Friday, April 5, 2019—CAMA Presents Royal Scottish National Orchestra—International Series at The Granada Theatre—Santa Barbara, CA—8:00 PM

Presenting the world’s finest classical artists since 1919

ince 1919

2018/2019 | 100TH CONCERT SEASON

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC

INTERNATIONAL SERIES

AT THE GRANADA THEATRE

SEASON SPONSORSHIP: SAGE PUBLISHING

ROYAL SCOTTISH

NATIONAL ORCHESTRA

Photo by Martin Bubandt

Thomas Søndergård, Music Director

Olga Kern, piano

Friday, April 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

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PHILHARMONIA

BAROQUE

ORCHESTRA

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The CAMA Women's Board

4 CENTENNIAL SEASON CELEBRATION

RUSSIAN

NATIONAL

ORCHESTRA

FEBRUARY 27, 2019

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Co-Sponsors

Elizabeth & Andrew Butcher

Chris Lancashire

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Val & Bob Montgomery

ROYAL SCOTTISH

NATIONAL

ORCHESTRA

APRIL 5, 2019

Sponsor

Meg & Dan Burnham

Co-Sponsor

Anonymous

Bob & Val Montgomery

Hubert Vos

George & Judy Writer

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AT THE LOBERO THEATRE

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GOODE

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The Stephen & Carla

Hahn Foundation

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TAFELMUSIK

BAROQUE

ORCHESTRA

MARCH 9, 2019

Concert Partners

Deborah & Peter Bertling

Bob Boghosian &

Beth Gates Warren

Bridget Colleary

Dorothy & John Gardner

Elizabeth Karlsberg &

Jeff Young

Lynn P. Kirst

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OHLSSON

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Co-Sponsors

Anonymous

Stephen J.M. &

Anne Morris

The CAMA Women's

Board

AUGUSTIN

HADELICH

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Co-Sponsors



Concert Partner

Lois Sandra Kroc

MISCHA MAISKY

MAY 6, 2019

Co-Sponsor

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Concert Partners

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Concert Sponsors as of January 2019

CAMA AT THE GRANADA THEATRE - ROYAL SCOTTISH NATIONAL ORCHESTRA

5


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

WILLIAM MEEKER Treasurer

JOAN R. CROSSLAND Secretary

James H. Hurley, Jr.

Elizabeth Karlsberg


George Messerlian

Stephen J.M. (Mike) Morris

Patti Ottoboni

Andre M. Saltoun

Judith F. Smith

Judith H. Writer

Catherine Leffler,

President, CAMA Women’s Board

As of March 25, 2019

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


Anton

Bruckner

JEAN SIBELIUS SERGEI RACHMANINOFF SERGEI PROKOFIEV

INTERNATIONAL SERIES at the GRANADA THEATRE


ROYAL SCOTTISH

NATIONAL ORCHESTRA

Thomas Søndergård, Music Director

Olga Kern, piano

Friday, April 5, 2019, 8:00 PM

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

JEAN SIBELIUS

(1865–1957)

Symphony No.7 in C major, Op.105

SERGEI

RACHMANINOFF Rhapsody on a Theme of Paganini, Op.43

(1873–1943) OLGA KERN, piano soloist

INTERMISSION

SERGEI PROKOFIEV Symphony No.5 in B-flat major, Op.100

(1891–1953)

Program subject to change.

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

International Series Season Sponsor: SAGE Publishing

Sponsor

Meg & Dan Burnham

Co-Sponsors

Anonymous • Bob & Val Montgomery • Hubert Vos • George & Judy Writer

Tour Produced by and Orchestra Represented by

COLUMBIA ARTISTS MANAGEMENT LLC

Tim Fox, President & Alison Ahart Williams, Senior Vice President

Douglas Sheldon, Senior Vice President & Stefana Atlas, Senior Vice President

Olga Kern is a Steinway Artist.

Olga Kern records exclusively for Harmonia Mundi.

Olga Kern’s dresses are designed by Alex Teih.

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.


7

R

OYAL SCOTTISH

NATIONAL ORCHESTRA

The Royal Scottish National Orchestra is

Scotland’s national symphonic ensemble

and is one of the country’s five National

Performing Companies. Formed

in 1891 as the Scottish Orchestra, the

company became the Scottish National

Orchestra in 1950, and was awarded Royal

Patronage in 1991. Throughout its history,

the Orchestra has played an integral

part in Scotland's musical life, including

performing at the opening ceremony

of the Scottish Parliament building in

2004. Many renowned conductors have

contributed to its success, including

George Szell, Sir John Barbirolli, Walter

Susskind, Sir Alexander Gibson, Neeme

Järvi, Walter Weller, Alexander Lazarev

and Stéphane Denève. In 2012 the RSNO


8

welcomed British-Canadian musician

and conductor Peter Oundjian as its latest

Music Director and Danish conductor

Thomas Søndergård as Principal Guest

Conductor. 2012 also saw the appointments

of two new Leaders, James Clark

and Maya Iwabuchi.

The RSNO performs across Scotland,

including concerts in Glasgow, Edinburgh,

Dundee, Aberdeen, Perth and Inverness.

The Orchestra appears regularly at the

Edinburgh International Festival and at the

BBC Proms at London’s Royal Albert Hall.

Recent appearances in England have included

performances at Manchester’s

Bridgewater Hall, Leeds Town Hall, The

Sage, Gateshead and at The Sands Centre,

Carlisle. In 2012 it undertook a weeklong

residency in Shetland as part of the

Cultural Olympiad, providing the most

northerly UK cultural activity leading up

to the 2012 Olympic Games. The RSNO

regularly appears at the St Magnus Festival,

Orkney, and has made recent tours

to France, Germany, Spain, Austria, the

Netherlands, Luxembourg and Serbia. In

December 2012 and January 2013 the Orchestra

undertook its first mainland Asia

visit with a hugely successful tour of China

with Peter Oundjian.

