January 13, 2020—Emanuel Ax plays Beethoven—CAMA's Masterseries—Lobero Theatre, Santa Barbara, California

Presenting the world’s finest classical artists since 1919 

Gustavo Dudamel | © Citizens of Humanity, 

courtesy of the Los Angeles Philharmonic Association 

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 Lisa-Marie Mazzucco 

EMANUEL AX 

piano 

Monday, January 13, 2020, 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 • EMANUEL AX 

7

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 


SEASON SPONSORSHIP: 

ESPERIA FOUNDATION 

Photo by Fadi Kheir 

FEBRUARY 

14 

FRI, 8:00 PM 

2020 

SÉRGIO & 

ODAIR ASSAD guitars 

Sérgio & Odair Assad, the guitar-playing brothers from São Paulo, began playing Brazilian folk 

melodies, and transitioned to classical guitar in their teens, training under the most prominent 

instructors in Brazil. The Washington Post has referred to the brothers as “the best two-guitar 

team in existence, maybe even in history,” while the Boston Globe has stated they perform with 

“telepathic unity.” 

Their Valentine’s Day concert in 2020 is not to be missed! 

PROGRAM 

Works by Giuliani, Albéniz, Piazzolla, Rodrigo, Villa-Lobos, Jobim, Gismonti, and Sérgio Assad 

Sponsors: Bitsy & Denny Bacon and The Becton Family Foundation 

Concert Partners: Robert & Christine Emmons • Lois Sandra Kroc 

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 

The Shanbrom Family Foundation 

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 



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 


SEASON SPONSORSHIP: ESPERIA FOUNDATION 

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 

Foundation 

Concert Partners 


Lois Sandra Kroc 

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 

Jill Felber 

CRAIG A. PARTON 

Second Vice-President 

WILLIAM MEEKER 

Treasurer 

JOAN R. CROSSLAND 

Secretary 

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

Special Events 

Gala 100 th Anniversary Concert: 

LA Phil + CAMA 

100 years to the date since the LA Phil's 

first performance in Santa Barbara on 

March 6, 1920! 

Gustavo Dudamel | © Citizens of Humanity, 

courtesy of the Los Angeles Philharmonic Association 

Friday Evening, March 6, 2020 

5:15–5:55 – Pre-concert Lecture on the 

shared history of CAMA + LA Phil with 

Hattie Beresford, New Vic Theatre 

6:00–6:55 – Red Carpet Reception at 

The Granada Theatre for all ticket holders 

7:00–9:00 – 100 th Anniversary Concert 

Los Angeles Philharmonic at 

The Granada Theatre

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 

OPUS 3 ARTISTS presents 

EMANUEL AX PIANO 

Monday, January 13, 2020, 8:00 PM 

Lobero Theatre, Santa Barbara 

ALL-BEETHOVEN PROGRAM 

LUDWIG VAN BEETHOVEN 

(1770–1827) 

Bagatelle No.25 in A minor, WoO 59, 

“Für Elise” 

Piano Sonata No.2 in A major, Op.2, No.2 

Allegro vivace 

Largo appassionato 

Scherzo: Allegretto 

Rondo: Grazioso 

Five variations for piano on 

“Rule, Britannia!,” WoO 79 

Piano Sonata No.3 in C major, Op.2, No.3 

Allegro con brio 

Adagio 

Scherzo: Allegro 

Allegro assai 

Six variations on an original theme for 

piano in F major, Op.34 

Piano Sonata No.1 in F minor, Op.2, No.1 

Allegro 

Adagio 

Menuetto—Allegretto 

Prestissimo 

INTERMISSION 

Exclusive Management: Opus 3 Artists 

470 Park Avenue South, 9th Floor, North New York, NY 10016 

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

Masterseries Season Sponsor: Esperia Foundation 

Co-Sponsors: Anonymous • Alison & Jan Bowlus • Bob & Val Montgomery 


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

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

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 Lisa-Marie Mazzucco 

EMANUEL AX 

pianist 

Born in modern day Lvov, Poland, Emanuel 

Ax moved to Winnipeg, Canada, with 

his family when he was a young boy. His 

studies at the Juilliard School were supported 

by the sponsorship of the Epstein 

Scholarship Program of the Boys Clubs 

of America, and he subsequently won the 

Young Concert Artists Award. Additionally, 

he attended Columbia University where he 

majored in French. Mr. Ax made his New 

York debut in the Young Concert Artists Series, 

and captured public attention in 1974 

when he won the first Arthur Rubinstein International 

Piano Competition in Tel Aviv. 

