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

MARCH 6, 1920 – MARCH 6, 2020

Nell Campbell photo ©2019

We invite you to join the CAMA Board of Directors by

participating in CAMA’s historic and remarkable 100th Anniversary

Concert and Season with a Centennial Celebration Gift. Together

we will secure CAMA’s future as we move into our second century.

Robert K. Montgomery, President

Deborah Bertling, First Vice-President & Chair, Centennial Celebration Committee

INTERNATIONAL SERIES

AT THE GRANADA THEATRE

SEASON SPONSORSHIP: SAGE PUBLISHING

Gustavo Dudamel | © Citizens of Humanity,

courtesy of the Los Angeles Philharmonic Association

LOS ANGELES

PHILHARMONIC

Gustavo Dudamel Music & Artistic Director

Friday, March 6, 2020, 7:00PM

The Granada Theatre, Santa Barbara

INTERNATIONAL SERIES

AT THE GRANADA THEATRE

ROYAL

PHILHARMONIC

ORCHESTRA

JANUARY 27, 2020

Sponsors

Alison & Jan Bowlus

Hollis Norris Fund

Judith L. Hopkinson

The Elaine & Herbert

Kendall Charitable Trust

Sara Miller McCune

Co-Sponsors

Elizabeth & Andrew Butcher

Louise & Michael Caccese

Jocelyne & William Meeker

Barbara & Sam Toumayan

100 TH ANNIVERSARY CONCERT

LOS ANGELES

PHILHARMONIC

MARCH 6, 2020

Primary Sponsor

The Elaine F. Stepanek Foundation

The Samuel B. And Margaret C.

Mosher Foundation

Sponsor

Anonymous

Peggy & Kurt Anderson

Bob & Val Montgomery

Dody & Eric Small

Towbes Fund for the Performing Arts,

a field interest of the Santa Barbara

Foundation

Co-Sponsor

Bitsy & Denny Bacon and The Becton

Family Foundation

Elizabeth & Kenneth Doran

Robert & Christine Emmons

Stephen J.M. & Anne Morris

2 CAMA'S 101ST CONCERT SEASON


ROTTERDAM

PHILHARMONIC

MARCH 26, 2020

Sponsor

Alison & Jan Bowlus


Michele & Andre Saltoun

Co-Sponsor

Geri & Jerry Bidwell


Fran & John Nielsen

George & Judy Writer

CHINEKE!

ORCHESTRA

APRIL 14, 2020

LES VIOLONS

DU ROY

APRIL 28, 2020

Sponsor

Marta Babson

Co-Sponsor

Edward DeLoreto

Lynn P. Kirst


LOS ANGELES

CHAMBER

ORCHESTRA

with Sheku Kanneh-Mason

MAY 18, 2020

Sponsors

Marta Babson

Bitsy & Denny Bacon and

The Becton Family Foundation

Meg & Dan Burnham

John & Ellen Pillsbury

Co-Sponsors


CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC

3

MASTERSERIES

AT THE LOBERO THEATRE

SEASON SPONSORSHIP: ESPERIA FOUNDATION

STEPHEN

HOUGH, PIANO

OCTOBER 29, 2019

Co-Sponsors

Anonymous


The Becton Family

Foundation

Alison & Jan Bowlus

Elizabeth Karlsberg &

Jeff Young


PAMELA

FRANK, VIOLIN

AND STEPHEN

PRUTSMAN, PIANO

DECEMBER 11, 2019

Principal Sponsor

The Stephen & Carla

Hahn Foundation

Co-Sponsors

Anonymous


Craig & Ellen Parton

EMANUEL

AX, PIANO

JANUARY 13, 2020

Co-Sponsors

Anonymous

Alison & Jan Bowlus



Concert Partners

Deborah & Peter Bertling

Bob Boghosian & Beth

Gates-Warren

Bridget B. Colleary

Dorothy & John Gardner

Raye Haskell Melville

SERGIO

AND ODAIR

ASSAD, GUITARS

FEBRUARY 14, 2020

Sponsors


The Becton Family

Foundation

Concert Partners


Lois Sandra Kroc

BENJAMIN

GROSVENOR, PIANO

MARCH 13, 2020

Co-Sponsors

Alison & Jan Bowlus


Concert Partner

Stephen Cloud

Concert Sponsors as of January 2019



5

Presenting the world’s finest classical artists since 1919 1919–2019/20

BOARD OF DIRECTORS

(As of October 9, 2019)

ROBERT K. MONTGOMERY

President

DEBORAH BERTLING

First Vice-President & Chair, Centennial Celebration Committee

Rosalind Amorteguy-Fendon

Marta Babson

Isabel Bayrakdarian

Bitsy Becton Bacon

Edward Birch

Jan Bowlus

Daniel P. Burnham

Andy Chou

Stephen Cloud

NancyBell Coe

Bridget B. Colleary

Christine B. Emmons

Jill Felber

CRAIG A. PARTON

Second Vice-President

WILLIAM MEEKER

Treasurer

JOAN R. CROSSLAND

Secretary

Joanne C. Holderman

Judith L. Hopkinson

Elizabeth Karlsberg


George Messerlian

Stephen J.M. (Mike) Morris

Patti Ottoboni

Carl Perry

Judith F. Smith

Judith H. Writer

Deborah Bertling,

President, CAMA Women’s Board

Emeritus Directors

(As of October 24, 2019)

Russell S. Bock*

Dr. Robert J. Emmons

Dr. Robert M. Failing*

Mrs. Maurice E. Faulkner*

Léni Fé Bland*

Arthur R. Gaudi

Stephen Hahn*

Dr. Melville H. Haskell, Jr.*

Mrs. Richard Hellmann*

Dr. Dolores M. Hsu*

James H. Hurley, Jr.

Herbert J. Kendall

Robert M. Light*

Mrs. Frank R. Miller, Jr.*

Sara Miller McCune

Mary Lloyd Mills

Mrs. Ernest J. Panosian*

Kenneth W. Riley*

Andre Saltoun

Mrs. John G. Severson*

Nancy L. Wood

* Deceased

Administration

(As of June 27, 2019)

Mark E. Trueblood

Executive Director

Elizabeth Alvarez

Director of Development

Michael Below

Office Manager/

Subscriber Services

Justin Rizzo-Weaver

Director of Operations

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

Special Events

Gala 100 th Anniversary Concert:

LA Phil + CAMA

100 years to the date since the LA Phil's

first performance in Santa Barbara on

March 6, 1920!

Gustavo Dudamel | © Citizens of Humanity,

courtesy of the Los Angeles Philharmonic Association

Friday Evening, March 6, 2020

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

shared history of CAMA + LA Phil with

Hattie Beresford, New Vic Theatre

6:00–6:55 – Red Carpet Reception at

The Granada Theatre for all ticket holders

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

Los Angeles Philharmonic at

The Granada Theatre

e h a v e d e s i g n e d + p r o d u c e d o v e r

W

0 0 f l a w l e s s e v e n t s f o r o u r d e l i g h t e d

3

Felici Events

t s

c l i e n t s o v e r t h e l a s t 1 2 y e a r s .

www.felicievents.com

805.895.3402

INTERNATIONAL SERIES at the GRANADA THEATRE


LOS ANGELES PHILHARMONIC

Gustavo Dudamel Music & Artistic Director

Friday, March 6, 2020, 7:00 PM

The Granada Theatre, Santa Barbara

HISTORIC 100 TH ANNIVERSARY CONCERT

CAMA + LA Phil | March 6, 1920 – March 6, 2020

CHARLES IVES (1874–1954)

Symphony No.2

Andante moderato

Allegro

Adagio cantabile

Lento maestoso

Allegro molto vivace

(approx.40 minutes)

ANTONÍN DVOŘÁK (1841–1904)

Symphony No.9 in E Minor, Op.95

Adagio—Allegro molto

Largo

Molto vivace

Allegro con fuoco

(approx.40 minutes)

INTERMISSION

Rolex is the Official Timepiece of the Los Angeles Philharmonic.

Program subject to change.

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

International Series Season Sponsor: SAGE Publishing

Primary Sponsor: The Elaine F. Stepanek Foundation

The Samuel B. And Margaret C. Mosher Foundation

Sponsors: Anonymous • Peggy & Kurt Anderson • Bob & Val Montgomery • Dody & Eric Small

Towbes Fund for the Performing Arts, a field interest of the Santa Barbara Foundation

Co-Sponsors: Bitsy & Denny Bacon and The Becton Family Foundation

Elizabeth & Kenneth Doran • Robert & Christine Emmons • Stephen J.M. & Anne Morris

Special Event Sponsor:

We request that you switch off cellular phones, watch alarms and pager signals during the performance.

The photographing or sound recording of this concert or possession of any device for such photographing

or sound recording is prohibited.


9

Photo by Neil Campbell

Photo by Ryan Hunter

LOS ANGELES

PHILHARMONIC

Over the course of 100 seasons, the Los

Angeles Philharmonic has redefined what

an orchestra can be. Now in its 101st season,

the LA Phil presents an inspiring array

of music through a commitment to foundational

works and adventurous explorations.

Recognized as one of the world’s outstanding

orchestras at home and abroad, the LA

Phil leads the way in groundbreaking and

diverse programming, demonstrating the

orchestra’s artistry and vision on stage

and in the community.

Under the charismatic leadership of

Music & Artistic Director Gustavo Dudamel

since 2009, the LA Phil performs or presents

more than 250 concerts annually at

its two iconic venues: Walt Disney Concert

Hall and the Hollywood Bowl. During its

winter season at Walt Disney Concert Hall,

with approximately 165 performances, the


11

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LA Phil creates festivals, artist residencies,

and other thematic programs designed to

enhance the audience’s experience of orchestral

music. Since 1922, its summer

home has been the world-famous Hollywood

Bowl, host to the finest artists from

all genres of music.

