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CAMA + LA Phil / Gala 100th Anniversary Concert / 100 Years to the Day / March 6, 1920 – March 6, 2020 / International Series at The Granada Theatre

On Friday, March 6, 2020, LA Phil will play a special 100th Anniversary Concert at The Granada Theatre in Santa Barbara as part of CAMA's 101st Season. Maestro Gustavo Dudamel will direct a program of Charles Ives and Antonin Dvorak's New World Symphony. This concert marks 100 years to the day from LA Phil's first concert in Santa Barbara on March 6, 1920. CAMA and LA Phil join in celebrating this remarkable "Centennial moment!" — Photo of Gustavo Dudamel ©Citizens of Humanity, courtesy of the Los Angeles Philharmonic Association. ★—CONCERT AND SPECIAL EVENTS: Friday, March 6, 2020—★ 5:00PM doors/5:15PM start—LECTURE by Hattie Beresford at The New Vic Theater—Open to All Reservations recommended—email tickets@camasb.org 6:00PM—RED-CARPET RECEPTION at The Granada Theatre All ticket holders invited—no reservation needed 7:00PM—CONCERT (The Granada Theatre) / No Late Seating / Concert ends approx.9:00PM More information: https://camasb.org/international-series-2019-2020/#2020-03-06 #CAMASB #CAMA101 #CAMACentennial #LAPhil100 #CAMAat100

On Friday, March 6, 2020, LA Phil will play a special 100th Anniversary Concert at The Granada Theatre in Santa Barbara as part of CAMA's 101st Season. Maestro Gustavo Dudamel will direct a program of Charles Ives and Antonin Dvorak's New World Symphony. This concert marks 100 years to the day from LA Phil's first concert in Santa Barbara on March 6, 1920. CAMA and LA Phil join in celebrating this remarkable "Centennial moment!" — Photo of Gustavo Dudamel ©Citizens of Humanity, courtesy of the Los Angeles Philharmonic Association.

★—CONCERT AND SPECIAL EVENTS: Friday, March 6, 2020—★

5:00PM doors/5:15PM start—LECTURE by Hattie Beresford at The New Vic Theater—Open to All
Reservations recommended—email tickets@camasb.org

6:00PM—RED-CARPET RECEPTION at The Granada Theatre
All ticket holders invited—no reservation needed

7:00PM—CONCERT (The Granada Theatre) / No Late Seating / Concert ends approx.9:00PM

More information: https://camasb.org/international-series-2019-2020/#2020-03-06

#CAMASB #CAMA101 #CAMACentennial #LAPhil100 #CAMAat100

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MARCH 6, <strong>1920</strong> <strong>–</strong> MARCH 6, <strong>2020</strong>


Nell Campbell pho<strong>to</strong> ©2019<br />

We invite you <strong>to</strong> join <strong>the</strong> <strong>CAMA</strong> Board of Direc<strong>to</strong>rs by<br />

particip<strong>at</strong>ing in <strong>CAMA</strong>’s his<strong>to</strong>ric and remarkable <strong><strong>100</strong>th</strong> <strong>Anniversary</strong><br />

<strong>Concert</strong> and Season with a Centennial Celebr<strong>at</strong>ion Gift. Toge<strong>the</strong>r<br />

we will secure <strong>CAMA</strong>’s future as we move in<strong>to</strong> our second century.<br />

Robert K. Montgomery, President<br />

Deborah Bertling, First Vice-President & Chair, Centennial Celebr<strong>at</strong>ion Committee


INTERNATIONAL SERIES<br />

AT THE GRANADA THEATRE<br />

SEASON SPONSORSHIP: SAGE PUBLISHING<br />

Gustavo Dudamel | © Citizens of Humanity,<br />

courtesy of <strong>the</strong> Los Angeles <strong>Phil</strong>harmonic Associ<strong>at</strong>ion<br />

LOS ANGELES<br />

PHILHARMONIC<br />

Gustavo Dudamel Music & Artistic Direc<strong>to</strong>r<br />

Friday, <strong>March</strong> 6, <strong>2020</strong>, 7:00PM<br />

<strong>The</strong> <strong>Granada</strong> <strong>The</strong><strong>at</strong>re, Santa Barbara


INTERNATIONAL SERIES<br />

AT THE GRANADA THEATRE<br />

ROYAL<br />

PHILHARMONIC<br />

ORCHESTRA<br />

JANUARY 27, <strong>2020</strong><br />

Sponsors<br />

Alison & Jan Bowlus<br />

Hollis Norris Fund<br />

Judith L. Hopkinson<br />

<strong>The</strong> Elaine & Herbert<br />

Kendall Charitable Trust<br />

Sara Miller McCune<br />

Co-Sponsors<br />

Elizabeth & Andrew Butcher<br />

Louise & Michael Caccese<br />

Jocelyne & William Meeker<br />

Barbara & Sam Toumayan<br />

<strong>100</strong> TH ANNIVERSARY CONCERT<br />

LOS ANGELES<br />

PHILHARMONIC<br />

MARCH 6, <strong>2020</strong><br />

Primary Sponsor<br />

<strong>The</strong> Elaine F. Stepanek Found<strong>at</strong>ion<br />

<strong>The</strong> Samuel B. And Margaret C.<br />

Mosher Found<strong>at</strong>ion<br />

Sponsor<br />

Anonymous<br />

Peggy & Kurt Anderson<br />

Bob & Val Montgomery<br />

Dody & Eric Small<br />

Towbes Fund for <strong>the</strong> Performing Arts,<br />

a field interest of <strong>the</strong> Santa Barbara<br />

Found<strong>at</strong>ion<br />

Co-Sponsor<br />

Bitsy & Denny Bacon and <strong>The</strong> Bec<strong>to</strong>n<br />

Family Found<strong>at</strong>ion<br />

Elizabeth & Kenneth Doran<br />

Robert & Christine Emmons<br />

Stephen J.M. & Anne Morris<br />

2 <strong>CAMA</strong>'S 101ST CONCERT SEASON


SEASON SPONSORSHIP: SAGE PUBLISHING<br />

ROTTERDAM<br />

PHILHARMONIC<br />

MARCH 26, <strong>2020</strong><br />

Sponsor<br />

Alison & Jan Bowlus<br />

Bob & Val Montgomery<br />

Michele & Andre Sal<strong>to</strong>un<br />

Co-Sponsor<br />

Geri & Jerry Bidwell<br />

Jocelyne & William Meeker<br />

Fran & John Nielsen<br />

George & Judy Writer<br />

CHINEKE!<br />

ORCHESTRA<br />

APRIL 14, <strong>2020</strong><br />

LES VIOLONS<br />

DU ROY<br />

APRIL 28, <strong>2020</strong><br />

Sponsor<br />

Marta Babson<br />

Co-Sponsor<br />

Edward DeLore<strong>to</strong><br />

Lynn P. Kirst<br />

Jocelyne & William Meeker<br />

LOS ANGELES<br />

CHAMBER<br />

ORCHESTRA<br />

with Sheku Kanneh-Mason<br />

MAY 18, <strong>2020</strong><br />

Sponsors<br />

Marta Babson<br />

Bitsy & Denny Bacon and<br />

<strong>The</strong> Bec<strong>to</strong>n Family Found<strong>at</strong>ion<br />

Meg & Dan Burnham<br />

John & Ellen Pillsbury<br />

Co-Sponsors<br />

Jocelyne & William Meeker<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

3


MASTERSERIES<br />

AT THE LOBERO THEATRE<br />

SEASON SPONSORSHIP: ESPERIA FOUNDATION<br />

STEPHEN<br />

HOUGH, PIANO<br />

OCTOBER 29, 2019<br />

Co-Sponsors<br />

Anonymous<br />

Bitsy & Denny Bacon and<br />

<strong>The</strong> Bec<strong>to</strong>n Family<br />

Found<strong>at</strong>ion<br />

Alison & Jan Bowlus<br />

Elizabeth Karlsberg &<br />

Jeff Young<br />

Stephen J.M. & Anne Morris<br />

PAME<strong>LA</strong><br />

FRANK, VIOLIN<br />

AND STEPHEN<br />

PRUTSMAN, PIANO<br />

DECEMBER 11, 2019<br />

Principal Sponsor<br />

<strong>The</strong> Stephen & Carla<br />

Hahn Found<strong>at</strong>ion<br />

Co-Sponsors<br />

Anonymous<br />

Jocelyne & William Meeker<br />

Craig & Ellen Par<strong>to</strong>n<br />

EMANUEL<br />

AX, PIANO<br />

JANUARY 13, <strong>2020</strong><br />

Co-Sponsors<br />

Anonymous<br />

Alison & Jan Bowlus<br />

Bob & Val Montgomery<br />

Stephen J.M. & Anne Morris<br />

<strong>Concert</strong> Partners<br />

Deborah & Peter Bertling<br />

Bob Boghosian & Beth<br />

G<strong>at</strong>es-Warren<br />

Bridget B. Colleary<br />

Dorothy & John Gardner<br />

Raye Haskell Melville<br />

SERGIO<br />

AND ODAIR<br />

ASSAD, GUITARS<br />

FEBRUARY 14, <strong>2020</strong><br />

Sponsors<br />

Bitsy & Denny Bacon and<br />

<strong>The</strong> Bec<strong>to</strong>n Family<br />

Found<strong>at</strong>ion<br />

<strong>Concert</strong> Partners<br />

Robert & Christine Emmons<br />

Lois Sandra Kroc<br />

BENJAMIN<br />

GROSVENOR, PIANO<br />

MARCH 13, <strong>2020</strong><br />

Co-Sponsors<br />

Alison & Jan Bowlus<br />

Jocelyne & William Meeker<br />

<strong>Concert</strong> Partner<br />

Stephen Cloud<br />

<strong>Concert</strong> Sponsors as of January 2019<br />

4 <strong>CAMA</strong>'S 101ST CONCERT SEASON


<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

5


Presenting <strong>the</strong> world’s finest classical artists since 1919 1919<strong>–</strong>2019/20<br />

BOARD OF DIRECTORS<br />

(As of Oc<strong>to</strong>ber 9, 2019)<br />

ROBERT K. MONTGOMERY<br />

President<br />

DEBORAH BERTLING<br />

First Vice-President & Chair, Centennial Celebr<strong>at</strong>ion Committee<br />

Rosalind Amorteguy-Fendon<br />

Marta Babson<br />

Isabel Bayrakdarian<br />

Bitsy Bec<strong>to</strong>n Bacon<br />

Edward Birch<br />

Jan Bowlus<br />

Daniel P. Burnham<br />

Andy Chou<br />

Stephen Cloud<br />

NancyBell Coe<br />

Bridget B. Colleary<br />

Christine B. Emmons<br />

Jill Felber<br />

CRAIG A. PARTON<br />

Second Vice-President<br />

WILLIAM MEEKER<br />

Treasurer<br />

JOAN R. CROSS<strong>LA</strong>ND<br />

Secretary<br />

Joanne C. Holderman<br />

Judith L. Hopkinson<br />

Elizabeth Karlsberg<br />

Raye Haskell Melville<br />

George Messerlian<br />

Stephen J.M. (Mike) Morris<br />

P<strong>at</strong>ti Ot<strong>to</strong>boni<br />

Carl Perry<br />

Judith F. Smith<br />

Judith H. Writer<br />

Deborah Bertling,<br />

President, <strong>CAMA</strong> Women’s Board<br />

Emeritus Direc<strong>to</strong>rs<br />

(As of Oc<strong>to</strong>ber 24, 2019)<br />

Russell S. Bock*<br />

Dr. Robert J. Emmons<br />

Dr. Robert M. Failing*<br />

Mrs. Maurice E. Faulkner*<br />

Léni Fé Bland*<br />

Arthur R. Gaudi<br />

Stephen Hahn*<br />

Dr. Melville H. Haskell, Jr.*<br />

Mrs. Richard Hellmann*<br />

Dr. Dolores M. Hsu*<br />

James H. Hurley, Jr.<br />

Herbert J. Kendall<br />

Robert M. Light*<br />

Mrs. Frank R. Miller, Jr.*<br />

Sara Miller McCune<br />

Mary Lloyd Mills<br />

Mrs. Ernest J. Panosian*<br />

Kenneth W. Riley*<br />

Andre Sal<strong>to</strong>un<br />

Mrs. John G. Severson*<br />

Nancy L. Wood<br />

* Deceased<br />

Administr<strong>at</strong>ion<br />

(As of June 27, 2019)<br />

Mark E. Trueblood<br />

Executive Direc<strong>to</strong>r<br />

Elizabeth Alvarez<br />

Direc<strong>to</strong>r of Development<br />

Michael Below<br />

Office Manager/<br />

Subscriber Services<br />

Justin Rizzo-Weaver<br />

Direc<strong>to</strong>r of Oper<strong>at</strong>ions<br />

2060 Alameda Padre Serra, Suite 201 Santa Barbara, CA 93103 Tel (805) 966-4324 Fax (805) 962-2014 info@camasb.org


Special Events<br />

<strong>Gala</strong> <strong>100</strong> th <strong>Anniversary</strong> <strong>Concert</strong>:<br />

<strong>LA</strong> <strong>Phil</strong> + <strong>CAMA</strong><br />

<strong>100</strong> years <strong>to</strong> <strong>the</strong> d<strong>at</strong>e since <strong>the</strong> <strong>LA</strong> <strong>Phil</strong>'s<br />

first performance in Santa Barbara on<br />

<strong>March</strong> 6, <strong>1920</strong>!<br />

Gustavo Dudamel | © Citizens of Humanity,<br />

courtesy of <strong>the</strong> Los Angeles <strong>Phil</strong>harmonic Associ<strong>at</strong>ion<br />

Friday Evening, <strong>March</strong> 6, <strong>2020</strong><br />

5:15<strong>–</strong>5:55 <strong>–</strong> Pre-concert Lecture on <strong>the</strong><br />

shared his<strong>to</strong>ry of <strong>CAMA</strong> + <strong>LA</strong> <strong>Phil</strong> with<br />

H<strong>at</strong>tie Beresford, New Vic <strong>The</strong><strong>at</strong>re<br />

6:00<strong>–</strong>6:55 <strong>–</strong> Red Carpet Reception <strong>at</strong><br />

<strong>The</strong> <strong>Granada</strong> <strong>The</strong><strong>at</strong>re for all ticket holders<br />

7:00<strong>–</strong>9:00 <strong>–</strong> <strong>100</strong> th <strong>Anniversary</strong> <strong>Concert</strong><br />

Los Angeles <strong>Phil</strong>harmonic <strong>at</strong><br />

<strong>The</strong> <strong>Granada</strong> <strong>The</strong><strong>at</strong>re


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<br />

W<br />

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<br />

3<br />

Felici Events<br />

t s<br />

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 .<br />

www.felicievents.com<br />

805.895.3402


INTERNATIONAL SERIES <strong>at</strong> <strong>the</strong> GRANADA THEATRE<br />

SEASON SPONSORSHIP: SAGE PUBLISHING<br />

LOS ANGELES PHILHARMONIC<br />

Gustavo Dudamel Music & Artistic Direc<strong>to</strong>r<br />

Friday, <strong>March</strong> 6, <strong>2020</strong>, 7:00 PM<br />

<strong>The</strong> <strong>Granada</strong> <strong>The</strong><strong>at</strong>re, Santa Barbara<br />

HISTORIC <strong>100</strong> TH ANNIVERSARY CONCERT<br />

<strong>CAMA</strong> + <strong>LA</strong> <strong>Phil</strong> | <strong>March</strong> 6, <strong>1920</strong> <strong>–</strong> <strong>March</strong> 6, <strong>2020</strong><br />

CHARLES IVES (1874<strong>–</strong>1954)<br />

Symphony No.2<br />

Andante modera<strong>to</strong><br />

Allegro<br />

Adagio cantabile<br />

Len<strong>to</strong> maes<strong>to</strong>so<br />

Allegro mol<strong>to</strong> vivace<br />

(approx.40 minutes)<br />

ANTONÍN DVOŘÁK (1841<strong>–</strong>1904)<br />

Symphony No.9 in E Minor, Op.95<br />

Adagio—Allegro mol<strong>to</strong><br />

Largo<br />

Mol<strong>to</strong> vivace<br />

Allegro con fuoco<br />

(approx.40 minutes)<br />

INTERMISSION<br />

Rolex is <strong>the</strong> Official Timepiece of <strong>the</strong> Los Angeles <strong>Phil</strong>harmonic.<br />

Program subject <strong>to</strong> change.<br />

<strong>CAMA</strong> thanks our generous sponsors who have made this evening’s performance possible:<br />

<strong>Intern<strong>at</strong>ional</strong> <strong>Series</strong> Season Sponsor: SAGE Publishing<br />

Primary Sponsor: <strong>The</strong> Elaine F. Stepanek Found<strong>at</strong>ion<br />

<strong>The</strong> Samuel B. And Margaret C. Mosher Found<strong>at</strong>ion<br />

Sponsors: Anonymous • Peggy & Kurt Anderson • Bob & Val Montgomery • Dody & Eric Small<br />

Towbes Fund for <strong>the</strong> Performing Arts, a field interest of <strong>the</strong> Santa Barbara Found<strong>at</strong>ion<br />

Co-Sponsors: Bitsy & Denny Bacon and <strong>The</strong> Bec<strong>to</strong>n Family Found<strong>at</strong>ion<br />

Elizabeth & Kenneth Doran • Robert & Christine Emmons • Stephen J.M. & Anne Morris<br />

Special Event Sponsor:<br />

We request th<strong>at</strong> you switch off cellular phones, w<strong>at</strong>ch alarms and pager signals during <strong>the</strong> performance.<br />

