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

MARCH 6, 1920 – MARCH 6, 2020

Nell Campbell photo ©2019 

We invite you to join the CAMA Board of Directors by 

participating in CAMA’s historic and remarkable 100th Anniversary 

Concert and Season with a Centennial Celebration Gift. Together 

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

Robert K. Montgomery, President 

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

INTERNATIONAL SERIES 

AT THE GRANADA THEATRE 

SEASON SPONSORSHIP: SAGE PUBLISHING 

Gustavo Dudamel | © Citizens of Humanity, 

courtesy of the Los Angeles Philharmonic Association 

LOS ANGELES 

PHILHARMONIC 

Gustavo Dudamel Music & Artistic Director 

Friday, March 6, 2020, 7:00PM 

The Granada Theatre, Santa Barbara

INTERNATIONAL SERIES 

AT THE GRANADA THEATRE 

ROYAL 

PHILHARMONIC 

ORCHESTRA 

JANUARY 27, 2020 

Sponsors 

Alison & Jan Bowlus 

Hollis Norris Fund 

Judith L. Hopkinson 

The Elaine & Herbert 

Kendall Charitable Trust 

Sara Miller McCune 

Co-Sponsors 

Elizabeth & Andrew Butcher 

Louise & Michael Caccese 

Jocelyne & William Meeker 

Barbara & Sam Toumayan 

100 TH ANNIVERSARY CONCERT 

LOS ANGELES 

PHILHARMONIC 

MARCH 6, 2020 

Primary Sponsor 

The Elaine F. Stepanek Foundation 

The Samuel B. And Margaret C. 

Mosher Foundation 

Sponsor 

Anonymous 

Peggy & Kurt Anderson 

Bob & Val Montgomery 

Dody & Eric Small 

Towbes Fund for the Performing Arts, 

a field interest of the Santa Barbara 

Foundation 

Co-Sponsor 

Bitsy & Denny Bacon and The Becton 

Family Foundation 

Elizabeth & Kenneth Doran 

Robert & Christine Emmons 

Stephen J.M. & Anne Morris 

2 CAMA'S 101ST CONCERT SEASON


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Marta Babson 

Co-Sponsor 

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Lynn P. Kirst 


LOS ANGELES 

CHAMBER 

ORCHESTRA 

with Sheku Kanneh-Mason 

MAY 18, 2020 

Sponsors 

Marta Babson 

Bitsy & Denny Bacon and 

The Becton Family Foundation 

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John & Ellen Pillsbury 

Co-Sponsors 


CAMA AT THE GRANADA THEATRE • LOS ANGELES PHILHARMONIC 

3

MASTERSERIES 

AT THE LOBERO THEATRE 

SEASON SPONSORSHIP: ESPERIA FOUNDATION 

STEPHEN 

HOUGH, PIANO 

OCTOBER 29, 2019 

Co-Sponsors 

Anonymous 


The Becton Family 



Elizabeth Karlsberg & 

Jeff Young 


PAMELA 

FRANK, VIOLIN 

AND STEPHEN 

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DECEMBER 11, 2019 

Principal Sponsor 

The Stephen & Carla 

Hahn Foundation 

Co-Sponsors 

Anonymous 


Craig & Ellen Parton 

EMANUEL 

AX, PIANO 

JANUARY 13, 2020 

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Anonymous 




Concert Partners 

Deborah & Peter Bertling 

Bob Boghosian & Beth 

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AND ODAIR 

ASSAD, GUITARS 

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GROSVENOR, PIANO 


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Concert Sponsors as of January 2019 



5

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

BOARD OF DIRECTORS 

(As of October 9, 2019) 

ROBERT K. MONTGOMERY 

President 

DEBORAH BERTLING 

First Vice-President & Chair, Centennial Celebration Committee 

Rosalind Amorteguy-Fendon 

Marta Babson 

Isabel Bayrakdarian 

Bitsy Becton Bacon 

Edward Birch 

Jan Bowlus 

Daniel P. Burnham 

Andy Chou 

Stephen Cloud 

NancyBell Coe 


Christine B. Emmons 

Jill Felber 

CRAIG A. PARTON 

Second Vice-President 

WILLIAM MEEKER 

Treasurer 

JOAN R. CROSSLAND 

Secretary 

Joanne C. Holderman 


Elizabeth Karlsberg 


George Messerlian 

Stephen J.M. (Mike) Morris 

Patti Ottoboni 

Carl Perry 

Judith F. Smith 

Judith H. Writer 

Deborah Bertling, 

President, CAMA Women’s Board 

Emeritus Directors 

(As of October 24, 2019) 

Russell S. Bock* 

Dr. Robert J. Emmons 

Dr. Robert M. Failing* 

Mrs. Maurice E. Faulkner* 

Léni Fé Bland* 

Arthur R. Gaudi 

Stephen Hahn* 

Dr. Melville H. Haskell, Jr.* 

Mrs. Richard Hellmann* 

Dr. Dolores M. Hsu* 

James H. Hurley, Jr. 

Herbert J. Kendall 

Robert M. Light* 

Mrs. Frank R. Miller, Jr.* 


Mary Lloyd Mills 

Mrs. Ernest J. Panosian* 

Kenneth W. Riley* 

Andre Saltoun 

Mrs. John G. Severson* 

Nancy L. Wood 

* Deceased 

Administration 

(As of June 27, 2019) 

Mark E. Trueblood 

Executive Director 

Elizabeth Alvarez 

Director of Development 

Michael Below 

Office Manager/ 

Subscriber Services 

Justin Rizzo-Weaver 

Director of Operations 

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

Special Events 

Gala 100 th Anniversary Concert: 

LA Phil + CAMA 

100 years to the date since the LA Phil's 

first performance in Santa Barbara on 

March 6, 1920! 

Gustavo Dudamel | © Citizens of Humanity, 

courtesy of the Los Angeles Philharmonic Association 

Friday Evening, March 6, 2020 

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

shared history of CAMA + LA Phil with 

Hattie Beresford, New Vic Theatre 

6:00–6:55 – Red Carpet Reception at 

The Granada Theatre for all ticket holders 

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

Los Angeles Philharmonic at 

The Granada Theatre

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

W 

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

3 

Felici Events 

t s 

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

www.felicievents.com 

805.895.3402

INTERNATIONAL SERIES at the GRANADA THEATRE 


LOS ANGELES PHILHARMONIC 

Gustavo Dudamel Music & Artistic Director 

Friday, March 6, 2020, 7:00 PM 

The Granada Theatre, Santa Barbara 

HISTORIC 100 TH ANNIVERSARY CONCERT 

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

CHARLES IVES (1874–1954) 

Symphony No.2 

Andante moderato 

Allegro 

Adagio cantabile 

Lento maestoso 

Allegro molto vivace 

(approx.40 minutes) 

ANTONÍN DVOŘÁK (1841–1904) 

Symphony No.9 in E Minor, Op.95 

Adagio—Allegro molto 

Largo 

Molto vivace 

Allegro con fuoco 

(approx.40 minutes) 

INTERMISSION 

Rolex is the Official Timepiece of the Los Angeles Philharmonic. 

Program subject to change. 

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

International Series Season Sponsor: SAGE Publishing 

Primary Sponsor: The Elaine F. Stepanek Foundation 

The Samuel B. And Margaret C. Mosher Foundation 

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

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

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

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

Special Event Sponsor: 

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

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

or sound recording is prohibited. 


9

Photo by Neil Campbell

Photo by Ryan Hunter 

LOS ANGELES 

PHILHARMONIC 

Over the course of 100 seasons, the Los 

Angeles Philharmonic has redefined what 

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

the LA Phil presents an inspiring array 

of music through a commitment to foundational 

works and adventurous explorations. 

Recognized as one of the world’s outstanding 

orchestras at home and abroad, the LA 

Phil leads the way in groundbreaking and 

diverse programming, demonstrating the 

orchestra’s artistry and vision on stage 

and in the community. 

