Philharmonic Society of Orange County and Irvine Barclay Theatre Presents
Miloš, guitar
Tribute to Segovia
Sunday, March 6, 2022 | 3pm
Part of Distinctive Experiences Co-presented by Irvine Barclay Theatre
This performance will include one 15-minute intermission.
All dates, times, artists, programs and prices are subject to change. Photographing or recording this performance without permission is prohibited. Kindly disable pagers, cellular phones and other audible devices.
FERNANDO SOR (1778-1839)
Introduction and Variations on a Theme of Mozart,
Op. 9
JOHANN SEBASTIAN BACH (1685-1750)
Chaconne from the Partita No. 2 in D minor for
Unacccompanied Violin, BWV 1004
(trans. Segovia)
ISAAC ALBÉNIZ (1860-1909)
from the Suite espaňola, Op. 47
Asturias (Leyenda)
Granada (Serenade)
Sevilla
INTERMISSION
HEITOR VILLA-LOBOS (1887-1959)
Five Preludes
No. 1 Andante espressivo
No. 2 Andantino
No. 3 Andante
No. 4 Lento
No. 5 Poco animato
HAROLD ARLEN (arr. Takemitsu) (1905-1986)
Somewhere Over the Rainbow
DOMENICONI (1887-1959)
Koyunbaba Suite, Op. 19
FERNANDO SOR
Born February 14, 1778, Barcelona
Died July 10, 1839, Paris
Sometimes called “the Beethoven of the guitar” because he established a bold new sense of that instrument’s possibilities, Fernando Sor trained and spent his early career in Spain, but left that country in 1813. He toured Europe, performing in Paris, London, Moscow, and Warsaw, and finally settled in Paris. Sor wrote in most musical forms (opera, symphony, concerto, ballet), but his reputation today rests on his music for guitar, and his Introduction and Variations on a Theme of Mozart, published in 1821, remains his most famous work.
The theme comes from near the end of the first act of Mozart’s The Magic Flute. “Das klinget so herrlich” is sung by Sarastro and his slaves as Papageno accompanies with his famous glockenspiel solo. Sor is not so much interested in the glockenspiel theme but in the theme of “Das klinget,” though he slightly alters its rhythm and pitches for the purposes of his variations. He begins with a slow introduction, then offers five variations on the theme. Each variation consists of two eight-measure phrases, and each of these phrases is repeated. A coda brings the piece to a poised conclusion. Sor’s variations are nicely contrasted, but the real glory of this music lies in Sor’s incredibly graceful writing for the guitar, and this brief set of variations has become one of the cornerstones of the guitar literature.
JOHANN SEBASTIAN BACH
Born March 21, 1685, Eisenach
Died July 28, 1750, Leipzig
This Chaconne is of course THE Chaconne, one of the most famous and difficult pieces ever written for the violin. Bach composed it around 1720 as the final movement of his Partita No. 2 in D Minor for Unaccompanied Violin. The first four movements present the expected partita sequence–Allemande, Courante, Sarabande, and Gigue–but then Bach springs a surprise: the last movement is a chaconne longer that the first four movements combined. The Chaconne offers some of the most intense music Bach ever wrote, and it has worked its spell on musicians everywhere for the last two-and-a-half centuries: beyond the countless recordings for violin, it is currently available in performances by guitar, cello, lute, and viola, as well as in piano transcriptions by Brahms, Busoni, and Raff. Brahms was almost beside himself with admiration for this music. To Clara Schumann he wrote: “If I could picture myself writing, or even conceiving such a piece, I am certain that the extreme excitement and emotional tension would have driven me mad.”
A chaconne is one of the most disciplined forms in music: it is built on a repeating ground bass in triple meter over which a melodic line is continuously varied. This makes Bach’s Chaconne sound like supremely cerebral music–and it is–but the wonder is that this music manages to be so expressive at the same time. The four-bar ground bass repeats 64 times during the quarter-hour span of the Chaconne, and over it Bach spins out gloriously varied music, all the while keeping these variations firmly anchored on the ground bass. At the center section, Bach moves into D major, and here the music relaxes a little, content to sing happily for awhile; after the calm nobility of this interlude, the quiet return to D minor sounds almost disconsolate. Bach drives the Chaconne to a great climax and a restatement of the ground bass at the close.
