Nir’s NotesDear Music lovers,

I am very happy to welcome back to our stage, the versatile violin virtuoso and former Concertmaster of the Santa

Barbara Symphony, Gilles Apap.Gilles will perform with the orchestra Aram

Khachaturian’s colorful Violin Concerto, a piece dedicated to the great Russian violinist David Oistrakh, which became one of the standard pieces in the 20th century violin repertoire.

Prior to the Khachaturian, Gilles will play with us the world premiere of the Violin Concertino by Santa Barbara composer— Robin Frost.

Modest Mussorgsky’s Pictures at an Exhibition —one of the most brilliant and popular Symphonic works ever written, was born actually as a piano piece. The Russian composer wrote his piano work as a memory for his close friend — painter and architect—Viktor Hartmann, but this original piano score was published only 5 years after the composer’s death. While this piano version woke only little interest among pianists, over two dozen composers were obsessed with orchestrating it— quite a rare phenomenon! By far, the most famous orchestration is by Maurice Ravel, capturing, with a master technique, the mood of each piece from exquisite delicacy, profound atmosphere, to the glorious ending.

Musically yours,

Nir KabarettiMusic and Artistic Director

Join Ramón Araïza for “Music Behind the Music” beginning one hour before each concert! Sponsored by Marlyn Bernard Bernstein

The Santa Barbara Symphony2 0 1 0 - 2 0 11 S E A S O N

March 19-20, 2011Nir Kabaretti, Conductor

Gilles Apap, Violin

FROST ConcertinoforSoloViolin (b.1930) andOrchestra Moderate—Cadenza Slow—Cadenza Fast

World Premiere

KHACHATURIAN ViolinConcertoinDminor (1903-1978) Allegroconfermezza Andantesostenuto Allegrovivace

— INTERMISSION —

MUSSORGSKY Pictures at an Exhibition (1839-1881) Promenade—TheGnome arr.Ravel Promenade—TheOldCastle (1875-1937) Promenade—Tuileries Bydlo Promenade—BalletoftheChicksin TheirShells SamuelGoldenbergandSchmuyle TheMarketplaceatLimoges— Catacombs,RomanTombs CumMortuisinLinguaMortua TheHutonFowl’sLegs— TheGreatGateofKiev

On the UpbeatMARCH2011•VOLUME4,EDITION5

Frank and Amanda Clark Frost

ARTIST SPONSORS MEDIA SPONSORS

CONCERT SPONSOR

Gilles Apap violinIbeganplayingtheviolinattheageofsevenwithnodesirewhatsoever.Startedagainat

ninewitha littlemoredesire thanks tomydearGabyGaglio,of theNiceConservatory,mydearDedeRobert,afriendofthefamily,mydearVedaReynoldsattheLyonConservatoryandofcourse,Marie-ClaudeApap,mycreatress,whobroughtmewithoutmyrequest,onPlanetEarth.But I thankher for it.Soanyway, these teachers taughtmehow toplaySevcikandKreutzeralmostintuneandconcertoswithvibratooneverynote,almostintune.Atthesametime, I listened to the late,greats—Fritzi,YehudiandZino.Learnedmoreaboutcrusty,oldJaschathroughthegreatNinaBodnar.

Istartedplayingthefiddleattheageoftwenty-six.Betterlatethannever.Ittookmeseventeenyearstorealize(withallduerespecttodeadcomposers),thattherewassomethingouttherethatcould

openmythirdeyeandallmychakras—FolkMusic.Ihadlistenedtoalittlebitofjazz,blues,swingandgypsymusicbefore,butneverheardthesoundsofTommyJarrell,KevinBurke,BillMonroe,Ramanujam,hissonBalaji,andDennisMcGee.

