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October 28, 2018—LA Phil—CAMA's Centennial Season—Opening Night—International Series at The Granada Theatre, Santa Barbara

SUNDAY, OCTOBER 28, 2018 RED CARPET RECEPTION—3:00 PM CONCERT—4:00 PM Los Angeles Philharmonic Paolo Bortolameolli, conductor Jean-Yves Thibaudet, piano Two of the nation’s most prestigious classical music institutions come together to mark a shared Centennial as CAMA opens its 100th anniversary season with a performance by the dynamic Los Angeles Philharmonic, which is also celebrating its own century of excellence in 2018/2019, having performed well over 250 concerts in Santa Barbara for CAMA over the past century. Maestro Paolo Bortolameolli will conduct a program of Beethoven’s Symphony No.5 and Saint-Saëns’s Piano Concerto No.5 with international superstar pianist and local favorite Jean-Yves Thibaudet at the piano. PROGRAM: Camille Saint-Saëns: Piano Concerto No.5 in F Major, Op.103, “Egyptian” Ludwig van Beethoven: Symphony No.5 in C minor, Op.67 Red Carpet Reception All ticket holders for the Los Angeles Philharmonic concert are invited to CAMA’s Red Carpet Reception from 3:00 PM–4:00 PM on October 28, one hour prior to the concert. Complimentary wine, Champagne and light refreshments will be served in the lobby and in the McCune Founders Room. The event will feature exhibits of CAMA’s 100-season history, a CAMA historical video presentation, and more. Come join us as we inaugurate CAMA’s Centennial Season!

SUNDAY, OCTOBER 28, 2018
RED CARPET RECEPTION—3:00 PM
CONCERT—4:00 PM

Los Angeles Philharmonic
Paolo Bortolameolli, conductor
Jean-Yves Thibaudet, piano
Two of the nation’s most prestigious classical music institutions come together to mark a shared Centennial as CAMA opens its 100th anniversary season with a performance by the dynamic Los Angeles Philharmonic, which is also celebrating its own century of excellence in 2018/2019, having performed well over 250 concerts in Santa Barbara for CAMA over the past century. Maestro Paolo Bortolameolli will conduct a program of Beethoven’s Symphony No.5 and Saint-Saëns’s Piano Concerto No.5 with international superstar pianist and local favorite Jean-Yves Thibaudet at the piano.

PROGRAM:
Camille Saint-Saëns: Piano Concerto No.5 in F Major, Op.103, “Egyptian”
Ludwig van Beethoven: Symphony No.5 in C minor, Op.67
Red Carpet Reception
All ticket holders for the Los Angeles Philharmonic concert are invited to CAMA’s Red Carpet Reception from 3:00 PM–4:00 PM on October 28, one hour prior to the concert. Complimentary wine, Champagne and light refreshments will be served in the lobby and in the McCune Founders Room. The event will feature exhibits of CAMA’s 100-season history, a CAMA historical video presentation, and more. Come join us as we inaugurate CAMA’s Centennial Season!

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Symphony No.5 in C minor, Op.67<br />

LUDWIG VAN BEETHOVEN<br />

(1770-1827)<br />

Composed: 1807-1808<br />

Orchestr<strong>at</strong>ion: piccolo, 2 flutes, 2 oboes,<br />

2 clarinets, 2 bassoons, contrabassoon,<br />

2 horns, 2 trumpets, 3 trombones, timpani,<br />

and strings<br />

Length: c.30 minutes<br />

First Los Angeles performance:<br />

November 7, 1919, Walter Henry Rothwell<br />

conducting<br />

Beethoven began work on the<br />

Fifth Symphony shortly after<br />

completing the Third; in fact,<br />

ideas th<strong>at</strong> he used in the Fifth and Sixth Symphonies<br />

already had appeared in his sketchbook<br />

for the Third. He stopped work on it in<br />

1806 to write wh<strong>at</strong> then became his Fourth<br />

Symphony. (He also completed the Fourth<br />

Piano Concerto, the Violin Concerto, the Triple<br />

Concerto, the Mass in C, and the opera Fidelio<br />

while working on the Fifth Symphony.) When<br />

he resumed work on the Fifth, it was in tandem<br />

with a new symphony, the “Pastoral.” Both<br />

symphonies had their first performances December<br />

22, 1808, on an ill-f<strong>at</strong>ed mega-concert<br />

th<strong>at</strong> also included vocal pieces as well as the<br />

premieres of the Choral Fantasy and Piano<br />

Concerto No. 4, with the composer in his last<br />

public appearance as soloist.<br />

Perhaps concision is harder than expansion.<br />

Where the Third Symphony exploded the<br />

dimensions of the genre toward an almost<br />

geographical horizon, the Fifth compresses<br />

all of those interlocking advances of form and<br />

content into a much more compact space.<br />

<strong>The</strong> first movement is the shortest in all<br />

of Beethoven’s symphonies, fully energized<br />

by th<strong>at</strong> famous four-note opening. This fournote<br />

rhythmic motif was an obsession for<br />

the composer <strong>at</strong> the time, appearing in other<br />

works and running through this one, sometimes<br />

clearly on the surface, other times insinu<strong>at</strong>ed<br />

deep in the texture.<br />

<strong>The</strong> second movement is a set of vari<strong>at</strong>ions<br />

on two themes. <strong>The</strong> first is a sweet song<br />

for the violas and cellos; the second transforms<br />

th<strong>at</strong> song into a swaggering march<br />

th<strong>at</strong> brings in the trumpets and timpani, seldom<br />

heard in classical-era slow movements.<br />

<strong>The</strong> scherzo brings the rhythmic motto back<br />

into the foreground, only to disappear in an<br />

almost comical fugue.<br />

Beethoven linked the scherzo to the finale<br />

with an astonishing transition th<strong>at</strong> gener<strong>at</strong>es<br />

enormous anticip<strong>at</strong>ion over the insistent timpani.<br />

It bursts into blazing light with the finale<br />

and its grandly sweeping aspir<strong>at</strong>ions, where<br />

Beethoven expands the sonic range of the<br />

orchestra with the introduction of piccolo,<br />

three trombones, and contrabassoon for the<br />

first time in the symphonic liter<strong>at</strong>ure. He caps<br />

this heroic apotheosis with a monumentally<br />

triumphant coda. n —John Henken<br />

CAMA AT THE GRANADA THEATRE - LOS ANGELES PHILHARMONIC<br />

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