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
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
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
SEASON SPONSORSHIP: SAGE PUBLISHING
ROTTERDAM
PHILHARMONIC
MARCH 26, 2020
Sponsor
Alison & Jan Bowlus
Bob & Val Montgomery
Michele & Andre Saltoun
Co-Sponsor
Geri & Jerry Bidwell
Jocelyne & William Meeker
Fran & John Nielsen
George & Judy Writer
CHINEKE!
ORCHESTRA
APRIL 14, 2020
LES VIOLONS
DU ROY
APRIL 28, 2020
Sponsor
Marta Babson
Co-Sponsor
Edward DeLoreto
Lynn P. Kirst
Jocelyne & William Meeker
LOS ANGELES
CHAMBER
ORCHESTRA
with Sheku Kanneh-Mason
MAY 18, 2020
Sponsors
Marta Babson
Bitsy & Denny Bacon and
The Becton Family Foundation
Meg & Dan Burnham
John & Ellen Pillsbury
Co-Sponsors
Jocelyne & William Meeker
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
Bitsy & Denny Bacon and
The Becton Family
Foundation
Alison & Jan Bowlus
Elizabeth Karlsberg &
Jeff Young
Stephen J.M. & Anne Morris
PAMELA
FRANK, VIOLIN
AND STEPHEN
PRUTSMAN, PIANO
DECEMBER 11, 2019
Principal Sponsor
The Stephen & Carla
Hahn Foundation
Co-Sponsors
Anonymous
Jocelyne & William Meeker
Craig & Ellen Parton
EMANUEL
AX, PIANO
JANUARY 13, 2020
Co-Sponsors
Anonymous
Alison & Jan Bowlus
Bob & Val Montgomery
Stephen J.M. & Anne Morris
Concert Partners
Deborah & Peter Bertling
Bob Boghosian & Beth
Gates-Warren
Bridget B. Colleary
Dorothy & John Gardner
Raye Haskell Melville
SERGIO
AND ODAIR
ASSAD, GUITARS
FEBRUARY 14, 2020
Sponsors
Bitsy & Denny Bacon and
The Becton Family
Foundation
Concert Partners
Robert & Christine Emmons
Lois Sandra Kroc
BENJAMIN
GROSVENOR, PIANO
MARCH 13, 2020
Co-Sponsors
Alison & Jan Bowlus
Jocelyne & William Meeker
Concert Partner
Stephen Cloud
Concert Sponsors as of January 2019
4 CAMA'S 101ST CONCERT SEASON
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
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
Raye Haskell Melville
George Messerlian
Stephen J.M. (Mike) Morris
Patti Ottoboni
Carl Perry
Judith F. Smith
Judith H. Writer
Deborah Bertling,
President, CAMA Women’s Board
Emeritus Directors
(As of October 24, 2019)
Russell S. Bock*
Dr. Robert J. Emmons
Dr. Robert M. Failing*
Mrs. Maurice E. Faulkner*
Léni Fé Bland*
Arthur R. Gaudi
Stephen Hahn*
Dr. Melville H. Haskell, Jr.*
Mrs. Richard Hellmann*
Dr. Dolores M. Hsu*
James H. Hurley, Jr.
Herbert J. Kendall
Robert M. Light*
Mrs. Frank R. Miller, Jr.*
Sara Miller McCune
Mary Lloyd Mills
Mrs. Ernest J. Panosian*
Kenneth W. Riley*
Andre Saltoun
Mrs. John G. Severson*
Nancy L. Wood
* Deceased
Administration
(As of June 27, 2019)
Mark E. Trueblood
Executive Director
Elizabeth Alvarez
Director of Development
Michael Below
Office Manager/
Subscriber Services
Justin Rizzo-Weaver
Director of Operations
2060 Alameda Padre Serra, Suite 201 Santa Barbara, CA 93103 Tel (805) 966-4324 Fax (805) 962-2014 info@camasb.org
Special Events
Gala 100 th Anniversary Concert:
LA Phil + CAMA
100 years to the date since the LA Phil's
first performance in Santa Barbara on
March 6, 1920!
