Presenting the world’s finest classical artists since 1919 2016|2017 INTERNATIONAL SERIES AT THE GRANADA THEATRE

Warsaw Philharmonic Orchestra

JACEK KASPSZYK Conductor Fryderyk-Chopin-Institute/Bartek-Sadowski SEONG-JIN CHO Soloist

MONDAY, NOVEMBER 7, 2016, 8PM The Granada Theatre (Santa Barbara Center for the Performing Arts) Juliusz Multarzynski

Jacek Kaspszyk Seong-Jin Cho D.Skurzak COMMUNITY ARTS MUSIC ASSOCIATION INTERNATIONAL SERIES BIOGRAPHY AT THE GRANADA THEATRE Sara Langdon WarsawOPUS 3 ARTISTSPhilharmonic PRESENTS Orchestra JACEK KASPSZYK, Conductor SEONG-JIN CHO, Piano Soloist

MONDAY, NOVEMBER 7, 2016, 8PM The Granada Theatre (Santa Barbara Center for the Performing Arts) D.Skurzak

JOHANNES BRAHMS (1833-1897) Tragic Overture in D minor, Op.81

FRÉDÉRIC CHOPIN (1810-1849) Philharmonic No.1 in E minor, Op.11 Orchestra I. Allegro maestoso II. Romanze — Larghetto III. Rondo — Vivace The Warsaw Philharmonic Orchestra itself as the main center of musical life Seong-Jin Cho, Piano Soloist gave its first concert on November 5, in and one of the major musical 1901 in the newly erected Philharmonic institutions in Europe. Performances INTERMISSION Hall. This inaugural concert was were given here by nearly all the famous conducted by Emil Młynarski, the conductors and soloists of the day MIECZYSŁAW WEINBERG (1919-1996) Philharmonic’s first Music Director including Claudio Arrau, Edvard Grieg, Symphony No.4 in A minor, Op.61 and Principal Conductor and featured Arthur Honegger, Vladimir Horowitz, Allegro the world-famous pianist, Bronisław Huberman, Otto Klemperer, Allegretto and future statesman Ignacy Jan , Sergei Rachmaninoff, Adagio — Andantino Paderewski. The all-Polish programme , Artur Rodziński, Arthur Vivace of this historic concert included Rubinstein, Pablo Sarasate and Richard Paderewski’s Piano Concerto in A minor Strauss. as well as works by Chopin, Moniuszko, During the first post-war years the Programs and artists subject to change Noskowski, Stojowski and Żeleński. Warsaw Philharmonic Orchestra was Warsaw Philharmonic’s rapid rise conducted by among others Olgierd CAMA gratefully acknowledges our sponsors of performance level soon attracted Straszyński and Andrzej Panufnik. In for this evening’s performance… distinguished artists from all over the January 1950 the post of Director and International Series Season Sponsor: SAGE Publications world. As early as pre-World War I and Principal Conductor was entrusted Sponsor: Ellen & Peter Johnson during the inter-war years it established to Witold Rowicki, who embarked on Co-Sponsor: Bob & Val Montgomery Co-Sponsor: Michele & Andre Saltoun

