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Presenting the world’s finest classical artists since 1919
DVOŘÁK •
PROKOFIEV
• TCHAIKOVSKY
LONDON
PHILHARMONIC
ORCHESTRA
Chris Christodolou photo
Vladimir Jurowski conductor
Jean-Efflam Bavouzet piano
THURSDAY, OCTOBER 9, 2014, 8PM
THE GRANADA THEATRE
INTERNATIONALSERIES at THE GRANADA THEATRE
C O M M U N I T Y
A R T S
M U S I C
A S S O C I AT I O N
INTERNATIONALSERIES at THE GRANADA THEATRE
BIOGRAPHY
LONDON PHILHARMONIC ORCHESTRA
Vladimir Jurowski conductor • Jean-Efflam Bavouzet piano
THURSDAY, OCTOBER 9, 2014, 8PM
The Granada Theatre (Santa Barbara Center for the Performing Arts)
Antonín Dvořák (1841-1904)
The Noonday Witch, Op.108
Sergei Prokofiev (1891-1953)
Piano Concerto No.3 in C Major, Op.26
Andante—Allegro
Andantino (Theme and Variations)
Allegro ma non troppo
LONDON
PHILHARMONIC ORCHESTRA
INTERMISSION
Pyotr Ilyich Tchaikovsky (1840-1893)
Symphony No.6 in B minor, Op.74, “Pathétique”
Adagio—Allegro non troppo
Allegro con grazia
Allegro molto vivace
Adagio lamentoso
Program subject to change
The London Philharmonic Orchestra’s October 2014 US Tour
is generously supported by Dunard Fund.
The Orchestra is also grateful for the support of the American Friends
of the London Philharmonic Orchestra.
Maestro Jurowski is Principal Conductor and Artistic Advisor
for the London Philharmonic Orchestra and is supported
by the Tsukanov Family Foundation and one anonymous donor.
CAMA gratefully acknowledges our sponsors
for this evening’s performance…
Principal Sponsor: Herbert & Elaine Kendall
Co-Sponsor: Bob & Val Montgomery
COMMUNITY ARTS MUSIC ASSOCIATION
ecognised today as one
of the finest orchestras
on the international stage, the London
Philharmonic Orchestra balances a
long and distinguished history with
a reputation as one of the UK’s most
forward-looking ensembles. As well as
its performances in the concert hall,
the Orchestra also records film and
video game soundtracks, releases CDs
on its own record label, and reaches thousands of people every year
through activities for families, schools
and community groups.
The Orchestra was founded by
Sir Thomas Beecham in 1932. It has
since been headed by many of the
world’s greatest conductors including
Sir Adrian Boult, Bernard Haitink, Sir
Georg Solti, Klaus Tennstedt and Kurt
Masur. Vladimir Jurowski is currently
the Orchestra’s Principal Conductor
and Artistic Advisor, appointed in 2007.
From September 2015 Andrés OrozcoEstrada will take up the position of
Principal Guest Conductor. Magnus
Lindberg is the Orchestra’s current
Composer in Residence.
The Orchestra is based at
Southbank Centre’s Royal Festival Hall
in London, where it has performed
since the Hall’s opening in 1951 and
been Resident Orchestra since 1992.
It gives around 40 concerts there each
season with many of the world’s top
conductors and soloists. Throughout
2013 the Orchestra collaborated with
Southbank Centre on the year-long
The Rest Is Noise festival, charting the
influential works of the 20th century.
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Thomas Kurek
2014|15 highlights include a seasonlong festival, Rachmaninoff: Inside
Out, exploring the composer’s major
orchestral masterpieces; premieres of
works by Magnus Lindberg, Harrison
Birtwistle, Julian Anderson, Colin
Matthews and James Horner; and
appearances by today’s most soughtafter artists including Maria João
Pires, Christoph Eschenbach, Osmo
Vänskä, Lars Vogt, Barbara Hannigan,
Vasily Petrenko, Marin Alsop, Katia and
Marielle Labèque and Robin Ticciati.
