Program Notes - CAMA

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Program Notes - CAMA

ten-segment series entitled “The ConcertoAccording to Pinchas” which continuesto be broadcast and re-broadcast aroundthe world. A frequent performer on Livefrom Lincoln Center, Mr. Zukerman hascollaborated with the English filmmakerChristopher Nupen on several projectsincluding the Here to Make Music series,a Brahms series, a Schubert series anda documentary on Nathan Milstein. Heappeared on PBS’s Charlie Rose Show andon CBC Television’s nationwide broadcastcelebrating the opening concerts of theNational Arts Centre’s 30th-anniversaryseason. Crossing Bridges, a documentaryby Niv Fichman, followed his tour to theMiddle East with the Orchestra, and wasawarded the prestigious Gold WorldMedal at the 2001 New York Festival. Mr.Zukerman’s violin playing can be heardon the film soundtracks for Prince ofTides and Critical Care.Born in Tel Aviv in 1948, PinchasZukerman studied music with his father,first on the recorder and clarinet, andlater on the violin. He soon began lessonswith Ilona Feher and came to Americain 1962 with the support of Isaac Stern,Pablo Casals and the America-Israeland Helena Rubinstein Foundations. Hebegan his studies at The Juilliard Schoolwith Ivan Galamian and, in 1967, wasnamed first-prize winner of the 25thLeventritt Competition. He holds an honorarydoctorate from Brown Universityand an Achievement Award from theInternational Center in New York. He waspresented with the King Solomon Awardby the America-Israel Cultural Foundationand, in 1983, President Reagan awardedhim the Medal of Arts for his leadershipin the musical world. In 2002 he becamethe first recipient of the Isaac Stern Awardfor Artistic Excellence at the National ArtsAwards Gala in New York City, and inMay 2006 was appointed as the RolexMentor and Protégé Arts Initiative’s firstinstrumentalist mentor in the music discipline.Pinchas Zukerman is married tocellist Amanda Forsyth and is father to twodaughters, Arianna and Natalia.“Youth sticks with some people...Zukerman seems the forever-young virtuoso:expressively resourceful, infectiously musical,technically impeccable, effortless. As usual,it was a joy to be in his musical company.” –The Los Angeles Times jAMANDA FORSYTHcelloAcclaimed asboth soloistand chambermusician,Juno AwardwinningcellistAmandaForsyth hasearned praisefrom audiences and critics alike. Ms. Forsythhas appeared with orchestras throughoutthe world including the Chicago,Colorado, Grand Rapids, Sao Paulo,Oregon, San Diego and Royal Orchestrain Copenhagen, the Montreal, Phoenix,Toronto, and Vancouver Symphonies,Barcelona, Gulbenkian, Calgary and IsraelPhilharmonic Orchestras, Israel Sinfonietta,National Symphony Orchestra, OrquestraSinfonica Brasileira, Russian NationalOrchestra, London’s Royal PhilharmonicOrchestra, English Chamber Orchestra,Hong Kong Sinfonietta, BBC Proms inLondon and Sherbrooke SymphonyOrchestra in Quebec. In addition, Ms.Forsyth is principal cellist for the NationalArts Centre Orchestra in Ottawa whereshe also appears frequently as a soloist andin chamber recitals and is a founding memberof the Zukerman ChamberPlayers.Amanda Forsyth’s career has includedcollaborations with many eminent artistsincluding Yefim Bronfman, Lynn Harrell,Joseph Kalichstein, Jaime Laredo, LouisLortie, Yo-Yo Ma, Garrick Ohlsson, JohnKimura Parker, Arnold Steinhardt, MichaelTree and Pinchas Zukerman. She has workedwith many esteemed conductors such asLawrence Foster, Alan Gilbert, BernhardGueller, James Judd, Oliver Knussen,Roberto Minczuk, Mikhail Pletneyev, andBramwell Tovey, among others.Ms. Forsyth performed with theColorado and Grand Rapids Symphoniesand toured with the Dallas Symphony inboth Texas and on its tour of Florida andwith the Oregon Symphony. Overseas,she performs frequently with the IsraelPhilharmonic Orchestra, Orchestre Radiode France and toured with London’s RoyalPhilharmonic Orchestra through Spainand made her debut at the MoscowConservatory in 2009 returning withthe Moscow Virtuosi in both Moscowand St Petersburg in 2011. She has hadfrequent engagements with Lisbon’sGulbenkian Orchestra, the EnglishChamber Orchestra including