Under the charismatic leadership of 

Music & Artistic Director Gustavo Dudamel 

since 2009, the LA Phil performs or presents 

more than 250 concerts annually at 

its two iconic venues: Walt Disney Concert 

Hall and the Hollywood Bowl. During its 

winter season at Walt Disney Concert Hall, 

with approximately 165 performances, the 


11

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LA Phil creates festivals, artist residencies, 

and other thematic programs designed to 

enhance the audience’s experience of orchestral 

music. Since 1922, its summer 

home has been the world-famous Hollywood 

Bowl, host to the finest artists from 

all genres of music. 

The orchestra’s involvement with Los 

Angeles extends far beyond the concert 

hall, with wide-ranging performances in the 

schools, churches, and neighborhood centers 

of a vastly diverse community. Among 

its influential and multifaceted learning initiatives 

is YOLA (Youth Orchestra Los Angeles), 

inspired by Venezuela’s revolutionary 

El Sistema. Through YOLA, the LA Phil 

and its community partners provide free 

instruments, intensive music instruction, 

and leadership training to nearly 1200 students 

from underserved neighborhoods, 

empowering them to become vital citizens, 

leaders, and agents of change. 

The orchestra also undertakes annual 

tours, including regular visits to New 

York, Paris, and Tokyo, among other cities. 

The Philharmonic is now the International 

Orchestral Partner at London’s Barbican 

Centre. The orchestra’s very first tour was 

in 1921, and it has toured every season 

since 1969/70. 

The LA Phil has a substantial catalog 

of recordings, including concerts available 

online, such as the first full-length classical 

music video released on iTunes. Deutsche 

Grammophon has recently released a comprehensive 

box set in honor of the orchestra’s 

Centennial. 

The Los Angeles Philharmonic was 

founded in 1919 by William Andrews Clark, 

Jr., a millionaire and amateur musician. 

Walter Henry Rothwell became its first 

Music Director, serving until 1927; since 

then, ten renowned conductors have 

served in that capacity: Georg Schnéevoigt 

(1927–1929); Artur Rodziński (1929– 

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

Wallenstein (1943–1956); Eduard van Beinum 

(1956–1959); Zubin Mehta (1962– 

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

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

(1992–2009); and Gustavo Dudamel 

(2009–present). 


13

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Photo Los Angeles Philharmonic 

GUSTAVO DUDAMEL 

Music & Artistic Director 

Gustavo Dudamel is driven by the belief 

that music has the power to transform 

lives, to inspire, and to change the world. 

Through his dynamic presence on the podium 

and his tireless advocacy for arts 

education, Dudamel has introduced classical 

music to new audiences around the 

world and has helped to provide access 

to the arts for countless people in underresourced 

communities. 

Dudamel’s 2019/20 season sees him 

enter his second decade as the Music & Artistic 

Director of the Los Angeles Philharmonic, 

where his bold programming and 

expansive vision led The New York Times to 

herald the LA Phil as “the most important 

orchestra in America – period.” Other highlights 

of the season include leading the 

Berlin Philharmonic in four concerts for the 

2020 Olympics celebrations in Tokyo, conducting 

the New York Philharmonic for a 

two-week residency at Lincoln Center, touring 

a concert version of Beethoven’s opera 

Fidelio throughout Europe with the Mahler 


15

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Chamber Orchestra (which will include the 

famed Venezuelan “Manos Blancas” choir), 

and an Italian tour with the Accademia 

Nazionale di Santa Cecilia. 

A lifelong advocate for music education 

and social development through 

art, Dudamel himself was shaped by his 

childhood experience with El Sistema, the 

extraordinary program and philosophy 

initiated in 1975 by Maestro José Antonio 

Abreu. Inspired by El Sistema, in 2007 

Dudamel, the LA Phil, and its community 

partners founded YOLA (Youth Orchestra 

Los Angeles), which now serves more than 

1,200 musicians, providing young people 

with free instruments, intensive music instruction, 

academic support, and leadership 

training. In 2020, YOLA will have its 

own permanent, purpose-built facility, the 

Judith and Thomas L. Beckmen YOLA Center, 

designed by architect Frank Gehry. 

In recognition of Dudamel’s advocacy 

for the proliferation of the arts in the Americas, 

in 2019, he was honored with a star on 

the Hollywood Walk of Fame and received 

the Distinguished Artist Award from the International 

Society for the Performing Arts 

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

Paez Medal of Art, and the Pablo Neruda 

Order of Artistic and Cultural Merit in 2018. 

In 2017, he led the Royal Stockholm Philharmonic 

in the Nobel Prize Concert in 

Sweden, where he also delivered a lecture 

on the unity of the arts and sciences. Dudamel 

was named one of Time magazine’s 

100 most influential people in 2009. 

Dudamel has reached mainstream audiences 

and achieved name recognition far 



17


Mars. Dudamel has been featured several 

times on CBS’ 60 Minutes, profiled on PBS, 

and interviewed by Christiane Amanpour 

on CNN, Conan O’Brien on Conan, Stephen 

Colbert on The Late Show, and Elmo on 

Sesame Street. This year, Dudamel and the 

LA Phil won a Grammy Award ® for their recording 

of Andrew Norman’s Sustain, their 

second Grammy together. 

Inspired by Dudamel’s early musical 

and mentoring experiences, the Gustavo 

Dudamel Foundation, a registered charity, 

was created in 2012 with the goal of promoting 

access to music as a human right 

and a catalyst for learning, integration, and 

social change. For more information about 

Gustavo Dudamel, visit his official website 

gustavodudamel.com, and dudamelfoundation.org 

and laphil.com. 

beyond the classical concert hall. He will 

conduct Bernstein’s iconic score for Steven 

Spielberg’s 2020 adaptation of West Side 

Story. At John Williams’ personal request, 

he guest-conducted the opening and closing 

credits of Star Wars: The Force Awakens 

and performed with the LA Phil at the 2019 

Academy Awards. A bona fide pop culture 

persona, Dudamel has had cameos in Amazon 

Studio’s award-winning comedy series 

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

The Nutcracker and the Four Realms, 

for which he also recorded the score. He 

became the first classical musician to participate 

in the Super Bowl halftime show in 

2016, leading members of YOLA alongside 

pop stars Coldplay, Beyoncé, and Bruno 


19

Lending Banking Investing 

ABOUT 

the program 

Symphony No.2 

Charles Ives (1874–1954) 

Composed: 1897–1902; 1907–1909 

Orchestration: piccolo, 2 flutes, 2 oboes, 

2 clarinets, 2 bassoons, contrabassoon, 4 

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

percussion (snare drum, bass drum), 

and strings 

First Los Angeles Philharmonic performance: 

August 9, 1960, with Walter Hendl 

conducting 

In the autumn of 1898, Charles Ives moved 

to New York and established a pattern that 

would be his modus operandi for the next 

ten years, that being the pursuit of two 

separate careers: composer and insurance 

clerk (later to become an executive). 

In Memos, Ives wrote that upon graduating 

from Yale in 1898, with reference to career 

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

and some nice children, how can he let the 

children starve on his dissonances?” Thus 

the practical Yankee side of his character 

won out. 

For a bachelor in turn-of-the-century 

New York, the excitement and general 

pace of life was overwhelming, and opti- 

A Young Charles Ives 

mism for the coming century was electrifying, 

literally and figuratively: the electric 

light, motor car, telephone, motion picture, 

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

then about to affect everyday existence. 

Consequently, the United States was on 

the verge of leading the world into a bright 

future of scientific, economic, and social 

progress, and New York was the hub. But 

of course, accompanying this dynamism 

and prosperity was omnipresent poverty. 

Ives was aware of this ethical dichotomy 

of technological and social advance and 

wealth on one hand, and the extreme poverty 

of urban life on the other. Mirror-like, 


21

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a ROYAL 

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

Ives simultaneously harbored in his inner 

life both the socially progressive program 

of the present and the vanishing spiritual 

world of his youth. Both these strains were 

to be synthesized in Ives’ future works, beginning 

with his Second Symphony. 

