Camerata Pacifica 2014-15 season program by Camerata Pacifica

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H O RN E R & ASS OC IATE S

ATTORNEYS AT LAW welcome the matchless beauty of another Camerata Pacifica season!

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 Judith Farrar Sharon Harroun Peirce Brenton Horner David Robertson Adrian Spence Sandra Tillisch-Svoboda

CAMERATA PACIFICA STAFF Adrian Spence, Artistic Director

Donna Jean Liss, Director of Operations

Jenni Guerin, 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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Welcome to Camerata Pacifica’s 25th season of concerts

a milestone fittingly dedicated to the memory of our close friend and founding board member William A. Stewart. Bill was one of my best friends and many laughter-filled hours were spent in his company. He was smart, he was exciting, he was a bit of a rogue and he got into more trouble than I did! Bill had a profound impact upon my life personally, and it is not an exaggeration to say Camerata Pacifica would not have reached our 25th anniversary, or indeed our 2nd, were it not for his very active participation in our early days. Said one of our current Board members, “He was one of Camerata’s greatest boosters. In fact, to some of us... down right legendary.” I sum up Bill’s life as one grand, smiling embrace — of his family, his friends and of life itself. I miss my friend. As important as Bill was to the Camerata, he is but one of a veritable legion of friends who have brought this little ensemble to its silver anniversary. I cannot begin to acknowledge everyone who has contributed to our music-making. Two and a half decades of board members, staff members, musicians, donors, volunteers and audiences. Two and a half decades in which I’ve been privileged to enjoy the company of a collection of remarkable individuals. Two and a half rewarding decades of moving, thought-provoking, challenging and laughout-loud fun concerts. If this evening is your first experience with us I’m sure you’ll discern the Camerata difference. Ours is an audience, no more than that, ours is a community that leans in and truly engages with this music and these musicians. When I travel and experience other concert audiences I’m always happy to return home, for here I see an audience more involved intellectually and emotionally than any other I have encountered. To those of you who have been with us from the days of The Bach Camerata, to those of you who heard your first notes from us this evening — thank you. Together we are part of the living, dynamic entity that is classical music in the 21st century. Together we are stewards of this priceless library of human expression. Aaron Copland wrote, “Music can only be really alive when there are listeners who are really alive. To listen intently, to listen consciously, to listen with one’s whole intelligence is the least we can do in the furtherance of an art that is one of the glories of mankind.” You are the embodiment of Copland’s words. Thank you very much for being Camerata Pacifica.

Yours truly,

Adrian Spence Founder & Artistic Director Dr. William A. Stewart, (1918 - 2014), Colonel, U.S.A.F. ret. Camerata Pacifica Board President, Lifetime Member

CAMERATA INTERACTIVE Camerata Pacifica has a significant digital presence, offering many resources to our audience members. A fun way to stay in touch is to “like” our Facebook page — there we post regular updates, stories and photographs. We also have a Twitter account [@CameratSB] and an Instagram account [@cameratapacifica] which lets you post photographs [#cameratapacifica] and comments. Camerata Pacifica maintains an audio and a video library online. With over 300,000 visits, people around the world are enjoying these resources. Videos of live performances of the following pieces are available at: http://www.youtube.com/user/cameratapacifica

CLICK PLAY

• Auerbach, 24 Preludes for Cello and Piano, Op. 47, F Major and D Minor Preludes • Bach Fugue from BWV 1001 arr. for marimba from Speakeasy with Ji Hye Jung • Bax, Quintet for Oboe and Strings • Beethoven, String Trio, Op. 9, No. 3, movt. 2 • Beethoven, Clarinet Trio in B-Flat Major, Op. 11 • Beethoven, Quintet for Piano and Winds, Op. 16, movt. 2 • Beethoven, Violin Sonata in G Major, Op. 96, movt. 1 • Bennett, After Syrinx II • Brahms, Clarinet Quintet, Op. 115, Adagio • Brahms, A Major Piano Quartet, Op. 26, Finale • Brahms, Piano Trio in B Major, Op. 8, movts. 3 & 4 • Brahms, String Quintet, Op. 111, 1st movement • Caplet, Conte Fantastique • Clarke, Viola Sonata, movt. 1 • Debussy, Violin Sonata • Debussy, Syrinx; Xenakis, Dmaathen; Bennett, After Syrinx II; Takemitsu, Towards the Sea; Bennett, Tango After Syrinx • Dring, Trio for Flute, Oboe, and Piano, movt. 1 • d’Rivera, Bandoneon • Ginastera, Sonata Para Piano No. 1, Op. 22 • Golijov, Mariel • Haas, Suite for Oboe and Piano, Op. 17 • Harbison, Songs America Loves to Sing • Harbison, Wind Quintet, movts. 2 & 3 • Haydn, G Major Trio, movt. 1 • Howells, Oboe Sonata

• Huang Ruo, To the Four Corners • Janáček, Violin Sonata, movt. 2 • Liszt, Transcendental Etudes, No. 11 in D-Flat Major, “Harmonies du soir,” and No. 12 in B-Flat Minor, “Chasse-neige” • Loeffler, Rhapsody, “L’Étang” • Messiaen, Appel Interstellaire • Mozart, Violin Sonata in A, K. 526, movt. 2 • Mozart, Divertimento in E-Flat Major, K. 563, movts. 2 & 4 • Mozart, Adagio for Cor Anglais and Strings, K. 580a • Novacek, Four Rags for Two Jons • Reich, Sextet • Reinecke, Flute Sonata, “Undine” • Rubinstein, Sonata for Viola and Piano, Op. 49, movt. 2 • Schubert, Divertimento D. 823 for Piano 4 Hands • Sheng, Hot Pepper • Turina, Piano Quartet in A Minor, Op. 67 • Wiegold, “Earth, Receive an Honoured Guest” • Wilson, Spilliaert’s Beach • Wilson, Dreamgarden • Wolfgang, Vine Street Express • Zemlinsky, Lied for Cello and Piano Audio recordings of live performances of the following pieces are available at: http://www.instantencore.com/cameratapacifica • Auerbach, Prayer for English Horn • Auerbach, 24 Preludes for Cello and Piano • Bach, Sonata for Flute and Harpsichord in A Major, BWV 1032 • Beethoven, Quintet for Piano, Oboe, Clarinet, Bassoon, and Horn in E-Flat Major, Op. 16 • Beethoven, Sonata for Violin and Piano No. 10 in G Major, Op. 96 • Brahms, Quintet for Piano and Strings in F Minor, Op. 34, movt. 3 • Chopin, Sonata for Cello and Piano in G Minor, B. 160 / Op. 65 • Debussy, Danse sacrée et danse profane • Debussy, Premiere Rhapsodie for Clarinet and Piano • Debussy, Sonata for Violin and Piano in G Minor • Grieg, Sonata for Cello and Piano in A Minor, Op. 36 • Harbison, Quintet for Piano and Strings • Haydn, Divertimento in G Major, H. 4, No. 9 • Huang Ruo, To the Four Corners • Klughardt, Schilflieder, Op. 28 • Liszt, Transcendental Etudes for Piano, S. 139, Nos. 4 & 5 • Loeffler, Rhapsodies for Oboe, Viola, and Piano • Mendelssohn, Trio for Piano and Strings No. 1 in D Minor, Op. 49 • Mozart, Duo for Violin and Viola No. 1 in G Major, K. 423 • Mozart, Adagio for English Horn and Strings in C Major, K. Anh. 94 (580a) • Piazolla, Oblivion • Piazzolla, Las Cuatro Estaciones Porteñas • Psathas: One Study • Rheinberger, Nonet, Op. 139 • Rubinstein, Sonata for Viola and Piano, Op. 49, Andante • Schumann, Quartet for Piano and Strings in E-Flat Major, Op. 47 • Shostakovich, Quintet for Piano and Strings in G Minor, Op. 57 • Turina, Quartet for Piano and Strings in A Minor, Op. 67 • Villa-Lobos, Capriccio, Op. 49 • Wilson, Concerto for Violin and Chamber Ensemble, “Messenger” • Wolfgang, Vine Street Express

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W. A. Mozart (1756-1791)

Flute Quartet No. 1 in D Major, K. 285 I. Allegro

II. Adagio III. Rondeau: Allegro

15’00”

Santa Barbara

Adrian Spence, flute; Movses Pogossian, violin; Richard Yongjae O’Neill, viola; Raman Ramakrishnan, cello

John Harbison (b. 1938)

String Trio — World Premiere 30’00”

This string trio was commissioned for Camerata Pacifica by: Peter & Linda Beuret, Bob Klein & Lynne Cantlay - in memory of Michael Benjamin Klein, Roger & Nancy Davidson, Stanley & Judith Farrar, John & Susan Keats Ann Hoagland - in memory of her husband Stephen C. Hoagland, Jordan & Sandra Laby, Alejandro Planchart - in memory of Milton Babbitt. ENCINA INN & SUITES Tucked away on a quiet

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45’00”

II. Andante con moto III. Scherzando. Allegro moderato IV. Allegro moderato

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Movses Pogossian; Ani Aznavoorian, cello; Warren Jones, The Robert & Mercedes Eichholz Chair in 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.

SEPTEMBER NOTES W. A. Mozart Flute Quartet in D Major, K. 285 Although he wrote wonderfully for the flute, Mozart was at best ambivalent about the instrument. A quote attributed to him (perhaps falsely) suggests an actual dislike: “What’s worse than a flute? Two flutes!” And yet, Mozart’s orchestral flute writing is always elegant, and his concerto for flute and harp remains an audience favorite. In 1778, Mozart was in Mannheim, part of a European tour he undertook with his mother, in search of permanent employment. While he did not find the kind of post he sought, Mozart did meet a man named Ferdinand DeJean, a physician with the Dutch East India Company, who was also an amateur flutist. DeJean was impressed by Mozart’s music, and gave him a substantial commission: three flute concertos and two flute quartets. Unfortunately for flutists and flute-lovers, Mozart did not fulfill the commission, but he did produce this Flute Quartet, K. 285. The piece has something of a concerto character, in that the flute is undeniably a solo instrument; it doesn’t take the same kind of ensemble role as a first violin in a string quartet. The first movement is in sonata form, with an especially exuberant recapitulation; the second movement is a long melodic exploration over the strings’ pizzicati. From there, the piece transitions without pause – or even much warning - into the third movement, an energetic rondo in which the strings have a more prominent role, engaging in dialogues with the flute and with each other.

John Harbison String Trio 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, the Mozart of world soccer, Lionel Messi. This is all I can reveal of the piece at this point, but even the construction of this program notes spell confidence that finally at this point I will make friends with this dragon. — April 2012 Continuing this note over a year later, now with a completed piece, I am very happy that Adrian Spence asked me to write a String Trio for the wonderful players of Camerata Pacifica. To the performers, sponsors, and staff members—thanks. As you have read in the proto-note Adrian asked me to write the when the piece was barely a gleam eye, I was waiting for the chance. Isn’t there always a bit of sadness, though, when a long-anticipated project ends? All my pieces are short of my fondest dreams for them (this one less than most). Can it ever be truly what it was, glowing in the mind’s eye, at age fifteen? The original fictional note is amazingly close to what I might say now about the piece. I would only add a few remarks about the once and future king of the String Trio repertoire, Mozart’s Divertimento K 563 (563 Franklin St. was my address from 1967 to 1985). Mozart’s piece hides under its title, but we are not fooled: it is one of his most ambitious and comprehensive pieces. It contains stretches of great learnedness and patches of casual geniality. It re-examines the “highest” symphonic structures and the “lowest” popular dances. Rather than mask the difficulty, the leanness of the texture, Mozart disdains orchestral effects; he writes few multiple stops, exults in the sufficiency of two or three

voices. The players find their parts pleasurable, grateful, demanding and unforgiving. Virtuosity happens, it is never obligatory. When I mentioned to some friends that I had written a String Trio, they said, “Does it have too many movements, like the Mozart?” Irreverence is the only defense, as we look with an eye both jaundiced and bewitched at the wonders of Ozymandias. John Harbison

Franz Schubert Piano Trio No. 2 in E-Flat Major, D. 929 In the last year of Schubert’s short life, he produced some of his most expansive and profound works, including the “Trout” quintet, three astonishing piano sonatas, a symphony, and two piano trios. The second of these, in E-flat major, is typical of most of Schubert’s very late works in its depth and breadth. Schubert himself held this work in great regard, placing it on a program of works performed in 1828 to mark the first anniversary of Beethoven’s death. The E-flat trio is often considered alongside Beethoven’s “Archduke” trio to form the core, and the height, of the piano trio repertoire. Of Schubert’s two piano trios, composer Robert Schumann wrote, “One glance at them – and the troubles of our human existence disappear…” The first movement is in sonata form, and Schubert puts multiple themes into play, and brings them all to elegant resolution in the movement’s coda. The second movement opens with a funeral march in the piano, underneath a sober and lyrical melody in the cello. Shortly after the opening, the movement shifts unexpectedly to a major key, with even more lyricism from the strings over running triplets in the piano. The tension between the intensity of the funeral march and lyricism of the melody is the structural undercurrent of the whole movement, which flows between extremes throughout. Written in the piece’s closely related key of C minor, the movement evokes the great funeral march of Beethoven’s “Eroica” Symphony (No. 3 in E-flat major), in the same key. The Scherzo opens with a canon: the piano and strings play identical phrases, with the strings two beats behind. This device comes backs throughout the movement, which is built of repeated phrases, with a middle section (Trio) that emphasizes its dance-like qualities, with heavy (almost heavy-handed) accents on the downbeats, and an evocative reference to one of the first movement’s themes. The final movement is thematically rich, combining rondo and sonata forms to work on listeners’ memories (with themes that return repeatedly), and tying back to previous movements, especially the second with the sudden appearance of the melody from the funeral march. Schubert also makes use of variation, embellishing basic material while leaving it recognizable. In the end, the march melody – once so very somber – is transformed into a major key, as though the piece itself is making a statement of triumph over its own association with death and loss.

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J. S. Bach (arr. Kibbey) (1685-1750)

Toccata and Fugue in D Minor, BWV 565

9’00”

* Benjamin Britten (1913-1976)

Lachrymae: Reflections on a song of Dowland, Op. 48 I. Lento

II. Allegretto molto comodo III. Animato IV. Tranquillo V. Allegro con moto VI. Largamente

Richard Yongjae O’Neill, viola; Bridget Kibbey

* Kati Agócs (b. 1975)

Northern Lights

Ian Wilson (b. 1964)

Three Songs of Home—World Premiere 11’00” A gift from the composer to celebrate Camerata Pacifica’s 25th season

I. stillness; melancholy; leaving II. something ancient; mists; communion III. a short period of sadness; passion IV. the wind heading towards the end of the habitable world V. on still nights I hear the songs my grandmother sang

Bridget Kibbey, harp

15’00”

VII. Appassionato VIII. Alla valse moderato IX. Allegro Marcia X. Alternative Part XI. L’istesso tempo

11’00”

Bridget Kibbey

Adrian Spence, flute; Richard Yongjae O’Neill; Bridget Kibbey

INTERMISSION * J. S. Bach (1685-1750)

Trio Sonata in G Major, BWV 525 I. Allegro Moderato

II. Adagio III. Allegro Adrian Spence, Bridget Kibbey

13’00”

* Paquito D’Rivera (b. 1948)

Bandoneon

6’00”

David Bruce (b. 1970)

Caja de Musica Movement I

Movement II

* David Bruce (b. 1970)

The Eye of Night Movement I

Movement II Movement III Movement IV

15’00”

Bridget Kibbey

16’00”

Adrian Spence; Richard Yongjae O’Neill; Bridget Kibbey

José Benito Barros (1915-2007)

El Pescador

5’00” Bridget Kibbey

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OCTOBER NOTES This program draws not only from new and old music to take advantage of the unusual combination of flute, viola, and harp, but from an older style of concert presentation, in which arrangements, standard repertoire, and new works were all presented together. Of this program’s eclecticism, harpist Bridget Kibbey writes, “The one thing pooling all of these pieces under the same umbrella: audiences will leave having encountered the various sides, facets, and personality the harp can achieve…This program will unlock its expressive potential in works taking their point of departure from South American folk music (Bruce, D’Rivera, Barros), to baroque, to modern coloristic exploration (Agócs, Wilson, Britten).“

J. S. Bach Toccata and Fugue in D Minor, BWV 565 Bach’s Toccata and Fugue in D minor is probably one of the most familiar works in the organ repertory. Its use in the film Phantom of the Opera has ensured its continued association in popular culture with suspense; something its intensity and powerful chords do nothing to diminish. Bridget made the arrangement for solo harp on this program, meaning the harp will have to do some things more easily achieved by the organ — sustaining the tension of the relatively free opening (a series of flourishes and chords); the incredibly complex counterpoint of the fugue; and, coming out of that intense virtuosity, contending with the long chords at the end of the piece, without the benefit of the organ’s sustain or volume.