The Orchestra is joined for choral

performances by the RSNO Chorus,

directed by Timothy Dean. The RSNO

Chorus evolved from a choir formed in

1843 to sing the first full performance

of Handel’s Messiah in Scotland. Today,

the RSNO Chorus is one of the most distinguished

large symphonic choruses

in Britain, with a membership of around

160. The Chorus has performed nearly

every work in the standard choral repertoire

along with contemporary works by

renowned composers, including John

Adams, Magnus Lindberg, Howard Shore

and James MacMillan.

The acclaimed RSNO Junior Chorus,

formed in 1978 by Jean Kidd, also performs

regularly alongside the Orchestra.

Since 1994 it has been directed by popular

Chorus Director, Christopher Bell, and

has expanded its membership to almost

300, with members aged from eight to

eighteen. It has built up a considerable

reputation singing under some of the

world’s most distinguished conductors

and appearing on radio and television.

The RSNO has a worldwide reputation

for the quality of its recordings, receiving

two Diapason d'Or de l'année Awards for

Symphonic Music (Denève/Roussel 2007;


9

Denève/Debussy 2012) and eight Grammy

Award nominations over the last decade.

Over 200 releases are available, including

the complete symphonies of Sibelius

(Gibson), Prokofiev (Järvi), Glazunov (Serebrier),

Nielsen and Martinů (Thomson),

Roussel (Denève) and the major orchestral

works of Debussy (Denève).

The RSNO’s Learning and Engagement

team deliver progressive participatory

music-making activities across

Scotland, from Selkirk to Shetland, working

with all ages and abilities. With a program

of activity available for new-borns

and onwards, the team are committed

to delivering the highest quality workshops

as well as nurturing and developing

new talent. From schools and nursery

concerts, to community workshops

and annual residencies during which the

Orchestra embeds itself at the center

of Scottish communities, the team connects

the Orchestra, its music and musicians

with the people of Scotland. n

THOMAS

SØNDERGÅRD

Danish conductor Thomas Søndergård

is Music Director of Royal Scottish National

Orchestra, after six seasons as

Principal Guest Conductor. He served

as Principal Conductor of BBC National

Orchestra of Wales (BBCNOW) from September

2012 – August 2018, and prior to

this, as Principal Conductor and Musical

Advisor of the Norwegian Radio Orchestra

for three seasons.

Thomas has conducted many leading

orchestras, including London Philharmonic

Orchestra, BBC Symphony,

Royal Concertgebouw Orchestra, London

Symphony Orchestra, Philharmonia

Orchestra, Oslo Philharmonic Orchestra,

Göteborgs Symfoniker, Danish National

Symphony Orchestra, Royal Stockholm

Philharmonic and Gewandhausorchester

Leipzig, WDR Sinfonieorchester Köln,

Deutsches Symphonie-Orchester Berlin,

photo by © Mark Hamilton


10

Mahler Chamber Orchestra, Bamberger

Symphoniker; leading tours with

Junge Deutsche Philharmonie and European

Union Youth Orchestra; Rotterdam

Philharmonic Orchestra, Nederlands

Philharmonisch Orkest, Orchestre

Philharmonique du Luxembourg, Brussels

Philharmonic; Swedish Radio Symphony

Orchestra, Orchestre National d'Ile

de France; Toronto Symphony Orchestra,

Atlanta Symphony Orchestra, Vancouver

Symphony Orchestra, Houston Symphony

and Seattle Symphony Orchestra.

The 2018/19 season includes his debuts

with Chicago Symphony Orchestra

joined by Alexander Gavrylyuk, New Zealand

Symphony Orchestra, Helsinki Philharmonic

Orchestra, Orchestre National

de France and Tapiola Sinfonietta. He

makes return visits to Atlanta Symphony

Orchestra, Toronto Symphony Orchestra,

BBC National Orchestra of Wales, Danish

National Symphony Orchestra, the

orchestra of the Royal Danish Academy

Copenhagen, Swedish Radio Symphony

Orchestra, Bayerische Staatsoper (Turandot)

and Deutsche Oper Berlin (Berlioz’s

Romeo and Juliet). Plans with

RSNO include tours to China and the

United States, premieres of new commissions

and Marsalis’ Violin Concerto with

Nicola Benedetti.

Recent highlights include debuts

with Rundfunk Sinfonieorchester Berlin,

Bern Symphony Orchestra, Gurzenich-

Orchester Köln, SWR Baden-Baden, Orchestre

Philharmonique de Strasbourg

and return visits to Sydney Symphony

Orchestra, Orchestre National du Capitole

de Toulouse and the revival of The

Magic Flute with Norwegian Opera.

A passionate supporter of the music

of Carl Nielsen, his most recent programme

with Swedish Radio Symphony

Orchestra (Symphony No.5) received

wide praise as “equal of the great pioneers

of Nielsen interpretation… It’s

harder to imagine a finer performance of

this remarkable symphony” (Dagens Nyheter).

As part of the 2015 anniversary

celebrations of both Sibelius and Nielsen

he conducted a wide variety of works by

these two composers with many leading

orchestras. In 2019 he will participate in

a special concert to celebrate Nielsen’s

work with the Royal Danish Academy of

Music Copenhagen.

Thomas is also an experienced opera

conductor at home in mainstream

and contemporary repertoire. Previous


11

opera includes Bayerische Staatsoper

(Turandot), Norwegian Opera (Die Zauberflöte),

Deutsche Oper Berlin (world

premiere of Scartazzini's Edward II) and

Tosca, Turandot (Nina Stemme) and Les

dialogues des Carmelites for Kungliga

Operan (Royal Swedish Opera). He was

described as “a sensation” at his debut

with the Royal Danish Opera conducting

Ruders’ opera Kafka’s Trial: “He is one of

the best things that has happened to the

art of opera for many years” and subsequent

productions there have included Il

barbiere di Siviglia, Le Nozze di Figaro, La

bohème, Cunning Little Vixen and Il viaggio

a Reims.

