Philharmonia Baroque Orchestra—February 5, 2019—CAMA's International Series at The Granada Theatre—Centennial Season

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TUESDAY, FEBRUARY 5, 2019, 8:00 PM

Philharmonia Baroque Orchestra
Nicholas McGegan, Music Director
Rachel Barton Pine, violin

Renowned as an interpreter of a wide range of classical music, English-born conductor Nicholas McGegan was appointed Officer of the Most Excellent Order of the British Empire (OBE) for “services to music overseas” by Queen Elizabeth in 2010. He has served since 1985 as Music Director of the Philharmonia Baroque Orchestra, establishing it as the leading period performance ensemble in the United States. The Philharmonia is dedicated to capturing the spirit and distinctive sound of music from the Baroque to the early Romantic periods using authentic instruments and stylistic conventions. American violinist Rachel Barton Pine, the youngest-ever gold medal winner of the International Johann Sebastian Bach Competition, will join the orchestra for the rarely performed Violin Concerto in D major of violinist Franz Clement (one of Beethoven’s closest friends, for whom he composed his own Violin Concerto in D major).

PROGRAM:
Wolfgang Amadeus Mozart: Overture to The Marriage of Figaro, K.492
Franz Clement: Violin Concerto in D Major (1805)
Franz Schubert: Symphony No.6 in C Major, D.589

PRE-CONCERT LECTURE BY ANDY RADFORD, MUSIC DIRECTOR, SANTA BARBARA YOUTH SYMPHONY; AND LECTURER, WOODWIND, BRASS & PERCUSSION PROGRAM, UCSB DEPARTMENT OF MUSIC

Lecture will begin at 7:00 PM; doors to The Granada Theatre will open for the lecture at 6:45 PM.
Lecture seating is limited to the first 100 patrons. First come, first served.

#CAMASB #CAMAat100 #CAMACentennial

INTERNATIONAL SERIES

AT THE GRANADA THEATRE

SEASON SPONSORSHIP: SAGE PUBLISHING

photo by RJ Muna

PHILHARMONIA

BAROQUE ORCHESTRA

Nicholas McGegan conductor

Alana Youssefian violin

Tuesday, February 5, 2019, 8:00 PM

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


INTERNATIONAL SERIES

AT THE GRANADA THEATRE

SEASON SPONSORSHIP: SAGE PUBLISHING

LOS ANGELES

Esa-Pekka Salonen

PHILHARMONIC

OCTOBER 28, 2018

Primary Sponsor

The Elaine F. Stepanek

Concert Fund

Principal Sponsor

The Samuel B and Margaret

C. Mosher Foundation

Sponsors

Bitsy & Denny Bacon and

The Becton Family Foundation

Val & Bob Montgomery

The Towbes Fund for the

Performing Arts, a field interest

fund of the Santa Barbara

Foundation

Co-Sponsor

Robert & Christine Emmons

LOS ANGELES

CHAMBER

ORCHESTRA

with Avi Avital

DECEMBER 11, 2018

A gift to the community

from the CAMA Board

of Directors

ITZHAK

Mikhail Pletnev

PERLMAN

JANUARY 15, 2019

Primary Sponsor

Sara Miller McCune

Principal Sponsor

Herbert & Elaine Kendall

Sponsors

Marta Babson

Judith L. Hopkinson

The Shanbrom Family

Foundation

Co-Sponsors

Chaucer's Bookstore,

Mahri Kerley

Jocelyne & William Meeker

Stephen J.M. & Anne Morris

PHILHARMONIA

BAROQUE

ORCHESTRA

FEBRUARY 5, 2019

Sponsors

Hollis Norris Fund

Michele & Andre Saltoun

Hubert Vos

Co-Sponsor

Edward DeLoreto

The CAMA Women's Board

RUSSIAN

NATIONAL

ORCHESTRA

FEBRUARY 27, 2019

Primary Sponsor

Bitsy & Denny Bacon

Sponsor

Anonynous

Co-Sponsors

Peggy & Kurt Anderson

Louise & Michael Caccese

PHILHARMONIA

ORCHESTRA

MARCH 20, 2019

Sponsors

Anonymous

Alison & Jan Bowlus

Natalia & Michael Howe

Ellen & Peter Johnson

Kum Su Kim & John Perry

Co-Sponsors

Elizabeth & Andrew Butcher

Chris Lancashire

& Catherine Gee

Jocelyne & William Meeker

ROYAL SCOTTISH

NATIONAL

ORCHESTRA

APRIL 5, 2019

Sponsors

Anonymous

Meg & Dan Burnham

Hubert Vos

Co-Sponsor

George & Judy Writer

RICHARD

GOODE

NOVEMBER 9, 2018

Primary Sponsor

The Stephen & Carla

Hahn Foundation

Co-Sponsors

Bitsy & Denny Bacon

Alison & Jan Bowlus

MASTERSERIES

AT THE LOBERO THEATRE

SEASON SPONSORSHIP: ESPERIA FOUNDATION

TAFELMUSIK

BAROQUE

ORCHESTRA

MARCH 9, 2019

Concert Partners

Deborah & Peter Bertling

Bridget Colleary

Elizabeth Karlsberg &

Jeff Young

Lynn P. Kirst

GARRICK

OHLSSON

MARCH 30, 2019

Co-Sponsors

Anonymous

Stephen J.M. &

Anne Morris

The CAMA Women's

Board

AUGUSTIN

HADELICH

APRIL 17, 2019

Co-Sponsors

Jocelyne & William Meeker

Stephen J.M. & Anne Morris

MISCHA MAISKY

MAY 6, 2019

Co-Sponsor

Ellen & Craig Parton

Concert Partners

Stephen Cloud

Raye Haskell Melville

Concert Sponsors as of November 15, 2018

4 CENTENNIAL SEASON CELEBRATION

CAMA AT THE GRANADA THEATRE - PHILHARMONIA BAROQUE ORCHESTRA

5


2018-2019 · 38th Season

THE PLAYERS AND THEIR INSTRUMENTS

Violinist Rachel Barton Pine has been forced to cancel her February 5–10 appearances with

Philharmonia Baroque Orchestra, Nicholas McGegan conducting, including her Santa Barbara

appearance on February 5, while the soloist recovers from an unscheduled medical procedure on her

knee.

Philharmonia’s musicians perform on historically accurate instruments.

Below each player’s name is information about his or her instrument’s

maker and origin.

Ms. Pine’s manager, John Zion, Managing Director of MKI Artists, said: “We regret that Rachel’s

performances with Philharmonia Baroque Orchestra will need to be canceled. Her doctors restricted

her travel during this stage of her recovery. She is looking forward to resuming her busy concert

schedule soon and hopes to perform with Philharmonia Baroque Orchestra in the near future.”

VIOLIN

Katherine Kyme,

concertmaster

Johann Gottlob

Pfretzschner,

Mittenwald, Germany,

1791

Egon & Joan

von Kaschnitz

Concertmaster Chair

Elizabeth Blumenstock†

Andrea Guarneri,

Cremona, 1660; on

loan from PBO Period

Instrument Trust

Susan B. Levy Chair

Jolianne von Einem

Rowland Ross,

Guildford, England,

1979; after A. Stradivari

Lisa Grodin

Laurentius Storioni,

Cremona, Italy, 1796

Toma Iliev

Anonymous, Germany,

18th century

Tyler Lewis

Anonymous, Italy, c.

1800

Carla Moore

Johann Georg Thir,

Vienna, Austria, 1754

Maxine Nemerovski

David Tecchler, Rome,

Italy, 1733

Linda Quan

Jacob Stainer, Absam,

Tyrol, 1655

Sandra Schwarz

Rowland Ross, 1987

Noah Strick

Celia Bridges, Cologne,

Germany, 1988

Sara Usher

Desiderio Quercetani,

Parma, Italy, 2001;

after A. Stradivari

Anna Washburn

Anonymous, Tyrol,

Italy, c. 1760

Lisa Weiss

Anonymous, London;

after Testore

Alana Youssefian

Jason Viseltear, New

York, 2016; after Carlo

Giuseppe Testore

VIOLA

Anthony Martin *

Aegidius Klotz,

Mittenwald, Germany,

1790

Maria Ionia Caswell

Anonymous,

Mittenwald, Germany,

c. 1800

Ellie Nishi

Aegidius Klotz,

Mittenwald, Germany,

1790

David Sego

Colin Nicholls, London,

England, 1980; after

Amati

Jessica Troy

Timothy Johnston,

Hewitt, Texas, 2006;

based on “Conte

Vitale” viola, Andrea

Guarneri, 1676

VIOLONCELLO

Tanya Tomkins *

Joseph Panormo,

London, England, 1811

Paul Hale

Joseph Grubaugh

& Sigrun Seifert,

Petaluma, California,

1988; after A. Stradivari

Osher Cello Chair

Endowment

Farley Pearce

Antonio Garcias

Rosius, Mendocino,

California, 1988; after

A. Stradivari

William Skeen

Giovanni Grancino,

Milan, Italy, 1725

Oliver Weston

Charles & Samuel

Thompson, London,

England, 1777

DOUBLE BASS

Kristin Zoernig *

Joseph Wrent,

Rotterdam, Holland,

1648

Dave Horn

Jay Haide, El Cerrito,

California, 2009

Michael Minor

Anonymous, Bohemia,

1890

FLUTE

Joseph Monticello

Rudolf Tutz, Jr., 2016;

after H. Grenser (ca.

