Wednesday, December 11, 2019—Pamela Frank, violin and Stephen Prutsman, piano play Bach's Complete Sonatas for Violin and Keyboard—CAMA's Masterseries at The Lobero Theatre, Santa Barbara, California

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 Nicolas Lieber 

PAMELA 

FRANK 

violin 

STEPHEN 

PRUTSMAN 

piano 

Wednesday, December 11, 2019, 8:00 PM 

Lobero Theatre, Santa Barbara

Community Arts String Orchestra 


Anne-Sophie Mutter 

Esa-Pekka Salonen 

Santa Barbara Band 

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

“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!” 

Lisa-Marie MAzzucco photo 

—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 • PAMELA FRANK | STEPHEN PRUTSMAN 

6

A Uniquely Personal 

Multimedia Experience 

An Evening with 

Itzhak Perlman 

Stories of His Life and Career 

“Itzhak Perlman has 

had a five-star career, made 

five-star recordings and 

remains indelibly a five-star 

presence on the concert 

platform.” 

The Guardian (U.K.) 

Join us for Itzhak Perlman’s special 75th birthday celebration! The beloved 

violin virtuoso will share stories from his life and career and perform with 

longtime pianist Rohan De Silva. This extraordinary event promises to be an 

exceptional evening with one of classical music’s singular figures. 

Presented through the generosity of Sara Miller McCune 

Tue, Jan 21 / 6:30 PM (note special time) / Granada Theatre 

Tickets start at $50 / $25 UCSB students 

A Granada facility fee will be added to each ticket price 

Corporate Season Sponsor: 

(805) 893-3535 | www.ArtsAndLectures.UCSB.edu 

Granada event tickets can also be purchased at: (805) 899-2222 | www.GranadaSB.org


MASTERSERIES AT THE LOBERO THEATRE 


JANUARY 

13 

MON, 8:00 PM 

2020 

© Lisa Marie Mazzucco 

EMANUEL 

AX piano 

Few American pianists are as accomplished as the masterful Emanuel Ax. Between 1986 and 

1996, Ax was awarded five Grammy® Awards for Best Chamber Music Performance for his 

collaborations with Yo-Yo Ma, Jaime Laredo, Isaac Stern and Richard Stoltzman. Additionally, Ax 

has twice been recognized for his solo work, winning the Grammy® Award for Best Instrumental 

Soloist Performance (without orchestra) in 1995 and 2004. Ax’s all-Beethoven recital focuses on 

widely and lesser known masterpieces of the iconic master’s large piano canon in celebration of 

the 250th Anniversary of Beethoven’s birth in Bonn, Germany in 1770. 

ALL-BEETHOVEN PROGRAM 

Co-Sponsors: Anonymous • Alison & Jan BowlusBob & Val Montgomery 

Stephen J.M. & Anne Morris 

Concert Partners: Deborah & Peter Bertling • Bob Boghosian & Beth Gates-Warren 

Bridget B. Colleary • Dorothy & John Gardner • Raye Haskell Melville 

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 


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 


4 CAMA'S 101ST CONCERT SEASON

SEASON SPONSORSHIP: SAGE PUBLISHING 

ROTTERDAM 

PHILHARMONIC 

MARCH 26, 2020 

Sponsor 



Michele & Andre Saltoun 

Co-Sponsor 

Geri & Jerry Bidwell 


Fran & John Nielsen 

George & Judy Writer 

CHINEKE! 