Outside London, the Orchestra has
flourishing residencies in Brighton
and Eastbourne, and performs regularly around the UK. Each summer the
Orchestra takes up its annual residency at Glyndebourne Festival Opera
in the Sussex countryside, where it has
been Resident Symphony Orchestra
for over 50 years. The Orchestra also
tours internationally, performing to
sell-out audiences worldwide. In 1956
it became the first British orchestra to
appear in Soviet Russia and in 1973
made the first ever visit to China by a
Western orchestra. Touring remains a
large part of the Orchestra’s life: highlights of the 2014|15 season include
appearances across Europe (including
Iceland) and tours to the USA (West
and East Coasts), Canada and China.
The London Philharmonic Orchestra
has recorded the soundtracks to
numerous blockbuster films, from The
Lord of the Rings trilogy to Lawrence
of Arabia, East is East, The Hobbit: An
Unexpected Journey and Thor: The
Dark World. It also broadcasts regularly on television and radio, and in
VLADIMIR JUROWSKI
2005 established its own record label.
There are now over 80 releases available on CD and to download. Recent
additions include Shostakovich’s
Symphonies Nos.6 & 14 with Vladimir
Jurowski; Orff’s Carmina Burana with
Hans Graf; Beethoven’s Missa Solemnis
with Sir Georg Solti; and Strauss’s
Don Juan and Ein Heldenleben with
Bernard Haitink.
In summer 2012 the London
Philharmonic Orchestra performed as
part of The Queen’s Diamond Jubilee
Pageant on the River Thames, and was
also chosen to record all the world’s
national anthems for the London 2012
Olympics. In 2013 it was the winner of
the RPS Music Award for Ensemble.
The London Philharmonic Orchestra
is committed to inspiring the next
generation of musicians through an
energetic programme of activities for
young people. Highlights include the
BrightSparks schools’ concerts and
FUNharmonics family concerts; the
Young Composers Programme; and
the Foyle Future Firsts orchestral training programme for outstanding young
players. Its work at the forefront of
digital engagement and social media
has enabled the Orchestra to reach
even more people worldwide: all its
recordings are available to download
from iTunes and, as well as a YouTube
channel and regular podcast series,
the Orchestra has a lively presence on
Facebook and Twitter. n
VLADIMIR
JUROWSKI
conductor
One of today’s most sought-after
and dynamic conductors, acclaimed
worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in
Moscow, and completed the first part
of his musical studies at the Music
College of the Moscow Conservatory.
In 1990 he relocated with his family
to Germany, continuing his studies at
the High Schools of Music in Dresden
and Berlin. In 1995 he made his international debut at the Wexford Festival
conducting Rimsky-Korsakov’s May
Night, and the same year saw his
debut at the Royal Opera House,
Covent Garden, with Nabucco.
Vladimir Jurowski was appointed Principal Guest Conductor of the
London Philharmonic Orchestra in 2003,
becoming the Orchestra’s Principal
Conductor in September 2007. He also
holds the titles of Principal Artist of the
Orchestra of the Age of Enlightenment
and Artistic Director of the Russian
State Academic Symphony Orchestra.
He has also held the positions of First
Kapellmeister of the Komische Oper,
Berlin (1997-2001); Principal Guest
Conductor of the Teatro Comunale di
Bologna (2000-2003); Principal Guest
Conductor of the Russian National
Orchestra (2005-2009); and Music
Director of Glyndebourne Festival
Opera (2001-2013).
Vladimir Jurowski has appeared
on the podium with many leading orchestras in Europe and North
America including the Berlin and
Vienna Philharmonic orchestras, the
Royal Concertgebouw Orchestra, The
Philadelphia Orchestra, the Boston
and Chicago symphony orchestras,
the Tonhalle-Orchester Zürich, the
Gewandhausorchester Leipzig, and
the Staatskapelle Dresden. Highlights
of the 2013|14 season and beyond
include his debuts with the New
York Philharmonic, NHK Symphony
(Tokyo) and San Francisco Symphony
orchestras; tours with the Chamber
Orchestra of Europe and the Mahler
Chamber Orchestra; and return visits
to the Chicago Symphony, Berlin Radio
Symphony, Cleveland and Philadelphia
orchestras, and the Accademia
Nazionale di Santa Cecilia.
