2012 Laguna Beach Music Festival program book

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festival history

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Laguna Beach Music Festival Artists 2003-2011

2003 Claude Frank, piano, with the Calder Quartet and Trio Movado.2004 Bruno Canino, piano, with the Biava Quartet and Orion Wind Quintet.2005 Christopher O’Reilly, piano, with Abraham Feder, cello; Bella Hristova, violin; Yao Guang Zhia, clarinet.2006 Edgar Meyer, double bass, with Joy Song, cello; Christine Grossman, viola; Bridget Dolkas, violin; Kathryn

Eberle, violin; Katie Hyun, violin; Kevin Kwan Loucks, piano; Soyeon Lee, piano; Mihai Marica, cello; Mirabai Weissmehl, violin; Mike Marshall, mandolin.

2007 The Ahn Trio with David Benoit Trio; Fernando Otero, piano and bandoneón; Paul Chihara, Nguyen Le, Aroop Kar and Brandon Collins, composers.

2008 Turtle Island Quartet with Stefon Harris, percussion; Enso Quartet; Karin Al-Zand, composer.2009 Lynn Harrell, cello, with Victor Santiago Asunción, piano; Ryan Lee and Nigel Armstrong, violins; Miguel

Hernandez, viola; Paul Wiancko, cello; Daniel Rothmuller, cello; Shoko Fukumaro, piano; Yoo Jin Oh, cello; Colin Murphy, clarinet; Francis Young, soprano.

2010 Paul Chihara, composer, and Greg MacGillivray, filmmaker, with The Claremont Trio; Maria Bachmann, violin;Jon Klibonoff, piano; Claire Chase, flute; Sharon Farber, Donald Crockett and Pamela Madsen, composers.

2011 Brooklyn Rider string quartet with Kayhan Kalhor, kamancheh (Persian fiddle); Kojiro Umezaki, shakuhachi (Japanese flute); Kelsey Blumenthal and Elicia Silverstein, violins; Robin Kesselman, bass; Mindy Park, cello; and Christopher Zack, viola.

Where are they now? News and updates from Music Festival emerging artists

The Biava Quartet (LBMF 2004) recently won the coveted Naumburg Award for Chamber Music and has performedat the Kennedy Center, Wigmore Hall and Carnegie Hall. They record on the Naxos Label. Their violist, MaryPersin, is director of a new festival in Pittsburgh: Music for the Spirit.

Orion Winds (‘04) stood out as excellent educators interacting with school groups; they continue to do outreachwork. Of their members back then: Myka Miller, oboe, is executive director of the “Harmony Project” (similar to“El Sistema” of Venezuela), an award-winning, non-profit music program that reaches nearly 1,000 inner-city kids inLos Angeles. Damian Montano, bassoon, has been commissioned to write, among others, for the HoustonSymphony Orchestra and the L.A. Chamber Orchestra, of which he is a member. He has also performed on filmscores by Danny Elfman and Hans Zimmer.

Bella Hristova (‘05), the Bulgarian violinist who took First Prize at the Michael Hill International Competition in NewZealand, has been mentored by Jaime Laredo, and has concertized throughout the US, New Zealand, Mexico, andthe UK.

Abraham Feder (‘05), after graduating from the Curtis Institute of Philadelphia, became principal cellist of theSarasota Orchestra, which emphasizes the performance of chamber music. Chinese clarinetist Yao-Guang Zhai (‘05)won a Pacific Symphony Concerto Competition, and is now associate principal clarinet for the Toronto SymphonyOrchestra.

The California Quartet (‘06) has participated in numerous Festivals throughout the US and Europe, and is stronglycommitted to school education and outreach programs. Its members play in several professional orchestras inCalifornia.

Kathryn Eberle (‘06), violin, plays with the St. Louis Symphony. As a soloist, she has appeared with the Los AngelesPhilharmonic, the Louisville Orchestra, and the Nashville Symphony Orchestra.

South Korean pianist Soyeon Lee (‘06) won the prestigious 2010 Naumberg Award for Piano, and in 2011 was invitedto join the Chamber Music Society of Lincoln Center Two.

Pianist Kevin Kwan Loucks (‘06) is the teaching assistant for the Emerson Quartet, and has performed across NorthAmerica.

Romanian cellist Mihai Marica (‘06), graduate of Yale, made his debut at both Weill and Zankel Halls in Carnegie Hallin 2008. In 2011, he was invited to join the roster of the Chamber Music Society of Lincoln Center Two.

Robin Kesselman (’11) continues to play concerts with LA ensembles including two weeks as a substitute with LA Phillast May, and a week with LACO. He was awarded the 2011 Maurice Schwarz Prize at Tanglewood.

