CAMA - March 28, 2018 - Program Notes - San Francisco Symphony - International Series at The Granada Theatre

Presenting the world’s finest classical artists since 1919

Spencer-Lowel

SAN FRANCISCO

SYMPHONY

MICHAEL TILSON THOMAS

MUSIC DIRECTOR AND CONDUCTOR

GIL SHAHAM VIOLIN

WEDNESDAY, MARCH 28, 2018

The Granada Theatre, 8PM


Michael Tilson Thomas

INTERNATIONAL SERIES

SEASON SPONSORSHIP: SAGE PUBLICATIONS

ST. LOUIS SYMPHONY

ORCHESTRA

SPONSORS

Anonymous

Dan & Meg Burnham

Ellen & Peter Johnson

CO-SPONSORS

Anonymous

Dorothy Roberts

Barbara & Sam Toumayan

George & Judy Writer

LOS ANGELES

PHILHARMONIC

PRINCIPAL SPONSOR

The Samuel B. and Margaret C.

Mosher Foundation

SPONSORS

Nancy Schlosser

The Towbes Fund for the Performing

Arts,a field of interest fund of the

Santa Barbara Foundation

Dody Waugh & Eric Small

CO-SPONSORS

Bitsy & Denny Bacon

and the Becton Family Foundation

Frank Blue & Lida Light Blue

(LA PHIL CO-SPONSORS, cont.)

Elizabeth & Ken Doran

Robert & Christine Emmons

Dorothy & John Gardner

Jocelyne & William Meeker

ORCHESTRA OF THE AGE

OF ENLIGHTENMENT

SPONSORS

Hollis Norris Fund

Alison & Jan Bowlus

CO-SPONSORS

Louise & Michael Caccese

The CAMA Women's Board

Lynn P. Kirst

Bob & Val Montgomery

Michele & Andre Saltoun

ACADEMY OF ST. MARTIN

IN THE FIELDS

SPONSORS

Judith L. Hopkinson

Sara Miller McCune

Anonymous

CO-SPONSORS

Peggy & Kurt Anderson

Edward DeLoreto


Ellen & John Pillsbury


MASTERSERIES

SEASON SPONSORSHIP:

ESPERIA FOUNDATION

Isabel

Bayrakdarian

JUILLIARD STRING QUARTET

SPONSOR

Bitsy & Denny Bacon and the

Becton Family Foundation

SAN FRANCISCO

SYMPHONY

PRIMARY SPONSOR

The Elaine F. Stepanek

Concert Fund

PRINCIPAL SPONSOR

Herbert & Elaine Kendall

SPONSOR

Bitsy & Denny Bacon and

the Becton Family Foundation

Fran & John Nielsen

The Shanbrom Family Foundation

CO-SPONSORS

Anonymous

Elizabeth & Andrew Butcher

Mahri Kerley/Chaucer's Books

Lynn P. Kirst


Val & Bob Montgomery

Sir András Schiff

PETER SERKIN, piano

CO-SPONSOR

CAMA Women's Board

CONCERT PARTNERS

Stephen Cloud

Joanne Holderman

Elizabeth Karlsberg & Jeff Young

Stephen J.M. & Anne Morris

SIR ANDRÁS SCHIFF, piano

PRINCIPAL SPONSOR

The Stephen & Carla Hahn Foundation

CO-SPONSORS


Craig & Ellen Parton

CONCERT PARTNERS

Virginia Castagnola-Hunter

Laurel Abbott, Berkshire Hathaway Luxury Properties

Bridget Colleary

Raye Haskell Melville

ISABEL BAYRAKDARIAN, soprano

ST. LAWRENCE STRING QUARTET

SPONSOR

CAMA Women's Board

CO-SPONSOR


CONCERT PARTNERS

Robert Boghosian &

Mary E. Gates-Warren

Department of Music, UC Santa Barbara

Frank McGinity

Sheila Bourke McGinity


Board of Directors

(as of March 1, 2018)

ROBERT K. MONTGOMERY president

DEBORAH BERTLING, first vice-president

CRAIG A. PARTON second vice-president

WILLIAM MEEKER treasurer

JOAN R. CROSSLAND secretary

Bitsy Becton Bacon

Edward Birch

Jan Bowlus

Daniel P. Burnham

Stephen Cloud

NancyBell Coe

Bridget B. Colleary

Robert J. Emmons

Jill Felber

Joanne C. Holderman

Judith L. Hopkinson

James H. Hurley, Jr.

Peter O. Johnson

Elizabeth Karlsberg

Lynn P. Kirst

Frank E. McGinity


Stephen J.M. (Mike) Morris

Patti Ottoboni

Andre M. Saltoun

Judith F. Smith

Sam Toumayan

Judith H. Writer

Catherine Leffler,

president, CAMA Women’s Board

Emeritus Directors

Russell S. Bock*

Dr. Robert M. Failing

Mrs. Maurice E. Faulkner*

Léni Fé Bland*

Arthur R. Gaudi

Stephen Hahn*

Dr. Melville H. Haskell, Jr.*

Mrs. Richard Hellmann*

Dr. Dolores M. Hsu

Herbert J. Kendall

Robert M. Light*

Mrs. Frank R. Miller, Jr.*

Sara Miller McCune

Mary Lloyd Mills

Mrs. Ernest J. Panosian*

Kenneth W. Riley*

Mrs. John G. Severson*

Nancy L. Wood

* Deceased

Administration

Mark E. Trueblood

executive director

Elizabeth Alvarez

director of development

Linda Proud

office manager/subscriber services

Justin Rizzo-Weaver

director of operations

2060 Alameda Padre Serra, Suite 201 Santa Barbara, CA 93103 Tel (805) 966-4324 Fax (805) 962-2014 info@camasb.org


THURSDAY, APRIL 12, LOBERO THEATRE, 8PM

SIR ANDRÁS SCHIFF PIANO

Mendelssohn-Bartholdy: Fantasy in F-sharp minor, Op.28

Beethoven: Sonata No.24 in F-sharp Major, Op.78

Brahms: 8 Klavierstücke, Op.76

Brahms: 7 Fantasien, Op.116

Bach: English Suite No.6 in D minor, BWV 811

Sir András Schiff is world-renowned and critically acclaimed

as a pianist, conductor, pedagogue and lecturer. He returns to

Santa Barbara for his seventh Masterseries appearance in recital.

Knighted by Queen Elizabeth II for his services to music,

Sir András is one of the piano’s true legends.

Single tickets at

The Lobero Theatre Box Office

A $64 • B $54

(805) 963-0761 • lobero.com

For more information visit camasb.org

2


INTERNATIONAL SERIES at The GRANADA THEATRE

SEASON SPONSORSHIP: SAGE PUBLICATIONS

SAN FRANCISCO SYMPHONY

MICHAEL TILSON THOMAS MUSIC DIRECTOR AND CONDUCTOR

GIL SHAHAM VIOLIN

WEDNESDAY, MARCH 28, 2018

The Granada Theatre (Santa Barbara Center for the Performing Arts)

Alban Berg

(1885-1935)

Violin Concerto (1935)

Andante—Allegretto

Allegro—Adagio

Gil Shaham, violin

Intermission

Gustav Mahler

(1860-1911)

Symphony No.5 in C-sharp minor (1902)

Trauermarsch (Funeral march: With measured step.

Strict. Like a cortege)

Stürmisch bewegt, mit grösster Vehemenz (Stormily.

With greatest vehemence)

Scherzo: Kräftig, nicht zu schnell (Scherzo: Vigorously,

not too fast)

Adagietto, sehr langsam (Adagietto: Very slow)

Rondo-Finale: Allegro

(Rondo-Finale: Allegro giocoso. Lively)

CAMA thanks our generous sponsors who have made this evening’s

performance possible:

International Series Season Sponsor: SAGE Publications

PRIMARY SPONSOR: The Elaine F. Stepanek Concert Fund

PRINCIPAL SPONSOR: Herbert & Elaine Kendall

SPONSOR: Bitsy & Denny Bacon and the Becton Family Foundation

Fran & John Nielsen • The Shanbrom Family Foundation

CO-SPONSORS: Anonymous • Elizabeth & Andrew Butcher • Mahri Kerley/Chaucer's Books

Lynn P. Kirst • Jocelyne & William Meeker • Val & Bob Montgomery

San Francisco Symphony tours are supported by the Frannie and Mort Fleishhacker Endowed Touring

Fund, the Halfmann-Yee Fund for Touring, the Fay and Ada Tom Family Fund for Touring, and the

Brayton Wilbur, Jr. Endowed Fund for Touring.

