Friday, February 14, 2020—Sérgio & Odair Assad, guitarists—CAMA's Masterseries at The Lobero Theatre—Santa Barbara, California—Program Book

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 Fadi Kheir 

SÉRGIO & ODAIR ASSAD 

guitars 

Friday, February 14, 2020, 8:00PM 

Lobero Theatre, Santa Barbara

Santa Barbara Debut 

Michael Barenboim 

and the West-Eastern 

Divan Ensemble 

Sat, Mar 7 / 4 PM / Hahn Hall 

$40 / $9 UCSB students 

Program 

Schubert: Rondo in A Major, D. 438 

Tartini: Violin Sonata in G minor (“Devil’s Trill”) 

Benjamin Attahir: 117:2c 

Mendelssohn: String Octet in E-flat Major, op. 20 

Photo: Marcus Höhn 

In honor of the renowned West-Eastern Divan Orchestra’s 20th year, violinist and concertmaster 

Michael Barenboim extends its youthful energy, unique personality and profound message – “Equal 

in Music” – to an intimate chamber formation. The Ensemble’s outstanding young Palestinian and 

Israeli musicians will perform a diverse program that draws inspiration from both the West and East. 

Up Close & Musical Series Sponsor: Dr. Bob Weinman 

Special Thanks: 

Corporate Season Sponsor: 

(805) 893-3535 

www.ArtsAndLectures.UCSB.edu


MASTERSERIES AT THE LOBERO THEATRE 


MARCH 

13 

FRI, 8:00 PM 

2020 

BENJAMIN 

GROSVENOR piano 

©Operaomnia.co.uk 

British pianist Benjamin Grosvenor (b.1992) has been described as “the best pianist to come out of 

England in the last 50 years,” and “one of the world’s most sought-after young pianists.” One needs only to 

listen to him play to understand the accolades are well-deserved; his playing is reminiscent of legendary 

pianists that are long gone—Rachmaninoff, Schnabel, Rubinstein, Serkin. His promise was evident from a 

young age—the winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of 

eleven, and at nineteen invited to perform with the BBC Symphony 

Orchestra at the Opening Night of the 2011 BBC Proms at London’s Royal Albert Hall. The upcoming 

concert will mark his Santa Barbara recital debut. 

PROGRAM: 

RAMEAU: Gavotte and Six Variations from Suite in A minor, RCT 5 

SCHUMANN: Kreisleriana, Op.16 

LISZT: Berceuse in D-flat major, S.174 (second version) 

LISZT: Sonata in B minor, S.178 

Co-Sponsors: Alison & Jan Bowlus • Jocelyne & William Meeker 

Concert Partner: Stephen Cloud 

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 

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 


MASTERSERIES AT THE LOBERO THEATRE • SÉRGIO & ODAIR ASSAD 

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 


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 


Christine B. Emmons 

Jill Felber 

CRAIG A. PARTON 

Second Vice-President 

WILLIAM MEEKER 

Treasurer 

JOAN R. CROSSLAND 

Secretary 

Joanne C. Holderman 


Elizabeth Karlsberg 


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 

SÉRGIO & ODAIR ASSAD GUITARS 

Friday, February 14, 2020, 8:00PM 

Lobero Theatre, Santa Barbara 

MAURO GIULIANI (1781–1829) 

Variazioni Concertanti, Op.130 

ISAAC ALBÉNIZ (1860–1909) 

“Cordoba” from Cantos de España, Op.232 

“El Puerto” from Iberia 

ASTOR PIAZZOLLA (1921–1992) 

Pieces * from Suite Troileana 

Bandoneón 

Zita 

JOAQUÍN RODRIGO (1901–1999) 

Tonadilla para dos guitarras 

Allegro ma non troppo 

Minueto pomposo 

Allegro vivace 

INTERMISSION 

HEITOR VILLA-LOBOS (1887–1959) 

Choros No.5, “Alma Brasileira” * 

ANTÔNIO CARLOS BRASILEIRO DE 

ALMEIDA JOBIM (1927–1994) 

Crônica da Casa Assassinada 

Trem para Cordisburgo 

Chora Coração 

Jardim Abandonado 

Milagre e palhaçhos 

EGBERTO GISMONTI (b.1947) 