Thenthereweremytravelingbuddies.ThegreatJimmieWimmer,whotaughtme‘TheCumberlandGap’andsomeIrishtunesforfreeandmyotherbuddyPhilSalazarwhochargedme$27.48foranhourofbluegrass,recorded‘SallyGooden’forme,andclaimsIaskedhimhowtoplaydirtylikehim.Onmy27thbirthday,(whichwasthe21stofMay,1963inBougie,Algeria)PhilbroughtmetomyfirstgrouptherapyattheStrawberryMusicFestivalinYosemite,whichcuredmefromallminddiseasesthatIhadcontractedinFrenchconservatoriesandAmericaninstitutesovertheyears.IlistenedtomyfriendsKenandJeannieKeplerwho,aswellasplayingCajuntunes,gotintothisgoodandgroundedtraditionalNewMexicanfiddlemusicoftheGuachiIndians.PeterFeldman,well,webothgotdivorcedataboutthesametime.HecookedmesomegoodpeasoupandaskedifIcouldplay‘DixieBreakdown.’

Thenwhathappened?Well,Istillhavethislovefortheselivinganddeadclassicalcomposers.YehudiMenuhinwrotesomethingtome.Ifmylifedependedonit,Icouldn’tputaphraselikethattogether.Sohereitis.

Ihopeyoulikeit.GillesApap“Thedifferentfolkloriquemusic,particularlythatofpeoplewho,sadly,areonthepathofextinction,it’suptous

toassimilateit,it’suptoustobeinspiredbywhatithastooffer,byitscharacteristics,andtograntthismusicanewresurgencebywayofthecreativeimaginationofmusicianswhoareabletoplayanything.Forme,youaretheexampleofamusicianofthe21stcentury.Yourepresentthedirectioninwhichmusicshouldevolve;ontheonehand,thepatrimonialrespectofthepreciousclassicalworks,presentingtheminthecorrectstyleandwiththeintensecommunicationthatwasappropriatetotheirtime;ontheotherhand,thediscoveryofcontemporary[popular]musicanditscreativeelement,notonlyintheimprovisation,butalsointheinterpretation.”

Robin Frost composerRobinFrostwasborninWashington,D.C.in1930intoafamilywithanappreciationoffine

music.Hisfather,thelateFrankJ.Frost,Sr.wasanamateurviolinistandmusicpatron.RobinBeganpiano lessonsat theageofsixwith thedistinguishedmusicians,MargaretTilly.Hesoonbegantoimproviselittlepiecesofhisownsotheoryandcompositionwereaddedtohisstudies.AtanearlyageheattendedSanFranciscoSymphonyconcerts,conductedbyPierreMonteux,anddevelopedhisloveoforchestralmusic.

Hismusicaleducationhas,forthemostpart,beenprivateinstructionandtutoring.Someofhis teachers includedDariusMilhaudat theMusicAcademyof theWestaswellasfilmscoringwithDavidRaksinatUSC.

Robinwasespecially fortunate tomeet the lateEricZeislwhowasawell-establishedcomposerinAustriabeforecomingtoLosAngeles.TheyearsofprivatestudywithZeisl,untilhisuntimelydeathin1995,taughthimnotonlymusicbutalsolessonsindedicationandthatonelearnsandimprovesbyproducing.

Asidefrompiano,Robinplaysotherinstruments.HestudiedviolinwithStefanKrayk,formerconcertmasteroftheSantaBarbaraSymphonyandplayed4thhornfortheSymphonyunderLaurisJonesinthe1950’s.

Robinhaswrittenorchestra,chamberandchoralworks,someofwhichhavewonprizesandmanyofwhichhavebeenperformedandwellreceived.Heregularlyworkedinthecommercialrecordingindustryasanarrangerandmusicdirector.ForthepastfewyearsRobinhasdevotedhistimealmostexclusivelytocomposing.

HislatestcompositionsincludeachamberworkforfourwindsandfourstringsandapieceforthereminandorchestrathatwasperformedbytheSantaBarbaraSymphony.

Robinismarriedandisalong-timeresidentofSantaBarbara.

ROBIN FROST (BORNIN1930)Concertino for Solo Violin and OrchestraComposedin1960-2010.WorldPremiere.Pairsofwoodwindsplusbassclarinetandaltosaxophone,twohorns,twotrumpets,twotrombones,timpani,glockenspiel,celesta,harpandstrings.Approximately14minutes.