1810)

Mindy Rosenfeld

Roderick Cameron,

Mendocino, California;

after Guillaume

Triebert, Paris, France,

1825

OBOE

Marc Schachman *

Sand Dalton, Lopez

Island, Washington,

1993; after Floth, c.

1800

Principal Oboe Chair

In Memory of Clare

Frieman Kivelson and

Irene Valente Angstadt

Michael DuPree

Sand Dalton, Lopez

Island, Washington,

1985; after Floth, c.

1800

CLARINET

Eric Hoeprich *

A. Grenser, Dresden,

c. 1785

Michael F. & Jane B.

Marmor Principal

Clarinet Chair

Diane Heffner

Daniel Bangham,

Cambridge, England,

1993; after H. Grenser,

Dresden, Germany, c.

1810

BASSOON

Danny Bond *

Peter de Koningh, Hall,

Holland, 1985; after

Grenser, Dresden,

Germany, c. 1800

Andrew Schwartz

Guntram Wolf,

Kronach, Germany,

2007; after Grenser

HORN

R. J. Kelley *

M. A. Raoux, Paris,

France, 1850

Alexandra Cook

Richard Seraphinoff,

Bloomington, Indiana;

after L. Uhlmann

TRUMPET

John Thiessen *

Rainer Egger, Basel,

2015; after Adam

Bauer, Prague, c.

1811–1835

Fred Holmgren

Fred Holmgren,

Massachusetts, 2005;

after J. L. Ehe III, 1746=

TIMPANI

Allen Biggs *

George Potter,

Aldershot, England, ca.

1850; after Cornelius

Ward, London,

England, 1837; with

mallets after Vienna,

18th century

Given to David v.R.

Bowles and Nicholas

McGegan by Dr.

Edmund A. Bowles,

generously lent to us

for this project

* Principal

† Principal 2nd Violin

PBO TOURING STAFF

Courtney Beck,

executive director

E.J. Chavez,

equipment coordinator

Myles K. Glancy,

director of concert

production

Hiro Matsuo, stage

manager

Jeffrey D. Phillips,

director of artistic

planning

Pine was to perform Franz Clement's Violin Concerto in D major. In its place, PBO's Music Director

Nicholas McGegan has chosen to feature rising star violinist Alana Youssefian and a performance

of Beethoven's Concerto for Violin in D major, Op. 61. This piece has historical significance with our

previously planned program, as it was written for Franz Clement a year after his own concerto.

PBO will still perform the Overture to The Marriage of Figaro and Schubert's Sixth Symphony as

announced.

INTERNATIONAL SERIES at the GRANADA THEATRE

SEASON SPONSORSHIP: SAGE PUBLISHING

PHILHARMONIA BAROQUE

ORCHESTRA

WOLFGANG Overture to The Marriage of Figaro, K.492

AMADEUS MOZART

(1756–1791)

LUDWIG VAN BEETHOVEN Concerto for Violin in D Major, Op.61

(1770–1827) Allegro ma non troppo

INTERMISSION

Nicholas McGegan CONDUCTOR • Alana Youssefian VIOLIN

Tuesday, February 5, 8:00 PM

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

Larghetto

Rondo. Allegro

Alana Youssefian, violin

FRANZ SCHUBERT Symphony No.6 in C Major, D.589

(1797–1828) Adagio—Allegro

Andante

Scherzo. Presto—Più lento

Allegro moderato

Length of performance is approximately one hour and fifty minutes.

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

International Series Season Sponsor: SAGE Publishing

Sponsors: Hollis Norris Fund • Michele & Andre Saltoun • Hubert Vos

Co-Sponsors: Edward DeLoreto • The CAMA Women's Board

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.

6 CENTENNIAL SEASON CELEBRATION


with the Mark Morris Dance Group and Cal

Performances. PBO gave the U.S. premieres

of Morris’ highly-acclaimed productions of

Rameau’s ballet-opera Platée and Handel’s

Acis and Galatea and L’Allegro, il Penseroso

ed il Moderato. In 2017, PBO produced its first

fully staged opera, Rameau’s Le Temple de la

Gloire, in collaboration with Cal Performances,

Photo by RJ MUNA

Centre de musique de Versailles, and New York

Baroque Dance Company, and co-produced a

critically-acclaimed modern dramatization of

Handel’s Aci, Galatea, e Polifemo with National

Sawdust in New York.

As a leading steward of historical

Photo by SUZANNE KARP

legacy, PBO also invests in the future by

commissioning new works by prominent

composers such as Jake Heggie and Caroline

Shaw, to illuminate the influence of 17th- and

18th-century music on contemporary creation.

to appearances with many of the world’s major

Orchestras including as the Artistic Director

and conductor at the Göttingen Handel Festival

NICHOLAS

McGEGAN

Waverley Fund Music Director

Philharmonia Baroque Orchestra & Chorale

for twenty years, as Principal Guest Conductor

at Scottish Opera and as Principal Conductor

of the Drottningholm Opera in Sweden.

McGegan has established the San

Francisco-based Philharmonia as one of

Under the musical direction of Nicholas

McGegan, O.B.E., for 33 years,

Philharmonia Baroque Orchestra &

PBO’s musicians are leaders in period

performance and serve on the faculties of The

Juilliard School, San Francisco Conservatory of

As he embarks on his fifth decade on the

podium, Nicholas McGegan — long hailed

as “one of the finest baroque conductors of

his generation” (London Independent) and “an

expert in 18th-century style” (The New Yorker)

the world’s leading period-performance

ensembles, with notable appearances at

Carnegie Hall, Lincoln Center, the London

Proms, the Amsterdam Concertgebouw, and

the International Handel Festival, Göttingen.

One of their greatest successes was the

Chorale (PBO) is recognized as America’s

Music, Harvard, and Stanford, among others.

— is recognized for his probing and revelatory

recent fully-staged modern-day premiere of

leading historically informed ensemble. Using

It welcomes eminent guest artists including

explorations of music of all periods. The

Jean-Philippe Rameau’s 1745 opera-ballet Le

authentic instruments and stylistic conventions

mezzo-sopranos Susan Graham and Anne

2018/19 season marks his 33rd year as music

Temple de la Gloire.

of the Baroque, Classical, and early Romantic

Sofie von Otter, countertenor Aryeh Nussbaum

director of Philharmonia Baroque Orchestra

Nicholas McGegan’s prolific discography

periods, PBO engages audiences through

Cohen, fortepianist Kristian Bezuidenhout,

& Chorale and he is also Principal Guest

includes more than 100 releases spanning

performance, tours, recordings, new works,

violoncellist Steven Isserlis, and maestros

Conductor of the Pasadena Symphony.

five decades including over 50 albums of

and education of the highest caliber.

Jordi Savall and Richard Egarr.

Best known as a baroque and classical

Handel as well as 10 recordings of Handel,

Founded 38 years ago, the ensemble is

The Orchestra enjoys numerous

specialist, McGegan’s approach—intelligent,

Scarlatti, Vivaldi, Beethoven, Brahms, Haydn,

the largest of its kind in the United States.

collaborations, including a regular partnership

infused with joy and never dogmatic—has led

and Rameau on Philharmonia’s own recording

8 CENTENNIAL SEASON CELEBRATION CAMA AT THE GRANADA THEATRE - PHILHARMONIA BAROQUE ORCHESTRA 9


label, Philharmonia Baroque Productions (PBP).

Born in England, Nicholas McGegan was

educated at Cambridge and Oxford and taught

at the Royal College of Music, London. He was

made an Officer of the Most Excellent Order

of the British Empire (OBE) in the Queen’s

Birthday Honours for 2010 “for services to

music overseas.”