Palhaço * 

Baião malandro * 

SÉRGIO ASSAD (b.1952) 

Suite Brasileira (2003) 

Baiao 

Cançao 

Samba 

* arranged by Sérgio Assad 

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 

Sponsor: Bitsy & Denny Bacon and The Becton Family Foundation 

Concert Partners: Robert & Christine Emmons • Lois Sandra Kroc 

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


SÉRGIO & ODAIR ASSAD 

guitarists 

Brazilian-born brothers Sérgio and Odair 

Assad have set the benchmark for all other 

guitarists by creating a new standard of 

guitar innovation, ingenuity and expression. 

Their exceptional artistry and uncanny 

ensemble-playing come from a family 

rich in Brazilian musical tradition and studies 

under guitarist/lutenist Monina Távora 

(1921–2011), a disciple of Andrés Segovia. 

In addition to setting new performance 

standards, the Assads have played a major 

role in creating and introducing new music 

made for two guitars. Their virtuosity 

has inspired a wide range of composers to 

write for them including Astor Piazzolla, 

Terry Riley, Radamés Gnattali, Marlos Nobre, 

Nikita Koshkin, Roland Dyens, Jorge 

Morel, Edino Krieger, and Francisco Mignone. 

Now Sérgio Assad is adding to their 

repertoire by composing music for the 

duo and for various musical partners both 

with symphony orchestra and in recitals. 

They have worked extensively with such 

renowned artists as Yo-Yo Ma, Nadja Salerno-Sonnenberg, 

Romero Lubambo, Paquito 

D’Rivera, Gidon Kremer and Dawn Upshaw. 

The Assad Brothers began playing the 

guitar together at an early age and went 

on to study for seven years with Dona Monina. 

Their international career began with 

a major prize at the 1979 Young Artists 

Competition in Bratislava. Odair is based 

in Brussels where he teaches at Ecole Supérieure 

des Arts, while Sérgio resides in 


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

San Francisco where he is on the faculty of 

the SF Conservatory. 

The Assad’s repertoire includes original 

music composed by Sérgio and his own 

take on classic folk and jazz music, as well 

as various styles of Latin music. Their classical 

repertoire includes transcriptions of 

the great Baroque keyboard literature of 

Bach, Rameau, and Scarlatti and adaptations 

of works by such diverse figures as 

Gershwin, Ginastera, and Debussy; thus 

making their touring programs a compelling 

blend of styles, periods and cultures. 

The Assads are also recognized as 

prolific recording artists, primarily for the 

Nonesuch and GHA labels. In 2001, Nonesuch 

Records released Sérgio and Odair 

Assad Play Piazzolla, which later won a 

Latin Grammy. Their seventh Nonesuch recording, 

released in the fall 2007, is called 

Jardim Abandonado after a piece by Antonio 

Carlos Jobim. It was nominated for 

Best Classical Album and Sérgio went on 

to win the Latin Grammy for his composition, 

Tahiiyya Li Oussilina. 

A Nonesuch collaboration with Nadja 

Salerno-Sonnenberg in 2000 featured a collection 

of pieces based on traditional and 

Gypsy folk tunes from around the world. 

In 2003, Sérgio Assad wrote a triple concerto 

for this trio that has been performed 

with the orchestras of São Paulo, Seattle, 

and the Saint Paul Chamber Orchestra. In 

the summer of 2004, Sérgio and Odair arranged 

a special tour featuring three generations 

of the Assad family. The family 

presented a wide variety of Brazilian music 

featuring their father, Jorge Assad [1924- 


2011], on the mandolin and the voice of 

their mother, Angelina Assad. GHA Records 

has released a live recording and a DVD of 

the Assad family live at Brussels’ Palais 

des Beaux-Arts. In 2007, the duo performed 

Joaquin Rodrigo’s "Concierto Madrigal 

for Two Guitars" and Sérgio’s arrangement 

of Piazzolla's "Four Seasons of Buenos 

Aires" with the Los Angeles Philharmonic 

at the Hollywood Bowl. The Assads were 

also featured performers on James Newton 

Howard’s soundtrack to the movie Duplicity, 

starring Julia Roberts and Clive Owen. 

