Camerata Pacifica 2015-2016 Program by Camerata Pacifica

2015/2016 26TH SEASON

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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 Timothy Eckert, Education Outreach Director

Thea Palencia, Administrative Associate Andrea Moore, Program Annotator

Maria Norris, Bookkeeper

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

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

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. 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

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• 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 • Grieg, Violin Sonata in C Minor, Op. 45, movt. 1 • Haas, Suite for Oboe and Piano, Op. 17 • Harbison, Songs America Loves to Sing • Harbison, String Trio, mvmt. 4 • 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” • Loeffler, 2 Rhapsodies • 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 • Puts, And Legions Will Rise • Reich, Sextet • Reinecke, Flute Sonata, “Undine” • Rubinstein, Sonata for Viola and Piano, Op. 49, movt. 2 • Schubert, Divertimento D. 823 for Piano 4 Hands • Schubert, Piano Trio No. 2 in E-flat Major, D. 929, mvmt. 2 • 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 • Schoenberg, Verklärte Nacht • 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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Robertson C. Scott Bob Scott passed away Aug. 10, 2015 at age 93. Although his body just wore out, his mind stayed as sharp as ever until the very end, and his spirit will live forever. He squeezed every last drop out of this life that he could. An avid tennis player until only a few years ago, he simply lost a long tie breaker in the fifth set. Bob came to Santa Barbara with his family in 1971 to operate KDB Radio. Prior to that, he was in broadcasting for 20+ years in Los Angeles and the Southeast. He is best known as the architect of the musical programming on KDB, formerly Santa Barbara’s local classical music station. Through KDB Bob Scott raised hundreds of thousands of dollars for a variety of charities by means of events such as the Messiah Sing Along, Sweethearts Grand Ball, and Big Band Blockbuster Ball. A bomber pilot in WWII, Bob’s service was acknowledged generously by the community. Bob’s family enjoyed his love and support every day of his life, and he enjoyed theirs. However, he greatly missed Agnes, his wife of 49 years, who passed away in 1996. She was the epitome of kindness. Bob and Agnes had many friends, and all of them say they are better for having known them. Cordial and gentlemanly to all, Bob truly was the man he appeared to be. He is survived by his son and daughter-in-law, three granddaughters, a grand son-in-law, and a great grandson. Bob Scott had a wonderful life. To tell the full story would fill this entire page and then some. A memorial will be held on Dec. 8, 5-6pm, at First Presbyterian Church, just prior to the 35th annual Messiah Sing Along. Contributions in Bob’s memory can be made to your favorite local charity, or more specifically, to any of those that Bob’s events benefited in past years: Unity Shoppe, the Food Bank, Transition House, Scholarship Foundation of Santa Barbara, Hospice, CALM, and Direct Relief International.

SEPTEMBER 2015 Dedicated to the memory of our dear friend Bob Scott, KDB 93.7’s broadcaster. Thank you for your years of service to our classical music community.

Sunday 13, 3 pm Wednesday 16, 7:30 pm Thursday 17, 8 pm Friday 18, 1 pm & 7:30 pm *Lunchtime program

Ventura San Marino Los Angeles Santa Barbara

* Eugène Ysaÿe (1858-1931)

Sonata No. 3 in D minor for Solo Violin, Op. 27, “Georges Enescu”

I. Ballade: Lento molto sostenuto II. Allegro: tempo giusto e con bravura

7’00”

Paul Huang, violin

Johannes Brahms (1833-1897)

Sonata No. 1 in E minor for Piano & Cello, Op. 38

I. Allegro non troppo II. Allegretto quasi Menuetto III. Allegro

25’00”

Ani Aznavoorian, cello; Warren Jones, The Robert & Mercedes Eichholz Chair in Piano

Pablo de Sarasate (1844-1908)

Spanish Dance No. 3, Op. 22, “Romanza Andaluza”

5’00”

Paul Huang; Warren Jones

INTERMISSION * César Franck

Quintet in F minor for Piano & Strings

(1822-1890)

I. Molto moderato quasi lento II. Lento, con molto sentimento III. Allegro non troppo, ma con fuoco

39’00”

Paul Huang, Agnes Gottschewski, violins; Richard Yongjae O’Neill, viola Ani Aznavoorian; Warren Jones

Programs & Artists subject to change without notice.

The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

SEPTEMBER NOTES Eugène Ysaÿe Sonata No. 3 in D minor for Solo Violin, Op. 27, “Georges Enescu” Eugène-Auguste Ysaÿe studied the violin at home in Belgium from an early age, and entered the Liège Conservatoire in 1865. He departed three years later and began to travel with his father (a violinist and conductor), performing in his father’s orchestras. This is part of a set of six sonatas for solo violin, Op. 27, which echoes an earlier set of six solo violin works: Bach’s sonatas and partitas. And that is no accident; Ysaÿe pays tribute to Bach’s pieces in this set of sonatas. Sketched out quickly in the summer of 1923 and completed in 1924, each of the sonatas is written for the playing style of a particular contemporary of Ysaÿe’s; in this case, the violinist Georges Enescu. (Ysaÿe joins the composer Max Reger, another early 20th century Bach devotee, who wrote his Preludes and Fugues for Solo Violin, Op. 117, about ten years earlier). Violin technique was developing quickly in the early 20th century, and the sonatas that comprise Op. 27 make use of the new levels of virtuosity available to composers. These are highly technical and virtuosic works; above all, they are sonatas for solo violin, turning away from a previous virtuosic tradition—that of Paganini, Vieuxtemps, Wieniawski, and others—based in shorter, less traditionally weighty forms like the caprice and the etude. This sonata is in D minor, and seems to make repeated references to one of Bach’s best-known works in the same key, the Chaconne from the second partita. After an almost improvisatory, reflective opening the sonata (subtitled Ballade) grows in intensity, eventually moving into triple meter, with dotted rhythms built out of double and triple stops. Enescu, the piece’s dedicatee, is primarily known today as a composer, but was a true virtuoso violinist, entering the Vienna Conservatory at the age of seven.

Johannes Brahms Sonata No. 1 in E minor for Piano & Cello, Op. 38 The early 1860s were a busy and productive time for Brahms, especially with regard to chamber music. Along with this cello sonata, which he worked on between 1862 and 1865, he also produced two string sextets, a piano quintet, two piano quartets, multiple vocal works, and more. This was also the time when Brahms finally settled in Vienna, visiting there in 1862, taking over its Singakademie the next year and finally moving for good in 1870. It was at the Singakademie that Brahms made the acquaintance of Dr. Josef Gänsbacher, a voice teacher and accomplished cellist for whom Brahms wrote this piece. The sonata underwent several revisions, premiering in its current incarnation in 1865, three years after Brahms started writing it. Like Ysaÿe, Brahms was deeply influenced and moved by Bach, as well as other pre-Classical composers. He was known for his intensive study of early music, including Renaissance polyphony and Baroque counterpoint; he was also intimately familiar with the music of his immediate predecessors like Schubert and Beethoven. In this piece, Brahms pays tribute to Bach through several references to Bach’s The Art of Fugue. The long first movement’s first theme has been noted for its resemblance to the Contrapunctus III, one of the more chromatic segments from The Art of Fugue. This sonata underwent several changes and major revisions, including the jettisoning of what was to have been its Adagio and the addition of a new finale in 1865. In lieu of the Adagio, the piece has a minuet and trio as second movement. The minuet is a typical 3/4 with a heavy (if occasionally ambiguous) downbeat, but stands out for its relative chromaticism. The trio is a lyrical waltz, with piano and cello in sustained unisons throughout. The final movement again refers to The Art of Fugue, this time making an unmistakable allusion to the opening rhythm of Contrapunctus XIII. The movement is in sonata form, but also fugal, a hybrid form heavy on counterpoint, with the necessary density in the piano allegedly causing Gänsbacher to complain, at the end of the premiere, that he hadn’t been able to hear himself. Contemporary performers have no doubt solved the balance problems of the piece.

Pablo de Sarasate Spanish Dance No. 3, Op. 22, “Romanza Andaluza” Like so many composers throughout music history, Pablo de Sarasate was also a performer, studying violin with his father, a military bandleader, and performing publicly from the age of eight. This piece is part of a 19th century tradition of virtuosity, as well as of composers touring with their own music—think of Paganini or Chopin as other examples. These composer-performers had large followings, and are sometimes referred to as having been the “rock stars” of their time. Sarasate certainly kept rock star company: Whistler painted his portrait, Saint-Saëns dedicated multiple works to him, as did Bruch and Lalo. Sarasate sought to evoke national flavor or characteristics through the incorporation of folk-like, although not necessarily actual folk, music. Most of his music was for violin and piano, and he toured Europe extensively as a violinist, becoming something of a household name. The Viennese critic Eduard Hanslick wrote of Sarasate, “His tone is incomparable—not powerful or deeply affecting, but of enchanting sweetness.” The Romanza Andaluza opens with a rhythm in the piano that evokes castanets, with a lyrical line above in the violin. The “Spanish” flavor is thus immediately established, and would have been especially recognizable to 19th century audiences. Sarasate wrote over 50 works for violin, and the titles of his pieces reveal his subject matter; in addition to this Romanza Andaluza, among his works are a Caprice Basque, Sérénade Andalouse, Viva Sevilla!, and Carmen Concert Fantasy. If the listener is reminded of Carmen in this piece, that is not surprising; Sarasate used a style similar to Bizet’s (Carmen preceded this piece by only four years), and Lalo followed the same stylistic path in his Symphonie Espagnole, a concerto for violin and orchestra, of 1875. Romanza Andaluza was published in 1879 and is part of Sarasate’s collection of eight Spanish dances for violin and piano, published in pairs across four different opus numbers between 1878 and 1882.

César Franck Quintet in F minor for Piano & Strings The second Belgian on this program, César Franck was born in Liége, and showed musical ability from an early age. Enrolled in the local Conservatoire from the age of eight, the Franck family’s precarious finances meant the young César was pushed into early performances in an effort to drum up both cash and a reputation. When he was 13, the family moved to Paris, partly to gain more performance opportunities, but also to continue César’s musical education. Primarily a pianist in his youth, Franck was also writing music from childhood. Having studied organ at the Paris Conservatoire, Franck landed a job at the church of St. Jean-St. François in Paris, where he increased his technical and improvising skills. In 1858, he was appointed organist of St. Clotilde, which included a new instrument by one of Paris’ great organ builders (Cavaillé-Coll). Franck scholars see in this appointment the beginning of a new musical phase for Franck, as his post-service improvisations became a public attraction; he published a set of these in the early 1860s. Franck’s job kept him extremely busy, as did his teaching schedule, and thus he was never a prolific composer. But in the last two decades of his life, he did produce a great deal of work, including symphonic poems, oratorios (including his famous Les Béatitudes), a violin sonata, and—reflecting a renewed interest in the piano—this quintet. Like so many composers in the late 19th century, Franck worked by “cyclical” means, meaning that he combined a tendency toward recurrence, in which multiple themes are heard again and again, with the ongoing development of a single theme over the course of an entire piece, linking its movements and creating a cycle. In this quintet, written in 1879 and premiered a year later, the two opening statements become the basis for the entire work. The impassioned opening statement from the violin, marked dramatico (and ff ), is followed immediately by a quiet and lyrical response from the piano, marked espressivo. Franck spends much of the movement playing with this interchange, altering dynamics and especially taking the extremely dotted rhythm of the opening statement and subjecting it to variations in dynamics, meter, tempo, duration, and instrumentation. But it is the piano’s melody that becomes the primary cyclic theme, recurring toward the end of the second movement and again in the finale, where all four strings repeat it with growing intensity. Continued on page 40

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OCTOBER 2015 Sponsored By

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

Los Angeles Santa Barbara Ventura San Marino

* Gioacchino Rossini (1792-1868)

Duet in D Major for Cello & Double Bass

I. Allegro II. Andante molto III. Allegro zingarese

15’00”

Ani Aznavoorian, cello; Timothy Eckert, double bass

Carl Maria von Weber Trio in G minor for Flute, Cello & Piano, Op. 63 (1786-1826) Restored Victorian Elegance on Pasadena’s Historic Millionaire’s Row

I. II. III. IV.

26’00”

Allegro moderato Scherzo: Allegro vivace Schäfers Klage: Andante espressivo Finale: Allegro

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Adrian Spence, flute; Ani Aznavoorian; Michael McHale, piano

INTERMISSION Ian Wilson (b. 1964)

“AT”, Trio for Flute, Violin & Cello (WORLD PREMIERE)

3’00”

Commissioned for Camerata Pacifica by Jordan Christoff Adrian Spence; Giora Schmidt, violin; Ani Aznavoorian

* Bedrˇich Smetana (1824-1884)

Trio in G minor for Piano & Strings, Op. 15

I. Moderato assai – Più animato II. Allegro, ma non agitato III. Finale. Presto.

28’00”

Giora Schmidt; Ani Aznavoorian; 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.

OCTOBER NOTES Gioacchino Rossini Duet in D Major for Cello & Double Bass When people hear “Rossini,” opera usually comes to mind: Barber of Seville, maybe, or The Italian Girl in Algiers. For those who don’t follow opera or classical music, the overture to William Tell will still be recognizable. The association of Rossini with opera is thus a reasonable one. (It had never occurred to me to wonder whether he wrote anything else until I met a pianist who wrote a thesis about Rossini’s—yes—piano works. Who knew?) In fact, Rossini wrote a number of instrumental works, although most of them after he renounced theatrical writing, in 1829. This duet comes from the 19-year period in which he was most productive as an opera composer (36 operas, many of which still appear on opera seasons year after year). Anyone who has heard famous Rossini arias like “Una voce poco fa” from Barber may hear a kinship between Rossini’s interest in vocal and instrumental virtuosity—many of his instrumental lines in this piece seem to follow a song-like melody. Rossini was especially interested in showing off the bass, whose three-string predecessor was less capable than the modern bass, but for which the piece would have been extremely technically demanding. To keep up with changing ideas of virtuosity and ever-expanding technical abilities, contemporary bass players often adapt and embellish the piece, adding virtuosic ornamentation and flourishes of their own.

Carl Maria von Weber Trio in G minor for Flute, Cello & Piano, Op. 63 The trio sonata was historically a piece for two or three melodic instruments with continuo. One of their defining tendencies was a basic equality among the melodic voices. These pieces were incredibly popular in the late 17th century (after which they were largely divided by their use for chamber or church spaces), providing accessible music for amateurs as well as for various kinds of concert performances. Famous examples of the genre include Corelli’s 48, Couperin’s 14, and Handel’s 28. The genre was never revived, but trios like this one are evocative of the similar structures of two hundred years earlier, particularly in the equality of the instrumental voices. Weber’s role in music history has largely been as a purveyor of the themes of German Romanticism in his operas Oberon and Der Freischütz, the latter especially notable for its supernatural themes. His other music, although less well known, is quite different from the romanticism of his operas. His two symphonies evoke the 18th century Classical style (he studied with Michael Haydn), and his piano works are more in the category of virtuosic showpieces than the contemplative sonatas of (for example) his contemporary Schubert. This piece was dedicated to Dr. Philipp Jungh, a friend of Weber’s and an accomplished cellist; the dedication to Jungh also helps explain the cello’s equal role in the trio. Written in 1819 when Weber was working as music director in Dresden, the piece is in four movements, with a scherzo in the somewhat unusual second movement position. The third movement, Shepherd’s Lament, is part of the long pastoral tradition in music—think also of Beethoven’s Sixth Symphony (1808), as well as the later Symphonie Fantastique of Berlioz—a tradition that draws on tropes such as simple melodies, often in dance rhythms, and often played on an oboe or, as in this case, a flute. The pastoral tradition evokes a rustic or rural scene. A biography of Weber describes the trio as one of Weber’s “strangest and most affecting works, and the one which exercises him most in keeping a classically based formal control over very diverse material.”

