Presenting the world’s finest classical artists since 1919
J A N Á Č E K
•
L I S Z T
•
D V O Ř Á K
Václav Jirásek
CZECH PHILHARMONIC
Jiří Bělohlávek Chief Conductor & Music Director
Jean-Yves Thibaudet Piano Soloist
MONDAY, NOVEMBER 10, 2014, 8PM • THE GRANADA THEATRE
INTERNATIONALSERIES at THE GRANADA THEATRE
COMMUNITY ARTS MUSIC ASSOCIATION
BIOGRAPHY
INTERNATIONALSERIES at THE GRANADA THEATRE
Czech Philharmonic
Jiří Bělohlávek Chief Conductor and Music Director
Jean-Yves Thibaudet Piano Soloist
MONDAY, NOVEMBER 10, 2014, 8PM
The Granada Theatre (Santa Barbara Center for the Performing Arts)
Leoš Janáček (1854-1928)
Václav Jirásek
Taras Bulba
The Death of Andrei
The Death of Ostap
The Prophecy and Death of Taras Bulba
Franz Liszt (1811-1886)
Piano Concerto No.2 in A Major, S.125
Adagio sostenuto assai—Allegro agitato assai—Allegro moderato—
Allegro deciso—Marziale un poco meno allegro—Allegro animato
Jean-Yves Thibaudet, Piano
INTERMISSION
Antonín Dvořák (1841-1904)
Symphony No.9 in E minor, Op.95
Adagio, Allegro molto
Largo
Scherzo: Molto vivace
Allegro con fuoco
Program subject to change.
CAMA gratefully acknowledges our sponsors
for this evening’s performance…
International Series Season Sponsor: SAGE Publications
Primary Sponsor: The Elaine F. Stepanek Concert Fund
Principal Sponsor: Sara Miller McCune
Sponsors: Judith L. Hopkinson • Léni Fé Bland
Co-Sponsor: Barbara & Sam Toumayan
COMMUNITY ARTS MUSIC ASSOCIATION
CZECH PHILHARMONIC
or over a century, the Czech
Philharmonic has represented the pinnacle of Czech cultural
achievement, delighting audiences
across the globe with its warm, vibrant
sound. Today, the orchestra is enjoying a renewed reputation as one of
the most exciting ensembles on the
world stage, performing with artists
including Hélène Grimaud, Lang Lang,
Janine Jansen, Anne-Sophie Mutter
and Frank Peter Zimmermann, to name
but a few. The Czech Philharmonic has
also been joined by soloists Garrick
Ohlsson, Frank Peter Zimmermann and
Alisa Weilerstein in recording Antonín
Dvořák’s complete symphonies and
his three concertos, under the baton
of Jiří Bělohlávek, the orchestra´s chief
conductor, to be released in 2014 by
the Decca label.
The Czech Philharmonic has a history of working with outstanding musicians. Dvořák himself conducted the
orchestra in its debut performance
on 4 January 1896 at the Rudolfinum
in Prague, which is still home to its
Prague concerts, and is now the centre for its Orchestral Academy. The
Academy is just one of numerous successful education projects through
which the Czech Philharmonic engages with new audiences, from young
children, to university students and
adults seeking to learn more about
classical music.
Other conductors in the orchestra’s
history include Gustav Mahler, who
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Václav Jirásek
conducted the Czech Philharmonic for
the world premiere of his Symphony
No.7 in Prague, in 1908. The orchestra’s international reputation grew
under the direction of Václav Talich,
the energetic leadership of Rafael
Kubelík helped steer the Czech
Philharmonic through the difficult
wartime years, and in the post-war
era of Karel Ančerl, it embarked on
its busy and varied touring schedule.
Today, the orchestra performs in the
world’s most prestigious concert halls,
including recent and forthcoming concerts at the Philharmonie in Berlin
and Suntory Hall in Tokyo, as well as,
in 2014, Carnegie Hall in New York
and the NCPA in Beijing. Scheduled
international appearances in 2015 and
2016 include three concerts at the
Musikverein in Vienna, one in London’s
Royal Festival Hall, and one in the
Viennese Konzerthaus.