In the 2011 and 2012, the brothers toured 

a project entitled “De Volta as Raizes” 

(Back to Our Roots) featuring Lebanese- 

American singer Christiane Karam, percussionist 

Jamey Haddad, and composer/ 

pianist Clarice Assad. 

In February 2011, Odair Assad performed 

his first solo guitar concert tour, 


15

featuring concerts in New York and Montreal. 

Sérgio Assad wrote another concerto for 

the duo, called “Phases.” It premiered with 

the Seattle Symphony in February 2011, as 

well. In the meantime, he was nominated, 

yet again, for two Latin Classical Grammys 

in the Best Classical Composition Category 

for his piece for the LA Guitar Quartet and 

the Delaware Symphony entitled, “Interchange” 

and for “Maracaipe” for the Beijing 

Guitar Duo. In the fall of 2011, five of the 

members of the Assad family: Sérgio, Odair, 

Badi, Clarice, and Carolina joined together 

again for another evening of new and favorite 

Brazilian works. Their tour included 

stops in Qatar, Sweden, Germany, The Netherlands 

(to open the “Brazil Festival”) at The 

Amsterdam Concertgebouw, and three concerts 

in Belgium with a finale at Le Palais 

des Beaux Arts. In 2012, Sérgio 's daughter 

Clarice Assad followed in the footsteps of 

her father and wrote her own double guitar 

concerto that premiered at the Pro-Musica 

Chamber Orchestra in Columbus, Ohio. 

Every November, the brothers continue 

their annual residency at the University 

of Arizona in Tuscon with support from 

the D'Addario Family Foundation. In 2013, 

Sérgio and Odair took part in another tour 

with the inimitable Paquito D'Rivera , and 

recorded a delightful collaboration called 

"Dances from the New World". The brothers 

collaborated with their old friend, jazz guitarists 

Romero Lubambo, in February 2013, 

on a tour in North America, where the trio 

enjoyed themselves so much they decided 

to add more dates in June and plan to head 

into the studio to record. 

The Assad Brothers collaboration 

with cellist Yo-Yo Ma is ongoing; in 2003 

their Brazilian record Obrigado Brazil was 

released featuring Rosa Passos, Egberto 

Gismonti, and Cyro Baptista, and several of 

the works arranged on the record by Sérgio 

went on to receive Grammy awards in 

2004. In 2009, the brothers were featured 

on Yo-Yo Ma’s chart topping release, Songs 

of Joy & Peace, alongside other guest artists 

as diverse as James Taylor and Dave 

Brubeck. In the piece “Familia”, Yo-Yo plays 

Sérgio’s composition featuring the latter's 

mother, Angelina Assad, sister, Badi, and 

children; Clarice, Rodrigo, and Carolina. 

The release topped both the classical and 

the mainstream Billboard charts and won 

a Grammy for Best Classical Crossover. In 

November 2015, Ma and the Assads will be 

creating a new project with musicians from 

Brazil, Russia, India, and China that will 

first tour North America and then Europe in 

the spring of 2016. 

In 2015, Sérgio and Odair celebrate 

their 50th anniversary as a duo. Their first 

ever performance together was in the fall of 

1965 on a Brazilian television show called 

Boussaude, where they played with famed 

choro composer Jacob de Bandolin. They 

will start with a 27-city tour in Brazil followed 

by ten more in North America, highlighted 

by a celebration at the 92nd Street 

Y in New York that will feature their dear 

friends Nadja Salerno-Sonnenberg and Paquito 

D'Rivera. The Guitar Foundation of 

America awards the brothers with its Lifetime 

Achievement Awards in June 2015. 


17

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 

18 CAMA'S 101ST CONCERT SEASON 

seeintl.org

NOTES 

on the program 

By Howard Posner 

The 18th century transformed both the 

guitar’s body and its position in the musical 

world. In 1700 it was still lute-like, with light 

construction, pairs of strings and a bright 

sound. It had a substantial repertory of 

solo music composed for its idiosyncratic 

stringing and tuning, but was also used as 

an ensemble instrument along with, or in 

place of, the harpsichord, organ, and other 

members of the lute family to improvise 

harmonies over a “continuo” bass line. 