Releases with BBCNOW include Sibelius

Symphonies 1, 2, 6 & 7 and most

recently a disc which shines light on Sibelius’

tone poems and theatre music,

featuring Finlandia and Valse Triste (Linn

Records). Other noteworthy recordings

include Vilde Frang’s celebrated first recording

for EMI, and Ruders’ Piano Concerto

No.2 on Bridge Records which was

nominated for a Gramophone Award in

2011. In 2011 he was awarded the prestigious

Queen Ingrid Foundation Prize for

services to Music in Denmark. Due for

release shortly are the Lutoslawski and

Dutilleux cello concertos with Johannes

Moser and Rundfunk Sinfonieorchester

Berlin for Pentatone. n

OLGA KERN piano

Russian-American pianist Olga Kern is

now recognized as one of her generation’s

great pianists. She jumpstarted her

U.S. career with her historic Gold Medal

win at the Van Cliburn International Piano

Competition in Fort Worth, Texas as

the first woman to do so in more than

thirty years.

First prize winner of the Rachmaninoff

International Piano Competiphoto

by © Chris Lee


12

tion at seventeen, Ms. Kern is a laureate

of many international competitions. In

2016 she served as Jury Chairman of

both the Seventh Cliburn International

Amateur Piano Competition and the

first Olga Kern International Piano Competition,

where she also holds the title

of Artistic Director. Ms. Kern frequently

gives masterclasses and since September

2017 has served on the piano faculty

of the prestigious Manhattan School

of Music.

For the 2018-19 season, Kern will

perform with the Moscow Philharmonic,

Santa Fe Symphony, and the St. Louis

Symphony, as well as opening Pacific

Symphony’s season. Olga will also be

featured soloist with the Royal Scottish

National Orchestra, both in Glasgow, and

on their Spring 2019 US tour. She will appear

in recitals in Chicago, Dallas, Detroit,

Southern California, Zurich, and Milan.

In recent seasons, Kern served as

Artist in Residence for the San Antonio

Symphony's 2017-18 season , had her

Chinese debut with the National Youth

Orchestra of China tour, performed concerts

with Detroit Symphony, Pacific

Symphony, Colorado Symphony, the

State of Mexico Symphony Orchestra,

Stuttgart Philharmonic, Tivoli Symphony

Orchestra, and La Jolla Music

Festival, and recitals in Santa Fe, New

Haven, Scottsdale, and San Francisco.

Ms. Kern opened the Baltimore Symphony's

2015-2016 centennial season

with Marin Alsop. Other season highlights

included returns to the Royal

Philharmonic with Pinchas Zukerman,

Orchestre Philharmonique de Nice with

Giancarlo Guerrero, a month-long tour

of South Africa for concerts with the

Cape and KwaZulu Natal philharmonics,

an Israeli tour with the Israel Symphony,

solo recitals at Sarasota's Van Wezel

Hall, New York's 92nd Street Y, and the

University of Kansas' Lied Center, and

recitals with Renée Fleming in Carnegie

Hall and Berkeley.

Ms. Kern’s discography includes her

Grammy Nominated recording of Rachmaninoff’s

Corelli Variations and other

transcriptions (2004), Brahms Variations

(2007) and Chopin Piano Sonatas

Nos.2 and 3 (2010). She was featured in

the award-winning documentary about

the 2001 Cliburn Competition, Playing

on the Edge. n


13

JEAN SIBELIUS

Born December 8, 1865,

in Hameenlinna (Tavastehus)

Died September 20, 1957,

in Jarvenpaa, near Helsinski

Symphony No.7, Op.105, C major

Sounds of nature pervade Sibelius’ orchestral

works: the calls of swans and

cranes, or wind rustling through leaves

and screaming through pine-tops. But

Sibelius looked deeper, to the very processes

of the natural world, for inspiration.

Rivers fascinated him: ‘I should

like to compare the symphony to a

river’, he wrote in his diary in 1912. ‘It

is born from various rivulets that seek

each other and in this way the river proceeds

wide and powerful toward the

sea.’ ‘But where do we get the water’,

he asks? Another entry provides an answer:

‘The musical thoughts – the motives,

that is – are the things that must

create the form and stabilise my path.’

In jottings like this, Sibelius was

clearly trying to define something that

he had already begun to notice in his

own music. In the slow movement of

his Fourth Symphony (1911) his ‘musical

thoughts’ had led him to create

a new kind of form – one could call it

‘variations in search of a theme’. Then

in the Fifth (1914-19) Sibelius arrived at

a still more original idea: a moderately

paced first movement which builds up

momentum like a river approaching rapids,

eventually boiling over into a thrilling

accelerating scherzo. But it was with

the Seventh Symphony (1924) that this

process of fusing separate ‘movements’

into a single, organic unity was to reach

its ultimate expression.

The most immediately striking feature

of the Seventh Symphony - apart

from its famous, noble trombone theme

- is that it is in one continuous move-

CAMA AT THE GRANADA THEATRE - PHILHARMONIA ORCHESTRA

14

ment. Granted Sibelius wasn’t the first

composer to attempt a symphonic

structure in one movement. There

was already a magnificent example in

Schoenberg’s First Chamber Symphony

(1906). In the Schoenberg, however, it

is easy to pick out sections which resemble

the traditional symphonic first

movement, scherzo, slow movement

and so on. Sibelius’ Seventh follows a

different, much more river-like course.

The speed and character of the music

change frequently, but the different sections

(if ‘sections’ is the right word) are

so skillfully dovetailed that it is virtually

impossible to say where one begins and

another ends.

Arriving at this radical new kind of

symphonic structure was a struggle.

And when Sibelius had finished it, he

was suddenly overcome with doubt:

had he gone too far this time – was

this really a ‘symphony’ at all? When

the work first appeared in 1924, Sibelius

cautiously gave it another title,

Fantasia Sinfonica. But the work’s success

gave him courage, and Sibelius

was soon referring to it as ‘the Seventh

Symphony’.

