Presenting the world’s finest classical artists since 1919 2016|2017

INTERNATIONAL SERIES AT THE GRANADA THEATRE Nicolas Brodard Philharmonia ESA-PEKKA SALONEN conductor THURSDAY, OCTOBER 6, 2016, 8PM The Granada Theatre

COMMUNITY ARTS MUSIC ASSOCIATION INTERNATIONAL SERIES AT THE GRANADA THEATRE

Philharmonia Orchestra ESA-PEKKA SALONEN Principal Conductor & Artistic Advisor

THURSDAY, OCTOBER 6, 2016, 8PM The Granada Theatre (Santa Barbara Center for the Performing Arts)

LUDWIG VAN BEETHOVEN Symphony No.3, Op.55 (1770-1827) in E-flat Major (“Eroica”) I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto

INTERMISSION

JEAN SIBELIUS Symphony No.5, Op.82 in E-flat Major (1865-1957) I. Tempo molto moderato; Allegro moderato — Presto II. Andante mosso, quasi allegretto III. Allegro molto; Misterioso

Programs and artists subject to change

CAMA gratefully acknowledges our sponsors for this evening’s performance…

International Series Season Sponsor: SAGE Publications Sponsor: Judith L. Hopkinson Sponsor: Sara Miller McCune Sponsor: The Towbes Fund for the Performing Arts, a field of interest fund of the Santa Barbara Foundation Co-Sponsor: Jan & Alison Bowlus

2 3 BIOGRAPHY Felix Broede

Symphony No.3, Op.55 in E-flat Major (“Eroica”) I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto

The Philharmonia Orchestra is one of committed to presenting the same the world’s great . Widely quality, live music-making in venues acknowledged as one of the UK’s throughout the country as it brings to Symphony No.5, Op.82 in E-flat Major I. Tempo molto moderato; foremost musical pioneers, and with London and the great concert halls Allegro moderato — Presto an extraordinary recording legacy, of the world. In 2015 the Orchestra II. Andante mosso, quasi allegretto the Philharmonia leads the field for its celebrated its 70th anniversary and the III. Allegro molto; Misterioso quality of playing, and for its innovative 20th anniversary of the foundation of its approach to audience development, admired UK and international residency residencies, music education and the use programme, which began in 1995 with of new technologies in reaching a global the launch of its residencies at London’s audience. Together with its relationships Southbank Centre and Bedford’s Corn with the world’s most sought-after artists, Exchange. The Orchestra also has long- most importantly its Principal Conductor term partnerships with De Montfort and Artistic Advisor Esa-Pekka Salonen, Hall in Leicester (Resident Orchestra the Philharmonia Orchestra is at the since 1997), The Anvil in Basingstoke heart of British musical life. (Orchestra in Partnership since 2001), Today, the Philharmonia has the and, more recently, at the Marlowe greatest claim of any orchestra to Theatre in Canterbury and Three be the UK’s national orchestra. It is Festival (Resident Orchestra).

2 3 Benjamin Ealovega

The Orchestra performs more than Lang; Vladimir Ashkenazy conducting 160 concerts a year, as well as recording Rachmaninov’s major orchestral works; music for films, computer games and Andris Nelsons conducting Bruckner commercial CD releases. Under Esa- Symphony No. 8 as part of his ongoing Pekka Salonen a series of flagship, Bruckner Cycle; and Jakub Hrůša leading visionary projects at the Royal Festival Mahler’s mighty Symphony No. 3. Hall, where the Orchestra performs The Philharmonia’s extensive over 35 concerts a season, have been international touring schedule continues critically acclaimed. City of Light: Paris in the new season. Following a tour to 1900-1950 (2015), City of Dreams: Vienna China with Vladimir Ashkenazy in June 1900-1935 (2009), Bill Viola’s Tristan und 2015, the Orchestra toured to Germany Isolde (2010), Infernal Dance: Inside and Prague with Christoph von Dohnányi the World of Béla Bartók (2011) and and returned to Iceland for the first time Woven Words, a celebration of Witold in over 30 years. The Orchestra will also Lutosławski’s centenary year (2013), are give concerts in Switzerland, France, followed in the 2015/16 and 2016/17 Spain and Sweden and will appear in a seasons by Stravinsky: Myths & Rituals, major residency with Esa-Pekka Salonen a major, five-concert festival of music at the Festival International d’Art Lyrique by Igor Stravinsky. Further highlights in d’Aix-en-Provence. n the Orchestra’s 70th anniversary London The Philharmonia’s Principal International season include a three-concert series Partner is Wuliangye. of Salonen conducting star pianist Lang www.philharmonia.co.uk