We request that you switch off cellular phones, watch alarms and pager signals during the

performance. The photographing or sound recording of this concert or possession of any device

for such photographing or sound recording is prohibited.

COMMUNITY ARTS MUSIC ASSOCIATION | www.camasb.org

Biography

Stefan Cohen

SAN FRANCISCO

SYMPHONY

The San Francisco Symphony gave its

first concerts in 1911 and has grown

in acclaim under a succession of music

directors: Henry Hadley, Alfred Hertz,

Basil Cameron, Issay Dobrowen, Pierre

Monteux, Enrique Jordá, Josef Krips, Seiji

Ozawa, Edo de Waart, Herbert Blomstedt,

and, since 1995, Michael Tilson Thomas.

The SFS has won such recording awards

as France’s Grand Prix du Disque and

Britain’s Gramophone Award, and the

Mahler cycle on the Symphony’s own

label has been honored with numerous

Grammys, including those for Best

Classical Album (Mahler’s Third, Seventh,

and Eighth symphonies), Best Choral

Performance and Best Engineered

Classical Album (Mahler Eighth), and Best

Orchestral Performance (Mahler Sixth

and Seventh). The recording of John

Adams’s Harmonielehre and Short Ride

in a Fast Machine won a 2013 Grammy

for Best Orchestral Performance and an

ECHO Klassik award. A series of earlier

recordings by MTT and the Orchestra,

for RCA Red Seal, has also won praise,

and their collection of Stravinsky ballets

for RCA (Le Sacre du printemps, The

Firebird, and Perséphone) received three

Grammys. Some of the most important

4

conductors of the past and recent years

have been guests on the SFS podium,

among them Bruno Walter, Leopold

Stokowski, Leonard Bernstein, and Sir

Georg Solti, and among the composers

who have led the Orchestra are Stravinsky,

Ravel, Copland, and John Adams. The

SFS Youth Orchestra, founded in 1980,

has become known around the world, as

has the SFS Chorus, heard on recordings

and on the soundtracks of such films as

Amadeus and Godfather III. Adventures

in Music, the longest running education

program among US orchestras, brings

music to children in grades one through

five in San Francisco’s public schools.

Keeping Score, designed to connect

audiences with music, aired on PBS-TV,

is available on DVD and Blu-ray, and

can be accessed at keepingscore.org.

In 2014, the SFS launched SoundBox, a

new experimental performance venue and

music series located backstage at Davies

Symphony Hall. SFS radio broadcasts, the

first in the nation to feature symphonic

music when they began in 1926, today carry

the Orchestra’s concerts across the country.

MICHAEL

TILSON THOMAS

Art Streiber

Michael Tilson Thomas assumed his

post as the San Francisco Symphony’s

Music Director in 1995, consolidating a

relationship with the Orchestra that began

5

Biography

with his debut in 1974. A Los

Angeles native, he studied Michael Tilson Thomas

than a dozen members

of the SFS. Michael Tilson

with John Crown and Ingolf assumed his post as Thomas’s recordings

Dahl at the University

have won numerous

the San Francisco

of Southern California,

international awards,

becoming Music Director

Symphony’s Music

including twelve Grammys

of the Young Musicians Director in 1995, for SFS recordings. In

Foundation Debut Orchestra

consolidating a

2014, he inaugurated

at nineteen. He worked

SoundBox, the San

relationship with the

with Stravinsky, Boulez,

Francisco Symphony’s new

Stockhausen, and Copland Orchestra that began alternative performance

at the famed Monday with his SFS debut space and live music

Evening Concerts and was

in 1974.

series. His television

pianist and conductor for

the Piatigorsky and Heifetz

master classes. In 1969, Mr. Tilson

Thomas won the Koussevitzky Prize and

was appointed Assistant Conductor of

the Boston Symphony. Ten days later

he came to international recognition,

credits include the New

York Philharmonic Young

People’s Concerts and in 2004 he

and the SFS launched Keeping Score

on PBS-TV. His compositions include

From the Diary of Anne Frank, Shówa/

Shoáh, settings of Emily Dickinson and

replacing Music Director William Walt Whitman, Island Music, Notturno,

Steinberg in mid-concert at Lincoln

Center. He went on to become the

BSO’s Principal Guest Conductor, and

he has also served as Music Director

of the Buffalo Philharmonic, and as a

Principal Guest Conductor of the Los

Angeles Philharmonic. With the London

Symphony Orchestra he has served as

Principal Conductor and Principal Guest

Conductor; he was recently named

Conductor Laureate. He is Artistic

Director of the New World Symphony,

which he co-founded in 1987. NWS has

and most recently, Four Preludes on

Playthings of the Wind. Michael Tilson

Thomas is a Chevalier des Arts et des

Lettres of France, was Musical America’s

Musician and Conductor of the Year, and

was inducted into the Gramophone Hall

of Fame in 2015. He has been elected

to the American Academy of Arts and

Sciences, and in 2010 was awarded the

National Medal of Arts by President

Obama. Most recently he was elected

to the Academy of Arts and Letters

as an American Honorary Member.

helped launch the careers of more than

1,000 alumni worldwide, including more

6

GIL

SHAHAM

Gil Shaham was born in 1971 in Illinois

and grew up in Israel, where he studied

at the Rubin Academy of Music. He made

his debut at age ten with the Jerusalem

Symphony and Israel Philharmonic, and

the following year, took the first prize in

Israel’s Claremont Competition. He then

became a scholarship student at Juilliard,

and he also studied at Columbia University.

Recent season highlights include

performances with the Berlin Philharmonic,

Boston Symphony, Chicago Symphony, Israel

Philharmonic, Los Angeles Philharmonic,

New York Philharmonic, and Orchestre de

Paris, as well as multi-year residencies

with the orchestras of Montreal, Stuttgart,

and Singapore. Mr. Shaham continues his

exploration of violin concertos of the 1930s,

including the works of Barber, Bartók, Berg,

Korngold, and Prokofiev, among many

others. He joins his longtime duo partner,

pianist Akira Eguchi, in recitals throughout

North America, Europe, and Asia.

Mr. Shaham has recorded more than

two dozen CDs, earning multiple Grammy

awards, a Grand Prix du Disque, Diapason

d’Or, and Gramophone Editor’s Choice award.

Many of these recordings appear on Canary

Classics, the label he founded in 2004. Notable

releases include 1930s Violin Concertos,

Virtuoso Violin Works, Elgar’s Violin Concerto,

Hebrew Melodies, The Butterfly Lovers,

J.S. Bach’s complete sonatas and partitas

for solo violin, and many more. His most

recent recording in the series 1930s Violin

Concertos, Vol. 2, including Prokofiev’s Violin

Concerto No.2 and Bartók’s Violin Concerto

No.2, was nominated for a Grammy award.

Mr. Shaham was awarded an Avery

Fisher Career Grant in 1990 and won

the Avery Fisher Prize in 2008. He was

named Instrumentalist of the Year by

Musical America in 2012. He plays the 1699

“Countess Polignac” Stradivarius violin, and

lives in New York City with his wife, violinist

Adele Anthony, and their three children.

7

Program Notes

Alban Berg

Concerto for Violin and Orchestra

ALBAN MARIA

JOHANNES BERG

BORN: February 9, 1885. Vienna

DIED: December 24, 1935. Vienna

COMPOSED: Begun in late April 1935,

substantially completed by the middle of

July, with the complete score being finished

on August 11.

WORLD PREMIERE: April 19, 1936, with

violinist Louis Krasner and the Orquesta Pau

Casals, conducted by Hermann Scherchen

(substituting at the last minute for Anton

Webern), at the International Society for

Contemporary Music Festival in Barcelona.

INSTRUMENTATION: 2 flutes (both doubling

piccolo), 2 oboes (2nd doubling English horn),

3 clarinets (3rd doubling alto saxophone) and

bass clarinet, 2 bassoons and contrabassoon,

4 horns, 2 trumpets, 2 trombones (tenor and

bass), tuba, timpani, bass drum, cymbals,

snare drum, low tam-tam, high gong, triangle,

and strings.

