"Among the musical riches with which this community is blessed,
the Santa Barbara Music Club shines especially bright."
"The Santa Barbara Music Club was there for me with financial support, performance opportunities, community support and career guidance whenever I needed it. Their organization was an integral part of my musical education and played an essential role in allowing me to study with the best names in the industry. I can never thank the SBMC enough for all they did for me in my formative years of study. They will always be a big part of the reason I am the successful concert artist I am today. The SBMC's never ending support of talented young artists is just one example of why classical music in this country will not only survive but thrive. Thank you so much SBMC!"
--Tracy Harris, Yamaha International Performing Artist and Clinician
SANTA BARBARA MUSIC CLUB
On SATURDAY, MAY 17 at 3 p.m. the SANTA BARBARA MUSIC CLUB will present another program in its popular series of concerts of beautiful music. A valued cultural resource in the community since 1969, these concerts feature outstanding performances by instrumental and vocal soloists and chamber music ensembles, and are free to the public.
SATURDAY, MAY 17, 2014: 3 p.m.
Faulkner Gallery, Santa Barbara Public Library
40 E. Anapamu Street
One of the highlights of Santa Barbara Music Club's concerts is the opportunity for audiences to hear great music from a variety of historical periods, with a diversity of musical forms, performed by excellent artists. This concert features three major keyboard compositions from the greatest master of the Baroque Period, Johann Sebastian Bach (1685-1750), performed by pianist Betty Oberacker.
The concert opens with the ebullient English Suite No. 3 in G minor, BWV 808. The work comprises six movements, each representing a distinctively different Baroque dance character: the Prelude is a rhythmically piquant, sparkling introduction to the suite; the Allemande, a dance of the aristocracy, conveys the requisite elegance and stylized formality; the Courante, a dance of the peasant classes, is delightfully "rough" and swaggering; the poignant Sarabande, a slow and flowing utterance, introduces startling contrast, delving deeply into the most intimate sadness; Gavottes I and II brighten the mood with a teasing lightheartedness; and the boldness and jovial nature of the Gigue serve as a fitting and brilliant finale.
Next on the program is the intriguing Chromatic Fantasia and Fugue in D minor, BWV 903. This distinctive masterpiece was composed during the period which saw the completion of Book I of the Well-Tempered Clavier, and its bold chromaticism displays further evidence of the composer's desire to exploit fully the potential of well-tempered tuning. In the Fantasia, the positioning of virtuosic passages, expressive cantilenas and powerful recitatives reaches a pinnacle of Baroque expressivity. The Fugue also exhibits fantastic rhapsodic freedom, with the fugal subject providing ample opportunity not only for Bach's continued chromatic inventiveness but for realization of his fascination with anagrams on his name: the first four notes of the subject are A-B-H-C, in their German spelling.
The program concludes with one of the grandest works Bach ever composed: the spectacular Organ Toccata in C major, BWV 564 - here transcribed by Ferruccio Busoni (1866-1924), the great Italian pianist, who was renowned for his adaptations of many of Bach's works. This is music of great dignity and splendor as well as compositional brilliance, and Busoni's transcription displays intriguing pianistic challenges as well as musical virtuosity, appropriately honoring Bach's astonishing creativity.