Program Book — CAMA Presents Les Violons du Roy with Avi Avital — Tuesday, October 19, 2021 — Lobero Theatre, Santa Barbara, 7:30PM

Presenting the world’s finest classical artists since 1919
CAMA'S 2021/2022 SEASON
103 rd CONCERT SEASON
JONATHAN
COHEN
Music Director and conductor
AVI
AVITAL
mandolin
Tuesday, October 19, 2021, 7:30PM
Lobero Theatre, Santa Barbara
Photo by Zohar Ron
Exclusive Concert Sponsor:
MARTA BABSON
COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC.

Presenting the world’s finest classical artists since 1919
2022 SEASON 103 rd CONCERT SEASON
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Jordi Savall
Benjamin Grosvenor
Isabel Bayrakdarian
James Ehnes
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JORDI SAVALL
AND LE CONCERT
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Jordi Savall, Director & bass viol
MAY
24
TUE, 7:30PM
2022
JAMES
EHNES, violin
ORION
WEISS, piano
MARCH
18
FRI, 7:30PM
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APRIL
23
SAT, 7:30PM
2022
BENJAMIN
GROSVENOR, piano
ISABEL
BAYRAKDARIAN, soprano
MARK FEWER, violin
JAMIE PARKER, piano
Santa Barbara COVID-19
Live Event Requirement
Lobero Theatre and Granada Theatre
For all concerts in our 103rd Season, CAMA will be
following the Granada Theatre and Lobero Theatre’s
COVID‐19 Live Event Requirement. All events are
subject to State, County, and other governmental
agency COVID‐19 pandemic mandates and regulations
covering indoor live events. In an effort to create the
safest possible environment for guests, patrons of all
ages must show proof of being fully vaccinated or
supply a negative COVID‐19 medical test result (taken
within 72 hours prior to the concert), along with an
official photo identification, before entering the Lobero
Theatre. Over‐the‐counter COVID‐19 tests will not
be accepted. Masks are currently required indoors,
regardless of vaccination status. Protocols are subject
to change with local, State and national guidelines;
please check venue websites for up‐to‐date
information. This policy applies to venue and presenter
staff, audience members and performers.
COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA

Presenting the world’s finest classical artists since 1919
BOARD OF DIRECTORS
(As of October 1, 2021)
ROBERT K. MONTGOMERY
Chairman
DEBORAH BERTLING
Vice Chair and President, Women's Board
Rosalind Amorteguy-Fendon
Marta Babson
Bitsy Becton Bacon
Isabel Bayrakdarian
Edward E. Birch
Andy Chou
Stephen Cloud
NancyBell Coe
Bridget Colleary
Joan Crossland
Jill Felber
JAN BOWLUS
Vice Chair
WILLIAM MEEKER
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CHRISTINE EMMONS
Secretary
Raye Haskell Melville
Judith L. Hopkinson
Elizabeth Karlsberg
Frank E. McGinity
George Messerlian
Patti Ottoboni
Craig A. Parton
Carl Perry
Michele Saltoun
Judith F. Smith
Emeritus Directors
(As of October 1, 2021)
Robert J. Emmons
Arthur R. Gaudi
James H. Hurley, Jr.
Herbert J. Kendall
Sara Miller McCune
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Russell S. Bock*
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Robert Light*
Mrs. Frank R. Miller, Jr.*
Mary Lloyd Mills*
Mrs. Ernest J. Panosian*
Kenneth W. Riley*
Andre Saltoun*
Jan Severson*
* Deceased
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Mark E. Trueblood
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Elizabeth Alvarez
Director of Development
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Photo by Nell Campbell
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Presenting the world’s finest classical artists since 1919
CAMA Presents
JONATHAN
COHEN
Music Director and conductor
AVI
AVITAL
mandolin
Tuesday, October 19, 2021, 7:30PM
Lobero Theatre, Santa Barbara
ANTONIO VIVALDI (1678–1741)
Mandolin Concerto in C Major, RV 425
Allegro
Largo
Allegro
Avi Avital, mandolin
JOHANN SEBASTIAN BACH (1685–1750)
(COMPLETED BY BERNARD LABADIE AFTER DAVITT MORONEY)
The Art of the Fugue, BWV 1080 (excerpts)
Contrapunctus I
Contrapunctus IV
Contrapunctus VII
Contrapunctus IX
Contrapunctus XIV
BACH (ARR. FOR SOLO MANDOLIN BY AVI AVITAL)
Violin Concerto No.1 in A Minor, BWV 1041
[Allegro]
Andante
Allegro assai
Avi Avital, mandolin
INTERMISSION
VIVALDI (ARR. FOR SOLO MANDOLIN BY AVI AVITAL)
Concerto for Lute and Two Violins in
D Major, RV 93
Allegro
Largo
Allegro
Avi Avital, mandolin
VIVALDI
Concerto Grosso in G minor, Op.3, No. 2,
RV 578
Adagio e spiccato
Allegro
Larghetto
Allegro
BACH (ARR. FOR SOLO MANDOLIN BY AVI AVITAL)
Harpsichord Concerto No.1 in D Minor,
BWV 1052
Allegro
Adagio
Allegro
Avi Avital, mandolin
CAMA’s Exclusive Concert Sponsor: MARTA BABSON
Les Violons du Roy would like to thank the Conseil des arts et des lettres du Québec, Canada Council
for the Arts and the Government of Canada for their support.
North American Management for Mr. Avital and Exclusive Tour Management for Les Violons du Roy:
Opus 3 Artists, 470 Park Avenue South, 9th Floor North, New York, NY 10019
www.opus3artists.com
Harpsichord provided by Curtis Berak
Program subject to change.
Please switch off all cellular phones, watch alarms and other signals during the performance. The photographing or
sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
5 CAMA'S 103 RD CONCERT SEASON

