Presenting the world’s finest classical artists since 1919

Joyce Yang

Rosalie O’Connor Augustin Hadelich

AUGUSTIN HADELICH VIOLIN JOYCE YANG PIANO TUESDAY, NOVEMBER 22, 2016, 8PM Lobero Theatre, Santa Barbara

COMMUNITY ARTS MUSIC ASSOCIATION Sara Langdon

OPUS 3 ARTISTS PRESENTS AUGUSTIN HADELICH VIOLIN JOYCE YANG PIANO TUESDAY, NOVEMBER 22, 2016, 8PM Lobero Theatre, Santa Barbara

LUDWIG VAN BEETHOVEN (1770-1827) Sonata for Violin and Piano No.8 in G Major, Op.30, No.3 I. Allegro assai II. Tempo di Minuetto, ma molto moderato e grazioso III. Allegro vivace

BRETT DEAN (b.1961) Rosalie O’Connor Berlin Music (2010) I. Einleitung II. Berceuse III. The Last Practice Room on the Left (Perpetuum mobile – with apologies to M.R.) IV. The beyonds of mirrors V. Hauptsatz AUGUSTIN INTERMISSION HADELICH Violin

EUGÈNE YSAŸE (1858-1931) Sonata for Solo Violin in E Major, Op.27, No.6, “Manuel Quiroga” rammy Award-winner Augustin performances with the New York Hadelich has established Philharmonic, , CÉSAR FRANCK (1822-1890) Ghimself as one of the great the symphony orchestras of Baltimore, Sonata for Violin and Piano in A Major (1886) violinists of his generation. He has Colorado Dallas, North Carolina, San I. Allegretto ben moderato performed with every major orchestra in Diego, and St. Louis, as well as a II. Allegro III. Recitativo-Fantasia: Ben moderato the U.S., many on numerous occasions, tour of Germany and Spain with the IV. Allegretto poco mosso as well as an ever-growing number of Orquestra de Cadaqués/Catalonia and major orchestras in the UK, Europe, and debuts with the Dresden Philharmonic, Programs and artists subject to change the Far East. He is consistently cited Frankfurt Radio Orchestra, Hamburg for his phenomenal technique, poetic Philharmonic, Munich Philharmonic, CAMA gratefully acknowledges our sponsors sensitivity, and gorgeous tone. Rotterdam Philharmonic, and the WDR for this evening’s performance… Highlights of Mr. Hadelich’s Radio Orchestra in Cologne. Masterseries Season Sponsor: Esperia Foundation 2016-2017 season include return Festival appearances during this Sponsor: Bitsy & Denny Bacon and The Becton Family Foundation Concert Partner: Bob & Val Montgomery

2 3 past summer included debuts at the Jun Märkl, Sir Neville Marriner, Fabio well as an album of duo works for BBC Proms, the Bowdoin Music Festival, Mechetti, Juanjo Mena, Ludovic Morlot, violin and piano in collaboration with and Sun Valley Summer Symphony, Andris Nelsons, Sakari Oramo, Andrés Joyce Yang (AVIE Records, fall 2016). in addition to return engagements at Orozco-Estrada, Peter Oundjian, Vasily His previous recordings on the AVIE

