INSERT to Program Book — CAMA Presents Les Violons du Roy with Avi Avital — Tuesday, October 19, 2021 — Lobero Theatre, Santa Barbara, 7:30PM

Presenting the world’s finest classical artists since 1919
CAMA Presents
JULIAN
WACHNER
conductor and harpsichord
AVI
AVITAL
mandolin
Tuesday, October 19, 2021, 7:30PM
Lobero Theatre, Santa Barbara
Due to illness, Maestro Jonathan Cohen is not able to travel and will not direct Les Violons
du Roy on this tour. We are fortunate that esteemed Maestro Julian Wachner is stepping
in as conductor and harpsichordist.
ANTONIO VIVALDI (1678–1741)
Mandolin Concerto in C Major, RV 425
Allegro
Largo
Allegro
Avi Avital, mandolin
JOHANN SEBASTIAN BACH (1685–1750)
(COMPLETED BY BERNARD LABADIE AFTER DAVITT MORONEY)
The Art of the Fugue, BWV 1080 (excerpts)
Contrapunctus I
Contrapunctus VII
Contrapunctus XIV
BACH (ARR. FOR SOLO MANDOLIN BY AVI AVITAL)
Violin Concerto No.1 in A Minor, BWV 1041
[Allegro]
Andante
Allegro assai
Avi Avital, mandolin
INTERMISSION
VIVALDI (ARR. FOR SOLO MANDOLIN BY AVI AVITAL)
Concerto for Lute and Two Violins in
D Major, RV 93
Allegro
Largo
Allegro
Avi Avital, mandolin
VIVALDI
Concerto Grosso in G minor, Op.3, No.2,
RV 578
Adagio e spiccato
Allegro
Larghetto
Allegro
BACH (ARR. FOR SOLO MANDOLIN BY AVI AVITAL)
Harpsichord Concerto No.1 in D Minor,
BWV 1052
Allegro
Adagio
Allegro
Avi Avital, mandolin
Exclusive Concert Sponsor: MARTA BABSON
Les Violons du Roy would like to thank the Conseil des arts et des lettres du Québec, Canada Council
for the Arts and the Government of Canada for their support.
North American Management for Mr. Avital and Exclusive Tour Management for Les Violons du Roy:
Opus 3 Artists, 470 Park Avenue South, 9th Floor North, New York, NY 10019
www.opus3artists.com
Harpsichord provided by Curtis Berak

Courtesy of Opus 3 Artists
JULIAN WACHNER
conductor and harpsichord
Multi-Grammy®-nominated conductor, composer,
and keyboardist Julian Wachner—
recently named one of Musical America’s
Top 30 Professionals of the Year—has
enjoyed an extensive current outburst of
compositional creativity including “Here’s
the Thing,” a choral-orchestral response to
Black Lives Matter and the Covid pandemic
in collaboration with award-winning poet
Samiya Bashir for the 60th Anniversary of
The Washington Chorus; the critically acclaimed
New York premiere of “REV 23” at
the 2020 Prototype Festival; “The Vision of
the Archangels” for cornetist Bruce Dickey;
“We Two Alone” for chorus and baroque orchestra,
commissioned by The Providence
Singers; “Lord, Thou hast been our refuge”
for choir, organ and solo trumpet commissioned
by The Saint Thomas Choir of
Men and Boys; “My Cathedral” for choir
and organ commissioned by the American
Guild of Organists for the 2020 National
Convention in Atlanta, Georgia; “Gaudé:
An LB Anniversary for Large Orchestra,”
commissioned by the Colorado Music
Festival as the winning composer of their

“As a composer with a combined Mexican, Greek and Jewish
identity, I have always found myself living and working in
the no-man’s land between pure post-Impressionism and
post-Expressionism, combined with the modes and rhythms
of my various ethnic ancestries—composing music that
has been thought of as ‘too simple’ from one camp and
‘too complex’ from the other. As I have always considered
my compositional process and philosophy to be aligned
with the assimilators of previous eras, (Bach, Stravinsky
and Foss come to mind)—I have found equal inspiration
from strict form or unbridled chaos; tonality, modality or
post-tonality; and lyricism, pointillism or minimalism—I find
it crucial to have as sweeping a palette of creative
possibilities at my disposal as possible, believing that this
desire is no different from any composer of the past.”
annual “Click” competition; “TS Variations,”
commissioned by the Royal College of
Canadian Organists; “Psalm 90,” composed
for The Tallis Scholars, Norwegian
Soloists Choir, Netherlands Chamber
Choir, and The Choir of Trinity Wall Street
for Lincoln Center’s White Lights Festival;
“Regina Coeli à 8” for the Ora Singer’s
“ORA100” recording project with Harmonia
Mundi; and “Epistle Mass,” written in collaboration
with librettist Royce Vavrek for
Trinity Wall Street’s Mass Reimaginings
project. Wachner’s collection of colorful
arrangements of favorite Christmas carols
“The Snow Lay on the Ground” has been
performed all over the world including a
recent run with the Chicago Symphony.
Upcoming projects include Wachner’s
fourth opera, also in collaboration with
Royce Vavrek, “Broadview Christ” commissioned
by Beth Morrison Projects for the
Prototype Festival.
Wachner’s compositions have been
variously described as “jazzy, energetic,
and ingenious,” (Boston Globe), having
“splendor, dignity, outstanding tone combinations,
sophisticated chromatic exploration…a
rich backdrop, wavering between
a glimmer and a tingle...,” (La Scena Musicale)
being “a compendium of surprises,”
(Washington Post) and as “bold and atmospheric,”
while having “an imaginative flair
for allusive text setting,” and noted for “the
silken complexities of his harmonies” (New

York Times). The American Record Guide
recognized that, “Wachner is both an unapologetic
modernist and an open-minded
eclectic – his music has something to say.”
Most recently, Early Music America noted
that “The Vision of the Archangels” soars
and entwines, builds and diminishes, with
absolutely gut-wrenching beauty.”
Wachner also enjoys an active schedule
as a guest conductor. Orchestral engagements
have included performances
with the Philadelphia Orchestra; Kansas
City, Montreal, Pacific, Calgary, and Pittsburgh
Symphonies; New York Philharmonic;
Seraphic Fire; National Arts Centre Orchestra;
Philharmonia Baroque; Hong Kong
Philharmonic; Bang on a Can All-Stars; and
Apollo’s Fire. As an opera conductor, he has
lead the San Francisco Opera, Glimmerglass
Opera, Hawaii Opera Theater, Juilliard
Opera Theater, and New York City Opera,
as well as conducted shows for Carnegie
Hall Presents, National Sawdust, and the
Lincoln Center Festival. Wachner served for
nine seasons as the music director of the
Grammy Award-winning Washington Chorus,
with whom he won ASCAP’s Alice Parker
award for adventurous programming and
Chorus America’s Margaret Hilles award for
Choral Excellence. In March 2018, Wachner
was appointed artistic director of Michigan’s
Grand Rapids Bach Festival, where
he will lead the 13th biennial festival in
April 2022. He is currently one of three finalists
to be the next Artistic Director of the
prestigious Oregon Bach Festival where he
will lead Bach’s B-Minor Mass in 2022.
As Director of Music since 2010 at
New York’s historic Trinity Church Wall
Street, Wachner has created a world-renowned
performing arts center with an annual
season of hundreds of events. Since
his professional debut as Music Director of
Boston University’s Marsh Chapel in 1990,
Wachner has been a pioneer in consistently
commissioning, performing, and recording
both women and BIPOC artists.