Heiichiro Ohyama, former music director of the Santa Barbara Chamber Orchestra, is reunited with four Chamber Orchestra alumni for Wednesday’s “Music Dialogue,” to explore the inner workings of the third movement of Mendelssohn’s String Quintet No. 2. “We are like musical detectives,” he says. (Stacey Byers photo)
Heiichiro Ohyama, former music director of the Santa Barbara Chamber Orchestra, is reunited with four Chamber Orchestra alumni for Wednesday’s “Music Dialogue,” to explore the inner workings of the third movement of Mendelssohn’s String Quintet No. 2. “We are like musical detectives,” he says. (Stacey Byers photo)

Heiichiro Ohyama uses two analogies to describe Wednesday night’s “Music Dialogue” at the Lobero Theatre.

“It’s like when I go to a great restaurant and eat great food. I want to know how it is made, to go into the kitchen,” says the violist, conductor, and former music director of the Santa Barbara Chamber Orchestra. “For us, this event shows how the music is ‘cooked.’”

The audience will sit on the stage of the Lobero Theatre – the musical “kitchen” – when Ohyama and four former Chamber Orchestra musicians explore the inner workings of the third movement (Adagio e lento) of Felix Mendelssohn’s String Quintet No. 2.

He’ll share insider information about Mendelssohn’s life and the composer’s musical and personal influences, plus give a cultural background of the time and place. Unlike a traditional masterclass guided by an external instructor, the musicians address the score together as equals, making artistic choices and setting direction.

That leads to the second analogy.

“In the composer’s mind, there was an experience or something important enough for them to put to music,” he says. “During a rehearsal, we players are like investigators trying to reestablish the evidence and to consider circumstantial evidence, much like detectives trying to solve a murder. Why did it happen?”

The audience will follow the investigation by listening to the musicians’ discussions and reading a commentary that appears in real time on a video screen. It is written by “Concerto Navigator” Miho Ito, the evening’s emcee and moderator of a question-and-answer session between the audience and the players that concludes the evening.

“Musical performances are often mysterious and at a distance from the audience. We used just to play the notes, say nothing, and go home,” says Ohyama. “But the world has changed. Technology has triggered curiosity. Now, everyone wants to know ‘why.’ It has come conveniently at the right moment for us. Conversation with the audience is very much in demand.”

“Music Dialogue” begins at 5:30 p.m. Wednesday with appetizers and cocktails in the Lobero courtyard followed by the rehearsal, performance, and question-and-answer session. Check ticket availability at www.lobero.com.

Santa Barbara Chamber Orchestra’s Legacy

Ohyama joined the Chamber Orchestra as music director in 1983, seven years after its founding, and led the ensemble until it ceased operations in 2017.

At first, a dwindling (and aging) audience and rising production costs forced the reduction of their Lobero Theatre subscription series from two concerts per program to one. Eventually, even that was not sustainable.

Longtime Santa Barbara Chamber Orchestra concertmaster Amy Hershberger will perform in “Music Dialogue’s” string quintet and helped to secure other players. (Stacey Byers photo)
Longtime Santa Barbara Chamber Orchestra concertmaster Amy Hershberger will perform in “Music Dialogue’s” string quintet and helped to secure other players. (Stacey Byers photo)

“It was a huge loss for our community, but the Chamber Orchestra left a legacy,” said David Asbell, Lobero Theatre executive director. “Their $450,000 endowment was transferred to the Lobero Theatre Foundation to support chamber music performances like this one, and to allow Heiichiro’s continued involvement after 35 years with the Chamber Orchestra.” 

The first concerts were held in early 2020, right before COVID closed the theater. Ohyama and special guests returned for a concert in October 2022, and last year was a week-long residency by eight chamber players including three concerts.

“When looking at this year, I mentioned that I had presented Music Dialogue in Japan and we’d done something similar with the Chamber Orchestra. We then decided to invite past players from the Chamber Orchestra to perform,” says Ohyama.

Asbell says they plan for at least one chamber music concert or event each year, funded by the endowment’s interest and public donations.

Chamber Players Return

Violinist Amy Hershberger, the Chamber Orchestra’s longtime concertmaster, performs in “Music Dialogue” and helped Ohyama secure other players. She is currently the Pasadena Symphony’s associate concertmaster and an active soloist, performer, and recording artist.

“I love playing chamber music with Heiichiro more than anything, as his expertise level is so high,” she says. “We all respect him so much. We will ask questions, but there aren’t a lot of disagreements.”

Cellist Trevor Handy, a longstanding member of the now-shuttered Santa Barbara Chamber Orchestra, performs with four of his former colleagues at Wednesday’s performance. He is now the principal cello in the Santa Barbara Symphony.
Cellist Trevor Handy, a longstanding member of the now-shuttered Santa Barbara Chamber Orchestra, performs with four of his former colleagues at Wednesday’s performance. He is now the principal cello in the Santa Barbara Symphony. Credit: Courtesy photo

Cellist Trevor Handy’s tenure with the Chamber Orchestra is second only to Hershberger’s 28 years. He now performs in Los Angeles area ensembles and on recordings and is the Santa Barbara Symphony’s principal cello.

Violinist Joel Pargman was also a student of Hershberger’s teacher Robert Lipsett at USC, “so we are in the same family,” she jokes. He is a member of the Los Angeles Chamber Orchestra and Pasadena Symphony.

Violist Colleen Sugata is a freelance musician and member of the Long Beach and New West symphonies. Coincidentally, she lives near Hershberger in Pasadena and their sons play in the same cello class.

“I’d like the audience to come in with a relaxed, open-minded attitude,” says Ohyama to sum up the goal of the “Music Dialogue” event.

“It would be great to have someone say ‘Oh, that’s not what I was thinking.”

“Music is a dialogue between the composer and the players, between the players and the other players, and finally with the players and the audience. We will experience all three at this event.”