October 29, 2019—CAMA's Masterseries—Stephen Hough, piano—Lobero Theatre, Santa Barbara, California

justin.camasb

TUESDAY, OCTOBER 29, 2019, 8:00 PM
CAMA's Masterseries at The Lobero Theatre Presents
STEPHEN HOUGH piano

CAMA’s 101st Concert Season opens appropriately with the return of the highly regarded British pianist Stephen Hough. Named by The Economist as one of 20 Living Polymaths (“a person of great and varied learning”), he is a true renaissance man—a leading concert pianist, writer, composer, teacher and painter who has won global acclaim for his outstanding interpretations of the piano repertoire and has continued to amass awards, accomplishments, and accolades, gracing many of the most important concert stages in the world in recital and appearing as soloist with the most renowned international orchestras. He was the first classical performer to be awarded a MacArthur (Genius) Fellowship. In 2014, Queen Elizabeth appointed him a Commander of the Order of the British Empire (CBE) for services to music.

PROGRAM (on the theme of death...):
J.S. BACH (arr. Busoni): Chaconne for Violin Solo, from Partita II for Violin, BWV 1004 (BV B 24)
BUSONI: Berceuse élégiaque, Op.42 (BV 252a)
CHOPIN: Sonata No.2 in B-flat minor, Op.35
HOUGH: Sonata No.4 (Vida Breve)
LISZT: Funérailles, from Harmonies poétiques et religieuses (Poetic and Religious Harmonies), S.173
LISZT: Bagatelle sans tonalité, S.216a (Mephisto Waltz No.4)
LISZT: Mephisto Waltz No.1, S.514

#####

Presenting the world’s finest classical artists since 1919

a ROYAL

ANNIVERSARY SEASON

orld’s finest classical artists since 1919

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC.


Nell Campbell photo ©2019

We invite you to join the CAMA Board of Directors by

participating in CAMA’s historic and remarkable 100th Anniversary

Concert and Season with a Centennial Celebration Gift. Together

we will secure CAMA’s future as we move into our second century.

Robert K. Montgomery, President

Deborah Bertling, First Vice-President & Chair, Centennial Celebration Committee


MASTERSERIES

AT THE LOBERO THEATRE

SEASON SPONSORSHIP: ESPERIA FOUNDATION

Photo by Jiyang Chen

STEPHEN HOUGH

piano

Tuesday, October 29, 2019, 8:00 PM

Lobero Theatre, Santa Barbara


Presenting the world’s finest classical artists since 1919

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

MASTERSERIES AT THE LOBERO THEATRE • STEPHEN HOUGH

7


Two Nights! Two Programs!

Danish String Quartet

Tuesday Only U.S. Date! Wednesday

Performing with the

Danish National Girls’ Choir

Tue, Nov 12 / 7 PM / Granada Theatre

Tickets start at $30 / $19 UCSB students

A Granada facility fee will be added to each ticket price

Featuring works by Shostakovich and Bach, as well

as contemporary compositions and traditional folk

tunes, this spectacular program is not to be missed!

Wed, Nov 13 / 7 PM / UCSB Campbell Hall

Tickets start at $25 / $10 UCSB students

J.S. Bach: Fugue No. 16 in G minor, BWV 861 (arr. Förster)

Mendelssohn: String Quartet No. 2 in A minor, op. 13

Beethoven: String Quartet No. 15 in A minor, op. 132

“A truly fab four.”

– Mark Swed, Los Angeles Times

Presented in association with the UCSB Department of Music

Presented through the generosity of an anonymous patron

(805) 893-3535

www.ArtsAndLectures.UCSB.edu

Corporate

Season Sponsor:


Presenting the world’s finest classical artists since 1919

MASTERSERIES AT THE LOBERO THEATRE

SEASON SPONSORSHIP: ESPERIA FOUNDATION

DECEMBER

11

WED, 8:00 PM

2019

© Nicolas Lieber

© Pete Checchia

PAMELA

FRANK violin

PETER

SERKIN piano

Violinist Pamela Frank and pianist Peter Serkin are two of America’s most distinguished classical

musicians, both born in New York City to legendary musical families. Frank’s parents were both

esteemed pianists and pedagogues, as was Serkin’s famed father Rudolf Serkin. With musical

talent coursing through their blood, each has carved out an internationally respected career

performing in recital, with the most prominent orchestras and with other artists and chamber

groups. Peter Serkin decided suddenly in 1968 at age 21 to stop playing music altogether and

move to rural Mexico. It was hearing the music of J.S. Bach being broadcast over a radio from a

neighbor’s nearby house that moved him to return to his music career: “It became clear to me

that I should play again.”

PROGRAM

J.S. BACH – THE COMPLETE SIX SONATAS FOR VIOLIN AND KEYBOARD

Principal Sponsor: The Stephen Hahn Foundation

Co-Sponsors: Anonymous • Jocelyne & William Meeker • Craig & Ellen Parton

TICKETS (805) 963-0761 lobero.com


INTERNATIONAL SERIES

AT THE GRANADA THEATRE

ROYAL

PHILHARMONIC

JANUARY 27, 2020

Sponsors

Alison & Jan Bowlus

Hollis Norris Fund

Judith L. Hopkinson

The Elaine & Herbert

Kendall Charitable Trust

Sara Miller McCune

Co-Sponsors

Elizabeth & Andrew Butcher

Louise & Michael Caccese

Jocelyne & William Meeker

Barbara & Sam Toumayan

100 TH ANNIVERSARY CONCERT

LOS ANGELES

PHILHARMONIC

MARCH 6, 2020

Principal Sponsor

The Elaine F. Stepanek Foundation

Primary Sponsor

The Samuel B. And Margaret C.