By 1800, the guitar had six single 

strings, and a heftier build that supported 

heavier strings: it was a leaner version 

of the instrument we know today. At the 

same time, continuo playing was dying out, 

with composers instead writing out parts 

for specific instruments, and the softer 

instruments were dying out as well, as art 

music moved out of drawing rooms and 

into concert halls that demanded greater 

loudness. None of these developments 

boded well for the guitar as a medium for 

serious music, and by Beethoven’s day it 

was unusual to see a guitar in concert. 

The guitar made occasional forays into 

the musical mainstream, and no one took 

it further than MAURO GIULIANI. He 

spent many years in Vienna, where he 

became what we would now call an A-list 

performer. It helped that he also played 

cello, and indeed was in the orchestra 

for the 1813 premiere of Beethoven’s 

Seventh Symphony. After his death, a 

guitar magazine called The Giulianiad was 

published for a brief time in London. 

Giuliani composed three concertos 

for guitar and duet sonatas for guitar and 

violin or flute, but he and his contemporary 

Mauro Giuliani 


19

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 


guitarist-composers seemed to recognize 

that the guitar’s best instrumental 

partner was another guitar. The Variazioni 

Concertanti, published posthumously in 

1830, consists of a dramatic introduction, 

theme, six variations and coda. In the fifth 

variation, the first guitar part is marked 

“con suoni armonici ossia flautati,” (“with 

harmonic or flutelike sounds”), indicating 

that the notes are to be produced by 

touching the strings at nodal points 

(typically over the fifth, seventh and 

twelfth frets), which subdivides the string 

into equal sections vibrating in opposite 

directions, producing a soft, chimey sound 

that guitarists now call “harmonics.” 

Apparently that terminology had not 

become standard in the 1820’s, and neither 

had the notation: Giuliani lets the player 

find the nodal points, while more modern 

notation would indicate at what fret the 

nodal could be found. 

ISAAC ALBÉNIZ was a legendary 

child prodigy on the piano whose 

early compositions were largely in the 

homogenized “salon” style fashionable 

all over Europe. They included, he later 

wrote, “a few things that are not completely 

worthless.” As he matured he became a 

Spanish nationalist composer, inspired by the 

rhythms of Spain and its sounds. Although 

nearly all his music is for piano, and he never 

wrote a note of music for the guitar, he came 

to write for the piano as if it were, as Tom 

Lehrer would put it, an 88-string guitar. It is 

no accident that much of his music is played 

more often in transcriptions for guitar than in 

Isaac Albéniz 

its original form. 

“Córdoba” is from Chants d’Espagne, 

a five-movement suite published in 1898 

with a French title that may have been 

meant to attract buyers outside of Spain. 

It is a picture of night in the Andalusian 

city. At the top of the piano score, Albeniz 

wrote, “In the silence of the night, the rustle 

of jasmine-scented breezes is interrupted 

by the sound of guzlas [Moorish guitar-like 

instruments] accompanying serenades 

and spreading in the air ardent melodies 

and notes as sweet as the swaying of the 

palms high overhead.” 

“El Puerto” is from his collection of 

12 piano pieces called Iberia, published in 

four installments between 1905 and 1909. 

The title refers to the town of El Puerto 

de Santa Maria, near Cádiz on Spain’s 

southeast coast. The piece is a dance 

called a zapateado, still popular in the 

Hispanic world, which consists of quick 


21

stamping movements. 

The Argentine ASTOR PIAZZOLLA was 

legendary as a virtuoso of the bandoneon (a 

relative of the accordion) and as a pioneer 

of the “new tango,” a blend of traditional 

tango with elements of polyphony, jazz, and 

contemporary classical styles. In 1939 the 

18-year-old Piazzolla joined the prominent 

Buenos Aires tango orchestra led 

by the bandoneonist Anibal Troilo, for 

whom he played second or third bandoneon 

and piano, and also did arrangements. By 

1944 they parted ways because Piazzolla, 

who was studying composition with 

Alberto Ginastera and immersing himself 

in Stravinsky and Bartók, was developing a 

style less suitable for dancing, which Troilo 

saw as commercially unviable. Indeed, 

Piazzolla virtually abandoned tango and 

the bandoneon and pursued becoming a 

classical composer by going to Paris to 

study with the legendary Nadia Boulanger, 

who told him that his tangos were where 

his identity lay. 

