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Thursday, March 24, 2022 ⫽ Music Academy of the West and CAMA ⫽ LONDON SYMPHONY ORCHESTRA ⫽ International Series at the Granada Theatre ⫽ Santa Barbara, California

London Symphony Orchestra Sir Simon Rattle, Music Director Thursday, March 24, 2022 The Music Academy of the West and Community Arts Music Association of Santa Barbara, Inc. co-present the London Symphony Orchestra in concert in celebration of the Music Academy’s 75th anniversary “The importance of making concerts into events is something that Simon Rattle has brought back to the LSO.” —The Guardian Among the greatest of all orchestras today, the legendary London Symphony Orchestra will return to Santa Barbara in March 2022 for a special 5-day residency with the Music Academy of the West led by Sir Simon Rattle who is universally recognized as one of the world’s leading conductors, having served since the early 1980’s as Music Director of the City of Birmingham Symphony Orchestra, the Berlin Philharmonic and currently with the LSO. Join CAMA and the Music Academy of the West for this not-to-be-missed historic Santa Barbara classical music concert collaboration. PROGRAM: BERLIOZ: Le Corsaire (Ouverture), Op.21 HANNAH KENDALL: The Spark Catchers SIBELIUS: Symphony No.7 in C Major, Op.105 BARTÓK: The Miraculous Mandarin, Op.19, Sz.73 (BB 82) RAVEL: La Valse •

London Symphony Orchestra
Sir Simon Rattle, Music Director

Thursday, March 24, 2022

The Music Academy of the West and Community Arts Music Association of Santa Barbara, Inc. co-present the London Symphony Orchestra in concert in celebration of the Music Academy’s 75th anniversary

“The importance of making concerts into events is something that Simon Rattle has brought back to the LSO.” —The Guardian

Among the greatest of all orchestras today, the legendary London Symphony Orchestra will return to Santa Barbara in March 2022 for a special 5-day residency with the Music Academy of the West led by Sir Simon Rattle who is universally recognized as one of the world’s leading conductors, having served since the early 1980’s as Music Director of the City of Birmingham Symphony Orchestra, the Berlin Philharmonic and currently with the LSO.

Join CAMA and the Music Academy of the West for this not-to-be-missed historic Santa Barbara classical music concert collaboration.

PROGRAM:
BERLIOZ: Le Corsaire (Ouverture), Op.21
HANNAH KENDALL: The Spark Catchers
SIBELIUS: Symphony No.7 in C Major, Op.105
BARTÓK: The Miraculous Mandarin, Op.19, Sz.73 (BB 82)
RAVEL: La Valse

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CAMA'S 2021/2022 SEASON 103 rd CONCERT SEASON

INTERNATIONAL SERIES AT THE GRANADA THEATRE SEASON SPONSORSHIP: SAGE PUBLISHING

CAMA and Music Academy of the West co-present the London Symphony Orchestra

in concert in celebration of the Music Academy’s 75th anniversary

Presenting the world’s finest classical artists since 1919

Photo by Mark Allan

SIR SIMON RATTLE

Music Director

Thursday, March 24, 2022, 7:30PM

Granada Theatre, Santa Barbara

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC.


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Presenting the world’s finest classical artists since 1919

BOARD OF DIRECTORS

(As of March 8, 2022)

ROBERT K. MONTGOMERY

Chairman

DEBORAH BERTLING

Vice Chair and President, Women's Board

Rosalind Amorteguy-Fendon

Marta Babson

Bitsy Becton Bacon

Isabel Bayrakdarian

Edward E. Birch

Andy Chou

Stephen Cloud

NancyBell Coe

Bridget Colleary

Joan Crossland

JAN BOWLUS

Vice Chair

WILLIAM MEEKER

Treasurer

CHRISTINE EMMONS

Secretary

Edward S. DeLoreto

Jill Felber

Raye Haskell Melville

Judith L. Hopkinson

Elizabeth Karlsberg

Frank E. McGinity

George Messerlian

Patti Ottoboni

Michele Saltoun

Judith F. Smith

Emeritus Directors

(As of March 8, 2022)

Robert J. Emmons

Arthur R. Gaudi

James H. Hurley, Jr.

Herbert J. Kendall

Sara Miller McCune

Nancy Wood

Russell S. Bock*

Dr. Robert M. Failing*

Mrs. Maurice E. Faulkner*

Léni Fé Bland*

Stephen Hahn*

Dr. Melville H. Haskell, Jr.*

Mrs. Richard Hellmann*

Dr. Dolores M. Hsu*

Robert Light*

Mrs. Frank R. Miller, Jr.*

Mary Lloyd Mills*

Mrs. Ernest J. Panosian*

Kenneth W. Riley*

Andre Saltoun*

Jan Severson*

* Deceased

Administration

(As of March 8, 2022)

Mark E. Trueblood

President

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


INTERNATIONAL SERIES

AT THE GRANADA THEATRE

SEASON SPONSORSHIP: SAGE PUBLISHING

JANUARY 11, 2022

ROYAL

PHILHARMONIC

ORCHESTRA

Primary Sponsor

The Elaine F. Stepanek

Foundation

Sponsors

Alison & Jan Bowlus

Judith L. Hopkinson

Sara Miller McCune

Bob & Val Montgomery

Ellen & John Pillsbury

The Shanbrom Family

Foundation

Co-Sponsor

Stephen J.M. & Anne Morris

JANUARY 28, 2022

LOS ANGELES

PHILHARMONIC

Principal Sponsors

Kum Su Kim & John Perry

Mosher Foundation

Sponsors

Peggy & Kurt Anderson

Bitsy & Denny Bacon and

The Becton Family Foundation

Bob & Val Montgomery

Michele Saltoun

Diane Sullivan

The Towbes Fund for the

Performing Arts, a field of

interest fund of the SBF

Co-Sponsors

Jane & Kenneth Anderson

Meg & Dan Burnham

Christine & Robert Emmons

MARCH 24, 2022

LONDON

SYMPHONY

ORCHESTRA

The London Symphony

Orchestra’s 2022 North

American Tour is made

possible through an

intercontinental partnership

with the Music Academy of

the West.

The Lead Sponsors of the

Music Academy of the West

and London Symphony

Orchestra partnership are

Linda & Michael Keston and

Mary Lynn & Warren Staley.

CAMA joins the Music Academy

of the West in acknow ledging

additional support in

re mem brance of Léni Fé Bland.

Primary Sponsors

Bitsy & Denny Bacon and

The Becton Family Foundation

APRIL 12, 2022

ENGLISH

BAROQUE

SOLOISTS

Principal Sponsors

Herbert & Elaine Kendall

Jocelyne & William Meeker

Sponsors

NancyBell Coe & Bill Burke

Bob & Val Montgomery

George & Judy Writer

Co-Sponsors

Edward S. DeLoreto

Elizabeth Karlsberg &

Jeff Young

John & Fran Nielsen

Ellen & Craig Parton

Nancy & Byron Kent Wood


MASTERSERIES

AT THE LOBERO THEATRE

SEASON SPONSORSHIP: ESPERIA FOUNDATION

MARCH 2, 2022

JORDI SAVALL

AND LE CONCERT

DES NATIONS

Sponsor

Jocelyne & William Meeker

Concert Partners

Stephen Cloud

Christine & Robert Emmons

Lois S. Kroc

MARCH 18, 2022

BENJAMIN

GROSVENOR, piano

Sponsors

Bitsy & Denny Bacon and

The Becton Family Foundation

Alison & Jan Bowlus

Concert Partner

Raye Haskell Melville

APRIL 23, 2022

ISABEL

BAYRAKDARIAN, soprano

MARK FEWER, violin

JAMIE PARKER, piano

Sponsors

Bob Boghosian & Beth Gates-Warren

The Elaine F. Stepanek Foundation

MAY 24, 2022

JAMES EHNES, violin

ORION WEISS, piano


FLAGSHIP PROGRAMS

SING!