Benjamin Britten Lachrymae: Reflections on a Song of John Dowland This work takes a theme from one of Dowland’s (1563-1624) lute songs as the basis for a set of ten variations. These variations explore Dowland’s sophisticated harmonies, and also quote another of his well-known pieces, “Flow My Tears,” in keeping with the piece’s title. Written for the great American violist William Primrose, who premiered it in 1950, the piece was originally for viola and piano; Britten made an arrangement of it in the 1970s for viola and string orchestra. This version, for viola and harp, would likely not have occurred to Britten, although he seems to have had some affinity for the harp — he made a number of song arrangements that prominently featured that instrument.

Kati Agócs Northern Lights Kati Agócs, a Canadian-American-Hungarian composer, has had her music performed by leading soloists and ensembles around the world, including the Boston Symphony, eighth blackbird, and Orchestra of St. Luke’s. Agócs’ piece, Northern Lights, was premiered by Bridget and written for her recent solo album. Agócs has been praised for writing “music of fluidity and austere beauty” (Boston Globe), a description that fits this piece, which is both reflective and highly virtuosic.

Ian Wilson Three Songs of Home Three Songs of Home is a work in five movements inspired by a number of poems by the Irish poet Tony Curtis. These poems are all from the collection 3 Songs of Home, hence the work’s title. Curtis’ texts are all inspired by the idea of travel — of leaving, discovering oneself in a new land and ultimately returning home. The new land for Curtis was Nepal and the area around the Himalayas and I have sought to capture the poems’ sense of exotic otherness and emotional displacement in the music. Three Songs of Home was written as a gift for Adrian Spence and Camerata Pacifica for the ensemble’s 25th anniversary season. Ian Wilson, August 2014

J. S. Bach Trio Sonata in G Major, BWV 525 Bach’s Trio Sonatas, BWV 525-530 were most likely pedagogical pieces for organ students. Although a traditional trio sonata is what it sounds like—a sonata for three voices—Bach altered the form to make these solo pieces, with two of the voices in separate organ manuals, and the third in the pedals. For this program, the piece is arranged for two voices, flute and harp, making the harp both a harmonic and melodic force, with the flute taking the upper register.

Paquito D’Rivera Bandoneon Paquito D’Rivera is a Cuban composer and saxophonist, best known for his work in Latin jazz. His piece Bandoneon refers to the instrument of the same name, a type of concertina (accordion) popular in Argentina and Uruguay, and a central instrument in most tango ensembles. “Bandoneon” was originally scored for piano and has been recorded by jazz ensemble, with a solo saxophone part performed by D’Rivera himself. This recent version is D’Rivera’s first project for classical harp, and was made for Bridget’s forthcoming solo album.

David Bruce Caja de Musica The Eye of Night The British-American composer David Bruce enjoys a growing reputation on both sides of the Atlantic. Of special interest to Southern California audiences, he is currently the Associate Composer at the San Diego Symphony. He often collaborates with musicians who work in both classical and folk/world music traditions, and is a close collaborator of Bridget Kibbey’s. Bruce writes: “Just a few hundred yards from my home in St Albans, there is the most extraordinary instrument museum. It is full of mechanical musical instruments of all shapes and sizes. Some are huge contraptions with a thousand hammers, saxophones and accordions squeezing and puffing away by themselves; others are smaller scale music boxes, with exquisite tinkling bells. I have always found something intriguing about the music a music box plays. It is true that it can have a slightly macabre quality—the ghostly, soullessness of machine-made music. But it also invariably has a charming, naïve simplicity. And it was this naivety that first came to mind when Bridget Kibbey asked me to write a piece for solo harp. My instinct was to embrace the harp’s sweetness rather than deny it, to write something that is unashamedly sweet. I had not long before come across the wonderful Joropo music from Venezuela, which is usually written for a trio of harp, Cuatro (a guitar-like instrument) and shakers, with the harp taking a central melodic role. I was immediately taken with the use of the harp as a raw, vibrant and above all, rhythmic instrument. I knew straight away that this was another aspect of the harp I would want to try to bring to the piece. ‘‘Caja de música’’—Spanish for ‘music box’—seemed an appropriate title, and the resulting piece, is a strange hybrid of these two totally unconnected traditions. There are strong hints of Joropo throughout— including a 3-beats-to-a-bar time signature at the start of the movements; but there is also something of that music box naivety here too. Though I instruct the performer to let any mechanical motions the music might have to take care of themselves, and to concentrate on making the dances as human as possible!    The Eye of Night is a series of four tender movements, each in their own way a kind of nocturne. The night and in particular the night sky has long held a fascination for me. We all know the awe-inspiring sight that awaits us if we are lucky enough to find ourselves away from the city lights in front of a cloudless night sky. I have been drawn to the image of the night sky as a giant eye looking down on us, unblinkingly. The image fascinates me because it captures the complexity of feelings one experiences when staring up into space—it is friendly, familiar and constant, whilst at the same time being overwhelming, dizzying and quietly terrifying. The first of the pieces has a dark atmosphere, that falls somewhere between sensual and plaintive. The melodic flute lines draw inspiration from the ornamental style of Indian bansuri flute playing. The second, very short movement has a sweeter atmosphere, showing a more tender and blissful side of night. The third, while still in a largely piano or pianissimo dynamic register is move active and flowing. The final piece is a lullaby, or ‘song without words’ inspired by William Blake’s Cradle Song where he imagines the ‘little sorrows’ and ‘quiet desires’ of a sleeping baby.

José Benito Barros El Pescador Alberto Barros is a Colombian composer, arranger, and trombonist, best known as a salsa musician. He has worked with some of the biggest names in salsa, including his years as a member of Los Titanes, and in Latin pop; he has arranged music for Marc Anthony, Ricky Martin, Gloria Trevi, and many more. El Pescador—a tribute to Colombian cumbia—is part of where Bridget says she “tends to feel most at home: dance music from Argentina, Venezuela, and Colombia.”

Camerata Pacifica, 1997. Left to Right: Donald McInnes, Steve Becknell, Emily Bernstein, Adrian Spence, John Walz, Roger Wilkie, Joanne Pearce Martin, Nico Abondolo, Josefina Vergara. Photo Gerry Melendez

Stay Connected to Camerata Pacifica’s Music: Audio and Video When You Want It THE CAMERATA PACIFICA MOBILE APP Download it today for FREE! For iPhone and Android. Other devices can access the mobile web player at http://cameratapacifica.instantencore.com/m

Congratulations to all of our supporters, including Camerata Pacifica. We have completed our pledge to Stanford Medical School for a million dollar endowment of the Jan Weimer Junior Faculty Chair for Teaching and Research in Breast Cancer Oncology.

We remember Jan, not only for her giving nature, her food expertise, but her intrepid spirit exploring the world from Europe on motorcycle, to the wilds of Peru.

NOVEMBER 2014 The Jan Weimer Memorial Concert

Sunday 9, 3 pm Tuesday 11, 8 pm Thursday 13, 8pm Friday 14, 1pm & 7:30 pm *Lunchtime program

* Franz Schubert (1797-1828)

Four Impromptus, D. 899

I. Impromptu No. 1 in C minor. II. Impromptu No. 2 in E-flat major. III. Impromptu No. 3 in G-flat major. IV. Impromptu No. 4 in A-flat major.

Ventura Pasadena Los Angeles Santa Barbara

28’00”

Michael McHale, piano

Edvard Grieg (1843-1907)

Violin Sonata No. 3 in C Minor, Op. 45

I. Allegro molto ed appassionato II. Allegretto espressivo alla Romanza III. Allegro animato

24’00”

Paul Huang, violin; Michael McHale

INTERMISSION * Antonin Dvorˇák (1841-1904)

Piano Trio No. 3 in F Minor, Op. 65

I. Allegro, ma non troppo II. Allegretto grazioso III. Poco adagio IV. Finale. Allegro con brio

42’00”

Paul Huang; Ani Aznavoorian, cello; Michael McHale

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 Franz Schubert Four Impromptus, D. 899 While the term “impromptu” doesn’t tell the listener much about the form or structure of a piece, it does suggest an improvisatory feel, as though the pianist has sat down and played them out of sheer, temporary inspiration. Schubert wrote two sets of these close together, and generally they would have been suitable for amateurs. The improvisatory idea contrasts with the pieces’ long-time place in the standard piano repertoire. Indeed, Schubert’s impetus for writing these pieces may have been his (or his publisher’s) awareness of the growing market for sheet music that would appeal to amateurs, members of the expanding middle class who were newly able to afford pianos in their homes. As a result, they were rapidly disseminated. The first Impromptu, in C minor, develops two closely related themes. The ominous opening — a forte pair of octaves — is followed by statements of the first theme, which become more harmonically elaborate with each iteration. The second theme, which shifts to major, opens with the same rhythm as the first, but the flowing triplets in the left hand give it a lyrical feel, in contrast to the more march-like opening. The second Impromptu, in E-flat major, opens lightly, with fast triplets running up and down the keyboard. These are complicated by increasing pressure from some of the chords beneath them, which provide the segue into the B section, in minor; the entire piece also makes a great deal of dynamic contrasts, creating dramatic tension with accents and sudden dynamic shifts. The third Impromptu is in G-flat major, and shows Schubert’s incredible lyricism — a series of long melodic phrases in the right hand, a constantly arpeggiated left hand. The last Impromptu, in A-flat major, begins with a dialogue between right and left hands — cascading descending lines in the upper register, simpler chordal responses in the left.

Edvard Grieg Violin Sonata No. 3 in C minor, Op. 45 During the 19th century, Edvard Grieg’s homeland of Norway was influenced by the spread of nationalist sentiment around Europe, with its idea that language, customs, and other traits were marks of “nations,” seen as naturally occurring entities whose existence should be legitimized by the formation of a state. It was as a result of this kind of nationalism that many European composers made their mark well into the 20th century, including Dvorˇ ák (Czech), Elgar (English), Sibelius (Finnish), and later Bartók (Hungarian). Musically, this often meant the use of folk materials (songs, dances, myths, etc.), and a biographical identification with the language and culture of the nation in question. It was as a Norwegian nationalist that Grieg became widely known, and his works from the mid-1860s on reflect this aesthetic. This violin sonata was his last chamber work (he was never prolific as a chamber music composer), and was written in 1886, in his truly mature period; as such, it is less “Norwegian” than some of his earlier work such as “Peer Gynt.” Large in scale, the piece shows the influence of a German aesthetic — Grieg spent a great deal of time in Leipzig — being carefully unified thematically, in keeping with the German emphasis on “organicism.” That the piece is in C minor, a key inextricably linked with Beethoven in the 19th century, is another connection to the German tradition. While the folk influence can be heard in the piece’s rhythmic constructions, it is probably because the piece is less nationalistic that it has such a firm place in the repertoire.

Antonin Dvorˇák Piano Trio No. 3 in F minor, Op. 65 Having just put Dvorˇ ák in the category of “nationalist” composers, this piece might seem an anomaly. Some of Dvorˇ ák’s most famous pieces are based in ideas about the incorporation of folk or folk-like materials to create the sense of an imagined common past. For Dvorˇ ák, this meant the music of Czech folk dances, and his Slavonic Dances, Three Slavonic Rhapsodies, and his String Quartet in E-flat major are just some of the works that come from this idea.

At the same time, Dvorˇ ák benefitted greatly from coming under Brahms’s patronage after winning the Austrian State Prize for composition in 1874. Thanks to Brahms, Simrock, Brahms’s publisher, took up Dvorˇ ák’s work; Simrock commissioned the Slavonic Dances partly in response to Brahms’s Hungarian Dances. After a decade of great success with the nationalist style, Dvorˇ ák began exploring other approaches, and seeking to become more “universal”— which in 19th century classical music, meant in fact becoming more German. This Piano Trio is a result of that effort, although Dvorˇ ák still provides a great deal of national musical idiom. The result is a large-scale work in which Dvorˇ ák’s enormous melodic gifts, as well as his skill in developing formal structures from small motives, served him well. The first movement is a substantial sonata form, dense, with an enormous range of dynamics and emotion. The Allegretto combines a march-like duple meter in the piano with the violin’s triplets, and evokes a Bohemian dance, with emphatic downbeats and elaborate cross-rhythms. The Adagio shows Dvorˇ ák’s gift for beautiful writing, as well as his harmonic sophistication. The final movement again draws from the Czech dance tradition, in a sonata-rondo form. The career-making critic, Eduard Hanslick, who championed Dvorˇ ák, wrote this about the premiere in 1884: “The most valuable gem brought to us amid the plethora of concerts in recent weeks is undeniably Dvorˇ ák’s new Piano Trio in F minor. It demonstrates that the composer finds himself at the pinnacle of his career. If we disregard the smaller genres, it is particularly the Symphony in D major, the string sextet, and now the Trio in F minor which rank Dvorˇ ák among the world’s greatest modern masters.”