Festival appearances include, in
2014, concerts at the BBC Proms and
the Edinburgh Festival. With its Chief
Conductor, Jiří Bělohlávek, the Czech
Philharmonic has also undertaken successful tours in Australia, Germany,
Japan, Luxembourg, Spain, the United
Arab Emirates, and the UK.
The Czech Philharmonic is privileged to welcome many distinguished
guest conductors, including recent
and forthcoming collaborations with,
among others, Herbert Blomstedt,
Semyon
Bychkov,
Christoph
Eschenbach, Valery Gergiev, Robin
Ticciati, and David Zinman.
The Czech Philharmonic has
received numerous awards and nomi-
JIŘÍ BĚLOHLÁVEK
nations, including ten Grands Prix du
Disque de l’Académie Charles-Cros, five
Grand Prix du Disque de l’Académie
française, several Cannes Classical
Awards, a position in Gramophone’s
Top 20 Best Orchestras in the World
(2008), as well as nominations for
Grammy® and Gramophone Awards.
In a fitting tribute to its first conductor, the Czech Philharmonic has made
nine new television programmes each
of which features a full performance
of one of Dvořák’s Nine Symphonies.
The shows will be broadcast by
Czech Television in 2014, and distributed internationally by UNITEL. The
orchestra is also producing a Czech
Television documentary (in association
with Rhombus Media) about Dvořák,
Jiří Bělohlávek, and the current work
of the Czech Philharmonic itself. The
documentary is directed by Barbara
Willis Sweete, who has worked with
the MET Opera, New York, among others, on a number of prestigious films.
Further exciting projects include
the launch of a competition for composers, the winner of which will have
their work performed by the Czech
Philharmonic, and another competition for aspiring Czech soloists, the
winner of which will perform with the
orchestra. In seeking to foster new talent, the Czech Philharmonic continues
its journey into the future, a future
which looks brighter than ever. n
© Joanna Wyld, 2014
JIŘÍ BĚLOHLÁVEK
conductor
Jiří Bělohlávek was born in Prague
in 1946. His love of music became
apparent at an early age, and following studies in cello and conducting, he
was invited to become assistant conductor to Sergiu Celibidache in 1968.
Bělohlávek won the Czech Young
Conductors’ Competition in 1970 and
reached the final of the Herbert von
Karajan Conducting Competition in
1971.
In 1977, Jiří Bělohlávek began to
serve as Chief Conductor of the Prague
Symphony Orchestra, a position he
held until 1990, when he was appointed Chief Conductor of the Czech
Philharmonic. In 1994, he founded the
Prague Philharmonia, an orchestra
he then led as Chief Conductor and
Music Director until 2005, when he was
appointed its Conductor Laureate.
After serving as its Principal Guest
Conductor between 1995 and 2000,
Jiří Bělohlávek was appointed Chief
Conductor of the BBC Symphony
Orchestra in 2006. He conducted the
orchestra at the Last Night of the
Proms in 2007, becoming the first
artist whose principal language is not
English to undertake this important
role. He performed at the Last Night
of the Proms again in 2010 and 2012.
Jiří Bělohlávek has also regularly
conducted the Berlin Philharmonic,
Boston
Symphony,
Cleveland
Orchestra,
Gewandhausorchester
Leipzig, New York Philharmonic,
Sächsische Staatskapelle Dresden
and the San Francisco Symphony
Orchestra,
among
others.
He
was recently appointed Principal
Guest Conductor of the Rotterdam
Philharmonic Orchestra.
Jiří Bělohlávek has worked in the
world of opera throughout his career,
with regular appearances at the
world’s main opera houses including
Berlin, Covent Garden, Glyndebourne,
the Metropolitan Opera in New York,
Opéra Bastille and Teatro Real. Recent
and forthcoming highlights include
new productions of Dvořák’s Rusalka
at the Vienna Staatsoper (2014),
Tchaikovsky’s The Queen of Spades
at the Zürich Opera House (2014), and
Janáček’s Jenůfa at the San Francisco
Opera (2016).