INNOVATION INSTITUTE

LONDON SYMPHONY ORCHESTRA

PARTNERSHIP AND

GLOBAL EXCHANGES

COMPETITION WINNERS

RECITAL SERIES

75 TH ANNIVERSARY

SUMMER SCHOOL

AND FESTIVAL

NEW MARIPOSA

CONCERT SERIES

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MUSICACADEMY.ORG


Presenting the world’s finest classical artists since 1919

INTERNATIONAL SERIES AT THE GRANADA THEATRE

SEASON SPONSORSHIP: SAGE PUBLISHING

LONDON SYMPHONY ORCHESTRA

Sir Simon Rattle, Music Director

Thursday, March 24, 2022, 7:30PM

The Granada Theatre, Santa Barbara

HECTOR BERLIOZ (1803–1869)

Ouverture: Le corsaire (1844, rev.1852)

HANNAH KENDALL (b.1984)

The Spark Catchers (2017)

Sparks and Strikes

Molten Madness

Beneath the Stars/In the Silver Sheen

The Matchgirls’ March

JEAN SIBELIUS (1865–1957)

Symphony No.7 in C Major, Op.105 (1924)

Allegro moderato—

Adagio di molto—

Allegro, ma non tanto—

Adagio—Vivacissimo—Adagio—

Allegro molto moderato—Vivace—

Presto—Adagio

INTERMISSION

BÉLA BARTÓK (1881–1945)

The Miraculous Mandarin, Op.19: Suite (1919–1924)

1. Introduction (Street Noises): The Commands

of the Hoodlums directed to the Girl

2. The Girl’s first inviting gestures, in

Response to which the Old Gentleman

appears, who gets thrown out in the end

by the Hoodlums

3. The Girl’s second inviting gestures, upon

which appears the Young Lad, who is also

thrown out

4. The Girl’s third inviting gestures;

the Mandarin appears

5. The Girl’s seductive dance before

the Mandarin

6. The Mandarin catches up with the Girl

after an ever wilder chase

MAURICE RAVEL (1875–1937)

La valse, poème chorégraphique

pour orchestre (1919-1920)

Program subject to change

The London Symphony Orchestra’s 2022 North American Tour is made possible through an

intercontinental partnership with the Music Academy of the West.

The Lead Sponsors of the Music Academy of the West and London Symphony Orchestra partnership

are Linda & Michael Keston and Mary Lynn & Warren Staley.

CAMA joins the Music Academy of the West in acknow ledging addition al support

in re mem brance of Léni Fé Bland.

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

International Series Season Sponsor: SAGE Publishing

Primary Sponsor: Bitsy & Denny Bacon and The Becton Family Foundation

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.

MUSIC ACADEMY OF THE WEST + CAMA AT THE GRANADA • LONDON SYMPHONY ORCHESTRA

5


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Photo by Mark Allan

The London Symphony Orchestra is built on

the belief that extraordinary music should

be available to everyone, everywhere. From

orchestral fans in the concert hall to firsttime

listeners across the UK, Europe and

the world.

The London Symphony Orchestra

was established in 1904, as one of the

first orchestras shaped by its musicians.

Since then, generations of remarkable

talents have built the LSO’s reputation

for uncompromising quality, and inspirational

repertoires.

Today, the LSO is ranked among the

world’s top orchestras, with a family of artists

that includes Music Director Sir Simon

Rattle, Principal Guest Conductors Gianandrea

Noseda and François-Xavier Roth,

and Conductor Laureate Michael Tilson

Thomas. In March 2021 it was announced

that Sir Antonio Pappano will take up the

role of Chief Conductor of the LSO from

September 2024.

The LSO is Resident Orchestra at the

Barbican in the City of London. The Orchestra

reaches international audiences through

touring and artistic residencies—including

with the Aix-en-Provence Festival and Music

Academy of the West in Santa Barbara—and

through digital partnerships and an

extensive programme of live-streamed and

on-demand online broadcasts.

MUSIC ACADEMY OF THE WEST + CAMA AT THE GRANADA • LONDON SYMPHONY ORCHESTRA

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Through a world-leading learning and community

programme, LSO Discovery, the LSO

connects people from all walks of life to

the power of great music. Based at LSO St

Luke’s, the Orchestra’s community and music

education center and a leading performance

venue on Old Street, LSO Discovery’s

reach extends across East London, the UK

and the world through both in-person and

digital activity.

LSO musicians are at the heart of this

unique programme, leading workshops,

mentoring bright young talent, performing

at free concerts for the local community

and using music to support adults with

learning disabilities. LSO musicians also

visit children’s hospitals, and lead training

programmes for music teachers.

The ambition behind all of this work is

simple: to share the transformative power

of classical music with people who would

not normally experience it. The impact is

unrivaled, and every year, LSO Discovery

reaches thousands of people of all ages.

In 1999, the LSO formed its own recording

label, LSO Live, and revolutionized how

live orchestral music is recorded, with over

150 recordings released so far. Overall, the

LSO has made more recordings than any

other orchestra.

As a leading orchestra for film, the LSO

has entertained millions with classic scores

for Star Wars, Indiana Jones, The Shape of

Water, and many more. The LSO also uses

streaming services to reach a worldwide

audience totalling millions of music-lovers

who listen online every month.

Through inspiring music, educational programmes

and technological innovations,

the LSO’s reach extends far beyond the concert

hall. Thanks to the generous support of

The Corporation of the City of London, Arts

Council England, corporate supporters and

individual donors, the LSO is able to continue

sharing extraordinary music with as

many people as possible, across London,

and the world.

MUSIC ACADEMY OF THE WEST + CAMA AT THE GRANADA • LONDON SYMPHONY ORCHESTRA

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SIR SIMON

RATTLE

conductor

Photo by Oliver Helbig

Sir Simon Rattle was born in Liverpool and

studied at the Royal Academy of Music.

From 1980 to 1998, Sir Simon was Principal

Conductor and Artistic Adviser of the

City of Birmingham Symphony Orchestra

and was appointed Music Director in 1990.

In 2002 he took up the position of Artistic

Director and Chief Conductor of the Berliner

Philharmoniker where he remained until the

end of the 2017/2018 season. Sir Simon

took up the position of Music Director of

the London Symphony Orchestra in September

2017. He will remain in this position

until the 2023/2024 season, when he will

become the orchestra’s Conductor Emeritus.

From the 2023/2024 season Sir Simon

will take up the position of Chief Conductor

with the Symphonieorchester des Bayerischen

Rundfunks in Munich. He is a Principal

Artist of the Orchestra of the Age of

Enlightenment and Founding Patron of Birmingham

Contemporary Music Group.

Sir Simon has made over 70 recordings

for EMI record label (now Warner Classics)

and has received numerous prestigious

international awards for his recordings on

various labels. Releases on EMI include

Stravinsky’s Symphony of Psalms (which

received a Grammy Award for Best Choral

Performance) Berlioz's Symphonie fantastique,

Ravel’s L'enfant et les sortilèges,

Tchaikovsky’s Nutcracker Suite, Mahler’s

Symphony No. 2, Stravinsky’s The Rite of

Spring and Rachmaninov’s The Bells and

Symphonic Dances, all recorded with the

Berliner Philharmoniker. His most recent

MUSIC ACADEMY OF THE WEST + CAMA AT THE GRANADA • LONDON SYMPHONY ORCHESTRA

11


ecordings include Berlioz’ La damnation

de Faust, Helen Grime’s Woven Space, Debussy’s

Pelléas et Mélisande, Turnage’s Remembering,

and Beethoven’s Christ on the

Mountain of Olives, which were all released

by the London Symphony Orchestra’s own

record label, LSO Live.

Sir Simon regularly tours within Europe

and Asia and has strong longstanding

relationships with the world’s leading

orchestras. He regularly conducts the

Symphonieorchester des Bayerischen

Rundfunks, Staatskapelle Berlin, Deutsche

Symphonieorchester Berlin, Berlin Philharmonic

Orchestra and the Czech Philharmonic.

Recent operatic highlights include

Manon Lescaut with the Deutsche Oper Berlin,

Der Rosenkavalier with the Metropolitan

Opera New York, Janáček’s Jenufa with the

Deutsche Staatsoper Berlin, and Tristan und

Isolde with the London Symphony Orchestra

at Festival d’Aix en Provence.