In 1975 he won the Michaels Award of 

Young Concert Artists followed four years 

later by the coveted Avery Fisher Prize. 

Highlights of the 2019/20 season include 

a European summer festivals tour 

with the Vienna Philharmonic and longtime 

collaborative partner Bernard Haitink, 

an Asian tour with the London Symphony 

and Sir Simon Rattle, US concerts with the 

Rotterdam Philharmonic and Lahav Shani 

in addition to three concerts with regular 

partners Leonidas Kavakos and Yo-Yo Ma 

at Carnegie Hall in March 2020. Further 

participation in Carnegie Hall’s celebration 

of Beethoven’s 250th birthday will culminate 

in a solo recital in May preceded 

by recitals in Madison, Santa Barbara, 

Orange County, Washington, Las Vegas 

and Colorado Springs. With orchestra he 

can be heard in Houston, Baltimore, Atlanta, 

San Diego, San Francisco, Los Angeles, 

New York, Montreal, Philadelphia, 


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 

resource for your next vacation or business trip. Work with a local and 

trusted travel company that will understand your needs and deliver the 

perfect experience. 

Ask us about exclusive cruise and hotel amenities we can offer you 

as a member of the elite luxury travel network Virtuoso. 

Santa Barbara 

1028 State St. 

805.966.3116 

email: info@sbtravel.com 

www.sbtravel.com 

Montecito 

1485 E. Valley Rd. 

805.969.7746 

CST#1009257

Photo by Maurice Jerry Beznos 

Cincinnati and Indianapolis. In Europe he 

can be heard with orchestras in London, 

Frankfurt, Berlin, Rome, Zurich, Rotterdam 

and Tel Aviv. 

Always a committed exponent of contemporary 

composers, with works written 

for him by John Adams, Christopher Rouse, 

Krzysztof Penderecki, Bright Sheng, and 

Melinda Wagner already in his repertoire, 

most recently he has added HK Gruber's 

Piano Concerto and Samuel Carl Adams’ 

“Impromptus.” 

A Sony Classical exclusive recording 

artist since 1987, recent releases include 

Mendelssohn Trios with Yo-Yo Ma and 

Itzhak Perlman, Strauss' Enoch Arden narrated 

by Patrick Stewart, and discs of twopiano 

music by Brahms and Rachmaninoff 

with Yefim Bronfman. In 2015 Deutche 

Grammophon released a duo recording 

with Mr. Perlman of Sonatas by Faure and 

Strauss, which the two artists presented 

on tour during the 2015/2016 season. Mr. 

Ax has received GRAMMY ® Awards for the 

second and third volumes of his cycle of 

Haydn’s piano sonatas. He has also made 

a series of Grammy-winning recordings 

with cellist Yo-Yo Ma of the Beethoven and 

Brahms sonatas for cello and piano. His 

other recordings include the concertos of 

Liszt and Schoenberg, three solo Brahms 

albums, an album of tangos by Astor Piazzolla, 

and the premiere recording of John 

Adams's Century Rolls with the Cleveland 

Orchestra for Nonesuch. In the 2004/05 

season Mr. Ax also contributed to an International 

EMMY ® Award-Winning BBC 

documentary commemorating the Holocaust 

that aired on the 60th anniversary 

of the liberation of Auschwitz. In 2013, Mr. 

Ax's recording Variations received the Echo 

Klassik Award for Solo Recording of the 

Year (19th century music/Piano). 

A frequent and committed partner for 

chamber music, he has worked regularly 

with such artists as Young Uck Kim, Cho- 

Liang Lin, Mr. Ma, Edgar Meyer, Peter Serkin, 

Jaime Laredo, and the late Isaac Stern. 

Mr. Ax resides in New York City with 

his wife, pianist Yoko Nozaki. They have 

two children together, Joseph and Sarah. 

He is a Fellow of the American Academy of 

Arts and Sciences and holds honorary doctorates 

of music from Skidmore College, 

Yale University, and Columbia University. 

For more information about Mr. Ax’s career, 

please visit www.EmanuelAx.com. 