Jiří Bělohlávek has an extensive
discography, including a complete
Dvořák Symphonies cycle recently
released by Decca, and is the first
conductor since Herbert von Karajan
to receive the Gramophone Award
for Orchestral Recording two years
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running. In 2012, Queen Elizabeth II
appointed Jiří Bělohlávek an honorary
CBE for services to music. n
© Joanna Wyld, 2014
JEAN-YVES
THIBAUDET piano
One of today’s most sought-after soloists, Jean-Yves Thibaudet has the rare
ability to combine poetic musical sensibilities and dazzling technical prowess.
His talent at coaxing subtle and surprising colors and textures from each
work he plays led The New York Times
to write that “every note he fashions is
a pearl…the joy, brilliance and musicality of his performance could not be
missed.” Thibaudet, who brings natural
charisma and remarkable musical depth
to his career, has performed around
the world for more than 30 years and
recorded more than 50 albums.
Jean-Yves Thibaudet’s 2014-2015
season is an intriguing combination
of a wide variety of music: a balance
of orchestral appearances, chamber
music, and recitals and a repertoire
that includes familiar pieces, unfamiliar work by well-known composers,
and new compositions. He also follows his passion for education and
fostering the next generation of performers by becoming the first-ever
resident artist at the Colburn School
of Los Angeles this year and the following two. Summer 2014 sees him
touring with Mariss Jansons and the
Royal Concertgebouw Orchestra at
the Concertgebouw Amsterdam, the
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Edinburgh International Festival, the
Lucerne Festival, and the Ljubljana
Festival. Mr. Thibaudet then travels to play Gershwin paired with a
new piano concerto “Er Huang” by
Quigang Chen with Long Yu conducting to open the China Philharmonic
season in Beijing—a program both
artists will repeat in Paris with the
Orchestre de Paris. In October, with
the Philadelphia Orchestra and its
Music Director Yannick Nézet-Séguin,
he performs the Khachaturian Piano
Concerto, which he also plays in the
spring with the Cincinnati Symphony
and on tour in Germany and Austria
with the Deutsches SymphonieOrchester Berlin under the baton
of Tugan Sohkiev. After concerts in
Prague, Mr. Thibaudet embarks on a
US tour with the Czech Philharmonic
Orchestra in November, reaching both
East and West coasts with a grand
finale at Carnegie Hall, where he performs Liszt’s Piano Concerto No. 2.
The end of the year is a whirlwind of
Gershwin, Ravel, and Liszt with the
Radio Symphony Orchestra Stuttgart,
the Berlin Radio Symphony Orchestra,
the Oslo Philharmonic Orchestra, and
the Gürzenich Orchestra Cologne.
In the new year, audiences can hear
Mr. Thibaudet play MacMillan’s Piano
Concerto No. 3, which he premiered
in 2011, with the St. Louis Symphony
and New York Philharmonic, both conducted by Stéphane Denève, and then
Liszt with the Cleveland Orchestra
and the Naples Philharmonic. After
playing a duo recital with Gautier
Capuçon in his native France at the
Festival de Pâques in Aix-en-Provence,
Mr. Thibaudet returns to the United
States to play Ravel’s Piano Concerto
in G Major—one of his signature
pieces from the French repertoire
for which he is renowned—with the
Atlanta Symphony Orchestra and the
Boston Symphony Orchestra under
Bernard Haitink’s direction, in addition to Poulenc and Fauré with the
Boston Symphony Chamber Players.