The Symphony’s originality becomes

obvious as soon as one tries to

describe its form: one could say that

three Adagio sections - each centred on

the magnificent trombone theme mentioned

above – merge into and emerge

from two faster episodes. But even that

is too simple. At the very beginning, after

the expectant rising string scale that

starts the process, the woodwind, horn

and string phrases seem initially to be

moving at slightly different speeds –

like objects borne along on the different

currents and eddies of a great river.

After the trombone theme makes its

climactic appearance, the initial Adagio

gradually mutates into a rapid, scherzo-like

Vivacissimo. But then the dancing

string figures begin to move more

smoothly, and the trombone theme

is heard again, now in the minor. The

strings still seem to be moving quite

fast, but the trombone theme retains


its original monumental grandeur – to

borrow an image from Sibelius’ sketchbook,

it is like seeing the moon through

swirling storm-clouds.

After this moment of vision, the

music surges on into an Allegro molto

moderato. This seems steady enough

for a while, but then comes a pause,

and a sudden gear-change (the only

one in the entire Symphony): leading

to a long Presto crescendo powered

by driving string figures and the rising

scale that began the symphony (now

on horns). Through these the trombone

theme returns in full, this time

in the original sunlit C major. There is

an elemental climax, then the clouds

vanish and high strings initiate a slow,

chorale-like winding down. A brief

reminiscence of the trombone theme

leads to a moment of hush (woodwind

and strings), before the music settles

firmly in C major for the rock-like final

cadence.

© Stephen Johnson


16

SERGEI

RACHMANINOFF

Born April 1, 1873 in Semyonovo

Died March 28, 1943 in Beverly Hills

Rhapsody on a Theme

of Paganini, Op.43

The inspiration

Rachmaninov’s 1934 Rhapsody consists

of 24 variations on a pithy but

memorable tune by 18th-century Italian

violinist Nicolò Paganini (1782-

1840): his 24th Caprice for solo violin

— itself a theme with variations. Rachmaninov

was not the first to see the

melody's potential for further invention,

with Brahms and Liszt both basing

virtuoso piano works on it, and when

the choreographer Michael Fokine suggested

to him that they collaborate on

a ballet, Rachmaninov pushed hard for

the Rhapsody, elaborating on his own

imagined visual scenario: ‘Consider

the Paganini legend – about the sale

of his soul to the evil spirit in exchange

for perfection in art, and for a woman.

All variations on the Dies Irai would be

for the evil spirit.’

The music

There is certainly a devilish quality

about the opening, presenting in skeletal,

mysterious form the bare ‘bones’ of

Paganini’s tune. After this first variation

the theme itself is heard plainly on the

violins, sharpened by some initial brittle

notes from the soloist. The piano then

resumes the variations, rudely pinging

out the first phrases of the theme before

dashing away in exuberant scales.

Rachmaninov now begins to totally

break down Paganini’s tune, often exploiting

stark contrasts of texture and

technique between piano and orchestra.

One moment, the soloist plays a nonchalant,

almost lazy foil to a feverishly chat-


tering woodwind section – while in the

next, it is full of elfin humour and impatient

rushings over sober strings. Much

of the dramatic impetus comes from

the juxtaposition of the Paganini music

with a tune based on the medieval Dies

Irai plainchant; this first appears in the

seventh variation in the piano’s sober,

somehow monastic chords, with doleful

commentary from a bassoon.

The piece is notable not only for

Rachmaninov’s tireless, febrile creativity

with his material, but also for the

orchestral variety and colour. In the demonic

ninth variation, for example, the

strings conjure unearthly sounds from

the wooden edge of their bows joined

by nasty, cheeping woodwinds, and then

an anxiously tapping cymbal. Effects of

the greatest delicacy abound too; when,

out of a silence, single plucked violin

tones begin to tread forward, a gently

poised minuet begins, featuring yearning

solos from clarinet, horn and cellos.

The actual methods by which Rachmaninov

varies the theme are often disarmingly

simple; the tune of the muchloved

eighteenth variation is formed

by merely turning the first five notes

of the Paganini theme upside down!

SERGEI

PROKOFIEV

© Robin Versteeg

Born April 23, 1891 in Sontzovka, Ukraine

Died March 5, 1953 in Moscow

Symphony No.5, Op.100,

B-flat major

In 1936 Prokofiev, with his family, made

a final return to the Soviet Union to settle

for good. While he had the undoubted

satisfaction of being at home in his

native land, with the added stimulus

of the fellowship of his countrymen after

years of wandering, the remaining

17 years of his life were far from easy.

Prokofiev’s return coincided with some

difficult times in the musical and artistic

life of the Soviet Union, from which

his emeritus status was by no means

a guarantee of protection. But despite

these difficulties in working circumstances

and the reception of compositions,

there were also stimulating times

for the composer. In the late 1930s Prokofiev

began his historic collaboration

with the film director Sergey Eisenstein

and a remarkably successful encounter

with socialist realism in the Cantata for

the Twentieth Anniversary of the October

Revolution (1937), even if the work was


not deemed sufficiently socialist or realist

by the authorities.

The early 1940s were marked by

personal misfortune for Prokofiev. In

Spring 1941 he had a number of heart

attacks. Along with his physical disability

came the dissolution of his marriage

and evacuation to the remoter parts of

the Soviet Union as part of a policy to

remove the artistic community from the

immediate effects of the War. But these

were also productive years in which he

composed the monumental opera based

on Tolstoy’s War and Peace and the ballet

Cinderella.

The same period of difficulty and

constraint saw the composition of the

Fifth Symphony in B flat. It was composed

in 1944 and premiered on 13 January

1945 with Prokofiev conducting - his

last public performance. The success

which greeted the unveiling of this work

was very much the high summer of the

composer’s career in the Soviet Union.