In 2016 he was the Christoph Wolff

Distinguished Visiting Scholar at Harvard and

is a frequent visitor to Yale.

Photo by Lauren Desberg

ALANA

YOUSSEFIAN

A

native of New Jersey,

“sensational” baroque and

modern violinist Alana

Youssefian (San Francisco Civic Center) has

quickly forged a reputation as an engaging and

spirited soloist, chamber player, and orchestral

musician. Hailed for her “incredible poise,”

“sensitive dynamics,” and “plangent emotional

involvement” (The Boston Musical Intelligencer),

as well as presenting performances that are

“utterly convincing” (Early Music America),

Ms. Youssefian has performed internationally

as a concertmaster and soloist, in addition to

holding engagements at venues such as the

John F. Kennedy Center for the Performing

Arts, the Mann Center, Carnegie Hall, and

Alice Tully Hall. Ms. Youssefian studied with

Marilyn McDonald at Oberlin Conservatory,

and completed a master’s degree in Violin

Performance at Rice University’s Shepherd

School of Music with Kenneth Goldsmith. She

most recently graduated from The Juilliard

School's Historical Performance Program in

Spring 2018, where she studied with Elizabeth

Blumenstock, Cynthia Roberts, and Rachel

Podger.

As winner of Juilliard's 2017 Historical

Performance Concerto Competition, she

performed Vivaldi's "Il Grosso Mogul" concerto

with Juilliard415 and Nicholas McGegan. She has

performed with Juilliard415 as concertmaster

and soloist on several occasions, including

their tours of India and New Zealand. She has

also performed with Ars Lyrica Houston, Bach

Society Houston, Mercury, Trinity Baroque

Orchestra, The Sebastians, New York Baroque

Incorporated, Sonnambula, Les Arts Florissants

at Dans le Jardin de William Christie, The Helicon

Foundation, and Teatro Nuovo as associate

concertmaster. She is a founding member of

the baroque ensemble les soûls d’amour, and

enjoys their residency at the Seabury Academy

at St. Paul’s on the Green in Norwalk, CT. Her

latest ensemble, The Cramer Quartet, was

selected for a residency at Avaloch Farm Music

Institute in Summer 2018. She was named an

American Fellow of The English Concert and

Juilliard Fellow of Mercury in 2018. In her free

time, Ms. Youssefian enjoys spending time with

her partner Jared and their cats Jimmy and

Django, reading thriller books, and rocking out

to The Rolling Stones. n

Viennese Pivot

PROGRAM NOTES BY BRUCE LAMOTT

Chorale Director and Scholar-in-Residence of Philharmonia Baroque Orchestra & Chorale

Vienna has been called many things: surrender in May 1814, the diplomats and

The Imperial City,” “The City of nobility of Europe gathered in Vienna a year

Dreams,” “Waltz Capital of the World,” later to sort out the territorial havoc he caused

but rarely, if ever, “The Pivot.” Situated

centrally in the heart of Europe on the North-

South axis from Amsterdam to Naples and

East-West from Paris to Prague, its musical

significance was approaching its zenith just

in what is known as the “Congress of Vienna.”

So Vienna certainly has claim to be a

hubcap, but a pivot? Yes, because it is here

that the prevailing style of music gradually

pivoted from the galant propriety of the Classic

as its political significance was plunging to its Period—sometimes called the Viennese

nadir in 1800. Center of the conglomeration of

countries, city-states, and dioceses known as

the Holy Roman Empire (in Voltaire’s famous

opinion, none of the above) and ruled from

Vienna by the dynasties of Habsburg and

Habsburg-Lorraine, the Empire was dissolved

by Napoleon in 1808. However, following his

Classical Style—of Mozart and Haydn to the

unabashed personal expression and drama of

Romanticism of Schubert and late Beethoven.

And like a pivot—as opposed to a turnstyle—

these changes were gradual and fluctuating,

making the distinction of styles rather fuzzy

until 1820 or so.

10 CENTENNIAL SEASON CELEBRATION CAMA AT THE GRANADA THEATRE - PHILHARMONIA BAROQUE ORCHESTRA 11


Unlike the holy trinity of Classicism—

Haydn, Mozart, and Beethoven—both Schubert

and Clement were actual native Viennese.

There was personal contact between Haydn

and Mozart, Haydn and Beethoven, and

Beethoven and Clement, but more important

was the cross-pollination of musical influences

taking place in Vienna’s schools, concert

halls, and salons. Though the presence of

Beethoven looms large over Schubert’s

music, there is only circumstantial evidence to

suggest that they ever met. Young Schubert

played early Beethoven symphonies in his

school orchestra, and was keenly aware of

Beethoven’s towering presence. “I really hope

to be able to make something of myself, but

who can do anything now after Beethoven?”

he complained.

Lorenzo da Ponte (the other two were Don

Giovanni and Così fan tutte) the Figaro overture

is the only one that does not explicitly preview

themes to be heard in the opera. Rather it

bubbles up hesitantly before rushing headlong

into activity that doesn’t stop until the final

cadence. Cascading scales, vigorous repeated

notes, mounting crescendos, occasional

fanfares, and sharp accents ramp up energy

which is unrelieved by any conventionally

lyrical “second theme.” Since he left the

overture until last, Mozart certainly had the

themes of the opera in his head and could

easily—even more easily—employed them.

But since the opera itself opens in medias res,

with the amorous advances of a philandering

Count having already been rebuffed at least

once by his wife’s wily maid, perhaps we

should think of this overture as a depiction of

the frenetic activities of the characters taking

place before the curtain rises.

in the eighteenth and nineteenth centuries.

Beethoven's violin concerto was therefore

not composed at the behest of one of his noble

supporters (of which he had many), but instead

was designed to showcase the talents of its

performer. Beethoven left room for cadenzas

in the two outer movements, plus he calls for

a cadenza to connect the second and third

movements. Clement was given a free hand

for these cadenzas, receiving no instruction

from Beethoven. The composer never wrote

(and therefore never published) his own violin

cadenzas for the piece, and Clement's cadenzas

have not survived. (Note: All cadenzas you will

hear at these performances were written by

Alana Youssefian herself.) Still, the influence of

the popular performer can be felt strongly in

the other solo sections—his admirers primarily

praised his expressive and elegant sound,

which Beethoven exploited at various points in

the piece. Yet Clement was not above certain

lead to weariness." However, the sense of organic

unity created in his compositions would

soon be prized by romantics. The timpani introduces

the most distinctive motive of the

concerto's opening Allegro movement. It consists

of five repeated quarter notes followed

by rests, or silence. According to Andreas

Moser, a late nineteenth-century violinist and

historian, this motive has intriguing origins:

MOZART:

Overture to The Marriage

of Figaro

Receiving their parts only two days before the

opening of Le Nozze di Figaro at Vienna’s court

theater on May 1, 1786, Mozart’s orchestra

must have been dumbstruck by the nonstop

profusion of sixteenth notes that blackened

their pages. The first of the “big three” operas

composed in collaboration with librettist

BEETHOVEN:

Concerto for Violin in D Major,

Op.61

Beethoven composed his only complete

violin concerto for Franz Clement, a

renowned performer who also conducted

the orchestra at the Theater an der Wien in

Vienna. Beethoven completed the work in

only a few weeks, and many contemporaries

reported that Clement had to play it virtually

at sight, although some evidence suggests

that he may have advised Beethoven as

the concerto took shape. The premiere

took place on December 23, 1806, at a

benefit concert for Clement himself—such

public concerts, given by self-supporting

musicians, were common throughout Europe

stage antics: at the concerto's premiere he

even played a short piece of his own in between

the first and second movements, while holding

his violin upside down, perhaps for some comic

relief.

Beethoven wrote the concerto following

the composition of his groundbreaking Eroica

Symphony (1803), and while he was working

on both the Fourth and Fifth Symphonies. It

shares a number of features with these symphonic

works. The opening movement—like

that of the Eroica—is quite expansive, and

Beethoven creates a sense of unity by working

out a short rhythmic motive, a technique for

which he became famous—but one which did

not win the immediate favor of audiences. One

review even noted that "the endless repetitions

of a few commonplace passages could easily

[It] is said to have occurred to Beethoven

during the stillness of a sleepless night, on

hearing someone knocking at the door of a

neighboring house. The knocking consisted

always of five regular blows in succession, repeated

after a pause; and Beethoven, overjoyed

at being able to distinguish the sound so

clearly, for at this time his hearing was beginning

to be seriously impaired, used it as the

opening theme for the violin concerto.

