ORANGE COUNTY PERFORMING ARTS CENTER RENÉE AND HENRY SEGERSTROM CONCERT HALL Thursday, Friday & Saturday, December 10-12, 2009, at 8:00 p.m. Preview talk with Alan Chapman at 7:00 p.m.

PRESENTS

2009–2010 HAL AND JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIES

GIANCARLO GUERRERO, CONDUCTOR SHARON ISBIN, GUITAR

RAVEL Le Tombeau de Couperin (1875–1937) Prélude Forlane Menuet Rigaudon

RODRIGO Fantasía para un gentilhombre (Fantasia for a Nobleman) (1901–1999) Villano y Ricercare Españoleta y Fanfare de la caballeria de Nápoles Danza de las hachas Canario SHARON ISBIN

—INTERMISSION—

BEETHOVEN Symphony No. 5 in C minor, Op.67 (1770–1827) Allegro con brio Andante con moto Allegro Allegro

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SEGERSTROM CENTER FOR THE ARTS Pacific Symphony P-1 PROGRAM NOTES BY PETER LAKI, Program Annotator for Pacific Symphony and the Cleveland Orchestra

included into his music features derived despite one fortissimo passage, is no from the music of the 17th and 18th exception. Finally, the Rigaudon consists centuries, as did the “neo-classicals” of a dynamic opening section in C major coming after him. His early Menuet that contrasts with a pastorale-like mid- antique already shows this tendency, as dle section in a slower tempo that starts does the Menuet sur le nom d’Haydn. But in C minor. In the orchestral version, this Ravel’s best-known homage to the past middle section features a series of lyrical is his Tombeau de Couperin, in which he woodwind solos (oboe, English horn, re-created several Baroque instrumental flute, clarinet), after which the exuberant forms in a 20th-century idiom. C-major theme returns. François Couperin (1668-1733) was one of the greatest masters of the French Baroque, called “Le Grand” in his own time. (He belonged to a dynasty of musi- cians that has been compared to that of the Bachs.) The original piano version of Le Tombeau de Couperin had the following Le Tombeau de Couperin movements: Prelude - Fugue -Forlane - BY MAURICE RAVEL Rigaudon - Menuet - Toccata.In the (CIBOURE, BASSES-PYRÉNÉES, FRANCE, 1875 – PARIS, 1937) orchestral version, the “Fugue” and the “Toccata” were omitted, and the Instrumentation: 2 flutes, 2 oboes (second doubling “Rigaudon” was moved to the end, cre- English horn), 2 clarinets, 2 bassoons, 2 horns, ating a suite of three dance movements trumpet, harp, and strings. preceded by a prelude. Performance time: 20 minutes. WHAT TO LISTEN FOR have always been inspired The Baroque inspiration in the suite by the music of the past. But whereas in can be seen above all in the rhythm; the earlier days the most important impulses even sixteenth-notes of the Prelude are tended to come from the generation reminiscent of the steady motion found Fantasía para un Gentilhombre immediately preceding the time of writ- in so many of J.S. Bach’s preludes (to (Fantasia for a Nobleman, 1954) ing, in the 19th and 20th centuries many quote the best-known example). BY JOAQUÍN RODRIGO composers began to find ways to incor- Similarly, the other movements follow (SAGUNTO, SPAIN, 1901 - MADRID, 1999) porate the more distant past into their the patterns of the Baroque dance types works.When this occurs, we can no on which they are based.The formal Instrumentation: solo guitar, piccolo, flute, oboe, longer speak of a smooth and gradual designs, with repeats and recapitulations, bassoon, trumpet, and strings. transition from one musical style to are also those of the 18th century. But Performance time: 22 minutes. another; rather, the source of inspiration the melodies and the harmonies are Every lover of the classical guitar and the new work remain two separate Ravel’s own. Note his beloved pentaton- knows Concierto de Aranjuez, the concerto entities, juxtaposed and affecting each ic scale (playable on the piano’s black that made Joaquín Rodrigo famous in other but quite distinct nevertheless. keys) right at the beginning of the prel- 1940.The Spanish , blind since In many of his works, Maurice Ravel ude; and many exquisite chromatic mod- childhood, wrote a number of other may be regarded as a precursor of “neo- ulations throughout the piece, especially concertos in a Spanish idiom (for violin, classicism,” a movement that flourished in the delicate “Forlane.”The minuet—as cello, piano, and harp), but was unable to after World War I, with Igor Stravinsky already mentioned—was one of Ravel’s match the success of Aranjuez. Finally, he (who was, by the way, a close friend of favorite dance forms. Ravel’s minuets are returned to the guitar in 1954, when the Ravel’s) as one of its leaders. Ravel often always soft and graceful, and this one, great virtuoso Andrés Segovia asked him