The composer has kindly provided the following information for these performances:

IwasborninWashingtonD.C.onDecember13,1930.WemovedtoPaloAlto,California,whereIwentthroughallthegradesofschool fromKindergarten throughoneandahalfyearsofcollege,when Igotmarried thefirst time.Mygreatambitionwastobuildaboatandsailaroundtheworld,soIgotajobasacarpenter,buildinghouses.ThiswasinWoodsHole,Massachusetts,wherewespentsummers.Ijoinedthenavyin1951becauseofthewarandthenavysentmetoPt.Mugu.MymotherbeganlookingforaplacetoliveinSantaBarbara,whereInowlive.

WhileIwasinthenavyIusedtoplaythepianowhenonlibertyandpeoplesaidthingslike,“I’llbetyoucouldmakegoodmoneydoingthatontheoutside,”(meaningasacivilian)whichgraduallybegantosinkin,soupondischargeIjoinedthemusicians’unionandwashiredbyabandledbyRosy(JamesEugene)MacHargue,afinejazzclarinetist.Ihadlostmydesiretosailaroundtheworld,duetostandingwatchat3:00A.M.inthenavy.SailingalonemeantIwouldhavetoendurethoseearlymorninghours.OneofmybuddiesinthenavywasanaficionadoofBixBeiderbecke,oneofthemostfamouswhitejazzcornetistsinthe1920s,soItookupthecornet(verysimilartoatrumpet)andbeganapingBeiderbecke’smannerisms.IlearnedtoplaythecornetandpianoatthesametimeandplayedinabandinSantaBarbaradoingthat.However,socalled“serious”musicwasreallymygreaterinterest,soIretiredfromplayingjazzandcocktailpianoandspentmoretimewritingorchestralmusic.Ihavewrittenlotsofchambermusic:threeorfourstringquartets,asextet,anoctet,musicforbrass,aswellasmanyarrangementsofothermusic,andalsoconcertosforpianoandforhornandseveralsetsofvariationsfororchestra.Ihavealwaysbeeninterestedinwritingfororchestraandstudyingscoresofothercomposers,becausewhenIwasaboyIwastakeneveryweektoheartheSanFranciscoSymphony,directedbyPierreMonteux.Iamcurrentlysketchingthemesforasymphony.IworkveryslowlysoI,atpresent,havenoideaoftheformthesymphonywilleventuallytake.

IbeganwritingtheConcertinomanyyearsagobecauseIwasurgedtobyStefanKrayk,whoreadthroughtwomovementswithastudentorchestraatCal-Arts.[Warsaw-bornviolinistandconductorStefanKrayk(1914-1999)wasafounderoftheSantaBarbaraSymphony in1953, theensemble’sconcertmasteruntil1981,andProfessorofMusicat theUniversityofCaliforniaatSantaBarbarafrom1950to1977.]Iwasencouragedbythisreadingtoaddcadenzasandathirdmovement.ThetrombonethemeinthethirdmovementwasinspiredbyatriptoHawaiiduringahikeovertheHanakapiaitrailonthewesternmostislandofKauai,whenIlookedoutovertheseaandimaginedthefirstPolynesiansapproachingtheisland.Themelodysimplypoppedintomyhead.IputthisinmysketchbookandthendecidedthetrombonesmadeanicecontrasttotheviolinsoundlaterwhenIwaswritingtheConcertino.ThepiecestartsonA440andendsonA2octaveshigherinthesolofiddleaccompaniedbydiscordsintrumpetsandclarinets.The2ndmovementwhichstartsatbar88wasinspiredbyasimilartextureinBélaBartók’s2ndviolinconcerto,althoughmymelodyatthatpointiscompletelydifferentfromBartók’sandisplayedbyviolasandcellos.WhenIwasyoungGershwinandBartókweretwoofmyidols,althoughIwasfascinatedbyThe Rite of Springandstudiedthatscorealot.

IthankMaestroNirKabarettiandthetalentedSantaBarbaraSymphonymusiciansforperformingtheWorldPremiereofmyConcertinoforSoloViolinandOrchestra.And,IamhonoredtohavemypieceplayedbyaviolinistofthestatureofGillesApap.