Ian Wilson “AT”, Trio for Flute, Violin & Cello “AT was commissioned by, and is dedicated to Jordan Christoff who, not long after we first met, asked me if I would consider writing a little piece for the unusual combination of flute, violin and cello – three of his favourite instruments. Originally written in 2006, the piece was revised in 2014. This short work is in two parts: the first a series of melancholy and searching utterances which gradually increase in intensity, and the second a more unified section, rhythmically settled and more emotionally positive.” - Ian Wilson, August 2015

Bedrˇich Smetana Trio in G minor for Piano & Strings, Op. 15 Bedrˇ ich Smetana, born near the border between Bohemia and Moravia under the Habsburg Empire, has often been referred to as a pioneer of Czech music. Coming of age during an age of national aspirations across Europe, Smetana developed music that responded to the growing desire for Czech independence from the Habsburgs. Gifted from a young age, Smetana began performing at age six, and studied violin and piano throughout high school. His music career got off to a slow start, due partly to the fact that he received little formal musical training in early adulthood and to his family’s inability to support him as he made a reputation. He was briefly a revolutionary, participating in the short-lived Prague Revolution of 1848, which may have been behind his interest in developing a Czech musical language. It is important to note that prior to the emerging of an idea of Czech nationhood, Smetana’s primary identity would have been as Bohemian, and German-speaking; his given name was Friedrich, and he became Bedrˇ ich only later. His most famous piece may be his great set of symphonic poems, Má vlast, “My Homeland,” which he wrote in the 1870s and which are intended to depict scenes of Bohemia. Although it is influenced by the Eastern European folk music that would mark Smetana’s output, this trio served no nationalist purposes; instead, it is deeply autobiographical, and understood to be Smetana’s attempt to come to terms with the death from scarlet fever of his young daughter, age four. Written in 1855, the trio is certainly in the Romantic tradition, and later works by Brahms and especially Dvorˇák would work in similar ways. Its concern with personal inner experience is part of its romanticism, and it opens with an anguished statement from the violin, which grows in intensity when the other instruments enter. The second theme of this sonata form is much more lyrical; this is usually the case with second themes, but this one is especially poignant, as it is based on one of Smetana’s daughter’s favorite melodies. The second movement takes the role of a minuet and trio. Its anxious opening is contrasted with two different “trio” sections (it is not a typical ABA form), the first based on a tender violin rhapsody, and the second a serious and regal march. The piece ends with a rondo that opens with energy and intensity in the piano and driving strings, with the “two” in the piano’s right hand against the “three” of the left hand and the strings, giving the whole thing a breakneck, reckless quality, not unknown in the grieving process. This gives way to a much slower Continued on page 40

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Congratulations to all of our supporters, including Camerata Pacifica. We have completed our eighth year of this project to support breast cancer research in memory of Jan Weimer, chef, author, critic and â&#x20AC;&#x153;giant in the food industry.â&#x20AC;? The Journal of the American Medical Association (JAMA) published the first article attributed to the support of the Jan Weimer Fund this past year. We continue to raise funds for this critical research and are proud of our partnership with the Camerata. We anticipate holding events in our new venue, Scarlatti Hall in Atwater, Los Angeles. Watch for announcements. 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. 14

NOVEMBER 2015 The Jan Weimer Memorial Concert

Sunday 15, 7:30 pm Wednesday 18, 7:30 pm Thursday 19, 8 pm Friday 20, 1 pm & 7:30 pm *Lunchtime program

Ventura San Marino Los Angeles Santa Barbara

* J.S. Bach (1685-1750)

Sonata in G minor for Oboe & Piano, BWV 1030b

I. Andante II. Siciliano III. Presto

14’00”

Nicholas Daniel, oboe; Molly Morkoski, piano

Henri Vieuxtemps (1786-1826)

Capriccio for Solo Viola, Op. 55, “Hommage à Paganini”

* W.A. Mozart (1756-1791)

Trio in E-flat Major, K. 498, “Kegelstatt”

I. Andante II. Menuetto III. Allegretto

4’00”

Richard Yongjae O’Neill, viola

21’00”

Jose Franch-Ballester, clarinet; Richard Yongjae O’Neill; Molly Morkoski

INTERMISSION Edouard Destenay (1850-1924)

Trio in B minor for Oboe, Clarinet & Piano, Op. 27

I. Allegro vivace II. Andante non troppo III. Presto

22’00”

Nicholas Daniel; Jose Franch-Ballester; Molly Morkoski

* Luigi Bassi (1833-1871)

Fantasia on Themes from “Rigoletto”

13’00”

Jose Franch-Ballester; Molly Morkoski

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 J.S. Bach Sonata in G minor for Oboe & Piano, BWV 1030b This sonata is a version of Bach’s Sonata for flute and harpsichord, BWV 1030. That piece is one of six such sonatas. This piece, catalogued as BWV 1030b, comes from an earlier version of 1030, a version of which only the harpsichord part remains. The use of oboe is therefore a matter of some conjecture— did Bach intend oboe to be the solo instrument? Or was it perhaps for viola da gamba? Fortunately for oboists and listeners alike, there is a long enough tradition of 1030b as a sonata for oboe and harpsichord that the question of Bach’s intention has receded. The first movement is contemplative and difficult, with its opening theme developed over an unusually long time for a work of its time. The second movement is a Siciliano, a widely used Baroque style or genre, pastoral in character (especially in this case, because of the oboe); it is usually in a slow triple meter, often with dotted rhythms. Bach has several such movements in his output. The final is in two parts: a fugue, and a gigue that picks up the fugue’s themes. In its weight and complexity, if not its duration, it is a balance for the first movement.

Henri Vieuxtemps Capriccio for Solo Viola, Op. 55, “Hommage à Paganini” Henri Vieuxtemps was a public performer from a young age. When he was nine years old, he moved from his native Verviers, Belgium to Paris with his teacher, the noted violinist Charles Auguste de Bériot. Upon returning to Belgium, Vieuxtemps continued to develop both his technique and his network, and a tour at the age of 13 brought him into contact with Schumann and other German composers. Even as he gained a reputation as a virtuosic violinist—some have ranked him with Paganini—Vieuxtemps was also a highly skilled violist. While much of his music is for or features the violin, including eight concertos, or features it prominently, he has a small handful of works for viola, including Elegie, for viola and piano, from 1854, and a sonata in B-flat major, published in 1863. This capriccio, “Hommage a Paganini,” is part of a collection of six solo pieces; the first five are for violin. Collectively titled “Six Morceaux pour violon seul suivis d’un Capriccio pour alto seul,” the set has a posthumous designation; it was published in 1883, two years after Vieuxtemps’ death. The piece is marked Lento, con molta espressione. Like the Six Morceaux for solo violin, the Capriccio is influenced by Bach and bears a resemblance to Bach’s solo works for violin. The piece has two basic themes: the opening, in which a melodic line is played over thick harmonies, id developed throughout, and a more linear and denser section follows.

W.A. Mozart Trio in E-flat Major, K. 498, “Kegelstatt” This trio was written in the last five years of Mozart’s life, during a decade when he was based in Vienna. It was written for Mozart’s friends, Nikolaus Joseph von Jaquin and his daughter Franziska, who was Mozart’s student. Franziska was a wonderful pianist, and premiered the piece with Mozart playing viola and the acclaimed clarinetist Anton Stadler. Mozart’s friendship with Stadler had influenced his music, such that many pieces came to include clarinet parts; Mozart also wrote a clarinet quintet and clarinet concerto for Stadler. However, when the piece was published, it was designated for violin, viola, and keyboard, with an indication that the violin part could be played on clarinet. Mozart was a frequent guest in the Jaquin home, which was known for its weekly gatherings of friends for “discussions, games, and music-making,” and the piece was performed for the first time during one of these house concerts. The nickname, “Kegelstatt,” means loosely, “place for skittles,” skittles being a kind of bowling game; however, there is no firm evidence to support the rumor that Mozart wrote the trio while engaged in such a game. This trio is a staple of the chamber music repertoire, despite its unusual instrumentation. The first movement is also unusual for its tempo, Andante. It is in sonata form, but without a repeat; the whole movement has a conversational air, with the piano and viola stating the primary theme, and the secondary theme introduced by the clarinet. The minuet and trio is especially notable for the middle section, with the clarinet and piano taking

an accompanying role to the agitated viola before the piano takes over the triplet figures. The clarinet introduces the first theme of the rondo (labeled Rondeaux for its multiple recurring themes), but the themes are fairly evenly distributed among the instruments. The piece is not terribly demanding technically, and makes an excellent vehicle for amateur as well as professional music-making.

Edouard Destenay Trio in B minor for Oboe, Clarinet & Piano, Op. 27 The composer Edouard Destenay was born in Algiers in 1850. He was recognized by the French Legion of Honor, and lived in France for much of his life; despite this, however, very little is known about his biography, and little of his music remains in publication or in regular circulation on the concert stage. The score indicates a double dedication: to (Louis) Bleuzet, the oboe soloist of the Concerts du Conservatoire (and professor there from 1919 to 1941), and (Emile) Stiewenard, the clarinet soloist (probably the principal clarinetist) of the Concerts Lamoureux, a concert series given by the Orchestre Lamoureux, a notable orchestra society in Paris. Stievenard (the spelling under which he published) was a pedagogue as well, and his method book Practical Study of the Scales for the Clarinet remains in print and in use. This dedication suggests that Destenay kept notable musical company, although it does not tell us whether Stiewenard and Bleuzet premiered the piece. The score also includes a short list of other pieces by Destenay, including a piano quintet, a quintet for strings and harp, Tarantelle for four-hands piano, violin and cello, and a Chorale and Fugue for two pianos. While this is not a complete list of his works, it does suggest a composer who was not afraid to mix it up, instrumentation-wise. The unusual instrumentation of this piece is further evidence; there are very few such trios. The first movement is one of contrasts, set up within the first few measures: a thunderous piano chord and dramatic flourish from the clarinet subsides immediately into a short-lived quiet response. The tension between dramatic declaration and sweet lyricism persists throughout. The second movement is built on an exchange of themes between oboe and clarinet, with the piano largely taking an accompanying role. The Presto finale is propulsive from the outset, and like the first movement, is based on contrasts, in this case, instrumental, dynamic, and rhythmic above all.

Luigi Bassi Fantasia on Themes from “Rigoletto” Virtuosity was an important dimension of 19th century music. Violinists like Paganini and Vieuxtemps, pianists like Chopin and Liszt, all expanded the technique and possibilities of their instruments; at the same time, instruments themselves were undergoing regular expansion and improvements as well. Wind players were not left out of this, although developments in wind playing are less widely known. The great clarinetist Anton Stadler has already been mentioned in connection with Mozart; the 19th century also had its share of clarinet virtuosos, and some of them were also composers. One of the less prestigious, although highly popular genres, of the 19th century was the opera fantasy. These were instrumental works in which themes from a specific opera would be put through multiple variations, generally displaying the performer’s ability in the process. They served as audience development tools, as they increased familiarity with opera in the absence of full performances or easily available scores; consequently, they were also a means by which opera producers could promote an upcoming production. There are hundreds of these opera fantasies written for clarinet; for whatever reason (perhaps the relative dearth of repertoire for this newcomer instrument), composers and clarinetists churned them out, including fantasies on Rigoletto, Aida, and many more. Opera fantasies are largely an Italian genre, based on Italian opera, and date back as far as the 1820s, to fantasies based on works by Rossini and Bellini. Luigi Bassi wrote multiple works in this genre. Born around 1833, Bassi studied at the Milan Conservatory and became a member of the La Scala orchestra around 1853, where he remained until his death. He also played in other theater orchestras, ensuring that his knowledge of the opera repertory was always current. Listeners who know Verdi’s Rigoletto will recognize a number of themes and arias, including “Tutte le feste,” originally a duet between Rigoletto and his daughter Gilda, “Caro nome,” Gilda’s aria, “Bella figlia dell’amore,” sung by the Duke, and others.

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JANUARY 2016 Sponsored By

Stan Tabler

Sunday 10, 3 pm Tuesday 12, 7:30 pm Thursday 14, 8 pm Friday 15, 1 pm & 7:30 pm *Lunchtime program

* David Bruce (b. 1970)

Ventura San Marino Los Angeles Santa Barbara

Steampunk I. II. III. IV. V.

22’00”

Vigoroso, fanfare-like Dark, brooding, mechanically menacing Misterioso e malinconico Light, comically Desolato

Nicholas Daniel, oboe; Jose Franch-Ballester, clarinet; Amy Harman, bassoon; Martin Owen, horn; Kristin Lee, violin; Morgan O’Shaughnessey, viola; Ani Aznavoorian, cello; Timothy Eckert, double bass

Stephen Hartke (b. 1952)

The Horse with the Lavender Eye I. II. III. IV.

16’00”

Music of the Left The Servant of Two Masters Waltzing at the Abyss Cancel My Rumba Lesson

Paul Huang, violin; Jose Franch-Ballester; Warren Jones, The Robert & Mercedes Eichholz Chair in Piano

INTERMISSION Sean Friar (b. 1985)

Velvet Hammer

Percy Grainger (1882-1961)

Après un Rêve (Gabriel Fauré)

* Charles Villiers Stanford (1852-1924)

Serenade (Nonet) in F Major, Op. 95

7’00”

Adrian Spence, flute; Jose-Franch-Ballester; Warren Jones; Timothy Eckert; Mak Grgic´, electric guitar

3’00”

Warren Jones

29’00”

I. Allegro II. Allegro molto III. Andante IV. Allegro comodo

Adrian Spence; Jose Franch-Ballester; Amy Harman; Martin Owen; Paul Huang, Kristin Lee; Morgan O’Shaughnessey; Ani Aznavoorian; Timothy Eckert Programs & Artists subject to change without notice. The photographing or sound recording of this concert or possession of any device for such photography or sound recording is prohibited.

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JANUARY NOTES David Bruce Steampunk 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. Listeners who attended Camerata Pacifica concerts last year will remember Bruce’s Caja de Música and The Eye of Night. Of Steampunk, the composer writes: “I first came across the word ‘steampunk’ when a friend introduced to me as such the collection of strangely futuristic lights, clocks and other objects that he’d fashioned out of copper pipes and other scrap materials. As a fan of homemade instruments it was a form of creativity that instantly appealed to me. I later discovered that steampunk was originally a science fiction genre but has gone on to become a quite recognised form of design, fashion and sub-culture. It centres on a kind of ‘alternative history’—an alternative universe which looks a lot like technologically-advanced Victorian England, only one where electricity never surfaced and everything is steampowered. Brass, copper and wood feature prominently. When Carnegie Hall offered me this commission based around the Beethoven Septet line-up (though I added an oboe to mine in the end), the horn and bassoon immediately stood out to me as defining colours of the group and somehow a connection formed between them and the images of the steampunk world. I think above all it was the French horn with its crazy complicated brass plumbing, making it about as iconic a steampunk instrument as you could hope for; but similarly the bassoon, the bass clarinet and the cor anglais each have the distinct air of an eccentric Victorian gentleman. It seemed like a line-up from a steampunk cartoon. To stretch the analogy a little further than I probably should, you could see Classical Music itself as a kind of steampunk music. It’s one of the very few areas in music performance where unamplified, non-electronic sound is still the norm. The brief opening movement has wild fanfares on clarinet and French horn and is followed by a dark, brooding passacaglia. The third lyrical movement was inspired by the ‘armillary sphere,’ a model of the celestial sphere often found in steampunk design, and I hope the movement captures a sense of a mysterious spiraling celestial mechanism. The fourth movement is much more light-hearted and seems to hint at strange ticking clocks. The final movement starts with a desolate stillness, but gradually and relentlessly - indeed, as if powered by steam - builds up speed until arriving at a break-neck denouement.”

