Santa Barbara Choral SocietyTh is year marks the 62nd season for the Santa Barbara

Choral Society which holds the distinction of being the oldest continuing community performance organization on the Central Coast. A semi-professional group of more than 120 auditioned voices under the direction of JoAnne Wasserman and dubbed by esteemed choral conductors Paul Salamunovich and Vance George as among the fi n-est community choruses on the West Coast, the Choral Society continues to expand on the tradition of choral excellence that has earned it a loyal following.

Th e Society’s designation as Chorus in Residence for the Granada Th eater for the Performing Arts fosters

Surround SoundSaturday, Nov. 7, 8pm & Sunday, Nov. 8, 3pm THE GRANADA,1214 STATE STREET, 805-899-2222

Lara Wickes, oboe; Donald Foster, clarinet; Andy Radford, bassoon; Teag Reaves, horn;

Kathryn Lewek, soprano; Susana Poretsky, mezzo-soprano;William Ferguson, tenor; Derrick Parker, bass-baritone;

Santa Barbara Choral SocietyJoAnne Wasserman, Conductor & Artistic DirectorMOZART: Sinfonia Concertante in E-Flat Major, K. 297B

HAYDN: Paukenmesse (“Kettledrum” Mass)

Nir’s Notes:Dear Friends:

The season started “From the Top” and is now running full speed ahead! I hope you’ll join us for the November concerts for a glorious program that will allow the Symphony to explore two wonderfully intimate works by masters of the classical

period: Wolfgang Amadeus Mozart and his mentor, Joseph Haydn. Both of these works will feature a quartet of soloists.

In the Mozart Sinfonia Concertante, I am happy to welcome some of our stellar principal players from within the orchestra to the front of the stage. Lara Wickes (Principal Oboe), Donald Foster (Principal Clarinet), Andy Radford (Principal Bassoon) and Teag Reaves (Principal Horn) will each have the opportunity to display their talents in this glorious masterpiece.

Haydn’s “Kettledrum” mass focuses the spotlight on our four guest vocalists and the robust voices of the Santa Barbara Choral Society. Having had the privilege to hear soprano Kathryn Lewek at Marilyn Horne’s recommendation this past summer, I was pleased she could accept our invitation to return to Santa Barbara following her successful residency at the Music Academy of the West. Joining Ms. Lewek will be mezzo-soprano Susana Poretsky, a distinguished soloist and faculty member of the University of California at Santa Barbara; fellow Music Academy alumnus William Ferguson and bass-baritone Derrick Parker, whom I had the privilege of working with in Opera Santa Barbara’s Carmen. These four soloists will be supported by the majestic sounds of orchestra and chorus in one of Haydn’s most powerful and beautiful compositions.

Join the Symphony in November and take part in a true “Surround Sound” experience at the Granada!

Musically yours,

Nir Kabaretti

Nir’s Notes:

On theUpbeat

For more information, including season subscription, visit www.thesymphony.org

NOVEMBER 2009 • VOLUME 3, EDITION 2

you’ll join us for the November concerts for a glorious program that will allow the Symphony to explore two wonderfully

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WOLFGANG AMADEUS MOZART (1756-1791)

Sinfonia Concertante for Oboe, Clarinet, Bassoon, Horn and Orchestra in E-flat major, K. 297b (K. Anh. 9)Composed in 1778.Two oboes, two horns and strings.Approximately 32 minutes.

Mozart arrived in Paris, chaperoned by his mother, on March 23, 1778, hoping that the music lovers of the French capital would recognize his genius and reward him with an appropriate position. With the help of Baron Friedrich

Notes FOR NOVEMBER 7 & 8, 2009 by Dr. Richard E. Rodda

its continued collaboration with other local, regional, and international performance organizations, which have in-cluded performances with acclaimed Italian Nova Amadeus Orchestra, Boni Pueri Czech boys’ choir, and Suddeutsche Kammer Philharmonie internationally and locally with The Santa Barbara Symphony, The Santa Barbara Children’s Chorus, Opera Santa Barbara, and this year, for the first time, State Street Ballet in a World Premiere Ballet-Choral perfor-mance of Orff’s Carmina Burana, on May 31 and June 1, 2008 at the Granada Theater. Annually, the Choral Society joins with Santa Barbara Symphony in their gala Independence Day festivities at the Santa Barbara County Courthouse.

The Choral Society took its first tour international in July 2005, to the cathedrals throughout Austria, Hungary, and the Czech Republic including St. Nicholas’ Cathedral in Prague; Mattias Templon in Budapest; Karlskirche in Vienna.

In July 2007, on the second tour, the group was honored to sing mass at the high altar at St. Peter’s Basilica in the Vatican. They did performances of the Haydn Thereseinmesse and Lauridsen Lux Aeterna with Nova Amadeus Orchestra in Rome and Florence, Italy and at Musiksommer Festival in Ehingen, Germany.

Since its inception in 1948, the Choral Society has been a service and educational organization, promoting artistic development and providing opportunities for individual members from the Central Coast area to study and perform great works of choral music. The Choral Society offers the regional community at large an opportunity to discover and enjoy a diverse repertoire of choral music and to preserve that music through performance. In its education and support mission, the Society also assists other musical organizations and schools through outreach programs and cooperative events. As part of its commitment to sustaining professional choral musicians in the area, the Choral Society employs a core group of paid singers to lead and mentor their sections and provides scholarships for young vocal musicians to participate in the international tours.