ISAAC ALBÉNIZ
Born May 29, 1860, Camprodón, Lérida
Died May 18, 1909, Campô-les-Bains
The life of Isaac Albéniz reads like something out of a demented storybook. A piano prodigy, he was thrust onto the stage at age four by zealously-ambitious parents who tried to get him into the Paris Conservatory at age seven. The boy made a number of attempts to run away from home and finally succeeded at age twelve, stowing away on a freighter bound for Central America. On his own, the boy then launched a concert tour throughout South America, Cuba, Puerto Rico, and the United States before returning to Spain the following year at age thirteen. Albéniz studied briefly with Liszt, took up a career as a touring virtuoso, and then gave that up to concentrate on composition. He divided his time between London, Paris, and Spain and composed his greatest work–the four books of piano works that make up Iberia–in the final years of his life. That life, however, was short: Albéniz died of Bright’s Disease a few days short of his 49th birthday.
Albéniz found himself as a composer when he moved away from writing “conventional” virtuoso pieces and began to make use of Spanish material in his own music. He composed four of the eight movements that make up the Suite espaňola, Opus 47 in 1886, then completed the others over the following several years. Seven of the eight movements depict or were inspired by a particular place in Spain (the final movement, a nocturne titled Cuba, is the one geographical exception). Though Albéniz published these eight movements as a set, individual movements have become famous on their own and are often played separately. It is a curious fact that many of Albéniz’s pieces for piano work particularly well as guitar music, and listeners may discover that they know these pieces best in their arrangements for guitar.
Asturias is a province on the northern coast of Spain. Albéniz’s Asturias, which he subtitled Leyenda (“legend”), is in its outer sections a perpetual-motion, with the theme pivoting around repeating D’s, all of this set off by great chords that make slashing attacks across the busy progress of the piece. All this energy gives way to a slow interlude, the opening material returns, and the music fades into silence.
Granada was inspired by the city in southern Spain that flourished under both Moorish and Christian rule. Site of the Alhambra and the Generalife, Granada is also the final resting place of Ferdinand and Isabella. The city inspired Albéniz not to some heroic depiction but instead a beautifully-lyric piece that alternates two themes, the second an elaborate melody projected over supple rhythms. Composed for pianists, this piece has become a favorite of guitarists.
Sevilla takes the form of a sevillana, a variant from Seville on the ancient seguidilla, a triple-time dance that had originated in Andalusia.
HEITOR VILLA-LOBOS
Born March 5, 1887, Rio de Janeiro
Died November 17, 1959, Rio de Janeiro
Brazilian composer Heitor Villa-Lobos met the great Spanish guitarist Andres Segovia in Paris during the 1920s, and the two young men became lifelong friends and collaborators. During the 1920s Villa-Lobos wrote his Twelve Etudes for Guitar for Segovia, and he followed this in 1940 with Five Preludes for Guitar, also written for Segovia (their final collaboration would come in 1951, when Segovia commissioned a Guitar Concerto from his friend). The composer gave hints as to what this music is “about”: he said that the first prelude reflected those who lived in Brazil’s countryside, the second the “rascal” of Rio, the third was an act of homage to Bach, the fourth an act of homage to the Brazilian Indians, and the last reflected the exuberance of the young in Brazil’s nightlife. One need not know (or search for) any of this to enjoy Villa-Lobos’ wonderful writing for guitar in these brief preludes, and perhaps this music should be heard just for itself rather than associated with extra-musical ideas.
The Prelude No. 1 is at a moderate tempo (its marking is Andantino espressivo), and in this music the guitarist must project a haunting melody that is heard beneath a pulsing chordal accompaniment–it is up to the guitarist to project both this melody and the accompaniment that animates it. Prelude No. 2 is built on flowing sixteenths, though the music becomes more insistent in the central episode, pushing ahead before returning to the opening material. Villa-Lobos may have suggested that No. 3 was written in homage to Bach, but that earlier composer would have been surprised by the constantly shifting meters of this music; the somber middle section is marked Molto adagio e dolorido. Villa-Lobos specifies that the beginning of No. 4 should be cantabile; the central episode features both rapid passagework and some delicate passages written entirely in harmonics. The fundamental meter of No. 5 is 6/4, and this prelude is built on long melodic lines; one of the most popular of the five preludes, it is often programmed by itself.