Stephen Hartke The Horse with the Lavender Eye Stephen Hartke is highly sought after among his generation of U.S. composers. Now the Chair of Composition at Oberlin College, he was for decades on the faculty of the Thornton School of Music at the University of Southern California. During that time he wrote for many Los Angeles musicians and institutions, including the Los Angeles Philharmonic and the Los Angeles Chamber Orchestra. He also earned his PhD at UCSB. His reputation and musical reach are international; he has won the Rome Prize, and been commissioned by the New York Philharmonic, Chamber Music Society of Lincoln Center (which commissioned this piece), and been honored by the National Endowment for the Arts, the Guggenheim Foundation, and many, many more. The New York Times described his work as, “fully a part of the continuum: a modern extension of the musical language those composers [Beethoven and Haydn] spoke and as eloquent in its way as the music of its celebrated predecessors.” Of The Horse with the Lavender Eye, Hartke writes: “I’ve always been fascinated by non-sequiturs, and the way that sense can suddenly appear out of nonsense. I also find imagery derived from words and pictures to be a great stimulus to my musical thinking, even if the relationships between the images I seize upon are not necessarily obvious or logical. The sources for the titles of this trio are quite disparate, ranging from Carlo Goldoni to Japanese court music to the cartoonist R. Crumb, as well as 19th century Brazilian novelist Machado de Assis and Looney Tunes. A bewildering array of references, to be sure, but one that somehow whets my musical appetite.

Here are examples of just how: the ancient Japanese court, borrowing from the Chinese, was divided into left and right sides with ministries and music specific to each. The image of this official Music of the Left, suggested, first, the rather ceremonial character of my trio’s first movement, and also its technical quirk: all three instruments are to be played by the left hand alone. In the second movement, the title of Carlo Goldoni’s play, The Servant of Two Masters, seemed to me an apt description of the performance dynamic involved in this particular combination of instruments, where the piano, in somewhat of a frenzy, serves alternately as the accompaniment to the clarinet while the violin clamors for attention, and vice versa. The third movement was suggested by a very short chapter in Machado de Assis’ novel Dom Casmurro wherein the narrator, observing that his story seems to be waltzing at the abyss of final catastrophe, seeks to reassure his reader (falsely, as it turns out) by saying: “Don’t worry, dear, I’ll wheel about.” For the finale, I had in mind a panel from one of R. Crumb’s underground comics of the late 60s showing a character dashing about in an apocalyptic frenzy, shouting, among other things, “Cancel my rumba lesson!” The connective thread of all these images began to dawn on me only in the midst of composing the work: all the movements have to do in one way or another with a sense of being off-balance -- playing music with only one side of the body; being caught between insistent and conflicting demands; dancing dangerously close to a precipice, and only narrowly avoiding tumbling in; and, finally, not really being able to dance the rumba at all. Nonetheless, in the very end (the rumba lesson having been canceled, I suppose), a sense of calm and equilibrium comes to prevail.”

Sean Friar Velvet Hammer Another Southern Californian, Sean Friar graduated from UCLA in 2007 and is a PhD candidate at Princeton University. Although younger than the other composers on this program, Friar has an impressive list of commissions and performances, including performances by the Los Angeles Philharmonic, The Formalist Quartet, Alarm Will Sound, the Aspen, Bang on a Can, and Cabrillo Festivals, and many more. He is also the winner of a Rome Prize as well as other prestigious commissions and awards. Friar describes Velvet Hammer, from 2009, as follows: “An insistent and throbbing pulse underlies a musical texture in which everything is informed by and expands upon the timbre and effects of the electric guitar, creating a sort of super-electric guitar in the process. Whether the guitar is using a delicate and shimmering delay or taking it “up to 11” with delirious shredding, the other instruments all find their own ways to amplify each effect and make them their own; simulating interference, delays, distortion, and more, in the process. More personally, I wanted to use Velvet Hammer as an experiment in combining my favorite aspects of rock and classical music in as genuine a way as I could. From rock, I borrow its visceral and extreme sound world, both in the way the electric guitar is used and in the use of extreme registers and extended techniques in the acoustic instruments. From classical, I use its sense of form – unlike the predictable and undramatic shapes most rock songs take, I opt for something that is dynamic, unpredictable, and infused with a sense of tension and trajectory from beginning to end. Last, the most important (and difficult) thing I wanted to do was to try channel rock music’s directness and accessibility. This is difficult because, in some ways, that directness and accessibility is antithetical to concert music which is complex, abstract and demanding of the listener (and I like all of those things). There is something very appealing to me about rock music’s unbridled and unrestrained sense of expression, though – whatever it is trying to express, it just goes for it; sometimes guilelessly, but generally with less of the artifice and sometimes crippling self-awareness that can accompany those of us who write more formalized music. As a concert music composer who grew up playing blues before Beethoven, I have always felt the competing pull of these two musical worlds and value systems, and a desire to reconcile them in a way that preserves what I love about each without diluting either. While I go back and forth on how possible I think that is, Velvet Hammer represents my most earnest attempt at it to date.”

Percy Grainger Après un Rêve (Gabriel Fauré) The English composer Percy Grainger made seven piano arrangements of well-known pieces by other composers over a period of twenty years, and published them under the title Free Settings of Favourite Melodies. Composers in this small collection include Brahms, Handel, Straus, and Fauré, who is represented twice. The use of the word “free” had particular meaning for Grainger, who sought to develop what he called a “free music.” He sought tonal and rhythmic freedom, developing the latter partly by way of analyzing speech rhythms; he was also interested in improvisation and made at least one attempt at writing a “beatless” piece. For Grainger, all of this experimentation was based on his idea that music was, or should be, democratic, with everyone having an equal right to participate. This led him, at least temporarily, to the conclusion that music should be liberated altogether from the “tyranny of the performer,” as he put it, and consequently he wrote Free Music No. 1 and 2, for four and six theremins. Thereafter he developed several free music machines. Fauré’s 1878 song is part of his Op. 7, Trois Melodies. Originally for voice and piano, it is one of Fauré’s most popular works, and is a setting of a text by Romaine Bussine that describes a dreamer reluctant to wake from a dream of a rendezvous: “you called to me and I left the earth to run away with you toward the light….” In addition to Grainger’s version, Fauré made his own arrangements, including one for solo piano.

Charles Villiers Stanford Serenade (Nonet) in F Major, Op. 95 Sir Charles Villiers Stanford was a major figure in the renewal of British music at the end of the 19th century. A teacher as well as a composer, he influenced generations of composers through his work at the Royal College of Music and Cambridge University. Born in Dublin, Stanford came from a well-off family, and his childhood home has been described as a place for musicians to meet. Although his primary studies were in Classics, Stanford was Continued on page 40

2 0 1 5 -2 0 1 6

Oct. 3, 2015 Season Opening “Fire & Ice” Party & Concert SCHUMANN Symphony No. 4 in D minor, Op. 120 MENDELSSOHN A Midsummer Night’s Dream, Overture STRAVINSKY “Firebird”

Dec. 8, 2015 Gail Eichenthal, Guest Lecturer

MENDELSSOHN Symphony for Strings No. 9 “Swiss Symphony” ˇ ÁK Serenade for Strings in E major, Op. 22 DVOR

Feb. 9, 2016 Heiichiro Ohyama, Viola

Chamber Music at the SB Museum of Natural History MOZART Horn Quintet in E-flat major, K. 407 F. DEVIENNE Quartet for bassoon & strings in G minor MOZART String Quintet No. 4 in G minor for two violas

S E AS O N

Maestro Heiichiro Ohyama Music Director Mar. 22, 2016 Martin Beaver, violin

MOZART Overture: The Marriage of Figaro MOZART Symphony No. 40 in G minor, K. 550 MENDELSSOHN Violin Concerto Op. 64

Apr. 5, 2016 Music-Dialogue!

University Club of Santa Barbara A Conversation Featuring Maestro Ohyama, Host Alan Chapman and select players from the Chamber Orchestra surrounds the concert performance. MENDELSSOHN String Quintet No. 2, Op. 87

May 17, 2016 Alessio Bax, piano

SCHUMANN Piano Concerto in A minor, Op. 54 MENDELSSOHN Symphony No. 5 “Reformation” Op. 107

Call 805-966-2441 or visit www.sbco.org for more information!

FEBRUARY 2016 Sponsored By

Tuesday 9, 7:30 pm Thursday 11, 8 pm Friday 12, 1 pm & 7:30 pm Sunday 14, 3 pm *Lunchtime program

San Marino Los Angeles Santa Barbara Ventura

* Wynton Marsalis (b. 1961)

At the Octoroon Balls – String Quartet No. 1

I. Come Long Fiddler II. Mating Calls & Delta Rhythms III. Creole Contradanzas IV. Many Gone V. Hellbound Highball VI. Blue Lights on the Bayou VII. Rampart St. Row House Rag

45’00”

Paul Huang, Agnes Gottschewski, violins; Richard Yongjae O’Neill, viola; Ani Aznavoorian, cello

INTERMISSION

Tan Dun (b. 1957)

Ghost Opera

41’00”

Paul Huang, Agnes Gottschewski; Richard Yongjae O’Neill; Ani Aznavoorian; Min Xiao-Fen, pipa

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 Wynton Marsalis At the Octoroon Balls – String Quartet No. 1 This piece by the jazz trumpet legend, composer, and educator Wynton Marsalis, was commissioned by the Chamber Music Society of Lincoln Center and premiered in 1995. The 1990s were an exciting time for composition in the U.S., full of various kinds of diversification: a group of Chinese composers was making its mark (including Tan Dun and Chen Yi), voices from former Eastern bloc countries were coming to prominence, the electric guitar was rapidly becoming a chamber music instrument. And Wynton Marsalis, known worldwide as a jazz musician, wrote his first string quartet. Historically, the mutual influence of jazz and classical music had largely gone the other way: composers from Shostakovich to Ravel and Milhaud had written works inspired by jazz (or “jazz,” that is, inspired by an idea of jazz without necessarily having heard it). If any classical influence seems especially strong in this piece, it is Bartok’s string quartets, Bartok having been an early adopter of the incorporation of musical vernacular into concert hall composition. The “octoroon balls” of the title were a primarily 18th century New Orleans phenomenon where white men came to meet “octoroon” women—that is, women of mixed racial descent (an octoroon being 1/8 black, a quadroon 1/4 black), mostly as mistresses, as intermarriage was forbidden by law. The arrangements that ensued were known as plaçage, an extralegal system of common-law marriage that allowed men to set up dual households. Most known in its New Orleans incarnation, plaçage also existed in French and Spanish Caribbean colonies. It was often contractually sealed; according to one historian, there might be housing provided to the woman (known as a placée), payment to her parent, and paternal acknowledgment of any children that resulted from the union. The theme of personal relationships between entities often separated by legal or extra-legal means has been loosely extended to the piece itself. The New York Times review of its premiere began, “Lincoln Center’s executives have for years been trying to arrange marriages, or at least trysts, between the center’s constituents, and…one of these unions bore fruit.” Marsalis was born in New Orleans, and as the composer Bruce Adolphe put it, Marsalis’ musical education included “traditional jazz in a Baptist church, R&B, the Crispy Critters (top 40 band), Juilliard, salsa bands, Broadway pits and the Brooklyn Philharmonia; culminating in a relationship with Art Blakey as a regular with the Jazz Messengers.” All of this history suggests a work that will have a “hybrid” quality, perhaps being part jazz, part New Orleans ragtime, part Beethoven string quartet. Yet despite this eclectic collection of influences and experiences, At the Octoroon Balls is a fairly straightforward string quartet, evoking the blues, the Mississippi delta, American fiddling, and ragtime; ragtime, which had also inspired Dvorˇ ák, who heard in its melodies something essentially American. A 1911 issue of “The Crisis,” the monthly journal of the National Association for the Advancement of Colored People, ran a poem about these balls, titled “Ballade des Belles Milatraisses.” It reflects the fact that, while black men were excluded from participating in any related contracts or courtship, they often played a central role at the balls as musicians (in this case, as a “fiddler-man” exhorted not to look at the women on display). The poem begins:

‘Tis the Octoroon ball! And the halls are alight! The music is playing an old-time ‘Galop’ The women are ‘fair,’ and the cavaliers white, (Play on! fiddler-man, keep your eyes on your bow!)

In light of this poetic depiction of the titular events, the fact that Marsalis opens this piece with a ten-minute movement for solo violin, “Come Long Fiddler,” suggests a long overdue rewriting of that musical role, as though Marsalis were placing the fiddler—two hundred years later—center stage at last.

Tan Dun Ghost Opera This 1994 piece by Tan Dun is another example of the 1990s diversification of concert music addressed above. Commissioned by the Kronos Quartet, a leading actor in the expansion of new music beyond the traditional bounds of “Western” music, Ghost Opera is a virtuosic display by Tan, who demonstrates his ability to move among idioms and traditions in the context of a unified and dramatic work. Tan is known both as an avant-gardist, especially in his early work after his arrival in the U.S. in 1986, as well as a composer of film music—he won an Oscar for 2000’s Crouching Tiger, Hidden Dragon. In much of his work, he combines material that evokes Chinese traditions with instruments, ensemble types, and compositional techniques of Western classical music. Scored for string quartet and pipa, this five-movement piece pushes string players to go beyond their usual roles, calling for vocalizing, movement, and percussion playing. Performers splash their hands in water (from the very beginning), play cymbals with their bows, and move around the stage in what has been described as an “imaginary ritual.” Ritual is a recurring theme in Tan’s work; his website allows visitors to browse by genre, and among the genres (along with chamber music, oratorio, and opera) is “Music Ritual and Performance.” There are many disparate influences in Ghost Opera, which shape the piece and make it perhaps as much a performance piece or installation as a traditional work of concert music; indeed, the score states, “Music, text and installation by Tan Dun.” The piece opens with Bach quotations (fitting the movement’s title), and Bach might be understood as one of the titular ghosts, coming back multiple times as a kind of talisman. In the third movement, it is encountered by a Chinese folksong, “Little Cabbage.” Shakespeare is another figure in the piece, with fragments of tests from The Tempest spoken or shouted by the performers. At the same time, the piece is modeled on a Chinese exorcism ceremony, the ancient shamanistic “ghost operas.” These were repressed by the Chinese government during the Cultural Revolution, but persisted outside the cities. The ceremonies were conducted by a shaman who could communicate with the ghost world; this is evoked in Ghost Opera, which Tan has called a “dialogue between past and future, spirit and nature.” In keeping with these themes of East and West, present and past, living and dead, the score lists a “Cast,” consisting of the following: Now: String Quartet and pipa Past: Bach, folksong, monks, Shakespeare Forever: water, stones, metal, paper In this dramatis personae, we can understand Tan’s aims. In the current moment, he blends Eastern and Western music in a very concrete sense, through the instrumentation. The past becomes a more conceptual melding of levels, and acknowledges the fact that Shakespeare only became “high art” once that category was invented much later, and the same is true for Bach. In Tan’s “past,” these two figures merge with folksong and religion, dissolving boundaries among high and low, theory and practice. Eternity means a return to the most elemental forces, represented on stage by water, stones, metal, and paper, which the performers splash in, beat together, shake, rattle, and crumple as required by the score. The “back and forth moment between different time frames and spiritual realms which is characteristic of the ‘ghost opera’ tradition,” in one writer’s description, is reflected in the performers’ movements around the stage to seven different positions and back again.