The Symphony No.2 marks the first 

major work in which Ives exercises his 

famous penchant for “borrowings” of 

well-known hymns, marches, and popular 

songs, as well quoting from his own earlier 

works for organ. In addition to these 

borrowings of American tunes emanating 

from Ives’ childhood, he also continues 

to reference European music, Dvořák 

especially, particularly the Largo from the 

“New World” Symphony with its sense of 

nostalgia. In a sense, the Symphony No.2 

is a transition piece between the pure European 

tradition of the First Symphony to the 

pure Americanism of the Third Symphony. 

A plaintive theme stated in the cellos 

begins the opening Andante moderato. Following 

various other thematic materials, it 

is restated with a fragment from “Columbia, 

Gem of the Ocean” making a brief appearance. 

The second movement is a lively 

jaunt, which is interrupted by a slow lyric 

section for strings, flutes, and oboes. Each 

of these sections is repeated; “Bringing in 

the Sheaves” is perhaps the most obvious 

borrowing in this movement. The Adagio 

cantabile puts fragments from “America 

the Beautiful” in a pastoral setting. The 

Lento Maestoso sets a tragic tone that is 

briefly disrupted by a fragment of “Columbia, 

Gem of the Ocean.” The last movement 

is a quick moving romp of brilliant contrapuntal 

writing that climaxes in a medley including 

“Camptown Races,” “Turkey in the 

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

the Ocean” that at the very end is abruptly 

cut off by a blaring fragment of “Reveille,” 

perhaps the most “Ivesian” gesture of 

the Symphony. 

—Steve Lacoste, ©2020 

Symphony No.9 

in E Minor, Op.95 

(“From the New World”) 

Antonín Dvořák (1841–1904) 

Composed: 1892–93 

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

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

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

tuba, timpani, percussion (cymbals, 

triangle), and strings. 

First Los Angeles Philharmonic performance: 

October 25, 1919, with Walter Henry 

Rothwell conducting 

Has there ever been a work so beloved, so 

recognized, and yet so impossible to give 

a fair hearing as the “New World” Symphony? 

By the mid-20th century it was so 


23

much a part of American culture that it 

was familiar to people who had never even 

heard it. So much in it has been quoted and 

rehashed that it now sounds like a cliché. 

This ultimate piece of Americana 

actually grew out of an attempt to create 

an American style of composition. To this 

end, a visionary patron of the arts named 

Jeanette Thurber founded a National Conservatory 

in New York and engaged Dvořák 

as its director. Dvořák arrived with his wife 

and two oldest children in September 1892, 

and threw himself into teaching, composing, 

and absorbing America. 

Since Dvořák was a “nationalist” who 

grounded his own music in Czech folk tradition, 

he was naturally curious about the 

folk music of America. In interviews with 

New York newspapers, he opined that the 

Antonín Dvořák in 1904 

music of native Americans and Black people 

would be the real source of folk music 

on which to base an American national 

style. His knowledge of “Indian” music 

would have come from published collections, 

filtered through the ears of white editors. 

He would have come to know black 

music from more varied sources. He made 

a special point of having Harry Burleigh, a 

black National Conservatory student who 

later became famous as a publisher of 

spirituals, sing real black music to him. 

Dvořák began the symphony in late 

1892 and finished it the following May. The 

first performance, in New York on December 

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

rehearsal and much advance press attention. 

Its reception was a major triumph, 

and it occasioned much enthusiastic discussion 

from the musical intelligentsia 

about just how American it really was. In 

the ensuing century, little has changed: the 

symphony’s popularity has endured, and 

talking about how much the “New World” 

Symphony sounded like what American 

music was before American music started 

to sound like the “New World” Symphony 

remains a favorite pastime. 

Clearly there is a lot of Bohemia in 

the Symphony. Dvořák was not going to 

change his style in nine months. But it also 

sounds different from his previous works. 

Dvořák wrote to a friend in Bohemia that 

the Symphony “will be fundamentally different 

from my earlier ones. Anyone with a 

‘nose’ for these things will detect the influence 

of America.” 


25

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But many observers, nasally challenged 

or not, have disagreed. Perhaps the 

most extreme view was voiced by Leonard 

Bernstein, who devoted a chapter of his 

1966 book The Infinite Variety of Music to 

arguing that there was virtually nothing 

American about the Symphony. Bernstein 

examined each theme of the symphony, 

identified whatever aspect of it that was 

thought to be American, and pointed out 

that there was nothing exclusively American 

about that aspect. The argument 

proves too much: Bernstein could similarly 

have “proved” that there is nothing American 

about hot dogs because they are made 

from a sausage that originated in Frankfurt. 

But his views were, as always, insightful 

and provocative. 

Dvořák insisted that while he took inspiration 

from folk music, he borrowed no 

actual melodies. The Symphony is remarkable 

for its sheer number of memorable 

tunes: nearly all of them are the sort that 

you hum going home from the concert. For 

just this reason, the Symphony sometimes 

gives short shrift to symphonic development: 

it needs less compositional craft 

because the sheer melodic invention is 

so inspired. 

Everything Dvořák touched here turned 

to gold. Even when he dealt with a practical 

structural problem—how to go from E 

minor, the key in which the first movement 

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

without jolting the listener’s ear—his solution 

was haunting: the seven magical 

chords that begin the second movement 

are unforgettable, though they appear only 

four times, including a curtain call in the finale. 

It’s easy to conclude that Dvořák kept 

bringing themes back in later movements 

not for purposes of unity, but because he 

couldn’t bear to part with them. 

Several sources close to Dvořák said 

that the slow movement was inspired by 

episodes in Longfellow’s Song of Hiawatha, 

which Dvořák had read in a Czech translation 

and, at Mrs. Thurber’s suggestion, 

was considering as the subject of an opera. 

Some of the movement may even have 

started as sketches for such an opera. But 

the sources do not agree on which part(s) 

of Hiawatha Dvořák may have had in mind, 

and the principal theme, the English horn’s 

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

character of a black spiritual, but it betrays 

its high-art origins when it modulates into 

the subdominant, a bit of harmonic sophistication 

uncommon in real spirituals. Years 

later, one of Dvořák’s National Conservatory 

students, a white man named William 

Fisher, gave it words and turned it into a 

song called “Goin’ Home” that was popular 

for many years. Bernstein, again overstating 

his case, noted: “It evokes for us the 

picture of field hands, plantation workers 

crooning in the moonlight, Gone with the 

Wind, what have you—but only because we 

have heard it so constantly played or sung, 

in the movies or on the radio or wherever, 

in practically every southern situation. (If 

we were to put Czech words to it, it would 


27

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sound fully as Czech as American, or with 

Chinese words it would sound Chinese.)” 

Dvořák said that the Scherzo was inspired 

by Longfellow’s description of the 

dance at Hiawatha’s wedding feast. But 

its material is the most characteristically 

Czech in the symphony. The rhythm of the 

woodwinds’ perky first theme is typical of 

the Czech language and is found in Czech 

folk songs. (There is nothing folky about 

the insistent rhythmic pull of three against 

two that yanks the theme along.) The lilting 

middle section could pass for one of 

Dvořák’s Slavonic Dances. 

The finale begins as a normal sonata 

movement, but somewhere in the development 

becomes something else. Much of 

what it develops is thematic material from 

the first three movements. Finally, there’s 

that unmistakable boogie-woogie walking 

bass just before the final chords: is it 

a transformation of the first movement’s 

main theme, or had Dvořák actually heard 

some ragtime pianist? Either explanation 

is possible, historically speaking, but 

neither is probable. Genius is often hard 

to explain. 