Restored Victorian Elegance on Pasadena’s Historic Millionaire’s Row The Bissell House Bed and Breakfast is a uniquely charming, 1887 three story transitional Victorian, with craftsman style influence, elegantly situated in an upscale residential neighborhood located in lovely, historic South Pasadena, California only twelve minutes or six metro stops from downtown Los Angeles. The Rose Bowl, Old Town Pasadena, Norton Simon Museum, Gamble House, Fenyes Mansion, and Huntington Library and Gardens, are all within a short distance walk, bike or ride. 201 Orange Grove Avenue • South Pasadena, California 91030 tel 626 441 3535 • email: bissellhouseinn@gmail.com • www.bissellhouse.com

JANUARY 2015 Sponsored By

Sunday 11, 3pm Tuesday 13, 8 pm Thursday 15, 8 pm Friday 16, 1 pm & 7:30 pm *Lunchtime program

Elliott Carter (1908-2012)

Trilogy

I. Bariolage II. Inner Song III. Immer Neu

Ventura Pasadena Los Angeles Santa Barbara

19’00”

Nicholas Daniel, oboe; Bridget Kibbey, harp

Huang Ruo (b. 1976)

In Other Words for Vocalized Violist & Chamber Ensemble

30’00”

Commissioned by Frank and Ann Everts in celebration of their 50th Wedding Anniversary Richard Yongjae O’Neill and Camerata Pacifica. Restored Victorian Elegancefor on Pasadena’s Historic Millionaire’s Row Premiered September 20,with 2012, Los Angeles. The Bissell House Bed and Breakfast is a uniquely charming, 1887 three story transitional Victorian, craftsman style influence, elegantly situated in an upscale residential neighborhood located in lovely, historic

Pasadena, California only twelve minutesviola; or six metroAdrian stops from downtown Los Angeles. The Rose Bowl, RichardSouth Yongjae O’Neill, solo Spence, flute; Nicholas Daniel; Jose Franch-Ballester, clarinet; Old Town Pasadena, Norton Simon Museum, Gamble House, Fenyes Mansion, and Huntington Library and Paul Huang & Agnes Gottschewski, violins; Ani Aznavoorian, cello; Gardens, are all within a short distance walk, bike or ride. Tim Eckert, double bass; Ji Hye Jung, percussion 201 Orange Grove Avenue • South Pasadena, California 91030 tel 626 441 3535 • email: bissellhouseinn@gmail.com • www.bissellhouse.com

INTERMISSION * Camille Saint-Saëns (1835-1921)

Fantaisie for Violin and Harp in A Major, Op. 124

13’00”

Paul Huang; Bridget Kibbey

* Bright Sheng (b. 1955)

Hot Pepper

10’00”

Commissioned by Bob Peirce as a birthday celebration for his wife, Sharon Harroun Peirce for Catherine Leonard and Ji Hye Jung. Premiered September 10, 2010, Santa Barbara. Paul Huang; Ji Hye Jung

* Kevin Puts (b. 1972)

And Legions Will Rise

16’00”

Jose Franch-Ballester; Paul Huang; 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.

Camerata Pacifica; Jose Franch Ballester’s Spain may 23 – june 6, 2016

Barcelona, Valencia, La Rioja & Madrid with Jose and his wife Cristina Enguídanos Campos

$6,900 per person, (airfare not included) For a detailed itinerary call 805 884 8410

JANUARY NOTES Elliot Carter Trilogy The American composer Elliot Carter was born in New York in 1908, and became interested in modern music as a teenager. He studied the humanities at Harvard, while honing his skills at the piano and oboe, before departing for France and a three-year course of study with the great pedagogue, Nadia Boulanger. Over the course of a career that lasted from the 1920s until Carter’s death in 2012, he experimented with multiple aesthetics, developing new rhythmic systems, and pursuing in-depth studies of individual instruments (he wrote a famous set of works for solo timpani). Prolific until the end, Carter wrote around 25 new pieces in the four years between his 100th birthday and his death. His very late works often engage modern American writers, including William Carlos Williams, Ezra Pound, and Marianna Moore. Never truly affiliated with a school of composition, Carter’s was a unique American voice, blending — as had been his goal from the beginning — some of European modernism’s innovations and experiments with an American experimental sensibility, always influenced by the rigor of his training in counterpoint and harmony. Carter wrote: “My Trilogy for oboe and harp, composed for those great performers and dear friends, Ursula and Heinz Holliger, has as its motto the last two stanzas of Rainer Maria Rilke’s Sonette an Orpheus, II. 10. Aber noch ist uns das Dasein verzaubert; an hundert Stellen ist es noch Ursprung. Ein Spielen von reinen Kräften, die keener berührt, der nicht kniet und bewundert. Worte gehen noch zart am Unsäglichen aus… Und die Musik, immer neu, aus den bebendsten Steinen, baut im unbrauchbaren Raum ihr vergöttliches Haus. But existence is still enchanting for us; in hundreds of places it is still pristine, A play of pure forces, which no one can touch without kneeling and adoring. Words still peter out into what cannot be expressed… And music, ever new, builds out of the most tremulous stones her divinely consecrated house in unexploitable space. Each of the three sections of Trilogy was written for a special occasion. BARIOLAGE (which has the motto: Ein Spielen von reinen Kräften) is a harp solo written for a festival of my music given in Geneva in March, 1992, for Ursula Holliger to play. INNER SONG (which has the motto: Worte gehen noch zart am Unsäglichen aus…) was written for a festival of Stefan Wolpe’s music in Witten, Germany, in April, 1992, for Heinz Holliger to perform. IMMER NEU (whose motto is: die Musik, immer neu) is dedicated to Ursula and Heinz Holliger and provides a duet for them.”

Huang Ruo In Other Words In Other Words: Concerto for Viola and Chamber Orchestra is written as a drama theater and is part of a series of works that I created over the years that require musicians to not only play their instruments but also to vocalize and act. These drama theaters can also integrate with other art forms such as dance, staged acting, puppetry, and multi-media.

In Other Words is not a typical viola concerto, as its soloist must vocalize the drama while playing the viola. The title contains a double meaning: 1) a different way of interpretation and 2) in another language. Both meanings are embedded in the entire work, with the soloist singing and chanting in a newly created language that no one has heard or spoken before. This kind of drama gives each performer and audience member unlimited freedom to imagine and create their own plot and drama according to what they hear, see, and experience. In Other Words is like a mirror— people see their own image in front of it. In Other Words has three parts. Each part requires a different formation of the musicians, although the soloist remains at the center stage position throughout the entire piece. In the first part, the orchestra should be placed along the three sides of the stage, surrounding the soloist at center stage. In the second part, the orchestra should be placed closer to the soloist, forming a semi-circle. In the third part, the orchestra should be placed in random positions among the audience, leaving the soloist and the percussionist alone on stage. The entire orchestra, except the cellist, should be in a standing position throughout the entire piece. In Other Words: Concerto for Viola and Chamber Orchestra is written for violist Richard Yongjae O’Neill and was commissioned by Camerata Pacifica. It is approximately 25 minutes in length and is scored for solo viola and a chamber orchestra of flute, oboe, clarinet, percussion, violin I, violin II, viola, cello, and contrabass. – Huang Ruo

Camille Saint-Saëns Fantaisie for Violin and Harp in A Major, Op. 124 While French composer Camille Saint-Saëns wrote music ranging from symphonies to incidental music, he remains best known for his interpretations of the basic German genres of the 19th century: sonatas, concertos, symphonies, and assorted chamber works. His style was varied; he could write heavy music that evoked Brahms or Schumann, but he could also write pieces like the Fantaisie, whose relatively spare texture, rhythmic repetitions, and lyricism do not suggest much of a German influence at all. Indeed, Saint-Saëns was also concerned with recovering the repertoire of 17th century France, and he made editions of composers’ works including Lullly and Charpentier. A formidable composer for the piano, Saint-Saëns also developed an affinity for the harp; this Fantaisie is predated by one for harp alone. The harp’s thinner texture (by comparison with the piano) was appealing to Saint-Saëns, and this piece is almost “transparent” throughout— that is, without the dense sonorities so often associated with late 19th or early 20th century music. The piece is in four distinct sections (not movements). The violin generally takes a traditional lyrical, soloistic role, although this division of musical labor is sometimes reversed; the harp, meanwhile, takes wears multiple hats, sometimes leading, sometimes acting pianistically, and, as in the opening, sometimes setting a languid, dream-like tone.

Bright Sheng Hot Pepper Chinese-American composer Bright Sheng has found inspiration from many sources. One of the richest of these has been the culture and history of his native China. Hot Pepper, a work for violin and marimba is based on a folk song that originated in China’s Si Chuan province. The name of the province has been transliterated in English as Szechuan, and many people know the name as the representation of a cuisine that values flavor and, more importantly, spice. Sheng has had plenty of experience writing for the marimba and used his expertise in creating this piece for Camerata Pacifica in 2010. There are two movements in Hot Pepper. The first one is delicate and intricate, with the violin playing glissandi and pizzicati over the marimba’s deliberate rhythms. The extended middle section is more lyrical, flowing marimba patterns in dialogue with a sweet violin melody, before returning to material that evokes the opening. The second movement begins with a powerful statement from the violin, played in double-stops (chords), and an equally powerful moto perpetuo in the marimba. The instruments alternate between rapid passages and more chordal, forceful gestures, with hints of the first movement’s sweetness (and glissandi, now in the marimba) throughout. Reviews of the piece have described the interaction of the two instruments as “East meets West,” an apt description of many of Sheng’s works.

Kevin Puts And Legions Will Rise Kevin Puts won the Pulitzer Prize in composition in 2012 for his opera, Silent Night. Well known as a composer of chamber and orchestral works, Puts has worked closely with the Miro Quartet, the Pittsburgh New Music Ensemble, and marimbist Nakoto Makura, for whom this piece was written. In Southern California, some listeners may recall the piano concerto Puts wrote for the Los Angeles Chamber Orchestra, where pianist and conductor Jeffrey Kahane premiered it in 2008. And Legions Will Rise, variously lyrical, virtuosic, or both was written in the summer of 2001. Given the composer’s words about his inspiration for the piece, its date becomes all the more relevant in the face of what followed shortly after. Puts writes: “… And Legions Will Rise is about the power in all of us to transcend during times of tragedy and personal crisis. While I was writing it, I kept imagining one of those war scenes in blockbuster films, with masses of troops made ready before a great battle. I think we have forces like this inside of us, ready to do battle when we are at our lowest moments. The piece was written at the request of Makoto Nakura and commissioned by the Kobe Shinbun. It was premiered in October 2001 at Matsukata Hall, Kobe, Japan by Mr. Nakura, Yayoi Toda (violin), and Todd Palmer (clarinet).”

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FEBRUARY 2015 Sponsored By

Tuesday 3, 8 pm Thursday 5, 8 pm Friday 6, 1 pm & 7:30 pm Sunday 8, 3 pm *Lunchtime program

Pasadena Los Angeles Santa Barbara Ventura

Benjamin Britten (1913-1976)

Six Metamorphoses after Ovid, Op. 49 I. Pan

II. Phaeton III. Niobe IV. Bacchus V. Narcissus VI. Arethusa

14’00”

Nicholas Daniel, oboe

Paul Hindemith (1895-1963)

Viola Sonata in F Major, Op. 11, No. 4 I. Fantaisie

II. Thema und variationen III. Finale (mit variationen)

17’00”

Richard Yongjae O’Neill, viola; Warren Jones, The Robert & Mercedes Eichholz Chair in Piano

* Charles Martin Loeffler (1861-1935)

Two Rhapsodies for Viola, Oboe, and Piano I. L’étang

II. La cornemuse

22’00”

Nicholas Daniel; Richard Yongjae O’Neill; Warren Jones

INTERMISSION * Robert Schumann (1810-1856)

Piano Quartet in E-Flat Major, Op. 47 I. Sostenuto assai – Allegro ma non troppo

II. Scherzo, Molto vivace III. Andante cantabile IV. Finale. Vivace

29’00”

Arnaud Sussmann, violin; Richard Yongjae O’Neill; Ani Aznavoorian, cello; 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.

FEBRUARY NOTES Benjamin Britten Six Metamorphoses after Ovid, Op. 49 In 1951, the English composer Benjamin Britten was immersed in writing his opera Billy Budd, commissioned for that year’s Festival of Britain. His librettist was the highly regarded writer E. M. Forster, and the opera represented a new direction for Britten, in which he explored moral ambiguities in musical terms. Billy Budd was a consuming project with the result; understandably, he had very little time to spend on smaller works and produced only a handful of instrumental pieces during this time. Two of them were for specific instrumentalists: the Lachrymae, for viola and piano, written for William Primrose; and the Six Metamorphoses after Ovid, for oboist Joy Boughton. The Metamorphoses were not Britten’s first big piece for oboe, but more than a decade separates them from his earlier Temporal Variations. Each movement— each metamorphosis — is based on a character from Roman myth, and the score includes an epitaph for each: Pan, who played upon the reed pipe which was Syrinx, his beloved. Phaeton, who rode upon the chariot of the sun for one day and was hurled into the river Padus by a thunderbolt. Niobe, who, lamenting the death of her fourteen children, was turned into a mountain. Bacchus, at whose feast is heard the noise of gaggling women’s tattling tongues and shouting out of boys. Narcissus, who fell in love with his own image and became a flower. Arethusa, who, flying from the love of Alpheus the river god, was turned into a fountain.

Paul Hindemith Viola Sonata in F Major, Op. 11, No. 4 The German composer Paul Hindemith belongs to the tradition of composer-virtuoso, a category that more often includes pianists (Franz Liszt) or violinists (Nicolò Paganini) than violists. Like many violists, Hindemith was first trained as a violinist, and joined the Frankfurt Opera on that instrument in 1914. At the opera, he made made the acquaintance of many esteemed conductors, including Wilhelm Furtwängler and Hermann Scherchen, some of whom would later promote Hindemith as a composer. After World War I, during which he served in his regiment’s band as a bass drummer, Hindemith rejoined the orchestra, this time as a violist, at his request. It was shortly after the war, in 1919, that he wrote this piece, one of six sonatas in the opus 11, including one for viola alone. In addition to the opus 11 pieces, Hindemith wrote multiple other works for the instrument; this one is probably the one most frequently performed. The short first movement, Fantasie, demonstrates Hindemith’s capacity for lyricism, which can surprise listeners who only know his much later work. Debussy’s influence is apparent throughout this piece, in both the rhythms and the harmonic movements; the first movement moves through at least eight different keys. The instructions for the second movement read “simple and quiet, like a folk song,” and the movement is in mixed meter: 2/4 + 3/4. It is a set of variations on a theme, presented by the viola and then taken up by the piano. The Finale is also a theme and variations, with a folk-like theme that recurs multiple times. This piece helped launch Hindemith’s career, as it caught the interest of music publisher B. Schott, which continued to represent him for the rest of his career.

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Charles Loeffler Two Rhapsodies The composer Charles Loeffler began his musical life as a violinist, and studied in Berlin from 1874 to 1877 before moving to Paris to play in several orchestras. He settled in the U.S. following his first trip there in 1881, and became assistant concertmaster of the Boston Symphony, where he remained for 21 years, and where many of his works were premiered. He was also an enormously popular soloist with the BSO. Two Rhapsodies is based on poems by Maurice Rollinet. Rollinet, a rather minor French poet, is best known for his weekly participation at the Parisian café, Le Chat Noir. The poems are L’Etang, The Pond, and La Cornemuse, the bagpipe. Both poems were published in Rollinet’s collection, Les Nevroses, which was inspired by Baudelaire, and by the literary movement Symbolism, which alluded to mystical ideas using suggestion and resisted the dominant rationality of 19th century French culture. Loeffler picks up this Symbolist tendency in these pieces for the unusual combination of viola, oboe, and piano. Although many of his pieces had programmatic titles, he avoided explicit storytelling through music (unlike, for example, the tone poems of Strauss or Liszt), instead evoking location and atmosphere by musical means. Listeners will hear frogs croaking in “The Pond,” but while the poem is concerned with dark themes of death and stagnation, the impression is often light and cheerful, with water-like effects and rippling motives that explore the sonorities of the instruments. The poem “The Bagpipe” refers to “these sounds of flute and oboe,” (from the poem) while Loeffler imitates the sound of bagpipes by having the viola provide a drone for the oboe, blending all the instruments in unexpected ways.

