Camerata Pacifica 2016-2017 Season Program by Camerata Pacifica

2016/2017 27TH SEASON THE DONNA JEAN LISS SEASON

S A N TA

BARBARA

VENTURA

PA S A D E N A

LOS

ANGELES

C-1

C-2

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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 Andrea Moore, Program Annotator

Dani Couture, Production Manager Maria Norris, Bookkeeper

LIFETIME MEMBERS OF CAMERATA PACIFICA Jordan and Sandra Laby 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” and “FOLLOW” our Facebook and Instagram pages — there we post regular updates, stories, and photographs. Camerata Pacifica maintains audio and video libraries online. With over 600,000 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 & Piano, Op. 47 • Bach, Cello Suite No. 1 in G Major, BWV 1007 • Bach, Fugue BWV 1001 arr. for Marimba • Barber, String Quartet in B Major, Op. 11 • Bax, Quintet for Oboe & Strings • Beethoven, Clarinet Trio in B-Flat Major, Op. 11 • Beethoven, Quintet for Piano & Winds, Op. 16 • Beethoven, String Trio, Op 9, No. 3 • Beethoven, Violin Sonata in G Major, Op. 96 • Bennett, After Syrinx II • Bennett, Tango After Syrinx • Brahms Clarinet Quintet, Op. 115 • Brahms String Quintet No. 2 in G Major, Op. 111 • Brahms, Cello Sonata in E Minor, Op. 38 • Brahms, Piano Quartet No. 2, Op. 26 • Brahms, Piano Trio in B Major, Op. 8 • Bruce, Steampunk • Bruce, The Consolation of Rain • Caplet, Conte Fantastique • Clarke, Viola Sonata • d'Rivera, Bandoneon • Deane, Mourning Dove Sonnet • Debussy, Syrinx • Debussy, Violin Sonata • Destenay, Trio in B Minor for Piano, Oboe & Clarinet, Op. 27 • Dring, Trio for Flute, Oboe & Piano • Dvořák, Piano Trio No. 3, Op. 65 • Ginastera, Sonata Para Piano No. 1, Op. 22 • Golijov, Mariel • Grieg, Violin Sonata in C Minor, Op. 45 • Haas, Suite for Oboe & Piano, Op. 17 • Harbison, Songs America Loves to Sing • Harbison, String Trio • Harbison, Wind Quintet • Haydn, Piano Trio in G Major • Howells, Sonata for Oboe & Piano • Janácek, Violin Sonata • Lizst, Transcendental études, No. 11 in D-flat Major • Loeffler, 2 Rhapsodies • Messiaen, Appel Interstellaire • Mozart, Adagio for Cor Anglais & Strings, K580a

• Mozart, Divertimento in E-flat Major, K 563 • Mozart, Trio in E-flat Major, K. 498, “Kegelstatt" • Mozart, Violin Sonata in A, K 526 • Novacek, Four Rags for Two Jons • Puts, And Legions Will Rise • Reich, Sextet • Reinecke, Flute Sonata "Undine", Op. 167 • Rubinstein, Sonata for Viola & Piano, Op. 49 • Ruo, In Other Words • Ruo, To The 4 Corners • Sarasate, Spanish Dances, Op. 22, “Romanza Andaluza” • Schubert, Divertissement sur des motifs originaux français, D.823 • Schubert, Piano Trio in E-flat Major, D. 929 • Sheng, Hot Pepper • Takemitsu, Towards the Sea • Turina, Piano Quartet in A Minor, Op. 67 • Wiegold, Earth, Receive an Honoured Guest • Wilson, Dreamgarden • Wilson, Spilliaert's Beach • Wolfgang, Vine Street Express • Xenakis, Dmaathen for Oboe & Percussion • Ysaÿe, Sonata No. 3 in D Minor for Solo Violin, Op. 27 • Zemlinksy, Thee Pieces for Cello & 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 & Piano • Bach, Sonata for Flute & Harpsichord in A Major, BWV 1032 • Beethoven, Trio for Piano, Clarinet & Cello No. 4 in B-flat Major, Op. 11 • Beethoven, Quintet for Piano, Oboe, Clarinet, Bassoon & Horn in E-flat Major, Op. 16 • Beethoven, Sonata for Violin & Piano No. 10 in G Major, Op. 96 • Brahms, Quintet for Piano & Strings in F Minor, Op. 34 • Chopin, Sonata for Cello & Piano in G Minor, B. 160/Op. 65 • Debussy, Danse sacrée et danse profane • Debussy, Première Rhapsodie for Clarinet & Piano • Grieg, Sonata for Cello & Piano in A Minor, Op. 36 • Harbison, Quintet for Piano & Strings • Haydn, Divertimento in G Major, Hob. XVI: 8 No. 9 • Klughardt, Schilflieder, Op. 28 • Lizst, Transcendental études for Piano, S. 139 • Loeffler, Rhapsodies for Oboe, Viola & Piano • Mendelssohn, Trio for Piano & Strings No. 1 in D Minor, Op. 49 • Mozart, Duo for Violin & Viola No. 1 in G Major, K. 423 • Mozart, Adagio for English Horn & Strings in C major, K Anh. 94 (580a) • Piazzolla, Histoire du Tango • Piazzolla, Oblivion • Piazzolla, Las Cuatro Estaciones Porteñas • Psathas, One Study • Rachmaninov, Sonata for Viola & Piano in G Minor, Op. 19 • Rheinberger, Nonet, Op. 139 • Rubinstein, Sonata for Viola & Piano, Op. 49, “Andante” • Ruo, To The Four Corners • Schoenberg, Verklaerte Nacht, Op. 4 • Schumann, Quartet for Piano & Strings in E-flat Major, Op. 47 • Shostakovich, Quintet for Piano & Strings in G Minor, Op. 57 • Turina, Quartet for Piano & Strings in A Minor, Op. 67 • Villa-Lobos, Capriccio, Op. 49 • Wilson, Dreamgarden • Wilson, Concerto for Violin & Chamber Ensemble, "Messenger" • Wolfgang, Vine Street Express

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J.S. Bach (arr.Sitkovetsky) The Goldberg Variations for String Trio, BWV 988

45’00”

(1685 – 1750 ) (b. 1954) Paul Huang, The Bob Christensen Chair in Violin; Richard O’Neill, viola; Ani Aznavoorian, cello

INTERMISSION

Béla Bartók

Sonata for Two Pianos and Percussion

(1881 – 1945)

I. Assai lento – Allegro molto II. Lento, ma non troppo III. Allegro non troppo

25’00”

Ji Hye Jung, Robert van Sice, percussion; Joanne Pearce Martin, Gavin Martin, pianos

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 J.S. Bach, The Goldberg Variations, BWV 988 (arranged for string trio by Dmitry Sitkovetsky) The violinist, conductor, and arranger Dmitry Sitkovetsky has had an outstanding career as a soloist. At the same time, he may be best known for his arrangements of Bach’s monumental Goldberg Variations (for more on the Bach, please see the notes on page 41). Sitkovetsky was born in 1954 into a musical family in Soviet Azerbaijan. His father, Julian, was an acclaimed violinist who died when Dmitry was only 3; his mother, an acclaimed pianist who taught at the Juilliard School for decades after the family immigrated to the U.S. in 1978. The most famous recording of Goldberg is almost certainly Glenn Gould’s from 1955, which brought the then-little-known work into the piano repertoire; previous recordings had almost all been on harpsichord. (Program note writer’s aside: When I inquired on social media about people’s preferences for a recording, there was definitely an implication in the responses that the piece should still be played on harpsichord, not piano.) The 1955 album, released by Columbia Masterworks, launched Gould into stardom, despite executives’ initial misgivings about the project. Gould took unheard-of tempos and eliminated repeats, resulting in an unusually short recording, and displayed technical capacities that astonished audiences and listeners. In 1981, a year before his death, Gould — who after 1964 never performed live, maintaining his career solely on recordings — recorded the Goldberg Variations again. This time, the tempos went in the other direction. A 2002 article comparing the two describes the opening Aria from the second version as “so maddeningly slow it almost sounds like a stunt.” I am dwelling on the Gould recordings because Sitkovetsky made this arrangement in 1984 as “both a labour of love and an obsession with the 1981 Glenn Gould recording. For two months I probably had the time of my life, musically speaking, being in the constant company of Johann Sebastian Bach and Glenn Gould.” Interestingly, despite being so affected by the 1981 version, Sitkovetsky’s arrangement eliminates most of the repeats, and thus results in a piece around 45 minutes, rather than the usual 70 or 80 for a complete keyboard performance. (For comparison: one recording of the string trio version has an Aria that lasts 4:25, including repeats; Gould’s 1955 version lasts 1:54, his 1981 3:05, neither with repeats). This arrangement has been performed all over the world in the 32 years since its completion, and has been described as “an arrangement that should enter textbooks,” “glorious, gripping, and irresistible,” and “spellbinding.” Likewise, Sitkovetsky’s 1992 arrangement of the Goldbergs for string orchestra have been extensively performed and recorded. The string trio texture is remarkably well suited to the piece’s intricate counterpoint. Where a keyboard performance allows listeners to focus on the blend and intersections of the lines, the trio arrangement brings greater attention to their distinctions and differences. In particular, it allows listeners unique access to the intricacies of Bach’s bass line machinery. At the same time that the linear differences become clear, the ensemble’s ability to act as a single player, to never lose sight of the piece’s origins, is key.

Béla Bartók, Sonata for Two Pianos and Percussion Throughout his career, the Hungarian composer Bela Bartók was primarily influenced by two types of music: Western European classical, and Eastern European, especially Hungarian, folk music. Bartók began “collecting” (that is, making field recordings) folk songs around 1905, and it was through his exploration of these rural Hungarian songs that Bartók came to one of the most important realizations of his career: the idea that he could work outside the traditional Western parameters of major and minor keys. As a result of this, he developed a style in which pitches have unexpected relationships with one another, which do not conform to the expectations of the classical music tradition it is nonetheless part of. A tendency to weight every equally is a pronounced quality in much of his music. Sonata for Two Pianos and Percussion is one of the earliest twentieth century pieces to make soloistic use of percussion instruments, “elevating” the instrument family from its primary previous roles in the orchestra (adding

power and timbral interest for the timpani; providing “exotic” color for the other percussion). One of the prior pieces that did so was Bartók’s Music for Strings, Percussion and Celesta which preceded the Sonata during a highly productive time in which Bartók also wrote his 5th and 6th String Quartets and the second Violin Concerto. Like the Sonata, Strings, Percussion and Celesta was commissioned by the Basel Chamber Orchestra, which requested the unusual instrumentation. Free to choose his own instrumentation for a second Basel commission, Bartók took the opportunity to pursue a combination that had long interested him. In his short essay about the piece, he wrote about potential balance issues: “I already had the intention years ago to compose a work for piano and percussion. Gradually the conviction grew stronger...that one piano would not be in satisfactory balance in relation to the often rather penetrating timbre of the percussion instruments. The plan was therefore altered to the extent that two pianos instead of one would oppose the percussion instruments.” The percussion score does indeed call for two pianos as opposing or complementary forces, being scored for timpani, bass drum, cymbals, gong, snare drum, tenor drum, and xylophone; the timpani and xylophone (played by two different players) are especially active in playing the thematic material. The piece is fairly traditional in form, if not in content. The long first movement has a slow introduction, which opens over the barely-audible low sounds of the timpani before building in dynamics and intensity; the rest of the movement is rhythmically driven and energetic. The second movement is slow, and in simple song form — A-B-A. It exemplifies Bartók’s so-called “night music,” typical of some of his slow movements, whose characteristics include imitation of natural sounds, and as one Bartók scholar put it, “eerie dissonances providing a backdrop to sounds of nature and lonely melodies.” The final movement is essentially a rondo whose primary theme is a quick up-and-down motive, laid out by the xylophone. The movement both develops and repeats this theme, and introduces a second one as well, a kind of thunderous march also outlined by the xylophone. It is propelled by its rhythmic energy and variation. The piece was premiered in 1938 with Bartók and his wife, Ditta Pástory, at the pianos.

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Lera Auerbach

24 Preludes for Violin & Piano, Op. 46

50’00”

(b. 1973) Paul Huang, The Bob Christensen Chair in Piano; Vassily Primakov, piano

INTERMISSION

Dmitri Shostakovich

24 Preludes, Op. 34

22’00”

(1906 – 1975)

Frédéric Chopin (1810 – 1849)

Grande valse brillante, Op. 34, No. 1

6’00”

Etude in C Minor, Op. 10, No. 12, “Revolutionary”

3’00”

Vassily Primakov

Pyotr Tchaikovsky (1840 – 1893)

Valse-Scherzo, Op. 34

6’00”

Paul Huang; Vassily Primakov

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

OCTOBER NOTES Lera Auerbach, 24 Preludes for Violin and Piano, Op. 46 For many in the Camerata Pacifica audience, Lera Auerbach needs no introduction. A friend of principal cellist Ani Aznavoorian since their days at the Juilliard School, Auerbach’s work has been extensively programmed by the Camerata, and she has spent a significant amount of time with the ensemble and its audiences since the 2007/2008 season. Camerata Pacifica has also commissioned two significant works from her: Dreammusik, for cello and chamber ensemble, which premiered in March 2014, and 24 Preludes for Viola and Piano, which will premiere in the 2017/2018 season. Born in 1973 in Chelyabinsk, near Siberia, Auerbach received her early musical training from her mother. Defecting to the U.S. in 1991 as the Soviet Union crumbled, she received her Bachelor and Master’s degrees from Juilliard (ask Ani about their first meeting). She is also a virtuoso pianist, having graduated from the program in piano at the Hannover Hochschule für Musik, and a published poet. She is one of the most acclaimed and widely performed composers of her generation; her works have been performed all over the world, including by the Tokyo String Quartet, Gidon Kremer, the Hamburg State Ballet, and leading festivals including Caramoor, Lucerne, and Moscow Autumn. She has often been compared to her compatriots, Dmitri Shostakovich and Alfred Schnittke. Perhaps due to her virtuosity in moving among different styles and aesthetics, her music is often described as “polystylistic,” a reference specifically to Schnittke’s aesthetic. In an interview with the scholarly journal, Österreichische Musikzeitschrift, Auerbach described her relationship with musical style and the question of 20th century aesthetics: “In my opinion, one problem in the 20th century was that the focus was too much on style and technique; how the piece sounded in the end was then a secondary consideration — I find that absurd. My goal is to write what the piece demands and in each case apply the technique that brings me closer to that goal.” The 24 Preludes for Violin and Piano, from 1999, are part of an ongoing series of 24-prelude sets, which includes one for cello and piano and one for solo piano (and the forthcoming set for viola and piano). The duo sets are unusual in the history of prelude writing for not being for solo piano. This piece moves through the 24 major and minor keys by way of their relative minors; that is, C major, which has no sharps or flats, is followed by A minor, which shares that key signature. Auerbach wrote, “The challenge was not only to write a meaningful and complete prelude that might be only a minute long, but also for this short piece to be an organic part of a larger composition with its own form.”

Dmitri Shostakovich, 24 Preludes, Op. 34 Born in St. Petersburg in 1906, Dmitri Shostakovich was one of the twentieth century’s most important— and in some ways, polarizing — composers. Entering conservatory in 1919 — by which time “St. Petersburg” was called Petrograd, following the Revolution — he studied both piano and composition. Over the course of his career, he became known for his large-scale works, especially his symphonies; some of those seemed to laud the Soviet system, while others seemed to subvert it (the latter impression helped Shostakovich with Western audiences). Shostakovich certainly felt the wrath of the state when his opera, Lady Macbeth of Mtsensk, was denounced in the official Soviet newspaper, Pravda. Although the editorial lambasting the piece was anonymous, many scholars believe it was written, or at least approved by, Stalin himself. In 1932-33, the dates of these Preludes, Shostakovich was in the midst of writing Lady Macbeth. Perhaps as an antidote to the scale of the opera, he wrote several piano or chamber works during that time, including Op. 34, the first Piano Concerto, and a cello sonata. Although any set of 24 Preludes is bound to evoke Bach’s Well-Tempered Clavier, this set, like Auerbach’s, was more closely modeled on Chopin, particularly in terms of the key structure Shostakovich follows. He began the set with the C major Prelude, and instead of moving immediately around the “circle of fifths,” the series of key relationships that define many of tonal music’s structures (for example, a sonata form movement in a major key will almost always modulate to the “dominant,” that is, the key based on a fifth

above; C will modulate to G; E to B, etc.), Shostakovich follows each major prelude with its relative minor. This continues until all the major and minor keys have been represented. As Shostakovich was a virtuoso at the keyboard, the technical range of these Preludes is not surprising. Although they are short— some of them little more than a minute — the composer packed a lot into them, including a fair amount of counterpoint, some humor and irony, some reflection, and overall an incredible amount of contrast among the movements. While some of his previous piano works were far more brash, these are mellower and more accessible. If you are taken with these pieces, don’t miss his Op. 87, a truly monumental, Bach-inspired set of Preludes and Fugues.