The enthusiastic reception was genuine

and heartfelt, and the Symphony has

maintained a hold on the repertoire both

in Russia and abroad. The contemporary

fate of the Symphony stood in marked

contrast to Prokofiev’s next attempt at

the genre. The Sixth Symphony, along

with Shostakovich’s Eighth, was branded

as ‘formalist’. And 1948 saw the widespread

condemnation of much of the

composer’s work and his gradual retreat

from public life.

Prokofiev was well aware of the significance

of his Fifth Symphony. In an

introduction to a broadcast of the work

in 1945 he mentioned that it was his first

work in the genre for 16 years. He went

on to say that he conceived it as an expression

of ‘the greatness of the human

spirit’. That his view of the ‘human spirit’

was clearly optimistic is evident from

the prevalent tone of the score, most

especially in the final movement. But

occasional moments of darkness and

introspection indicate a rounded view


19

of humanity in what must be considered

one of Prokofiev’s most successful

works.

The gentle lyrical opening generates

much of the material of the first movement,

including some vigorous development.

The broad return of the main theme

leads to a grand, march-like peroration.

While the first movement breathes the air

of joyful aspiration, the scherzo-like second

communicates through its charm

and wit; its graceful central section has

clear affinities with the music for Cinderella,

composed shortly before the

Symphony. The Adagio continues in the

same vein of sustained lyricism, with the

brief tension of the middle section giving

way to a grand and dignified climax. The

Finale begins modestly enough, with

some delicately orchestrated introductory

gestures before the violas introduce

the body of the movement. The breezy

main theme appears first in the clarinet

before it is taken up by the other sections

of the orchestra. The prevalent tone is

light and understated, with Prokofiev

keeping the full force of the orchestra in

check apart from occasional moments

of development. The end comes abruptly

after some strangely comic cadence

gestures from an orchestra reduced

to soloists. n


Thomas Sondergard Conductor

Olga Kern Piano

1 ST VIOLIN

Maya Iwabuchi

Leader

Emily Davis

Tamás Fejes

Assistant Leader

Lena Zeliszewska

Patrick Curlett

Barbara Paterson

Jane Reid

Caroline Parry

Ursula Heidecker Allen

Tania Passendji

Elizabeth Lloyd

Lorna Rough

Susannah Lowdon

Alan John

2 ND VIOLIN

Xander van Vliet

Principal

Jacqueline Speirs

Jessica Ling

Marion Wilson

Christopher Ffoulkes

Nigel Mason

Michael Rigg

Paul Medd

Anne Bünemann

Sophie Lang

Liam Lynch

Alice Rickards

VIOLA

Tom Dunn Principal

Luba Tunnicliffe

Benjamin Kaminski

Susan Buchan

Rik Evans

Lisa Rourke

Claire Dunn

Nicola McWhirter

Maria Trittinger

Francesca Hunt

CELLO

Aleksei Kiseliov Principal

Betsy Taylor

Arthur Boutillier

William Paterson

Ruth Rowlands

Rachael Lee

Miranda Phythian-Adams

Laura Sergeant

DOUBLE BASS

Ana Cordova Principal

Margarida Castro

Michael Rae

Paul Sutherland

Sally Davis

Paul Speirs

FLUTE

Katherine Bryan Principal

Helen Brew

Janet Richardson Principal

Piccolo

OBOE

Adrian Wilson Principal

Peter Dykes

Mike Austin Cor Anglais

CLARINET

Matt Glendening

Guest Principal

Robert Fairley

Robert Digney

Eflat Clarinet

Duncan Swindells Principal

Bass Clarinet

BASSOON

David Hubbard Principal

Luis Eisen

Paolo Dutto Contrabassoon

HORN

Christopher Gough Principal

Alison Murray

Andrew McLean

David McClenaghan

Martin Murphy

TRUMPET

Christopher Hart Principal

Marcus Pope

Jason Lewis

Andrew Connell-Smith

TROMBONE

Dávur Juul Magnussen

Principal

Lance Green

Alastair Sinclair

Principal Bass Trombone

TUBA

John Whitener Principal

TIMPANI

Paul Philbert Principal

PERCUSSION

John Poulter

Associate Principal

Tom Hunter

Stuart Semple

Philip Hague

Julian Wolstencroft

HARP

Pippa Tunnell

PIANO & CELESTE

Lynda Cochrane

STAFF

Angela Moreland – Interim

Chief Executive

Bill Chandler – Interim

Deputy Chief Executive

Michael Cameron – Driver

and Assistant Stage

Manager

Bekah Cork – Artistic

Planning & Tours Manager

Ewen McKay – Head of

Orchestra Management

Fiona McLeod – Head of

Major Gifts

Daniel Pollitt –

Communications Manager

Craig Swindells – Stage &

Production Manager

Junping Qian – Assistant

Conductor


21


MASTERSERIES

AT THE LOBERO THEATRE

SEASON SPONSORSHIP: ESPERIA FOUNDATION

WEDNESDAY, APRIL 17, 2019, 8:00 PM

Augustin Hadelich violin

Orion Weiss piano

Named “Instrumentalist of the Year” for 2018 by Musical America,

Augustin Hadelich has firmly established himself as one of the world’s

great violinists – and one of classical music’s most inspiring performers. His

many honors also include a 2016 Grammy® and the inaugural 2015 Warner

Prize. He returns to CAMA for the 4th consecutive year following his riveting

performance of the Britten Violin Concerto with the St. Louis Symphony

at The Granada Theatre last season and will once again be playing the

“Kiesewetter” Stradivarius violin.