Notes

ARAM KHACHATURIAN (1903-1978)Violin Concerto in D minorComposedin1940.PremieredonNovember16,1940inMoscow,withDavidOistrakhassoloist.Piccolo,twoflutes,twooboes,Englishhorn,twoclarinets,twobassoons,fourhorns,threetrumpets,threetrombones,tuba,timpani,percussion,harpandstrings.Approximately32minutes

AramKhachaturianwasoneoftheleadingcomposersoftheSovietUnionandthemostcelebratedmusicianofhisnativestateofArmenia.WhenhearrivedinMoscowin1921fromhishometownofTbilisi,hehadhadvirtuallynoformaltraininginmusic,buthistalentwassoonrecognized,andhewasadmittedtotheacademyofMikhailGnessin,astudentofRimsky-Korsakov.Khachaturian’sfirstpublishedworksdatefrom1926;threeyearslaterheenteredtheMoscowConservatory.HisinternationalreputationwasestablishedwiththesuccessofthePianoConcertoin1936,composedatthesametimethathebecameactiveinthenewlyfoundedUnionofSovietComposers,ofwhichhewaselectedDeputyChairmanoftheMoscowbranchin1937andDeputyPresidentoftheNationalOrganizingCommitteetwoyearslater.In1939,hereturnedtoliveforsixmonths inArmenia,wherehe immersedhimself in the folkmusicofhisboyhoodhome inpreparation forcomposingthe balletHappiness. Boris Schwarz noted that the composer’s synthesis of vernacular and cultivatedmusical styles inthatwork “represents the fulfillmentofabasicSovietartspolicy: the interpenetrationof regional folklorismand thegreatRussian tradition.”Khachaturian’scompositionalcolleagueDmitriKabalevskywrote, “Theespeciallyattractive featuresofKhachaturian’smusicareinitsrootsinnationalfolkfountainheads.ThecaptivatingrhythmicdiversityofdancesofthepeoplesofTranscaucasiaandtheinspiredimprovisationsoftheashugs[Armenia’snativebards]—sucharethesourcesfromwhichhavesprung thecomposer’screativeendeavors.Fromthe interlockingof these twoprinciples theregrewKhachaturian’ssymphonism—vividanddynamic,withkeencontrasts,nowenchantingintheirmellowlyricism,nowstirringintheirtensionanddrama.”Khachaturian remainedaproudandsupportiveArmenian throughouthis life, serving in1958as thestate’sdelegatetotheSupremeSovietoftheUSSR.“Mywholelife,everythingthatIhavecreated,belongstotheArmenianpeople,”heoncesaid.TheViolinConcertoof1940isimbuedwiththemusicofKhachaturian’sArmenianhomeland.

OneoftheachievementsoftheUnionofSovietComposerswasthefoundingin1939ofanenclaveontheMoscowRivernearthetownofStarayaRuzasetasideforcreativeworkandrest.Khachaturianspentthesummerof1940there,inoneofthecottagesinthedensepineforest,composingaviolinconcertoforDavidOistrakh.Khachaturianhadlargelypreparedtheformalplanforthepieceinhisheadinadvance,andherecalled,“Iworkedwithouteffort.Sometimesmythoughtsandimaginationout-racedthehandthatwascoveringthestaffwithnotes.ThethemescametomeinsuchabundancethatIhadahardtimeputtingtheminsomeorder....WhilecomposingtheConcertoIhadformymodelssuchmasterpiecesastheconcertosbyMendelssohn,Brahms,TchaikovskyandGlazunov.Iwantedtocreateavirtuosopieceemployingthesymphonicprincipleofdevelopmentandyetunderstandabletothegeneralpublic.”Hesucceeded,andtheConcertowasagreatsuccesswhenitwaspremieredonNovember16,1940inMoscowbyOistrakh.ThenewConcertosolidifiedKhachaturian’spopularityathomeandabroad;hewasawardedtheStalinPrizeforitin1941.