- Program notes by Eric Bromberger
HAROLD ARLEN (arr. Takemitsu)
Born February 5, 1905, Buffalo
Died April 23, 1986, New York City
Harold Arlen’s "Somewhere Over the Rainbow" is an indelible part of the American consciousness. The idea for this song came to Arlen while his wife was driving him to Grauman’s Chinese in Hollywood. Arlen asked her to pull over and stop (in front of Schwab’s Drug Store), and he quickly sketched out the music for a song that became a classic. In The Wizard of Oz, Dorothy–played by Judy Garland–sings this song while wondering if it might be possible to find a place where there was no trouble. To a generation of Americans weary of the Depression and on the verge of World War II, the song spoke for the national consciousness.
Japanese composer Toru Takemitsu (1929-1996) was one of the most subtle, thoughtful, and original composers of the twentieth century. But Takemitsu was also keenly tuned to popular culture and to the guitar (he composed a number of pieces for the guitar). Between 1974 and 1977, Takemitsu composed his Twelve Songs for Guitar, which are his arrangements of twelve popular songs–they include "Summertime," "Londonderry Air," and several Beatles songs. Takemitsu’s arrangement of "Somewhere Over the Rainbow" remains fairly true to Arlen’s original, but this is by no means an “easy” arrangement for the guitarist–it requires some complex chording, harmonics, and other challenges for performers as they play this gentle but soaring song.
Carlo Domeniconi (b. 1947)
Much like Villa-Lobos’ music, that of Carlo Domeniconi (b. 1947) can be seen as a synthesis of two cultures. The Italian-born guitarist and composer studied at the Rossini Conservatory in Pesaro and later in Berlin, where he taught at the conservatory for twenty years and where he now lives. As a composer, he has written more than twenty concertos for one, two, three or four guitars. His love affair with the people and culture of Turkey has resulted in numerous compositions inspired by that land, including his most famous composition, the four-movement suite Koyunbaba (1985). The title may be translated either as “sheep-father,” (shepherd), or “spirit of the sheep.” It is also the name of a thirteenth-century mystic who lived in the southwestern region of the country, a region of vast landscapes and striking, contrasting features. “Each of the four movements,” writes John Duarte, “develops a separate mood in the hypnotic fashion of eastern music and on a time-scale that reflects the unhurried life of both shepherd and mystic, using a wide range of the guitar’s available devices and textures.
-Program notes by Robert Markow, 2013 (vanrecital.com)
Miloš is one of the world’s most celebrated classical guitarists. His career began its meteoric rise in 2011, with the release of his international best-selling Deutsche Grammophon debut album Mediterraneo. Since then he has earned legions of fans, awards and acclaim around the world through his extensive touring, six chart topping recordings and television appearances.
Now exclusive to Decca Classics, Miloš is committed to expanding the repertoire for the classical guitar through commissioning of new works. His latest release The Moon and the Forest features two world premiere concertos, by Howard Shore and Joby Talbot.
Over the past decade, the instrument's popularity has exploded thanks to Miloš’ pioneering approach. Aspiring guitarists can even learn from him through Schott's Play Guitar with Miloš series. In 2016 BBC Music Magazine included him in their list of “Six of the Best Classical Guitarists of the past century”.
Miloš appeared as a soloist with some of the world’s greatest orchestras: London and LA Philharmonic, Atlanta Symphony, Philadelphia Orchestra, Chicago Symphony, Cleveland Orchestra, Orchestra National d'Espana, Santa Cecilia Rome, NHK Tokyo. His sold out solo recital in the round of the Royal Albert Hall was lauded by the critics and caused a worldwide sensation. He returns to the hall in June 2022.