Mosher Foundation

Northern Trust

Sponsor

Anonymous

Bob & Val Montgomery

Towbes Fund for the

Performing Arts

Co-Sponsor

Bitsy & Denny Bacon and The Becton

Family Foundation

Robert & Christine Emmons

Stephen J.M. & Anne Morris

4 CAMA'S 101ST CONCERT SEASON


SEASON SPONSORSHIP: SAGE PUBLISHING

ROTTERDAM

PHILHARMONIC

MARCH 26, 2020

Sponsor

Alison & Jan Bowlus

Bob & Val Montgomery

Michele & Andre Saltoun

Co-Sponsor

Jocelyne & William Meeker

Fran & John Nielsen

George & Judy Writer

CHINEKE!

APRIL 14, 2020

LES VIOLINS

DU ROY

APRIL 28, 2020

Sponsor

Marta Babson

Co-Sponsor

Edward DeLoreto

Jocelyne & William Meeker

LOS ANGELES

CHAMBER

ORCHESTRA

with Sheku Kanneh-Mason

MAY 18, 2020

Sponsors

Marta Babson

Bitsy & Denny Bacon and

The Becton Family Foundation

Meg & Dan Burnham

John & Ellen Pillsbury

Co-Sponsors

Jocelyne & William Meeker

MASTERSERIES AT THE LOBERO THEATRE • STEPHEN HOUGH

5


MASTERSERIES

AT THE LOBERO THEATRE

SEASON SPONSORSHIP: ESPERIA FOUNDATION

STEPHEN

HOUGH

OCTOBER 29, 2019

Co-Sponsors

Anonymous

Bitsy & Denny Bacon and

The Becton Family

Foundation

Alison & Jan Bowlus

Elizabeth Karlsberg &

Jeff Young

Stephen J.M. & Anne Morris

PAMELA

FRANK, VIOLIN

AND PETER

SERKIN, PIANO

DECEMBER 11, 2019

Principal Sponsor

The Stephen & Carla

Hahn Foundation

Co-Sponsors

Anonymous

Jocelyne & William Meeker

Craig & Ellen Parton

EMANUEL

AX, PIANO

JANUARY 13, 2020

Co-Sponsors

Anonymous

Alison & Jan Bowlus

Bob & Val Montgomery

Stephen J.M. & Anne Morris

Concert Partners

Deborah & Peter Bertling

Bob Boghosian & Beth

Gates-Warren

Bridget B. Colleary

Raye Haskell Melville

SERGIO

AND ODAIR

ASSAD, GUITARS

FEBRUARY 14, 2020

Sponsors

Bitsy & Denny Bacon and

The Becton Family

Foundation

Concert Partners

Robert & Christine Emmons

BENJAMIN

GROSVENOR, PIANO

MARCH 13, 2020

Co-Sponsors

Alison & Jan Bowlus

Jocelyne & William Meeker

Concert Partner

Stephen Cloud

Concert Sponsors as of January 2019

6 CAMA'S 101ST CONCERT SEASON


Presenting the world’s finest classical artists since 1919

BOARD OF DIRECTORS

(As of October 9, 2019)

ROBERT K. MONTGOMERY President

DEBORAH BERTLING First Vice-President & Chair, Centennial Celebration Committee

CRAIG A. PARTON Second Vice-President

Rosalind Amorteguy-Fendon

Marta Babson

Isabel Bayrakdarian

Bitsy Becton Bacon

Edward Birch

Jan Bowlus

Daniel P. Burnham

Andy Chou

Stephen Cloud

NancyBell Coe

Bridget B. Colleary

Christine B. Emmons

Jill Felber

Joanne C. Holderman

WILLIAM MEEKER Treasurer

JOAN R. CROSSLAND Secretary

Judith L. Hopkinson

Peter O. Johnson

Elizabeth Karlsberg

Raye Haskell Melville

George Messerlian

Hank Mitchel

Stephen J.M. (Mike) Morris

Patti Ottoboni

Carl Perry

Judith F. Smith

Judith H. Writer

Deborah Bertling,

President, CAMA Women’s Board

Emeritus Directors

(As of June 27, 2019)

Russell S. Bock*

Dr. Robert J. Emmons

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*

James H. Hurley, Jr.

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

(As of June 27, 2019)

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

MASTERSERIES AT THE LOBERO THEATRE • STEPHEN HOUGH

7


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Presenting the world’s finest classical artists since 1919

masterseries at THE LOBERO THEATRE

SEASON SPONSOR: ESPERIA FOUNDATION

STEPHEN HOUGH PIANO

Tuesday, October 29, 2019, 8:00 PM

Lobero Theatre, Santa Barbara

J.S. BACH (arr. Ferruccio Busoni) “Chaconne,” from Partita No.2 in D minor for violin,

(1685–1750) BWV 1004

FERRUCIO BUSONI

(1866–1924)

“Berceuse” (1909) from Elegia

FRÉDÉRIC CHOPIN

Piano Sonata No. 2 in B-flat minor, Op.35

(1810–1849) Grave—Doppio movimento

Scherzo

Marche funèbre: Lento

Finale: Presto

INTERMISSION

STEPHEN HOUGH

(b.1961)

Sonata No.4, “Vida Breve”

FRANZ LISZT

Funérailles

(1811–1886) Mephisto Waltz, “Bagatelle without Tonality”

Mephisto Waltz No.1

Recordings available on the Hyperion, BIS, Chandos, Warner Classics labels.

