Carlos Miguel

Prieto Guest Conductor

Carlos Miguel Prieto, considered one of the most dynamic young conductors in recent years, has further widened his exposure by accepting a total of four music directorships in his native Mexico and the United States. He was named music director of the Orquesta Sinfonica Nacional de Mexico (National Symphony Orchestra of Mexico), Mexico’s most prominent orchestra, in July 2007, and remains music director at his other Mexican orchestra, the Orquesta Mineria. In the US, he entered his fifth season as music director of the Louisiana Philharmonic, where he leads the cultural renewal of ravaged New Orleans, while his music directorship of the Huntsville Symphony (Alabama) came to a close in 2011 after eight years. That same year he was appointed music director of YOA Orchestra of the Americas. Prieto has made guest appearances with numerous North American orchestras such as the Dallas Symphony, Houston Symphony, Phoenix Symphony, Florida Philharmonic, San Antonio Symphony, Calgary Philharmonic, Dayton Philharmonic, and every major orchestra in Mexico. He has also conducted orchestras throughout Europe, Russia, Israel, and Latin America, notably his recent Teatro Colon debut in Buenos Aires, his Netherlands Radio Orchestra debut in Utrecht, and performances with the Philharmonia of the Nations.

Many stellar orchestras are lined up for 2011/12, including the Chicago Symphony, Vancouver Symphony, Seattle Symphony, Calgary Philharmonic, and the symphonies of Quebec, Kansas City and Santa Barbara.

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March 17 & 18, 2012

Latin PassionCarlos Miguel Prieto, Guest Conductor

Alexandre Da Costa, Violin

FALLA (1876-1946) Three Dances from The Three-Cornered Hat The Neighbor’s Dance (Sequidillas) The Miller’s Dance (Farruca) Final Dance (Jota)

DAUGHERTY Fire and Blood for (b. 1954) Violin and Orchestra Volcano River Rouge Assembly Line

— I N T E R M I S S I O N —

BIZET (1838-1875) The Carmen Ballet for Strings and arr. SHCHEDRIN Percussion (b. 1932) Introduction — Dance — First Intermezzo — Changing of the Guard — Carmen’s Entrance and Habanera — Scene — Second Intermezzo — Bolero — Torero — Adagio — Fortune-Telling — Finale

MONCAYO (1912-1958) Huapango

On the UpbeatMARCH 2012 • VOLUME 5, EDITION 5

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Continued on page 2

Season 2010/11 brought return visits to the Chicago Symphony, San Antonio Symphony, Pacific Symphony, and Naples Philharmonic as well as debuts with the Winnipeg Symphony and North Carolina Symphony. Abroad he conducted the Frankfurt Radio Orchestra with great success.

The previous season, Prieto gave several debuts: after past summer’s success, he made his subscription debuts with the Chicago Symphony and Pacific Symphony, and also appeared for the first time with the Toronto Symphony (subscription debut and Light Classics Series) and Alabama Symphony. In early 2010 he conducted the Youth Orchestra of the Americas, alongside Valery Gergiev, on occasion of the 40th anniversary of the World Economic Forum at Carnegie Hall.

Prieto’s 2008/09 season was another banner year, full of important debuts and re-engagements in the US. During the summer, he made his first appearance with the Chicago Symphony and later with the Boston Symphony at the Tanglewood Festival, with Yo-Yo Ma as soloist. He also gave his debut with the Vancouver Symphony, New Jersey Symphony and Monterey Symphony, and returned to the Indianapolis Symphony, New Mexico Symphony, and Pacific Symphony.

During his tenure with the Mexico City Philharmonic from 1998 to 2002, Prieto conducted over 100 concerts ranging from classical subscription to educational and popular concerts. A champion of contemporary music, Prieto has conducted over 50 world premieres of works by Mexican and American composers, many of which were commissioned by him. Exemplifying Prieto’s commitment to education, he has conducted the Youth Orchestra of the Americas since its inception in 2002. He has performed with this enthusiastic ensemble at the United Nations and the Kennedy Center, and has toured throughout South America and Mexico.