Festival history


WELCOME / E

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letter from the presidents

Dear Music Lovers,

Thank you for joining us at this, the Tenth Anniversary Festival. We hope you’ll enjoy the concerts, and we hopealso that you’ll choose to immerse yourself in music this week, by attending one of the many free events that willprovide insight into what you’ll hear on the concert stage, by dropping into the Hotel Laguna to say hello, bymeeting musicians and music lovers, by thinking differently about the music you listen to as you go about yourday. We pride ourselves on creating Laguna-style events – intimate without being intimidating, both artful andaccessible – and we urge you to plan now to return next year for more adventures.

Thank You in Appreciation,

Lucinda Prewitt, President Dean Corey, President and Artistic Director. Laguna Beach Live! Philharmonic Society of Orange County

WELCOME

a project of Laguna Beach Live and the Philharmonic Society of Orange County.Cover Photo by Jenn Prewitt, jpexposure.com

The 2012 Music Festival honors local philanthropist and businessman

ED HALVAJIAN (1935-2009)

Ed was born and raised in the East Coast and worked on Wall Street until his firm,Lazard Feres, sent him to Bakersfield to run one of California’s largest farms. Thisbackground served him well when he came to Newport Beach to begin a family anda career as an entrepreneur.

A very successful land developer and citrus farmer, Ed was also a strong supporterof numerous charities. He is best remembered for his many years as a member,President and Chairman of the Philharmonic Society of Orange County. Ed was suc-ceeded on the Philharmonic Board by his wife, Joan, who began working on makingthe idea of a Music Festival in Laguna a reality.

Ed loved the idea of high caliber artists in the informal settings of our MusicFestival. His generous legacy gift to the Philharmonic Society included recognition

of the Laguna Beach Music Festival and we are pleased to honor him in this our tenth anniversary with suchesteemed artists in intimate spaces that he so enjoyed. Our sincere appreciation to Ed, his daughters Alexisand Andrea, and former wife and business partner Joan.


2012 guest artistic director

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2012 Guest artistic director

San Francisco and NationalSymphony orchestras. A CarnegieHall recital, appearances with theNew York Philharmonic andEuropean tours conclude 2011. 2012includes a U.S. recital tour and atour with the Academy of St. Martinin the Fields in the U.S. Bell toursEurope with the LondonPhilharmonic Orchestra andVladimir Jurowski and in recital withJeremy Denk.

An exclusive Sony Classical artist,Bell released French Impressions,his new album of French sonataswith Jeremy Denk, in January, 2012.

Since his first LP recording at 18,Bell has recorded more than 36 CDsgarnering Mercury, Grammy,Gramophone and Echo KlassikAwards. Recent releases include AtHome With Friends, the Defiancesoundtrack, Vivaldi’s The FourSeasons and The Tchaikovsky Violin

JOSHUA BELLviolin

Joshua Bell has enchanted audi-ences worldwide with his breathtak-ing virtuosity and tone of rare beauty,earning him the title “classical musicsuperstar.” An Avery Fisher Prizerecipient and Musical America’s 2010Instrumentalist of the Year, Bell is theAcademy of St. Martin in the Fields’newly named Music Director.

Bell came to national attention atage 14 in his debut with RiccardoMuti and the Philadelphia Orchestra.Today he is equally at home as asoloist, chamber musician, orchestraleader and composer who performshis own cadenzas to several of themajor concerto repertoire.

Bell’s 2011 festival appearancesinclude Ravinia, Tanglewood, Verbierand Mostly Mozart. He performs withthe Los Angeles Philharmonic,Montreal, Dallas, Colorado, Atlanta,

Concerto with the BerlinPhilharmonic. He has recorded criti-cally acclaimed performances ofSibelius and Goldmark and theBeethoven and Mendelssohn con-certos both featuring his own caden-zas; and the Oscar winning sound-track, The Red Violin.

Bell received his first violin at fourand by age 12 was serious about theinstrument thanks to violinist andpedagogue Josef Gingold.

Bell performs on the 1713 Gibson exHuberman Stradivarius.

Joshua Bell records exclusively forSony Classical – a MASTERWORKSLabelwww.joshuabell.com

Mr. Bell appears by arrangement with IMG Artists, LLC152 West 57th Street, New York, NY10019www.imgartists.com

photo: Lisa Marie Mazzucco


EDGAR MEYERdouble bass

In demand as both a performer anda composer, Edgar Meyer hasformed a role in the music worldunlike any other. Hailed by the NewYorker as “...the most remarkablevirtuoso in the relatively unchroni-cled history of his instrument,” Mr.Meyer’s unparalleled technique andmusicianship in combination withhis gift for composition havebrought him to the fore, where he isappreciated by a vast, varied audi-ence. His uniqueness in the fieldwas recognized by a MacArthurAward in 2002.