DURATION: About 22 mins

In February 1935, Louis Krasner, a Ukrainianborn,

Boston-based violinist, approached

the fifty-year-old Alban Berg to request that

he compose a concerto. Krasner, who would

live to the age of ninety-one, was near

8

the beginning of a long career that would

occupy a place of honor in the annals

of contemporary music; in addition to

introducing Berg’s Violin Concerto, he would

go on to premiere concertos by Arnold

Schoenberg, Alfredo Casella, and Roger

Sessions, as well as important shorter works

by Henry Cowell and Roy Harris, among

others. But Berg expressed no interest

in Krasner’s request. As a composer he

tended to be slow and methodical, and at

the moment he was completely absorbed

in the composition of his opera Lulu. It

seemed unlikely that Krasner’s dream

would be fulfilled. But privately the idea

had intrigued Berg, not least because of

Krasner’s argument that what twelve-tone

music really needed to become popular was

a genuinely expressive, heartfelt piece in an

audience-friendly genre like a concerto.

Then, too, the generous commission that

Krasner offered was sorely tempting:

$1,500 would go a long way in 1935. In spite

of himself, Berg started making tentative

stabs towards writing such a work as

Krasner envisaged, and he accepted the

commission.

That spring, the composer received

word that on April 22 Manon Gropius, the

eighteen-year-old daughter of Alma Mahler

Werfel (widow of Gustav) and the wellknown

architect Walter Gropius, had died

of polio. Berg had adored the girl since

her earliest childhood, and, harnessing the

creative energy that tragedy can inspire, he

resolved to compose a musical memorial.

“Before this terrible year has passed,” he

wrote in a letter to Alma, “you and Franz

[Werfel, her current husband] will be able

to hear, in the form of a score which I shall

dedicate ‘to the memory of an angel,’ that

which I feel and today cannot express.” He

immediately turned his entire focus on the

violin concerto, left off work on the final act

of Lulu (which would remain incomplete),

and moved to a summer cottage on the

Wörthersee. It was at the Wörthersee that

Mahler had built a summer getaway—at

Maiernigg, on the lake’s southern shore.

And, as Berg was delighted to point out,

it was at the Wörthersee that Brahms had

written much of his Violin Concerto, while

staying at a hotel in Pörtschach, on the

northern side.

Letters to friends make it clear that

Berg worked feverishly on the concerto,

so much so that he substantially finished

it within two and a half months, though he

would take another month to finish writing

out the full score. Normally Berg required

two years to write a large-scale work; the

Violin Concerto was completed in less than

four months. At the head of the manuscript

he inscribed “To the Memory of an Angel,”

just as he had promised. The name of Louis

Krasner was also appended to the score as

dedicatee.

This piece, Berg’s only solo concerto,

evolved according to the twelve-tone

principles that the composer had learned

from Schoenberg and championed as only

a great composer could—which is to say, by

using those principles as a means toward

articulating a unique world of expression.

Within his tone row (that is, the series of

twelve pitches on which a composition

is based), Berg chooses to emphasize

those pitches that correspond to the open

strings of the violin, yielding a harmonic

basis that makes perfect sense in terms

9

of the forces involved. These are intoned

at the very outset of the concerto. In fact,

many nineteenth-century violin concertos,

including those of Beethoven, Brahms,

and Tchaikovsky, had settled their tonic

on the note D, a note at the heart of the

instrument’s tuning—not such a different

tactic from Berg’s.

The concerto’s most astonishing section

is doubtless its conclusion: a set of variations

on the Lutheran chorale “Es ist genug!

Herr wenn es Dir gefällt” (It is enough!

Lord, if it pleases You). After the piece was

already well along, Berg discovered that

the opening notes of that chorale, which he

knew through its harmonization in Bach’s

Cantata No. 60, corresponded exactly to

the final four notes of his tone row. The

chorale melody is striking in that it begins

with a succession of three whole tones,

which together describe a tritone (the

interval of the augmented fourth), anciently

forbidden as the “devil in music.” As such, it

is not a particularly “comfortable” melody

in the context of traditional tonic-centered

tonality, and even Bach’s harmonization

had to reach in unaccustomed directions

to harness it. Berg quickly realized that his

current project enjoyed not just a musical

connection to the chorale, but a poetic

one as well, since the text of the chorale

supremely expressed an emotion he was

wanting to express about Manon Gropius’s

inevitable resignation to untimely death:

It is enough!

Lord, if it pleases You

Unshackle me at last.

My Jesus comes;

I bid the world goodnight.

I travel to the heavenly home.

I surely travel there in peace,

My troubles left below.

It is enough! It is enough!

The concerto occupies two movements,

each in two parts, in the overall sequence

of Andante—Allegretto / Allegro—Adagio

(or, as Berg described it in a letter to

Schoenberg two weeks after the piece

was completed, Preludium—Scherzo /

Cadenza—Chorale Variations). Berg told his

biographer Willi Reich that in the Andante—

Allegretto movement he “had tried to

translate the young girl’s characteristics into

musical characters.” A nostalgic, dreamy

quality pervades the first section, whose

improvisational spirit belies its rigid musical

organization. The ensuing Allegretto recalls

a more cheerful aspect of Manon, even to

the point of Berg’s introducing a Carinthian

folk melody, played by solo horn.

Following this pastoral reverie, the

second movement seems macabre

and nightmarish. It begins in energetic,

rhapsodic phrases that lead to a musical

climax. This introduces the chorale melody,

which sounds almost shocking in its twelvetone

context, followed by two variations on

the melody. Berg quotes it in Bach’s own

harmonization, with clarinets mimicking a

Bachian organ, though with a filigree of

dissonance wafting over it. In the score, Berg

instructs the soloist to assume leadership

over the violin and viola sections “audibly

and visibly” as the movement progresses,

and asks those orchestral string players to

successively join and resist the soloist “in

just as demonstrative a manner,” eventually

dropping away so that only the soloist is

10

playing. Following this musical and dramatic

struggle, a metaphor for the struggle of the

living soul against the insistence of death,

the Carinthian folk song wafts through again,

this time as if from a distance, and then the

chorale appears one last time. In the final

bars, the solo violin, as if solving the puzzle

presented by the two disparate approaches

to harmony, articulates the entire twelvetone

row simple and unadorned, from its

lowest note to its highest, three octaves

above. As the violin ascends in this ultimate

gesture, the other instruments of the

orchestra descend to their lowest registers,

a world away from the soloist.

In a tragic turn that Berg could not have

foreseen, the Violin Concerto was to be his

last completed work. Shortly after composing

it, the composer was annoyed by an abscess

on his back, presumably the result of an

insect bite. Treatment proved ineffective and

blood poisoning ensued. Berg died at the

end of the year in which he composed his

concerto, a day before Christmas.

Years later, Krasner, who had gone on to

play the work’s premiere in 1936, recalled

how he had visited Berg as the composer

was engrossed in the project. “A short time

later,” Krasner reported, “Berg sent me all

the pages of his manuscript. It was in a roll,

neatly addressed by him and marked: Value,

50 francs.” Succeeding generations would

dispute that modest valuation. Berg’s Violin

Concerto cuts deep into the human psyche,

and it stands near the summit of its genre.

The philosopher Theodor Adorno, a one-time

Berg pupil and a critical but appreciative

listener to his teacher’s music, pondered

his own reaction to this work: “In some

of its simplest, intellectually most irritating

passages, for instance the two-fold quotation

of the Carinthian folk song, the Violin Concerto

acquires an almost heartbreaking emotive

power unlike almost anything else Berg ever

wrote. He was granted something accorded

only the very greatest artists: access to

that sphere, most comparable with Balzac,

in which the lower realm, the not quite fully

formed, suddenly becomes the highest. . . .

The way, however, in which the imagerie of

the nineteenth century stirs within Berg is

forward-looking. Nowhere in this music is it

a matter of restoring a familiar idiom or of

alluding to a childhood to which he seeks

a return. Berg’s memory embraced death.

Only in the sense that the past is retrieved

as something irretrievable, through its own

death, does it become part of the present.”

— James M. Keller

San Francisco Symphony © 2018

Symphony No.5

in C‐sharp minor

GUSTAV

MAHLER

BORN: July 7, 1860. Kalischt (Kaliště),

Bohemia, near the town of Humpolec

DIED: May 18, 1911. Vienna

COMPOSED: 1901‐02

WORLD PREMIERE: October 18, 1904. Mahler

led the Gürzenich Orchestra in Cologne, having

conducted a read‐through with the Vienna

Philharmonic earlier that year.

NORTH AMERICAN PREMIERE: March 25,

1905. Frank van der Stucken conducted the

Cincinnati Symphony.

11

INSTRUMENTATION: The score calls for 4

flutes (2 doubling piccolo), 3 oboes and English

horn, 3 clarinets and bass clarinet, 3 bassoons

and contrabassoon, 6 horns, 4 trumpets, 3

trombones, tuba, timpani, cymbals, bass drum,

bass drum with cymbals attached, snare drum,

triangle, glockenspiel, tam-tam, slapstick, harp,

and strings.