APRIL 14, 2020 

LES VIOLONS 

DU ROY 

APRIL 28, 2020 

Sponsor 

Marta Babson 

Co-Sponsor 

Edward DeLoreto 


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 



5

MASTERSERIES 

AT THE LOBERO THEATRE 


STEPHEN 

HOUGH, PIANO 

OCTOBER 29, 2019 

Co-Sponsors 

Anonymous 


The Becton Family 

Foundation 


Elizabeth Karlsberg & 

Jeff Young 


PAMELA 

FRANK, VIOLIN 

AND STEPHEN 

PRUTSMAN, PIANO 

DECEMBER 11, 2019 

Principal Sponsor 

The Stephen & Carla 

Hahn Foundation 

Co-Sponsors 

Anonymous 


Craig & Ellen Parton 

EMANUEL 

AX, PIANO 

JANUARY 13, 2020 

Co-Sponsors 

Anonymous 




Concert Partners 

Deborah & Peter Bertling 

Bob Boghosian & Beth 

Gates-Warren 

Bridget B. Colleary 

Dorothy & John Gardner 

Raye Haskell Melville 

SERGIO 

AND ODAIR 

ASSAD, GUITARS 

FEBRUARY 14, 2020 

Sponsors 


The Becton Family 


Concert Partners 


BENJAMIN 

GROSVENOR, PIANO 

MARCH 13, 2020 

Co-Sponsors 



Concert Partner 

Stephen Cloud 

Concert Sponsors as of January 2019 


PERSONALIZED AND PASSIONATE REPRESENTATION 

Bertling Law Group provides compassionate and committed 

representation in cases involving employment law, elder abuse, 

serious and catastrophic personal injuries, wrongful death, 

sexual harassment and medical malpractice for veterans. 

Please call Peter Bertling for a free consultation (844) 295-7558 

BERTLINGLAWGROUP.COM 


7


BOARD OF DIRECTORS 

(As of October 9, 2019) 

ROBERT K. MONTGOMERY 

President 

DEBORAH BERTLING 

First Vice-President & Chair, Centennial Celebration Committee 

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 

CRAIG A. PARTON 

Second Vice-President 

WILLIAM MEEKER 

Treasurer 

JOAN R. CROSSLAND 

Secretary 

Jill Felber 

Joanne C. Holderman 


Elizabeth Karlsberg 

Raye Haskell Melville 

George Messerlian 

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 October 24, 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.* 


Mary Lloyd Mills 

Mrs. Ernest J. Panosian* 

Kenneth W. Riley* 

Andre Saltoun 

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

Open House for all International Series 

and Masterseries Subscribers 

On Wednesday December 18, the CAMA Staff 

will host an Open House at the CAMA, 3 pm to 5 pm. 

We hope to see you there! 

Please let the CAMA office know if you will 

join us 805 966-4324.

e h a v e d e s i g n e d + p r o d u c e d o v e r 

W 

0 0 f l a w l e s s e v e n t s f o r o u r d e l i g h t e d 

3 

Felici Events 

t s 

c l i e n t s o v e r t h e l a s t 1 2 y e a r s . 

www.felicievents.com 

805.895.3402


masterseries at THE LOBERO THEATRE 

SEASON SPONSOR: ESPERIA FOUNDATION 

PAMELA FRANK VIOLIN 

STEPHEN PRUTSMAN PIANO 

Wednesday, December 11, 2019, 8:00 PM 

Lobero Theatre, Santa Barbara 

JOHANN SEBASTIAN BACH 

(1685–1750) 

The Complete Sonatas for Violin and Keyboard 

Sonata in A major, BWV 1015 Sonata in C minor, BWV 1017 

Andante 

Largo 

Allegro 

Allegro 

Andante un poco 

Adagio 

Presto 

Allegro 

Sonata in F minor, BWV 1018 Sonata in B minor, BWV 1014 

Largo 

Adagio 

Allegro 

Allegro 

Adagio 

Andante 

Vivace 

Allegro 

Sonata in E major, BWV 1016 Sonata in G major, BWV 1019 

Adagio 

Allegro 

Allegro 

Largo 

Adagio ma non tanto 

Allegro 

Allegro 

Adagio 

Allegro 

INTERMISSION 

Exclusive Management: Opus 3 Artists 

470 Park Avenue South, New York NY 1001 

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

Masterseries Season Sponsor: Esperia Foundation 

Prinicipal Sponsor: The Stephen & Carla Hahn Foundation 

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

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. 