<strong>The</strong> pho<strong>to</strong>graphing or sound recording of this concert or possession of any device for such pho<strong>to</strong>graphing<br />

or sound recording is prohibited.<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

9


Pho<strong>to</strong> by Neil Campbell


Pho<strong>to</strong> by Ryan Hunter<br />

LOS ANGELES<br />

PHILHARMONIC<br />

Over <strong>the</strong> course of <strong>100</strong> seasons, <strong>the</strong> Los<br />

Angeles <strong>Phil</strong>harmonic has redefined wh<strong>at</strong><br />

an orchestra can be. Now in its 101st season,<br />

<strong>the</strong> <strong>LA</strong> <strong>Phil</strong> presents an inspiring array<br />

of music through a commitment <strong>to</strong> found<strong>at</strong>ional<br />

works and adventurous explor<strong>at</strong>ions.<br />

Recognized as one of <strong>the</strong> world’s outstanding<br />

orchestras <strong>at</strong> home and abroad, <strong>the</strong> <strong>LA</strong><br />

<strong>Phil</strong> leads <strong>the</strong> way in groundbreaking and<br />

diverse programming, demonstr<strong>at</strong>ing <strong>the</strong><br />

orchestra’s artistry and vision on stage<br />

and in <strong>the</strong> community.<br />

Under <strong>the</strong> charism<strong>at</strong>ic leadership of<br />

Music & Artistic Direc<strong>to</strong>r Gustavo Dudamel<br />

since 2009, <strong>the</strong> <strong>LA</strong> <strong>Phil</strong> performs or presents<br />

more than 250 concerts annually <strong>at</strong><br />

its two iconic venues: Walt Disney <strong>Concert</strong><br />

Hall and <strong>the</strong> Hollywood Bowl. During its<br />

winter season <strong>at</strong> Walt Disney <strong>Concert</strong> Hall,<br />

with approxim<strong>at</strong>ely 165 performances, <strong>the</strong><br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

11


IT’S NOT JUST ABOUT TRAVEL . . .<br />

For over 70 years, Santa Barbara Travel has been committed <strong>to</strong> supporting<br />

our community and arts organiz<strong>at</strong>ions who enrich our lives.<br />

— Charles de L'Arbre and David de L'Arbre<br />

Let our professional travel advisors take care of all <strong>the</strong> details. With decades<br />

of expertise and global rel<strong>at</strong>ionships Santa Barbara Travel is your best<br />

resource for your next vac<strong>at</strong>ion or business trip. Work with a local and<br />

trusted travel company th<strong>at</strong> will understand your needs and deliver <strong>the</strong><br />

perfect experience.<br />

Ask us about exclusive cruise and hotel amenities we can offer you<br />

as a member of <strong>the</strong> elite luxury travel network Virtuoso.<br />

Santa Barbara<br />

1028 St<strong>at</strong>e St.<br />

805.966.3116<br />

email: info@sbtravel.com<br />

www.sbtravel.com<br />

Monteci<strong>to</strong><br />

1485 E. Valley Rd.<br />

805.969.7746<br />

CST#<strong>100</strong>9257


<strong>LA</strong> <strong>Phil</strong> cre<strong>at</strong>es festivals, artist residencies,<br />

and o<strong>the</strong>r <strong>the</strong>m<strong>at</strong>ic programs designed <strong>to</strong><br />

enhance <strong>the</strong> audience’s experience of orchestral<br />

music. Since 1922, its summer<br />

home has been <strong>the</strong> world-famous Hollywood<br />

Bowl, host <strong>to</strong> <strong>the</strong> finest artists from<br />

all genres of music.<br />

<strong>The</strong> orchestra’s involvement with Los<br />

Angeles extends far beyond <strong>the</strong> concert<br />

hall, with wide-ranging performances in <strong>the</strong><br />

schools, churches, and neighborhood centers<br />

of a vastly diverse community. Among<br />

its influential and multifaceted learning initi<strong>at</strong>ives<br />

is YO<strong>LA</strong> (Youth Orchestra Los Angeles),<br />

inspired by Venezuela’s revolutionary<br />

El Sistema. Through YO<strong>LA</strong>, <strong>the</strong> <strong>LA</strong> <strong>Phil</strong><br />

and its community partners provide free<br />

instruments, intensive music instruction,<br />

and leadership training <strong>to</strong> nearly 1200 students<br />

from underserved neighborhoods,<br />

empowering <strong>the</strong>m <strong>to</strong> become vital citizens,<br />

leaders, and agents of change.<br />

<strong>The</strong> orchestra also undertakes annual<br />

<strong>to</strong>urs, including regular visits <strong>to</strong> New<br />

York, Paris, and Tokyo, among o<strong>the</strong>r cities.<br />

<strong>The</strong> <strong>Phil</strong>harmonic is now <strong>the</strong> <strong>Intern<strong>at</strong>ional</strong><br />

Orchestral Partner <strong>at</strong> London’s Barbican<br />

Centre. <strong>The</strong> orchestra’s very first <strong>to</strong>ur was<br />

in 1921, and it has <strong>to</strong>ured every season<br />

since 1969/70.<br />

<strong>The</strong> <strong>LA</strong> <strong>Phil</strong> has a substantial c<strong>at</strong>alog<br />

of recordings, including concerts available<br />

online, such as <strong>the</strong> first full-length classical<br />

music video released on iTunes. Deutsche<br />

Grammophon has recently released a comprehensive<br />

box set in honor of <strong>the</strong> orchestra’s<br />

Centennial.<br />

<strong>The</strong> Los Angeles <strong>Phil</strong>harmonic was<br />

founded in 1919 by William Andrews Clark,<br />

Jr., a millionaire and am<strong>at</strong>eur musician.<br />

Walter Henry Rothwell became its first<br />

Music Direc<strong>to</strong>r, serving until 1927; since<br />

<strong>the</strong>n, ten renowned conduc<strong>to</strong>rs have<br />

served in th<strong>at</strong> capacity: Georg Schnéevoigt<br />

(1927<strong>–</strong>1929); Artur Rodziński (1929<strong>–</strong><br />

1933); Ot<strong>to</strong> Klemperer (1933<strong>–</strong>1939); Alfred<br />

Wallenstein (1943<strong>–</strong>1956); Eduard van Beinum<br />

(1956<strong>–</strong>1959); Zubin Mehta (1962<strong>–</strong><br />

1978); Carlo Maria Giulini (1978<strong>–</strong>1984);<br />

André Previn (1985<strong>–</strong>1989); Esa-Pekka Salonen<br />

(1992<strong>–</strong>2009); and Gustavo Dudamel<br />

(2009<strong>–</strong>present).<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

13


Supporting <strong>the</strong> Arts in our Community<br />

J P. B<br />

A L<br />

Real Est<strong>at</strong>e, Trust and Prob<strong>at</strong>e<br />

Litig<strong>at</strong>ion<br />

Artist Thomas Van Stein<br />

329 East Anapamu Street<br />

Santa Barbara California<br />

(805) 962-2201<br />

jpb@ballantinelaw.com


Pho<strong>to</strong> Los Angeles <strong>Phil</strong>harmonic<br />

GUSTAVO DUDAMEL<br />

Music & Artistic Direc<strong>to</strong>r<br />

Gustavo Dudamel is driven by <strong>the</strong> belief<br />

th<strong>at</strong> music has <strong>the</strong> power <strong>to</strong> transform<br />

lives, <strong>to</strong> inspire, and <strong>to</strong> change <strong>the</strong> world.<br />

Through his dynamic presence on <strong>the</strong> podium<br />

and his tireless advocacy for arts<br />

educ<strong>at</strong>ion, Dudamel has introduced classical<br />

music <strong>to</strong> new audiences around <strong>the</strong><br />

world and has helped <strong>to</strong> provide access<br />

<strong>to</strong> <strong>the</strong> arts for countless people in underresourced<br />

communities.<br />

Dudamel’s 2019/20 season sees him<br />

enter his second decade as <strong>the</strong> Music & Artistic<br />

Direc<strong>to</strong>r of <strong>the</strong> Los Angeles <strong>Phil</strong>harmonic,<br />

where his bold programming and<br />

expansive vision led <strong>The</strong> New York Times <strong>to</strong><br />

herald <strong>the</strong> <strong>LA</strong> <strong>Phil</strong> as “<strong>the</strong> most important<br />

orchestra in America <strong>–</strong> period.” O<strong>the</strong>r highlights<br />

of <strong>the</strong> season include leading <strong>the</strong><br />

Berlin <strong>Phil</strong>harmonic in four concerts for <strong>the</strong><br />

<strong>2020</strong> Olympics celebr<strong>at</strong>ions in Tokyo, conducting<br />

<strong>the</strong> New York <strong>Phil</strong>harmonic for a<br />

two-week residency <strong>at</strong> Lincoln Center, <strong>to</strong>uring<br />

a concert version of Beethoven’s opera<br />

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Chamber Orchestra (which will include <strong>the</strong><br />

famed Venezuelan “Manos Blancas” choir),<br />

and an Italian <strong>to</strong>ur with <strong>the</strong> Accademia<br />

Nazionale di Santa Cecilia.<br />

A lifelong advoc<strong>at</strong>e for music educ<strong>at</strong>ion<br />

and social development through<br />

art, Dudamel himself was shaped by his<br />

childhood experience with El Sistema, <strong>the</strong><br />

extraordinary program and philosophy<br />

initi<strong>at</strong>ed in 1975 by Maestro José An<strong>to</strong>nio<br />

Abreu. Inspired by El Sistema, in 2007<br />

Dudamel, <strong>the</strong> <strong>LA</strong> <strong>Phil</strong>, and its community<br />

partners founded YO<strong>LA</strong> (Youth Orchestra<br />

Los Angeles), which now serves more than<br />

1,200 musicians, providing young people<br />

with free instruments, intensive music instruction,<br />

academic support, and leadership<br />

training. In <strong>2020</strong>, YO<strong>LA</strong> will have its<br />

own permanent, purpose-built facility, <strong>the</strong><br />

Judith and Thomas L. Beckmen YO<strong>LA</strong> Center,<br />

designed by architect Frank Gehry.<br />

In recognition of Dudamel’s advocacy<br />

for <strong>the</strong> prolifer<strong>at</strong>ion of <strong>the</strong> arts in <strong>the</strong> Americas,<br />

in 2019, he was honored with a star on<br />

<strong>the</strong> Hollywood Walk of Fame and received<br />

<strong>the</strong> Distinguished Artist Award from <strong>the</strong> <strong>Intern<strong>at</strong>ional</strong><br />

Society for <strong>the</strong> Performing Arts<br />

(ISPA). He was awarded <strong>the</strong> Gish Prize, <strong>the</strong><br />

Paez Medal of Art, and <strong>the</strong> Pablo Neruda<br />

Order of Artistic and Cultural Merit in 2018.<br />

In 2017, he led <strong>the</strong> Royal S<strong>to</strong>ckholm <strong>Phil</strong>harmonic<br />

in <strong>the</strong> Nobel Prize <strong>Concert</strong> in<br />

Sweden, where he also delivered a lecture<br />

on <strong>the</strong> unity of <strong>the</strong> arts and sciences. Dudamel<br />

was named one of Time magazine’s<br />

<strong>100</strong> most influential people in 2009.<br />

Dudamel has reached mainstream audiences<br />

and achieved name recognition far<br />

Pho<strong>to</strong> Los Angeles <strong>Phil</strong>harmonic<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

17


Pho<strong>to</strong> Los Angeles <strong>Phil</strong>harmonic<br />

Mars. Dudamel has been fe<strong>at</strong>ured several<br />

times on CBS’ 60 Minutes, profiled on PBS,<br />

and interviewed by Christiane Amanpour<br />

on CNN, Conan O’Brien on Conan, Stephen<br />

Colbert on <strong>The</strong> L<strong>at</strong>e Show, and Elmo on<br />

Sesame Street. This year, Dudamel and <strong>the</strong><br />

<strong>LA</strong> <strong>Phil</strong> won a Grammy Award ® for <strong>the</strong>ir recording<br />

of Andrew Norman’s Sustain, <strong>the</strong>ir<br />

second Grammy <strong>to</strong>ge<strong>the</strong>r.<br />

Inspired by Dudamel’s early musical<br />

and men<strong>to</strong>ring experiences, <strong>the</strong> Gustavo<br />

Dudamel Found<strong>at</strong>ion, a registered charity,<br />

was cre<strong>at</strong>ed in 2012 with <strong>the</strong> goal of promoting<br />

access <strong>to</strong> music as a human right<br />

and a c<strong>at</strong>alyst for learning, integr<strong>at</strong>ion, and<br />

social change. For more inform<strong>at</strong>ion about<br />

Gustavo Dudamel, visit his official website<br />

gustavodudamel.com, and dudamelfound<strong>at</strong>ion.org<br />

and laphil.com.<br />

beyond <strong>the</strong> classical concert hall. He will<br />

conduct Bernstein’s iconic score for Steven<br />

Spielberg’s <strong>2020</strong> adapt<strong>at</strong>ion of West Side<br />

S<strong>to</strong>ry. At John Williams’ personal request,<br />

he guest-conducted <strong>the</strong> opening and closing<br />

credits of Star Wars: <strong>The</strong> Force Awakens<br />

and performed with <strong>the</strong> <strong>LA</strong> <strong>Phil</strong> <strong>at</strong> <strong>the</strong> 2019<br />

Academy Awards. A bona fide pop culture<br />

persona, Dudamel has had cameos in Amazon<br />

Studio’s award-winning comedy series<br />

Mozart in <strong>the</strong> Jungle, <strong>The</strong> Simpsons, and Disney’s<br />

<strong>The</strong> Nutcracker and <strong>the</strong> Four Realms,<br />

for which he also recorded <strong>the</strong> score. He<br />

became <strong>the</strong> first classical musician <strong>to</strong> particip<strong>at</strong>e<br />

in <strong>the</strong> Super Bowl halftime show in<br />

2016, leading members of YO<strong>LA</strong> alongside<br />

pop stars Coldplay, Beyoncé, and Bruno<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

19


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ABOUT<br />

<strong>the</strong> program<br />

Symphony No.2<br />

Charles Ives (1874<strong>–</strong>1954)<br />

Composed: 1897<strong>–</strong>1902; 1907<strong>–</strong>1909<br />

Orchestr<strong>at</strong>ion: piccolo, 2 flutes, 2 oboes,<br />

2 clarinets, 2 bassoons, contrabassoon, 4<br />

horns, 2 trumpets, 3 trombones, tuba, timpani,<br />

percussion (snare drum, bass drum),<br />

and strings<br />

First Los Angeles <strong>Phil</strong>harmonic performance:<br />

August 9, 1960, with Walter Hendl<br />

conducting<br />

In <strong>the</strong> autumn of 1898, Charles Ives moved<br />

<strong>to</strong> New York and established a p<strong>at</strong>tern th<strong>at</strong><br />

would be his modus operandi for <strong>the</strong> next<br />

ten years, th<strong>at</strong> being <strong>the</strong> pursuit of two<br />

separ<strong>at</strong>e careers: composer and insurance<br />

clerk (l<strong>at</strong>er <strong>to</strong> become an executive).<br />

In Memos, Ives wrote th<strong>at</strong> upon gradu<strong>at</strong>ing<br />

from Yale in 1898, with reference <strong>to</strong> career<br />

and a future family, “If he has a nice wife<br />

and some nice children, how can he let <strong>the</strong><br />

children starve on his dissonances?” Thus<br />

<strong>the</strong> practical Yankee side of his character<br />

won out.<br />

For a bachelor in turn-of-<strong>the</strong>-century<br />

New York, <strong>the</strong> excitement and general<br />

pace of life was overwhelming, and opti-<br />

A Young Charles Ives<br />

mism for <strong>the</strong> coming century was electrifying,<br />

literally and figur<strong>at</strong>ively: <strong>the</strong> electric<br />

light, mo<strong>to</strong>r car, telephone, motion picture,<br />

airplane, et al. were, if not already in use,<br />

<strong>the</strong>n about <strong>to</strong> affect everyday existence.<br />

Consequently, <strong>the</strong> United St<strong>at</strong>es was on<br />

<strong>the</strong> verge of leading <strong>the</strong> world in<strong>to</strong> a bright<br />

future of scientific, economic, and social<br />

progress, and New York was <strong>the</strong> hub. But<br />

of course, accompanying this dynamism<br />

and prosperity was omnipresent poverty.<br />

Ives was aware of this ethical dicho<strong>to</strong>my<br />

of technological and social advance and<br />

wealth on one hand, and <strong>the</strong> extreme poverty<br />

of urban life on <strong>the</strong> o<strong>the</strong>r. Mirror-like,<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

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Ives simultaneously harbored in his inner<br />

life both <strong>the</strong> socially progressive program<br />

of <strong>the</strong> present and <strong>the</strong> vanishing spiritual<br />

world of his youth. Both <strong>the</strong>se strains were<br />

<strong>to</strong> be syn<strong>the</strong>sized in Ives’ future works, beginning<br />

with his Second Symphony.<br />

<strong>The</strong> Symphony No.2 marks <strong>the</strong> first<br />

major work in which Ives exercises his<br />

famous penchant for “borrowings” of<br />

well-known hymns, marches, and popular<br />

songs, as well quoting from his own earlier<br />

works for organ. In addition <strong>to</strong> <strong>the</strong>se<br />

borrowings of American tunes eman<strong>at</strong>ing<br />

from Ives’ childhood, he also continues<br />

<strong>to</strong> reference European music, Dvořák<br />

especially, particularly <strong>the</strong> Largo from <strong>the</strong><br />