Stephen Hough appears by arrangement with CM Artists.

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

Masterseries Season Sponsor: Esperia Foundation

Co-Sponsors:

Anonymous • Bitsy & Denny Bacon and The Becton Family Foundation

Alison & Jan Bowlus • Elizabeth Karlsberg & Jeff Young

Stephen J.M. & Anne Morris

Program subject to change.

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.

MASTERSERIES AT THE LOBERO THEATRE • STEPHEN HOUGH

9


Sim Canetty-Clarke

STEPHEN HOUGH

piano

Stephen Hough is regarded as a Renaissance

man of his time. Over the course of

his career he has distinguished himself as

a true polymath, not only securing a reputation

as a uniquely insightful concert

pianist but also as a writer and composer.

Mr. Hough is commended for his mastery

of the instrument as well as an individual

and inquisitive mind that has earned him

a multitude of prestigious awards and a

longstanding international following.

Mr. Hough became the first classical

performing artist to win a MacArthur

Foundation Fellowship in 2001. He was

awarded the 2008 Northwestern University’s

Jean Gimbel Lane Prize in Piano and

went on to win the Royal Philharmonic Society

Instrumentalist Award in 2010, and

in December 2013, he was made a Commander

of the Order of the British Empire

(CBE). Since taking first prize at the 1983

Naumburg Competition in New York, Mr.

Hough has appeared with major American

and European orchestras and has given recitals

at the most prestigious concert halls

around the world. He has given recitals in

Beijing, Berlin, Chicago, Dublin, Hong Kong,

London, Milan, Montreal, New York, Paris,

MASTERSERIES AT THE LOBERO THEATRE • STEPHEN HOUGH

11


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San Francisco, Stockholm, Sydney, and Tokyo.

He has appeared with the BBC, Czech,

London, Los Angeles, Netherlands, New

York, and Royal philharmonics; the Atlanta,

Baltimore, BBC, Boston, Chicago, Houston,

Montreal, National, NHK, Pittsburgh, San

Francisco, St. Louis, and Toronto symphonies;

and the Budapest Festival, Cleveland,

Minnesota, Philadelphia, Russian National,

and Zürich Tonhalle orchestras; among

many other ensembles. He is a regular

guest at such festivals as Aldeburgh, Aspen,

Blossom, Edinburgh, Hollywood Bowl,

Mostly Mozart, Ravinia, Salzburg, Tanglewood,

Verbier, and the BBC Proms, where he

has made more than twenty-five concerto

appearances. At the 2019 Proms, he plays

Queen Victoria’s own piano in celebration

of the 200th anniversary of her birth, performing

Mendelssohn’s Piano Concerto

No.1 with the Orchestra of the Age of Enlightenment

under Ádám Fischer.

In recent seasons, Mr. Hough has

been especially focused on exploring

Beethoven’s five piano concertos, and to

celebrate the 250th anniversary of the

composer’s birth, he recently recorded all

five concertos with Hannu Lintu and Finnish

Radio Symphony Orchestra for release

by Hyperion Records in May 2020. In the

U.S. this spring, he also performs Piano

Concerto No.3 at The Kennedy Center with

the National Symphony Orchestra under

Louis Langrée, and Piano Concertos No.4

and 5 with the Asheville Symphony under

Music Director Darko Butorac. His recent

Beethoven concerto performances

have included concerts with the New York

Philharmonic and St. Louis Symphony, as

well as complete cycles around the world.

Beyond the concertos of Beethoven, Mr.

Hough’s U.S. performances with orchestra

this season include Rachmaninoff’s Piano

Concerto No.2 with the Toronto Symphony

Orchestra, Mozart’s Piano Concerto No.21,

K.467 with the Dallas Symphony Orchestra,

and Mendelssohn’s Piano Concerto No.1

with the Nashville and Oregon symphonies.

He also performs this season with orchestras

in Australia, China, Iceland, Korea, Malaysia,

the Netherlands, Singapore, Slovakia,

Sweden, and the U.K.

In recital, Mr. Hough performs a program

that explores the theme of death—a

topic that “people are often reluctant to

talk about,” he says, but which “has always

been a central subject [in the arts] resulting

in the most exalted and inexhaustible

expression.” The program comprises the

Bach-Busoni Chaconne in D minor, Busoni’s

Berceuse élégiaque, Chopin’s Sonata No.2

in B-flat minor, Liszt’s Funérailles, Bagatelle

sans tonalité, and Mephisto Waltz No.1, and

Mr. Hough’s own Sonata No.4 (Vida Breve),

which he premiered at Atlanta’s Spivey

Hall last season and has since performed

around the world. In North America this

season, he performs this program in Santa

Barbara, New Orleans, Fort Worth, Kingston

(Ontario), and at Caramoor in Katonah,

NY. International performances take place

in Germany, Taiwan, and the U.K., including

in London, Manchester, and Oxford.