The orchestra’s involvement with Los

Angeles extends far beyond the concert

hall, with wide-ranging performances in the

schools, churches, and neighborhood centers

of a vastly diverse community. Among

its influential and multifaceted learning initiatives

is YOLA (Youth Orchestra Los Angeles),

inspired by Venezuela’s revolutionary

El Sistema. Through YOLA, the LA Phil

and its community partners provide free

instruments, intensive music instruction,

and leadership training to nearly 1200 students

from underserved neighborhoods,

empowering them to become vital citizens,

leaders, and agents of change.

The orchestra also undertakes annual

tours, including regular visits to New

York, Paris, and Tokyo, among other cities.

The Philharmonic is now the International

Orchestral Partner at London’s Barbican

Centre. The orchestra’s very first tour was

in 1921, and it has toured every season

since 1969/70.

The LA Phil has a substantial catalog

of recordings, including concerts available

online, such as the first full-length classical

music video released on iTunes. Deutsche

Grammophon has recently released a comprehensive

box set in honor of the orchestra’s

Centennial.

The Los Angeles Philharmonic was

founded in 1919 by William Andrews Clark,

Jr., a millionaire and amateur musician.

Walter Henry Rothwell became its first

Music Director, serving until 1927; since

then, ten renowned conductors have

served in that capacity: Georg Schnéevoigt

(1927–1929); Artur Rodziński (1929–

1933); Otto Klemperer (1933–1939); Alfred

Wallenstein (1943–1956); Eduard van Beinum

(1956–1959); Zubin Mehta (1962–

1978); Carlo Maria Giulini (1978–1984);

André Previn (1985–1989); Esa-Pekka Salonen

(1992–2009); and Gustavo Dudamel

(2009–present).


13

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Photo Los Angeles Philharmonic

GUSTAVO DUDAMEL

Music & Artistic Director

Gustavo Dudamel is driven by the belief

that music has the power to transform

lives, to inspire, and to change the world.

Through his dynamic presence on the podium

and his tireless advocacy for arts

education, Dudamel has introduced classical

music to new audiences around the

world and has helped to provide access

to the arts for countless people in underresourced

communities.

Dudamel’s 2019/20 season sees him

enter his second decade as the Music & Artistic

Director of the Los Angeles Philharmonic,

where his bold programming and

expansive vision led The New York Times to

herald the LA Phil as “the most important

orchestra in America – period.” Other highlights

of the season include leading the

Berlin Philharmonic in four concerts for the

2020 Olympics celebrations in Tokyo, conducting

the New York Philharmonic for a

two-week residency at Lincoln Center, touring

a concert version of Beethoven’s opera

Fidelio throughout Europe with the Mahler


15

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Chamber Orchestra (which will include the

famed Venezuelan “Manos Blancas” choir),

and an Italian tour with the Accademia

Nazionale di Santa Cecilia.

A lifelong advocate for music education

and social development through

art, Dudamel himself was shaped by his

childhood experience with El Sistema, the

extraordinary program and philosophy

initiated in 1975 by Maestro José Antonio

Abreu. Inspired by El Sistema, in 2007

Dudamel, the LA Phil, and its community

partners founded YOLA (Youth Orchestra

Los Angeles), which now serves more than

1,200 musicians, providing young people

with free instruments, intensive music instruction,

academic support, and leadership

training. In 2020, YOLA will have its

own permanent, purpose-built facility, the

Judith and Thomas L. Beckmen YOLA Center,

designed by architect Frank Gehry.

In recognition of Dudamel’s advocacy

for the proliferation of the arts in the Americas,

in 2019, he was honored with a star on

the Hollywood Walk of Fame and received

the Distinguished Artist Award from the International

Society for the Performing Arts

(ISPA). He was awarded the Gish Prize, the

Paez Medal of Art, and the Pablo Neruda

Order of Artistic and Cultural Merit in 2018.

In 2017, he led the Royal Stockholm Philharmonic

in the Nobel Prize Concert in

Sweden, where he also delivered a lecture

on the unity of the arts and sciences. Dudamel

was named one of Time magazine’s

100 most influential people in 2009.

Dudamel has reached mainstream audiences

and achieved name recognition far



17


Mars. Dudamel has been featured several

times on CBS’ 60 Minutes, profiled on PBS,

and interviewed by Christiane Amanpour

on CNN, Conan O’Brien on Conan, Stephen

Colbert on The Late Show, and Elmo on

Sesame Street. This year, Dudamel and the

LA Phil won a Grammy Award ® for their recording

of Andrew Norman’s Sustain, their

second Grammy together.

Inspired by Dudamel’s early musical

and mentoring experiences, the Gustavo

Dudamel Foundation, a registered charity,

was created in 2012 with the goal of promoting

access to music as a human right

and a catalyst for learning, integration, and

social change. For more information about

Gustavo Dudamel, visit his official website

gustavodudamel.com, and dudamelfoundation.org

and laphil.com.

beyond the classical concert hall. He will

conduct Bernstein’s iconic score for Steven

Spielberg’s 2020 adaptation of West Side

Story. At John Williams’ personal request,

he guest-conducted the opening and closing

credits of Star Wars: The Force Awakens

and performed with the LA Phil at the 2019

Academy Awards. A bona fide pop culture

persona, Dudamel has had cameos in Amazon

Studio’s award-winning comedy series

Mozart in the Jungle, The Simpsons, and Disney’s

The Nutcracker and the Four Realms,

for which he also recorded the score. He

became the first classical musician to participate

in the Super Bowl halftime show in

2016, leading members of YOLA alongside

pop stars Coldplay, Beyoncé, and Bruno


19

Lending Banking Investing

ABOUT

the program

Symphony No.2

Charles Ives (1874–1954)

Composed: 1897–1902; 1907–1909

Orchestration: piccolo, 2 flutes, 2 oboes,

2 clarinets, 2 bassoons, contrabassoon, 4

horns, 2 trumpets, 3 trombones, tuba, timpani,

percussion (snare drum, bass drum),

and strings

First Los Angeles Philharmonic performance:

August 9, 1960, with Walter Hendl

conducting

In the autumn of 1898, Charles Ives moved

to New York and established a pattern that

would be his modus operandi for the next

ten years, that being the pursuit of two

separate careers: composer and insurance

clerk (later to become an executive).

In Memos, Ives wrote that upon graduating

from Yale in 1898, with reference to career

and a future family, “If he has a nice wife

and some nice children, how can he let the

children starve on his dissonances?” Thus

the practical Yankee side of his character

won out.

For a bachelor in turn-of-the-century

New York, the excitement and general

pace of life was overwhelming, and opti-

A Young Charles Ives

mism for the coming century was electrifying,

literally and figuratively: the electric

light, motor car, telephone, motion picture,

airplane, et al. were, if not already in use,

then about to affect everyday existence.

Consequently, the United States was on

the verge of leading the world into a bright

future of scientific, economic, and social

progress, and New York was the hub. But

of course, accompanying this dynamism

and prosperity was omnipresent poverty.

Ives was aware of this ethical dichotomy

of technological and social advance and

wealth on one hand, and the extreme poverty

of urban life on the other. Mirror-like,


21

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a ROYAL

ANNIVERSARY SEASON

Presenting the world’s finest classical artists since 1919 1919–2019/20

Ives simultaneously harbored in his inner

life both the socially progressive program

of the present and the vanishing spiritual

world of his youth. Both these strains were

to be synthesized in Ives’ future works, beginning

with his Second Symphony.

The Symphony No.2 marks the first

major work in which Ives exercises his

famous penchant for “borrowings” of

well-known hymns, marches, and popular

songs, as well quoting from his own earlier

works for organ. In addition to these

borrowings of American tunes emanating

from Ives’ childhood, he also continues

to reference European music, Dvořák

especially, particularly the Largo from the

“New World” Symphony with its sense of

nostalgia. In a sense, the Symphony No.2

is a transition piece between the pure European

tradition of the First Symphony to the

pure Americanism of the Third Symphony.

A plaintive theme stated in the cellos

begins the opening Andante moderato. Following

various other thematic materials, it

is restated with a fragment from “Columbia,

Gem of the Ocean” making a brief appearance.

The second movement is a lively

jaunt, which is interrupted by a slow lyric

section for strings, flutes, and oboes. Each

of these sections is repeated; “Bringing in

the Sheaves” is perhaps the most obvious

borrowing in this movement. The Adagio

cantabile puts fragments from “America

the Beautiful” in a pastoral setting. The

Lento Maestoso sets a tragic tone that is

briefly disrupted by a fragment of “Columbia,

Gem of the Ocean.” The last movement

is a quick moving romp of brilliant contrapuntal

writing that climaxes in a medley including

“Camptown Races,” “Turkey in the

Straw,” and once again, “Columbia, Gem of

the Ocean” that at the very end is abruptly

cut off by a blaring fragment of “Reveille,”

perhaps the most “Ivesian” gesture of

the Symphony.

—Steve Lacoste, ©2020

Symphony No.9

in E Minor, Op.95

(“From the New World”)

Antonín Dvořák (1841–1904)

Composed: 1892–93

Orchestration: 2 flutes (2nd = piccolo), 2

oboes (2nd = English horn), 2 clarinets,

2 bassoons, 4 horns, 2 trumpets, 3 trombones,

tuba, timpani, percussion (cymbals,

triangle), and strings.

First Los Angeles Philharmonic performance:

October 25, 1919, with Walter Henry

Rothwell conducting

Has there ever been a work so beloved, so

recognized, and yet so impossible to give

a fair hearing as the “New World” Symphony?

By the mid-20th century it was so


23

much a part of American culture that it

was familiar to people who had never even

heard it. So much in it has been quoted and

rehashed that it now sounds like a cliché.