Carlos Miguel Prieto is the founder and music director of the Mozart-Haydn Festival, an annual series of six concerts dedicated to the symphonic music of these two composers. In October 2005 he led the sixth festival in Sala Nezahualcoyotl of Mexico City.

He was voted “Conductor of the Year 2002” by the Mexican Union of Music and Theater Critics, and in 1998 he received the Mozart Medal of Honor presented by the Government of Mexico and the Embassy of Austria. He has recently made a series of recordings of Latin American and Mexican music for the Urtext label.

A graduate of Princeton and Harvard Universities (where he was concertmaster of the orchestra), Prieto studied conducting with Jorge Mester, Enrique Diemecke, Charles Bruck and Michael Jinbo.

UEST CONDUCTOR

Alexandre Da Costa Violin

Alexandre Da Costa was born in Montreal, Quebec, Canada in 1979. He showed an uncommon interest for both the violin and piano at a very early age. By the age of nine, he had the astonishing ability to perform his first concerts with stunning virtuosity on both instruments, which brought him recognition as a musical prodigy. His chosen professional career as a violinist began very early and he was soon performing regularly as soloist with orchestra as well as in recital.

At age 18, he obtained a Master’s Degree in violin and a First Prize from the Conservatoire de Musique du Québec. Concurrently, he also obtained a Bachelor’s Degree in Piano Interpretation from the University of Montreal. From 1998 to 2001, he studied at the Escuela Superior de Música Reina Sofia in Madrid with his mentor Zakhar Bron, teacher of violinists such as Maxim Vengerov and Vadim Repin. In 2002, he won the Sylva Gelber Foundation Award from the Canada Council for the Arts given for an exceptionally gifted Canadian Artist under 30 years old. In 2003, he was awarded the “1689 Baumgartner Stradivarius” from the Canada Council for the Arts – Musical Instrument Bank. In 2010, he received the prestigious Virginia-Parker Prize from the Canada Council for the Arts, given by the Government of Canada to the Canadian musician that has distinguished himself in Canada and abroad.

OLOIST

Continued from page 1G

S

MANUEL DE FALLA (1876-1946)

Three Dances from The Three-Cornered HatComposed in 1917 and 1919.Premiered on July 22, 1919 in London, conducted by Ernest Ansermet.Piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano and strings.Approximately 10 minutes.

The Three-Cornered Hat concerns a village miller in Spain and his pretty wife. The Corregidor (mayor) is attracted to the wife, and makes his advances. She tells her husband to watch as she spurns the old man’s attempts at love. The Corregidor chases her, but becomes aware of the teasing intrigue between husband and wife, and departs. That evening the village festivities are interrupted by the local constabulary, who have come to arrest the miller on a charge trumped up by the Corregidor to get him out of the way. The Corregidor appears as the miller is led away, but falls into the millstream as he is pursuing the girl. She runs off in search of her husband while the Corregidor removes his sodden clothes, including his three-cornered hat — symbol of his office — hangs them on a chair outside the mill, and jumps into the absent girl’s bed to ward off a chill. Meanwhile, the miller has escaped and returned home. He sees the Corregidor’s discarded clothes, and believes himself betrayed by his wife. Vowing to get even, he exchanges his garments for those of the official, scribbles on the wall “The wife of the Corregidor is also very pretty,” and runs off in search of his conquest. The Corregidor emerges to find only the miller’s clothes. He puts them on just in time for the police, hunting their escaped prisoner, to arrest him by mistake. The miller’s wife returns, followed by the miller, and the two are happily reconciled.

Falla derived two orchestral suites from the complete score for The Three-Cornered Hat. They parallel the action of the ballet, but omit some of the connecting tissue. We are performing a set of three dances: The Neighbor’s Dance (initiated by an ethereal melody high in the strings), The Miller’s Dance (prefaced by solo horn) and the energetic Final Dance.