He also performs his chamber compositions

in Oxford, Milan, and London, among

other cities, with such leading artists

MASTERSERIES AT THE LOBERO THEATRE • STEPHEN HOUGH

13


as violinist Renaud Capuçon and cellist

Steven Isserlis.

Mr. Hough has composed for orchestra,

choir, chamber ensemble, and solo

piano, and his compositions are published

by Josef Weinberger, Ltd. Among his more

than 40 published compositions are The

Loneliest Wilderness, a cello concerto premiered

by Steven Isserlis and the Royal

Liverpool Philharmonic in 2007; Was mit

den Tränen geschieht, commissioned by

members of the Berlin Philharmonic, which

received its world premiere at the Berlin

Philharmonie in 2009; and the string sextet

Requiem Aeternam (after Victoria), commissioned

by the National Gallery for its

2009 exhibition, “The Sacred Made Real:

Spanish Painting and Sculpture, 1600–

1700.” Among his numerous choral works

are “Hallowed,” premiered and recorded

by The Sixteen and Harry Christophers in

2018, as well as two masses—“Mass of Innocence

and Experience” and “Missa Mirabilis”—respectively

commissioned by and

performed at London’s Westminster Abbey

and Westminster Cathedral. In 2012,

the Indianapolis Symphony commissioned

and performed Mr. Hough’s own orchestration

of “Missa Mirabilis,” which was subsequently

performed by the BBC Symphony

as part of Mr. Hough’s residency with the

orchestra. “Missa Mirabilis” was recorded

by the Colorado Symphony and Chorus

for Hyperion, and both masses were performed

by the Minneapolis-based choral

group VocalEssence in 2017. Mr. Hough’s

Vida Breve piano sonata was preceded by

three earlier sonatas—broken branches

(2011), notturno luminoso (2012), and Sonata

III (Trinitas) (2015). He performs broken

branches on an all-Hough recording for

BIS that also includes The Loneliest Wilderness

with Steven Isserlis and the Tapiola

Sinfonietta, Was mit Tränen geschieht, Un

Piccolo Sonatina (for solo piccolo), Bridgewater

(for bassoon and piano), and Herbstlieder

(for baritone and piano). He recorded

his second sonata notturno luminoso for

his album In the Night on Hyperion and premiered

his Sonata for Cello and Piano, Left

Hand (Les Adieux) with Steven Isserlis in

2013, recording the work for Hyperion two

years later.

Mr. Hough has recorded over 60 albums

for Hyperion Records, with new releases

planned for the 2019–20 season. In

addition to the complete Beethoven piano

concertos, the record label is releasing two

new solo albums by Mr. Hough: Brahms’s

final piano works—the Fantasias, Intermezzi,

and Pieces, Ops.116–119—in January

2020, and Vida—featuring Mr. Hough’s

Vida Breve sonata and works by Chopin,

Liszt, Busoni, and Bach/Gounod—to be

released later that year. His recent recordings

for Hyperion include an all-Debussy

album, released to mark the centennial of

the composer’s death, which Mr. Hough

also honored in recital and in writing; and

the Dream Album, a collection of short

pieces by over a dozen composers, including

Liszt, Dvořák, Sibelius, and Mr. Hough

himself. All of the works selected for the

latter recording bear personal meaning for

him—from his favorite encores, to pieces

from his childhood, to works written for

14 CAMA'S 101ST CONCERT SEASON


MASTERSERIES AT THE LOBERO THEATRE • STEPHEN HOUGH

15


Santa Barbara County’s

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friends. Many of Mr. Hough’s recordings

for Hyperion have garnered international

prizes including the Deutscher Schallplattenpreis,

Diapason d’Or, Monde de la Musique,

several Grammy nominations, and

eight Gramophone Magazine Awards including

the 1996 and 2003 “Record of the

Year” Awards and the 2008 “Gold Disc”

Award, which named his complete Saint-

Saëns piano concertos the best recording

of the past 30 years. His 2012 recording

of the complete Chopin waltzes received

the Diapason d’Or de l’Année, France’s

most prestigious recording award. In the

course of the Liszt bicentenary in 2012, Mr.

Hough’s recordings of the Liszt Piano Sonata

and Années de Pèlerinage: Suisse were

recommended on BBC Radio 3’s “Building

a Library.” His 2004 live recording of the

Rachmaninoff piano concertos was the

fastest-selling recording in Hyperion’s history,

while his 1987 recording of the Hummel

concertos remains Chandos’ best-selling

disc to date. Mr. Hough is the featured

artist in an iPad and Apple TV app on the

Liszt Sonata in B Minor, which includes a

fully filmed performance and commentary,

released by TouchPress.