—Howard Posner, ©2020 

One hundred years ago, 

the founders of the 

Civic Music Committee 

that would become 

CAMA chose to invest 

in the cultural life 

of the Santa Barbara 

community and invited 

the brand-new Los Angeles Philharmonic 

to perform. Through peace time and war, 

economic booms and busts, the relationship 

of our two organizations has continued 

and grown. We are proud to continue this 

great partnership as we both enter our 

second centuries, and we are honored to 

mark the occasion of our first concert with 

CAMA on March 6. 

–Chad Smith 

Chief Executive Officer, 

David C. Bohnett Chief Executive Officer Chair 

Los Angeles Philharmonic Association 

On behalf of the Board of Directors of 

Community Arts Music Association (CAMA), 

thank you Santa Barbara for supporting 

the world’s finest classical artists for 100 

years which is truly a remarkable milestone 

for a town of our size. We extend our 

gratitude to our many generous sponsors 

and contributors, to our loyal subscribers, 

and to the greater CAMA community. 

We are especially grateful to share this 

momentous occasion with Maestro Gustavo 

Dudamel and the Los Angeles Philharmonic 

with whom we proudly share 100 years of 

music together. We 

deeply appreciate our 

century-long relationship 

with the LA Phil, and we 

look forward to a 

marvelous partnership 

as we begin Our 

Second Century 

together. BRAVO! 

–Robert K. Montgomery 

President and Centennial Circle Chair 


29


Gustavo Dudamel 

Music & Artistic Director 

Walt and Lilly Disney Chair 

Zubin Mehta 

Conductor Emeritus 

Esa-Pekka Salonen 

Conductor Laureate 

Susanna Mälkki 

Principal Guest Conductor 

Ann Ronus Chair 

Paolo Bortolameolli 

Associate Conductor 

John Adams 

John and Samantha 

Williams Creative Chair 

FIRST VIOLINS 

Martin Chalifour 

Principal Concertmaster 

Marjorie Connell Wilson Chair 

Nathan Cole 

First Associate 

Concertmaster 

Ernest Fleischmann Chair 

Bing Wang 

Associate 

Concertmaster 

Barbara and Jay Rasulo Chair 

Akiko Tarumoto 

Assistant Concertmaster 

Philharmonic Affiliates Chair 

Michele Bovyer 

Deanie and Jay Stein Chair 

Rochelle Abramson 

Camille Avellano 

Margaret and Jerrold L. 

Eberhardt Chair 

Minyoung Chang 

I.H. Albert Sutnick Chair 

Miika Gregg 

Jordan Koransky 

Mischa Lefkowitz 

Edith Markman 

Mitchell Newman 

Mark Houston Dalzell and 

James Dao-Dalzell Chair 

for Artistic Service to the 

Community 

Rebecca Reale 

Stacy Wetzel 

Justin Woo 

SECOND VIOLINS 

Lyndon Johnston Taylor 

Principal 

Dorothy Rossel Lay Chair 

Mark Kashper 

Associate Principal 

Kristine Whitson 

Johnny Lee 

Dale Breidenthal 

Ingrid Chun 

Jin-Shan Dai 

Tianyun Jia 

Chao-Hua Jin 

Nickolai Kurganov 

Guido Lamell 

Varty Manouelian 

Yun Tang + 

Michelle Tseng 

Suli Xue 

Gabriela Peña-Kim * 

VIOLAS 

Teng Li 

Principal 

John Connell Chair 

Dale Hikawa Silverman 


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 


Sadie and Norman Lee Chair 

Dahae Kim 


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 


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 


Mr. and Mrs. H. Russell 

Smith Chair 

Elise Shope Henry 

Mari L. Danihel Chair 

Sarah Jackson 

Piccolo 

Sarah Jackson 



OBOES 

(Vacant) 

Principal 

Contrabassoon 

Evan Kuhlmann 

HORNS 

James Miller 


Judith and Thomas L. 

Beckmen Chair 

PERSONNEL 

MANAGER 

Jeffrey Neville 

Marion Arthur Kuszyk 


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 


Andrew Lowy 

David Howard 

E-Flat Clarinet 

Andrew Lowy 

Bass Clarinet 

David Howard 

BASSOONS 

Whitney Crockett 

Principal 

Shawn Mouser 


Michele Grego 

Evan Kuhlmann 

Andrew Bain 

Principal 

John Cecil Bessell Chair 

Jaclyn Rainey 


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 


Nancy and Donald 

de Brier Chair 

Christopher Still 

Ronald and Valerie 

Sugar Chair 

Jeffrey Strong 

TROMBONES 

David Rejano Cantero 

Principal 

Paul Radke 

Bass Trombone 

John Lofton 

TUBA 

Norman Pearson 

TIMPANI 

Joseph Pereira 

Principal 

Cecilia and Dudley 

Rauch Chair 

PERCUSSION 

Matthew Howard 

Principal 

James Babor 

Perry Dreiman 

Wesley Sumpter * 

KEYBOARDS 

Joanne Pearce Martin 

Katharine Bixby 

Hotchkis Chair 

HARP 

Lou Anne Neill 

LIBRARIANS 

Kazue Asawa McGregor 

Benjamin Picard 

Stephen Biagini 

KT Somero 

CONDUCTING 

FELLOWS 

Hilo Carriel 

Marta Gardolinska 

Enluis Montes Olivar 

Anna Rakitina 

* 

Resident Fellows 

+ 

on sabbatical 

The Los Angeles 

Philharmonic string 

section utilizes revolving 

seating on a systematic 

basis. Players listed 

alphabetically change 

seats periodically. 

In those sections where 

there are two principals 

the musicians share the 

position equally and are 

listed in order of length 

of service. 

The musicians of 

the Los Angeles 

Philharmonic are 

represented by 

Professional Musicians 

Local 47, AFM. 


31

Presenting the world’s finest classical artists since 1919 

MASTERSERIES AT THE LOBERO THEATRE 

SEASON SPONSORSHIP: ESPERIA FOUNDATION 

MARCH 

13 

FRI, 8:00 PM 

2020 

BENJAMIN 

GROSVENOR piano 

©Operaomnia.co.uk 

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

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

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

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

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

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

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

concert will mark his Santa Barbara recital debut. 

PROGRAM: 

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

SCHUMANN: Kreisleriana, Op.16 

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

LISZT: Sonata in B Minor, S.178 

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

Concert Partner: Stephen Cloud 

TICKETS (805) 963-0761 lobero.com

Celebrating 100 

with Betty Meyer and Natalie Myerson! 

CAMA Centennial Celebration Chair and First Vice President, 

Deborah Bertling; Betty Meyer; Past President, Judith Hopkinson 

Mrs. Raymond King Myerson; CAMA Board 

Member Elizabeth Karlsberg; Bette Myerson 

Any musical organisation reaching its 100th birthday is 

most likely older than anyone performing or listening 

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

promises to be as cherishable. Huge congratulations on 

this wonderful milestone. 

–Stephen Hough 


33

PERSONALIZED AND PASSIONATE REPRESENTATION 

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 


Wallenstein 

Doráti 

Solti Eichheim Klemperer 

CAMA + LA PHIL 

history at THE GRANADA 

© Rothschild 

© SB Historical Society 

Zubin Mehta 

Santa Barbara’s historic Granada 

Theatre, opening first in 1924, has an 

intimate connection to both CAMA and 

the Los Angeles Philharmonic. First presented 

in Santa Barbara by the Civic Music Committee 

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

the Los Angeles Philharmonic gave the CAMA 

archives’ first documented Granada concert 

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

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

April 21, 1976, with Zubin Mehta conducting a 

program of Mozart and Mahler. In between, CAMA 

presented the LA Phil in dozens of concerts at 

the Granada—48 concerts during the 1950s alone. 

More than 40 conductors led the Los 

Angeles Philharmonic as Music Director or guest 

conductor in concerts at the Granada Theatre 

from 1925–1976, including (in chronological 

order) Henry Eichheim, Otto Klemperer, Alfred 

Wallenstein, Bruno Walter, George Szell, Igor 

Stravinsky, John Barnett, Georg Solti, Erich 

Leinsdorf, Karl Böhm, John Barbirolli, Eugen 

Jochum, Hans Schmidt-Isserstedt, Zubin Mehta, 

Rafael Kubelik, Rafael Frühbeck de Burgos, Antal 

Doráti, Daniel Barenboim, Michael Tilson Thomas, 

Carlo Maria Giulini, André Previn, and more. 

