiem with American, German, and Japanese choirs for the Oregon Bach Festival’s World War II commemoration. He performed in Israel, Palestine, and Gaza, playing his own One and Many with the Apple Hill Chamber Players and guest Arab and Jewish musicians. He premiered his own bassoon concerto with the Santa Rosa Symphony, exploring connections between humans and the rest of nature. Some of John’s compositions combine people who don’t normally perform together. On My Way paired the Keene Chamber Orchestra with 200 elementary school singers. Together premiered in Jordan, with the Amman Symphony Orchestra and sixty beginning string players from a conservatory, an elite private school, and a refugee camp. Some compositions have parts for the audience, and some confront real-world issues: War Scrap for piano trio and percussion is on the latest CD from Pacific Serenades, and Fourteen Prayers for trombone is on a new Navona disk. Recent commissions have come from Chamber Music Palisades, from a national consortium of oboists and bassoonists, and from another consortium of individuals, ensembles, orchestras, schools, and presenters. John’s love of laughter instigates comic pieces like Polarization Blues and The Monster that Devoured Cleveland, as well as satires like “Generic Resumé.” Last May he wrote and conducted a comic cantata to help celebrate conductor Helmuth Rilling’s 80th birthday. Sometimes John mixes serious with funny: Possessed for cellist/narrator is a comedy that ends pensively. He wrote the text for Tacet Art, Dave Riddles’ book of cartoons of studio musicians, and also contributes articles for Chamber Music and other publications. Education’s capacity to release potential and reveal innate competence has drawn John into education projects with computer scientists, education researchers, a record company, orchestras, arts organizations, schools, summer camps, and even a dentists’ organization. As part of Camerata Pacifica’s partnership with Cortines High School, John coaches groups from the student-organized Chamber Music Society. He teaches bassoon at UCLA and serves on the boards of Monday Evening Concerts and of Renaissance Arts Academy, a public charter school offering intensive arts training regardless of background or experience. John has played bassoon with Camerata Pacifica since its first concert. He lives with his multitalented wife Kazi Pitelka in Altadena; they have two children. For more information, please visit www.johnsteinmetz.org.

PREMIERE CIRCLE MEMBERS Camerata Pacifica continues to thrive thanks to the support of its patrons. Members of the Premiere Circle are not only supporters, but friends to Camerata Pacifica, meeting several times a year for house concerts, pre-concert parties and other events. For information on becoming a Premiere Circle member, call Camerata Pacifica at 805-884-8410.

Olin & Ann Barrett Frank & Cecilia Bellinghiere Peter & Linda Beuret Mrs. Sandra J. Bickford Mr. Alan Bloch & Ms. Nancy Berman Dr. Diane Boss Christina Burton & Michael Tantleff Mrs. Jeannie Christensen Jordan Christoff NancyBell Coe & William Burke Mr. Benjamin J. Cohen & Ms. Jane S. De Hart Marilyn & Don Conlan Mr. & Mrs. Michael Connell Joan Davidson & John Schnittker Dr. Karen Davidson Roger & Nancy Davidson Mr. Edward S. DeLoreto Ms. Linda S. Dickason Frank & Ann Everts Stanley & Judith Farrar Mr. Eric Fischer & Mr. Richard West Mrs. Carla Hahn Marie-Paule Hajdu Harvey & Jessica Harris Dr. Edward S. Henderson & Ms. Carolyn Kincaid Dr. Diane Henderson Ms. Maren Henle Mr. & Mrs. Warner Henry Mrs. Ann Hoagland Daniel & Donna Hone Ms. France Hughes Meindl Mr. Palmer G. Jackson Karin Jacobson & Hans Koellner Richard & Luci Janssen John P. & Susan M. Keats

Herbert & Elaine Kendall Robert Klein & Lynne Cantlay Jordan & Sandra Laby Sarah Jane Lind Gary & Louise Lorden Mrs. Leatrice Luria Drs. Helmut & Vera M. Muensch Dr. & Mrs. Arnold Mulder Ms. Karin L. Nelson & Mr. Eugene B. Hibbs, Jr. Dr. & Mrs. George T. Northrop Sharon Harroun & Robert Peirce Alejandro Planchart Dr. & Mrs. William Ramsay Mr. Timothy Rauhouse Lady Leslie Ridley-Tree Dr. & Mrs. Eugene Roberts Mr. & Mrs. Richard F. Roberts David Robertson & Nancy Alex Regina & Rick Roney Robert & Ann Ronus Elizabeth Loucks Samson & Jack V. Stumpf Jasminka & Richard Shaikewitz Jack & Anitra Sheen Dr. & Mrs. Stephen Sherman Stuart & Judy Spence Marion Stewart Stan Tabler & Teresa Eggemeyer Barry & Amalia Taylor Mr. & Mrs. Lloyd Sherman Telleen Mrs. Sandra Tillisch-Svoboda Anne & Michael Towbes Lawrence Wallin Sanford & Riko Weimer Robert W. Weinman