A noted writer, Mr. Hough has contributed

articles for The New York Times, The

Guardian, The Times (U.K.), Evening Standard,

The Tablet, Gramophone, and BBC Music

Magazine. For seven years, until 2016,

he wrote more than six hundred articles for

his blog on The Telegraph, which became

one of the most popular and influential forums

for cultural discussion. A major anthology

of essays by Mr. Hough on musical,

cultural, lifestyle, and spiritual subjects—titled

Rough Ideas: Reflections on Music and

More—is published by Faber & Faber (U.K.)

in August 2019 and Farrar, Straus and Giroux

(U.S.) in February 2020. This follows

his first novel, The Final Retreat, which was

published by Sylph Editions in 2018, and

his book The Bible as Prayer, published by

Continuum and Paulist Press in 2007. Also

an avid painter, Mr. Hough gave his first

exhibition in London at the Notting Hill–

based Broadbent Gallery in 2012. Entitled

“Appassionato,” this solo show displayed

nearly twenty abstract acrylic paintings

dating from 2007.

Mr. Hough resides in London and is a

visiting professor at the Royal Academy of

Music and Juilliard. He holds the International

Chair of Piano Studies at his alma

mater, the Royal Northern College in Manchester,

and he received an honorary doctorate

from the University of Liverpool in

2011. To learn more about Mr. Hough, visit

his website, stephenhough.com, follow

him on Twitter (@houghhough), and follow

his Facebook fan page.

MASTERSERIES AT THE LOBERO THEATRE • STEPHEN HOUGH

17


CAMA thanks our restaurant, food and wine

partners for the Centennial Bash!

Thank you.

Official Chocolatier of the

CAMA Centennial

18 CAMA'S 101ST CONCERT SEASON


INTRODUCTION

to the program

By Stephen Hough

People are often reluctant to talk about

death. Indeed, there is a superstition about

the number four in Chinese culture because

it shares the same spoken sound as that

dark D-word. But in the world of the arts—in

painting, literature and music—death has

always been a central subject resulting in

the most exalted and inexhaustible expression.

Indeed, the omnipresent image of a

dead man hanging on a cross is arguably

the foundational icon of Western culture.

In this recital I wanted to explore some

pieces which have this theme as part of

their identity or inspiration. Chopin’s Funeral

March sonata and Liszt’s Funérailles

speak for themselves—and that the latter

was written in the same month as the Polish

composer’s death may or may not have

been an accident. Bach’s Chaconne was

apparently written in memory of his first

wife and Busoni’s Berceuse acquired the

subtitle ‘the man’s lullaby at his mother’s

coffin’ when he orchestrated it. My 4th

piano sonata takes a more abstract if still

melancholy inspiration from such ideas:

life’s brevity, a ‘sonata' which ends sooner

than expected. And in Liszt’s two Mephisto

Waltzes we face the Devil himself—the

cause of death and its terrors in traditional

Christian devotion: the final fear for the final

hour.

Death: the only certainty in every life;

the final piece on everyone’s recital programme.

Ah, but what about the encores?

Sim Canetty-Clarke

MASTERSERIES AT THE LOBERO THEATRE • STEPHEN HOUGH

19


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20 CAMA'S 101ST CONCERT SEASON

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Vladimir Ovchinnikov

NOTES

on the program

By Howard Posner

Stephen Hough selected this program with

a central theme of death. A side effect

of that focus is that much of tonight’s music

is other-wordly in the sense that it is

not entirely of its own time: we get Bach

transformed into a Lisztian tour de force,

and Liszt and Chopin foreshadowing the

20th century.

A recently popular theory is that the

Chaconne in D minor from Johann Sebastian

Bach’s second Partita for unaccompanied

violin (and perhaps the entire set of

three sonatas and three partitas written in

a manuscript dated 1720), was a memorial

to his first wife, Maria Barbara. Bach, then

Kapellmeister at the court of Duke Leopold

of Anhalt-Cöthen, had left her in good

health when he travelled with the court to

the resort town of Carlsbad in the summer

of 1720, and returned two months later to

find that he had missed her funeral. We

don’t know whether he had already completed

the violin sonatas and partitas before

her death.

Although the sonatas and partitas remained

unpublished for a century, they

MASTERSERIES AT THE LOBERO THEATRE • STEPHEN HOUGH

21


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22 CAMA'S 101ST CONCERT SEASON


were well known and highly esteemed in

the 18th century. The Chaconne in particular

acquired an iconic status it has

never lost. In 1877 Brahms wrote to Clara

Schumann (whose late husband Robert

had written a piano accompaniment for

the Chaconne), “On one stave, for a small

instrument, the man writes a whole world

of the deepest thoughts and most powerful

feelings. If I imagined that I could have

created, even conceived the piece, I am

quite certain that the excess of excitement

and earth-shattering experience would

have driven me out of my mind.”

What seems to have impressed

Brahms is that the Chaconne’s limitations

are a key to its greatness. Much of the music

was implied: individual notes outline

chords or suggest contrapuntal voices that

the listener’s imagination winds up supplying.

(Brahms, something of purist who

would have felt at home in the modern early

music movement, retained those limitations

when created his own piano version

of the Chaconne for the left hand alone.)

And although a 1774 account describes

Bach himself playing the unaccompanied

violin music at the keyboard, fleshing out

the lines and harmonies, anyone arranging

the music for other instruments or

ensembles—and there are countless such

arrangements—faces the risk that making

it bigger and more explicit would actually

diminish it.

That risk did not bother composerpianist-essayist-former

child prodigy Ferruccio

Busoni. Italian by birth but German

by residence and aesthetic preference,

he was one of the foremost figures in the

Ferruccio Busoni

musical world when he made his expansive

Chaconne version in 1897. There is

as much Busoni as Bach in it: he adds full

harmonies, countermelodies and running

figures, in the process transforming Bach’s

violin piece into an exemplar of late-Romantic

pianism.