4 5 BIOGRAPHY

ESA-PEKKA SALONEN Principal Conductor & Artistic Advisor

Esa-Pekka Salonen has a restless and cofounder of the annual Baltic innovation that marks him as one of Sea Festival, which invites celebrated the most important artists in classical artists to promote unity and ecological music. Salonen is the Principal Conductor awareness among the countries around and Artistic Advisor of the Philharmonia the Baltic Sea. Orchestra and Conductor Laureate for Salonen takes the Philharmonia the , where he Orchestra to the Edinburgh International was Music Director from 1992 until 2009. Festival, the BBC Proms, on tourLisa Marie Mazzucco in This season will find him as the Marie- Switzerland and France, and will lead Josée Kravis Composer-in-Residence at the “Myths and Rituals” festival, an the , a three- exploration of Stravinsky’s work that year position. He is Artistic Director continues into next season. He will Nicolas Brodard

4 5 make guest appearances with the North Chair, premiered for orchestra German and Bavarian radio symphony and chorus, to great acclaim. Karawane orchestras; the New York, Vienna, will be performed this season by the and Los Angeles philharmonics; the Swedish Radio Symphony Orchestra, the Orchestre de Paris, and the Chicago Bavarian Radio Symphony Orchestra, the Symphony Orchestra, in addition to Los Angeles Philharmonic, and the New conducting Strauss’s Elektra at the York Philharmonic. Metropolitan Opera, and Bartók’s Le Salonen and the Philharmonia have curated Château de Barbe-Bleue and Poulenc’s landmark multi-disciplinary projects, La Voix Humaine at the Paris Opera. such as the award-winning RE-RITE Salonen’s work combines intricacy and and Universe of Sound installations, which technical virtuosity with playful rhythmic allow the public to conduct, play, and and melodic innovations. His pieces step inside the Philharmonia with Salonen for symphony orchestra include LA through audio and video projections. Variations (1996), Foreign Bodies (2001), Salonen also drove the development of (2002), (2004), an app for iPad, The Orchestra, which and (2011), as well as two concertos: allows the user unprecedented access to for pianist Yefim Bronfman and for the internal workings of eight symphonic violinist Leila Josefowicz. The latter was works. n awarded the prestigious Grawemeyer esapekkasalonen.com @esapekkasalonen Award and was featured in a 2014 https://www.facebook.com/esapekkasalonen international Apple ad campaign for iPad. Management by Fidelio Arts: fidelioarts.com Public Relations by First Chair Promotion: In 2014 the Tonhalle Zurich Orchestra, firstchairpromo.com where he was the first-ever Creative Publishing by Chester Music Ltd: musicsalesclassical.com masterseries AT THE LOBERO THEATRE

Jonathan Biss Brentano Quartet MONDAY, OCTOBER 17, 2016, 8PM

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6 7 PROGRAM NOTES

Napoleon on his Imperial Throne, by Jean-Auguste-Dominique Ingres (1806

NOTES ON THE PROGRAM by Howard Posner

f ever There was a work of art the new French Republic, commanding epitomizing the era that produced an army at 26 and taking over the Iit, Ludwig van Beethoven’s Third government as “First Consul” in 1799. Symphony, a revolutionary work from While Beethoven’s style was developing a revolutionary time, would be it. into the maturity of what we call his Revolutionary art seldom ages well; middle period in the first years of a yesterday’s avant garde is today’s old new century, Napoleon was prototype of hat. But two centuries after its era the “enlightened despot,” preserving a played itself out, the Eroica still sounds few forms of democracy while dictating revolutionary. enormous changes in French law and Beethoven lived in the time of the society, taking strides toward political French Revolution and, even more and social equality. significantly, Napoleon. Beethoven and Beethoven believed in political and Napoleon (1769-1815) were virtually social equality at a time when those the same age. While Beethoven was ideas were subversive. The idea that establishing himself as a star in Vienna some people were born superior to in the 1790’s, Napoleon was shooting up others was a foundation of the social through the military and political ranks of order, and nobody knew this better