CAMERATA PACIFICA WILL CELEBRATE THE OPENING OF ITS 25TH SEASON WITH ANOTHER WORLD PREMIERE — A NEWLY COMMISSIONED STRING TRIO BY JOHN HARBISON.

The work has been commissioned by the following consortium of Camerata Pacifica audience members Peter & Linda Beuret | Santa Barbara Bob Klein & Lynne Cantlay, in memory of Michael Benjamin Klein | Santa Barbara Roger & Nancy Davidson | Santa Barbara Stanley & Judith Farrar | La Cañada Ann Hoagland, in memory of her husband Stephen C. Hoagland | Ventura John & Susan Keats | Ventura

When asked to reveal something of the piece, John responded: When I was fifteen years old I began a string trio. I wrote about three pages before deciding it was too difficult for me at that time. All subsequent attempts over the last forty years yielded the same result. In the meantime I have performed string trios by Beethoven and Mozart, and studied others. I have no reason to believe the medium has gotten easier, but my music has become somewhat simpler and has fewer notes, which I imagine to be an advantage. The piece begins very loud, or perhaps very soft, or better with an intriguing neutrality of mood which takes on a kind of menace. The impression is formidable but at the same time winning, even droll. Let the critic not be fooled however by this veneer of friendliness, I have a knife for his ribs later on, at the moment of greatest security. By the end even the violist has lost all sense of normalcy, or decency. Most of the motives in the piece are based on the name of Barcelona’s forward Gabriel Messi, spelled backward. This is all I can reveal of the piece at this point, but even the construction of this program note spells confidence that finally at this point I will make friends with this dragon.

Jordan & Sandra Laby | Ventura

—JOHN HARBISON, March 27, 2012

Alejandro Planchart, in memory of Milton Babbitt | Santa Barbara

The new piece is to be recorded, along with the Mozart Divertimento in E-Flat Major, K. 563, for release on Harmonia Mundi in late 2014.

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DONORS Our sincerest gratitude to the following individuals, corporations and foundations for their dedication to supporting Camerata Pacificaâ&#x20AC;&#x2122;s continued success. The following list reflects donations recorded between July 1, 2012 and June 30, 2013. $10,000 + The Philip and Muriel Berman Foundation The Chamber Music America Endowment Fund Jordan Christoff SahanDaywi Foundation The Michael J. Connell Foundation The Robert and Mercedes Eichholz Foundation Frank & Ann Everts Stanley & Judith Farrar Stephen & Carla Hahn Foundation Mr. & Mrs. Warner Henry / The Henry Family Fund The Ann Jackson Family Foundation Richard & Lucille Janssen Robert Klein & Lynne Cantlay Jordan & Sandra Laby Lee Luria Lady Ridley-Tree, Baroness of St. Amand The Sally & Dick Roberts Coyote Foundation David Robertson & Nancy Alex Stan Tabler & Teresa Eggemeyer Sandra Tillisch-Svoboda The Towbes Fund for the Performing Arts, a field of interest fund of the Santa Barbara Foundation

$5,000-$9,999 Olin & Ann Barrett Diane Boss Diane J. Henderson, MD France Hughes Meindl Herbert & Elaine Kendall Bill & Jane Ramsay Anonymous Jack & Anitra Sheen Stuart Spence & Judy Vida-Spence $2,500-$4,999 Peter & Linda Beuret Sandra J. Bickford Jeannie Christensen in Honor of Bob Christensen and Adrian Spence Birthdays NancyBell Coe & William Burke

Dr. Karen Davidson in Memory of Dr. David Davidson Roger & Nancy Davidson Jane S. De Hart & Benjamin J. Cohen Edward S. & Carolyn K. Henderson Drs. Susan & John Keats Sarah Jane Lind Dr. & Mrs. Arnold Mulder Robert Peirce & Sharon Harroun Peirce Alejandro E. Planchart Regina & Rick Roney Santa Barbara County Arts Commission Marion Stewart Barry & Amalia Taylor Marge & Sherm Telleen