PROGRAM:

Ludwig van Beethoven: Violin Sonata No.4 in A minor, Op.23

Claude Debussy: Sonata in G minor (1917)

Francisco Coll: Hyperlude V (2014) (solo violin)

Eugène Ysaÿe: Sonata in E major for Solo Violin, Op.27, No.6, “Manuel Quiroga”

Johannes Brahms: Violin Sonata No.2 in A major, Op.100

Claude Debussy: L’isle joyeuse (1904) (solo piano)

John Adams: Road Movies (1995)

Co-Sponsors



Concert Partner

Lois Sandra Kroc


© Benjamin Brolet

MONDAY, MAY 6, 2019, 8:00 PM

Mischa Maisky cello

Lily Maisky piano

Kasskara ©Deutsche Grammophon

Lauded by The Guardian for his “dazzling precision, fleet brilliance, and tender lyricism”, Latvianborn

Israeli cello master Mischa Maisky is considered by many worldwide to be one of the

handful of greatest living cellists. He has the distinction of being the only cellist in the world

to have studied with both Mstislav Rostropovich and Gregor Piatigorsky and to carry on the

deep musical legacy of these two great 20th Century Russian masters of the cello. His romantic

emotion and absolute musical commitment carry the command of a true artist. It is fitting that

Mischa Maisky will return by popular demand to the historic Lobero for the closing recital of

CAMA’s historic 100th Concert Season.

PROGRAM:

Robert Schumann: Five Pieces in the Folk Style, Op.102

Johannes Brahms: Cello Sonata No.2 in F major, Op.99

Sergei Rachmaninoff: Mélodie in E major, Op.3, No.3 (transcription by Mischa Maisky)

Rachmaninoff: Vocalise, Op.34, No.14

Rachmaninoff: Elégie, Op.3, No.1 (transcription by Mischa Maisky)

Dmitri Shostakovich: Cello Sonata in D minor, Op.40 (1934)

Co-Sponsor: Ellen & Craig Parton Concert Partner: Raye Haskell Melville

TICKETS (805) 963-0761 lobero.com


23


Anne-Sophie Mutter

Esa-Pekka Salonen

Santa Barbara Band

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.

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

our concert programs.

Please contact either Elizabeth Alvarez or Nancy Lynn

at (805) 966-4324 to learn more.

Renée Fleming

Michael Tilson Thomas

André Previn

London Philharmonic

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

centennial honorary artists council

Itzhak Perlman

honorary co-chair

Sara Miller McCune

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

Leonard Slatkin

Christian Tetzlaff

Jean-Yves Thibaudet

Chris Thile

Michael Tilson Thomas

Dawn Upshaw

André Watts

Pinchas Zukerman


25


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


RONDO

$50,000–$99,999

Anonymous


Meg & Dan Burnham

NancyBell Coe & William Burke

Lois Sandra Kroc

Sara Miller McCune


Mari & Hank Mitchel



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

The Stephen & Carla Hahn

Foundation

The Walter J. & Holly O.

Thomson Foundation

The Towbes Fund for the

Performing Arts

Patricia Yzurdiaga

SONATA

$10,000–$24,999

Anonymous

Alison & Jan Bowlus

City of Santa Barbara

Bridget Colleary

George H. Griffiths and Olive

J. Griffiths Charitable Fund

Hollis Norris Fund


Ann Jackson Family

Foundation



Kum Su Kim & John Perry

Mary Lloyd & Kendall Mills

The Henry E. and Lola Monroe

Foundation

Montecito Bank & Trust

John & Ellen Pillsbury

Anne Smith Towbes

The Shanbrom Family

Foundation

Hubert Vos

The CAMA Women’s Board

VIVACE

$5,000–$9,999

Anonymous




Stephen Cloud

Edward DeLoreto


Jeff Young

Jill Doré Kent

Mahri Kerley/Chaucer's Books

ALLEGRO

$2,500–$4,999

Helene & Jerry Beaver

Shelley & Mark Bookspan

Bob Boghosian &

Beth Gates Warren

Suzanne & Peyton Bucy

Roger & Sarah Chrisman, Schlinger

Chrisman Foundation

Fredericka & Dennis Emory

Ronald & Rosalind A. Fendon

Mary & Raymond Freeman

Priscilla & Jason Gaines


Shirley Ann & James H. Hurley, Jr.

William H. Kearns Foundation

Connie & Richard Kennelly

Chris Lancashire &

Catherine Gee


Craig & Ellen Parton

Irene & Robert Stone/Stone

Family Foundation

Barbara & Sam Toumayan

Winona Fund

Zegar Family Fund—In honor

of CAMA’s 100th Anniversary and in

appreciation of their friendship with

Daniel P. Burnham

Lynn P. Kirst

Lois Kroc

Stefanie Lancaster Charitable

Foundation

MaryAnn Lange

Shirley & Seymour Lehrer

Dona & George McCauley

Performing Arts Scholarship

Foundation

Diana & Roger Phillips

Ann M. Picker

Dorothy Roberts


Judith F. Smith

Carrie Towbes & John Lewis

Steven Trueblood

(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.

Please call Elizabeth Alvarez should you notice any errors on these pages – (805) 276-8270.


27


CENTENNIAL CELEBRATION DONORS

(Continued from previous page)

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 Davis-Hadley

Margaret & Ronald Dolkart

Wendy & Rudy Eisler

Nancy Englander

Katina Etsell

Nancyann & Robert Failing

Margo & Bob Feinberg

Jill Felber

Catherine H. Gainey

Andrea & Ron Gallo

David Hamilton

Renee & Richard Hawley

Maison K

Karin Nelson & Eugene Hibbs/Maren Henle

Gerhart Hoffmeister

Joanne C. Holderman

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

Donald Rink

Tiffany & Justin Rizzo-Weaver

Regina & Rick Roney

Ada B. Sandburg


Anitra & Jack Sheen

Barbara & Wayne Smith

Marion Stewart

Milan E. Timm

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

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

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

Hensley & James Peterson

David & Dottie Pickering

Minie & Hjalmar Pompe van Meerdervoort

Patricia & Robert Reid

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



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 County Courthouse

Sunday, May 19, 2019

1:00 PM–4:00 PM

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!



OUR BUSINESS PARTNERS

Serving the public at the May 19 event!