Under Michael Tilson’s Thomas’s
baton, he performs Bernstein’s Age
of Anxiety in San Francisco, where
he celebrates Thomas’s 70th birthday earlier in the year by playing
the Liszt Hexaméron with Emanuel Ax,
Jeremy Denk, Yuja Wang, and MarcAndré Hamelin. Mr. Thibaudet performs Ravel’s Piano Concerto for the
Left Hand with Gustavo Dudamel and
the Los Angeles Philharmonic before
interpreting both the Ravel Piano
Concerto and Messiaen’s Turangalîla
with the Chicago Symphony Orchestra
and Esa-Pekka Salonen as part of
the orchestra’s 2015 Reveries and
Passions Festival. He then travels to Europe to perform with the
Frankfurter
Museumsorchester
(Venzago), Dresden Philharmonic (de
Billy), and the Munich Philharmonic
(Bychkov), among others, before ending the season in dramatic fashion
with Beethoven’s Choral Fantasy with
the Orchestre de L’Opéra de Paris
under the baton of Music Director
Philippe Jordan.
A distinguished recording artist,
Jean-Yves Thibaudet has been nominated for two Grammy Awards and won
the Schallplattenpreis, the Diapason
d’Or, Choc du Monde de la Musique, a
Gramophone Award, two Echo awards,
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and the Edison Prize. In 2010 he
released Gershwin, featuring big jazz
band orchestrations of Rhapsody in
Blue, variations on “I Got Rhythm,” and
Concerto in F live with the Baltimore
Symphony and music director Marin
Alsop. On his Grammy-nominated
recording Saint-Saëns, Piano Concerti
Nos. 2&5, released in 2007, Thibaudet
is joined by long-standing collaborator Charles Dutoit and the Orchestre
de la Suisse Romande. Thibaudet’s
Aria—Opera Without Words, which
was released the same year, features
transcriptions of arias by Saint-Saëns,
R. Strauss, Gluck, Korngold, Bellini,
J. Strauss II, Grainger, and Puccini;
some of the transcriptions are by
Mikhashoff, Sgambati, and Brassin,
and others are Thibaudet’s own.
Among his other recordings are Satie:
The Complete Solo Piano Music and
the jazz albums Reflections on Duke:
Jean-Yves Thibaudet Plays the Music
of Duke Ellington and Conversations
With Bill Evans, his tribute to two of
jazz history’s legends.
Known for his style and elegance on
and off the traditional concert stage,
Thibaudet has had an impact on the
world of fashion, film and philanthropy.
His concert wardrobe is by celebrated
London designer Vivienne Westwood.
In 2004 he served as president of the
prestigious Hospices de Beaune, an
annual charity auction in Burgundy,
France. He had an onscreen cameo
in the Bruce Beresford feature film on
Alma Mahler, Bride of the Wind, and his
playing is showcased throughout the
soundtrack. Thibaudet was the soloist
on Dario Marianelli’s Oscar- and Golden
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Globe-award winning score for the film
Atonement and his Oscar-nominated
score for Pride and Prejudice. He
recorded the soundtrack of the 2012
film Extremely Loud & Incredibly Close,
composed by Alexandre Desplat. He
was also featured in the 2000 PBS/
Smithsonian special Piano Grand!, a
piano performance program hosted
by Billy Joel to pay tribute to the 300th
anniversary of the piano.
Jean-Yves Thibaudet was born
in Lyon, France, where he began his
piano studies at age five and made
his first public appearance at age
seven. At twelve, he entered the
Paris Conservatory to study with Aldo
Ciccolini and Lucette Descaves, a
friend and collaborator of Ravel. At
age fifteen, he won the Premier Prix du
Conservatoire and, three years later,
the Young Concert Artists Auditions in
New York City. In 2001 the Republic of
France awarded Thibaudet the prestigious Chevalier dans l’Ordre des Arts
et des Lettres, and in 2002 he was
awarded the Premio Pegasus from the
Spoleto Festival in Italy for his artistic
achievements and his long-standing
involvement with the festival. In 2007
he received the Victoire d’Honneur, a
lifetime career achievement award and
the highest honor given by France’s
Victoires de la Musique. The Hollywood
Bowl honored Thibaudet for his musical achievements by inducting him
into its Hall of Fame in 2010. Previously
a Chevalier of the Ordre des Arts et
des Lettres, Thibaudet was promoted
to the title of Officier by the French
Minister of Culture in 2012. n
For information, visit www.cami.com.
