Anne Akiko Meyers and Philip Glass pose for a photo at the premiere of his Violin Concerto, written for her. (Courtesy photo)
Anne Akiko Meyers and Philip Glass at the premiere of his Violin Concerto, written for her. (Courtesy photo)

The Community Arts-Music Association’s (CAMA) Masterseries at the Lobero offers the spellbinding violinist Anne Akiko Meyers, with pianist Fabio Bidini, in a recital, 7:30 p.m. Friday, Nov. 22 (Saint Cecilia’s Day; Benjamin Britten‘s birthday; and the 61st anniversary of the murder of President John F. Kennedy) in the Lobero Theater, 33 E. Canon Perdido St., Santa Barbara.

In case we were in the dark about the importance of Anne Akiko Meyers to our contemporary music scene, a careful reading of this program should decisively enlighten us.

She has become, and justly so, the go-to fiddler to introduce new works for her instrument.

The program for this concert, sponsored by Marta Babson and Bitsy Becton Bacon (Season Sponsor: Esperia Foundation), includes Arcangelo Corelli‘s “Sonata for Violin & Continuo, Opus 5, No. 12, ‘La Follia'” (1700), arranged by Andy Poxon; Philip Glass‘ “New Chaconne” (2024), written for Meyers; Ludwig Beethoven‘s “Violin & Piano Sonata No. 5 in F-Major, Opus 24 ‘Spring'” (1801); Morten Lauridsen‘s “Sure on This Shining Night” (2005); “Dirait-on” (1993), arranged for Meyers by the composer; and Arturo Márquez‘s “Danzón No. 2” (1994), arranged for Meyers by the composer.

To my mind, the one word that governs this program (except for the Beethoven), is “gravitas.” The “folia” was a Spanish dance of extreme gravity, which goes a long way to explaining why baroque composers were enamored of it; even Henry Purcell wrote one, although he called it a “chaconne.”

Corelli’s is the best-known example of it, and it stays with you: solemn, melancholy, haunting.

I have never actually witnessed anyone dancing a folia, although I imagine it as being a stately and deliberate as the Mexican danzón. The Lauridsen tunes are not dances, although, in their seriousness and sublimity, they have gravitas to spare.

At the warm heart of the otherwise somewhat chilly program is Beethoven’s “Spring” Sonata, joyous rather than grave, and a perfect elucidation of Beethoven’s claim that “No one who truly understands my music can ever know unhappiness again.” (How is that for an incentive to listen hard?)

Tickets to the recital are $58 and $68; they can be purchased in person at the Lobero box office, 33 E. Canon Perdido St.; by phone at 805-963-0761, or online at www.lobero.org/events/cama-24-25-anne-akiko-meyers-violin/.