Music education is of supreme importance

to Sir Simon, and his partnership

with the Berliner Philharmoniker broke new

ground with the education programme Zukunft@Bphil,

earning him the Comenius

Prize, the Schiller Special Prize from the

city of Mannheim, the Golden Camera and

the Urania Medal. He and the Berliner Philharmoniker

were also appointed International

UNICEF Ambassadors in 2004—the

first time this honor has been conferred

on an artistic ensemble. In 2019 Simon announced

the creation of the LSO East London

Academy, developed by the London

Symphony Orchestra in partnership with 10

East London boroughs. This free program

aims to identify and develop the potential

of young East Londoners between the ages

of 11 and 18 who show exceptional musical

talent, irrespective of their background or

financial circumstance. Sir Simon has also

been awarded several prestigious personal

honors which include a knighthood in 1994,

becoming a member of the Order of Merit

from Her Majesty the Queen in 2014 and

was recently bestowed the Order of Merit in

Berlin in 2018. In 2019, Sir Simon was given

the Freedom of the City of London.

In the 2021/2022 season, Sir Simon will

conduct the London Symphony Orchestra,

Staatskapelle Berlin, the Berlin Philharmonic

Orchestra and the Chamber Orchestra of

Europe. He will return to the Deutsche Staatsoper

Berlin to revive Rameau’s Hippolyte

et Aricie, and in the spring will conduct a

new production of Janáček’s Makropulos

Case. He will tour Europe and the US with

the London Symphony Orchestra, and later

on in the season will join mezzo‐soprano

Magdalena Kožená for a chamber music

project, where they will tour some of Europe’s

major cities.

MUSIC ACADEMY OF THE WEST + CAMA AT THE GRANADA • LONDON SYMPHONY ORCHESTRA

13


An historic treasure

with contemporary comforts

in the heart of Santa Barbara

50 Guest Rooms & Suites


NOTES ON THE PROGRAM

Hector Berlioz (1803–1869)

Ouverture: Le corsaire (1844 rev.1852)

The overture which eventually finished up

with the name Le corsaire first occupied

Berlioz in the summer of 1844, when a sixweek

holiday in Nice to escape various Parisian

tribulations turned out to be a creative

pick-me-up. There he found the tower of

a ruined castle on the edge of a precipice

overlooking the sea to be a congenial spot:

‘in front of it is a tiny level space where I

stretch myself in the sun and watch, at my

ease, the approach of the distant ships; I

count the fishing boats and gaze with admiration

on the sparkling, gleaming tracks

which (as Moore says) should lead to some

happy and peaceful isle’. Thus it was that

the overture that resulted from this musing

was originally entitled ‘Le tour de Nice’, and

it was under that title that it was premiered

in Paris in January 1845.

Subsequently, however, Berlioz revised

and renamed it; for a while it was known

as ‘Le corsaire rouge’, linking it to James

Fenimore Cooper’s novel The Red Rover,

and finally, when it was published in 1852,

it became simply Le corsaire, this time suggesting

a connection with Byron’s poem.

Yet no amount of poring over those

vividly Romantic literary sources can diminish

the immediacy of that original inspiration,

for Le corsaire is first and foremost

a sea-piece given bracing and exhilarating

Hector Berlioz photo by Félix Nadar (1820–1910)

extra life by excitable imaginings (perhaps

inspired by Berlioz’s commanding situation

by the watchtower) of the dashing life of

the pirate.

The piece opens with a swaggering

flourish to grab the attention, but quickly

subsides to a tranquil Adagio in which we

can surely picture the smooth blue waters,

creeping white sails and vague longings of

Berlioz’s cliff-top vigil. The opening music

returns, however, followed by a jaunty new

theme, and from here on it is the corsair’s

buccaneering pursuits that take over, whipping

the music into successively raised levels

of boisterousness and vigour.

Programme Note ©Lindsay Kemp

MUSIC ACADEMY OF THE WEST + CAMA AT THE GRANADA • LONDON SYMPHONY ORCHESTRA

15


Presenting the world’s finest classical artists since 1919

INTERNATIONAL SERIES

at the Granada Theatre

Season Sponsor: SAGE Publishing

Sir John Eliot Gardiner

English Baroque Soloists

© Sim Canetty-Clarke

APRIL

12

TUE, 7:30PM

2022

ENGLISH BAROQUE SOLOISTS

Sir John Eliot Gardiner, Music Director

Kati Debretzeni, violin Fanny Paccoud, viola

Almost inexcusably absent from the pantheon of great conductors appearing

in Santa Barbara during CAMA’s long history, Sir John Eliot Gardiner will at last

grace the Granada stage directing the English Baroque Soloists, the preeminent

period-instrument chamber ensemble founded by the maestro himself in 1978.

Arguably the foremost living interpreter of 17th‐ and 18th‐century choral and

orchestral repertoire, Sir John Eliot Gardiner is also the Founder and Director of

the Monteverdi Choir and the Orchestre Révolutionnaire et Romantique. With

these and other ensembles, he has recorded more than 250 albums; among them

are benchmark recordings of the Monteverdi Vespers and Bach B‐minor Mass, the

complete Beethoven symphony cycle on period instruments, and each and every

Bach sacred cantata. In his spare time, the prodigious maestro runs an organic

farm at Springhead near Fontmell Magna in North Dorset.

Haydn: Symphony No.103 in E‐flat Major, “The Drumroll,” H.1/103

Mozart: Sinfonia Concertante for Violin, Viola and Orchestra in E‐flat Major, K.364 (320d)

Mozart: Symphony No.39 in E‐flat Major, K.543

Principal Sponsors: Herbert & Elaine Kendall • Jocelyne & William Meeker

Sponsors: NancyBell Coe & Bill Burke • Bob & Val Montgomery • George & Judy Writer

Co-Sponsors: Edward S. DeLoreto • Elizabeth Karlsberg & Jeff Young

John & Fran Nielsen • Ellen & Craig Parton • Nancy & Byron Kent Wood


Hannah Kendall

Hannah Kendall (b.1984)

The Spark Catchers (2017)

Where the Queen Elizabeth Olympic Park

now stands in London, there was once a

factory owned by the match manufacturers

Bryant & May. In celebration of the 2012

Olympics, Lemn Sissay wrote the poem

The Spark Catchers. It reflects on the

women who were employed to catch stray

sparks—stopping them from setting the

factory and its contents alight—imagining

them as athletes.

Hannah Kendall’s piece of the same

name was written for the 2017 BBC Proms.

It doesn’t try to recreate the poem in sound.

Instead, each of its four parts are inspired

by specific lines from the poem to act as

structural markers.

The vigorous, displaced rhythms of

'Sparks and Strikes’ set up the momentum

that is carried into the darker atmosphere

of ‘Molten Madness’, from which a soaring

melody on horns and violins emerges.

‘Beneath the Stars/In the Silver Sheen’ is a

crystalline nocturne of interweaving lines

on high pitches.

‘The Matchgirls’ March’ then takes root,

a strident dance, before a final section reprises

music from all four sections, exploding

in sparks of its own.

Program Note ©Andrew Mellor

MUSIC ACADEMY OF THE WEST + CAMA AT THE GRANADA • LONDON SYMPHONY ORCHESTRA

17


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Jean Sibelius (1865–1957)

Symphony No.7 in C Major,

Op.105 (1924)

Allegro moderato—

Adagio di molto—

Allegro, ma non tanto—

Adagio—Vivacissimo—Adagio—

Allegro molto moderato—Vivace—

Presto—Adagio

Sounds of nature pervade Sibelius’ orchestral

works: the calls of swans and cranes, or

wind rustling through leaves and screaming

through pine-tops. But Sibelius looked

deeper, to the very processes of the natural

world, for inspiration. Rivers fascinated

him: ‘I should like to compare the symphony

to a river’, he wrote in his diary in 1912.

‘It is born from various rivulets that seek

each other and in this way the river proceeds

wide and powerful toward the sea.’

‘But where do we get the water?’, he asks.

Another entry provides an answer: ‘The musical

thoughts—the motives, that is—are the

things that must create the form and stabilise

my path’.

