The Music Academy gratefully dedicates the 2018 Community Concert in remembrance of Léni Fé Bland. Symphony No. 2 in C Minor, Resurrection

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1 2018 SUMMER FESTIVAL Saturday, August 11, 2018, 7 pm Santa Barbara Bowl COMMUNITY CONCERT Academy Festival Orchestra Los Angeles Master Chorale Academy Voice Program fellows Gustavo Dudamel conductor, Mosher guest artist Grant Gershon artistic director, Los Angeles Master Chorale Susanna Phillips soprano Michelle DeYoung mezzo-soprano The Music Academy gratefully dedicates the 2018 Community Concert in remembrance of Léni Fé Bland The 2018 Summer Festival is dedicated to our community. Thank you! MAHLER Symphony No. 2 in C Minor, Resurrection ( ) Allegro maestoso Andante moderato In ruhig fließender Bewegung Urlicht: Sehr feierlich, aber schlicht Im Tempo des Scherzos Festival Sponsor: Women's Auxiliary of the Music Academy of the West The Santa Barbara Bowl is equipped with the hearing loop assistive listening system. To utilize the hearing loop, please switch hearing aids now to the T telecoil or hearing loop program. Please silence all electronic devices. Late seating will only occur after the first movement of the symphony. Late arrivals will wait to be seated by ushers at the appropriate time.

2 GUSTAV MAHLER Symphony No. 2 in C Minor, Resurrection Composed Duration ca. 75 minutes Scored for 2 solo voices (soprano and alto), mixed chorus, and an orchestra of 4 flutes and piccolos, 4 oboes and 2 English horns, 3 clarinets, 2 E-flat clarinets and one bass clarinet, 4 bassoons and 2 contrabassoons, 10 horns, 10 trumpets, 4 trombones, tuba, timpani, percussion, 2 harps, organ, and strings. Mahler completed his Second Symphony, after some six years of writing and rewriting, in As its subtitle, Ressurrection, indicates, this is not an abstract piece of music. Rather, it demands to be heard as a spiritual declaration, perhaps the most explicit one that Mahler ever made. A Jew who converted to Roman Catholicism, Mahler was intensely concerned throughout his life with religious questions. Chief among these was the issue of mortality, a preoccupation that found reflection in much of his music. The Second Symphony gives us the composer s most optimistic consideration of this subject. (For a darker view, we have his tragic Sixth Symphony.) Death and its conquest are the programmatic theme of this composition, which concludes with a vision of divine compassion and eternal life. Mahler found that vision in Auferstehung ( Resurrection ), an ode by the German poet Friedrich Klopstock ( ). Its verses provide the text for the symphony s choral finale and a dramatic focus for the entire composition. Mahler came upon Klopstock s ode early in 1894 and immediately realized that it provided exactly the strong affirmation of faith he desired. It also suggested a choral finale, a procedure with its precedent in Beethoven s Ninth Symphony. Yet the Second Symphony is an unusually complex and richly textured composition, and the great exultation that is Mahler s setting of Klopstock s poem occurs in a context created by nearly an hour of wide-ranging music that precedes it. The inspiration for much of that music lay in a source quite unlike the formal poetry of Klopstock. This was the anthology of folk poetry known as Des Knaben Wunderhorn (The Youth s Magic Horn). Mahler had discovered it in 1886, and its verses struck a responsive chord in his imagination. Almost immediately he began to compose songs to poems from the collection, and he continued to do so intermittently for the next decade and a half. The Wunderhorn songs form the creative core of Mahler s early maturity. In striving to capture the particular qualities of the verses their alternately earthy and delicate tone, their intimations of magic, eroticism, and death, their wise innocence the composer found his own musical voice. It was a voice of nostalgic longing and macabre humor, of shimmering textures and shrill outcries; it spoke the most refined musical language as well as the vernacular dialects of marches and dance tunes. Far from remaining the sole property of the