This ultimate piece of Americana

actually grew out of an attempt to create

an American style of composition. To this

end, a visionary patron of the arts named

Jeanette Thurber founded a National Conservatory

in New York and engaged Dvořák

as its director. Dvořák arrived with his wife

and two oldest children in September 1892,

and threw himself into teaching, composing,

and absorbing America.

Since Dvořák was a “nationalist” who

grounded his own music in Czech folk tradition,

he was naturally curious about the

folk music of America. In interviews with

New York newspapers, he opined that the

Antonín Dvořák in 1904

music of native Americans and Black people

would be the real source of folk music

on which to base an American national

style. His knowledge of “Indian” music

would have come from published collections,

filtered through the ears of white editors.

He would have come to know black

music from more varied sources. He made

a special point of having Harry Burleigh, a

black National Conservatory student who

later became famous as a publisher of

spirituals, sing real black music to him.

Dvořák began the symphony in late

1892 and finished it the following May. The

first performance, in New York on December

16, 1893, was a major event, with a public

rehearsal and much advance press attention.

Its reception was a major triumph,

and it occasioned much enthusiastic discussion

from the musical intelligentsia

about just how American it really was. In

the ensuing century, little has changed: the

symphony’s popularity has endured, and

talking about how much the “New World”

Symphony sounded like what American

music was before American music started

to sound like the “New World” Symphony

remains a favorite pastime.

Clearly there is a lot of Bohemia in

the Symphony. Dvořák was not going to

change his style in nine months. But it also

sounds different from his previous works.

Dvořák wrote to a friend in Bohemia that

the Symphony “will be fundamentally different

from my earlier ones. Anyone with a

‘nose’ for these things will detect the influence

of America.”


25

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But many observers, nasally challenged

or not, have disagreed. Perhaps the

most extreme view was voiced by Leonard

Bernstein, who devoted a chapter of his

1966 book The Infinite Variety of Music to

arguing that there was virtually nothing

American about the Symphony. Bernstein

examined each theme of the symphony,

identified whatever aspect of it that was

thought to be American, and pointed out

that there was nothing exclusively American

about that aspect. The argument

proves too much: Bernstein could similarly

have “proved” that there is nothing American

about hot dogs because they are made

from a sausage that originated in Frankfurt.

But his views were, as always, insightful

and provocative.

Dvořák insisted that while he took inspiration

from folk music, he borrowed no

actual melodies. The Symphony is remarkable

for its sheer number of memorable

tunes: nearly all of them are the sort that

you hum going home from the concert. For

just this reason, the Symphony sometimes

gives short shrift to symphonic development:

it needs less compositional craft

because the sheer melodic invention is

so inspired.

Everything Dvořák touched here turned

to gold. Even when he dealt with a practical

structural problem—how to go from E

minor, the key in which the first movement

ends, to the Largo’s distant D-flat major

without jolting the listener’s ear—his solution

was haunting: the seven magical

chords that begin the second movement

are unforgettable, though they appear only

four times, including a curtain call in the finale.

It’s easy to conclude that Dvořák kept

bringing themes back in later movements

not for purposes of unity, but because he

couldn’t bear to part with them.

Several sources close to Dvořák said

that the slow movement was inspired by

episodes in Longfellow’s Song of Hiawatha,

which Dvořák had read in a Czech translation

and, at Mrs. Thurber’s suggestion,

was considering as the subject of an opera.

Some of the movement may even have

started as sketches for such an opera. But

the sources do not agree on which part(s)

of Hiawatha Dvořák may have had in mind,

and the principal theme, the English horn’s

famous song, is not “Indian” at all. It has the

character of a black spiritual, but it betrays

its high-art origins when it modulates into

the subdominant, a bit of harmonic sophistication

uncommon in real spirituals. Years

later, one of Dvořák’s National Conservatory

students, a white man named William

Fisher, gave it words and turned it into a

song called “Goin’ Home” that was popular

for many years. Bernstein, again overstating

his case, noted: “It evokes for us the

picture of field hands, plantation workers

crooning in the moonlight, Gone with the

Wind, what have you—but only because we

have heard it so constantly played or sung,

in the movies or on the radio or wherever,

in practically every southern situation. (If

we were to put Czech words to it, it would


27

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sound fully as Czech as American, or with

Chinese words it would sound Chinese.)”

Dvořák said that the Scherzo was inspired

by Longfellow’s description of the

dance at Hiawatha’s wedding feast. But

its material is the most characteristically

Czech in the symphony. The rhythm of the

woodwinds’ perky first theme is typical of

the Czech language and is found in Czech

folk songs. (There is nothing folky about

the insistent rhythmic pull of three against

two that yanks the theme along.) The lilting

middle section could pass for one of

Dvořák’s Slavonic Dances.

The finale begins as a normal sonata

movement, but somewhere in the development

becomes something else. Much of

what it develops is thematic material from

the first three movements. Finally, there’s

that unmistakable boogie-woogie walking

bass just before the final chords: is it

a transformation of the first movement’s

main theme, or had Dvořák actually heard

some ragtime pianist? Either explanation

is possible, historically speaking, but

neither is probable. Genius is often hard

to explain.

—Howard Posner, ©2020

One hundred years ago,

the founders of the

Civic Music Committee

that would become

CAMA chose to invest

in the cultural life

of the Santa Barbara

community and invited

the brand-new Los Angeles Philharmonic

to perform. Through peace time and war,

economic booms and busts, the relationship

of our two organizations has continued

and grown. We are proud to continue this

great partnership as we both enter our

second centuries, and we are honored to

mark the occasion of our first concert with

CAMA on March 6.

–Chad Smith

Chief Executive Officer,

David C. Bohnett Chief Executive Officer Chair

Los Angeles Philharmonic Association

On behalf of the Board of Directors of

Community Arts Music Association (CAMA),

thank you Santa Barbara for supporting

the world’s finest classical artists for 100

years which is truly a remarkable milestone

for a town of our size. We extend our

gratitude to our many generous sponsors

and contributors, to our loyal subscribers,

and to the greater CAMA community.

We are especially grateful to share this

momentous occasion with Maestro Gustavo

Dudamel and the Los Angeles Philharmonic

with whom we proudly share 100 years of

music together. We

deeply appreciate our

century-long relationship

with the LA Phil, and we

look forward to a

marvelous partnership

as we begin Our

Second Century

together. BRAVO!

–Robert K. Montgomery

President and Centennial Circle Chair


29


Gustavo Dudamel

Music & Artistic Director

Walt and Lilly Disney Chair

Zubin Mehta

Conductor Emeritus

Esa-Pekka Salonen

Conductor Laureate

Susanna Mälkki

Principal Guest Conductor

Ann Ronus Chair

Paolo Bortolameolli

Associate Conductor

John Adams

John and Samantha

Williams Creative Chair

FIRST VIOLINS

Martin Chalifour

Principal Concertmaster

Marjorie Connell Wilson Chair

Nathan Cole

First Associate

Concertmaster

Ernest Fleischmann Chair

Bing Wang

Associate

Concertmaster

Barbara and Jay Rasulo Chair

Akiko Tarumoto

Assistant Concertmaster

Philharmonic Affiliates Chair

Michele Bovyer

Deanie and Jay Stein Chair

Rochelle Abramson

Camille Avellano

Margaret and Jerrold L.

Eberhardt Chair

Minyoung Chang

I.H. Albert Sutnick Chair

Miika Gregg

Jordan Koransky

Mischa Lefkowitz

Edith Markman

Mitchell Newman

Mark Houston Dalzell and

James Dao-Dalzell Chair

for Artistic Service to the

Community

Rebecca Reale

Stacy Wetzel

Justin Woo

SECOND VIOLINS

Lyndon Johnston Taylor

Principal

Dorothy Rossel Lay Chair

Mark Kashper

Associate Principal

Kristine Whitson

Johnny Lee

Dale Breidenthal

Ingrid Chun

Jin-Shan Dai

Tianyun Jia

Chao-Hua Jin

Nickolai Kurganov

Guido Lamell

Varty Manouelian

Yun Tang +

Michelle Tseng

Suli Xue

Gabriela Peña-Kim *

VIOLAS

Teng Li

Principal

John Connell Chair

Dale Hikawa Silverman

Associate Principal

Ben Ullery

Assistant Principal

Dana Lawson

Richard Elegino

John Hayhurst

Ingrid Hutman

Michael Larco

Hui Liu

Meredith Snow

Leticia Oaks Strong

Minor L. Wetzel

CELLOS

Robert deMaine

Principal

Bram and Elaine

Goldsmith Chair

Ben Hong

Associate Principal

Sadie and Norman Lee Chair

Dahae Kim

Assistant Principal

Jonathan Karoly

David Garrett

Barry Gold

Jason Lippmann

Gloria Lum

Linda and Maynard

Brittan Chair

Tao Ni

Serge Oskotsky

Brent Samuel

BASSES

Christopher Hanulik

Principal

Oscar M. Meza

Assistant Principal

David Allen Moore

Ted Botsford

Jack Cousin

Jory Herman

Brian Johnson

Peter Rofé

Michael Fuller *

Dennis Trembly

Principal Bass Emeritus

FLUTES

Denis Bouriakov

Principal

Virginia and Henry

Mancini Chair

Catherine Ransom Karoly

Associate Principal

Mr. and Mrs. H. Russell

Smith Chair

Elise Shope Henry

Mari L. Danihel Chair

Sarah Jackson

Piccolo

Sarah Jackson



OBOES

(Vacant)

Principal

Contrabassoon

Evan Kuhlmann

HORNS

James Miller

Associate Principal

Judith and Thomas L.