Winter Roses, World Premiere 2004. Left to Right: Sarah Thornblade, Donald McInnes, Vicki Ray, Tim Eckert, Agnes Gottschewski, John Steinmetz, Leslie Reed, Alan Stepansky, Frederica von Stade, Jake Heggie, Jose Franch Ballester, Steve Becknell, Adrian Spence

Robert Schumann Piano Quartet in E-flat Major, Op. 47 Robert Schumann wrote in all of the major musical genres of his time, including the symphony, multiple chamber music forms, solo piano, and the Lied, or art song. Schumann’s oeuvre reveals a tendency to work intensively in one genre at a time. The Grove Dictionary of Music and Musicians says, “Although there is no evidence that Schumann made a conscious decision to pursue this course at a specific moment in his career, his orderly explorations probably answered to both artistic and psychological imperatives.” Perhaps going so deeply into one form at a time allowed Schumann to achieve symphonic scale in his chamber music, the intimacy of the Lied in his chamber music, and the collaborative quality of chamber music in some of his dramatic and church music. Whatever the reasons, the years 1842-1843 were largely devoted to chamber music. Schumann wrote three string quartets during this time, as well as the Piano Quintet in E-flat major, a companion piece to this Piano Quartet, also in E-flat major. Schumann had a great affinity for the piano; he had been an exceptionally gifted pianist before injuring his hand in 1834, and he was married to Clara Schumann, who was one of the greatest pianists in Europe. The first movement has a slow introduction, followed by a sonata form with two easily identifiable themes: the first is a four note motive (presented in the introduction as well), the second a quickly ascending scale and descending arpeggio. The Scherzo opens in G minor with a dramatic, even ominous unison passage. It is unusual in having two Trio sections (usually Scherzos are an A-B-A form; this one is A-B-A-C-A, since the Trios use different material). Anyone who has ever been on hold when phoning the Camerata Pacifica offices has heard part of this piece’s third movement, the beautiful Andante cantabile. Here Schumann’s experience as a Lied composer is put to work— cantabile means “songlike”— and the cello is given the chance to sing in the opening melody, which is eventually played by all three string instruments, including a canon between violin and cello. Near the middle of the movement, as the viola plays the theme, embellished by running sixteenth notes in the violin, the cellist is instructed to tune the instrument’s C string down to B-flat, a pitch that the cellist then holds under the contemplative conclusion (this kind of sustained pitch is called a pedal point). Don’t be surprised if the cellist makes adjustments before or after the movement! The Finale is highly contrapuntal and energetic, and the piano resumes its central role from the first movement.

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MARCH 2015 Sponsored by

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Sunday 15, 3 pm Tuesday 17, 8 pm Thursday 19, 8 pm Friday 20, 1 pm & 7:30 pm *Lunchtime program

Arthur Foote (1853-1937)

Ventura Pasadena Los Angeles Santa Barbara

Nocturne & Scherzo

13’00”

I. Nocturne (A Night Piece): Andantino languido II. Scherzo: Vivace

Adrian Spence, flute; Kristin Lee, Erik Arvinder, violins; Richard Yongjae O’Neill, viola; Ani Aznavoorian, cello

John Field (1782-1837)

Piano Quintet in A-Flat Major, H. 34

11’00”

Gloria Chien, piano; Kristin Lee, Erik Arvinder; Richard Yongjae O’Neill; Ani Aznavoorian

INTERMISSION * Ludwig van Beethoven (1770-1827)

Piano Sonata No. 14 in C-Sharp Minor, “Quasi una fantasia,” Op. 27, No. 2

I. Adagio sostenuto II. Allegretto III. Presto agitato

18’00”

Gloria Chien

Claude Debussy (1862-1918)

Suite bergamasque, L. 75

18’00”

I. Prélude II. Menuet III. Clair de lune IV. Passepied Gloria Chien

* Arnold Schoenberg (1874-1951)

Verklärte Nacht, Op. 4

30’00”

Kristin Lee, Erik Arvinder; Richard Yongjae O’Neill, Ara Gregorian, violas; Ani Aznavoorian, Ole Akahoshi, cellos 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 Arthur Foote Nocturne and Scherzo The American composer Arthur Foote was a well-known teacher, pianist, and organist in his adopted hometown of Boston. He spent decades writing music, most of it fairly conservative and accessible to listeners; although he never studied in Europe, he was essentially a Germanist in terms of his aesthetic. One of his most important roles was as a member of the so-called Boston Six, a group of composers that included Amy Beach, Horatio Parker, George Chadwick, Edward MacDowell, and John Knowles Paine. Foote and his colleagues were dedicated to creating the first body of serious American music for the concert hall, moving away from European idioms (despite Foote’s affinity for the German aesthetic), and developing an American sound. Nocturne and Scherzo was premiered in 1919 in San Francisco, when Foote was 65 years old. It has an element of fantasy, of improvisation, and it received the following comments in the San Francisco Examiner at its premiere: “It is fresh and spontaneous, plentiful in melody and colored with beauty. The nocturne has nothing of the melancholy musings of disillusioned maturity, but is filled with the quickening impulses of spring, and the scherzo has a nimble and joyous wit.”

John Field Piano Quintet in A-Flat Major, H. 34 The Irish composer and pianist John Field has sometimes been called the “father of the nocturne” for his many piano works, which ultimately defined this genre as one representing inwardness, contemplation, and solitude. Franz Liszt wrote of Field’s Nocturnes (there are at least sixteen), that they were written “to infuse the keyboard with feelings and dreams…Field…introduced a genre that belonged to none of these existing categories, in which feeling and melody reigned supreme, and which moved freely, without the fetters and constraints of any preconceived form.” Field spent much of his life in Russia, and died in Moscow in 1837. His small handful of chamber works are all for strings and piano, partly due to the Russian string quartet tradition and partly because Field was always drawn to further explorations of the piano. This piece is one long movement, which was innovative at the time — the expectation would have been a three or even four movement structure. The opening of the piece certainly sounds from here like a nocturne or nocturne-like melody, although that may be because we have two hundred years of experience with the genre by now. The piano enters only after the strings have played a complete thematic statement once; what appears to be a slight variation turns into a long, melodic development. The piece is largely derived from this opening material, and seldom moves away from the home key of A-flat.

Ludwig van Beethoven Sonata in C-Sharp minor, Op. 27, No. 2, “Quasi una fantasia” (“Moonlight”) Beethoven wrote this piece during a two-year period when he produced around 12 piano sonatas. Although these sonatas are standard repertoire now, they were largely experimental at the time, as Beethoven explored alternatives to sonata form, tinkered with the structure of the multi-movement form (this piece, for example, is played straight through without pause), and began expanding the final movements — to the point where they sometimes carried more of the piece’s weight than the first movements. Some of the sonatas from this period have been used by historians to demonstrate Beethoven’s growing originality, which would have been due not necessarily to any innate “genius” on his part, but a growing pressure to be original and find and retain a place in Vienna’s musical marketplace. The title of this piece means “sonata in the manner of a fantasy,” suggesting an element of formal freedom. The opening does in fact seem almost improvisatory, a melancholy melody over a series of arpeggios — Hector

Berlioz called the melody a “lamentation.” It is not difficult to see why the piece got its nickname (five years after Beethoven’s death), with its dreaminess and quiet character. The second movement is in triple meter, and takes the role of a scherzo; it has the character of a slightly pompous waltz, full of outbursts and heavy emphasis on the first beats of each measure. The finale is in fact the most substantial, beginning with a wild series of ascending notes and chords, and translating the nature of the second movement’s sforzandos (sudden loud chords or phrases) into something dramatic and emotional.

Claude Debussy Suite bergamasque, L. 75 Debussy completed this piece in 1890, while still a student, but thoroughly revised it before publication in 1905. It is one of his most substantial piano works. Debussy, who knew his music history, was deliberately evoking an earlier French tradition of 17th and 18th century keyboard music, which was often free, almost unmetered. Like the Beethoven, Suite Bergamasque’s first movement has an improvisatory or free feeling, as though the pianist were creating and developing the piece on the spot. The second movement, Menuet, is not a very traditional minuet— its opening sounds more like a march — but its intricacies, and especially its ornaments (the movement is marked pianissimo et très délicatment), suggest the influence of pre-piano keyboards like the harpsichord and clavecin. The third movement, “Clair de Lune,” is well known as a standalone piece, and was originally titled “Promenade Sentimentale;” despite its strong association, it had nothing to do with moonlight. The final movement, “Passepied,” is virtuosic, and adheres to its origins (a passepied was a sailors’ dance) with its lively rhythms, although it is in duple rather than the original triple meter.

Arnold Schoenberg Verklärte Nacht (Transfigured Night), Op. 4 While Schoenberg’s music is often associated with the “twelve-tone” system of composition he devised, his own musical legacy was late German tonality. Born in 1874, Schoenberg wrote this piece in less than a month in 1899, when he was only 25. This version is inscribed, “After a Poem by Richard Dehmel.” This poem, of the same title, tells the story of a woman who walks in the moonlit woods with her new lover, and confesses that she — wanting to experience motherhood — had become pregnant with another man’s child before meeting her current lover. The lover, after hesitating, responds by saying that the love between them will transform the child into his own — thus both the night and the child are “transfigured.” In the late 19th century, Austrian and German composers were caught up in an aesthetic divide between Brahms and Wagner. While the debates around this are too extensive to recount here, they had to do with questions of Beethoven’s legacy (who was the true heir?) and musical progress (had instrumental music exhausted itself — that is, was opera the only truly progressive step? Or was it still possible to advance the art without text?) While Schoenberg was more or less a Brahmsian, this piece has elements of both sides of the debate. While Schoenberg’s works from the previous few years had been oriented toward “pure” instrumental music, once he discovered Dehmel’s poetry in 1898 he was inspired and found cause to include extra-musical elements in his work. The poem consists of five stanzas, a structure that Schoenberg follows. The introduction opens with a pulse that suggests footsteps — the lovers are walking through the woods — and sets the scene of the dark forest. The confession stanza is next; preceded by increasingly agitated music, the viola marks the entrance of the woman’s voice as she tells her story. The third stanza is agitated again, as she walks “with a clumsy step,” gazing at the moon and anxiously waiting for his response. When it comes, her lover’s reply is reassuring, and marks the beginning of one of the piece’s fundamental actions: a shift from D minor to D major. The piece closes with the night transformed around the couple, represented by shimmering arpeggios, as the poem’s arc is resolved musically, the piece having moved from the line “two people walk through bleak, cold woods” to the ecstatic resolution: “Two people walk through exalted, shining night.”

Transfigured Night Richard Dehmel Two people walk through bleak, cold woods; The moon races along with them, they look into it. The moon races over tall oaks, No cloud obscures the light from the sky, Into which the black points of the boughs reach. A woman’s voice speaks: I’m carrying a child, and not yours, I walk in sin beside you. I have committed a great offense against myself. I no longer believed I could be happy And yet I had a strong yearning For something to fill my life, for the joys of Motherhood And for duty; so I committed an effrontery, So, shuddering, I allowed my sex To be embraced by a strange man, And, on top of that, I blessed myself for it. Now life has taken its revenge: Now I have met you, oh, you.

She walks with a clumsy gait, She looks up; the moon is racing along. Her dark gaze is drowned in light. A man’s voice speaks: May the child you conceived Be no burden to your soul; Just see how brightly the universe is gleaming! There’s a glow around everything; You are floating with me on a cold ocean, But a special warmth flickers From you into me, from me into you. It will transfigure the strange man’s child. You will bear the child for me, as if it were mine; You have brought the glow into me, You have made me like a child myself. He grasps her around her ample hips. Their breath kisses in the breeze. Two people walk through the exalted, shining night.

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Sunday 12, 3 pm Tuesday 14, 8 pm Thursday 16, 8 pm Friday 17, 1 pm & 7:30 pm *Lunchtime program

James MacMillan (b. 1959)

Ventura Pasadena Los Angeles Santa Barbara

Kiss on Wood

9’00”

Priya Mitchell, violin; Warren Jones, The Robert & Mercedes Eichholz Chair in Piano

Johannes Brahms (1833-1897)

Violin Sonata No. 2 in A Major, Op. 100

I. Allegro amabile II. Andante tranquillo III. Allegretto grazioso (quasi Andante)

20’00”

Priya Mitchell; Warren Jones

* Franz Liszt (1811-1886)

Liebestod from “Tristan und Isolde” (Richard Wagner)

7’00”

Warren Jones

* Johannes Brahms (1833-1897)

Trio for horn, violin, and piano in E-Flat Major, Op. 40

I. Andante II. Scherzo. Allegro III. Adagio mesto IV. Finale. Allegro con brio

30’00”

Martin Owen, horn; Priya Mitchell; 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 James MacMillan Kiss On Wood James MacMillan, a Scottish composer, is known for writing music that is often influenced by his deep personal religiosity. While most composers do not turn to Passion settings as an outlet for their musical imaginations, MacMillan has two, including a St. Luke Passion that premiered this year. He has also written a St. John Passion and a setting of the Seven Last Words of Christ. His instrumental works, too, are often religiously themed, with titles like “They saw the stone had been rolled away,” and “And he rose.” “Kiss on wood” is part of this tradition in MacMillan’s works. The composer writes, “Kiss on Wood…is an ornamental and highly elongated paraphrase on the Good Friday versicle, Ecce lignum crucis in quo salus mundi pependit: Venite adoremus (Behold the wood of the cross on which the saviour of the world was hung: come let us adore him). The music and title are devotional in intent but can equally represent a gesture of love on the wooden instruments making this music.” The piece opens with a strong declaration from violin and piano, which is followed by an extended silence. This sets the contemplative tone of the rest of the piece, which slowly develops a spare and drawn-out melody in the violin, always moving back and forth between forceful intensity and an inclination toward contemplative silence.

Johannes Brahms Violin Sonata No. 2 in A major, Op. 100 The 1870s and 1880s saw Brahms at the height of his powers, completing his first and second symphonies (under enormous artistic pressure to live up to Schumann’s earlier assessment of Brahms as the heir to Beethoven), as well as the first two string quartets that he would allow to be published. He also completed several other significant orchestral works, including the Violin Concerto and the Second Piano Concerto. This piece has two nicknames: it is often called the “Thun” sonata, as Brahms was spending time in the Swiss town of Thun while he worked on this score. It also opens with a piano phrase that resembles a familiar passage of Wagner’s opera Die Meistersinger, a resemblance that Wagner’s supporters, who regularly engaged in musical polemics with those in the Brahms camp, seldom tired of pointing out. Thus, the piece is sometimes called the “Meistersinger” sonata as well. Although this is called “violin sonata,” like most sonatas it is an instrumental partnership, rather than a solo instrument accompanied by piano. The first movement opens with the Wagnerian reference — if it was — and is in sonata form. In The instruments take turns with the primary theme, becoming more closely entwined in the lyrical second theme. The second movement, Intermezzo, is essentially the slow movement and the scherzo combined. It also begins with the instruments alternating roles in a slow, lyrical introduction. This is followed by a livelier tempo, Vivace, where Brahms plays with the rhythm, keeping the listener guessing a little bit about where the beginning of the phrase will fall. After a few more iterations of both sections, the movement closes with a short and headlong Vivace catapult to the end. The dramatic third movement, a rondo, offers subtle variations on its primary theme, including quick back and forth between the instruments, rhythmic variation, and a great deal of dynamic contrast, particularly in the more declamatory moments. A quiet and lyrical passage near the end segues into the familiar theme, and as in the second movement, the piece arrives at its conclusion with little indication that the end is near.

Franz Liszt Liebestod from “Tristan und Isolde” (Richard Wagner) Richard Wagner and Franz Liszt had a personal connection, as well as a professional one: Liszt’s daughter, Cosima, left her husband, the conductor Hans van Bülow and ran off with Wagner, whom she eventually married. This caused a temporary rift in the composers’ relationship, although musically they were great admirers of one another.

