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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ALL-BACH PROGRAM
The Complete Sonatas for Violin and Keyboard
WEDNESDAY, DECEMBER 11, 2019, 8:00PM

Pamela Frank, violin
Stephen Prutsman, piano

TICKETS:
https://www.lobero.org/events/cama-pamela-frank-peter-serkin/

Violinist Pamela Frank and pianist Stephen Prutsman appear in a rare performance of all six Sonatas for Violin and Keyboard by J.S. Bach.

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 Zürich 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.

Stephen Prutsman has been described as one of the most innovative musicians of his time. Moving easily from classical to jazz to world music styles as a pianist, composer and conductor, Prutsman continues to explore and seek common ground and relationships in the music of all cultures and languages.

PROGRAM:
J.S. BACH – THE COMPLETE SONATAS FOR VIOLIN AND KEYBOARD
Sonata No.1 in B minor, BWV 1014
Sonata No.2 in A major, BWV 1015
Sonata No.3 in E major, BWV 1016
Sonata No.4 in C minor, BWV 1017
Sonata No.5 in F minor, BWV 1018
Sonata No.6 in G major, BWV 1019


Principal Sponsor:
The Stephen & Carla Hahn Foundation

Co-sponsors:
Anonymous
Jocelyne & William Meeker
Craig & Ellen Parton


#####

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

Presenting the world’s finest classical artists since 1919

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


Presenting the world’s finest classical artists since 1919

MASTERSERIES AT THE LOBERO THEATRE

SEASON SPONSORSHIP: ESPERIA FOUNDATION

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

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

Geri & Jerry Bidwell

Jocelyne & William Meeker

Fran & John Nielsen

George & Judy Writer

CHINEKE!

APRIL 14, 2020

LES VIOLONS

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 • PAMELA FRANK | STEPHEN PRUTSMAN

5


MASTERSERIES

AT THE LOBERO THEATRE

SEASON SPONSORSHIP: ESPERIA FOUNDATION

STEPHEN

HOUGH, PIANO

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 STEPHEN

PRUTSMAN, 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

Dorothy & John Gardner

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


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

MASTERSERIES AT THE LOBERO THEATRE • PAMELA FRANK | STEPHEN PRUTSMAN

7


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

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

Judith L. Hopkinson

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.*

Sara Miller McCune

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.


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Presenting the world’s finest classical artists since 1919

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.

MASTERSERIES AT THE LOBERO THEATRE • PAMELA FRANK | STEPHEN PRUTSMAN

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.

MASTERSERIES AT THE LOBERO THEATRE • PAMELA FRANK | STEPHEN PRUTSMAN

13


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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

MASTERSERIES AT THE LOBERO THEATRE • PAMELA FRANK | STEPHEN PRUTSMAN

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.

16 CAMA'S 101ST CONCERT SEASON


MASTERSERIES AT THE LOBERO THEATRE • PAMELA FRANK | STEPHEN PRUTSMAN

17


Santa Barbara County’s

PHILANTHROPIC

ADVISORS

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Join us in our 90-year journey connecting those

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Official Chocolatier of the

CAMA Centennial

CAMA thanks our restaurant,

food and wine partners!

Thank you.

MASTERSERIES AT THE LOBERO THEATRE • PAMELA FRANK | STEPHEN PRUTSMAN

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

20 CAMA'S 101ST CONCERT SEASON


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

MASTERSERIES AT THE LOBERO THEATRE • PAMELA FRANK | STEPHEN PRUTSMAN

21


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22 CAMA'S 101ST CONCERT SEASON

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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-

MASTERSERIES AT THE LOBERO THEATRE • PAMELA FRANK | STEPHEN PRUTSMAN

23


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24 CAMA'S 101ST CONCERT SEASON


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

MASTERSERIES AT THE LOBERO THEATRE • PAMELA FRANK | STEPHEN PRUTSMAN

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

26 CAMA'S 101ST CONCERT SEASON


MASTERSERIES AT THE LOBERO THEATRE • PAMELA FRANK | STEPHEN PRUTSMAN

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

28 CAMA'S 101ST CONCERT SEASON


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with contemporary comforts

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32 CAMA'S 101ST CONCERT SEASON


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 • PAMELA FRANK | STEPHEN PRUTSMAN

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 • PAMELA FRANK | STEPHEN PRUTSMAN

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 • PAMELA FRANK | STEPHEN PRUTSMAN

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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