Beckmen Chair

PERSONNEL

MANAGER

Jeffrey Neville

Marion Arthur Kuszyk

Associate Principal

Anne Marie Gabriele

Carolyn Hove

English Horn

Carolyn Hove

Alyce de Roulet

Williamson Chair

CLARINETS

Boris Allakhverdyan

Principal

Michele and Dudley

Rauch Chair

Burt Hara

Associate Principal

Andrew Lowy

David Howard

E-Flat Clarinet

Andrew Lowy

Bass Clarinet

David Howard

BASSOONS

Whitney Crockett

Principal

Shawn Mouser

Associate Principal

Michele Grego

Evan Kuhlmann

Andrew Bain

Principal

John Cecil Bessell Chair

Jaclyn Rainey

Associate Principal

Gregory Roosa

Alan Scott Klee Chair

Amy Jo Rhine

Loring Charitable

Trust Chair

Brian Drake +

Reese and Doris Gothie Chair

Ethan Bearman

Assistant

Bud and Barbara

Hellman Chair

TRUMPETS

Thomas Hooten

Principal

M. David and Diane Paul Chair

James Wilt

Associate Principal

Nancy and Donald

de Brier Chair

Christopher Still

Ronald and Valerie

Sugar Chair

Jeffrey Strong

TROMBONES

David Rejano Cantero

Principal

Paul Radke

Bass Trombone

John Lofton

TUBA

Norman Pearson

TIMPANI

Joseph Pereira

Principal

Cecilia and Dudley

Rauch Chair

PERCUSSION

Matthew Howard

Principal

James Babor

Perry Dreiman

Wesley Sumpter *

KEYBOARDS

Joanne Pearce Martin

Katharine Bixby

Hotchkis Chair

HARP

Lou Anne Neill

LIBRARIANS

Kazue Asawa McGregor

Benjamin Picard

Stephen Biagini

KT Somero

CONDUCTING

FELLOWS

Hilo Carriel

Marta Gardolinska

Enluis Montes Olivar

Anna Rakitina

*

Resident Fellows

+

on sabbatical

The Los Angeles

Philharmonic string

section utilizes revolving

seating on a systematic

basis. Players listed

alphabetically change

seats periodically.

In those sections where

there are two principals

the musicians share the

position equally and are

listed in order of length

of service.

The musicians of

the Los Angeles

Philharmonic are

represented by

Professional Musicians

Local 47, AFM.


31

Presenting the world’s finest classical artists since 1919

MASTERSERIES AT THE LOBERO THEATRE

SEASON SPONSORSHIP: ESPERIA FOUNDATION

MARCH

13

FRI, 8:00 PM

2020

BENJAMIN

GROSVENOR piano

©Operaomnia.co.uk

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

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

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

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

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

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

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

concert will mark his Santa Barbara recital debut.

PROGRAM:

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

SCHUMANN: Kreisleriana, Op.16

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

LISZT: Sonata in B Minor, S.178

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

Concert Partner: Stephen Cloud

TICKETS (805) 963-0761 lobero.com

Celebrating 100

with Betty Meyer and Natalie Myerson!

CAMA Centennial Celebration Chair and First Vice President,

Deborah Bertling; Betty Meyer; Past President, Judith Hopkinson

Mrs. Raymond King Myerson; CAMA Board

Member Elizabeth Karlsberg; Bette Myerson

Any musical organisation reaching its 100th birthday is

most likely older than anyone performing or listening

there. Its memories are rich and, with CAMA, its future

promises to be as cherishable. Huge congratulations on

this wonderful milestone.

–Stephen Hough


33

PERSONALIZED AND PASSIONATE REPRESENTATION

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representation in cases involving employment law, elder abuse,

serious and catastrophic personal injuries, wrongful death,

sexual harassment and medical malpractice for veterans.

Please call Peter Bertling for a free consultation (844) 295-7558

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Wallenstein

Doráti

Solti Eichheim Klemperer

CAMA + LA PHIL

history at THE GRANADA

© Rothschild

© SB Historical Society

Zubin Mehta

Santa Barbara’s historic Granada

Theatre, opening first in 1924, has an

intimate connection to both CAMA and

the Los Angeles Philharmonic. First presented

in Santa Barbara by the Civic Music Committee

(one of CAMA’s direct predecessors) in 1920,

the Los Angeles Philharmonic gave the CAMA

archives’ first documented Granada concert

during the 1925/26 season. The LA Phil also gave

CAMA’s final concert at the “old Granada,” on

April 21, 1976, with Zubin Mehta conducting a

program of Mozart and Mahler. In between, CAMA

presented the LA Phil in dozens of concerts at

the Granada—48 concerts during the 1950s alone.

More than 40 conductors led the Los

Angeles Philharmonic as Music Director or guest

conductor in concerts at the Granada Theatre

from 1925–1976, including (in chronological

order) Henry Eichheim, Otto Klemperer, Alfred

Wallenstein, Bruno Walter, George Szell, Igor

Stravinsky, John Barnett, Georg Solti, Erich

Leinsdorf, Karl Böhm, John Barbirolli, Eugen

Jochum, Hans Schmidt-Isserstedt, Zubin Mehta,

Rafael Kubelik, Rafael Frühbeck de Burgos, Antal

Doráti, Daniel Barenboim, Michael Tilson Thomas,

Carlo Maria Giulini, André Previn, and more.

CAMA’s historic presentations at the Granada

include other world-class orchestras as well—

such as the Berlin Philharmonic, Concertgebouw

Orchestra, New York Philharmonic, Philadelphia

Orchestra, and more.

After 32 years at the Arlington Theatre,

CAMA’s orchestra series returned to The Granada

Theatre on May 3, 2008 with a concert by none

other than the LA Phil! •


-7-

35

Excerpt from

Celebrating CAMA's Centennial

By Hattie Beresford

Blue Point Books (2018)

©2018, Community Arts Music Association


Bringing the Music

After WWI, several people in town sought

to introduce talented professionals and

great music to Santa Barbara. One such

person was Clara E. Herbert, who presented

the Philharmonic Course and Artists

Series for the Potter Theatre. This program

brought well-known solo artists, musical

ensembles, and orchestras to town, generally

for the winter-spring season. Clara

Herbert solicited subscribers and season

ticket holders, and her concerts were always

favorably reviewed.

By December 1921, the Morning Press

was able to say, “The Philharmonic season

is said to be the backbone, in a sense, of

Santa Barbara’s musical activities. Mrs.

C.E. Herbert, who has arranged for the

series of vocal and instrumental affairs,

has been frequently mentioned as the

leading spirit of the musical world here.”

In the early 1920s, Clara Herbert brought

performers like the great bandleader John

Philip Sousa and Metropolitan Opera Company

soprano Anna Case to the stage of

the Potter Theatre. She continued to be a

vital part of the movement to bring excellent

music and artists to Santa Barbara for

nearly 40 years.

In 1919 another such organization, the

Civic Music Committee, was formed. It, too,

planned to bring the best of the orchestral

and classical music world to Santa Barbara.

Its first season opened with the performance

of the Los Angeles Symphony Orchestra

directed by Adolf Tandler. Backed

by a generous group of patrons, the Civic

The Civic Music Committee, formed in 1919, set its sights

on bringing the best orchestral and classical musicians

to Santa Barbara. The Committee opened its first season

with the Los Angeles Symphony Orchestra. Courtesy

Santa Barbara Historical Museum

Music Committee believed that music not

only gave pleasure but had a high educational

value as well.

The Board of Directors of the Civic

Music Committee included members

whose devotion to civic improvements and

patronage of the arts was unparalleled.

Mrs. Alexander C. (Bertha) Soper, the wife

of a physician; Mrs. John Hopkins (Pearl)

Denison; Samuel Ilsley, local architect; and

David Gray, to name just a few, were involved

in multiple cultural and community

organizations of the time. The list of the

guarantors for the Civic Music Committee’s


37

concert series looked like a veritable

Who’s Who of Santa Barbara and Montecito

society. Nearly every prominent philanthropist

in town supported the organization.

From the five “Hilltop Barons” (Cowles,

Knapp, Peabody, Gray, and Billings) in

Montecito to the Hoffmanns, Blacks, and

Hazards in town, at its height over 90

patrons sponsored the Civic Music Committee

in bringing great music to Santa

Barbara audiences.

The hit of that first season, however,

and all seasons thereafter, was the muchanticipated

concert of the newly-formed

Philharmonic Orchestra of Los Angeles,

which took to the Potter stage on Monday,

March 6, 1920. Bertha Soper was directly

responsible for introducing the LA Phil to

Santa Barbara. She had promoted the symphony

to influential residents in the area,

especially Samuel M. Ilsley, who became

chairman of the Santa Barbara Regional

Board of the new orchestra.

William Andrews Clark, Jr.

and the Philharmonic

Orchestra of Los Angeles

At the beginning of June 1919, William

Andrews Clark, Jr., son of Montana’s Copper

King and controversial U.S. Senator,

invited Lynden E. Behymer, ardent cultural

promoter and founder of the Los Angeles

Symphony Orchestra, to his home in Los

Angeles. Clark wanted to know how he

would go about forming a symphony orchestra

of 90 or more men for a series of

concerts in Los Angeles and vicinity. He

The Philharmonic Orchestra of Los Angeles played the Potter Theatre on March 6, 1920. The performance was

regarded as the highlight of the Civic Music Committe’s first season. Santa Barbara News-Press. Courtesy Santa Barbara

Historical Museum


wanted Behymer to assist him in this endeavor;

in other words, to make it happen.

“I informed Mr. Clark,” Behymer wrote

in a 1922 article for Pacific Coast Musical

Review, “that this wholesale order was of

such proportions and demanded such

careful preparation with the season already

far advanced, that it was almost

an impossibility….and, unless at least five

years of continuous life could be guaranteed,

it would be impossible to secure a

fine membership.”