Other performances in the current season include Verbier Festival, Schleswig Holstein Music Festival, Istanbul, Kotor and Ostrava, recitals in New York, London, Washington DC, concertos with Atlanta and Detroit Symphony Orchestras, Orchestra Metropolitan in Montreal and The Halle Orchestra.
A passionate advocate for music education, Miloš is an active patron of numerous charities supporting young musicians in the UK and abroad.
Born in Montenegro in 1983, he moved to London to study at the Royal Academy of Music at the age of 17. He continues to live and work in London, while keeping close ties to his homeland.
“A string is like a human voice... with guitar, the possibilities remain uniquely endless."
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OFFICERS
John Flemming, Chairman, CEO
Sabra Bordas, Vice Chair
Donna L. Kendall, Deputy Board Chair
Stephen Amendt, Secretary / Treasurer
EXECUTIVE COMMITTEE
John W. Benecke, Development
Sabra Bordas, Nominating
Hung Fan, Laguna Beach Music Festival
JoAnn Fuerbringer, Orange County Youth Symphony
Jane K. Grier, Member at Large
Elaine P. Neuss, Artistic and Marketing
Douglas H. Smith, Member at Large
Jean Felder, President, The Committees
BOARD OF DIRECTORS
Jim Brophy
Gary Capata
Margaret M. Gates
Barbara Roberts
Dr. Steven Sorenson
Kim Weddon
Kathryn Wopschall
PRESIDENT & ARTISTIC DIRECTOR
Tommy Phillips
DEVELOPMENT
Susan Totten, Interim Vice President of Development
Halim Kim, Senior Director of Development
Okairy Calderon, Patron Stewardship and Special Events Manager
Paige Frank, Development Associate
MARKETING AND PUBLIC RELATIONS
Jean Hsu, COO / Vice President of Communications
Marie Songco-Torres, Senior Marketing & Public Relations Manager
ARTISTIC OPERATIONS
Drew Cady, Production Coordinator
Kathy Smith, Piano Technician
EDUCATION
Sarah Little, Vice President of Education and Community Engagement
Courtney McKinnon, Manager of Volunteer and Education Services
Jennifer Niedringhaus, Education and Operations Associate
FINANCE
Roan Alombro, Vice President of Finance
Jessica Cho, Finance Associate / HR Administrator
PATRON SERVICES
Jonathan Mariott, Director of Patron Services
Angelica Nicolas, Marketing & Patron Services Associate / Board Liaison
Randy Polevoi, Musical Concierge
Founded in 1954 as Orange County’s first music organization, the Philharmonic Society of Orange County presents national and international performances of the highest quality and provides dynamic and innovative music education programs for individuals of all ages to enhance the lives of Orange County audiences through music.
For more than 65 years the Philharmonic Society has evolved and grown with the county’s changing landscape, presenting artists and orchestras who set the standard for artistic achievement from Itzhak Perlman, Gustavo Dudamel, Yo-Yo Ma, and Renée Fleming to the Berlin Philharmonic, Vienna Philharmonic, Chicago Symphony Orchestra, and many others. In addition, the Philharmonic Society celebrates multi-disciplinary performances under its Eclectic Orange brand and embraces music from a wide range of countries with its World Music performances. Its celebrated family concerts introduce children to classical music with creative and inspiring performances, instilling music appreciation for future generations.
The Philharmonic Society’s nationally recognized Youth Music Education Programs, offered free of charge, engage more than 100,000 students annually through curriculum-based music education programs that aim to inspire, expand imaginations, and encourage learning at all levels. These programs are made possible by the Committees of the Philharmonic Society comprised of 700 volunteer members who provide more than 90,000 hours of in-kind service each year.
As a key youth program, the exceptional Orange County Youth Symphony and String Ensemble provide top-tier training to the area’s most talented young musicians through multi-level ensemble instruction, leadership training, touring opportunities, challenging professional repertoire, and performances in world-class venues. The Philharmonic Society also promotes life-long learning by connecting with colleges and universities to conduct masterclasses and workshops and providing pre-concert lectures to introduce audiences to program selections.
949.553.2422 | PHILHARMONICSOCIETY.ORG
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