Chopin, Grande valse brillante, Op. 34, No. 1 Étude in C Minor, Op 10 No 12, “Revolutionary” The Polish composer and pianist Frédéric Chopin was one of the great virtuosos of the mid-nineteenth century, although he gave up concert performances early in his career. As a child in Warsaw, he performed in the salons of the Polish elite, and sometimes more publicly; by the age of 7, he had published two polonaises, and was hailed as a “second Mozart.” Largely self-taught as a pianist, he studied composition in high school, where his concluding report apparently read “Chopin F., third year student, exceptional talent, musical genius.” After high school, Chopin traveled to Vienna, and performed two well-received concerts, which inspired him to spend 8 months there the following year at the start of an extensive concert tour of Europe. This eventually took him to Paris, where he would make his home and establish a reputation and livelihood as a teacher; his early performances in the city’s established salons allowed him to develop a following among other composers and performers, including a young Robert Schumann, who wrote, “Hats off, gentlemen, a genius!” by way of introducing Chopin to German audiences. Although Chopin wrote a few chamber works, and some concertos and other works for piano and orchestra, the great majority of his works were for solo piano. Even before leaving Warsaw, he had written multiple mazurkas, études, waltzes, and nocturnes. He published a set of Mazurkas shortly upon his arrival in Paris, and it is in those pieces that his emergent nationalism first appeared; the mazurkas would continue to be the genre most closely associated Chopin’s expressions of nationalism. The first of these two works, the Waltz in A minor, was written in 1834. Unlike some of his other putatively dance-based pieces, his waltzes tended to adhere closely to the straightforward rhythms of the ballroom, although they were really not intended for dancing. This is the second in an Opus of three “Valses Brillante,” and while the first opens with an exuberant fanfare before launching into an elaborate waltz, and the third pushes the rhythm of the waltz to its limits, this one is simple and melancholy. Its first two melodic statements are in the left hand, while the right plays simple chords above; this immediately sets a reflective, even somber, tone. While it modulates to a major key twice, the major harmonies never quite stabilize, and the more introspective tone of the minor returns again and again. The piece concludes with a restatement and elaboration of the left hand melodic material from the opening. The Étude in C Minor is the last of a set of 10, and perhaps among the best known of his works. Subtitled “Revolutionary Étude,” it is dedicated to Franz Liszt. It was written in 1831 during during a brief stay in Stuttgart on Chopin’s concert tour. The Stuttgart days were difficult for Chopin, who was uncertain about his direction and prospects. More significantly, it was there that Chopin learned about the failure of the November Uprising, which was an attempt to liberate Polish territory from Russian Tsarist rule. The military defeat of the Uprising was greatly distressing to Chopin, who wrote in his diary, “O God! You are there! You are there and yet you do not take vengeance!...Mother, sweet suffering mother, you saw your daughter die, and now you watch the Russian marching in over her grave to oppress you!” At that point, a return to Poland became impossible, and Chopin pressed on to Paris. Along with the Mazurkas he published in Paris, this set of Études is one of Chopin’s most important group of works of the early 1830s. Études had become fashionable vehicles for virtuosity (Liszt’s are a fine example), but while these are also virtuosic, they are in keeping with the more humble origins of the etude as a pedagogical piece. This Étude begins with a dramatic chord followed by a rapid run, and the piece is anchored by almost Continued on page 48

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Wednesday 16, 7:30 p.m. San Marino Thursday 17, 8:00 p.m. Los Angeles Friday 18, 7:30 p.m. Santa Barbara Sunday 20, 3:00 p.m. Ventura The Jordan and Sandra Laby Series

J.S. Bach

2 Part Invention in F Major, BWV 779

(1685 – 1750)

2’00”

Paolo Bordignon

Trio Sonata in G Major, BWV 1038

I. Largo II. Vivace III. Adagio IV. Presto

Elliott Carter

Sonata for Flute, Oboe, Cello & Harpsichord

(1908 – 2012)

I. Risoluto II. Lento III. Allegro

8’00”

18’00”

Adrian Spence; James Austin Smith; Ani Aznavoorian; Paolo Bordignon

Henri Dutilleux (1916 – 2013)

Les Citations for Oboe, Harpsichord, Double Bass & Percussion

13’00”

James Austin Smith; Paolo Bordignon; Ji Hye Jung, percussion; Timothy Eckert, double bass

J.S. Bach

(1685 – 1750)

Chromatic Fantasy & Fugue in D Minor, BWV 903

12’00”

Paolo Bordignon

INTERMISSION Andy Akiho (b. 1979)

21, for Marimba & Cello

10’00”

Ani Aznavoorian; Ji Hye Jung

Naoko Hishinuma

On a Full Moon Night 11’00”

(b. 1970)

I. On a Full Moon Night II. Moon Light III. An Evening Party Adrian Spence; Ji Hye Jung

Caroline Shaw (b. 1982)

Boris Kerner, for Cello & Flower Pots

9’00”

Ani Aznavoorian; Ji Hye Jung

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

NOVEMBER NOTES J.S. Bach, Two Part Invention in F Major, BWV 779 Chromatic Fantasy and Fugue in D Minor, BWV 903 Keyboard music is central to J.S. Bach’s output, as he wrote almost constantly for keyboards throughout his career. He began learning to play keyboard instruments from the age of 10, taught by one of his brothers, and his ongoing study of 17th century keyboard music was foundational to his work as a composer. His own skills in performance were prodigious; in 1717, he challenged the French virtuoso, Louis Marchand, to a keyboard showdown, which he won by default when Marchand fled. And an obituary published shortly after Bach’s death said, “we cannot be reproached if we are bold enough to persist in the claim that our Bach was the most prodigious organist and keyboard player that there has ever been…whosoever looks at Bach’s pieces for the organ and the keyboard, which he himself, as is universally known, performed with the greatest perfection, will likewise have nothing to say in contradiction of the above statement.” Bach’s keyboard works were mostly written for and performed on organ or harpsichord, although he played the clavichord, the fortepiano, and other instruments. He used the keyboard extensively in his pedagogy as well, and wrote a significant number of pedagogical pieces or collections. He also wrote pieces of dazzling virtuosity. The keyboard pieces on tonight’s concert represent the extremes of his writing, from the simplicity of his TwoPart Inventions — familiar to many a former piano student— to the complexity and difficulty of the Chromatic Fantasy and Fugue. These were written within a few years of each other, in the early 1720s, when Bach was working as Kapellmeister in Cöthen. The Inventions (and their companion pieces, the Sinfonias, or three-part inventions) were written for the musical education of young students, not only in keyboard playing (although primarily that), but also in the techniques of composition. The autograph score includes the following note from Bach: Straightforward Instruction, in which amateurs of the keyboard, and especially the eager ones, are shown a clear way not only (1) of learning to play cleanly in two voices, but also, after further progress, (2) of dealing correctly and satisfactorily with three obbligato parts; at the same time not only getting good inventions (i.e., ideas) of their own, but developing them satisfactorily, and above all arriving at a cantabile manner in playing, all the while acquiring a strong foretaste of composition. Provided Anno Christi 1723. by Joh. Seb. Bach: Capellmeister to his Serene Highness the Prince of Anhalt-Cöthen. The Chromatic Fantasy and Fugue is in another class of keyboard work altogether, well beyond the technical abilities of any young student. The title “fantasy” generally refers to a type of prelude to a fugue, one that moves among different textures; this one, for example, opens with extravagant linear ascents and descents which modulate rapidly; Bach’s first biographer, Johann Nikolaus Forkel, wrote that Bach tuned his instruments in such a way (equal temperament) “that enabled him to play in any key he preferred, and placed the whole twenty-four of them at his disposal…Those who heard him frequently could hardly detect the fact that he had modulated into a distant key, so smooth were his transitions…This Chromatic Fantasy bears out my statement.” The Fugue opens with a complex and chromatically ascending subject (the short motive that is the basis for the entire movement), which enters at least ten times over the course of the piece. Like the Fantasy, the Fugue modulates to distant keys in the middle section before returning to minor, and ending with elaborate passage-work far more resembling a fantasy (or an organ toccata) than the usually stricter fugue.

Trio Sonata in G Major, BWV 1038 Bach wrote this piece as part of his work directing the Leipzig Collegium Musicum at the famous Zimmermann coffee house. This collegium was the site of weekly concerts, and while Bach was busy enough in his job as cantor

of the Thomaskirche, the coffee house position was an opportunity for him to write other kinds of music. Bach held the position for over ten years, during which he wrote a great deal of chamber music; while there are no printed programs from the coffee house series, it is reasonable to assume that much of that chamber music was written to be performed there. The bulk of Bach’s chamber music is assumed to be lost, but many important works remain in the repertoire. While he may have written many more trio sonatas, the only ones that remain are this one, in G major, and BWV 1039, both written in the 1730s. Scholars were uncertain for many years whether this piece was written by Bach; while the flute, violin, and continuo parts exist in Bach’s writing, they don’t actually indicate the name of the composer, and scholars have speculated that it may have been written by his son, Carl Philipp Emmanual, or been a collaboration. It also shares a bassline with Bach’s Violin Sonata, BWV 1021, meaning only the upper voices were original to this piece; the musicologist who prepared the definitive edition, Peter Wollny, took this to mean that the piece may have been written on commission, and the bassline recycled as a time-saving device. Wollny also speculates that “we are dealing with a commissioned work of rather modest technical and musical ambitions for a musical amateur.” This follows the usual slow-fast-slow-fast movement structure of the Italian trio sonata. The upper voices are well balanced in the long first movement and again in the second. The third movement, Adagio, moves to the relative minor of B. The final Presto switches gears by beginning with the basso continuo; it is the most contrapuntal of the four, as the violin answers the bass a fifth above, and the flute enters a fifth above that.

Elliott Carter, Sonata for Flute, Oboe, Cello, and Harpsichord The American composer Elliott Carter surely had one of the longest careers in music history. Although he studied piano and oboe seriously during his college years, he did not start to seriously develop his compositional skills until his mid-twenties. He made up for that, however, by continuing to compose until his death in 2012 a month short of his 104th birthday. Born in New York, Carter spent much of his childhood in Europe, returning to New York in time to attend high school at Horace Mann, where he first developed an interest in modern music. He attended concerts of works by Schoenberg, Scriabin, and Ravel, and was taken with the American modernists as well: Henry Cowell, Ruth Crawford, and Conlon Nancarrow. After completing an M.A. in music at Harvard, he spent 3 years studying with the great pedagogue, Nadia Boulanger, in France, focusing on counterpoint. An acclaimed and prolific journalist, Carter returned to New York and wrote for the journal Modern Music. In the late 1930s, he wrote a number of choral pieces for glee clubs (including Harvard’s) as well as two ballet scores, Pocahontas and The Minotaur. Carter explored multiple styles in the 1930s and 1940s, and throughout his career rejected compositional dogma. In the late 1940s, he also began to develop a new set of compositional techniques, marked by metric and rhythmic complexity. He developed these techniques in a series of instrumental studies (for woodwind quartet and solo timpani), and his String Quartet No. 1, from 1950-51, is generally understood to mark the real arrival of Carter’s wholly original voice. Writing about the Sonata for Flute, Oboe, Cello, and Harpsichord, Carter said: “In considering change, process, evolution as music’s prime factor, I found myself in direct opposition to the static repetitiveness of most early 20th-century music…I questioned the inner shape of “this” and “that”— of musical ideas — as well as their degrees of linking or non-linking. The Sonata for Flute, Oboe, Cello and Harpsichord was commissioned by the Harpsichord Quartet of New York and uses the instruments of which that ensemble was composed. My idea was to stress as much as possible the vast and wonderful array of tone-colors available on the modern harpsichord…The three other instruments are treated for the most part as a frame for the harpsichord. At that time (in 1952) it seemed very important to have the harpsichord speak in a new voice, expressing characters unfamiliar to its extensive Baroque repertory.

The music starts, Risoluto, with a splashing dramatic gesture whose subsiding ripples form the rest of the movement. The Lento is an expressive dialogue between the harpsichord and the others with an undercurrent of fast music that bursts out briefly near the end. The Allegro, with its gondolier’s dance fading into other dance movements, is cross-cut like a movie — at times it superimposes one dance on another.”

Henri Dutilleux, Les Citations for Oboe, Harpsichord, Double Bass & Percussion The French composer Henri Dutilleux (1916-2013), like Elliott Carter, did not accept the compositional dogmas of his time, preferring to work and experiment until he found his own way. He was known as a perfectionist and a rigorous reviser, and perhaps consequently, his output is not terribly large. This piece, Les Citations for oboe, harpsichord, double bass, and percussion, benefitted multiple times from his revising. Dutilleux first wrote Les Citations for the Aldeburgh Festival in 1985, dedicated to the tenor Peter Pears on his 75th birthday. The titular “citations” referred first to those from Benjamin Britten, specifically a quotation in the oboe part from the aria “Now the Great Bear and Pleiades” from Peter Grimes. This was the tribute to Pears, who had originated the Grimes role. Initially, this movement was the whole of the piece, and was scored for oboe, harpsichord and percussion. After the premiere, Dutilleux withdrew the work and added a second movement, along with the bass. In 2010, he added another movement, an Interlude, and it is this version on today’s program. The first movement is characterized by extended cadenzas in the oboe and harpsichord, and by the citation from Britten. These cadenzas contrast with the more amorphous and textural sounds of the bass and percussion. The second movement includes citations from the 16th century French composer Clément Janequin and the 20th century composer Jehan Alain, and includes some thunderous percussion, elaborate bass lines and pizzicato in a dialogue with the harpsichord, an oboe that comes and goes, and near the middle of the movement, a brief eerie and unexpected unison passage.

Andy Akiho, 21, for Cello, Marimba, Percussion & Electronics The composer and percussionist Andy Akiho (b. 1979) has chosen the steel pan as one of his primary instruments. Both as a performer and composer, he has brought the pan — in the U.S., most often associated with the music of Trinidad — into today’s eclectic new music scene. Akiho’s works include a concerto for steel pan and orchestra, a piece for steel band and drumset multiple chamber works with pan, and at least half a dozen solo pan pieces. His music has also been commissioned or performed by the National Symphony Orchestra, the Shanghai Symphony (a piece called Ricochet, for two ping pong players, violin, percussion, and orchestra), the New York Philharmonic, the Calder Quartet, and many others. Akiho is currently completing a doctorate in composition at Princeton University. 21 was originally written for steel pan and cello with percussion (some of it played by the cellist) and electronics. However, while today’s percussionists play an enormous number of instruments — and can quickly learn new ones — a virtuosic pan piece requires a fair amount of time spent with the instrument. Accordingly, Akiho made a version of the piece that replaced pan with marimba, thus solving a pressing logistical issue: not everyone can get their hands on a pan at all times. It is this version on today’s program. The piece opens with a bassline groove established by the cellist, which is quickly syncopated and thus starts to sound a bit off-kilter. The percussionist’s first entrance is a steadying pulse, played on parts of the instrument that don’t usually get concert hall treatment: the wooden frame, and the high and low resonators. This texture is thickened by the addition of the tambourine (played with foot pedal by the percussionist), bass drum (foot pedal, cellist), and the cellist’s additional layer of rhythm, played either by clapping hands or on the body of the instrument. Other interesting sounds include the percussionist playing marimba with the wooden mallet handles (which requires some physical adaptations), and the timbres in the tape loops, which come in and out of the piece throughout. Overall, 21 is characterized by the gradual building up of motivic loops, and by its timbral

explorations and groove. Of the title, the composer writes, “The title 21 refers to the twenty-first measure of the Fugue movement in J.S. Bach’s Violin Sonata #1 in G minor. The harmonic chords of this measure are the inspiration of the sequence of notes for 21. Coincidentally, [the piece’s dedicatee, cellist] Mariel Roberts was 21 years old when the piece was written and premiered.”

Naoko Hishinuma, On a Full Moon Night The Japanese composer Naoko Hishinuma (b. 1970, Tokyo, Japan) graduated from the Tokyo National University of Fine Arts and Music at the top of her class in 1993. She received a graduate degree from the same institution in 1995. She has received significant awards, including the Japan Music Competition (1993 and 1998), the Queen Marie Jose International Music Composition Prize (1994), and the Akutagawa Award for Music Composition (1999). She currently teaches at Nihon University College of Art. This piece may remind listeners of music by Toru Takemitsu. Like much of his work, it makes great use of silence, and shows the influence of Debussy and other composers (who were, in turn, influenced by non-Western music). Hishinuma also explores the timbres of these two instruments, alone and in combination. The first movement toys with density, as the instruments take turns thickening the texture, playing off of each other’s rhythmic gestures. The second movement is gestural, with the marimba’s swelling and receding oscillations driving the piece. The third movement is straighforward by comparison, opening with a declamatory, almost martial statement made by both voices in a clear-cut duple meter. In the middle section of this movement, the marimba underscores long flute tones with urgent triplets, which are taken up by the flute several times in equally driven ascents toward the end.

Caroline Shaw, Boris Kerner for Cello & Flower Pots The composer, singer, and violinist Caroline Shaw (b. 1982) made arts headlines in 2013 when she became the youngest composer ever to be awarded the Pulitzer Prize in Music. The Prize was for her a cappella piece, Partita in 8 Voices, written for the vocal ensemble Roomful of Teeth. Partita was inspired by the solo violin partitas of Bach, and is derived from those same Baroque dance forms: allemande, sarabande, courante, passacaglia. A few years later, Shaw made national headlines when she collaborated and performed with Kanye West. All of this catapulted Shaw into the compositional limelight, when before the Pulitzer she had written only a few works, and was much more occupied with building her career as a singer and violinist. Shaw has a rapacious appetite for music across styles, periods, and genres, and a remarkable capacity to synthesize her material and produce something entirely new; a Chicago critic described it beautifully as “a beguiling combination of the familiar and the bracingly unusual.” After an extended cello introduction, which lays out what sounds very much like a bass line (the “familiar”— the percussionist begins a long crescendo roll on one of the flowerpots, ushering in the “bracingly unusual.” Boris Kerner takes its name from Boris S. Kerner, who according to Shaw, “is the author of Introduction to Modern Traffic Flow Theory and Control: The Long Road to Three-Phase Traffic Theory...this piece (is) another in a series of expositions on the curious phrase ‘the detail of the pattern is movement.’”