“New World” Symphony with its sense of<br />

nostalgia. In a sense, <strong>the</strong> Symphony No.2<br />

is a transition piece between <strong>the</strong> pure European<br />

tradition of <strong>the</strong> First Symphony <strong>to</strong> <strong>the</strong><br />

pure Americanism of <strong>the</strong> Third Symphony.<br />

A plaintive <strong>the</strong>me st<strong>at</strong>ed in <strong>the</strong> cellos<br />

begins <strong>the</strong> opening Andante modera<strong>to</strong>. Following<br />

various o<strong>the</strong>r <strong>the</strong>m<strong>at</strong>ic m<strong>at</strong>erials, it<br />

is rest<strong>at</strong>ed with a fragment from “Columbia,<br />

Gem of <strong>the</strong> Ocean” making a brief appearance.<br />

<strong>The</strong> second movement is a lively<br />

jaunt, which is interrupted by a slow lyric<br />

section for strings, flutes, and oboes. Each<br />

of <strong>the</strong>se sections is repe<strong>at</strong>ed; “Bringing in<br />

<strong>the</strong> Sheaves” is perhaps <strong>the</strong> most obvious<br />

borrowing in this movement. <strong>The</strong> Adagio<br />

cantabile puts fragments from “America<br />

<strong>the</strong> Beautiful” in a pas<strong>to</strong>ral setting. <strong>The</strong><br />

Len<strong>to</strong> Maes<strong>to</strong>so sets a tragic <strong>to</strong>ne th<strong>at</strong> is<br />

briefly disrupted by a fragment of “Columbia,<br />

Gem of <strong>the</strong> Ocean.” <strong>The</strong> last movement<br />

is a quick moving romp of brilliant contrapuntal<br />

writing th<strong>at</strong> climaxes in a medley including<br />

“Camp<strong>to</strong>wn Races,” “Turkey in <strong>the</strong><br />

Straw,” and once again, “Columbia, Gem of<br />

<strong>the</strong> Ocean” th<strong>at</strong> <strong>at</strong> <strong>the</strong> very end is abruptly<br />

cut off by a blaring fragment of “Reveille,”<br />

perhaps <strong>the</strong> most “Ivesian” gesture of<br />

<strong>the</strong> Symphony.<br />

—Steve Lacoste, ©<strong>2020</strong><br />

Symphony No.9<br />

in E Minor, Op.95<br />

(“From <strong>the</strong> New World”)<br />

An<strong>to</strong>nín Dvořák (1841<strong>–</strong>1904)<br />

Composed: 1892<strong>–</strong>93<br />

Orchestr<strong>at</strong>ion: 2 flutes (2nd = piccolo), 2<br />

oboes (2nd = English horn), 2 clarinets,<br />

2 bassoons, 4 horns, 2 trumpets, 3 trombones,<br />

tuba, timpani, percussion (cymbals,<br />

triangle), and strings.<br />

First Los Angeles <strong>Phil</strong>harmonic performance:<br />

Oc<strong>to</strong>ber 25, 1919, with Walter Henry<br />

Rothwell conducting<br />

Has <strong>the</strong>re ever been a work so beloved, so<br />

recognized, and yet so impossible <strong>to</strong> give<br />

a fair hearing as <strong>the</strong> “New World” Symphony?<br />

By <strong>the</strong> mid-20th century it was so<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

23


much a part of American culture th<strong>at</strong> it<br />

was familiar <strong>to</strong> people who had never even<br />

heard it. So much in it has been quoted and<br />

rehashed th<strong>at</strong> it now sounds like a cliché.<br />

This ultim<strong>at</strong>e piece of Americana<br />

actually grew out of an <strong>at</strong>tempt <strong>to</strong> cre<strong>at</strong>e<br />

an American style of composition. To this<br />

end, a visionary p<strong>at</strong>ron of <strong>the</strong> arts named<br />

Jeanette Thurber founded a N<strong>at</strong>ional Conserva<strong>to</strong>ry<br />

in New York and engaged Dvořák<br />

as its direc<strong>to</strong>r. Dvořák arrived with his wife<br />

and two oldest children in September 1892,<br />

and threw himself in<strong>to</strong> teaching, composing,<br />

and absorbing America.<br />

Since Dvořák was a “n<strong>at</strong>ionalist” who<br />

grounded his own music in Czech folk tradition,<br />

he was n<strong>at</strong>urally curious about <strong>the</strong><br />

folk music of America. In interviews with<br />

New York newspapers, he opined th<strong>at</strong> <strong>the</strong><br />

An<strong>to</strong>nín Dvořák in 1904<br />

music of n<strong>at</strong>ive Americans and Black people<br />

would be <strong>the</strong> real source of folk music<br />

on which <strong>to</strong> base an American n<strong>at</strong>ional<br />

style. His knowledge of “Indian” music<br />

would have come from published collections,<br />

filtered through <strong>the</strong> ears of white edi<strong>to</strong>rs.<br />

He would have come <strong>to</strong> know black<br />

music from more varied sources. He made<br />

a special point of having Harry Burleigh, a<br />

black N<strong>at</strong>ional Conserva<strong>to</strong>ry student who<br />

l<strong>at</strong>er became famous as a publisher of<br />

spirituals, sing real black music <strong>to</strong> him.<br />

Dvořák began <strong>the</strong> symphony in l<strong>at</strong>e<br />

1892 and finished it <strong>the</strong> following May. <strong>The</strong><br />

first performance, in New York on December<br />

16, 1893, was a major event, with a public<br />

rehearsal and much advance press <strong>at</strong>tention.<br />

Its reception was a major triumph,<br />

and it occasioned much enthusiastic discussion<br />

from <strong>the</strong> musical intelligentsia<br />

about just how American it really was. In<br />

<strong>the</strong> ensuing century, little has changed: <strong>the</strong><br />

symphony’s popularity has endured, and<br />

talking about how much <strong>the</strong> “New World”<br />

Symphony sounded like wh<strong>at</strong> American<br />

music was before American music started<br />

<strong>to</strong> sound like <strong>the</strong> “New World” Symphony<br />

remains a favorite pastime.<br />

Clearly <strong>the</strong>re is a lot of Bohemia in<br />

<strong>the</strong> Symphony. Dvořák was not going <strong>to</strong><br />

change his style in nine months. But it also<br />

sounds different from his previous works.<br />

Dvořák wrote <strong>to</strong> a friend in Bohemia th<strong>at</strong><br />

<strong>the</strong> Symphony “will be fundamentally different<br />

from my earlier ones. Anyone with a<br />

‘nose’ for <strong>the</strong>se things will detect <strong>the</strong> influence<br />

of America.”<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

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But many observers, nasally challenged<br />

or not, have disagreed. Perhaps <strong>the</strong><br />

most extreme view was voiced by Leonard<br />

Bernstein, who devoted a chapter of his<br />

1966 book <strong>The</strong> Infinite Variety of Music <strong>to</strong><br />

arguing th<strong>at</strong> <strong>the</strong>re was virtually nothing<br />

American about <strong>the</strong> Symphony. Bernstein<br />

examined each <strong>the</strong>me of <strong>the</strong> symphony,<br />

identified wh<strong>at</strong>ever aspect of it th<strong>at</strong> was<br />

thought <strong>to</strong> be American, and pointed out<br />

th<strong>at</strong> <strong>the</strong>re was nothing exclusively American<br />

about th<strong>at</strong> aspect. <strong>The</strong> argument<br />

proves <strong>to</strong>o much: Bernstein could similarly<br />

have “proved” th<strong>at</strong> <strong>the</strong>re is nothing American<br />

about hot dogs because <strong>the</strong>y are made<br />

from a sausage th<strong>at</strong> origin<strong>at</strong>ed in Frankfurt.<br />

But his views were, as always, insightful<br />

and provoc<strong>at</strong>ive.<br />

Dvořák insisted th<strong>at</strong> while he <strong>to</strong>ok inspir<strong>at</strong>ion<br />

from folk music, he borrowed no<br />

actual melodies. <strong>The</strong> Symphony is remarkable<br />

for its sheer number of memorable<br />

tunes: nearly all of <strong>the</strong>m are <strong>the</strong> sort th<strong>at</strong><br />

you hum going home from <strong>the</strong> concert. For<br />

just this reason, <strong>the</strong> Symphony sometimes<br />

gives short shrift <strong>to</strong> symphonic development:<br />

it needs less compositional craft<br />

because <strong>the</strong> sheer melodic invention is<br />

so inspired.<br />

Everything Dvořák <strong>to</strong>uched here turned<br />

<strong>to</strong> gold. Even when he dealt with a practical<br />

structural problem—how <strong>to</strong> go from E<br />

minor, <strong>the</strong> key in which <strong>the</strong> first movement<br />

ends, <strong>to</strong> <strong>the</strong> Largo’s distant D-fl<strong>at</strong> major<br />

without jolting <strong>the</strong> listener’s ear—his solution<br />

was haunting: <strong>the</strong> seven magical<br />

chords th<strong>at</strong> begin <strong>the</strong> second movement<br />

are unforgettable, though <strong>the</strong>y appear only<br />

four times, including a curtain call in <strong>the</strong> finale.<br />

It’s easy <strong>to</strong> conclude th<strong>at</strong> Dvořák kept<br />

bringing <strong>the</strong>mes back in l<strong>at</strong>er movements<br />

not for purposes of unity, but because he<br />

couldn’t bear <strong>to</strong> part with <strong>the</strong>m.<br />

Several sources close <strong>to</strong> Dvořák said<br />

th<strong>at</strong> <strong>the</strong> slow movement was inspired by<br />

episodes in Longfellow’s Song of Hiaw<strong>at</strong>ha,<br />

which Dvořák had read in a Czech transl<strong>at</strong>ion<br />

and, <strong>at</strong> Mrs. Thurber’s suggestion,<br />

was considering as <strong>the</strong> subject of an opera.<br />

Some of <strong>the</strong> movement may even have<br />

started as sketches for such an opera. But<br />

<strong>the</strong> sources do not agree on which part(s)<br />

of Hiaw<strong>at</strong>ha Dvořák may have had in mind,<br />

and <strong>the</strong> principal <strong>the</strong>me, <strong>the</strong> English horn’s<br />

famous song, is not “Indian” <strong>at</strong> all. It has <strong>the</strong><br />

character of a black spiritual, but it betrays<br />

its high-art origins when it modul<strong>at</strong>es in<strong>to</strong><br />

<strong>the</strong> subdominant, a bit of harmonic sophistic<strong>at</strong>ion<br />

uncommon in real spirituals. <strong>Years</strong><br />

l<strong>at</strong>er, one of Dvořák’s N<strong>at</strong>ional Conserva<strong>to</strong>ry<br />

students, a white man named William<br />

Fisher, gave it words and turned it in<strong>to</strong> a<br />

song called “Goin’ Home” th<strong>at</strong> was popular<br />

for many years. Bernstein, again overst<strong>at</strong>ing<br />

his case, noted: “It evokes for us <strong>the</strong><br />

picture of field hands, plant<strong>at</strong>ion workers<br />

crooning in <strong>the</strong> moonlight, Gone with <strong>the</strong><br />

Wind, wh<strong>at</strong> have you—but only because we<br />

have heard it so constantly played or sung,<br />

in <strong>the</strong> movies or on <strong>the</strong> radio or wherever,<br />

in practically every sou<strong>the</strong>rn situ<strong>at</strong>ion. (If<br />

we were <strong>to</strong> put Czech words <strong>to</strong> it, it would<br />

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sound fully as Czech as American, or with<br />

Chinese words it would sound Chinese.)”<br />

Dvořák said th<strong>at</strong> <strong>the</strong> Scherzo was inspired<br />

by Longfellow’s description of <strong>the</strong><br />

dance <strong>at</strong> Hiaw<strong>at</strong>ha’s wedding feast. But<br />

its m<strong>at</strong>erial is <strong>the</strong> most characteristically<br />

Czech in <strong>the</strong> symphony. <strong>The</strong> rhythm of <strong>the</strong><br />

woodwinds’ perky first <strong>the</strong>me is typical of<br />

<strong>the</strong> Czech language and is found in Czech<br />

folk songs. (<strong>The</strong>re is nothing folky about<br />

<strong>the</strong> insistent rhythmic pull of three against<br />

two th<strong>at</strong> yanks <strong>the</strong> <strong>the</strong>me along.) <strong>The</strong> lilting<br />

middle section could pass for one of<br />

Dvořák’s Slavonic Dances.<br />

<strong>The</strong> finale begins as a normal son<strong>at</strong>a<br />

movement, but somewhere in <strong>the</strong> development<br />

becomes something else. Much of<br />

wh<strong>at</strong> it develops is <strong>the</strong>m<strong>at</strong>ic m<strong>at</strong>erial from<br />

<strong>the</strong> first three movements. Finally, <strong>the</strong>re’s<br />

th<strong>at</strong> unmistakable boogie-woogie walking<br />

bass just before <strong>the</strong> final chords: is it<br />

a transform<strong>at</strong>ion of <strong>the</strong> first movement’s<br />

main <strong>the</strong>me, or had Dvořák actually heard<br />

some ragtime pianist? Ei<strong>the</strong>r explan<strong>at</strong>ion<br />

is possible, his<strong>to</strong>rically speaking, but<br />

nei<strong>the</strong>r is probable. Genius is often hard<br />

<strong>to</strong> explain.<br />

—Howard Posner, ©<strong>2020</strong><br />

One hundred years ago,<br />

<strong>the</strong> founders of <strong>the</strong><br />

Civic Music Committee<br />

th<strong>at</strong> would become<br />

<strong>CAMA</strong> chose <strong>to</strong> invest<br />

in <strong>the</strong> cultural life<br />

of <strong>the</strong> Santa Barbara<br />

community and invited<br />

<strong>the</strong> brand-new Los Angeles <strong>Phil</strong>harmonic<br />

<strong>to</strong> perform. Through peace time and war,<br />

economic booms and busts, <strong>the</strong> rel<strong>at</strong>ionship<br />

of our two organiz<strong>at</strong>ions has continued<br />

and grown. We are proud <strong>to</strong> continue this<br />

gre<strong>at</strong> partnership as we both enter our<br />

second centuries, and we are honored <strong>to</strong><br />

mark <strong>the</strong> occasion of our first concert with<br />

<strong>CAMA</strong> on <strong>March</strong> 6.<br />

<strong>–</strong>Chad Smith<br />

Chief Executive Officer,<br />

David C. Bohnett Chief Executive Officer Chair<br />

Los Angeles <strong>Phil</strong>harmonic Associ<strong>at</strong>ion<br />

On behalf of <strong>the</strong> Board of Direc<strong>to</strong>rs of<br />

Community Arts Music Associ<strong>at</strong>ion (<strong>CAMA</strong>),<br />

thank you Santa Barbara for supporting<br />

<strong>the</strong> world’s finest classical artists for <strong>100</strong><br />

years which is truly a remarkable miles<strong>to</strong>ne<br />

for a <strong>to</strong>wn of our size. We extend our<br />

gr<strong>at</strong>itude <strong>to</strong> our many generous sponsors<br />

and contribu<strong>to</strong>rs, <strong>to</strong> our loyal subscribers,<br />

and <strong>to</strong> <strong>the</strong> gre<strong>at</strong>er <strong>CAMA</strong> community.<br />

We are especially gr<strong>at</strong>eful <strong>to</strong> share this<br />

momen<strong>to</strong>us occasion with Maestro Gustavo<br />

Dudamel and <strong>the</strong> Los Angeles <strong>Phil</strong>harmonic<br />

with whom we proudly share <strong>100</strong> years of<br />

music <strong>to</strong>ge<strong>the</strong>r. We<br />

deeply appreci<strong>at</strong>e our<br />

century-long rel<strong>at</strong>ionship<br />

with <strong>the</strong> <strong>LA</strong> <strong>Phil</strong>, and we<br />

look forward <strong>to</strong> a<br />

marvelous partnership<br />

as we begin Our<br />

Second Century<br />

<strong>to</strong>ge<strong>the</strong>r. BRAVO!<br />

<strong>–</strong>Robert K. Montgomery<br />

President and Centennial Circle Chair<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