Gustavo Dudamel | © Citizens of Humanity,
courtesy of the Los Angeles Philharmonic Association
Friday Evening, March 6, 2020
5:15–5:55 – Pre-concert Lecture on the
shared history of CAMA + LA Phil with
Hattie Beresford, New Vic Theatre
6:00–6:55 – Red Carpet Reception at
The Granada Theatre for all ticket holders
7:00–9:00 – 100 th Anniversary Concert
Los Angeles Philharmonic at
The Granada Theatre
e h a v e d e s i g n e d + p r o d u c e d o v e r
W
0 0 f l a w l e s s e v e n t s f o r o u r d e l i g h t e d
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
SEASON SPONSORSHIP: SAGE PUBLISHING
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.
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
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
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
11
IT’S NOT JUST ABOUT TRAVEL . . .
For over 70 years, Santa Barbara Travel has been committed to supporting
our community and arts organizations who enrich our lives.
— Charles de L'Arbre and David de L'Arbre
Let our professional travel advisors take care of all the details. With decades
of expertise and global relationships Santa Barbara Travel is your best
resource for your next vacation or business trip. Work with a local and
trusted travel company that will understand your needs and deliver the
perfect experience.
Ask us about exclusive cruise and hotel amenities we can offer you
as a member of the elite luxury travel network Virtuoso.
Santa Barbara
1028 State St.
805.966.3116
email: info@sbtravel.com
www.sbtravel.com
Montecito
1485 E. Valley Rd.
805.969.7746
CST#1009257
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).
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
13
Supporting the Arts in our Community
J P. B
A L
Real Estate, Trust and Probate
Litigation
Artist Thomas Van Stein
329 East Anapamu Street
Santa Barbara California
(805) 962-2201
jpb@ballantinelaw.com
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
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
15
Since 1974, SEE International has been
restoring sight around the world. José, a
father in Peru, was faced with severe
cataracts that blinded him in both eyes.
But with the help of our doctors and
donors, we were able to transform José’s
life with the gift of sight.
seeintl.org
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
Photo Los Angeles Philharmonic
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
17
Photo Los Angeles Philharmonic
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
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
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,
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
21
An An historic treasure
with contemporary comforts
in in the the heart of of Santa Barbara
50 50 Guest Rooms & Suites
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
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
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.”
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
25
Photos courtesy of Olio e Limone Ristorante and Kevin Steele / kevsteele.com
Photos courtesy of Olio Crudo Bar and Gary Moss /garymossphotography.com
Photos courtesy of Olio Pizzeria® and Kevin Steele / kevsteele.com
OLIOCUCINA.COM
11 W. Victoria St., Ste.’s 17, 18 & 21 | Santa Barbara, CA 93101 | 805.899.2699
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
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
27
OPERA SANTA BARBARA PRESENTS GOUNOD’S
ROMEO & JULIET
LOBERO THEATRE • MAY 1 & 3
HOW TO ORDER
BY PHONE
805.963.0761
IN PERSON
Lobero Theatre Box Office
33 E. Canon Perdido St.
Santa Barbara, CA 93101
ONLINE
lobero.org
Kostis Protopapas, Artistic | General Director
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
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
29
LOS ANGELES PHILHARMONIC
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
30 CAMA'S 101ST CONCERT SEASON
LOS ANGELES PHILHARMONIC
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.
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
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
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
33
PERSONALIZED AND PASSIONATE REPRESENTATION
Bertling Law Group provides compassionate and committed
representation in cases involving employment law, elder abuse,
serious and catastrophic personal injuries, wrongful death,
sexual harassment and medical malpractice for veterans.
Please call Peter Bertling for a free consultation (844) 295-7558
BERTLINGLAWGROUP.COM
34 CAMA'S 101ST CONCERT SEASON
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! •
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
-7-
35
Excerpt from
Celebrating CAMA's Centennial
By Hattie Beresford
Blue Point Books (2018)
©2018, Community Arts Music Association
36 CAMA'S 101ST CONCERT SEASON
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
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
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
38 CAMA'S 101ST CONCERT SEASON
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
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
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
40 CAMA'S 101ST CONCERT SEASON
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.
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
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
42 CAMA'S 101ST CONCERT SEASON
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
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
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
44 CAMA'S 101ST CONCERT SEASON
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
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
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
46 CAMA'S 101ST CONCERT SEASON
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
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
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
48 CAMA'S 101ST CONCERT SEASON
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
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
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
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
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
52 CAMA'S 101ST CONCERT SEASON
EACH AND EVERY GIFT
ENRICHES THE FUTURE OF CAMA!