Busoni’s Berceuse élégiaque, composed

in 1909 and published with a set

of six other “elegies” composed in 1907,

marks a turn away from the late Romantic

style he had inherited and toward a more

modern and personal mode of expression.

In his 1922 book, The Essence of Music, he

wrote, “With this piece...I succeeded for

the first time in hitting upon my own sound

idiom and in dissolving the form into feeling,”

and that he was surprised that critics

thought it sounded like Debussy (whose

music he did not much like). When Busoni

created an orchestral version shortly after

composing it, he added the subtitle “The

man’s lullaby at his mother’s coffin.”

Frédéric Chopin’s second piano sonata,

composed mostly during the summer

of 1839 at George Sand’s country estate

in central France, is a distant cousin of

MASTERSERIES AT THE LOBERO THEATRE • STEPHEN HOUGH

23


Pilgrimage to Chopin's tomb at Père-Lachaise c.1920,

Bibliothèque nationale de France, Photographer Unknown

the sonatas that his contemporaries like

Schumann and Mendelssohn were writing.

To them, sonata form meant careful

working out and synthesizing of contrasting

themes in a traditional progression of

keys. Chopin did not have the musical

temperament, or perhaps the patience, for

such logical argument, and didn’t attempt

it very often.

Robert Schumann, as prominent a music

critic as he was a composer, noted both

the second sonata’s unsettled feeling and

its disregard for sonata form: “Only Chopin

begins and ends this way, with dissonances

through dissonances into dissonances.

But how many beauties, too, does this piece

contain! The idea of calling it a sonata is a

caprice, if not a jest, for Chopin has simply

bound together four of his most reckless

children, thus smuggling them together

under his name to a place into which they

could not else have penetrated.”

The stormy first movement is in a truncated

sonata form in which the development

leads into a half-recapitulation that

starts with the second theme. The scherzo

that follows continues the mood of the first

movement, but contrasts it with a pastoral

middle section.

The funeral march, probably composed

a year or two before the rest of the sonata,

is the most familiar of Chopin’s works, such

a cultural cliché that we know it as much

from comic use in children’s cartoons as

from funerals, where it has been so universal

that it was used in ceremonies for

both John F. Kennedy and Leonid Brezhnev.

But much of the movement is a consoling

middle section in D-flat major that is far removed

from the funeral, and even farther

removed from a march.

The brief whirlwind of a finale has always

been a puzzle. It scampers about in

parallel octaves in an almost atonal way

for about a minute and then stops, ending

with the first, last and only chord in the

movement. Schumann said “it resembles

mockery more than any kind of music,”

even as he was impressed with its “original

and terrifying spirit,” and likened it to

a “Sphynx with an ironic smile.” Chopin

himself wrote to a friend that the last two

movements were a funeral march followed

by a bit of gossip, which seems a bizarrely

flippant way to describe the finale. Here is

an instance in which we may never catch

up to the modernist Chopin.

Of his Sonata No.4, Stephen Hough

writes:

This piece is comprised of an

assemblage and manipulation of

five tiny motivic cells lasting a

few seconds each. After a page

24 CAMA'S 101ST CONCERT SEASON


MASTERSERIES AT THE LOBERO THEATRE • STEPHEN HOUGH

25


of doodling we hear them lined

up in a slow, expressive fugato.

This builds up to a climax restating

the opening improvised

whisper in shouting octaves at

the top of the piano after which

there is another fugato, this time

energetic and rhythmic. The

next climax places the fifth of

the motivic cells centre-stage in

a sudden passionate outburst

where we hear it more clearly as

a quote from the popular French

chanson ‘En Avril a Paris’, made

famous by Charles Trenet. The final

section allows all the cells to

take on a whirling, anarchic life of

their own leading to a headlong

conclusion, the opening page’s

hazy questioning answered with

six irate octaves at the bottom of

the keyboard.

I like subtitles. ‘Vida Breve’

has no reference to Manuel de

Falla's piece of the same name

but rather is meant to evoke the

Stephen Hough

melancholy of life's short duration

as well as to prepare the

listener for a sonata lasting only

around ten minutes.

Franz Liszt’s “Funérailles,” published

in 1853 as part of ten Harmonies poétiques

et religieuses, was inspired by the Hungarian

Revolution of 1848, a series of largescale

battles in which the Austrian Empire,

aided by the Russian army, crushed Hungary’s

quest for political independence.

Liszt, a Hungarian, had friends among the

many dead.

“Funérailles” begins with a desolate

tolling of bells, which leads to a funeral

march. The third section evokes a headlong

rush to battle, which halts for a recapitulation

of the themes from the first three

sections.

Liszt was one of the most adventurous

musical minds of the 19th century, and

his adventurousness did not ebb with age.

Between 1859 and 1885 he composed four

(or five) piano works he called “Mephisto

Waltz,” inspired by the legend of Faust,

who sold his soul to Mephistopheles for

earthly wisdom. The Faust story was a hot

property in European literature for generations.