In jottings like this, Sibelius was clearly

trying to define something that he had already

begun to notice in his own music. In

the slow movement of his Fourth Symphony

(1911) his ‘musical thoughts’ had led him to

create a new kind of form—one could call

it ‘variations in search of a theme’. Then in

the Fifth (1914–1919) he arrived at a still

more original idea: a moderately paced first

movement which builds up momentum like

a river approaching rapids, eventually boiling

over into a thrilling accelerating scherzo.

But it was with the Seventh Symphony

(1924) that this process of fusing separate

‘movements’ into a single, organic unity

was to reach its ultimate expression.

The most immediately striking feature

of the Seventh Symphony—apart from its

famous, noble trombone theme—is that it is

Jean Sibelius

MUSIC ACADEMY OF THE WEST + CAMA AT THE GRANADA • LONDON SYMPHONY ORCHESTRA

19


in one continuous movement. Granted, Sibelius

wasn’t the first composer to attempt

a symphonic structure in one movement.

There was already a magnificent example

in Schoenberg’s First Chamber Symphony

(1906). In the Schoenberg however it is

easy to pick out sections that resemble

the traditional symphonic first movement,

scherzo, slow movement and so on. Sibelius’

Seventh follows a different, much more

river-like course. The speed and character

of the music change frequently, but the

different sections (if ‘sections’ is the right

word) are so skilfully dovetailed that it is

virtually impossible to say where one begins

and another ends.

Arriving at this radical new kind of symphonic

structure was a struggle. And when

Sibelius had finished it, he was suddenly

overcome with doubt: had he gone too far

this time—was this really a ‘symphony’ at

all? When the work first appeared in 1924,

Sibelius cautiously gave it another title,

Fantasia Sinfonica. But the work’s success

gave him courage, and he was soon referring

to it as ‘the Seventh Symphony’. The

Symphony’s originality becomes obvious

as soon as one tries to describe its form:

one could say that three Adagio sections—

each centred on the magnificent trombone

theme mentioned above—merge into and

emerge from two faster episodes. But even

that is too simple. At the very beginning,

after the expectant rising string scale that

starts the process, the woodwind, horn and

string phrases initially seem to be moving

at slightly different speeds—like objects

born along on the different currents and

eddies of a great river. After the trombone

theme makes its climactic appearance,

the initial Adagio gradually mutates into a

rapid, scherzo-like Vivacissimo. But then

the dancing string figures begin to move

more smoothly, and the trombone theme is

heard again, now in the minor. The strings

still seem to be moving quite fast, but the

trombone theme retains its original monumental

grandeur; to borrow an image from

Sibelius’ sketchbook, it is like seeing the

moon through swirling storm clouds.

After this moment of vision, the music

surges on into an Allegro molto moderato.

This seems steady enough for a while, but

then comes a pause, and a sudden gear

change (the only one in the entire Symphony),

leading to a long Presto crescendo

powered by driving string figures and the rising

scale that began the Symphony (now on

horns). Through these the trombone theme

returns in full, this time in the original sunlit

C major. There is an elemental climax,

then the clouds vanish and high strings initiate

a slow, chorale-like winding down. A

brief reminiscence of the trombone theme

leads to a moment of hush (woodwind and

strings), before the music settles firmly in C

major for the rock-like final cadence.

Programme Note ©Stephen Johnson

20 CAMA'S 103 RD CONCERT SEASON


Béla Bartók

Béla Bartók (1881–1945)

The Miraculous

Mandarin (1919–1924)

1. Introduction (Street Noises):

The Commands of the Hoodlums

directed to the Girl

2. The Girl’s first inviting gestures,

in Response to which the Old

Gentleman appears, who gets

thrown out in the end by

the Hoodlums

3. The Girl’s second inviting gestures,

upon which appears the Young Lad,

who is also thrown out

4. The Girl’s third inviting gestures;

the Mandarin appears

5. The Girl’s seductive dance before

the Mandarin

6. The Mandarin catches up with the

Girl after an ever wilder chase

Béla Bartók’s last work for the stage originated

in a ‘grotesque pantomime’ by the

Hungarian playwright Menyhért (Melchior)

Lengyel (1890–1974) which he came

across in 1917. With its low-life setting, this

story of prostitution and violence was as

remote from the fairy-tale world of his second

stage work, The Wooden Prince, as the

graphic action of that ballet had been from

the dark intensity of the opera, Duke Bluebeard’s

Castle. A clear connection between

the three works, however, is the composer’s

close attention to orchestral sonority; although

Bartók completed the piano score

of The Miraculous Mandarin by the spring

of 1919, the orchestration was not finished

until the autumn of 1924.

Bartók’s music plots the course of

MUSIC ACADEMY OF THE WEST + CAMA AT THE GRANADA • LONDON SYMPHONY ORCHESTRA

21


Lengyel’s bizarre, expressionistic tale in

compelling detail and from its premiere in

Cologne in 1926 a whiff of scandal shadowed

the work; a staging in Budapest

planned to honour Bartók’s fiftieth birthday

in 1931 did not survive the dress rehearsal.

The presentation of the story is far from

the conventionally balletic. Indeed, the

action of The Mandarin is propelled as

much by mime as by dance. Nevertheless,

Bartók’s control of the dramatic structure is

superbly assured.

The opening of the work evokes the

sounds of the city outside the tawdry room

in which the action takes place. Three

hoodlums force a girl to lure men from the

street whom they intend to beat up and rob.

There are three victims lured by the girl, depicted

in sinuous clarinet solos: a penniless

roué, an attractive young man and finally a

strange Mandarin with an intense stare. He

pursues and captures the girl at which point

the robbers emerge. The last part of the ballet

moves from the brutally physical to the

eerily metaphysical. Despite the hoodlums’

attempts to smother and stab the Mandarin,

he refuses to die. After they hang him,

he begins to glow with a greenish-blue light;

the girl accepts his embrace and at last his

wounds begin to bleed and he dies.

The musical style of the work is perceptibly

harder edged than in the composer’s

earlier stage works and the expression

more succinct. Moments of stillness alternate

with frantic activity in a score which

has more than a hint of Stravinsky’s The

Rite of Spring. As contemporary reactions

showed, the accompaniment to this bizarre

scenario is appallingly vivid, but it makes

for compulsive listening.

Bartók prepared a concert version of

the ballet almost as soon as its was completed;

he intended it to be based on the

scenes up to and including the Mandarin

catching the girl. Rather than calling it a

Suite, which would imply a conventional

collection of dances, he preferred the title

Music from The Miraculous Mandarin’.

Program Note ©Jan Smaczny

Maurice Ravel (1875–1937)

La valse, poème chorégraphique

pour orchestre (1919-1920)

‘Through whirling clouds, waltzing couples

may be faintly distinguished. The

clouds gradually scatter: one sees an immense

hall peopled with a whirling crowd.

The scene is gradually illuminated. The light

of the chandeliers bursts forth …’ (Ravel’s

preface to the score)

The idea of celebrating the giddy glamour

of the Viennese Waltz had been in

Maurice Ravel’s mind for a long time. The

elegance and hedonism of this dance was

tinged with a hint of danger—the heroines

of countless novels are swept off their feet

in the waltz’s powerfully seductive rhythms,

and not always by the most honourable

of gentlemen.

Work on this piece, La valse, in 1914

22 CAMA'S 103 RD CONCERT SEASON


was almost immediately interrupted by the

outbreak of war and not resumed until it

had ended. No doubt the shattering experience

of the war years, in which Ravel lost

his beloved mother as well as countless

friends and colleagues, caused the music

to emerge differently when he returned to

it towards the end of 1919. In fact the underlying

idea went back much further even

than 1914. In 1906 Ravel had written to a

friend, ‘you know my intense feeling for [the

waltz’s] marvellous rhythms’, shortly before

planning a new orchestral work to be called

Vienne (and later Wien, the final title only

appearing in 1920).

Earlier still, in 1905, Ravel had attended

a grand ball at the Opéra with a group of

friends. Roger Nichols cites a fascinating

diary entry from one of these friends, Ricardo

Viñes, thinking back on that memorable

evening: ‘As always when I see young beautiful

women, lights, music and all this activity,

I thought of death, of the ephemeral

nature of everything, I imagined balls from

past generations who are now nothing but

dust, as will be all the masks I saw, and in a

short while!’ Perhaps these thoughts made

an impression on the composer; they seem

to offer an uncannily apt reading of the dazzling

and unnerving work that Ravel was to

complete some 15 years later.