29


LOS ANGELES PHILHARMONIC<br />

Gustavo Dudamel<br />

Music & Artistic Direc<strong>to</strong>r<br />

Walt and Lilly Disney Chair<br />

Zubin Mehta<br />

Conduc<strong>to</strong>r Emeritus<br />

Esa-Pekka Salonen<br />

Conduc<strong>to</strong>r Laure<strong>at</strong>e<br />

Susanna Mälkki<br />

Principal Guest Conduc<strong>to</strong>r<br />

Ann Ronus Chair<br />

Paolo Bor<strong>to</strong>lameolli<br />

Associ<strong>at</strong>e Conduc<strong>to</strong>r<br />

John Adams<br />

John and Samantha<br />

Williams Cre<strong>at</strong>ive Chair<br />

FIRST VIOLINS<br />

Martin Chalifour<br />

Principal <strong>Concert</strong>master<br />

Marjorie Connell Wilson Chair<br />

N<strong>at</strong>han Cole<br />

First Associ<strong>at</strong>e<br />

<strong>Concert</strong>master<br />

Ernest Fleischmann Chair<br />

Bing Wang<br />

Associ<strong>at</strong>e<br />

<strong>Concert</strong>master<br />

Barbara and Jay Rasulo Chair<br />

Akiko Tarumo<strong>to</strong><br />

Assistant <strong>Concert</strong>master<br />

<strong>Phil</strong>harmonic Affili<strong>at</strong>es Chair<br />

Michele Bovyer<br />

Deanie and Jay Stein Chair<br />

Rochelle Abramson<br />

Camille Avellano<br />

Margaret and Jerrold L.<br />

Eberhardt Chair<br />

Minyoung Chang<br />

I.H. Albert Sutnick Chair<br />

Miika Gregg<br />

Jordan Koransky<br />

Mischa Lefkowitz<br />

Edith Markman<br />

Mitchell Newman<br />

Mark Hous<strong>to</strong>n Dalzell and<br />

James Dao-Dalzell Chair<br />

for Artistic Service <strong>to</strong> <strong>the</strong><br />

Community<br />

Rebecca Reale<br />

Stacy Wetzel<br />

Justin Woo<br />

SECOND VIOLINS<br />

Lyndon Johns<strong>to</strong>n Taylor<br />

Principal<br />

Dorothy Rossel Lay Chair<br />

Mark Kashper<br />

Associ<strong>at</strong>e Principal<br />

Kristine Whitson<br />

Johnny Lee<br />

Dale Breidenthal<br />

Ingrid Chun<br />

Jin-Shan Dai<br />

Tianyun Jia<br />

Chao-Hua Jin<br />

Nickolai Kurganov<br />

Guido Lamell<br />

Varty Manouelian<br />

Yun Tang +<br />

Michelle Tseng<br />

Suli Xue<br />

Gabriela Peña-Kim *<br />

VIO<strong>LA</strong>S<br />

Teng Li<br />

Principal<br />

John Connell Chair<br />

Dale Hikawa Silverman<br />

Associ<strong>at</strong>e Principal<br />

Ben Ullery<br />

Assistant Principal<br />

Dana Lawson<br />

Richard Elegino<br />

John Hayhurst<br />

Ingrid Hutman<br />

Michael Larco<br />

Hui Liu<br />

Meredith Snow<br />

Leticia Oaks Strong<br />

Minor L. Wetzel<br />

CELLOS<br />

Robert deMaine<br />

Principal<br />

Bram and Elaine<br />

Goldsmith Chair<br />

Ben Hong<br />

Associ<strong>at</strong>e Principal<br />

Sadie and Norman Lee Chair<br />

Dahae Kim<br />

Assistant Principal<br />

Jon<strong>at</strong>han Karoly<br />

David Garrett<br />

Barry Gold<br />

Jason Lippmann<br />

Gloria Lum<br />

Linda and Maynard<br />

Brittan Chair<br />

Tao Ni<br />

Serge Oskotsky<br />

Brent Samuel<br />

BASSES<br />

Chris<strong>to</strong>pher Hanulik<br />

Principal<br />

Oscar M. Meza<br />

Assistant Principal<br />

David Allen Moore<br />

Ted Botsford<br />

Jack Cousin<br />

Jory Herman<br />

Brian Johnson<br />

Peter Rofé<br />

Michael Fuller *<br />

Dennis Trembly<br />

Principal Bass Emeritus<br />

FLUTES<br />

Denis Bouriakov<br />

Principal<br />

Virginia and Henry<br />

Mancini Chair<br />

Ca<strong>the</strong>rine Ransom Karoly<br />

Associ<strong>at</strong>e Principal<br />

Mr. and Mrs. H. Russell<br />

Smith Chair<br />

Elise Shope Henry<br />

Mari L. Danihel Chair<br />

Sarah Jackson<br />

Piccolo<br />

Sarah Jackson<br />

30 <strong>CAMA</strong>'S 101ST CONCERT SEASON


LOS ANGELES PHILHARMONIC<br />

OBOES<br />

(Vacant)<br />

Principal<br />

Contrabassoon<br />

Evan Kuhlmann<br />

HORNS<br />

James Miller<br />

Associ<strong>at</strong>e Principal<br />

Judith and Thomas L.<br />

Beckmen Chair<br />

PERSONNEL<br />

MANAGER<br />

Jeffrey Neville<br />

Marion Arthur Kuszyk<br />

Associ<strong>at</strong>e Principal<br />

Anne Marie Gabriele<br />

Carolyn Hove<br />

English Horn<br />

Carolyn Hove<br />

Alyce de Roulet<br />

Williamson Chair<br />

C<strong>LA</strong>RINETS<br />

Boris Allakhverdyan<br />

Principal<br />

Michele and Dudley<br />

Rauch Chair<br />

Burt Hara<br />

Associ<strong>at</strong>e Principal<br />

Andrew Lowy<br />

David Howard<br />

E-Fl<strong>at</strong> Clarinet<br />

Andrew Lowy<br />

Bass Clarinet<br />

David Howard<br />

BASSOONS<br />

Whitney Crockett<br />

Principal<br />

Shawn Mouser<br />

Associ<strong>at</strong>e Principal<br />

Michele Grego<br />

Evan Kuhlmann<br />

Andrew Bain<br />

Principal<br />

John Cecil Bessell Chair<br />

Jaclyn Rainey<br />

Associ<strong>at</strong>e Principal<br />

Gregory Roosa<br />

Alan Scott Klee Chair<br />

Amy Jo Rhine<br />

Loring Charitable<br />

Trust Chair<br />

Brian Drake +<br />

Reese and Doris Gothie Chair<br />

Ethan Bearman<br />

Assistant<br />

Bud and Barbara<br />

Hellman Chair<br />

TRUMPETS<br />

Thomas Hooten<br />

Principal<br />

M. David and Diane Paul Chair<br />

James Wilt<br />

Associ<strong>at</strong>e Principal<br />

Nancy and Donald<br />

de Brier Chair<br />

Chris<strong>to</strong>pher Still<br />

Ronald and Valerie<br />

Sugar Chair<br />

Jeffrey Strong<br />

TROMBONES<br />

David Rejano Cantero<br />

Principal<br />

Paul Radke<br />

Bass Trombone<br />

John Lof<strong>to</strong>n<br />

TUBA<br />

Norman Pearson<br />

TIMPANI<br />

Joseph Pereira<br />

Principal<br />

Cecilia and Dudley<br />

Rauch Chair<br />

PERCUSSION<br />

M<strong>at</strong><strong>the</strong>w Howard<br />

Principal<br />

James Babor<br />

Perry Dreiman<br />

Wesley Sumpter *<br />

KEYBOARDS<br />

Joanne Pearce Martin<br />

K<strong>at</strong>harine Bixby<br />

Hotchkis Chair<br />

HARP<br />

Lou Anne Neill<br />

LIBRARIANS<br />

Kazue Asawa McGregor<br />

Benjamin Picard<br />

Stephen Biagini<br />

KT Somero<br />

CONDUCTING<br />

FELLOWS<br />

Hilo Carriel<br />

Marta Gardolinska<br />

Enluis Montes Olivar<br />

Anna Rakitina<br />

*<br />

Resident Fellows<br />

+<br />

on sabb<strong>at</strong>ical<br />

<strong>The</strong> Los Angeles<br />

<strong>Phil</strong>harmonic string<br />

section utilizes revolving<br />

se<strong>at</strong>ing on a system<strong>at</strong>ic<br />

basis. Players listed<br />

alphabetically change<br />

se<strong>at</strong>s periodically.<br />

In those sections where<br />

<strong>the</strong>re are two principals<br />

<strong>the</strong> musicians share <strong>the</strong><br />

position equally and are<br />

listed in order of length<br />

of service.<br />

<strong>The</strong> musicians of<br />

<strong>the</strong> Los Angeles<br />

<strong>Phil</strong>harmonic are<br />

represented by<br />

Professional Musicians<br />

Local 47, AFM.<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

31


Presenting <strong>the</strong> world’s finest classical artists since 1919<br />

MASTERSERIES AT THE LOBERO THEATRE<br />

SEASON SPONSORSHIP: ESPERIA FOUNDATION<br />

MARCH<br />

13<br />

FRI, 8:00 PM<br />

<strong>2020</strong><br />

BENJAMIN<br />

GROSVENOR piano<br />

©Operaomnia.co.uk<br />

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

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

listen <strong>to</strong> him play <strong>to</strong> understand <strong>the</strong> accolades are well-deserved; his playing is reminiscent of legendary<br />

pianists th<strong>at</strong> are long gone—Rachmaninoff, Schnabel, Rubinstein, Serkin. His promise was evident from a<br />

young age—<strong>the</strong> winner of <strong>the</strong> Keyboard Final of <strong>the</strong> 2004 BBC Young Musician Competition <strong>at</strong> <strong>the</strong> age of<br />

eleven, and <strong>at</strong> nineteen invited <strong>to</strong> perform with <strong>the</strong> BBC Symphony<br />

Orchestra <strong>at</strong> <strong>the</strong> Opening Night of <strong>the</strong> 2011 BBC Proms <strong>at</strong> London’s Royal Albert Hall. <strong>The</strong> upcoming<br />

concert will mark his Santa Barbara recital debut.<br />

PROGRAM:<br />

RAMEAU: Gavotte and Six Vari<strong>at</strong>ions from Suite in A Minor, RCT 5<br />

SCHUMANN: Kreisleriana, Op.16<br />

LISZT: Berceuse in D-fl<strong>at</strong> major, S.174 (second version)<br />

LISZT: Son<strong>at</strong>a in B Minor, S.178<br />

Co-Sponsors: Alison & Jan Bowlus • Jocelyne & William Meeker<br />

<strong>Concert</strong> Partner: Stephen Cloud<br />

TICKETS (805) 963-0761 lobero.com


Celebr<strong>at</strong>ing <strong>100</strong><br />

with Betty Meyer and N<strong>at</strong>alie Myerson!<br />

<strong>CAMA</strong> Centennial Celebr<strong>at</strong>ion Chair and First Vice President,<br />

Deborah Bertling; Betty Meyer; Past President, Judith Hopkinson<br />

Mrs. Raymond King Myerson; <strong>CAMA</strong> Board<br />

Member Elizabeth Karlsberg; Bette Myerson<br />

Any musical organis<strong>at</strong>ion reaching its <strong><strong>100</strong>th</strong> birthday is<br />

most likely older than anyone performing or listening<br />

<strong>the</strong>re. Its memories are rich and, with <strong>CAMA</strong>, its future<br />

promises <strong>to</strong> be as cherishable. Huge congr<strong>at</strong>ul<strong>at</strong>ions on<br />

this wonderful miles<strong>to</strong>ne.<br />

<strong>–</strong>Stephen Hough<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

33


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sexual harassment and medical malpractice for veterans.<br />

Please call Peter Bertling for a free consult<strong>at</strong>ion (844) 295-7558<br />

BERTLING<strong>LA</strong>WGROUP.COM<br />

34 <strong>CAMA</strong>'S 101ST CONCERT SEASON


Wallenstein<br />

Doráti<br />

Solti Eichheim Klemperer<br />

<strong>CAMA</strong> + <strong>LA</strong> PHIL<br />

his<strong>to</strong>ry <strong>at</strong> THE GRANADA<br />

© Rothschild<br />

© SB His<strong>to</strong>rical Society<br />

Zubin Mehta<br />

Santa Barbara’s his<strong>to</strong>ric <strong>Granada</strong><br />

<strong>The</strong><strong>at</strong>re, opening first in 1924, has an<br />

intim<strong>at</strong>e connection <strong>to</strong> both <strong>CAMA</strong> and<br />

<strong>the</strong> Los Angeles <strong>Phil</strong>harmonic. First presented<br />

in Santa Barbara by <strong>the</strong> Civic Music Committee<br />

(one of <strong>CAMA</strong>’s direct predecessors) in <strong>1920</strong>,<br />

<strong>the</strong> Los Angeles <strong>Phil</strong>harmonic gave <strong>the</strong> <strong>CAMA</strong><br />

archives’ first documented <strong>Granada</strong> concert<br />

during <strong>the</strong> 1925/26 season. <strong>The</strong> <strong>LA</strong> <strong>Phil</strong> also gave<br />

<strong>CAMA</strong>’s final concert <strong>at</strong> <strong>the</strong> “old <strong>Granada</strong>,” on<br />

April 21, 1976, with Zubin Mehta conducting a<br />

program of Mozart and Mahler. In between, <strong>CAMA</strong><br />

presented <strong>the</strong> <strong>LA</strong> <strong>Phil</strong> in dozens of concerts <strong>at</strong><br />

<strong>the</strong> <strong>Granada</strong>—48 concerts during <strong>the</strong> 1950s alone.<br />

More than 40 conduc<strong>to</strong>rs led <strong>the</strong> Los<br />

Angeles <strong>Phil</strong>harmonic as Music Direc<strong>to</strong>r or guest<br />

conduc<strong>to</strong>r in concerts <strong>at</strong> <strong>the</strong> <strong>Granada</strong> <strong>The</strong><strong>at</strong>re<br />

from 1925<strong>–</strong>1976, including (in chronological<br />

order) Henry Eichheim, Ot<strong>to</strong> Klemperer, Alfred<br />

Wallenstein, Bruno Walter, George Szell, Igor<br />

Stravinsky, John Barnett, Georg Solti, Erich<br />

Leinsdorf, Karl Böhm, John Barbirolli, Eugen<br />

Jochum, Hans Schmidt-Isserstedt, Zubin Mehta,<br />

Rafael Kubelik, Rafael Frühbeck de Burgos, Antal<br />

Doráti, Daniel Barenboim, Michael Tilson Thomas,<br />

Carlo Maria Giulini, André Previn, and more.<br />

<strong>CAMA</strong>’s his<strong>to</strong>ric present<strong>at</strong>ions <strong>at</strong> <strong>the</strong> <strong>Granada</strong><br />

include o<strong>the</strong>r world-class orchestras as well—<br />

such as <strong>the</strong> Berlin <strong>Phil</strong>harmonic, <strong>Concert</strong>gebouw<br />

Orchestra, New York <strong>Phil</strong>harmonic, <strong>Phil</strong>adelphia<br />

Orchestra, and more.<br />

After 32 years <strong>at</strong> <strong>the</strong> Arling<strong>to</strong>n <strong>The</strong><strong>at</strong>re,<br />

<strong>CAMA</strong>’s orchestra series returned <strong>to</strong> <strong>The</strong> <strong>Granada</strong><br />

<strong>The</strong><strong>at</strong>re on May 3, 2008 with a concert by none<br />

o<strong>the</strong>r than <strong>the</strong> <strong>LA</strong> <strong>Phil</strong>! •<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

-7-<br />

35


Excerpt from<br />

Celebr<strong>at</strong>ing <strong>CAMA</strong>'s Centennial<br />

By H<strong>at</strong>tie Beresford<br />

Blue Point Books (2018)<br />

©2018, Community Arts Music Associ<strong>at</strong>ion<br />

36 <strong>CAMA</strong>'S 101ST CONCERT SEASON


Bringing <strong>the</strong> Music<br />

After WWI, several people in <strong>to</strong>wn sought<br />

<strong>to</strong> introduce talented professionals and<br />

gre<strong>at</strong> music <strong>to</strong> Santa Barbara. One such<br />

person was Clara E. Herbert, who presented<br />

<strong>the</strong> <strong>Phil</strong>harmonic Course and Artists<br />

<strong>Series</strong> for <strong>the</strong> Potter <strong>The</strong><strong>at</strong>re. This program<br />

brought well-known solo artists, musical<br />

ensembles, and orchestras <strong>to</strong> <strong>to</strong>wn, generally<br />

for <strong>the</strong> winter-spring season. Clara<br />

Herbert solicited subscribers and season<br />

ticket holders, and her concerts were always<br />

favorably reviewed.<br />

By December 1921, <strong>the</strong> Morning Press<br />

was able <strong>to</strong> say, “<strong>The</strong> <strong>Phil</strong>harmonic season<br />

is said <strong>to</strong> be <strong>the</strong> backbone, in a sense, of<br />

Santa Barbara’s musical activities. Mrs.<br />

C.E. Herbert, who has arranged for <strong>the</strong><br />

series of vocal and instrumental affairs,<br />

has been frequently mentioned as <strong>the</strong><br />

leading spirit of <strong>the</strong> musical world here.”<br />

In <strong>the</strong> early <strong>1920</strong>s, Clara Herbert brought<br />

performers like <strong>the</strong> gre<strong>at</strong> bandleader John<br />

<strong>Phil</strong>ip Sousa and Metropolitan Opera Company<br />

soprano Anna Case <strong>to</strong> <strong>the</strong> stage of<br />

<strong>the</strong> Potter <strong>The</strong><strong>at</strong>re. She continued <strong>to</strong> be a<br />

vital part of <strong>the</strong> movement <strong>to</strong> bring excellent<br />

music and artists <strong>to</strong> Santa Barbara for<br />

nearly 40 years.<br />

In 1919 ano<strong>the</strong>r such organiz<strong>at</strong>ion, <strong>the</strong><br />

Civic Music Committee, was formed. It, <strong>to</strong>o,<br />

planned <strong>to</strong> bring <strong>the</strong> best of <strong>the</strong> orchestral<br />

and classical music world <strong>to</strong> Santa Barbara.<br />

Its first season opened with <strong>the</strong> performance<br />

of <strong>the</strong> Los Angeles Symphony Orchestra<br />

directed by Adolf Tandler. Backed<br />

by a generous group of p<strong>at</strong>rons, <strong>the</strong> Civic<br />

<strong>The</strong> Civic Music Committee, formed in 1919, set its sights<br />

on bringing <strong>the</strong> best orchestral and classical musicians<br />

<strong>to</strong> Santa Barbara. <strong>The</strong> Committee opened its first season<br />

with <strong>the</strong> Los Angeles Symphony Orchestra. Courtesy<br />

Santa Barbara His<strong>to</strong>rical Museum<br />

Music Committee believed th<strong>at</strong> music not<br />

only gave pleasure but had a high educ<strong>at</strong>ional<br />

value as well.<br />

<strong>The</strong> Board of Direc<strong>to</strong>rs of <strong>the</strong> Civic<br />