$1,000-$2,499 Frank & Cecilia Bellinghiere Christina Burton & Michael Tantleff Edward S. DeLoreto Linda S. Dickason Eric Fischer & Richard West Drs. David & Janice Frank Mrs. Marie-Paule Hajdu Bill & Chris Harper Harvey & Jessica Harris Ann Hoagland in Memory of Stephen C. Hoagland Daniel & Donna Hone Brenton Horner Karin Jacobson & Hans Koellner Elizabeth L. Kilb Elinor & James Langer Drs. Helmut & Vera Muensch

Karin L. Nelson & Eugene Hibbs, Jr. Terry & Susan Northrop Timothy Rauhouse Dr. & Mrs. Eugene Roberts Mr. & Mrs. Vincent Schodolski Jasminka & Richard Shaikewitz Dr. & Mrs. Stephen Sherman Jack Stumpf & Elizabeth Samson The Thornton Foundation Mrs. Norma Van Riper Lawrence Wallin Sanford R. & Riko Weimer Robert W. Weinman

$500-$999 Mr. & Mrs. David N. Barry, III Barbara Bates Bonadeo Dick & Betsy Chess Wayne & Madelyn Cole Kathryn E. Costello Krysia Dankowski Dr. David Dodson Melissa Hamilton James B. & Mary Jo Hartle Ms. Maren Henle Ken & Sandy Homb in Honor of Frank & Ann Everts 50th Anniversary Richard & Connie Kennelly Laura Larson Gary & Louise Lorden Anonymous Efrem Ostrow Kate, Irving & Yoon in Honor of Richard O’Neill Lyndon Robert Shaftoe Perry & Jodi Shapiro Mrs. Delia Smith Ray & Flori Turchin Mr. & Mrs. A. Jean Verbeck Katherine Butts Warwick Miriam Wille $250-$499 Margaret Adams & Joel Edstrom Robert C. Anderson Mr. Edward Bigger Ella Bishop Mr. & Mrs. Tim Bliss Caroline M. Bordinaro Virginia & Ron Bottorff Rehan & Anaid Conde Chaudhry Edith Clark Freddie & Al Contarino Claire & Patrick Dunavan Martin & Ann Gelfand in Honor of Richard O’Neill and Adam Neiman Goldman, Sachs & Co. David & Susan Grether Barbara Hirsch Merle H. Horwitz & Mary M. Bradley Susan Jamgochian in Memory of Bob Christensen

Sheila Lodge Robert Martin in Honor of Frank & Ann Everts 50th Anniversary Deanna McHugh Jean Reiche William Robinson & Hiroko Yoshimoto Peter Schlueer Joan Tapper Siegel & Steven Richard Siegel Anonymous $100-$249 Ila J. Bayha Ms. Pat Blakeslee Jorgia Bordofsky Susan Bower Elizabeth Bugg Cindy & Peter Cantle in Honor of Nancy FurmanAlex and David Robertson Patricia Carver Mike Crawford & Pat Weise Doug Crowley Mary Tonetti Dorra Sylvia S. Drake Richard & Barbara Durand David S. & Ann M. Dwelley Tom & Doris Everhart The Fisks in Honor of David Robertson and Nancy Alex Mrs. Peggy Galbraith Ghita D. Ginberg Dennis & Evette Glauber in Honor of Richard O’Neill Claire C. Greenberg Bea Hamlin Lorna S. Hedges Roslyn Hirshfeld Donald M. Hoffman Carol Howe & Lucien Lacour Owen Hubbard Mr. & Mrs. Samuel W. Hunt Stephen C. Iglehart Eleanor H. Jacobs Willoughby Johnson & Victoria Matthews John Jones in Honor of Frank & Ann Everts 50th Anniversary Mrs. June Kambach Drs. Marilyn Kent & Jack Perry