CAMA’s historic presentations at the Granada 

include other world-class orchestras as well— 

such as the Berlin Philharmonic, Concertgebouw 

Orchestra, New York Philharmonic, Philadelphia 

Orchestra, and more. 

After 32 years at the Arlington Theatre, 

CAMA’s orchestra series returned to The Granada 

Theatre on May 3, 2008 with a concert by none 

other than the LA Phil! • 


-7- 

35

Excerpt from 

Celebrating CAMA's Centennial 

By Hattie Beresford 

Blue Point Books (2018) 

©2018, Community Arts Music Association 


Bringing the Music 

After WWI, several people in town sought 

to introduce talented professionals and 

great music to Santa Barbara. One such 

person was Clara E. Herbert, who presented 

the Philharmonic Course and Artists 

Series for the Potter Theatre. This program 

brought well-known solo artists, musical 

ensembles, and orchestras to town, generally 

for the winter-spring season. Clara 

Herbert solicited subscribers and season 

ticket holders, and her concerts were always 

favorably reviewed. 

By December 1921, the Morning Press 

was able to say, “The Philharmonic season 

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

Santa Barbara’s musical activities. Mrs. 

C.E. Herbert, who has arranged for the 

series of vocal and instrumental affairs, 

has been frequently mentioned as the 

leading spirit of the musical world here.” 

In the early 1920s, Clara Herbert brought 

performers like the great bandleader John 

Philip Sousa and Metropolitan Opera Company 

soprano Anna Case to the stage of 

the Potter Theatre. She continued to be a 

vital part of the movement to bring excellent 

music and artists to Santa Barbara for 

nearly 40 years. 

In 1919 another such organization, the 

Civic Music Committee, was formed. It, too, 

planned to bring the best of the orchestral 

and classical music world to Santa Barbara. 

Its first season opened with the performance 

of the Los Angeles Symphony Orchestra 

directed by Adolf Tandler. Backed 

by a generous group of patrons, the Civic 

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

on bringing the best orchestral and classical musicians 

to Santa Barbara. The Committee opened its first season 

with the Los Angeles Symphony Orchestra. Courtesy 

Santa Barbara Historical Museum 

Music Committee believed that music not 

only gave pleasure but had a high educational 

value as well. 

The Board of Directors of the Civic 

Music Committee included members 

whose devotion to civic improvements and 

patronage of the arts was unparalleled. 

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

of a physician; Mrs. John Hopkins (Pearl) 

Denison; Samuel Ilsley, local architect; and 

David Gray, to name just a few, were involved 

in multiple cultural and community 

organizations of the time. The list of the 

guarantors for the Civic Music Committee’s 


37

concert series looked like a veritable 

Who’s Who of Santa Barbara and Montecito 

society. Nearly every prominent philanthropist 

in town supported the organization. 

From the five “Hilltop Barons” (Cowles, 

Knapp, Peabody, Gray, and Billings) in 

Montecito to the Hoffmanns, Blacks, and 

Hazards in town, at its height over 90 

patrons sponsored the Civic Music Committee 

in bringing great music to Santa 

Barbara audiences. 

The hit of that first season, however, 

and all seasons thereafter, was the muchanticipated 

concert of the newly-formed 

Philharmonic Orchestra of Los Angeles, 

which took to the Potter stage on Monday, 

March 6, 1920. Bertha Soper was directly 

responsible for introducing the LA Phil to 

Santa Barbara. She had promoted the symphony 

to influential residents in the area, 

especially Samuel M. Ilsley, who became 

chairman of the Santa Barbara Regional 

Board of the new orchestra. 

William Andrews Clark, Jr. 

and the Philharmonic 

Orchestra of Los Angeles 

At the beginning of June 1919, William 

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

King and controversial U.S. Senator, 

invited Lynden E. Behymer, ardent cultural 

promoter and founder of the Los Angeles 

Symphony Orchestra, to his home in Los 

Angeles. Clark wanted to know how he 

would go about forming a symphony orchestra 

of 90 or more men for a series of 

concerts in Los Angeles and vicinity. He 

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

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

Historical Museum 


wanted Behymer to assist him in this endeavor; 

in other words, to make it happen. 

“I informed Mr. Clark,” Behymer wrote 

in a 1922 article for Pacific Coast Musical 

Review, “that this wholesale order was of 

such proportions and demanded such 

careful preparation with the season already 

far advanced, that it was almost 

an impossibility….and, unless at least five 

years of continuous life could be guaranteed, 

it would be impossible to secure a 

fine membership.” 

Clark and Behymer spoke for several 

hours about the financial and other hurdles 

that needed to be overcome to create such 

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

“this splendid patron of fine arts quietly 

said that he was prepared to place at the 

disposal of the Philharmonic Orchestra 

Association of Los Angeles a yearly check 

sufficient to cover any deficit that might 

occur—a gracious tribute to the music lovers 

of Los Angeles.” 

William Andrews Clark, Jr. had grown 

up in Montana, earned a law degree from 

the University of Virginia, and directed 

minor industries with his father’s financing. 

He moved to Los Angeles in 1907, but 

served as the vice president of the family’s 

United Verde Mines in Arizona. Money, as 

they say, was not an issue. Clark Senior 

was a patron of art and music in Montana 

and New York. He had sponsored his young 

ward, Anna La Chapelle, in music studies in 

Paris, where she studied the harp. It was 

in France, too, where she secretly married 

Clark Senior and gave birth to their first 

In 1919, William Andrews Clark, Jr. founded the 

Philharmonic Orchestra of Los Angeles, known today as 

the LA Phil. Courtesy Los Angeles Philharmonic Archives 

In June 1919, William Andrews Clark, Jr. consulted 

Los Angeles Symphony Orchestra founder Lynden E. 

Behymer (center) about the process of creating his own 

90-member symphony orchestra. The two engaged in 

an hours-long conversation about the financial and 

logistical hurdles involved. Charles E. Young Research 

Library, UCLA 


39

daughter, Andrée. 

In November 1923, Clark Senior, who 

had rented the Bellosguardo estate on 

Booth’s Point in Santa Barbara for the 

winter, decided to buy it. He offered Lee 

Eleanor Graham $250,000 for the estate, 

and she, recently divorced and in financial 

straits, accepted with alacrity. Clark Senior 

would not enjoy his winter home for long, 

however, as he died 15 months later at his 

mansion in New York. 

Clark Junior was a skilled violinist and 

collector of rare books, especially 17th and 

18th century English literature. He built a 

Renaissance-style library with, appropriately 

enough, copper shelving for his collection. 

Having established Los Angeles 

as his home and realizing that most of his 

income derived from Western properties, 

Clark Junior wanted to contribute to the 

cultural institutions of his adopted home. 

Behymer took up the cause and soon 

realized that Clark’s knowledge of symphonic 

literature was extensive. “During 

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

Clark was very active in consultations regarding 

the employment of the various 

musicians who were to occupy the solo 

and first chairs; his intimate knowledge of 

composers was shown in the selection of 

the well assorted library of the new orchestra.” 

As the summer progressed and the orchestra 

rehearsed, Clark was often found 

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

Friday afternoon, October 24, and Saturday 

evening, October 25, 1919, what had 

seemed impossible happened; conductor 

Walter Henry Rothwell raised his baton, 

and the Philharmonic Orchestra of Los Angeles, 

after only a five-month gestation period, 

rose fully formed and played its first 

concerts to packed houses. 

That first season, the orchestra played 

dozens of concerts, both symphonic and 

popular, and brought music to schools 

and other venues in Southern California. 