The Concerto’s opening movement is disposed in traditional sonata form, with two contrasting themes and a fulldevelopmentsection.Afterabriefintroductoryoutburstbytheorchestra,thesoloistpresentsananimatedmotifthatsoonevolves intoabounding,close-interval folkdance.Thistheme,punctuatedoncebythestrongorchestralchordsfromtheintroduction,continuesforsometimebeforeitgiveswaytoalyricalcomplementarystrainofnostalgicemotionalcharacter.Asthemovementunfolds,thesoloistisrequiredtodisplayonedazzlingtechnicalfeatafteranother,culminatinginahugecadenzathatservesasthebridgetotherecapitulation.Bothoftheearlierthemesarereturnedinelaboratedsettingstoroundoutthemovement.Thesecondmovementisinabroadthree-partdesignprefacedbyabassoonsolothatGrigoryShneerson,inhisstudyofKhachaturian,saidimitatedtheimprovisationsoftheArmenianashugs,orbards.Amelancholytuneoccupiesthemovement’soutersectionswhilethecentralportionismoreanimatedandrhapsodicinnature.Thefinaleisanirresistiblerondo,filledwithfestivebrilliance,blazingorchestralcolorandsparklingvirtuosity.

MODEST MUSSORGSKY (1839-1881)Pictures at an ExhibitionTranscribedforOrchestrabyMauriceRavel(1875-1937)Composedin1874;transcribedin1923.OrchestralversionpremieredonMay3,1923inParis,conductedbySergeiKoussevitzky.Piccolo,threeflutes,threeoboes,Englishhorn,twoclarinets,bassclarinet,twobassoons,contrabassoon,altosaxophone,fourhorns,threetrumpets,threetrombones,tuba,timpani,percussion,celesta,gong,twoharps,pianoandstrings.Approximately32minutes.

Intheyearsaround1850,withthespiritofnationalismsweepingacrossEurope,severalyoungRussianartistsbandedtogethertoridtheirartofforeigninfluencesinordertoestablishadistinctivenationalistcharacterfortheirworks.Leadingthismovementwasagroupofcomposersknownas“TheFive,”whosemembersincludedModestMussorgsky,NikolaiRimsky-Korsakov,AlexanderBorodin,CésarCuiandMilyBalakirev.AmongthealliesthatTheFivefoundinotherfieldswastheartistandarchitectVictorHartmann,withwhomMussorgskybecameclosefriends.Hartmann’sprematuredeathat39stunnedthecomposerandtheentireRussianartisticcommunity.VladimirStassov,anotedcriticandthejournalisticchampionoftheRussianartsmovement,organizedamemorialexhibitofHartmann’sworkinFebruary1874,anditwasundertheinspirationofthatshowingthatMussorgskyconceivedhisPictures at an Exhibition.Atthetimeoftheexhibit,MussorgskywasengagedinpreparationsforthefirstpublicperformanceofhisoperaBoris Godunov,andheonlybeganseriousworkonthepiecethefollowingsummer.

Themovementsmostlydepictsketches,watercolorsandarchitecturaldesignsshownpubliclyattheHartmannexhibit,thoughMussorgskybasedtwoorthreesectionsoncanvasesthathehadbeenshownprivatelybytheartistbeforehisdeath.Thecomposerlinkedhissketchestogetherwithamusical“Promenade”inwhichhedepictedhisownrotundselfshuffling—inanunevenmeter—fromonepicture to thenext.ThoughMussorgskywasnotgiven tomuchexcitementoverhisowncreations,hetookspecialdelightinthisone.EspeciallyinthemasterfultranscriptionfororchestrathatMauriceRaveldidin1922fortheParisianconcertsofconductorSergeiKoussevitzky,itisaworkofvividimpacttowhichlistenersandperformersalikecanreturnwithundiminishedpleasure.