MARCH 2016 Sponsored by

Jordan & Sandra Laby

Thursday 3, 8 pm Friday 4, 1 pm & 7:30 pm Sunday 6, 3 pm Tuesday 8, 7:30 pm *Lunchtime program

Los Angeles Santa Barbara Ventura San Marino

* Eugène Ysaÿe

Sonata No. 2 in A minor for Solo Violin, Op. 27, “Jacques Thibaud” 11’00”

(1858-1931)

I. II. III. IV.

Prelude, “Obsession”: Poco vivace Malinconia: Poco lento Sarabande, “Danse des ombres”: Lento Les Furies: Allegro furioso Kristin Lee, violin

Ludvig van Beethoven Sonata No. 9 in A Major for Violin & Piano, Op. 47, “Kreutzer” (1770-1827)

43’00”

I. Adagio sostenuto – Presto II. Andante con variazioni III. Finale. Presto Kristin Lee; Molly Morkoski, piano

INTERMISSION * Sergei Rachmaninoff (1873-1943)

Sonata in G minor for Viola & Piano, Op. 19

I. Lento. Allegro moderato II. Allegro scherzando III. Andante IV. Allegro mosso

35’00”

Richard Yongjae O’Neill, viola; Molly Morkoski

* Pablo de Sarasate (1844-1908)

Carmen Concert Fantasy, Op. 25

13’00”

Kristin Lee; Molly Morkoski

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 Eugène Ysaÿe Sonata No. 2 in A minor for Solo Violin, Op. 27, “Jacques Thibaud” As in Ysaÿe’s Sonata No. 3, performed in September, this solo sonata is dedicated to a violinist who was a contemporary of Ysaÿe’s. Jacques Thibaud entered the Paris Conservatoire at age 13, and became a regular soloist at Concerts Colonne before undertaking a European and U.S. touring schedule. A chamber musician as well as a soloist, it was Thibaud’s trio with the pianist Alfred Cortot and cellist Pablo Casals that gained him the most acclaim in this area. Among their output is a 1926 recording of Schubert’s Piano Trio in B-flat; along with Thibaud’s solo recordings, this has been reissued on CD and is commercially available, offering an unusual opportunity not only to hear a great performer of the early 20th century, but in the process to explore an earlier performance style in a very concrete way. Sadly, Thibaud was killed in a plane crash in 1953, en route to East Asia for a concert tour. The first movement of this sonata is titled Obsession, a reference to Thibaud’s obsessive relationship with the Preludio to Bach’s Partita in E major, with which he reportedly warmed up each day. The Bach quotations and references are blended with quotes from the Dies Irae from the Requiem Mass, which also makes an appearance in the second movement, Malinconia (melancholy). The third movement, Dance of the Shades, initially sets the Dies Irae as a pizzicato Sarabande and transforms it by setting it in major. A set of variations follows, with great skill required from the performer. The movement concludes with a restatement of its opening, played this time with the bow. The finale, Les Furies, is yet another treatment of the Dies Irae, calling for the performer to play sul ponticello (on the bridge of the instrument), with the resultantly “ghostly” sound, and has an abrupt, almost comical, ending.

Ludvig van Beethoven Sonata No. 9 in A Major for Violin & Piano, Op. 47, “Kreutzer” Beethoven’s “Kreutzer” Sonata has inspired multiple works of art, including Leo Tolstoy’s 1889 novella, The Kreutzer Sonata, Janacek’s String Quartet No. 1 (subtitled “Kreutzer Sonata”), and more recently, a collection of poems by former U.S. poet laureate, Rita Dove, titled Sonata Mulattica. Dove’s poems outline the relationship between Beethoven and the sonata’s original dedicatee, the violinist George Bridgetower. Bridgetower was born to a servant in the household of Prince Esterhazy (Haydn’s patron); his mother was German, his father is thought to have been West Indian, and Bridgetower may have lived at Eszterhaza and even studied with Haydn. A virtuoso from a young age, Bridgetower performed in London and Paris as a child, and if he didn’t meet Haydn at home, he performed alongside him in London. In spring 1803, at the age of 24, he met and performed with Beethoven in Vienna. Beethoven, impressed with Bridgetower, dedicated the original version of this sonata to him, with the (humorous) inscription, “Sonata mulattica composta per il mulatto Brischdauer, gran pazzo e compositore mulattico.” (Translation: Mulatto sonata composed for the mulatto Bridgetower, the craziest mulatto composer). He also marked the original title page with a description of the piece as having a “very concertante style, almost like a concerto.” The sonata itself grew out of sketches of two movements for violin and piano, to which Beethoven quickly added a pre-existing finale (originally from Sonata Op. 30, No. 1) when a concert with Bridgetower was arranged for May 1803. The piece was premiered with little if any rehearsal, with Bridgetower reading the second movement over Beethoven’s shoulder; there had not been enough time to have the part copied. The two musicians later fell out (allegedly over disparaging remarks made by Bridgetower about a woman of Beethoven’s acquaintance), and Beethoven withdrew the inscription. He also substantially revised the piece and added a new dedication, to the violinist and composer Rodolphe Kreutzer. The dedication was made without Kreutzer’s knowledge, and there is no record of his having performed the piece; however, Beethoven admired his playing saying, “I prefer his modesty and natural behavior to all the exterior without any interior, which is characteristic of most virtuosos.”

The piece itself is hardly modest, running approximately 27 minutes. It opens with a solo statement from the violin, a slow and dramatic introduction that stands alone among Beethoven’s violin sonatas. Like Ysaÿe’s much later pieces, Kreutzer calls for triple and quadruple stops from the violinist in the first movement. The second movement is the longest movement in all the ten sonatas, is based on a relatively simple and elegant theme, followed by four variations. The finale (again, taken from another sonata), is a rondo, based in the rapid rhythms of the Italian dance tarantella.

Sergei Rachmaninoff Sonata in G minor for Viola & Piano, Op. 19 After something of a turbulent childhood spent partly in St. Petersburg, Sergei Rachmaninoff landed at the Moscow Conservatory as a teenager, studying piano and taking in the musical life of the city. Thanks to his piano teacher, Nikolai Zverev, Rachmaninoff also met influential musicians like Anton Rubinstein and Tchaikovsky. Within a few years, Rachmaninoff also began studying harmony and counterpoint, and developing his skills as a composer; he had dabbled in composition already, producing a short orchestral piece as well as piano pieces in his Moscow years. He graduated from the Conservatory with highest honors in 1892, and was signed by a music publisher. Following some early success, he endured a disastrous premiere of his first symphony, which threw him into some turmoil; recovery from that took several years and was aided by the success of his Second Piano Concerto, which premiered in 1901. Although Rachmaninoff’s virtuosity at the keyboard led him to write a great deal of piano music—and it is that for which he remains best known—he had an affinity for the combination of cello and piano, having written Romance in F minor for the combination, as well as his Op. 2, the Two Pieces for Cello and Piano. In this piece, performed here in a viola-piano combination, the piano does have a powerful, even dominant role. The first movement opens with slow introduction built on a half-step, a small interval from which the rest of the movement develops, including the lyrical theme introduced by the viola at the Allegro. The second movement is in ABA form, with the dark drama of the outer sections offset by another demonstration of lyricism in the viola. The piano opens the shorter slow movement with an unabashedly beautiful theme, and the two protagonists enter a kind of dreamy conversation before the long sonata form of the final movement, with a heavy piano introduction and a singing viola melody as its second theme. In 1942, Rachmaninoff responded to those who perceived that the pianist drowned out the cellist by saying, “It is not for cello with piano accompaniment, but for two instruments in equal balance.”

Pablo de Sarasate Carmen Concert Fantasy, Op. 25 For background on Sarasate, please see September notes. This piece is one of several opera fantasies Sarasate wrote; others include those on Weber’s Der Freischütz and Mozart’s Die Zauberflöte. The opera fantasy was popular in the 19th century and was generally a showcase for the virtuosic skills of its performer (who was often its composer, as well—see the November notes on Bassi for another example of this genre). In this fantasy on Georges Bizet’s opera Carmen, Sarasate had the chance to combine two projects: the opera fantasy as virtuosic display, and his ongoing interest in writing music with a Spanish theme or flavor. This piece’s five movements are based on Carmen’s most popular and recognizable themes, which Sarasate quotes more or less verbatim in their first appearances, making sure the audience cannot mistake or miss them. Although the opera Carmen was considered something of a failure at its 1875 premiere, within a few years it was widely known and acclaimed; Sarasate’s audiences were therefore likely to identify the themes he treated as a showcase for his own formidable violin technique. However close to the operatic original the statement of themes might be, the variations that ensue are downright pyrotechnical, far beyond the capacity of the human voice, and beyond the capacity of many human violinists as well.

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Journey to the End of the Night

(b. 1948)

8’00”

Nicholas Daniel, oboe; Ji Hye Jung, percussion

* Christopher Deane Mourning Dove Sonnet (b. 1957)

11’00”

Ji Hye Jung, vibraphone

David Bruce

New Work for Oboe, Harp, Cello & Percussion (WORLD PREMIERE) 20’00”

(b. 1970)

Commissioned for Camerata Pacifica by Bob Klein & Lynne Cantlay Nicholas Daniel; Bridget Kibbey, harp; Ani Aznavoorian, cello; Ji Hye Jung

INTERMISSION To-ru Takemitsu (1930-1996)

* Claude Debussy

Bryce

9’00”

Adrian Spence, flute; Bridget Kibbey, Marcia Dickstein, harps; Ji Hye Jung, marimba; E. Lee Vinson, percussion

22’00”

Les Chansons de Bilitis

(1862-1918) I. II. II. IV. V. VI.

Chant pastoral Les Comparaisons Les Contes Chanson d’osselets La Partie Bilitis

VII. VIII. IX. X. XI. XII.

Le Tombeau sans nom Les Courtisanes égyptiennes L’Eau pure du bassin La Danseuse aux crotales Le Souvenir de Mnasidica La Pluie au matin

Adrian Spence, Melanie Lançon, flutes; Bridget Kibbey, Marcia Dickstein; Egle Januleviciute, celeste

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 Nigel Osborne Journey to the End of the Night Nigel Osborne has been called “one of Britain’s best-kept musical secrets.” His music shows a remarkable breadth of influence, including music of eastern Europe—he has spent a lot of time in Poland and parts of the former Yugoslavia—musique concrete (the use of recorded materials), and spectralism, a compositional development of the last few decades based on analysis of timbre. Of his music, composer Nigel Osborne says, “I feel very liberated from modern and postmodern concerns. I feel that I can synthesise with a kind of authenticity, that I can make raw material from these influences that becomes new and fresh. What I feel that I’m doing is exploring a line of sensibility and experience.” Osborne’s materials further describe him as a “composer and music therapist;” he did extensive music therapy work with children in the Balkans during the 1990s and has worked in that capacity around the world. Despite its melancholy and serious sound, Journey to the End of the Night, for oboe, percussion, and tape, is meant to depict the aftermath of a rowdy night in Paris. The piece was commissioned by the oboe-percussion duo New Noise, which has helped develop a repertoire for this combination with over 50 commissions. Of their recording of this piece, Nicholas Daniel wrote in Double Reed News that his students “couldn’t wrench it out of his hands.”

Christopher Deane Mourning Dove Sonnet One of the most dominant forces in contemporary music over the last 75 years has been the emergence of percussion as a virtuosic solo, chamber, and concerto instrument. From as far back as the Italian Futurists, who were interested in building new noise machines (and interested in fascism, but that’s another part of the story), to John Cage’s canonic percussion pieces of the 1940s, Steve Reich’s percussion-based works of the 1970s and 1980s, like Music for 18 Musicians and Sextet, to today’s composers, who include virtuosic percussion parts on all imaginable instruments as a matter of course…percussion is perhaps the 20th century’s violin. Like other instruments that 20th century composers explored, percussion writing also developed around the idea of “extended techniques,” that is, techniques that expanded on the original intentions for the instrument to uncover new possibilities for sound. Mourning Dove Sonnet, by the composer-percussionist Christopher Deane, explores some of the possibilities for producing evocative sound on the vibraphone, an instrument developed primarily in jazz that became essential to contemporary chamber music in the late 20th century. In this piece, listeners will see and hear vibraphone bowing, pitch bending, harmonics, often in rapid succession, as well as dampened bars, vibraphone with motor on an off, and more.

David Bruce New Work for Oboe, Harp, Cello & Percussion Notes to be provided by the composer.

To-ru Takemitsu Bryce To-ru Takemitsu was born in Tokyo in 1930, and first encountered Western music during the WWII. Despite a lack of formal musical training, he was taken with the music he heard and decided at age 16 to become a composer. While Takemitsu’s influences included Debussy and Messiaen, during the 1950s he also worked in experimental idioms like electronic music and mixed media projects. Some of his more traditional instrumental works attracted international attention in the later 1950s, including from composers like Stravinsky and John Cage. Takemitsu credited Cage for helping him to “recognize the value of my own tradition,” saying that, “in my own development for a long period I struggled to avoid being ‘Japanese,’ to avoid ‘Japanese’ qualities.” After

meeting and working with Cage, Takemitsu began using traditional Japanese instruments in his music of the 1960s, including the biwa (a type of lute) and the shakuhachi (a flute). In the 1970s, he began to work in longer, more static forms, and Bryce is one result. Bryce has an unusual instrumentation: flute, two harps, and two percussion. There are specific instructions for each of the instruments given at the beginning of the score, with the additional instruction that, “It is desirable that the piece be performed as slowly as possible.” In addition to marimba, the piece also calls for a range of gongs and other metallic instruments, as well as “various kinds of metallic and/or glass instruments” and “2 different sizes of super balls.” It is written in what Takemitsu describes as “proportional notation,” meaning that instead of bar lines there are gestures written and described, with a suggestion as to their duration in performance. Robin Engelman, one of the percussionists who premiered the piece and to whose son Bryce is dedicated, wrote the following about its inception: “In 1971, my family and I were living on a farm north of Toronto when I brought To-ru home for the first time. As we drove up to the house, my son Bryce, who was about seven years old at the time, was waiting for us on the slope of lawn by our walkway. To-ru and Bryce exchanged quiet looks and To-ru offered his hand; the first time an adult had ever beckoned my son thus. They shook hands and bowed to each other. Later that evening when To-ru asked the meaning of my son’s name, I couldn’t remember. I simply didn’t know. But the next morning when I picked To-ru up for our rehearsal, he said, “Bryce means the center of feeling. I am going to write a piece.” (I felt too stupid to ask how he had uncovered that information between dinner and breakfast). The result, however, was Bryce (1976) for flute, two harps and two percussionists. I think it is one of To-ru’s best works.”