The music begins mysteriously, with

dancing couples glimpsed through swirling

clouds. Impressionist delicacy gradually

turns to sumptuousness as the full glory

of the crowded ballroom is revealed. About

halfway through the music dies down and

Maurice Ravel

seems to begin again, tracing a similar

course as dancers gradually emerge to form

a brilliant circling throng. But this time their

unstoppable rhythms become increasingly

menacing, and towards the end the dance

seems to spiral out of control, tearing itself

to pieces. Ravel imagined the piece would

be staged as a ballet with the Ballets Russes,

but Diaghilev refused to take it up. La

valse has been choreographed numerous

times since, but like his opera Daphnis and

Chloé, Debussy’s Jeux and many of Stravinsky’s

ballets, it has particularly flourished in

the concert hall.

Program Note ©Jeremy Thurlow

MUSIC ACADEMY OF THE WEST + CAMA AT THE GRANADA • LONDON SYMPHONY ORCHESTRA

23


Presenting the world’s finest classical artists since 1919

MASTERSERIES

at the Lobero Theatre

Season Sponsor: Esperia Foundation

© Zach Mendez

APRIL

23

SAT, 7:30PM

2022

ISABEL

BAYRAKDARIAN, soprano

MARK FEWER, violin JAMIE PARKER, piano

Program: “Glorious and Free”

Romani-inspired Songs and Operetta Arias

Featuring works by Brahms, Dvořák, Iradier, Valverde, Sarasate, Yvain, Lehár and Kálmán

Soprano Isabel Bayrakdarian has been an eagerly anticipated performer

at major opera houses and concert halls the world over including New York,

Chicago, San Francisco, Boston, London, Paris, Vienna, Florence and Salzburg.

She was a fellow of the Music Academy of the West in 1996, winner of the 1997

Marilyn Horne International Voice Competition and the 2000 Placido Domingo

Operalia competition, recipient of Queen Elizabeth II Golden Jubilee and

Diamond Jubilee awards, and was awarded the Republic of Armenia’s “Komitas

Medal” and the “Movses Khorenatsi” medal, Armenia’s highest cultural award.

Ms. Bayrakdarian is currently an Associate Professor of Voice in the Department

of Music at UC Santa Barbara. She is joined by extraordinary Canadian chamber

musicians Mark Fewer and Jamie Parker for a not-to-be-missed concert!

Sponsors: Bob Boghosian & Beth Gates-Warren • The Elaine F. Stepanek Foundation


MUSIC DIRECTOR: SIR SIMON RATTLE OM CBE

PRINCIPAL GUEST CONDUCTORS: GIANANDREA NOSEDA, FRANÇOIS-XAVIER ROTH

CONDUCTOR LAUREATE: MICHAEL TILSON THOMAS

ASSOCIATE ARTIST: BARBARA HANNIGAN

CHORAL DIRECTOR: SIMON HALSEY CBE

FIRST VIOLINS

Roman Simovic, Leader

Carmine Lauri

Jerome Benhaim

Clare Duckworth

Ginette Decuyper

Laura Dixon

Maxine Kwok

William Melvin

Elizabeth Pigram

Laurent Quénelle

Harriet Rayfield

Sylvain Vasseur

David Alberman

Dániel Mészöly

SECOND VIOLINS

Julián Gil Rodríguez

Thomas Norris

Miya Väisänen

Matthew Gardner

Alix Lagasse

Belinda McFarlane

Iwona Muszynska

Csilla Pogany

Louise Shackelton

Alexandra Lomeiko

Lyrit Milgram

Patrycja Mynarska

VIOLAS

Edward Vanderspar

Malcolm Johnston

Stephen Doman

Carol Ella

Sofia Silva Sousa

Robert Turner

Michelle Bruil

Luca Casciato

May Dolan

Errika Horsley

CELLOS

Rebecca Gilliver

Alastair Blayden

Jennifer Brown

Noël Bradshaw

Daniel Gardner

Laure Le Dantec

Amanda Truelove

Francois Thirault

DOUBLE BASSES

David Stark

Patrick Laurence

Matthew Gibson

Thomas Goodman

Joe Melvin

José Moreira

Jani Pensola

FLUTES

Gareth Davies

Katherine Baker

Patricia Moynihan

PICCOLO

Sharon Williams

OBOES

Juliana Koch

Olivier Stankiewicz

Rosie Jenkins

COR ANGLAIS

Maxwell Spiers

CLARINETS

Chris Richards

Sérgio Pires

Chi-Yu Mo

BASS CLARINET

Katy Ayling

BASSOONS

Rachel Gough

Daniel Jemison

Joost Bosdijk

CONTRABASSOON

Gareth Twigg

HORNS

Timothy Jones

Diego Incertis Sánchez

Angela Barnes

Olivia Gandee

Jonathan Maloney

TRUMPETS

James Fountain

Niall Keatley

Matthew Williams

Katie Smith

TROMBONES

Peter Moore

Jono Ramsay

Matthew Lewis

BASS TROMBONE

Paul Milner

TUBA

Ben Thomson

TIMPANI

Nigel Thomas

PERCUSSION

Neil Percy

David Jackson

Sam Walton

Paul Stoneman

Tom Edwards

Christine Comer*

Madison Shake*

HARPS

Bryn Lewis

Daniel De-Fry

PIANO

Catherine Edwards

CELESTE

Philip Moore

LSO ADMIN

Managing Director

Kathryn McDowell CBE

Tours Manager

Frankie Sheridan

Tours & Projects

Manager

Tim Davy

Orchestra Personnel

Manager

Emily Rutherford

Librarian

John Cummins

Stage Managers

Sophia Tuffin

Charlotte Fry

*Music Academy of

the West Keston

MAX Fellow

MUSIC ACADEMY OF THE WEST + CAMA AT THE GRANADA • LONDON SYMPHONY ORCHESTRA

25


Presenting the world’s finest classical artists since 1919

MASTERSERIES at the Lobero Theatre

Season Sponsor: Esperia Foundation

James

Ehnes

© Benjamin Ealovega

© Jacob Blickenstaff

Orion

Weiss

MAY

24

TUE, 7:30PM

2022

JAMES EHNES, violin

ORION WEISS, piano

“A violinist in a class of his own” —The Times

Canadian James Ehnes has established himself as one of the most treasured violinists

of international stages. Acclaimed as “a supreme virtuoso and artist of the first rank”

(The Daily Telegraph), James Ehnes plays the “Marsick” Stradivarius (1715). His Santa

Barbara debut in July 2019 at the Granada Theatre with the London Symphony

Orchestra (presented by the Music Academy of the West) elicited the following

glowing concert review: “Ehnes was magnificent throughout, an impressive figure on

stage whose playing blazed like a laser beam, though brimming with compassion and

heart” (seenandheard-international.com). Ehnes is joined by gifted collaborative pianist

Orion Weiss who previously appeared in Masterseries with violinist Augustin Hadelich.

Mozart: Violin Sonata No.17 in C Major, K.296

Schubert: Fantasy in C Major, D.934

Korngold: Much Ado About Nothing, Suite Op.11

Saint-Saëns: Violin Sonata No.1 in D Minor, Op.75


Presenting the world’s finest classical artists since 1919

CENTENNIAL CIRCLE

CRESCENDO

$250,000–$500,000

Bitsy & Denny Bacon and The Becton Family Foundation

Robert & Christine Emmons

The Elaine F. Stepanek Foundation

CADENZA

$100,000–$249,000

Judith L. Hopkinson

Sara Miller McCune

Stephen J.M. & Anne Morris

The Samuel B. & Margaret C. Mosher Foundation

SAGE Publishing

George & Judy Writer

RONDO

$50,000–$99,999

Anonymous

Marta Babson

Deborah & Peter Bertling

Alison & Jan Bowlus

Dan & Meg Burnham

NancyBell Coe & William Burke

Jill Felber & Paul A. Bambach

Herbert & Elaine Kendall

Lois S. Kroc

Jocelyne & William Meeker

Mari & Hank Mitchel

Bob & Val Montgomery

Northern Trust

Michele & Andre Saltoun

The Walter J. & Holly O. Thomson Foundation

Patricial Yzurdiaga

Cumulative Centennial Celebration Gifts of $50,000 and above include Centennial Circle membership.