Though it bears some similarities to the

famous opening motive of the Fifth Symphony,

which Beethoven reportedly described as

"fate knocking at the door," the opening motive

of the violin concerto is less ominous. Distinctive

and easily recognizable to the listener,

its various manipulations call attention to

Beethoven's compositional skills. It maintains

12 CENTENNIAL SEASON CELEBRATION CAMA AT THE GRANADA THEATRE - PHILHARMONIA BAROQUE ORCHESTRA 13


a constant presence throughout the long and

complex movement, building a sense of coherence

even as Beethoven experiments with

harmony and with the development of longer

melodic themes.

The second movement, Larghetto, is simple

and lyrical. Recent scholars have linked its

unorthodox structure to the romanze, a genre

that composers began to employ in slow concerto

movements in the late eighteenth and

early nineteenth centuries. The romanze was

modeled after a poetic form, which gave it a

strong narrative quality. Beethoven's Larghetto

is more intimate in scale than the opening

movement, until its dramatic final bars, which

move very suddenly into the Rondo. To explain

the sudden shift in mood, listeners must

move beyond the symmetry and order that

dominated classical sensibilities, and consider

extra-musical associations, which therefore

allow the Larghetto to seem the most

romantic of the three concerto movements.

In contrast, the finale shifts back to Classical

models, using a standardized rondo form preferred

by Haydn (who had been Beethoven's

teacher) in his symphonies and Mozart in his

piano concertos. Its main melody is lighthearted,

with an almost folk-like quality. The

finale contains the most virtuoso passages for

the violinist, and it undoubtedly helped Clement

to win the audience over at the premiere

of Beethoven's challenging new work. n

— Kara Gardner

SCHUBERT:

Symphony No.6 in C Major

By the time this symphony—the first of

Schubert’s eight symphonies to be performed

in public by a professional orchestra—was

played on December 14, 1828, it was for his

memorial. He had died, aged 31, in the previous

month. He was caught between two “manias,”

one which lionized Beethoven, who had died

in Vienna the year before, and the other which

was mad for Gioachino Rossini, whose Italian

operas were creating a sensation in Vienna.

The diminutive and shy Schubert was known

primarily as a composer of songs (Lieder) with

piano accompaniment, mostly performed in

bourgeois salons in evening musicales known

as “Schubertiades.” Most of his symphonies

were not published until the critical edition of

his works in 1884-85.

The Sixth Symphony, sometimes known

as the “Little C Major” to distinguish it from

his final “Great C Major” symphony, was the

best and last in a series of early works in the

genre, and was written from October 1817 to

February 1818. It is Íand while Italian ebullience

pervades the piece, it is punctuated by the

occasional pathos of Beethoven.

The opening Adagio already juxtaposes

a grand gesture (Beethoven) with naive

simplicity (Rossini), complemented by

Schubert’s lifelong penchant of opposing

major and minor versions of the same phrase.

The following Allegretto opens with chortling

winds alternating with the strings in short,

repeated phrases. Schubert’s individuation of

the woodwind tone colors emancipates them

from their previous role to underscore the

harmonies of the strings. The critics noticed.

that the winds are all too richly provided

for; by comparison the string instruments,

in general, almost seem to play a

subordinate role.” This “rich provision” of

wind instruments, of course, is the one of

the characteristics that Schubert knew had

made Beethoven great.

The Andante is the most “Classical” of the

movements, with a symmetrically phrased

melody over a tick-tock accompaniment.

However, the emphatic midsection disturbs

the reverie like a Rossini thunderstorm,

accumulating energy through a mounting

crescendo. It is unsuccessful, however, in

putting a martial uniform on the persistent

tune.

The most “Beethovenian” movement by

far is the Scherzo, the term itself adopted by

Beethoven to replace Classical minuet, the

courtly dance of the ancien régime. The

breakneck repeated notes are punctuated

by jagged accents where we least expect

them, and, intended or not, there are also

distinct echoes of the distinctive rhythm

(. . . __) of Beethoven’s Fifth Symphony,

composed ten years earlier. The middle

section (still called Trio, a leftover from the

minuet) starts with a rustic melody played

over the grinding drone of a hurdy-gurdy.

It gently morphs, however, into that latest

of dance crazes that kept the Congress of

Vienna partying until dawn: the waltz.

The final movement once again

begins with cheerful Classic propriety:

clearly delineated phrases decorated with

ornamental turns are tossed between the

winds and violins, ultimately becoming a

melodic component in themselves. The

startling entry of trumpets and timpani

in martial fanfares set off a speedy galop

and skittering of strings. The rest is as

mock-serious as the finale of a Rossini

comic opera (opera buffa), including the

brief interlude of cuckoos introducing the

recapitulation. Is it going too far to suggest

that Schubert was using this parade of toy

soldiers to mock the Napoleonic threat now

put to rest once and for all? n

One wrote, “One might criticize the fact

14 CENTENNIAL SEASON CELEBRATION CAMA AT THE GRANADA THEATRE - PHILHARMONIA BAROQUE ORCHESTRA 15


Presenting the world’s finest classical artists since 1919

CELEBRATING

CAMA's CENTENNIAL

by Hattie Beresford

Celebrating CAMA’s Centennial

commemorates the CAMA story

with hundreds of images and engaging

tales of the spectacular musical performances

brought to the the stages of Santa Barbara’s concert halls.

CAMA

HISTORY

The Granada Theatre was constructed in 1922.

At the time, it was considered “Santa Barbara’s only skyscraper.”

Courtesy Santa Barbara Center for the Performing Arts

photo by Nell Campbell

Beautiful music, exciting music, profound music — Community

Arts Music Association has been bringing this gift to Santa Barbara for

100 years. Born in the dark days following World War I, flourishing during

the Roaring Twenties, and eluding demise during the Great Depression,

CAMA has endured through a story of struggle, survival and triumph as

compelling as the world-renowned music and performers it brought.

Hattie Beresford

Besides writing a local history column for the Montecito Journal for

over a decade, Hattie Beresford has written two issues of Noticias

and co-edited My Santa Barbara Scrap Book, the memoir of artist

Elizabeth Eaton Burton, for the Santa Barbara Historical Museum. Her

most recent book, The Way It Was: Santa Barbara Comes of Age, is a

collection of a few of her nearly 300 articles written for the Journal.

ON SALE TONIGHT

IN THE GRANADA THEATRE LOBBY

$30.00 + tax

The Granada Theatre

Extract from Celebrating CAMA's Centennial by Hattie Beresford

In December 1922, Edward A. Johnson, would accompany the action and scenes

president of the California Theater Company

that owned most of the movie houses in town,

announced plans to build a theater and eightstory

office building on State Street. Despite

touches of Spanish design in rose and cream

terra cotta on the façade and cornice, plus

articulated swirling columns framing the tan

brick, many felt the tall rectangular structure

was anathema to Santa Barbara’s emerging

in silent movies with appropriate music

and sound effects. (As of 2015 this organ

is installed in the Masonic Auditorium in

Cleveland, Ohio, and has been expanded

to 28 ranks.) For the comfort of patrons,

luxurious retiring rooms were furnished with

overstuffed furniture, a small nursery, and

several smoking compartments. There were

five stories of dressing rooms and the latest

style. Nevertheless, “Santa Barbara’s only in theater lighting and stage systems. Spanish

skyscraper” opened its doors with great fanfare

on April 6, 1924, just a few months before the

Lobero Theatre was completed.

The new theater featured an enormous

four-manual 17-rank Wurlitzer organ that

features throughout included a 40-foot dome

from which hung an enormous chandelier

shaped like a Moorish disk, hand-wrought light

fixtures, and a curtain painted with a scene of

Granada, Spain. The theater owners boasted

16 CENTENNIAL SEASON CELEBRATION CAMA AT THE GRANADA THEATRE - PHILHARMONIA BAROQUE ORCHESTRA 17


CAMA’s Board of Directors and Centennial Celebration Committee

thank the many who made this work possible—the first ever

book-length authoritative treatment of CAMA's history.

We thank Sara Miller McCune, Founder and Executive Chairman

of SAGE Publishing, for supporting the book from concept to

creation and for championing the project in every way.

We thank SAGE Publishing’s President and CEO Blaise R. Simqu for

generously donating many production expenses and generally ennobling

the project through the involvement of many publications professionals.

Our unending thanks to historical researcher and author Hattie

Beresford, whose eye, hand, and pen revealed and expressed

CAMA’s history with compelling story and voice.

We are grateful to publisher Cathy Feldman/Blue Point Books

for thorough attention to so many aspects of editing and

layout, with support from graphic artist Kristin Jackson.