their summertour of Mediterranean island venuesin 2011. Her performances with theAdelaide Symphony Orchestra and theNew Zealand Symphony Orchestra earnedcritical acclaim. She returned to China forperformances in Hong Kong, Shanghai,- 8 - - 9 -Sichuan, Shenyang and Beijing.Amanda Forsyth plays each summer atRavinia as well as The Tuscan Sun Festivalin Cortona Italy where she has appeared asboth soloist and in chamber concerts onseveral occasions at each venue.Recitals in Toronto, Ottawa, Mumbai,China, Moscow and Chicago and a seriesof performances and master classes inDuisburg, Germany were received withsuccess. In January 2012 her recital inEdmonton was dedicated to the passing ofher late father Dr. Malcolm Forsyth.With the Zukerman ChamberPlayersshe visited Germany, Israel, Italy, Finland,Holland, Switzerland, New Zealand,Turkey, Warsaw, Yerevan, Belgrade,Budapest, Dubrovnik, Vienna, and theUnited Kingdom, performed for the PetraConference for Nobel Laureates in Jordanand embarked on several South Americantours. In addition, the ensemble has anongoing series at the 92nd Street Y in NewYork. Amanda Forsyth appeared for eightseasons as a guest artist at the Santa FeChamber Music Festival.Most recently she had return engagementswith the Royal PhilharmonicOrchestra in London, New York andFlorida, appeared with the EnglishChamber Orchestra in Azerbaijan alsotouring through Europe with them andwith the Gulbenkian Symphony Orchestra,Madison Symphony Orchestras and SanDiego Symphony.Other performances in the next shortperiod will include L’Orchestre National deMontpellier, a tour through Europe and afirst appearance in Munich, Germany.In May 2011 after the Japaneseearthquake disaster she appeared atthe Miyazaki Festival in gala fundraising


concerts. Ms Forsyth will return toMiyazaki in May 2012.Born in South Africa, Ms. Forsythmoved to Canada as a child and beganplaying cello at age three. She becamea protégé of William Pleeth in London,and later studied with Harvey Shapiroat the Juilliard School. After two seasonswith the Toronto Symphony Orchestrashe became the youngest principal everselected by the Calgary PhilharmonicOrchestra—a post she occupied for sixyears.Amanda Forsyth’s recordings appearon the Sony Classics, Naxos, Altara,Fanfare, Marquis, Pro Arte and CBC labels.In 2002, Amanda Forsyth was thesubject of the Bravo! Canada televisiondocumentary Amanda Rising: TheAmanda Forsyth Story. The program followedMs. Forsyth’s life from her earlyyears as a young South African immigrantto her later success on the internationalmusic scene.Ms. Forsyth was featured prominentlyon Wynton Marsalis’ soundtrack for KenBurns’ The War, a widely-acclaimed WorldWar II documentary filmed for PBS.Amanda Forsyth performs on a rare1699 Italian cello by Carlo GiuseppeTestore.“The warm resonating sound andeffortless technique from Forsyth wasastounding.” –American Record Guide“Every soloist—especially everyyoung female cellist—has to contendwith the long shadow of Jacqueline DuPré, whose performances and recordingsremain touchstones. The remarkableperformance by Amanda Forsyth banishedcomparisons. Projecting a big, burnishedtimbre, the young Canadian showedherself in sympathy with Elgar’s work.”–Sun-SentinelJOHANN SEBASTIAN BACHBorn March 21, 1685 in EisenachDied July 28, 1750 in LeipzigBetween the years 1717 and 1723, Bachwas employed as Kapellmeister at thecourt of Prince Leopold of Anhalt-Cöthen.The composer was well known in his timeas an organ virtuoso, but he was also anaccomplished violinist and an excellentviola da gamba player. Having no organavailable there, Bach turned his attentionto works for other instruments. It was atthis time that he composed most of hisinstrumental chamber music, as well as thesix Brandenburg Concerti and the concertifor one or more violins, which were laterarranged for harpsichord(s) and orchestra.The Violin Concerto in A minor, BWV 1041,P R O G R A M N O T E Sis believed to have been composed circa1720.The A-minor Concerto was writtenin the Italian style after Vivaldi, employingthe pattern of three movements witha tempo scheme of fast–slow–fast. Theouter movements feature the exact repetitionof longer or shorter formal