Photo by Christoph Kîstlin For DG

“Much as Andrés Segovia
brought the classical guitar
into the concert hall, the
Israeli virtuoso Avi Avital
is doing the same with
the mandolin.”
—Los Angeles Times
Photo by Christoph Kîstlin For DG
AVI AVITAL
mandolin
The first mandolin soloist to be nominated
for a classical Grammy ® , Avi Avital has
been compared to Andres Segovia for his
championship of his instrument and to
Jascha Heifitz for his incredible virtuosity.
Passionate and “explosively charismatic”
(New York Times) in live performance, he is
a driving force behind the reinvigoration of
the mandolin repertory.
Avital’s wide-ranging repertoire and
inventiveness have led to collaborations
with musicians including Ksenija Sidorova,
Giovanni Sollima, Mahan Esfahani, Kristian
Bezuidenhout, Alice Sara Ott, Andreas
Scholl, Dover Quartet, New Danish Quartet,
Brooklyn Rider, Omer Klein (jazz piano),
Omer Avital (oud/bassist), actress Martina
Gedeck and Georgian puppet theatre, Budrugana
Gagra. He has been showcased
as a “Portrait Artist” with residencies at the
Schleswig-Holstein Music Festival, BOZAR
in Brussels and the Dortmund Konzerthaus
(Zeitinsel) and is a regular presence at major
festivals such as Aspen, Salzburg, Tanglewood,
Spoleto, Ravenna, MISA Shanghai,
Cheltenham, Verbier and Tsinandali.
Avital has commissioned over 100
new works for the mandolin adding new
concertos to the repertoire by Anna Clyne,
Avner Dorman and Giovanni Sollima and
chamber pieces by David Bruce and Elena
Kats-Chernin amongst others. Last season
7 CAMA'S 103 RD CONCERT SEASON