songs, those traits found their way into the composer s orchestral works. And so, the qualities that sound so clearly throughout his songs of Des Knaben Wunderhorn are heard in Mahler s Second, Third, and Fourth Symphonies also. But the Second Symphony derives more than just its spirit and general style from the composer s Wunderhorn songs. Its third movement is a symphonic fantasy on music from one of those songs, while the fourth movement presents another in a version for alto soloist and orchestra. The latter, a setting of the Wunderhorn poem Urlicht, concerns the same theme the soul s survival in an after-life, following the demise of the body that Klopstock addresses in his ode, though it does so in quite different terms and on a far more intimate scale. In his final formulation of the Second Symphony, Mahler decided to use both his Urlicht song and a newly composed choral finale based on Klopstock s Auferstehung, thereby expanding the symphony to five movements. Mahler correctly calculated that the two poems would complement each other, creating a deeper effect than either could have produced alone. When he initially presented the composition, at a concert in December 1895, Mahler offered no verbal account of the music s meaning. When asked to do so by an admirer, he replied that the work spoke for itself and that he would consider it as having failed if any description were required. Then, echoing Beethoven s caveat that his Pastoral Symphony was more an expression of emotion than tone painting, Mahler added: I was in no way concerned with the detailed setting forth of an event, but, rather, of a feeling. And yet, Mahler must have felt some concern about the public s ability to grasp his work, for he subsequently drew up a fairly elaborate written program explaining each of the five movements, a program that he provided to the audience of at least one performance of the symphony. Throughout much of his career, the composer maintained an ambivalent attitude toward verbalizing the significance of his work. No doubt written programs are useful in providing a general guide to the thoughts and intentions embodied in a complex dramatic work like Mahler s Second Symphony. But also, no doubt, they take us only to the point where active listening must begin. The opening movement is, by Mahler s own account, a Todtenfeier, a funeral rite. This characterization, however, hardly conveys the tremendous drama of the music, which presents in imaginative terms a desperate struggle with mortality. Mahler s spine-chilling first subject, made up of several related motifs, is opposed by a second theme rising comfortingly in the strings. The development of these contrasting materials is such that the outcome of their apparent struggle is uncertain until the final moment, when a hopeful major triad is pushed downward to its darker minor form by a pitiless trumpet. As the symphony s initial chapter closes, death seems triumphant. The next two movements present what we might think of as flashbacks to the recently ended life. First comes an Andante conjuring, Mahler declared, memories of happiness and innocence from the life of the recently deceased. The composer evokes this state in music reminiscent of Haydn. One can well imagine Mahler s nostalgic view of that Classical-period master: eighteenth-century composers must have seemed blessedly free of the burden he felt to bare his soul in his works, free simply to write music of pleasing grace. The scherzo-like third movement regards life with a cynical eye for its pleasures. Its flowing melodies have undeniable charm, like the glittering things of this world, but at the same time convey a hint of decadence and the grotesque. The suggestion of a more noble kind of existence, embodied in the stirring fanfare that appears suddenly midway through the movement, fails to alter the course of events. At last there is a great cry of protest. The