October 2018–May 2020


Presenting the world’s finest classical artists since 1919

LIFETIME GIVING

DIAMOND CIRCLE

$500,000 and above

Bitsy & Denny Bacon and

The Becton Family Foundation

Suzanne & Russell Bock

Linda Brown*

The Andrew H. Burnett

Foundation

Esperia Foundation

The Stephen & Carla Hahn

Foundation

Judith L. Hopkinson

Herbert & Elaine Kendall

Mary Lloyd & Kendall Mills

Mosher Foundation

SAGE Publishing

The Elaine F. Stepanek

Foundation

Elaine & Edward Stepanek

The Towbes Fund for the

Performing Arts

SAPPHIRE CIRCLE

$250,000–$499,999

The CAMA Women's Board

Robert & Christine Emmons

Ann Jackson Family Foundation

Sara Miller McCune

The Walter J. & Holly O. Thomson

Foundation

Wood-Claeyssens Foundation

Patricia & Joseph Yzurdiaga

RUBY CIRCLE

$100,000–$249,999

Denise & Stephen Adams/Adams

Family Foundation

Hollis Norris Fund

Deborah & Peter Bertling

Alison & Jan Bowlus

Dan & Meg Burnham

Janet & Thomas Kelly/Winona

Fund

Virginia Castagnola-Hunter

NancyBell Coe & William Burke

Léni Fé Bland

Mary & Raymond Freeman

George H. Griffiths and Olive J.

Griffiths Charitable Fund

Raye & Melville H. Haskell, Jr.

Dolores M. & Immanuel Hsu

Shirley Ann & James H. Hurley, Jr.

Shirley & Seymour Lehrer

John & Lucy Lundegard

Jocelyne & William Meeker

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

The Henry E. & Lola Monroe

Foundation

Montecito Bank & Trust

Bob & Val Montgomery

Stephen J.M. & Anne Morris

Kathleen & John Moseley/The

Nichols Foundation

Nancy & William G. Myers

Michele & Andre Saltoun

Santa Barbara Bank & Trust

Santa Barbara Foundation

Jan & John G. Severson

Judith F. & Julian Smith

Jeanne C. Thayer

Marilyn & H.Wallace Vandever

Wallis Foundation

Nancy & Byron Kent Wood

George & Judy Writer

EMERALD CIRCLE

$50,000–$99,999

Anonymous (3)

Ruth Appleby

Marta Babson

Helene & Jerry Beaver

Linda & Peter Beuret

Edward & Sue Birch

Bob Boghosian & Beth Gates-

Warren

Elizabeth & Andrew Butcher

Louise & Michael Caccese

Jane & Jack Catlett

Roger & Sarah Chrisman,

Schlinger Chrisman Foundation

Bridget & Robert Colleary

Suzanne & Maurice Faulkner

Jill Felber & Paul A. Bambach

Arthur R. Gaudi

Sherry & Robert Gilson

Janette "Dotsy" Main Hellmann

& Richard Hellmann

Joanne C. Holderman

Natalia & Michael Howe

Hutton Parker Foundation

Ellen & Peter Johnson

Elizabeth Karlsberg & Jeff Young

Lynn P. Kirst & Lynn R. Matteson

Lois Sandra Kroc

Betty & Max Meyer

Northern Trust

Craig & Ellen Parton

Austin H. Peck

Marjorie & Hugh Petersen

Diana & Roger Phillips

Theodore Plute & Larry Falxa

Lady Leslie & Viscount Paul

Ridley-Tree

SB County Office of Arts

& Culture

The Shanbrom Family Foundation

Barbara & Sam Toumayan

Carrie Towbes and John Lewis

TOPAZ CIRCLE

$25,000–$49,999

Anonymous

Peggy & Kurt Anderson

Barbara & Edward Bakewell

Helen & Andrew Burnett

California Small Business Relief

Program

Huguette Clark

Cecelia & Leonard Dalsemer

Edward DeLoreto and William

DeLoreto

Patricia & Larry Durham

Frederika & Dennis Emory

Nancyann & Robert Failing

Rosalind Amorteguy-Fendon &

Ronald Fendon

Priscilla & Jason Gaines

Preston B. & Maurine M. Hotchkis

Family Foundation

The George Frederick Jewett

Foundation

Patricia Kaplan

Jill Dore Kent

Kum Su Kim

Otto Korntheuer/The Harold L.

Wyman Foundation


Presenting the world’s finest classical artists since 1919

LIFETIME GIVING

Laura & Robert Kuhn

Chris Lancashire & Catherine Gee

Lillian & Jon Lovelace

Leatrice & Eli Luria

Marilyn & Frank Magid

Ruth McEwen

Frank McGinity

Mary & James Morouse

Pat Hitchcock O'Connell

Efrem Ostrow Living Trust

The Outhwaite Foundation

Carolyn & Ernest Panosian

Performing Arts Scholarship

Foundation

John & Ellen Pillsbury

William H. Kearns Foundation

Mary Dell Pritzlaff & John Pritzlaff

Mary Louise & Kenneth W. Riley

Dorothy Roberts

City of Santa Barbara

Anitra & Jack Sheen

Linda Stafford Burrows

Marion Stewart

Irene & Robert Stone/Stone

Family Foundation

Ina & Martin Tornallyay

Steven Trueblood

Carol & Edward R. Valentine

Susie & Hubert Vos

Marjorie K. & Roderick S. Webster

Westmont College

Ann & Dick Zylstra

AMETHYST CIRCLE

$10,000–$24,999

Rebecca & Peter Adams

Christina & David Allison

Bernice & Mortimer Andron

Sally & Robert Arthur

Marjorie & J.W. Bailey

Else Schilling Bard

Joan C. Benson

Leslie & Philip Bernstein

Frank Blue & Lida Light Blue

Toos & Erno Bonebakker

Shelley & Mark Bookspan

Cynthia Brown & Arthur Ludwig

Suzanne & Peyton Bucy

The CAMA Fellows

Margo & Charles Chapman

Chubb Sovereign

Carnzu Clark

Stephen Cloud

Nan Burns & Dr. Gregory Dahlen

Karen Davidson, M.D.

Elizabeth & Kenneth Doran

Julie & William Esrey

Audrey Hillman Fisher

Foundation

David W. Fritzen/DWF Magazines,

DWF Media International

Catherine H. Gainey

Tish Gainey & Charles Roehm

Dorothy & John Gardner

Kay & Richard Glenn

Corinna Gordon, Larry Dale

Gordon

Dorothy & Freeman Gosden

Grace Jones Richardson Trust

Dianne & Robert S. Grant

Beverly & Bruce Hanna

Dolores & Robert Hanrahan

Lorraine C. Hansen

Margret & David F. Hart

Betty & Stan Hatch

Renee & Richard Hawley

Ruth & Alan Heeger

Mary & Campbell Holmes

Jackie Inskeep

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Dodie Little

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Dona & George McCauley

Jayne Menkemeller

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Keith W. Moore

Maryanne Mott & Herman Warsh

Sybil & Russell Mueller

Myra & Spencer Nadler

Karin Nelson & Eugene Hibbs/

Maren Henle

Fran & John Nielsen

Ellen Lehrer Orlando & Thomas

Orlando

Joanne & Alden Orput

Mr. & Mrs. Charles W. Partridge

John Perry

Patricia & Carl Perry

Justyn & Ray Person

Susan & James Petrovich

Ann M. Picker

Anne & C.Wesley Poulson

Susannah Rake

Jaquelin & Frank Reed

Jack Revoyr

Regina & Rick Roney

Rebecca Ross

Betty Barrett & John Saladino

William E. Sanson

Maryan & Richard Schall

Nancy & William Schlosser

Pat & Roby Scott

Dody Waugh & Eric Small

Sally & Jan E.G. Smit

Constance & C.Douglas Smith

Barbara & Wayne Smith

Betty J. Stephens

Diane & Selby Sullivan

The Godric Foundation

Joseph Thomas

Milan E. Timm

Mark E. Trueblood

Drs. Shirley & Kenneth Tucker

Barbara & Gary Waer

Nick & Patty Weber

Dr. Robert W. Weinman

Victoria & Norman Williamson

Lisa Bjornsen Wolf & David

Russell Wolf

Charles and Merryl Snow Zegar

*promised

Gifts received by December 13, 2021


Presenting the world’s finest classical artists since 1919

MOZART SOCIETY

CAMA’s mission is to enrich Santa Barbara’s cultural life by bringing live performances by worldrenowned

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

Bitsy & Denny Bacon and

The Becton Family Foundation

The Andrew H.