Jurowski made his debut at the
Metropolitan Opera, New York, in 1999
with Rigoletto, and has since returned
for Jenůfa, The Queen of Spades and
Hansel and Gretel. He has conducted
Parsifal and Wozzeck at Welsh National
Opera; War and Peace at the Opera
National de Paris; Eugene Onegin at
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von Nürnberg, Don Giovanni and
Rachmaninoff’s The Miserly Knight.
Other DVD releases include Hansel
and Gretel from the Metropolitan
Opera; his first concert as the London
Philharmonic Orchestra’s Principal
Conductor featuring works by Wagner,
Berg and Mahler; and DVDs with the
Orchestra of the Age of Enlightenment
(Beethoven’s Symphonies Nos.4 and 7)
and the Chamber Orchestra of Europe
(Strauss and Ravel), all released by
Medici Arts.
Vladimir
Jurowski’s
position
as Principal Conductor and Artistic
Advisor of the London Philharmonic
Orchestra is generously supported by
the Tsukanov Family Foundation and
one anonymous donor. n
JEAN-EFFLAM
BAVOUZET piano
Award-winning pianist Jean-Efflam
Bavouzet enjoys a prolific recording
and international concert career. He
is also Artistic Director of a new biennial piano festival set in the stunning
scenery of Norway’s Lofoten Islands.
The inaugural festival took place in
July 2014.
Bavouzet records exclusively for
Chandos. His recent release featuring the complete Prokofiev Piano
Concertos with the BBC Philharmonic
and Gianandrea Noseda won the
Concerto category of the 2014
Gramophone Awards. His earlier
recordings have earned him multiple
prizes, including two Gramophone
Awards, two BBC Music Magazine
Awards, a Diapason d’Or and Choc de
l’année. Ongoing recording projects
include Beethoven and Haydn Piano
Sonata cycles.
Summer 2014 sees Bavouzet
perform with the Netherlands
Philharmonic Orchestra at the Robeco
SummerNights
in
Amsterdam’s
Concertgebouw. He also returns to the
Tivoli Orchestra to perform concertos
by Haydn and Beethoven, directing
from the keyboard.
He kicks off his 2014/15 season with a US tour with the London
Philharmonic Orchestra under Vladimir
Jurowski, which includes Carnegie Hall.
The season also features his debuts
with the Orchestre Philharmonique
du Luxembourg under Emmanuel
Krivine, the Cincinnati Symphony
Orchestra under Louis Langrée and
the Orchestra della Svizzera Italiana in
Lugano (Vladimir Ashkenazy).
He returns to the Orchestre National
de France (Juanjo Mena), the Hong Kong
Philharmonic, to Japan to work with
the NHK Symphony Orchestra and to
Australia for concerts with the Sydney
and Adelaide symphony orchestras. His
Residency at the Orquestra Sinfônica
do Estado de São Paulo concludes with
a week of chamber music, recitals and
master classes.
Recent highlights have included
concerts with the Pittsburgh and
Beijing symphony orchestras, as well
as the Bayerisches Staatsorchester
and François-Xavier Roth in Munich,
and returns to the Philharmonia
Orchestra, the Manchester Camerata
(Gábor Takács-Nagy) and the Warsaw
Philharmonic orchestra, where he
Paul Mitchell
Teatro alla Scala, Milan; Ruslan and
Ludmila at the Bolshoi Theatre; and
Iolanta and Die Teufel von Loudon at
the Dresden Semperoper, as well as
The Magic Flute, La Cenerentola, Otello,
Macbeth, Falstaff, Tristan und Isolde,
Die Meistersinger von Nürnberg, Don
Giovanni, The Rake’s Progress, The
Cunning Little Vixen, Ariadne auf Naxos
and Peter Eötvös’s Love and Other
Demons at Glyndebourne Festival
Opera. In autumn 2013 he returned to
the Metropolitan Opera for Die Frau
ohne Schatten, and future engagements include Moses und Aron at the
Komische Oper Berlin and The Fiery
Angel at the Bayerische Staatsoper in
Munich.