By 1859, the body of plays, poems

and novels about Faust included works by

Marlowe, Goethe, Turgenev, Heinrich Heine,

and Nikolaus Lenau. Berlioz, Gounod,

and Schumann had all created operatic or

concert Fausts (in 1916 Busoni would begin

a Faust opera that was completed after

his death). Liszt himself had composed a

Faust Symphony in 1857.

26 CAMA'S 101ST CONCERT SEASON


and wrote “Fourth Mephisto Waltz” on the

manuscript of the Bagatelle, perhaps as

an afterthought.

There are no such uncertainties what

the first Mephisto Waltz means. Subtitled

“The Dance in the Village Inn,” it depicts an

episode from Lenau’s 1836 poem Faust, as

printed in the published score:

Franz Liszt

His Bagatelle without Tonality, composed in

1885 when he was 74, is an experiment that

abandons tonality in the sense that it never

establishes a key: it is short journey with

no tonal home or destination. It is not the

atonality that became pervasive in the 20th

century, which eschewed consonances

such as minor and minor chords. Rather, it

reverses the traditional functions of consonance

and dissonance. Instead of musical

sentences that begin with consonance and

use dissonance to create tension in passing

that is then resolved in consonance,

the Bagatelle’s sentences use major and

minor chords in passing on the way to dissonant

conclusions. This, of course, is how

Schumann described Chopin’s second sonata,

there’s no telling what he would have

thought of Liszt’s Bagatelle had he lived to

hear it.

It is unclear whether Liszt conceived

the Bagatelle as the last of the four Mephisto

Waltzes. He had already begun a fourth

Mephisto Waltz, but never finished it,

There is a wedding feast in

progress in the village inn, with

music, dancing, and carousing.

Mephistopheles and Faust pass

by, and Mephistopheles induces

Faust to enter and take part in

the festivities. Mephistopheles

snatches the fiddle from the

hands of a lethargic fiddler and

draws from it indescribably seductive

and intoxicating strains.

The amorous Faust whirls about

with a full-blooded village beauty

in a wild dance; they waltz in mad

abandon out of the room, into the

open, away into the woods. The

sounds of the fiddle grow softer

and softer, and the nightingale

warbles his love-laden song.

Liszt composed an orchestral version

of the first Mephisto Waltz with a different

ending that more explicitly represents

the retreat into the woods and the nightingale’s

song. We don’t know which version

came first.

—Howard Posner ©2019

28 CAMA'S 101ST CONCERT SEASON


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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

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

The Henry E. & Lola Monroe Foundation

$1,000–$9,999

CAMA Women's Board

William H. Kearns Foundation

Stefanie L. Lancaster Charitable Foundation

Sara Miller McCune

Performing Arts Scholarship Foundation

Westmont College

$100–$999

Becky & William Banning

William S. Hanrahan

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

Carolyn & Dennis Naiman

David Malvinni

Carolyn & Dennis Naiman

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

Elaine Kendall

NancyBell Coe & William Burke

and Sara Miller McCune

Dr. Dolores M. Hsu, PhD.

Jill Felber & Paul A. Bambach

Nancy Cudahy

Betty Meyer

David Marks

Bridget Colleary

Sharon Felber Taylor

Bridget Colleary

Tita Lanning

Keith Mautino Moore

Dr. Eric Boehm

Judy Pochini

Jim Ryerson

Christine Ryerson

Dr. Robert Failing

Betty Meyer

Professor Frederick F. Lange

MaryAnn Lange

MASTERSERIES AT THE LOBERO THEATRE • STEPHEN HOUGH

33


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

Herbert & Elaine Kendall

The Samuel B. & Margaret C.

Mosher Foundation

Sage Publications

The Elaine F. Stepanek

Foundation w

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

Deborah & Peter Bertling

Dan & Meg Burnham

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

Jocelyne & William Meeker

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

The Henry E. & Lola Monroe

Foundation

Montecito Bank & Trust

Bob & Val Montgomery

Stephen J.M. & Anne Morris

Kathleen & John Moseley/

The Nichols Foundation

Nancy & William G. Myers

Northern Trust

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

Nancy & Byron Kent Wood

George & Judy Write

EMERALD

$50,000—$99,999

Anonymous

Anonymous

Anonymous

Ruth Appleby

Marta Babson

Linda & Peter Beuret

Edward & Sue Birch

Bob Boghosian & Beth

Gates Warren

Alison & Jan Bowlus

Louise & Michael Caccese

Jane & Jack Catlett

Roger & Sarah Chrisman,

Schlinger Chrisman Foundation

Bridget & Robert Colleary

Edward DeLoreto and

William DeLoreto

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

Natalia & Michael Howe

Hutton Parker Foundation

Ellen & Peter Johnson

Elizabeth Karlsberg &

Jeff Young

Lynn P. Kirst & Lynn R. Matteson

Lois Sandra Kroc

Betty & Max Meyer

Craig & Ellen Parton

Austin H. Peck

Performing Arts Scholarship

Foundation

Marjorie & Hugh Petersen/

La Arcada Trust Corp

Diana & Roger Phillips

Kathryn H. Phillips

Theodore Plute & Larry Falxa

Lady Leslie & Viscount

Paul Ridley-Tree

Barbara & Sam Toumayan

TOPAZ

$25,000—$49,999

Barbara & Edward Bakewell

Helene & Jerry Beaver

Helen & Andrew Burnett

Elizabeth & Andrew Butcher

City of Santa Barbara

Huguette Clark

Cecelia & Leonard Dalsemer

Patricia & Larry Durham

Nancyann & Robert Failing

Priscilla & Jason Gaines

Ronald & Rosalind A. Fendon

Preston B. & Maurine M.