As a solo classical bassist, Mr. Meyerhas released a concerto album withthe St. Paul Chamber Orchestra fea-turing Bottesini’s Gran Duo withJoshua Bell, Meyer’s DoubleConcerto for Bass and Cello withYo-Yo Ma, Bottesini’s Bass ConcertoNo. 2, and Meyer’s Concerto in Dfor Bass. Just prior to that, hereleased an album of three ofBach’s Unaccompanied Suites forCello. In 2006, he released a self-titled solo recording on which hewrote and played all of the pieces,incorporating instruments includingpiano, guitar, mandolin, dobro,banjo, gamba, and double bass. In2007, recognizing his wide-rangingrecording achievements, Sony/BMGreleased a compilation of “The Bestof Edgar Meyer”. 2011 saw therelease of a new Sony Masterworksrecording on which Mr. Meyer

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FESTIVAL ARTISTSjoined Yo-Yo Ma, mandolinist ChrisThile, and fiddler Stuart Duncan,titled The Goad Rodeo Sessions.

As a composer, Mr. Meyer hascarved out a remarkable and uniqueniche in the musical world. In the2011-12 season, he is composer inresidence with the AlabamaSymphony and will premiere histhird concerto for double bass. Thefall of 2009 saw the release of TheMelody of Rhythm, a collection oftrio pieces co-composed with BélaFleck and Zakir Hussain; the albumalso featured their triple concertofor double bass, banjo, and tabla,which was commissioned for theopening of the SchermerhornSymphony Center in Nashville, andwas recorded in January 2009 withthe Detroit Symphony Orchestraand Leonard Slatkin. The triotoured extensively throughout theUS and Europe in the 2009-10 and2010-11 seasons.

Mr. Meyer began studying bass atthe age of five under the instructionof his father and continued furtherto study with Stuart Sankey. In 1994he received the Avery Fisher CareerGrant and in 2000 became the onlybassist to receive the Avery FisherPrize. In 2005 he participated inLaguna Beach Music Festival asmentor musician. Currently, he isVisiting Professor of Double Bass atthe Royal Academy of Music and atthe Curtis Institute of Music inPhiladelphia.

Edgar Meyer appears by arrangementwith IMG Artists, LLC152 W. 57th St, New York, NY10019212-994-3500

SAM HAYWOODpiano

Sam Haywood is a criticallyacclaimed British pianist whose per-formances have thrilled audiences

worldwide. A frequent collaborator

with Joshua Bell and Steven Isserlis,upcoming dates include recitals inthe UK, Germany, France, Indonesia,Japan, Poland, Austria, Russia,Romania, Switzerland, Greece, USAand the Czech Republic.

Haywood’s latest release, Chopin’sOwn Piano, is the first to have beenmade on Chopin's own 1846 Pleyelpiano. To celebrate the Chopinanniversary, he performed atLancaster House with Steven Isserlisin the presence of HRH PrincessAlexandra on the same day and atthe same venue as Chopin’s ownperformance for Queen Victoria andPrince Albert in 1848.

Haywood has composed severalsmall-scale works for solo piano andvarious duos, including the Song ofthe Penguins, published by EmersonEditions which was inspired by thefilm, "March of the Penguins.” He isalso involved in educational projectsand has co-written a children'sopera.

Haywood began playing the pianoat age four, inspired by evenings lis-tening to crackly LPs of BeethovenSonatas with his grandmother.Following his success at age thir-teen in the BBC Young Musician ofthe Year competition, he receivedthe Isserlis prize from the RoyalPhilharmonic Society and later stud-ied with Paul Badura-Skoda, and atthe Royal Academy of Music withthe late Maria Curcio, a pupil ofArtur Schnabel.


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Haywood is keen to include lesser-known works in his solo recital pro-grams. Rosetti, Gade, Franz XaverMozart, Alkan, Field, Isserlis, McLeod(commission) and Hummel haverecently been featured. He has alsoedited a new edition of piano worksby Julius Isserlis and Carl Frühling'sClarinet Trio and a new solo pianotranscription of the Romance fromChopin's First Piano Concerto.

Outside his musical world, Haywoodenjoys walks in his native England’sLake District and is a keen amateurmagician and photographer. Formore information on Mr Haywood,please visit www.samhaywood.com.

CALDER QUARTET

Benjamin Jacobson, violinAndrew Bulbrook, violinJonathan Moerschel, violaEric Byers, cello

The Calder Quartet, called "out-standing" and "superb" by the NewYork Times, defies boundariesthrough performing a broad range ofrepertoire at an exceptional level,always striving to channel the trueintention of the work's creator.Already the choice of many leadingcomposers to perform their works -including Christopher Rouse, TerryRiley and Thomas Adès - the group'sdistinctive approach is exemplifiedby a musical curiosity brought toeverything they perform, whether it'sBeethoven, Mozart, Haydn, or sold-out rock shows with bands like TheNational or The Airborne ToxicEvent. Known for the discovery, com-

missioning, recording and mentor-ing of some of today's best emerg-ing composers (over 25 commis-sioned works to date), the groupcontinues to work and collaboratewith artists across musical genres,spanning the ranges of the classicaland contemporary music world, aswell as rock, dance, and visual arts;and in venues ranging from art gal-leries and rock clubs to Carnegieand Walt Disney concert halls.Inspired by innovative Americanartist Alexander Calder, the CalderQuartet's desire to bring immediacyand context to the works they per-form, creates an artfully craftedmusical experience.