At the fin-de-siècle, Debussy was well known in Paris salons, where he came to know some of the most important artists and poets of his time. Among them was the poet Pierre Louÿs (1870-1925), who became a close friend. In 1894, Louÿs published a collection of 143 poems titled Les Chansons de Bilitis. Louÿs caused something of a scandal with this collection, and not only for its explicit narratives of lesbian eroticism. Already known for his use of classical themes, Louÿs fabricated a story about the Chansons’ origins, claiming that he had “discovered” them in the grave of the previously unknown ancient Greek poetess Bilitis and that this collection was their first translation from the Greek. Louÿs went so far as to invent a German scholar, who he claimed edited the first edition; at least some academics were fooled into trusting the collection’s authentic origins in the 6th century. Others were less certain, and the overall reaction was somewhat mixed, partly due to the “poor translations” and partly due to the often racy subject matter. Debussy set three of these poems in his 1897-1898 work, Chansons de Bilitis. These were influenced by the vocal style he had developed in writing his opera, Pelléas et Mélisande, which was more declamatory than lyrical, and designed to follow the contours of the French language. The Chansons, for voice and piano, have remained among Debussy’s popular pieces. Less well known is this piece from 1900-1901, also titled Chansons de Bilitis, but scored for two flutes, two harps, celesta, and narrator. Not published in Debussy’s lifetime, this version (hereafter Chansons), is partly a reconstruction, as the original celesta part was either lost or never written down; Debussy performed it at the premiere and may have improvised the part. Pierre Boulez wrote a replacement in 1954, and there were subsequent versions published in the early 1970s. This piece is musically unrelated to the three songs of 1897-98, and none of the three poems that Debussy set in the earlier version is part of the later. Chansons is a theatrical work, written for staged recitations of the poems to take place first at the Salle des Fêtes (owned by the newspaper Le Journal) as well as at the Théâtre des Variétés. The second performance never happened; the first was threatened with legal action by a senator, René Bérenger, who saw moral danger everywhere and was nicknamed the “Father of Modesty.” And indeed, the staging of Chansons was almost certainly not modest, reflecting the erotic content of the poems. Scholar David Grayson describes how the poems were likely staged as tableaux: “They begin quite innocently: Bilitis and Sélénis watch their flocks, then engage in various pastoral activities…. Continued on page 40

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* Samuel Barber (1910-1981)

String Quartet in B minor, Op. 11

I. Molto allegro e appassionato II. Molto adagio [attacca] III. Molto allegro (come prima) - Presto

Los Angeles Santa Barbara Ventura San Marino 18’00”

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Giora Schmidt, Agnes Gottschewski, violins; Richard Yongjae O’Neill, viola; Ani Aznavoorian, cello

* Pyotr Illyich Tchaikovsky Souvenir de Florence, Op. 70 (1770-1827)

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Giora Schmidt, Agnes Gottschewski; Richard Yongjae O’Neill, Robert Brophy, violas; Ani Aznavoorian

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Op. 84

40’00”

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Santa Gottschewski; Barbara, CA Santa Barbara, CA Giora Schmidt, Agnes Richard Yongjae O’Neill; Ani Aznavoorian; 800-649-2669 800-468-1988 800-626-1986 Warren Jones, The Robert & Mercedes Eichholz Chair in Piano

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

MAY NOTES Samuel Barber String Quartet in B minor, Op. 11 The American composer Samuel Barber, born in Pennsylvania, studied music at the then newly formed Curtis Institute in Philadelphia from the age of 14. A pianist and singer as well as a composer, Barber’s primary musical influence was the tonality of late European Romanticism, and he wrote in forms that reflected his commitment to that musical language: opera, overture, symphony, sonata, and string quartet. Although his popularity may have peaked in the mid-20th century, many of his works remain in the repertoire, including his opera Vanessa, his overture to “The School for Scandal,” Knoxville: Summer of 1915 for soprano and orchestra, and this string quartet. Barber wrote this piece while traveling in Europe following a year on the Rome Prize. With his partner, the composer Gian Carlo Menotti, Barber spent several months in relative isolation in the town of St. Wolfgang, Austria, and undertook this quartet with the intention of having the Curtis Quartet play it on the group’s upcoming European tour. The third movement gave him the most trouble—after composing a workable rondo for the premiere, he ultimately rewrote the movement as a kind of reprise of the first movement, resulting in an overall ABA form for the quartet. The outer movements are far more dissonant and “modern” than were typical for Barber. Both are marked molto allegro (the first adds e appassionato); the first movement is a sonata form based on three themes, and the first theme is the basis for the short final movement. That the piece has three movements at all would come to matter less than Barber could ever have imagined. While the two outer movements reflect the influence of modern music, the second movement is tonal and harmonically simple by comparison. It also became the best-known piece Barber ever wrote by a wide margin, thanks to his adaptation of it for string orchestra under what may be a familiar title: Adagio for Strings. Barber sent the string orchestra arrangement to the conductor Arturo Toscanini, who was looking for new American works, and who conducted it on an NBC radio broadcast in November 1938. It was an immediate success, with audiences responding to its slowly ascending lines, gradual crescendo, and overall arch form as a musical representation of sorrow and grief. The Adagio has had a significant life beyond the concert hall: it was played at the funeral of Albert Einstein; broadcast nationwide following the assassination of John F. Kennedy; and perhaps most famously, used in the 1986 Vietnam film, Platoon. Its overwhelming popularity may have overshadowed Barber’s other work, but that did not prevent him from making one more arrangement of the piece, the Agnus Dei, for chamber choir, in 1967.

Pyotr Illyich Tchaikovsky Souvenir de Florence, Op. 70 Tchaikovsky was a master of all of the important large-scale genres of his time, including symphonies, opera, and tone poems; he also wrote at least two concertos that remain concert hall favorites, for violin and piano. But he did not neglect chamber music, producing three string quartets and a piano trio in addition to this piece, for string sextet. Tchaikovsky’s interest in chamber music began during his student years, with a quartet that was premiered by his fellow students at the St. Petersburg Conservatory. (One of those students would, decades later, play second cello at the premiere of Souvenir de Florence). In early 1890, Tchaikovsky spent time in Florence working on his opera, The Queen of Spades. Upon his return to St. Petersburg, he completed the opera quickly, and, finding himself exhausted, decided to undertake a very different kind of piece as his next project: a string sextet. He completed the piece quickly, although he wrote to his brother that it was a difficult process saying, “I constantly feel as though I have not got six real parts but that I am in fact writing for the orchestra and just rearranging it for six string instruments.” It premiered privately in early December, followed by another performance by the St. Petersburg Chamber Music Society. Tchaikovsky, dissatisfied, made a round of revisions, and the piece in its permanent form was premiered two years later, in December 1892. The first movement is an extended sonata form, with both themes introduced by the first violin. The second is lyrical, especially in the violin parts that emerge over pizzicati, and may remind listeners of the slow movement in Tchaikovsky’s Serenade for strings. While none of the piece seems to expressly evoke Italy (there is no tarantella, for example), it does use recognizable Russian tropes in the final movements, and the finale has a fugato (a short fugue used as a means of development) treatment of the first theme of which Tchaikovsky was especially proud.

Edward Elgar Quintet in A minor for Piano & Strings, Op. 84 A few years ago, a critic noted that Camerata Pacifica was a reliable source for live performances of the French repertoire. The same could also be said of the group’s commitment to English composers, among them Sir Edward Elgar. After the First World War, Elgar and his wife, Lady (Alice) Elgar, moved from London to the countryside in 1918. During this period out of the city, Elgar focused primarily on chamber music; in addition to this quintet (which he completed upon his return to London in 1919), he wrote a violin sonata and a string quartet. Alice Elgar wrote impressions of the quintet in her diary in September 1918, describing a mysterious, even pagan dimension of the piece: “[Elgar] wrote part of Quintet wonderful weird beginning same atmosphere as ‘Owls’ [a setting Elgar made of his own text] – evidently reminiscence of sinister trees & impression of Flexham Park [near their property, Brinkwells]…E. wrote wonderful Quintet…sad ‘dispossessed’ trees & their dance & unstilled regret for their evil fate—or rather curse…The sinister trees and their strange dance in it—then a wail for their sin—wonderful!” There was a tradition of associating Elgar’s music with the English countryside, especially in the last decades of his life and through the 1930s. However, it is not clear that there was any intention of a programmatic element on Elgar’s part. If anything, the piece resembles Brahms’s work; Elgar was far more influenced by Continental music than by other English composers, and as a violinist became deeply acquainted with canonic works of Mozart and Haydn. A trip to Leipzig in 1882 further inspired him, as he heard Saint-Saëns perform, and was especially inspired by performances of Schumann, Brahms, and Wagner. The first movement is dark, opening with a piano motive and agitated gestures in the strings. Much like Brahms, Elgar develops most of the movement from these seemingly fragmentary gestures. The second movement is usually described as nostalgic or elegiac. It opens with a frankly beautiful melody in the viola, and the entire first section is lush and chordal. Elgar fans might be reminded of the Nimrod movement in his Enigma Variations for orchestra. The finale opens with a series of quiet chromatic descents in the strings, a kind of sighing gesture Continued on page 40

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September Notes, continued from page 9 While the piece received a great deal of impassioned acclaim at its premiere, there were at least two notable dissenters: Franck’s wife, who detested the piece and refused to attend performances, and Camille Saint-Saëns, the pianist at the premiere, to whom Franck had planned to dedicate the work, but who (and this is one of those stories that may have become legend) apparently tossed the score onto the piano and walked away in disgust after the first performance. The piece is unquestionably intense, and its effect on audiences remains mixed, but it is a fixture in the chamber music repertoire. October Notes, continued from page 13 section, with solo instrumental lines marked “sweet and singing,” “with expression,” etc. The tension between sweetness and despair is a feature of much of the piece, and the presto material returns again and again. Near the end there is a kind of march, perhaps funeareal, marked “Grave, quasi-marcia.” This brief interlude segues quickly into the presto material, this time in G major, which is where the piece concludes.

January Notes, continued from page 23 trained in youth as an organist, violinist, and pianist, as well as studying conducting and later composition. By the time he entered Cambridge, Stanford had already produced a number of compositions, including orchestral music, church music, and songs. As a composer, Stanford is best known in England, and for his Anglican liturgical music. Nonetheless, and perhaps partly due to travels in Leipzig, Stanford hoped to make an international reputation, and wrote largescale orchestral works, concertos, string quartets and operas in pursuit of that goal. Like other British composers of his time, Stanford eschewed the growing chromaticism coming out of Continental composition (especially that of Wagner and Schoenberg), and focused on melody and a fairly traditional harmonic language. The scoring of this piece is similar to nonets by Spohr and others, differing in Stanford’s replacement of the oboe with a second violin. Written in 1905, while Stanford also wrote his Sixth Symphony, the Nonet was premiered in London in 1906, to broad acclaim. Despite Stanford’s affinity for Brahms, this piece is fairly light in texture and mood, making the title Serenade especially apt. In the 19th century, the orchestral serenade became more common, and thus Stanford’s pleasant piece hearkens back to the 18th century, and especially Mozart’s serenades. April Notes, continued from page 35 But eroticism is quickly introduced…Bilitis and Melanthô…compare their physical attributes by displaying their nude bodies to the other girls…the girls fondle Bilitis, kiss her cheek, rest their heads on her breasts, and beg her to tell them stories; Bilitis is bedecked with necklaces…Bilitis flaunts her nude body…Bilitis watches two women dance, kiss, brush up against one another, and fall to the earth to ‘consummate their tender dance’.…” The one known review appeared the next day in Le Journal, and stated that the poetry and music “were even more enhanced by the most artistic tableaux vivants that have ever been provided for an audience….To contemplate these marvelous nude women, sometimes muted, sometimes powerful, always pure and draped with art, the audience could believe itself transported to the great eras of pure nudity.”

May Notes, continued from page 39 that quickly builds to the Allegro section, marked, “with dignity; singing.” This material recurs throughout the movement. The piece concludes with a long coda in a major key. The piece was dedicated to the critic Ernest Newman, and premiered at London’s Wigmore Hall in 1919. An article written in 1957, Elgar’s centenary, described his music in terms that are apt for this quintet: “The Edwardian age is no more, but Elgar’s music remains. It is in the grand tradition; it has a spaciousness, an eloquence, a grandeur, that are the more precious to many of us because in these lean years they are so rare.”

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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 42

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) | Premiered 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

Premiered October 10, 2014, Santa Barbara

DAVID BRUCE | NEW WORK FOR OBOE, HARP, CELLO & PERCUSSION | Premiere Date April 10, 2016, Ventura Commissioned by Bob Klein & Lynne Cantlay for Nicholas Daniel, Bridget Kibbey, Ani Aznavoorian and Ji Hye Jung

UPCOMING COMMISSIONS 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; Seong Ae Kim & Sook Hee Lee; Stuart Spence & Judy Vida-Spence for Richard Yongjae O’Neill MICHAEL DAUGHERTY | HARPO (HARP AND CHAMBER ENSEMBLE) | Premiering 2017/18 Season Commissioned by Stuart Spence & Judy Vida-Spence for Bridget Kibbey & Camerata Pacifica 43

CAMERATA PACIFICA Artists Ani Aznavoorian, PRINCIPAL CELLO

generously sponsored by Dr. Diane Boss 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 ninth year as principal cellist with 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.

Robert Brophy, VIOLA Robert Brophy can be seen and heard playing with the Los Angeles Philharmonic, LA Opera and many West Coast chamber music series. He is featured with Nigel Kennedy in a quartet for Kennedy’s new release Greatest Hits on theEMI label and has performed alongside Martha Argerich, Mischa Maisky, Michel Dalberto and Dmitri Sitkovetsky. He won the viola audition with the Los Angeles Chamber Orchestra in December 2011. An advocate for new music and former member of the Enso- Quartet, Robert has worked with many leading composers of the 20th and 21st centuries, including Joan Tower, William Bolcom, Tan Dun and Bernard Rands. Of the Enso- Quartet’s concerts, the Pittsburgh Post-Gazette noted, “It was standing room only,” while The Strad applauded their “totally committed, imaginative interpretation.” The quartet earned its place in the ensemble world with multiple honors at the 2004 Banff International String Quartet Competition, including best performance of the pièce de concert, for the quartet’s riveting performance of Stewart Grant’s String Quartet No. 2. It also won awards at the 2003 Concert Artists Guild International, the Fischoff National Chamber Music and the Chamber Music Yellow Springs competitions. Robert can be heard on two recordings with the Enso- Quartet on the Naxos label. In Los Angeles, Robert continues his quartet life as a member of the New Hollywood String Quartet, performing with them throughout the Southland for the last six years. This quartet recently became quartet-in-residence at South Pasadena Library’s Restoration Concert Series. Robert holds degrees from the Royal Northern College of Music in Manchester, England and Rice University, where he studied with James Dunham, formerly of the Cleveland Quartet. When not busy making music, he enjoys cooking, sailing and hiking with his German Shepherd, Sascha.

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, and Kristiansand Chamber Orchestra. Other European orchestras he has worked with include Spectrum, Berlin, (in Philharmonie Kleine Saal), Budapest Strings and the New Symphony Orchestra Sofia. Operas he has conducted include Mozart’s Zaide at the Kuhmo Festival and Britten’s Noye’s Fludde at the Townsville Festival, Australia. He is principal oboist for 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.

Marcia Dickstein, HARP Marcia Dickstein continues to be involved in having new music written for the harp, mostly with her group The Debussy Trio. To date the Trio has commissioned and/or premiered 130 new works. Marcia plays actively in the studios in Los Angeles and has performed on more than 400 movies such as Toy Story 1, 2 & 3, Ice Age 2 & 3, Memoirs of a Geisha. Ted 1 & 2 and can also be heard on the Family Guy, Revenge and Empire TV shows. She is on the faculty at Westmont College, Santa Barbara and Cal Poly San Luis Obispo and performs with the Long Beach and San Luis Obispo Symphonies. The latest cd by the Debussy Trio Three by Three is available on the Klavier Records label and at www.fatrockink.com.

Timothy Eckert, PRINCIPAL BASS Described by Placido Domingo as “an artist of musicality and dedication” (Los Angeles 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 Orchestra and has appeared with ensembles including the Los Angeles Philharmonic, Los Angeles Chamber Orchestra, Los Angeles Master Chorale, and the Santa Barbara and Pasadena Symphonies. Past positions include the Long Beach Symphony and assistant principal bass with the Kalamazoo Symphony. An avid chamber musician, Timothy performs as principal bassist with the Camerata Pacifica, and has also appeared at the Idyllwild Chamber Music Festival and on Santa Monica’s Jacaranda series. 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. 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, Disturbed, Madonna, Bjork, Bon Jovi, Dave Matthews Band and Alanis Morrisette. Composers with whom he has worked include Thomas Newman, Joseph Trapanese, 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 television programs on networks such as CBS, ABC, Bravo, E!, History, Discovery and A&E.

