Returning Violinist Visionary, with Local Ties

Violinist Anne Akiko Meyers is no stranger to Santa Barbara, having appeared here on many occasions, both large and intimate. And that’s a fortunate situation for music lovers in these parts. From the “large” list, she made a strong and memorable impression two years ago, as the soloist — and dedicatee — in Arturo Márquez’s big and friendly Fandango with the Santa Barbara Symphony. This is the same piece, written by the composer at the violinist’s behest, which was performed at the Hollywood Bowl with the Los Angeles Philharmonic, whose recording of the crowd-pleasing piece is up for a total of four Grammy awards (Grammy and Latin Grammy divisions).

From the “intimate” side of the performance equation comes another of her intriguing recital programs, part of CAMA’s Masterseries at the Lobero Theatre on Friday, November 22. The San Diego–born and much-acclaimed violinist has performed with many major orchestras around the world and been involved in creative off-radar projects. Among her ever-adventuresome upcoming projects next year is Blue Electra, a concerto about Amelia Earhart by Michael Daugherty; performing Philip Glass’s Violin Concerto No.1 with the Gustavo Dudamel–led L.A. Phil; and music of Billy Childs, Eric Whitacre, and Ola Gjeilo with the Los Angeles Master Chorale, led by Grant Gershon.

Meanwhile, our town is on the brain. “It will be so nice to be back in beautiful Santa Barbara,” she said in an interview last week, “making music with pianist Fabio Bidini. I am really looking forward to it.”

Can you remind me of your local connections to the town, and is there a particular satisfaction when you come here to perform?

Santa Barbara is a second home for me, as my parents, siblings, nephews, and many friends live here. I have performed with the Santa Barbara Symphony on several occasions, and my family always enjoys the many amazing things to do and experience in beautiful Santa Barbara.

You work in many formats, orchestrally and otherwise — is the recital format one you especially cherish, and challenge yourself with?

This year has been a particularly busy one as I made four recordings and performed many concerts. Key works for the season included concerti by Philip Glass, Adam Schoenberg, Arturo Márquez, and Mendelssohn, among many others. I was also artistic director of the Laguna Music Festival, where I enjoyed collaborating with recital partners in an intimate setting, much like the recital in Santa Barbara.

I’ve just been enjoying your recording of Márquez’s Fandango, written for you, and Ginastera with the Los Angeles Philharmonic, released last year and deserving of its Grammy possibilities — says me and many others. Was that a special project for you, in terms of celebrating music from Latin America — so close to where we are yet not often enough heard?

Working so closely with legendary composer Arturo Márquez has been such an incredible experience. In 2018, after hearing his Danzón No. 2, I was floored by his coloristic and brilliant musical language and had to reach out to him. He was very intrigued to receive my email asking him to write a concerto which would incorporate many of the great Mexican traditions including mariachi, and he set out to write Fandango.

It was a dream come true when performing this new concerto with Gustavo Dudamel and the Los Angeles Philharmonic at the Hollywood Bowl, Carnegie Hall, in Los Angeles and in Mexico City. I also really enjoyed performing it with Nir Kabaretti and the Santa Barbara Symphony and dozens of other orchestras. Audiences always go wild for it.

Speaking of Márquez, you will be playing a work recently premiered by him at the Lobero. What can you tell me about this piece, and about your artistic link with his work?

Danzón No. 2 was the catalyst to ask him to write Fandango, the violin concerto. This is the piece that seduced me and reminded me of Ravel’s Boléro. I couldn’t believe that this was written by a living composer, as it sounded like music I had known my entire life. I begged Arturo to arrange the Danzón for this West Coast premiere.

The Lobero program you have devised runs a nice and healthily diverse gamut, from Corelli — always a violinist’s home base — to a Glass and Morten Lauridsen, with Beethoven in the middle (maybe in more ways than one?). Would you say this selective sampling of pieces adds up to a reflection of your musical tastes and interests?

The Corelli “La Folia” was arranged by guitarist Andy Poxon. I requested a fresh take on one of the most popular melodies originating from the 15th century that everyone from Vivaldi to Rachmaninoff has been inspired by. No one really knows where the theme came from, but once you hear it, you will recognize it.

The New Chaconne was just written for me by 87-year-old American icon Philip Glass last year, whose gorgeous first violin concerto I recently recorded with Gustavo Dudamel and the Los Angeles Philharmonic. Morten Lauridsen is a living Franz Schubert, whose music is of such exquisite delicacy and poetic beauty. I am so fortunate to call him a dear friend.

Dipping back in time, I always loved your 2003 recital album East Meets West — conceptual framework connecting composers from both parts of the world. Do you look back on that recording as a highlight in your ongoing discography, and could there be a sequel of sorts to that project?

Thank you so much for your kind words. Many of my recordings are collaborations with living composers who have such a fascinating story to share. There are so many beautiful stories to express through their unique musical language and I am inspired and in awe of these giants.

A speculative question I ask a bit hesitantly: Given the tension of this moment, with political strife and divisiveness gripping America (and beyond), do you feel that music’s healing powers are needed all the more?

Music has a way of reaching into our hearts and healing, nurturing our souls no matter what the situation.

Do you feel like this is a creatively alive and exciting time in your music and life, generally?

I am so fortunate to be able to share music with many audiences, reach new heights with living composers, and collaborate with many amazing musicians and artists around the world. Music is my DNA, and it is profoundly moving and deeply resonates in our souls as it is a shared universal language.

See Anne Akiko Meyers presented by CAMA’s Masterseries at the Lobero Theatre (33 E. Canon Perdido St.) on Friday, November 22, 7:30 p.m. See lobero.org.