he gave the world premiere of Jennifer Higdon’s
Mandolin Concerto with the Munich
Philharmonic Orchestra under the baton of
Krzysztof Urbanski.
An exclusive Deutsche Grammophon
artist, his sixth album for the label The Art
of the Mandolin was released this season
and follows recordings of solo Bach (2019),
Avital meets Avital (2017) with oud/bassist
Omer Avital, Vivaldi (2015), an album of
Avital’s own transcriptions of Bach concertos
and Between Worlds (2014), a crossgeneric
chamber collection exploring the
nexus between classical and traditional
music. He has also recorded for Naxos and
SONY Classical.
Avital is highly in demand also as a
concerto soloist and has performed with
orchestras all over the world working with
conductors such as Zubin Mehta, Kent Nagano,
Osmo Vänskä, Yutaka Sado, Jonathan
Cohen, Nicholas McGegan, Omer Meir
Wellber, Ton Koopman and Giovanni Antonini.
Engagements include the Zurich Tonhalle
Orchestra, BBC Symphony Orchestra,
Orchestra dell’Accademia Nazionale di Santa
Cecilia, Deutsche Symphonie Orchester
Berlin, Orchestre National de Lyon, Maggio
Musicale Fiorentino, Israel Philharmonic,
Yomiuri Nippon Symphony, Residentie Orkest
and the Norwegian Radio Orchestra.
He tours 2-3 times each season in the USA
working with orchestras including the Chicago
Symphony Orchestra, Los Angeles
Chamber Orchestra, Seattle Symphony, Baltimore
Symphony, Les Violons du Roy, Orpheus
Chamber Orchestra and The Knights.
“The words 'superstar'
and 'mandolinist' still
look odd next to each
other. Yet in the classical
world they are starting
to be joined with some
frequency…. Avi Avital
was nothing short
of electric.”
—The New York Times
Born in Be’er Sheva in southern Israel,
Avital began learning the mandolin at the
age of eight and soon joined the flourishing
mandolin youth orchestra founded and
directed by his charismatic teacher, Russian-born
violinist Simcha Nathanson. He
studied at the Jerusalem Music Academy
and the Conservatorio Cesare Pollini in
Padua with Ugo Orlandi. Winner of Israel’s
prestigious Aviv Competition in 2007,
Avital is the first mandolinist in the history
of the competition to be so honored. He
plays on a mandolin made by Israeli luthier
Arik Kerman.
Instrument: Arik Kerman (1998)
Strings: Thomastik-Infeld (154, Medium)
8 CAMA'S 103 RD CONCERT SEASON

Photo by Atwood Photographie
LES VIOLONS DU ROY
Les Violons du Roy takes its name from the
celebrated court orchestra of the French
kings. It was founded in 1984 by Bernard
Labadie, now styled founding conductor,
and continues under music director Jonathan
Cohen to explore the nearly boundless
repertoire of music for chamber orchestra
in performances matched as closely
as possible to the period of each work’s
composition. Its minimum fifteen-member
complement plays modern instruments,
albeit with period bows for Baroque and
Classical music, and its interpretations are
deeply informed by the latest research on
seventeenth- and eighteenth-century performance
practice. The repertoire of the
nineteenth and twentieth centuries receives
similar attention and figures regularly on
the orchestra’s programs.
Les Violons du Roy has been a focal
point of Québec City’s musical life since it
was founded in 1984, and in 1997 it reached
out to enrich the cultural landscape of Montréal
as well. In 2007, the orchestra moved
into its permanent home base in Québec
City’s Palais Montcalm while continuing
to build on the worldwide reputation it has
acquired in countless concerts and recordings
carried by medici.tv, Radio-Canada,
CBC, and NPR along with regular appearances
on the festival circuit. Les Violons
du Roy has performed dozens of times
9 CAMA'S 103 RD CONCERT SEASON