Mr. Eckert holds a Master of Music degree from Indiana University, where he was awarded the prestigious Performer’s Certificate, and a bachelor’s degree from Western Michigan University, cum laude. He additionally completed the Advanced Studies Program at USC. Mr. Eckert has also participated in 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. Additionally he is an alumnus of the Music Academy of the West, studying with Nico Abondolo. Eckert’s principal teachers have included Bruce Bransby, Franco Petracchi, Paul Ellison and Eugene Levinson. In addition to his performing and composition activities, Mr. Eckert is on the faculty at Azusa Pacific University, teaching graduate and artist certificate students, as well as maintaining a private studio.

Jose Franch-Ballester, PRINCIPAL CLARINET 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 and 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.

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.

Mak Grgic´, ELECTRIC GUITAR “Grgic´ has quickly established himself as one of the up-and-coming performers in the guitar genre.” Mak is an innovative player, who programs music from the avant-garde, film music to the great classics of guitar repertoire and transcriptions of Brahms and Kreisler. His new recording on Marquis Music entitled Cinema Verismo focuses on music used in cinema over the last few decades, which mixes classical works used in films and transcriptions of cinematic scores. The CD includes Asturias by Albeniz, for which one critic stated that “Grgic´ did an excellent job of catering to the expectations of the audience while still make the piece his own.” Mak, recently a Young Artist in Residence at The Da Camera Society of Los Angeles, is a co-founder of DC8, Da Camera’s contemporary music ensemble, which strives to expand the definition of what a modern music ensemble. In February 2014 the group will premiere a newly commissioned work from the renowned American composer Michael Gordon, co-founder of Bang on a Can of New York City. Collaborators have included Martin Chalifour, Jay Campbell, Joshua Roman, The Assad Brothers, Ashley Bathgate, John Sant’Ambrogio, Christopher Matthews, Paul Vasile and Stephen Ackert on the organ, guitarists Christopher McGuire and Taso Comanescu, percussionist Ian Rosenbaum, and guitarist-composer Nejc Kuhar, with whom Mak made his first album. Grgic´ has performed with orchestras such as the Spokane Symphony, the Lancaster Festival Orchestra, The RTV Slovenia Symphony Orchestra, the Croatian Chamber Philharmonic, the SNG Maribor Symphony Orchestra and St. Petersburg Symphony. Recent and upcoming recitals include the Sarasota Guitar Society, Austin Classical Guitar, Allegro Guitar Series in Texas, the University of Las Vegas in Nevada, the National Gallery of Art in Washington D.C., the Newman Center for Performing Arts, Denver, Strathmore Hall in North Bethesda, MD, Pepperdine University, Portland Classical Guitar, Guitar Festival Mikulov, Triangle Guitar Society, Piran Music Nights and The Sounds of Six Strings, Cankarjev Dom, Slovenia,Lyrica Chamber Music Society in New Jersey, Arts at the Park in NYC and the New York Classical Guitar Society. A passionate advocate for new music Mak has premiered numerous new pieces. He recently took first prize at the Guitar Competition “Luigi Mozzani” in Italy and has been honored with highest prizes at: the Andres Segovia International Competition for young guitarists in Velbert, Germany, the Forum Gitarre Wien International Competition in Vienna, Austria, the International Guitar Competition in Arrenzano, Italy, the Anna Amalia Competition for young guitarists in Weimar, Germany, the International Guitarart Festival and Competition in Belgrade, Serbia and the European Classical Guitar Competition “Enrico Mercatali” in Italy. Born in Ljubljana, Slovenia, he studied guitar in Zagreb with the revered Ante Cagalj at the Elly Basic Conservatory of Music and obtained his Bachelor’s Degree with Alvaro Pierri at the Universitaet fuer Musik und darstellende Kunst in Vienna, Austria. At the moment he is pursuing his Doctoral Degree at the USC Thornton School of Music as a student of William Kanengiser and Scott Tennant of the Los Angeles Guitar Quartet. He is also a teaching assistant at USC under the direction of Brian Head. His charitable activities include fundraising for Bosnian children with financial issues, including a recent recital in Zenica, BIH, where funds were raised for a local orphanage. Mak currently plays a Jose Ramirez guitar MC made in 1966 in Madrid and a double top guitar made by Slovenia’s brilliant luthier Samo Sali, whom he proudly supports.

Amy Harman, BASSOON Born in London, Amy Harman studied at the Royal College of Music with Andrea de Flammineis, Julie Price and Martin Gatt, and with František Herman at the Hudební Fakulta Akademie Múzických Umeˇní in Prague. In 2011 she was appointed Principal Bassoon of the Philharmonia Orchestra at the age of 24. She was selected for representation by Young Classical Artists Trust (YCAT) in 2014. Passionate about bringing the bassoon to a wider audience, in 2012 Amy appeared as a ‘flying soloist’ in Birmingham Opera’s premiere of Stockhausen’s Mittwoch aus Licht where she played from a trapeze suspended above the audience. Engagements during 2014/15 include a performance of Strauss’s Concertino with the English Chamber Orchestra and solo recitals in Hamburg, Wigmore Hall, Purcell Room, The Sage Gateshead, Bath International, Lichfield and Devizes Festivals. She takes part in chamber music festivals with Paul Lewis, Nicholas Daniel and Guy Johnston and gives a series of concerts with Camerata Pacifica in California. This autumn Amy has been invited to IMS Prussia Cove and in 2016 returns to Wigmore Hall. As a chamber musician Amy has been a member of Ensemble 360 since 2010, giving concerts at major venues and festivals throughout the UK. She has performed at festivals internationally collaborating with artists including Radovan Vlatkovic, Aleksander Mazdar, Natalia Gutman, Jack Liebeck, Charles Neidich and the Chilingirian Quartet. Between 2009-2011 Amy was Principal Bassoon of the BBC National Orchestra of Wales. She has appeared as guest principal with the London Symphony, London Philharmonic, Royal Philharmonic, Scottish Chamber, Academy of St Martin in the Fields, Aurora Orchestra, City of Birmingham Symphony, London Chamber and Hallé Orchestras. During her studies she trained with the European Union Youth and Britten Pears Orchestras. Amy is a Professor at the Guildhall School of Music and Drama and the Royal Academy of Music.

Paul Huang, VIOLIN Recipient of the prestigious 2015 Avery Fisher Career Grant, Taiwanese-American violinist Paul Huang is already recognized for his intensely expressive music making, distinctive sound, and effortless virtuosity. Following his Kennedy Center debut, The Washington Post proclaimed: “Huang is definitely an artist with the goods for a significant career.” In 2013, The New York Times praised his “masterly account of Barber’s Violin Concerto” with the Orchestra of St. Luke’s at Alice Tully Hall. Upcoming engagements include debuts with the Louisiana Philharmonic, Brevard Symphony, Seoul Philharmonic, as well as return engagements with the Detroit Symphony, Alabama Symphony, Hilton Head Symphony, Bilbao Symphony, National Symphony of Mexico, and National Taiwan Symphony. In addition, Mr. Huang will appear in recitals at the Phillips Collection in Washington D.C., the Chamber Music Society of Palm Beach, and Caramoor Festival Rising Stars series. Last season, Mr. Huang stepped in for Midori to appear with the Detroit Symphony under the baton of Leonard Slatkin performing the Siblieus concerto. He also appeared with the Alabama Symphony on short notice to perform the Walton concerto. Other season highlights included his concerto debut performing the Barber concerto with the Orchestra of St. Luke’s at Lincoln Center, as well as his sold-out solo recital debut on Lincoln Center’s “Great Performers” Series.

Mr. Huang’s recent recital appearances included Lincoln Center, the Kennedy Center, University of Georgia Performing Arts, University of Florida Performing Arts, the Strathmore Center, Buffalo Chamber Music Society, Chamber Music Society of Palm Beach, Isabella Stewart Gardner Museum, Jordan Hall, the Louvre in Paris, Seoul Arts Center, and National Concert Hall in Taiwan. His first solo CD, a collection of favorite virtuoso and romantic encore pieces, is slated for a summer release on the CHIMEI label. In association with the Camerata Pacifica, he also recorded “Four Songs of Solitude” for solo violin for their album of John Harbison works. The album was released on Harmonia Mundi in fall 2014. An acclaimed chamber musician, Mr. Huang appears as a member of the prestigious Chamber Music Society of Lincoln Center’s CMS Two program for 2015–2018. A frequent guest artist at music festivals worldwide, he has performed at the CHANEL Music Festival in Tokyo, Chelsea Music Festival in New York, the Moritzburg Festival in Germany, the Sion Music Festival in Switzerland, the Great Mountains Music Festival in Korea, and with Camerata Pacifica in Santa Barbara and throughout California. He has collaborated with notable instrumentalists including Shlomo Mintz, Gil Shaham, Nobuko Imai, Myung-Wha Chung, Roberto Diaz, Jan Vogler, and Frans Helmerson. Winner of the 2011 Young Concert Artists International Auditions, Mr. Huang made critically acclaimed recital debuts in New York at Merkin Concert 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, the 2013 Salon de Virtuosi Career Grant, and 2014 Classical Recording Foundation Young Artist Award. 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, where he earned his Bachelor’s and Master’s degrees. He plays on the 1742 ex-Wieniawski Guarneri del Gesù on loan through the generous efforts of the Stradivari Society of Chicago. Mr. Huang’s website is www.paulhuangviolin.com.

Egle Januleviciute, CELESTE Egle Januleviciute was born in Kaunas, Lithuania, into family of professional musicians. She holds the Diploma with Highest Honors from Academy of Music of Lithuania, Vilnius, Master of Music in Piano Performance degree from Bowling Green State University, OH, and Doctor of Musical Arts degree in Piano Performance from University of California Santa Barbara.  Egle Januleviciute has toured Lithuania, Germany, Finland, Japan, Italy, Belgium and the former Soviet Union, both as soloist and collaborative artist. Egle was awarded the Premiere Prix Concert Recital Diploma from Guildhall School, London, was a finalist and prize-winner in Robert Casadesus International Piano Competition, Cleveland, Ohio, and the first prize winner in the Young Keyboard Artists Association International Piano Competition, Oberlin, Ohio. Her discography includes M.K.Ciurlionis (1875-1911) Pieces for Piano (Tembras Studios, Lithuania, 1992), works by Faure, Franck, Debussy and Ravel for “Young Maestros Label” by Hurstwood Farm Music Studios, U.K., 1998, J.S.Bach Keyboard Works by Eroica Classical recordings, 2006, and works by W.A.Mozart and Chopin, (Opus One recordings, 2013). Egle currently teaches piano at Westmont College and Cate School, as well as privately.

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 conducted the world premiere of a new operatic version of A Christmas Carol, starring Jay Hunter Morris, music by Iain Bell and libretto by Simon Callow, at the Houston Grand Opera—and returned 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 Praised as “spectacular” by the Los Angeles Times and “extraordinary” by the Ventura County Star, the Times describes percussionist Ji Hye Jung as “a centered player who can give the impression of being very still yet at all places at once.” Ms. Jung began concertizing in her native South Korea at the age of nine where she performed more than 100 concerts including solo appearances with every major orchestra in Korea. Soon after coming 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. With percussion repertoire still in its formative stages, 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 works by several important composers including, Kevin Puts, Alejandro Viñao, Paul Lansky, John Serry, Lukas Ligeti, and Jason Treuting. In 2013 she made the premier recording of Michael Torke’s marimba concerto Mojave and in 2014 recorded Phillip Glass’ Concerto Fantasy for Two Timpanists and Orchestra for the Naxos label. Ms. Jung frequently performs with many of today’s most important conductors and instrumentalists. For six years she has served as principal percussionist with the west coast-based chamber music ensemble Camerata Pacifica, with whom she has premiered

works by Bright Sheng and Huang Ruo. She has also recorded Stravinsky’s Les Noces with JoAnn Falletta at the Virginia Arts Festival, performed as soloist with David Robertson conducting an all Messiaen program at Carnegie Hall, and made her concerto debut with the Houston Symphony under the baton of Hans Graf in 2005. Other performance credits include appearances at Portugal’s Tomarimbando Festival, the West Cork Chamber Music Festival in Ireland, The Intimacy of Creativity in Hong Kong, the Grand Teton Music Festival, Germany’s Schleswig-Holstein Festival, and the Grachtenfestival in Holland. In 2015 Ji Hye Jung was named Associate Professor of Percussion at Vanderbilt University’s Blair School of Music. She previously served as Associate Professor of Percussion at the University of Kansas for six years. An active educator and clinician, Jung has presented masterclasses at the Curtis Institute, the Peabody Conservatory, Rice University, Beijing’s Central Conservatory, and the Karol Szymanowski Academy of Music in Katowice, Poland. 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 proudly represents Pearl/ Adams instruments, Vic Firth sticks and mallets, and Zildjian cymbals.

Bridget Kibbey, PRINCIPAL HARP Lauded for her compelling artistry and virtuosity, harpist Bridget Kibbey is gaining a reputation for showcasing the broad range of her instrument through multiple-genre performances—drawing diverse audiences through new collaborations and platforms. Bridget is a recipient of the prestigious Avery Fisher Career Grant, the Classical Recording Foundation’s Young Artist Award, a 2015 Salon de Virtuosi Grant, and the only harpist to win a position with the Chamber Music Society of Lincoln Center’s Chamber Music Society II, a winner of Concert Artist Guild’s International Competition, Astral Artist Auditions, and Premiere Prix at the Journées de les Harpes Competition in Arles, France. She tours internationally as concerto soloist, recitalist, and collaborator with some of today’s most compelling artists. Bridget’s debut album, Love is Come Again, was named one of the Top Ten Releases by Time Out New York. She was most recently featured with tenor Placido Domingo, in a new album entitled Encanto del Mar—released on SONY Records this past year. She may also be heard on Deutsche Grammaphon with soprano Dawn Upshaw, in Luciano Berio’s Folk Songs and Osvaldo Golijov’s Ayre. Ms. Kibbey’s solo performances have been broadcast on NPR’s Performance Today, on New York’s WQXR and Q2 Radio, WNYC’s Soundcheck, WETA’s Front Row Washington, WRTI’s Crossover, and A&E’s Breakfast with the Arts. Bridget is featured annually with the Chamber Music Society of Lincoln Center, is a principal artist with Camerata Pacifica in California, and has appeared as featured soloist and chamber artist at the Bravo!Vail, Chamber Music Northwest, Bridgehampton, Aspen, Bay Chamber Festivals, Pelotas, Savannah Music Festival, among others. With a passion for commissioning new repertoire for the harp, Bridget recently spearheaded a five orchestra concerto-commissioning consortium with Juno-Award winning composer Vivian Fung. Bridget performed five world-premiere performances with The Karlsruhe Badische Symphoniker (Germany), The Phillips Camerata in Washington, DC, The Alabama Symphony, The San José Chamber Orchestra, and the Metropolis Ensemble.

This season’s highlights include performances of Ginastera’s Harp Concerto with the Alabama Symphony in honor of the composer’s centennial. She will be featured as soloist with the The Chamber Music Society of Lincoln Center in Alice Tully Hall, in the Lyon and Healy Concert Series, the Ravinia Festival, the Bridgehampton Festival, the Ojai Festival, and with Camerata Pacifica. Bridget will also be featured on Los Angeles’ KCET with the San Francisco Children’s Chorus and in New York City, and with the St. Thomas Boys Choir in New York City. She will perform chamber music and solo recitals across the United States and Germany.