At the end of Wagner’s opera, Tristan and Isolde, Tristan has been killed and Isolde, grieving for him, sings one of the most famous pieces in all of opera, the “Liebestod” (“Love-Death” is the usual awkward translation, although it does go directly to the opera’s primary themes). In more poetic usage, the term “liebestod” refers to a kind of erotic death, or of death as the ultimate consummation of love. Tristan and Isolde are repressed lovers with a tumultuous history; their love is unexpressed in Act I (during which Isolde rages about Tristan); given full voice in Act II, which is an extended lovers’ duet; and brought to a seemingly violent end in Act III when Tristan is killed. However, through the music of the Liebestod, death itself is transcended and the lovers bound permanently together; whatever one’s response to Wagner in general, it is hard not to be affected by the Liebestod’s musical power. Wagner’s ability to achieve the emotional effect of the Liebestod is partly bound to his extravagant orchestral forces, which blend with, resist, narrate, and ultimately engulf the singer. Thus, Liszt’s choice to arrange the Liebestod for solo piano may seem ambitious. However, Liszt was known for his formidable, even incomparable piano technique, including his ability to reach intervals on the keyboard that no one else could. In practice, this meant he frequently had more notes and more range at his disposal than other pianists, and he took full advantage of that; thus, his arrangement of this massive orchestral piece actually captures its grandeur, as well as its harmonies. Liszt divided his arrangements into two categories: reminiscences and transcriptions. The former took the original work (usually operatic or orchestral) as a starting point for an altogether new work; the latter strove for absolute fidelity. In his lifetime, there was a market for such products, as amateurs learned the pieces at home, and musicians could fortify their educations by studying the transcriptions of larger works. This arrangement of the Liebestod falls into the transcription category, capturing each pitch, chromaticism, rhythm, and as much as possible, each inflection of the original.

Johannes Brahms Horn Trio in E-Flat Major, Op. 40 The Horn Trio, Op. 40 (1865), was also written while Brahms spent a summer at Thun. It is part of a group of seven chamber works, written from 1859-1865, that the musicologist Donald Tovey said demonstrates the composer’s “first maturity,” the point at which he had synthesized his influences and developed a truly original voice. Although contemporary horn players use the modern, valve instrument for this piece now, it was written for the so-called “natural” horn, the Waldhorn. This instrument requires all pitch changes to be made by means of either changing the position of the right hand inside the horn’s bell, changing the position or tension of the lips, or— most burdensome — actually changing out parts of the horn (called crooks, these parts change the overall length of the instrument). These restrictions make the instrument difficult to play, but also give it a particular sonority. While the horn part is now generally played on a valve instrument, the associations of the Waldhorn — particularly to evoke hunting calls — still inform this piece. Brahms was somewhat resistant to using the modern horn, and wrote about this Trio, “I would be apprehensive about hearing it with the valve horn. All poetry is lost, and the timbre is crude and dreadful right from the start.” That said, most contemporary performances use the contemporary instrument. Unlike almost every other chamber music piece of its time, the first movement of this Trio is not in sonata form; that is, it does not adhere to the expected form in which a primary theme develops over time, and is modulated by a secondary, contrasting theme. Instead, the movement is more of a rondo, in which the primary theme recurs between contrasting sections. The second movement, Scherzo, juxtaposes its exuberant and energetic A section with a lyrical and reflective middle section, before concluding with a da capo reiteration of the opening. Brahms’s mother, Christiane, died in February of 1865, and some listeners have found in the third movement, Adagio mesto, a musical expression of loss. The movement feels weighted, especially in the piano, and near the end Brahms includes a reference to a folksong (“There in the Willows Stands a House”) he learned from his mother. The 6/8 Finale dispenses with the somber mood, and again makes use of the horn’s hunting associations, while requiring great individual and ensemble virtuosity from the players.

The Bach C amer ata, 1991 Ethan James Dulsky, conductor

PHOTO BY CURTIS O’SHOCK

MAY 2015 Sunday 10, 3 pm Tuesday 12, 8 pm Thursday 14, 8 pm Friday 15, 7:30 pm Saturday 16, 2 pm

Ventura San Marino Los Angeles Santa Barbara Santa Barbara

The Complete B r andenburg Concerti of Johann Seba stian Bach

Brandenburg Concerto notes and artist biographies will be provided in a celebratory program book printed for the May performances and gala.

Adrian Spence, Melanie Lançon, flutes; Nicholas Daniel, oboe; John Steinmetz, bassoon; Steve Becknell, Martin Owen, horns; Catherine Leonard, Priya Mitchell, Agnes Gottschewski, violins; Richard Yongjae O’Neill, Jonathan Moerschel, Matthew Cohen, violas; Ani Aznavoorian, Raman Ramakrishnan, Andrew Janss, cellos; Timothy Eckert, double bass; Paolo Bordignon, harpsichord

Celebr ate 25 Ye ar s of M usic Making

25 th Anniver sary Gal a D inner G al a Chair: L ady Leslie Ridle y-Tree Sat u rday, May 16 t h , 2015

Buoyed on the jubilant final notes of our final performance of Brandenburg 4, on May 16th please join us at the Santa Barbara Polo & Racquet Club to celebrate our 25 years in grand style. The banquet will be provided by Chef Michael Hutchings, the wines by Sanford Winery, there will be honorees and there will be surprises. (Gala guests may attend any performance)

We Ret u rn to The H u ntington Tu esday, May 12 t h , 2015

Celebrate our return to The Huntington with a champagne and dessert reception at intermission. After years in the wilderness, the Camerata returns to The Huntingtonâ&#x20AC;&#x2122;s warm embrace and to a brand new performance hall. Purpose built, with special attention paid to its acoustics, this beautiful new hall has 400 raked seats to maximize sightlines and listening. Make sure one of those seats will be yours.

Say farewell to the first 25 years and hello to the next 25! 45

Camerata Pacifica’s Commissioning Portfolio Commissioning new music has become an integral part of Camerata Pacifica’s artistic mission. Not because we are a new music group — we are not. But because this is a live, dynamic art form. Even if the music originated in the 18th or 19th century, at that moment of performance, the minute it becomes a reality, it is live and of the moment. No matter when the music was written, it has that in common with every other piece. Hopefully hearing new music also informs our listening to pieces we know very well — there can be a danger that with familiarity we lose awareness of the innovation and novel nature of pieces now acknowledged as masterworks. Commissioning has become a favorite means to support our work. From the beginning of the compositional process, commissioners get to engage with the composer and the musicians as the work is brought to life. Finally the manuscript arrives and the musicians begin preparation. Commissioners attend first rehearsals and after the premiere performances, when corrections are made, the score arrives from the publisher engraved with the commissioners’ names on the title page — forever. Commissioning opportunities begin with an investment of as little as $2,000.

COMMISSIONS JAKE HEGGIE | WINTER ROSES (MEZZO SOPRANO & CHAMBER ENSEMBLE) | Premiered October 9, 2004, Santa Barbara Commissioned by Richard & Luci Janssen for Frederica von Stade and Camerata Pacifica IAN WILSON | MESSENGER CONCERTO (VIOLIN & CHAMBER ENSEMBLE) | Premiered May 18, 2007, Santa Barbara Commissioned by Richard & Luci Janssen for Catherine Leonard and Camerata Pacifica Toured Internationally April 22nd – May 3rd, 2008: Cathedral of Our Lady of Angels, Los Angeles; Library of Congress, Washington DC; Morgan Library, New York; The Guidhall, Londonderry; Northern Ireland; National Concert Hall, Dublin, Ireland; Wigmore Hall, London, England; St. Anne’s Cathedral, Belfast, Northern Ireland IAN WILSON | HEFT (FLUTE/ALTO FLUTE & PIANO) | Premiered January 11, 2008, Santa Barbara Commissioned by Jordan & Sandra Laby for Adrian Spence/Camerata Pacifica IAN WILSON | AT (FLUTE, VIOLA & CELLO) | To Be Premiered Commissioned by Jordan Christoff for Adrian Spence, Catherine Leonard and Ani Aznavoorian HUANG RUO | BOOK OF THE FORGOTTEN (OBOE & VIOLA) | Premiered April 17, 2010, Los Angeles Commissioned by a consortium led by Hyon Chough for Richard Yongjae O’Neill and Nicholas Daniel BRIGHT SHENG | HOT PEPPER (VIOLIN & MARIMBA) | Premiered September 10, 2010, Santa Barbara Commissioned by Bob Peirce as a birthday present for his wife Sharon Harroun Peirce for Catherine Leonard and Ji Hye Jung 46

BRIGHT SHENG | MELODIES OF A FLUTE (FLUTE/ALTO FLUTE, VIOLIN, CELLO & MARIMBA) Premiered April 10, 2012, San Marino

Commissioned by Luci Janssen for her husband Richard on the occasion of their 40TH wedding anniversary for Camerata Pacifica JAKE HEGGIE | SOLILOQUY (FLUTE & PIANO) | Premiered May 10, 2012, Los Angeles Commissioned by Adrian Spence in memory of Suzanne Makuch HUANG RUO | IN OTHER WORDS (CONCERTO FOR VOCALIZED VIOLIST & CHAMBER ENSEMBLE) Premiered September 20, 2012, Los Angeles

Commissioned by Frank & Ann Everts in celebration of their 50TH wedding anniversary for Richard Yongjae O’Neill and Camerata Pacifica IAN WILSON | DREAMGARDEN (MEZZO SOPRANO & CHAMBER ENSEMBLE) | U.S. Premiere May 16, 2013, Los Angeles Supported by Robert M. Light and Anne Koepfli in memory of Sandy & Lulu Saunderson for Camerata Pacifica LERA AUERBACH | DREAMMUSIK (CELLO & CHAMBER ENSEMBLE) | Premiered March 6, 2014, Los Angeles Commissioned by Sandy Svoboda in memory of her husband Al for Ani Aznavoorian and Camerata Pacifica JOHN HARBISON | STRING TRIO (VIOLIN, VIOLA, CELLO) | Premiere Date September 11, 2014, Los Angeles Commissioned by Peter & Linda Beuret; Bob Klein & Lynne Cantlay - in memory of Michael Benjamin Klein; Roger & Nancy Davidson; Stanley & Judith Farrar; Ann Hoagland - in memory of her husband Stephen C. Hoagland; John & Susan Keats; Jordan & Sandra Laby; Alejandro Planchart - in memory of Milton Babbitt. Recorded for international release on the Harmonia Mundi label IAN WILSON | THREE SONGS OF HOME (ALTO FLUTE, VIOLA & HARP) | A gift from the composer to celebrate Camerata Pacifica’s 25TH Season

Premiere Date October 10, 2014, Santa Barbara

UPCOMING COMMISSIONS DAVID BRUCE | NEW WORK FOR OBOE, HARP, CELLO & PERCUSSION | Premiering April 2016 Commissioned by Bob Klein & Lynne Cantlay for Nicholas Daniel, Bridget Kibbey, Ani Aznavoorian and Ji Hye Jung LERA AUERBACH | 24 PRELUDES FOR VIOLA & PIANO | Premiering 2017/18 Season Commissioned by a consortium to include: Hyon Chough; Christina Chung & May Kim; May Chung; Sookee Chung; Rick Hibbs, Karin Nelson & Maren Henle; Chae Young Ma; Seung Ae Kim & Sook Hee Lee; Stuart & Judy Spence for Richard Yongjae O’Neill Conversations have begun with JAMES MACMILLAN for a Trio for Oboe, Cello & Piano for Nicholas Daniel, Ani Aznavoorian and Warren Jones, and with JOHN PSATHAS for a multi-media work featuring Ji Hye Jung. 47

CAMERATA PACIFICA Artists

Camerata Pacifica Lifetime Member, Donald McInnes, Principal Violist Emeritus

Photo David Bazemore.

Ole Akahoshi, CELLO Cellist Ole Akahoshi from Germany enjoys a concert career before audiences in North and South Americas, Asia, and Europe in recitals, chamber music concerts, and as soloist with orchestras, such as the Orchestra of St. Lukeâ&#x20AC;&#x2122;s under the direction of Yehudi Menuhin, Symphonisches Orchester Berlin, and the Czechoslovakian Radio Orchestra. He has won numerous competitions including Concertino Praga and Jugend Musiziert. He is also recipient of the fellowship award from Charlotte Whiteâ&#x20AC;&#x2122;s Salon de Virtuosi. Mr. Akahoshi has performed in Avery-Fisher-Hall, Benaroya Hall Seattle, Carnegie Hall, Kennedy Center Washington, Suntory Hall Tokyo, Seoul Arts Center, Beijing National Center for the Performing Arts, Shanghai Concert Hall, Taipei National Concert Hall, Salle Pleyel and Salle Cortot in Paris, Royal Festival and Wigmore Halls in London, Wiener Musikverein, and Berliner Philharmonie. His performances have been featured on CNN, NPR, Sender-Freies-Berlin, RIAS-Berlin, Hessischer Rundfunk, Bayerischer Rundfunk, Korean Broadcasting Station, and WQXR. He has made recordings for the Albany, New World Records, Composers Recording Inc., Calliope, Bridge, Sanga Records, and Naxos labels. Most recent releases include the String Quartet by Behzad Ranjbaran, and the Mendelssohn Octet with Gil Shaham.

Ole Akahoshi has collaborated with the Tokyo String Quartet, Michelangelo Quartet, Keller Quartet, Syoko Aki, Shmuel Ashkenasy, Sarah Chang, Erick Friedman, Koichiro Harada, Ani Kavafian, Cho-Liang Lin, Gil Morgenstern, Elmar Oliveira, Gil Shaham, Joel Smirnoff, Chee-Yun, Toby Appel, Ettore Causa, Lawrence Dutton, Nobuko Imai, Heinz Koll, Jesse Levine, Myung Wha Chung, Franz Helmerson, Aldo Parisot, Janos Starker, Jian Wang, Edgar Meyer, Boris Berman, Robert Blocker, Leon Fleisher, Claude Frank, Peter Frankl, Garrick Ohlsson, Elizabeth Sawyer Parisot, Karl Leister, Frank Morelli, Wolfgang Schultz, David Shifrin, Ransom Wilson, Allan Dean, William Purvis, and Naoko Yoshino. He has performed and served as faculty at the Banff Centre for the Arts, Norfolk Chamber Music Festival, Aspen Music Festival, New York Summer Music Festival, Appalachian Summer Festival in Boone NC, Festival des Artes Brazil, and the Great Mountains Music Festival in Korea. As a guest artist he has been invited to the Seattle Chamber Music Society and the Ensemble for the Romantic Century. He has given numerous master classes, most recently at the Central Conservatory of Music in Beijing, Sichuan Conservatory in Chengdu, University of Natal Brazil, Korean National University of Arts in Seoul, Hanyang University, University of Ulsan, Kyung Hee University, University of Denver, and University of Missouri-Kansas City. Mr. Akahoshi has been serving as a judge for numerous competitions including the Juilliard Concerto Competition, the Eastern Connecticut Symphony Competition, the Concerto Competition at UConn, and the William Waite Concerto Competition. At age eleven, Ole Akahoshi was the youngest student to be accepted by Pierre Fournier. He studied with Aldo Parisot at Juilliard and Yale and with Janos Starker at Bloomington Indiana. Mr. Akahoshi has served as teaching assistant for both Aldo Parisot and Janos Starker. His other mentors were Georg Donderer and Wolfgang Beoettcher. Ole Akahoshi is the principal cellist of the Sejong Soloists. He has been teaching at the Manhattan School of Music since 2004. Mr. Akahoshi joined the faculty of the Yale School of Music in 1997. He is Professor of Cello at Yale University.