JoAnne Wasserman is in her seventeenth season as conductor and artistic director of the Santa Barbara Choral Society. She has worked with an impressive list of outstanding choral and orchestral conductors, including John Alexander and Lawrence Christensen and was chosen to participate in master classes with Paul Salamunovich, the late Robert Shaw and Roger Wagner. She has been Master Class Conductor of the Oregon Bach Festival, Chorus Master for Opera Santa Barbara, and has served on the faculty of California State University, Northridge.

JoAnne Wasserman’s dedication to music education, the development of emerging young artists, and her phi-losophy of increasing cultural awareness has enlivened the Santa Barbara Choral Society’s commitment to sharing excellence in choral music with the arts community both locally and internationally.

Grimm, whom he had met on his first trip to Paris as a Wunderkind of seven in 1763, he was introduced to several of the aristocracy, though his treatment at their hands was something less than he had hoped for—his letters home often complain of being kept waiting in drafty anterooms and of having to perform on wretched harpsichords. Mozart’s stay in Paris grew sad. His mother fell ill in June and died the following month. He lingered in Paris, sor-rowful and alone, until September 26th, when, without the position he sought or the commissions he hoped to re-ceive, he returned to Salzburg. The musical highlight of Mozart’s Parisian venture was his association with the illus-trious series of orchestral programs given by the Concert Spirituel under the direction of Jean Le Gros. Le Gros com-missioned him to write a symphony (No. 31 in D major, K. 297, “Paris”), several substitute movements for a choral Miserere by the Mannheim composer Ignaz Holzbauer (K. 297a, lost), and a sinfonia concertante. On April 5, 1778, Mozart announced in a letter to his father that he planned to write the sinfonia concertante for three Mannheim wind virtuosos then visiting Paris: Johann Wendling, flute; Friedrich Ramm, oboe; and Georg Ritter, bassoon. Jan Vaclav Stich, better known by his assumed Italian name of Giovanni Punto (assumed when he bolted illegally from the service of a Bohemian nobleman to undertake a career as a touring musician), the greatest horn player of the day (Beethoven wrote his Horn Sonata, Op. 17 for Punto), was also in Paris at the time, and so Mozart included a part for him in the score, as well. The resulting Sinfonia Concertante for Flute, Oboe, Bassoon, Horn and Orchestra was composed quickly later that month, but it was not performed at Le Gros’ concerts, perhaps because of the intrigues of Giovanni Cambini, who was dispensing sinfonia concertante literally by the dozen to the Parisian musical haute monde. Mozart’s score was lost for more than a century, but it was rediscovered in a version for clarinet, oboe, bas-soon and horn rather than flute, oboe, bassoon and horn that has since enjoyed a fine success.

JOSEPH HAYDN (1732-1809)

Mass in C major, “In Tempore Belli” (“In Time of War”), Hob. XXII/9, “Paukenmesse” (“Kettledrum Mass”)Composed in 1796.Premiered on December 26, 1796 in Vienna, conducted by the composer.Flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.Approximately 50 minutes.

In 1796, Joseph Haydn was the most famous and respected composer in Europe, but his native Austria faced anx-ious times. Napoleon Bonaparte had begun his meteoric rise to power three years earlier by playing a significant part in the recapture in 1793 of Toulon, a Mediterranean port that had been surrendered to the British by French royalists. Austria, along with Britain, Prussia, Holland and Spain, was a member of the First Coalition, an alliance that had been formed by those monarchial nations in the wake of the execution of Louis XVI to thwart the French National Convention’s ambition to spread revolution (and royal overthrow) throughout Europe. In 1796, Carnot entrusted the campaign against northern Italy, then dominated by Austria, to the young General Bonaparte, who won a stunning series of victories with an army that he had transformed from a demoralized, starving band into a military juggernaut. By the summer of 1796, Napoleon was sweeping through northern Italy and threatening to cross the Alps into Austria itself. During the following months, French forces marched into Tyrol and Carinthia, and occupied Graz on April 10, 1797. Vienna was near panic. Further humiliations on the battlefield led Austria to accept the treaty of Campo Formio in October 1797, winning what proved to be a brief respite from French ag-gression. It was as those troubled times began to settle upon Austria that Haydn composed his Missa in Tempore Bell i—Mass in Time of War.

©2009 Dr. Richard E. Rodda

For a more in-depth look into this concert’s programming please go to www.thesymphony.org

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SANTA BARBARA, CA

PERMIT NO. 77

Santa Barbara SymphonyOrchestra Association1330 State Street, Suite 102Santa Barbara, CA 93101www.thesymphony.org

© On the Upbeat, NOVEMBER 2009 VOL. 3, EDITION 2. Published for Symphony Series concert subscribers by the Santa Barbara Symphony, 1330 State Street, Suite 102, Santa Barbara, CA 93101, (805) 898-9386 —A non-profi t organization.

Santa Barbara Symphony Concerts One-time-only Broadcasts on

November concerts broadcast: Jan. 17, 7 p.m.January concerts broadcast: Feb. 14, 7 p.m.

Ooh La La...Saturday, Jan. 23, 8pm & Sunday, Jan. 24, 3pm

THE GRANADAAlain Lefèvre, piano

ANDRÉ MATHIEU: Piano Concerto No. 4CÉSAR FRANCK: Symphony in D minor

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

Santa Barbara Symphony’s upcoming performances: It won’ t mean a thing if it ain’ t got that

New Year’s Eve Swing!with the Santa Barbara Symphony!

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On theUpbeat