throughout Canada as well as in Germany,
the U.K., Austria, Belgium, Brazil, China,
Colombia, Ecuador, South Korea, Spain,
the United States, France, Israel, Morocco,
Mexico, Norway, the Netherlands, Slovenia,
and Switzerland, in collaboration with
such world-renowned soloists as Magdalena
Kožená, David Daniels, Vivica Genaux,
Alexandre Tharaud, Ian Bostridge, Emmanuel
Pahud, Stephanie Blythe, Marc-André
Hamelin, Philippe Jaroussky, Anthony Marwood,
Isabelle Faust, Julia Lezhneva and
Anthony Roth Costanzo. The orchestra has
performed at the Berlin Philharmonie and
iconic venues in London, Paris, and Brussels,
with two performances on invitation
at the Concertgebouw in Amsterdam.
Since Les Violons du Roy’s first trip to
Washington, D.C., in 1995, its U.S. travels
have been enriched with numerous and
regular stops in New York, Chicago, and
Los Angeles. Its ten appearances at Carnegie
Hall include five with La Chapelle de
Québec featuring the Messiah, the Christmas
Oratorio, and the St. John Passion under
Bernard Labadie, founder and music
director of the choir, and another featuring
Dido and Aeneas under Richard Egarr.
Walt Disney Concert Hall in Los Angeles
has hosted the orchestra three times, once
with La Chapelle de Québec in the Messiah,
again under Bernard Labadie. Les Violons
du Roy is represented by Opus 3 Artists and
Askonas Holt.
The thirty-six recordings released
thus far by Les Violons du Roy have been
met with widespread critical acclaim. The
twelve released on the Dorian label include
Mozart’s Requiem with La Chapelle de Québec
(Juno Award 2002) and of Handel’s
Apollo e Dafne with soprano Karina Gauvin
(Juno Award 2000). Since 2004, a dozen
more have appeared through a partnership
between Les Violons du Roy and Quebec’s
ATMA label, including Water Music (Félix
Award 2008), and Piazzolla (Juno Award
2006). Further recordings on Erato, Naïve,
Hyperion, Analekta, and Decca Gold
include Vivica Genaux, Truls Mørk, Marie-
Nicole Lemieux, Alexandre Tharaud, Marc-
André Hamelin, Valérie Milot, Anthony Roth
Costanzo (Grammy Award 2019 nomination)
and Charles Richard-Hamelin (Juno
Award 2020 nomination).
Photo by Atwood Photographie
10 CAMA'S 103 RD CONCERT SEASON

Photo by Marco Borggreve
JONATHAN COHEN
Music Director, Les Violons du Roy
Jonathan Cohen has forged a remarkable
career as a conductor, cellist and keyboardist.
Well known for his passion and
commitment to chamber music Jonathan
is equally at home in such diverse activities
as baroque opera and the classical
symphonic repertoire. He is Artistic Director
of Arcangelo, Music Director of Les
Violons du Roy, Artistic Director of Tetbury
Festival and Artistic Partner of Saint Paul
Chamber Orchestra.
During the 20-21 season he returned
to Orchestra of the Age of Enlightenment
(BBC Proms) and Handel and Haydn Society.
He makes his debut at Staatsoper
Berlin performing Orfeo with Freiburger
Barockorchester and Vocalconsort Berlin
in a production by Sasha Waltz Company.
Other debuts include Kobe City Chamber
Orchestra and Barcelona Symphony Orchestra
and he continues his fruitful collaboration
in Quebec with Les Violons du Roy.
Jonathan founded Arcangelo in 2010,
who strive to perform high quality and specially
created projects. He has toured with
them to exceptional halls and festivals
including Wigmore Hall London, Philharmonie
Berlin, Kölner Philharmonie, Vienna
Musikverein, Salzburg Festival and Carnegie
Hall New York. They made their Proms
debut at the Sam Wanamaker Playhouse in
2016 and returned to the Proms in 2018 to
present Theodora to a sold-out Royal Albert
Hall. They continue with a busy recording
schedule to continued acclaim with recent
releases such as Arianna with Kate Lindsey
on Alpha records and Grammy nominated
Buxtehude trio sonatas.
11 CAMA'S 103 RD CONCERT SEASON

An historic treasure
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50 Guest Rooms & Suites

Photo by Vladimir Ovchinnikov
Bach Monument, Leipzig, created by Carl Seffner in 1908
NOTES ON THE PROGRAM
By Howard Posner
Antonio VIVALDI:
Mandolin Concerto in C Major, RV 425
In Vivaldi’s day the word mandolino referred
to two different instruments. One was a soprano
lute, with pairs of gut strings tuned
more or less in fourths and played with the
right-hand fingers, and gut frets tied onto
the neck like a lute’s. The other was essentially
the modern mandolin, with four
pairs of metal strings tuned to the same
pitches as the violin’s four strings and
played with a plectrum, and metal frets set
into the neck like the modern guitar’s. We
don’t know which instrument Vivaldi meant
when he mandolino, and these days both
instruments are used for Vivaldi’s mandolin
music. It’s possible that Vivaldi himself regarded
the two instruments as interchangeable.
It’s also possible that Vivaldi played
the metal-strung instrument; the similarity
in tuning makes it a natural second instrument
for violinists, and nearly every large
orchestra has someone in the violin section
who can play the mandolin part in Mahler’s
Seventh Symphony.
13 CAMA'S 103 RD CONCERT SEASON