Aspen, Bravo! Vail, and Tanglewood. Petrenko, Yan Pascal Tortelier, Gilbert label include: the Mendelssohn Violin Benjamin Ealovega Mr. Hadelich has also performed at the Varga, Edo de Waart, Omer Meir Wellber, Concerto and Bartók’s Concerto No. 2 Blossom, Britt, Chautauqua (where he and Jaap van Zweden, among others. with the Norwegian Radio Orchestra made his U.S. orchestral debut in 2001), An enthusiastic recitalist, Mr. under Miguel Harth-Bedoya (2015); Eastern, Grand Teton, and Marlboro Hadelich’s numerous engagements the violin concertos of music festivals, and the Hollywood Bowl. include multiple appearances at and Thomas Adès (Concentric Paths) Among recent and upcoming Carnegie Hall, the Concertgebouw/ with Hannu Lintu conducting the Royal international appearances are the Amsterdam, The Frick Collection/New Liverpool Philharmonic Orchestra BBC Philharmonic/Manchester, BBC York, Kennedy Center/Washington, (2014), nominated for a Gramophone Symphony/London, Bournemouth Kioi Hall/Tokyo, the Louvre/Paris, the Award and listed by NPR on their Top 10 Symphony Orchestra (where he was Wigmore Hall/London, and the chamber Classical CDs of 2014; Histoire du Tango, artist-in-residence in the 2015/2016 music societies of Detroit, La Jolla, a program of violin-guitar works in season), Danish National Symphony, Philadelphia, Seattle, and Vancouver. collaboration with Pablo Villegas (2013); Finnish Radio Orchestra, German Radio His chamber music partners have and Echoes of Paris, featuring French Philharmonic/Saarbrücken, Hong Kong included Inon Barnatan, Jeremy Denk, and Russian repertoire influenced by Mazzucco Lisa Marie Philharmonic, London Philharmonic, James Ehnes, Alban Gerhardt, Richard Parisian culture in the early 20th century Malaysia Philharmonic, Mozarteum Goode, Gary Hoffman, Kim Kashkashian, (2010). Orchestra/Salzburg, Netherlands Robert Kulek, Cho-Liang Lin, Midori, Gold Medalist of the 2006 Joyce Philharmonic, Norwegian Radio , Vadim Repin, Mitsuko International Violin Competition of Pianist Orchestra, NHK Symphony/Tokyo, Uchida, Joyce Yang, and members of Indianapolis, Mr. Hadelich was named Yang Royal Scottish National Orchestra, RTE the Guarneri and Juilliard quartets. This winner of the inaugural Warner Music National Symphony Orchestra/Dublin, fall, he will appear with guitarist Pablo Prize in 2015. Other distinctions include ianist Joyce Yang came to São Paulo Symphony, Stuttgart Radio Villegas in Philadelphia and Princeton, ’s Martin E. Segal Award international attention in 2005 Orchestra, and a tour of China with the and with pianist Joyce Yang in Dallas, (2012), a Borletti-Buitoni Trust Fellowship Pwhen she won the silver medal at San Diego Symphony. New York, Saint Paul, and Santa in the UK (2011), and an Avery Fisher the 12th Van Cliburn International Piano Augustin Hadelich has collaborated Barbara. Career Grant (2009). Competition. The youngest contestant with such renowned conductors Winner of a 2016 Grammy Award Born in , the son of German at 19 years old, she also took home as Roberto Abbado, Thomas Adès, — “Best Classical Instrumental Solo” parents, Augustin Hadelich is now an the awards for Best Performance of Marc Albrecht, Marin Alsop, Herbert — for his recording of Dutilleux’s Violin American citizen. He holds an Artist Chamber Music and of a New Work. A Blomstedt, Lionel Bringuier, James Concerto, “L’arbre des songes,” with the Diploma from The , Steinway artist, in 2010 she received an Conlon, Christoph von Dohnányi, Thierry under Ludovic Morlot where he was a student of Joel Smirnoff. Avery Fisher Career Grant. Fischer, the late Rafael Frühbeck de (Seattle Symphony MEDIA). Future He plays the 1723 “Ex-Kiesewetter” Yang has performed with the Burgos, Alan Gilbert, Hans Graf, releases include a disc of live recordings Stradivari violin, on loan from Clement , Philadelphia Nicolas Brodard Giancarlo Guerrero, Miguel Harth- of the violin concertos by Tchaikovsky and Karen Arrison through the Stradivari Orchestra, Chicago Symphony, San Bedoya, Manfred Honeck, Jakub Hruša, and Lalo (“Symphonie Espagnole”) Society of Chicago. Francisco Symphony, Los Angeles Christoph König, Jahja Ling, Hannu with the London Philharmonic Philharmonic, and BBC Philharmonic, Lintu, Andrew Litton, Cristian Macelaru, Orchestra (LPO Live, spring 2017), as www.augustin-hadelich.com among many others, working with such

4 5 distinguished conductors as James Piano Concerto, created expressly for Conlon, Edo de Waart, Manfred Honeck, her and commissioned by the Albany Lorin Maazel, Leonard Slatkin, and Symphony. Jaap van Zweden. She has appeared in Additional appearances showcasing recital at New York’s Lincoln Center and her vast repertoire include performances Metropolitan Museum, Washington’s as orchestral soloist in Arizona, California, Kennedy Center, Chicago’s Symphony Illinois, Michigan, New York, Ohio, Hall, and Zürich’s Tonhalle. Rhode Island and Texas. In Summer Highlights of Yang’s 2016-2017 2016 she appeared at the festivals of season include her debuts with the Aspen, Brevard, Lake Tahoe, Steamboat Minnesota Orchestra and San Diego Springs and Sun Valley. Symphony, a return to the Pacific Born in Seoul, Korea, in 1986, Symphony and recitals in Anchorage, Yang received her first piano lesson Beverly Hills, Cincinnati, Denver, from her aunt at age four. In 1997 Nashville, Seattle, and at Spivey Hall in she moved to the United States to Georgia, and concerts with her frequent study in the pre-college division of duo partner, violinist Augustin Hadelich, the Juilliard School. After winning the in Dallas, New York City, Saint Paul, San ’s Greenfield Francisco, and more. She also performs Student Competition, she performed The Beethoven Monument that stands on the Münsterplatz in Bonn, Beethoven’s birthplace. It was at Chamber Music International in Dallas Prokofiev’s Third Piano Concerto with unveiled on August 12, 1845 in honor of the 75th anniversary of the composer’s birth. with the Alexander String Quartet, with that orchestra at just twelve years old. whom she has recorded the Brahms and Yang appears in the film In the Heart of Schumann Piano Quintets. Fall marks Music, a documentary about the 2005 the release of her first collaboration with Cliburn Competition. NOTES ON THE PROGRAM by Howard Posner Hadelich for Avie Records, and the world www.PianistJoyceYang.com premiere recording of Michael Torke’s www.facebook.com/PianistJoyceYang composed his included some of his sunniest works. three opus 30 violin sonatas in the The G-Major violin sonata is spring of 1802, just after he completed Beethoven at his most congenial, with his Second Symphony. It was a strange, nary a dark moment. The first movement and frightening, year for Beethoven. scampers blithely and uneventfully. The