11

Photo by Nicolas Lieber 

PAMELA FRANK 

violin 

Pamela Frank has established an outstanding 

international reputation across 

an unusually varied range of performing 

activity. As a soloist she has performed 

with leading orchestras including the New 

York Philharmonic, the Chicago Symphony 

Orchestra, the San Francisco Symphony, 

Academy of St. Martin in the Fields, the 

Berlin Philharmonic and the St. Petersburg 

Philharmonic. Pamela performed regularly 

with the Zurich Tonhalle Orchestra, recording 

the complete Mozart Violin Concertos 

with them and David Zinman and has 

also recorded a Schubert album and the 

Beethoven sonata cycle, both with her father 

Claude Frank. Pamela is a sought-after 

chamber musician and has performed 

at many international festivals including 

Aldeburgh, Verbier, Edinburgh, Salzburg, 

Tanglewood, Marlboro and Ravinia. 

Aside from her devotion to works of 

the standard repertory, Pamela has performed 

and recorded a number of contemporary 

works. Her accomplishments were 

recognized in 1999 with the prestigious 

Avery Fisher Prize. Pamela is professor 

of violin at the Curtis Institute of Music 

and teaches and coaches annually at the 

Tanglewood, Ravinia and Verbier Festivals. 

Since 2008 she has been the Artistic Director 

of the Evnin Rising Stars, a mentoring 

program for young artists at Caramoor 

Center for the Arts. Her newest venture is 

the formation of Fit as a Fiddle Inc., a collaboration 

with physical therapist Howard 

Nelson in which they use both their expertise 

for injury prevention and treatment 

of musicians. 


13

IT’S NOT JUST ABOUT TRAVEL . . . 

For over 70 years, Santa Barbara Travel has been committed to supporting 

our community and arts organizations who enrich our lives. 

— Charles de L'Arbre and David de L'Arbre 

Let our professional travel advisors take care of all the details. With decades 

of expertise and global relationships Santa Barbara Travel is your best 

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STEPHEN PRUTSMAN 

piano 

Moving easily from classical to jazz to 

world music styles as a pianist and composer, 

Stephen Prutsman continues to 

explore and seek common ground and 

relationships in the music of all cultures 

and languages. 

Born in Los Angeles, Stephen first began 

playing the piano by ear at age 3, before 

moving on to more formal music studies. 

In his teens and early 20s he was the 

keyboard player for several art rock groups 

including Cerberus and Vysion. He was 

also during those years a solo jazz pianist 

playing in many southern California clubs 

and lounges and was the music arranger 

for a nationally syndicated televangelist 

program. He was a proud winner of television’s 

“The Gong Show” in 1976. 

In the early 90's his career as a classical 

pianist was launched after receiving 

the Avery Fisher Career Grant and winning 

medals at the Tchaikovsky (Moscow) and 

Queen Elisabeth (Brussels) Piano Competitions. 

Since then Stephen has performed 

the classical concerto repertoire 

as soloist with many of the world’s leading 

orchestras and his classical discography 

includes acclaimed recordings of the 

Barber and McDowell concerti with the 

Royal Scottish National Orchestra and 

National Symphony Orchestra of Ireland. 

Solo piano recording projects have 


15

included Bach’s “Well-Tempered Clavier”, 

an album of Russian masterworks, and 

a CD of jazz piano originals, recently released 

entitled “Passengers”. 