6 7 than elite musicians, who typically made highest esteem for him and compared their livings in positions of prestigious him to the greatest consuls of ancient service in aristocratic courts where Rome. Not only I, but many of Beethoven’s everyone other than the aristocrat’s closer friends, saw this symphony on his family was a servant. That social order table, beautifully copied in manuscript, actually gave Beethoven himself little to with the word “Buonaparte” inscribed complain about. The liberal music-loving at the very top of the title-page and Viennese nobles in whose circles he “Luigi van Beethoven” at the very bottom. moved were more his servants than the I was the first to tell him the news other way around, tolerating his rough that Buonaparte had declared himself manners, allowing him to behave more Emperor, whereupon he broke into a or less as their equal, and supporting rage and exclaimed, “So he is no more him generously enough that he didn’t than a common mortal! Now, he too will need to be anyone’s employee. Prince tread under foot all the rights of man, Franz Joseph Maximilian von Lobkowitz indulge only his ambition; now he will maintained an orchestra at his palace think himself superior to all men, become and let Beethoven use it for rehearsals a tyrant!” Beethoven went to the table, and private performances of his music; seized the top of the title-page, tore it in he would refine his Third Symphony in half and threw it on the floor. just such performances before he took it Some Beethoven scholars have a before the public. simpler explanation: Beethoven had As a young political progressive, named the symphony after Napoleon Beethoven was aware that great things because he planned to go to Paris, and were afoot, and Napoleon, whatever changed his mind when the Paris plans his faults, was at the center of them. fell through. But this assumes that Ries, As he worked on a symphony bigger normally a reliable source, fabricated his and more ambitious than any before story. it, a work embodying his “new way” When the symphony was published of composing, he planned not only to in 1806, with a dedication to Prince dedicate it Napoleon, but to name it after Lobkowitz, it bore the title Sinfonia Eroica him, a daring move in a conservative composta per festeggiare il sovvenire Austria that had lost its territories in di un grande Uomo (“Heroic Symphony, Italy after Napoleon defeated its army at composed to celebrate the memory of a Marengo in 1800. According to a famous great man”). account in an 1838 book of Beethoven Reviews from the first public recollections by Ferdinand Ries, who was performances in Vienna show that critics Beethoven’s student and confidante, the knew they were up against something composer changed his mind in May 1804 new, powerful and impressive, but also when he learned that Napoleon had difficult, puzzling, and challenging. And crowned himself emperor: long. They all remarked on its length. At that time Beethoven had the We take it for granted that a symphony

8 9 should be big dramatic, and the ultimate triumph, and an intense fugue, on its expression of a composer’s art, but we journey. The scherzo, shorter by far than think that only because Beethoven, the other movements, pushes contrasts and the Eroica specifically, changed the of texture and dynamics in a way that concept of what a symphony should be. symphonic third movements, still rooted At around 45 minutes (and sometimes in the minuet, had not done before. considerably more), the Eroica is half It begins pianissimo, which allows the again as long as a symphony by Mozart sound to build dramatically. or Haydn (or Mendelssohn or Schumann). The finale is a set of variations based As late as 1829, a London critic wrote on the last movement of Beethoven’s unprophetically that “if this symphony is ballet The Creatures of Prometheus. not in some means abridged, it will soon It opens with a purely Beethovenian fall into disuse.” moment of sublime silliness: a frenetic Of course, Haydn wrote masses of introduction that leads to the “theme,” the same length as the Eroica, and all which is actually just the Prometheus four acts of Mozart’s Marriage of Figaro theme’s bass line. When the theme are about as long. Where the Eroica finally appears, it sounds like the fourth breaks new ground is in the scale of variation. Like many of Beethoven’s the movements’ continuous flow: they variation movements, it bursts the are long because they journey further bounds of the form, plunging into sonata- than instrumental movements had gone style development and moments of free before. The tumultuous first movement fantasy. has an unusual number of themes to Like all of Jean Sibelius’s music present and develop. It introduces new after 1900 or so, the story of the Fifth themes well into the development, and Symphony is intertwined in the national at just the point in the coda when it has story of Finland. The country had been settled into the home key of E-flat and is ruled by Sweden for centuries. Swedish ready to wrap up, it modulates to C Major was the language of educated Finns, by way of a precipitous drop to D-flat — even after 1809, when Russia wrested which must have been disorienting, if not Finland away from Sweden and gave shocking, to listeners 170 years before it some control over its internal affairs. rock music made such things normal — Sibelius grew up speaking Swedish, and then proceeds into what amounts to learning Finnish only as an adult. This a second development section. Along the did not prevent him from becoming a way there are moments, such as climactic national symbol, perhaps its most famous dissonant screams in the development, citizen, and its face to the outside world. or the famous “wrong” horn entrance His symphonic voice was in a constant just before the recapitulation, that are state of change. Between 1902 and strikingly strange even to modern ears. 1911 he turned away from the sprawling The “funeral march” second Romantic magnificence of his first movement ventures into episodes of two symphonies to create a compact,