Burnett Foundation

Robert & Christine Emmons

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

George & Judy Writer

RONDO PATRONS

$50,000–$99,999

Ruth Appleby

Deborah & Peter Bertling

Linda & Peter Beuret

Dr. Dolores M. Hsu

Lois Sandra Kroc

The Samuel B. & Margaret C.

Mosher Foundation

Santa Barbara Bank & Trust

Nancy & Byron Kent Wood

CONCERTO PATRONS

$25,000–$49,999

Jane Catlett

Bridget B. Colleary

Suzanne Faulkner

Léni Fé Bland

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

Anonymous

Rebecca & Peter Adams

Denise & Stephen Adams/

Adams Family Foundation

Marta Babson

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 Moore

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

Constance Smith

The Elaine F. Stepanek

Foundation

Betty J. Stephens

Mark E. Trueblood

Marilyn Vandever

Barbara & Gary Waer

David & Lisa Wolf

*promised

Gifts received by December 13, 2021


Presenting the world’s finest classical artists since 1919

LEGACY SOCIETY

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 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

Gifts received by December 13, 2021

We gratefully acknowledge all CAMA Mozart Society and Legacy

Society members for their gifts to CAMA’s endowment, ensuring

CAMA’s mission to bring the world’s greatest classical artists to

Santa Barbara for years to come.

Thank you


Presenting the world’s finest classical artists since 1919

INTERNATIONAL CIRCLE

We most gratefully acknowledge and thank International Circle Members

for their annual contribution of $1,000 or more.

Anonymous (4)

Sylvia Abualy

Catherine L. Albanese

Todd & Allyson Aldrich Family

Charitable Fund

Jane & Kenneth Anderson

Peggy & Kurt Anderson

Argonaut Charitable Foundation

Marta Babson

Bitsy & Denny Bacon and The

Becton Family Foundation

Becky & William Banning

Ms. Isabel Bayrakdarian

Helene Beaver

Bitsy & Denny Bacon and The

Becton Family Foundation

Deborah & Peter Bertling

Linda & Peter Beuret

Jerry & Geraldine Bidwell

Edward & Sue Birch

Suzanne & Russell Bock

Bob Boghosian & Beth Gates-

Warren

Shelley & Mark Bookspan

Diane Boss

Alison & Jan Bowlus

Cynthia Brown & Arthur Ludwig

Wendel Bruss

Suzanne & Peyton Bucy

Barbara Burger & Paul Munch

Alison H. Burnett

Dan & Meg Burnham

Karen Bushnell

Elizabeth & Andrew Butcher

Louise & Michael Caccese

Annette & Richard Caleel

The CAMA Women's Board

Susan & Claude Case

Mahri Kerley/Chaucer's Books

Roger & Sarah Chrisman,

Schlinger Chrisman Foundation

Patricia Clark

Lavelda & Lynn Clock

Stephen Cloud

Betsy & Kenneth Coates

NancyBell Coe & Bill Burke

Bridget B. Colleary

Joan & Steven Crossland

Gregory Dahlen III &

Christi Walden

Jan Davis-Hadley

Janet Davis

Sheryl & Michael DeGenring

Edward S. DeLoreto

Diane L. Dodds

Margaret & Ronald Dolkart

Nancy Donaldson

Elizabeth & Kenneth Doran

Glenn and Karen Doshay

Ann & David Dwelley

Wendy & Rudy Eisler

Julia Emerson

Robert & Christine Emmons

Frederika & Dennis Emory

Nancy Englander

Lois Erburu

Thomas & Doris Everhart

Nancyann & Robert Failing

Bob & Margo Feinberg

Jill Felber & Paul A. Bambach

Rosalind Amorteguy-Fendon &

Ronald Fendon

Mary & Raymond Freeman

Priscilla & Jason Gaines

Catherine H. Gainey

Tish Gainey & Charles Roehm

Santa Barbara Foundation

Dorothy & John Gardner

Arthur R. Gaudi

George H. Griffiths and Olive J.

Griffiths Charitable Fund

The Stephen & Carla Hahn

Foundation

David Hamilton

Raye Haskell Melville

Renee & Richard Hawley

Maison K

Kevin Hess

Barbara Hirsch

Ronda & Bill Hobbs

Gerhart Hoffmeister

Joanne C. Holderman

Hollis Norris Fund

Judith L. Hopkinson

Natalia & Michael Howe

Shirley Ann & James H. Hurley, Jr.

Jackie Inskeep

Ann Jackson Family Foundation

Karin Jacobson & Hans Koellner

Gina & Joseph Jannotta

Diane Johnson

Ellen & Peter Johnson

Glenn Jordan & Michael Stubbs

Gerd & Peter Jordano

Elizabeth Karlsberg & Jeff Young

William H. Kearns Foundation

James P. Kearns

Herbert & Elaine Kendall

Connie & Richard Kennelly

Jill Dore Kent

Kum Su Kim & John Perry

Sally Kinney

Lynn P. Kirst

Thomas & Travis Kranz

32 CAMA'S 103 RD CONCERT SEASON


Presenting the world’s finest classical artists since 1919

INTERNATIONAL CIRCLE

Lois Sandra Kroc

Chris Lancashire & Catherine Gee

Stefanie L. Lancaster Charitable

Foundation

Francis and Stefanie Lancaster

MaryAnn Lange

Elinor & James Langer

Kathryn Lawhun & Mark Shinbrot

Shirley & Seymour Lehrer

Dodie Little

Christie & Morgan Lloyd

Nancy & James Lynn

Gloria & Keith Martin

Maureen Masson

Phyllis Brady & Andy Masters

Ruth & John Matuszeski

Donald & Karine McCall

Dona & George McCauley

Sara Miller McCune

Jeffrey McFarland

Frank McGinity & Debbie Geremia

Patriicia & William McKinnon

Jocelyne & William Meeker

Sally & George Messerlian

The Henry E. & Lola Monroe

Foundation

Robert Miller & Susie Triolo Miller

Mary Lloyd & Kendall Mills

Montecito Bank & Trust

Bob & Val Montgomery

Stephen J.M. & Anne Morris

Peter L. Morris

The Samuel B. & Margaret C.