DURATION: About 75 mins

In the first movement of Mahler’s Fourth

Symphony (1899‐1901), a sunny exposition

leads to a surprisingly shadowed

development. Its explosive climax is quickly

stifled, and, across the muttering of a few

instruments, a trumpet calls the orchestra

to order with an insistent fanfare. A variant

of this fanfare opens the Symphony No.5.

There is no obvious explanation for this link.

But the fanfare is too arresting, and it is

too critically placed in both symphonies, to

ignore some relationship. Let us speculate.

In 1901, at the juncture of completing the

Fourth Symphony and beginning the Fifth,

Mahler was acutely conscious of taking a

new path (as Beethoven had put it just a

hundred years before). Perhaps, as he set

out, he wanted to show that the seed for the

new was to be found in the old.

In what sense is the Fifth Symphony new?

After a run of unconventional symphonies,

Mahler comes back to a more “normal”

design, one that could be described as

concentric as well as symmetrical. In the First

Symphony, the orchestra plays long passages

from Mahler’s Songs of a Wayfarer, and

the Second, Third, and Fourth symphonies

actually include singing. While the Fifth

also alludes to three of Mahler’s songs, it is

essentially an instrumental conception. This

movement toward the purely orchestral is

tied to another change in Mahler’s work.

Except for a few brief departures, Mahler

for thirteen years had set only texts from

Des Knaben Wunderhorn. But in July 1901,

he composed his last Wunderhorn song and

turned to the writings of Friedrich Rückert,

setting six of his poems that month and next.

With that change of literary inspiration, a

certain kind of “open” Wunderhorn lyricism

disappears from Mahler’s symphonies. The

music becomes leaner and harder. About

this time Mahler acquired the complete

edition of Bach and, at least partly in

consequence of his excited discovery of what

was in those volumes, his textures become

more polyphonic. But this new “intensified

polyphony,” as Bruno Walter called it,

demanded a new orchestral style, and this

did not come easily. Mahler was always a

pragmatist in orchestration, tending to revise

in response to his experience conducting

his own works or hearing them under a

trusted colleague like Willem Mengelberg in

Amsterdam, but never did he find he had so

thoroughly miscalculated a sound as in the

first version of the Fifth, with its apparently

deafening barrage of percussion. He made

alterations until at least 1907.

Mahler’s wife, Alma, was ill and could not

accompany him to Cologne for the premiere,

and to that unhappy circumstance we owe

one of the composer’s most remarkable

and delightful letters, written just after the

first rehearsal. Of the symphony he wrote:

“Heavens, what is the public to make of this

chaos in which new worlds are forever being

engendered, only to crumble into ruin the

next moment? What are they to say to this

primeval music, this foaming, roaring, raging

12

Program Notes

Gustav Mahler

sea of sound, to these dancing stars, to

these breathtaking, iridescent, and flashing

breakers?”

For the composer Ernst Krenek, the Fifth

Symphony is the work with which Mahler

enters “upon the territory of the ‘new’ music

of the twentieth century.” And to return for

a moment to Mahler’s report from Cologne:

“Oh that I might give my symphony its first

performance fifty years after my death! . . . Oh

that I were a Cologne town councilor with

a box at the Municipal Theater and at the

Gürzenich Hall and could look down upon all

modern music!”

Mahler casts the work in five movements,

but some large Roman numerals in the score

indicate a more basic division into three

sections, consisting respectively of the first

two, the third, and the last two movements.

At the center stands the Scherzo, its place

in the design pleasingly ambiguous in that

it is framed between larger structural units

(Sections I and III) but is itself longer than any

other single movement.

Mahler begins with funeral music. He

starts here with the summons of the single

trumpet. Most of the orchestra is drawn

into this darkly sonorous exordium, whose

purpose is to prepare a lament sung by violins

and cellos. At least that is how it is sung to

begin with, but it is characteristic of Mahler’s

scoring that colors and textures, weights

and balances, degrees of light and shade

shift from moment to moment. Something

else that changes is the melody itself. Ask

six friends who know this symphony to sing

this dirge for you and you may well get six

versions, no two of them identical but all of

13

them correct. It is a wonderful

play of perpetual variation.

“Oh that I might give

my symphony

the point of transforming itself

for a moment into a march of

The opening music comes

its first performance

unseemly jauntiness. Now

back. Again the summons

fifty years after my

trumpets and trombones intone

leads to the inspired threnody,

unfolded this time at greater

breadth and with a more intense

grieving. Yet again the trumpet

death! . . . Oh that I

were a Cologne town

councilor with a box at

the Municipal Theater

a chorale, the symphony’s first

extended music in a major key.

But it is too soon for victory. The

grand proclamation vanishes,

recalls the symphony’s first bars,

and at the Gürzenich

and this movement, too,

but this time, suddenly, with

utmost violence and across a

brutally simple accompaniment,

violins fling forth a whipping

downward scale and the trumpet

is pushed to scream its anguish.

An attempt to introduce a loftier

Hall and could look

down upon all modern

music!”

–Gustav Mahler

dematerializes in a passage of

the most astounding orchestral

fantasy.

As we reach the middle

member of Mahler’s symphonic

triptych, four horns in unison

declare the opening of the

strain is quickly swept aside. Gradually Mahler

returns to the original slow tempo and to the

cortege we have come to associate with it,

and it is here that he alludes for a moment to

one of the songs of that rich summer of 1901.

It is the first of the Rückert Kindertotenlieder,

and the line is the poet’s bitter greeting to

the first sunrise after the death of his child.

When the whipping violin scale returns it

is in the context of the slow tempo, and

the movement disintegrates in ghostly

reminders of the fanfare and a savagely final

punctuation mark.

What we have heard so far is a slow

movement with a fast interruption. There

follows its inversion, a quick movement that

returns several times to the tempo of the

funeral march. These two parts of Section I

actually share thematic material. Still more

variants of the great threnody appear, and

the grieving commentary that accompanied

the melody in the first movement comes

more insistently into the foreground, to

Scherzo. The voice of a single horn detaches

itself from that call, the beginning of a

challenging obbligato for the principal player.

This is country music, by turns ebullient,

nostalgic, and a mite parodistic. There is

room even for awe as horns speak and

echo across deep mountain gorges. It is

exuberantly inventive too, its energies fed by

the bold ingenuity of Mahler’s polyphony, and

it is brilliantly set for the orchestra.

The diminutive in the title of the famous

fourth movement refers to its brevity and is

not meant as a qualification of its adagio‐ness;

indeed, in the first three measures alone

Mahler tells the conductor three times and

in two languages that he wants it “very

slow.” If any single movement can convey the

essence of Mahler’s heartache, the Adagietto

is it. The orchestra is reduced to strings

with harp, and one could go on learning

forever from the uncanny sense of detail

with which Mahler moves those few strands

of sound. If the harp part were lost and one

14

had to reconstruct it, figuring out the right

harmonies would be easy, but nobody could

ever guess Mahler’s hesitating rhythm or his

sensitive spacing of those chords.

The Adagietto is cousin to one of Mahler’s

first Rückert songs, “Ich bin der Welt

abhanden gekommen”—“I am Lost to the

World.” It is not so much a matter of quotation

or allusion as of drawing twice from the same

well. Adagietto and song share characteristic

features of contour, harmony, and texture,

and our knowledge of the song, which ends

with the lines “I live alone in my heaven, in

my loving, in my song,” confirms our sense of

what Mahler wishes to tell us in this page of

his symphony.

After the brightness of the Scherzo,

Mahler sets the Adagietto in a darker key.

Then, in a most delicately imagined passage,

he finds his way back to the light. As abruptly

as he had moved from the tragedy of the

first two movements into the joyous vitality

of the Scherzo, Mahler now leaves behind

the hesitations and cries of his Adagietto

to dive into the radiant, abundant finale. It

is, most of it, superb comedy, so vigorous

that it can even include the melody of the

Adagietto—in quick tempo—as one of its

themes. The brass chorale from the second

movement comes back, this time in its full

extension, as a gesture of triumph and as

a structural bridge across the symphony’s

great span. When all is done, though, no one

is in the mood for an exalted close, and the

symphony ends on a shout of laughter.