Melanie Lançon, FLUTE Melanie Lançon is Principal Flute of Central City Opera and performs as a freelance flutist in Southern California. She recently held the position of Acting 2nd Flute in Utah Symphony|Utah Opera, and was previously a member of the New World Symphony in Miami, where she worked closely with Artistic Director Michael Tilson Thomas. He described her as a “beguiling player…full of spontaneity”, and she has been praised for her “dazzling performances, infused with depth of both technique and interpretation” by South Florida Classical Review. Melanie served as Guest Principal Flute with Seattle Symphony Orchestra for the 2013-14 season, where she performed Ravel’s complete Daphnis et Chloe under Music Director Ludovic Morlot during the League of American Orchestras National Conference. Additionally, she recorded Dutilleux’s Symphony No. 2 “Le double”, with the orchestra, and was noted in Memeteria for her “beautiful playing of the arresting improvisatory flute passage” in the North American premiere of Pascal Dusapin’s Violin Concerto with Renaud Capuçon as soloist. Having secured her first orchestral position at the age of 23 as Principal Flute of the Baton Rouge Symphony, she has since performed with several ensembles across the country, including the Pacific Symphony, American Ballet Theatre, Houston Grand Opera/Ballet, National Repertory Orchestra, and Civic Orchestra of Chicago. She has collaborated with such distinguished conductors as Pierre Boulez, Daniel Barenboim, and Esa-Pekka Salonen, and has shared the stage with celebrated artists Renee Fleming, Yo-Yo Ma, Itzhak Perlman and Gil Shaham. In addition, she has worked with renowned composers John Adams and John Williams on a number of occasions. Melanie has been a key performer on numerous broadcasts and recordings. She is featured in Peter Shickele’s 2006 video production P.D.Q. Bach in Houston: We Have a Problem! and as solo flutist in the film “Domus”, which accompanies designer John Saladino’s book featuring his Santa Barbara home, Villa. She was highlighted on CBS Miami in 2012, and can be heard on recordings with Seattle and Utah Symphony Orchestras. Born and raised in Louisiana, Melanie received her Master’s degree from Rice University and earned her Bachelor’s degree with honors from Northwestern University, where she won the 2002 Concerto Competition. She credits her musical journey and influence to her principal teachers—Timothy Day, Walfrid Kujala, and Leone Buyse.

Kristin Lee, VIOLIN Named the recipient of a 2015 Avery Fisher Career Grant, Korean-American violinist Kristin Lee has been praised by The Strad for her “mastery of tone,” and “one of the most satisfying concerts in years.” A violinist of remarkable versatility and impeccable technique, Ms. Lee enjoys a vibrant career as a soloist, recitalist, chamber musician, and educator.

Ms. Lee’s recent engagements include her debut with the Milwaukee Symphony Orchestra and at Washington, D.C.’s Phillips Collection, recitals in New York’s Merkin Concert Hall and Florida’s Kravis Center, and appearances with the Guiyang Symphony Orchestra of China and the St. Paul Chamber Orchestra. She recently curated a program that premiered at Philadelphia’s World Cafe Live, in which she commissioned composer/ performers to write works for the violin and steelpan, guitar, theremin, spoken word, and carnatic South Indian singing. The program was also performed at New York’s (Le) Poisson Rouge. She also tours with the Chamber Music Society of Lincoln Center, in California, New York, Michigan, and Pennsylvania. 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, West Virginia 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, La Jolla Festival, Medellín Festicámara of Colombia, the El Sistema Chamber Music festival of Venezuela, and the Sarasota Music Festival, among many others. She is 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 2012. Ms. Lee’s performances have been broadcast on WQXR in New York, on Robert 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 that chronicled a historic cross-cultural exchange between the Perlman Music Program and Shanghai Conservatory. Ms. Lee has received many honors, including awards from the 2011 Trio di Trieste Premio International Competition, the SYLFF Fellowship, Dorothy DeLay Scholarship, the 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. 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 U.S. 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 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 performances with the Minnesota Orchestra (Mozart K.488 with Courtney Lewis), Ulster Orchestra (Liszt Concerto No.2 with Alan Buribayev), Irish Chamber Orchestra (a new concerto by Garrett Sholdice with Gábor Takács-Nagy) and the RTÉ National Symphony (Gershwin Concerto with Jayce Ogren). 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…” Upcoming engagements include return visits to the Discovery Ensemble (Mozart K.467), Ulster Orchestra (Mendelssohn Concerto for Violin and Piano, and Gershwin Rhapsody in Blue), RTÉ NSO (Prokofiev Concerto No.1, and a première of a new concerto by Philip Hammond), a début solo recital at the Chopiniana Festival in Buenos Aires, a Wigmore Hall coffee concert with London Winds, solo and chamber music performances with Camerata Pacifica in Los Angeles, and with the Vogler Quartet in Madrid and Berlin. New albums due for release in 2014/15 include a second solo CD, Miniatures and Modulations, a disc of clarinet sonatas by Brahms and Reinecke with Michael Collins, and an album of flute and piano works by Schubert, Prokofiev and Liebermann with Stefan Hoskuldsson. 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.

Molly Morkoski, PIANO Pianist Molly Morkoski has performed as soloist and collaborative artist throughout the U.S., Europe, the Caribbean, and Japan. Her playing has been recognized by The New York Times as “strong, profiled, nuanced . . . beautifully etched . . . . an energetic and focused player . . . . with flexibility and warmth . . .” and The Boston Globe called her “outstanding”. In June 2007, she made her solo debut in Carnegie Hall’s Stern Auditorium/Perelman Stage playing Beethoven’s Bagatelles, Op. 126. Molly Morkoski has performed in many of the country’s prestigious venues, including Weill and Zankel Halls, Alice Tully Hall, Merkin Hall, Miller Theater, (Le) Poisson Rouge, Boston’s Gardner Museum and Jordan Hall, St. Louis’ Powell Hall, Philadelphia’s Kimmel Center, and Washington D.C.’s Smithsonian. Internationally, she has performed at the Teatro Nacional in Santo Domingo, the Strasbourg Conservatoire, the U.S. Embassies in Paris and Nice, the Glyptoteket Museum in Copenhagen, and in Japan’s Suntory Hall. She has appeared as a soloist at the Tanglewood, Bang-on-a-Can, and Pacific Rim Festivals, and has performed concertos with the Raleigh, Asheville, University of North Carolina at Chapel Hill, and Tuscaloosa Symphonies, and with the Moravian Philharmonic Orchestra. An avid chamber musician, Molly Morkoski is a member of Meme, Open End, and Exponential Ensembles and has collaborated with some of today’s leading musicians, including Dawn Upshaw, John Adams, John Corigliano, and David Robertson. She has performed with the New York Philharmonic Ensembles, Metropolitan Opera Orchestra, St. Louis Symphony, New World Symphony, Speculum Musicae, Brooklyn Chamber Music Society, and Orpheus Chamber Orchestra. An avid proponent of new music, she has worked closely with composers John Adams, Louis Andriessen, John Corigliano, David Del Tredici, Lukas Foss, John Harbison, Aaron Jay Kernis, David Lang, Oliver Knussen, George Perle, Steve Reich, Steven Stucky, Andrew Waggoner, and Charles Wuorinen, among others. Molly Morkoski took part in an acclaimed collaboration with Mark Grey on his “Fire Angels” in Carnegie Hall in March 2011 and on the Cal Performances Series in Berkeley, with Ensemble Meme and soprano Jessica Rivera. She gave the world premiere of Martin Kennedy’s Piano Concerto, written for her, with the Tuscaloosa Symphony Orchestra, and recorded the work with the Moravian Philharmonic Orchestra, the release of which was in May 2013. Her debut solo CD, Threads, was released in 2012 on Albany Records, to critical acclaim, and her most recent CD of solo and chamber music by Grammy Award winning composer Gabriela Lena Frank, also for Albany Records, was released in December 2013. This disc received the support of illustrious Copland and Ditson Recording Grants. Molly Morkoski was a Fulbright Scholar to Paris, where she was an apprentice with the Ensemble Intercontemporain. She was one of the first recipients of the Teresa Sterne Career Grant and was given the Thayer-Ross Award upon completion of her Doctorate in 2002. She earned her Bachelor of Music from the University of North Carolina at Chapel Hill, where she studied with Michael Zenge, her Master’s degree from Indiana University

in Bloomington- studying with Leonard Hokanson, and her Doctorate degree from SUNY Stony Brook, where her teacher was Gilbert Kalish. Molly Morkoski lives in New York City and is an Associate Professor at Lehman College in the Bronx.

Richard Yongjae O’Neill, PRINCIPAL VIOLA Praised by the London Times as “ravishing” the New York Times for his “elegant, velvety tone” the Los Angeles Times as “energetic and sassy...exceptional” and Seattle Times as “sublime” violist Richard Yongjae O’Neill has distinguished himself as one of the great instrumentalists of his generation. An Emmy Award winner, two-time Grammy nominee, and Avery Fisher Career Grant recipient, he has achieved recognition and critical acclaim not only as a champion of his instrument but as a social and musical ambassador as well. He has appeared as soloist with the London, Los Angeles, Seoul, and Euro-Asian Philharmonics; the BBC, KBS, and Korean Symphonies; the Moscow, Vienna, and Württemburg Chamber Orchestras; and Alte Musik Köln with conductors Andrew Davis, Miguel Harth Bedoya, Vladimir Jurowski, Vassily Sinaisky, Leonard Slatkin and Yannick Nezet-Sequin. Highlights of this season include recitals at the Louvre, collaborations with Gidon Kremer, concertos with Kremerata Baltica and the Hiroshima Symphony and the opening ceremony of the Incheon Asian Games with Lang Lang. As recitalist he has performed in many of the greatest halls of the world including Carnegie, Alice Tully, Avery Fisher, Kennedy Center, Wigmore Hall, Salle Cortot, the Louvre, Madrid’s National Concert Hall, Buenos Aires’s Teatro Colon, Tokyo’s International Forum and Opera City, Osaka Symphony Hall and Seoul Arts Center. An Artist of the Chamber Music Society of Lincoln Center as well as Principal Violist of Camerata Pacifica he frequently collaborates with the world’s greatest musicians including Emanuel Ax, Jeremy Denk, Leon Fleisher, Warren Jones, Garrick Ohlsson, Menahem Pressler, Daniil Trifonov, James Ehnes, Steven Isserlis, Edgar Meyer and The Emerson Quartet, among many others. Festival appearances include Marlboro, Aspen, Bridgehampton, Casals, Chamber Music Northwest, Dresden, Great Mountains, La Folle Journée, La Jolla, Mecklenburg, Menlo, Mostly Mozart, Prussia Cove, Saint Barthélemy, Saratoga, Seattle and Tongyeong. A UNIVERSAL/DG recording artist, he has made eight solo albums that have sold more than 150,000 copies and has remained for over a decade one of the best selling South Korean recording artists with multiple platinum disc awards. Dedicated to the music of our time, he has worked with Mario Davidovsky, Jo Kondo, Chris Paul Harman, Matthias Pintscher, George Tsontakis, Melinda Wagner, John Zorn, and has premiered works composed for him by Elliott Carter, John Harbison, Huang Ruo, and Paul Chihara. In his ninth season as artistic director of DITTO he has introduced tens of thousands to chamber music in South Korea and Japan: on its first international tour DITTO sold out Tokyo’s International Forum and Osaka Symphony Hall. The first violist to receive the Artist Diploma from Juilliard, he holds a Bachelors of Music from The USC Thornton School of Music magna cum laude and a Masters from The Juilliard School. In 2007 he was honored with a Proclamation from the New York City Council for his achievement and contribution to the arts. He serves as Goodwill Ambassador for the Korean Red Cross, The Special Olympics, and UNICEF, runs marathons for charity and serves on the faculty of The Herb Alpert School of Music at UCLA and The Music Academy of the West.

Morgan O’Shaughnessey, VIOLA Violist Morgan O’Shaughnessey is an active, diverse, high-energy young musician. A curious performer of many passions and pursuits, his current 20-year musical background and training includes classical viola, Celtic and Quebecois fiddle, Renaissance viol, Chinese Arhu, traditional Scottish bagpipes, bluegrass banjo, bassoon, Brazilian Choros, American Jazz, electronica, computer music, pops-industry composition/arranging, Alexander Technique, and stringed instrument repair. He recently performed on RAI Radio 3 for the President of the Italian Republic at Palazzo Quirinale in Rome. He has performed three solo recitals at Teatro la Fenice on special invitation of the Cini Foundation and the City of Venice. Morgan has appeared in articles in Rolling Stone and The New York Times for his 2011-2015 eclectic performances on bagpipes and electric fiddle at Outside Lands with visual artist Mike Shine of “Dr. Flotsam’s Carny Bastards.” Morgan holds a BM from the San Francisco Conservatory of Music. During his studies with Professor Jodi Levitz he completed nearly all advanced placement coursework available, received a viola department award for excellence in 2009, was invited to give the undergraduate commencement speech, and was a constant feature in many student collaborations. Previously, he had attended high school at the Interlochen Arts Academy in northern Michigan where he graduated with honors in 2007. Morgan currently studies with Leszek Brodowsky in Zakopane, Poland. Morgan performs regularly with the Delgani String Quartet, the O’Shaughnessey/ Tchorzewski Duo, the Rogue Valley Symphony, the RVSO Chamber Players, Jefferson Baroque Orchestra, Opera Parallele, and several local Celtic bands. He gives regular individual and group coaching sessions to middle and high school orchestras, which are made possible by a generous school music grants. A fiddle player by night, he frequently enjoys jam sessions with fine local musicians at Paddy Brannan’s, the Black Sheep, and the Playwright in Ashland, OR. In addition, he is the resident session string artist at RadioStar Records and is the office manager, salesman, and minor repairs technician at the Bellwood Violin Shop. Morgan performs on a viola by Vincenzo Cavani di Spilamberto c.1953 (an acquisition made possible through generous funding from sponsors, friends, and family), a violin bow and a viola bow by Portland bowmaker Darrel Hanks, and a 7-string electronic viola by John Jordan. Morgan commissioned the instrument from Jordan after borrowing an electronic violin for a performance of John Adam’s concerto, “The Dharma at Big Sur.” Morgan has participated in the MasterWorks, Interlochen, Valley of the Moon, and Zephyr summer festivals. He has performed with Jorja Fleezanis, Frederica von Stade, and Alasdair Frasier. He has also performed in master-classes for Bobby Mann, Kronos Quartet, Chen Yi, and the Turtle Island String Quartet. His major teachers have been Karen Davy, David Holland, and Jodi Levitz.

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. Martin currently holds the position of Principal Horn at the BBC Symphony Orchestra, having served as Principal Horn of the Royal Philharmonic Orchestra for ten years, and during the 2012/13 season, Martin was Principal Horn of the Berliner Philharmoniker on a temporary contract.

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 Aalborg Symfoniorkester. This season’s highlights include Britten: Serenade for Tenor, Horn and Strings with the Bergen Philharmonic Orchestra / Edward Gardner / Mark Padmore in October; and Richard Strauss: 1st Horn Concerto with the Staatsphilharmonie Nurnberg Orchestra / Sir Roger Norrington in January 2016. Martin will also be playing the Britten Serenade with Ian Bostridge in May and June 2016 with Britten Sinfonia. 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 performed 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 performed Benjamin Britten’s Serenade with Ben Johnson at Aldeburgh in 2013, the Centenary of Britten’s birth. Martin Owen is a Fellow of the Royal Academy of Music, where he is Professor of Horn.

