[Noozhawk] Santa Barbara Symphony Goes All Out for Mozart
November 22, 2013
The last pair of regular concerts in 2013 by the Santa Barbara Symphony will take place at 8 p.m Saturday and 3 p.m. Sunday in the Granada Theatre.
There'll be a guest conductor on the podium — Matthias Bamert, former music director of the London Mozart Players — but no guest soloists. There will be many solo passages, but the first chair musicians of this symphony will certainly be able to manage them without any outside help.
Bamert being a well-known specialist in the works of Wolfgang Amadeus Mozart, it should come as no surprise that the program consists of three works by that composer, and none by anybody else. We will have Maestro Bamert's informed and authoritative reading of the Serenade No. 10 in Bb-Major for Winds and Double-Bass, K. 361/370a, "Gran Partita"; the Serenade No. 13 in G-Major, K. 525, "Eine kleine Nachtmusik"; and the Symphony No. 25 in G-Minor, K. 183.
[Scene Magazine] More than Mostly Mozart
November 22, 2013
This weekend's Santa Barbara Symphony program is an all-Mozart affair, led by noted Swiss guest conductor Matthias Bamert
A prospect of hearing a concert in the all-Mozart category, and not just "mostly Mozart," is good news to lovers and believers of the might of Amadeus, and potenially convert-winning to others who have yet to seet he light. That's the agenda at the Granada Theatre this weekend, when the Santa Barbara Symphony continues its season by turning over the podium to guest conductor Matthias Bamert, a strictly Mozartean menu.
Mr. Bamert, a Swiss-born musician who lived and worked in London for many years, is well equipped for the task at hand, having served as music director for the London Mozart Players, among many other positions over the decades. He was head of the prestigious Lucerne Festival in Switzerland for several years in the '90s, and in London, his adopted hometown, had occassion to lead a few of the few ensembles in that orchestra-rich city, including the London Philharmonic, the Philharmonia and the BBC Symphony.
[Independent] Matthias Bamert Presents Mozart in Context
November 21, 2013
S.B. Symphony Takes On an All-Mozart Program
How can you deepen your understanding of a great composer’s work? Some musicians study his life, his letters, or his society, hoping an accumulation of obscure facts will illuminate his intentions. Others prefer close analysis of the works themselves.
Although it wasn’t by design, conductor Matthias Bamert took an alternative approach to unlocking the mysteries of Mozart. He cultivated his insights by becoming acquainted with music written by the peerless composer’s colleagues and contemporaries.
“I do think I understand Mozart better, now that I know in what context he worked,” he said in an interview from his London home.
KDB 93.7FM Interview with Pianist Helene Grimaud
November 05, 2013
[Casa Magazine] The Symphony’s Percussive Opening Notes
October 25, 2013
By Kerry Methner, PhD, CASA
A DRUMROLL AND PERCUSSIVE FIREWORKS opened The Santa Barbara Symphony’s 2013-2014 season recently. Then, after a dynamic concert, the cultural institution pulled their supporters close with an intimate reception in the elegant Founder’s Room at the Granada Theatre in a display of tuxes, ties, and colorful finery. The music began with Wagner’s Overture toTannhäuser then moved into a percussion concerto by American composer Christopher Rouse. Der gerettete Alberich (The Found Alberich) Fantasy for Percussion and Orchestra featured Los Angeles based soloist Ted Atkatz. The, the second half moved to space, with Holst’s The Planets, including an eerie sirens’ call by the Women of the Santa Barbara Choral Society in the last movement.
[Independent] Percussionist Ted Atkatz Joins for Rouse Fantasy on October 12
October 16, 2013
By Charles Donelan, Independent
The Santa Barbara Symphony offered what was easily its most challenging and innovative opening concert program in memory on Saturday when guest percussionist Ted Atkatz joined the group for “Der gerettete Albericht,” Fantasy for percussion and orchestra by Christopher Rouse. Rouse’s wild and wooly contribution to the legacy of Richard Wagner requires the presence of not one but two full drum sets onstage, as well as a battery of various noisemakers that stretched across the entire width of the Granada’s proscenium. Before attempting to describe the style and impact of this fascinating work, let me back up and set the scene a bit more thoroughly.
As Maestro Nir Kabaretti noted in his opening remarks, there have already been many concerts all over the world this year celebrating the 200th anniversary of the birth of composer Wagner. To add to this monumental global effort, the Santa Barbara Symphony chose an ingeniously indirect approach. The concert on Saturday, October 12, opened with Wagner’s overture to Tannhäuser, an ominous and brooding piece that set the tone for what was to come.