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Josef Myslivecˇek

Wind Octet No. 3 in B-flat Major

(1737 – 1781)

I. Allegro II. Larghetto con un poco di moto III. Presto

9’00”

Claire Brazeau, James Austin Smith, oboes; Bil Jackson, Jose Franch-Ballester, clarinets; Judith Farmer, Gina Cuffari, bassoons; Martin Owen, Richard Berry, horns

W. A. Mozart

Serenade for Winds in C Minor, K. 388

(1756 – 1791)

I. Allegro II. Andante III. Menuetto IV. Allegro

24’00”

James Austin Smith, Claire Brazeau; José Franch-Ballester, Bil Jackson; Gina Cuffari, Judith Farmer; Martin Owen, Richard Berry

INTERMISSION W. A. Mozart

Serenade for Winds in E-flat Major, K. 375

(1756 – 1791)

I. Allegro maestoso II. Menuetto III. Adagio IV. Menuetto V. Finale: Allegro

25’00”

Claire Brazeau, James Austin Smith; Bil Jackson, Jose Franch-Ballester; Gina Cuffari, Judith Farmer; Martin Owen, Richard Berry

Charles Gounod

Petite Symphonie

(1818 – 1893)

I. Adagio et Allegretto II. Andante cantabile III. Scherzo IV. Finale

20’00”

Adrian Spence, flute; James Austin Smith, Claire Brazeau; Jose Franch-Ballester, Bil Jackson; Gina Cuffari, Judith Farmer; Martin Owen, Richard Berry 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 Josef Myslivecˇek, Wind Octet No. 3 in B-flat Major A contemporary of Mozart’s, the Czech composer Josef Myslivecˇek began his professional life in his family’s milling business, working with his twin brother. Making the decision to pursue music in his thirties, he began studying composition and became a reputable violinist as well. In 1763, he left Prague for Venice to study composition (specifically opera), and by 1765 had some performances of his opera Semiramide lined up in Italy. He established himself there, where — due partly to the difficulty Italians had pronouncing his name — he became known as “Il Boemo,” The Bohemian. He traveled for performances throughout the country and became acquainted with Leopold and Wolfgang Mozart in Bologna, but their friendly relationship was cut short by Myslivecˇek’s inability to procure a commission for the younger Mozart in Naples. Although Myslivecˇek had his primary and initial successes as an opera composer (this did not last— his final operas failed, and he died impoverished), his instrumental output was considerable. In addition to symphonies, overtures, and concertos, he wrote a set of three wind octets in 1777-1778, of which this is the third. Each is scored for the same instrumentation: pairs of oboes, clarinets, horns, and bassoons. Myslivecˇek was a fairly conservative composer, skilled at working in existing forms, but doing little to push or extend their possibilities. He did have an opera composer’s sense of the dramatic, and his work influenced Mozart, who filtered some of his “Italian” style through Myslivecˇek’s expertise. However, the octets are fairly straightforward works in terms of both texture and counterpoint. The structure of the pieces is typical of Italian instrumental music, having a fast-slow-fast arc, and especially because of the association of Mozart with this kind of wind writing, listeners may be more than a little reminded of Mozart’s work. The first movement of this Octet immediately sets up a pair of contrasting themes, although the pairs of instruments don’t engage in much contrast; instead, one group usually dominates melodically at a time, with the others providing accompaniment. The second movement makes unusual use of the oboe pair, when they play an identical falling interval one after the other; Myslivecˇek here provides just enough contrast to catch the listener’s attention. The last movement, Presto, is fairly virtuosic, with more active “dialogue” among the voices.

W. A. Mozart, Serenade for Winds in C Minor, K. 388 Serenade for Winds in E-flat Major, K. 375 Mozart is one of classical music’s big brand names — for his operas, symphonies, piano concertos especially. He is also one of music history’s most famous child prodigies, raised in a highly musical family: his father, Leopold, was a composer, as was his sister Anna (Nannerl). Born in 1756 in Salzburg, where Leopold was the Vice-Kapellmeister to the Prince-Archbishop, by 1762, he was on the road with his father performing at various European courts. Travelling extensively over the next four years, the pair visited Munich, Vienna, Paris, Versailles, and London, among other places. However, Mozart’s precocity and obvious gifts did not translate easily into secure employment at home. The arrival in Salzburg of a new Archbishop, Hieronymous Colloredo, who did not favor the Mozart family, meant that the younger Mozart did not find adequate opportunities there as a composer, and he moved to Vienna in 1781. The Vienna years were incredibly productive. Mozart had already written Idomeneo, and he continued to write symphonies, church music, sonatas, and concertos. He also wrote several serenades in the early 1780s. This genre, often considered “incidental,” is listed in Mozart’s catalogue along with cassations, divertimentos, and miscellaneous works, all intended as “entertainment” music, commissioned along with other party accessories (catering, decor) for special occasions. Wind serenades, in addition to their association with evening, were also popular for outdoor events, as the wind instruments could project better than strings. Mozart had already written several serenades in Salzburg, which were known for their relative formal sophistication — not the expected quality for a “nocturnal” and diversionary genre. (The most famous of Mozart’s Serenades is the all-string Eine Kleine Nachtmusik.).

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These two works are among the most significant of Mozart’s wind Serenades (the other is K. 361). Listeners who have seen the film Amadeus might recall a moment when the character Salieri, speaking over the Serenade K. 361, describes its opening: “the beginning is simple, almost comic…like a rusty squeezebox. But then, suddenly, high above it—an oboe…this was no composition by a performing monkey…it seemed to me I was hearing the voice of God.” Melodramatic, to be sure, but it gets at something about Mozart’s Serenades, namely, that he pushed the genre beyond its role as background music. Serenade No. 11 in E-flat Major, K. 375, was written in 1781 for pairs of clarinets, horns, and bassoons; Mozart rewrote it the next year to add a pair of oboes. Those pairings are part of the architecture and dramatic flair of the piece, as Mozart pits them against one another in some rapid-fire dialogue: listen, for example, for the clarinets and bassoons in the first movement, as they chase each other up and down the scales. The piece is in five movements, fairly typically for “entertainment” music, and the overall structure is an arc: two Allegros on the outside, two minuets next to those, all framing the central Adagio. The Serenade in C Minor, K. 388, has a different feeling. This is partly because of its minor key, but more specifically, the fact of its being in C minor links it to some of Mozart’s most profound later works (the Piano Concerto K. 491), and Don Giovanni, both highly tempestuous and dramatic works. The music critic Alfred Einstein wrote, “If G minor is the fatalistic key for Mozart, C minor is the dramatic one,” and again, pushing the boundaries of the genre, this piece carries some dramatic weight, beginning with the unison minor chord ascent that opens the work. The first movement is intense, even when its dramatic opening material, led by a simple octave statement from the oboe, repeatedly yields to a major key. Although Mozart gives great material to all the players, the first oboe is perhaps the piece’s MVP, and in the lyrical second movement, often takes the lead in bringing melodic lines out of the texture. The third movement is marked Menuetto, in canone, and Mozart deploys his considerable skill in counterpoint here. Listen to the oboes’ first statement; the rest of the ensemble is often exactly one measure behind. The middle section is marked Trio in canone al rovescio, and is an inverse canon (meaning that the phrases themselves are inverted: where the first three notes go up, then down, the echo goes down, then up), and is for pairs of oboes and bassoons only. The transparent texture that results from this reduced instrumentation makes it easier to hear Mozart’s inversions at work. The final movement is a theme with variations, most of which remain in the minor key; however, the final variation takes the now-familiar theme and casts it in a major key, backed by horn calls and exuberant trills in the upper voices, for a quick, upbeat ending.

Charles Gounod, Petite Symphonie The French composer Charles-François Gounod was born in 1818 in Paris. His mother, widowed young, supported her two sons by teaching piano; as Gounod showed great promise in music and art as a boy, she arranged for him to study music privately with Anton Reicha. Later, as a student at the Paris Conservatoire, he won the Rome Prize and, in addition to the years he spent there, traveled to Germany and Vienna. Although he is best known now for his opera Faust, Gounod was prolific and accomplished as an orchestral, vocal, and sacred music composer as well, along with a significant chamber music output. This Petite Symphonie was written close to the end of his life. Scored for nine wind instruments, this fourmovement work is part of a long tradition of wind chamber music, and is based on one of Mozart’s standard ensembles: the octet consisting of pairs of oboes, clarinets, bassoons, and horns. Gounod adds the flute — an inescapable presence in the second movement especially — reflecting the fact that the piece was written for the flautist Paul Taffanel, who sought to promote wind music in Paris through his Société de Musique de la Chambre pour Instruments à Vent. The overall form of the piece is essentially that of a classical-era symphony, with a first movement in sonata form (with a slow introduction); the theme is tossed around from instrument to instrument and key to key. The slow second movement is lyrical, and honors Taffanel by featuring the flute. The third movement evokes pastoral and hunting scenes, complete with horn calls; a vibrant, energetic sonata form Finale concludes the work. Although Gounod’s massive output is seldom explored these days, the Petite Symphonie has become part of the standard wind repertoire.

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Ludwig van Beethoven

Sonata for Piano & Cello in G Minor, Op 5. No. 2

25’00”

(1770 – 1827) I. Adagio Sostenuto E Espressivo - Attacca: Allegro Molto Piu Tosto Presto II. Rondo. Allegro Ani Aznavoorian, cello; Warren Jones, The Robert & Mercedes Eichholz Chair in Piano

Steve Reich (b. 1936)

Carl Vine (b. 1954)

New York Counterpoint 11’00” Jose Franch-Ballester, clarinet

Inner World 13’00” Ani Aznavoorian

INTERMISSION W. A. Mozart (1756 – 1791)

Adagio in B Minor, K. 540

8’00”

Warren Jones

Johannes Brahms

Trio in A Minor for Piano, Clarinet & Cello, Op. 114

(1833 – 1897)

I. Allegro II. Adagio III. Andantino grazioso IV. Allegro

26’00”

Jose Franch-Ballester; 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.

FEBRUARY NOTES Ludwig van Beethoven, Sonata for Piano & Cello in G Minor, Op. 5, No. 2 In 1792, Beethoven arrived in Vienna from his hometown of Bonn, a move he made ostensibly to study with Haydn. Although that relationship only lasted a year, Beethoven — a precarious financial situation brought about partly by his support of his two brothers in Bonn — established himself as a pianist and composer. He was aided by some existing social connections; many in Viennese aristocratic circles had heard Beethoven perform in Bonn, and his connection to nobleman and arts patron Count Waldstein also gave Beethoven some advantages. (It was Count Waldstein who, upon Beethoven’s departure, wrote the famous message in Beethoven’s autograph book: “May you receive the spirit of Mozart through Haydn’s hands.”) By 1796, Beethoven’s brothers were in Vienna and self-sufficient, thus alleviating some of Beethoven’s financial concerns, and he departed on a concert tour to Prague, Dresden, and Berlin. In Berlin, he performed for King Friedrich Wilhelm II, who was a cellist himself; Beethoven played the keyboard part in performances of the two Opus 5 cello sonatas, which he had written for this occasion. He also wrote a set of cello and piano variations on a theme by Handel for the Berlin visit. The the king was a cellist may explain Beethoven’s choice of theme: Handel’s “See the conquering hero comes.” The works of the late 1790s are the first in Beethoven’s output to received opus numbers; earlier works (and some later works as well) are listed as “WoO,” Werke ohne Opuszahl, which includes over 200 pieces that Beethoven, for one reason or another, did not wish to include in his catalogue. Thus, these pieces are among the earliest that Beethoven considered significant enough for permanent inclusion in his output. This sonata is in an unusual two-movement form, although the long opening Adagio — which launches with a dramatic G minor chord in the piano — is a movement in all but name. The two voices are equal partners; the piano and cello sometimes engage in a back-and-forth, and take turns at having the melodic, harmonic, or rhythmic interest. Toward the very end of the Adagio, Beethoven makes great use of silences, creating a degree of tension and anticipation unusual even for him, and forcing an almost breathless attention. The Allegro that follows is a sonata form, and here the two players again take turns with the melodic and accompanimental material. When the cellist plays rapid repeated notes in the upper registers, it supports the piano’s melodic material below. And when the piano heads off into a long section characterized by barely contained cascades of triplets, it is kept grounded by the cellist’s long, lyrical lines. This is a remarkable dialogue. The cellist Steven Isserlis, in an essay for The Guardian acknowledges that the five Beethoven cello sonatas “are really sonatas for piano with cello, not the other way round.” This is especially evident in the Rondo, where toward the end, the piano leads a series of rapid and short key changes, growing more exuberant with each measure. Also near the end, the cellist introduces a very reduced version of the theme; the piano goes along for a moment, echoing the much more modest variation, but almost immediately breaks out in a series of rapid scales underscoring the cellist’s emphatic drive to the end.

Steve Reich, New York Counterpoint The American composer Steve Reich was born in 1936. He is part of a small group of composers whose work has been classified by critics and scholars as “minimalism,” although not always with the approval of the composers themselves. Whatever his ambivalence about the term, Reich’s very early works, from the late 1960s and early 1970s, did strive to reduce both the musical materials, and the means by which they were realized, to bare forces. “It’s Gonna Rain,” from 1965, is a recording of a street preacher in which two synchronized recordings gradually move out of sync, with interesting aural results of the slow process of staggering. In many of Reich’s subsequent works, he made use of what he called “phasing,” which duplicates that process as voices gradually “phase” in and out of unison with one another. The phase pieces include “Violin Phase” and “Piano Phase;” they can be performed by multiple players, or by a single player against recordings. His “Pendulum Music,” from

1968, does something similar, but strips the instrumentalist out altogether. It involves a suspended microphone that is pulled up close to the ceiling and released. As it arcs across the stage, it passes above a speaker, creating feedback; this changes as the arc grows shorter, and eventually creates a drone when the microphone comes to rest. In addition to phasing, Reich is known for his pattern pieces, in which short harmonic and rhythmic patterns are gradually built up (sometimes one note at a time), and then repeated in various configurations. Examples of this include Sextet (performed by Camerata Pacifica twice), Six Marimbas, and one of Reich’s best known pieces, Music for 18 Musicians. New York Counterpoint is also in this category. Reich writes: “New York Counterpoint was commissioned by The Fromm Music Foundation for clarinettist Richard Stolzman. It was composed during the summer of 1985. The duration is about 11 minutes. The piece is a continuation of the ideas found in Vermont Counterpoint (1982), where as soloist plays against a pre-recorded tape of him or her self. In New York Counterpoint the soloist prerecords ten clarinet and bass clarinet parts and then plays a final 11th part live against the tape. The compositional procedures include several that occur in my earlier music. The opening pulses ultimately come from the opening of Music for 18 Musicians (1976). The use of interlocking repeated melodic patterns played by multiples of the same instrument can be found in my earliest works, Piano Phase (for 2 pianos or 2 marimbas) and Violin Phase (for 4 violins) both from 1967. In the nature of the patterns, their combination harmonically, and in the faster rate of change, the piece reflects my recent works, particularly Sextet (1985). New York Counterpoint is in three movements: fast, slow, fast, played one after the other without pause. The change of tempo is abrupt and in the simple relation of 1:2. The piece is in the meter 3/2 = 6/4 (=12/8). As is often the case when I write in this meter, there is an ambiguity between whether one hears measures

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of 3 groups of 4 eight notes, or 4 groups of 3 eight notes. In the last movement of New York Counterpoint the bass clarinets function to accent first one and then the other of these possibilities while the upper clarinets essentially do not change. The effect, by change of accent, is to vary the perception of that which in fact is not changing.”

Carl Vine, Inner World The Australian composer Carl Vine (b. 1954) grew up playing cornet, piano, and organ, and began composing before finishing high school. Interested in electronic media as a teenager, one of his earliest pieces was the competition-winning electronic work Unwritten Divertimento, from 1970. He has written in most genres, including symphonies, concertos, and chamber works, along with his electronic music, and a great deal of film and television music. His piano works have been especially successful, finding worldwide performances and a place in the contemporary piano repertoire. He has also written extensively for dance, including an early collaboration with the Sydney Dance Company, Poppy, and 1988’s The Tempest. Vine’s works have been recorded by the London Symphony Orchestra, the cellist Steven Isserlis (who has recorded Inner World), and the Takács Quartet. Recent premieres include a new trombone concerto, Hallucinations, inspired by the writings of the late Oliver Sacks and written for soloist Michael Mulcahy and the Chicago Symphony Orchestra. Inner World is gestural and virtuosic, the two parts coming in and out of alignment, and should be an especially riveting piece to experience live. Of Inner World, the composer writes: “Inner World was written for and is dedicated to cellist David Pereira. When a great musician performs, one is not just witnessing the dutiful reproduction of a series of notes but rather the intimate relationship between a craftsman and his instrument. Every sound is carved from the string, hair and wood with loving care. My aim in Inner World is to focus on this amazing symbiosis and to create a sound world that tries to reflect some of the internal processes involved in a truly musical performance. The sounds that accompany the solo cello are derived entirely from a recording of David playing the cello. The performer is not only live, but also surrounded by his own creation: dissected, crystallized, modified and re-arranged. The cello is not only an instrument of natural materials but also an enveloping shroud of sound — a hall of mirrors in which artifice and reality collide and in which the sounds we hear may be no more than a product of the performer’s own imagination. Inner World was commissioned by 2MBS-FM Radio with financial assistance from the Performing Arts Board of the Australian Council.”

W. A. Mozart, Adagio in B Minor, K. 540 Written during Mozart’s productive final years in Vienna, this unusual short piece is something of an enigma. Its score consists of only 57 measures; pianists can decide whether or not to take the two big repeats at the ends of sections; depending on that decision, performances tend to run anywhere from 6 to 12 minutes. Many scholars have been puzzled by the piece partly because it is listed as being in B minor, but ends unequivocally in B major. This has led to numerous interpretations that attempt to link the piece to events in Mozart’s life, especially his terrible financial situation at the time he wrote it, and his father’s death the previous year. The musicologist Alfred Einstein described the Adagio as “one of the most perfect, most deeply felt, and most despairing of all his works. About this latter work it is hard to arrive at a definitive conclusion. Its major ending indicates that it may have been intended for a sonata in E minor. But such a piece, without any further ‘purpose,’ may simply have flowed from Mozart’s pen in an hour at once tragic and blessed.” The piece is in binary form, with a clear A and B section, and is unusually dissonant for Mozart, who makes extensive use of suspensions, in which a dissonance sounds and then resolves to the chord below it. The whole piece has what is often described as an “anguished” tone, but in the second half of the third-to-last measure, there’s an extraordinary shift to the major which seems to come out of nowhere. Preceded by an intensifying

series of descending chromatic scales, the right hand suddenly outlines a B major triad, and the effect is haunting, lasting through the final chords.