sections;refrains employing fundamental thematicmaterial are repeated in various tonalities,while inserted between these thematicrecurrences are several episodes of musicalmaterial, either thematically borrowed oraltogether new in thematic content.The first movement is based largely onthe opening ritornello, with its abrupt initialphrases and the sequential figures thatfollow. The solo violin, however, introducestwo motifs of its own during the courseTUESDAY, FEBRUARY 11, 2014, 8 PMCHRIS THILEmandolin2012 MacArthur “Genius” FellowOn this new program, Thile drawsfrom his new Bach recording,while also exploring his owncompositions andcontemporarymusic.Tickets at the Lobero Theatre Box Office $33, $43(805) 963-0761 • www.lobero.comBach Monument, Leipzig, created by Carl Seffner in 1908. Dreamstime, ©Vladimir Ovchinnikov- 10 - - 11 -


of the movement. The C-Major Andanteis built on an ostinato bass that extendsover four bars. At first this subject recursat each re-entry of the orchestra after thesolo episodes, but during the course ofthe music the distinction between soloand orchestra becomes less marked. Thelast movement begins with an extendedfugal passage for the orchestra, whichreappears at various points. The soloist’smaterial is derived from this, although anindependent arpeggio motif and a trillfigure prominently, and it later breaks outinto a more elaborate running figuration.© 2000, Columbia Artists Management Inc.ARNOLD SCHOENBERGBorn September 13, 1874, in ViennaDied July 13, 1951, in Los AngelesVerklärte Nacht(Richard Dehmel)Zwei Menschen gehn durch kahlen,kalten Hain;der Mond läuft mit, sie schaun hinein.Der Mond läuft über hohe Eichen;kein Wölkchen trübt das Himmelslicht,in das die schwarzen Zacken reichen.Die Stimme eines Weibes spricht:Ich trag ein Kind, und nit von Dir,ich geh in Sünde neben Dir.Ich hab mich schwer an mir vergangen.Ich glaubte nicht mehr an ein Glückund hatte doch ein schwer Verlangennach Lebensinhalt, nach Mutterglückund Pflicht; da hab ich mich erfrecht,da ließ ich schaudernd mein Geschlechtvon einem fremden Mann umfangen,und hab mich noch dafür gesegnet.Nun hat das Leben sich gerächt:nun bin ich Dir, o Dir, begegnet.Sie geht mit ungelenkem Schritt.Sie schaut empor; der Mond läuft mit.Ihr dunkler Blick ertrinkt in Licht.Die Stimme eines Mannes spricht:Das Kind, das Du empfangen hast,sei Deiner Seele keine Last,o sieh, wie klar das Weltall schimmert!Es ist ein Glanz um alles her;Du treibst mit mir auf kaltem Meer,doch eine eigne Wärme flimmertvon Dir in mich, von mir in Dich.Die wird das fremde Kind verklären,Du wirst es mir, von mir gebären;Du hast den Glanz in mich gebracht,Du hast mich selbst zum Kind gemacht.Er faßt sie um die starken Hüften.Ihr Atem küßt sich in den Lüften.Zwei Menschen gehn durch hohe,helle Nacht.Transfigured NightTwo beings go through a bare, cold grove;the moon races, they gaze into it.The moon passes over high oaks;not one cloud obscures the light of heaven,where black branches reach.The voice of a woman says:I carry a child, and not yours,I walk in sin next to youI have sinned against myself.I no longer believe in happinessand yet was full of cravingfor life, for the joy of motherhoodand its duty, so I slippedand, shuddering, let my sexbe embraced by a stranger,and have been blessed for that.Now life takes its revenge:I have now met you, oh you.She goes on with a clumsy step.She looks up, races with the moon.Her dark gaze is drowned in light.The voice of a man speaks:May the child you have conceived,Be no burden on your soul,Oh see how clearly the universeshimmers!Here it brings everything to light;You bob with me on a cold sea,yet a peculiar heat emanatesfrom you into me, me into you.It transfigures the stranger’s child ,It is for me, you bear it for me;You have brought this radiance to me,You have made me too a child.He takes her by her strong hips.Their breath kisses in the air.Two beings go through a high,bright night.Composed in 1899, Verklärte Nachtpredates Schoenberg’s serial approach bysome twenty years. Unlike his twelve-tonetechniques, it is deeply imbued with thespirit of romantic poetry and a harmonicidiom that stems directly from RichardWagner. Inspired by German