Vivaldi’s concerto for solo mandolin
and strings probably dates from the 1720’s,
when Vivaldi was travelling constantly, performing
concerts and producing his operas.
He had left his position as violin teacher at
the orphanage/convent/music school/concert
venue Ospedale della Pietà, but was
still under contract to send back two concertos
a month for one gold ducat apiece.
Beneath the title on Vivaldi’s manuscript,
there is a note that the bowed strings
can play pizzicato throughout (“Si può ancor
fare con tutti gli violini pizzicati”). Playing
without bows, which seems to be the
most popular way to play it these days,
gives the concerto a delicate texture that
the mandolin can dominate.
Johann Sebastian BACH:
Excerpts from The Art of Fugue, BWV 1080
The Art of Fugue was Bach’s last major
project, and he didn’t quite finish it. The
idea was to compose a series of fugues
and canons all based on the same thematic
subject, which could be varied through all
the devices that were part of every composer’s
education in counterpoint, such
as turning it upside down or backward, or
augmenting or diminishing the length of its
notes. Bach wrote most of them in “open
score,” with each voice given its own staff,
making it look like music for an ensemble,
although it was not unusual in Bach’s day
to write keyboard or organ music in open
score. Today the Art of Fugue is performed
on all sorts of keyboards and by all sorts of
instrumental combinations.
Bach never finished the fugue called
Contrapunctus XIV (the word “contrapunctus”
does not appear in Bach’s manuscript,
in which most of the fugues are untitled;
the labels may have been added by his son
Carl Phillipp Emanuel, or by the publisher of
the posthumous 1751 edition). It is a Fuga
a 3 Soggetti ("fugue in three subjects") that
stops after 238 measures, at which point
in the manuscript Carl Phillipp Emanuel
wrote, “At the point where the composer
introduces the name BACH [BH–A–C–BJ
for non-Germans] in the countersubject to
this fugue, the composer died.” The image
of Bach dropping dead over the score, quill
in hand, is dramatic, but probably fantasy.
Carl Phillipp Emanuel was more than 100
miles away in Berlin, where he worked for
Frederick the Great, when his father died,
and would have had no particular knowledge
about what happened.
There have been numerous completions
of the unfinished triple fugue over the
centuries, so many that one scholar wrote
a thesis arguing that Bach deliberately left
it unfinished as a sort of final exercise in a
counterpoint textbook.
BACH, arr.AVITAL:
Violin Concerto in A Minor, BWV 1041
The only extant evidence for the A minor Violin
Concerto in Bach’s handwriting is a set
of parts from around 1730, when he was director
of music in the churches of Leipzig,
and had recently taken over the directorship
14 CAMA'S 103 RD CONCERT SEASON

Vivaldi c.1723, Anonymous Painter
of a Collegium Musicum that gave concerts
in a local coffeehouse. But the concerto
may have been composed a decade earlier,
when Bach was Capellmeister at the court
of the Duke of Anhalt-Cöthen, the only time
in his half-century professional career that
he was not employed in making music for
Lutheran church services.
Most concertos are a bit like a conversation
between soloist and orchestra, with
the soloist elaborating on thoughts the orchestra
introduces. This one is remarkable
for how the soloist and orchestra talk almost
entirely about different things, without
sharing thematic material. The assertive
theme that starts the first movement never
appears in the solo episodes. Nor does the
orchestra ever play the yearning theme that
the first solo introduces. The rolling theme
in the bass, cello, and continuo that begins
the slow movement, and recurs throughout
it, disappears during the solo episodes,
as do the bass, cello, and continuo themselves,
leaving the violas as the bottom of
the ensemble. Not until the last phrase of
the movement do all the elements come together
and all the instruments play at the
same time. The finale combines the rhythm
and feel of the jig (the traditional last movement
of the Baroque suite) with the fugue,
the tutti passages corresponding to the fugal
expositions.
VIVALDI, arr.AVITAL:
Lute Concerto in D Major, RV 93
Vivaldi’s Concerto in D, RV 93, for lute, two
violins and continuo, became one of his biggest
hits in the 20th century when guitarists
appropriated it, the dreamlike slow movement
becoming a particular radio favorite.
On the mandolin it has to be played an octave
higher than it would sound on a lute, so
that the solo part is often in unison with the
first violin part. Oddly enough, there was a
time (mostly the 1980s) when cutting-edge
lute scholarship held that playing the solo
part in the upper octave pitch was precisely
what Vivaldi intended, and indeed the visual
evidence of the music on the page suggested
a solo instrument—the gut-strung
mandolino—sounding at violin pitch. Opinion
changed when the tradition of concerted
music with lute, in which the lute often
doubled the violin part an octave down in
tutti passages, became better understood.
The concerto works with the solo part at
either octave.
15 CAMA'S 103 RD CONCERT SEASON