The original lobby of the Granada Theatre included Spanish features and details. Courtesy Santa Barbara

Center for the Performing Arts

Under the direction of California Theater Company president Edward A. Johnson, the Granada’s opening

program included a wide variety of performances. Courtesy Santa Barbara Historical Museum

that it had nearly 2,000 seats, though the

number was actually a bit less than 1,700.

The appointments and décor of the interior

emulated the Spanish motif. The foyer, which

resembled a baronial entry hall, had a richly

decorated beam ceiling of Mudéjar design.

Above a large fireplace, a saint-like statue

stood in a niche, an intricate wrought-iron

fixture hung from somber walls highlighted

with gold and silver, and a fountain bubbled

with colored water. Richly carpeted grand

stairways and large Spanish mirrors completed

the castillo-like effect.

Johnson chose his opening program

to include the wide variety of acts that

could be shown at the Granada. The

“Great Sarli” (Antonio P. Sarli) conducted

the new Granada Grand Orchestra in a

mixed program of classical, popular, and

syncopated jazz music. One of the first threedimensional

movies, Plastigrams, had the

audience donning blue and red colored

lenses as giant turtles flew toward them from

the screen. Several cartoons and novelty

reels were followed by the world premiere

of Mae Murray (the Girl with the Bee-Kissed

Lips) in Mademoiselle Midnight, and the ballet

company of motion picture star and director

Theodore Kosloff danced “A Legend of Old

Spain,” which he had created especially for the

occasion.

In 1925, the Granada Theatre earned

another nickname when it survived the

June 29 Earthquake, that of “Santa Barbara’s

Gibraltar.” (Although the theater survived

structurally, decorative cast plaster décor

and organ chamber grilles were damaged.)

Johnson didn’t hold on to his theater for very

long, however, selling it to Warner Bros. in

1931 shortly after the opening of the Arlington

Theatre and the beginning of the Depression.

In 1955, the Granada was sold again, this time

to Metropolitan Theatres Corporation for

nearly one million dollars.

18 CENTENNIAL SEASON CELEBRATION CAMA AT THE GRANADA THEATRE - PHILHARMONIA BAROQUE ORCHESTRA 19


Over the years, the Community Arts Music

Association vacillated between booking its

seasons at the Granada and the Arlington.

Finances, availability, lighting, acoustics,

comfort, and number of seats were the major

factors in those decisions. When the Granada

closed for remodeling in 1964, they lost 315

seats, making it less attractive to CAMA, though

the organization returned to it in 1967 for nine

seasons when audience attendance had fallen

off severely. In 1976, CAMA and other local

performing arts groups placed their hopes

on an enlarged and renovated Arlington.

Not completely satisfied with the acoustics

of the Arlington, CAMA discovered that the

possibility of returning to the Granada was not

an option once its balcony was converted into

two mini-theaters in 1981.

Although a large civic auditorium was

proposed as a WPA project in the late 1930s,

it was never approved. The effort to create a

true performing arts center in Santa Barbara

with an acoustically superior concert hall

dates back to 1952, when one group worked

out a plan to build such an auditorium on the

hill of Vegamar, the former Beale/Child’s Estate

(today’s Zoo), while another group pushed for

a concert hall on land off Las Positas Road. In

the intervening years, a score of plans to build

a concert hall surfaced, but none came to

fruition. Despite the renovation that created

the Arlington Performing Arts Center, some

remained skeptical as to its suitability. Though

lauding its opening night in 1976, News-Press

writer Kenneth A. Brown opined, “But it is a

mistake to call the Arlington a ‘center for the

performing arts.’ The phrase is grandiose and

misleading. It suggests a versatility that the

building, for all its virtues, simply does not

have.” So the search went on.

In 1997, former mayor and civic promoter

Hal Conklin, president of the Santa Barbara

Renaissance Fund, revealed plans to create a

performing arts cultural center on the 1300

block of State Street. Intended to serve the

various performing arts groups in town,

conceptual designs developed by architects

Roger Phillips, Fred Sweeney, and Henry

Lenny included major interior changes for the

Arlington Theatre, replacement of the Vons

grocery store with a multiplex theater, the

construction of a new smaller theater for more

intimate performances, an inn for visiting

performers, and apartments for live-in artists.

Renovation of the Granada Theatre, too, was

added to the plan. When it became clear

that the Arlington would not be available if

Metropolitan Theatres were not guaranteed

nine replacement screens in compensation

for losing the Arlington as a movie house

(and the seeming impossibility of meeting

this condition in the foreseeable future), the

renovation of the Granada jumped to the

forefront of the overall plan.

In 2003, the Santa Barbara Center for

the Performing Arts, Inc. launched a capital

campaign and announced that they had

obtained an option to purchase the Granada

at a below-market price. They planned

to renovate the theater so that local and

visiting musical groups would have a truly

great venue. The cost, they estimated, would

be about $15-18 million. The response was

initially lukewarm due to doubts about the

effectiveness of such a renovation and rivalry

from another group that still wanted a new

auditorium outside of town.

In the end, two local philanthropists,

Michael Towbes and Sara Miller McCune,

donated $3.5 million to allow the Center

to close escrow on the Granada Theatre.

The project really struck home to me,”

In 2003, the Santa Barbara Center for the Performing Arts, Inc. announced plans to purchase

and renovate the Granada. Sara Miller McCune (far left) with Michael & Anne Towbes, made the

purchase possible. Nell Campbell photo

said McCune in a February 20, 2003 Los

Angeles Times article, “the community

stands to benefit enormously.” The building’s

ownership was split and a group of investors

purchased the office tower portion and the

Santa Barbara Center for the Performing Arts

purchased the theater. Initial plans were

modest. They included restoring the balcony,

which had been walled off and divided for

two cinemas, reconfiguring the lobby, and

generally renovating the run-down theater.

As time passed, the planners added

elements as they sought to accommodate local

performing arts groups, which they hoped

would make the Granada their venue of choice.

Due to the ever-increasing scope of work, by

July 2003 the estimated cost was $20.5 million;

by October 2004, it was $32 million; by August

2005, it was $40 million as continuing upgrades

over the original plan grew to include widening

the existing 40-foot proscenium to 50 feet, and

adding an acoustical shell and other acoustical

elements.

One of the most celebrated features of the theater

was its four-manual, 17-rank Wurlitzer organ.

Courtesy Santa Barbara Historical Museum

20 CENTENNIAL SEASON CELEBRATION CAMA AT THE GRANADA THEATRE - PHILHARMONIA BAROQUE ORCHESTRA 21


After 32 years, the Los Angeles

Philharmonic returned to the

Granada stage for what would

be the highlight of the 2008

season and conductor Esa-Pekka

Salonen’s final Santa Barbara

performance.

Photo by David Bazemore

The exterior of the Granada Theatre as it stands today. CAMA Archives

Finally, near the end of 2005, decided this is a commitment I was willing to

ground was broken and the Granada make.”

went dark. Peter Frisch was executive With construction costs escalating,

director of the project; Phillips Metsch complications of a required earthquake retrofit,

Sweeney Moore was the architectural firm;

Roger Morgan was the theater consultant; and

David Conant of McKay Conant Hoover, Inc.

was brought on as acoustician. In December,

and specific requests from potential tenants,

who included the Santa Barbara Symphony,

Opera Santa Barbara, State Street Ballet,

Community Arts Music Association (CAMA),

the News-Press reported that Sara Miller and Music Academy of the West, the price

McCune, founding publisher and chairman of

SAGE Publications, had donated another $2.5

million to the cause. McCune said that she,

like many other art lovers, had been frustrated

by the inadequacy of local performing arts

facilities. “Both our local arts organizations

and touring artists deserve better,” she said. “I

tag for the project soared as well. In the end,

that tag reported a whopping $60 million,

but Santa Barbara had a spacious, first-rate,

beautifully renovated, technologically updated

new performing arts center. And best of all for

CAMA, the enlarged stage and the intricate

architectural/acoustical system designed by

architect Roger Phillips and acoustician David

Conant would assure that no orchestra would

ever again complain that they were playing into

a pillow!

On March 6, 2008, the Granada threw open

its doors for a Spanish-themed patron’s gala.

Santa Barbara Independent reviewer Charles

Donelan reported that from the red carpet

outside to the grand staircases that flank the

lobby, the space was packed with well-heeled

supporters sipping wine and greeting one

another enthusiastically. The opening night

performances of the Santa Barbara Choral

Society and Santa Barbara Symphony, as well

as that of renowned pianist Warren Jones, who

arrived on stage together with the Granada’s

brand new Steinway via the giant open elevator

of the orchestra pit, left the audience enthralled.