The 2011-12 season kicked off withthe Calder Quartet's debut at CALPerformances in Berkeley withThomas Adès, a Calder curatedevent at the Blum & Poe Gallery inLos Angeles featuring the quartetwith iconic composer Terry Riley andDJ/artist Dave Muller, and perform-ances at the Carlsbad MusicFestival. On September 11, theCalder performed at a commemora-tion event at USC and in theevening at the Hollywood Bowl.Other season highlights theEdinburgh International Festival, theacclaimed new music seriesJacaranda: Music at the Edge inSanta Monica, CA, as well as anAustrian debut at the EsterhazyPalace. The Calder also looks for-ward to a tour with So Percussion.

The 2010-11 season featured per-formances at Carnegie Hall,Washington Performing ArtsSociety, Santa Fe Chamber MusicFestival, the Cleveland Museum ofArt with Iva Bittova, a residency atBRAVO! Vail Valley Festival, theMelbourne Festival with ThomasAdès, as well as concerts atStanford Lively Arts and Le PoissonRouge (New York) with Grammy-winning pianist Gloria Cheng. TheWashington Post said "The Calder'sBeethoven was full of flaring drama,furrowed brows and quiet intensity.But, with the tightest of ensembleplaying and well-judged balancing

of instrumental voices, the pieceretained its classical integrity andpolished finish. Most striking, here,as in the other pieces, was theintense beauty of tone these musi-cians produced—which blossomedto full lusciousness in their surging,extroverted reading of the Ravel."

The Calder Quartet has been fea-tured on KCRW's MorningBecomes Eclectic, the Late Showwith David Letterman, the TonightShow with Jay Leno, the TonightShow with Conan O'Brien, LateNight with Jimmy Kimmel, and theLate Late Show with CraigFerguson.

The Calder is the first quartet intwo decades to have a work writtenfor them by composer ChristopherRouse. The quartet's album ofChristopher Rouse works,Transfiguration, was also releasedin 2010. Of this album,Gramophone says, "Rouse's dis-quieting quartets are given power-ful performances by the Calder." In 2008, the Calder Quartetreleased its first album, which fea-tured the music of Thomas Adès,Mozart, and Ravel. What started asworking directly with Thomas Adèson a performance of Arcadianahas evolved into concerts togetherin Stockholm, Melbourne, andBerkeley.

The Calder Quartet formed at theUSC Thornton School of Music andcontinued studies at the ColburnConservatory of Music with RonaldLeonard, and at the Juilliard Schoolas the Juilliard Graduate ResidentString Quartet.

CALIDORE QUARTETJeffrey Myers, violinRyan Meehan, violinJeremy Berry, violaEstelle Choi, cello

Grand Prize and Gold Medal win-ner of the 2011 Fischoff NationalChamber Music Competition, theCalidore String Quartet was

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formed in 2010 at the ColburnSchool Conservatory of Music.Hailing from across North America,the young musicians of the Calidorecombine their musical backgroundsto bring a fiery brilliance to the con-cert stage. The Quartet made itsdebut with guitarist Angel Romeroto a sold-out audience at the BroadStage in Santa Monica.

As top prize winner of the 2011Fischoff competition, CSQ partici-

pated in a tour of the MidwesternUnited States, performing at venuessuch as the Debartolo Arts Center,Nichols Concert Hall, and a liveradio broadcast on WFMT'sImpromptu! Program. Later thisyear, the Calidore will perform sev-eral concerts at the venerated 2012Emilia Romagna Festival in Italy.Members of the Quartet have col-laborated with artists and ensem-bles including the Tokyo, Cypress,St. Lawrence, and Cavani stringquartets, and Paul Coletti, JosephSilverstein, Menahem Pressler,Ronald Leonard, and John Perry.Teachers and mentors of the quar-tet include Paul Coletti, RonaldLeonard, Robert Lipsett, and ArnoldSteinhardt.

The Quartet aims to present per-formances that share the passion

and joy of string quartet playing.With the help of their strong friend-ship, four distinct musical personali-ties unite to bring chamber music tolife for their audiences.

Using an amalgamation of“California” and “doré”, (French for“golden”), the ensemble’s namerepresents a reverence for the diver-sity of culture and the strong sup-port it has received from its homebase in California, the golden state.