From 2004 – 2007 Stephen was Artistic 

Partner with the St. Paul Chamber Orchestra, 

where he led concertos from the 

keyboard, performed in chamber ensembles, 

conducted works of living composers, 

developed and arranged collaborations 

for their Engine 408 series of contemporary 

and world music, and wrote several 

new works for the orchestra. From 2009 

– 2012 he was the Artistic Director of the 

Cartagena International Festival of Music, 

South America’s largest festival of its kind, 

programming and curating concerts with 

themes ranging from Mozart celebrations, 

to eclectic evenings of folk and popular 

music of the Americas, to hybrid programs 

fusing art and dance music of multiple musical 

dimensions. He was the curator for 

the acclaimed experimental series “Evolution” 

in San Diego and Tijuana and was the 

founder of the International Chamber Music 

Festival in El Paso. 

As a composer, Stephen’s long collaboration 

with Grammy Award winning Kronos 

Quartet has resulted in over 40 arrangements 

and compositions for them. Other 

leading artists and ensembles that have 

performed Stephen’s compositions and arrangements 

include Leon Fleisher, Dawn 

Upshaw, the St. Lawrence String Quartet, 

Yo-Yo Ma, Spoleto USA, Emmanuel Ax and 

the Silk Road Project. His sound tracks to 

several great silent films of the 1920s have 

been performed throughout the world. As a 

pianist or arranger outside of the classical 

music world he has collaborated with such 

diverse personalities as Tom Waits, Rokia 

Traore, Joshua Redman, Jon Anderson of 

“YES” and Asha Bhosle. 

Passionate for participating in the 

greater good for families touched by autism, 

Stephen is involved as an active 

board member of several local and national 

Autism advocacy organizations. He 

co-founded the non-profit “Autism Fun Bay 

Area”, whose mission is to promote and 

create enjoyable “Azure” events: artistic 

and recreational environments for people 

on the spectrum and their families. Azure 

performances are now presented in many 

parts of the U.S., Canada and the developing 

world, which Stephen travels to when 

possible. His home is in San Francisco. 



17

Santa Barbara County’s 

PHILANTHROPIC 

ADVISORS 

CREATE YOUR IMPACT 

Let the Santa Barbara Foundation help you 

establish your personalized giving plan. 

Join us in our 90-year journey connecting those 

who give to those in need and all who dream 

of a better Santa Barbara County. 

Learn more at SBFoundation.org

Official Chocolatier of the 

CAMA Centennial 

CAMA thanks our restaurant, 

food and wine partners! 

Thank you. 


19

CAMA: WHO WE ARE TODAY 

Beautiful music, exciting music, profound music – Community Arts Music Association has been 

bringing this gift to Santa Barbara for 100 years. Today we offer the following musical treasures. 

CORE PROGRAMS FOR OUR COMMUNITY 

INTERNATIONAL 

SERIES 

at The Granada Theatre 

Presenting the world’s 

greatest orchestras, 

conductors and soloists 

from around the world 

MASTERSERIES 

at The Lobero Theatre 

Presenting the 

finest national and 

international artists and 

chamber ensembles 

MUSIC EDUCATION 

Music Matters 

Docent Program to area 

elementary schools 

Tickets to concerts 

for high school, 

college students and 

the underserved 

Any musical organisation reaching 

its 100th birthday is most likely older 

than anyone performing or listening 

there. Its memories are rich and, with 

CAMA, its future promises to be as 

cherishable. Huge congratulations on 

this wonderful milestone. 

–Stephen Hough 


EACH AND EVERY GIFT 

ENRICHES THE FUTURE OF CAMA! 

We invite YOU to join in CAMA’S CENTENNIAL CELEBRATION – each donation works to ensure 

the next 100 years of beautiful music for generations to come. 

There are many ways to support CAMA's CENTENNIAL CELEBRATION 

Centennial 

Gift Fund 

Endowment 

Fund 

Planned 

Giving 

Options 

Please contact Elizabeth Alvarez, Director of Development at the CAMA office 

for more information. 

(805) 966-4324 x 104 

Elizabeth@camasb.org 


21

36 million people 

around the world 

are blind. 

27 million 

don’t have to be. 