Clark and Behymer spoke for several

hours about the financial and other hurdles

that needed to be overcome to create such

an organization. “In the end,” wrote Behymer,

“this splendid patron of fine arts quietly

said that he was prepared to place at the

disposal of the Philharmonic Orchestra

Association of Los Angeles a yearly check

sufficient to cover any deficit that might

occur—a gracious tribute to the music lovers

of Los Angeles.”

William Andrews Clark, Jr. had grown

up in Montana, earned a law degree from

the University of Virginia, and directed

minor industries with his father’s financing.

He moved to Los Angeles in 1907, but

served as the vice president of the family’s

United Verde Mines in Arizona. Money, as

they say, was not an issue. Clark Senior

was a patron of art and music in Montana

and New York. He had sponsored his young

ward, Anna La Chapelle, in music studies in

Paris, where she studied the harp. It was

in France, too, where she secretly married

Clark Senior and gave birth to their first

In 1919, William Andrews Clark, Jr. founded the

Philharmonic Orchestra of Los Angeles, known today as

the LA Phil. Courtesy Los Angeles Philharmonic Archives

In June 1919, William Andrews Clark, Jr. consulted

Los Angeles Symphony Orchestra founder Lynden E.

Behymer (center) about the process of creating his own

90-member symphony orchestra. The two engaged in

an hours-long conversation about the financial and

logistical hurdles involved. Charles E. Young Research

Library, UCLA


39

daughter, Andrée.

In November 1923, Clark Senior, who

had rented the Bellosguardo estate on

Booth’s Point in Santa Barbara for the

winter, decided to buy it. He offered Lee

Eleanor Graham $250,000 for the estate,

and she, recently divorced and in financial

straits, accepted with alacrity. Clark Senior

would not enjoy his winter home for long,

however, as he died 15 months later at his

mansion in New York.

Clark Junior was a skilled violinist and

collector of rare books, especially 17th and

18th century English literature. He built a

Renaissance-style library with, appropriately

enough, copper shelving for his collection.

Having established Los Angeles

as his home and realizing that most of his

income derived from Western properties,

Clark Junior wanted to contribute to the

cultural institutions of his adopted home.

Behymer took up the cause and soon

realized that Clark’s knowledge of symphonic

literature was extensive. “During

the summer of 1919,” wrote Behymer, “Mr.

Clark was very active in consultations regarding

the employment of the various

musicians who were to occupy the solo

and first chairs; his intimate knowledge of

composers was shown in the selection of

the well assorted library of the new orchestra.”

As the summer progressed and the orchestra

rehearsed, Clark was often found

“sitting in” with the first violins. Then, on

Friday afternoon, October 24, and Saturday

evening, October 25, 1919, what had

seemed impossible happened; conductor

Walter Henry Rothwell raised his baton,

and the Philharmonic Orchestra of Los Angeles,

after only a five-month gestation period,

rose fully formed and played its first

concerts to packed houses.

That first season, the orchestra played

dozens of concerts, both symphonic and

popular, and brought music to schools

and other venues in Southern California.

In March 1920, a full three years before

Clark Senior purchased his estate in Santa

Barbara, the Los Angeles Philharmonic

Orchestra arrived at the Potter Theatre,

where music lovers anxiously awaited

their performance.

The Morning Press headline for March

6 trumpeted, “PHILHARMONIC ORCHES-

TRA HERE IN CONCERT.” The writer reported,

“This is a red-letter day in the musical

history of Santa Barbara because the

much-heralded Philharmonic orchestra of

Los Angeles, founded by W.A. Clark, Jr., will

make its initial appearance here this evening

at the Potter theatre…. The orchestra

has been a decided factor in the musical

life of Los Angeles, and judging from the

crowds who have flocked to the concerts,

it is destined to continue many years as an

important item in the artistic circle.”

Rothwell was lauded as a conductor

with a fine inner urge of spirit which flows

through his hands, passes to his musicians,

and carries them along with him on

the wave of his own creative reasoning.

“And how the men respond to this magnificent

leader!” enthused the writer. Concertgoers

were warned that Rothwell would

have the doors close precisely at 8:30 p.m.

out of fairness to those who had made the


effort to be seated in time to enjoy the entire

performance.

The orchestra was comprised of 89

men and one woman, a harpist, plus the

conductor. The first program ever given in

Santa Barbara was:

Schubert – Symphony No. 8 in B

minor (“Unfinished”).

I. Allegro moderato.

II. Andante con moto.

Debussy – Two Nocturnes.

Nuages (Clouds).

Fêtes (Festivals).

Wagner – Overture to “Tannhäuser”

Intermission.

Liszt – Symphonic Poem No. 4 “

Orpheus.”

Lalo – Concerto for Violoncello and

Orchestra.

II. Intermezzo. Andante con moto.

III. Rondo. Andante -

Allegro vivace.

Ilya Bronson - cello

Chabrier – Rhapsody “España.”

The reviews were highly positive and

resorted to poetic imagery in an attempt

to describe the musical compositions.

“The descriptive numbers from Debussy

were exquisitely and colorfully executed,”

wrote the reviewer. “One did not need to

draw heavily upon one’s imagination to

picture fleecy clouds, driving lazily over

the blue of heaven or rolling stormily about

in wind driven banks, for the rendition of

Nuages.” Other movements evoked images

of “fun mad people frolicking about in a

Walter Henry Rothwell was the first Music Director of

the Los Angeles Philharmonic. Courtesy Los Angeles

Philharmonic Archives

moonlit street” and “laughter floating in

joyful clamor.”

The orchestra was so large, however,

that the Potter Theatre’s stage could

barely hold them. Several members of the

orchestra were not visible as they sat in

the wings. Nevertheless, the Philharmonic

Orchestra of Los Angeles, today known as

the LA Phil, continued to play concerts at

the Potter Theatre until the construction of

the Granada Theatre gave them the space

they needed.

After the concert, the directors of the

orchestra were entertained with a supper

at the Montecito Country Club given by

the directors of the Civic Music Committee.

The next day, Lawrence Adler, director

of the music department at the Deane

School, hosted a luncheon at the exclusive

El Mirasol Hotel for Mr. and Mrs. Rothwell.


41

With three musical events to its credit and

one to go (a concert of chamber music

by the Flonzaley Quartet on April 10) the

Civic Music Committee had established

itself as a significant force in the musical

life of the city.

Though the work of the Civic Music

Committee was taken over by the Community

Arts Music Branch in 1926, they

had established a long-standing relationship

between Santa Barbara and the

Philharmonic Orchestra of Los Angeles.

March 2020 marks the 100th anniversary

of the LA Phil’s first performance in Santa

Barbara, thanks to the Community Arts

Music Association (CAMA), which has carried

forth the torch that was lit so many

years ago.

The Los Angeles Philharmonic Orchestra, seen here in its opening season at the Trinity Auditorium, played its first

concert in Santa Barbara in March 1920. Courtesy Los Angeles Philharmonic Archives


The Potter Theatre

Rev. Fr. Octavius Villa’s St. Aloysius Band played its first public concert in February 1910 at the three-year-old

Potter Theatre, which stood on the southwest corner of State and Montecito Streets. Courtesy Santa Barbara

Historical Museum

At the beginning of the 20th century, Santa

Barbara’s venerable Lobero Opera House

was outdated and in poor repair. In January

1906, the Morning Press announced that a

group had formed which planned to build a

new, up-to-date theater for Santa Barbara.

They purchased a lot on the southwest

corner of State and Montecito Streets and

agreed to name it the Potter Theatre when

Milo Potter offered to donate a fireproof

asbestos curtain if the theater would be

named after his hostelry. They estimated

construction would cost $75,000.

Santa Barbara watched avidly as a

three-story theater arose on the plot. Large

living suites were built on the second and

third floors above the entrance lobby, a

grocery store opened on one side of the

lobby, and a bar on the other. The granting

of a liquor license for the theater did

not go unopposed, but Joseph A. Raffetto

was able to establish his business by mid-

February 1907.

Loges and stage boxes on the main


43

floor seated 661 and the balcony and gallery

held 514 more. There were large and

airy dressing rooms for performers and a

75-foot tower to hold scenery. Not everyone

was pleased with the drop curtain,

which was painted to include advertisements.

Members of the Women’s Club

and other citizens protested, saying that

a model, up-to-date theater should not be

cheapened in this manner. Some even announced

that they would boycott any business

that advertised on its curtain.

The Potter opened on January 29,

1907 with the musical comedy The Umpire,

which at the time had the prestige of having

had the longest run in the history of

Chicago theater, 350 consecutive nights.

Reviews said the music was catchy, voices

excellent, and costumes effective. Costumes

of the elegantly dressed women

The Potter Theatre, located on the corner of State and Montecito Streets, seated a total of 1,175 people. Courtesy Santa

Barbara Historical Museum


in the audience took up several inches of

column space as one stunning outfit after

another was meticulously described by the

media. The reporter opined that a crushed

strawberry creation vied with a lavender

chiffon gown trimmed with Irish lace for

best of show.

The second production was The Ham

Tree with 23 speaking parts and nearly 100

members in the cast, which included W.C.

Fields, who, reported the Morning Press,

“has just made a wide reputation as ‘the

tramp juggler’ on the vaudeville stage.”

In 1910, Potter Theatre manager Henriette

Spader introduced a more refined

program of entertainment to the theater

when she established the Philharmonic

Course and Artists Series. Supported

by subscription, the programs brought

world-class music and artists to the

The Potter Theatre’s advertisement-filled curtain was controversial, and some locals said they would never patronize

any business that advertised there. Courtesy Santa Barbara Historical Museum


45

Potter stage. Clara E. Herbert took over in

1914, and by 1921 she was considered the

backbone and leading spirit of the musical

world in Santa Barbara.

In late 1919, another group formed.