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PROGRAM NOTES

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Thursday, FEBRUARY 9, 8PMConcert Sponsor: Lynda ThomasLaguna Playhouse

Edgar Meyer, double bass

PROGRAM

J.S. BachSuite No. 1, BWV 1007

Prelude Allemande Courante Sarabande Menuet I Menuet II Gigue

Edgar MeyerWork in Progress for unaccompanied double bass

IIIIII

Commissioned by Linda andStuart Nelson, the SavannahMusic Festival, and San FranciscoPerformances, and funded by agenerous grant from Linda and Stuart Nelson

I N T E R M I S S I O N

Selections will be announcedfrom the stage.


PROGRAM notes

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ARTISTSJoshua Bell, violinSam Haywood, pianoJonathan Moerschel, violaEric Byers, celloEdgar Meyer, double bass

PROGRAM

MendelssohnViolin Sonata in F Major

Allegro vivaceAdagioAssai vivace

GershwinThree Preludes

RavelSonata for Violin and Piano

Allegretto (sol majeur)Blues. Moderato (la bémol majeur)

Perpetuum mobile. Allegro (sol majeur)

Joshua Bell, violinSam Haywood, piano


TchaikovskyString Sextet in D minor, Op.70, “Souvenir de Florence”

Allegro con spiritoAdagio cantabile e con motoAllegretto moderatoAllegro con brio e vivace

Joshua Bell, violinAndrew Bulbrook, violinJonathan Moerschel, violaJeremy Berry, violaEric Byers, celloEstelle Choi, cello

NOTES

Mendelssohn Violin Sonata in F MajorIn the summer of 1838, happywith a new wife and an infantson, Mendelssohn found himselfinterested in chamber music. To

his friend Ferdinand Hiller, hewrote, “A very important branchof piano music which I particularlylike–trios, quartets, and otherthings with piano accompani-ment— is quite neglected thesedays, and I feel strongly the needfor something new in that line...With this in mind I have justwritten the sonata for violin, andthe one for cello, and I am nowthinking of writing a couple oftrios.” Chamber music did pourout of Mendelssohn over the nexttwo years, and almost all of it hasbecome part of the standardrepertory: the Cello Sonata in B-flat Major, two of the string quar-tets of op. 44, and the famousPiano Trio in D minor.

But the Violin Sonata, completedon June 15, 1838, promptly van-ished. Mendelssohn never pub-lished it, and this music remainedcompletely unknown until theyoung Yehudi Menuhin discov-ered Mendelssohn’s manuscriptand had it published in 1953.Menuhin wrote, “This work hasnever been published, and theoriginal manuscript is the onlysource of the photo copy whichhas come into my possession.This Sonata fills a great gap inviolin literature as there is onlyone other work whichMendelssohn wrote for violin andpiano – an earlier sonata in Fminor.”

Gershwin Three PreludesThe Three Preludes were first per-formed by the composer himselfin 1926. They were later tran-scribed for violin by the great vio-linist, Jascha Heifetz. Each prel-ude captures a specific style ofthe jazz idiom. The first beginswith a blues motif followed by asyncopation in the baseline. Themovement develops with virtu-osic passages and finishes with abravura ascending scale infourths. The second movement,or Blues Lullaby, starts with asteady baseline and a lyricalmelody. The major/minor third

pitch gives this prelude its jazzfeel. The last prelude, also knownas Spanish Prelude, is a short butexciting combination of jazzrhythms and syncopations.

Ravel Sonata for Violin and PianoThe Sonata for Violin and Piano byMaurice Ravel was dedicated toHélène Jourdan-Morhange, anaccomplished violinist of the day.Although she had originallyrequested a concerto, Ravel wasoccupied with his contractualrequirement to finish his operaL'Enfant et les sortileges. Thismight also explain Ravel’s procras-tination; the work began in 1923and was completed in 1927.

The first movement begins withthe piano playing a swayingmelody reminiscent of folk music.The violin then follows playing asimilar melody, but quickly devi-ates in mood and character. Ravelthen integrates both instrumentscontrapuntally while creating lushharmonies throughout the piece.It is interesting to hear Ravel's useof repeated notes as a structuralelement and restrictive registeruse as a neoclassical element.

The famous Blues second move-ment comes from Ravel's love forAmerican jazz and blues. Ravelhimself stated that he did notintend to copy other genres, butto simply adapt them in his ownstyle and voice, yet also in aFrench manner. Quite simply, themovement is Ravel's own “Frenchblues.”

Perpetuum Mobile, or perpetualmotion, is the last movement ofthe Sonata. The indication meansthat the music should be in a stateof unending, constant movement.Technically difficult for the violinist,the rapid sixteenth-note passagesyield no breaks. The first perform-ance was given by Ravel himself atthe piano and George Enescuplaying the violin.