—Michael Steinberg

San Francisco Symphony © 2018

15

16

SAN FRANCISCO SYMPHONY

Michael Tilson Thomas

Music Director & Conductor

Herbert Blomstedt

Conductor Laureate

Christian Reif

Resident Conductor

Ragnar Bohlin

Chorus Director

Vance George

Chorus Director Emeritus

FIRST VIOLINS

Alexander Barantschik

Concertmaster

Naoum Blinder Chair

Nadya Tichman

Associate Concertmaster

San Francisco Symphony

Foundation Chair

Jeremy Constant

Assistant Concertmaster

Mariko Smiley

Acting Assistant

Concertmaster

Paula & John Gambs

Second Century Chair

Melissa Kleinbart

Katharine Hanrahan Chair

Yun Chu

Sharon Grebanier*

Naomi Kazama Hull

In Sun Jang

Yukiko Kurakata

Catherine A. Mueller Chair

Suzanne Leon

Leor Maltinski

Diane Nicholeris

Sarn Oliver

Florin Parvulescu

Victor Romasevich

Catherine Van Hoesen*

Sarah Knutson†

Yeh Shen†

Emma Votapek†

Sarah Wood†

SECOND VIOLINS

Dan Carlson

Principal

Dinner & Swig Families Chair

Helen Kim

Associate Principal

Audrey Avis Aasen-Hull Chair

Paul Brancato

Assistant Principal

Dan Nobuhiko Smiley

The Eucalyptus Foundation


Raushan Akhmedyarova

David Chernyavsky

John Chisholm

Cathryn Down

Darlene Gray

Stan & Lenora Davis Chair

Amy Hiraga

Kum Mo Kim

Kelly Leon-Pearce*

Eliot Lev

Isaac Stern Chair

Chunming Mo

Polina Sedukh

Chen Zhao

Jessica Fellows†

VIOLAS

Jonathan Vinocour

Principal

Yun Jie Liu

Associate Principal

Katie Kadarauch

Assistant Principal

John Schoening

Joanne E. Harrington

& Lorry I. Lokey Second

Century Chair

Gina Cooper

Nancy Ellis

David Gaudry

David Kim

Christina King

Wayne Roden

Nanci Severance

Adam Smyla

Matthew Young

CELLOS

Michael Grebanier* Principal

Philip S. Boone Chair

Peter Wyrick

Associate Principal

Peter & Jacqueline Hoefer

Chair

Amos Yang

Assistant Principal

Margaret Tait

Lyman & Carol Casey


Barbara Andres

The Stanley S. Langendorf

Foundation Second Century

Chair

Barbara Bogatin

Jill Rachuy Brindel*

Gary & Kathleen

Heidenreich


Sébastien Gingras

David Goldblatt

Christine & Pierre Lamond


Carolyn McIntosh

Anne Pinsker

Richard Andaya†

Nora Pirquet†

BASSES

Scott Pingel Principal

Daniel G. Smith

Associate Principal

Stephen Tramontozzi

Assistant Principal

Richard & Rhoda Goldman

Chair

S. Mark Wright

Lawrence Metcalf Second

Century Chair

Charles Chandler

Lee Ann Crocker*

Chris Gilbert

Brian Marcus

William Ritchen

Robert Ashley†

FLUTES

Tim Day

Principal

Caroline H. Hume Chair

Robin McKee

Associate Principal

Catherine & Russell Clark

Chair

Linda Lukas

Alfred S. & Dede Wilsey

Chair

Catherine Payne Piccolo

OBOES

Eugene Izotov Principal

Edo de Waart Chair

James Button

Associate Principal

Pamela Smith

Dr. William D. Clinite Chair

Russ deLuna

English Horn

Joseph & Pauline Scafidi

Chair

CLARINETS

Carey Bell Principal

William R. & Gretchen B.

Kimball Chair

Luis Baez

Associate Principal & E-flat

Clarinet

David Neuman

Jerome Simas Bass Clarinet

BASSOONS

Stephen Paulson Principal

Steven Dibner

Associate Principal

Rob Weir

Steven Braunstein

Contrabassoon

SAXOPHONE

David Henderson†

HORNS

Robert Ward Principal

Nicole Cash*

Associate Principal

Bruce Roberts

Assistant Principal

Jonathan Ring

Jessica Valeri

Daniel Hawkins

Chris Cooper†

Joshua Paulus†

TRUMPETS

Mark Inouye Principal

William G. Irwin Charity

Foundation Chair

Guy Piddington

Ann L. & Charles B. Johnson

Chair

Jeff Biancalana

David Vonderheide†

TROMBONES

Timothy Higgins Principal

Robert L. Samter Chair

Nicholas Platoff

Associate Principal

Paul Welcomer

John Engelkes

Bass Trombone

TUBA

Jeffrey Anderson Principal

James Irvine Chair

HARP

Douglas Rioth Principal

TIMPANI

Edward Stephan

Principal

Marcia & John Goldman

Chair

PERCUSSION

Jacob Nissly

Principal

Raymond Froehlich

Tom Hemphill

James Lee Wyatt III

KEYBOARDS

Robin Sutherland

Jean & Bill Lane Chair

LIBRARIANS

Margo Kieser Principal

Nancy & Charles Geschke

Chair

John Campbell Assistant

Matt Gray Assistant

Sakurako Fisher, President

Mark C. Hanson,

Executive Director

Matthew Spivey, Director of

Artistic Planning

Andrew Dubowski, Director of

Operations

Rebecca Blum, Director of

Orchestra, Education, and

Strategic Initiatives

Robin Freeman, Director of

Public Relations

Joyce Cron Wessling,

Manager of Tours and Media

Production

Bradley Evans, Orchestra

Personnel Manager

Nicole Zucca, Tours and

Media Production Assistant

Shoko Kashiyama, Executive

Assistant to the Music Director

Robert Doherty,

Stage Manager

Mike Olague, Stage Technician

Michael “Barney” Barnard,

Stage Technician

* On leave

† Acting member

of the SFS

The San Francisco Symphony

string section utilizes

revolving seating on a

systematic basis. Players

listed in alphabetical order

change seats periodically.


Message from the President

As President of Community Arts Music

Association (CAMA), I am delighted to

invite you to join us as a contributor to

Santa Barbara’s oldest arts organization,

CAMA, the Queen of Santa Barbara’s

non-profits.

CAMA is now entering its 99th season

of presenting the world’s major classical

orchestras and soloists here in Santa

Barbara. And what a season we have to

look forward to in 2017/2018!

The Board and I are proud of CAMA’s history,

and we are deeply committed to continuing

the tradition. We look forward to welcoming

you personally to our CAMA community, and

hope you will also consider a sponsorship

opportunity for one or more of our concerts.

Robert K. Montgomery

President

18

Recognition and Benefits of Sponsorship

n Personal acknowledgement from Executive Director

in onstage welcome before performance

n Acknowledgement at CAMA’s Opening and Closing Dinners

and International Circle events

n Listing in onscreen video presentations in the Granada and Lobero

Theatres on concert night

n Pre-concert complimentary dinner

n Post-concert backstage access to greet the performers

(with artist approval)

n Listing in concert program magazines throughout the season

n Listing in concert advertisements

n Listing on CAMA’s website

n Copy of CAMA’s Season in Review at the end of the season

with photographs, previews, and reviews of your concert

n Membership in CAMA’s International Circle

n Valet Parking at The Granada Theatre for International

Series concerts

If you are interested in sponsoring a concert

please contact Elizabeth Alvarez, Director of Development

(805) 966-4324 Elizabeth@camasb.org

19

LIFETIME GIVING

diamond circle

$500,000 and above

Suzanne & Russell Bock

Linda Brown *

Andrew H. Burnett

Foundation

Esperia Foundation

The Stephen & Carla Hahn

Foundation

Judith Hopkinson

Herbert J. Kendall

Sage Publications

Michael Towbes/The Towbes

Foundation

sapphire circle

$250,000 - $499,999

Anonymous

Bitsy & Denny Bacon

CAMA Women’s Board

Léni Fé Bland

TThe Samuel B. & Margaret C.

Mosher Foundation

The Stepanek Foundation

The Wood-Claeyssens

Foundation

ruby circle

$100,000 - $249,999

The Adams Foundation

Mr. & Mrs. David H. Anderson

Deborah & Peter Bertling

Virginia C. Hunter/

Castagnola Family

Foundation


Mary & Ray Freeman

Dr. & Mrs. Melville Haskell

Dolores Hsu

Mr. & Mrs. James H. Hurley, Jr.