PROGRAM NOTES
LEOŠ JANÁČEK
Leoš Janáček’s Taras Bulba was
inspired by a mid-19th-century novel
by the Russian Nicolai Gogol, and the
music is better than Gogol deserved.
Gogol’s hero is a fictional Cossack in
15th-century Ukraine, when Russians,
Turks, Tatars and Poles vied for control
of the land, and Cossacks emerged
as an independent ethnic and military
group, riding the steppes, beholden to
no one, and very bad news for anyone
who got in their way.
Gogol created the Cossackiest
Cossack imaginable, in the image of
Gogol’s own century: a hard-drinking,
wife-beating, brawling, warmongering
Russian patriot horse soldier, ready
to do battle with, or murder outright,
anyone not of the Russian Orthodox
faith (historically, the real Ukrainian
Cossacks resisted Russian rule until
they were forcefully subjugated about
1775). Early in the novel, Bulba persuades the local Cossacks to break a
truce with the Turks merely because
he wants his two sons to taste battle.
But the Cossacks are distracted by
rumors of Polish offenses against the
Orthodox Church, and after they massacre the local Jews for the crime of
existing, they ride off to attack Dubno
in Poland.
Bulba’s character, and Gogol’s
bloodthirsty cheerleading and enthusiastic anti-Semitism — while hardly
unique for his time, especially in Russia
— have consigned the book to obscurity in our time. To put it mildly, Gogol’s
novel lacks resonance for modern
western readers. Sensibilities were
different in Czechoslovakia in 1915,
when Janáček began his orchestral
rhapsody. The Czechs had long been
subjugated by the Austro-Hungarian
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Empire, and many nationalist Czechs
subscribed to “Pan-Slavism,” a belief
that political and cultural salvation lay
in an international Slavic brotherhood,
led by the giant Slavic nation Russia.
Janáček, a fan of all things Russian,
had founded a Russian club in Brno,
visited Russia, and had his children
study in St. Petersburg.
Janáček may or may not have seen
a kindred pan-Slav in Bulba (he would
have had to overlook the thousands
of Slavic Poles Bulba kills). What drew
him to the story was the final scene,
in which Bulba, while being burned
alive, pronounces that “there is no fire
or martyrdom in the whole world that
could break the strength of the Russian
people,” and prophesies, “A czar shall
arise from Russian soil, and there shall
be no power in the world that shall
not submit to him!” By March 29, 1918,
when Janáček finished his rhapsody,
World War I was over, Czechoslovakia
was six months away from formal independence, and the last czar was a prisoner of the new Bolshevik government
with less than four months to live.
The first movement, The Death
of Andrei, depicts events during the
Cossacks’ protracted siege of Dubno.
The besieged Poles are starving.
Bulba’s younger son Andrei learns that
one of them is a Polish official’s daughter whom he had met and fallen in love
when they both lived in Kiev. Carrying
food for her family, he enters the city
through a secret passage that opens
into a church, and then walks among
the suffering and dying townsfolk to
get to her house. The music depicts
his thoughts of love, his fear of being
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caught, his arrival in the church (hence
a notable organ part), his walk through
the ghastly streets, and their mutual
confession of love when he and his
love meet. Andrei fatefully renounces
his people and goes over to the Poles
for her sake. When the trombones (the
voice of Taras Bulba) announce battle,
Andrei leads the Poles out to fight
the Cossacks. His father confronts him
and, with the battle raging around
them, orders him off his horse. Andrei,
helpless to resist his father’s authority,
obeys even as his final thoughts go to
his love. Bulba kills him and rides back
into battle.