3 composer adapted the music for this movement from his Wunderhorn song recounting Saint Anthony s futile sermon to the fish, who, like the pleasure-seekers of Mahler s world, hear but do not heed the call to virtue. The final parts of the symphony offer contrasting visions of resurrection. The Urlicht song of the fourth movement, sung by an alto soloist, expresses the faith of a child, simple and serene. This is a far cry from the apocalyptic vision of the finale, which opens with a tumultuous outburst followed by recollections of earlier movements (a procedure derived from Beethoven s Ninth Symphony). In broadly arching fanfares and a sounding of the centuries-old melody of Dies irae, the chant for the dead, all those who have perished are called to life again. They stream forth, as Mahler described, in endless procession. The great and the small, kings and beggars, righteous and godless, during the long orchestral march that follows. It is an awe-inspiring, and at times terrifying, parade. But there is no Biblical judgment. The march music gives way at last to a consoling motif, symbolic of resurrection, rising sweetly in the strings. Once again there are fanfares not only for brass offstage but also using the more dulcet tones of flute and piccolo. As the chorus enters with the assuring verses of Klopstock s hymn, we understand that forgiveness, love, and eternal life are to be mankind s final reward. The resurrection theme swells in the orchestra, leading to another vocal episode featuring alto and soprano soloists. Slowly the hymn grows in power until it reaches its climactic affirmation: Rise again, my heart. / What you have conquered will bear you to God. TEXTS Fourth Movement: Uhrlicht (from Des Knaben Wunderhorn) Alto Solo: O Röschen rot, Der Mensch liegt in größter Not, Der Mensch liegt in größter Pein, Je lieber möcht' ich im Himmel sein. Da kam ich auf einem breiten Weg, Da kam ein Engelein und wollt mich abweisen. Ach nein, ich ließ mich nicht abweisen! Ich bin von Gott und will wieder zu Gott, Der liebe Gott wird mir ein Lichtchen geben, Wir leuchten mir bis in ds ewig selig Leben! Oh rose so red! Man lies in greatest need! Man lies in greatest pain! And so would I in Heaven dwell! I came upon a great pathway, A little Angel came to turn me back. Oh no, I would not be turned back. I came from God and to God I would return. The dear Lord will give me a small light, That will burn for me in joyous, everlasting life. Fifth Movement: Resurrection Hymn (after Auferstehung by F. Klopstock) Chorus and Soprano: Aufersteh n, ja aufersteh n wirst du, mein Staub, nach kurzer Ruh! Unsterblich Leben wird, der dich rief, dir geben! Wieder aufzublühn wirst du gesät! Der Herr der Ernte geht und sammelt Garben uns ein, die starben! Rise again, yea, you will rise again After brief rest, my dust. Immortal life will He who called you grant. To flower again are you sown! The lord of the harvest goes to gather in us, the dead. Alto Solo: O glaube, mein Herz, o glaube: Es geht dir nichts verloren! Dein ist, ja dein, was du gesehnt! Dein, was du geliebt, was du gestritten! Believe, my heart, oh believe: Nothing for you is lost! Yours, yes, yours is what you desired. Yours what you loved and fought for! Soprano Solo: O glaube: Du wardst nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten! Oh believe, you were not born in vain, Not for nothing have you lived and suffered. Chorus and Alto: Was entstanden ist, das muß vergehen! Was vergangen, auferstehen! Hör auf zu beben! Bereite dich zu leben! What has arisen must perish, What has passed must rise again! Tremble not! Prepare yourself! Prepare yourself to live! Soprano and Alto Solos: O Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod, du Allbezwinger! Nun bist du bezwungen! Mit Flügeln, die ich mir errungen, in heißem Liebesstreben, werd ich entschweben zum Licht, zu dem kein Aug gedrungen! Sterben werd ich, um zu leben! Oh pain, which is everywhere! From you, have I escaped, Oh Death, you great conqueror! Now you are mastered! With wings I have won, In love s heated striving I shall rise up, To a light no mortal eye has ever beheld! I will die in order to live! Chorus: Aufersteh n, ja aufersteh n wirst du, mein Herz, in einem Nu! Was du geschlagen, zu Gott wird es dich tragen! Rise again, yea, you will rise again, My heart, in an instant. What you have conquered Will bear you to God!