poet RichardDehmel’s poem, first published in Weib undWelt (“Woman and the World”) (1896), injust three weeks, Schoenberg completedthe first genuine “programmatic” piecewritten for the chamber medium.Schoenberg originally wrote VerklärteNacht for a string sextet; this version wascompleted in December of 1899, andreceived its world premiere in Viennaon March 18, 1902. As this performancewas not successful, Schoenberg made atranscription of the work for chamberorchestra in 1917. It is in this form that- 12 - - 13 -Richard Dehmel (1863–1920),author of the poem Verklärte NachtVerklärte Nacht attained world-wide popularity,becoming the composer’s mostoften played work.At the opening of the work, a quietnocturnal mood is established. The atmosphericintroduction portrays the loverswalking in the moonlit grove; this musiclater becomes the transition between thetwo main sections of the work. Employingtremolos, the first, turbulent theme is presented.The theme subsides, and the proceedingsbecome passionate with a numberof motifs that convey the woman’sanguish and agitation over her confession,arriving at a forceful climax. Material fromthe introduction is heard again, this timeloudly in a powerfully accented recitativelikepassage, as the man ponders whathe has just learned. With new melodicmaterial, as well as with the expansion ofmotifs heard earlier, the man reassures her,in a section characterized by warmth and


tenderness. A new version of the maintheme, announces the transfiguration ofthe unborn child. The main theme is soonheard in polyphonic treatment and with apassionate crescendo, the lovers embrace.The introductory material then returns toclose the proceedings as the lovers continueon their quiet walk under the lightof the moon.© 1996, Columbia Artists Management Inc.JOHANNES BRAHMSBorn May, 7 1833 in HamburgDied April 3, 1897 in ViennaIn 1853, Brahms embarked on a concerttour with the Hungarian violinist EduardHoffmann (a.k.a. Reményi). It was duringtheir stop at Göttingen, near Hanover, thatBrahms came to meet Joseph Joachim, thevirtuoso violinist – also a composer – withwhom he established an immediate rapport,flourishing into their long friendship.Joachim proved to be enormouslyinfluential in Brahms’ career, as well asin the younger man’s development as acomposer. The two shared an identity ofartistic outlook, and a great admirationfor each other’s works; together they stoodfirmly against the “New German School”as exemplified by Liszt and, later, Wagner.It was at Joachim’s suggestion that Brahmsmet Robert Schumann and his wife Clara,both of whom were to become so importantin his life as well as in his further developmentas a composer. Early on, Brahmsbenefited immensely from Joachim’s adviceregarding orchestration, and from hearingJoachim’s Hanover Quartet perform someof his chamber works. More importantly,when Brahms wrote his masterful ViolinConcerto in 1878, Joachim – for whom thework was composed – provided invaluableguidance in the treatment of the violinas a solo instrument. Equally important,as a conductor Joachim introduced severalof Brahms’ orchestral works, thus garneringrecognition for the younger composerand establishing his reputation, especiallyin England where the virtuoso/conductorwas regarded with high esteem.It is said that every friendship willeventually be tested, and this was certainlythe case for Brahms and Joachim.When Joachim began divorce proceedingsagainst his wife, the famous mezzosopranoAmalie Weiss, Brahms sided withAmalie; the rift that ensued in their friendshipwas hard to overcome. As a meansto end animosities and repair the damagedone to their relationship, Brahmswrote the Concerto for Violin, Cello andOrchestra, Op. 102 in 1887. He dedicatedthe work to Joachim, and designatedthe virtuoso as the person “for whom itwas written.” Brahms’ peace offering wasaccepted, resulting in the re-establishmentof the severed friendship. Joachim performedthe solo violin part at the work’sfirst performance, a private affair held onSeptember 23, 1887, in Baden-Baden. Thecomposer led the orchestra and RobertHausmann, a member of the celebratedJoachim Quartet, was the solo cellist. Theofficial premiere took place on