15

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 

16 CAMA'S 101ST CONCERT SEASON 

seeintl.org

Ludwig van Beethoven 

NOTES 

on the program 

By Howard Posner 

Ludwig van Beethoven probably discussed 

his own music less than most composers 

did, but we can get a sense of his regard for 

some of his creations, and lack of regard 

for others, from the way he treated them. 

Given the overwhelming familiarity of 

Für Elise, stemming from its position as 

both a great melody and the Beethoven 

piece every beginning pianist plays, it is 

odd that its history is so dodgy. If it were a 

person, you wouldn’t lend money to it. 

It was first published in 1867 in a book 

about Beethoven’s letters by the music 

scholar Ludwig Nohl, who added a footnote 

saying, “This very charming little piano 

piece comes from the estate of Therese von 

Droßdik née Malfatti, who gave it to Fräulein 

[Babeth] Bredl of Munich.” According to 

Nohl, the manuscript found in Bredl’s home 

was inscribed, “For Elise on 27 April as a 

remembrance of L.v.Beethoven.” Therese 

Malfatti was one of the upper-class young 

women who made up a good number of 

Beethoven’s piano students over the years. 

He became infatuated with some of them, 

and one unverifiable legend has him actu- 


17

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 


ally proposed marriage to Malfatti in 1810, 

when he was 40 and she not quite half that 

age. Perhaps for this reason, Nohl believed 

that Für Elise was composed in 1810. 

The manuscript then mysteriously and 

suspiciously vanished, leading to speculation 

in two directions. One was that Nohl 

had misread the inscription, which actually 

said “Für Therese,” although it is hard to 

imagine anyone misreading Beethoven’s 

handwriting quite that badly. More likely 

there was an actual Elise, which a common 

German diminutive for Elisabeth. A likely 

candidate is Elisabeth Röckel, an aspiring 

singer who left Vienna in 1810 and married 

the composer Johann Nepomuk Hummel 

in 1813. 

Another is that Nohl was as much the 

composer as Beethoven, assembling the 

piece from unfinished sketches and then 

making up a story about the lost manuscript. 

This last is belied by the existence 

of another manuscript of a different, untitled 

version of the piece (the principal 

difference being that the left hand doesn’t 

play on the downbeat of each measure, 

but comes in a note later, making the music 

less flowing and more lurching) which 

Beethoven was working on in 1822. 

So apparently, Beethoven created two 

versions of Für Elise and didn’t like either 

of them enough to publish it. If so, would 

he reconsider his judgment if he knew how 

popular it would become? Maybe. Told 

in 1801 that his Septet was being played 

everywhere, he retorted that it should be 

burned instead. 

The Beethoven Monument on the Munsterplatz in 

Bonn, Germany 

If “not for publication” was the bottom of 

the scale, the top was “published with an 

opus number.” 

Opus numbers originated in the 17th 

century, and were originally given to collections 

of instrumental music, usually sets 

of six or twelve trios or concertos. Since 

these were typically sold by subscription or 

otherwise bought sight unseen, opus numbers 

told potential buyers that they weren’t 

buying something they already had. 

Opus numbers gradually acquired a 

different meaning. Beethoven gave opus 

numbers to music that he considered significant 

in his output. Much of his music, 

even if published, did not a number, including 

everything he composed before he 

was 23. There is rather a lot of such music, 

which over the years has been given 

“Werke ohne opus” (“work without opus”) 

numbers. The Beethoven catalog includes 

138 opus numbers and 205 WoO numbers, 

among them three piano sonatas published 

in 1783, when he was 12 years old. 

Beethoven was in his mid-20’s and 


19

already a star in the Vienna music scene, 

he was particularly choosy about what music 

he published, and even choosier about 

his first opus numbers, knowing that these 

publications would be his calling card to 

the larger musical world. Opus 1 was a set 

of three piano trios. Opus 2 was a set of 

three piano sonatas printed in 1796 and 

dedicated to Haydn. 

As would be Beethoven’s wont throughout 

his career, the sonatas are very different 

from each other—Beethoven rarely 

repeated himself—but each makes a bold 

statement. 

The second sonata of the set, the first 

heard tonight, is a blend of geniality and 

audacity. The first movement is bright and 

spirited, with its whooshing two-octave 

scales, (first cousins of the whooshing 

Statue of Ludwig van Beethoven in Vienna 

Photo credit Abxyz, Dreamstime.com 

arpeggios that begin and run through the 

rondo finale, and second cousins of the 

burbling arpeggios that begin the scherzo). 