Presenting the world’s finest classical artists since 1919 He was a young man keenly aware second movement is marked “Tempo di of his rapidly developing powers as Minuetto, ma molto moderato e grazioso” a composer, and meeting with great (Minuet tempo, but very moderate and success. His published compositions graceful). “Very moderate” makes about Join us sold well through multiple publishers, as much sense in music as it does in and an aristocratic patron had granted politics. The movement has little to do FOR GARDEN PARTIES, WINE RECEPTIONS, him an annuity. He was also keenly with dance and much to do with song; & WORLD-CLASS MUSIC! aware that he was going deaf. He would atypically for Beethoven, it presents articulate his anguish that October in the its themes with almost no variation or For a brochure or more information on how to join the heart-rending Heiligenstadt Testament, development. The finale is a scrambling COMMUNITYInternational ARTS Circle, MUSIC pleaseASSOCIATION call the OF CAMA SANTA OfficeBARBARA, at INC(805) • CAMASB.ORG966-4324. but in the meantime the music he wrote rondo.

6 7 , who was born and raised Ravel’s Violin Sonata,” the violin uses a in Brisbane, played viola in the Berlin “practice mute” normally used to make Philharmonic between 1984 and 1999 the instrument quiet enough that the before returning to Australia in 2000 player can practice without disturbing to concentrate on composing. In 2011, neighbors or the guest in next hotel room, Dean wrote, “Berlin Music, written in “while the pianist changes instruments July and August of 2010 during my first and plays this movement seated at an extended period back in the city in more adjacently-positioned upright piano, than ten years, pays homage to the similarly muted by a practice pedal. The role Berlin’s rich musical life played in nervous energy emitting from closed my own development as musician and practice rooms, such as I remember so composer.” intensely from my student days at Berlin’s The work, commissioned by the Hochschule building in Bundesallee, Japanese-American violinist Midori, is in momentarily takes centre stage in this five movements, which Dean describes middle movement.” as “a suite of character pieces” followed The Belgian Eugène Ysaÿe dominated by a lengthier final “main movement,” the violin world in the two decades

Brett Dean which was the part of Berlin Music that before World War I, a serious-minded Eugène Ysaÿe he first worked on, and “serves therefore virtuoso in the days when serious- Beethoven dedicated the opus as both wellspring and summary of the minded virtuosos were rare. When poor in the French musical world: a church 30 sonatas to the recently crowned ideas and harmonies found in all of the health, including neuritis and diabetes, organist and professor of organ at the Czar Alexander I of Russia, who did not preceding movements. weakened his bowing arm after the war, Paris Conservatory with not much of acknowledge it. When the Czar came to “The genesis of every new work he cut down on violin engagements a reputation as a composer except Vienna for the Congress of Vienna in 1814, begins with a blank page of manuscript. and concentrated more on conducting. among a small inner circle of younger Beethoven’s medical advisor, Dr. Andreas As my starting point in this particular After serving as music director of the composers. Franck dedicated the Sonata Bertolini, suggested Beethoven ingratiate instance, I noted several violin chords Cincinnati symphony from 1918 to as a wedding present to Eugène Ysaÿe, himself with the Russian royal family by and sonorities that came about by 1922, He returned to Brussels, where he then 28 years old and on the verge of composing a polonaise for Alexander’s playing around on a fiddle with the become the center of a circle of some of becoming a superstar of the violin world. German-born wife. (In one version of the G string tuned down a whole tone to best younger violinists in Europe. Each Ysaÿe played the Sonata frequently over story, Bertolini had Beethoven improvise F.” Retuning the instrument this way of his six sonatas for unaccompanied the next 40 or so years (he was fond of until he heard a melody he thought the creates a significant change “to the violin, written in 1924, was dedicated telling audiences that he always played czarina would like.) At a private audience, overall sound, colour and resonance of to one of them. The last of the set it con amore because it was a wedding he presented her with the polonaise and the instrument,” writes Dean, and some was dedicated to the Spanish violinist present), and his championing of the she presented him with 50 ducats, and otherwise “impossible passagework then Manuel Quiroga. Perhaps as an homage work contributed greatly to the stature asked if the Czar had ever acknowledged becomes quite playable, such as the to Quiroga’s homeland, the middle part Franck achieved only after his death the opus 30 sonatas. Informed that he extended passage of running major 6ths of the one-movement sonata features in 1890. had not, she gave Beethoven another 100 in the violin part early on in the final the rhythm of the habañera. Quiroga The opening movement is remarkable ducats. The audience was likely arranged movement.” never played the sonata in public. for its reflective mood (Franck originally by one of Beethoven’s aristocratic friends, In the third movement, which Dean In 1886, when he composed his intended it as a slow movement, but who just as likely dropped a hint to the describes as a perpetual motion piece Violin Sonata, César Franck was 64 Ysaÿe preferred a quicker tempo, and empress about the sonatas. that “doffs its hat to the finale of years old and still a fairly obscure figure his playing convinced Franck to mark it