In the second movement, The Death
of Ostap, Bulba’s older son is captured
and taken with other Cossack prisoners to be publicly tortured to death in
Warsaw, about 240 miles from Dubno.
Bulba, who was wounded in battle and
carried away to safety, goes to Warsaw
and is in the crowd, disguised, to see
with pride that his son faces his terrible end with courage. The scene (and
movement) ends with Ostap (the E-flat
clarinet) crying out, “Father! Are you
there? Can you hear me?” Bulba shouts
back that he can hear him, and then
disappears.
In Prophecy and Death of Taras
Bulba, the third movement, Bulba has
returned to Poland as a regimental
commander in a huge Cossack invading force. When a peace is negotiated,
Bulba refuses to accept it, and splits
his troops away from the army to
continue a campaign of killing every
Pole he can find, including women and
babies, to avenge Ostap. Finally the
Poles surround his force, drag him off
FRANZ LISZT
his horse, tie him to a tree and start
to burn him alive while the battle is
still going on. The movement begins
with flickering flames in the strings
and sparks in the woodwinds. Bulba,
oblivious to the flames, shouts to his
men (the same gruff trombone figure
that heralded battle in the first movement) to escape by jumping into the
river, and can die content when he
sees them get away. Then (apparently
with no one around to hear but the
Poles) comes the prophecy about the
Russian spirit and future czar that drew
Janáček to the story, and it is stunning:
a majestic four-note fanfare/chorale
in the brass heard six times in six different keys, and then returning once
more in a majestic close.
Like much of his music, Franz
Liszt’s second piano concerto is not
what you would expect from Liszt. He
was nothing if not surprising. When
he began drafting it in 1839, he was in
his 20’s and at the height of a career
as a piano virtuoso unlike any before.
But he left it unfinished, and when
he took it up again ten years later,
he was a different man. He retired
from concertizing in 1847 (he was all
of 35) and took an unlikely position
as Kapellmeister of the ducal court
in Weimar, where he ran the court
musical establishment, broadened his
own musical horizons, and worked on
becoming a more serious kind of composer. It was during this period that he
revisited the concerto again and again.
His first concerto had been dazzlingly
virtuosic. His second was a different
story. Just how different is made evident when the piano enters after the
first statement of the main theme, not
to restate it with virtuosic elaboration
as a normal concerto soloist would do,
but to accompany the violins. There is
plenty of virtuosity in spots, but it is
striking how much of the piano part
is an accompaniment for the clarinet,
oboe, horn or cello, and how much the
piano is a touch of extraordinary color
ornamenting the musical texture.
The second concerto is also remarkable for where it goes and how it gets
there. Liszt, not much enamored of the
traditional concerto sonata structure
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(or, indeed, any fixed structure), instead
went the route of continuous thematic
transformation. His second concerto
could be described as a Set of Variations
With Other Stuff Also Included. The first
theme reappears repeatedly in different characters; at one point it becomes
a highly unlikely march, as if to emphasize that the point is to show just how
far the limits of musical imagination can
be extended.
Antonín Dvořák’s Symphony “From
the New World” exists because a
visionary patron of the arts made a
deliberate attempt to create an
American style of art music, and to a
remarkable extent succeeded. When
Jeanette Thurber founded the National
Conservatory in New York, she intended to create a national school of composition. She engaged as its director
Dvořák, who was 51 years old when he
arrived in September 1892.
Since Dvořák grounded his own
music in Czech folk tradition, he
focused on the folk music of America.
In interviews with New York newspapers, he opined that the music of
Native Americans and black Americans
(“Indians” and “negroes” in those days)
would be the real source of an American
national style. His knowledge of Indian
music would have come from published
collections, filtered through the ears
of white editors. He would have come
to know black music from more varied
sources. He made a special point of
having Harry Burleigh, a black National
Conservatory student who later became
famous as a publisher of spirituals, sing
real black music to him.