But the movement goes to unexpected 

places in a development section that begins 

in C major, quickly modulates to A-flat 

major, and gets back to the home key of A 

major via a scenic route through keys not 

much related to it. 

The first sonata of the set is the most 

firmly rooted in the tradition that it was 

poised to shatter. Its very first notes are 

a prominent late-18th-century cliché: an 

ascending F minor arpeggio with a turn of 

16th-notes at the top. Because it reminded 

later musicologists of a firework shooting 

and exploding, it has been dubbed the 

“Mannheim rocket.” 

But the sonata’s outer movements 

break ground with their use, or abuse, of 

the piano. The instrument in 1796 was still 

pretty much a harpsichord with a hammer 

mechanism instead of a plucking action, 

allowing the player to vary its loudness by 

the force of the fingers on the keys, something 

not possible with the harpsichord or 

organ. Beethoven exploited that capacity 

in a way that older composers had not. 

The first movement is full of notes marked 

sforzato (“forced”), a direction to play the 

note much louder than the notes before and 

after. Mozart occasionally used a similar 

“loud-soft” direction, usually to make sure 

the right note got accented. Beethoven just 

as often directs a sforzato on the “wrong” 

note, making accents that are unexpected. 

The Prestissimo finale, with its cascades of 

notes and loud interjections of right-hand 


21

Lending Banking Investing 

The Beethoven Monument in Münsterplatz in 

Bonn, Germany / Photo credit Sir James 

chords an integral part of the principal 

theme, is already what we recognize as vintage 

Beethoven. Those chords would have 

been something of a shock to his contemporaries, 

playing or listening to a woodenframe 

instrument that weighs a tenth of 

what the modern iron-frame concert grand 

weighs. Enough force on the keys can 

make that instrument jangle in a way that 

its suave, super-powered descendant does 

not. Nobody these days worries that a pianist 

is going to break a Steinway. 

But it’s the third sonata that really 

serves notice that things are never going to 

be the same again. It is full of grand public 

gestures of the sort that would be expected 

in a concerto, such as the thunderous 

entrance of the first movement’s second 

theme, imitating an orchestral tutti, or the 

concerto-like cadenza, set up the same 

way it would be in a concerto. 

The second movement’s quiet E major 

first theme turns out to be a portal to 

a scene of both mystery and powerful expression 

as the left hand plays simple but 

dramatically compelling melodies above 

and below the right hand’s arpeggios. The 

frenetically contrapuntal scherzo manages 

to be simultaneously learned and comedic. 

The sonata-rondo finale returns to concerto-like 

grandness of the first movement, including 

another short cadenza just before 

the end. The cadenza includes the sonata’s 

one pure show-off moment: a triple trill, 

something of a Beethoven trademark. 

The Opus 34 set of variations was a 

favored child of composer. The Rule Britannia 

set of variations, composed a year 

later and published without opus number 

in 1804, was not. 

Beethoven began the Opus 34 theme 

and variations in May 1802, a month after 

taking up residence in Heiligenstadt, then 

a rural area on the Danube about an hour 

north of Vienna. He went there hoping that 

his health generally, and his hearing specifically, 

would improve in the country. He 


23

An historic treasure 

with contemporary comforts 

in the heart of Santa Barbara 

50 Guest Rooms & Suites 

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC 


was to be disappointed. Between October 

6 and October 10 he wrote what has become 

known as the Heiligenstadt Testament, 

in which he expressed his anguish 

over realizing that he was going deaf. But 

he continued to work, and eight days later, 

he sent the Opus 34 and 35 variations to 

the publisher Breitkopf & Härtel, with a letter 

saying they were composed “in a quite 

new style and each in an entirely different 

way. Each theme in them is treated independently 

and in a wholly different manner. 

As a rule I only hear of it from others when 

I have new ideas, since I never know it myself; 

but this time—I myself can assure 

you that in both works the style is quite 

new for me.” 

The theme and variations form grew 

out of improvisation, which was an essential 

skill for musicians well into the 19th 

century. Mozart and Beethoven improvised 

both in the homes of aristocratic patrons 

and in their public concerts. A skilled player 

could ornament and elaborate a theme at 

length, and often improvised in concert, as 

did. But variations conventionally did not 

stray as far from the theme as they would 

with Brahms or Rachmaninoff, and they 

typically stayed in the key of the theme, 

with perhaps one variation in the relative 

minor or tonic minor (B minor or D minor, 

respectively, in the key of D). 