Jurowski’s discography includes
the first ever recording of the cantata Exil by Giya Kancheli for ECM;
Meyerbeer’s L’étoile du Nord for Marco
Polo; Massenet’s Werther for BMG;
and a series of records for PentaTone
with the Russian National Orchestra.
The London Philharmonic Orchestra
has released a wide selection of his
live recordings on the LPO Label,
including Brahms’s complete symphonies; Mahler’s Symphonies Nos.1
and 2; Rachmaninoff’s Symphonic
Dances; Tchaikovsky’s Symphonies 1,
4, 5, 6 and Manfred; and works by
Turnage, Holst, Britten, Shostakovich,
Honegger and Haydn. His tenure as
Music Director at Glyndebourne has
been documented in CD releases of
La Cenerentola, Tristan und Isolde and
Prokofiev’s Betrothal in a Monastery,
and DVD releases of his performances of La Cenerentola, Gianni Schicchi,
Die Fledermaus, Die Meistersinger
JEAN-EFFLAM BAVOUZET
performed the complete cycle of
Beethoven’s piano concertos. He
regularly collaborates with conductors such as Vasily Petrenko, Daniele
Gatti, Valery Gergiev, Neeme Järvi,
Esa-Pekka Salonen, Kirill Karabits,
Andris Nelsons, Krzysztof Urbański,
Antoni Wit, Yan-Pascal Tortelier and
Iván Fischer.
An equally active recitalist,
Bavouzet returns this season to the
Louvre in Paris and London’s Wigmore
Hall, and gives recitals in Munich and
Budapest as well as Taiwan, Melbourne
and Brisbane.
Bavouzet has worked closely with
Pierre Boulez, Maurice Ohana and
Bruno Mantovani and is also a champion of lesser-known French music, notably that of Gabriel Pierné and Albéric
Magnard. He regularly collaborates
with the Palazzetto Bru Zane and has
devised a chamber music programme
dedicated to the music of Magnard.
For more information please visit
www.bavouzet.com
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PROGRAM NOTES
she will summon the noonday witch to
take him away. At this, to the mother’s shock and horror, the door slowly
opens to reveal the witch herself, who
demands to be given the infant. There
is a chase, and the mother swoons in
exhaustion. As the clock strikes twelve
the witch disappears, and when the
father returns he finds his wife collapsed on the floor and his child dead.
Dvořák’s musical treatment of
the story is straightforward. At the
beginning we hear the mother’s initial
good temper interrupted by insistent
repeated notes from the child. The
irritation increases, until the mother
lets fly, only half in anger it would
seem. Until now the mood has
remained essentially humorous, but
this changes when a sinister blast on
the low instruments and held notes
on bass clarinet signal the arrival of
the witch. She issues her demand in
a seven-note phrase on bass clarinet and bassoon, a phrase which will
grow in stature and menace in the
struggle that ensues. Finally we hear
the father’s jaunty return, confusion,
and horror-struck discovery.
© Lindsay Kemp
Piano Concerto No.3
in C Major, Op 26
P
Antonín Dvořák, Vysoká Castle, Czech Republic
© Kaprik | Dreamstime.com
The Noonday Witch, Op.108
ANTONÍN DVOŘÁK (1841-1904)
D
vořák’s natural inclination as a
composer of orchestral music,
reinforced by his friendship with and
encouragement by Brahms, was
towards the Classical forms of the
symphony and concerto. It was only
towards the end of his career, three
years after he had composed his last
symphony (the ‘New World’) and one
after completing his last concerto (for
cello), that he gave serious attention to
the genre more popular with composers of nationalist stamp, the descriptive tone-poem. From January to April
1896 he worked simultaneously on
three tone-poems – The Water Goblin,
The Noonday Witch and The Golden
Spinning Wheel – based on traditional
Czech tales preserved in the poet and
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folklorist Karel Jaromír Erben’s collection Kytice (‘Bouquet’), first published
in Prague in 1853. All three compositions were premiered in London in
autumn, by which time Dvořák had
completed a fourth work, The Wild
Dove.