P-2 Pacific Symphony for a new work.The result was Fantasía Symphony No. 5 in C minor, main idea of the opening Allegro, con- para un Gentilhombre, which, according to Op. 67 (1808) sisting of only two bars and initially in at least one commentator,“even [surpass- BY LUDWIG VAN BEETHOVEN unison, so that the listener is not even es] the Concierto de Aranjuez in its beauty (BONN, 1770 – VIENNA, 1827) certain of the key.The mood of the anx- and sensitivity.” ious, restless yearning created by this sub- Fantasía para un Gentilhombre is based Instrumentation: 2 flute, piccolo, 2 oboes, 2 clarinets, 2 ject is heightened even further by the on the works of 17th-century Spanish bassoons, contrabassoon, 2 horns, 2 trumpets, 3 melodious secondary theme.”The ferma- guitarist and composer Gaspar Sanz, who trombones, timpani, and strings. ta, the long-held note at the end of the wrote numerous dances in the Baroque Performance time: 35 minutes. first extended phrase, gives, according to style of the day. Rodrigo arranged and Hoffmann,“presentiments of unknown modernized Sanz’s melodies in a typical “The reviewer has before him one of mysteries.” neoclassical fashion (his procedure can be the most important works by the master Everything in the first movement— compared to Respighi’s in Ancient Airs whose pre-eminence as an instrumental indeed, a great many things in the whole and Dances). composer it is doubtful that anybody symphony—are, one way or another, would now dispute....”These words were derived from that opening ta-ta-ta-TA. WHAT TO LISTEN FOR written by E.T.A. Hoffmann (1776–1822), The rhythm is almost always present in The first movement is called “Villano writer and composer, in 1810, a year and the bass or in the treble, in its original y Ricercar.” It opens with a villano (peas- a half after the first performance (which form or with modifications.Whether or ant dance) and continues with a ricercar— he had not heard), in a review of the not this theme represents “Fate pounding a piece in which an opening theme is score of Beethoven’s Fifth Symphony. at the portal,” as Beethoven is supposed imitated by a number of polyphonic Although writings about this work would to have said, the dramatic tension of the voices and the listener’s challenge is to now fill a small library, few authors in music and the heroic struggle it portrays seek out (in Italian, ricercare) the principal the past 199 years have equalled cannot be missed. Beethoven might well melody. Hoffmann in incisiveness and the ability have called this symphony an “Eroica,” The second movement likewise com- to combine a poet’s sensitivity and imag- had he not used that name earlier for his bines two separate originals: an españoleta ination with the thoroughness of a musi- Third Symphony. (a slow dance related to the Italian sicil- cal scholar. One of the most striking differences iano) and the Fanfare de la Caballería de Hoffmann immediately understood between the first movements of the Nápoles (“Fanfare of the Neapolitan the significance of the symphony’s open- Third and the Fifth is their size.The Cavalry”—one should remember that ing motif, the famous ta-ta-ta-TA: Third Symphony opened with what was the Kingdom of Naples was for many “Nothing could be simpler than the surely the longest symphonic movement years under Spanish domination).After to date (averaging 15 minutes in per- the faster and more rhythmical fanfare, formance), in which dramatic tension the españoleta returns. resulted from sharp thematic contrasts The third movement is Danza de las and complex procedures of motivic Hachas (“Axe Dance”), a robust and development.The first movement of the energetic dance.The finale is a canario, a Fifth Symphony takes only about eight dance from the Canary Islands character- minutes; dramatic tension here results ized by jumps in the choreography and from the relentless insistence on one syncopations in the music. Rodrigo’s main motif and an extraordinary tight- writing for the guitar is highly virtuosic ness of structure. Only once, and then throughout, with a great cadenza in the very briefly, is there a respite from this last movement. He took special pains to tension: the recapitulation of the main keep the orchestration light so that the theme is interrupted by an oboe caden- soloist is never covered by the other za, whose sorrowful descending melody instruments. is clearly a lament. But this solo is extremely short, and soon we are back in the throes of the drama, without a break