Johannes Brahms, Trio in A Minor, Op. 114 During the last decade of his life, Johannes Brahms lost a number of friends, some of them quite young. Among them was the pianist and composer Clara Schumann, with whom Brahms shared an intense closeness, who died in 1896. Perhaps sensing his own mortality, Brahms declared in 1890 that he was finished composing, a claim repeated a few years later when the first one didn’t take. According to his catalogue, it was partly the prospect of writing for clarinet that revived him in both cases, as he wrote a number of pieces for or including clarinet in his final years. Brahms was especially inspired by the principal clarinetist of the Meiningen ducal orchestra, Richard Mühlfeld. Upon visiting Meiningen to hear the orchestra, Brahms and Mühlfeld became acquainted, and Brahms, utterly taken with Mühlfeld’s musicality and sound, spent hours listening to him play. In 1891, he wrote two pieces for Mühlfeld: a quintet for clarinet and string quartet, and this trio, for clarinet, cello, and piano. Both were premiered in December of that year. Brahms later wrote two additional pieces for Mühlfeld in 1894, the Clarinet Sonatas Op. 120, which were in fact the last chamber pieces he wrote. The late clarinet works are almost invariably described as “autumnal,” evoking the composer’s melancholy state of mind and possible preoccupation with mortality (although Brahms was only 58 in 1891). It is a fair description of this piece, although the yearning quality that inflects so much of the work may have as much to do with the clarinet’s timbre, and its blend with the cello, as with anything in the structure. While it is tempting to assume that there are “unique qualities of perception and form that artists acquire in the late phase of their career,” as the late scholar Edward Said wrote, and to seek evidence of a “new spirit of reconciliation and serenity” in late Continued on page 48

TRAVEL TO PROVENCE WITH CAMERATA PACIFICA JULY 25 - AUGUST 7, 2017 MARSEILLE • AVIGNON • AIX-EN-PROVENCE

We’ll be travelling to visit members of the Berlin Philharmonic at a small chamber music festival in Salon-de-Provence, with performances in the 9TH century castle in which Nostradamus composed his most famous prophecies. Prior we’ll stroll around Avignon; visit the lavender fields of Sault; the perched villages of Gordes & Roussillon, (Les Plus Beaux Villages de France); wineries in Châteauneuf-du-Pape & Côtes du Rhône; explore the Roman, Celtic and Gallic histories at Pont du Gard and Glanum, and follow in the footsteps of Van Gogh and Cezanne. MINIMUM OF 10 PARTICIPANTS/MAXIMUM OF 18 CALL TO REGISTER FOR FURTHER INFORMATION 805 884 8410

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Robert Schumann

Fantasy Pieces for Clarinet & Piano, Op. 73

(1810 – 1856)

I. Zart und mit Ausdruck II. Lebhaft, leicht III. Rasch und mit Feuer

11’00”

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

Eric Ewazen

Ballade, Pastorale and Dance for Flute, Horn & Piano

(b. 1954)

I. Ballade II. Pastorale III. Dance

22’00”

Adrian Spence, flute; Martin Owen, horn; Warren Jones

INTERMISSION

Antonin Dvorˇák (arr. Jolley) Sextet for Piano & Winds in A Major, Op. 81 (1873 – 1943) (b. 1948)

37’00”

I. Allegro, ma non tanto II. Dumka. Andante con moto III. Scherzo (Furiant). Molto vivace IV. Finale. Allegro Adrian Spence; Robert Atherholt, oboe; Jose Franch-Ballester; Peter Kolkay, bassoon; Martin Owen; 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.

MARCH NOTES Robert Schumann, Fantasy Pieces for Clarinet & Piano, Op. 73 Robert Schumann is one of the most important composers of the mid-nineteenth century, known for his breadth in writing music across genres, and his musical depth. His symphonies expanded the genre’s formal possibilities, while also bringing a typically inward, subjective quality to a genre that was in many ways a public proving ground for compositional prowess. On the other end of the spectrum, Schumann was equally renowned for his Lieder, experimenting with that genre by way of chromaticism, irregular phrasing, and other more experimental qualities that pushed the genre beyond its often more “domestic” conventions. In his symphonic, vocal, and chamber music, he is characterized by musical, rhythmic, dynamic, and emotional contrasts, some of which are extreme in the context of their time. By 1844, Schumann and his family (his wife, Clara Wieck Schumann, was a composer and one of the nineteenth century’s greatest concert pianists) had moved from Leipzig to Dresden, partly in hopes of improving Robert’s health; he had a permanent hand injury and was also afflicted with mental health issues. Despite these problems, the Dresden years were productive. In 1849, while political revolution was waged throughout Europe, Schumann was writing dozens of new works, including these Fantasy Pieces for clarinet and piano, which he wrote over the course of two days. Originally titled Soiréestücke, reflecting their nocturnal, ruminative character, Schumann changed the title upon publication. These are three lyrical short movements, related by key, and with often dramatic piano writing underscoring the more songlike clarinet part. Each movement has a different mood, and there are also abrupt shifts within them; there is a structural arc within each one, but also across the piece, which finds both drama and levity in the final movement. Toward the end, the piece is marked “faster and faster,” and the music becomes more virtuosic and flamboyant. Schumann was influenced by Schubert’s music, and by the writings of the Romantic author Jean Paul (Johann Paul Friedrich Richter), seeing in both of them a “psychologically unusual connection of ideas.” In these pieces, Schumann achieves a similar connection.

Eric Ewazen, Ballade, Pastoral and Dance for Flute, Horn & Piano American composer Eric Ewazen (b. 1954) grew up playing piano and cello before turning seriously to composition in high school. His works are widely performed and recorded, and he has also influenced countless composers through his work as a faculty member at the Juilliard School in New York. Ewazen has written orchestral, chamber, and solo works, and is especially highly regarded as a sophisticated composer of wind and wind ensemble pieces. His music has been performed or commissioned by the Cleveland Orchestra, Evelyn Glennie, the Ahn Trio, and the American Brass Quintet. Ewazen often writes tonal music, and his works are generally considered “accessible;” this piece, with its lyrical second movement and energetic finale, is especially appealing to listeners. The composer writes: “Ballade, Pastorale and Dance was composed in the winter of 1992-93. David Wakefield and Barli Nugent, who premiered the work at Aspen in July 1993, commissioned it. The combination of horn, flute and piano produces a chamber music ensemble with wonderful possibilities in terms of contrasting colors and textures. A kaleidoscopic world of alternating moods and dynamics consequently appears. The first movement begins mysteriously, almost ominously, but quickly turns frenetic and wild with spinning flute flourishes, percussive horn gestures and dramatic piano chords. The second movement, composed during the Christmas holidays, has a gentle impressionistic feel to it with chorale-like melodies. The final movement, with its lively dance rhythms, brings the piece to an exhilarating conclusion.”

Antonin Dvorˇák, Sextet for Piano & Winds in A Major, Op. 81 (arr. David Jolley) Antonin Dvorˇák’s Piano Quintet, Op. 81 began as a revision of an earlier quintet, also in A Major. Although the earlier piece was well received, Dvorˇák grew dissatisfied with it, and in the end, rather than revising, he decided instead to create a new work altogether. This is the result, and it is one of the most performed works in the piano quintet literature. That literature expanded a great deal in the nineteenth century, as many composers found that the combination of two formidable elements with their own traditions — string quartet and piano — created an opportunity for chamber music of great scale and depth. After meeting his fellow Czech composer Bedrˇich Smetana, Dvorˇák began to draw on musical materials he learned in childhood and youth, setting what is usually described as a “nationalistic” tone in his music. This was appealing to both audiences and publishers, and he made his European reputation (thanks partly to support from Brahms) with a set of Slavonic dances. This piece’s Czech character is especially pronounced in the second and third movements, which are based on two specific forms. The second movement, titled Dumka, is based on a folk song form in which slow and fast tempos alternative. The third movement, Scherzo, has “furiant” as a parenthetical title, and anyone who knows Dvorˇák’s Slavonic Dances has heard his take on the furiant, defined as “a rapid Bohemian dance of decided yet frequently-changing rhythms.” Given this marking, however, the movement is rhythmically fairly straightforward. The finale moves rapidly among major and minor keys, and Dvorˇák’s skill in counterpoint is displayed in a fugal section that contrasts with the movement’s dance and folk song elements. Made by the hornist David Jolley, this remarkably faithful and successful arrangement alters the sound, but not the spirit or nuances of the original. One review of this arrangement said, “transcribing this much-loved music was a gamble that happens to pay off beautifully.” The familiar themes are made new without losing their emotional impact, or their sheer beauty; this is apparent from the first statement of the primary theme in the first movement, originally for cello, played here by the horn. Gramophone magazine said of this version that “the music flows in all its emotional generosity and vigor.”

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John Harbison

Abu Ghraib 15’00”

(b. 1938)

I. Scene I. Prayer I II. Scene II. Prayer II Ani Aznavoorian, cello; Molly Morkoski, piano

Michael Daugherty

Sing Sing: J Edgar Hoover 11’00”

(b. 1954)

Paul Robeson Told Me 8’00”

John Cage

4’33” 4’33”

(1912 – 1992) Giora Schmidt, violin; Kristin Lee, The Bernard Gondos Chair in Violin; Richard O’Neill, viola; Ani Aznavoorian

INTERMISSION Ludwig van Beethoven

String Quartet No 8. in E Minor, Op. 59, No. 2, “Razumovsky” 37’00”

(1770 – 1827)

I. Allegro II. Molto adagio III. Allegretto IV. Finale. Presto Kristin Lee, Giora Schmidt; Richard O’Neill; Ani Aznavoorian

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 John Harbison, Abu Ghraib American composer John Harbison’s music is well known to many in the Camerata Pacifica audience because of the group’s commission and recording of Harbison’s String Trio, released in 2014. Harbison’s work has been commissioned by institutions around the world, and recognized by prizes such as the MacArthur Award, the Pulitzer Prize, and the Heinz Award in the Arts and Humanities. His opera The Great Gatsby was commissioned by the Metropolitan Opera; he has also written for the Chicago Lyric Opera, the Los Angeles Philharmonic, the Boston Symphony, and countless others. He is one the United States’s most decorated and performed composers. Of this piece for cello and piano, described as “haunting” by the Boston Globe, the composer writes: “The title of this piece refers to an important episode in our country’s history. Abu Ghraib, while inscribed on our nation’s consciousness by photographs and reports, has been absorbed into the nation’s bloodstream, its long term effects yet to be known. [My piece is not a protest or moral lesson. These would require little bravery. Instead it seeks music in a moment when words can fail.] There are two movements, separated by a pause: Scene I. Prayer I; Scene II. Prayer II. Each Prayer begins with the violoncello playing alone. Scene I, in its harmonic details, investigates infection and wrongness. Then, in a less rebarbative language, Prayer I begins a tentative plea for help beyond ourselves. Scene II is based on an Iraqi song which I was hired to transcribe back in 1962, for a collection called Lullabies of the World (I was asked to transform its bent pitches and asymmetrical rhythms into “American family-sing form.”) This song is shown to have connections to two of our well-known hymns. Prayer II again suggests that by entering a difficult meditative world we may find courage to face our own Shadow. This piece was composed for performance by Rhonda Rider and David Deveau.”

Michael Daugherty, Sing Sing and Paul Robeson Told Me Michael Daugherty first became widely known for his rich, imaginative pop culture-influenced music of the 1990s. In particular, his Metropolis Symphony, inspired by the 50th anniversary of Superman’s first comic book appearance, and his Dead Elvis, for bassoon and chamber ensemble, made strong impressions on audiences and performers alike. Daugherty’s music often blends humor and drama. His wide-ranging musical interests were established in childhood: his father was a danceband drummer, and his mother an avid musical theater and tap dance amateur. Daugherty grew up playing Tin Pan Alley classics on the piano, along with Bach inventions, playing drums, and learning to tap dance. His drumming carried him into Drum and Bugle Corps, and his experience as a percussionist may be the source of his rhythmic assuredness as a composer. After receiving a Doctor of Musical Arts from Yale, Daugherty eventually joined the faculty at the University of Michigan, where he still teaches. He has been commissioned by major orchestras, opera companies, and wind and chamber ensembles, and is a multiple Grammy Award winner. The conductor Timothy Salzman writes, “It is in part (a) fascination with the vernacular that sets Daugherty’s music apart. By using sophisticated compositional techniques to develop his melodic motives, combined with complex polyrhythmic layers, he has created a style that is bursting with energy and truly unique.” An abridged version of Daugherty’s notes on these two pieces follows: Sing Sing: J. Edgar Hoover for string quartet and pre-recorded sound was commissioned by Kronos Quartet. My composition opens with one of J. Edgar Hoover’s favorite mottoes: “The FBI is as close to you as your nearest telephone.” This “reassurance” to the American public also served to authorize his

systematic invasion of their privacy: for Hoover, the telephone became an instrument for playing out his lifetime obsession with collecting sensitive information for his so-called “secret files.” Throughout his 48 years as director of the FBI, Hoover ordered the wiretapping of the telephones of movies stars, gangsters, presidents, civil rights activists, politicians, communist sympathizers, entertainers, and anyone who opposed his own political and moral agenda. For me, the motto offers an opportunity to listen in on Hoover’s voice, and to manipulate it for my own compositional purposes. The telephone, like the digital technology I have used, mediates voice so that it is both distant and near. I wanted to bring the dead voice of J. Edgar Hoover back to a posthumous life through technology, so that it may “sing” of its own death. I created the tape part by digitally sampling bits of actual historical speeches delivered by Hoover from 1941 to 1972, to such diverse audiences as the American Legion, Boys’ Club of America, and the FBI National Academy. It was eerie to be the first person to hear these tapes since they were made available to the public. I composed string parts to “sing along” with Hoover, in order to convey my sense of Hoover’s grim, threatening, yet darkly comic personality. The part played by the string quartet is also inspired by sounds associated with the FBI, such as sirens, American patriotic songs, and machine gun syncopations. The quartet therefore creates another context for hearing Hoover’s own words: “I hope that this presentation will serve to give you a better knowledge and a deep understanding of YOUR FBI.” Paul Robeson Told Me (1994) was commissioned by the Smith Quartet for the 1994 Bath Festival for this year’s theme “Ancient Voices.” The great Paul Robeson (1898-1976) was perhaps the most passionately outspoken advocate of American racial equality in his time. Although trained as a lawyer, Robeson was widely admired for his acting, on stage and in films, and in concert as a singer of black American spirituals. At the height of his career, in the 1940’s, he devoted his energy to the National Negro Congress and labor unions, using his international celebrity to openly criticize the Ku Klux Klan and segregationist laws around the world. Fluent in many languages, Robeson believed that the pre-Stalin philosophy of the Soviet Union would improve the condition of all oppressed people. He was kept under close surveillance by J. Edgar Hoover and the F.B.I. because of “subversive” acts like singing Communist songs alongside “Old Man River” in concerts. His passport was revoked from 1950 to 1958, forcing his film and concert career to a virtual standstill. In 1958 he revived his musical activities abroad, but illness forced him into early retirement. Daugherty chose Paul Robeson as subject because “like Elvis Presley, Paul Robeson is an enduring American icon. Both were self-taught singers with a distinctive voice and both were considered “subversive” influences by J. Edgar Hoover, who monitored their activities for his secret files at the F.B.I. The insurgency of Robeson’s voice interests me--its powerful energy--and I want to explore its timbral possibilities as well as its political implications and ambiguities within American culture.” Paul Robeson Told Me, for string quartet and digital tape, is ten minutes in duration and divided into two movements performed without pause. The tape part composed by Daugherty as part of the first movement contains segments of an extremely rare concert rendition of the “People’s Battle Song,” sung by Robeson in the summer of 1949 in Moscow, during a concert tour of the Soviet Union to celebrate the 150th anniversary of Pushkin’s birth. The string quartet augments the voice and orchestral accompaniment on the tape, and also introduces original thematic material composed by Daugherty. See insert for translation of Russian text in the tape part of the first movement.

John Cage, 4’33” The American composer John Cage was born in Los Angeles in 1912, the son of an inventor. After high school (he was valedictorian) he attended Pomona College for two years before spending a year in Europe. Upon returning to LA, he became serious about composition, studying briefly with Arnold Schoenberg at UCLA and exploring various compositional methods and techniques in the early 1930s. He began working as a dance accompanist and became interested in writing percussion music during his time on staff at the Cornish School of the Arts in Seattle. In exploring percussion, Cage used objects like brake drums and other “found” objects, as well as gongs and instruments from Bali, Japan, and India. He also developed the prepared piano, and began working with electronics. Some of his early works, like the Constructions 1-3, for percussion, the Sonatas and Interludes, for prepared piano, and the Imaginary Landscape series, are still his most prominent in the concert hall. He became as well known for his ideas as for his music in the later part of his career, and is often considered part of an American “maverick” tradition that includes Charles Ives, Harry Partch, and Henry Cowell. His influence on American music has been profound, and he was one of the 20th century’s great experimentalists and innovators. 4’33”, pronounced “four minutes and thirty-three seconds” or simply “4-33,” is one of his most experimental works. Premiered in 1952 near Woodstock, New York, this piece was a musical manifestation of an aesthetic Cage had been developing since the late 1940s, influenced by his study first of Indian philosophy, and then of Zen Buddhism. He gave some early indications of a particular interest in silence with the 1950 “Lecture on Nothing,” which began “I have nothing to say and I am saying it and that is poetry as I need it.” Cage had also described an idea for a piece like 4’33” in an earlier lecture at Vassar College, to be titled “Silent Prayer.” One of the most important experiences Cage had in his quest to understand silence was a visit to an anechoic chamber at Harvard University, designed to “absorb and block sound reflections so as to approach conditions of absolute silence.” However, despite Cage’s expectations of encountering such silence within the chamber, he did not. Instead, in his own words, “In that silent room, I heard two sounds, one high and one low. Afterward I asked the engineer why, if the room was so silent, I had heard two sounds [and described them]. He said ‘The high one was your nervous system in operation. The low one was your blood in circulation.’” All of these experiences, ideas, and studies came together in 4’33”. Without describing the piece itself, which by its nature will vary from performance to performance, here is what Cage wrote about it in a letter a few years later: “The piece is not actually silent (there will never be silence until death comes which never comes); it is full of sound, but sounds which I did not think of beforehand, which I hear for the first time the same time others hear.”

