For the primary week and a half of the Music Academy’s seventy fifth Anniversary Summer season Competition, the main target has been all however completely on the fellows as particular person solo artists, performing in masterclasses and within the solo piano competitors.
Now, at 7:30 p.m. Saturday, June 25, within the Santa Barbara Bowl, we’ll get to witness the quasi-miraculous annual rebirth of that stellar ensemble, the Competition Orchestra (such a bland title for such an thrilling band), performing the seventy fifth Anniversary Group Live performance.
The conductor might be Donato Cabrera, whose expertise as music director of the San Francisco Symphony Youth Orchestra from 2009-16 could be very a lot to the purpose right here. Presently, he’s music director of the California Symphony and the Las Vegas Philharmonic, and has a burgeoning worldwide profession..
This system for this live performance consists of three works: Ludwig Beethoven‘s “Symphony No. 5 in c-minor, Opus 67 (1807), Arturo Marquez‘s “Danzón No. 2, for Orchestra (1994),” and the Suite from Sergei Prokofiev‘s nice ballet, “Romeo & Juliet, Opus 64 (1935-1936).”
I daresay there isn’t any one more likely to attend this live performance who has not heard “Beethoven’s Fifth”—for that matter, there may be most likely nobody inside earshot of electrical media who has not hear at the very least the primary 4 notes. It’s the solely work of Beethoven’s that’s in any hazard of turning into a cliché.
But, for that motive, it’s actually a legitimate entry on any Music Academy program, as a result of, eventually, these children are going to have jobs in an orchestra that has determined is time to schedule a efficiency of it. Familiarity is unlikely to result in outright contempt: it is too nice a piece.
Certainly, getting ready to jot down this, I listened to all 5 of the recordings of it that I personal (Pierre Monteux, Arturo Toscanini, Otto Klemperer, Kurt Graunke, George Szell), and I had an exquisite time. To make sure, I felt a slight twinge of dread earlier than I started, however my fears invariably turned out to be groundless. I am positive it is blast to carry out.
The Mexican composer, Arturo Marquez, born in 1950, stands in roughly the identical relation to the folks and common music of his nation, as Aaron Copland stands to ours. With out the slightest perjoritive intent, I’d say that he composes “Mexicana” in the identical means that Copland composed “Americana.”
“Danzón No. 2” is a beautiful work, however solely the primary a part of it might be appropriate for the stately, minuet-like dance that offers it its title. It has been choreographed as a ballet, and I am going to guess it is dazzling. I do not know if, like Copland, Marquez spent his early youth writing spikey, unlovable avant garde music, but when so, he has come to his senses in spectacular model.
I like Prokofiev’s ballets (I solely admire Stravinsky’s). “Romeo and Juliet,” particularly, appears to seize the precise emotions of Shakespeare‘s younger lovers in a means that no efficiency of the play that I’ve seen has managed to do. As dance theater or within the live performance corridor, each alternative to see or hear it should be seized with each arms.
Tickets to this Group Live performance are $10, with children 7-17 admitted free with a ticketed grownup. Tickets might be offered immediately by way of the Santa Barbara Bowl, whose web site is at https://sbbowl.com/live shows/element/2022_06_25_music_academy_of_the_west.
— Gerald Carpenter covers the humanities as a Noozhawk contributing author. He may be reached at [email protected] The opinions expressed are his personal.