Giora Schmidt, VIOLIN Praised by the Cleveland Plain Dealer as “impossible to resist, captivating with lyricism, tonal warmth, and boundless enthusiasm,” violinist Giora Schmidt has appeared with many prominent symphony orchestras around the globe including Chicago, Cleveland, Philadelphia, Canada’s National Arts Centre, Toronto, Vancouver and the Israel Philharmonic. He made his Carnegie Hall debut performing the Barber Violin Concerto with the New York Youth Symphony. In recital and chamber music, Giora has performed at Carnegie Hall, The Kennedy Center, The Metropolitan Museum of Art in New York, San Francisco Performances, the Louvre Museum in Paris, and Tokyo’s Musashino Cultural Hall. Festival appearances include the Ravinia Festival, the Santa Fe and Montreal Chamber Music Festivals,

Bard Music Festival, Scotia Festival of Music and Music Academy of the West. He has collaborated with eminent musicians including Yefim Bronfman, Itzhak Perlman, Pinchas Zukerman, Lynn Harrell, Ralph Kirshbaum and Michael Tree. Born in Philadelphia in 1983 to professional musicians from Israel, Giora began playing the violin at the age of four. He has studied with Patinka Kopec and Pinchas Zukerman at the Manhattan School of Music, and Dorothy DeLay and Itzhak Perlman at The Juilliard School. Committed to education and sharing his passion for music, Giora was on the faculty of the Juilliard School and the Perlman Music Program from 2005-2009. Through technology and social media he continues to find new ways of reaching young violinists and music lovers around the world. His Facebook page (facebook.com/gioraschmidt) has over 60,000 global followers. Giora was the First Prize winner of the Philadelphia Orchestra’s Greenfield Competition in 2000, the recipient of a 2003 Avery Fisher Career Grant, and in 2005 won the Classical Recording Foundation’s Samuel Sanders Award. From 2004-2006 he was selected to be a Starling Fellow at the Juilliard School. Connect with Giora @ www.facebook.com/gioraschmidt.

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 25 seasons Camerata Pacifica has developed a loyal following and now presents resident series in Santa Barbara, Ventura, San Marino & 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.”

Spence comes from Newtownards in County Down, Northern Ireland. He has three children, Erin, Keiran and Kaeli, is a master-rated skydiver with over 1000 skydives, and most recently obtained his Advanced Scuba Certification.

W. Lee Vinson, PERCUSSION W. Lee Vinson is currently a freelance percussionist based in Nashville, Tennessee. For four seasons, from 2007 through 2011, he was a member of the Boston Symphony Orchestra and from 2000 to 2004 served as a member of the United States Navy Band in Washington, DC. He holds a bachelor›s degree from the Eastman School of Music where he was a student of John Beck, and has done graduate study at Boston University. He also attended summer music festivals at Interlochen, Tanglewood, and the Brevard Music Center. Mr. Vinson has performed as an extra percussionist with the Colorado Symphony Orchestra, the Houston Symphony, the Kansas City Symphony, and the Rochester Philharmonic. In 2012 he performed with Toronto Symphony Orchestra on their tour of Montreal and Ottawa, and in 2013 performed with the Detroit Symphony Orchestra at Carnegie Hall as part of the Spring for Music festival. An active educator, Vinson was a guest lecturer at the Eastman School of Music in Rochester, New York during the 2014–2015 academic year and also served on the music faculty of the University of Kansas in an adjunct capacity. He was previously a faculty member at Boston University and the Boston University Tanglewood Institute and in the summer of 2011 taught at the Interlochen Arts Camp. As a clinician and guest artist Mr. Vinson has appeared at colleges and universities across the United States including the Eastman School of Music, Florida State University, Indiana University, Michigan State University, the Hartt School, the Boston Conservatory, and the University of Massachusetts at Amherst. In 2015 he gave a series of clinics in Poland including classes at the Karol Szymanowski Academy of Music in Katowice, the Academy of Music in Krakow, and the Karol Lipinski Academy in Wroclaw. He also recently appeared as a guest performer at the Cortona Sessions for New Music in Cortona, Italy. Mr. Vinson is active within the Percussive Arts Society as a two term member of the Symphonic Committee and was formerly Vice President of the Massachusetts Chapter. He has appeared at the PAS Day of Percussion in Maryland, Massachusetts and Kansas, and in the Fall of 2009 was a featured symphonic clinician at the Percussive Arts Society International Convention in Indianapolis, Indiana. At the 2010 Convention, he organized and moderated the Symphonic Panel Discussion entitled “Orchestral Percussion in the College Curriculum.” An avid vintage and antique snare drum collector and historian, Mr. Vinson has contributed articles to Not So Modern Drummer Magazine and Percussive Notes. His personal snare drum collection numbers greater than sixty instruments, more than forty of which were manufactured in Boston dating from the 1860s through the 1930s. In 2011 he authored and designed BostonDrumBuilders.com, a website dedicated to researching and preserving the instruments produced by the early 20th century Boston based drum makers. W. Lee Vinson is a performing artist and clinician for Zildjian cymbals, Remo drumheads, and Malletech LLC. Mr. Vinson is originally from Auburn, Alabama.

Min Xiao-Fen, PIPA Hailed by The New York Times as “a pipa player like no other” and the Village Voice as an artist who “has taken her ancient Chinese string instrument into the future,” Min Xiao-Fen is a master of the pipa, a four-stringed, pear-shaped lute with a 2,000-year history. Born in the ancient capital of Nanjing, Ms. Xiao-Fen was a principal pipa soloist with the Nanjing Traditional Music Orchestra. Known for her virtuosity and fluid style, Min has expanded her instrument’s possibilities as an element for contemporary composition, tacking fluidly between the extended techniques of free improvisation, jazz, full-on noise and contemporary classical vocabulary. Min’s music interweaves Chinese traditional music, regional operas and Taoist music with John Cage, jazz and blues. Her works transcend borders with their own brand of cutting-edge fusion. Min’s treatments of jazz standards by Thelonious Monk, Miles Davis and Duke Ellington, mixed with some of their historical counterparts in 1930s Shanghai nightlife repertoire, led her to be the first Chinese musician invited to perform in a “Jazz at Lincoln Center” program. Her special interest in trumpeter Buck Clayton’s visits to Shanghai in that time led to her 2014 program with her Blue Pipa Trio. Her 2012 CD Dim Sum reflects the dues she’s paid and the returns on her investments in her own voice and language. Ms. Xiao-Fen is currently living in New York. For more information please see her website: www.bluepipa.org.

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

Olin & Ann Barrett

John P. Keats

Peter & Linda Beuret

Herbert & Elaine Kendall

Alan Bloch & Ms. Nancy Berman

Richard & Connie Kennelly

Diane Boss

May Kim

Jeannie Christensen

Robert Klein & Lynne Cantlay

Jordan Christoff

Jordan & Sandra Laby

Christina Chung

Sook Hee Lee & Seong Ae Kim

May Chung

Sarah Jane Lind

Bruce & Marty Coffey

Lillian Lovelace

Benjamin J. Cohen & Ms. Jane S. De Hart

Leatrice Luria

Don & Marilyn Conlan

Chae Y Ma

Janet Copenhaver

Helmut & Vera M. Muensch

Caroline M. Coward

Dr. & Mrs. Arnold Mulder

Joan Davidson & John Schnittker

Karin L. Nelson & Eugene B. Hibbs, Jr.

Karen Davidson

Terry & Susan Northrop

Roger & Nancy Davidson

Alejandro Planchart

Edward S. DeLoreto

Mr. & Mrs. William Ramsay

David Dodson & Leslie Schoepf

Lady Leslie Ridley-Tree

Frank & Ann Everts

David Robertson & Nancy Alex

Stanley & Judith Farrar

Robert & Ann Ronus

Bernard Gondos

Elizabeth Loucks Samson & Jack V. Stumpf

Marie-Paule Hajdu

Jasminka & Richard Shaikewitz

Edward S. Henderson & Ms. Carolyn Kincaid

Jack & Anitra Sheen

Diane Henderson

Stephen Sherman

Maren Henle

Stuart Spence & Judy Vida-Spence

Carol & Warner Henry

Arabella Stewart

Daniel & Donna Hone

Marion Stewart

Brenton Horner

Stan Tabler & Teresa Eggemeyer

France Hughes Meindl

Barry & Amalia Taylor

Mr. Palmer G. Jackson

Mr. & Mrs. Lloyd Sherman Telleen

Karin Jacobson & Hans Koellner

Mrs. Sandra Tillisch-Svoboda

Richard & Luci Janssen

Anne & Michael Towbes

James P. Kearns

Robert W. Weinman

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, 2014 and August 1, 2015. $10,000 +

The Philip and Muriel Berman Foundation Diane Boss Jordan Christoff The SahanDaywi Foundation The Robert and Mercedes Eichholz Foundation Frank & Ann Everts Stanley & Judith Farrar The Henry Family Fund Brenton Horner The Ann Jackson Family Foundation Richard & Lucille Janssen Robert Klein & Lynne Cantlay Jordan & Sandra Laby Sarah Jane Lind Lillian Lovelace of the Claire Bell Fund PL Lee Luria Lady Ridley-Tree, Baroness of St. Armand David Robertson & Nancy Alex Stan Tabler & Teresa Eggemeyer The Towbes Fund for the Performing Arts, a field of interest fund of the Santa Barbara Foundation

$5,000 - $9,999 Olin & Ann Barrett Diane J. Henderson, MD France Hughes Meindl James P. Kearns Herbert & Elaine Kendall Anonymous Jack & Anitra Sheen Arabella Stewart in Memory of William Stewart Barry & Amalia Taylor Mrs. Sandra TillischSvoboda $2,500 - $4,999 Peter & Linda Beuret Bruce & Marty Coffey / The Marty & Bruce Coffey Family Foundation

Dr. Karen Davidson in Memory of Dr. David Davidson Roger & Nancy Davidson

Stuart Spence & Judy Vida-Spence Marge & Sherm Telleen

Dr. Bernard Gondos

The Barbara Barnard Smith Fund for World Musics

Edward S. & Carolyn K. Henderson

Robert W. Weinman

John Keats Dr. & Mrs. Arnold Mulder Karin L. Nelson & Eugene Hibbs, Jr.

$1,000 - $2,499 Jeannie Christensen Christina Chung

The C. B. Ramsay Foundation

Jane S. De Hart & Benjamin J. Cohen

Steven Ridgeway in Memory of William Stewart

Caroline M. Coward

Santa Barbara County Arts Commission Dr. & Mrs. Stephen Sherman

Edward S. DeLoreto Dr. David Dodson & Ms. Leslie Shoepf

Mrs. Marie-Paule Hajdu Maren Henle Daniel & Donna Hone Karin Jacobson & Hans Koellner Richard & Connie Kennelly Elizabeth L. Kilb May Kim Robert Klein & Lynne Cantlay in Honor of Nickâ&#x20AC;&#x2122;s Birthday Elinor & James Langer Sook Hee Lee & Seong Ae Kim Chae Ma

Drs. David & Janice Frank

Drs. Helmut & Vera Muensch

Peggy & Jim Galbraith

Terry & Susan Northrop

Alejandro E. Planchart

Nancy Even & Joel Ohlgren

Tom & Doris Everhart

Michael Talvola

Jean Reiche

Joyce Faber

Mary H. Walsh

Elizabeth Loucks Samson & Jack Stumpf

David & Susan Grether

In Honor of Jody Shapiro, Happy Birthday Wishes From Joe & Elaine Gaynor Bea Hamlin

Deborah Winant

Lyndon Robert Shaftoe Jasminka & Richard Shaikewitz

Lorna S. Hedges Owen Hubbard Susan Jamgochian

Susie Williams

Mrs. Mary Hintz $0 - $99

Eunice M. Koch

Carol Howe & Lucien Lacour

Sheila Lodge

Stephen C. Iglehart

Lori Meschler

Eleanor H. Jacobs

Jan & Don O’Dowd

Ruth O. Johnson

MacFarlane, Faletti & Co., LLP

Dr. Steven & Charlene Pearlman

Willoughby Johnson & Victoria Matthews

Hana Choe

$500 - $999

Drs. H & M Pompe van Meerdervoordt

Mrs. June Kambach

Mrs. Sandra J. Bickford

Jennifer & Richard Quint

William Kraft & Joan Huang-Kraft

Mr. Edward Bigger

William Robinson & Hiroko Yoshimoto

Donald & Sherry Lafler

Ted & Donna Fickel

Alice Landolph

Sarah Fox

Joan Tapper Siegel & Steven Richard Siegel

Laura Larson

Frances L. Gagola

John & Barbara Larson

Inge Gatz

Kathryn Lawhun

Sue Gessert

Anonymous

Harriet & Richard Glickman

Fred & Carol Levison in Honor of Mary Ince

Bradley Gregory & Tachell Gerbert

Les & Maureen Shapiro Marion Stewart The Thornton Foundation Marney Weaver Sanford R. & Riko Weimer

Ella Bishop Barbara Bates Bonadeo Betsy Chess Wayne & Madelyn Cole Eric Fischer & Richard West Martin & Ann Gelfand in Honor of Richard O’Neill Dennis & Evette Glauber in Memory of Ian Glauber Barbara Hirsch Dr. Gerhart Hoffmeister

Tony & Anne Thacher Mr. & Mrs. A. Jean Verbeck J. Patrick Whaley Anonymous in Memory of Yolande Tsai Chun $100 - $249 Catherine Albanese

Perry & Jody Shapiro

Tony & Jeannie BarbieriLow in Honor of Adrian Spence - Congratulations on 25 Years!

Mrs. Delia Smith

Ila J. Bayha

Marta V. Smith

Frank & Cecilia Bellinghiere

George & Gretel Stephens

Jorgia Bordofsky

Mrs. Norma Van Riper

Virginia Bottorff

Brenn Von Bibra

Patricia Carver

Miriam Wille

Norman Chapman

Robert & Imelda Zakon

Carolyn F. Chase

Ken & Sandy Homb Peter & Martha Karoff

Kathryn E. Costello $250 - $499

Mike Crawford & Pat Wiese

Robert C. Anderson

Doug Crowley

Susan Bower

Sylvia S. Drake

Edith Clark

Richard & Barbara Durand

Freddie & Al Contarino

David S. & Ann M. Dwelley

Mr. & Mrs. Samuel J. Losh Ms. Jacqueline Lunianski Al Melkonian Heather Mobarak Leslie Moed Kathleen Nielsen Marguerite Noto-Bianchi

Aaron Alter Ted Anagnoson

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

Nina L. Haro Helen Karlsberg Susan King Peter & Barbara Kuhn Janet Losey Carol A. Marsh

David & Claire Oxtoby

John Mason

Warren & Gail Paap

Mrs. E. H. McLaughlin, Jr.

George & Gioia Pastre

Amy Miller

Mr. & Mrs. William Pollock Esther M. Prince

Lyn A. Munro & Robert Barber

Mr. & Mrs. Andrews Reath

Blossom Norman

Jim & Eileen Rinde

Chris Rendessy & Sue Slater

Mark Rose

David Rice

Hope Rosenfeld

Scott Ripple

Justus Schlichting

Mrs. Jacqueline Sharlin

Naomi Schmidt

Anonymous

Elizabeth & Martin Stevenson

Nikhil & Shubha Trilokekar

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

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

William Schrack

Doris W. Blethrow

Judith Kopf

Jasminka & Richard Shaikewitz

Evelyn Burge

Sarah Jane Lind

Steve Shulkin

Donna Burger

Ingrid Lindgren

Erik Siering & Ann Kramer

Inez Christensen

Maura Lundy

Erika Smith

Jeannie Christensen

Pat Malone

Pat Spence

Jennifer Gray

Dick Malott

Sandra Tillisch-Svoboda

Bradley Gregory & Tachell Gerbert

Joan Melendez

Marcella E. Tuttle

Debbie Gross & Sam Levy

Bill & Lynn Meschan

Nga Vuong

Janice Hamilton

Dennis & Carolyn Naiman

Lawrence Wallin

Julie Henry

Carol Navratil

Katherine Butts Warwick

Allan & Lorraine Hoff

Kathy and Chris Neely

Susie Williams

Hildy Hoffmann

Barbara Rosen

Ditte Wolff & Mr. Robert Yaris

Luci & Richard Janssen

Sharon Sanborn

Mary Wolthausen