Ludwig van Beethoven, String Quartet No. 8 in E Minor, Op. 59, No. 2 “Razumovsky” The three string quartets that comprise Beethoven’s Op. 59 are known as the Razumovsky quartets, after the Russian ambassador to Vienna, Count Andrey Kirillovich Razumovsky. Razumovsky was an accomplished violinist, and active as an arts patron; among many other acts of patronage, he supported the formation of one of the first-ever professional string quartets. Led by violinist Ignaz Schuppanzigh, this quartet became a kind of house band for Razumovsky (until the house itself burned down in 1814). With the Count’s support, this quartet was made available to Beethoven and other composers. Schuppanzigh, one of Vienna’s premiere violinists, was also at the helm of the quartet that premiered Beethoven’s Op. 59 and multiple other works. The Razumovsky commission was for a set of quartets that would in some way incorporate Russian music or themes. Despite having been exiled from Russia, supposedly for life, Razumovsky was invited back in the early 1800s, and brought back to Vienna a collection of folksongs, from which Beethoven (or Razumovsky himself) drew materials for the quartets. Beethoven began working on them in mid-1806, and completed them by the end of the year, which also saw the completion of his opera Fidelio, the Fourth Symphony, and Violin Concerto. The quartets of Op. 59 are completely different in scale and ambition from Beethoven’s first quartets, the six pieces of the Opus 18. According to musicologist Joseph Kerman, “The three ‘Razumovsky’ Quartets constitute a trio of

sharply characterized, consciously differentiated individuals, beside whom the earlier quartets look, regrettably, like pasteboard.” These very difficult works were not well received in their initial performances; the Allgemeine Musikalische Zeitung wrote (gently, compared to some others), “The conception is profound and the construction excellent, but they are not easily comprehended…” As Kerman also wrote, “It is probably not too much to say at Op. 59 doomed the amateur string quartet.” Op. 59, No. 2 opens (like Beethoven’s Third Symphony, Eroica) with two strong, articulated chords. This may have been intended partly to get the audience’s attention — these were house concerts, and did not necessarily require the same kind of listening etiquette we expect in the concert hall now. The entire first movement is often described as “symphonic,” referring to its thick textures, its formal scale, and its emphasis on chords and harmonies as much as linear, melodic material. The second movement, Molto adagio and marked “to be played with great feeling” dispenses with neat, 8-bar phrases in favor of a gorgeous chorale, which comes back throughout the movement in various guises. It was at that time the longest second movement Beethoven had written, aside from the famous funeral march of Eroica, and its scale, and Beethoven’s ability to sustain it with such reduced forces, is remarkable. The third movement includes a Trio section marked “Thème Russe;” that theme, a setting of the folk song “Slava Bogu,” is almost buried in its first statement (viola) under a long string of triplets, but digs itself out and is restated multiple times before a return to the A section. Of this treatment of the theme, Kerman writes, “This does not sound as though the composer inserted the Russian tune as an urbane compliment to his Russian patron…It sounds as though Count Razumovsky had been tactless enough to hand Beethoven the tune, and Beethoven is pile-driving it into the ground by way of revenge.” Either way, Beethoven had fulfilled the terms of the agreement. The Presto is a sonata-rondo, alternating between major and minor before concluding with a wild dance (a tarantella) in the minor mode.

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DENNIS RUSSELL DAVIES conductor ROBERT McDUFFIE violin

FABIO LUISI conductor DEBORAH VOIGT soprano

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MONDAY, NOVEMBER 7, 2016, 8PM

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TAFELMUSIK BAROQUE ORCHESTRA “J.S. BACH: THE CIRCLE OF CREATION” JEANNE LAMON director ALISON MACKAY concept, script & program RICHARD GREENBLATT narrator THURSDAY, APRIL 6, 2017, 8PM

SUSAN GRAHAM

MEZZO-SOPRANO MALCOLM MARTINEAU piano

Gustavo Dudamel

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J.S. BACH: THE GOLDBERG VARIATIONS, BWV 988

Saturday April 22, 3:00 p.m. Saturday May 20, 3:00 p.m.

San Marino Santa Barbara

Paolo Bordignon, harpsichord

Published in 1741, the Goldberg Variations is part of a larger set of keyboard pieces that Bach published with the title Clavierübung, or Keyboard Practice. The original title of the Goldbergs was “Aria with diverse variations for a harpsichord with two manuals” (keyboards), and it was the last volume of the Clavierübung, which across four volumes offered a fairly comprehensive study of the keyboard playing styles of Bach’s time. In a recent essay titled “Why I Hate the ‘Goldberg Variations’” for NPR’s blog, Deceptive Cadence, the pianist Jeremy Denk describes the Goldberg Variations as “a fool’s errand attempted by the greatest genius of all time.” Denk (who has recorded the piece) is referring to the fact that this monumental set of variations — most performances last around 80 minutes — begins, ends, and remains in the key of G throughout. For those accustomed to music whose structure is based on harmonic movement, Goldberg is a completely different kind of listening experience. The sonata form, so familiar from first movements of symphonies and sonatas, gets its dramatic power precisely from the harmonic journey it undertakes, e.g., from the home key to the “dominant” key (on the fifth degree of the scale, i.e., C-G), and the interaction of its two themes, which must reconcile and return to the home key by the end. Some post-Bach composers who worked in, and pushed the boundaries of, sonata form also turned to the theme-and-variations structure to produce significant works. Think of Beethoven’s Diabelli Variations which, like Goldberg (and like most such pieces), remains in a single key throughout. Rather than relying on harmonic changes and conflicts to create drama and interest, variations offer a different kind of musical trajectory. In the case of Goldberg, that trajectory is an arc, or maybe a circle: the piece’s opening movement, Aria, on whose bassline the entire work is based, is identical to its last. In between, the piece is divided into two large parts. It is not the Aria theme that gets the variations treatment, but the bassline and the harmonic progression themselves that serve as the basis for Bach’s inventiveness. The Aria is a simple binary form, with two 16-bar phrases each repeated once. From there the piece’s structure includes a canon as every third piece — a canon is a form of musical imitation in which voices enter one at a time with the same material (“Row, Row, Row Your Boat” is one example). Each canon moves further away, pitch-wise, from the original; the first canon, No. 3 is at the unison (the entering voice enters on the same pitch as the original voice); No. 6 is at the second (one step apart), No. 9 at the third, and so on until No. 27, at the ninth. This trajectory is brought to a close in No. 30, quodlibet, or “what pleases,” which quotes two popular songs of Bach’s time, called “I’ve been so long away from you,” and “Cabbage and beets have driven me away.” Those movements preceding the canons tend to be virtuosic and flashy. Other movements take the form or outline of Baroque dances (4, 7, 19). No. 15, the end of the first half of the variations, ends with an unusual minor chord, and is followed by a movement marked “Overture,” indicating the start of the second half. The Overture variation draws on the French overture tradition, full of stately rhythms and grand gestures. The minor key returns in No. 25, which is also fairly chromatic. Immediately after the quodlibet, the Aria returns, and it is remarkable how different it sounds after the permutations through which its bass has been put. Where the opening Aria’s simplicity feels like an introduction, or a curtain being raised, the Aria da capo — although not a note is altered — is dense with the implications of the changes that precede it.

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Josef Haydn

Trio in G Major, Hob. XV: 15

(1732 – 1809)

I. Allegro II. Andante III. Finale: Allegro moderato

22’00”

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

W.A. Mozart

String Quintet in G Minor, K. 516

(1756 – 1791)

I. Allegro II. Menuetto and Trio. Allegretto III. Adagio ma non troppo IV. Adagio — Allegro

40’00”

Giora Schmidt, violin; Paul Huang, The Bob Christensen Chair in Violin; Richard O’Neill, Robert Brophy, violas; Ani Aznavoorian

INTERMISSION Ernst von Dohnányi

Piano Quintet in C Minor, Op. 1

(1877 – 1960)

I. Allegro II. Scherzo. Allegro III. Adagio, quasi andante IV. Finale. Allegro animato

30’00”

Paul Huang, Giora Schmidt; Richard O’Neill; Ani Aznavoorian; Warren Jones

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

MAY NOTES Josef Haydn, Trio in G Major, Hob. XV: 15 Haydn’s long career comprised two of the most significant forms of artistic economy in music history: first working under patronage, then working freelance. For almost thirty years, he worked for the Esterházys, a Hungarian noble family that had a long history as arts patrons. Haydn was appointed Vice-Kapellmeister at Esterháza in 1761, where his contract demanded exclusivity and an on-demand ethos: “Whenever His Princely Highness commands, the Vice-Kapellmeister is obligated to compose such works of music as His Highness may demand; further not to communicate [such] new compositions to anyone, still less allow them to be copied [for others], but to reserve them entirely and exclusively for His Highness; most of all to compose nothing for any other person without prior knowledge and gracious consent.” Haydn was at Esterháza until 1790, quickly becoming Kapellmeister in 1766. The estate maintained a small orchestra, and Haydn developed his symphonic thinking there with a luxury today’s composers can only dream of: an on-site orchestra available to play his work. Following the death of his primary patron Prince Nikolaus, Haydn began to pursue opportunities abroad, especially in England, and found great success as a freelance composer. Some of these opportunities had first come to him while he was still at Esterháza, including the commission that became Hob. XV:15-17. The English publisher John Bland visited Haydn in 1789 and requested three sonatas for violin, cello, and piano; Haydn delivered these instead, with the understanding that the flute part could be replaced by violin. Generally written for amateurs, who bought a great deal of sheet music and thus supported the newly freelance composer, these trios were not terribly virtuosic. This Trio is fairly standard for the genre, with two sonata form movements framing a slower middle movement. As was the case with most 18th-century trios, these were basically accompanied piano sonatas, with the upper voices playing secondary parts. The flute often follows the piano’s right hand, only occasionally taking the lead; the cello part, too, is largely accompanimental, although Haydn’s skill at orchestration assures a great deal of rhythmic interest and energy from these doubling roles. His famous wit comes through in this piece in some of the exaggerated piano ornamentation in the first movement, and especially in the extended piano cadenzas.

W. A. Mozart, String Quintet in G Minor, K. 516 Mozart arrived in Vienna in 1781 after an acrimonious split with the Archbishop Colloredo in his hometown of Salzburg. Eager to establish himself, Mozart quickly gained a reputation as an exceptional keyboard player. He soon published a set of keyboard and violin sonatas, which were well received, and which hinted at a new depth and complexity in his work. One scholar has described them as having “a deepened sense of rhetorical contrast between full chords and rapid passage-work,” and they work from a new sense of equality between the two instruments. The new parity Mozart brought to the violin and piano in those 1781 sonatas informed other chamber works he wrote in the 1780s, including his two string quintets of 1787. Both were written for the unusual instrumentation of two violins, two violas, and cello, an instrumentation that was almost unprecedented. Mozart wrote six such quintets, which were set apart from earlier string quintets of Schubert (and Boccherini) by doubling the viola instead of the cello. The additional inner voice in Mozart’s works gives these quintets a unique sound, with an unusual depth in the inner voices particularly. The 1787 quintets are complementary works: K. 515 is in C major, with the sunny transparency often associated with that most straightforward of keys; K. 516 is in G minor, which (as in the Alfred Einstein quote in the January notes on Mozart Serenades) was Mozart’s “fatalistic key.” The quintet is often dark, and even more often dramatic. The powerful opening theme yields to a more lyrical theme in B-flat major (G minor’s “relative” key, meaning they share a key signature—in this case, two flats)—a textbook example of sonata form, where the two principle themes operate in contrast throughout much of the movement, before reaching a synthesis in the final section. The second movement, Menuetto, barely acknowledges its titular genre—its heavy chords are rhythmically displaced, and alternate with long, lyrical lines, disregarding the expected minuet “feel” of an unmistakable, danceable downbeat. The middle Trio is only a bit lighter. The third movement calls for all the players to use mutes; Tchaikovsky would later write of this movement, “No one else has ever known as well how to interpret so exquisitely in music the sense of resigned and inconsolable sorrow.” Scholars have sometimes linked the heavy mood and intensity of this piece to Mozart’s personal circumstances,

which were difficult; among other things, his father Leopold was terribly ill (he died within two weeks of the piece’s completion). Nonetheless, the final movement ends cheerfully enough, although Einstein called its concluding major key a “disconsolate major.” The Finale opens with a reflective Adagio, led by the violin, which emerges from the string texture after a more ambiguous beginning. The main section of the movement is the Allegro, a rondo in a G major that, if not necessarily disconsolate, is perhaps hard won.

Ernst von Dohnányi, Piano Quintet No. 1 in C Minor, Op. 1 The Hungarian composer Ernst von Dohnányi was born in 1877 in Poszony, Kingdom of Hungary (in the AustroHungarian Empire), which is now Bratislava, Slovakia. Only seventeen years old when he wrote this Quintet, it has become one of his best-known works. Despite his young age, this is a formidable piece, technically and musically sophisticated. Although Dohnányi occasionally made use of some “Hungarian” tropes, including in this piece, his work and musical language was more aligned with the German art music of its time. If you were not looking at the program while listening, there are many reasons you might think you were hearing Brahms: the dark pianistic opening of the piece, developing into rich major harmonies in the upper strings; the viola melody at the beginning of the third movement; the way the opening material recurs throughout the piece. Indeed, like Dvorˇák, Dohnányi benefited from Brahms’s support, and it was Brahms who arranged for this piece’s Vienna premiere in 1895. Dohnányi is generally not considered a “nationalist” composer in the same way as Kodaly and Bartók; however, this is one of the pieces in which he did bring out some Hungarian sounds and rhythms. The Scherzo evokes the rhythm of the Bohemian dance, the furiant, also a favorite of Dvorˇák’s; the Finale, a rondo, is in 5/4 meter (5 beats per measure), a time signature hardly used in Western European art music, but well known in music of Central and Eastern Europe. By contrast, the the third movement, Adagio, shows the influence of Brahms and Schubert most plainly. In “song form,” that is, an A-B-A structure, the Adagio is exquisitely lyrical, and surprisingly elegiac in tone for having been written by a teenager. Despite having a significant international career as a performer, composer, and conductor (his grandson, Christoph von Dohnányi, was for many years the conductor of the Cleveland Orchestra), Dohnányi’s work is played far less today than that of his compatriot Bartók, and certainly less than Dvorˇák’s much more “nationalistic” music.

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DAVID BAZEMORE

October Notes, continued from page 13 ceaseless motion in the bass; left hand dexterity and fluidity is the pedagogical problem the piece addresses. Both its key signature and subtitle also hint at Chopin’s responsiveness to Beethoven, particularly the latter’s final piano sonata (Op. 111), also in C minor.

Piotr Ilyich Tchaikovsky, Valse-Scherzo, Op. 34 This piece was originally written for solo violin with chamber orchestra, though it is often performed in this configuration for violin and piano. Written in 1877, it overlapped in Tchaikovsky’s life with the composition of his Violin Concerto, which became one of the most important 19th century examples of the genre. In composing the Concerto, Tchaikovsky worked with the violinist Iosif Kotek, who played through sections of the piece as Tchaikovsky wrote them. During this time, Kotek also introduced Tchaikovsky to Eduoard Lalo’s Symphonie Espagnole, a dazzlingly virtuosic concerto-like piece for violin and orchestra. Given Tchaikovsky’s ambitions for his own concerto, and his interest in the Lalo work, it is hardly surprising that he worked out some of his technical questions in the shorter pieces he wrote during this time. The waltz was a popular dance throughout Europe, including Russia, in the nineteenth century, and Tchaikovsky made use of it multiple times. This piece retains the sense of a waltz throughout— triple meter, with a heavy emphasis on the first beat of each bar. One could almost dance to it, except then one would risk missing some of the violin’s pyrotechnics. It contains little of the extended thematic work Tchaikovsky would develop in his Violin Concerto, focusing instead on unbelievably fast finger work, chains of double-stops, and other techniques, which are especially on display in the cadenza-like passage that leads back into the A section. As the title suggests, this waltz has more than a bit of a joke about it. In a simple A-B-A form, plus coda, the Valse-Scherzo premiered in Paris in 1878, during the World Exposition, and was conducted by Nicolai Rubinstein.

February Notes, continued from page 28 works — as the word “autumnal” suggests — Said also argued that “late style” could just as easily demonstrate “intransigence, difficulty, and unresolved contradiction” as harmony and resolution. These other qualities can be found in some late Brahms works, especially his short but intense piano pieces, Op. 117-119. These are full of disjunction, experimentation, and moments of real rupture. While this Trio is not quite so surprising, it does resist being fully categorized as an exercise in nostalgia and resignation. Brahms, always a formalist, sets the first movement as a sonata form, but abandons the traditional repeat, focusing instead on various versions and inversions of opening theme, and on blending the clarinet and cello as seamlessly as possible. The Adagio is essentially an accompanied duet between clarinet and cello, while the third movement draws on traditional tropes like the waltz, the pastoral, and the rustic. The finale shows Brahms at his most cohesive, developing motives and themes in an almost mathematical way before the coda, which evokes the principal theme once more. Although this piece is substantial in length — usually 25-30 minutes in performance — it is not the languorous nostalgia-fest one might expect from late Brahms, instead demonstrating an unusual restraint and continuing to push at formal convention.

CAMERATA PACIFICA Principal Artists Ani Aznavoorian, PRINCIPAL CELLO The Strad magazine describes cellist Ani Aznavoorian as having “scorchingly committed performances that wring every last drop of emotion out of the music. Her technique is well-nigh immaculate, she has a natural sense of theater, and her tone is astonishingly responsive.” Ms. Aznavoorian is in demand as a soloist and chamber musician with some of the most recognized ensembles, and she has appeared with many of the world’s leading orchestras including the Chicago Symphony Orchestra, the Boston Pops, the Tokyo Philharmonic, the Helsinki Philharmonic, the Finnish Radio Symphony, the International Sejong Soloists, the Belgrade Philharmonic, the Juilliard Orchestra, and the Edmonton Symphony. Ms. Aznavoorian has also appeared as recitalist and chamber musician in over twenty countries spanning five continents. This season marks Ms. Aznavoorian’s tenth 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 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 premieres of many important pieces in the cello repertoire. Some of these include 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. Ms. Aznavoorian records for Cedille Records, and she proudly performs on a cello made by her father Peter Aznavoorian in Chicago.