We invite YOU to join in CAMA’S CENTENNIAL CELEBRATION – each donation works to ensure
the next 100 years of beautiful music for generations to come.
There are many ways to support CAMA's CENTENNIAL CELEBRATION
Centennial
Gift Fund
Endowment
Fund
Planned
Giving
Options
Please contact Elizabeth Alvarez, Director of Development at the CAMA office
for more information.
(805) 966-4324 x 104
Elizabeth@camasb.org
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
53
Presenting the world’s finest classical artists since 1919
CAMA ENDOWMENT
CAMA’s mission is to enrich Santa Barbara’s cultural life by
bringing live performances by world-renowned classical
artists and orchestras of the highest artistic excellence to
our community and by providing creative, focused music
education programs for individuals of all ages.
CAMA thanks and honors the following members of
the CAMA community who have contributed to CAMA’s
Endowment. A commitment to CAMA’s Endowment
ensures the success of CAMA’s next 100 years. Gifts at
every level are deeply appreciated.
James H. Hurley and Judith L. Hopkinson
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
Bitsy & Denny Bacon and
The Becton Family Foundation
Mary & Raymond Freeman
The Stephen & Carla
Hahn Foundation
Shirley Ann & James H. Hurley, Jr.
Nancy & William G. Myers
Jan Severson
Judith F. Smith
The Towbes Fund for
the Performing Arts
George & Judy Writer
RONDO PATRONS
$50,000—$99,999
Ruth Appleby
Deborah & Peter Bertling
Linda & Peter Beuret
Robert & Christine Emmons
Dr. Dolores M. Hsu
Lois Sandra Kroc
The Samuel B. & Margaret C.
Mosher Foundation
Santa Barbara Bank & Trust
Nancy & Byron Kent Wood
CONCERTO PATRONS
$25,000—$49,999
Jane Catlett
Bridget B. Colleary
Suzanne Faulkner
Léni Fé Bland
Raye Haskell Melville
Joanne C. Holderman
Hutton Parker Foundation
Sara Miller McCune
Mr. & Mrs. Frank R. Miller, Jr./
The Henry E. & Lola
Monroe Foundation
Efrem Ostrow Living Trust
Craig & Ellen Parton
Diana & Roger Phillips
Linda Stafford Burrows
The Walter J. & Holly O.
Thomson Foundation
Barbara & Sam Toumayan
SONATA PATRONS
$10,000—$24,999
Rebecca & Peter Adams
Denise & Stephen Adams/
Adams Family Foundation
Else Schilling Bard
Edward & Sue Birch
Frank Blue & Lida Light Blue
Bob Boghosian &
Beth Gates-Warren
Elizabeth & Andrew Butcher
The CAMA Women's Board
Virginia Castagnola-Hunter
Margo Chapman
NancyBell Coe & William Burke
Karen Davidson, M.D.
Nancyann & Robert Failing
Rosalind Amorteguy-Fendon
& Ronald Fendon
Priscilla & Jason Gaines
Arthur R. Gaudi
Sherry & Robert Gilson
Lorraine C. Hansen
Mary & Campbell Holmes
Patricia Kaplan
Winona Fund
Mahri Kerley/Chaucer's Books
Lynn P. Kirst
Laura Kuhn
John Lundegard
Keith Mautino
Jayne Menkemeller
Betty Meyer
Mary & James Morouse
Myra & Spencer Nadler
Pat Hitchcock O'Connell
John Perry
Marjorie & Hugh Petersen
John & Ellen Pillsbury
Susannah Rake
Michele & Andre Saltoun
Anitra & Jack Sheen
Sally & Jan E.G. Smit
Anonymous
Constance Smith
The Elaine F. Stepanek
Foundation
Betty J. Stephens
Mark E. Trueblood
Marilyn Vandever
Barbara & Gary Waer
David & Lisa Wolf
Endowment gifts up to $9,999
Bernice Andron • Argonaut Charitable Foundation • Sally & Robert Arthur • John & Jean Bailey • Brad & M.J. Bakove
Helene Beaver • Joan C. Benson • Mr. Leonard S. Berman • Marlyn Bernstein • Emily Blair • Marjorie Boyle
Mrs. Louise Brant • Wendel Bruss • Ms. Hilary Burkemper • The CAMA Fellows • Mary Carpenter • Carnzu Clark
Ms. Eileen Clark • Stephen Cloud • Ms. Peggy McShane Cochrane • Ms. Catherine S. Cudlip • Ms. Julia Dawson