Promenade.AccordingtoStassov,thisrecurringsectiondepictsMussorgsky“rovingthroughtheexhibition,nowleisurely,nowbrisklyinordertocomeclosetoapicturethathadattractedhisattention,and,attimessadly,thinkingofhisfriend.”The Gnome.Hartmann’sdrawingisforafantasticwoodennutcrackerrepresentingagnomewhogivesoffsavageshriekswhilehewaddlesaboutonshort,bandylegs.Promenade —The Old Castle.Atroubadour(representedbythesaxophone)singsadoleful lamentbeforea foreboding, ruinedancient fortress.Promenade —Tuileries.Mussorgsky’ssubtitle is “DisputeoftheChildrenafterPlay.”Hartmann’spictureshowsacornerofthefamousParisiangardenfilledwithnursemaidsandtheiryouthfulcharges.Bydlo. Hartmann’spicturedepictsaruggedwagondrawnbyoxen.Thepeasantdriversingsaplaintivemelody(solotuba)heardfirstfromafar,thenclose-by,beforethecartpassesawayintothedistance.Promenade — Ballet of the Chicks in Their Shells.Hartmann’scostumedesignforthe1871fantasyballetTrilbyshowsdancersenclosedinenormouseggshells,withonlytheirarms,legsandheadsprotruding.Samuel Goldenberg and Schmuyle.ThetitlewasgiventothemusicbyStassov.Mussorgskyoriginallycalledthismovement“TwoJews:onerich,theotherpoor.”ItwasinspiredbyapairofpicturesthatHartmannpresentedtothecomposershowingtworesidentsoftheWarsawghetto,onerichandpompous(aweightyunisonforstringsandwinds),theotherpoorandcomplaining(mutedtrumpet).MussorgskybasedboththemesonincantationshehadheardonvisitstoJewishsynagogues.The Marketplace at Limoges.Alivelysketchofabustlingmarket,withanimatedconversationsflyingamongthefemalevendors.Catacombs, Roman Tombs. Cum Mortuis in Lingua Mortua.Hartmann’sdrawingshowshimbeingledbyaguidewithalanternthroughcavernousundergroundtombs.Themovement’ssecondsection,bearingthetitle“WiththeDeadinaDeadLanguage,”isamysterioustransformationofthePromenadetheme.The Hut on Fowl’s Legs.Hartmann’ssketchisadesignforanelaborateclocksuggestedbyBabaYaga,thefearsomewitchofRussianfolklorewhoeatshumanbonesshehasgroundintopastewithhermortarandpestle.Shealsocanflythroughtheaironherfantasticmortar,andMussorgsky’smusicsuggestsawild,midnightride.The Great Gate of Kiev.Mussorgsky’sgrandconclusiontohissuitewasinspiredbyHartmann’splanforagatewayforthecityofKievinthemassiveoldRussianstylecrownedwithacupolaintheshapeofaSlavicwarrior’shelmet.Themajesticmusicsuggestsboththeimposingbulkoftheedifice(neverbuilt,incidentally)andabrilliantprocessionpassingthroughitsarches.TheworkendswithaheroicstatementofthePromenadethemeandajubilantpealingofthegreatbellsofthecity.

©2011Dr.RichardE.Rodda

“Music Behind the Music” Pre-Concert Events

with your host, Ramón Araïza

FREE TO ALL CONCERT TICKET HOLDERS

Concert Saturdays 7pm-7:30pmConcert Sundays 2pm-2:30pm(1 hour prior to each concert)

“ ‘Music Behind the Music’ is one of my favorite parts of the concert! We did not want to miss Ramón!”

– Sandra Lindquist, SB Symphony Subscriber

Concert pianist, composer/arranger and music scholar Ramón Araïza presents “Music…Behind the Music!” These lively,interactive events take you on an insightful(and humorous) journey of discovery, shininglight on themusic you’re about to hear in theconcert hall. Mr. Araïza’s extensive musicalbackground, presentation style and passionbringeachworkandcomposer to life.PleasejoinusinTheGranada.Arriveearly,venturein,andexperienceRamon’suniquegenius!Plus,makesuretoreadRamón’screativeandartistic“NotesBehindtheNotes”inTheGranadalobby!

©On the Upbeat,MARCH2011VOL.4,EDITION5.PublishedforSymphonySeriesconcertsubscribersbytheSantaBarbaraSymphony,1330StateStreet,Suite102,SantaBarbara,CA93101,(805)898-9386—A non-profit organization.

Santa Barbara Symphony Concerts One-time-only Broadcasts on

February concert broadcasts March 13, 7 pmMarch concert broadcasts April 10, 7 pm

April concert broadcasts May 8, 7 pmMay concert broadcasts October 2, 7 pm

Santa Barbara Symphony’s upcoming performances:

April 16-17, 2011

Mozart’s “Jupiter”Letizia Belmondoharp

WAGNER: SiegfriedIdyllWWV103RENIÉ: ConcertoforHarpandOrchestra

MOZART:SymphonyNo.41“Jupiter”

For single tickets, call The Granada box office, 1214 State Street, at (805) 899-2222

We invite comparison.Nir KabarettiMusic and Artistic Director