89% live in developing 

countr ies with little to no 

access to care. 

be the reason 

someone can see 

22 CAMA'S 101ST CONCERT SEASON 

seeintl.org

Exterior of St. Thomas Church, Leipzig, with Bach statue 

NOTES 

on the program 

By Howard Posner 

It has long been fashionable to describe 

Bach as a sort of summation of the Baroque 

tradition who brought the style to its 

greatest maturity, rather than as an innovator 

in the manner of Beethoven or Wagner. 

It is even said that Bach’s contemporaries 

considered him old-fashioned, although 

the only real evidence for such a view is 

his youngest son’s calling him “the old wig” 

(Johann Christian Bach was born when his 

father was 50, and was 15 when he died, so 

Dad probably seemed ancient to him) and 

a 1738 magazine article contending that 

Bach was not old-fashioned (thus indicating 

that someone at some point had said 

he was). 

But Bach would scarcely have thought 

of himself as representing the end of an 

era. He was, like all his colleagues, writing 

modern music for modern ears. In any 

event, he was far too complex a creative 

artist to be characterized in simple terms. 

He experimented with musical form and 

instrumentation, often setting out to push 

the limits of both. His six sonatas for violin 

and keyboard were unusual, if not unprece- 


23

Supporting the Arts in our Community 

J P. B 

A L 

Real Estate, Trust and Probate 

Litigation 

Artist Thomas Van Stein 

329 East Anapamu Street 

Santa Barbara California 

(805) 962-2201 

jpb@ballantinelaw.com 


dented, in their use of the harpsichord, and 

they turned out to be a couple of generations 

ahead of their time. 

In the 18th century the harpsichord 

had two functions which were normally 

kept separate. In addition to playing keyboard-specific 

solo music, it was also used 

for playing accompaniment improvised 

over a written bass line, a practice called 

“basso continuo” (or just “continuo”), “thoroughbass,” 

or “figured bass” (because the 

composer would indicate the harmonies 

by numbers under the bass notes). A continuo 

part was typically not instrumentspecific: 

it could be played any instrument 

or combination of instruments that could 

play the bass notes and add chords, with 

harpsichord, organ and members of the 

lute family the most common choices. 

But in the sonatas on this program, 

Bach wrote out an independent melodic 

part for both the harpsichordist’s hands instead 

of leaving it to the player to decide 

what notes the right hand plays. Because 

the composed right-hand part precluded 

playing chords with the right hand, the two 

independent lines on the harpsichord and 

the violin essentially make up a trio sonata 

without continuo. 

Bach’s contemporaries knew that 

this was something unusual. The earliest 

known source for the sonatas, a 1725 

manuscript in the hand of Johann Heinrich 

Bach, J.S. Bach’s nephew and principal 

copyist at the time, calls them, in Italian, 

“Six Sonatas for Harpsichord certato and 

Violin Solo, with Bass accompaniment for 

the Viola da Gamba if desired,” reflecting a 

common continuo practice of having a low 

string instrument double the bass part. 

The title page of a copy made in the late 

1740’s by Bach’s son-in-law Johann Christoph 

Altnicol calls them “Six Trios for Clavier 

and Violin.” 

This trio-izing of the sonata was an 

extension of the way Bach actually played. 

In a 1756 treatise on continuo playing, Johann 

Friedrich Daube cited a Bach’s continuo 

playing as the ultimate in “intricate” 

or “compound” playing. Daube wrote that 

when Bach played continuo in other composers’ 

sonatas, the written upper part 

“had to shine. By his very adroit accompaniment 

he gave the upper part life where it 

had none. He know to imitate it so cleverly, 

with either the right hand or the left, and 

to introduce an unexpected counter-theme 

against it, so that the listener would have 

sworn that everything had been conscientiously 

written out.” 

Bach’s son Carl Phillip Emanuel similarly 

wrote that “he accompanied trios on 

more than one occasion on the spur of the 

moment and, being in a good humor and 

knowing that the composer would not take 

it amiss, and on the basis of a sparsely 

figured continuo part just set before him, 

converted them into complete quartets, astounding 

the composer of the trios.” 