The folk-stories Erben chose for
his collection are run through with
the humorous, the magical and the
macabre, and The Noonday Witch
(Polednice in its Czech title) is no
exception. It tells of a mother working to prepare the midday meal for
her husband, who is away labouring in
the fields. In the corner of the kitchen
her restless child begins to pester and
then scream, and twice the exasperated mother warns him to be quiet or
SERGEI PROKOFIEV (1891-1953)
Sergei Prokofiev, Fig.138 from
Piano Concerto No.3
rokofiev wrote his Third Piano
Concerto during the years 19161921 – five years in which the world
he knew changed out of all recognition. At the beginning Russia was still
home. But the old Tsarist regime was
completely unprepared for the onset
of the First World War and the assault
against Germany was poorly managed.
Appalling losses followed, stoking up
the resentment that would lead to the
revolutions of 1917 and the destruction of the old Russia. By the time
Prokofiev had finished the Third Piano
Concerto, Tsarism had been replaced
by Bolshevism, and Prokofiev (no revolutionary sympathiser) found it advisable to stay abroad. At first he tried
to make a living in the USA, and when
that failed he tried Paris instead, with
more success. And yet Prokofiev never
felt fully at home in the West. For him,
9
as for Stravinsky, Russian remained ‘the
exiled language of my heart’.
Although the unaccompanied clarinet tune that opens the Third Concerto
doesn’t sound quite like any authentic
folksong, many have found something
characteristically Russian here. The
theme seems ready to expand lyrically
(strings and flute), but then it is swept
away by a racing Allegro full of devilish
rapid figuration for the soloist. In music
like this we can gauge something of
Prokofiev’s own brilliance as a pianist:
commenting on Prokofiev’s playing not
long after his arrival in America, one
journalist dubbed him ‘the man with
the steel fingers’. Nothing stays the
same for long however: throughout this
concerto mood, textures and character
keep changing, sometimes with startling rapidity, and Prokofiev the deft,
wicked ironist is rarely far away. The first
movement’s second theme (oboe and
pizzicato violins) seems jaunty enough,
but the clicking castanets add a slightly macabre touch, which is strongly
underlined when the theme returns
towards the end of the movement.
Then in the second movement,
Prokofiev seems to take grim pleasure in subjecting his innocent-sounding Andantino (woodwind) theme to
all manner of extreme transformations, through the angular violence
of Variation III, and the eerie stillness
of IV to the violent obsessive climax
of Variation V. A more good-natured
grotesquerie seems to emerge in the
finale, but before long we see the
demonic side of the piano again. After
a while the tempo drops and a luscious melody, introduced by cellos,
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is treated to some fabulous intricate
decorative work by the piano – magical
Prokofievian night music at its finest.
But then the dancing, pounding main
theme returns, and the concerto ends
in a whirl of steely sound.
© Stephen Johnson
Symphony No.6 in B minor,
Op.74, “Pathétique”
PYOTR ILYICH TCHAIKOVSKY
(1840-1893)
T
chaikovsky composed the last of
his six symphonies (seven if you
include the unnumbered Manfred)
between February and August 1893,
and conducted the first performance
in St Petersburg in October. Nine days
later, he was dead – possibly through
suicide, hurriedly forced upon him to
avoid a scandal. There is of course no
way in which the music and this premature death can be directly related.
But the Symphony was written according to a programme which, although
Tchaikovsky never revealed it, seems
to have been connected to thoughts
about mortality; and he willingly accepted his brother Modest’s suggested
title for it of Symphonie pathétique –
the adjective suggesting not so much
pathos as suffering. Significantly, soon
after completing the Symphony, he
declined a suggestion that he should
set to music a poem called Requiem
by his old friend Alexey Apukhtin, who
had recently died, on the grounds that
it might involve attempting to repeat
himself, after composing a work into
which he had put ‘my entire soul’.
An integral part of Tchaikovsky’s
conception of the work was that it
should have as its finale ‘not a noisy
Allegro but a long Adagio’. This led to
a thorough rethinking of the traditional
sequence of movements in a symphony – starting with the first, and longest,
movement, which maintains a balance
between fast and slow music. It begins
with a dark-coloured slow introduction, a late addition to the score which
anticipates the striving first subject
of the main Allegro. Then the second
subject consists of a whole extended
paragraph of slower music: a consoling
D-Major string melody, a contrasting
‘middle section’, and an impassioned
return to the string melody, echoed by
a clarinet solo dying away to nothing.