4 ACADEMY FESTIVAL ORCHESTRA VIOLIN 1 Cristian Zimmerman concertmaster Qianru Elaine He Yeokyung Kim Alan Snow Christy Chen Siyu Zhang Nuri Lim Tiffany Kang Jaimee Cao Gee O (Julia) Son Michaela Wellems Chisa Kodaka Seohyun Park Ann Sangeun Cho Alicia Venables Jorja Fleezanis^ VIOLIN 2 Lucia Nowik* Chelsea Kim Ching-Yu Chung Agnes Tse Jerry Xiong Michelle Yerie Shin Katelyn Emery Heewon Koo Jisu Choi Harin Kang Jonathan Eng Ziwei Yang Jiwon Sun Ariel Seung Hyun Lee VIOLA Stephanie Anne Block* Emily Liu Elizabeth Doubrawa Arjun Ganguly Bradley Parrimore Jiwon Grace Kim Rebecca Epperson Lyrica Sophia Smolenski Liam James Brolly Aekyung Kim Noemie Chemali CELLO Jessica Hong* David Bender Caroline Paulsen Emma Lee Isaac Kim Jakob Giovanni Taylor Jonah Krolik Nina Pitts Li Pang Richard Li DOUBLE BASS Markus Lang* Jesse Simon Fischer Nina Bernat Marguerite Cox Ryan Avila Christopher Laven Hector Ponce FLUTE / PICCOLO William David Cedeño* Won Lee Stephanie Morin Dominique Noelle Kim OBOE William Welter* Andrew Dotterer Amelia Merriman oboe, English horn Casey Kearney oboe, English horn CLARINET Tania Villasuso* Taylor Isberg Angelo Quail clarinet, bass clarinet John Diodati+ clarinet, E-flat clarinet Thomas Frey E-flat clarinet BASSOON Quinn Delaney* Edin Agamenoni Joshua William Elmore Camille Le Mézo bassoon, contrabassoon HORN Nathaniel Siblerschlag* Cort Roberts+ assistant horn Kaitlyn Resler William Loveless Connor Alan Monday Kyle David Thompson Logan Bryck Julie Landsman^ Avery Roth-Hawthorne+ David Alexander+ Renée Vogen+ Christian Thomas Siqueiros+ TRUMPET Anthony Limoncelli* Alexander Schwarz Francis Lawrence LaPorte Justin Rowan John-Thomas Burson+ Seth Johnson+ Andrew Jeng+ Jon Hoehne+ Bill Williams^ Paul Merkelo^ TROMBONE James Tobias* Joseph Dubas James Merritt Seymour Lisa Stoneham TUBA Andrew Abel TIMPANI Joe Desotelle Ben Cornavaca PERCUSSION Hanna Kim Santiago Daniel Mora Grimaldo Madison Shake Michael Werner^ Jake Darnell+ Tim Shuster+ HARP Caroline Hales* Elisabeth Zosseder+ ORGAN Thomas Steigerwald *principal ^faculty +guest musician

5 LOS ANGELES MASTER CHORALE Grant Gershon Kiki & David Gindler artistic director Jenny Wong associate conductor SOPRANO April Amante Christina Bristow Katy Compton Alannah Garnier Colleen Graves Katya Gruzglina Ayana Haviv Tiffany Ho Marie Hodgson Deborah Mayhan Bethanie Peregrine Meredith Pyle Anna Schubert Carrah Stamatakis Courtney Taylor Rebecca Tomlinson Suzanne Waters Elyse Willis Sunjoo Yeo Andrea Zomorodian ALTO Garineh Avakian Leanna Brand Aleta Braxton Monika Bruckner Amy Fogerson Michele Hemmings Shabnam Kalbasi Sharmila Lash Sarah Lynch Adriana Manfredi Margaurite Mathis-Clark Alice Kirwan Murray Eleni Pantages Laura Smith Roethe Jessie Shulman Leslie Inman Sobol Nancy Sulahian Ilana Summers Kimberly Switzer Tracy Van Fleet TENOR Matthew Brown Bradley Chapman Adam Faruqi Jon Gathje Jody Golightly Steven Harms Blake Howard Shawn Kirchner Bryan Lane Charles Lane Michael McDonough Matthew Miles Robert Norman Adam Noel Anthony Ray Todd Strange A.J. Teshin Matthew Thomas Jimmy Traum Matthew Tresler BASS Michael Bannett Mark Beasom John Buffett David Castillo Kevin Dalbey Dylan Gentile William Goldman Abdiel Gonzalez Scott Graff James Hayden David Dong-Geun Kim Luc Kleiner David Kress Chung Uk Lee Edward Levy Ben Lin Brett McDermid Adrien Redford Mark Edward Smith Shuo Zhai The singers of the Los Angeles Master Chorale are represented by the American Guild of Musical Artists, AFL-CIO, Leanna Brand, AGMA Delegate. ACADEMY VOICE PROGRAM SOPRANO Adelaide Boedecker Rebecca Farley Hanna Lee Shereen Pimentel Taylor Haines Julia Metzler Kathleen O Mara ALTO Elana Bell Kelsey Lauritano Talin Nalbandian Anne Marie Stanley TENOR Carlos Cárdenas Sahel Salam BASS Jacob Feldman Geoffrey Hahn Samuel Kidd Jake Stamatis Lawson Anderson Jacob Bowman Matthew Cossack Benjamin Dickerson Seung Yun Kim