- Notes by Alex Fong

Friday, FEBRUARY 10, 8PMConcert Sponsor: Joan Halvajian

Laguna Playhouse


PROGRAM notes

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ARTISTSJoshua Bell, violinSam Haywood, pianoEdgar Meyer, double bass

Calder QuartetBenjamin Jacobson, violinAndrew Bulbrook, violinJonathan Moerschel, violaEric Byers, cello

PROGRAM

MozartString Quartet No. 19 in CMajor, KV 465 “Dissonance”

Adagio-AllegroAndante cantabile Menuetto. AllegroAllegro molto

Edgar MeyerTrio #1

Allegro moderatoAndanteModeratoAllegro vivace


SchubertPiano Quintet in A Major, D.667 “Trout” (1819)

Allegro vivaceAndanteScherzo: PrestoAndantino – allegrettoAllegro giusto

NOTES

Meyer Trio #1

This piece was written in 1986 asthe first of a set of three stringtrios for the Santa Fe ChamberMusic Festival. The three trioswere premiered in the summersof 1986, 1987 and 1988 by DanielPhillips, Carter Brey and the com-poser. Stylistically, these piecesare eclectic, with influences fromclassical, jazz, bluegrass andother folk and ethnic musics.

Trio #1 can be split in two sepa-rate pieces between the first andsecond movements. The second,third and fourth movements forma continuous structure that isheld together by increasing activ-ity and harmonies that are notfully resolved until the finale. Thefirst movement, however, is moreself-contained. It is clear cut witha simple melody and a noodlyidea to contrast it. These twoitems are presented individually,then smashed together in theloud and busy middle section,and pulled back apart for the endof the movement.

The second movement consistsof alternating sections of violinwanderings over an ostinato andcello/bass duets. Toward the endof the movement the violin isfinally given the melody andthings come together for a briefmoment.

The emphasis shifts to rhythm inthe last two movements.Performance techniques from theoutside of classical music areused, including bowing patternsand pitch embellishments com-mon to different types of tradi-tional fiddle music. The finale isan energetic rondo.

- Notes by Edgar Meyer, 1990

Schubert “Trout” Quintet

The Piano Quintet in A major byFranz Schubert was composed in1819, when he was only 22 yearsold; it was not published, howev-er, until 1829, a year after hisdeath. The piece comes fromSchubert's song Die Forelle ("TheTrout") which is stated in thefourth movement in variationform.

Schubert breaks free of the tradi-tional form of the piano quintetby removing the second violinand adding a double bass. Thisquintet has become one ofSchubert’s more enduring cham-ber works, and it is typical of hisearly style. Another unique fea-ture is how Schubert integratesthe piano part into the musicaltexture, on equal terms withthose of the string players. In hisown writing, Schubert referred totypical piano music as “damnablethumping” and insists in thiswork, as in the others, that itbehave as an orderly and equalmember of an ensemble.

The first movement is dispropor-tionately long, at 13 minutes,nearly a third of the length of theentire five-movement work. It is ajoyful movement in sonata alle-gro form. A lyrical andante fol-lows, sweetly expressive in theminor tonality, and avoiding anysense of melancholy. The briefthird movement, a presto, beginsaggressively but becomes a sortof “dance poem” containingAustrian folk tunes. This leads tothe work’s signature movement,the theme and variations on “DieForelle.” The final movement issimple and light with a swirling,almost ‘gypsy’ sound that iseasily reminiscent of Dvořák attimes. Like the third and fourthmovements, the last seems to bebroken into smaller units, in thestyle of a set of dances.


SATURDAY, FEBRUARY 11, 8PMConcert sponsors: Lauren & Richard PackardLaguna Playhouse


PROGRAM notes

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NOTES

Dvořák String Quintet

The String Quintet in G Major,Op. 77, was written much earlierin Dvořák’s career than its opusnumber would suggest. It iswritten in 1875, when Dvořákwas 32 years old, but remainedunknown for over a decade untilDvořák returned to some of hisearlier unpublished works to pol-ish and print in order to keep upwith the demands of his well-established fame. Though it isan early chamber work, it isunmistakably Dvořák. Thebreadth and range of sound isnotable in this lush quintet in atleast three ways: the surprisinglydeep baselines, the liberation ofthe cello, and the sheer fullnessof sound. With Dvořák’s skill,what borders on the edge of achamber orchestra maintains arich chamber texture through-out. The first movement is anenergetic con fuoco, or with fire,sonata with crystal clear themesand a powerful development.The second movement comesclosest to Dvořák’s later stylecharacterized by lively folk danceand his ability to expand thescherzo form with cogent variety.The third movement slows into alyrical song, tinged with a blendof melancholy and nobility thatearned Dvořák comparisons withSchubert. The finale restores thedrive and drama of the earliermovements with yet more win-ning melodies, the fullest tex-tures and the most prominentparts for the mighty groundswellof the bass.