Hotchkis Family Foundation

The George Frederick

34 CAMA'S 101ST CONCERT SEASON


LIFETIME GIVING

Jewett Foundation

Patricia Kaplan

William H. Kearns Foundation

Jill Doré Kent

Otto Korntheuer/The Harold L.

Wyman Foundation

Kum Su Kim & John Perry

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

Dorothy Roberts

The Shanbrom Family Foundation

Anitra & Jack Sheen

Linda Stafford Burrows

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

Peggy & Kurt Anderson

Bernice & Mortimer Andron

Sally & Robert Arthur

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

Audrey Hillman Fisher Foundation

David W. Fritzen/DWF Magazines,

DWF Media International

Catherine H. Gainey

Tish Gainey & Charles Roehm

Dorothy & John Gardner

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

Catherine Lloyd/Actief-cm, Inc.

MaryAnn & Frederick Lange

Dora Anne Little

Cynthia Brown & Arthur Ludwig

Leatrice Luria

Ruth & John Matuszeski

Keith Mautino Moore

Dona & George McCauley

Jayne Menkemeller

Sybil & Russell Mueller

Myra & Spencer Nadler

Fran & John Nielsen

Joanne & Alden Orput

Mr. & Mrs. Charles W. Partridge

Performing Arts

Scholarship Foundation

Patricia & Carl 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

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

Nick & Patti Weber

Lisa Bjornsen Wolf & David

Russell Wolf

Ann & Dick Zylstra

*promised

As of October 2019

MASTERSERIES AT THE LOBERO THEATRE • STEPHEN HOUGH

35


MUSIC EDUCATION PROGRAM

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

Kristin Jackson

Graphic Design

Jardesca

Le Sorelle

Lumen Wines

Maravilla/Senior

Resource Group

Michael's Catering

Microsoft ® Corporation

Mission Security

Montecito Bank & Trust

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

Performing Arts

Scholarship 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 Foundation

Santa Barbara

Travel Bureau

Santa Barbara Winery

Stewart Fine Art

The Tent Merchant

The Upham Hotel

UCSB Arts & Lectures

Via Maestra 42

Westmont Orchestra

MASTERSERIES AT THE LOBERO THEATRE • STEPHEN HOUGH

37


Presenting the world’s finest classical artists since 1919

Presenting the world’s finest classical artists since 1919

WOMEN’S

BOARD

The CAMA Women’s Board Presents

in partnership with the Santa Barbara Public Library

2020 PRE-CONCERT LECTURE SERIES

Faulkner Gallery, Santa Barbara Central Library

and a special lecture event at The New Vic

The Women’s Board has invited local musical luminaries to speak before all six of CAMA’s

International Series concerts.

Dr. Michael Shasberger, Adams Chair of Music & Worship at Westmont College. Conductor

of Westmont Orchestra and Westmont College Choir.

January 27, 2020 at 6:45 PM, Faulkner Gallery, SB Central Library, prior to the 8:00 PM

performance by the Royal Philharmonic Orchestra; Pinchas Zucherman, conductor & violin

SPECIAL 100 TH ANNIVERSARY LECTURE AT THE NEW VIC

Hattie Beresford, Historic Researcher and Writer. Author of Celebrating CAMA’s Centennial:

Bringing the World’s Finest Classical Music to Santa Barbara.

March 6, 2020 at 5:15 PM, The New Vic, prior to the Gala 100th Anniversary Concert at

7:00 PM by the Los Angeles Philharmonic; Gustavo Dudamel, Music Director (NOTE: Early

start time for lecture and concert.)

Simon Williams, PhD, Professor Emeritus, UCSB Department of Theater & Dance, Opera &

Theater Critic.

March 26, 2020 at 6:45 PM, Faulkner Gallery, SB Central Library, prior to the

8:00 PM performance by the Rotterdam Philharmonic Orchestra; Lavi Shani, conductor;

Nelson Freire, piano

Ani Aznavoorian, Principal Cellist with Camerata Pacifica, performing and recording artist.

April 14, 2020 at 6:45 PM, Faulkner Gallery, SB Central Library, prior to the 8:00 PM

performance by Chineke! Orchestra; Kevin John Edusei, conductor; Stewart Goodyear, piano

David Malvinni, PhD, musicologist, classical guitarist, author and creator of CAMA's

outreach program, “Music Matters.”

April 28, 2020 at 6:45 PM , Faulkner Gallery, SB Central Library, prior to the 8:00 PM

performance by Les Violons du Roy; Jonathan Cohen, conductor; Avi Avital, mandolin

Jennifer Kloetzel, cellist, Assistant Professor of Cello and Chamber Music and Head of

String Area at UCSB Department of Music, performing and recording artist.

May 18, 2020 at 6:45 PM, Faulkner Gallery, SB Central Library, prior to the 8:00 PM

performance by Los Angeles Chamber Orchestra; Jaime Martín, conductor; Sheku

Kanneh-Mason, cello

38 CAMA'S 101ST CONCERT SEASON


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