6 ABOUT THE MUSIC ACADEMY OF THE WEST The Music Academy of the West is among the nation s preeminent summer schools and festivals for gifted, young, classically trained musicians. At its ocean-side campus in Santa Barbara, the Academy provides these musicians with the opportunity for advanced study and performance under the guidance of internationally renowned faculty artists, guest conductors, and soloists. Admission to the Academy is strictly merit based, and fellows receive full scholarships (tuition, room, and board). The Academy s distinguished teaching artists roster has included famed soprano Lotte Lehmann, composers Darius Milhaud and Arnold Schoenberg, cellist Gregor Piatigorsky, pianist Jeremy Denk, and Honorary Voice Program Director Marilyn Horne. Academy alumni are members of major symphony orchestras, chamber orchestras, ensembles, opera companies, and university and conservatory faculties throughout the world. Many enjoy careers as prominent solo artists. In 2014 the Music Academy entered into a four-year partnership with the New York Philharmonic, resulting in unprecedented training and performance opportunities for Academy fellows, and Summer Festival residencies for Philharmonic musicians. A new partnership has begun with the London Symphony Orchestra that includes the following and more: Musicians from the LSO will participate in each Summer Festival. The London Symphony Orchestra will perform in Santa Barbara in 2019 and Academy fellows will travel to London to perform in concerts with the LSO. Academy Competition winners will perform recitals in London. Michael Tilson Thomas will serve as the Signature Festival Conductor of the partnership. Sir Simon Rattle will oversee the fellows experience in London. The Music Academy of the West cultivates discerning, appreciative, and adventurous audiences, presenting more than 200 public events annually. These include performances by faculty, guest artists, and fellows; masterclasses; orchestra and chamber music concerts; and a fully staged opera. The 2018 Summer School and Festival took place June 18-August 11 at the Academy s Miraflores campus and in venues throughout Santa Barbara. MUSICACADEMY.ORG ABOUT THE LOS ANGELES MASTER CHORALE The Los Angeles Master Chorale is widely recognized as the country s leading professional choir and one of Southern California s most vibrant cultural treasures. Hailed for its powerful performances, technical precision, and artistic daring, the Master Chorale is led by Grant Gershon, Kiki & David Gindler Artistic Director, and Jean Davidson, President & CEO. Grammy-winning composer Eric Whitacre currently serves as the ensemble s Swan Family Artist-in-Residence. Created by legendary conductor Roger Wagner in 1964, it is a founding resident company of The Music Center and choir-in-residence at Walt Disney Concert Hall. Chorister positions are highly sought after and the fully professional choir is a diverse and vocally dynamic group showcasing the many voices of L.A. Presenting its own concert series each season, the Los Angeles Master Chorale performs choral music from the earliest writings to contemporary compositions striking a balance between innovation and tradition. It also frequently performs with the Los Angeles Philharmonic at Disney Hall and the Hollywood Bowl. In the 2018/19 season the Master Chorale will embark on national and international tours with its acclaimed production of Lagrime di San Pietro directed by Peter Sellars. The Master Chorale has been awarded three ASCAP/Chorus America Awards for Adventurous Programming as well as Chorus America s prestigious Margaret Hillis Award for Choral Excellence. In 2017 it was inducted into the American Classical Music Hall of Fame. The Master Chorale has an esteemed recording catalog and has appeared frequently on film scores and soundtracks, most recently Star Wars: The Last Jedi. Committed to community engagement and fostering music education in schools, the Los Angeles Master Chorale s education programs include Voices Within residencies that encourage students to write and perform their own songs, and an expansive Oratorio Project for high school students. The Master Chorale presents an annual High School Choir Festival bringing teenagers from around the Southland to perform in Walt Disney Concert Hall. The Festival celebrates its 30th year in In July 2018 the Master Chorale presented Big Sing California, the largest choral event in state history that was livestreamed worldwide. LAMASTERCHORALE.ORG