Piazzolla and Troilo stayed in touch, 

Troilo made recordings of Piazzolla’s 

Astor PIazzolla 

Photo credit Corbis 

Joaquín Rodrigo 

music, and the two of them reunited to 

record bandoneon duets. When Troilo died 

in in 1975, Piazzolla composed the Suite 

Troileana and recorded it with a group that 

included bandoneon, violin, guitar, piano, 

bass and drums. The opening movement is 

titled “Bandoneon” because it began with 

an extended bandoneon solo. The lively 

second movement is named for Troilo’s 

widow Zita. 

JOAQUÍN RODRIGO came to be the 

quintessential Spanish composer of the 20th 

century, and one of the most famous men in 

the nation. His wife remarked in 1981 that 

off the top of her head she knew of seven 

streets in Spain, and some others in Spanish 

America, named after him, which is a large 

number for someone who was still very much 

alive. His tuneful music embodied the ideal 

of casticismo, a word that can be translated 

as “traditionalism,” but also “authenticity” 

and “purity.” It denotes music firmly rooted 

in tradition, an alternative to the various 

“modernisms” of the century that captivated 

composers, if not audiences. Without ever 

feeling a need to seek new directions or 

extend the limits of music, Rodrigo found 

a style that was very much his own, as 

individual as any. “Though my cup is small, 

still I drink from my own cup,” he said. 


23

Lending Banking Investing 

Heitor Villa-Lobos 

Rodrigo may not have embraced all 

the trends of his era, but he did not ignore 

them, and his music always sounds like it 

was written in the 20th century. His reliance 

on traditional tonality meant that he could 

get tremendous mileage out of dissonance, 

which has much more shock value when it 

is surrounded by consonance. The most 

characteristic sound in his palette, much in 

evidence in his 1960 guitar duet Tonadilla, 

is the interval of the minor second, or 

semitone—an adjacent white and black key 

on the piano produce this interval—which 

produces a throbbing clang that can be 

poignant, fierce or comical, depending on 

how it comes up. He could achieve a sassy, 

biting quality reminiscent of Shostakovich 

when the mood struck him. He wrote the 

Tonadilla, which he described as “evoking 

the tonadillas of the eighteenth century,” for 

the guitar duo of Ida Presti and Alexander 

Lagoya. 

HEITOR VILLA-LOBOS became the 

most influential Brazilian composer of 

the 20th century by melding the music 

of Brazilian daily life with the European 

classical tradition, and the choros was the 

medium in which he did it most obviously. 

Chôro, Portuguese for "cry," was the 

name given to a style of music played by 

Brazilian street musicians (called chorões). 

Villa-Lobos used the title between 1920 

and 1929 for 16 compositions informed by 

Brazilian folklore, creating what he called 

a brasilofonia. He scored them for forces 

as small as a single guitar and as large as 

chorus and orchestra. Number Five, originally 

for piano, is subtitled “Brazilian soul.” 

Brazilian composers since Villa- 

Lobos have followed in his nationalist/ 

internationalist footsteps. ANTONIO CARLOS 

JOBIM is known for making the Brazilian 

bossa nova style an international sensation. 

The 1962 recording of his “Girl From Ipanema,” 

featuring the American jazz saxophonist 

Stan Getz, became a major hit on its way to 

becoming a cultural cliché. In 1967 Jobim 

recorded it again with Frank Sinatra. 

But a very different side of Jobim’s art 

is shown in his music for the 1971 movie A 

Casa Assassinada (“The Murdered House”), 

a story of an elegant family’s decline and 

disintegration. Jobim’s suite (which uses 

Antonio Carlos Jobim 


25

An historic treasure 

with contemporary comforts 

in the heart of Santa Barbara 

50 Guest Rooms & Suites 

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC 


Egberto Gismonti 

Sérgio Assad 

the title of the novel on which the movie 

is based, Crônica da Casa Assassinada, is 

in four movements, three of which, “Train 

to Cordisburgo,” “Abandoned Garden”— 

the music accompanies a scene in which 

a couple make love while a woman spies 

on them, so the title may have a double 

meaning—and “Miracles and Clowns,” 

are instrumental. The suite’s second 

movement, “Crying Heart,” was originally a 

song about the loneliness of a man bereft 

of his lover, sung by Jobim. 