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

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

In honor of

Joan Crossland

NancyBell Coe & Bill Burke

Carolyn & Dennis Naiman

Nancy Lynn


David Malvinni


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.

MEMORIAL GIFTS

Dr. Robert Failing

Mrs. Betty Meyer

Dr. Walter Picker

Ann M. Picker

Tita Lanning

Keith Mautino

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


Professor Frederick F. Lange

MaryAnn Lange

Harold M. Williams

Nancy Englander

Sybil Mueller

Lynn P. Kirst

Dr. Robert Sinsheimer

& Karen Sinsheimer

Bob Boghosian &

Beth 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



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)

Bridget B. Colleary

Edward DeLoreto

Karin Nelson & Eugene Hibbs, Jr.

and Maren N. Henle

Joanne C. Holderman

Lois Kroc

Ellen & Craig Parton

Andre & Michele Saltoun



April 5, 2019

Friday, Lecture begins at 7:00 PM

ROYAL SCOTTISH NATIONAL

ORCHESTRA

THOMAS SØNDERGÅRD, CONDUCTOR

The Granada Theatre

PRE-CONCERT LECTURE

ROBERT KOENIG, Professor and Vice Chair,

Department of Music, UC Santa Barbara.

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.


32


LIFETIME GIVING

DIAMOND

$500,000 and above

Anonymous

Bitsy & Denny Bacon and

The Becton Family Foundation

Suzanne & Russell Bock

Linda Brown*

The Andrew H. Burnett

Foundation

Esperia Foundation

The Stephen & Carla Hahn

Foundation

Judith L. Hopkinson


The Samuel B. & Margaret C.

Mosher Foundation

Sage Publications

The Elaine F. Stepanek

Foundation

Michael Towbes/The Towbes

Fund for the Performing Arts

SAPPHIRE

$250,000—$499,999

The CAMA Women's Board

Leni Fé Bland

Sara Miller McCune

The Wood-Claeyssens

Foundation

Patricia & Joseph Yzurdiaga

RUBY

$100,000—$249,999

Anonymous

The Adams Family Foundation

Joan C. Benson


Virginia Castagnola-Hunter

NancyBell Coe & William Burke

Robert & Christine Emmons

Mary & Raymond Freeman

Raye & Melville H. Haskell, Jr.

Hollis Norris Fund

Dolores M. & Immanuel Hsu

Shirley Ann & James H. Hurley, Jr.

Ann Jackson Family Foundation

Janet & Thomas Kelly/Winona

Fund

Shirley & Seymour Lehrer

John & Lucy Lundegard


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

The Henry E. & Lola Monroe

Foundation



Kathleen & John Moseley/

The Nichols Foundation

Nancy & William G. Myers

Michele & Andre Saltoun

The Santa Barbara Foundation

Jan & John G. Severson

Judith F. & Julian Smith

Jeanne C. Thayer

The Walter J. & Holly O.

Thomson Foundation

Union Bank

Marilyn & H.Wallace Vandever

The Wallis Foundation



EMERALD

$50,000—$99,999

Anonymous

Anonymous

Anonymous

Ruth Appleby

Linda & Peter Beuret

Edward & Sue Birch

Dan & Meg Burnham


Jane & Jack Catlett

Roger & Sarah Chrisman,

Schlinger Chrisman Foundation

Bridget & Robert Colleary

Suzanne & Maurice Faulkner

Arthur R. Gaudi

Sherry & Robert Gilson

George H. Griffiths and Olive J.

Griffiths Charitable Fund

Janette "Dotsy" Main Hellmann

& Richard Hellmann

Joanne C. Holderman


Hutton Parker Foundation


Lynn P. Kirst & Lynn R. Matteson

Lois Sandra Kroc

Betty & Max Meyer


Craig & Ellen Parton

Austin H. Peck


Foundation

Marjorie & Hugh Petersen/

La Arcada Trust Corp

Diana & Roger Phillips

Kathryn H. Phillips

Theodore Plute & Larry Falxa

Lady Leslie & Viscount Paul

Ridley-Tree


TOPAZ

$25,000—$49,999

Barbara & Edward Bakewell

Helene & Jerry Beaver

Bob Boghosian &

Beth Gates Warren

Alison & Jan Bowlus

Helen & Andrew Burnett


Huguette Clark

Cecelia & Leonard Dalsemer

Edward DeLoreto and

William DeLoreto

Patricia & Larry Durham

Nancyann & Robert Failing

Priscilla & Jason Gaines

Preston B. & Maurine M.

Hotchkis Family Foundation

The George Frederick

Jewett Foundation

Patricia Kaplan


Jeff Young


Jill Doré Kent

As of February 14, 2019


33

Westmont College, Trinity Episcopal Church,

CAMA, and American Guild of Organists Present

CHOIR OF NEW COLLEGE OXFORD

in concert Wednesday April 10, 7:00 p.m.

Trinity Episcopal Church

1500 State Street, Santa Barbara

$20 general admission; $10 students

www.westmont.edu/music | 805-565-6040


LIFETIME GIVING

Otto Korntheuer/The Harold L.

Wyman Foundation

Laura & Robert Kuhn

Chris Lancashire & Catherine Gee

Lillian & Jon Lovelace

Leatrice & Eli Luria

Marilyn & Frank Magid

Ruth McEwen

Frank McGinity

Sheila Bourke McGinity

Mary & James Morouse

Pat Hitchcock O'Connell

Efrem Ostrow Living Trust

Outhwaite Foundation

Carolyn & Ernest Panosian

John & Ellen Pillsbury

Mary Dell Pritzlaff & John Pritzlaff

Mary Louise & Kenneth W. Riley

The Shanbrom Family Foundation

Anitra & Jack Sheen


Marion & William Stewart

Irene & Robert Stone/Stone Family

Foundation

The Walter J. & Holly O. Thomson

Foundation

Ina & Martin Tornallyay

Carol & Edward R. Valentine

Susie & Hubert Vos

The Elizabeth Firth Wade

Endowment Fund

Marjorie K. & Roderick S. Webster

Westmont College

AMETHYST

$10,000—$24,999

Anonymous

Rebecca & Peter Adams

Christina & David Allison


Bernice & Mortimer Andron

Sally & Robert Arthur

Marta Babson

Marjorie & J.W. Bailey

Else Schilling Bard

Joan C. Benson

Leslie & Philip Bernstein

Frank Blue & Lida Light Blue

Toos & Erno Bonebakker

The CAMA Fellows

Margo & Charles Chapman

Chubb Sovereign

Carnzu A. Clark

Nan Burns & Dr. Gregory Dahlen

Karen Davidson, M.D.