After intermission, Opera Santa Barbara and

State Street Ballet’s collaboration on the opera

Carmen was dazzling. “With the opening of this

Granada, a star theater has been born,” wrote

Donelan.

In February, Donelan had reported that

Stephen Cloud, who programmed for both CAMA

and the Lobero Theatre, believed that May 3

would be the real acid test for the room’s acoustics.

“Dave Conant, the principal acoustician,” Donelan

had said, “feels confident that the acoustic bumps

added to the walls and the oversized orchestra

shell will offset any issues raised by the structure

of the theater as a whole.”

Conant’s confidence was not overblown.

After the Los Angeles Philharmonic returned

to the Granada Theatre for the first time in

32 years on May 3, Donelan opined, “[It] was

easily the most anticipated event of the 2008

season thus far, and it more than lived up to

some very high expectations.” Not only was

this the first time the Philharmonic performed

at the new Granada, it was Music Director Esa-

Pekka Salonen’s last performance in Santa

Barbara. Donelan lauded the program devoted

to two monumental works, the Piano Concerto

No. 2 of Johannes Brahms and three selections

from Götterdämmerung by Richard Wagner, and

ended by saying, “The piece, the orchestra, the

soloist, the conductor, and the room all came

together for an unforgettable experience….

The Granada is back, and the Los Angeles

Philharmonic has shown what majesty there is

to look forward to.” •

22 CENTENNIAL SEASON CELEBRATION CAMA AT THE GRANADA THEATRE - PHILHARMONIA BAROQUE ORCHESTRA 23


Presenting the world’s finest classical artists since 1919

Presenting the world’s finest classical artists since 1919

ROBERT K. MONTGOMERY

Bitsy Becton Bacon

President

with

PAST PRESIDENTS

James H. Hurley, Jr.

Andre Saltoun

Judith L. Hopkinson

Herbert J. Kendall

Judith F. Smith

sponsors

CAMA Centennial Presidents’ Dinner

CENTENNIAL

BIRTHDAY BASH

FREE TO THE COMMUNITY

This event is made possible through the generous support of

SAGE Publishing

The Elaine F. Stepanek Foundation

City of Santa Barbara

SUNKEN GARDENS

at the Santa Barbara Courthouse

Sunday, May 19, 2019

1:00 PM–4:00 PM

HONORING

ARTHUR R. GAUDI

2019 MOZART SOCIETY AWARD

JANUARY 26, 2019

The Mozart Society includes donors who have

gifted $10,000 or more to CAMA's Endowment.

The CAMA Board of Directors gratefully thanks

all contributors for their trust. Through the

Centennial Celebration the Board invites you to

join them in their commitment to ensure the next

100 years of bringing the world's finest classical

music to Santa Barbara.

While this event is free and open to the public, for planning purposes we ask that you

RSVP to events@camasb.org with the number in your party. Thank you!

24 CENTENNIAL SEASON CELEBRATION CAMA AT THE GRANADA THEATRE - PHILHARMONIA BAROQUE ORCHESTRA 25


Presenting the world’s finest classical artists since 1919

Santa Barbara Band

Anne-Sophie Mutter

Community Arts String Orchestra

CAMA’S CENTENNIAL

100 th and 101 st SEASONS

Honoring CAMA’s 100-year tradition of bringing the finest classical

music in the world to our special community, we invite you to

participate in CAMA’s historic Centennial Celebration.

Esa-Pekka Salonen

Lisa-Marie MAzzucco photo

“It’s always been a

great pleasure for

me to perform on the

CAMA series, and

I’m looking forward to

many more visits.

I send you my heartiest

congratulations

on your centennial

season. Bravo!”

—ITZHAK PERLMAN, CO-CHAIR,

CAMA CENTENNIAL

HONORARY ARTISTS COUNCIL

André Previn

We are celebrating CAMA's Centennial by gratefully acknowledging donors who

contribute during CAMA’s 100th and 101st Seasons. Contributions of $250 and

above during this time will be recognized in the Centennial acknowlegements in

Renée Fleming

our concert programs.

Please contact either Elizabeth Alvarez or Nancy Lynn

at (805) 966-4324 to learn more.

London Philharmonic

Michael Tilson Thomas

centennial honorary artists council

Itzhak Perlman

honorary co-chair

Vladimir Ashkenazy

Isabel Bayrakdarian

Joshua Bell

Alfred Brendel

Renée Fleming

Daniele Gatti

Richard Goode

Hilary Hahn

Stephen Hough

Olga Kern

Lang Lang

Jerome Lowenthal

Zubin Mehta

Anne-Sophie Mutter

Sir András Schiff

Peter Serkin

Sara Miller McCune

honorary co-chair

Leonard Slatkin

Christian Tetzlaff

Jean-Yves Thibaudet

Chris Thile

Michael Tilson Thomas

Dawn Upshaw

André Watts

Pinchas Zukerman

CAMA AT THE GRANADA THEATRE - PHILHARMONIA BAROQUE ORCHESTRA

27


Presenting the world’s finest classical artists since 1919

CENTENNIAL CELEBRATION DONORS

MAESTRO

$1,000,000 and above

CONCERTMASTER

$500,000–$999,999

CRESCENDO

$250,000–$499,999

Bitsy & Denny Bacon and The Becton Family Foundation

The Elaine F. Stepanek Foundation

CADENZA

$100,000–$249,999

Judith L. Hopkinson

Samuel B. and Margaret C. Mosher Foundation

Ed & Sue Birch / Robert & Christine Emmons

SAGE Publishing

George & Judy Writer

RONDO

$50,000–$99,999

Deborah & Peter Bertling

NancyBell Coe & William Burke

Sara Miller McCune

Jocelyne & William Meeker

Mari & Hank Mitchel

Bob & Val Montgomery

Stephen J.M. & Anne Morris

Cumulative contributions of $50,000 and above during CAMA’s Centennial Seasons

will include Centennial Circle membership.

CONCERTO

$25,000–$49,999

Marta Babson

Suzanne & Russell Bock

Meg & Dan Burnham

The Stephen Hahn

Foundation

The Towbes Fund for the

Performing Arts

Patricia Yzurdiaga

SONATA

$10,000–$24,999

Anonymous

Alison & Jan Bowlus

Bridget Colleary

George H. Griffiths and Olive

J. Griffiths Charitable Fund

Hollis Norris Fund

Natalia & Michael Howe

Ann Jackson Family

Foundation

Ellen & Peter Johnson

Herbert & Elaine Kendall

Kum Su Kim & John Perry

Mary Lloyd & Kendall Mills

John & Ellen Pillsbury

Michele & Andre Saltoun

The Shanbrom Family

Foundation

The Walter J. & Holly O.

Thomson Foundation

Hubert Vos

VIVACE

$5,000–$9,999

Peggy & Kurt Anderson

Elizabeth & Andrew Butcher

Louise & Michael Caccese

Stephen Cloud

Edward DeLoreto

Elizabeth Karlsberg

& Jeff Young

Jill Doré Kent

ALLEGRO

$2,500–$4,999

Helene & Jerry Beaver

Shelley & Mark Bookspan

Robert Boghosian

& Mary E. Gates Warren

Suzanne & Peyton Bucy

Roger & Sarah Chrisman, Schlinger

Chrisman Foundation

Fredericka & Dennis Emory

Ronald & Rosalind A. Fendon

Mary & Raymond Freeman

Priscilla & Jason Gaines

Dorothy & John Gardner

Connie & Richard Kennelly

Lynn P. Kirst

Lois Kroc

Mahri Kerley/Chaucer's Books

Chris Lancashire

& Catherine Gee

Raye Haskell Melville

Montecito Bank & Trust

Craig & Ellen Parton

Irene & Robert Stone/Stone

Family Foundation

Winona Fund

Stefanie Lancaster Charitable

Foundation

MaryAnn Lange

Shirley & Seymour Lehrer

Dona & George McCauley

Performing Arts Scholarship

Foundation

Diana & Roger Phillips

Ann M. Picker

Dorothy Roberts

Santa Barbara Foundation

Carrie Towbes & John Lewis

Steven Trueblood

William H. Kearns Foundation

(Continued next page.)

CAMA’s Centennial spans two concert seasons, 2018/2019 and 2019/2020.

The CAMA Board gratefully acknowledges and thanks the generosity of the

CAMA community. Donor lists will be fully updated February 2019.

All cummulative donations of $250 and above through

the 100 th and 101 st Seasons will be listed.

