Presenting the world’s finest classical artists since 1919 J A N Á Č E K • L I S Z T • D V O Ř Á K Václav Jirásek CZECH PHILHARMONIC Jiří Bělohlávek Chief Conductor & Music Director Jean-Yves Thibaudet Piano Soloist MONDAY, NOVEMBER 10, 2014, 8PM • THE GRANADA THEATRE INTERNATIONALSERIES at THE GRANADA THEATRE COMMUNITY ARTS MUSIC ASSOCIATION BIOGRAPHY INTERNATIONALSERIES at THE GRANADA THEATRE Czech Philharmonic Jiří Bělohlávek Chief Conductor and Music Director Jean-Yves Thibaudet Piano Soloist MONDAY, NOVEMBER 10, 2014, 8PM The Granada Theatre (Santa Barbara Center for the Performing Arts) Leoš Janáček (1854-1928) Václav Jirásek Taras Bulba The Death of Andrei The Death of Ostap The Prophecy and Death of Taras Bulba Franz Liszt (1811-1886) Piano Concerto No.2 in A Major, S.125 Adagio sostenuto assai—Allegro agitato assai—Allegro moderato— Allegro deciso—Marziale un poco meno allegro—Allegro animato Jean-Yves Thibaudet, Piano INTERMISSION Antonín Dvořák (1841-1904) Symphony No.9 in E minor, Op.95 Adagio, Allegro molto Largo Scherzo: Molto vivace Allegro con fuoco Program subject to change. CAMA gratefully acknowledges our sponsors for this evening’s performance… International Series Season Sponsor: SAGE Publications Primary Sponsor: The Elaine F. Stepanek Concert Fund Principal Sponsor: Sara Miller McCune Sponsors: Judith L. Hopkinson • Léni Fé Bland Co-Sponsor: Barbara & Sam Toumayan COMMUNITY ARTS MUSIC ASSOCIATION CZECH PHILHARMONIC or over a century, the Czech Philharmonic has represented the pinnacle of Czech cultural achievement, delighting audiences across the globe with its warm, vibrant sound. Today, the orchestra is enjoying a renewed reputation as one of the most exciting ensembles on the world stage, performing with artists including Hélène Grimaud, Lang Lang, Janine Jansen, Anne-Sophie Mutter and Frank Peter Zimmermann, to name but a few. The Czech Philharmonic has also been joined by soloists Garrick Ohlsson, Frank Peter Zimmermann and Alisa Weilerstein in recording Antonín Dvořák’s complete symphonies and his three concertos, under the baton of Jiří Bělohlávek, the orchestra´s chief conductor, to be released in 2014 by the Decca label. The Czech Philharmonic has a history of working with outstanding musicians. Dvořák himself conducted the orchestra in its debut performance on 4 January 1896 at the Rudolfinum in Prague, which is still home to its Prague concerts, and is now the centre for its Orchestral Academy. The Academy is just one of numerous successful education projects through which the Czech Philharmonic engages with new audiences, from young children, to university students and adults seeking to learn more about classical music. Other conductors in the orchestra’s history include Gustav Mahler, who 3 4 Václav Jirásek conducted the Czech Philharmonic for the world premiere of his Symphony No.7 in Prague, in 1908. The orchestra’s international reputation grew under the direction of Václav Talich, the energetic leadership of Rafael Kubelík helped steer the Czech Philharmonic through the difficult wartime years, and in the post-war era of Karel Ančerl, it embarked on its busy and varied touring schedule. Today, the orchestra performs in the world’s most prestigious concert halls, including recent and forthcoming concerts at the Philharmonie in Berlin and Suntory Hall in Tokyo, as well as, in 2014, Carnegie Hall in New York and the NCPA in Beijing. Scheduled international appearances in 2015 and 2016 include three concerts at the Musikverein in Vienna, one in London’s Royal Festival Hall, and one in the Viennese Konzerthaus. Festival appearances include, in 2014, concerts at the BBC Proms and the Edinburgh Festival. With its Chief Conductor, Jiří Bělohlávek, the Czech Philharmonic has also undertaken successful tours in Australia, Germany, Japan, Luxembourg, Spain, the United Arab Emirates, and the UK. The Czech Philharmonic is privileged to welcome many distinguished guest conductors, including recent and forthcoming collaborations with, among others, Herbert Blomstedt, Semyon Bychkov, Christoph Eschenbach, Valery Gergiev, Robin Ticciati, and David Zinman. The Czech Philharmonic has received numerous awards and nomi- JIŘÍ BĚLOHLÁVEK nations, including ten Grands Prix du Disque de l’Académie Charles-Cros, five Grand Prix du Disque de l’Académie française, several Cannes Classical Awards, a position in Gramophone’s Top 20 Best Orchestras in the World (2008), as well as nominations for