In March 1920, a full three years before 

Clark Senior purchased his estate in Santa 

Barbara, the Los Angeles Philharmonic 

Orchestra arrived at the Potter Theatre, 

where music lovers anxiously awaited 

their performance. 

The Morning Press headline for March 

6 trumpeted, “PHILHARMONIC ORCHES- 

TRA HERE IN CONCERT.” The writer reported, 

“This is a red-letter day in the musical 

history of Santa Barbara because the 

much-heralded Philharmonic orchestra of 

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

make its initial appearance here this evening 

at the Potter theatre…. The orchestra 

has been a decided factor in the musical 

life of Los Angeles, and judging from the 

crowds who have flocked to the concerts, 

it is destined to continue many years as an 

important item in the artistic circle.” 

Rothwell was lauded as a conductor 

with a fine inner urge of spirit which flows 

through his hands, passes to his musicians, 

and carries them along with him on 

the wave of his own creative reasoning. 

“And how the men respond to this magnificent 

leader!” enthused the writer. Concertgoers 

were warned that Rothwell would 

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

out of fairness to those who had made the 


effort to be seated in time to enjoy the entire 

performance. 

The orchestra was comprised of 89 

men and one woman, a harpist, plus the 

conductor. The first program ever given in 

Santa Barbara was: 

Schubert – Symphony No. 8 in B 

minor (“Unfinished”). 

I. Allegro moderato. 

II. Andante con moto. 

Debussy – Two Nocturnes. 

Nuages (Clouds). 

Fêtes (Festivals). 

Wagner – Overture to “Tannhäuser” 

Intermission. 

Liszt – Symphonic Poem No. 4 “ 

Orpheus.” 

Lalo – Concerto for Violoncello and 

Orchestra. 

II. Intermezzo. Andante con moto. 

III. Rondo. Andante - 

Allegro vivace. 

Ilya Bronson - cello 

Chabrier – Rhapsody “España.” 

The reviews were highly positive and 

resorted to poetic imagery in an attempt 

to describe the musical compositions. 

“The descriptive numbers from Debussy 

were exquisitely and colorfully executed,” 

wrote the reviewer. “One did not need to 

draw heavily upon one’s imagination to 

picture fleecy clouds, driving lazily over 

the blue of heaven or rolling stormily about 

in wind driven banks, for the rendition of 

Nuages.” Other movements evoked images 

of “fun mad people frolicking about in a 

Walter Henry Rothwell was the first Music Director of 

the Los Angeles Philharmonic. Courtesy Los Angeles 

Philharmonic Archives 

moonlit street” and “laughter floating in 

joyful clamor.” 

The orchestra was so large, however, 

that the Potter Theatre’s stage could 

barely hold them. Several members of the 

orchestra were not visible as they sat in 

the wings. Nevertheless, the Philharmonic 

Orchestra of Los Angeles, today known as 

the LA Phil, continued to play concerts at 

the Potter Theatre until the construction of 

the Granada Theatre gave them the space 

they needed. 

After the concert, the directors of the 

orchestra were entertained with a supper 

at the Montecito Country Club given by 

the directors of the Civic Music Committee. 

The next day, Lawrence Adler, director 

of the music department at the Deane 

School, hosted a luncheon at the exclusive 

El Mirasol Hotel for Mr. and Mrs. Rothwell. 


41

With three musical events to its credit and 

one to go (a concert of chamber music 

by the Flonzaley Quartet on April 10) the 

Civic Music Committee had established 

itself as a significant force in the musical 

life of the city. 

Though the work of the Civic Music 

Committee was taken over by the Community 

Arts Music Branch in 1926, they 

had established a long-standing relationship 

between Santa Barbara and the 

Philharmonic Orchestra of Los Angeles. 

March 2020 marks the 100th anniversary 

of the LA Phil’s first performance in Santa 

Barbara, thanks to the Community Arts 

Music Association (CAMA), which has carried 

forth the torch that was lit so many 

years ago. 

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

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


The Potter Theatre 

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

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


At the beginning of the 20th century, Santa 

Barbara’s venerable Lobero Opera House 

was outdated and in poor repair. In January 

1906, the Morning Press announced that a 

group had formed which planned to build a 

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

They purchased a lot on the southwest 

corner of State and Montecito Streets and 

agreed to name it the Potter Theatre when 

Milo Potter offered to donate a fireproof 

asbestos curtain if the theater would be 

named after his hostelry. They estimated 

construction would cost $75,000. 

Santa Barbara watched avidly as a 

three-story theater arose on the plot. Large 

living suites were built on the second and 

third floors above the entrance lobby, a 

grocery store opened on one side of the 

lobby, and a bar on the other. The granting 

of a liquor license for the theater did 

not go unopposed, but Joseph A. Raffetto 

was able to establish his business by mid- 

February 1907. 

Loges and stage boxes on the main 


43

floor seated 661 and the balcony and gallery 

held 514 more. There were large and 

airy dressing rooms for performers and a 

75-foot tower to hold scenery. Not everyone 

was pleased with the drop curtain, 

which was painted to include advertisements. 

Members of the Women’s Club 

and other citizens protested, saying that 

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

cheapened in this manner. Some even announced 

that they would boycott any business 

that advertised on its curtain. 

The Potter opened on January 29, 

1907 with the musical comedy The Umpire, 

which at the time had the prestige of having 

had the longest run in the history of 

Chicago theater, 350 consecutive nights. 

Reviews said the music was catchy, voices 

excellent, and costumes effective. Costumes 

of the elegantly dressed women 

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

Barbara Historical Museum 


in the audience took up several inches of 

column space as one stunning outfit after 

another was meticulously described by the 

media. The reporter opined that a crushed 

strawberry creation vied with a lavender 

chiffon gown trimmed with Irish lace for 

best of show. 

The second production was The Ham 

Tree with 23 speaking parts and nearly 100 

members in the cast, which included W.C. 

Fields, who, reported the Morning Press, 

“has just made a wide reputation as ‘the 

tramp juggler’ on the vaudeville stage.” 

In 1910, Potter Theatre manager Henriette 

Spader introduced a more refined 

program of entertainment to the theater 

when she established the Philharmonic 

Course and Artists Series. Supported 

by subscription, the programs brought 

world-class music and artists to the 

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

any business that advertised there. Courtesy Santa Barbara Historical Museum 


45

Potter stage. Clara E. Herbert took over in 

1914, and by 1921 she was considered the 

backbone and leading spirit of the musical 

world in Santa Barbara. 

In late 1919, another group formed. 

The Civic Music Committee intended to 

bring the very best in orchestral and classical 

music to Santa Barbara. In their first 

season of 1919-1920, they brought four 

concerts to Santa Barbara, all of which 

played at the Potter Theatre. The concert 

in March drew the most excitement, for it 

was performed by William Andrews Clark, 

Jr.’s newly-formed Philharmonic Orchestra 

of Los Angeles. 

In 1920, the Potter Theatre became 

inextricably entwined with the Community 

Arts Association, whose initial aim 

was to develop local talent in the writing 

and acting of plays. Starting with a series 

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

Philharmonic Course and Artists Series, which brought 

several nationally and internationally renowned artists 

to the venue. Courtesy Santa Barbara Historical Museum 

Founded in 1919, the Civic Music Committee brought 

the Philharmonic Orchestra of Los Angeles to the 

Potter stage three times for the 1924/25 season. 

CAMA Archives 


of one-act plays, the Community Arts 

Players (later named the Drama Branch) 

were soon producing full-length dramas 

as well as extravaganza performances, 

like Albert Herter’s 1921 production of 

Debussy’s Pelléas and Mélisande, and drawing 

rave reviews. 

Then, on June 29, 1925 a 6.3 magnitude 

earthquake roared through Santa 

Barbara, toppling much of its business 

district. The Potter Theatre was a complete 

loss. With two new theaters completed 

the previous year, the new Lobero and 

the Granada, it seemed futile to consider 

rebuilding. After 18 short years and thousands 

of performances on its stage, the 

Potter Theatre went dark forever. Today, 

the site is obscured by Highway 101 and 

the State Street underpass. 