EGBERTO GISMONTI, a noted performer 

on the piano and ten-string guitar, has roots 

in both Brazilian and more international 

mainstream jazz, and seems to have 

absorbed most of the more serious strains 

in modern popular music into a noted 

example of what is called “Brazilian fusion.” 

“Palhaço” is Portuguese for “clown,” and the 

piece seems to depict a rather thoughtful 

one. “Baião malandro” (“baiao rascal”) is 

based on a Brazilian dance. The original 

version was recorded on Gismonti’s 1977 

album Carmo. 

SÉRGIO ASSAD’s Suite Brasileira is a 

song sandwiched between two dances. 

The opening “Baiao” and closing “Samba” 

are full of drive and virtuosity, with the 

affecting “Cançao” (“Song”) a contrasting 

moment of comparative respite. 

—Howard Posner ©2020 


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


29


CAMA ENDOWMENT 

CAMA’s mission is to enrich Santa Barbara’s cultural life by 

bringing live performances by world-renowned classical 

artists and orchestras of the highest artistic excellence to 

our community and by providing creative, focused music 

education programs for individuals of all ages. 

CAMA thanks and honors the following members of 

the CAMA community who have contributed to CAMA’s 

Endowment. A commitment to CAMA’s Endowment 

ensures the success of CAMA’s next 100 years. Gifts at 

every level are deeply appreciated. 

James H. Hurley and Judith L. Hopkinson 

Endowment Co-Chairs

CONDUCTOR'S CIRCLE 

$500,000 and above 

Suzanne & Russell Bock 

Linda Brown* 

SAGE Publishing 

Elaine Stepanek 

Esperia Foundation 

CRECENDO CIRCLE 

$250,000—$499,999 

The Andrew H. 

Burnett Foundation 


Herbert & Elaine Kendall 

Mary Lloyd & Kendall Mills 

CADENZA PATRONS 

$100,000—$249,999 


The Becton Family Foundation 

Mary & Raymond Freeman 

The Stephen & Carla 

Hahn Foundation 

Shirley Ann & James H. Hurley, Jr. 

Nancy & William G. Myers 

Jan Severson 

Judith F. Smith 

The Towbes Fund for 

the Performing Arts 


RONDO PATRONS 

$50,000—$99,999 

Ruth Appleby 

Deborah & Peter Bertling 

Linda & Peter Beuret 


Dr. Dolores M. Hsu 


The Samuel B. & Margaret C. 

Mosher Foundation 

Santa Barbara Bank & Trust 

Nancy & Byron Kent Wood 

CONCERTO PATRONS 

$25,000—$49,999 

Jane Catlett 


Suzanne Faulkner 

Léni Fé Bland 



Hutton Parker Foundation 


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

The Henry E. & Lola 

Monroe Foundation 

Efrem Ostrow Living Trust 

Craig & Ellen Parton 

Diana & Roger Phillips 

Linda Stafford Burrows 

The Walter J. & Holly O. 

Thomson Foundation 


SONATA PATRONS 

$10,000—$24,999 

Rebecca & Peter Adams 

Denise & Stephen Adams/ 

Adams Family Foundation 

Else Schilling Bard 

Edward & Sue Birch 

Frank Blue & Lida Light Blue 

Bob Boghosian & 

Beth Gates-Warren 

Elizabeth & Andrew Butcher 

The CAMA Women's Board 

Virginia Castagnola-Hunter 

Margo Chapman 

NancyBell Coe & William Burke 

Karen Davidson, M.D. 