7 Gustavo Dudamel conductor As an internationally renowned symphonic and operatic conductor, Gustavo Dudamel is motivated by a profound belief in music's power to unite and inspire. He is currently serving as Music Director of the Simón Bolívar Symphony Orchestra of Venezuela and Music & Artistic Director of the Los Angeles Philharmonic, and the impact of his leadership extends from the greatest concert stages to classrooms, cinemas and innovative digital platforms around the world. Dudamel also appears as guest conductor with some of the world s most famous musical institutions: in , he tours Europe with the Berlin Philharmonic, and takes the Vienna Philharmonic on a tour of the Americas, with concerts in New York s Carnegie Hall, Mexico City s Bellas Artes, Bogotá s Teatro Mayor, and the Teatro Municipal in Santiago de Chile, as well as the famed Teatro Colón in Buenos Aires. This season also sees Dudamel s return to the opera house, conducting a new production of Puccini s La bohème at the Opéra National de Paris. Grant Gershon artistic director, Los Angeles Master Chorale Hailed for his adventurous and bold artistic leadership and for eliciting technically precise and expressive performances from musicians, Grant Gershon is currently in his 18th season as the Kiki & David Gindler Artistic Director of the Los Angeles Master Chorale. The Los Angeles Times has said the Master Chorale has become the most exciting chorus in the country under Grant Gershon. During his tenure Gershon has led more than 200 Master Chorale performances at Walt Disney Concert Hall. A fervent champion of new music, he has led world premiere performances of major works by John Adams, Esa-Pekka Salonen, David Lang, Louis Andriessen, Christopher Rouse, Steve Reich, Morten Lauridsen, Ricky Ian Gordon, Gabriela Lena Frank, Shawn Kirchner, Ellen Reid, and Chinary Ung, among many others. Gershon is the Resident Conductor of LA Opera. He made his acclaimed debut with the company with La Traviata in 2009 and has subsequently conducted Il Postino, Madame Butterfly, Carmen, Florencia en el Amazonas, Wonderful Town, The Tales of Hoffmann, and The Pearl Fishers. He will conduct the West Coast premiere of Philip Glass Satyagraha for LA Opera in Fall Michelle DeYoung mezzo-soprano Michelle DeYoung has already established herself as one of the most exciting artists of her generation. Ms. DeYoung continues to be in demand throughout the world, appearing regularly with the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, San Francisco Symphony, Pittsburgh Symphony Orchestra, The Met Orchestra, London Symphony Orchestra, BBC Symphony Orchestra, Vienna Philharmonic, and the Concertgebouworkest. Ms. DeYoung has also performed at the prestigious festivals of Ravinia, Tanglewood, SaitoKinen, Edinburgh, and Lucerne. In Australia she has appeared multiple times with Sydney Symphony, and most recently sang Kundry in concert performances of Parsifal at Opera Australia. Susanna Phillips ( 02, 03) soprano Alabama-born soprano Susanna Phillips, recipient of The Metropolitan Opera s 2010 Beverly Sills Artist Award, continues to establish herself as one of today s most sought-after singing actors and recitalists. In the season, Ms. Phillips returned to the Metropolitan Opera for a ninth consecutive season starring as Clémence in the Met premiere of Kaija Saariaho s L amour de Loin conducted by Susanna Mälkki, as well as a return of her acclaimed Musetta in Puccini s La Bohème. In March 2017, Ms. Phillips made her Zurich Opera debut as Donna Anna in Don Giovanni, and she also sang Cleopatra in Handel s Giulio Cesare with Boston Baroque and Martin Pearlman. Orchestral engagements include a program of American songs at the San Francisco Symphony conducted by Michael Tilson Thomas, Mozart s Exsultate Jubilate and Mass in C Minor with Music of the Baroque, Britten s War Requiem with the Oratorio Society of New York, and Euridice in Gluck s Orfeo ed Euridice with Robert Spano leading the Atlanta Symphony Orchestra. Ms. Phillips presented recitals at Carnegie Hall, the Celebrity Series of Boston, Huntsville Chamber Music Guild, National Museum for Women in the Arts, and a dual recital program with Eric Owens at the Washington Performing Arts.