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



47

CAMA + LA PHIL 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


COUNTING CONCERTS 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


49

The International Dance Event of the Season! 

France’s National Treasure Makes its Only West Coast Appearance 

Lyon Opera Ballet 

“Trois Grandes Fugues” 

Celebrate Beethoven’s 250th birthday 

with three interpretations of his 

beloved masterpiece “Grosse Fuge” 

by three international 

choreographers. 

America’s 

Lucinda Childs 

France’s 

Maguy Marin 

photos: Bertrand Stofleth 

Belgium’s 

Anne Teresa De Keersmaeker 

Presented in association with the UCSB Department of Theater and Dance 

Presented through the generosity of the 

Albert & Elaine Borchard Foundation 

Corporate Sponsor: 

Dance Series Sponsors: 

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

Irma & Morrie Jurkowitz, Barbara Stupay, and Sheila Wald 

Corporate Season 

Sponsor: 

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

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

A Granada facility fee will be added to each ticket price 

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

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

“It’s always been a 

great pleasure for 

me to perform on the 

CAMA series, and 

I’m looking forward to 

many more visits. 

I send you my heartiest 

congratulations 

on your centennial 

season. Bravo!” 

Lisa-Marie MAzzucco photo 

—ITZHAK PERLMAN, CO-CHAIR, 

CAMA CENTENNIAL 

HONORARY ARTISTS COUNCIL 

centennial honorary artists council 

Itzhak Perlman 

honorary co-chair 


honorary co-chair 

Vladimir Ashkenazy 

Isabel Bayrakdarian 

Joshua Bell 

Alfred Brendel 

Renée Fleming 

Daniele Gatti 

Richard Goode 

Hilary Hahn 

Stephen Hough 

Olga Kern 

Lang Lang 

Jerome Lowenthal 

Zubin Mehta 

Anne-Sophie Mutter 

Sir András Schiff 

Peter Serkin 

Leonard Slatkin 

Christian Tetzlaff 

Jean-Yves Thibaudet 

Chris Thile 

Michael Tilson Thomas 

Dawn Upshaw 

André Watts 

Pinchas Zukerman 


51

CAMA: WHO WE ARE TODAY 

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

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

CORE PROGRAMS FOR OUR COMMUNITY 

INTERNATIONAL 

SERIES 

at The Granada Theatre 

Presenting the world’s 

greatest orchestras, 

conductors and soloists 

from around the world 

MASTERSERIES 

at The Lobero Theatre 

Presenting the 

finest national and 

international artists and 

chamber ensembles 

MUSIC EDUCATION 

Music Matters 

Docent Program to area 

elementary schools 

Tickets to concerts 

for high school, 

college students and 

the underserved 

Any musical organisation reaching 

its 100th birthday is most likely older 

than anyone performing or listening 

there. Its memories are rich and, with 

CAMA, its future promises to be as 

cherishable. Huge congratulations on 

this wonderful milestone. 

–Stephen Hough 


EACH AND EVERY GIFT 

ENRICHES THE FUTURE OF CAMA! 

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

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

There are many ways to support CAMA's CENTENNIAL CELEBRATION 

Centennial 

Gift Fund 

Endowment 

Fund 

Planned 

Giving 

Options 

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

for more information. 

(805) 966-4324 x 104 

Elizabeth@camasb.org 


53


CAMA ENDOWMENT 

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

bringing live performances by world-renowned classical 

artists and orchestras of the highest artistic excellence to 

our community and by providing creative, focused music 

education programs for individuals of all ages. 

CAMA thanks and honors the following members of 

the CAMA community who have contributed to CAMA’s 

Endowment. A commitment to CAMA’s Endowment 

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

every level are deeply appreciated. 

James H. Hurley and Judith L. Hopkinson 

Co-Chairs Endowment

CONDUCTOR'S CIRCLE 

$500,000 and above 

Suzanne & Russell Bock 

Linda Brown* 

SAGE Publishing 

Elaine Stepanek 

Esperia Foundation 

CRECENDO CIRCLE 

$250,000—$499,999 

The Andrew H. 

Burnett Foundation 


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 


The Towbes Fund for 

the Performing Arts 


RONDO PATRONS 

$50,000—$99,999 

Ruth Appleby 


Linda & Peter Beuret 


Dr. Dolores M. Hsu 


The Samuel B. & Margaret C. 

Mosher Foundation 

Santa Barbara Bank & Trust 

Nancy & Byron Kent Wood 

CONCERTO PATRONS 

$25,000—$49,999 

Jane Catlett 


Suzanne Faulkner 

Léni Fé Bland 



Hutton Parker Foundation 


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

The Henry E. & Lola 

Monroe Foundation 

Efrem Ostrow Living Trust 


Diana & Roger Phillips 

Linda Stafford Burrows 

The Walter J. & Holly O. 

Thomson Foundation 


SONATA PATRONS 

$10,000—$24,999 

Rebecca & Peter Adams 

Denise & Stephen Adams/ 

Adams Family Foundation 

Else Schilling Bard 

Edward & Sue Birch 

Frank Blue & Lida Light Blue 

Bob Boghosian & 

Beth Gates-Warren 


The CAMA Women's Board 

Virginia Castagnola-Hunter 

Margo Chapman 

NancyBell Coe & William Burke 

Karen Davidson, M.D. 

Nancyann & Robert Failing 


& Ronald Fendon 

Priscilla & Jason Gaines 


Sherry & Robert Gilson 

Lorraine C. Hansen 

Mary & Campbell Holmes 

Patricia Kaplan 

Winona Fund 

Mahri Kerley/Chaucer's Books 

Lynn P. Kirst 

Laura Kuhn 

John Lundegard 

Keith Mautino 

Jayne Menkemeller 

Betty Meyer 

Mary & James Morouse 

Myra & Spencer Nadler 

Pat Hitchcock O'Connell 

John Perry 

Marjorie & Hugh Petersen 


Susannah Rake 

Michele & Andre Saltoun 

Anitra & Jack Sheen 

Sally & Jan E.G. Smit 

Anonymous 

Constance Smith 

The Elaine F. Stepanek 


Betty J. Stephens 


Marilyn Vandever 

Barbara & Gary Waer 

David & Lisa Wolf 

Endowment gifts up to $9,999 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I am passionate about my 

commitment to CAMA 

and the century of great classical music that 

the organization has brought to Santa Barbara. 

My husband, Denny, and I continue to enjoy 

the world’s finest orchestras, conductors and 

artists performing right here close to home. 

I am pleased to participate in our Centennial 

Campaign in two ways. I support critical 

annual income, sponsoring our concerts and 

celebrations. Since a strong endowment is a 

necessity, not a luxury, I have also increased 

my Planned Gift to CAMA’s Endowment. Please 

join me by giving a generous gift in celebration 

of CAMA’s Centennial, supporting the present 

and ensuring the future! 

Bitsy Bacon, Past President 

CAMA gratefully acknowledges a generous gift 

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

recipient of the Mozart Award 2020 


Deborah Bertling, Centennial Celebration Chair, with Joshua Bell 

Please consider CAMA in your Planned Giving. 

We thank and acknowledge these generous members 

of the CAMA Community for remembering CAMA 

in their estate plans! 

Rebecca & Peter Adams 




Linda & Peter Beuret 

Frank Blue & Lida Light Blue 

Linda Brown 


Virginia Castagnola-Hunter 

Jane Catlett 


Karen Davidson, M.D. 



& Ronald Fendon 

Mary & Raymond Freeman 

Priscilla & Jason Gaines 


Lorraine C. Hansen 




Dr. Dolores M. Hsu 

Shirley Ann & James H. Hurley, Jr. 

Herbert & Elaine Kendall 

Mahri Kerley/Chaucer's Books 

Lynn P. Kirst 


John Lundegard 

Keith Mautino Moore 


Myra & Spencer Nadler 


Diana & Roger Phillips 


Andre & Michele Saltoun 




Marilyn Vandever 

Barbara & Gary Waer 

Nancy & Byron Kent Wood 


57

YOU CAN LIVE ON 

YOUR OWN... 