Mr. & Mrs. Palmer Jackson

Mrs. Thomas A. Kelly

Shirley & Seymour Lehrer

Sara Miller McCune

Mr & Mrs Frank R Miller, Jr. /

The Henry E. & Lola Monroe

Foundation

John & Kathleen Moselely/

The Nichols Foundation

Nancy & William G. Myers


The Santa Barbara Foundation

Jan & John G. Severson

Mr. & Mrs. Edward Stepanek

Jeanne C. Thayer

Mrs. Walter J. Thomson

Union Bank

Dr. & Mrs. H. Wallace Vandever

The Wallis Foundation

Nancy & Kent Wood

Mr. & Mrs. Joseph Yzurdiaga

emerald circle

$50,000 - $99,999

Anonymous

Ms. Joan C. Benson

Mr. & Mrs. Peter Beuret

Dr. & Mrs. Edward E. Birch


Dr. & Mrs. Jack Catlett

Roger & Sarah Chrisman

NancyBell Coe &

Bill Burke

Mr. & Mrs. Robert M. Colleary

Mrs. Maurice E. Faulkner

Mr. Daniel H. Gainey

Mr. Arthur R. Gaudi

Mr. & Mrs. Robert B. Gilson

The George H. Griffiths &

Olive J. Griffiths Charitable

Foundation

Mr. Richard Hellman

Joanne Holderman

Michael & Natalia Howe

The Hutton Parker Foundation


Judith Little

John & Lucy Lundegard

Mrs. Max E. Meyer

Montecito Bank & Trust


Mr. & Mrs. Craig A. Parton

Performing Arts Scholarship

Foundation

Marjorie S. Petersen/

La Arcada Investment Corp.

Mr. Ted Plute & Mr. Larry Falxa

Lady Ridley-Tree


Judy & George Writer

topaz circle

$25,000 - $49,999

Anonymous

Edward Bakewell

Helene & Jerry Beaver


Robert Boghosian &

Mary E. Gates-Warren

Mr. & Mrs. Andrew Burnett

Linda Stafford BurrowsMs.

Huguette Clark

Mrs. Leonard Dalsemer

Edward S. De Loreto

Mr. & Mrs. Larry Durham

Dr. Robert M. & Nancyann

Failing

The George Frederick Jewett

Foundation

Patricia Kaplan

Elizabeth Karlsberg &

Jeff Young

Lynn P. Kirst & Lynn R.

Matteson

Otto Korntheuer/ The Harold L.

Wyman Foundation in memory

of Otto Korntheuer

Chris Lancashire &

Catherine Gee

Mrs. Jon B. Lovelace

Leatrice Luria

Mrs. Frank Magid

Ruth McEwen

Frank McGinity


Frank R. Miller, Jr.

James & Mary Morouse

Patricia Hitchcock O’Connell

Efrem Ostrow Living Trust

Mr. Ernest J. Panosian

Mr. & Mrs. Roger A. Phillips

Kathryn H. Phillips

Mrs. Kenneth Riley

Judith F. Smith

Marion Stewart

Ina Tournallyay

Mrs. Edward Valentine

The Outhwaite Foundation

The Elizabeth Firth Wade

Endowment Fund

Maxine Prisyon & Milton

Warshaw

Mrs. Roderick Webster

Westmont College

amethyst

circle

$10,000 - $24,999

Anonymous

Mr. & Mrs. Peter Adams

Mrs. David Allison

Dr. & Mrs. Mortimer Andron

Mr. & Mrs. Robert Arthur

Mr. & Mrs. J.W. Bailey

Mrs. Archie Bard

Leslie & Philip Bernstein

Frank Blue &

Lida Light Blue

Mrs. Erno Bonebakker


CAMA Fellows

Mrs. Margo Chapman

Chubb-Sovereign Life

Insurance Co.

Carnzu A. Clark

Dr. Gregory Dahlen &

Nan Burns

Karen Davidson M.D.

Julia Dawson

Mr. & Mrs. William Esrey

Ronald & Rosalind A. Fendon

Audrey Hillman Fisher

Foundation

Dave Fritzen/DWF Magazines

Catherine H. Gainey

Kay & Richard Glenn

The Godric Foundation

Corinna & Larry Gordon

Mr. & Mrs. Freeman Gosden, Jr.

Mr. & Mrs. Bruce Hanna

Mr. & Mrs. Robert Hanrahan

Lorraine Hansen

Mr. & Mrs. Stanley Hatch

Dr. & Mrs. Richard Hawley

Dr. & Mrs. Alan Heeger

Mr. Preston Hotchkis

Elizabeth & Gary Johnston


KDB Radio

Linda & Michael Keston

Mrs. Robert J. Kuhn

Catherine Lloyd/Actief-cm, Inc.

Leatrice Luria

Nancy & Jim Lynn

Keith J. Mautino

Jayne Menkemeller

Myra & Spencer Nadler

Karin Nelson & Eugene Hibbs, Jr.

Joanne & Alden Orpet

Mr. & Mrs. Charles Patridge

Patricia & Carl Perry

John Perry

Mrs. Ray K. Person


Anne & Wesley Poulson

Susannah Rake

Mr. & Mrs. Frank Reed

Jack Revoyr

Betty & Don Richardson

The Grace Jones

Richardson Trust

Dorothy Roberts

The Roberts Bros. Foundation

John F. Saladino

Jack & Anitra Sheen

Sally & Jan Smit

Betty Stephens &

Lindsay Fisher

Selby & Diane Sullivan

Joseph M. Thomas

Milan E. Timm

Mark E. Trueblood

Steven D. Trueblood

Kenneth W. & Shirley C. Tucker

Mr. & Mrs. Hubert D. Vos

Barbara & Gary Waer

Mr. &Mrs. David Russell Wolf

Dick & Ann Zylstra

* promised gift

(Gifts and pledges received

as of January 4, 2018)

20


“I think too often

people think of the

arts as decoration to

the experiences of life,

sort of a frosting on

the cake. But to me,

the arts are essential

to understanding the

problems of life, and to

helping us get through

the experiences of life

with intelligent understanding

and grace.”

– Philanthropist and

CAMA Friend

Robert M. Light

YOU Ensure

the Tradition

Your generosity through planned giving secures

the future of CAMA. When you include CAMA in

your will or living trust, your contribution ensures

CAMA’s great classical music performances and

music outreach programs continue.

Thank you for being part of our Community.

CAMA offers the opportunity to ensure the

future of our mission to bring world-class music

to Santa Barbara. By including CAMA in your will or

living trust, you leave a legacy of great concerts and

music appreciation outreach programs for future

generations.

Make a gift of cash, stocks or bonds and enjoy immediate tax benefits.

Join Elizabeth Alvarez, CAMA Director of Development,

for lunch to learn more. (805) 276-8270 direct.

elizabeth@camasb.org

COMMUNITY ARTS MUSIC ASSOCIATION

(805) 966-4324 • www.camasb.org

21

CAMA ENDOWMENT: A Sound Investment

YOU ensure that great music and world-class artists

continue to grace Santa Barbara stages for decades to come.

Endowment funds are needed to bridge the gap between ticket sales

and steadily rising artist fees and concert production costs. Funds are also

needed to sustain CAMA’s outstanding music education programs.

MOZART SOCIETY

Our CAMA community members who contribute a cash gift to the endowment of $10,000

or more enjoy many benefits of The Mozart Society, including participation in our annual

black-tie dinner.

LEGACY SOCIETY

Our CAMA community members who have included CAMA in their will or estate plan

belong to the Legacy Society. Legacy Society members participate in the Annual Legacy

Event. In May 2017, Legacy members gathered for a Sunset Cruise on the Channel Cat.

Call Elizabeth Alvarez at the CAMA Office (805) 966-4324

to learn more about CAMA’s Endowment.

MEMORIAL GIFTS

3 In Memory of 3

DR. WALTER PICKER

Ann M. Picker

FREDERICK F. LANGE

MaryAnn Lange

CORNELIA CHAPMAN

Ellicott Million

NAN BURNS

DR. GREG DAHLEN

ROBERT S. GRANT

William S. Hanrahan

ELSE (LEINIE)

SCHILLING BARD

Joanne C. Holderman

JOHN LUNDEGARD

Bridget Colleary

Lynn P. Kirst

MICHAEL TOWBES

Bridget Colleary

SUSIE VOS

Bridget Colleary

LYNN R. MATTESON

Lynn P. Kirst

SYBIL MUELLER

Lynn P. Kirst

HAROLD M. WILLIAMS

Nancy Englander

DR. ROBERT SINSHEIMER

& KAREN SINSHEIMER

Robert Boghosian

& Mary E. Gates Warren

ROBERT M. LIGHT

Edward & Sue Birch

Joanne C. Holderman

Judith L. Hopkinson

Lynn P. Kirst

Betty Meyer

Diana & Roger Phillips

Joan & Geoffrey Rutkowski

Judith F. Smith

Marion Stewart

22

Gifts and pledges received from

June 2016 through November 2017

MOZART SOCIETY

conductor’s circle

($500,000 and above)

Mr. & Mrs. Russell S. Bock

Linda Brown*

Esperia Foundation

SAGE Publications

crescendo circle

($250,000-$499,999)

Andrew H. Burnett Foundation

Judith L. Hopkinson


cadenza patrons

($100,000-$249,999)

Anonymous

Anonymous

Bitsy Becton Bacon

Mary & Ray Freeman

Mr. & Mrs. James H. Hurley Jr.