As of January 11, 2019

28 CENTENNIAL SEASON CELEBRATION

CAMA AT THE GRANADA THEATRE - PHILHARMONIA BAROQUE ORCHESTRA 29


Presenting the world’s finest classical artists since 1919

CENTENNIAL CELEBRATION DONORS

ADAGIO

$1,000–$2,499

Todd & Allyson Aldrich Family Charitable Fund

Diane Boss

Wendel Bruss

Karen Bushnell

Annette & Richard Caleel

The CAMA Women's Board

Patricia Clark

Joan & Steven Crossland

Gregory Dahlen III & Christi Walden

Jan Hadley-Davis

Margaret & Ronald Dolkart

Wendy & Rudy Eiser

Nancy Englander

Katina Etsell

Nancyann & Robert Failing

Margo & Bob Feinberg

Jill Felber

Catherine H. Gainey

David Hamilton

Renee & Richard Hawley

Maison K

Karin Nelson & Eugene Hibbs/Maren Henle

Gerhart Hoffmeister

Joanne C. Holderman

ANDANTE

$250–$999

Sylvia Abualy

Antoinette & Shawn Addison

Jyl & Allan Atmore

Howard A. Babus

Becky & William Banning

Patricia & Richard Blake

Edith M. Clark

Lavelda & Lynn Clock

Betsy & Kenneth Coates

Michael & Ruth Ann Collins

Nancy Donaldson

Michael K. Dunn

Ann & David Dwelley

Meg & Jim Easton

Julia Emerson

Thomas & Doris Everhart

Eunice & J.Thomas Fly

Ghita Ginberg

(Continued from previous page)

Shirley Ann & James H. Hurley, Jr.

Jackie Inskeep

Diane Johnson

Gerd & Peter Jordano

James Kearns

Sally Kinney

Karin Jacobson & Hans Koellner

Kathryn Lawhun & Mark Shinbrot

Dora Anne Little

Cynthia Brown & Arthur Ludwig

Nancy & James Lynn

Gloria & Keith Martin

Maureen Masson

Ruth & John Matuszeski

Karine & Donald McCall

Frank McGinity

Sally & George Messerlian

Russell Mueller

Northern Trust

Ellen Lehrer Orlando & Thomas Orlando

Gail Osherenko & Oran Young

Patti Ottoboni

Anne & Daniel Ovadia

Nancy & Frederic Golden

Robert Hanrahan

Lorna S. Hedges

Glenn Jordan & Michael Stubbs

Debbie & Frank Kendrick

June & William Kistler

Christie & Morgan Lloyd

Barbara & Ernest Marx

Phyllis Brady & Andy Masters

Jeffrey McFarland

Patriicia & William McKinnon

Christine & James V. McNamara

Andrew Mester

James P. And Shirley F. McFarland Fund of

The Minneapolis Foundation

Peter L. Morris

Mrs. Raymond King Myerson

Maureen O'Rourke

Donald Rink

Regina & Rick Roney

Michele & Andre Saltoun

Ada B. Sandburg

Santa Barbara Foundation

Anitra & Jack Sheen

Judith F. Smith

Barbara & Wayne Smith

Marion Stewart

Milan E. Timm

Barbara & Sam Toumayan

Mark E. Trueblood

UCSB - Department of Music,

University of California, Santa Barbara

Esther & Tom Wachtell

Barbara & Gary Waer

Sheila Wald

Nick & Patty Weber

Dr. Robert Weinman

Judy L. Weisman

Westmont College

Victoria & Norman Williamson

Nancy & Byron Kent Wood

Cheryl & Peter Ziegler

Ann & Dick Zylstra

Hensley & James Peterson

David & Dottie Pickering

Minie & Hjalmar Pompe van Meerdervoort

Patricia & Robert Reid

Robert Reid

Tiffany & Justin Rizzo-Weaver

Rotary Club of Montecito Foundation, Inc.

Lynn & Mark Schiffmacher

Naomi Schmidt

Maureen & Les Shapiro

Halina W. Silverman

Paul and Delia Smith

Linda Stafford Burrows

Beverly & Michael Steinfeld

Jacqueline & Ronald Stevens

Elaine Sweet

Carol Vernon & Robert Turbin

Mary H. Walsh

Lorraine & Stephen Weatherford

Grace & Edward Yoon

MUSIC EDUCATION

MUSIC EDUCATION PROGRAM

$25,000 and above

The Walter J. & Holly O. Thomson Foundation

$10,000–$24,999

Ms. Irene Stone/ Stone Family Foundation

Mary Lloyd & Kendall Mills

$1,000–$9,999

CAMA Women's Board

William H. Kearns Foundation

Stefanie L. Lancaster Charitable Foundation

Sara Miller McCune

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

The Henry E. & Lola Monroe Foundation

Performing Arts Scholarship Foundation

Westmont College

$100–$999

Becky & William Banning

Lynn P. Kirst

James P. and Shirley F. McFarland Fund

of the Minneapolis Foundation

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

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.

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

Joan Crossland

NancyBell Coe &

Bill Burke

Carolyn & Dennis Naiman

Nancy Lynn

Carolyn & Dennis Naiman

David Malvinni

Carolyn & Dennis Naiman

Dr. Robert Failing

Mrs. Betty Meyer

Dr. Walter Picker

Ann M. Picker

Tita Lanning

Keith Mautino

MEMORIAL GIFTS

Jim Ryerson

Christine Ryerson

Sharon Felber Taylor

Bridget Colleary

Cornelia Chapman

Ellicott Million

Dr. Eric Boehm

Judy Pochini

Michael Towbes

Bridget B. Colleary

Gerd & Peter Jordano

Else (Leinie) Schilling

Bard

Joanne C. Holderman

Frederica Vogle

Burrows

Linda Stafford Burrows

Professor Frederick F.

Lange

MaryAnn Lange

Harold M. Williams

Nancy Englander

Sybil Mueller

Lynn P. Kirst

Dr. Robert Sinsheimer

& Karen Sinsheimer

Robert Boghosian &

Mary E. Gates Warren

Lynn R. Matteson

Lynn P. Kirst

Robert S. Grant

Robert L. Grant

Nan Burns, Dr. Greg

Dahlen, Robert S. Grant

William S. Hanrahan

Susie Vos

Bridget B. Colleary

30 CENTENNIAL SEASON CELEBRATION

CAMA AT THE GRANADA THEATRE - PHILHARMONIA BAROQUE ORCHESTRA 31


MUSIC EDUCATION PROGRAM

LIFETIME GIVING

Presenting the world’s finest classical artists since 1919

The CAMA Women’s Board Presents

A PRE-CONCERT LECTURE SERIES

2018/2019—CENTENNIAL SEASON

Doors to The Granada Theatre will open

for the lecture 15 minutes before lecture.

Lecture seating is limited to the first 100

patrons. First come, first served.

CAMA's Women's Board gratefully

thanks the following supporters!

Symphony Level $5,000

Patricia Yzurdiaga

Sonata Level $1,000

Peter & Rebecca Adams

Mrs. Richard H. Roberts

George & Judy Writer

Rondo Level $100–$500

Anonymous (2)

Bridget B. Colleary

Edward DeLoreto

Karin Nelson & Eugene Hibbs, Jr.

and Maren N. Henle

Joanne C. Holderman

Lois Kroc

Elen & Craig Parton

Andre & Michele Saltoun

Barbara & Sam Toumayan

Nancy & Byron Kent Wood

February 27, 2019

Wednesday, Lecture begins at 7:00 PM

RUSSIAN NATIONAL

ORCHESTRA

MIKHAIL PLETNEV, Director

The Granada Theatre

PRE-CONCERT LECTURE

Derek Katz, Professor of Music History

at UCSB

March 20, 2019

Wednesday, Lecture begins at 7:00 PM

PHILHARMONIA ORCHESTRA

ESA-PEKKA SALONEN, Conductor

The Granada Theatre

PRE-CONCERT LECTURE

Simon Williams, Professor Emeritus, UCSB

Department of Theater and Dance; Opera

and Theater Critic

April 5, 2019

Friday, Lecture begins at 7:00 PM

ROYAL SCOTTISH NATIONAL

ORCHESTRA

THOMAS SØNDERGÅRD,

CONDUCTOR

The Granada Theatre

PRE-CONCERT LECTURE

Adrian Spence, Artistic Director of

Camerata Pacifica

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC

diamond circle

$500,000 and above

Bitsy & Denny Bacon and

The Becton Family

Foundation

Suzanne & Russell Bock

Linda Brown*

Andrew H. Burnett

Foundation

Esperia Foundation

The Stephen &

Carla Hahn Foundation

Judith L. Hopkinson

Herbert & Elaine Kendall

SAGE Publishing

Michael Towbes /

The Towbes Fund for the

Performing Arts

sapphire circle

$250,000–$499,999

Anonymous

The CAMA Women's Board

Léni Fé Bland

Sara Miller McCune

The Samuel B. & Margaret C.