The fastest section of the movement
is the development, which begins with
a furious fugato, later overlaid by striding descending scales in the trumpets,
and falls away to a solemn brass chorale which is in fact a chant from the
Russian Orthodox funeral service, ‘With
thy saints, O Christ, give peace to the
soul of thy servant’. The recapitulation,
launched at the peak of a new build-up
of excitement, is a much altered and
truncated version of the exposition,
with a huge descending scale leading
to a shortened version of the second
subject (without its middle section),
and a subdued coda.
The two middle movements are both
character-pieces of an unusual nature.
The D-Major Allegro con grazia (‘with
grace’) is waltz-like, but in a consistent
5|4 time. The standard pattern of a trio
section and a reprise of the opening is
expanded by a transition from the trio
Pyotr Ilyich Tchaikovsky coin
© Andreasg | Dreamstime.com
which juxtaposes phrases from both
sections, and a coda beginning with
scale patterns, rising quickly and falling
slowly. The Allegro molto vivace, in G
Major, is a brilliant march, largely concerned with building up anticipation, so
that the final return of the main theme
takes on a triumphant quality.
But then the slow finale begins
with a despairing melody, its scalewise
descents initially shared note by note
between first and second violins; and a
descending scale in the bassoons leads
to a Major-key second theme which
also begins with fragments of downward scales. This is driven to a climax,
but then makes way for the extended
return of the first theme, in mounting
waves of passion. Finally the downward
scales that have increasingly dominated the whole work take over again, in
a kind of vestigial minor-key return of
the second subject, descending to the
lowest depths of the orchestra before
falling silent. © Anthony Burton
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2014|15
Presenting the world’s finest classical artists since 1919
THE TALLIS SCHOLARS
FRIDAY, DECEMBER 5, 2014 8PM
Byrd, Josquin, Taverner, Turges
JUILLIARD STRING QUARTET
SATURDAY, JANUARY 17, 2015 8PM
Haydn, Shulamit Ran, Beethoven
DAWN UPSHAW
Dawn Upshaw
SOPRANO
SUNDAY, FEBRUARY 22, 2015 4PM
Ives, Schubert, Bartók, Ravel
IAN BOSTRIDGE TENOR
Ian Bostridge
THURSDAY, APRIL 23, 2015 8PM
Schubert: Winterreise (complete song cycle)
TETZLAFF-VOGT DUO
MONDAY, MAY 11, 2015 8PM
CHRISTIAN TETZLAFF violin • LARS VOGT piano
Mozart, Bartók, Webern, Brahms
Tetzlaff-Vogt Duo
Season of the VOICE
SEASON SPONSORSHIP: ESPERIA FOUNDATION
Presenting the world’s finest classical artists since 1919
Summer Garden Party
Event Host Frank McGinity,
International Circle Chair
Chris Emmons
The Padula Trio (“Three for Joy”)
Event Host Sheila McGinity,
Event Chair Diana Phillips
The gracious hospitality of Sheila and Frank McGinity
was on full display when they opened their lovely Montecito home for a garden
party for members of CAMA’s International Circle on Sunday, June 22, 2014.
Event Chair Diana Phillips, assisted by Bridget Colleary, made sure that guests
were treated with wine, champagne and hors d’oeuvres as they strolled
through the terraces of the back garden, perfectly appointed for entertaining.
International Circle Chair Chris Emmons
welcomed the attendees and introduced
the afternoon’s special guests: two
groups of young musicians from
Santa Barbara Strings, whose
appearance was organized by Linda
Stafford Burrows. The older group, the
Honors Quartet, was composed of high
school students; the younger group, the
Padula Trio, featured musicians from the
same family ages 9, 7, and 5! Following
the performance, Frank McGinity treated
guests to a tour of his private library of
Irish and American literature. For more
For programs and complete listings visit www.camasb.org
To subscribe to all 5 concerts, call CAMA (805) 966-4324
Single tickets on sale Friday, October 24
Lobero Theatre Box Office (805) 963-0761 • www.lobero.com
12
COMMUNITY ARTS MUSIC ASSOCIATION • SANTA BARBARA, CA
information on the International Circle
and upcoming events, please call
CAMA’s Development Director
Martha Donelan at (805) 966-4324.