Richard Kiel & Michael Rose Eunice M. Koch Steve & Karen Kohn Mr. & Mrs. Joseph Landolph Anonymous Terry Lloyd Clifford & Helen Lott Ms. Jacqueline Lunianski Fred Manaster Myra Lee Marks in Memory of Gene Marks Barbara Maxwell Dorothy McCay Scully Mr. Albert A. Melkonian in Memory of Ruth Pocock Lori Meschler Asa & Jessie Meudell Myka Miller Ms. Shirley Millligan Kathleen Nielsen Blossom Norman Mr. & Mrs. Donald O’Dowd Thomas & Victoria Ostwald David & Claire Oxtoby Dianne C. Pedersen John & Inez Politowski Eleanor Precoda Mr. & Mrs. Andrews Reath Carla Sanger Anne & Robert Schowe Judge Harold Shabo Les & Maureen Shapiro Thomas E. Siebert Barbara Simpson Marta V. Smith George & Gretel Stephens K. Martin Stevenson Eugene R. & Irma H. Strantz Harry Talbot Tony & Anne Thacher Nancilu Todd Shirley A. Toeppner Minie Pompe van Meerdervoordt Brenn von Bibra Mary H. Walsh David & Debbie Whittaker Susie Williams $0-$99 Joel & Caren Adelman Ted Anagnoson

MacFarlane, Faletti & Co., LLP Laurel G. Asher Anonymous Carolyn F. Chase Mr. & Mrs. John W. De Haven, Jr. Judith Dugan Ralph B. Ellis Sarah Fox Frances L. Gagola Dolores Airey Gillmore Harriet & Richard Glickman Sarah M. Hall Gail Haney in Honor of Frank & Ann Everts 50th Anniversary Penny & Stan Haptor in Honor of Frank & Ann Everts 50th Anniversary Bruce Allen Hardy Nina L. Haro Donna B. Kacerek Sue Kelley Allen Klinger Linda LaRoche Linda Laughner Mr. & Mrs. Samuel J. Losh Mrs. E. H. McLaughlin, Jr. Lyn A. Munro & Robert Barber Gladys Murphy Richard Nagler Mr. & Mrs. William Pollock Esther M. Prince Chris Rendessy & Sue Slater Jim & Eileen Rinde Hope Rosenfeld Susan K. Schorr & Brian Hersh James & Radha Sloss John Sonquist Julie & Richard Steckel Phyllis Stier Anonymous Bernard Van Praag in Honor of Frank & Ann Everts Anonymous Brian & Angie Wiggins in Honor of Frank & Ann Everts 50th Anniversary Rich & Iris Wunderlich in Honor of Frank & Ann Everts 50th Anniversary

CHARTER MEMBERS Charter Members are an essential part of Camerata Pacifica’s history. Listed in perpetuity, Charter Members’ contributions at critical times in the organization’s growth helped Camerata Pacifica realize its vision of becoming one of the most acclaimed chamber music ensembles in the country, with an international profile and deep roots in California.

Baroness Léni Fé Bland

Mr. Stephen McHugh

Mr. & Mrs. Stephen Hahn

Mr. Spencer Nilson & Ms. Margaret Moore

Mrs. Richard H. Hellman Mr. Brenton Horner Mr. & Mrs. Richard Janssen Mr. & Mrs. Donald Kosterka

Mssrs. Ralph Quackenbush & Robert Winkler The Viscount & Lady Ridley-Tree

Mr. & Mrs. Jordan Laby

Dr. & Mrs. Jack Sheen

Miss Dora Anne Little

Mrs. Jeanne Thayer

Mr. & Mrs. Jon Lovelace

Mr. Michael Towbes

Mr. & Mrs. Eli Luria

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Ms. Deanna McHugh

Anonymous

Cecilia & Frank Bellinghiere Congratulate Camerata Pacifica on the 2011/12 2013/14 Season

VOLUNTEERS Volunteers are an indispensible part of our organization. We have had a variety of services and talents given to us during the past year, from ushering to editing, proofreading and translation, consultation, mailings, poster distribution, audience development, piano page turning, general office assistance, photography and more! We remain extremely grateful for the following volunteers and their ongoing contributions:

Barbara Alderson

Julie Henry

Sharon Sanborn

Robert Binnie

Allan & Lorraine Hoff

William Schrack

Doris W. Blethrow

Hildy Hoffmann

Erik Siering & Ms. Ann Kramer

Evelyn Burge

Judith Kopf

Erika Smith

Donna Burger

Vladimir Kovalik

Pat Spence

Inez Christensen

Ingrid Lindgren

Marcella E. Tuttle

Claudia Elmes & Mr. Steve Shulkin

Pat Malone

Katherine Butts Warwick

Albert Gonzalez

Dick Malott

Susie Williams

Jennifer Gray

Bill & Lynn Meschan

Ditte Wolff & Mr. Robert Yaris

Debbie Gross & Sam Levy

Dennis & Carolyn Naiman

Mary Wolthausen

Janice Hamilton

Kathy & Chris Neely

& at

MAW Hahn Hall