SAFELY. 

HAPPILY. 

BEAUTIFULLY. 

Musette Profant 

Certified Age-In-Place Designer 

USC Architecture Alumna 

Licensed Contractor & Crew 

Simple Hourly Rates 

No Mark-Ups 

“ 

Life-Changing Design! 

” 

- D.S., Montecito 

PLEASE CALL FOR SPECIAL CAMA RATES! 

Sterling Sites 

Quick Home Facelifts & Custom Remodels 

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

MUSIC EDUCATION 

MUSIC EDUCATION PROGRAM 

$25,000 and above 

The Walter J. & Holly O. Thomson Foundation 

$10,000–$24,999 

Ms. Irene Stone/ Stone Family Foundation 


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

The Henry E. & Lola Monroe Foundation 

$1,000–$9,999 

CAMA Women's Board 

William H. Kearns Foundation 

Stefanie L. Lancaster Charitable Foundation 


Performing Arts Scholarship Foundation 

Westmont College 

$100–$999 

Becky & William Banning 

William S. Hanrahan 

Lynn P. Kirst 

James P. and Shirley F. McFarland Fund 

of the Minneapolis Foundation 

CAMA Education Endowment 

Fund Income 

$10,000 AND ABOVE William & Nancy Myers 

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

This opportunity to experience great musicians excelling is 

given in honor and loving memory of Frederika Voogd Burrows 

to continue her lifelong passion for enlightening young people 

through music and math. 

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

Walter J. Thomson/The Thomson Trust 

$50–$999 

Lynn P. Kirst 

Keith J. Mautino 

Performing Arts Scholarship Foundation 

Marjorie S. Petersen 

IN HONOR OF 

Joan Crossland 

NancyBell Coe & Bill Burke 

Carolyn & Dennis Naiman 

Nancy Lynn 


David Malvinni 


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

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

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

MEMORIAL GIFTS 

Elaine Kendall 

NancyBell Coe & William Burke 

and Sara Miller McCune 

Dr. Dolores M. Hsu, PhD. 

Jill Felber & Paul A. Bambach 

Nancy Cudahy 

Betty Meyer 

David Marks 

Bridget Colleary 

Sharon Felber Taylor 


Tita Lanning 

Keith Mautino Moore 

Dr. Eric Boehm 

Judy Pochini 

Jim Ryerson 

Christine Ryerson 

Dr. Robert Failing 

Betty Meyer 

Professor Frederick F. Lange 

MaryAnn Lange 

Robert S. Grant 

Robert L. Grant 


59

Happy 100 th Birthday, CAMA! 

Thank you for bringing the world’s finest classical musicians 

to our fair city and enriching our lives through music. 

HAPPY 100TH BIRTHDAY, CAMA! 

Thank you for bringing the world’s finest classical musicians 

to our fair city and enriching our lives through music. 

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

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

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

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

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

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

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

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

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

and field trips to wine destinations! 

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

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

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

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

MUSIC EDUCATION PROGRAM 

BUSINESS SUPPORTERS 

We thank the many businesses that support 

CAMA's programs and events! 

Laurel Abbott, Berkshire 

Hathaway Luxury Properties 

Alma Rosa Winey 

American Riviera Bank 

Babcock Winery 

James P. Ballantine 

Belmond El Encanto 

Bertling Law Group 

Bibi Ji 

Black Sheep Restaurant 

Blue Star Parking 

Bon Fortune Style & Events 

Brander Vineyard 

Wes Bredall 

Heather Bryden 

Ca' Dario Ristorante 

Camerata Pacifica 

Casa Dorinda 

Cebada Wine 

C'est Cheese 

Chaucer's Books 

Chocolats du CaliBressan 

Chooket Patisserie 

Cottage Health System 

Custom Printing 

Eye Glass Factory 

Felici Events 

Finch & Fork 

First Republic Bank 

Flag Factory of 

Santa Barbara 

Frequency Wine 

Gainey Vineyard 

Grace Design Associates 

Grassini Family Vineyards 

Grimm’s Bluff 

Colin Hayward/ 

The Hayward Group 

Steven Handelman Studios 

Hogue & Company 

Holdren's Catering 

Indigo Interiors 

Inside Wine Santa Barbara 

Islay A/V 

Kristin Jackson 

Graphic Design 

Jardesca 

Le Sorelle 

Lumen Wines 

Maravilla/Senior 

Resource Group 

Michael's Catering 

Microsoft ® Corporation 

Mission Security 

Montecito Bank & Trust 

Montgomery Vineyard 

Northern Trust 

Oak Cottage of 

Santa Barbara 

Oceania Cruises 

Olio e Limone/Olio Crudo 

Bar/Olio Pizzeria 

Opal Restaurant & Bar 

Opera Santa Barbara 

Pacific Coast 

Business Times 

Pali Wine Co. 

Peregrine Galleries 

Performing Arts 

Scholarship Foundation 

Pete Clements Catering 

Presqu’ile Winery 

Regent Seven Seas Cruises 

Renaud's Patisserie & Bistro 

Rose Story Farm 

Sabine Myers Design 

SAGE Publishing 

Santa Barbara 

Choral Society 

Santa Barbara Foundation 

Santa Barbara 

Travel Bureau 

Santa Barbara Winery 

Stewart Fine Art 

The Tent Merchant 

The Upham Hotel 

UCSB Arts & Lectures 

Via Maestra 42 

Westmont Orchestra 


61


WOMEN’S 

BOARD 

THE CAMA WOMEN'S BOARD GRATEFULLY 

THANKS THE FOLLOWING SUPPORTERS! 

SYMPHONY LEVEL 

$5,000 

Patricia Yzurdiaga 

SONATA LEVEL 

$1,000 

Peter & Rebecca Adams 

NancyBell Coe & Bill Burke 

Jill Doré Kent 

Mrs. Richard H. Roberts 


RONDO LEVEL 

$100–$500 

Anonymous (2) 

Beth Gates-Warren & Bob Boghosian 


Edward DeLoreto 

Karin Nelson & Eugene Hibbs, Jr. 

and Maren N. Henle 



Elen & Craig Parton 

Andre & Michele Saltoun 


Nancy & Byron Kent Wood



WOMEN’S 

BOARD 

The CAMA Women’s Board Presents 

in partnership with the Santa Barbara Public Library 

2020 PRE-CONCERT LECTURE SERIES 

Faulkner Gallery, Santa Barbara Central Library 

and a special lecture event at The New Vic 

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

International Series concerts. 

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

of Westmont Orchestra and Westmont College Choir. 

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

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

SPECIAL 100 TH ANNIVERSARY LECTURE AT THE NEW VIC 

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

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

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

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

start time for lecture and concert.) 

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

Theater Critic. 

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

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

Nelson Freire, piano 

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

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

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

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

outreach program, “Music Matters.” 

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

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

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

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

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

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

Kanneh-Mason, cello 


63

Santa Barbara County’s 

PHILANTHROPIC 

ADVISORS 

CREATE YOUR IMPACT 

Let the Santa Barbara Foundation help you 

establish your personalized giving plan. 

Join us in our 90-year journey connecting those 

who give to those in need and all who dream 

of a better Santa Barbara County. 

Learn more at SBFoundation.org

Allow yourself to dream 

“Casa Dorinda has an engaging and fascinating culture 

rooted in a rich social life, an extraordinary estate, 

and truly superb healthcare.” 

CASA DORINDA’S MUSIC ROOM AT THE HISTORIC BLISS ESTATE 

Refined Retirement Living 

casadorinda.org | 805 969 8011 

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

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

Sometimes, a a Round of of 

Applause Just Isn’t Enough. 

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

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

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

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

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

TO LEARN TO LEARN MORE MORE VISIT VISIT 

northerntrust.com 

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

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

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