Grammy® and Gramophone Awards. In a fitting tribute to its first conductor, the Czech Philharmonic has made nine new television programmes each of which features a full performance of one of Dvořák’s Nine Symphonies. The shows will be broadcast by Czech Television in 2014, and distributed internationally by UNITEL. The orchestra is also producing a Czech Television documentary (in association with Rhombus Media) about Dvořák, Jiří Bělohlávek, and the current work of the Czech Philharmonic itself. The documentary is directed by Barbara Willis Sweete, who has worked with the MET Opera, New York, among others, on a number of prestigious films. Further exciting projects include the launch of a competition for composers, the winner of which will have their work performed by the Czech Philharmonic, and another competition for aspiring Czech soloists, the winner of which will perform with the orchestra. In seeking to foster new talent, the Czech Philharmonic continues its journey into the future, a future which looks brighter than ever. n © Joanna Wyld, 2014 JIŘÍ BĚLOHLÁVEK conductor Jiří Bělohlávek was born in Prague in 1946. His love of music became apparent at an early age, and following studies in cello and conducting, he was invited to become assistant conductor to Sergiu Celibidache in 1968. Bělohlávek won the Czech Young Conductors’ Competition in 1970 and reached the final of the Herbert von Karajan Conducting Competition in 1971. In 1977, Jiří Bělohlávek began to serve as Chief Conductor of the Prague Symphony Orchestra, a position he held until 1990, when he was appointed Chief Conductor of the Czech Philharmonic. In 1994, he founded the Prague Philharmonia, an orchestra he then led as Chief Conductor and Music Director until 2005, when he was appointed its Conductor Laureate. After serving as its Principal Guest Conductor between 1995 and 2000, Jiří Bělohlávek was appointed Chief Conductor of the BBC Symphony Orchestra in 2006. He conducted the orchestra at the Last Night of the Proms in 2007, becoming the first artist whose principal language is not English to undertake this important role. He performed at the Last Night of the Proms again in 2010 and 2012. Jiří Bělohlávek has also regularly conducted the Berlin Philharmonic, Boston Symphony, Cleveland Orchestra, Gewandhausorchester Leipzig, New York Philharmonic, Sächsische Staatskapelle Dresden and the San Francisco Symphony Orchestra, among others. He was recently appointed Principal Guest Conductor of the Rotterdam Philharmonic Orchestra. Jiří Bělohlávek has worked in the world of opera throughout his career, with regular appearances at the world’s main opera houses including Berlin, Covent Garden, Glyndebourne, the Metropolitan Opera in New York, Opéra Bastille and Teatro Real. Recent and forthcoming highlights include new productions of Dvořák’s Rusalka at the Vienna Staatsoper (2014), Tchaikovsky’s The Queen of Spades at the Zürich Opera House (2014), and Janáček’s Jenůfa at the San Francisco Opera (2016). Jiří Bělohlávek has an extensive discography, including a complete Dvořák Symphonies cycle recently released by Decca, and is the first conductor since Herbert von Karajan to receive the Gramophone Award for Orchestral Recording two years 5 running. In 2012, Queen Elizabeth II appointed Jiří Bělohlávek an honorary CBE for services to music. n © Joanna Wyld, 2014 JEAN-YVES THIBAUDET piano One of today’s most sought-after soloists, Jean-Yves Thibaudet has the rare ability to combine poetic musical sensibilities and dazzling technical prowess. His talent at coaxing subtle and surprising colors and textures from each work he plays led The New York Times to write that “every note he fashions is a pearl…the joy, brilliance and musicality of his performance could not be missed.” Thibaudet, who brings natural charisma and remarkable musical depth to his career, has performed around the world for more than 30 years and recorded more than 50 albums. Jean-Yves Thibaudet’s 2014-2015 season is an intriguing combination of a wide variety of music: a balance of orchestral appearances, chamber music, and recitals and a repertoire that includes familiar pieces, unfamiliar work by well-known composers, and new compositions. He also follows his passion for education and fostering the next generation of performers by becoming the first-ever resident artist at the Colburn School of Los Angeles this year and the following two. Summer 2014 sees him touring with Mariss