Mosher Foundation

Maryanne Mott

Russell Mueller

Mrs. Raymond King Myerson

Karin Nelson & Eugene Hibbs/

Maren Henle

Fran & John Nielsen

Northern Trust

Ellen Lehrer Orlando &

Thomas Orlando

Gail Osherenko & Oran Young

Patti Ottoboni

Anne & Daniel Ovadia

Craig & Ellen Parton

Carol & Kenneth Pasternack

Samuel F. Pellicori

Performing Arts Scholarship

Foundation

Patricia & Carl Perry

Diana & Roger Phillips

Ann M. Picker

John & Ellen Pillsbury

Minie & Hjalmar Pompe van

Meerdervoort

Carol & Edward Portnoy

William H. Kearns Foundation

Donald Rink

The Roberts Brothers Foundation

Dorothy Roberts

Regina & Rick Roney

Merlin Rossow

SAGE Publishing

Michele Saltoun

Ada B. Sandburg

William E. Sanson

Santa Barbara Foundation

City of Santa Barbara

Lynn & Mark Schiffmacher

Nancy Schlosser

The Shanbrom Family Foundation

Maureen & Les Shapiro

Anitra & Jack Sheen

Halina W. Silverman

Dody Waugh & Eric Small

Paul & Delia Smith

Judith F. Smith

Barbara & Wayne Smith

Linda Stafford Burrows

The Elaine F. Stepanek

Foundation

Marion Stewart

Irene & Robert Stone/Stone

Family Foundation

Elaine & Robert Sweet

Pamala Temple

Suzanne Holland &

Raymond Thomas

The Walter J. & Holly O. Thomson

Foundation

Milan E. Timm

Barbara & Sam Toumayan

TheTowbes Fund for the

Performing Arts, a field of

interest fund of the

Bicky Townsend

Mark E. Trueblood

Steven Trueblood

Dr. Shirley Tucker

Carol Vernon & Robert Turbin

Department of Music, University

of California, Santa Barbara

Hubert Vos

Esther & Tom Wachtell

Barbara & Gary Waer

Sheila Wald

Nick & Patty Weber

Dr. Robert Weinman

Judy L Weisman

Westmont College

Victoria & Norman Williamson

Winona Fund

Wood-Claeyssens Foundation

Nancy & Byron Kent Wood

George & Judy Writer

Grace & Edward Yoon

Patricia Yzurdiaga

Katina Zaninovich

Zegar Family Fund

Cheryl & Peter Ziegler

Ann & Dick Zylstra

Gifts received by December 13, 2021

MUSIC ACADEMY OF THE WEST + CAMA AT THE GRANADA • LONDON SYMPHONY ORCHESTRA

33


Presenting the world’s finest classical artists since 1919

MUSICIANS SOCIETY

CAMA thanks our Musicians Society for their annual support.

BENEFACTORS

$500–$999

Catherine L. Albanese

Barbara Burger and Paul Munch

Sandy and Jerry Gothe

Dr. Hsiu-Zu Ho &

Dr. William A. Below

Edward O. Huntington

James and Stephanie Ingraham

Sue Larsen

Phyllis Brady & Andy Masters

Julia & Arthur Pizzinat

Monica Romero

Michael and Nancy Sheldon

Taka Yamashita

CONTRIBUTORS

$250–$499

Helen Arnold

Jyl & Allan Atmore

Howard A. Babus

Lance and Judy Boyd

Maggy Cara

Edith M. Clark

Michael & Ruth Ann Collins

Meg & Jim Easton

Claudette & Gene Geller

Nancy & Frederic Golden

Robert L. Grant

Marie-Paule & Laszlo Hajdu

Lorraine C. Hansen

Lorna S. Hedges

David and Linda James

Debbie & Frank Kendrick

Christine & James V. McNamara

Doug and Diane Morgan

Carolyn & Dennis Naiman

Maureen O'Rourke

George Porter

Gaines Post

Muriel & Ian K. Ross

Denis and Jennifer Sanan

Naomi Schmidt

Joan Tapper & Steven Siegel

Beverly & Michael Steinfeld

Heidi Stilwell

Jerre Sumter

Katherine Thomassin

ASSOCIATES

$100–$249

Anonymous

Peter and Mary Alden

Barbara Bonadeo

Margaret & David Carlberg

Joanne & John Chere

Marna Coday

Pattie & Charles Firestone

Eunice & J.Thomas Fly

Edward Gastaldo

Bernice & Harris Gelberg

Ghita Ginberg

Bradford and Ursula Ginder

Robert Hanrahan

Victoria Hendler

Emmy & Fred Keller

Anna & Petar Kokotovic

Lady Patricia & Sir Richard

Latham

Catherine Leffler

Mr. Paul Levine

Lesli and Michael Marasco

Ria S. Marsh

Barbara & Ernest Marx

Andrew Mester

Betty Meyer

Catherine & Kenneth Murphy

Carol Hawkins & Larry Pearson

Jean Perloff

Jane Roney

Sonia Rosenbaum

Dr. Paul Ryack

Alan R Schweitzer

Laura Tomooka

Mary H. Walsh

Jon and Nina Warner

Lorraine & Stephen Weatherford

Judy & Mort Weisman

Theresa & Julian Weissglass

David Yager

FRIENDS

$10–$99

Anne Ashmore

Susan Badger

Melvin and Pearl Brooks

Polly Clement

Amelia Dallenbach

Margaret & Nicholas Dewey

Sumner and Dana Fein

Nona & Lorne Fienberg

George and Leanne Friedenthal

Susan & Larry Gerstein

Elliot Gross

Betty Harwick

Ms. Martha Hassenplug

Carol Hester

Christine Hoehner

Susan S. Johnston

Ms. Jaclyn Maduff

Christine Markussen

Phillip and Pam McLendon

Sandra and Nelson Merwizer

Lori Kraft Meschler

Elisabetta Riva

Doris & Bob Schaffer

Dr. and Mrs. Stuart L Silverman

Julie & Richard Steckel

Hayley Thompson

Patricia & Edward Wallace

Fritz and Hertha Will

Gifts received by December 13, 2021

34 CAMA'S 103 RD CONCERT SEASON


Presenting the world’s finest classical artists since 1919

MUSIC EDUCATION

$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

James P. and Shirley F. McFarland Fund

of the Minneapolis Foundation

Performing Arts Scholarship Foundation

Westmont College

$100–$999

Becky & William Banning

William S. Hanrahan

Lynn P. Kirst

CAMA Education Endowment

Fund Income

$50,000 AND ABOVE

Mary Lloyd Mills

$1,000–$4,999

Linda Stafford Burrows

$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. Moore

Performing Arts Scholarship Foundation

Marjorie S. Petersen

Gifts received by December 13, 2021

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.

Presenting the world’s finest classical artists since 1919

MEMORIAL GIFTS

IN MEMORY OF

IN HONOR OF

Michelle "CoCo" Ogburn

Margaret & Ronald Dolkart

Prof. Frederick F. Lange

MaryAnn Lange

Deborah Bertling

Diane Dodds

Nancy L. Wood

David Wood

Mark Trueblood

Nancy & James Lynn

Joan Crossland, Nancy Lynn

and David Malvinni

Carolyn & Dennis Naiman

Joan Crossland

George Porter

Elizabeth Alvarez

Stephen J.M. & Anne Morris

MUSIC ACADEMY OF THE WEST + CAMA AT THE GRANADA • LONDON SYMPHONY ORCHESTRA

35


Presenting the world’s finest classical artists since 1919

BUSINESS SUPPORTERS

We thank the many businesses that support

CAMA's programs and events!

Laurel Abbott, Berkshire

Hathaway Luxury Properties

Alma Rosa Winey

Babcock Winery

James P. Ballantine

Bertling Law Group

Bibi Ji

Black Sheep Restaurant

Blue Star Parking

bouchon

Brander Vineyard

Wes Bredall

Ca' Dario Ristorante

Camerata Pacifica

Cebada Wine

The Cheese Shop

Chaucer's Books

Chocolats du CaliBressan

Custom Printing

eji experiences

Eye Glass Factory

Felici Events

Finch & Fork

Flag Factory of

Santa Barbara

Frequency Wine

Gainey Vineyard

The Good Lion

Grassini Family Vineyards

Grimm’s Bluff

Hogue & Company

Holdren's Catering

Inside Wine Santa Barbara

Kristin Jackson

Graphic Design

Jano Printing & Mailworks

Jardesca

Le Sorelle

Lumen Wines

M4 Interactive

Maravilla/Senior

Resource Group

Mercury Press International

Montecito Bank & Trust

Montgomery Vineyard

Northern Trust

Olio e Limone/Olio Crudo

Bar/Olio Pizzeria

Opal Restaurant & Bar

Opera Santa Barbara

Pacific Coast

Business Times

Pali Wine Co.

Performing Arts

Scholarship Foundation

Pete Clements Catering

Presqu’ile Winery

SAGE Publishing

Santa Barbara Foundation

Santa Barbara

Travel Bureau

The Tent Merchant

The Upham Hotel

Via Maestra 42

Westmont Orchestra


Thank You for a Successful Event!

The CAMA Women’s Board

with cocktails and hors d’oeuvres at

The Cabrillo Pavilion

Monday

March 21, 2022

5:30–7:30PM

Julian Reeve,

Hamilton,

TED Talk speaker, and author

Presenting the world’s finest classical artists since 1919


Sometimes, a Round of

Applause Just Isn’t Enough.

Northern Trust is proud to support Community Arts Music

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

meeting our clients’ financial needs while nurturing a culture

of caring and a commitment to invest in the communities we

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

TO LEARN MORE VISIT

northerntrust.com

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

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