Timothy Eckert, PRINCIPAL DOUBLE 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 United States festivals as the Saratoga Chamber Music Festival, Music@Menlo, Mainly Mozart, Bridgehampton Chamber Music Festival, Music from Angel Fire, Chamber Music Northwest, and Skaneateles Festival. Abroad, he has appeared at the Usedomer Musikfestival in Germany, the Verbier Festival in Switzerland, the Cartagena Festival Internacional de Música in Colombia, the Kon-Tiki Festival in Norway, and the Young Concert Artists Festival in Tokyo. Mr. Franch-Ballester is artistic director of miXt, an ensemble of award-winning soloists from the Young Concert Artists roster that he founded in the 2012-13 season. Performing in a variety of configurations, miXt made its New York and Washington debuts in YCA’s series at Merkin Hall and the Kennedy Center. His instrumental collaborators have also included the American, St. Lawrence, Jupiter, and Modigliani String Quartets. An avid proponent of new music, he performed the world premiere of Jake Heggie’s Winter Roses in 2004 with mezzo-soprano Frederica von Stade at Camerata Pacifica. During the 2011-2012 season, he premiered two new works by Spanish composers: the II Concerto by Oscar Navarro, with the Orquesta Sinfónica del Principado de Asturias in Oviedo, Spain; and Concerto Valencia by Andrés Valero-Castells, with the Orquesta de Valencia. Mr. Franch-Ballester’s commitment to new music has led him to commission and work with such contemporary composers as Kenji Bunch, Paul Schoenfield, Edgar Meyer, William Bolcom, George Tsontakis, Andrés Valero-Castells, Oscar Navarro, and Huang Ruo. He has also been a dedicated music educator, developing new audiences through countless educational concerts and workshops for young people and community audiences. Performing regularly in Spain, Mr. Franch-Ballester has appeared with the Orquesta de Radio y Television Española, Orquesta de Valencia, Orquesta Sinfónica del Principado de Asturias, and Orquesta Sinfónica del Valles. He is the founder of Jose Franch-Ballester & i amics (and friends), a series of concerts in which young musicians from all over the world are presented in Mr. Franch-Ballester’s hometown of Moncofa and throughout the Valencia area. Mr. Franch-Ballester’s recordings include a Deutsche Grammophon CD of Bartók’s Contrasts with members of the Chamber Music Society of Lincoln Center. In 2010 he was awarded the Midem Prize for “Outstanding Young Artist,” which aims to introduce currently unsigned recording stars of the future to the classical recording industry. Jose Franch-Ballester & Friends, a CD of chamber music released by iTinerant Classics in 2011, includes the premiere recording of Oscar Navarro’s Creation and works by Brahms, Stravinsky, and Paul Schoenfield. Mr. Franch-Ballester can also be heard on Piazzolla Masterworks, a CD recorded with cellist Young Song and pianist Pablo Zinger that contains works by Astor Piazzolla. Born in Moncofa into a family of clarinetists and Zarzuela singers, Jose FranchBallester began clarinet lessons at the age of nine with Venancio Rius, and graduated from the Joaquin Rodrigo Music Conservatory in Valencia. In 2005 he earned a Bachelor’s degree from the Curtis Institute of Music in Philadelphia, where he studied with Donald Montanaro. Mr. Franch-Ballester’s mentors also include Ricardo Morales, principal clarinet in the Philadelphia Orchestra. Jose Franch-Ballester is represented in the Americas by Sciolino Artist Management.

Paul Huang, PRINCIPAL VIOLIN The Bob Christensen Chair in 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.” His recent and upcoming engagements include debuts with the Houston, Pacific, Omaha Symphonies, Santa Barbara Chamber Orchestra, Louisiana and Seoul Philharmonics, as well as return engagements with the Detroit, Alabama, Bilbao Symphonies, and National Symphonies of Mexico and Taiwan. He also appears at the White Nights Festival in St. Petersburg at the invitation of Valery Gergiev, and returns to the Chamber Music Society of Palm Beach, Caramoor Festival’s Rising Stars series, and Camerata Pacifica as their Principal Artist. In 2014-15 season, Mr. Huang stepped in for Midori to appear with the Detroit Symphony Orchestra under the baton of Leonard Slatkin performing the Siblieus concerto to critically acclaimed. 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 include performances for Lincoln Center, the Kennedy Center, University of Georgia Performing Arts, University of Florida Performing Arts, the Strathmore Center, the Phillips Collection in Washington D.C., Buffalo Chamber Music Society, Isabella Stewart Gardner Museum, Jordan Hall, the Louvre in Paris, Seoul Arts Center, and National Concert Hall in Taiwan. His first solo CD, Intimate Inspiration, is a collection of favorite virtuoso and romantic encore pieces slated for a summer release on the CHIMEI label. In association with Camerata Pacifica, he recorded “Four Songs of Solitude” for solo violin on 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, Music@Menlo, La Jolla, the Moritzburg and Kissinger Festivals in Germany, the Sion Music Festival in Switzerland, the Great Mountains Music Festival in Korea. He has collaborated with notable artists including Shlomo Mintz, Gil Shaham, Nobuko Imai, Maxim Rysanov, Roberto Diaz, Misha Maisky, Frans Helmerson, and Marc-Andre Hamelin. 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. He is a 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.

Warren Jones, PRINCIPAL PIANO The Robert & Mercedes Eichholz Chair in Piano Warren Jones enjoys a notably eclectic career that has taken him to virtually every corner of the musical world. He performs with some of today’s best-known artists: Stephanie Blythe, Anthony Dean Griffey, Bo Skovhus, Eric Owens, John Relyea, and Richard “Yongjae” O’Neill. In the past he has partnered such great performers as Marilyn Horne, Håkan Hagegård, Kathleen Battle, Samuel Ramey, Christine Brewer, Barbara Bonney, Carol Vaness, Judith Blegen, Salvatore Licitra, Tatiana Troyanos, Thomas Hampson, 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 in September 2016 will begin an appointment as Artist in Residence in Music at the Mason Gross School of the Arts at Rutgers University. Mr. Jones received the “Achievement Award” for 2011 from the Music Teachers National Association of America, their highest honor; and in 2010 he was selected as “Collaborative Pianist of the Year” by the publication Musical America. 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 the invited guest of the Justices of the United States Supreme Court for musical afternoons in the East Conference Room at the Court. As a musical jurist, he has participated in judging the Van Cliburn International Piano Competition, the Metropolitan Opera National Auditions, and the Naumberg Awards — and he will join the jury of the Montreal International Vocal Competition in the Spring of 2017. A graduate of both New England Conservatory and San Francisco Conservatory of Music, Mr. Jones currently serves on the NEC Board of Visitors and has been honored with the Doctor of Music degree from SFCM. His discography contains thirty-one recordings on every major label in a wide range of classical, romantic, and contemporary repertory. His conducting appearances are similarly varied: he has led sold-out critically-acclaimed performances of Mascagni’s L’amico Fritz, Rossini’s Il barbiere di Siviglia, and Mozart’s Die Zauberfloete; and in 2014 he conducted the world premiere of a new operatic version of A Christmas Carol at the Houston Grand Opera. Mr. Jones returned to the Merola Opera Program at San Francisco Opera for performances of Donizetti’s comedy Don Pasquale in the summer of 2015. In February 2016 he led an innovative new production of Menotti’s The Telephone and Bernstein’s Trouble in Tahiti for Tri-Cities Opera.

Ji Hye Jung, PRINCIPAL PERCUSSION Ji Hye Jung joined the Blair School of Music at Vanderbilt University as Associate Professor of Percussion in 2015. She previously directed the percussion studio at the University of Kansas for six years. Ms. Jung began concertizing in her native South Korea at the age of nine where she performed more than one hundred 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. An advocate for new music, Ms. Jung 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, John Psathas, David Bruce, and Huang Ruo. Other performance credits include appearances at Portugal’s Tomarimbando Festival, New Music Indaba in South Africa, 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. 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.

Kristin Lee, PRINCIPAL VIOLIN The Bernard Gondos Chair in Violin A recipient of the 2015 Avery Fisher Career Grant, as well as a top prizewinner of the 2012 Walter W. Naumburg Competition and the Astral Artists’ 2010 National Auditions, Kristin Lee is a violinist of remarkable versatility and impeccable technique who enjoys a vibrant career as a soloist, recitalist, chamber musician, and educator. “Her technique is flawless, and she has a sense of melodic shaping that reflects an artistic maturity,” writes the St. Louis Post-Dispatch, and The Strad reports, “She seems entirely comfortable with stylistic diversity, which is one criterion that separates the run-of-the-mill instrumentalists from true artists.” Kristin Lee has appeared as soloist with leading orchestras including 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 performed on the world’s finest concert stages, including Carnegie Hall, Avery Fisher Hall, the Kennedy Center, Philadelphia’s Kimmel Center, the Metropolitan Museum of Art, 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. She recently curated a program that premiered at Philadelphia’s World Cafe Live and New York’s (le) Poisson Rouge in which she commissioned five new works for the violin and various instruments. Her recent engagements include debuts with the Milwaukee Symphony and at Washington, D.C.’s Phillips Collection, recitals in New York’s Merkin Concert Hall and Florida’s Kravis Center, appearances with the Guiyang Symphony Orchestra of China and the St. Paul Chamber Orchestra, and concerts around the United States with the Chamber Music Society of Lincoln Center. Highlights of her 2016-2017 season include debuts with the Tacoma Symphony, Hong Kong Philharmonic, Nordic Chamber Orchestra of Sweden, and a return engagement with the Orquesta Sinfonica Nacional of Dominican Republic. Lee will also continue touring with the Chamber Music Society of Lincoln Center throughout 12 states. An accomplished chamber musician, 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 with Camerata Pacifica, 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, which appears on Fung’s CD Dreamscapes, released on Naxos. Fung’s Violin Concerto won the 2013 Juno Award.

Lee’s performances have been broadcast on PBS’s “Live from Lincoln Center,” the Kennedy Center Honors,, WFMT Chicago’s “Rising Stars” series, and on WQXR in New York. She also appeared on Perlman in Shanghai, a nationally broadcast PBS documentary that chronicled a historic cross-cultural exchange between the Perlman Music Program and Shanghai Conservatory. Lee’s many honors include awards from the 2015 Trondheim Chamber Music Competition, 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, Korea, Lee began studying the violin at the age of five, and within one year won First Prize at the prestigious Korea Times Violin Competition. In 1995, she moved to the United States and continued her musical studies under Sonja Foster. Two years later, she became a student of Catherine Cho and Dorothy DeLay in The Juilliard School’s Pre-College Division. In January 2000, she was chosen to study with Itzhak Perlman after he heard her perform Mendelssohn’s Violin Concerto with Juilliard’s PreCollege Symphony Orchestra. 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 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 the co-founder and artistic director of Emerald City Music, a chamber music series based out in Seattle. She has also 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.

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.

Martin Owen, PRINCIPAL 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 recently became Principal Horn of Britten Sinfonia. During the 2012/13 season, Martin was Principal Horn of the Berliner Philharmoniker on a temporary contract. Martin also currently holds the position of Principal Horn of the California-based ensemble, Camerata Pacifica. 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 performing Strauss’ 1st Horn Concerto with the Liceu Symphony Orchestra / Josep Pons in Barcelona in October 2016, and playing guest principal horn with the Cleveland Orchestra in May 2017. 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; and in 2013, Martin performed Benjamin Britten’s Serenade with Ben Johnson at Aldeburgh, the Centenary of Britten›s birth, as well as giving concerts with Ensemble Berlin in Portugal, Germany and Croatia.

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), Britten’s Canticles with tenor Ben Johnson (for Signum Classics), 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. Martin Owen is a Fellow of the Royal Academy of Music, where he is Professor of Horn.

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.

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 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 58

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

IAN WILSON | AT (FLUTE, VIOLA & CELLO) | Premiered October 8, 2015, Los Angeles Commissioned by Jordan Christoff for Adrian Spence, Catherine Leonard & Ani Aznavoorian DAVID BRUCE | THE CONSOLATION OF RAIN (OBOE, HARP, CELLO & PERCUSSION) | Premiered 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 59

Guest Artists Robert Atherholt, OBOE Robert Atherholt graduated from the Juilliard School in 1977, where he was a student of the esteemed American oboist and mentor Robert Bloom. Soon after, Atherholt was invited to join Orpheus, the St. Luke’s Orchestra and the Opera Orchestra of New York among others. He served as principal oboist of the New Jersey Symphony for the 197980 season followed by a year as English hornist. In 1984 Atherholt was appointed principal oboist of the Houston Symphony Orchestra, a position he held for twenty-seven years, retiring in 2011. During his years with the HSO he established himself as a leading voice in the orchestra. He performed and toured as solo oboist of the Houston Symphony Chamber Players, and was featured soloist with the HSO performing numerous concerti, including Mozart’s Concerto for Oboe and Orchestra and the world premiere of Schumann/Picker’s Romances and Interludes. Both works were later recorded with the orchestra under Maestro Christoph Eschenbach. Since retiring from the Houston Symphony, Atherholt has appeared as a popular guest principal oboist with the Boston Symphony, the St. Louis Symphony, the St. Paul Chamber Orchestra, the Houston Grand Opera, and the San Antonio Symphony. He continues his passion for teaching as professor of oboe at the Shepherd School of Music, celebrating his thirty-third year in that position. The current year has also included residencies at Oberlin College, the New World Symphony, and the University of Houston. His former students hold major positions in many orchestras and universities in the United States, as well as orchestras in South America, Israel, Switzerland and China. Summer activities have included principal positions with the Sun Valley Summer Symphony and the Santa Fe Opera Orchestra, as well as participation in the Marlboro, Caramoor and Pacific Music Festivals. His current summer activities include principal oboist of the Grand Teton Music Festival Orchestra, as well as performing and teaching at the Aspen Music Festival and School, the Texas Music Festival and the National Orchestral Institute.

Richard Berry, HORN Richard enjoys a wide-ranging musical career, which began at the Royal Academy of Music in 1991, where he studied with both Michael Thompson and Richard Watkins. In the summer of 1993 Richard also spent some time in the United States studying with Eric Ruske and Empire Brass at the Tanglewood Institute. Whilst still studying at the Academy, he joined the Bournemouth Sinfonietta under Tamas Vasary. This chamber orchestra was uniquely positioned in the country to bring music to a large corner of the United Kingdom, which, because of its geographical position, can be overlooked. Richard appeared as soloist many times with this orchestra in all the Mozart concerti and works by Britten, Vivaldi, Larsson and Telemann. In 1996 Richard was invited to be principal horn of the English Chamber Orchestra and has since enjoyed a busy schedule touring the world with such well known soloists as Pinchas Zuckerman, Christian Zacharius, Radu Lupu and Mitsuko Uchida to name but a few. In 1996 Richard featured as a guest international soloist at the 28th International Horn Symposium based that year in Eugene, Oregon. Richard has also performed as a soloist around the UK, often as BBC Radio broadcasts, at venues including the Barbican Centre, QEH and Cadogan Hall in London as well as many other more rural settings

during his time with the Sinfonietta. He features as soloist on a recording of Mozart’s Horn Concerto, K. 495 with the English Chamber Orchestra, which is available on Avie Records and iTunes. Richard continues his association with the English Chamber Orchestra and also enjoys a varied career working with other major orchestras in the UK and with established chamber groups including London Winds and London Brass. Richard has performed on many film and television soundtracks over the last twenty years ranging from the Harry Potter and James Bond franchises to the smaller scale TV work. He is an associate of the Royal Academy of Music.

Paolo Bordignon, HARPSICHORD Paolo Bordignon has received critical acclaim for performances ranging from “outstanding...lively and distinctive” interpretations of early music to “compelling” performances of avant-garde repertoire throughout the United States, Canada, Europe, and Asia. His diverse engagements have included recitals at the Metropolitan Museum of Art and St. Eustache in Paris, a performance for New York Fashion Week, and conducting appearances on NBC’s Today Show. Paolo was a featured soloist at the inauguration of Carnegie Hall’s Zankel Hall, performing the New York premiere of Philip Glass’s Concerto for Harpsichord and Orchestra. He serves as harpsichordist of the New York Philharmonic and has performed with the Orpheus Chamber Orchestra, the Knights, English Chamber Orchestra, Mostly Mozart Festival Orchestra, American Symphony Orchestra, St. Paul Chamber Orchestra, Ars Nova Copenhagen, as well as a Juilliard Gala performance with Renee Fleming and Wynton Marsalis. He has appeared on CNN, NPR, the CBC, and on Korean and Japanese national television with Orpheus and the Sejong String Orchestra, performing with Joshua Bell, Sarah Chang, Kyung-Wha Chung, Cho-Liang Lin, Gil Shaham, Youngok Shin, and Lynn Harrell. As a soloist and chamber musician, he has collaborated with Itzhak Perlman, David Robertson, Bobby McFerrin, Paul Hillier and, in 2008, with Midori on a series of concerts for Lincoln Center’s “Great Performers of Lincoln Center,” performing Bach and Schnittke. A strong advocate of new music, Paolo has worked with composers such as Elliott Carter (performing his Double Concerto for Harpsichord and Piano), David Conte, Jean Guillou, Stephen Hartke, Christopher Theophanides, and Melinda Wagner. As harpsichordist for Jackson Hole’s Grand Teton Music Festival, he was recently a featured soloist with the Festival Orchestra in performances led by Reinhard Goebel, founder of Musica Antiqua Köln. He has participated at festivals in Bruges, Zurich, Aspen, Bridgehampton, at the Bard Music Festival, and at the Aston Magna Academy. He recently presented a series of ten recitals in residence at the Metropolitan Museum of Art’s Department of Musical Instruments. With the Clarion Music Society, he gave the world premiere of some newly rediscovered, unpublished works of Felix Mendelssohn, including a Sonata for Violin and Pianoforte, and the composer’s only surviving song cycle. Beginning March 2014, he will serve as director of music and organist at St. Paul’s United Methodist Church in Houston, Texas, where he will direct St. Paul’s Choir and oversee a vibrant music program in the Anglican tradition comprising St. Paul’s Choral Scholars, Treble Choir, three children’s choirs, St. Paul’s Strings, change ringing bells, organ recitals, chamber music series, choral concerts and residencies in the U.S. and Europe. He was previously Associate Director of Music at St. Bartholomew’s Church in New York City, where he helped oversee one of the nation’s preeminent church music programs.