Dvořák began the symphony in
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ANTONÍN DVOŘÁK
late 1892 and finished it the following
May. The first performance, in New
York on December 16, 1893, was a
major event, with a public rehearsal and
much advance press attention. It was a
major triumph, and occasioned much
enthusiastic discussion about just how
American it really was. Clearly there is a
lot of Bohemia in the symphony. Dvořák
was not going to change his style in
nine months. But it also sounds different from his previous works. He wrote
to a friend in Bohemia that the symphony “will be fundamentally different from
my earlier ones. Anyone with a ‘nose’ for
these things will detect the influence of
America.” In the ensuing 120 years, the
symphony’s popularity has endured,
and the cognoscenti still debate how
much the New World Symphony sounded like what American music was before
American music started to sound like
the New World Symphony.
Dvořák insisted that while he
took inspiration from folk music, he
borrowed no actual melodies. The
symphony is remarkable in how memorable nearly all of its tunes are. For
just this reason, it sometimes gives
short shrift to symphonic development: it needs less compositional craft
because the sheer melodic invention is
so inspired. And it’s easy to conclude
that Dvořák kept bringing themes back
in later movements not for purposes of
cyclical unity, but because he couldn’t
bear to part with them.
Even when he dealt with a practical
structural problem—how to go from E
minor, the key in which the first movement ends, to the Largo’s distant D-flat
Major without jolting the listener’s
ear—his solution was unforgettable:
the magical seven chords that begin
the second movement and reappear
at key points (strangely enough, these
are the only measures in the entire
symphony where the tuba plays).
Sources close to Dvořák said the
slow movement was inspired by episodes in Longfellow’s Song of Hiawatha.
But the sources do not agree on which
part(s) of Hiawatha he had in mind,
and the principal theme, the English
horn’s famous song, is not “Indian” at
all. It has the character of a black spiritual, but it betrays its high-art origins
when it modulates into the subdominant. Years later, William Fisher, one
of Dvořák’s former students, gave it
words and turned it into a song called
“Going Home” that was popular for
many years.
Dvořák said the scherzo was
inspired by Longfellow’s description
of the dance at Hiawatha’s wedding
feast. But its material is the most characteristically Czech in the symphony.
The rhythm of the woodwinds’ perky
first theme is typical of the Czech
language and is found in Czech folk
songs. (There is nothing folky about
the insistent three-against-two rhythmic pull that yanks the theme along).
The lilting middle section could pass
for a Slavonic Dance.
The finale begins as a normal sonata movement, but somewhere in the
development becomes something
else. Much of what it develops is thematic material from the first three
movements. And is it coincidence that
the final page sounds like a boogiewoogie bass, or did Dvořák happen to
be one of the first Europeans to hear a
musical figure that survives in popular
music to this day?
The years have been kind to the
symphony, but they do change it. In
1895, it was new and bold. By the
mid-20th century it was so much a
part of American culture that it was
familiar to people who had never even
heard it. They heard its offspring in the
“American” style of Copland and his
generation, and in movies and television, particularly the “western” that
was so much a part of the large and
small screen until a generation or two
ago. Dvořák posthumously supplied
the soundtrack for the chase scene,
the cavalry riding to the rescue and
the showdown at high noon. A listener encountering it for the first time
now, decades after the decline of the
western, might approach the New
World Symphony without such associations, but it will always have a place
in American musical DNA.
©2014 | Howard Posner
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We gratefully acknowledge
CAMA Legacy Society members
for remembering CAMA in their
estate plans with a deferred gift.
Ensure CAMA's future
LEAVE A LEGACY
OF MUSIC
LEGACY SOCIETY MEMBER
SPOTLIGHT
ROBERT & CHRISTINE EMMONS
“You Will Be Well-Remembered”
Make a gift of cash, stocks or bonds and enjoy immediate tax benefits.
