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

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 


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 


Sara Miller McCune 

Principal Sponsor 

Herbert & Elaine Kendall 

Sponsors 

Marta Babson 

Judith L. Hopkinson 

The Shanbrom Family 


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 


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 


ROYAL SCOTTISH 

NATIONAL 

ORCHESTRA 

APRIL 5, 2019 

Sponsors 

Anonymous 

Meg & Dan Burnham 

Hubert Vos 

Co-Sponsor 

George & Judy Writer 

RICHARD 

GOODE 

NOVEMBER 9, 2018 


The Stephen & Carla 

Hahn Foundation 

Co-Sponsors 

Bitsy & Denny Bacon 


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 



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, 


1790 

Maria Ionia Caswell 

Anonymous, 


c. 1800 

Ellie Nishi 

Aegidius Klotz, 


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 


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. 


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 


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 


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 


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. 


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 


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.” • 




ROBERT K. MONTGOMERY 

Bitsy Becton Bacon 

President 

with 

PAST PRESIDENTS 

James H. Hurley, Jr. 

Andre Saltoun 


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! 



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 


honorary co-chair 

Leonard Slatkin 

Christian Tetzlaff 

Jean-Yves Thibaudet 

Chris Thile 

Michael Tilson Thomas 

Dawn Upshaw 

André Watts 

Pinchas Zukerman 


27


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 


Samuel B. and Margaret C. Mosher Foundation 

Ed & Sue Birch / Robert & Christine Emmons 



RONDO 

$50,000–$99,999 


NancyBell Coe & William Burke 



Mari & Hank Mitchel 

Bob & Val Montgomery 


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 



Performing Arts 

Patricia Yzurdiaga 

SONATA 

$10,000–$24,999 

Anonymous 



George H. Griffiths and Olive 

J. Griffiths Charitable Fund 


Natalia & Michael Howe 

Ann Jackson Family 




Kum Su Kim & John Perry 

Mary Lloyd & Kendall Mills 

John & Ellen Pillsbury 


The Shanbrom Family 


The Walter J. & Holly O. 

Thomson Foundation 

Hubert Vos 

VIVACE 

$5,000–$9,999 

Peggy & Kurt Anderson 



Stephen Cloud 


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 




Montecito Bank & Trust 

Craig & Ellen Parton 

Irene & Robert Stone/Stone 

Family Foundation 

Winona Fund 

Stefanie Lancaster Charitable 


MaryAnn Lange 

Shirley & Seymour Lehrer 

Dona & George McCauley 

Performing Arts Scholarship 


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 


CAMA AT THE GRANADA THEATRE - PHILHARMONIA BAROQUE ORCHESTRA 29


CENTENNIAL CELEBRATION DONORS 

ADAGIO 

$1,000–$2,499 

Todd & Allyson Aldrich Family Charitable Fund 

Diane Boss 

Wendel Bruss 

Karen Bushnell 

Annette & Richard Caleel 


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 


Ada B. Sandburg 


Anitra & Jack Sheen 


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 


Stefanie L. Lancaster Charitable Foundation 


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

The Henry E. & Lola Monroe Foundation 

Performing Arts Scholarship Foundation 


$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 


David Malvinni 


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 


Cornelia Chapman 

Ellicott Million 

Dr. Eric Boehm 

Judy Pochini 

Michael Towbes 

Bridget B. Colleary 

Gerd & Peter Jordano 

Else (Leinie) Schilling 

Bard 


Frederica Vogle 

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 



CAMA AT THE GRANADA THEATRE - PHILHARMONIA BAROQUE ORCHESTRA 31

MUSIC EDUCATION PROGRAM 

LIFETIME GIVING 


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 


Rondo Level $100–$500 

Anonymous (2) 



Karin Nelson & Eugene Hibbs, Jr. 

and Maren N. Henle 


Lois Kroc 

Elen & Craig Parton 

Andre & Michele Saltoun 



February 27, 2019 

Wednesday, Lecture begins at 7:00 PM 

RUSSIAN NATIONAL 

ORCHESTRA 

MIKHAIL PLETNEV, Director 


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 



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 



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 


Suzanne & Russell Bock 

Linda Brown* 

Andrew H. Burnett 


Esperia Foundation 

The Stephen & 

Carla Hahn Foundation 




Michael Towbes / 


Performing Arts 

sapphire circle 

$250,000–$499,999 

Anonymous 


Léni Fé Bland 


The Samuel B. & Margaret C. 

Mosher Foundation 

The Stepanek Foundation 

The Wood-Claeyssens 


ruby circle 

$100,000–$249,999 

The Adams Foundation 

Ann Jackson Family 



Dan & Meg Burnham 

Virginia Castagnola-Hunter 

NancyBell Coe & 

William Burke 

Robert & Christine Emmons 

Mary & Raymond Freeman 

Dr. Dolores M. Hsu 


Shirley Ann & 

James H. Hurley Jr. 

Shirley & Seymour Lehrer 


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 



The Santa Barbara Foundation 

Jan & John G Severson 


Jeanne C. Thayer 

Mrs. Walter Thomson 

Union Bank 

Dr. & Mrs. H. Wallace Vandever 

The Wallis Foundation 

Winona Fund 


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. 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 


Mr. Richard Hellman 


Michael & Natalia Howe 

Hutton Parker Foundation 


Judith Little 

John & Lucy Lundegard 


Mrs. Max E. Meyer 

Craig & Ellen Parton 



Marjorie S. Petersen/ La 

Arcada Investment Corp. 

Diana & Roger Phillips 

Mr. Ted Plute & 

Mr. Larry Falxa 

Lady Ridley-Tree 




topaz circle 

$25,000–$49,999 

Anonymous 

Edward Bakewell 

Helene & Jerry Beaver 

Robert Boghosian & 

Mary E. Gates Warren 




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 


& Jeff Young 


Jill Dore Kent 

Otto Korntheuer/ The Harold 

L. Wyman Foundation in 

memory of Otto Korntheuer 



Mrs. Jon B. Lovelace 

Leatrice Luria 

Mrs. Frank Magid 

Ruth McEwen 

Frank McGinity 

Sheila Bourke McGinity 

James & Mary Morouse 


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 


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 


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 



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 



Oak Cottage of Santa Barbara 

Oceania Cruises 

Olio e Limone/Olio Crudo Bar/ 

Olio Pizzeria 

Opera Santa Barbara 

Pacific Coast Business Times 

Peregrine Galleries 



Regent Seven Seas Cruises 

Renaud's Patisserie & Bistro 

Rose Story Farm 

Sabine Myers Design 


Santa Barbara Choral Society 


Santa Barbara Travel Bureau 

Stewart Fine Art 

The Tent Merchant 

The Upham Hotel 

UCSB Arts & Lectures 

Westmont Orchestra 


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 


Jill Felber 



As of January 25, 2019 

WILLIAM MEEKER Treasurer 

JOAN R. CROSSLAND Secretary 

James H. Hurley, Jr. 

Peter O. Johnson 



George Messerlian 

Hank Mitchel 

Stephen J.M. (Mike) Morris 

Patti Ottoboni 

Andre M. Saltoun 


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.* 


Mary Lloyd Mills 

Mrs. Ernest J. Panosian* 

Kenneth W. Riley* 

Mrs. John G. Severson* 

Nancy L. Wood 

* Deceased 

Administration 


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

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?