The Civic Music Committee intended to

bring the very best in orchestral and classical

music to Santa Barbara. In their first

season of 1919-1920, they brought four

concerts to Santa Barbara, all of which

played at the Potter Theatre. The concert

in March drew the most excitement, for it

was performed by William Andrews Clark,

Jr.’s newly-formed Philharmonic Orchestra

of Los Angeles.

In 1920, the Potter Theatre became

inextricably entwined with the Community

Arts Association, whose initial aim

was to develop local talent in the writing

and acting of plays. Starting with a series

In 1914, Clara E. Herbert took over the Potter Theatre’s

Philharmonic Course and Artists Series, which brought

several nationally and internationally renowned artists

to the venue. Courtesy Santa Barbara Historical Museum

Founded in 1919, the Civic Music Committee brought

the Philharmonic Orchestra of Los Angeles to the

Potter stage three times for the 1924/25 season.

CAMA Archives


of one-act plays, the Community Arts

Players (later named the Drama Branch)

were soon producing full-length dramas

as well as extravaganza performances,

like Albert Herter’s 1921 production of

Debussy’s Pelléas and Mélisande, and drawing

rave reviews.

Then, on June 29, 1925 a 6.3 magnitude

earthquake roared through Santa

Barbara, toppling much of its business

district. The Potter Theatre was a complete

loss. With two new theaters completed

the previous year, the new Lobero and

the Granada, it seemed futile to consider

rebuilding. After 18 short years and thousands

of performances on its stage, the

Potter Theatre went dark forever. Today,

the site is obscured by Highway 101 and

the State Street underpass.

The Earthquake of June 29, 1925 left the Potter Theatre severely damaged. It was not rebuilt. Courtesy Santa Barbara

Historical Museum


47

CAMA + LA PHIL

Depending on how you count, tonight's concert could be called: 1) the 278th concert in Santa

Barbara by the LA Phil, or 2) the 280th concert—counting an LA Phil "Pops" Concert directed by

Arthur Fiedler and an LA Phil Chamber Orchestra concert directed by Pinchas Zukerman, or

3) the 291st concert—adding eleven LA Phil "school concerts" from the early years...and there could be

more. The list of concerts on these pages shows every performance date except the school concerts.

1 1920, Mar 6 36 1932, Feb 16 71 1946, Nov 5 106 1954, Jan 19

2 1921, Jan 3 37 1932, Mar 29 72 1946, Dec 3 107 1954, Feb 23

3 1921, Feb 28 38 1935, Jan 9 73 1947, Feb 4 108 1954, Mar 30

4 1922, Jan 23 39 1935, May 14 74 1947, Feb 25 109 1954, Oct 26

5 1922, Feb 21 40 1936, Jan 14 75 1947, Mar 18 110 1954, Nov 30

6 1922, Mar 27 41 1936, Feb 11 76 1947, Dec 2 111 1955, Jan 18

7 1923, Jan 29 42 1936, Mar 10 77 1948, Jan13 112 1955, Feb 15

8 1923, Feb 26 43 1937, Jan 12 78 1948, Feb 17 113 1955, Mar 29

9 1923, Mar 26 44 1937, Feb 9 79 1948, Mar 2 114 1955, Nov 1

10 1924, Jan 14 45 1937, Mar 9 80 1948, Apr 13 115 1955, Dec 13

11 1924, Jan 28 46 1938, Jan 11 81 1948, Dec 14 116 1956, Jan 17

12 1924, Mar 24 47 1938, Feb 8 82 1949, Feb 1 117 1956, Feb 14

13 1925, Jan 5 48 1938, Mar 8 83 1949, Mar 22 118 1956, Mar 20

14 1925, Feb 2 49 1939, Jan 10 84 1949, Apr 19 119 1956, Dec 4

15 1925, Mar 2 50 1939, Feb 14 85 1949, Nov 1 120 1957, Jan 22

16 1926, Jan 4 51 1939, Mar 14 86 1949, Dec 6 121 1957, Feb 12

17 1926, Feb 1 52 1939, Dec 12 87 1950, Jan 24 122 1957, Mar 12

18 1926, Mar 1 53 1940, Feb 27 88 1950, Feb 21 123 1957, Dec 3

19 1926, Mar 29 54 1940, Nov 26 89 1950, Apr 11 124 1958, Jan 7

20 1927, Jan 4 55 1940, Dec 17 90 1950, Nov 8 125 1958, Feb 11

21 1927, Feb 1 56 1941, Feb 4 91 1950, Dec 5 126 1958, Mar 25

22 1927, Mar 1 57 1942, Jan 13 92 1951, Feb 6 127 1958, Apr 15

23 1928, Jan 10 58 1942, Feb 10 93 1951, Mar 13 128 1958, Dec 9

24 1928, Feb 21 59 1942, Mar 17 94 1951, Nov 6 129 1959, Jan 27

25 1928, Mar 20 60 1943, Dec 7 95 1951, Dec 4 130 1959, Feb 11

26 1929, Jan 22 61 1944, Jan 18 96 1952, Jan 8 131 1959, Mar 24

27 1929, Mar 5 62 1944, Feb 15 97 1952, Feb 5 132 1959, Apr 21

28 1929, Apr 2 63 1944, Dec 5 98 1952, Mar 11 133 1959, Nov 18

29 1930, Jan 28 64 1945, Jan 9 99 1952, Nov 5 134 1959, Dec 1

30 1930, Mar 4 65 1945, Jan 30 100 1952, Dec 9 135 1960, Jan 12

31 1930, Apr 8 66 1945, Feb 27 101 1953, Jan 20 136 1960, Feb 9

32 1931, Jan 20 67 1945, Apr 3 102 1953, Feb 10 137 1960, Mar 8

33 1931, Feb 17 68 1945, Dec 4 103 1953, Mar 10 138 1960, Nov 15

34 1931, Mar 31 69 1946, Jan 15 104 1953, Nov 17 139 1960, Dec 13

35 1932, Jan 5 70 1946, Feb 13 105 1953, Dec 1 140 1961, Jan 10


COUNTING CONCERTS

LA Phil has appeared in every CAMA concert season with the following five exceptions:

1932/33, 1933/34, 1942/43, 1996/97, and 1997/98.

However you count it, it's been a lasting relationship that now has nourished the Santa Barbara

community for a century—and we hope many more years—centuries?—to come.

141 1961, Feb 14 176 1968, Apr 23 211 1975, Oct 15 246 1987, Apr 4

142 1961, Mar 14 177 1968, Nov 19 212 1975, Dec 4 247 1987, Oct 16

143 1961, Nov 14 178 1968, Dec 17 213 1976, Jan 14 248 1988, Apr 23

144 1961, Dec 5 179 1969, Jan 7 214 1976, Feb 18 249 1989, Apr 15

145 1962, Jan 9 180 1969, Feb 11 215 1976, Mar 25 250 1990, Apr 14

146 1962, Feb 6 181 1969, Mar 4 216 1976, Apr 21 251 1990, Sep 22

147 1962, Mar 20 182 1969, Apr 8 217 1976, Oct 6 252 1991, Nov 9

148 1962, Nov 13 183 1969, Dec 9 218 1977, Jan 5 253 1993, May 15

149 1962, Dec 11 184 1970, Jan 20 219 1977, Feb 9 254 1993, Oct 23

150 1963, Jan 22 185 1970, Feb 24 220 1977, Apr 20 255 1994, May 7

151 1963, Feb 12 186 1970, Apr 7 221 1977, Sep 9 256 1995, Apr 29

152 1963, Apr 16 187 1970, Apr 28 222 1977, Nov 15 257 1996, Mar 16

153 1963, Dec 10 188 1970, Dec 1 223 1978, Jan 4 258 1999, Jan 28

154 1964, Jan 21 189 1971, Jan 12 224 1978, Feb 1 259 2000, Apr 29

155 1964, Feb 4 190 1971, Apr 13 225 1978, Mar 29 260 2001, Jan 13

156 1964, Mar 31 191 1971, May 18 226 1978, Nov 29 261 2001, Nov 10

157 1964, Apr 21 192 1971, Nov 2 227 1979, Jan 24 262 2002, May 9

158 1964, Nov 17 193 1971, Nov 30 228 1979, Feb 14 263 2002, Oct 19

159 1965, Jan 5 194 1972, Apr 4 229 1979, Oct 11 264 2004, Apr 24

160 1965, Feb 9 195 1972, May 16 230 1979, Nov 13 265 2005, Apr 2

161 1965, Mar 30 196 1972, Dec 6 231 1980, Apr 9 266 2005, Dec 4

162 1965, Apr 20 197 1972, Dec 19 232 1980, Oct 15 267 2006, Nov 4

163 1965, Dec 7 198 1973, Jan 16 233 1981, Mar 17 268 2008, May 3

164 1966, Jan 4 199 1973, Apr 17 234 1981, May 6 269 2009, May 2

165 1966, Feb 8 200 1973, May 16 235 1981, Oct 17 270 2010, Jan 9

166 1966, Mar 8 201 1973, Nov 14 236 1981, Nov 18 271 2011, May 7

167 1966, Apr 12 202 1973 Dec 4 237 1982, May 6 272 2011, Oct 16

168 1966, Dec 20 203 1974, Feb 6 238 1982, Nov 17 273 2013, Feb 17

169 1967, Jan 17 204 1974, Mar 26 239 1983, Apr 23 274 2014, May 4

170 1967, Mar 7 205 1974, Apr 30 240 1983, Oct 19 275 2015, May 3

171 1967, Apr 18 206 1974, Nov 12 241 1984, Apr 6 276 2016, May 1

172 1967, Dec 5 207 1974, Dec 4 242 1985, May 4 277 2017, May 7

173 1968, Jan 23 208 1975, Jan 7 243 1985, Nov 9 278 2018, Jan 27

174 1968, Feb 27 209 1975, Mar 19 244 1986, May 3 279 2018, Oct 28

175 1968, Mar 12 210 1975, Apr 8 245 1986, Nov 22 280 MARCH 6, 2020


49

The International Dance Event of the Season!