Mendelssohn Octet

Mendelssohn composed hisremarkable String Octet, Op.20in October of 1825, when he wasonly 16 years of age. This highlycomplex work may be comparedto a full scale symphony, eventhough written for eight string

ARTISTSEdgar Meyer, double bass

Calder QuartetBenjamin Jacobson, violinAndrew Bulbrook, violinJonathan Moerschel, violaEric Byers, cello

Calidore QuartetJeffrey Myers, violinRyan Meehan, violinJeremy Berry, violaEstelle Choi, cello

PROGRAM

DvořákString Quintet No. 2 in G Major,Op. 77

Allegro con fuocoScherzo. Allegro vivacePoco andanteFinale. Allegro assai

Edgar Meyer, double bassCalder Quartet

Terry RileyCadenza on the Night Plain

Calder Quartet


MendelssohnOctet in E-flat major, Op. 20

Allegro moderato macon fuoco

AndanteScherzoPresto

Calder QuartetCalidore Quartet

players. According to an auto-graph score by the composerhimself, the octet, “must beplayed in the style of a sympho-ny in all parts; the pianos andfortes must be precisely differen-tiated and be more sharplyaccentuated than is ordinarilydone in pieces of this type.” Notmerely a doubled quartet, thepiece is a true octet in whichcounterpoint, texturing, and har-monic complexity are every bitas sophisticated as in any sym-phony. In four movements, thework unfolds like a symphony,with a brilliant first movementallegro giving way to a mar-velously dreamy second andantemovement. A third movement,scherzo, is chamber-like in itstexture and transparency, yetagain symphonic in scope andsize. The presto finale openswith outright bizarre chuffingfrom the cellos, but explodesimmediately into a vigorousromp which plunges ahead,barely taking a breath, to alarge, truly symphonic finale.This was also the first stringoctet to be written as a trueeight-part work and to this dayremains the finest work in theforms extent.


SUNDAY, FEBRUARY 12, 3PMConcert Sponsor: Hotel Laguna

Laguna Playhouse


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BOARD OF D

IRECTORS

PHILHARMONIC SOCIETY 2011-2012 BOARD OF DIRECTORS

OFFICERSSabra Bordas, Chairman, CEO

Alan T. Beimfohr, Immediate Past ChairmanNoel Hamilton, Secretary / Treasurer

EXECUTIVE COMMITTEEDarrel Anderson, Concerts/MarketingEleanor Anderson, Strategic Planning

Douglas T. Burch, Jr., Donor Affairs / Special EventsWilliam P. Conlin, NominatingJane K. Grier, Member-at-Large

Douglas H. Smith, Technology Task ForceBobbitt C. Williams, Special Activities

Karen L. Wolff, President, The CommitteesChristopher Zumberge, Finance

BOARD OF DIRECTORSElizabeth An, John W. Benecke, Warren G. Coy

Stephen Gordon, Jerry Harrington, Dr. Burton KarsonDonna L. Kendall, David H. Koontz

Sharon C. McNalley, Karen Ridout, David RosenbergToni Sobel, Dr. Daniel Stein, David Troob, George Wentworth

President and Artistic DirectorDean Corey

Laguna Beach Music Festival is a project of Laguna BeachLive! and the Philharmonic Society of Orange County

LAGUNA BEACH MUSIC FESTIVAL2011-2012 BOARD

Co-chairsJudith Jelinek and Lauren Packard

MembersVanita Ajitsaria, Chimo Arnold, Diane Arnold

John Benecke, Dean Corey, Jane Grier, Anita Halton Joan Halvajian, Ron Harris, Vince (Tim) Le PorePamela Madsen, Alex Maridudin, Pat MorganNancy Posch, Lucinda Prewitt, Carol Reynolds

Sharon Tetrault, Sheila Woodward

LAGUNA BEACH LIVE!2011-2012 BOARD OF DIRECTORS

OFFICERSLucinda Prewitt, PresidentSam Goldstein, TreasurerJoe Hanauer, Secretary

BOARD OF DIRECTORSJoe Becker, Tom Ellebie, S. Cody Engle, Paul Freeman

Judith Jelinek, Betsy Jenkins, Danny Melita, Elizabeth Pearson

BOARD OF DIRECTORS


GRATITUDE

18

Laguna Beach Music Festival thanks the following individuals and organizations, without whom this week would have been

impossible! We are deeply grateful to your generous support.