October 18of the same year in Cologne, with the samethree principals.The “Double Concerto” – as it is oftenreferred to – was described by its composeras “a strange flight of fancy.” Themost recent antecedents prior to Brahms’Concerto can be found in Mozart’s Sinfoniaconcertante in E-flat Major, K. 364 (forBrahms’ Grave in the Central Cemetery, Vienna.Dreamstime, credit Juliane JacobsViolin and Viola) and Beethoven’s “TripleConcerto” (for Violin, Cello and Piano).Beyond this, the “Double Concerto”reflects Brahms’ interest in Baroque musicas it exhibits features of that musical era’sconcerto grosso and a predominantlypolyphonic structure, albeit clothed in anineteenth century idiom.In the opening of the Allegro, the fullorchestra announces four measures of theprincipal theme, of which the last threenotes provide the cello with a dramaticentrance in the form of a recitative-cadenza;a similar passage for the violin follows.After the introduction, the proceedingsfollow the typical concerto form. In a tuttipassage, the principal theme is heard againwith a degree of elaboration, leading tothe second theme in the Major mode,which is first presented by the cello, andreceiving an answer from the violin. Inthe development section that follows, themain thematic material is imaginativelyhandled through the variation techniqueand elaboration that takes place throughoutthe entire movement. This is followedby the traditional recapitulation markedby further thematic elaboration.The second movement, Andante,is built upon a simple song-like A–B–Astructure. In the outer sections, the twosoloists often play as “one voice,” whilein the contrasting middle section theyengage in dialogue fashion.The third movement, marked Vivacenon troppo, is in rondo form; it is characterizedby the subtle virtuosity allottedto the soloists as well as by the magisterialuse of technical and structural means.Over the light accompaniment of stringsand bassoon, the cello presents the maintheme. This theme is restated fortissimo,after which the soloists present the secondtheme in the Major mode. In typicalrondo fashion, episodes employing thesetwo themes alternate with ever-increasingelaborations, until an energetic codabrings Brahms’ last orchestral work to itsconclusion.© 1994, Columbia Artists Management Inc.- 14 - - 15 -


THE BOARD OF DIRECTORSOF CAMAthanks the generous sponsorsof our 2013 concerts!AnonymousLinda Stafford Burrows,in memory of Fredericka Voogd BurrowsThe Godric FoundationRick Frey, in memory of Dr. Immanuel HsuDr. & Mrs. Richard KahlerJohn & Lucy Lundegard,in honor of Dave & Irene LiggettKeith J. Mautino,in memory of Dr. Immanuel HsuMr. Frank R. Miller, Jr./The Henry E. &Lola Monroe FoundationCAMA Conducts the Future of Classical MusicTHE BOARD OF DIRECTORS OF CAMAthanks the generous supporters of our Music Education Programs!(Gifts and pledges received from June 1, 2011 to November 18, 2013,and gifts made through endowment fund income)William & Nancy MyersPerforming Arts Scholarship FoundationMarjorie S. PetersenKathryn H. Phillips, in memory of Don R. PhillipsElaine F. Stepanek FoundationThe Walter J. & Holly O. Thomson FoundationWalter J. Thomson/The Thomson TrustThe Wallis FoundationWilliam Watson/Santa Barbara Youth SymphonyWestmont CollegeThanks to this generous support,CAMA continues its commitment to expand and enrich audience appreciationand education in our community!A long-time friend of CAMA and of the St. Louis SymphonyBitsy & Denny Bacon and the Becton Family FoundationThe Andrew H. Burnett FoundationLouise & Michael CacceseThe CAMA Women’s BoardVirginia Castagnola-HunterRobert & Christine EmmonsEsperia FoundationThe Stephen & Carla Hahn FoundationHollis Norris FundJudith L. HopkinsonHerbert & Elaine KendallSara Miller McCuneThe Samuel B. & Margaret C. Mosher FoundationCraig & Ellen PartonSAGE PublicationsMichele & Andre SaltounBarbara & Sam ToumayanMichael Towbes/The Towbes FoundationThanks to our sponsors CAMA brought thefollowing internationally acclaimed orchestras andsoloists to our community in 2013.Estonian National Symphony OrchestraLos Angeles PhilharmonicAnne-Sophie MutterItzhak PerlmanAndrás SchiffSt. Louis SymphonyTafelmusik Baroque OrchestraChristian TetzlaffVancouver Symphony Orchestra- 16 - - 17 -