Bach composed sonatas for flute and 

viola da gamba that, like the violin sonatas 

on this program, are trios in texture, and six 

“trio sonatas” for organ (in which the pedals 

and two manual keyboards each take a 

voice). 

But although the trio sonata for two 


25

Stone statue of Johann Sebastian Bach 

Cheng Mao photo/Dreamstime.com 

treble instruments and continuo was the 

dominant chamber music form of his day, 

Bach’s entire catalog for that instrumentation 

amounts to four movements known 

to be authentic, and three other trio sonatas 

that were probably composed by 

someone else. 

In retrospect, Bach was presaging the 

duo sonata with piano as it took shape at 

the end of the 18th century. It is hard to 

know how much his sonatas influenced 

the sonata’s development. The notion that 

Bach’s music was completely forgotten until 

Mendelssohn revived the St. Matthew 

Passion in 1829 does not always square 

with the facts. Bach published very little of 

his music because publications were aimed 

at a market of amateur players, and Bach’s 

music was too difficult for amateurs. But 

some of it seems to have circulated in 

manuscript copies among professionals 

and teachers to the point where it could be 

assumed that serious musicians at least 

knew about it. A 1783 newsletter about the 

musical scene in Bonn mentions a 13-yearold 

prodigy named Ludwig van Beethoven, 

who “plays chiefly the ‘Well-Tempered Clavier,’” 

adding, “Whoever knows this collection 

of preludes and fugues in all the keys, 

which might almost be called the ne plus 

ultra of our art, will know what this means.” 

When Bach played the sonatas on this 

program, he may well have taken the violin 

part. He must have been a serious violinist. 

He owned a violin by Jacob Stainer, 

whose instruments were then prized even 

more than Antonio Stradivari’s. He directed 

orchestras while playing the viola, which allowed 

him to be in the middle of both the 

orchestra and the harmony. His sonatas 

and partitas for unaccompanied violin redefined 

ideas about what the instrument 

was capable of. 

If he played the keyboard part, he 

would almost certainly have used a harpsichord. 

He had limited experience with the 

piano, which in Bach’s time was essentially 

a harpsichord in which a hammer mechanism 

replaced the plucking mechanism. It 

was no louder than a harpsichord, and its 

principal advantage was that it could play 

softer than the harpsichord, which had almost 

no ability to change its volume. An 

inventory of Bach’s estate lists seven keyboard 

instruments, none of them a piano 



27

(it also lists three violins and three violas). 

Both the violin and piano have been modified, 

mostly to make them louder, over the 

last two centuries. 

It is no accident that the keyboardviolin 

sonatas are a set of six. When 

Bach wanted to explore the possibilities 

of a form, he wrote six of it, including the 

six cello suites, six sonatas and partitas 

for unaccompanied violin, six English 

Suites and French Suites, and six Brandenburg 

Concertos. 

The first five of the keyboard-violin 

sonatas are in the four-movement (slowfast-slow-fast 

) “church sonata” form. The 

fast movements are all fugues, something 

that might not be apparent because they 

begin not with a single voice stating the 

fugue subject, but with subject accompanied, 

usually by the keyboard left hand 

(in some of them Bach wrote the bass line’s 

first few bars as a continuo part, complete 

with numbers). The fourth movements are 

fugues in two-section form, with the first 

section ending in the dominant key and the 

second section making its way home to the 

tonic. This basic floor plan would continue 

to be the hallmark of sonata form through 

the 19th century. Bach used such fugal 

sonata movements for the finales of 

his concertos. 