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PROGRAM NOTES (continued)

to the end. a third as it did in the first movement). itself is new, the “chilly” string melody is The second-movement Andante con The Trio, which starts out as a fugue totally absent, and we reach the tri- moto is, in Hoffmann’s words,“a propi- with an agile theme played by the cellos umphant Allegro much faster and more tious spirit that fills our breast with com- and double basses, provides some comic easily than the first time. Donald Francis fort and hope.” Hoffmann noticed the relief for a moment, but then a most Tovey, whose writings on music are indebtedness of this movement to certain extraordinary thing happens.The theme perennial classics, found some particularly slow movements in Haydn’s symphonies of the first section returns, but the strings eloquent words about the effect of this (for instance, No. 103) in which two play pizzicato (“with the strings passage: themes alternate in a kind of “double plucked”) and the legato (“continuous”) variation” form; often, in such move- melody is broken up into mysterious- Beethoven recalls the third move- ments, there is a contrast in orchestra- sounding staccato notes. If the first ver- ment as a memory which we tion, with some sections written for sion of the theme made a chilly impres- know for a fact but can no longer strings only and some including trumpets sion, this time it is definitely freezing, understand: there is now a note of and tympani. But Hoffmann also saw the and the recapitulation is followed by a self-pity, for which we had no uniqueness of Beethoven’s approach, section characterized by the deepest leisure when the terror was upon where the two themes are extremely despair music has ever expressed.We hear our souls: the depth and the dark- polarized:“comfort and hope” alternate a pianissimo tympani solo over the long- ness are alike absent, and in the dry with loud military fanfares in a relatively held notes of the strings; against this light of the day we cannot remem- distant key, and the transitions back and thumping background, a violin theme ber our fears of the unknown. forth between those keys constitute the (related to the first theme of the move- And so the triumph resumes its backbone harmonic of the movement. ment) gradually emerges and rises higher progress and enlarges its range until The more subdued first material is sub- and higher against the insistent ostinato it reaches its appointed end. jected to extensive variations, among in basses and timpani. In one of the most which the one in minor (played staccato, fantastic “darkness-to-light” transitions in That appointed end, the “Presto” or in short, separated notes, by the the orchestral literature, we reach, after Coda with its 54 measures of C-major woodwinds) lends the theme an interest- 50 measures of suspense and a stunning chords, has raised, we must say, a few ing new physiognomy. Before the end of crescendo, the glorious Allegro in C eyebrows. Even E.T.A. Hoffmann felt this the movement, there is a short Più mosso major which proclaims the victory at the was too much of a good thing: the final (“faster”) section, where the solo bassoon end of a long battle. C-major strokes, separated by rests, makes the theme chromatic (introduces Piccolo, contrabassoon, and three reminded him of “a fire that is thought half-steps into it); after this fleeting trombones join the orchestra for this to have been put out but repeatedly episode, the movement ends on a confi- exuberant celebration, in a movement in bursts forth again in bright tongues of dent and reassuring note. which the various themes follow one flame.”Yet it seems that a shorter coda The idyll is over. In the third-movement another with a naturalness and inevitabil- would not have been enough to balance Allegro, Beethoven dispensed with the ity that is one of the greatest miracles of out the enormous tensions of the sym- title “Scherzo,” although it is obviously Beethoven’s music.The movement fol- phony. Like an airplane that, after land- one of the fast movements in 3/4 time lows the traditional sonata pattern of ing, runs on the ground for a long time with a contrasting middle section that exposition, development, and recapitula- before coming to a complete stop, Beethoven elsewhere called “Scherzi” tion, but between the last two, another Beethoven’s Fifth ends gradually; after (jokes). But this time, there is nothing surprise awaits us. (It is another miracle the thematic material has disappeared, playful in the music.We feel a chilly that after a thousand hearings, it still the music still continues with a bare wind blowing as the cellos and double strikes us as a surprise.) The last section restatement of the C-major tonality. basses begin the pianissimo theme of the of the third movement returns, and the Finally, even the C-major chord goes movement. Soon we hear a variant of the transition from darkness to light is enact- away, replaced by a single unison C that first movement’s ta-ta-ta-TA motif from ed all over again. However, nothing is marks the final arrival. the horns; it sounds even more austere repeated literally; the orchestration is now that all four notes have the same new, made less gloomy by the more pitch (that is, the last note does not drop melodic woodwind parts.The transition