8 9 restrained, almost neo-Classical Third a puzzle. On April 10, 1915, he wrote in Symphony, and then an enigmatic and his diary, “It is as if God the Father had astringent Fourth. What would a Fifth thrown down pieces of mosaic from Symphony sound like? He seemed to heaven’s floor and asked me to put them have no idea, even while believing his back as they were. Perhaps that is a inspiration was literally divine. good definition of composition.” “I am still deep in the mire, but I A composer who constantly looks have already caught a glimpse of the heavenward will eventually see birds. A mountain I must surely climb,” he wrote few days after the “mosaic” diary entry to a friend in September 1914. “God he wrote, “Just before ten to eleven I opens his door for a moment, and His saw sixteen swans. One of the greatest orchestra is playing the Fifth Symphony.” experiences in my life. Oh God, what It would be five years before the beauty! They circled over me for a long symphony reached its final form. time. Disappeared into the hazy sun like By the time the deity got involved in a glittering, silver ribbon. Their cries were the process, World War I had started. of the same woodwind timbre as those It was a difficult time to think of of cranes, but without any tremolo … symphonies. Travel abroad was curtailed, Nature’s mystery and life’s melancholy. and it was all but impossible to deal with The Fifth Symphony’s final theme.” his German publishers because Finland Even with musical ideas dropping was part of Russia, which was at war with from above in April, it was Autumn Germany. Finnish publishers were wary before he was forced to finish the of symphonies, which were expensive symphony because it was needed for to print and would not sell many copies a concert celebrating his 50th birthday in Finland because there weren’t many on December 8, 1915. It was a major orchestras in that sparsely populated success, but Sibelius was dissatisfied country. (Finland today is roughly the with it, and almost immediately started size of California, with about a seventh revising it. He conducted the second of its population.) Even the elite Helsinki version on another birthday concert on Philharmonic was depleted because its December 8, 1916, but a month later foreign players had left. During the war he wrote to a conductor who wanted to years Sibelius composed mostly songs perform it in Stockholm, “I have spent the and small piano or violin pieces. last year reworking it, but I am still not Sibelius may have heard it played by satisfied. And cannot, absolutely cannot God’s orchestra, but he had little notion send it to you.” what it should sound like. He was also It was mid-1919 before he finished the working on a large symphonic “fantasia” Fifth Symphony as we know it. The four that would turn into the Sixth Symphony, movements of 1915 had become three, and moved many of the themes back with the original first movement and and forth between the two works. He felt second-movement scherzo compressed as if he were literally putting together into one hybrid structure. Its opening,

10 11 Swans in Flight

which gives the impression of the melody the woodwinds introduce over it. countryside awakening in early morning, The brass take over the swan theme in is given entirely to the winds, which in a coda that builds through uncertainty dominate to an unusual degree. The and dissonance into an ending at once strings, which don’t play for the first triumphant and abrupt. minute or two, spend much of the When Sibelius conducted the final symphony in a supporting role. Just version’s first performance in November after the movement reaches a climactic 1919, World War I was over. The recapitulation with the Russian Revolution had led to Finnish triumphantly announcing the opening independence and a Finnish civil war that them, the sonata form melts away as the mirrored the Russian conflict between movement glides into the quicker tempo the Bolsheviks and Mensheviks. When it of the original scherzo so seamlessly that was over the Finns had a parliamentary the listener is scarcely aware of it until democracy. The Finns could not help some moments after it happens. hearing their own struggles and long- The second movement is a set of awaited national triumph in the closing variations on a sparse theme. The finale bars of their national composer’s Fifth is dominated by the theme introduced Symphony, and the work has held a by tolling horns — apparently the “swan special place in the Finnish national theme” Sibelius wrote about — and the consciousness ever since. n

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INTERNATIONAL SERIES AT THE GRANADA THEATRE

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