William & Nancy Myers

Jan & John Severson

Judith & Julian Smith

Michael Towbes

rondo patrons

($50,000-$99,999)

Peter & Deborah Bertling

Linda & Peter Beuret


Stephen R. & Carla Hahn

Dolores M. Hsu

The Samuel B. & Margaret C.

Mosher Foundation

Santa Barbara Bank & Trust

Mr. & Mrs. Byron K. Wood

concerto patrons

($25,000-$49,999)

Linda Stafford Burrows,

in memory of Frederika

Voogd Burrows

Dr. & Mrs. Jack Catlett

Bridget & Robert Colleary

Mrs. Maurice E. Faulkner

Léni Fé Bland

Dr. & Mrs. Melville H. Haskell, Jr.

Sara Miller McCune

Mr. & Mrs. Frank R. Miller, Jr.

The Hutton Foundation

Efrem Ostrow Living Trust


Walter J. Thomson/

The Thomson Trust

Mr. & Mrs. Sam Toumayan

sonata patrons

($10,000-$24,999)

Anonymous

The Adams Foundation

Mr. & Mrs. Peter Adams

Else Schilling Bard

Dr. & Mrs. Edward E. Birch


The CAMA Women’s Board

(Sally Lee Remembrance

Fund and Marilyn Roe

Remembrance Fund)

Dr. Robert Boghosian &

Ms. Mary E. Gates-Warren

Mr. & Mrs. Andrew Butcher


Dr. & Mrs. Charles Chapman

NancyBell Coe & William Burke

Dr. Karen Davidson

Mr. & Mrs. Larry Durham

Dr. Robert & Nancyann Failing

Dr. & Mrs. Jason Gaines

Mr. & Mrs. Daniel Gainey/

Daniel C. Gainey Fund

Arthur R. Gaudi

Sherry & Robert B. Gilson

Mr. & Mrs. Bruce Hanna

Ms. Lorraine Hansen

Joanne C. Holderman

Patricia Kaplan

Elizabeth Karlsberg &

Jeff Young

Mrs. Thomas A. Kelly


Lynn P. Kirst & Lynn R.

Matteson

Dr. & Mrs. Robert J. Kuhn

Mr. John Lundegard/

Lundegard Family Fund

Keith J. Mautino

Jayne Menkemeller

Mr. & Mrs. Max Meyer


Mary & James Morouse

Dr. & Mrs. Spencer Nadler

Patricia Hitchcock O’Connell


Foundation

John Perry

Mrs. Hugh Petersen

Mr. & Mrs. Roger A. Phillips


Miss Susannah E. Rake

Mrs. Kenneth W. Riley


Dr. & Mrs. Jack Sheen/Peebles

Sheen Foundation

Sally & Jan E.G. Smit

Mr. & Mrs. Edward Stepanek

Betty J. Stephens, in

recognition of my friend

Judy Hopkinson

Dr. & Mrs. William A. Stewart

Mark E. Trueblood


The Elizabeth Firth Wade

Endowment Fund

Mr. & Mrs. Gary Waer

Mr. & Mrs. David Russell Wolf

* promised gift

LEGACY SOCIETY

WE GRATEFULLY ACKNOWLEDGE CAMA LEGACY SOCIETY MEMBERS FOR

REMEMBERING CAMA IN THEIR ESTATE PLANS WITH A DEFERRED GIFT.

Anonymous

Peter & Becky Adams

Bitsy Becton Bacon

Else Schilling Bard

Peter & Deborah Bertling


Lida Light Blue & Frank Blue

Mrs. Russell S. Bock

Dr. Robert Boghosian &

Ms. Mary-Elizabeth Gates-Warren

Linda Brown *



Jane & Jack Catlett

Bridget & Bob Colleary

Karen Davidson, M.D &

David B. Davidson, M.D.

Patricia & Larry Durham

Christine & Robert Emmons


Mary & Ray Freeman

Arthur R. Gaudi

Stephen & Carla Hahn

Beverly Hanna

Ms. Lorraine Hansen

Joanne C. Holderman

Judith L. Hopkinson

Dolores M. Hsu

Mr. & Mrs. James H. Hurley, Jr.

Elizabeth & Gary Johnston



Lynn P. Kirst & Lynn R. Matteson

Lucy & John Lundegard

Keith J. Mautino

Sara Miller McCune


Mr. & Mrs. Frank R. Miller, Jr.

Dr. & Mrs. Spencer Nadler

Ellen & Craig Parton




Judith & Julian Smith

Mr. & Mrs. Sam Toumayan

Mark E. Trueblood


Barbara & Gary Waer

Nancy & Kent Wood

* promised gift

(Gifts and pledges received

as of December 1, 2017)

23

INTERNATIONAL CIRCLE

Join us for delightful garden parties, the International Circle Wine Intermission,

and other elegant events.

Call Elizabeth Alvarez for an Invitation Packet. (805) 276-8270

PRESIDENT'S CIRCLE

($10,000 and above)

Anonymous (2)

Bitsy & Denny Bacon and

The Becton Family Foundation

Alison & Jan Bowlus

NancyBell Coe & Bill Burke

Dan & Meg Burnham

The CAMA Women's Board

George H. Griffiths and Olive J.

Griffiths Charitable Fund

Stephen Hahn Foundation

Hollis Norris Fund

Judith L. Hopkinson

Joan & Palmer Jackson



Lynn P. Kirst

Sara Miller McCune


Mary Lloyd & Kendall Mills



The Samuel B. & Margaret C.

Mosher Foundation

Fran & John Nielsen



Nancy Schlosser

The Shanbrom Family

Foundation

The Elaine F. Stepanek

Foundation

The Walter J. & Holly O.

Thomson Foundation

Dody Waugh & Eric Small

George & Judy Writer

Patricia Yzurdiaga

COMPOSER'S CIRCLE

($5,000 - $9,999)

Peggy & Kurt Anderson


Robert Boghosian &

Mary E. Gates Warren



Edward De Loreto

Elizabeth & Kenneth Doran



Dorothy & John Gardner

William H. Kearns Foundation

Preston B. & Maurine M.

Hotchkis Family Foundation


Mr. & Mrs. Frank R. Miller, Jr./

The Henry E. & Lola Monroe

Foundation



Ann M. Picker

Dorothy Roberts

Irene & Robert Stone/Stone

Family Foundation


Winona Fund

Wood-Claeyssens Foundation

VIRTUOSO CIRCLE

($2,500 - $4,999)

Helene & Jerry Beaver



Roger & Sarah Chrisman,

Schlinger Chrisman Foundation

Stephen Cloud

Bridget Colleary

Fredericka & Dennis Emory

Priscilla & Jason Gaines

Elizabeth Karlsberg & Jeff Young


Your annual International Circle Membership plays such an important role in continuing

CAMA's grand tradition of bringing the best in classical music to Santa Barbara.

Thank you!

Joanne C. Holderman

Jill Dore Kent

Lois Kroc

MaryAnn Lange

Shirley & Seymour Lehrer

Dona & George McCauley

Frank McGinity



Foundation

Dr. Shirley Tucker

Department of Music, University

of California, Santa Barbara

CONCERTMASTER

CIRCLE ($1,500 - $2,499)

Todd & Allyson Aldrich Family

Charitable Fund


Edward & Sue Birch

Suzanne & Peyton Bucy

Annette & Richard Caleel

Joan & Steven Crossland

Nancyann & Robert Failing

Mary & Raymond Freeman

Gutsche Family Foundation

Renee & Richard Hawley

Maison K

Karin Nelson & Eugene Hibbs/

Maren Henle

Ronda & Bill Hobbs

Shirley Ann & James H. Hurley, Jr.