France’s National Treasure Makes its Only West Coast Appearance

Lyon Opera Ballet

“Trois Grandes Fugues”

Celebrate Beethoven’s 250th birthday

with three interpretations of his

beloved masterpiece “Grosse Fuge”

by three international

choreographers.

America’s

Lucinda Childs

France’s

Maguy Marin

photos: Bertrand Stofleth

Belgium’s

Anne Teresa De Keersmaeker

Presented in association with the UCSB Department of Theater and Dance

Presented through the generosity of the

Albert & Elaine Borchard Foundation

Corporate Sponsor:

Dance Series Sponsors:

Annette & Dr. Richard Caleel, Margo Cohen-Feinberg & Bob Feinberg,

Irma & Morrie Jurkowitz, Barbara Stupay, and Sheila Wald

Corporate Season

Sponsor:

Wed, Apr 1 & Thu, Apr 2 / 8 PM / Granada Theatre

Tickets start at $35 / $19 all students (with valid ID)

A Granada facility fee will be added to each ticket price

(805) 893-3535 | www.ArtsAndLectures.UCSB.edu

Granada event tickets can also be purchased at: (805) 899-2222 | www.GranadaSB.org

“It’s always been a

great pleasure for

me to perform on the

CAMA series, and

I’m looking forward to

many more visits.

I send you my heartiest

congratulations

on your centennial

season. Bravo!”

Lisa-Marie MAzzucco photo

—ITZHAK PERLMAN, CO-CHAIR,

CAMA CENTENNIAL

HONORARY ARTISTS COUNCIL

centennial honorary artists council

Itzhak Perlman

honorary co-chair

Sara Miller McCune

honorary co-chair

Vladimir Ashkenazy

Isabel Bayrakdarian

Joshua Bell

Alfred Brendel

Renée Fleming

Daniele Gatti

Richard Goode

Hilary Hahn

Stephen Hough

Olga Kern

Lang Lang

Jerome Lowenthal

Zubin Mehta

Anne-Sophie Mutter

Sir András Schiff

Peter Serkin

Leonard Slatkin

Christian Tetzlaff

Jean-Yves Thibaudet

Chris Thile

Michael Tilson Thomas

Dawn Upshaw

André Watts

Pinchas Zukerman


51

CAMA: WHO WE ARE TODAY

Beautiful music, exciting music, profound music – Community Arts Music Association has been

bringing this gift to Santa Barbara for 100 years. Today we offer the following musical treasures.

CORE PROGRAMS FOR OUR COMMUNITY

INTERNATIONAL

SERIES

at The Granada Theatre

Presenting the world’s

greatest orchestras,

conductors and soloists

from around the world

MASTERSERIES

at The Lobero Theatre

Presenting the

finest national and

international artists and

chamber ensembles

MUSIC EDUCATION

Music Matters

Docent Program to area

elementary schools

Tickets to concerts

for high school,

college students and

the underserved

Any musical organisation reaching

its 100th birthday is most likely older

than anyone performing or listening

there. Its memories are rich and, with

CAMA, its future promises to be as

cherishable. Huge congratulations on

this wonderful milestone.

–Stephen Hough


EACH AND EVERY GIFT

ENRICHES THE FUTURE OF CAMA!

We invite YOU to join in CAMA’S CENTENNIAL CELEBRATION – each donation works to ensure

the next 100 years of beautiful music for generations to come.

There are many ways to support CAMA's CENTENNIAL CELEBRATION

Centennial

Gift Fund

Endowment

Fund

Planned

Giving

Options

Please contact Elizabeth Alvarez, Director of Development at the CAMA office

for more information.

(805) 966-4324 x 104

Elizabeth@camasb.org


53


CAMA ENDOWMENT

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

bringing live performances by world-renowned classical

artists and orchestras of the highest artistic excellence to

our community and by providing creative, focused music

education programs for individuals of all ages.

CAMA thanks and honors the following members of

the CAMA community who have contributed to CAMA’s

Endowment. A commitment to CAMA’s Endowment

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

every level are deeply appreciated.

James H. Hurley and Judith L. Hopkinson

Co-Chairs Endowment

CONDUCTOR'S CIRCLE

$500,000 and above

Suzanne & Russell Bock

Linda Brown*

SAGE Publishing

Elaine Stepanek

Esperia Foundation

CRECENDO CIRCLE

$250,000—$499,999

The Andrew H.

Burnett Foundation

Judith L. Hopkinson

Herbert & Elaine Kendall

Mary Lloyd & Kendall Mills

CADENZA PATRONS

$100,000—$249,999



Mary & Raymond Freeman

The Stephen & Carla

Hahn Foundation

Shirley Ann & James H. Hurley, Jr.

Nancy & William G. Myers

Jan Severson

Judith F. Smith

The Towbes Fund for

the Performing Arts


RONDO PATRONS

$50,000—$99,999

Ruth Appleby


Linda & Peter Beuret


Dr. Dolores M. Hsu

Lois Sandra Kroc

The Samuel B. & Margaret C.

Mosher Foundation

Santa Barbara Bank & Trust

Nancy & Byron Kent Wood

CONCERTO PATRONS

$25,000—$49,999

Jane Catlett

Bridget B. Colleary

Suzanne Faulkner

Léni Fé Bland


Joanne C. Holderman

Hutton Parker Foundation

Sara Miller McCune

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

The Henry E. & Lola

Monroe Foundation

Efrem Ostrow Living Trust


Diana & Roger Phillips

Linda Stafford Burrows

The Walter J. & Holly O.

Thomson Foundation


SONATA PATRONS

$10,000—$24,999

Rebecca & Peter Adams

Denise & Stephen Adams/

Adams Family Foundation

Else Schilling Bard

Edward & Sue Birch

Frank Blue & Lida Light Blue

Bob Boghosian &

Beth Gates-Warren


The CAMA Women's Board

Virginia Castagnola-Hunter

Margo Chapman

NancyBell Coe & William Burke

Karen Davidson, M.D.

Nancyann & Robert Failing


& Ronald Fendon

Priscilla & Jason Gaines

Arthur R. Gaudi

Sherry & Robert Gilson

Lorraine C. Hansen

Mary & Campbell Holmes

Patricia Kaplan

Winona Fund

Mahri Kerley/Chaucer's Books

Lynn P. Kirst

Laura Kuhn

John Lundegard

Keith Mautino

Jayne Menkemeller

Betty Meyer

Mary & James Morouse

Myra & Spencer Nadler

Pat Hitchcock O'Connell

John Perry

Marjorie & Hugh Petersen


Susannah Rake

Michele & Andre Saltoun

Anitra & Jack Sheen

Sally & Jan E.G. Smit

Anonymous

Constance Smith

The Elaine F. Stepanek

Foundation

Betty J. Stephens

Mark E. Trueblood

Marilyn Vandever

Barbara & Gary Waer

David & Lisa Wolf

Endowment gifts up to $9,999

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I am passionate about my

commitment to CAMA

and the century of great classical music that

the organization has brought to Santa Barbara.

My husband, Denny, and I continue to enjoy

the world’s finest orchestras, conductors and

artists performing right here close to home.

I am pleased to participate in our Centennial

Campaign in two ways. I support critical

annual income, sponsoring our concerts and

celebrations. Since a strong endowment is a

necessity, not a luxury, I have also increased

my Planned Gift to CAMA’s Endowment. Please

join me by giving a generous gift in celebration

of CAMA’s Centennial, supporting the present

and ensuring the future!

Bitsy Bacon, Past President

CAMA gratefully acknowledges a generous gift

from Ed & Sue Birch in honor of Bitsy Becton Bacon,

recipient of the Mozart Award 2020


Deborah Bertling, Centennial Celebration Chair, with Joshua Bell

Please consider CAMA in your Planned Giving.

We thank and acknowledge these generous members

of the CAMA Community for remembering CAMA

in their estate plans!

Rebecca & Peter Adams




Linda & Peter Beuret

Frank Blue & Lida Light Blue

Linda Brown


Virginia Castagnola-Hunter

Jane Catlett

Bridget B. Colleary

Karen Davidson, M.D.



& Ronald Fendon

Mary & Raymond Freeman

Priscilla & Jason Gaines

Arthur R. Gaudi

Lorraine C. Hansen


Joanne C. Holderman

Judith L. Hopkinson

Dr. Dolores M. Hsu

Shirley Ann & James H. Hurley, Jr.

Herbert & Elaine Kendall

Mahri Kerley/Chaucer's Books

Lynn P. Kirst

Lois Sandra Kroc

John Lundegard

Keith Mautino Moore


Myra & Spencer Nadler


Diana & Roger Phillips


Andre & Michele Saltoun

Judith F. Smith


Mark E. Trueblood

Marilyn Vandever

Barbara & Gary Waer



57

YOU CAN LIVE ON

YOUR OWN...

SAFELY.

HAPPILY.

BEAUTIFULLY.

Musette Profant

Certified Age-In-Place Designer

USC Architecture Alumna

Licensed Contractor & Crew

Simple Hourly Rates

No Mark-Ups

“

Life-Changing Design!

”

- D.S., Montecito

PLEASE CALL FOR SPECIAL CAMA RATES!