Erik Arvinder, VIOLIN Dividing his time between his native Stockholm, Sweden and Los Angeles, Erik Arvinder is an enterprising chamber and orchestral violinist across Europe and the United States. After completing undergraduate and graduate studies at the Royal College of Music in Stockholm under the tutelage of Professors Henryk Kowalski, Magnus Ericsson, and Peter Herresthal, Erik went on to become the youngest permanent member of the first violin section in the Royal Stockholm Philharmonic Orchestra. Erik has served as the concertmaster of a number of renowned Swedish ensembles including the Wermland Opera Orchestra and worked with distinguished conductors including Alan Gilbert, Kurt Masu, and Esa-Pekka Salonen. Erik is an active contributor to the Vamlingbo Chamber Music Festival on Gotland Island in Sweden and is one of the founding members of the Vamlingbo String Quartet, which will release its debut recording with acclaimed clarinetist Emil Jonason on the BIS label in 2015. In addition to his playing, Erik is known for his arrangements and orchestrations. His works have been performed and recorded by ensembles throughout the world, led by celebrated conductors, including Gustavo Dudamel. Most recently Erik arranged music for Anne Sofie von Otterâ&#x20AC;&#x2122;s upcoming performances with cellist Steven Isserlis and pianist Bengt Forsberg. Erik has been an avid performer, arranger and orchestrator in the Los Angeles area since 2010.

Mobile Maestro.

Photo by: Tom Sanders / Aerial Focus

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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 three important pieces in the cello repertoire: Ezra Laderman’s Concerto no. 2 with the Colorado Springs Philharmonic under the baton of Lawrence Leighton Smith, Lera Auerbach’s “24 Preludes for Cello and Piano” on stage at the Hamburg Staatsoper with the Hamburg State Ballet—choreographed by John Neumeier, and Lera Auerbach’s “Dreammusik” for Cello and Chamber Orchestra, which was written for her and commissioned by Camerata Pacifica and Sandra Svoboda. Among this season’s highlights will be a world premier performance of a cello concerto written for her by Durwynne Hsieh. Ms. Aznavoorian records for Cedille Records, and she proudly performs on a cello made by her father Peter Aznavoorian in Chicago.

Gloria Chien, PIANO Pianist Gloria Chien has been picked by the Boston Globe as one of the Superior Pianists of the year, “… who appears to excel in everything.” Richard Dyer praises her for “a wondrously rich palette of colors, which she mixes with dashing bravado and with an uncanny precision of calibration…Chien’s performance had it all, and it was fabulous.” Gloria made her orchestral debut at the age of 16 with the Boston Symphony Orchestra. Since then, she has appeared as a soloist under the batons of Sergiu Comissiona, Keith Lockhart, Thomas Dausgaard, Irwin Hoffman, Benjamin Zander, and Robert Bernhardt. She is a prize winner of the World Piano Competition, Harvard Musical Association Award, as well as the San Antonio International Piano Competition, where she also received the prize for the Best Performance of the Commissioned Work. Gloria has presented concerts at the Alice Tully Hall, Isabella Stewart Gardner Museum, Phillips Collection, Jordan Hall, Philadelphia Chamber Music Society, Savannah Musical Festival, Dresden Chamber Musical Festival, Salle Cortot in Paris, and the National Concert Hall in Taiwan. An avid chamber musician, Gloria has been the resident pianist with the Chameleon Arts Ensemble of Boston since 2000, a group known for its versatility and commitment to new music. Boston Herald praises her for “ [playing] phenomenally.” Her recent CD with violinist, Joanna Kurkowicz, featuring music of Grazyna Bacewicz was released on Chandos Records. TheInternational Record Review writes, “[the violinist] could ask for no more sensitive or supportive a pianist than Gloria Chien.” The Strad praises her for “super performances…accompanied with great character.” She also received fantastic reviews in Gramophone, American Record Guide, and Muzyka 21. Gloria has participated in such festivals as Chamber Music Northwest, Music Academy of the West, Verbier Music Festival, Bay Chamber Concerts, and Music@Menlo, where she was appointed Director of the Chamber Music Institute in 2010 by Artistic Directors, David Finckel and Wu Han. Her recent performances include collaborations with the St. Lawrence, Miró, Pacifica, Brentano, Borromeo, Daedalus and Jupiter String Quartets, David Shifrin, Shmuel Ashkenasi, Joseph Silverstein, Jaime Laredo, Daniel Hope, Cho-Liang Lin, Ani Kavafian, Ida Kavafian, Wu Han, Paul Neubauer, Jan Vogler, Roberto Diaz, Andres Diaz, David Finckel, Sharon Robinson, James Ehnes, Soovin Kim, Carolin Widmann and Anthony McGill. In fall of 2009, Gloria launched String Theory, a chamber music series at the Hunter Museum of American Art in downtown Chattanooga, as its founder and artistic director. Gloria began playing the piano at the age of five in her native Taiwan. She has a doctor of musical arts, a master’s and an undergraduate degree from the New England Conservatory of Music in Boston. Her teachers have included Russell Sherman and WhaKyung Byun. Gloria is an Associate Professor at Lee University in Cleveland, TN, and is a member of the prestigious Chamber Music Society Two of Lincoln Center. Gloria is a Steinway Artist.

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.

Timothy Eckert, PRINCIPAL BASS Described by Placido Domingo as “an artist of musicality and dedication” (LA Times), Timothy Eckert enjoys a dynamic 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 Santa Barbara and the Pasadena Symphonies. 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. Writing in a broad range of styles, Timothy’s compositions have appeared in hundreds of tv shows on networks such as CBS, ABC, Bravo, E!, History, Discovery and A&E. In addition to his performing activities, Eckert is on the faculty at Azusa Pacific University and the Pasadena Conservatory of Music as well as maintaining a private studio. 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 di Perfezionamento. 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

generously sponsored by Drs. John & Susan Keats

The multi-award-winning Spanish clarinetist Jose Franch-Ballester (FrAHnk Bai-yessTAIR) is considered one of the finest classical soloists and chamber music artists of his generation. He has been hailed for his “technical wizardry and tireless enthusiasm” (The New York Times), his “rich, resonant tone” (Birmingham News), and his “subtle and consummate artistry” (Santa Barbara Independent). The recipient of a prestigious Avery Fisher Career Grant in 2008, and winner of both the Young Concert Artists and Astral Artists auditions, he is a solo artist and chamber musician in great demand. As a concerto soloist Mr. Franch-Ballester made his New York debut in 2006 with the Orchestra of St. Luke’s at Lincoln Center. He has also performed with the BBC Concert Orchestra, Louisville Orchestra, Princeton Symphony Orchestra, Santa Barbara Chamber Orchestra, Wisconsin Philharmonic, Louisiana Philharmonic, Hilton Head Symphony Orchestra, Malaysian Philharmonic Orchestra, and various orchestras in his native Spain. Mr. Franch-Ballester made his New York recital debut at the 92nd Street Y, and has appeared in recital at the Isabella Stewart Gardner Museum in Boston, Iowa State University, the Buffalo Chamber Music Society, and the Mondavi Center for the Performing Arts. He plays regularly with the Chamber Music Society of Lincoln Center, Camerata Pacifica, and at such U.S. festivals as the Saratoga Chamber Music Festival, Music@Menlo, Mainly Mozart, Bridgehampton Chamber Music Festival, Music from Angel Fire, Chamber Music Northwest, and Skaneateles Festival. Abroad, he has appeared at the Usedomer Musikfestival in Germany, the Verbier Festival in Switzerland, the Cartagena Festival Internacional de Música in Colombia, the Kon-Tiki Festival in Norway, and the Young Concert Artists Festival in Tokyo. Mr. Franch-Ballester is artistic director of miXt, an ensemble of award-winning soloists from the Young Concert Artists roster that he founded in the 2012-13 season. Performing in a variety of configurations, miXt made its New York and Washington debuts in YCA’s series at Merkin Hall and the Kennedy Center. His instrumental collaborators have also included the American, St. Lawrence, Jupiter, and Modigliani string quartets. An avid proponent of new music, he performed the world premiere of Jake Heggie’s Winter Roses in 2004 with mezzo-soprano Frederica von Stade at Camerata Pacifica. During the 2011-2012 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. Mr. Franch-Ballester’s commitment to new music has led him to commission and work with such contemporary composers as Kenji Bunch, Paul Schoenfield, Edgar Meyer, William Bolcom, George Tsontakis, Andrés Valero-Castells, Oscar Navarro, and Huang Ruo. He has also been a dedicated music educator, developing new audiences through countless educational concerts and workshops for young people and community audiences.

Performing regularly in Spain, Mr. Franch-Ballester has appeared with the Orquesta de Radio y Television Española, Orquesta de Valencia, Orquesta Sinfónica del Principado de Asturias, and Orquesta Sinfónica del Valles. He is the founder of Jose Franch-Ballester & i amics (and friends), a series of concerts in which young musicians from all over the world are presented in Mr. Franch-Ballester’s hometown of Moncofa and throughout the Valencia area. Mr. Franch-Ballester’s recordings include a Deutsche Grammophon CD of Bartók’s Contrasts with members of the Chamber Music Society of Lincoln Center. In 2010 he was awarded the Midem Prize for “Outstanding Young Artist,” which aims to introduce currently unsigned recording stars of the future to the classical recording industry. “Jose Franch-Ballester & Friends,” a CD of chamber music released by iTinerant Classics in 2011, includes the premiere recording of Oscar Navarro’s Creation and works by Brahms, Stravinsky, and Paul Schoenfield. Mr. Franch-Ballester can also be heard on “Piazzolla Masterworks,” a CD recorded with cellist Young Song and pianist Pablo Zinger that contains works by Astor Piazzolla. Born in Moncofa into a family of clarinetists and Zarzuela singers, Jose FranchBallester began clarinet lessons at the age of nine with Venancio Rius, and graduated from the Joaquin Rodrigo Music Conservatory in Valencia. In 2005 he earned a bachelor’s degree from the Curtis Institute of Music in Philadelphia, where he studied with Donald Montanaro. Mr. Franch-Ballester’s mentors also include Ricardo Morales, principal clarinet in the Philadelphia Orchestra.

Camerata Pacifica, 2007. From Left to Right: Warren Jones, Catherine Leonard, Richard O’Neill, Ani Aznavoorian, Adrian Spence. Photo Marta Elena Vassilakis

Agnes Gottschewski, VIOLIN Violinist Agnes Gottschewski has been a frequent guest artist with Camerata Pacifica for many years, and a regular chamber music artist at the Sitka Summer Music Festival in Sitka, Alaska since 1997. Other chamber music performances have been with the High Desert Chamber Music Festival in Bend, Oregon; the Sitka Music Festival’s Autumn Series in Anchorage, Alaska; El Paso Pro Musica, El Paso, Texas, as well as performances at the Methow Valley Chamber Music Festival in Washington State. For several years she was a member of Southwest Chamber Music, playing many premieres of contemporary chamber music and recording several CDs, including their Grammy-winning Complete Chamber Works of Carlos Chávez. She has also been an artist faculty member at the chamber music festival, Aberystwyth MusicFest (Wales/England). Agnes presently holds the position of assistant concertmaster of the Long Beach Symphony and has been a member of Pacific Symphony’s first violin section since 1996. She teaches at Long Beach City College and is an active studio musician. Agnes is originally from West Berlin, Germany, where she started playing the violin at age 6. After receiving an undergraduate degree from Berlin’s Hochschule der Kuenste, she moved to Southern California for graduate studies at the University of California, San Diego where she concentrated on contemporary music; and at the University of California, Santa Barbara where she was a member of the graduate string quartet in residence. When not busy rehearsing, recording or performing music, Agnes spends time at a pottery studio making mostly functional ceramics, making jewelry, going walking or hiking with her husband and her dog, or spending an occasional evening at home.

Ara Gregorian, VIOLIN Known for his thrilling performances and musical creativity, Ara Gregorian made his New York recital debut in 1996 in Carnegie Hall’s Weill Recital Hall and his debut as soloist with the Boston Pops Orchestra in Symphony Hall in 1997. Since that time he has established himself as one of the most sought-after and versatile musicians of his generation with performances in New York’s Carnegie Hall, Avery Fisher Hall, Alice Tully Hall, Washington D.C.’s Kennedy Center and in major metropolitan cities throughout the world including Boston, Los Angeles, Chicago, Detroit, Houston, Dallas, Atlanta, Cleveland, Vancouver, Hong Kong, Shanghai, Beijing, Tel Aviv and Helsinki. Throughout his career, Gregorian has taken an active role as a performer and presenter of chamber music. He is the founder and artistic director of the Four Seasons Chamber Music Festival in Greenville, North Carolina, which has recently celebrated its 10th Anniversary Season, and has appeared at festivals worldwide including the SpringLight (Finland), Storioni (Holland), Summer Solstice (Canada), Casals (Puerto Rico), Bard, Bravo! Vail Valley, Santa Fe, Skaneateles, Music in the Vineyards, Bach Dancing and Dynamite Society, Cactus Pear, Wintergreen, Mt. Desert, Madeline Island and Strings in the Mountains Festivals. He has also performed extensively as a member of numerous chamber music ensembles including the Daedalus Quartet, Concertante and the Arcadian Trio and has recorded for National Public Radio, New York’s WQXR radio station, and the Bridge and Kleos labels. An active and committed teacher, Gregorian has been a member of the violin faculty at East Carolina University since 1998 and has taught at numerous summer festivals and seminars. In addition, he has taken a leading role in creating opportunities for established musicians to perform with talented students in a mentoring setting through the Four Seasons Chamber Music Festival’s Next Generation concerts.

Gregorian received his bachelor and master of music degrees from The Juilliard School where he studied with Joseph Fuchs, Harvey Shapiro, and Robert Mann. He performs on a Francesco Ruggeri violin from 1690 and a Grubaugh and Seifert viola from 2006.