Fredericka & Dennis Emory

Julie & William Esrey

Ronald & Rosalind A. Fendon

Audrey Hillman Fisher Foundation

David W. Fritzen/DWF Magazines,

DWF Media

International

Catherine H. Gainey

Tish Gainey & Charles Roehm


Kay & Richard Glenn

Corinna Gordon, Larry Dale Gordon

Dorothy & Freeman Gosden

Dianne & Robert S. Grant

Beverly & Bruce Hanna

Dolores & Robert Hanrahan

Lorraine C. Hansen

Margret & David F. Hart

Betty & Stan Hatch

Renee & Richard Hawley

Ruth & Alan Heeger

Karin Nelson & Eugene Hibbs/

Maren Henle

Mary & Campbell Holmes

Elizabeth & Gary Johnson

Glenn Jordan & Michael Stubbs

Martha & Peter Karoff

Mahri Kerley/Chaucer's Books

Linda & Michael Keston

Kum Su Kim

Catherine Lloyd/Actief-cm, Inc.

MaryAnn & Frederick Lange

Dora Anne Little

Cynthia Brown & Arthur Ludwig

Leatrice Luria

Ruth & John Matuszeski

Keith Mautino

Dona & George McCauley

Jayne Menkemeller

Sybil & Russell Mueller

Myra & Spencer Nadler

Fran & John Nielsen

Joanne & Alden Orput

Mr. & Mrs. Charles W. Partridge


Foundation

Patricia & Carl Perry

John Perry

Justyn & Ray Person

Susan & James Petrovich

Anne & C.Wesley Poulson

Susannah Rake

Jaquelin & Frank Reed

Jack Revoyr

Betty & Don Richardson

Grace Jones Richardson Trust

Dorothy Roberts

The Roberts Bros. Foundation

Regina & Rick Roney

Rebecca Ross

Betty Barrett & John Saladino

William E. Sanson

Maryan & Richard Schall

Nancy & William Schlosser

Pat & Roby Scott

Sally & Jan E.G. Smit

Constance & C.Douglas Smith

Betty J. Stephens

Diane & Selby Sullivan

The Godric Foundation

Joseph Thomas

Milan E. Timm

Carrie Towbes & John Lewis

Mark E. Trueblood

Steven Trueblood

Drs. Shirley & Kenneth Tucker

Barbara & Gary Waer

Lisa Bjornsen Wolf &

David Russell Wolf

Ann & Dick Zylstra

*promised

As of February 14, 2019


35


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.

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.

ABOUT THE AUTHOR

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 NOW

AT CHAUCER'S BOOKS

$30.00 + tax


BUSINESS SUPPORTERS

We thank the many businesses that support

CAMA's programs and events!

Laurel Abbott, Berkshire

Hathaway Luxury Properties

Alma Rosa Winey

American Riviera Bank

Babcock Winery

James P. Ballantine

Belmond El Encanto

Bertling Law Group

Bibi Ji

Black Sheep Restaurant

Blue Star Parking

Bon Fortune Style & Events

Brander Vineyard

Wes Bredall

Heather Bryden

Ca' Dario Ristorante

Camerata Pacifica

Casa Dorinda

Cebada Wine

C'est Cheese

Chaucer's Books

Chocolats du CaliBressan

Chooket Patisserie

Cottage Health System

Custom Printing

Eye Glass Factory

Felici Events

Finch & Fork

First Republic Bank

Flag Factory of

Santa Barbara

Frequency Wine

Gainey Vineyard

Grace Design Associates

Grassini Family Vineyards

Grimm’s Bluff

Colin Hayward/

The Hayward Group

Steven Handelman Studios

Hogue & Company

Holdren's Catering

Indigo Interiors

Inside Wine Santa Barbara

Islay A/V

Jardesca

Le Sorelle

Lumen Wines

Maravilla/Senior Resource

Group

Michael's Catering

Microsoft® Corporation

Mission Security


Montgomery Vineyard

Northern Trust

Oak Cottage of Santa

Barbara

Oceania Cruises

Olio e Limone/Olio Crudo

Bar/Olio Pizzeria

Opal Restaurant & Bar

Opera Santa Barbara

Pacific Coast Business Times

Pali Wine Co.

Peregrine Galleries


Foundation

Pete Clements Catering

Presqu’ile Winery

Regent Seven Seas Cruises

Renaud's Patisserie & Bistro

Rose Story Farm

Sabine Myers Design

SAGE Publishing

Santa Barbara Choral

Society


Santa Barbara Travel Bureau

Santa Barbara Winery

Stewart Fine Art

The Tent Merchant

The Upham Hotel

UCSB Arts & Lectures

Via Maestra 42

Westmont Orchestra


37

CAMA's Community

spotlight

CAMA celebrates

Mrs. Raymond King Myerson

in her 100 th year!

Mrs. Myerson with Nancy Lynn at the

Red Carpet Reception, Granada Theatre,

immediately before CAMA's opening concert

of the 100 th Season, October 2018.


Friday, April 5, 2019—CAMA Presents Royal Scottish National Orchestra—International Series at The Granada Theatre—Santa Barbara, CA—8:00 PM

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Friday, April 5, 2019—CAMA Presents Royal Scottish National Orchestra—International Series at The Granada Theatre—Santa Barbara, CA—8:00 PM