Joan & Palmer Jackson

Karen & Chuck Kaiser

Connie & Richard Kennelly

Kum Su Kim

Karin Jacobson & Hans Koellner

The Harold L. Wyman Foundation

Chris Lancashire & Catherine Gee

Cynthia Brown & Arthur Ludwig

Gloria & Keith Martin

Ruth & John Matuszeski

Sally & George Messerlian

Ellen Lehrer Orlando &

Thomas Orlando

Gail Osherenko & Oran Young

Carol & Kenneth Pasternack


Regina & Rick Roney

William E. Sanson

Linda Stafford Burrows

Vera & Gary Sutter

Suzanne Holland &

Raymond Thomas

Steven Trueblood

Esther & Tom Wachtell

Barbara & Gary Waer

Nick & Patty Weber

Victoria & Norman Williamson

Ann & Dick Zylstra

PRINCIPAL PLAYER'S

CIRCLE ($1,000 - $1,499)

Leslie & Philip Bernstein

Diane Boss

Patricia Clark

Nancy Englander

Katina Etsell

Jill Felber

Tish Gainey & Charles Roehm

Perri Harcourt

Renee Harwick

Glenn Jordan & Michael Stubbs

Barbara & Tim Kelley

Sally Kinney

Dora Anne Little

Russell Mueller

Patti Ottoboni

Anitra & Jack Sheen

Maurice Singer

Marion Stewart

Diane Sullivan

Milan E. Timm

Cheryl & Peter Ziegler

24



MUSICIANS SOCIETY

Your annual gift is vitally important to continuing CAMA's nearly 100-year tradition.

Thank you for your generous annual donation.

BENEFACTORS

($500 - $999)

David Ackert

Nancy Donaldson

Wendy & Rudy Eiser

Thomas & Doris Everhart

Elinor & James Langer

Christie & Morgan Lloyd

Phyllis Brady & Andy Masters

Patriicia & William McKinnon

Pamela McLean &

Frederic Hudson

Peter L. Morris

Maryanne Mott

Mrs. Raymond King Myerson

Anne & Daniel Ovadia

Justyn Person

Patricia & Robert Reid

Maureen & Les Shapiro

Halina W. Silverman

Barbara & Wayne Smith

Carol Vernon & Robert Turbin

CONTRIBUTORS

($250 - $499)

Sylvia Abualy

Antoinette & Shawn Addison

Jyl & Allan Atmore

Howard A. Babus

Doris Lee Carter

Edith M. Clark

Lavelda & Lynn Clock

Michael & Ruth Ann Collins

Peggy & Timm Crull

Ann & David Dwelley

Margaret Easton

Ghita Ginberg

Debbie & Frank Kendrick

June & William Kistler

Kathryn Lawhun &

Mark Shinbrot

Andrew Mester, Jr.

Maureen O'Rourke

Hensley & James Peterson

Julia & Arthur Pizzinat

Ada B. Sandburg

Naomi Schmidt

Joan Tapper & Steven Siegel

Paul and Delia Smith

Karen Spechler

Beverly & Michael Steinfeld

Jacqueline & Ronald Stevens

Mark E. Trueblood

Julie Antelman & William Ure

Mary H. Walsh

Lorraine & Stephen Weatherford

ASSOCIATES

($100 - $249)

Catherine L. Albanese

Nancy & Jesse Alexander

Esther & Don Bennett

Myrna Bernard

Alison H. Burnett

Margaret & David Carlberg

Polly Clement

Melissa Colborn

Janet Davis

Marilyn DeYoung

Lois & Jack Duncan

Michael K. Dunn

Julia Emerson

Barbara Faulkner

Pattie & Charles Firestone

Eunice & J.Thomas Fly

Bernice & Harris Gelberg

Nancy & Frederic Golden

Elizabeth & Harland Goldwater

Marge & Donald Graves

Marie-Paule & Laszlo Hajdu

William S. Hanrahan

Carolyn Hanst

M.Louise Harper &

Richard Davies

Lorna S. Hedges

Edward O. Huntington

Gina & Joseph Jannotta

Virginia Stewart Jarvis

Brian Frank Johnson

Monica & Desmond Jones

Emmy & Fred Keller

Robin Alexandra Kneubuhl

Anna & Petar Kokotovic

Doris Kuhns

Linda & Rob Laskin

Lady Patricia &

Sir Richard Latham

Lavender Oak Ranch LLC

Barbara & Albert Lindemann

Barbara & Ernest Marx

Jeffrey McFarland

Meredith McKittrick-Taylor &

Al Taylor

Christine & James V. McNamara

RenÈe & Edward Mendell

Lori Kraft Meschler

Betty Meyer

Ellicott Million

Carolyn & Dennis Naiman

Carol Hawkins &

Laurence Pearson

Marilyn Perry

Francis Peters, Jr.

Eric Boehm

Sonia Rosenbaum

Muriel & Ian K. Ross

Shirley & E.Walton Ross

Joan & Geoffrey Rutkowski

Sharon & Ralph Rydman

Doris & Bob Schaffer

James Poe Shelton

Anne Sprecher

Florence & Donald Stivers

Laura Tomooka

Judy Weirick

Judy & Mort Weisman

Theresa & Julian Weissglass

Donna & Barry Williiams

Deborah Winant

Barbara Wood

David Yager

Taka Yamashita

Grace & Edward Yoon

FRIENDS

($10 - $99)

Anne Ashmore

Robert Baehner

Nona & Lorne Fienberg

Susan & Larry Gerstein

Dolores Airey Gillmore

Lorraine C. Hansen

Carol Hester

Jalama Canon Ranch

Catherine Leffler

Margaret Menninger

Edith & Raymond Ogella

Jean Perloff

Joanne Samuelson

Alice & Sheldon Sanov

Susan Schmidt

Ann Shaw

Julie & Richard Steckel

Shela West



25

MUSIC EDUCATION PROGRAM

$25,000 and above

The Walter J. & Holly O. Thomson Foundation

$10,000 - $24,999

Ms. Irene Stone/

Stone Family Foundation

$1,000 - $9,999

William H. Kearns Foundation

Sara Miller McCune

Mr. & Mrs. Frank R. Miller, Jr./

The Henry E. & Lola Monroe Foundation

Performing Arts Scholarship Foundation

Westmont College

$100 - $999

Lynn P. Kirst

Volunteer docents are trained by CAMA’s Education

Committee Chair, Joan Crossland, to deliver this

program to area schools monthly. Music enthusiasts

are invited to learn more about the program and

volunteer opportunities.

CAMA Education Endowment

Fund Income

$10,000 AND ABOVE

William & Nancy Myers

$1,000 - $4,999

Linda Stafford Burrows –

This opportunity to experience great musicians excelling

is given in honor and loving memory of Frederika Voogd

Burrows to continue her lifelong passion for enlightening

young people through music and math.

Kathryn H. Phillips, in memory of Don R. Phillips

Walter J. Thomson/The Thomson Trust

$50 - $999

Lynn P. Kirst

Keith J. Mautino

Performing Arts Scholarship Foundation

Marjorie S. Petersen

(Gifts and pledges received from June 1, 2016 – January 4, 2018)

Call the CAMA office at (805) 966-4324 for more information about the docent program.

BUSINESS SUPPORTERS

American Riviera Bank

James P. Ballantine

Belmond El Encanto

Wes Bredall

Heather Bryden

Ca' Dario

Camerata Pacifica

Casa Dorinda

Chaucer's Books

Cottage Health System

DD Ford Construction

Eye Glass Factory

First Republic Bank

Flag Factory of Santa Barbara

Gainey Vineyard

Colin Hayward/The Hayward Group

Steven Handelman Studios

Help Unlimited

SR Hogue & Co Florist

Indigo Interiors

Maravilla/Senior Resource Group

Microsoft® Corporation


Northern Trust

Oceania Cruises

Olio e Limone/Olio Crudo Bar/

Olio Pizzeria

Pacific Coast Business Times

Peregrine Galleries


Foundation

Regent Seven Seas Cruises

Renaud's Patisserie & Bistro

Sabine Myers/Motto Design

Stewart Fine Art

Santa Barbara Choral Society

Santa Barbara Foundation

Santa Barbara Travel Bureau

The Upham Hotel &

Upham Country House

UCSB Arts & Lectures

Westmont Orchestra

Contact Heather Bryden for information about showcasing your business in CAMA's Program Book.

(805) 965-5558 or HeatherBryden@cox.net

26

CAMA - March 28, 2018 - Program Notes - San Francisco Symphony - International Series at The Granada Theatre

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