Music Committee included members<br />

whose devotion <strong>to</strong> civic improvements and<br />

p<strong>at</strong>ronage of <strong>the</strong> arts was unparalleled.<br />

Mrs. Alexander C. (Bertha) Soper, <strong>the</strong> wife<br />

of a physician; Mrs. John Hopkins (Pearl)<br />

Denison; Samuel Ilsley, local architect; and<br />

David Gray, <strong>to</strong> name just a few, were involved<br />

in multiple cultural and community<br />

organiz<strong>at</strong>ions of <strong>the</strong> time. <strong>The</strong> list of <strong>the</strong><br />

guaran<strong>to</strong>rs for <strong>the</strong> Civic Music Committee’s<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

37


concert series looked like a veritable<br />

Who’s Who of Santa Barbara and Monteci<strong>to</strong><br />

society. Nearly every prominent philanthropist<br />

in <strong>to</strong>wn supported <strong>the</strong> organiz<strong>at</strong>ion.<br />

From <strong>the</strong> five “Hill<strong>to</strong>p Barons” (Cowles,<br />

Knapp, Peabody, Gray, and Billings) in<br />

Monteci<strong>to</strong> <strong>to</strong> <strong>the</strong> Hoffmanns, Blacks, and<br />

Hazards in <strong>to</strong>wn, <strong>at</strong> its height over 90<br />

p<strong>at</strong>rons sponsored <strong>the</strong> Civic Music Committee<br />

in bringing gre<strong>at</strong> music <strong>to</strong> Santa<br />

Barbara audiences.<br />

<strong>The</strong> hit of th<strong>at</strong> first season, however,<br />

and all seasons <strong>the</strong>reafter, was <strong>the</strong> muchanticip<strong>at</strong>ed<br />

concert of <strong>the</strong> newly-formed<br />

<strong>Phil</strong>harmonic Orchestra of Los Angeles,<br />

which <strong>to</strong>ok <strong>to</strong> <strong>the</strong> Potter stage on Monday,<br />

<strong>March</strong> 6, <strong>1920</strong>. Bertha Soper was directly<br />

responsible for introducing <strong>the</strong> <strong>LA</strong> <strong>Phil</strong> <strong>to</strong><br />

Santa Barbara. She had promoted <strong>the</strong> symphony<br />

<strong>to</strong> influential residents in <strong>the</strong> area,<br />

especially Samuel M. Ilsley, who became<br />

chairman of <strong>the</strong> Santa Barbara Regional<br />

Board of <strong>the</strong> new orchestra.<br />

William Andrews Clark, Jr.<br />

and <strong>the</strong> <strong>Phil</strong>harmonic<br />

Orchestra of Los Angeles<br />

At <strong>the</strong> beginning of June 1919, William<br />

Andrews Clark, Jr., son of Montana’s Copper<br />

King and controversial U.S. Sena<strong>to</strong>r,<br />

invited Lynden E. Behymer, ardent cultural<br />

promoter and founder of <strong>the</strong> Los Angeles<br />

Symphony Orchestra, <strong>to</strong> his home in Los<br />

Angeles. Clark wanted <strong>to</strong> know how he<br />

would go about forming a symphony orchestra<br />

of 90 or more men for a series of<br />

concerts in Los Angeles and vicinity. He<br />

<strong>The</strong> <strong>Phil</strong>harmonic Orchestra of Los Angeles played <strong>the</strong> Potter <strong>The</strong><strong>at</strong>re on <strong>March</strong> 6, <strong>1920</strong>. <strong>The</strong> performance was<br />

regarded as <strong>the</strong> highlight of <strong>the</strong> Civic Music Committe’s first season. Santa Barbara News-Press. Courtesy Santa Barbara<br />

His<strong>to</strong>rical Museum<br />

38 <strong>CAMA</strong>'S 101ST CONCERT SEASON


wanted Behymer <strong>to</strong> assist him in this endeavor;<br />

in o<strong>the</strong>r words, <strong>to</strong> make it happen.<br />

“I informed Mr. Clark,” Behymer wrote<br />

in a 1922 article for Pacific Coast Musical<br />

Review, “th<strong>at</strong> this wholesale order was of<br />

such proportions and demanded such<br />

careful prepar<strong>at</strong>ion with <strong>the</strong> season already<br />

far advanced, th<strong>at</strong> it was almost<br />

an impossibility….and, unless <strong>at</strong> least five<br />

years of continuous life could be guaranteed,<br />

it would be impossible <strong>to</strong> secure a<br />

fine membership.”<br />

Clark and Behymer spoke for several<br />

hours about <strong>the</strong> financial and o<strong>the</strong>r hurdles<br />

th<strong>at</strong> needed <strong>to</strong> be overcome <strong>to</strong> cre<strong>at</strong>e such<br />

an organiz<strong>at</strong>ion. “In <strong>the</strong> end,” wrote Behymer,<br />

“this splendid p<strong>at</strong>ron of fine arts quietly<br />

said th<strong>at</strong> he was prepared <strong>to</strong> place <strong>at</strong> <strong>the</strong><br />

disposal of <strong>the</strong> <strong>Phil</strong>harmonic Orchestra<br />

Associ<strong>at</strong>ion of Los Angeles a yearly check<br />

sufficient <strong>to</strong> cover any deficit th<strong>at</strong> might<br />

occur—a gracious tribute <strong>to</strong> <strong>the</strong> music lovers<br />

of Los Angeles.”<br />

William Andrews Clark, Jr. had grown<br />

up in Montana, earned a law degree from<br />

<strong>the</strong> University of Virginia, and directed<br />

minor industries with his fa<strong>the</strong>r’s financing.<br />

He moved <strong>to</strong> Los Angeles in 1907, but<br />

served as <strong>the</strong> vice president of <strong>the</strong> family’s<br />

United Verde Mines in Arizona. Money, as<br />

<strong>the</strong>y say, was not an issue. Clark Senior<br />

was a p<strong>at</strong>ron of art and music in Montana<br />

and New York. He had sponsored his young<br />

ward, Anna La Chapelle, in music studies in<br />

Paris, where she studied <strong>the</strong> harp. It was<br />

in France, <strong>to</strong>o, where she secretly married<br />

Clark Senior and gave birth <strong>to</strong> <strong>the</strong>ir first<br />

In 1919, William Andrews Clark, Jr. founded <strong>the</strong><br />

<strong>Phil</strong>harmonic Orchestra of Los Angeles, known <strong>to</strong>day as<br />

<strong>the</strong> <strong>LA</strong> <strong>Phil</strong>. Courtesy Los Angeles <strong>Phil</strong>harmonic Archives<br />

In June 1919, William Andrews Clark, Jr. consulted<br />

Los Angeles Symphony Orchestra founder Lynden E.<br />

Behymer (center) about <strong>the</strong> process of cre<strong>at</strong>ing his own<br />

90-member symphony orchestra. <strong>The</strong> two engaged in<br />

an hours-long convers<strong>at</strong>ion about <strong>the</strong> financial and<br />

logistical hurdles involved. Charles E. Young Research<br />

Library, UC<strong>LA</strong><br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

39


daughter, Andrée.<br />

In November 1923, Clark Senior, who<br />

had rented <strong>the</strong> Bellosguardo est<strong>at</strong>e on<br />

Booth’s Point in Santa Barbara for <strong>the</strong><br />

winter, decided <strong>to</strong> buy it. He offered Lee<br />

Eleanor Graham $250,000 for <strong>the</strong> est<strong>at</strong>e,<br />

and she, recently divorced and in financial<br />

straits, accepted with alacrity. Clark Senior<br />

would not enjoy his winter home for long,<br />

however, as he died 15 months l<strong>at</strong>er <strong>at</strong> his<br />

mansion in New York.<br />

Clark Junior was a skilled violinist and<br />

collec<strong>to</strong>r of rare books, especially 17th and<br />

18th century English liter<strong>at</strong>ure. He built a<br />

Renaissance-style library with, appropri<strong>at</strong>ely<br />

enough, copper shelving for his collection.<br />

Having established Los Angeles<br />

as his home and realizing th<strong>at</strong> most of his<br />

income derived from Western properties,<br />

Clark Junior wanted <strong>to</strong> contribute <strong>to</strong> <strong>the</strong><br />

cultural institutions of his adopted home.<br />

Behymer <strong>to</strong>ok up <strong>the</strong> cause and soon<br />

realized th<strong>at</strong> Clark’s knowledge of symphonic<br />

liter<strong>at</strong>ure was extensive. “During<br />

<strong>the</strong> summer of 1919,” wrote Behymer, “Mr.<br />

Clark was very active in consult<strong>at</strong>ions regarding<br />

<strong>the</strong> employment of <strong>the</strong> various<br />

musicians who were <strong>to</strong> occupy <strong>the</strong> solo<br />

and first chairs; his intim<strong>at</strong>e knowledge of<br />

composers was shown in <strong>the</strong> selection of<br />

<strong>the</strong> well assorted library of <strong>the</strong> new orchestra.”<br />

As <strong>the</strong> summer progressed and <strong>the</strong> orchestra<br />

rehearsed, Clark was often found<br />

“sitting in” with <strong>the</strong> first violins. <strong>The</strong>n, on<br />

Friday afternoon, Oc<strong>to</strong>ber 24, and S<strong>at</strong>urday<br />

evening, Oc<strong>to</strong>ber 25, 1919, wh<strong>at</strong> had<br />

seemed impossible happened; conduc<strong>to</strong>r<br />

Walter Henry Rothwell raised his ba<strong>to</strong>n,<br />

and <strong>the</strong> <strong>Phil</strong>harmonic Orchestra of Los Angeles,<br />

after only a five-month gest<strong>at</strong>ion period,<br />

rose fully formed and played its first<br />

concerts <strong>to</strong> packed houses.<br />

Th<strong>at</strong> first season, <strong>the</strong> orchestra played<br />

dozens of concerts, both symphonic and<br />

popular, and brought music <strong>to</strong> schools<br />

and o<strong>the</strong>r venues in Sou<strong>the</strong>rn California.<br />

In <strong>March</strong> <strong>1920</strong>, a full three years before<br />

Clark Senior purchased his est<strong>at</strong>e in Santa<br />

Barbara, <strong>the</strong> Los Angeles <strong>Phil</strong>harmonic<br />

Orchestra arrived <strong>at</strong> <strong>the</strong> Potter <strong>The</strong><strong>at</strong>re,<br />

where music lovers anxiously awaited<br />

<strong>the</strong>ir performance.<br />

<strong>The</strong> Morning Press headline for <strong>March</strong><br />

6 trumpeted, “PHILHARMONIC ORCHES-<br />

TRA HERE IN CONCERT.” <strong>The</strong> writer reported,<br />

“This is a red-letter day in <strong>the</strong> musical<br />

his<strong>to</strong>ry of Santa Barbara because <strong>the</strong><br />

much-heralded <strong>Phil</strong>harmonic orchestra of<br />

Los Angeles, founded by W.A. Clark, Jr., will<br />

make its initial appearance here this evening<br />

<strong>at</strong> <strong>the</strong> Potter <strong>the</strong><strong>at</strong>re…. <strong>The</strong> orchestra<br />

has been a decided fac<strong>to</strong>r in <strong>the</strong> musical<br />

life of Los Angeles, and judging from <strong>the</strong><br />

crowds who have flocked <strong>to</strong> <strong>the</strong> concerts,<br />

it is destined <strong>to</strong> continue many years as an<br />

important item in <strong>the</strong> artistic circle.”<br />

Rothwell was lauded as a conduc<strong>to</strong>r<br />

with a fine inner urge of spirit which flows<br />

through his hands, passes <strong>to</strong> his musicians,<br />

and carries <strong>the</strong>m along with him on<br />

<strong>the</strong> wave of his own cre<strong>at</strong>ive reasoning.<br />

“And how <strong>the</strong> men respond <strong>to</strong> this magnificent<br />

leader!” enthused <strong>the</strong> writer. <strong>Concert</strong>goers<br />

were warned th<strong>at</strong> Rothwell would<br />

have <strong>the</strong> doors close precisely <strong>at</strong> 8:30 p.m.<br />

out of fairness <strong>to</strong> those who had made <strong>the</strong><br />

40 <strong>CAMA</strong>'S 101ST CONCERT SEASON


effort <strong>to</strong> be se<strong>at</strong>ed in time <strong>to</strong> enjoy <strong>the</strong> entire<br />

performance.<br />

<strong>The</strong> orchestra was comprised of 89<br />

men and one woman, a harpist, plus <strong>the</strong><br />

conduc<strong>to</strong>r. <strong>The</strong> first program ever given in<br />

Santa Barbara was:<br />

Schubert <strong>–</strong> Symphony No. 8 in B<br />

minor (“Unfinished”).<br />

I. Allegro modera<strong>to</strong>.<br />

II. Andante con mo<strong>to</strong>.<br />

Debussy <strong>–</strong> Two Nocturnes.<br />

Nuages (Clouds).<br />

Fêtes (Festivals).<br />

Wagner <strong>–</strong> Overture <strong>to</strong> “Tannhäuser”<br />

Intermission.<br />

Liszt <strong>–</strong> Symphonic Poem No. 4 “<br />

Orpheus.”<br />

Lalo <strong>–</strong> <strong>Concert</strong>o for Violoncello and<br />

Orchestra.<br />

II. Intermezzo. Andante con mo<strong>to</strong>.<br />

III. Rondo. Andante -<br />

Allegro vivace.<br />

Ilya Bronson - cello<br />

Chabrier <strong>–</strong> Rhapsody “España.”<br />

<strong>The</strong> reviews were highly positive and<br />

resorted <strong>to</strong> poetic imagery in an <strong>at</strong>tempt<br />

<strong>to</strong> describe <strong>the</strong> musical compositions.<br />

“<strong>The</strong> descriptive numbers from Debussy<br />

were exquisitely and colorfully executed,”<br />

wrote <strong>the</strong> reviewer. “One did not need <strong>to</strong><br />

draw heavily upon one’s imagin<strong>at</strong>ion <strong>to</strong><br />

picture fleecy clouds, driving lazily over<br />

<strong>the</strong> blue of heaven or rolling s<strong>to</strong>rmily about<br />

in wind driven banks, for <strong>the</strong> rendition of<br />

Nuages.” O<strong>the</strong>r movements evoked images<br />

of “fun mad people frolicking about in a<br />

Walter Henry Rothwell was <strong>the</strong> first Music Direc<strong>to</strong>r of<br />

<strong>the</strong> Los Angeles <strong>Phil</strong>harmonic. Courtesy Los Angeles<br />

<strong>Phil</strong>harmonic Archives<br />

moonlit street” and “laughter flo<strong>at</strong>ing in<br />

joyful clamor.”<br />

<strong>The</strong> orchestra was so large, however,<br />

th<strong>at</strong> <strong>the</strong> Potter <strong>The</strong><strong>at</strong>re’s stage could<br />

barely hold <strong>the</strong>m. Several members of <strong>the</strong><br />

orchestra were not visible as <strong>the</strong>y s<strong>at</strong> in<br />

<strong>the</strong> wings. Never<strong>the</strong>less, <strong>the</strong> <strong>Phil</strong>harmonic<br />

Orchestra of Los Angeles, <strong>to</strong>day known as<br />

<strong>the</strong> <strong>LA</strong> <strong>Phil</strong>, continued <strong>to</strong> play concerts <strong>at</strong><br />

<strong>the</strong> Potter <strong>The</strong><strong>at</strong>re until <strong>the</strong> construction of<br />

<strong>the</strong> <strong>Granada</strong> <strong>The</strong><strong>at</strong>re gave <strong>the</strong>m <strong>the</strong> space<br />

<strong>the</strong>y needed.<br />

After <strong>the</strong> concert, <strong>the</strong> direc<strong>to</strong>rs of <strong>the</strong><br />

orchestra were entertained with a supper<br />

<strong>at</strong> <strong>the</strong> Monteci<strong>to</strong> Country Club given by<br />

<strong>the</strong> direc<strong>to</strong>rs of <strong>the</strong> Civic Music Committee.<br />

<strong>The</strong> next day, Lawrence Adler, direc<strong>to</strong>r<br />

of <strong>the</strong> music department <strong>at</strong> <strong>the</strong> Deane<br />

School, hosted a luncheon <strong>at</strong> <strong>the</strong> exclusive<br />

El Mirasol Hotel for Mr. and Mrs. Rothwell.<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

41


With three musical events <strong>to</strong> its credit and<br />

one <strong>to</strong> go (a concert of chamber music<br />

by <strong>the</strong> Flonzaley Quartet on April 10) <strong>the</strong><br />

Civic Music Committee had established<br />

itself as a significant force in <strong>the</strong> musical<br />

life of <strong>the</strong> city.<br />

Though <strong>the</strong> work of <strong>the</strong> Civic Music<br />

Committee was taken over by <strong>the</strong> Community<br />

Arts Music Branch in 1926, <strong>the</strong>y<br />

had established a long-standing rel<strong>at</strong>ionship<br />

between Santa Barbara and <strong>the</strong><br />

<strong>Phil</strong>harmonic Orchestra of Los Angeles.<br />

<strong>March</strong> <strong>2020</strong> marks <strong>the</strong> <strong><strong>100</strong>th</strong> anniversary<br />

of <strong>the</strong> <strong>LA</strong> <strong>Phil</strong>’s first performance in Santa<br />

Barbara, thanks <strong>to</strong> <strong>the</strong> Community Arts<br />

Music Associ<strong>at</strong>ion (<strong>CAMA</strong>), which has carried<br />

forth <strong>the</strong> <strong>to</strong>rch th<strong>at</strong> was lit so many<br />

years ago.<br />

<strong>The</strong> Los Angeles <strong>Phil</strong>harmonic Orchestra, seen here in its opening season <strong>at</strong> <strong>the</strong> Trinity Audi<strong>to</strong>rium, played its first<br />

concert in Santa Barbara in <strong>March</strong> <strong>1920</strong>. Courtesy Los Angeles <strong>Phil</strong>harmonic Archives<br />