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,” Taiwanese-American violinist Paul Huang makes his Lincoln Center recital debut on the Great Performers series this season, and performs concertos, recitals, and chamber music around the country. As a concerto soloist, he performs the Saint-Saëns Violin Concerto No. 3 at the Brevard Music Festival, Vivaldi’s The Four Seasons at Crested Butte Music Festival, the Vaughan Williams Violin Concerto in D minor with the Fairfax Symphony, and the Walton Concerto with the Symphony at WKU. Internationally, he will make his debut with the Seoul Philharmonic under Markus Stenz. Recital appearances include University of Georgia, the Lied Center of Kansas, the Ocean Grove Summer Stars Series, and the Paramount Theatre. He has also been re-engaged to perform with the Camerata Pacifica, and gives duo recitals with pianist Louis Schwizgebel at Rockefeller University, Tannery Pond Concerts, the Macomb Center of the Performing Arts, Cold Spring Harbor Laboratory, and the Morgan Library and Museum. Mr. Huang has been selected as a member of Chamber Music Society of Lincoln Center’s CMS Two program for 2015–2018. His first solo CD, a collection of favorite virtuoso and romantic encore pieces, is slated for a fall release on the CHIMEI label. In association with the Camerata Pacifica, he also recorded “Four Songs of Solitude” for solo violin for their upcoming album of John Harbison works. The album is to be released on Harmonia Mundi this fall. Mr. Huang’s concerto appearances have spanned the globe, in the United States with the Orchestra of St. Luke’s at Lincoln Center, the Louisville Orchestra, and the Hilton Head Symphony; in Spain with the Bilbao Symphony; in Hungary with the Budapest Dohnányi Symphony; in Mexico City with the Orquesta Sinfónica Nacional; and in Taiwan with the Taipei Symphony and the National Taiwan Symphony, collaborated with such conductors as Christopher Hogwood, Jorge Mester, Shlomo Mintz, Carlos Miguel Prieto, and Gunter Neuhold. He has given recitals at the Stradivari Museum in Cremona, Italy, the National Concert Hall in Taiwan, and at the Louvre in Paris. Winner of the 2011 Young Concert Artists International Auditions and recipient of YCA’s 2012 Helen Armstrong Violin Fellowship, Mr. Huang made critically acclaimed recital debuts in New York at Merkin Hall and in Washington, D.C. at the Kennedy Center. Other honors include First Prize at the 2009 International Violin Competition Sion-Valais in Switzerland, the 2009 Chi-Mei Cultural Foundation Arts Award for Taiwan’s Most Promising Young Artists and the 2013 Salon de Virtuosi Career Grant. An acclaimed chamber musician, Mr. Huang has performed at the Young Concert Artists Festivals in Tokyo and Beijing, 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, with Camerata Pacifica in Santa Barbara and throughout California, and with the Formosa Quartet at Wigmore Hall in London. He has collaborated with notable instrumentalists including Shlomo Mintz, Gil Shaham, Nobuko Imai, Myung-Wha Chung, Roberto Diaz, Jan Vogler, and Frans Helmerson. Born in Taiwan, Mr. Huang began violin lessons at the age of seven. Since entering the Juilliard Pre-College at fourteen, he has continued studies at the school with Hyo Kang and I-Hao Lee. Paul Huang is a proud recipient of the inaugural Kovner Fellowship at The

Juilliard School. He plays the Guarneri del Gesù Cremona, 1742 ex-Wieniawski on loan through the generous efforts of the Stradivari Society of Chicago. For more information, visit www.paulhuangviolin.com

Warren Jones, PRINCIPAL PIANO

The Robert & Mercedes Eichholz Chair in Piano

Warren Jones, who was named as “Collaborative Pianist of the Year” for 2010 by the publication Musical America, performs with many of today’s best-known artists: Stephanie Blythe, Christine Brewer, Anthony Dean Griffey, Bo Skovhus, Eric Owens, John Relyea, and Richard “Yongjae” O’Neill—and is Principal Pianist for the exciting Californiabased chamber music group Camerata Pacifica. In the past he has partnered such great performers as Marilyn Horne, Håkan Hagegård, Kathleen Battle, Samuel Ramey, Barbara Bonney, Carol Vaness, Judith Blegen, Salvatore Licitra, Tatiana Troyanos, James Morris, and Martti Talvela. He is a member of the faculty of Manhattan School of Music as well as the Music Academy of the West, and received the “Achievement Award” for 2011 from the Music Teachers National Association of America, their highest honor. He has been an invited guest at the White House to perform for state dinners in honor of the leaders of Canada, Russia, and Italy; and three times he has been the invited guest of the Justices of the United States Supreme Court for musical afternoons in the East Conference Room at the Court. A graduate of New England Conservatory, he currently serves on the Board of Visitors for that institution; and has been honored with the Doctor of Music degree from San Francisco Conservatory. His discography contains 29 recordings on every major label—and his newest musical ventures include conducting, having led sold-out criticallyacclaimed performances of Mascagni’s L’amico Fritz, Rossini’s Il barbiere di Siviglia, and Mozart’s Die Zauberfloete in recent years. In December 2014 he will lead the world premiere of a new operatic version of A Christmas Carol, starring Anthony Dean Griffey, music by Iain Bell and libretto by Simon Callow, at the Houston Grand Opera—and will return to the Merola Opera Program at San Francisco Opera for performances of Donizetti’s comedy Don Pasquale in the summer of 2015. For more information please visit his website, www.warrenjones.com.

Ji Hye Jung, PRINCIPAL PERCUSSION

generously sponsored by Robert W. Weinman

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.

Bridget Kibbey, PRINCIPAL HARP Lauded for her compelling artistry and virtuosity, harpist Bridget Kibbey showcases the broad range of her instrument through multiple-genre performances—drawing diverse audiences through new collaborations and platforms. According to the New York Times, Bridget Kibbey “makes it seem as though her instrument had been waiting all its life to explode with the gorgeous colors and energetic figures she was getting from it.” She is a recipient of the prestigious Avery Fisher Career Grant, the Classical Recording Foundation’s 2012 Young Artist Award, and winner of Concert Artist Guild’s International Competition and Astral Artist Auditions. Bridget’s debut album, Love is Come Again, was named one of 2007’s Top Ten Releases by Time Out New York. She may also be heard on Deutsche Grammaphon with Dawn Upshaw, on a recording of Osvaldo Golijov’s Ayre and Luciano Berio’s Folk Songs. She most recently recorded an album for SONY Records with Placido Domingo, to be released this season. Ms. Kibbey’s solo performances have been broadcast on NPR’s Performance Today, on New York’s WQXR, WNYC’s Soundcheck, WETA’s Front Row Washington, WRTI’s Crossover, and A&E’s Breakfast with the Arts. Ms. Kibbey has collaborated with Grammy-Award winning producers Robert Sadin and Adam Abeshouse, Dawn Upshaw, Placido Domingo, Osvaldo Golijov, Ian Bostridge, mandolinist Avi Avital, clarinetist Patrick Messina, Armenian oudist Ara Dinkjian, Jaime Laredo, Edgar Meyer, Mayumi Miyata, Cristina Pato, Sharon Robinson, David Shifrin, and the Calder and Jupiter Quartets. She is often featured with the Chamber Music Society of Lincoln Center, is the founding harpist of the International Contemporary Ensemble and Metropolis Ensemble, and often performs with the Knights Chamber Orchestra. Highlights of the past season included a five-orchestra World-Premiere Harp Concerto Consortium. for which Bridget performed a new harp concerto by Juno-Award winning Vivian Fung alongside standard harp concerti with the Alabama Symphony, Karlsruhe Badische Symphoniker, The Phillips Collection with the Phillips Camerata, San José Chamber Orchestra, and the Metropolis Ensemble. Bridget performed in duo with Ian Bostridge at Carnegie Hall and with Rob Kapilow and the Brooklyn Youth Chorus at Lincoln Center for the Britten Centennial. She was featured with the Chamber Music Society of Lincoln Center on tour and in Alice Tully Hall, performing French masterworks for harp and strings. This season’s festival appearances include The Savannah Music Festival, Bravo Vail, Bridgehampton, Bay Chamber, Saratoga, Portland Chamber, and the Pelotas Festival, Brazil. Bridget recently completed her recent solo album, the Bridge Project, a virtuosic, cultural smorgasbord for solo harp—with new works by composers who draw inspiration

from their native cultures, most having immigrated to NYC from other countries. Dawn Upshaw appears as special guest on the album. Ms. Kibbey is a graduate of The Juilliard School, where she studied with Nancy Allen. She is on the harp faculties of Bard Conservatory, New York University, and the Juilliard Pre-College program.

Kristin Lee, VIOLIN Korean-American violinist Kristin Lee has been praised by The Strad for her “rare stylistic aptness” and “mastery of tone and rare mood in a performer of any age.” A violinist of remarkable versatility and impeccable technique, Ms. Lee enjoys a vibrant career as a soloist, recitalist, and chamber musician, and is equally noted for her growing reputation in collaborations with various genres of music. Upcoming engagements include debut recitals New York’s Merkin Concert Hall and Florida’s Kravis Center, and debuts with the Guiyang Symphony Orchestra of China and the St. Paul Chamber Orchestra. Ms. Lee is also curating a program that premieres at Philadelphia’s World Cafe Live, in which she is commissioning composer/performers to write music for the violin and steelpan, guitar, theremin, and carnatic South Indian singing; the program will also be performed at New York’s (Le) Poisson Rouge and on St. Paul’s Liquid Music Series. In the 2013–2014 season, she also tours with the Chamber Music Society of Lincoln Center in Kansas, New York, California, Michigan, and Dresden, Germany. A winner of Astral Artists’ 2010 National Auditions and a top prizewinner of the 2012 Walter W. Naumburg Competition, Ms. Lee has appeared as soloist with The Philadelphia Orchestra, St. Louis Symphony, New Jersey Symphony, Rochester Philharmonic, New Mexico Symphony, Albany Symphony, the Ural Philharmonic of Russia, the Korean Broadcasting Symphony of Korea, and many others. She has appeared on the world’s finest concert stages, including Carnegie Hall, Avery Fisher Hall, the Kennedy Center, Philadelphia’s Kimmel Center, the Metropolitan Museum, Steinway Hall’s Salon de Virtuosi, the Louvre Museum in Paris, and Korea’s Kumho Art Gallery. She has been featured on the Ravinia Festival’s Rising Stars Series, and has toured throughout northern Italy. In April 2012, Ms. Lee organized a memorial concert at the Menlo-Atherton Performing Arts Center for the victims of the Oikos University shooting. An accomplished chamber musician, Ms. Lee is a member of The Chamber Music Society of Lincoln Center, following her completion of a three-year residency as a CMS Two artist. She has appeared at the Ravinia Festival, Music@Menlo, the Perlman Music Program, Festival Mozaic, Medellín Festicámara of Colombia, the El Sistema Chamber Music festival of Venezuela, the Princeton Festival, and the Sarasota Music Festival. She is also the concertmaster of the groundbreaking Metropolis Ensemble, with whom she premiered Vivian Fung’s Violin Concerto, written for her, and which appears on Ms. Fung’s CD Dreamscapes, released for the Naxos label CD in September 2012. Ms. Lee’s performances have been broadcast on WQXR in New York, on Bob Sherman’s “Young Artists Showcase,” and with guitarist Mattias Jacobsson on Annie Bergen’s “The Office Hours.” Other broadcasts include PBS’s “Live from Lincoln Center,” the Kennedy Center Honors, and a guest artist performance on WFMT Chicago’s Rising Stars series. She also appeared on a nationally broadcast PBS documentary entitled PBS in Shanghai, which chronicled a historic cross-cultural exchange between the Perlman Music Program and Shanghai Conservatory. Ms. Lee has received many honors, including 2011 Trio di Trieste Premio International Competition, the SYLFF Fellowship, Dorothy DeLay Scholarship, Aspen Music Festival’s

Violin Competition, the New Jersey Young Artists’ Competition, and the Salon de Virtuosi Scholarship Foundation. She is also the unprecedented First Prize winner of three concerto competitions at The Juilliard School — in the Pre-College Division in 1997 and 1999, and in the College Division in 2007. Since her Paris-Philly Lockdown performance at the Philadelphia International Festival of the Arts, in Verizon Hall at the Kimmel Center for the Performing Arts in April 2011 with drummer and DJ ?uestlove, Ms. Lee has enjoyed a continued collaboration with the drummer and frontman for the Grammy Award-winning band, The Roots. She appears on The Roots’ most recent CD Undun, and appeared at the Brooklyn Academy of Music (BAM) in ?uestlove’s experimental project entitled “Shuffle Culture,” which evoked iPod’s “shuffle” mode in live performance and brought together musicians such as Deerhoof, D.D. Jackson, Rahzel, and DJ Jeremy Ellis. Born in Seoul, Ms. Lee began studying the violin at the age of five, and within one year won First Prize at the prestigious Korea Times Violin Competition. In 1995, she moved to the United States and continued her musical studies under Sonja Foster. Two years later, she became a student of Catherine Cho and Dorothy DeLay in The Juilliard School’s PreCollege Division. In January 2000, she was chosen to study with Itzhak Perlman, after he heard her perform Mendelssohn’s Violin Concerto with Juilliard’s Pre-College Symphony Orchestra. Ms. Lee holds a Master’s degree from The Juilliard School, where she studied with Itzhak Perlman and Donald Weilerstein, and served as an assistant teacher for Mr. Perlman’s studio as a Starling Fellow. She is a member of the faculty of the Aaron Copland School of Music at Queens College, and has served on the faculties of the LG Chamber Music School in Seoul, Korea, El Sistema’s chamber music festival in Caracas, Venezuela, and the Music@Menlo Chamber Music Festival.

Michael McHale, PIANO

generously sponsored by Sandy Bickford

Belfast-born Michael McHale has established himself as one of the leading Irish pianists of his generation. Since completing his studies at Cambridge University and the Royal Academy of Music he has developed a busy international career as a solo recitalist, concerto soloist and chamber musician. Michael has performed at many important musical centres including Suntory Hall, Tokyo; Lincoln Center, New York; Symphony Hall, Boston; Konzerthaus, Berlin; Pesti Vigadó, Budapest; the Ushuaia and Tanglewood Festivals, and for TV and radio broadcasts throughout Europe, Asia, North and South America. His début solo album ‘The Irish Piano’ was released in 2012 on the RTÉ lyric fm label and has already been featured on national radio in France, Austria, Canada, Australia, the USA, Italy, Estonia and the UK. The disc was selected as ‘CD of the Week’ by critic Norman Lebrecht, who described it as “a scintillating recital…fascinating from start to stop”, whilst Gramophone praised “the singing sensibility of McHale’s sensitive and polished pianism”. Michael has performed frequently as concerto soloist with the Hallé, Bournemouth Symphony and Moscow Symphony orchestras, the Teatro Colon Orchestra, Discovery Ensemble in Boston, the London Mozart Players and all five of the major Irish orchestras in repertoire ranging from Mozart and Beethoven to Gershwin and Rachmaninov. A recent début with the Irish Chamber Orchestra saw Michael deputise for the indisposed Leon Fleisher in a performance of Prokofiev’s Left Hand Concerto with Gérard Korsten, which was broadcast worldwide on a live online video stream. Engagements in 2013/14 include appearances with the Ulster Orchestra (Liszt Concerto No.2), the RTÉ

NSO (Gershwin Concerto) and the Irish Chamber Orchestra (the premiere of Garrett Sholdice’s Piano Concerto) and a début with the Minnesota Orchestra (Mozart K.488) in their Sommerfest series. His début solo recitals in the Wigmore Hall, London, the National Concert Hall, Dublin, and the Phillips Collection, Washington DC received great public and critical acclaim, with the Washington Post praising his “…bravura playing in the music of Franz Liszt…” and his “…beautifully proportioned and energetic account of Mozart’s Sonata in C minor, K.457…” In addition to winning first prize and the audience prize at the prestigious Terence Judd/Hallé Award finals in 2009 (previous winners include Nikolai Lugansky and Stephen Hough), Michael was awarded the Brennan and Field Prizes at the 2006 AXA Dublin International Piano Competition and the 2005 Camerata Ireland/Accenture Award. His teachers and mentors include John O’Conor, Réamonn Keary, Christopher Elton, Ronan O’Hora and Barry Douglas. Michael collaborates regularly with Sir James Galway, Michael Collins, Patricia Rozario, Ensemble Avalon , Cappa Ensemble and the Vogler Quartet, and his discography includes recordings for Chandos, RTÉ lyric fm, Louth CMS, Lorelt and Nimbus Alliance. For more information visit www.michaelmchale.com

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,

Roger Wilkie, Adrian Spence, Joanne Pearce Martin.

Photo Gerry Melendez

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.