OTESN

Winner of many national and international first prizes, Alexandre Da Costa has given over a thousand concerts and recitals throughout North America, Mexico, Europe, United Kingdom and Asia. He has performed in major halls such as Vienna’s Musikverein, Berlin’s Philharmonie, New York’s Carnegie Hall, Hamburg’s Musikhalle, Madrid’s National Auditorium, Beijing’s Poly Theater, and played with prestigious orchestras such as the London Royal Philharmonic Orchestra, the Orchestre Symphonique de Montreal, the Dresden Philharmonic Orchestra, the Bergen Philharmonic Orchestra, the Berlin Symphony Orchestra, the Hamburg Symphony Orchestra, the Vienna Symphony Orchestra, the Prague Philharmonic Orchestra, the Toronto Symphony Orchestra, the Buffalo Philharmonic and the Spain’s National TV & Radio Symphony Orchestra.

As recording artist, he has 12 CDs for the XXI-21 Records, ATMA and Octave/Universal labels, among them the world premiere recordings of the Violin Concertos by Portuguese composers Luis de Freitas Branco and Armando José Fernandes with the Extremadura Symphony Orchestra under Jesús Amigo, a disc nominated at the JUNO Awards 2006. In 2009, he recorded concertos by American composer Michael Daugherty, with the Montreal Symphony under Pedro Halffter for Warner Classics. He now records for Warner Classics International, Acacia Classics/Universal Music Group and JVC/Victor (Japan).

In addition to his concert schedule, Alexandre Da Costa teaches violin at the Gatineau Music Conservatory (Ottawa, Canada), and regularly gives masterclasses at various universities and conservatories around the world. He was also named Musical Development Director of the Canimex Foundation, an organization gathering an impressive collection of fine instruments for the benefit of talented artists. Alexandre Da Costa now plays the 1728-30 “Guarneri del Gesù” and a Sartory bow, loaned by Canimex.

Alexandre Da Costa appears with the Santa Barbara Symphony through the generous sponsorship of Mary Beth Larkin and Chris Lancashire.

MICHAEL DAUGHERTY (BORN IN 1954)

Fire and Blood for Violin and OrchestraComposed in 2003.Premiered on May 3, 2003 in Detroit, conducted by Neeme Järvi with Ida Kavafian as soloist.Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, percussion, harp and strings.Approximately 25 minutes.

Michael Daugherty, born in 1954 into the family of a dance-band drummer in Cedar Rapids, Iowa (his four younger brothers are all also professional musicians), has been Professor of Composition at the University of Michigan since 1991; he taught at the Oberlin College Conservatory of Music during the preceding five years. While pursuing his undergraduate degree at North Texas State University from 1972 to 1976, Daugherty played jazz piano in the school’s lab bands and was encouraged to study composition by James Sellars. Daugherty received his master’s degree in composition from the Manhattan School of Music in 1978, and spent the following year on a Fulbright Fellowship studying and composing computer music at IRCAM (Pierre Boulez’s Institute for Research and Coordination of Acoustics and Music in Paris). From 1980 to 1982, he continued his professional training at the Yale School of Music with Earle Brown, Jacob Druckman, Bernard Rands and Roger Reynolds while collaborating with jazz arranger Gil Evans in New York; he received his doctorate from Yale in 1984. Daugherty was a Composition Fellow at Tanglewood in 1980; during the summer of 1990, he returned there as Guest Composer. György Ligeti invited Daugherty to study with him in Hamburg, Germany from 1982 to 1984, during which time Daugherty developed his distinctive compositional language, which fuses elements of jazz, rock, popular and contemporary music with the techniques of traditional classical idioms in a manner that Musical America described as “eclecticism at its best.” From 1999 to 2003, Daugherty was Composer-in-Residence with the Detroit Symphony Orchestra. He has received awards from the NEA, American Academy and Institute of Arts and Letters, BMI, Tanglewood and ASCAP; in 1989, two of his compositions, SNAP! and Blue Like an Orange, received awards from the Friedheim Competition at Kennedy Center. In 2011, the Nashville Symphony’s Naxos recording of Metropolis Symphony and Deus ex Machina won three Grammy Awards, including Best Classical Contemporary Composition.

The composer wrote, “Fire and Blood (2003) for violin and orchestra was commissioned by the Detroit Symphony Orchestra. The première was given at Orchestra Hall in Detroit on May 3, 2003 under the direction of Neeme Järvi, with Ida Kavafian as soloist.