Jansons and the Royal Concertgebouw Orchestra at the Concertgebouw Amsterdam, the 6 Edinburgh International Festival, the Lucerne Festival, and the Ljubljana Festival. Mr. Thibaudet then travels to play Gershwin paired with a new piano concerto “Er Huang” by Quigang Chen with Long Yu conducting to open the China Philharmonic season in Beijing—a program both artists will repeat in Paris with the Orchestre de Paris. In October, with the Philadelphia Orchestra and its Music Director Yannick Nézet-Séguin, he performs the Khachaturian Piano Concerto, which he also plays in the spring with the Cincinnati Symphony and on tour in Germany and Austria with the Deutsches SymphonieOrchester Berlin under the baton of Tugan Sohkiev. After concerts in Prague, Mr. Thibaudet embarks on a US tour with the Czech Philharmonic Orchestra in November, reaching both East and West coasts with a grand finale at Carnegie Hall, where he performs Liszt’s Piano Concerto No. 2. The end of the year is a whirlwind of Gershwin, Ravel, and Liszt with the Radio Symphony Orchestra Stuttgart, the Berlin Radio Symphony Orchestra, the Oslo Philharmonic Orchestra, and the Gürzenich Orchestra Cologne. In the new year, audiences can hear Mr. Thibaudet play MacMillan’s Piano Concerto No. 3, which he premiered in 2011, with the St. Louis Symphony and New York Philharmonic, both conducted by Stéphane Denève, and then Liszt with the Cleveland Orchestra and the Naples Philharmonic. After playing a duo recital with Gautier Capuçon in his native France at the Festival de Pâques in Aix-en-Provence, Mr. Thibaudet returns to the United States to play Ravel’s Piano Concerto in G Major—one of his signature pieces from the French repertoire for which he is renowned—with the Atlanta Symphony Orchestra and the Boston Symphony Orchestra under Bernard Haitink’s direction, in addition to Poulenc and Fauré with the Boston Symphony Chamber Players. Under Michael Tilson’s Thomas’s baton, he performs Bernstein’s Age of Anxiety in San Francisco, where he celebrates Thomas’s 70th birthday earlier in the year by playing the Liszt Hexaméron with Emanuel Ax, Jeremy Denk, Yuja Wang, and MarcAndré Hamelin. Mr. Thibaudet performs Ravel’s Piano Concerto for the Left Hand with Gustavo Dudamel and the Los Angeles Philharmonic before interpreting both the Ravel Piano Concerto and Messiaen’s Turangalîla with the Chicago Symphony Orchestra and Esa-Pekka Salonen as part of the orchestra’s 2015 Reveries and Passions Festival. He then travels to Europe to perform with the Frankfurter Museumsorchester (Venzago), Dresden Philharmonic (de Billy), and the Munich Philharmonic (Bychkov), among others, before ending the season in dramatic fashion with Beethoven’s Choral Fantasy with the Orchestre de L’Opéra de Paris under the baton of Music Director Philippe Jordan. A distinguished recording artist, Jean-Yves Thibaudet has been nominated for two Grammy Awards and won the Schallplattenpreis, the Diapason d’Or, Choc du Monde de la Musique, a Gramophone Award, two Echo awards, 7 and the Edison Prize. In 2010 he released Gershwin, featuring big jazz band orchestrations of Rhapsody in Blue, variations on “I Got Rhythm,” and Concerto in F live with the Baltimore Symphony and music director Marin Alsop. On his Grammy-nominated recording Saint-Saëns, Piano Concerti Nos. 2&5, released in 2007, Thibaudet is joined by long-standing collaborator Charles Dutoit and the Orchestre de la Suisse Romande. Thibaudet’s Aria—Opera Without Words, which was released the same year, features transcriptions of arias by Saint-Saëns, R. Strauss, Gluck, Korngold, Bellini, J. Strauss II, Grainger, and Puccini; some of the transcriptions are by Mikhashoff, Sgambati, and Brassin, and others are Thibaudet’s own. Among his other recordings are Satie: The Complete Solo Piano Music and the jazz albums Reflections on Duke: Jean-Yves Thibaudet Plays the Music of Duke Ellington and Conversations With Bill Evans, his tribute to two of jazz history’s legends. Known for his style and elegance on and off the traditional concert stage, Thibaudet has had an impact on the world of fashion, film and philanthropy. His concert wardrobe is by celebrated London designer Vivienne Westwood. In 2004 he served as president of the prestigious Hospices de Beaune, an annual charity auction in Burgundy, France. He had an onscreen cameo in the Bruce Beresford feature film on Alma Mahler, Bride of the Wind, and his playing is showcased throughout the