Nancyann & Robert Failing 

Rosalind Amorteguy-Fendon 

& Ronald Fendon 

Priscilla & Jason Gaines 

Arthur R. Gaudi 

Sherry & Robert Gilson 

Lorraine C. Hansen 

Mary & Campbell Holmes 

Patricia Kaplan 

Winona Fund 

Mahri Kerley/Chaucer's Books 

Lynn P. Kirst 

Laura Kuhn 

John Lundegard 

Keith Mautino 

Jayne Menkemeller 

Betty Meyer 

Mary & James Morouse 

Myra & Spencer Nadler 

Pat Hitchcock O'Connell 

John Perry 

Marjorie & Hugh Petersen 

John & Ellen Pillsbury 

Susannah Rake 

Michele & Andre Saltoun 

Anitra & Jack Sheen 

Sally & Jan E.G. Smit 

Anonymous 

Constance Smith 

The Elaine F. Stepanek 


Betty J. Stephens 

Mark E. Trueblood 

Marilyn Vandever 

Barbara & Gary Waer 

David & Lisa Wolf 

Endowment gifts up to $9,999 

Bernice Andron • Argonaut Charitable Foundation • Sally & Robert Arthur • John & Jean Bailey • Brad & M.J. Bakove 

Helene Beaver • Joan C. Benson • Mr. Leonard S. Berman • Marlyn Bernstein • Emily Blair • Marjorie Boyle 

Mrs. Louise Brant • Wendel Bruss • Ms. Hilary Burkemper • The CAMA Fellows • Mary Carpenter • Carnzu Clark 

Ms. Eileen Clark • Stephen Cloud • Ms. Peggy McShane Cochrane • Ms. Catherine S. Cudlip • Ms. Julia Dawson 

Samuel R. & Marcia Edwards • Mrs. Maureen H. Fialkoff • Ms. Deborah Glassman • Kay & Richard Glenn 

David & Leesa Goldmuntz • Corinna Gordon • Robert Hanrahan • Ms. Nancy G. Harris • Kent Hodgetts & Latane Keeler 

Elizabeth Karlsberg & Jeff Young • Ms. Joyce Koehler • Doris Kuhns • Ms. Catherine Lee • Mrs. Jean T. Leonard 

Mrs. Phyllis J. Leveen • Mrs. Betty Z. Levinson • Nancy & James Lynn • Marilyn Magid • Ms. Harriet Miller 

Dr. Jerry M. Nathan • Clarence & Anne Neal • Scott & Kathy O'Leary • Olio e Limone • David & Catherine Peri • Justyn Person 

Kirk Peters & Susan Roe • Kathryn Phillips • Martha & Bruno Pilorz • Eric Boehm • Anne & C. Wesley Poulson 

Hugh & Elizabeth Ralston • Ms. Mondra Randall • George & Bessie Lou Reid • Mary Louise Riley • Glenn & Claire Roberts 

Russell & Winifred Roberts • Martin & Marilyn Roe • Mr. Frank Schmidt Mrs. Peter Senn • Marlene Sheehan 

Cynthia Skenazi • Marion Stewart • Mr. Emil Torick • Steven Trueblood • C.M. & Laura Tull • Carol Vernon & Robert Turbin 

Mr. Chip Turner • Kathleen Wall • Richard & Gloria Wascher • Marjorie K. & Roderick S. Webster • Douglas & Gerlinde White 

Mrs. Elizabeth A. Whitney • Ron & Laurie Yttri • Patricia Yzurdiaga


WOMEN’S 

BOARD 

THE CAMA WOMEN'S BOARD GRATEFULLY 

THANKS THE FOLLOWING SUPPORTERS! 

SYMPHONY LEVEL 

$5,000 

Patricia Yzurdiaga 

SONATA LEVEL 

$1,000 

Peter & Rebecca Adams 

NancyBell Coe & Bill Burke 

Jill Doré Kent 

Mrs. Richard H. Roberts 


RONDO LEVEL 

$100–$500 

Anonymous (2) 

Beth Gates-Warren & Bob Boghosian 

Bridget Colleary 

Edward DeLoreto 

Karin Nelson & Eugene Hibbs, Jr. 

and Maren N. Henle 



Elen & Craig Parton 

Andre & Michele Saltoun 


Nancy & Byron Kent Wood

“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 


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 


33

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 x104 

Elizabeth@camasb.org 


35

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 


Sharon Felber Taylor 


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 


37

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 

Northern Trust 

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 

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 


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 


39



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

Friday, February 14, 2020—Sérgio & Odair Assad, guitarists—CAMA's Masterseries at The Lobero Theatre—Santa Barbara, California—Program Book

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

Delete template?

Save as template?