He directed the Boy & Girl Choristers, and played the Aeolian-Skinner pipe organs of the Chapel and Church, the latter being one of the world’s largest. Deeply committed to training the next generation of musicians, he has served on the VOICE Choral Music Charter School board of directors and has been on the faculty of Westminster Choir College in Princeton, New Jersey. Paolo earned Master’s and Doctor of Musical Arts degrees from the Juilliard School. He studied organ with John Weaver, harpsichord with Lionel Party, and is the first person to graduate Philadelphia’s Curtis Institute of Music with a degree in harpsichord (a double major with organ). Doctoral studies brought him to Leipzig and Berlin, where he examined Johann Sebastian Bach’s autograph and original performance materials of Cantata No. 67, Halt im Gedächtnis Jesum Christ. From 1993 to 1996 he was on the roster of associate organists for the Wanamaker Grand Court organ in Philadelphia, the world’s largest operational pipe organ. Paolo is an Associate of the Royal Conservatory of Music and a Fellow of the Royal Canadian College of Organists, having won the major prizes. Born in Toronto of Italian heritage, Paolo studied organ with John Tuttle and received early musical training at St. Michael’s Choir School.

Claire Brazeau, OBOE A native of Northern Michigan, Claire Brazeau is one of the newest members of the Los Angeles Chamber Orchestra. Claire enjoys pursuing musically omnivorous interests, from baroque chamber music on period instruments to experimental new music collaborations. Last season, she performed concertos with the Redlands Symphony Orchestra and the Culver City Symphony. Claire’s performances in the 2016-17 season include the West Coast premiere of Ken Ueno’s Sawdust for Oboe and Ensemble with the San Francisco Contemporary Music Players, as well as chamber music appearances with Camerata Pacifica. Claire is a member of the Santa Barbara Chamber Orchestra and the New York-based new music ensemble Le Train Bleu. An active freelancer, she has performed in the Pacific, Pasadena and Santa Barbara symphonies; Musica Angelica Baroque Orchestra; WildUp; Los Angeles Bach Festival; California Philharmonic; Santa Barbara Choral Society; and was principal oboist of the Young Musicians Foundation Debut Symphony. On the East Coast she has been a guest artist with orchestras and ensembles including American Symphony Orchestra, Ensemble Musica Humana, and the Berkshire Bach Society. She has performed at music festivals including Bravo! Vail Festival in Colorado, Hear Now Music Festival in Los Angeles, Lucerne Festival Academy in Switzerland, Aspen Music Festival, and the Norfolk Chamber Music Festival. In 2011-12, she was Artist in Residence at the American Academy in Rome, where her engagements included self-curated concerts sponsored by the United States Embassy, Roma Tre University, the Pontifical Academy of Science, and she gave the premiere of Sean Friar’s Etudes for English Horn and Piano. In 2010, Claire graduated from Bard College and Conservatory in New York where she earned Bachelors of Arts in East-Asian Studies and Piano Performance, and a Bachelor of Music in Oboe Performance. She graduated from the Colburn School with an Artist Diploma in 2014, where she was a student of Allan Vogel.

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 the EMI 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.

Gina Cuffari, BASSOON Bassoonist Gina Cuffari is an active orchestral and chamber musician in the New York City area. Praised for her “sound that is by turns sensuous, lyric, and fast moving” (Palm Beach Daily News), she is a member of the Riverside Symphony, and is a regular performer with the Orpheus Chamber Orchestra, American Composers Orchestra, Westchester Philharmonic, and Iris Orchestra in Memphis, Tennessee. She has also performed with the Orchestra of St. Luke’s, American Ballet Theater, Stamford Symphony and New Haven Symphony. In addition, Gina frequently plays in the Broadway production of Fiddler on the Roof. Gina is the bassoonist of the Jupiter Symphony Chamber Players, Sylvan Winds, and is a founding member of the Scarborough Trio — a flute, bassoon, and piano ensemble. The Scarborough Trio has performed hundreds of concerts throughout the United States, and has garnered top prizes at the Fischoff, Yellow Springs, and Artists International Competitions (resulting in their professional debut at Carnegie’s Weill Recital Hall). As the bassoonist of the Quintet of the Americas, the group recently completed their residency in the Rockaways, as the recipient of the 2015-16 Chamber Music America Residency award. She has performed chamber music throughout New York City’s public schools and museums as a participant of the Orchestra of St. Luke’s Arts Education program, and has performed in New York City restaurants as part of the Tertulia ensemble. Gina is a champion of new music, and frequently performs and records with the contemporary groups Alarm Will Sound, Argento New Music Project, and ACME. She has also recorded the Schoenberg Wind Quintet and Stockhausen Zeitmasse for Albany Records with the Phoenix Ensemble. Gina has commissioned and premiered multiple pieces written for Quintet of the Americas, as well as premiered works written for her combining her two passions, bassoon and voice. As the Director of Programming for the 2014 International Double Reed Society conference at New York University, Gina helped organize the largest IDRS event in its

forty-three year history. A graduate of Cincinnati College-Conservatory of Music and Manhattan School of Music, Gina recently completed her Doctorate of Musical Arts at Stony Brook University. Gina is an adjunct professor of bassoon at New York University and Western Connecticut State University, and recently joined the music faculty at Sacred Heart University in Connecticut. She spends her summers teaching at the Killington Music Festival in Killington, Vermont.

Judith Farmer, BASSOON Critics have described bassoonist Judith Farmer’s playing as “impeccable” (American Record Guide), “masterly” (Fanfare Magazine) and “brilliant” (Kronenzeitung, Austria). Judith enjoys a rich and varied career as a chamber musician, orchestra musician, soloist and teacher. She received her education at Indiana University and at the Hochschule fuer Musik in Vienna. From 1984 to 1996, she was principal bassoonist of the Austrian Radio Symphony Orchestra, performed and toured regularly with the Camerata Academica Salzburg under Sandor Vegh and with numerous chamber music ensembles in Vienna. Ms. Farmer has appeared as a soloist in the United States and in Europe, including the Salzburg Festival, and has participated in chamber music festivals in Prussia Cove, Martha’s Vineyard, Salem, La Jolla, Oaxaca, San Luis Obispo, Beverly Hills (CA) and Garth Newel (VA). In 1996 Ms. Farmer moved to Los Angeles and since then has performed with the Los Angeles Philharmonic, including as guest associate principal in spring of 2009. She has played on the scores of over 200 major motion pictures and recorded with such artists as Daft Punk, Josh Groban, Billy Childs, Barbra Streisand and Neil Young. She is currently principal bassoonist of the Santa Barbara Chamber Orchestra, a member of the Los Angeles Opera Orchestra and the Long Beach Symphony. Judith Farmer teaches bassoon at the University of Southern California. She is an avid chamber musician, who enjoys collaborating with composers on new works and has had a number of works written and dedicated to her. Her recordings as a soloist and chamber musician are available on Albany, Centaur, Ex-House and Orfeo Records.

Bil Jackson, CLARINET Bil Jackson, in his sixth year as associate professor of clarinet at the Blair School of Music, Vanderbilt University, enjoys a varied musical career that includes solo, orchestral and chamber music appearances. Before joining the faculty at the Blair School, Mr. Jackson served as principal clarinetist with the Pittsburgh Symphony Orchestra, Colorado Symphony Orchestra, Honolulu Symphony and has performed as guest principal clarinetist with the St Louis, St. Paul Chamber, Minnesota Orchestra, Orchestra of St. Luke’s and Cincinnati symphony orchestras. He also has appeared as a soloist with the Colorado, Honolulu, Denver, Charlotte, Dallas Chamber, and Aspen Chamber orchestras. Mr. Jackson taught at the Aspen Music Festival for 34 years and retired as Artist Faculty Emeritus in 2016. He has previously served on the faculties of the University of Texas, University of Colorado, University of Northern Colorado and Duquesne University. Mr. Jackson studied at the Interlochen Arts Academy, where he won the IAA’s concerto competition three years in a row and was awarded the gold medal for superlative musicianship upon graduation. Mr. Jackson is the only person to win the International Clarinet Competition twice and he was a finalist in the Prague International Clarinet Competition. Mr. Jackson began his orchestral career with the Honolulu Symphony as principal clarinetist at the age of 19.

Mr. Jackson currently performs recitals and presents master classes throughout the United States and abroad. Bil will be featured at the 2016 International Clarinet convention in August performing the Weber clarinet quintet with the Miro Quartet and will perform a recital tour to Japan, Korea and China in late October. Mr. Jackson has presented master classes at the Yale, Shepherd School, Northwestern, Manhattan, Eastman, and Colburn schools of music. Mr. Jackson premiered a trio composed by Lowell Liebermann at the Tucson Chamber Music Festival, which was recorded and released on CD. In March 2017, Mr. Jackson will present at the Blair School of Music, Vanderbilt University, an International Clarinet Symposium and solo competition sponsored by Backun Musical Services. This symposium will feature prominent clarinet guest artists from around the world. Mr. Jackson commissioned, and premiered with the Honolulu Symphony, Dan Welcher’s Clarinet Concerto which was nominated for the Pulitzer Prize in music. He subsequently returned to the Honolulu Symphony to record the concerto for the Naxos label. During the 2008-2009 Colorado Symphony season, Bil premiered 2014 Pulitzer Prize winner Kevin Puts’ Clarinet Concerto, also written for him with Jeffrey Kahane conducting. Additionally, he performed the Puts concerto via a live NPR national broadcast from the Aspen Music Festival’s 2010 season. Mr. Jackson also recorded the concerto with the Colorado Symphony with Andrew Litton conducting. Mr. Jackson teams with pianist Bill Douglas to present concerts that synthesize jazz, classical, and contemporary formats. Together they record for the Hearts of Space label. Mr. Jackson’s chamber music affiliations have included performances-collaborations with: David Shifrin, Ida Kavafian, Jeffery Kahane, Cho-Liang Lin, Peter Wiley, Emanuel Ax, Jon Kimura Parker, Milan Turkovic, Stephen Hough, Awadagin Pratt, Anne Marie McDermott, Eugenia Zukerman, Steve Prutsman, Pamela Frank, Ransom Wilson, Sharon Isbin, Toby Appel, Bill Douglas, Tokyo String Quartet, Shanghai String Quartet, American String Quartet, Pacifica Quartet, Miro Quartet and the Miami String Quartet. Additionally, Mr. Jackson is a guest artist with the Music from Angel Fire, Camerata Pacifica, Chamber Music Unbound, Bravo! Colorado, Chamber Music Northwest, Arizona friends of Chamber Music, Strings in the Mountains and Sunflower chamber music festivals. Mr. Jackson has also toured with the Lincoln Center Chamber Music Society and the Australian Chamber Music Festival. Mr. Jackson is sponsored by Backun Musical and Légère corporations.

Peter Kolkay, BASSOON Called “stunningly virtuosic” by The New York Times and “superb” by the The Washington Post, bassoonist Peter Kolkay claimed First Prize at the Concert Artists Guild International Competition in 2002 and was awarded an Avery Fisher Career Grant in 2004. He is an Artist of the Chamber Music Society of Lincoln Center and a member of the IRIS Orchestra in Germantown, Tennessee. Mr. Kolkay also serves as associate professor of bassoon at the Blair School of Music at Vanderbilt University and was named a Chancellor’s Faculty Fellow for 2015-17. His recent seasons have included solo recitals at Wolf Trap, Merkin Hall, and the Teatro Nacional in Panama City; concerto appearances with the South Carolina, Rochester, and Westchester Philharmonics and Waukesha Symphony; and chamber music engagements at Music@Menlo, the Spoleto USA Festival, and the Bridgehampton Chamber Music Festival. Mr. Kolkay actively engages with composers in the creation of new works. He recently gave the world premiere of Joan Tower’s bassoon concerto and will debut a new piece by Tania León during the 2016-17 season. Mr. Kolkay has premiered solo and chamber works by Judah Adashi, Gordon Beeferman, Elliott Carter, Katherine Hoover, Harold Meltzer, Russell Platt, John Fitz Rogers, and Charles Wuorinen. His debut solo

CD, titled Bassoon Music and released in August 2011 on CAG Records, spotlights works by 21st century American composers. Kolkay was awarded the Carlos Surinach Prize by the BMI Foundation for outstanding service to American music by an emerging artist. Kolkay earned a Doctorate from Yale University as a student of Frank Morelli and a Master’s degree from the Eastman School of Music, where he studied with John Hunt and Jean Barr. A native of Naperville, Ill., Mr. Kolkay holds a Bachelor’s degree from Lawrence University in Appleton, Wisconsin, where he studied with Monte Perkins. He now calls downtown Nashville home, and his other interests include travel, modern and contemporary art, and old mystery novels.

Joanne Pearce Martin & Gavin Martin, PIANOS Described by the Los Angeles Times as “husband and wife pianists in perfect sync,” Joanne and Gavin Martin began performing together in 1984 as fellow students at the Curtis Institute of Music. Married since 1990, they have made Los Angeles their permanent residence. They continue to explore both the piano duet and two-piano repertoire. JOANNE PEARCE MARTIN was hired in 2001 by Esa-Pekka Salonen as the Los Angeles Philharmonic’s Principal Keyboardist. A native of Allentown, PA, Ms. Martin performs all over the world as soloist, chamber musician, and recording artist. With the L.A. Phil., she has made numerous solo appearances on piano, harpsichord, and the Walt Disney Concert Hall organ, appearing with such conductors as Salonen, Miguel Harth-Bedoya, John Adams, and Gustavo Dudamel. In March 2016, Joanne performed as soloist with Dudamel & the LA Phil in Olivier Messiaen’s epic “Des Canyons aux Etoiles”. The sold-out performance at London’s Barbican Centre garnered her rave reviews in The Guardian and numerous other publications. Ms. Martin has been guest soloist with many other orchestras in the U.S and abroad, including the Philadelphia Orchestra, Charlotte Symphony, L.A. Chamber Orchestra, San Diego Chamber Orchestra, Florida West Coast Symphony, and England’s Huddersfield Philharmonic. In great demand as a collaborative artist, she has performed with such artists as Joshua Bell, Lynn Harrell, Emmanuel Ax, Yefim Bronfman, Jeffrey Kahane, James Galway, Jean-Pierre Rampal, Adrian Spence, Julius Baker, & Joseph Silverstein. Ms. Martin has performed at dozens of summer music festivals and concert series in Aspen, Steamboat Springs, Sarasota, Park City, Utah, New York’s 92nd St. Y, Carnegie Recital Hall, Lincoln Center Library, Kennedy Center, Australia, Taiwan, Edinburgh, Cologne, and Nice. Southern California audiences have followed her performances for over two decades on many of the area’s major concert series. She has appeared on all the major U.S. television networks and recorded commercially for Centaur, Summit, and Albany records. Ms. Martin has also been the subject of a halfhour feature on The Learning Channel. Her solo CD entitled “Joanne Pearce Martin, Barefoot”, is available on Yarlung & Linn Records, and she also performs and records on the Theremin. Ms. Martin’s playing of Beethoven’s Triple Concerto can be heard on the soundtrack of DreamWorks’ “The Soloist”, starring Jamie Foxx. GAVIN MARTIN’s musical endeavors brought him to the United States from India, by way of the Royal College of Music in London. He considers his approach to music strongly influenced by the playing of the late Jorge Bolet, and Gary Graffman, two pianists with whom he studied at the Curtis Institute, where he was awarded the Rachmaninoff Prize. Martin has performed in solo recital on all five continents, in addition to touring extensively as a chamber musician. The conductors he has appeared with as soloist include Rafael Fruhbeck de Burgos, and Zubin Mehta, with whom he made his New

York Philharmonic debut in 1985. He has toured under the auspices of the US State Department, and has appeared on the television stations of the BBC, Suisse Romande, and ABC. His engagements within the last year have included recitals with violinist Martin Chalifour, and cellist Lynn Harrell at the Phillips Collection in D.C. Reviewing his New York City recital debut at Carnegie Recital Hall, the New York Times carried the caption “Classical Light, Romantic Heat and a Dazzler.” The Martins have played together all over the world, including the Mormon Tabernacle in Utah, The Kala Academy in Goa, and Costa Rica’s Teatro Nacional, where they were invited to perform a recital for the hall’s 100th anniversary celebration They have been featured as soloists with the Los Angeles Philharmonic at Walt Disney Concert Hall and the Hollywood Bowl. Southern California provides them with ideal weather for two of their passions: skydiving and aerobatic flying — they also have made a BASE jump off the world’s tallest waterfall — Angel Falls in Venezuela.

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.

Vassily Primakov, PIANO In recent years, Vassily Primakov has been hailed as a pianist of world class importance. Gramophone wrote that “Primakov’s empathy with Chopin’s spirit could hardly be more complete,” and the American Record Guide stated: “Since Gilels, how many pianists have the right touch? In Chopin, no one currently playing sounds as good as this! This is a great Chopin pianist.” Music Web-International called Primakov’s Chopin concertos CD “one of the great Chopin recordings of recent times. These are performances of extraordinary power and beauty.” In 1999, as a teen-aged prizewinner of the Cleveland International Piano Competition, Primakov was praised by Donald Rosenberg of the Cleveland Plain Dealer: “How many pianists can make a line sing as the Moscow native did on this occasion? Every poignant phrase took ethereal wing. Elsewhere the music soared with all of the turbulence and poetic vibrancy it possesses. We will be hearing much from this remarkable musician.” His first piano studies were with his mother, Marina Primakova. He entered Moscow’s Central Special Music School at the age of eleven as a pupil of Vera Gornostaeva, and at 17 came to New York to pursue studies at the Juilliard School with the noted pianist, Jerome Lowenthal. At Juilliard Mr. Primakov won the William Petschek Piano Recital Award, which presented his debut recital at Alice Tully Hall, and while at Juilliard, aided by a Susan W. Rose Career Grant, he won both the Silver Medal and the Audience Prize in the 2002 Gina Bachauer International Artists Piano Competition. Later that year Primakov won First Prize in the 2002 Young Concert Artists (YCA) International Auditions. In 2007 he was named the Classical Recording Foundation’s “Young Artist of the Year.” In 2009, Primakov’s Chopin Mazurkas recording was named “Best of the Year” by National Public Radio and that same year he began recording the 27 Mozart piano concertos in Denmark. BBC Music Magazine (November, 2010) praised the first volume of Primakov’s Mozart concertos: “The piano playing is of exceptional quality: refined, multi-coloured, elegant of phrase and immaculately balanced, both in itself and in relation to the effortlessly stylish orchestra. The rhythm is both shapely and dynamic, the articulation a model of subtlety. By almost every objective criterion, Vassily Primakov is a Mozartian to the manner born, fit to stand as a role model to a new generation.” Vassily Primakov has released numerous recordings for Bridge Records that include works by Bach, Mozart, Beethoven, Schubert, Schumann, Mendelssohn, Brahms, Chopin, Dvorak, Debussy, Tchaikovsky, Scriabin, Rachmaninoff, Philip Glass, Arlene Sierra and Poul Ruders. In 2011, Mr. Primakov, along with his duo partner, Natalia Lavrova established a new and vibrant record company, L.P. Classics, Inc. Their first release was Anton Arensky: Four Suites for Two Pianos. Most recently, they released Primakov’s Live in Concert Album that includes works by Medtner, Schumann, Brahms’ Handel Variations and Ravel’s La Valse. In March 2012 Vassily Primakov became a Yamaha Artist.