soundtrack. Thibaudet was the soloist on Dario Marianelli’s Oscar- and Golden 8 Globe-award winning score for the film Atonement and his Oscar-nominated score for Pride and Prejudice. He recorded the soundtrack of the 2012 film Extremely Loud & Incredibly Close, composed by Alexandre Desplat. He was also featured in the 2000 PBS/ Smithsonian special Piano Grand!, a piano performance program hosted by Billy Joel to pay tribute to the 300th anniversary of the piano. Jean-Yves Thibaudet was born in Lyon, France, where he began his piano studies at age five and made his first public appearance at age seven. At twelve, he entered the Paris Conservatory to study with Aldo Ciccolini and Lucette Descaves, a friend and collaborator of Ravel. At age fifteen, he won the Premier Prix du Conservatoire and, three years later, the Young Concert Artists Auditions in New York City. In 2001 the Republic of France awarded Thibaudet the prestigious Chevalier dans l’Ordre des Arts et des Lettres, and in 2002 he was awarded the Premio Pegasus from the Spoleto Festival in Italy for his artistic achievements and his long-standing involvement with the festival. In 2007 he received the Victoire d’Honneur, a lifetime career achievement award and the highest honor given by France’s Victoires de la Musique. The Hollywood Bowl honored Thibaudet for his musical achievements by inducting him into its Hall of Fame in 2010. Previously a Chevalier of the Ordre des Arts et des Lettres, Thibaudet was promoted to the title of Officier by the French Minister of Culture in 2012. n For information, visit www.cami.com. PROGRAM NOTES LEOŠ JANÁČEK Leoš Janáček’s Taras Bulba was inspired by a mid-19th-century novel by the Russian Nicolai Gogol, and the music is better than Gogol deserved. Gogol’s hero is a fictional Cossack in 15th-century Ukraine, when Russians, Turks, Tatars and Poles vied for control of the land, and Cossacks emerged as an independent ethnic and military group, riding the steppes, beholden to no one, and very bad news for anyone who got in their way. Gogol created the Cossackiest Cossack imaginable, in the image of Gogol’s own century: a hard-drinking, wife-beating, brawling, warmongering Russian patriot horse soldier, ready to do battle with, or murder outright, anyone not of the Russian Orthodox faith (historically, the real Ukrainian Cossacks resisted Russian rule until they were forcefully subjugated about 1775). Early in the novel, Bulba persuades the local Cossacks to break a truce with the Turks merely because he wants his two sons to taste battle. But the Cossacks are distracted by rumors of Polish offenses against the Orthodox Church, and after they massacre the local Jews for the crime of existing, they ride off to attack Dubno in Poland. Bulba’s character, and Gogol’s bloodthirsty cheerleading and enthusiastic anti-Semitism — while hardly unique for his time, especially in Russia — have consigned the book to obscurity in our time. To put it mildly, Gogol’s novel lacks resonance for modern western readers. Sensibilities were different in Czechoslovakia in 1915, when Janáček began his orchestral rhapsody. The Czechs had long been subjugated by the Austro-Hungarian 9 Empire, and many nationalist Czechs subscribed to “Pan-Slavism,” a belief that political and cultural salvation lay in an international Slavic brotherhood, led by the giant Slavic nation Russia. Janáček, a fan of all things Russian, had founded a Russian club in Brno, visited Russia, and had his children study in St. Petersburg. Janáček may or may not have seen a kindred pan-Slav in Bulba (he would have had to overlook the thousands of Slavic Poles Bulba kills). What drew him to the story was the final scene, in which Bulba, while being burned alive, pronounces that “there is no fire or martyrdom in the whole world that could break the strength of the Russian people,” and prophesies, “A czar shall arise from Russian soil, and there shall be no power in the world that shall not submit to him!” By March 29, 1918, when Janáček finished his rhapsody, World War I was over, Czechoslovakia was six months away from formal independence, and the last czar was a prisoner of the new Bolshevik government with less than four months to live. The first movement, The Death of Andrei, depicts events during the Cossacks’ protracted siege of Dubno. The besieged Poles are starving. Bulba’s younger son Andrei learns that one of them is a Polish official’s daughter whom he had met and fallen in