42 <strong>CAMA</strong>'S 101ST CONCERT SEASON


<strong>The</strong> Potter <strong>The</strong><strong>at</strong>re<br />

Rev. Fr. Octavius Villa’s St. Aloysius Band played its first public concert in February 1910 <strong>at</strong> <strong>the</strong> three-year-old<br />

Potter <strong>The</strong><strong>at</strong>re, which s<strong>to</strong>od on <strong>the</strong> southwest corner of St<strong>at</strong>e and Monteci<strong>to</strong> Streets. Courtesy Santa Barbara<br />

His<strong>to</strong>rical Museum<br />

At <strong>the</strong> beginning of <strong>the</strong> 20th century, Santa<br />

Barbara’s venerable Lobero Opera House<br />

was outd<strong>at</strong>ed and in poor repair. In January<br />

1906, <strong>the</strong> Morning Press announced th<strong>at</strong> a<br />

group had formed which planned <strong>to</strong> build a<br />

new, up-<strong>to</strong>-d<strong>at</strong>e <strong>the</strong><strong>at</strong>er for Santa Barbara.<br />

<strong>The</strong>y purchased a lot on <strong>the</strong> southwest<br />

corner of St<strong>at</strong>e and Monteci<strong>to</strong> Streets and<br />

agreed <strong>to</strong> name it <strong>the</strong> Potter <strong>The</strong><strong>at</strong>re when<br />

Milo Potter offered <strong>to</strong> don<strong>at</strong>e a fireproof<br />

asbes<strong>to</strong>s curtain if <strong>the</strong> <strong>the</strong><strong>at</strong>er would be<br />

named after his hostelry. <strong>The</strong>y estim<strong>at</strong>ed<br />

construction would cost $75,000.<br />

Santa Barbara w<strong>at</strong>ched avidly as a<br />

three-s<strong>to</strong>ry <strong>the</strong><strong>at</strong>er arose on <strong>the</strong> plot. Large<br />

living suites were built on <strong>the</strong> second and<br />

third floors above <strong>the</strong> entrance lobby, a<br />

grocery s<strong>to</strong>re opened on one side of <strong>the</strong><br />

lobby, and a bar on <strong>the</strong> o<strong>the</strong>r. <strong>The</strong> granting<br />

of a liquor license for <strong>the</strong> <strong>the</strong><strong>at</strong>er did<br />

not go unopposed, but Joseph A. Raffet<strong>to</strong><br />

was able <strong>to</strong> establish his business by mid-<br />

February 1907.<br />

Loges and stage boxes on <strong>the</strong> main<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

43


floor se<strong>at</strong>ed 661 and <strong>the</strong> balcony and gallery<br />

held 514 more. <strong>The</strong>re were large and<br />

airy dressing rooms for performers and a<br />

75-foot <strong>to</strong>wer <strong>to</strong> hold scenery. Not everyone<br />

was pleased with <strong>the</strong> drop curtain,<br />

which was painted <strong>to</strong> include advertisements.<br />

Members of <strong>the</strong> Women’s Club<br />

and o<strong>the</strong>r citizens protested, saying th<strong>at</strong><br />

a model, up-<strong>to</strong>-d<strong>at</strong>e <strong>the</strong><strong>at</strong>er should not be<br />

cheapened in this manner. Some even announced<br />

th<strong>at</strong> <strong>the</strong>y would boycott any business<br />

th<strong>at</strong> advertised on its curtain.<br />

<strong>The</strong> Potter opened on January 29,<br />

1907 with <strong>the</strong> musical comedy <strong>The</strong> Umpire,<br />

which <strong>at</strong> <strong>the</strong> time had <strong>the</strong> prestige of having<br />

had <strong>the</strong> longest run in <strong>the</strong> his<strong>to</strong>ry of<br />

Chicago <strong>the</strong><strong>at</strong>er, 350 consecutive nights.<br />

Reviews said <strong>the</strong> music was c<strong>at</strong>chy, voices<br />

excellent, and costumes effective. Costumes<br />

of <strong>the</strong> elegantly dressed women<br />

<strong>The</strong> Potter <strong>The</strong><strong>at</strong>re, loc<strong>at</strong>ed on <strong>the</strong> corner of St<strong>at</strong>e and Monteci<strong>to</strong> Streets, se<strong>at</strong>ed a <strong>to</strong>tal of 1,175 people. Courtesy Santa<br />

Barbara His<strong>to</strong>rical Museum<br />

44 <strong>CAMA</strong>'S 101ST CONCERT SEASON


in <strong>the</strong> audience <strong>to</strong>ok up several inches of<br />

column space as one stunning outfit after<br />

ano<strong>the</strong>r was meticulously described by <strong>the</strong><br />

media. <strong>The</strong> reporter opined th<strong>at</strong> a crushed<br />

strawberry cre<strong>at</strong>ion vied with a lavender<br />

chiffon gown trimmed with Irish lace for<br />

best of show.<br />

<strong>The</strong> second production was <strong>The</strong> Ham<br />

Tree with 23 speaking parts and nearly <strong>100</strong><br />

members in <strong>the</strong> cast, which included W.C.<br />

Fields, who, reported <strong>the</strong> Morning Press,<br />

“has just made a wide reput<strong>at</strong>ion as ‘<strong>the</strong><br />

tramp juggler’ on <strong>the</strong> vaudeville stage.”<br />

In 1910, Potter <strong>The</strong><strong>at</strong>re manager Henriette<br />

Spader introduced a more refined<br />

program of entertainment <strong>to</strong> <strong>the</strong> <strong>the</strong><strong>at</strong>er<br />

when she established <strong>the</strong> <strong>Phil</strong>harmonic<br />

Course and Artists <strong>Series</strong>. Supported<br />

by subscription, <strong>the</strong> programs brought<br />

world-class music and artists <strong>to</strong> <strong>the</strong><br />

<strong>The</strong> Potter <strong>The</strong><strong>at</strong>re’s advertisement-filled curtain was controversial, and some locals said <strong>the</strong>y would never p<strong>at</strong>ronize<br />

any business th<strong>at</strong> advertised <strong>the</strong>re. Courtesy Santa Barbara His<strong>to</strong>rical Museum<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

45


Potter stage. Clara E. Herbert <strong>to</strong>ok over in<br />

1914, and by 1921 she was considered <strong>the</strong><br />

backbone and leading spirit of <strong>the</strong> musical<br />

world in Santa Barbara.<br />

In l<strong>at</strong>e 1919, ano<strong>the</strong>r group formed.<br />

<strong>The</strong> Civic Music Committee intended <strong>to</strong><br />

bring <strong>the</strong> very best in orchestral and classical<br />

music <strong>to</strong> Santa Barbara. In <strong>the</strong>ir first<br />

season of 1919-<strong>1920</strong>, <strong>the</strong>y brought four<br />

concerts <strong>to</strong> Santa Barbara, all of which<br />

played <strong>at</strong> <strong>the</strong> Potter <strong>The</strong><strong>at</strong>re. <strong>The</strong> concert<br />

in <strong>March</strong> drew <strong>the</strong> most excitement, for it<br />

was performed by William Andrews Clark,<br />

Jr.’s newly-formed <strong>Phil</strong>harmonic Orchestra<br />

of Los Angeles.<br />

In <strong>1920</strong>, <strong>the</strong> Potter <strong>The</strong><strong>at</strong>re became<br />

inextricably entwined with <strong>the</strong> Community<br />

Arts Associ<strong>at</strong>ion, whose initial aim<br />

was <strong>to</strong> develop local talent in <strong>the</strong> writing<br />

and acting of plays. Starting with a series<br />

In 1914, Clara E. Herbert <strong>to</strong>ok over <strong>the</strong> Potter <strong>The</strong><strong>at</strong>re’s<br />

<strong>Phil</strong>harmonic Course and Artists <strong>Series</strong>, which brought<br />

several n<strong>at</strong>ionally and intern<strong>at</strong>ionally renowned artists<br />

<strong>to</strong> <strong>the</strong> venue. Courtesy Santa Barbara His<strong>to</strong>rical Museum<br />

Founded in 1919, <strong>the</strong> Civic Music Committee brought<br />

<strong>the</strong> <strong>Phil</strong>harmonic Orchestra of Los Angeles <strong>to</strong> <strong>the</strong><br />

Potter stage three times for <strong>the</strong> 1924/25 season.<br />

<strong>CAMA</strong> Archives<br />

46 <strong>CAMA</strong>'S 101ST CONCERT SEASON


of one-act plays, <strong>the</strong> Community Arts<br />

Players (l<strong>at</strong>er named <strong>the</strong> Drama Branch)<br />

were soon producing full-length dramas<br />

as well as extravaganza performances,<br />

like Albert Herter’s 1921 production of<br />

Debussy’s Pelléas and Mélisande, and drawing<br />

rave reviews.<br />

<strong>The</strong>n, on June 29, 1925 a 6.3 magnitude<br />

earthquake roared through Santa<br />

Barbara, <strong>to</strong>ppling much of its business<br />

district. <strong>The</strong> Potter <strong>The</strong><strong>at</strong>re was a complete<br />

loss. With two new <strong>the</strong><strong>at</strong>ers completed<br />

<strong>the</strong> previous year, <strong>the</strong> new Lobero and<br />

<strong>the</strong> <strong>Granada</strong>, it seemed futile <strong>to</strong> consider<br />

rebuilding. After 18 short years and thousands<br />

of performances on its stage, <strong>the</strong><br />

Potter <strong>The</strong><strong>at</strong>re went dark forever. Today,<br />

<strong>the</strong> site is obscured by Highway 101 and<br />

<strong>the</strong> St<strong>at</strong>e Street underpass.<br />

<strong>The</strong> Earthquake of June 29, 1925 left <strong>the</strong> Potter <strong>The</strong><strong>at</strong>re severely damaged. It was not rebuilt. Courtesy Santa Barbara<br />

His<strong>to</strong>rical Museum<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

47


<strong>CAMA</strong> + <strong>LA</strong> PHIL<br />

Depending on how you count, <strong>to</strong>night's concert could be called: 1) <strong>the</strong> 278th concert in Santa<br />

Barbara by <strong>the</strong> <strong>LA</strong> <strong>Phil</strong>, or 2) <strong>the</strong> 280th concert—counting an <strong>LA</strong> <strong>Phil</strong> "Pops" <strong>Concert</strong> directed by<br />

Arthur Fiedler and an <strong>LA</strong> <strong>Phil</strong> Chamber Orchestra concert directed by Pinchas Zukerman, or<br />

3) <strong>the</strong> 291st concert—adding eleven <strong>LA</strong> <strong>Phil</strong> "school concerts" from <strong>the</strong> early years...and <strong>the</strong>re could be<br />

more. <strong>The</strong> list of concerts on <strong>the</strong>se pages shows every performance d<strong>at</strong>e except <strong>the</strong> school concerts.<br />

1 <strong>1920</strong>, Mar 6 36 1932, Feb 16 71 1946, Nov 5 106 1954, Jan 19<br />

2 1921, Jan 3 37 1932, Mar 29 72 1946, Dec 3 107 1954, Feb 23<br />

3 1921, Feb 28 38 1935, Jan 9 73 1947, Feb 4 108 1954, Mar 30<br />

4 1922, Jan 23 39 1935, May 14 74 1947, Feb 25 109 1954, Oct 26<br />

5 1922, Feb 21 40 1936, Jan 14 75 1947, Mar 18 110 1954, Nov 30<br />

6 1922, Mar 27 41 1936, Feb 11 76 1947, Dec 2 111 1955, Jan 18<br />

7 1923, Jan 29 42 1936, Mar 10 77 1948, Jan13 112 1955, Feb 15<br />

8 1923, Feb 26 43 1937, Jan 12 78 1948, Feb 17 113 1955, Mar 29<br />

9 1923, Mar 26 44 1937, Feb 9 79 1948, Mar 2 114 1955, Nov 1<br />

10 1924, Jan 14 45 1937, Mar 9 80 1948, Apr 13 115 1955, Dec 13<br />

11 1924, Jan 28 46 1938, Jan 11 81 1948, Dec 14 116 1956, Jan 17<br />

12 1924, Mar 24 47 1938, Feb 8 82 1949, Feb 1 117 1956, Feb 14<br />

13 1925, Jan 5 48 1938, Mar 8 83 1949, Mar 22 118 1956, Mar 20<br />

14 1925, Feb 2 49 1939, Jan 10 84 1949, Apr 19 119 1956, Dec 4<br />

15 1925, Mar 2 50 1939, Feb 14 85 1949, Nov 1 120 1957, Jan 22<br />

16 1926, Jan 4 51 1939, Mar 14 86 1949, Dec 6 121 1957, Feb 12<br />

17 1926, Feb 1 52 1939, Dec 12 87 1950, Jan 24 122 1957, Mar 12<br />

18 1926, Mar 1 53 1940, Feb 27 88 1950, Feb 21 123 1957, Dec 3<br />

19 1926, Mar 29 54 1940, Nov 26 89 1950, Apr 11 124 1958, Jan 7<br />

20 1927, Jan 4 55 1940, Dec 17 90 1950, Nov 8 125 1958, Feb 11<br />

21 1927, Feb 1 56 1941, Feb 4 91 1950, Dec 5 126 1958, Mar 25<br />

22 1927, Mar 1 57 1942, Jan 13 92 1951, Feb 6 127 1958, Apr 15<br />

23 1928, Jan 10 58 1942, Feb 10 93 1951, Mar 13 128 1958, Dec 9<br />

24 1928, Feb 21 59 1942, Mar 17 94 1951, Nov 6 129 1959, Jan 27<br />

25 1928, Mar 20 60 1943, Dec 7 95 1951, Dec 4 130 1959, Feb 11<br />

26 1929, Jan 22 61 1944, Jan 18 96 1952, Jan 8 131 1959, Mar 24<br />

27 1929, Mar 5 62 1944, Feb 15 97 1952, Feb 5 132 1959, Apr 21<br />

28 1929, Apr 2 63 1944, Dec 5 98 1952, Mar 11 133 1959, Nov 18<br />

29 1930, Jan 28 64 1945, Jan 9 99 1952, Nov 5 134 1959, Dec 1<br />

30 1930, Mar 4 65 1945, Jan 30 <strong>100</strong> 1952, Dec 9 135 1960, Jan 12<br />

31 1930, Apr 8 66 1945, Feb 27 101 1953, Jan 20 136 1960, Feb 9<br />

32 1931, Jan 20 67 1945, Apr 3 102 1953, Feb 10 137 1960, Mar 8<br />

33 1931, Feb 17 68 1945, Dec 4 103 1953, Mar 10 138 1960, Nov 15<br />

34 1931, Mar 31 69 1946, Jan 15 104 1953, Nov 17 139 1960, Dec 13<br />

35 1932, Jan 5 70 1946, Feb 13 105 1953, Dec 1 140 1961, Jan 10<br />

48 <strong>CAMA</strong>'S 101ST CONCERT SEASON


COUNTING CONCERTS<br />

<strong>LA</strong> <strong>Phil</strong> has appeared in every <strong>CAMA</strong> concert season with <strong>the</strong> following five exceptions:<br />

1932/33, 1933/34, 1942/43, 1996/97, and 1997/98.<br />

However you count it, it's been a lasting rel<strong>at</strong>ionship th<strong>at</strong> now has nourished <strong>the</strong> Santa Barbara<br />

community for a century—and we hope many more years—centuries?—<strong>to</strong> come.<br />

141 1961, Feb 14 176 1968, Apr 23 211 1975, Oct 15 246 1987, Apr 4<br />

142 1961, Mar 14 177 1968, Nov 19 212 1975, Dec 4 247 1987, Oct 16<br />

143 1961, Nov 14 178 1968, Dec 17 213 1976, Jan 14 248 1988, Apr 23<br />

144 1961, Dec 5 179 1969, Jan 7 214 1976, Feb 18 249 1989, Apr 15<br />

145 1962, Jan 9 180 1969, Feb 11 215 1976, Mar 25 250 1990, Apr 14<br />

146 1962, Feb 6 181 1969, Mar 4 216 1976, Apr 21 251 1990, Sep 22<br />

147 1962, Mar 20 182 1969, Apr 8 217 1976, Oct 6 252 1991, Nov 9<br />

148 1962, Nov 13 183 1969, Dec 9 218 1977, Jan 5 253 1993, May 15<br />

149 1962, Dec 11 184 1970, Jan 20 219 1977, Feb 9 254 1993, Oct 23<br />

150 1963, Jan 22 185 1970, Feb 24 220 1977, Apr 20 255 1994, May 7<br />

151 1963, Feb 12 186 1970, Apr 7 221 1977, Sep 9 256 1995, Apr 29<br />

152 1963, Apr 16 187 1970, Apr 28 222 1977, Nov 15 257 1996, Mar 16<br />

153 1963, Dec 10 188 1970, Dec 1 223 1978, Jan 4 258 1999, Jan 28<br />

154 1964, Jan 21 189 1971, Jan 12 224 1978, Feb 1 259 2000, Apr 29<br />

155 1964, Feb 4 190 1971, Apr 13 225 1978, Mar 29 260 2001, Jan 13<br />

156 1964, Mar 31 191 1971, May 18 226 1978, Nov 29 261 2001, Nov 10<br />

157 1964, Apr 21 192 1971, Nov 2 227 1979, Jan 24 262 2002, May 9<br />

158 1964, Nov 17 193 1971, Nov 30 228 1979, Feb 14 263 2002, Oct 19<br />

159 1965, Jan 5 194 1972, Apr 4 229 1979, Oct 11 264 2004, Apr 24<br />

160 1965, Feb 9 195 1972, May 16 230 1979, Nov 13 265 2005, Apr 2<br />

161 1965, Mar 30 196 1972, Dec 6 231 1980, Apr 9 266 2005, Dec 4<br />

162 1965, Apr 20 197 1972, Dec 19 232 1980, Oct 15 267 2006, Nov 4<br />

163 1965, Dec 7 198 1973, Jan 16 233 1981, Mar 17 268 2008, May 3<br />

164 1966, Jan 4 199 1973, Apr 17 234 1981, May 6 269 2009, May 2<br />

165 1966, Feb 8 200 1973, May 16 235 1981, Oct 17 270 2010, Jan 9<br />

166 1966, Mar 8 201 1973, Nov 14 236 1981, Nov 18 271 2011, May 7<br />

167 1966, Apr 12 202 1973 Dec 4 237 1982, May 6 272 2011, Oct 16<br />

168 1966, Dec 20 203 1974, Feb 6 238 1982, Nov 17 273 2013, Feb 17<br />

169 1967, Jan 17 204 1974, Mar 26 239 1983, Apr 23 274 2014, May 4<br />

170 1967, Mar 7 205 1974, Apr 30 240 1983, Oct 19 275 2015, May 3<br />

171 1967, Apr 18 206 1974, Nov 12 241 1984, Apr 6 276 2016, May 1<br />

172 1967, Dec 5 207 1974, Dec 4 242 1985, May 4 277 2017, May 7<br />

173 1968, Jan 23 208 1975, Jan 7 243 1985, Nov 9 278 2018, Jan 27<br />

174 1968, Feb 27 209 1975, Mar 19 244 1986, May 3 279 2018, Oct 28<br />

175 1968, Mar 12 210 1975, Apr 8 245 1986, Nov 22 280 MARCH 6, <strong>2020</strong><br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