“In 1932, Edsel Ford commissioned the Mexican modernist artist Diego Rivera (1886–1957) to paint a mural representing the automobile industry of Detroit. Rivera came to Detroit and worked during the next two years to paint four large walls of the inner courtyard at the Detroit Institute of Arts. These extraordinary Detroit Industry murals inspired Fire and Blood. It was Rivera himself who predicted the possibility of turning his murals into music, after returning from a tour of the Ford factories: ‘In my ears, I heard the wonderful symphony which came from his factories where metals were shaped into tools for men’s service. It was a new music, waiting for the composer... to give it communicable form.’

“I. Volcano. Before coming to Detroit, Rivera lived in Mexico City, which is surrounded by volcanoes. Fire is an important element in his murals, which depict the blaze of factory furnaces like erupting volcanoes. Volcanic fire was also associated with revolution by Rivera, an ardent member of the Mexican Communist party. He saw the creation of the Detroit murals as a way to further his revolutionary ideas. The music of the first movement responds to the fiery furnaces of Rivera’s imagination. The violinist plays virtuosic triple stops, while the orchestra explodes with pulsating energy. The composition alternates between repeated patterns in 7/4 time and polytonal passages that occur simultaneously in different tempos. It concludes with an extended violin cadenza accompanied by marimba and maracas.

“II. River Rouge. At the Ford River Rouge Automobile Complex, located next to the Detroit River, Rivera spent many months creating sketches of workers and machinery in action. He was accompanied by his young wife, the remarkable Mexican painter Frida Kahlo (1906–1954). She lived in constant pain as a result of polio in childhood and a serious bus accident at the age of eighteen in Mexico City. Many of her self-portraits depict the suffering of her body. During her time with

Rivera in Detroit, Kahlo nearly died from a miscarriage, as depicted in paintings such as Henry Ford Hospital and My Birth. The color of blood is everywhere in these works. She also had a passionate and playful side: she loved wearing colorful traditional Mexican dresses and jewelry, drinking tequila and singing at parties. Kahlo’s labors, grief and zeal for life added another perspective to Rivera’s industry. This movement is dedicated to Frida Kahlo’s spirit. The solo violin introduces two main themes. The first theme is dissonant and chromatic, flowing like a red river of blood. The second is a haunting melody that Kahlo herself might have sung, longing to return to her native Mexico. The orchestra resonates with floating marimbas and string tremolo, echoing like a mariachi band in the distance. The orchestration is colorful, like the bright tapestries of her dress. While death and suffering haunt the music, there is an echo of hope.

“III. Assembly Line. Rivera described his murals as a depiction of ‘towering blast furnaces, serpentine conveyor belts, impressive scientific laboratories, busy assembly rooms; and all the men who worked them all.’ Rather than pitting man against machine, Rivera thought the collaboration of man and machine would bring liberation for the worker. The violin soloist in this final movement is like the worker, surrounded by a mechanical orchestra. The music is a roller coaster ride on a conveyor belt, moving rapidly in 7/8 time. This perpetual motion is punctuated by pizzicato strings, percussive whips and brassy cluster chords. The percussion section plays factory noises on metal instruments like brake drums and triangles, and a ratchet turns like the wheels of the machinery. In addition to this acceleration of multiple mechanical rhythms, the musical phrasing recalls the undulating wave pattern that moves from panel to panel in Rivera’s mural.”

MUSIC BY GEORGES BIZET (1838-1875)FREELY ARRANGED BY RODION SHCHEDRIN (BORN IN 1932)

The Carmen Ballet for Strings and PercussionOpera composed in 1872-1875; arranged in 1967.Ballet premiered in Moscow on April 20, 1967. Approximately 36 minutes.