love when they both lived in Kiev. Carrying food for her family, he enters the city through a secret passage that opens into a church, and then walks among the suffering and dying townsfolk to get to her house. The music depicts his thoughts of love, his fear of being 10 caught, his arrival in the church (hence a notable organ part), his walk through the ghastly streets, and their mutual confession of love when he and his love meet. Andrei fatefully renounces his people and goes over to the Poles for her sake. When the trombones (the voice of Taras Bulba) announce battle, Andrei leads the Poles out to fight the Cossacks. His father confronts him and, with the battle raging around them, orders him off his horse. Andrei, helpless to resist his father’s authority, obeys even as his final thoughts go to his love. Bulba kills him and rides back into battle. In the second movement, The Death of Ostap, Bulba’s older son is captured and taken with other Cossack prisoners to be publicly tortured to death in Warsaw, about 240 miles from Dubno. Bulba, who was wounded in battle and carried away to safety, goes to Warsaw and is in the crowd, disguised, to see with pride that his son faces his terrible end with courage. The scene (and movement) ends with Ostap (the E-flat clarinet) crying out, “Father! Are you there? Can you hear me?” Bulba shouts back that he can hear him, and then disappears. In Prophecy and Death of Taras Bulba, the third movement, Bulba has returned to Poland as a regimental commander in a huge Cossack invading force. When a peace is negotiated, Bulba refuses to accept it, and splits his troops away from the army to continue a campaign of killing every Pole he can find, including women and babies, to avenge Ostap. Finally the Poles surround his force, drag him off FRANZ LISZT his horse, tie him to a tree and start to burn him alive while the battle is still going on. The movement begins with flickering flames in the strings and sparks in the woodwinds. Bulba, oblivious to the flames, shouts to his men (the same gruff trombone figure that heralded battle in the first movement) to escape by jumping into the river, and can die content when he sees them get away. Then (apparently with no one around to hear but the Poles) comes the prophecy about the Russian spirit and future czar that drew Janáček to the story, and it is stunning: a majestic four-note fanfare/chorale in the brass heard six times in six different keys, and then returning once more in a majestic close. Like much of his music, Franz Liszt’s second piano concerto is not what you would expect from Liszt. He was nothing if not surprising. When he began drafting it in 1839, he was in his 20’s and at the height of a career as a piano virtuoso unlike any before. But he left it unfinished, and when he took it up again ten years later, he was a different man. He retired from concertizing in 1847 (he was all of 35) and took an unlikely position as Kapellmeister of the ducal court in Weimar, where he ran the court musical establishment, broadened his own musical horizons, and worked on becoming a more serious kind of composer. It was during this period that he revisited the concerto again and again. His first concerto had been dazzlingly virtuosic. His second was a different story. Just how different is made evident when the piano enters after the first statement of the main theme, not to restate it with virtuosic elaboration as a normal concerto soloist would do, but to accompany the violins. There is plenty of virtuosity in spots, but it is striking how much of the piano part is an accompaniment for the clarinet, oboe, horn or cello, and how much the piano is a touch of extraordinary color ornamenting the musical texture. The second concerto is also remarkable for where it goes and how it gets there. Liszt, not much enamored of the traditional concerto sonata structure 11 (or, indeed, any fixed structure), instead went the route of continuous thematic transformation. His second concerto could be described as a Set of Variations With Other Stuff Also Included. The first theme reappears repeatedly in different characters; at one point it becomes a highly unlikely march, as if to emphasize that the point is to show just how far the limits of musical imagination can be extended. Antonín Dvořák’s Symphony “From the New World” exists because a visionary patron of the arts made a deliberate attempt to create an American style of art music, and to a remarkable