49


<strong>The</strong> <strong>Intern<strong>at</strong>ional</strong> Dance Event of <strong>the</strong> Season!<br />

France’s N<strong>at</strong>ional Treasure Makes its Only West Coast Appearance<br />

Lyon Opera Ballet<br />

“Trois Grandes Fugues”<br />

Celebr<strong>at</strong>e Beethoven’s 250th birthday<br />

with three interpret<strong>at</strong>ions of his<br />

beloved masterpiece “Grosse Fuge”<br />

by three intern<strong>at</strong>ional<br />

choreographers.<br />

America’s<br />

Lucinda Childs<br />

France’s<br />

Maguy Marin<br />

pho<strong>to</strong>s: Bertrand S<strong>to</strong>fleth<br />

Belgium’s<br />

Anne Teresa De Keersmaeker<br />

Presented in associ<strong>at</strong>ion with <strong>the</strong> UCSB Department of <strong>The</strong><strong>at</strong>er and Dance<br />

Presented through <strong>the</strong> generosity of <strong>the</strong><br />

Albert & Elaine Borchard Found<strong>at</strong>ion<br />

Corpor<strong>at</strong>e Sponsor:<br />

Dance <strong>Series</strong> Sponsors:<br />

Annette & Dr. Richard Caleel, Margo Cohen-Feinberg & Bob Feinberg,<br />

Irma & Morrie Jurkowitz, Barbara Stupay, and Sheila Wald<br />

Corpor<strong>at</strong>e Season<br />

Sponsor:<br />

Wed, Apr 1 & Thu, Apr 2 / 8 PM / <strong>Granada</strong> <strong>The</strong><strong>at</strong>re<br />

Tickets start <strong>at</strong> $35 / $19 all students (with valid ID)<br />

A <strong>Granada</strong> facility fee will be added <strong>to</strong> each ticket price<br />

(805) 893-3535 | www.ArtsAndLectures.UCSB.edu<br />

<strong>Granada</strong> event tickets can also be purchased <strong>at</strong>: (805) 899-2222 | www.<strong>Granada</strong>SB.org


“It’s always been a<br />

gre<strong>at</strong> pleasure for<br />

me <strong>to</strong> perform on <strong>the</strong><br />

<strong>CAMA</strong> series, and<br />

I’m looking forward <strong>to</strong><br />

many more visits.<br />

I send you my heartiest<br />

congr<strong>at</strong>ul<strong>at</strong>ions<br />

on your centennial<br />

season. Bravo!”<br />

Lisa-Marie MAzzucco pho<strong>to</strong><br />

—ITZHAK PERLMAN, CO-CHAIR,<br />

<strong>CAMA</strong> CENTENNIAL<br />

HONORARY ARTISTS COUNCIL<br />

centennial honorary artists council<br />

Itzhak Perlman<br />

honorary co-chair<br />

Sara Miller McCune<br />

honorary co-chair<br />

Vladimir Ashkenazy<br />

Isabel Bayrakdarian<br />

Joshua Bell<br />

Alfred Brendel<br />

Renée Fleming<br />

Daniele G<strong>at</strong>ti<br />

Richard Goode<br />

Hilary Hahn<br />

Stephen Hough<br />

Olga Kern<br />

Lang Lang<br />

Jerome Lowenthal<br />

Zubin Mehta<br />

Anne-Sophie Mutter<br />

Sir András Schiff<br />

Peter Serkin<br />

Leonard Sl<strong>at</strong>kin<br />

Christian Tetzlaff<br />

Jean-Yves Thibaudet<br />

Chris Thile<br />

Michael Tilson Thomas<br />

Dawn Upshaw<br />

André W<strong>at</strong>ts<br />

Pinchas Zukerman<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

51


<strong>CAMA</strong>: WHO WE ARE TODAY<br />

Beautiful music, exciting music, profound music <strong>–</strong> Community Arts Music Associ<strong>at</strong>ion has been<br />

bringing this gift <strong>to</strong> Santa Barbara for <strong>100</strong> years. Today we offer <strong>the</strong> following musical treasures.<br />

CORE PROGRAMS FOR OUR COMMUNITY<br />

INTERNATIONAL<br />

SERIES<br />

<strong>at</strong> <strong>The</strong> <strong>Granada</strong> <strong>The</strong><strong>at</strong>re<br />

Presenting <strong>the</strong> world’s<br />

gre<strong>at</strong>est orchestras,<br />

conduc<strong>to</strong>rs and soloists<br />

from around <strong>the</strong> world<br />

MASTERSERIES<br />

<strong>at</strong> <strong>The</strong> Lobero <strong>The</strong><strong>at</strong>re<br />

Presenting <strong>the</strong><br />

finest n<strong>at</strong>ional and<br />

intern<strong>at</strong>ional artists and<br />

chamber ensembles<br />

MUSIC EDUCATION<br />

Music M<strong>at</strong>ters<br />

Docent Program <strong>to</strong> area<br />

elementary schools<br />

Tickets <strong>to</strong> concerts<br />

for high school,<br />

college students and<br />

<strong>the</strong> underserved<br />

Any musical organis<strong>at</strong>ion reaching<br />

its <strong><strong>100</strong>th</strong> birthday is most likely older<br />

than anyone performing or listening<br />

<strong>the</strong>re. Its memories are rich and, with<br />

<strong>CAMA</strong>, its future promises <strong>to</strong> be as<br />

cherishable. Huge congr<strong>at</strong>ul<strong>at</strong>ions on<br />

this wonderful miles<strong>to</strong>ne.<br />

<strong>–</strong>Stephen Hough<br />

52 <strong>CAMA</strong>'S 101ST CONCERT SEASON


EACH AND EVERY GIFT<br />

ENRICHES THE FUTURE OF <strong>CAMA</strong>!<br />

We invite YOU <strong>to</strong> join in <strong>CAMA</strong>’S CENTENNIAL CELEBRATION <strong>–</strong> each don<strong>at</strong>ion works <strong>to</strong> ensure<br />

<strong>the</strong> next <strong>100</strong> years of beautiful music for gener<strong>at</strong>ions <strong>to</strong> come.<br />

<strong>The</strong>re are many ways <strong>to</strong> support <strong>CAMA</strong>'s CENTENNIAL CELEBRATION<br />

Centennial<br />

Gift Fund<br />

Endowment<br />

Fund<br />

Planned<br />

Giving<br />

Options<br />

Please contact Elizabeth Alvarez, Direc<strong>to</strong>r of Development <strong>at</strong> <strong>the</strong> <strong>CAMA</strong> office<br />

for more inform<strong>at</strong>ion.<br />

(805) 966-4324 x 104<br />

Elizabeth@camasb.org<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

53


Presenting <strong>the</strong> world’s finest classical artists since 1919<br />

<strong>CAMA</strong> ENDOWMENT<br />

<strong>CAMA</strong>’s mission is <strong>to</strong> enrich Santa Barbara’s cultural life by<br />

bringing live performances by world-renowned classical<br />

artists and orchestras of <strong>the</strong> highest artistic excellence <strong>to</strong><br />

our community and by providing cre<strong>at</strong>ive, focused music<br />

educ<strong>at</strong>ion programs for individuals of all ages.<br />

<strong>CAMA</strong> thanks and honors <strong>the</strong> following members of<br />

<strong>the</strong> <strong>CAMA</strong> community who have contributed <strong>to</strong> <strong>CAMA</strong>’s<br />

Endowment. A commitment <strong>to</strong> <strong>CAMA</strong>’s Endowment<br />

ensures <strong>the</strong> success of <strong>CAMA</strong>’s next <strong>100</strong> years. Gifts <strong>at</strong><br />

every level are deeply appreci<strong>at</strong>ed.<br />

James H. Hurley and Judith L. Hopkinson<br />

Co-Chairs Endowment


CONDUCTOR'S CIRCLE<br />

$500,000 and above<br />

Suzanne & Russell Bock<br />

Linda Brown*<br />

SAGE Publishing<br />

Elaine Stepanek<br />

Esperia Found<strong>at</strong>ion<br />

CRECENDO CIRCLE<br />

$250,000—$499,999<br />

<strong>The</strong> Andrew H.<br />

Burnett Found<strong>at</strong>ion<br />

Judith L. Hopkinson<br />

Herbert & Elaine Kendall<br />

Mary Lloyd & Kendall Mills<br />

CADENZA PATRONS<br />

$<strong>100</strong>,000—$249,999<br />

Bitsy & Denny Bacon and<br />

<strong>The</strong> Bec<strong>to</strong>n Family Found<strong>at</strong>ion<br />

Mary & Raymond Freeman<br />

<strong>The</strong> Stephen & Carla<br />

Hahn Found<strong>at</strong>ion<br />

Shirley Ann & James H. Hurley, Jr.<br />

Nancy & William G. Myers<br />

Jan Severson<br />

Judith F. Smith<br />

<strong>The</strong> Towbes Fund for<br />

<strong>the</strong> Performing Arts<br />

George & Judy Writer<br />

RONDO PATRONS<br />

$50,000—$99,999<br />

Ruth Appleby<br />

Deborah & Peter Bertling<br />

Linda & Peter Beuret<br />

Robert & Christine Emmons<br />

Dr. Dolores M. Hsu<br />

Lois Sandra Kroc<br />

<strong>The</strong> Samuel B. & Margaret C.<br />

Mosher Found<strong>at</strong>ion<br />

Santa Barbara Bank & Trust<br />

Nancy & Byron Kent Wood<br />

CONCERTO PATRONS<br />

$25,000—$49,999<br />

Jane C<strong>at</strong>lett<br />

Bridget B. Colleary<br />

Suzanne Faulkner<br />

Léni Fé Bland<br />

Raye Haskell Melville<br />

Joanne C. Holderman<br />

Hut<strong>to</strong>n Parker Found<strong>at</strong>ion<br />

Sara Miller McCune<br />

Mr. & Mrs. Frank R. Miller, Jr./<br />

<strong>The</strong> Henry E. & Lola<br />

Monroe Found<strong>at</strong>ion<br />

Efrem Ostrow Living Trust<br />

Craig & Ellen Par<strong>to</strong>n<br />

Diana & Roger <strong>Phil</strong>lips<br />

Linda Stafford Burrows<br />

<strong>The</strong> Walter J. & Holly O.<br />

Thomson Found<strong>at</strong>ion<br />

Barbara & Sam Toumayan<br />

SONATA PATRONS<br />

$10,000—$24,999<br />

Rebecca & Peter Adams<br />

Denise & Stephen Adams/<br />

Adams Family Found<strong>at</strong>ion<br />

Else Schilling Bard<br />

Edward & Sue Birch<br />

Frank Blue & Lida Light Blue<br />

Bob Boghosian &<br />

Beth G<strong>at</strong>es-Warren<br />

Elizabeth & Andrew Butcher<br />

<strong>The</strong> <strong>CAMA</strong> Women's Board<br />

Virginia Castagnola-Hunter<br />

Margo Chapman<br />

NancyBell Coe & William Burke<br />

Karen Davidson, M.D.<br />

Nancyann & Robert Failing<br />

Rosalind Amorteguy-Fendon<br />

& Ronald Fendon<br />

Priscilla & Jason Gaines<br />

Arthur R. Gaudi<br />

Sherry & Robert Gilson<br />

Lorraine C. Hansen<br />

Mary & Campbell Holmes<br />

P<strong>at</strong>ricia Kaplan<br />

Winona Fund<br />

Mahri Kerley/Chaucer's Books<br />

Lynn P. Kirst<br />

Laura Kuhn<br />

John Lundegard<br />

Keith Mautino<br />

Jayne Menkemeller<br />

Betty Meyer<br />

Mary & James Morouse<br />

Myra & Spencer Nadler<br />

P<strong>at</strong> Hitchcock O'Connell<br />

John Perry<br />

Marjorie & Hugh Petersen<br />

John & Ellen Pillsbury<br />

Susannah Rake<br />

Michele & Andre Sal<strong>to</strong>un<br />

Anitra & Jack Sheen<br />

Sally & Jan E.G. Smit<br />

Anonymous<br />

Constance Smith<br />

<strong>The</strong> Elaine F. Stepanek<br />

Found<strong>at</strong>ion<br />

Betty J. Stephens<br />

Mark E. Trueblood<br />

Marilyn Vandever<br />

Barbara & Gary Waer<br />

David & Lisa Wolf<br />

Endowment gifts up <strong>to</strong> $9,999<br />

Bernice Andron • Argonaut Charitable Found<strong>at</strong>ion • Sally & Robert Arthur • John & Jean Bailey • Brad & M.J. Bakove<br />

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

Mrs. Louise Brant • Wendel Bruss • Ms. Hilary Burkemper • <strong>The</strong> <strong>CAMA</strong> Fellows • Mary Carpenter • Carnzu Clark<br />

Ms. Eileen Clark • Stephen Cloud • Ms. Peggy McShane Cochrane • Ms. Ca<strong>the</strong>rine S. Cudlip • Ms. Julia Dawson<br />

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

David & Leesa Goldmuntz • Corinna Gordon • Robert Hanrahan • Ms. Nancy G. Harris • Kent Hodgetts & L<strong>at</strong>ane Keeler<br />

Elizabeth Karlsberg & Jeff Young • Ms. Joyce Koehler • Doris Kuhns • Ms. Ca<strong>the</strong>rine Lee • Mrs. Jean T. Leonard<br />

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

Dr. Jerry M. N<strong>at</strong>han • Clarence & Anne Neal • Scott & K<strong>at</strong>hy O'Leary • Olio e Limone • David & Ca<strong>the</strong>rine Peri • Justyn Person<br />

Kirk Peters & Susan Roe • K<strong>at</strong>hryn <strong>Phil</strong>lips • Martha & Bruno Pilorz • Eric Boehm • Anne & C. Wesley Poulson<br />

Hugh & Elizabeth Rals<strong>to</strong>n • Ms. Mondra Randall • George & Bessie Lou Reid • Mary Louise Riley • Glenn & Claire Roberts<br />

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

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

Mr. Chip Turner • K<strong>at</strong>hleen Wall • Richard & Gloria Wascher • Marjorie K. & Roderick S. Webster • Douglas & Gerlinde White<br />

Mrs. Elizabeth A. Whitney • Ron & Laurie Yttri • P<strong>at</strong>ricia Yzurdiaga


I am passion<strong>at</strong>e about my<br />

commitment <strong>to</strong> <strong>CAMA</strong><br />

and <strong>the</strong> century of gre<strong>at</strong> classical music th<strong>at</strong><br />

<strong>the</strong> organiz<strong>at</strong>ion has brought <strong>to</strong> Santa Barbara.<br />

My husband, Denny, and I continue <strong>to</strong> enjoy<br />

<strong>the</strong> world’s finest orchestras, conduc<strong>to</strong>rs and<br />

artists performing right here close <strong>to</strong> home.<br />

I am pleased <strong>to</strong> particip<strong>at</strong>e in our Centennial<br />

Campaign in two ways. I support critical<br />

annual income, sponsoring our concerts and<br />

celebr<strong>at</strong>ions. Since a strong endowment is a<br />

necessity, not a luxury, I have also increased<br />

my Planned Gift <strong>to</strong> <strong>CAMA</strong>’s Endowment. Please<br />

join me by giving a generous gift in celebr<strong>at</strong>ion<br />

of <strong>CAMA</strong>’s Centennial, supporting <strong>the</strong> present<br />

and ensuring <strong>the</strong> future!<br />

Bitsy Bacon, Past President<br />

<strong>CAMA</strong> gr<strong>at</strong>efully acknowledges a generous gift<br />

from Ed & Sue Birch in honor of Bitsy Bec<strong>to</strong>n Bacon,<br />

recipient of <strong>the</strong> Mozart Award <strong>2020</strong><br />

56 <strong>CAMA</strong>'S 101ST CONCERT SEASON


Deborah Bertling, Centennial Celebr<strong>at</strong>ion Chair, with Joshua Bell<br />