8 9 developing themes than thinking them up in the first place, and it allows a composer to develop a theme in many Ensure CAMA's future more ways than might make sense in a single movement. Franck’s re-use of material in this sonata extends much further than having themes make cameo appearances in later movements. Rather, they are worked into the fabric and development as if they belong. The piano’s churning arpeggios give the second movement a tremendous LEAVE A LEGACY momentum that it twice loses in a OF MUSIC​ broadening of tempo and a series of “It would be hard recollections of the first movement, until to overestimate the it becomes virtually static. Each time, the achievements and principal theme and its momentum are importance of CAMA. César Franck re-established. The devotion and commitment of its The third movement is marked members should be an allegretto), and for maintaining that mood “Recitativo-Fantasia,” a hint that it example of how much throughout, avoiding the opposition of belongs to two different compositional one can do to enrich contrasting elements that characterizes worlds: the recitative, with its to-the- the cultural life of a most 19th-century sonata movements, point declamation of text or idea, linking community.” particularly Franck’s. larger pieces together and getting – Vladimir Ashkenazy Franck may have felt little need from Point A to Point B quickly; and the to put his themes through too many fantasia, which roams freely wherever paces in the first movement, since they the composer’s fancy goes. Franck’s have more work to do in the remaining fancy mainly goes to the previous two Through the generosity of people like you, movements. He was fond of having movements, though it can do so subtly. CAMA offers the opportunity to ensure the future of our mission later movements include material from At the very beginning, for example, the to bring world-class music to Santa Barbara. By including CAMA in earlier ones. Music critics use the rather piano recalls the first movement, though your will or living trust, you leave a legacy of great concerts and music inaccurate term “cyclical” to describe this it may not be apparent for a few bars. appreciation outreach programs for future generations. technique, and the conventional wisdom The idyllic melody of the finale belies Make a gift of cash, stocks or bonds and enjoy immediate tax benefits. is that it is used to impart “unity” to the compositional stunt underlying it: it a multi-movement work. But it is not is a strict canon, with the violin imitating self-evident that “unity” is necessarily the piano’s right hand four beats later. In If you have provided a gift to CAMA in your will or estate plan, or if you would achieved by having the first movement’s the development, its sunny disposition is like to receive more information on tax wise ways to leave a legacy to CAMA, theme show up in the last movement, a foil for the second movement’s stormy please contact Martha Donelan, director of development or that “unity” of this sort is necessarily theme. at (805) 966-4324 or [email protected] a good thing. But cyclical composition is ©2016, Howard Posner useful for a composer more comfortable

10 11 Presenting the world’s finest classical artists since 1919 Community Arts Music Association of Santa Barbara, Inc. 2060 Alameda Padre Serra, Suite 201 Santa Barbara, California 93103-1713

INTERNATIONAL SERIES AT THE GRANADA THEATRE

FEBRUARY 7, 2017, 8PM BRUCKNER ORCHESTRA LINZ MARCH 14, 2017, 8PM ST PETERSBURG PHILHARMONIC MARCH 28, 2017, 8PM DANISH NATIONAL SYMPHONY ORCHESTRA MAY 7, 2017, 4PM LOS ANGELES PHILHARMONIC

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NOVEMBER 22, 2016, 8PM AUGUSTIN HADELICH VIOLIN • JOYCE YANG PIANO MARCH 8, 2017, 8PM TAFELMUSIK BAROQUE ORCHESTRA APRIL 6, 2017, 8PM SUSAN GRAHAM MEZZO-SOPRANO

This project is funded in part by the Organizational Development Grant Program using funds provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission. For more information on CAMA and its programs, call (805) 966-4324 or visit www.camasb.org