P-4 Pacific Symphony ABOUT THE MUSIC DIRECTOR

CARL ST.CLAIR appeared with orchestras in Israel, Hong In 2009-10, Pacific Symphony’s Music Kong, Japan,Australia, New Zealand, and Director Carl St.Clair marks the start of South America, and summer festivals his 20th anniversary with the orchestra. worldwide. During his tenure, St.Clair has become St.Clair’s commitment to the devel- widely recognized for his musically distin- opment and performance of new works guished performances, his commitment to by American composers is evident in the building outstanding educational programs wealth of commissions and recordings by and his innovative approaches to program- Pacific Symphony. St.Clair has led the ming. St.Clair’s lengthy history with the orchestra in numerous critically Symphony solidifies the strong relationship acclaimed albums including two piano he has forged with the musicians and the concertos of Lukas Foss on the harmonia community. His continuing role also lends mundi label. Under his guidance, the stability to the organization and continuity orchestra has commissioned works which to his vision for the Symphony’s future. later became recordings, including Few orchestras can claim such rapid artis- Richard Danielpour’s An American tic development as Pacific Symphony— Requiem on Reference Recordings and the largest orchestra formed in the United ’s Fire Water Paper:A States in the last 40 years—due in large Vietnam Oratorio on Sony Classical with part to St.Clair’s leadership. from Europe’s classical music critics—22 cellist Yo-Yo Ma. Other composers com- St.Clair and the Symphony launch reviews in total. missioned by St.Clair and Pacific Symphony the 2009-10 season surrounded by inter- At the start of 2008-09, St.Clair added include William Bolcom, Philip Glass, nationally celebrated artists with whom to his portfolio the role of general music Zhou Long,Tobias Picker, Frank Ticheli he has developed close relationships.The director of the Komische Oper Berlin, a and , Curt Cacioppo, Stephen season includes inventive, forward-think- prestigious opera company located in Scott, Jim Self (the Symphony’s principal ing programming, including a new series Berlin, , with a history that tubist), Christopher Theofandis and of concerts,“Music Unwound,” featuring dates back to 1892. He recently conclud- James Newton Howard. multimedia, varied formats and ancillary ed his tenure as general music director In North America, St.Clair has led events. Other highlights include four and chief conductor of the German the Boston Symphony Orchestra, (where world premieres and the critically National Theater and Staatskapelle he served as assistant conductor for sev- acclaimed American Composers Festival, (GNTS) in Weimar, Germany, where he eral years), , in its 10th year under St.Clair, entitled recently led Wagner’s “Ring Cycle” to , Los Angeles “The Greatest Generation.” great critical acclaim. St.Clair was the Philharmonic, and the San Francisco, This past season, St.Clair celebrated first non-European to hold his position Seattle, Detroit,Atlanta, Houston, another milestone—the 30th anniversary at the GNTS; the role also gave him the Indianapolis, Montreal,Toronto, and of Pacific Symphony. In 2006-07, distinction of simultaneously leading one Vancouver symphonies, among many. St.Clair led the orchestra’s historic move of the newest orchestras in America and Under St.Clair’s dynamic leadership, into its home in the Renée and Henry one of the oldest orchestras in Europe. the Symphony has built a relationship Segerstrom Concert Hall at the Orange St.Clair’s international career has him with the Southern California communi- County Performing Arts Center.The conducting abroad numerous months a ty by understanding and responding to move came on the heels of the landmark year, and he has appeared with orchestras its cultural needs.A strong advocate of 2005-06 season that included St.Clair throughout the world. He was the prin- music education for all ages, St.Clair has leading the Symphony on its first cipal guest conductor of the Radio- been essential to the creation and imple- European tour—nine cities in three Sinfonieorchester Stuttgart from mentation of the symphony education countries playing before capacity houses 1998–2004, where he successfully com- programs including Classical Connections, and receiving extraordinary responses. pleted a three–year recording project of arts-X–press and Class Act. The Symphony received rave reviews the Villa–Lobos symphonies. He has also