Movses Pogossian, VIOLIN Armenian-born violinist Movses Pogossian made his American debut in 1990 performing the Tchaikovsky Concerto with the Boston Pops, about which Richard Dyer of the Boston Globe wrote: “There is freedom in his playing, but also taste and discipline. It was a fiery, centered, and highly musical performance…” Pogossian is a Prizewinner of the 1986 Tchaikovsky International Competition, and the youngest-ever First Prize winner of the 1985 USSR National Violin Competition, previous winners of which included David Oistrakh and Gidon Kremer. An active chamber musician, Mr. Pogossian has performed with members of the Tokyo, Kronos, and Brentano string quartets, and with such artists as Kim Kashkashian, Jeremy Denk, Lynn Harrell, Ani and Ida Kavafian, Rohan de Saram, and Fred Sherry. He frequently collaborates with the Apple Hill Chamber Players, teaching annually at their summer music festival in New Hampshire. Movses Pogossian is the Artistic Director of the critically acclaimed Dilijan Chamber Music Series, which performs at Zipper Hall in downtown Los Angeles, and is currently in its tenth season. http://dilijan.larkmusicalsociety.com/ Passionately committed to new music, Movses Pogossian has premiered over 50 works, and works closely with composers such as G. Kurtág, T. Mansurian, A. R. Thomas, L. Segerstam, P. Chihara, V. Sharafyan, and A. Avanesov. In Los Angeles, Movses Pogossian frequently performs on Monday Evening Concerts, and is the recipient of the 2011 Forte Award, given for outstanding contributions to the promotion of new music. His recent discography includes solo violin CDs “Blooming Sounds” and “In Nomine”, both on Albany label, as well as G. Kurtag’s monumental “Kafka Fragments” on Bridge label,

which includes a unique video documentary on the work with the composer. In his review of the recording, Paul Griffiths writes: “…remarkable is Pogossian’s contribution, which is always beautiful, across a great range of colors and gestures, and always seems on the edge of speaking — or beyond.” Upcoming releases include a Schoenberg/Webern DVD, recorded at Schoenberg’s Brentwood home with Kim Kashkashian and Rohan de Saram, and Complete Works for Violin by Stefan Wolpe, both for Bridge Records. Since his studies at the Komitas Conservatory in Armenia and the Tchaikovsky Conservatory of Music in Moscow, Mr. Pogossian has held teaching positions at Duquesne, Bowling Green, Wayne State, and SUNY Buffalo Universities. His principal teachers were L. Zorian, V. Mokatsian, V. Klimov, and legendary Louis Krasner. Movses Pogossian is currently Professor of Violin at the UCLA Herb Alpert School of Music. He lives in Glendale with his wife, Los Angeles Philharmonic violinist Varty Manouelian, and their three children.

Raman Ramakrishnan, CELLO Cellist Raman Ramakrishnan is a member of the Horszowski Trio with violinist Jesse Mills and pianist Rieko Aizawa. This season finds the trio performing across the United States, Japan, and in Hong Kong, as well as recording a debut album for Bridge Records. For eleven seasons, he was a founding member of the Daedalus Quartet, with whom he performed around the world. Mr. Ramakrishnan is an artist member of the Boston Chamber Music Society, and is on the faculties of Columbia University and the Bard College Conservatory of Music. Mr. Ramakrishnan has given solo recitals in New York, Boston, Seattle, and Washington, D.C., and has performed chamber music at Caramoor, at Bargemusic, with the Chicago Chamber Musicians, and at the Aspen, Bard, Charlottesville, Four Seasons, Lincolnshire (UK), Marlboro, Mehli Mehta (India), Oklahoma Mozart, and Vail Music Festivals. He has toured with Musicians from Marlboro and has performed, as guest principal cellist, with the Saint Paul Chamber Orchestra. As a guest member of Yo-Yo Ma’s Silk Road Ensemble, he has performed in New Delhi and Agra, India and in Cairo, Egypt. Mr. Ramakrishnan was born in Athens, Ohio and grew up in East Patchogue, New York. His father is a molecular biologist and his mother is the children’s book author and illustrator Vera Rosenberry. He holds a Bachelor’s degree in physics from Harvard University and a Master’s degree in music from The Juilliard School. His principal teachers have been Fred Sherry, Andrés Díaz, and André Emelianoff. He lives in New York City with his wife, the violist Melissa Reardon, and their young son. He plays a Neapolitan cello made by Vincenzo Jorio in 1837.

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 has been 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 1,000 skydives.

Arnaud Sussmann, VIOLIN Winner of a 2009 Avery Fisher Career Grant, violinist Arnaud Sussmann is a multifaceted and compelling artist who has performed as a soloist throughout the United States, Central America, Europe, and Asia, and at venues such as Carnegie Hall, Avery Fisher Hall, the Wigmore Hall, the Kennedy Center, the Smithsonian Museum and the Louvre Museum. He has appeared with the New York Philharmonic, American Symphony Orchestra, Jerusalem Symphony, Stamford Symphony, and the Orchestre des Pays de la Loire. Recent engagements include a solo tour of Israel, concerto appearances at the Dresden Music Festival, in Alice Tully Hall and at the Phillips Collection in Washington, D.C., and a television performance on PBS for “Live From Lincoln Center”. Mr. Sussmann is a passionate chamber musician and has been a member of The Chamber Music Society of Lincoln Center since 2006. He appears with CMS both in New York and on tour. He has performed with many of today’s leading artists such as Itzhak Perlman, Menahem Pressler, Gary Hoffman, and Peter Frankl. His festival appearances include Mainly Mozart, Moritzburg, Caramoor, Music@Menlo, La Jolla, Bridgehampton, Strings in the Mountains, New Harmony, and the Moab Music Festival. The winner of several international competitions and prizes, Mr. Sussmann has recorded for Naxos, Albany Records, CMS Studio Recordings, and Deutsche Grammophon’s DG Concert Series. His first solo CD of the three Brahms Sonatas with pianist Orion Weiss was released in 2013 for the Telos Music Label. Arnaud studied with Boris Garlitsky and Itzhak Perlman, who chose him to be a Starling Fellow, an honor qualifying him as Mr. Perlman’s teaching assistant for two years.

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.

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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, 2013 and August 1, 2014. $10,000 + Jordan Christoff SahanDaywi Foundation The Michael J. Connell Foundation The Robert and Mercedes Eichholz Foundation Frank & Ann Everts Stanley & Judith Farrar Mr. & Mrs. Warner Henry Brenton Horner & Lisa Gallo The Ann Jackson Family Foundation Richard & Lucille Janssen Drs. Susan & John Keats Robert Klein & Lynne Cantlay Jordan & Sandra Laby Anonymous in Memory of Bill Stewart Lee Luria Lady Ridley-Tree, Baroness of St. Amand David Robertson Jack & Anitra Sheen Stan Tabler & Teresa Eggemeyer Sandra Tillisch-Svoboda

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Chae Ma

Dr. David Dodson Drs. David & Janice Frank

Drs. Helmut & Vera Muensch

Dr. Bernard Gondos

Terry & Susan Northrop

Mrs. Marie-Paule Hajdu

Alejandro E. Planchart

Bill & Chris Harper

Elizabeth Loucks Samson & Jack V. Stumpf

Ms. Maren Henle Ann Hoagland in Memory of Stephen C. Hoagland

Lyndon Robert Shaftoe

Daniel & Donna Hone

Jasminka & Richard Shaikewitz

Karin Jacobson & Hans Koellner

Dr. & Mrs. Stephen Sherman

Elizabeth L. Kilb

Marion Stewart

The Thornton Foundation

James B. & Mary Jo Hartle

Mrs. Peggy Galbraith

Anonymous

Mrs. Ina Tornallyay

Lorna S. Hedges

Joseph & Elaine Gaynor

Hope Rosenfeld

Owen Hubbard

Martin & Ann Gelfand

Cynthia Schoustra

$500 - $999

Eunice M. Koch

Mrs. Jacqueline Sharlin

Mr. & Mrs. David N. Barry, III

Sheila Lodge

Edward S. & Carolyn K. Henderson

Frank & Cecilia Bellinghiere Mr. Edward Bigger Ella Bishop Barbara Bates Bonadeo

Gary & Louse Lorden Jan & Don O’Dowd David & Claire Oxtoby Jennifer & Richard Quint

Betsy Chess

William Robinson & Hiroko Yoshimoto

Jeannie Christensen

Marta V. Smith

Wayne & Madelyn Cole

George & Gretel Stephens

Kathryn E. Costello

Elizabeth & Martin Stevenson

Eric Fischer & Richard West

Doris Anne Hendin

Eugene R. & Irma H. Strantz

Mrs. Mary Hintz

Shirley A. Toeppner

Barbara Hirsch

Anonymous

Donald M. Hoffman

Mary H. Walsh

Carol Howe & Lucien Lacour

David & Debbie Whittaker

Stephen C. Iglehart Eleanor H. Jacobs in Memory of Stanford R. Kerr

$0 - $99 Joel & Caren Adelman Catherine Albanese

Ruth O. Johnson

Ted Anagnoson

Brenn Von Bibra

Willoughby Johnson & Victoria Matthews

MacFarlane, Faletti & Co., LLP

Vanessa Weber

Mrs. June Kambach

Laurel G. Asher

Anonymous

Mahri Kerley

Carolyn F. Chase

Perry & Jodi Shapiro

$100 - $249

Richard Kiel & Michael Rose

Mr. & Mrs. John W. De Haven, Jr.

Joan Tapper Siegel & Steven Richard Siegel

Margaret Adams & Joel Edstrom

Anonymous

Judith Dugan Frances L. Gagola

Mrs. Delia Smith

William A. Basinger in Memory of Donna Kacerek

Eunice M. Koch in Memory of Donna Kacerek Steve & Karen Kohn

Harriet & Richard Glickman

Alice Landolph

Jo Ann Gordon

Anonymous

Sarah M. Hall

Ms. Jacqueline Lunianski

Bruce Allen Hardy

Barbara Maxwell

Nina L. Haro

Al Melkonian

The Holts in Honor of Peter Beuret’s Birthday

Ken & Sandy Homb Anonymous Kate, Irving & Yoon in Honor of Richard O’Neill

Tony & Anne Thacher

Timothy Rauhouse

Arabella Stewart in Memory of William Stewart Mrs. Norma Van Riper Christine Vanderbilt Holland & Michael Holland

Ila J. Bayha Richard & Frances Bohn Susan Bower

Mr. & Mrs. A. Jean Verbeck

Nancy A. Bull

Marney Weaver

Patricia Carver

Miriam C Wille

Mike Crawford & Pat Weise

Robert & Imelda Zakon

Doug Crowley

$250 - $499 Robert C. Anderson Goldman, Sachs & Co. Virginia & Ron Bottorff Edith Clark Caroline M. Coward Tom & Doris Everhart

Dr. Karen Davidson, in Memory of Dr. David Davidson

Heather Mobarak Kathleen Nielsen Blossom Norman Marguerite Noto-Bianchi

Sylvia S. Drake

Anonymous

Claire & Patrick Dunavan

Mr. & Mrs. William Pollock

Richard & Barbara Durand

Minie & Hjalmar Pompe van Meerdervoordt

David S. & Ann M. Dwelley David R. Falconer

Dennis & Evette Glauber in Honor of Richard O’Neill

Robert & Janice Fostakowsky in Memory of Donna Kacerek

David & Susan Grether

Sarah Fox

Asa & Jessie Meudell

Esther M. Prince Mr. & Mrs. Andrews Reath Jean Reiche Courtland-Dane Management Group

Diane Gateley

Andrew Janss in Honor of Adrian’s 50 Carol A. Marsh Nancy Mitchell Barbara J. Parkhurst Vonda Roberts Anonymous Susan K. Schorr & Brian Hersh John Sonquist Phyllis Stier Ericka Verba in Honor of Caroline & Geoff

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

Mssrs. Ralph Quackenbush & Robert Winkler

Mr. Brenton Horner Mr. & Mrs. Richard Janssen

The Viscount & Lady Ridley-Tree

Mr. & Mrs. Donald Kosterka 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

Graphic Traffic

Ms. Deanna McHugh

Anonymous

2 014 -2 015 Saturday, November 1, 2014 at Lobero Theatre 7:30 pm

“Virtuoso Tango” Season Kick-off Celebration Antonio Vivaldi Four Seasons

Astor Piazzolla Four Seasons of Buenos Aires Heiichiro Ohyama, conductor | Martin Beaver, violin

Heiichiro Ohyama, Music Director

Tuesday, December 16, 2014 at Lobero Theatre 7:30 pm

Brandenburg Marathon Holiday Season Celebration J. S. Bach Brandenburg Concertos 1, 2, 3, 4, 5, 6

Heiichiro Ohyama, conductor

Tuesday, February 10, 2015 at Fleischmann Auditorium, SB Museum of Natural History 7:30 pm

Note locati dif ferent on & li seatin mited g!

SBCO Chamber Players Celebrating Valentine’s Day

Sergei Prokofiev “Overture on Hebrew Themes, Op. 34” (clarinet, string quartet and piano) Francis Poulenc “Sextet (for piano and wind quintet), Op. 100” César Franck “Piano Quintet in F minor, No. 7”

SBCO Chamber Players

Tuesday, March 17, 2015 at Lobero Theatre 7:30 pm

Celebrating Music of the British Isles on St. Patrick’s Day

A Season of Celebrations

Frank Bridge “An Irish Melody (‘Londonderry Air’), H. 86” Frederick Delius “Intermezzo” from Fennimore & Gerda attacca and “Prelude” from Irmelin Felix Mendelssohn Bartholdy “The Hebrides, Op. 26 (Fingal’s Cave)” Johannes Brahms “Piano Concerto No. 1 in D minor, Op. 15”

Heiichiro Ohyama, conductor | Alessio Bax, piano

PR OG RAM S AN D ARTI STS S U B J E CT TO CHAN G E.

Call the Chamber Orchestra at 805-966-2441 to reserve your 2014-2015 Season seats! www.sbco.org

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

Bob Klein & Lynne Cantlay

Sharon Sanborn

Doris W. Blethrow

Judith Kopf

William Schrack

Evelyn Burge

Vladimir Kovalik

Jasminka & Richard Shaikewitz

Donna Burger

Sarah Jane Lind

Erik Siering & Ann Kramer

Inez Christensen

Ingrid Lindgren

Erika Smith

Jeannie Christensen

Maura Lundy

Pat Spence

Claudia Elmes & Steve Shulkin

Pat Malone

Sandra Tillisch-Svoboda

Jennifer Gray

Dick Malott

Marcella E. Tuttle

Debbie Gross & Sam Levy

Joan Melendez

Nga Vuong

Janice Hamilton

Bill & Lynn Meschan

Lawrence Wallin

Julie Henry

Dennis & Carolyn Naiman

Katherine Butts Warwick

Allan & Lorraine Hoff

Kathy & Chris Neely

Susie Williams

Hildy Hoffmann

David Robertson & Nancy Alex

Ditte Wolff & Robert Yaris

Luci & Richard Janssen

Barbara Rosen

Mary Wolthausen

Crawfordsburn, Northern Ireland, 2008. From Left to Right: James Jillson, Tim Eckert, Richard Oâ&#x20AC;&#x2122;Neill, Warren Jones, John Steinmetz, Teresa Stanislav, Gareth Flowers, Andrea Gullickson, Adrian Spence, Justin Hageman, Agnes Gottschewski, Ani Aznavoorian, Carol McGonnell, Angel Subero, Catherine Leonard, Suzanne Duffy, Andrea Moore. Photo Steve Rogers