Samuel R. & Marcia Edwards • Mrs. Maureen H. Fialkoff • Ms. Deborah Glassman • Kay & Richard Glenn
David & Leesa Goldmuntz • Corinna Gordon • Robert Hanrahan • Ms. Nancy G. Harris • Kent Hodgetts & Latane Keeler
Elizabeth Karlsberg & Jeff Young • Ms. Joyce Koehler • Doris Kuhns • Ms. Catherine Lee • Mrs. Jean T. Leonard
Mrs. Phyllis J. Leveen • Mrs. Betty Z. Levinson • Nancy & James Lynn • Marilyn Magid • Ms. Harriet Miller
Dr. Jerry M. Nathan • Clarence & Anne Neal • Scott & Kathy O'Leary • Olio e Limone • David & Catherine Peri • Justyn Person
Kirk Peters & Susan Roe • Kathryn Phillips • Martha & Bruno Pilorz • Eric Boehm • Anne & C. Wesley Poulson
Hugh & Elizabeth Ralston • Ms. Mondra Randall • George & Bessie Lou Reid • Mary Louise Riley • Glenn & Claire Roberts
Russell & Winifred Roberts • Martin & Marilyn Roe • Mr. Frank Schmidt Mrs. Peter Senn • Marlene Sheehan
Cynthia Skenazi • Marion Stewart • Mr. Emil Torick • Steven Trueblood • C.M. & Laura Tull • Carol Vernon & Robert Turbin
Mr. Chip Turner • Kathleen Wall • Richard & Gloria Wascher • Marjorie K. & Roderick S. Webster • Douglas & Gerlinde White
Mrs. Elizabeth A. Whitney • Ron & Laurie Yttri • Patricia Yzurdiaga
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
56 CAMA'S 101ST CONCERT SEASON
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
Bitsy & Denny Bacon and
The Becton Family Foundation
Deborah & Peter Bertling
Linda & Peter Beuret
Frank Blue & Lida Light Blue
Linda Brown
Elizabeth & Andrew Butcher
Virginia Castagnola-Hunter
Jane Catlett
Bridget B. Colleary
Karen Davidson, M.D.
Robert & Christine Emmons
Rosalind Amorteguy-Fendon
& Ronald Fendon
Mary & Raymond Freeman
Priscilla & Jason Gaines
Arthur R. Gaudi
Lorraine C. Hansen
Raye Haskell Melville
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
Mary Lloyd & Kendall Mills
Myra & Spencer Nadler
Craig & Ellen Parton
Diana & Roger Phillips
John & Ellen Pillsbury
Andre & Michele Saltoun
Judith F. Smith
Barbara & Sam Toumayan
Mark E. Trueblood
Marilyn Vandever
Barbara & Gary Waer
Nancy & Byron Kent Wood
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
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
Mary Lloyd & Kendall Mills
Mr. & Mrs. Frank R. Miller, Jr. /
The Henry E. & Lola Monroe Foundation
$1,000–$9,999
CAMA Women's Board
William H. Kearns Foundation
Stefanie L. Lancaster Charitable Foundation
Sara Miller McCune
Performing Arts Scholarship Foundation
Westmont College
$100–$999
Becky & William Banning
William S. Hanrahan
Lynn P. Kirst
James P. and Shirley F. McFarland Fund
of the Minneapolis Foundation
CAMA Education Endowment
Fund Income
$10,000 AND ABOVE William & Nancy Myers
$1,000–$4,999 Linda Stafford Burrows –
This opportunity to experience great musicians excelling is
given in honor and loving memory of Frederika Voogd Burrows
to continue her lifelong passion for enlightening young people
through music and math.
Kathryn H. Phillips, in memory of Don R. Phillips
Walter J. Thomson/The Thomson Trust
$50–$999
Lynn P. Kirst
Keith J. Mautino
Performing Arts Scholarship Foundation
Marjorie S. Petersen
IN HONOR OF
Joan Crossland
NancyBell Coe & Bill Burke
Carolyn & Dennis Naiman
Nancy Lynn
Carolyn & Dennis Naiman
David Malvinni
Carolyn & Dennis Naiman
Volunteer docents are trained by CAMA’s Education Committee Chair, Joan Crossland, to deliver this program to
area schools monthly. Music enthusiasts are invited to learn more about the program and volunteer opportunities.