Pacific Symphony P-5 ABOUT THE GUEST ARTIST

world, including CBS Sunday Morning and praised as “magnificent.” Her recordings the A&E Network, and was a featured have received many other awards, includ- guest on Showtime Television’s interna- ing Critic’s Choice Recording of the Year tional hit series The L Word.On in both Gramophone and CD Review, September 11, 2002, Isbin performed at Recording of the Month in Stereo Review, Ground Zero for the internationally tele- and Album of the Year in Guitar Player. vised memorial. Most recently, she per- Isbin has been acclaimed for expanding formed as soloist in the soundtrack for the guitar repertoire with some of the Martin Scorsese’s Academy Award-winning finest new works of the century. She has film The Departed. commissioned and premiered more con- Isbin’s catalogue of over 25 record- certi than any other guitarist, as well as ings—from Baroque, Spanish/Latin and numerous solo and chamber works. Her 20th century to crossover and jazz- American Landscapes (EMI/Virgin Classics) fusion—reflects remarkable versatility. In with the SPCO conducted by Hugh her latest CD, Journey to the New World, she Wolff is the first-ever recording of is joined by Joan Baez in songs, and by fid- American guitar concerti and features dler Mark O’Connor in the world pre- works written for her by , miere of his folk-inspired suite for violin Joseph Schwantner, and Lukas Foss. SHARON ISBIN and guitar.“Her Dreams of a World” soared Isbin has appeared as soloist with over GUITAR onto top classical Billboard charts, edging 160 orchestras, including the New York out The Three Tenors, and earned her a Philharmonic, National Symphony, Acclaimed for her extraordinary lyricism, 2001 Grammy Award for Best Instrumental Baltimore, Houston, Dallas, Pittsburgh, technique and versatility, Grammy Award- Soloist Performance, making her the first Minnesota, St. Louis, New Jersey, winner Sharon Isbin has been hailed as classical guitarist to receive a Grammy in Indianapolis, Milwaukee, Phoenix, Utah, “the pre-eminent guitarist of our time.” 28 years. She received a 2005 Latin Memphis, and Honolulu Symphonies, the She is also the winner of Guitar Player Grammy nomination for Best Classical Rochester, Brooklyn, and Buffalo magazine’s “Best Classical Guitarist” Album and a 2006 GLAAD Media Award Philharmonics, as well as the St. Paul, award, the Madrid Queen Sofia and nomination for Outstanding Music Artist New York,and Los Angeles Chamber Toronto Competitions, and was the first (alongside Melissa Etheridge) for her Orchestras. guitarist ever to win the Munich Billboard Top 10 Classical disc with the Born in Minneapolis, Isbin began her Competition. She has given sold-out per- New York Philharmonic of Joaquin guitar studies at age 9 in Italy, and later stud- formances throughout the world in the Rodrigo’s Concierto de Aranjuez and con- ied with Andrès Segovia and Oscar Ghiglia. greatest halls including New York’s certi by Mexican composer Manuel Ponce A former student of Rosalyn Tureck, Isbin Carnegie and Avery Fisher Halls, Boston’s and Brazilian Heitor Villa-Lobos.This collaborated with the noted keyboardist in Symphony Hall,Washington D.C.’s marked the Philharmonic’s first-ever preparing the first performance editions of Kennedy Center, London’s Barbican and recording with guitar, and followed their the Bach lute suites for guitar (published by Wigmore Halls,Amsterdam’s Concertgebouw, Avery Fisher Hall performances with Isbin G. Schirmer). She received a B.A. cum laude Paris’ Châtelet,Vienna’s Musikverein, as their first guitar soloist in 26 years. from Yale University and a master of music Munich’s Herkulessaal, Madrid’s Teatro Other CDs include Artist Profile, from the Yale School of Music. She is the Real, and many others. She has served as Wayfaring Stranger with mezzo-soprano author of the Classical Guitar Answer Book, artistic director/soloist of festivals she cre- Susanne Mentzer, Greatest Hits and is director of guitar departments at the ated for Carnegie Hall and the Ordway (EMI/Virgin Classics), and Aaron Jay Aspen Music Festival and The Juilliard Music Theatre (St. Paul), her own series at Kernis’ Double Concerto (Argo/Decca) School. New York’s 92nd Street Y, and the with violinist Cho-Liang Lin and the acclaimed national radio series Guitarjam. Saint Paul Chamber Orchestra (SPCO) Sharon Isbin appears by arrangement with She is a frequent guest on national radio which received a 2000 Grammy nomina- Columbia Artists Management, Inc. Sony programs including All Things Considered, tion. Her eight best-selling titles for Classical,Warner Classics,Teldec Classics, St. Paul Sunday, and Garrison Keillor’s A EMI/Virgin Classics include J.S. Bach EMI/Virgin Classics Recordings Prairie Home Companion. She has been Complete Lute Suites and concerti by www.sharonisbin.com profiled on television throughout the Joaquin Rodrigo which the composer