Ensure CAMA's futureGifts that Make a Difference“It would be hard to overestimate the achievements and importanceof CAMA. The devotion and commitment of its membersshould be an example of how much one can do toenrich the cultural life of a community.”LEAVE A LEGACYOF MUSICThrough the generosity of people like you,CAMA offers the opportunity to ensure the future of our missionto bring world-class music to Santa Barbara. By including CAMA in your willor living trust, you leave a legacy of great concerts and music appreciationoutreach programs for future generations. Make a gift of cash, stocks orbonds and enjoy immediate tax benefits.Just let us know...– Vladimir AshkenazyIf you have provided a gift to CAMAin your will or estate plan, or if you would like to receive more information ontax wise ways to leave a legacy to CAMA, please contactMartha Donelan, director of developmentat 805-966-4324 or martha@camasb.orgLEGACY SOCIETY MEMBERSPOTLIGHTAndrewButcherHOMEGROWN LOVECAMA’s newest Legacy Society memberAndrew Butcher Loves Jazz, The RollingStones, and Classical MusicAndrew grew up in London in a house whereclassical music was being played constantly, muchto his chagrin. As a teenager in the ‘swinging 60’s’he preferred The Rolling Stones, and modern jazzand blues bands such as John Mayall and theBluesbreakers. He is still very much a jazz fan, andattends just about every jazz event he can. Howeverin recent years he has to come to love the music heonce rejected in his youth.“It is amazing to me that we can see world classorchestras performing the world’s most beautifulmusic in a town the size of Santa Barbara, thanks toCAMA. To enjoy the same performances in SantaBarbara that one can experience in the great concerthalls of the world like Carnegie Hall, Avery Fisher Hall,Royal Albert Hall, and Walt Disney Concert Hall isvery exciting. I realize that it would not be possibleto charge enough for tickets in order to cover thecost of bringing in full orchestras, and therefore Ithought it was important to help continue CAMA’sgreat work through estate giving. ”We gratefully acknowledgeCAMA Legacy Society membersfor remembering CAMA in theirestate plans with a deferred gift.AnonymousPeter & Becky AdamsBitsy Becton BaconElse Schilling BardJoan C. BensonPeter & Deborah BertlingLinda & Peter BeuretLida Light Blue & Frank BlueMrs. Russell S. BockLinda BrownElizabeth & Andrew ButcherVirginia Castagnola-HunterJane & Jack CatlettBridget & Bob CollearyKaren Davidson, M.D &David B. Davidson, M.D.Julia DawsonPatricia & Larry DurhamChristine & Robert EmmonsMary & Ray FreemanArthur R. GaudiStephen & Carla HahnBeverly HannaMs. Lorraine HansenRaye A. HaskellJoanne C. HoldermanJudith L. HopkinsonDolores M. HsuMr. & Mrs. James H. Hurley, Jr.Elizabeth & Gary JohnstonHerbert & Elaine KendallMahri KerleyLynn P. Kirst & Lynn R. MattesonLucy & John LundegardNancy R. LynnKeith J. MautinoSara Miller McCuneMr. & Mrs. Frank R. Miller, Jr.Dr. & Mrs. Spencer NadlerEllen & Craig PartonDiana & Roger PhillipsDr. Donald G. RichardsonAndre M. SaltounJudith & Julian SmithMr. & Mrs. Sam ToumayanMark E. TruebloodDr. and Mrs. H. Wallace VandeverBarbara & Gary WaerNancy & Kent Wood(as of January 6, 2014)- 18 - - 19 -


Community Arts Music Association of Santa Barbara, Inc.2060 Alameda Padre Serra, Suite 201 • Santa Barbara, CA 93103INTERNATIONAL SERIES at The Granada Theatre1/21/2014 Royal Philharmonic OrchestraMASTERSERIES at the Lobero2/11/2014 Chris Thile mandolinINTERNATIONAL SERIES at The Granada Theatre2/17/2014 Bahia Youth Symphony OrchestraINTERNATIONAL SERIES at The Granada Theatre3/21/2014 Academy of St. Martin in the FieldsMASTERSERIES at the Lobero4/8/2014 Stephen Hough pianoINTERNATIONAL SERIES at The Granada Theatre5/4/2014 Los Angeles PhilharmonicMASTERSERIES at the Lobero5/14/2014 Richard Goode pianoThis project is funded in part by the Organizational Development Grant Program using fundsprovided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission.For more information on CAMA and its programs, call 805-966-4324 or visit www.camasb.org

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