Friday, February 14, 2020—Sérgio & Odair Assad, guitarists—CAMA's Masterseries at The Lobero Theatre—Santa Barbara, California—Program Book
FRIDAY, FEBRUARY 14, 2020, 8:00PM CAMA's Masterseries Presents SÉRGIO & ODAIR ASSAD, guitars Lobero Theatre, Santa Barbara 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 Tickets: https://checkout.lobero.com/single/SYOS.aspx?p=13096&promo=5032
FRIDAY, FEBRUARY 14, 2020, 8:00PM
CAMA's Masterseries Presents
SÉRGIO & ODAIR ASSAD, guitars
Lobero Theatre, Santa Barbara
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
Tickets: https://checkout.lobero.com/single/SYOS.aspx?p=13096&promo=5032
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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
Presenting the world’s finest classical artists since 1919
MASTERSERIES AT THE LOBERO THEATRE
SEASON SPONSORSHIP: ESPERIA FOUNDATION
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
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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
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 • SÉRGIO & ODAIR ASSAD
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
Lois Sandra Kroc
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
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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
Jill Felber
CRAIG A. PARTON
Second Vice-President
WILLIAM MEEKER
Treasurer
JOAN R. CROSSLAND
Secretary
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
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
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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
Presenting the world’s finest classical artists since 1919
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.
MASTERSERIES AT THE LOBERO THEATRE • SÉRGIO & ODAIR ASSAD
11
Photo by Fadi Kheir
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
MASTERSERIES AT THE LOBERO THEATRE • SÉRGIO & ODAIR ASSAD
13
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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-
Photo by Fadi Kheir
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,
MASTERSERIES AT THE LOBERO THEATRE • SÉRGIO & ODAIR ASSAD
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.
MASTERSERIES AT THE LOBERO THEATRE • SÉRGIO & ODAIR ASSAD
17
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18 CAMA'S 101ST CONCERT SEASON
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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
MASTERSERIES AT THE LOBERO THEATRE • SÉRGIO & ODAIR ASSAD
19
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20 CAMA'S 101ST CONCERT SEASON
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
MASTERSERIES AT THE LOBERO THEATRE • SÉRGIO & ODAIR ASSAD
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.
MASTERSERIES AT THE LOBERO THEATRE • SÉRGIO & ODAIR ASSAD
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
MASTERSERIES AT THE LOBERO THEATRE • SÉRGIO & ODAIR ASSAD
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
26 CAMA'S 101ST CONCERT SEASON
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
MASTERSERIES AT THE LOBERO THEATRE • SÉRGIO & ODAIR ASSAD
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
MASTERSERIES AT THE LOBERO THEATRE • SÉRGIO & ODAIR ASSAD
29
Presenting the world’s finest classical artists since 1919
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
Judith L. Hopkinson
Herbert & Elaine Kendall
Mary Lloyd & Kendall Mills
CADENZA PATRONS
$100,000—$249,999
Bitsy & Denny Bacon and
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
George & Judy Writer
RONDO PATRONS
$50,000—$99,999
Ruth Appleby
Deborah & Peter Bertling
Linda & Peter Beuret
Robert & Christine Emmons
Dr. Dolores M. Hsu
Lois Sandra Kroc
The Samuel B. & Margaret C.
Mosher Foundation
Santa Barbara Bank & Trust
Nancy & Byron Kent Wood
CONCERTO PATRONS
$25,000—$49,999
Jane Catlett
Bridget B. Colleary
Suzanne Faulkner
Léni Fé Bland
Raye Haskell Melville
Joanne C. Holderman
Hutton Parker Foundation
Sara Miller McCune
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
Barbara & Sam Toumayan
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
Foundation
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
Presenting the world’s finest classical artists since 1919
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
George & Judy Writer
RONDO LEVEL
$100–$500
Anonymous (2)
Beth Gates-Warren & Bob Boghosian
Bridget Colleary
Edward DeLoreto
Karin Nelson & Eugene Hibbs, Jr.
and Maren N. Henle
Joanne C. Holderman
Lois Sandra Kroc
Elen & Craig Parton
Andre & Michele Saltoun
Barbara & Sam Toumayan
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
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 • SÉRGIO & ODAIR ASSAD
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
34 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 x104
Elizabeth@camasb.org
MASTERSERIES AT THE LOBERO THEATRE • SÉRGIO & ODAIR ASSAD
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
36 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 • SÉRGIO & ODAIR ASSAD
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
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 • SÉRGIO & ODAIR ASSAD
39
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
40 CAMA'S 101ST CONCERT SEASON
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Northern Trust is proud to support Community Arts Music
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of caring and a commitment to invest in the communities we
serve. We’re proud to play a supporting role.
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