GRATITUDE

MEMBERSVanita & Rajiv AjitsariaBill Anderson, MDJohn BeneckeMarlene Burnett & Bruce RubinVeronica CallaghanRonald & Martha EricksonSteve & Jill EdwardsPat & Ken MorganCharles & Julia PetrauskasBonnie ScidmoreLizanne WitteSheila Woodward

AGENCIES, FOUNDATIONS & CORPORATIONSNational Endowment for the Arts

The Capital Group Companies Charitable Foundation

Laguna Beach Community Foundation

Meet-the-Composer Creative Connections

AND THANKS ALSO Sandra Jones CampbellCheryl EkstromMichael ObermeyerLucas RiséShannon RichardsonKirsten WhalenJoAnne Artman GalleryDeBilzan GalleryMiranda GalleriesPacific Edge GalleryS Cube GallerySotheby’s/Visitors BureauSarah LawsonGeorgia AndersonJonathan MariottMarie Songco-TorresChantel Chen UchidaJean HsuAllison WrightMichelle Van de RietKaren WoodSusiQ Senior CenterSage Hill School

Chris MarshallRita MajorDean CoreyJeff MistriThurston Middle SchoolLaguna Beach High SchoolTop of the World Elementary School

El Moro Elementary SchoolSusiQ Senior CenterNadia BabayiJosé Gurri-CardenasMikel JollettJeremy ChungLightopiaLaguna Culinary ArtsJoslyn AikenVera MartinezCarol RomanGail SaharaDao & Darren WhissenSelect Portfolio Mgmt.Marshall Donovan

CONCERT SPONSORS / FESTIVAL COUNCILJoan Halvajian Lauren & Richard PackardLynda ThomasDavid AndersonJoan Halvajian in honor of Will Martin

Hotel Laguna

PRODUCERS CIRCLETom Ellebie & Paula MathisJudith & Howard JelinekBetsy & Gary Jenkins, MDCathy & David KrinskyLaguna Beach Books, Jane Hanauer

Justus & Helen Schlichting

FESTIVAL FRIENDSDiane & Chimo ArnoldDonald CrevierSabra & Peter BordasDeborah & Cody EngleSam & Pamela GoldsteinJane & Stan GrierAnita & Denis HaltonRon & Ellen HarrisTim Le Pore & Sharon TetraultDr & Mrs. Eugene LevinJohn MiedemaAlex & Peggy MaradudinJudy McKayChris QuilterNancy PoschLucinda & Paul Prewitt, MDCarol ReynoldsLisa & Harvey Triebwasser, MDUS Trust


GRATITUDE

19

GRATITUDE

JOIN NOW

Purchase a Music Festival membership before March 1st and you’ll be invited to the

2013 Festival Announcement andPatron’s Private Thank-You Concert

Friday, March 30, 2012Aliso Creek Inn

Plus… you’ll be able to purchase tickets for the 2013 Laguna Beach Music Festival before they go onsale to the general public, and you’ll be eligible for lots of great benefits… like seeing your name inprint, on this page.Visit the membership & merchandise table at intermission or after the performance

for more information. Festival memberships begin at $100.

LAGUNA BEACH MUSIC FESTIVALSandy Robertson, festival directorSteve Baker, technical director

Joey Dye, operationsAva Burton, administration

VOLUNTEERSJohn Bjornson, marketing & merchandise

Alex Fong, music events Margarette Homan, patron services

Joanne Mahaffey, Festival concierge deskTracey Mora, Festival concierge desk

CONCERT SPONSORS / FESTIVAL COUNCILJoan Halvajian Lauren & Richard PackardLynda ThomasDavid AndersonJoan Halvajian in honor of Will Martin

Hotel Laguna

PRODUCERS CIRCLETom Ellebie & Paula MathisJudith & Howard JelinekBetsy & Gary Jenkins, MDCathy & David KrinskyLaguna Beach Books, Jane Hanauer

Justus & Helen Schlichting

FESTIVAL FRIENDSDiane & Chimo ArnoldDonald CrevierSabra & Peter BordasDeborah & Cody EngleSam & Pamela GoldsteinJane & Stan GrierAnita & Denis HaltonRon & Ellen HarrisTim Le Pore & Sharon TetraultDr & Mrs. Eugene LevinJohn MiedemaAlex & Peggy MaradudinJudy McKayChris QuilterNancy PoschLucinda & Paul Prewitt, MDCarol ReynoldsLisa & Harvey Triebwasser, MDUS Trust

Leadership�support�for�New�Music�USA’s�MetLife�CreativeConnections�program�is�generously�provided�by�MetLifeFoundation.�Additional�support�is�provided�by�ASCAP,�BMIFoundation,�Inc.,�Aaron�Copland�Fund�for�Music,�Inc.,�TheWilliam�&�Flora�Hewlett�Foundation,�Jerome�Foundation,mediaThe�foundation,�New�York�City�Department�of�CulturalAffairs,�New�York�State�Council�on�the�Arts,�PennsylvaniaCouncil�on�the�Arts,�The�Rodgers�&�Hammerstein�Foundationand�the�Virgil�Thomson�Foundation,�Ltd.



Documents

2012 Laguna Beach Music Festival program book