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

Alison & Jan Bowlus


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

Alison & Jan Bowlus

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

Alison & Jan Bowlus



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

Alison & Jan Bowlus


Concert Partner

Stephen Cloud

Concert Sponsors as of January 2019


PERSONALIZED AND PASSIONATE REPRESENTATION

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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

Judith L. Hopkinson

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.*

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

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

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


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,


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

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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


19

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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

Judith L. Hopkinson

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

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


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


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


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

Joanne C. Holderman

Lois Sandra Kroc

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

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


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

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


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


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


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

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Sometimes, a Round of

Applause Just Isn’t Enough.

Northern Trust is proud to support Community Arts Music

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

meeting our clients’ financial needs while nurturing a culture

of caring and a commitment to invest in the communities we

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

TO LEARN MORE VISIT

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

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