9 months ago

CAMA presents Academy of St Martin in the Fields with Joshua Bell / Wednesday, March 14, 2018, International Series at The Granada Theatre, 8:00 PM

CAMA's International Series at The Granada Theatre presents Academy of St Martin in the Fields Wednesday, March 14, 2018 The Granada Theatre, Santa Barbara, 8:00 PM Joshua Bell, Music Director and Violin Felix Mendelssohn: Overture to A Midsummer Night’s Dream, Op.21 Henryk Wieniawski: Violin Concerto No.2 in D minor, Op.22 Ludwig van Beethoven: Symphony No.6 in F Major, Op.68, “Pastoral” The Academy of St Martin in the Fields returns with famed Music Director and Violinist Joshua Bell. As one of the world’s premier chamber orchestras, the Academy is renowned for its fresh, brilliant interpretations of the world’s most-loved classical music. Joshua Bell is one of the most celebrated violinists of his era, and his restless curiosity, passion, and multi-faceted musical interests are almost unparalleled in the world of classical music. •


the flowing-water figures in the strings are merely a backdrop to an extraordinary outpouring of melody. At movement’s end the flute, oboe and clarinet imitate the nightingale, quail and cuckoo. The third and fourth movements seem to depict actual events. The third movement, a “merry coming-together of country folk,” invokes the idea of an unorganized gathering from different directions by a surprisingly sophisticated stretching of tonality. Twice, some introductory measures in F Major lead to a theme in D, and when the music “corrects” itself the third time around so that the introductory measures are in D, the theme starts up in C. It takes another modulation to finally arrive in F. Beethoven is joking with us. It was this sort of thing that critics and academics had in mind when they complained, as they seemed to do a lot, that Beethoven pursued novelty and strangeness for their own sake. When the country folk are assembled, it is not hard to hear a little band in which the bassoon can play only three notes and the clarinet has trouble playing together with the oboe. As the music becomes more boisterous (changing from triple time to 2/4) the trumpets join in for the first time in the symphony. Everything halts as a few drops of rain fall and distant thunder is heard, and then a storm bursts, with the tympani making their first entrance to emphasize it. Beethoven Beethoven’s fifth and sixth symphonies were the first symphonies to use trombones, which had been common in church music and serious opera. Putting them into a symphony was a mark of the increasing importance that the symphony was acquiring, in large part because of Beethoven. conjures rumbling clouds with the contrabasses playing a rapid four-note repeated rapid scale figure against an even more rapid five-note repeated scale figure on the cellos (thus, in a measure the basses play 16 16th-notes while the cellos play 20 “quintuplet”16th notes), so that the clashing notes create a sound effect instead of discernible pitch. As the storm grows more intense, the piccolo enters for the first time, suggesting howling wind. Finally the storm climaxes on a violent diminished chord in the entire orchestra, including, at last, the trombones. Program annotators are fond of writing that Beethoven’s fifth and sixth symphonies were the first symphonies to use trombones, which had been common in church music and serious opera. Putting them into a symphony was a mark of the increasing importance that the symphony was acquiring, in large part because of Beethoven. There is some truth to that narrative, but Beethoven was not actually the first composer, or even the first German composer, to include trombones in a symphony. He was just the first to use trombones in a symphony that anyone cares about. While the trombones continue to enrich the orchestra until the end of the symphony, the tympani, and the violent weather they represent, are not heard during the finale, the most rapturously joyful music ever conceived. ©2018, Howard Posner. 12

ACADEMY OF ST MARTIN IN THE FIELDS VIOLIN I Joshua Bell (director) Harvey de Souza Miranda Playfair Jeremy Morris Helen Paterson Martin Gwilym-Jones Richard Milone Alicja Smietana VIOLIN II Jennifer Godson Fiona Brett Mark Butler Rebecca Scott-Smissen Sijie Chen Joanna Wronko VIOLA Fiona Bonds Alexandros Koustas Martin Humbey Matt Maguire CELLO Stephen Orton William Schofield Juliet Welchman Reinoud Ford DOUBLE BASS Lynda Houghton Benjamin Russell FLUTE Fiona Kelly Sarah Newbold Rebecca Larsen OBOE Tom Blomfield Rachel Ingleton CLARINET Fiona Cross Sarah Thurlow BASSOON Emily Hultmark Richard Skinner HORN Stephen Stirling Tim Caister Alexia Cammish James Shields TRUMPET Mark David William O’Sullivan TROMBONE Roger Harvey Andrew Cole David Stewart TIMPANI Adrian Bending ADMINISTRATION MUSIC DIRECTOR Joshua Bell FOUNDING PRESIDENT Sir Neville Marriner CH, CBE PRINCIPAL GUEST CONDUCTOR Murray Perahia KBE LEADER/DIRECTOR Tomo Keller STAFF Chief Executive Alan Watt Director of Concerts Alison Tedbury Concerts and Tours Manager Richard Brewer Orchestra Manager (USA Tour) Nigel Barratt Concerts and Participation Assistant Hattie Rayfield Librarian Katherine Adams Learning and Participation Producer Charlotte O’Dair Director of Development Andrew McGowan Development Manager Amy Scott Marketing Manager Fiona Bell PR Consultant Rebecca Driver Media Relations Shervin Lainez 13 For Opus 3 Artists David V. Foster, President & CEO Leonard Stein, Senior Vice President, Director, Touring Division Robert Berretta, Vice President, Manager, Artists & Attractions Tania Leong, Associate, Touring Division Grace Hertz, Assistant, Artists & Attractions Kay McCavic, Company Manager