Mosher Foundation

The Stepanek Foundation

The Wood-Claeyssens

Foundation

ruby circle

$100,000–$249,999

The Adams Foundation

Ann Jackson Family

Foundation

Deborah & Peter Bertling

Dan & Meg Burnham

Virginia Castagnola-Hunter

NancyBell Coe &

William Burke

Robert & Christine Emmons

Mary & Raymond Freeman

Dr. Dolores M. Hsu

Hollis Norris Fund

Shirley Ann &

James H. Hurley Jr.

Shirley & Seymour Lehrer

Raye Haskell Melville

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

The Henry E. &

Lola Monroe Foundation

John & Kathleen Moseley/

The Nichols Foundation

Val & Bob Montgomery

Nancy & William G. Myers

Montecito Bank & Trust

Michele & Andre Saltoun

The Santa Barbara Foundation

Jan & John G Severson

Judith F. Smith

Jeanne C. Thayer

Mrs. Walter Thomson

Union Bank

Dr. & Mrs. H. Wallace Vandever

The Wallis Foundation

Winona Fund

Nancy & Byron 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

Louise & Michael Caccese

Dr. & Mrs. Jane Catlett

Roger & Sarah Chrisman

Mr. & Mrs. Robert M. Colleary

Mrs. Maurice E. Faulkner

Arthur R. Gaudi

Mr. & Mrs. Robert B. Gilson

The George H. Griffiths &

Olive J. Griffiths Charitable

Foundation

Mr. Richard Hellman

Joanne C. Holderman

Michael & Natalia Howe

Hutton Parker Foundation

Ellen & Peter Johnson

Judith Little

John & Lucy Lundegard

Jocelyne & William Meeker

Mrs. Max E. Meyer

Craig & Ellen Parton

Performing Arts Scholarship

Foundation

Marjorie S. Petersen/ La

Arcada Investment Corp.

Diana & Roger Phillips

Mr. Ted Plute &

Mr. Larry Falxa

Lady Ridley-Tree

Barbara & Sam Toumayan

George & Judy Writer

Stephen J.M. & Anne Morris

topaz circle

$25,000–$49,999

Anonymous

Edward Bakewell

Helene & Jerry Beaver

Robert Boghosian &

Mary E. Gates Warren

Alison & Jan Bowlus

Linda Stafford Burrows

Elizabeth & Andrew Butcher

Ms. Huguette Clark

Mrs. Leonard Dalsemer

Edward S. Deloreto

Mr. & Mrs. Larry Durham

Lynn P. Kirst &

Lynn R. Matteson

Dr. & Mrs. Robert Failing

Priscilla & Jason Gaines

The George Frederick

Jewett Foundation

Patricia Kaplan

Elizabeth Karlsberg

& Jeff Young

William H. Kearns Foundation

Jill Dore Kent

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

Sheila Bourke McGinity

James & Mary Morouse

Northern Trust

Patricia Hitchcock O’Connell

Efrem Ostrow Living Trust

Mr. Ernest J. Panosian

Kathryn H. Phillips

Mrs. Kenneth Riley

Anitra & Jack Sheen

Marion Stewart

Ina Tournallyay

Mrs. Edward Valentine

The Outhwaite Foundation

The Elizabeth Firth Wade

Endowment Fund

Mrs. Roderick Webster

Westmont College

amethyst circle

$10,000–$24,999

Anonymous

Anonymous

Rebecca & Peter Adams

Mrs. David Allison

Dr. & Mrs. Mortimer Andron

Mr. & Mrs. Robert Arthur

Mr. & Mrs. J.W. Bailey

Marta Babson

Mrs. Archie Bard

Leslie & Phillip Bernstein

Frank Blue & Lida Light Blue

Mrs. Erno Bonebakker

CAMA Fellows

Mrs. Margo Chapman

Chubb-Sovereign Life

Insurance Co.

Carnzu A Clark

Chaucer's Books/ Mahri Kerley

Lavelda & Lynn Clock

Dr. Gregory Dahlen & Nan Burns

Karen Davidson M.D.

Julia Dawson

Mr. & Mrs. William Esrey

Fredericka & Dennis Emory

Ronald & Rosalind A. Fendon

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

Robert Hanrahan

Lorraine C. Hansen

Mr. & Mrs. Stanley Hatch

Renee & Richard Hawley

Dr. & Mrs. Alan Heeger

Karin Nelson & Eugene

Hibbs/Maren Henle

Mr. Preston Hotchkis

Glenn Jordan & Michael

Stubbs

Elizabeth & Gary Johnston

KDB Radio

Linda & Michael Keston

Mrs. Robert J. Kuhn

Katherine Lloyd/ Actief-cm, Inc

Lois Kroc

Dora Anne Little

Ruth & John Matuszeski

Keith Mautino

Dona & George McCauley

Jayne Menkemeller

Russell Mueller

Myra & Spencer Nadler

Joanne & Alden Orpet

Mr. & Mrs. Charles Patridge

Patricia & Carl Perry

John Perry

Mrs. Ray K. Person

Ellen & John Pillsbury

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 Saladino

Jack & Anitra Sheen

Sally & Jan Smit

Betty Stephens &

Lindsay Fisher

Selby & Diane Sullivan

Joseph M. Thomas

Irene & Robert Stone/Stone

Family Foundation

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

32 CENTENNIAL SEASON CELEBRATION

CAMA AT THE GRANADA THEATRE - PHILHARMONIA BAROQUE ORCHESTRA

33


BUSINESS SUPPORTERS

BUSINESS SUPPORTERS

We thank the many businesses that support CAMA's programs and events!

Laurel Abbott, Berkshire Hathaway

Luxury Properties

American Riviera Bank

James P. Ballantine

Belmond El Encanto

Bertling Law Group

Blue Star Parking

Bon Fortune Style & Events

Wes Bredall

Heather Bryden

Ca' Dario

Camerata Pacifica

Casa Dorinda

C'est Cheese

Chaucer's Books

Chooket Patisserie

Cottage Health System

Custom Printing

Eye Glass Factory

Felici Events

First Republic Bank

Flag Factory of Santa Barbara

Frequency Wine

Gainey Vineyard

Grace Design Associates

Colin Hayward/The Hayward Group

Steven Handelman Studios

Hogue & Company

Holdren's Catering

Indigo Interiors

Inside Wine Santa Barbara

Islay A/V

Jardesca

Maravilla/Senior Resource Group

Microsoft® Corporation

Mission Security

Montecito Bank & Trust

Northern Trust

Oak Cottage of Santa Barbara

Oceania Cruises

Olio e Limone/Olio Crudo Bar/

Olio Pizzeria

Opera Santa Barbara

Pacific Coast Business Times

Peregrine Galleries

Performing Arts Scholarship

Foundation

Regent Seven Seas Cruises

Renaud's Patisserie & Bistro

Rose Story Farm

Sabine Myers Design

SAGE Publishing

Santa Barbara Choral Society

Santa Barbara Foundation

Santa Barbara Travel Bureau

Stewart Fine Art

The Tent Merchant

The Upham Hotel

UCSB Arts & Lectures

Westmont Orchestra

Presenting the world’s finest classical artists since 1919

BOARD OF DIRECTORS

ROBERT K. MONTGOMERY President

DEBORAH BERTLING First Vice-President

CRAIG A. PARTON Second Vice-President

Rosalind Amorteguy-Fendon

Marta Babson

Isabel Bayrakdarian

Bitsy Becton Bacon

Edward Birch

Jan Bowlus

Daniel P. Burnham

Stephen Cloud

NancyBell Coe

Bridget B. Colleary

Jill Felber

Joanne C. Holderman

Judith L. Hopkinson

As of January 25, 2019

WILLIAM MEEKER Treasurer

JOAN R. CROSSLAND Secretary

James H. Hurley, Jr.

Peter O. Johnson

Elizabeth Karlsberg

Raye Haskell Melville

George Messerlian

Hank Mitchel

Stephen J.M. (Mike) Morris

Patti Ottoboni

Andre M. Saltoun

Judith F. Smith

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

Michael Below

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

34 CENTENNIAL SEASON CELEBRATION

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