Rodion Shchedrin, one of the handful of Russian composers of the generation after Shostakovich whose music has made an impact in the West, was born in Moscow on December 16, 1932. His father, a well-known musical theorist and writer on music, encouraged Rodion’s musical interests with piano lessons, but the boy’s formal training was interrupted by the German invasion in 1941. Shchedrin resumed his musical education in 1948 at the Choir School in Moscow, where he began to compose, and he entered the Moscow Conservatory three years later to study piano with Yacob Flier and composition with Yuri Shaporin. By the time he graduated in 1955, Shchedrin had established a distinctive idiom with a string quartet, a piano quintet and the Piano Concerto No. 1, which incorporate the styles of both folk music from various Russian regions (which he studied on the field trips required by the Conservatory curriculum) and the simple urban street song known as the chastushka. The First Piano Concerto attracted sufficient attention that he was named to represent the U.S.S.R. at the Fifth World Festival of Democratic Youth in Prague in 1954. The following year he composed The Humpbacked Horse, which became widely popular in its original form as a ballet, as well as in two orchestral suites and a film version. Shchedrin subsequently wrote about current trends in his country’s music in official publications, received many awards (most notably the Lenin Prize in 1984), was made a People’s Artist of the U.S.S.R. in 1981, and visited the United States on cultural exchange programs in 1964, 1968 and 1986. He taught at the Moscow Conservatory from 1965 to 1969. He has since worked as a free-lance composer, and now divides his time between Moscow and Munich.

The Carmen Ballet, Shchedrin’s reworking of music from Bizet’s opera for strings and percussion, was written in 1967 at the insistence of his wife, Maya Plisetskaya, prima ballerina of the Bolshoi Ballet. “The action is that of a bullfight,” wrote John Sowerwine, “the strife between a human being (Carmen) and her Destiny (a female dancer masquerading as a black bull). Carmen’s death, taking place within this arena of life, occurs simultaneously with that of the bull — a uniquely subtle statement of a basic philosophical belief, namely that the destiny of any mortal ends in a mutual destruction.” In addition to many of the best-known sequences from the opera, Shchedrin also included in his ballet the Farandole from Bizet’s incidental music to Alphonse Daudet’s play L’Arlésienne and the Danse Bohémienne from the ill-fated opera The Fair Maid of Perth.

JOSÉ PABLO MONCAYO (1912-1958)

HuapangoComposed in 1941.Premiered on August 15, 1941 in Mexico City, conducted by Carlos Chávez.Piccolo, two flutes, two oboes, E-flat clarinet, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp and strings.Approximately 8 minutes.

The talented but regrettably short-lived Mexican composer José Pablo Moncayo, born in 1912 in Guadalajara, studied piano and composition at the Mexico City Conservatory, and supported himself after leaving school by playing percussion and drums in dance bands and cabarets in Mexico City. In 1932, Chávez appointed him to the Orquesta Sinfónica de Mexico as the ensemble’s pianist; he later served that orchestra as principal percussionist, assistant director and, in 1946 and 1947, as artistic director. From 1949 until 1952, Moncayo was conductor of the Orquesta Sinfónica Nacional. He died in Mexico City on June 16, 1958 at the age of 45.

The huapango is a lively Mexican dance of Spanish origin that is especially popular in the lands along the Gulf of Mexico. Performed by singers and instrumental ensembles ranging from a duo of guitars to a full mariachi band, it is characterized by a complex rhythmic structure mixing duple and triple meters that reflect the intricate steps of the dance. The huapango is danced by men and women as couples; the men sing, the women do not. Latin music authority Nicolas Slonimsky explained that the word huapango “is derived either from a native vocable meaning ‘on a wooden stand’ (the huapango is danced on a platform), or it may be a contraction of Huaxtecas de Pango. Huaxtecas means a tropical valley, and Pango is the ancient name of the river Panuco.” Moncayo’s Huapango of 1941 is based on three authentic folk dances: Siqui Siri, Balajú and El Gavilán. The piece is arranged in three sections, with fiery music at beginning and end recalling the manner of huapango singing in coplas (i.e., the song is shouted alternately between two men singers, here transmuted by Moncayo into a trombone–trumpet dialogue) surrounding a slower central portion based on a lyrical melody.

©2012 Dr. Richard E. Rodda

©On the Upbeat, JANUARY 2012 VOL. 5, EDITION 3. 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-profit organization.

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