VIVALDI:
Concerto Grosso in G Minor, Op.3, No.2,
RV 578
The 1711 publication of his 12-concerto
opus 3, L'Estro Armonico, confirmed Vivaldi
as an international star, and established
the three-movement Vivaldi concerto as
a competitor, and eventual supplanter, of
the multi-movement Corellian concerto
grosso. Vivaldi was cutting-edge, and other
prominent composers, most notably Bach,
studied and adopted Vivaldi's techniques.
Bach was particularly enamored of the concertos
in L'Estro Armonico, getting inside the
music by arranging them for harpsichord(s)
and organ.
The G minor concerto, with two solo
violins and a cello that occasionally takes
a soloistic turn, offered plenty of headturning
moments for his contemporaries:
the vigorous chains of dissonances that begin
it, the surprising turns of harmony, and
the brusque chords and dramatic silences
of the second movement would have been
startling in 1711.
BACH, arr.AVITAL:
Keyboard Concerto in D Minor, BWV 1052
As a rule, Bach did not compose concertos
for keyboard instruments. With only two
likely exceptions his 15 concertos for harpsichord,
alone or with other instruments, are
thought to be reworkings of works for other
instruments. His purpose in refashioning
them is not clear, but he likely used them
as training and performance vehicles for
his own children and young players in the
Leipzig Collegium Musicum.
Some of the models from which Bach
fashioned his harpsichord concertos are
available: extant concertos by Vivaldi, or
concerto and cantata movements by Bach
himself. In other cases the original is lost.
Where a harpsichord concerto is from a
known model, scholars have observed that
Bach used the entire range of the original
solo instrument, and turned the original solo
part into right‐hand harpsichord part without
changing its range or key. This makes it
easy to deduce the original solo instrument
for a concerto that now exists only in keyboard
form. In the D‐minor harpsichord concerto
the right hand descends consistently
to G below middle C and no lower, which is
a fairly solid indication that it is a converted
violin part. This makes it doubly natural for
the mandolin, an instrument tuned like a
violin but with wire strings plucked with a
plectrum like a harpsichord.
The D‐minor concerto is Bach doing
Vivaldi: the statements of the theme in
unharmonized octaves that begin the first
two movements, the aggressive cast of the
themes in the outer movements, and the
solo episodes accompanied without bass,
are typical Vivaldi touches.
16 CAMA'S 103 RD CONCERT SEASON

US Tour with Avi Avital
Conductor and
Harpsichord
Jonathan Cohen
1st Violin
Pascale Giguère
Nicole Trotier
Pascale Gagnon
Noëlla Bouchard
2nd Violin
Marie Bégin
Angélique Duguay
Michelle Seto
Maud Langlois
Viola
Isaac Chalk
Annie Morrier
Jean-Louis Blouin
Cello
Benoît Loiselle
Raphaël Dubé
Double Bass
Raphaël McNabney
MANAGEMENT
Joint Executive
Director and Artistic
Administrator
Laurent Patenaude
Joint Executive
Director – Director
of Administration
Patrice Savoie
FOR OPUS 3
ARTISTS
President & CEO
David V. Foster
Manager, Artists
& Attractions
Sarah Gordon
Associate &
Company Manager
Grace Hertz
www.violonsduroy.com
www.facebook.com/violonsduroy
Photo by Atwood Photographie

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