Sterling Sites

Quick Home Facelifts & Custom Remodels

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

MUSIC EDUCATION

MUSIC EDUCATION PROGRAM

$25,000 and above

The Walter J. & Holly O. Thomson Foundation

$10,000–$24,999

Ms. Irene Stone/ Stone Family Foundation


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

The Henry E. & Lola Monroe Foundation

$1,000–$9,999

CAMA Women's Board

William H. Kearns Foundation

Stefanie L. Lancaster Charitable Foundation

Sara Miller McCune

Performing Arts Scholarship Foundation

Westmont College

$100–$999

Becky & William Banning

William S. Hanrahan

Lynn P. Kirst

James P. and Shirley F. McFarland Fund

of the Minneapolis Foundation

CAMA Education Endowment

Fund Income

$10,000 AND ABOVE William & Nancy Myers

$1,000–$4,999 Linda Stafford Burrows –

This opportunity to experience great musicians excelling is

given in honor and loving memory of Frederika Voogd Burrows

to continue her lifelong passion for enlightening young people

through music and math.

Kathryn H. Phillips, in memory of Don R. Phillips

Walter J. Thomson/The Thomson Trust

$50–$999

Lynn P. Kirst

Keith J. Mautino

Performing Arts Scholarship Foundation

Marjorie S. Petersen

IN HONOR OF

Joan Crossland

NancyBell Coe & Bill Burke

Carolyn & Dennis Naiman

Nancy Lynn


David Malvinni


Volunteer docents are trained by CAMA’s Education Committee Chair, Joan Crossland, to deliver this program to

area schools monthly. Music enthusiasts are invited to learn more about the program and volunteer opportunities.

Call the CAMA office at (805) 966-4324 for more information about the docent program.

MEMORIAL GIFTS

Elaine Kendall

NancyBell Coe & William Burke

and Sara Miller McCune

Dr. Dolores M. Hsu, PhD.

Jill Felber & Paul A. Bambach

Nancy Cudahy

Betty Meyer

David Marks

Bridget Colleary

Sharon Felber Taylor

Bridget Colleary

Tita Lanning

Keith Mautino Moore

Dr. Eric Boehm

Judy Pochini

Jim Ryerson

Christine Ryerson

Dr. Robert Failing

Betty Meyer

Professor Frederick F. Lange

MaryAnn Lange

Robert S. Grant

Robert L. Grant


59

Happy 100 th Birthday, CAMA!

Thank you for bringing the world’s finest classical musicians

to our fair city and enriching our lives through music.

HAPPY 100TH BIRTHDAY, CAMA!

Thank you for bringing the world’s finest classical musicians

to our fair city and enriching our lives through music.

Inside Wine SB is a a fun and educational not-for-profit wine tasting Meetup group

open to the public 21 + years old. We organize winemaker, sommelier, wine and

food pairing events, and field trips to wine destinations! Mark you calendars to

SAVE THE DATE of November 7, 2020 for the Feast of Apicius II—a celebration

of the world’s first cookbook, with a top chef competition and winemaker/chef

pairings featuring recipes adapted from the 1st century Roman cookbook.

READ ABOUT US: www.meetup.com/inside-wine-santa-barbara

Inside Wine SB is a a fun and educational not-for-profit wine tasting Meetup group open to

the public 21+ years old. We organize winemaker, sommelier, wine and food pairing events,

and field trips to wine destinations!

Mark you calendars to SAVE THE DATE of November 7, 2020 for the Feast of Apicius II—

a celebration of the world’s first cookbook, with a top chef competition and winemaker/chef

pairings featuring recipes adapted from the 1st century Roman cookbook.

Read about us: www.meetup.com/inside-wine-santa-barbara

MUSIC EDUCATION PROGRAM

BUSINESS SUPPORTERS

We thank the many businesses that support

CAMA's programs and events!

Laurel Abbott, Berkshire

Hathaway Luxury Properties

Alma Rosa Winey

American Riviera Bank

Babcock Winery

James P. Ballantine

Belmond El Encanto

Bertling Law Group

Bibi Ji

Black Sheep Restaurant

Blue Star Parking

Bon Fortune Style & Events

Brander Vineyard

Wes Bredall

Heather Bryden

Ca' Dario Ristorante

Camerata Pacifica

Casa Dorinda

Cebada Wine

C'est Cheese

Chaucer's Books

Chocolats du CaliBressan

Chooket Patisserie

Cottage Health System

Custom Printing

Eye Glass Factory

Felici Events

Finch & Fork

First Republic Bank

Flag Factory of

Santa Barbara

Frequency Wine

Gainey Vineyard

Grace Design Associates

Grassini Family Vineyards

Grimm’s Bluff

Colin Hayward/

The Hayward Group

Steven Handelman Studios

Hogue & Company

Holdren's Catering

Indigo Interiors

Inside Wine Santa Barbara

Islay A/V

Kristin Jackson

Graphic Design

Jardesca

Le Sorelle

Lumen Wines

Maravilla/Senior

Resource Group

Michael's Catering

Microsoft ® Corporation

Mission Security

Montecito Bank & Trust

Montgomery Vineyard

Northern Trust

Oak Cottage of

Santa Barbara

Oceania Cruises

Olio e Limone/Olio Crudo

Bar/Olio Pizzeria

Opal Restaurant & Bar

Opera Santa Barbara

Pacific Coast

Business Times

Pali Wine Co.

Peregrine Galleries

Performing Arts

Scholarship Foundation

Pete Clements Catering

Presqu’ile Winery

Regent Seven Seas Cruises

Renaud's Patisserie & Bistro

Rose Story Farm

Sabine Myers Design

SAGE Publishing

Santa Barbara

Choral Society

Santa Barbara Foundation

Santa Barbara

Travel Bureau

Santa Barbara Winery

Stewart Fine Art

The Tent Merchant

The Upham Hotel

UCSB Arts & Lectures

Via Maestra 42

Westmont Orchestra


61


WOMEN’S

BOARD

THE CAMA WOMEN'S BOARD GRATEFULLY

THANKS THE FOLLOWING SUPPORTERS!

SYMPHONY LEVEL

$5,000

Patricia Yzurdiaga

SONATA LEVEL

$1,000

Peter & Rebecca Adams

NancyBell Coe & Bill Burke

Jill Doré Kent

Mrs. Richard H. Roberts


RONDO LEVEL

$100–$500

Anonymous (2)

Beth Gates-Warren & Bob Boghosian

Bridget Colleary

Edward DeLoreto

Karin Nelson & Eugene Hibbs, Jr.

and Maren N. Henle

Joanne C. Holderman

Lois Sandra Kroc

Elen & Craig Parton

Andre & Michele Saltoun





WOMEN’S

BOARD

The CAMA Women’s Board Presents

in partnership with the Santa Barbara Public Library

2020 PRE-CONCERT LECTURE SERIES

Faulkner Gallery, Santa Barbara Central Library

and a special lecture event at The New Vic

The Women’s Board has invited local musical luminaries to speak before all six of CAMA’s

International Series concerts.

Dr. Michael Shasberger, Adams Chair of Music & Worship at Westmont College. Conductor

of Westmont Orchestra and Westmont College Choir.

January 27, 2020 at 6:45 PM, Faulkner Gallery, SB Central Library, prior to the 8:00 PM

performance by the Royal Philharmonic Orchestra; Pinchas Zucherman, conductor & violin

SPECIAL 100 TH ANNIVERSARY LECTURE AT THE NEW VIC

Hattie Beresford, Historic Researcher and Writer. Author of Celebrating CAMA’s Centennial:

Bringing the World’s Finest Classical Music to Santa Barbara.

March 6, 2020 at 5:15 PM, The New Vic, prior to the Gala 100th Anniversary Concert at

7:00 PM by the Los Angeles Philharmonic; Gustavo Dudamel, Music Director (NOTE: Early

start time for lecture and concert.)

Simon Williams, PhD, Professor Emeritus, UCSB Department of Theater & Dance, Opera &

Theater Critic.

March 26, 2020 at 6:45 PM, Faulkner Gallery, SB Central Library, prior to the

8:00 PM performance by the Rotterdam Philharmonic Orchestra; Lavi Shani, conductor;

Nelson Freire, piano

Ani Aznavoorian, Principal Cellist with Camerata Pacifica, performing and recording artist.

April 14, 2020 at 6:45 PM, Faulkner Gallery, SB Central Library, prior to the 8:00 PM

performance by Chineke! Orchestra; Kevin John Edusei, conductor; Stewart Goodyear, piano

David Malvinni, PhD, musicologist, classical guitarist, author and creator of CAMA's

outreach program, “Music Matters.”

April 28, 2020 at 6:45 PM , Faulkner Gallery, SB Central Library, prior to the 8:00 PM

performance by Les Violons du Roy; Jonathan Cohen, conductor; Avi Avital, mandolin

Jennifer Kloetzel, cellist, Assistant Professor of Cello and Chamber Music and Head of

String Area at UCSB Department of Music, performing and recording artist.

May 18, 2020 at 6:45 PM, Faulkner Gallery, SB Central Library, prior to the 8:00 PM

performance by Los Angeles Chamber Orchestra; Jaime Martín, conductor; Sheku

Kanneh-Mason, cello


63

Santa Barbara County’s

PHILANTHROPIC

ADVISORS

CREATE YOUR IMPACT

Let the Santa Barbara Foundation help you

establish your personalized giving plan.

Join us in our 90-year journey connecting those

who give to those in need and all who dream

of a better Santa Barbara County.

Learn more at SBFoundation.org

Allow yourself to dream

“Casa Dorinda has an engaging and fascinating culture

rooted in a rich social life, an extraordinary estate,

and truly superb healthcare.”

CASA DORINDA’S MUSIC ROOM AT THE HISTORIC BLISS ESTATE

Refined Retirement Living

casadorinda.org | 805 969 8011

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

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

Sometimes, a a Round of of

Applause Just Isn’t Enough.

Northern Trust Trust is proud is proud to to support Community Arts Arts Music Music

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

meeting our our clients’ financial needs needs while while nurturing a a culture

of caring of caring and and a a commitment to invest to invest the in the communities we we

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

TO LEARN TO LEARN MORE MORE VISIT VISIT

northerntrust.com

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

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

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