The sonatas contain a wealth of contrapuntal 

devices, most of which will not be 

apparent to a listener who isn’t schooled in 

counterpoint and studying the music with 

score in hand. But even the casual listener 

will notice how much variety of texture the 

sonatas display. In the first movement of 

the first sonata, the keyboard right hand 

plays two voices in parallel harmony from 

the start, and later the violin does the same, 

creating a quartet or quintet texture. The 

second sonata’s third movement features 

a walking bass, over which the violin and 

keyboard right hand play in strict canon: 

the keyboard plays exactly what the violin 

plays, but four beats later. In the first movement 

of the third sonata, the violin rhapsodizes 

against three and four-part chords on 

the keyboard. In the third movement of the 

fifth sonata, the violin plays in double stops 

against running arpeggios on the keyboard. 

The opening movement of the fourth 

sonata is a siciliano, traditionally a slowish 

dance in lilting triple rhythm that was 

associated with pastoral scenes, particularly 

Nativity scenes (think “Away in a Manger” 

or “Silent Night”). But this particular 

siciliano is rather urbanized: only the violin 

plays the characteristic siciliano rhythm, 

while the keyboard left hand plays eighth 

notes and the right hand plays 16th-note 

running arpeggios. 

The sixth sonata is the outlier of the 

set. It begins with a fast movement, and 

inserts a keyboard solo after the second 

movement. Shelving the violin for an entire 

movement must have been a well-considered 

decision, because there is an earlier 

version of the sonata that has no keyboard 

solo. Bach evidently refined and rethought 

the sonata for years, using it as a laboratory 

to try out fresh approaches. His was a 

mind that was always probing and seeking 

new possibilities. 

—Howard Posner ©2019 


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$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 

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Performing Arts Scholarship Foundation 

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$100–$999 

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of the Minneapolis Foundation 

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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 

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 


33

LIFETIME GIVING 

DIAMOND 

$500,000 and above 

Anonymous 


The Becton Family Foundation 

Suzanne & Russell Bock 

Linda Brown* 

The Andrew H. Burnett 


Esperia Foundation 

The Stephen & Carla Hahn 



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 


The Wood-Claeyssens 


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 


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 


Montecito Bank & Trust 



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 

Nancy & Byron Kent Wood 

George & Judy Write 

EMERALD 

$50,000—$99,999 

Anonymous 

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Anonymous 

Ruth Appleby 

Marta Babson 

Linda & Peter Beuret 

Edward & Sue Birch 

Bob Boghosian & Beth 

Gates Warren 


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 


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 


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 

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Ruth McEwen 

Frank McGinity 

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Efrem Ostrow Living Trust 

Outhwaite Foundation 

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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 

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Sally & Robert Arthur 

Marjorie & J.W. Bailey 

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Joan C. Benson 

Leslie & Philip Bernstein 

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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 

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Tish Gainey & Charles Roehm 

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Maren Henle 

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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 


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 


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 

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Frequency Wine 

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Hogue & Company 

Holdren's Catering 

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Inside Wine Santa Barbara 

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Graphic Design 

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Resource Group 

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Microsoft ® Corporation 

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Oceania Cruises 

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Bar/Olio Pizzeria 

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Opera Santa Barbara 

Pacific Coast 

Business Times 

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Peregrine Galleries 


Scholarship Foundation 

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Regent Seven Seas Cruises 

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Choral Society 

Santa Barbara Foundation 


Travel Bureau 

Santa Barbara Winery 

Stewart Fine Art 

The Tent Merchant 

The Upham Hotel 

UCSB Arts & Lectures 

Via Maestra 42 

Westmont Orchestra 


37



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 


Allow yourself to dream 

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Sometimes, a Round of 

Applause Just Isn’t Enough. 

Northern Trust is proud to support Community Arts Music 

Association of Santa Barbara. For 130 years, we’ve been 

meeting our clients’ financial needs while nurturing a culture 

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Wednesday, December 11, 2019—Pamela Frank, violin and Stephen Prutsman, piano play Bach's Complete Sonatas for Violin and Keyboard—CAMA's Masterseries at The Lobero Theatre, Santa Barbara, California

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