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 (pronounced ghee-OH-rah) 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 70,000 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.

James Austin Smith, OBOE Praised for his “virtuosic,” “dazzling” and “brilliant” performances (The New York Times) and his “bold, keen sound” (The New Yorker), oboist James Austin Smith performs equal parts new and old music across the United States and around the world. Mr. Smith is an artist of the Chamber Music Society of Lincoln Center, the International Contemporary Ensemble (ICE), the Talea Ensemble and Cygnus as well as co-Artistic Director of Decoda, the Affiliate Ensemble of Carnegie Hall. He is a member of the faculties of the Manhattan School of Music and the State University of New York at Purchase and is co-Artistic Director of Tertulia, a chamber music series that takes place in restaurants in New York and San Francisco. Mr. Smith’s festival appearances include Marlboro, Lucerne, Chamber Music Northwest, Schleswig-Holstein, Stellenbosch, Bay Chamber Concerts, Mecklenburg-Vorpommern, OK Mozart, Schwetzingen and Spoleto USA; he has performed with the St. Lawrence, Orion and Parker string quartets and recorded for the Nonesuch, Bridge, Mode and Kairos labels. His debut solo recording “Distance” was released in early 2015 on South Africa’s TwoPianists Record Label. Mr. Smith received his Master of Music degree in 2008 from the Yale School of Music and graduated in 2005 with Bachelor of Arts (Political Science) and Bachelor of Music degrees from Northwestern University. He spent a year as a Fulbright Scholar in Leipzig, Germany at the Hochschule für Musik und Theater “Felix Mendelssohn-Bartholdy” and is an alumnus of Ensemble ACJW, a collaboration of Carnegie Hall, The Juilliard School,

the Weill Music Institute and the New York City Department of Education. Mr. Smith’s principal teachers are Stephen Taylor, Christian Wetzel, Humbert Lucarelli and Ray Still. The son of musician parents and eldest of four boys, Mr. Smith was born in New York and raised in Connecticut.

Robert van Sice, PERCUSSION Robert van Sice is considered one of the world’s foremost performers of contemporary music for marimba. In an effort to establish the instrument as a serious artistic vehicle, he has premiered over 100 works throughout the world. Four of the seminal works in the marimba repertoire were written for him; Peter Klatzow’s Dances of Earth and Fire, Alejandro Vinao’s Estudios de Frontera, Martin Bresnick’s double marimba concerto, Grace, and James Wood’s Spirit Festival with Lamentations. Spirit Festival is unique in introducing the newly developed quarter-tone marimba, an innovative instrument recalling the marimba’s ancient sonic routes while establishing new parameters for modern expressionism. In his varied performing career, van Sice has appeared as a soloist with symphony orchestras and given recitals in more than 30 countries throughout Europe, North America, Africa, and the Far East. The Journal de Geneve describes his interpretation of Toru Takemitsu’s concerto Gitimalya as, “marvelous. In his hands, the marimba becomes a voice with richness of sound and expression that one would never expect from a percussion instrument. A well-deserved triumph.” He is frequently invited to appear as a soloist with Europe’s leading contemporary music ensembles, including the London Sinfonietta, Ensemble Contrechamps in Geneva and L’Itineraire in Paris. Van Sice has also appeared as a soloist with many of percussion’s finest ensembles including Amadinda, Kroumata, Tambuco, Percussive Rotterdam, and So Percussion. In 1989, van Sice gave the first solo marimba recital at the Concertgebouw in Amsterdam. He has since appeared in many of world’s major concert halls in London, Paris, Vienna, Madrid, Milan, Stockholm, Oslo, Tokyo, Beijing, Seoul, Toronto, Mexico City, New York, Chicago, and Los Angeles. His concerts have frequently been broadcast by the BBC, Swedish Radio, Norwegian Radio, Radio France, WDR, and NPR, among many others. He is a frequent guest at major music festivals such as Ars Musica, Blossom, Darmstadt Course for New Music, Archipel, London Meltdown, Norfolk Chamber Music Festival, Bela Bartok Festival in Hungary, North American New Music Festival and the Ultima Festival in Oslo. Long a champion of the music of Olivier Messiaen, van Sice has performed on numerous occasions as a soloist alongside the composer’s wife, pianist Yvonne Loriod. Van Sice is also one of the world’s most respected percussion teachers. His former students play in symphony orchestras, contemporary chamber ensembles, and maintain solo careers in more than twenty countries. His students have won prizes the world over in both chamber music and solo competitions. In 1997, he was appointed director of percussion studies at the Yale University School of Music. He subsequently joined the faculties of the Peabody Institute of The Johns Hopkins University and the Curtis Institute of Music. From 1988 to 1997, he headed Europe’s first diploma program for solo marimbists at the Rotterdam Conservatory in the Netherlands. Van Sice has given over 400 master classes in 25 countries, including the Royal College of Music in London, Amsterdam Conservatory, Vienna State Music Academy, The Juilliard School, Eastman School of Music, and Oberlin College. He often serves on juries of international competitions and has released six CDs on the Etcetera, Mode and New World labels. For the last 15 years, van Sice has collaborated with the Adams Corporation in the Netherlands in the design of a series of marimbas and mallets bearing his name.

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A     is a select group of Camerata Pacifica supporters committed to ensuring the ensemble’s next 25 years. The aim of its members is the continuity of Camerata Pacifica’s artistic excellence and to build a better awareness of that excellence, while contributing to the creation of new works that future chamber music audiences will appreciate, as our generation appreciates what commissioners over the years have left for us to enjoy. A     means gold. Gold marks a personal or organizational milestone of 50 years. A     members are doing their part to help Camerata Pacifica towards a golden anniversary celebration. That will be in 2040. We hope to see you there. You never know.

2016 M B      M      T   

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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. & Mrs. Stephen Hahn Mrs. Richard H. Hellman Mr. Brenton Horner Mr. & Mrs. Richard Janssen Mr. & Mrs. Donald Kosterka Mr. & Mrs. Jordan Laby Miss Dora Anne Little

Mr. & Mrs. Jon Lovelace Mr. & Mrs. Eli Luria Ms. Deanna McHugh Mr. Stephen McHugh Mr. Spencer Nilson & Ms. Margaret Moore Mssrs. Ralph Quackenbush & Robert Winkler

The Viscount & Lady Ridley-Tree Dr. & Mrs. Jack Sheen Mrs. Jeanne Thayer Mr. Michael Towbes Graphic Traffic Anonymous

ENDOWED CHAIRS The Bob Christensen Chair in Violin, occupied by Paul Huang The Robert and Mercedes Eichholz Chair in Piano, occupied by Warren Jones The Bernard Gondos Chair in Violin, occupied by Kristin Lee 71

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 Peter & Linda Beuret Alan Bloch & Nancy Berman Diane Boss Hyon Chough Jeannie Christensen Jordan Christoff Christina Chung May Chung NancyBell Coe & William Burke Bruce & Marty Coffey Benjamin J. Cohen & Jane S. De Hart Don & Marilyn Conlan Mr. & Mrs. Michael J. Connell Joan Davidson & John Schnittker Karen Davidson Roger & Nancy Davidson Edward S. DeLoreto David and Leslie Dodson Frank & Ann Everts Stanley & Judith Farrar Eric Fischer & Richard West Dr. Bernard Gondos Belle Hahn Cohen Marie-Paule Hajdu Edward S. Henderson & Carolyn Kincaid Diane Henderson Maren Henle Carol & Warner Henry Daniel & Donna Hone Brenton Horner France Hughes Meindl Mr. Palmer G. Jackson Karin Jacobson & Hans Koellner Richard & Luci Janssen

Susan Keats Herbert & Elaine Kendall Richard and Connie Kennelly May Kim Robert Klein & Lynne Cantlay Jordan & Sandra Laby Elinor & James Langer Sook Hee Lee & Seong Ae Kim Sarah Jane Lind Lillian Lovelace Leatrice Luria Chae Y Ma Teresa McWilliams Helmut & Vera M. Muensch Dr. & Mrs. Arnold Mulder Karin L. Nelson & Eugene B. Hibbs, Jr. Terry & Susan Northrop Alejandro Planchart Lady Leslie Ridley-Tree David Robertson & Nancy Alex Regina & Rick Roney Robert & Ann Ronus Elizabeth Loucks Samson & Jack Stumpf Lila Scher Jasminka & Richard Shaikewitz Stephen Sherman Stuart Spence & Judy Vida-Spence Anastasia A. Stewart Marion Stewart Stan Tabler & Teresa Eggemeyer Barry & Amalia Taylor Mr. & Mrs. Lloyd Sherman Telleen Sandra Tillisch-Svoboda Ina Tornallyay Robert W. Weinman

2016–17 Season O C T 8 Encore Oct 23

Tristan und Isolde O C T 2 2 Encore Dec 11

Don Giovanni Encore Dec 10

The Magic Flute

Special Holiday Encore Presentation

D E C 10 Encore Jan 8

L’Amour de Loin JA N 7 Encore Jan 22

Nabucco

JA N 21 Encore Feb 26

Roméo et Juliette F E B 2 5 Encore Mar 12

Rusalka

M A R 11 Encore Mar 26

La Traviata

M A R 2 5 Encore Apr 23

Idomeneo

A P R 2 2 Encore May 14

Eugene Onegin

M AY 13 Encore May 21

Der Rosenkavalier

Vittorio Grigolo and Diana Damrau in Roméo et Juliette PHOTO: KRISTIAN SCHULLER / METROPOLITAN OPERA

Global sponsorship of The Met: Live in HD is also provided by

The HD broadcasts are supported e Music Academy of the West thanks Leatrice Luria and Leslie Ridley-Tree for funding the technology that enables live, high definition screenings in Hahn Hall.

M USIC AC A DEM Y.ORG/ ME TLI V E F R E E PA R K I N G

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CO N C E S S I O N S AVA I L A B L E

e assisted listening hearing loop system in Hahn Hall has been graciously supported by Mr. and Mrs. John S. Pillsbury.

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, 2015 and August 1, 2016. $10,000 +

The Philip and Muriel Berman Foundation Jordan Christoff The SahanDaywi Foundation The Michael J. Connell Foundation The Robert and Mercedes Eichholz Foundation Frank & Ann Everts Stanley & Judith Farrar Dr. Bernard Gondos The Little One Foundation in Support of Vassily The Henry Family Fund Brenton Horner $5,000 - $9,999 Olin & Ann Barrett Diane J. Henderson, MD France Hughes Meindl Herbert & Elaine Kendall Charitable Foundation Teresa McWilliams Regina & Rick Roney Anonymous Marion Stewart Barry & Amalia Taylor Sandra Tillisch-Svoboda $2,500 - $4,999 The Peter & Linda Beuret Fund Diane Boss NancyBell Coe & William Burke The Marty & Bruce Coffey Family Foundation

Telleen Family Charitable Fund

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. Amand David Robertson & Nancy Alex Lila G. Scher Stuart Spence & Judy Vida-Spence Stan Tabler & Teresa Eggemeyer Chae Ma

Martin & Ann Gelfand in Honor of Richard Oâ&#x20AC;&#x2122;Neill

Robert W. Weinman

Drs. Helmut & Vera Muensch Karin L. Nelson & Eugene Hibbs, Jr.

Ms. Maren Henle

$1,000 - $2,499 Sandra J. Bickford

Terry & Susan Northrop

Jeannie Christensen

Alejandro E. Planchart

Carol Howe & Lucien Lacour

Christina Chung

The C. B. Ramsay Foundation

Susan Keats

Mrs. Margaret C. Richards

Perry & Jody Shapiro

Jasminka & Richard Shaikewitz

Joan Tapper Siegel & Steven Richard Siegel

Jack Stumpf & Elizabeth Samson

Mrs. Delia Smith

Jane S. De Hart & Benjamin J. Cohen Edward S. DeLoreto Linda S. Dickason Dr. David & Leslie Dodson Eric Fischer & Richard West Drs. David & Janice Frank David & Susan Grether Mrs. Marie-Paule Hajdu Edward S. Henderson & Carolyn Kincaid Daniel & Donna Hone

The Thornton Foundation Mrs. Ina Tornallyay Mrs. Norma Van Riper Sanford R. & Riko Weimer Miriam Wille $500 - $999

James B. & Mary Jo Hartle Ken & Sandy Homb

Edward & Andrea Kish

Marta V. Smith George & Gretel Stephens Mr. & Mrs. A. Jean Verbeck Brenn Von Bibra Catherine Weary $250 - $499

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

Karin Jacobson & Hans Koellner Richard & Connie Kennelly

Mr. Edward Bigger

Roger & Nancy Davidson

Elizabeth L. Kilb

Barbara Bates Bonadeo

Dr. & Mrs. Arnold Mulder

May Kim

Betsy Chess

Santa Barbara County Arts Commission

Elinor & James Langer

Edith Clark Wayne & Madelyn Cole

Dr. Stephen Sherman

John & Barbara Larson Sook Hee Lee & Seong Ae Kim

Tom & Doris Everhart Sarah Fox

Stephen C. Iglehart in Honor of Donnajean

Mr. & Mrs. Samuel J. Losh

Joseph & Elaine Gaynor

Susan Jamgochian

Anastasia Stewart in Memory of William Stewart

Robert C. Anderson

Catherine Babcock Frank & Cecilia Bellinghiere Ella Bishop Virginia Bottorff Dennis & Evette Glauber Lorna S. Hedges Dr. Gerhart Hoffmeister

Eunice M. Koch Kathryn Lawhun Patricia Minkiewicz Jan & Don Oâ&#x20AC;&#x2122;Dowd David & Claire Oxtoby Kate Park Robert Peirce & Sharon Harroun Peirce William Robinson & Hiroko Yoshimoto Jack & Anitra Sheen Elizabeth & Martin Stevenson Tony & Anne Thacher Minie & Hjalmar Pompe van Meerdervoordt Marney Weaver Matt Weiss Anonymous $100 - $249 Margaret Adams & Joel Edstrom Mr. & Mrs. David N. Barry, III Kum-Kum Bhavnani Carol B. Bierhorst Jorgia Bordofsky Susan Bower Max Brennan & Sigrid Burton Gabriele K . Burkard Patricia Carver Gabriel D. Chacon Norman Chapman

Carolyn F. Chase Ljiljana Coklin Michael & Ruth Ann Collins Caroline M. Coward Mike Crawford & Pat Wiese Doug Crowley Jeanette Curci Joan Davidson Sadie Decker Bess B. DeWitt Sylvia S. Drake Richard & Barbara Durand David S. & Ann M. Dwelley David R. Falconer Peggy & Jim Galbraith David L. Gersh & Stella Zadeh Jo Ann Gordon Claire C. Greenberg Bea Hamlin Harvey & Jessica Harris Mrs. Mary Hintz Mrs. Nancy Israel Eleanor H. Jacobs Ruth O. Johnson Willoughby Johnson & Victoria Matthews Mrs. June Kambach Mahri Kerley Steve & Karen Kohn Alice Landolph Laura Larson Anonymous

Sheila Lodge Ms. Jacqueline Lunianski Dorothy McCay Scully Jon Miller Ms. Shirley Millligan Anonymous Delia Moon & Jaclyn Henretig Kathleen Nielsen William & Oliva Odom Anonymous Warren & Gail Paap Dr. Steven & Charlene Pearlman Mr. & Mrs. William Pollock Eleanor Precoda Mr. & Mrs. Andrews Reath Jean Reiche Chris Rendessy & Sue Slater John & Gayle Richards Diane Roberts Hope Rosenfeld Justus Schlichting Naomi Schmidt Michael & Erlaine Seeger Lyndon Robert Shaftoe James & Wilhelmine Smith Julie & Richard Steckel Phyllis Stier Anonymous Lawrence Wallin Mary H. Walsh Mort & Judy Weisman

J. Patrick Whaley David & Debbie Whittaker Gernot Wolfgang $0 - $99 Catherine Albanese MacFarlane, Faletti & Co., LLP George Berg Mr. & Mrs. John W. De Haven, Jr. Pat Ericson Frances L. Gagola Mrs. Robert Gips Sarah Hearon Mrs. Samuel W. Hunt Carol A. Marsh Barbara Maxwell Mrs. E. H. McLaughlin, Jr. Al Melkonian Lyn A. Munro & Robert Barber Nancy Renshaw Scott Ripple Anonymous ARS NOVA LLC Stephanie Thomas Ann L. Turnock in Honor of DJ Susie Williams

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 Doris W. Blethrow Kathleen Boehm Diane Boss Evelyn Burge Donna Burger Inez Christensen Jeannie Christensen Claudia Elmes & Steve Shulkin Bradley Gregory

Debbie Gross & Sam Levy Janice Hamilton Julie Henry Allan & Lorraine Hoff Hildy Hoffmann Richard & Luci Janssen Judith Kopf Sarah Jane Lind Ingrid Lindgren Maura & Edward Lundy Pat Malone

Dick Malott Nancy McCurley Bill & Lynn Meschan Dennis & Carolyn Naiman Kathy & Chris Neely David Roberts & Nancy Alex Barbara Rosen Merle Ruiz Sharon Sanborn William Schrack Richard & Jasminka Shaikewitz

Erik Siering & Ann Kramer Erika Smith Pat Spence Sandra Tillisch-Svoboda Marcella E. Tuttle Nga Vuong Lawrence Wallin Katherine Butts Warwick Susie Williams Ditte Wolff & Bob Yaris Mary Wolthausen