extent succeeded. When Jeanette Thurber founded the National Conservatory in New York, she intended to create a national school of composition. She engaged as its director Dvořák, who was 51 years old when he arrived in September 1892. Since Dvořák grounded his own music in Czech folk tradition, he focused on the folk music of America. In interviews with New York newspapers, he opined that the music of Native Americans and black Americans (“Indians” and “negroes” in those days) would be the real source of 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 12 ANTONÍN DVOŘÁK 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. It was a major triumph, and occasioned much enthusiastic discussion about just how American it really was. 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. He 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.” In the ensuing 120 years, the symphony’s popularity has endured, and the cognoscenti still debate how much the New World Symphony sounded like what American music was before American music started to sound like the New World Symphony. Dvořák insisted that while he took inspiration from folk music, he borrowed no actual melodies. The symphony is remarkable in how memorable nearly all of its tunes are. For just this reason, it sometimes gives short shrift to symphonic development: it needs less compositional craft because the sheer melodic invention is so inspired. And it’s easy to conclude that Dvořák kept bringing themes back in later movements not for purposes of cyclical unity, but because he couldn’t bear to part with them. 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 unforgettable: the magical seven chords that begin the second movement and reappear at key points (strangely enough, these are the only measures in the entire symphony where the tuba plays). Sources close to Dvořák said the slow movement was inspired by episodes in Longfellow’s Song of Hiawatha. But the sources do not agree on which part(s) of Hiawatha he 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. Years later, William Fisher, one of Dvořák’s former students, gave it words and turned it into a song called “Going Home” that was popular for many years. Dvořák said 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 three-against-two rhythmic pull that yanks the theme along). The lilting middle section could pass for a Slavonic Dance. 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. And is it coincidence that the final page sounds like a boogiewoogie bass, or did Dvořák happen to be one of the first Europeans to hear a musical figure that survives in popular music to this day? The years have been kind to the symphony, but they do change it. In 1895, it was new and bold. By the mid-20th century it was so much a part of American culture that it was familiar to people who had never even heard it. They heard its offspring in the “American” style of Copland and his generation, and in movies and television, particularly the “western” that was so much a part of the large and small screen until a generation or two ago. Dvořák posthumously supplied the soundtrack for the chase scene, the cavalry riding to the rescue and the showdown at high noon. A listener encountering it for the first time now, decades after the decline of the western, might approach the New World Symphony without such associations, but it will always have a place in American musical DNA. ©2014 | Howard Posner 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” Make a gift of cash, stocks or bonds and enjoy immediate tax benefits. 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 Ridley-Tree 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. 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 “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,” Dr. Emmons said. “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. at (805) 966-4324 or [email protected] 14 Anonymous Peter & Becky Adams Bitsy Becton Bacon Else Schilling Bard Joan C. Benson Peter & Deborah Bertling Linda & Peter Beuret Lida Light Blue & Frank Blue Mrs. Russell S. Bock Linda Brown Elizabeth & Andrew Butcher Virginia Castagnola-Hunter Jane & Jack Catlett Bridget & Bob Colleary Karen Davidson, M.D & David B. Davidson, M.D. Julia Dawson Patricia & Larry Durham Christine & Robert Emmons Mary & Ray Freeman Arthur R. Gaudi Stephen & Carla Hahn Beverly Hanna Ms. Lorraine Hansen Raye A. 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