Please consider <strong>CAMA</strong> in your Planned Giving.<br />

We thank and acknowledge <strong>the</strong>se generous members<br />

of <strong>the</strong> <strong>CAMA</strong> Community for remembering <strong>CAMA</strong><br />

in <strong>the</strong>ir est<strong>at</strong>e plans!<br />

Rebecca & Peter Adams<br />

Bitsy & Denny Bacon and<br />

<strong>The</strong> Bec<strong>to</strong>n Family Found<strong>at</strong>ion<br />

Deborah & Peter Bertling<br />

Linda & Peter Beuret<br />

Frank Blue & Lida Light Blue<br />

Linda Brown<br />

Elizabeth & Andrew Butcher<br />

Virginia Castagnola-Hunter<br />

Jane C<strong>at</strong>lett<br />

Bridget B. Colleary<br />

Karen Davidson, M.D.<br />

Robert & Christine Emmons<br />

Rosalind Amorteguy-Fendon<br />

& Ronald Fendon<br />

Mary & Raymond Freeman<br />

Priscilla & Jason Gaines<br />

Arthur R. Gaudi<br />

Lorraine C. Hansen<br />

Raye Haskell Melville<br />

Joanne C. Holderman<br />

Judith L. Hopkinson<br />

Dr. Dolores M. Hsu<br />

Shirley Ann & James H. Hurley, Jr.<br />

Herbert & Elaine Kendall<br />

Mahri Kerley/Chaucer's Books<br />

Lynn P. Kirst<br />

Lois Sandra Kroc<br />

John Lundegard<br />

Keith Mautino Moore<br />

Mary Lloyd & Kendall Mills<br />

Myra & Spencer Nadler<br />

Craig & Ellen Par<strong>to</strong>n<br />

Diana & Roger <strong>Phil</strong>lips<br />

John & Ellen Pillsbury<br />

Andre & Michele Sal<strong>to</strong>un<br />

Judith F. Smith<br />

Barbara & Sam Toumayan<br />

Mark E. Trueblood<br />

Marilyn Vandever<br />

Barbara & Gary Waer<br />

Nancy & Byron Kent Wood<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

57


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MUSIC EDUCATION<br />

MUSIC EDUCATION PROGRAM<br />

$25,000 and above<br />

<strong>The</strong> Walter J. & Holly O. Thomson Found<strong>at</strong>ion<br />

$10,000<strong>–</strong>$24,999<br />

Ms. Irene S<strong>to</strong>ne/ S<strong>to</strong>ne Family Found<strong>at</strong>ion<br />

Mary Lloyd & Kendall Mills<br />

Mr. & Mrs. Frank R. Miller, Jr. /<br />

<strong>The</strong> Henry E. & Lola Monroe Found<strong>at</strong>ion<br />

$1,000<strong>–</strong>$9,999<br />

<strong>CAMA</strong> Women's Board<br />

William H. Kearns Found<strong>at</strong>ion<br />

Stefanie L. Lancaster Charitable Found<strong>at</strong>ion<br />

Sara Miller McCune<br />

Performing Arts Scholarship Found<strong>at</strong>ion<br />

Westmont College<br />

$<strong>100</strong><strong>–</strong>$999<br />

Becky & William Banning<br />

William S. Hanrahan<br />

Lynn P. Kirst<br />

James P. and Shirley F. McFarland Fund<br />

of <strong>the</strong> Minneapolis Found<strong>at</strong>ion<br />

<strong>CAMA</strong> Educ<strong>at</strong>ion Endowment<br />

Fund Income<br />

$10,000 AND ABOVE William & Nancy Myers<br />

$1,000<strong>–</strong>$4,999 Linda Stafford Burrows <strong>–</strong><br />

This opportunity <strong>to</strong> experience gre<strong>at</strong> musicians excelling is<br />

given in honor and loving memory of Frederika Voogd Burrows<br />

<strong>to</strong> continue her lifelong passion for enlightening young people<br />

through music and m<strong>at</strong>h.<br />

K<strong>at</strong>hryn H. <strong>Phil</strong>lips, in memory of Don R. <strong>Phil</strong>lips<br />

Walter J. Thomson/<strong>The</strong> Thomson Trust<br />

$50<strong>–</strong>$999<br />

Lynn P. Kirst<br />

Keith J. Mautino<br />

Performing Arts Scholarship Found<strong>at</strong>ion<br />

Marjorie S. Petersen<br />

IN HONOR OF<br />

Joan Crossland<br />

NancyBell Coe & Bill Burke<br />

Carolyn & Dennis Naiman<br />

Nancy Lynn<br />

Carolyn & Dennis Naiman<br />

David Malvinni<br />

Carolyn & Dennis Naiman<br />

Volunteer docents are trained by <strong>CAMA</strong>’s Educ<strong>at</strong>ion Committee Chair, Joan Crossland, <strong>to</strong> deliver this program <strong>to</strong><br />

area schools monthly. Music enthusiasts are invited <strong>to</strong> learn more about <strong>the</strong> program and volunteer opportunities.<br />

Call <strong>the</strong> <strong>CAMA</strong> office <strong>at</strong> (805) 966-4324 for more inform<strong>at</strong>ion about <strong>the</strong> docent program.<br />

MEMORIAL GIFTS<br />

Elaine Kendall<br />

NancyBell Coe & William Burke<br />

and Sara Miller McCune<br />

Dr. Dolores M. Hsu, PhD.<br />

Jill Felber & Paul A. Bambach<br />

Nancy Cudahy<br />

Betty Meyer<br />

David Marks<br />

Bridget Colleary<br />

Sharon Felber Taylor<br />

Bridget Colleary<br />

Tita Lanning<br />

Keith Mautino Moore<br />

Dr. Eric Boehm<br />

Judy Pochini<br />

Jim Ryerson<br />

Christine Ryerson<br />

Dr. Robert Failing<br />

Betty Meyer<br />

Professor Frederick F. Lange<br />

MaryAnn Lange<br />

Robert S. Grant<br />

Robert L. Grant<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

59


Happy <strong>100</strong> th Birthday, <strong>CAMA</strong>!<br />

Thank you for bringing <strong>the</strong> world’s finest classical musicians<br />

<strong>to</strong> our fair city and enriching our lives through music.<br />

HAPPY <strong>100</strong>TH BIRTHDAY, <strong>CAMA</strong>!<br />

Thank you for bringing <strong>the</strong> world’s finest classical musicians<br />

<strong>to</strong> our fair city and enriching our lives through music.<br />

Inside Wine SB is a a fun and educ<strong>at</strong>ional not-for-profit wine tasting Meetup group<br />

open <strong>to</strong> <strong>the</strong> public 21 + years old. We organize winemaker, sommelier, wine and<br />

food pairing events, and field trips <strong>to</strong> wine destin<strong>at</strong>ions! Mark you calendars <strong>to</strong><br />

SAVE THE DATE of November 7, <strong>2020</strong> for <strong>the</strong> Feast of Apicius II—a celebr<strong>at</strong>ion<br />

of <strong>the</strong> world’s first cookbook, with a <strong>to</strong>p chef competition and winemaker/chef<br />

pairings fe<strong>at</strong>uring recipes adapted from <strong>the</strong> 1st century Roman cookbook.<br />

READ ABOUT US: www.meetup.com/inside-wine-santa-barbara<br />

Inside Wine SB is a a fun and educ<strong>at</strong>ional not-for-profit wine tasting Meetup group open <strong>to</strong><br />

<strong>the</strong> public 21+ years old. We organize winemaker, sommelier, wine and food pairing events,<br />

and field trips <strong>to</strong> wine destin<strong>at</strong>ions!<br />

Mark you calendars <strong>to</strong> SAVE THE DATE of November 7, <strong>2020</strong> for <strong>the</strong> Feast of Apicius II—<br />

a celebr<strong>at</strong>ion of <strong>the</strong> world’s first cookbook, with a <strong>to</strong>p chef competition and winemaker/chef<br />

pairings fe<strong>at</strong>uring recipes adapted from <strong>the</strong> 1st century Roman cookbook.<br />

Read about us: www.meetup.com/inside-wine-santa-barbara


MUSIC EDUCATION PROGRAM<br />

BUSINESS SUPPORTERS<br />

We thank <strong>the</strong> many businesses th<strong>at</strong> support<br />

<strong>CAMA</strong>'s programs and events!<br />

Laurel Abbott, Berkshire<br />

H<strong>at</strong>haway Luxury Properties<br />

Alma Rosa Winey<br />

American Riviera Bank<br />

Babcock Winery<br />

James P. Ballantine<br />

Belmond El Encan<strong>to</strong><br />

Bertling Law Group<br />

Bibi Ji<br />

Black Sheep Restaurant<br />

Blue Star Parking<br />

Bon Fortune Style & Events<br />

Brander Vineyard<br />

Wes Bredall<br />

Hea<strong>the</strong>r Bryden<br />

Ca' Dario Ris<strong>to</strong>rante<br />

Camer<strong>at</strong>a Pacifica<br />

Casa Dorinda<br />

Cebada Wine<br />

C'est Cheese<br />

Chaucer's Books<br />

Chocol<strong>at</strong>s du CaliBressan<br />

Chooket P<strong>at</strong>isserie<br />

Cottage Health System<br />

Cus<strong>to</strong>m Printing<br />

Eye Glass Fac<strong>to</strong>ry<br />

Felici Events<br />

Finch & Fork<br />

First Republic Bank<br />

Flag Fac<strong>to</strong>ry of<br />

Santa Barbara<br />

Frequency Wine<br />

Gainey Vineyard<br />

Grace Design Associ<strong>at</strong>es<br />

Grassini Family Vineyards<br />

Grimm’s Bluff<br />

Colin Hayward/<br />

<strong>The</strong> Hayward Group<br />

Steven Handelman Studios<br />

Hogue & Company<br />

Holdren's C<strong>at</strong>ering<br />

Indigo Interiors<br />

Inside Wine Santa Barbara<br />

Islay A/V<br />

Kristin Jackson<br />

Graphic Design<br />

Jardesca<br />

Le Sorelle<br />

Lumen Wines<br />

Maravilla/Senior<br />

Resource Group<br />

Michael's C<strong>at</strong>ering<br />

Microsoft ® Corpor<strong>at</strong>ion<br />

Mission Security<br />

Monteci<strong>to</strong> Bank & Trust<br />

Montgomery Vineyard<br />

Nor<strong>the</strong>rn Trust<br />

Oak Cottage of<br />

Santa Barbara<br />

Oceania Cruises<br />

Olio e Limone/Olio Crudo<br />

Bar/Olio Pizzeria<br />

Opal Restaurant & Bar<br />

Opera Santa Barbara<br />

Pacific Coast<br />

Business Times<br />

Pali Wine Co.<br />

Peregrine Galleries<br />

Performing Arts<br />

Scholarship Found<strong>at</strong>ion<br />

Pete Clements C<strong>at</strong>ering<br />

Presqu’ile Winery<br />

Regent Seven Seas Cruises<br />

Renaud's P<strong>at</strong>isserie & Bistro<br />

Rose S<strong>to</strong>ry Farm<br />

Sabine Myers Design<br />

SAGE Publishing<br />

Santa Barbara<br />

Choral Society<br />

Santa Barbara Found<strong>at</strong>ion<br />

Santa Barbara<br />

Travel Bureau<br />

Santa Barbara Winery<br />

Stewart Fine Art<br />

<strong>The</strong> Tent Merchant<br />

<strong>The</strong> Upham Hotel<br />

UCSB Arts & Lectures<br />

Via Maestra 42<br />

Westmont Orchestra<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

61


Presenting <strong>the</strong> world’s finest classical artists since 1919<br />

WOMEN’S<br />

BOARD<br />

THE <strong>CAMA</strong> WOMEN'S BOARD GRATEFULLY<br />

THANKS THE FOLLOWING SUPPORTERS!<br />

SYMPHONY LEVEL<br />

$5,000<br />

P<strong>at</strong>ricia Yzurdiaga<br />

SONATA LEVEL<br />

$1,000<br />

Peter & Rebecca Adams<br />

NancyBell Coe & Bill Burke<br />

Jill Doré Kent<br />

Mrs. Richard H. Roberts<br />

George & Judy Writer<br />

RONDO LEVEL<br />

$<strong>100</strong><strong>–</strong>$500<br />

Anonymous (2)<br />

Beth G<strong>at</strong>es-Warren & Bob Boghosian<br />

Bridget Colleary<br />

Edward DeLore<strong>to</strong><br />

Karin Nelson & Eugene Hibbs, Jr.<br />

and Maren N. Henle<br />

Joanne C. Holderman<br />

Lois Sandra Kroc<br />

Elen & Craig Par<strong>to</strong>n<br />

Andre & Michele Sal<strong>to</strong>un<br />

Barbara & Sam Toumayan<br />

Nancy & Byron Kent Wood


Presenting <strong>the</strong> world’s finest classical artists since 1919<br />

Presenting <strong>the</strong> world’s finest classical artists since 1919<br />

WOMEN’S<br />

BOARD<br />

<strong>The</strong> <strong>CAMA</strong> Women’s Board Presents<br />

in partnership with <strong>the</strong> Santa Barbara Public Library<br />

<strong>2020</strong> PRE-CONCERT LECTURE SERIES<br />

Faulkner Gallery, Santa Barbara Central Library<br />

and a special lecture event <strong>at</strong> <strong>The</strong> New Vic<br />

<strong>The</strong> Women’s Board has invited local musical luminaries <strong>to</strong> speak before all six of <strong>CAMA</strong>’s<br />

<strong>Intern<strong>at</strong>ional</strong> <strong>Series</strong> concerts.<br />

Dr. Michael Shasberger, Adams Chair of Music & Worship <strong>at</strong> Westmont College. Conduc<strong>to</strong>r<br />

of Westmont Orchestra and Westmont College Choir.<br />

January 27, <strong>2020</strong> <strong>at</strong> 6:45 PM, Faulkner Gallery, SB Central Library, prior <strong>to</strong> <strong>the</strong> 8:00 PM<br />

performance by <strong>the</strong> Royal <strong>Phil</strong>harmonic Orchestra; Pinchas Zucherman, conduc<strong>to</strong>r & violin<br />

SPECIAL <strong>100</strong> TH ANNIVERSARY LECTURE AT THE NEW VIC<br />

H<strong>at</strong>tie Beresford, His<strong>to</strong>ric Researcher and Writer. Author of Celebr<strong>at</strong>ing <strong>CAMA</strong>’s Centennial:<br />

Bringing <strong>the</strong> World’s Finest Classical Music <strong>to</strong> Santa Barbara.<br />

<strong>March</strong> 6, <strong>2020</strong> <strong>at</strong> 5:15 PM, <strong>The</strong> New Vic, prior <strong>to</strong> <strong>the</strong> <strong>Gala</strong> <strong><strong>100</strong>th</strong> <strong>Anniversary</strong> <strong>Concert</strong> <strong>at</strong><br />

7:00 PM by <strong>the</strong> Los Angeles <strong>Phil</strong>harmonic; Gustavo Dudamel, Music Direc<strong>to</strong>r (NOTE: Early<br />

start time for lecture and concert.)<br />

Simon Williams, PhD, Professor Emeritus, UCSB Department of <strong>The</strong><strong>at</strong>er & Dance, Opera &<br />

<strong>The</strong><strong>at</strong>er Critic.<br />

<strong>March</strong> 26, <strong>2020</strong> <strong>at</strong> 6:45 PM, Faulkner Gallery, SB Central Library, prior <strong>to</strong> <strong>the</strong><br />

8:00 PM performance by <strong>the</strong> Rotterdam <strong>Phil</strong>harmonic Orchestra; Lavi Shani, conduc<strong>to</strong>r;<br />

Nelson Freire, piano<br />

Ani Aznavoorian, Principal Cellist with Camer<strong>at</strong>a Pacifica, performing and recording artist.<br />

April 14, <strong>2020</strong> <strong>at</strong> 6:45 PM, Faulkner Gallery, SB Central Library, prior <strong>to</strong> <strong>the</strong> 8:00 PM<br />

performance by Chineke! Orchestra; Kevin John Edusei, conduc<strong>to</strong>r; Stewart Goodyear, piano<br />

David Malvinni, PhD, musicologist, classical guitarist, author and crea<strong>to</strong>r of <strong>CAMA</strong>'s<br />

outreach program, “Music M<strong>at</strong>ters.”<br />

April 28, <strong>2020</strong> <strong>at</strong> 6:45 PM , Faulkner Gallery, SB Central Library, prior <strong>to</strong> <strong>the</strong> 8:00 PM<br />

performance by Les Violons du Roy; Jon<strong>at</strong>han Cohen, conduc<strong>to</strong>r; Avi Avital, mandolin<br />

Jennifer Kloetzel, cellist, Assistant Professor of Cello and Chamber Music and Head of<br />

String Area <strong>at</strong> UCSB Department of Music, performing and recording artist.<br />

May 18, <strong>2020</strong> <strong>at</strong> 6:45 PM, Faulkner Gallery, SB Central Library, prior <strong>to</strong> <strong>the</strong> 8:00 PM<br />

performance by Los Angeles Chamber Orchestra; Jaime Martín, conduc<strong>to</strong>r; Sheku<br />

Kanneh-Mason, cello<br />

<strong>CAMA</strong> AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC<br />

63


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Sometimes, a a Round of of<br />

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Nor<strong>the</strong>rn Trust Trust is proud is proud <strong>to</strong> <strong>to</strong> support Community Arts Arts Music Music<br />

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