Robert and Christine Emmons are generous
philanthropists and long-time supporters of
CAMA. Dr. Emmons has served on boards
throughout Santa Barbara, including the
Santa Barbara Foundation, the Santa Barbara
Museum of Art, Lotusland, and Laguna Blanca
School. A CAMA Board member since 2007,
he is a founding member of CAMA’s Legacy
Society. Chris Emmons is the director of
Emmons Capital Investments, president of the
Westmont Ridley-Tree Museum of Art’s board
of advisors, chair of CAMA’s International
Circle, and secretary of the International
Women Pilots (Ninety-Nines, Inc.), Santa
Barbara chapter. Chris and Bob’s son Ryan is a
graduate of USC and is the founder and CEO
of Waiakea Hawaiian Volcanic Water.
If you have provided a gift to CAMA in your will or estate plan, or if you would
like to receive more information on tax wise ways to leave a legacy to CAMA,
please contact Martha Donelan, director of development
“Remembering CAMA in your estate
planning is one of the best ways to ensure
that CAMA will continue to present the
world’s best classical music in Santa
Barbara,” Dr. Emmons said. “You will be
well remembered.”
“It would be hard to overestimate the achievements and importance
of CAMA. The devotion and commitment of its members should be an example
of how much one can do to enrich the cultural life of a community.”
– Vladimir Ashkenazy
Through the generosity of people like you,
CAMA offers the opportunity to ensure the future of our mission
to bring world-class music to Santa Barbara. By including CAMA in
your will or living trust, you leave a legacy of great concerts and music
appreciation outreach programs for future generations.
at (805) 966-4324 or [email protected]
14
Anonymous
Peter & Becky Adams
Bitsy Becton Bacon
Else Schilling Bard
Joan C. Benson
Peter & Deborah Bertling
Linda & Peter Beuret
Lida Light Blue & Frank Blue
Mrs. Russell S. Bock
Linda Brown
Elizabeth & Andrew Butcher
Virginia Castagnola-Hunter
Jane & Jack Catlett
Bridget & Bob Colleary
Karen Davidson, M.D &
David B. Davidson, M.D.
Julia Dawson
Patricia & Larry Durham
Christine & Robert Emmons
Mary & Ray Freeman
Arthur R. Gaudi
Stephen & Carla Hahn
Beverly Hanna
Ms. Lorraine Hansen
Raye A. Haskell
Joanne C. Holderman
Judith L. Hopkinson
Dolores M. Hsu
Mr. & Mrs. James H. Hurley, Jr.
Elizabeth & Gary Johnston
Herbert & Elaine Kendall
Mahri Kerley
Lynn P. Kirst & Lynn R. Matteson
Lucy & John Lundegard
Nancy R. Lynn
Keith J. Mautino
Sara Miller McCune
Mr. & Mrs. Frank R. Miller, Jr.
Dr. & Mrs. Spencer Nadler
Ellen & Craig Parton
Diana & Roger Phillips
Dr. Donald G. Richardson
Ellen & John Pillsbury
Andre M. Saltoun
Judith & Julian Smith
Mr. & Mrs. Sam Toumayan
Mark E. Trueblood
Dr. & Mrs. H. Wallace Vandever
Barbara & Gary Waer
Nancy & Kent Wood
(as of October 17, 2014)
15
THE TALLIS SCHOLARS
JUILLIARD STRING QUARTET
DAWN UPSHAW soprano
IAN BOSTRIDGE tenor
TETZLAFF-VOGT DUO
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
5/11/2015
4/23/2015
2/22/2015
1/17/2015
12/5/2014
MASTERSERIES at the Lobero
11/10/2014
CZECH PHILHARMONIC
2/16/2015 ORCHESTRE DE LA SUISSE ROMANDE
3/25/2015 LONDON SYMPHONY ORCHESTRA
4/14/2015 SEOUL PHILHARMONIC ORCHESTRA
5/3/2015 LOS ANGELES PHILHARMONIC
INTERNATIONAL SERIES at The Granada Theatre
2060 Alameda Padre Serra, Suite 201 Santa Barbara, California 93103
Community Arts Music Association of Santa Barbara, Inc
Presenting the world’s finest classical artists since 1919