P-6 Pacific Symphony ABOUT THE GUEST CONDUCTOR

GIANCARLO GUERRERO Guerrero holds degrees from Baylor and Northwestern universities. He was CONDUCTOR most recently music director of the Eugene Symphony. From 1999 to 2004, Giancarlo Guerrero’s 09/10 season he served as associate conductor of the marks his first as music director of the Minnesota Orchestra. He made his .A champion of Minnesota Orchestra subscription debut new music, Guerrero has collaborated in March 2000, leading the world pre- with and conducted the music of several miere of John Corigliano’s Phantasmagoria of America’s most respected composers, on the Ghosts of Versailles. He returned on including , John Corigliano, subscription every subsequent season , , during his time there. Prior to his tenure and . with the Minnesota Orchestra, he served A new CD on Naxos of music by as music director of the Táchira Michael Daugherty, with Guerrero con- Symphony Orchestra in Venezuela. ducting the Nashville Symphony, was released this past September. Guerrero’s guest conducting engage- ments in the 09/10 season include appearances with the symphony orches- tras of Milwaukee, New Jersey and Fort Worth; and the Curtis Symphony Orchestra in Philadelphia.Abroad, he Also in demand in Central and South conducts the Symphony Orchestras of America, Guerrero conducts regularly in Vancouver and Edmonton in the fall and Venezuela with the Orquesta Sinfónica the Slovenian Philharmonic in the spring. Simón Bolívar, with which he has had a As a guest conductor, Guerrero special relationship for many years. His recently made two important debuts debut at the Casals Festival with Yo-Yo abroad: his European debut with the Ma and the Symphony in Gulbenkian Orchestra, where he was 2005 was followed by return engagements immediately invited to return, and his in 2006 and 2007. He also made his U.K. debut with the Royal Scottish debut at the Teatro Colón in Argentina National Orchestra. He has also recently in 2005. Elsewhere, he is a regular guest made successful debuts with several conductor of the Auckland Philharmonia major American orchestras, including the in New Zealand. Baltimore Symphony, the Cleveland Equally at home with opera, Guerrero Orchestra (where he was invited back for works regularly with the Costa Rican a subscription week and tour), the Seattle Lyric Opera and in recent seasons has Symphony, the conducted new productions of Carmen, at the Hollywood Bowl, the Dallas La bohème and most recently a new pro- Symphony Orchestra and the Philadelphia duction of Rigoletto. In February 2008, he Orchestra. Other recent orchestral gave the Australian premiere of Osvaldo engagements in North America include Golijov’s one-act opera Ainadamar at the appearances with the orchestras of Adelaide Festival, to great acclaim. Columbus, Detroit, Houston, Indianapolis, In June 2004, Guerrero was awarded Phoenix, San Antonio and San Diego; the Helen M.Thompson Award by the the National Symphony Orchestra in League of American Orchestras, which Washington, D.C.; and at the Grant Park recognizes outstanding achievement Festival. among young conductors nationwide.

Pacific Symphony P-7