Call the CAMA office at (805) 966-4324 for more information about the docent program.
MEMORIAL GIFTS
Elaine Kendall
NancyBell Coe & William Burke
and Sara Miller McCune
Dr. Dolores M. Hsu, PhD.
Jill Felber & Paul A. Bambach
Nancy Cudahy
Betty Meyer
David Marks
Bridget Colleary
Sharon Felber Taylor
Bridget Colleary
Tita Lanning
Keith Mautino Moore
Dr. Eric Boehm
Judy Pochini
Jim Ryerson
Christine Ryerson
Dr. Robert Failing
Betty Meyer
Professor Frederick F. Lange
MaryAnn Lange
Robert S. Grant
Robert L. Grant
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
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
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
61
Presenting the world’s finest classical artists since 1919
WOMEN’S
BOARD
THE CAMA WOMEN'S BOARD GRATEFULLY
THANKS THE FOLLOWING SUPPORTERS!
SYMPHONY LEVEL
$5,000
Patricia Yzurdiaga
SONATA LEVEL
$1,000
Peter & Rebecca Adams
NancyBell Coe & Bill Burke
Jill Doré Kent
Mrs. Richard H. Roberts
George & Judy Writer
RONDO LEVEL
$100–$500
Anonymous (2)
Beth Gates-Warren & Bob Boghosian
Bridget Colleary
Edward DeLoreto
Karin Nelson & Eugene Hibbs, Jr.
and Maren N. Henle
Joanne C. Holderman
Lois Sandra Kroc
Elen & Craig Parton
Andre & Michele Saltoun
Barbara & Sam Toumayan
Nancy & Byron Kent Wood
Presenting the world’s finest classical artists since 1919
Presenting the world’s finest classical artists since 1919
WOMEN’S
BOARD
The CAMA Women’s Board Presents
in partnership with the Santa Barbara Public Library
2020 PRE-CONCERT LECTURE SERIES
Faulkner Gallery, Santa Barbara Central Library
and a special lecture event at The New Vic
The Women’s Board has invited local musical luminaries to speak before all six of CAMA’s
International Series concerts.
Dr. Michael Shasberger, Adams Chair of Music & Worship at Westmont College. Conductor
of Westmont Orchestra and Westmont College Choir.
January 27, 2020 at 6:45 PM, Faulkner Gallery, SB Central Library, prior to the 8:00 PM
performance by the Royal Philharmonic Orchestra; Pinchas Zucherman, conductor & violin
SPECIAL 100 TH ANNIVERSARY LECTURE AT THE NEW VIC
Hattie Beresford, Historic Researcher and Writer. Author of Celebrating CAMA’s Centennial:
Bringing the World’s Finest Classical Music to Santa Barbara.
March 6, 2020 at 5:15 PM, The New Vic, prior to the Gala 100th Anniversary Concert at
7:00 PM by the Los Angeles Philharmonic; Gustavo Dudamel, Music Director (NOTE: Early
start time for lecture and concert.)
Simon Williams, PhD, Professor Emeritus, UCSB Department of Theater & Dance, Opera &
Theater Critic.
March 26, 2020 at 6:45 PM, Faulkner Gallery, SB Central Library, prior to the
8:00 PM performance by the Rotterdam Philharmonic Orchestra; Lavi Shani, conductor;
Nelson Freire, piano
Ani Aznavoorian, Principal Cellist with Camerata Pacifica, performing and recording artist.
April 14, 2020 at 6:45 PM, Faulkner Gallery, SB Central Library, prior to the 8:00 PM
performance by Chineke! Orchestra; Kevin John Edusei, conductor; Stewart Goodyear, piano
David Malvinni, PhD, musicologist, classical guitarist, author and creator of CAMA's
outreach program, “Music Matters.”
April 28, 2020 at 6:45 PM , Faulkner Gallery, SB Central Library, prior to the 8:00 PM
performance by Les Violons du Roy; Jonathan Cohen, conductor; Avi Avital, mandolin
Jennifer Kloetzel, cellist, Assistant Professor of Cello and Chamber Music and Head of
String Area at UCSB Department of Music, performing and recording artist.
May 18, 2020 at 6:45 PM, Faulkner Gallery, SB Central Library, prior to the 8:00 PM
performance by Los Angeles Chamber Orchestra; Jaime Martín, conductor; Sheku
Kanneh-Mason, cello
CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC
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