The Variations on Rule Brittania take 

this traditional approach, up to a point. 

They stay in D major, except for the fourth 

variation in B minor, until the coda, which 

goes berserk, threatening to dash off into 

six or seven different keys and actually 

settling bizarrely into C-sharp minor for a 

second or two before order, and D major, 

are restored for a rousing conclusion. Full 

of invention and his characteristic humor, 

the Rule Brittania variations are the sort of 

thing Beethoven might have tossed off on 

the spur of the moment and then written 

down with refinements (he had the ability 

to recall his own improvisations), so they 

cost him less effort than most of the music 

he wrote. 

But the theme and six variations of 

Opus 34 appear to have been thoroughly 

planned to break with precedent. The variations 

are in different keys from the theme 

and each other. Each of the first five variations 

modulates down a third: the theme is 

in F major, with the variations in D, B-flat, G, 

E-flat, and C minor, with a transitional passage 

in C major leading to the sixth variation 

in F major. Each modulation brings its 

own set of expectations. For example, even 

if you’re not consciously thinking that C minor 

is the relative minor of E-flat major, the 

modulation to C minor might bring to mind 

the middle section of a piece in ABA form, 

and even if you’re not thinking that C major 

is the dominant of F major, the move from 

C to F for the last variation sounds like 

coming home. Each modulation conveys a 

sense of changing the subject and moving 

to new territory. 

Music critics often remarked—from 

their point of view, complained—that 

Beethoven went out of his way to pursue 

novelty. In this case, he agreed with them. 

—Howard Posner ©2020 


25


27

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. 


29

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 


31

SHOW YOUR KIDS 

YOU CAN LIVE ON 

YOUR OWN... 

SAFELY. 

HAPPILY. 

BEAUTIFULLY. 

Musette Profant 

Certified Age-In-Place Designer 

USC Architecture Alumna 

Licensed Contractor & Crew 

Simple Hourly Rates 

No Mark-Ups 

“ 

Life-Changing Design! 

” 

- D.S., Montecito 

PLEASE CALL FOR SPECIAL CAMA RATES! 

Sterling Sites 

Quick Home Facelifts & Custom Remodels 

sterlingsites.com • musette@sterlingsites.com • (805) 450-2001 


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 


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 


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 

Foundation 

Esperia Foundation 

The Stephen & Carla Hahn 

Foundation 


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 

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 


Mary & Raymond Freeman 

Raye & Melville H. Haskell, Jr. 

Hollis Norris Fund 

Dolores M. & Immanuel Hsu 

Shirley Ann & James H. 

Hurley, Jr. 

Ann Jackson Family Foundation 

Janet & Thomas Kelly/ 

Winona Fund 

Shirley & Seymour Lehrer 

John & Lucy Lundegard 


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

The Henry E. & Lola Monroe 

Foundation 

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 

Anonymous 

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 

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 


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 


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 

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 


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 


Oak Cottage of 


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 


Scholarship Foundation 

Pete Clements Catering 

Presqu’ile Winery 

Regent Seven Seas Cruises 

Renaud's Patisserie & Bistro 

Rose Story Farm 

Sabine Myers Design 

SAGE Publishing 


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 

“Casa Dorinda has an engaging and fascinating culture 

rooted in a rich social life, an extraordinary estate, 

and truly superb healthcare.” 

CASA DORINDA’S MUSIC ROOM AT THE HISTORIC BLISS ESTATE 

Refined Retirement Living 

casadorinda.org | 805 969 8011 

Casa Dorinda is a private LifeCare community, type A CCRC, owned and operated by the Montecito Retirement Association, a nonsectarian, 

nonprofit, tax-exempt organization. State of California Licenses RCFE #421700160, SNF #050000112, CCRC Certificate of Authority #126.

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 

of caring and a commitment to invest in the communities we 

serve. We’re proud to play a supporting role. 

TO LEARN MORE VISIT 

northerntrust.com 

WEALTH PLANNING | BANKING | TRUST & ESTATE SERVICES | INVESTING | FAMILY OFFICE

January 13, 2020—Emanuel Ax plays Beethoven—CAMA's Masterseries—Lobero Theatre, Santa Barbara, California

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

Delete template?

Save as template?