13
We gratefully acknowledge
CAMA Legacy Society members
for remembering CAMA in their
estate plans with a deferred gift.
Ensure CAMA's future
LEAVE A LEGACY
OF MUSIC ​
LEGACY SOCIETY MEMBER
SPOTLIGHT
ROBERT & CHRISTINE EMMONS
“You Will Be Well-Remembered”
“It would be hard to overestimate the achievements and importance
of CAMA. The devotion and commitment of its members should be an example
of how much one can do to enrich the cultural life of a community.”
– Vladimir Ashkenazy
Through the generosity of people like you,
CAMA offers the opportunity to ensure the future of our mission
to bring world-class music to Santa Barbara. By including CAMA in
your will or living trust, you leave a legacy of great concerts and music
appreciation outreach programs for future generations.
Make a gift of cash, stocks or bonds and enjoy immediate tax benefits.
If you have provided a gift to CAMA in your will or estate plan, or if you would
like to receive more information on tax wise ways to leave a legacy to CAMA,
please contact Martha Donelan, director of development
at (805) 966-4324 or [email protected]
14
Robert and Christine Emmons are generous
philanthropists and long-time supporters of
CAMA. Dr. Emmons has served on boards
throughout Santa Barbara, including the Santa
Barbara Foundation, the Santa Barbara Museum
of Art, Lotusland, and Laguna Blanca School.
A CAMA Board member since 2007, he is a
founding member of CAMA’s Legacy Society.
Chris Emmons is the director of Emmons Capital
Investments, president of the Westmont RidleyTree Museum of Art’s board of advisors, chair
of CAMA’s International Circle, and secretary of
the International Women Pilots (Ninety-Nines,
Inc.), Santa Barbara chapter. Chris and Bob’s
son Ryan is a graduate of USC and is the
founder and CEO of Waiakea Hawaiian Volcanic
Water.
“Remembering CAMA in your estate planning
is one of the best ways to ensure that CAMA
will continue to present the world’s best
classical music in Santa Barbara. You will be
well remembered.” – Robert Emmons
Anonymous
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Mrs. Russell S. Bock
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David B. Davidson, M.D.
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Mr. & Mrs. Frank R. Miller, Jr.
Dr. & Mrs. Spencer Nadler
Ellen & Craig Parton
Diana & Roger Phillips
Dr. Donald G. Richardson
Ellen & Jock Pillsbury
Andre M. Saltoun
Judith & Julian Smith
Mr. & Mrs. Sam Toumayan
Mark E. Trueblood
Dr. and Mrs. H. Wallace Vandever
Barbara & Gary Waer
Nancy & Kent Wood
(as of September 11, 2014)
15
THE TALLIS SCHOLARS
JUILLIARD STRING QUARTET
DAWN UPSHAW soprano
IAN BOSTRIDGE tenor
TETZLAFF-VOGT DUO
This project is funded in part by the Organizational Development Grant Program using funds
provided by the City of Santa Barbara in partnership with the Santa Barbara County Arts Commission.
For more information on CAMA and its programs, call (805) 966-4324 or visit www.camasb.org
5/11/2015
4/23/2015
2/22/2015
1/17/2015
12/5/2014
MASTERSERIES at the Lobero
10/9/2014
LONDON PHILHARMONIC ORCHESTRA
11/10/2014 CZECH PHILHARMONIC ORCHESTRA
2/16/2015 ORCHESTRE DE LA SUISSE ROMANDE
3/25/2015 LONDON SYMPHONY ORCHESTRA
4/14/2015 SEOUL PHILHARMONIC ORCHESTRA
5/3/2015 LOS ANGELES PHILHARMONIC
INTERNATIONAL SERIES at The Granada Theatre
2060 Alameda Padre Serra, Suite 201
Santa Barbara, California 93103
Community Arts Music Association of Santa Barbara, Inc
Presenting the world’s finest classical artists since 1919