2 Co-Sponsor: George & Judy Writer 3 establishing a new orchestra. Despite On July 1, 1977, the post of Artistic the difficult working conditions related Director and Principal Conductor to a lack of venue (concerts were given was taken up by who in various sport halls and theatres) held this position till the centenary of thanks to Rowicki’s efforts the orchestra the Philharmonic in 2001. From the regained its position as Poland’s leading beginning of his work with the orchestra ensemble. he placed emphasis on augmenting the The opening of the new Philharmonic repertoire thanks to which alongside Hall in Jasna Street on the site earlier symphonic compositions, successive destroyed by German bombing raids programmes of the artistic seasons D.Skurzak took place on February 21, 1955. On featured large-scale vocal-instrumental that day Warsaw Philharmonic received and operatic works as well as many the title of the National Philharmonic, pieces of contemporary music. New Penderecki, Górecki and Kilar) received as well as for Deutsche Grammophon highlighting its status as the leading initiatives included the concert cycle several awards, among them a Grammy – Chopin’s works, with Ingolf Wunder as musical institution of Poland. “The National Philharmonic presents,” in 2012. In August 2013 he concluded soloist (2015). During the years 1955-1958 the recorded live and released by Polskie his tenure in a performance with the The symphony orchestra of the Warsaw Philharmonic (for the first time Warsaw Philharmonic has to its credit orchestra’s Director was Bohdan Nagrania as well as concerts given by Lisa Marie Mazzucco Wodiczko, a distinguished promoter of undergraduates of Warsaw’s Academy in its history) at the BBC Proms Festival over 140 tours on five continents and contemporary music who collaborated of Music. Together with Witold in London. has appeared in almost every major with among others Arnold Rezler and Lutosławski, Kazimierz Kord put forward Since the 2013-2014 season the concert hall where it has been warmly Stanisław Skrowaczewski. The orchestral the idea of short contemporary music post of Music and Artistic Director, received by audiences and praised forces were transformed and enlarged. festivals centered on the concept of a responsible for the development of by music critics for its excellent and The enormous success enjoyed by rendezvous for various disciplines of the Philharmonic’s ensembles and dynamic performances. The orchestra performances of 20th century music the arts. The first of these festivals took repertoire as well as choice of guest has also performed at many prestigious led to the establishment at the National place after the composer’s death and artists, was taken up by Jacek Kaspszyk. international festivals among others in Philharmonic of the “Warsaw Autumn” in his honour was named “Lutosławski His historic “Warsaw Autumn” Festival Vienna, Berlin, Prague, Bergen, Lucerne, International Festival of Contemporary Forum”, since when it has been held concert in 2013, featuring the pianist Montreux, , Brussels, Florence, Music, which in time became one of the annually, then bi-annually through to the Krystian Zimerman, became one Bordeaux and Athens as well as the most important festivals of its kind in jubilee “Lutosławski Year” of 2013. of the highlights of the Lutosławski “La Folle Journee” festivals in Nantes, the world. From 2002 to 2013 the Managing Year (programme: Lutosławski’s Piano Bilbao, Lisbon and Tokyo. The National In 1958 Witold Rowicki was once and Artistic Director of the Warsaw Concerto and Symphony No.3) and Philharmonic also regularly participates again appointed Artistic Director and Philharmonic was Antoni Wit, who won the “Coryphaeus of Polish Music” in the F. Chopin International Piano Principal Conductor of the Philharmonic, continued the repertoire policy of Award in the category of “Event of the Competition, the “Warsaw Autumn” a post he held until 1977. The Orchestra’s his predecessor augmenting it by a Year.” Jacek Kaspszyk also conducted Contemporary Music Festival, the principal guest conductors at the time greater presence of Polish music often the first concerts in the history of the “Chopin and his Europe” Festival and the were Stanisław Wisłocki and Andrzej performed by foreign artists. Under Philharmonic to be streamed online. By Easter Festival. Markowski. During Rowicki’s directorship his baton ensembles of the Warsaw the end of 2015 the Orchestra under It records for Polish Radio, Polish and Nicolas Brodard foreign concert tours and performances Philharmonic recorded over 50 albums, Jacek Kaspszyk had recorded three foreign record labels as well as film in prestigious concert halls throughout of these nearly 40 for Naxos. These CDs: for Warner Classics – music by companies. Since 2016 the Warsaw the world became a permanent feature recordings of mainly Polish Weinberg (2014), Brahms and Bach in Philharmonic has introduced regular of the orchestra’s artistic schedule. (Karłowicz, Szymanowski, Lutosławski, Schönberg’s orchestral versions (2015), online streaming of selected concerts. n

4 5 Fryderyk-Chopin-Institute/Bartek-Sadowski Festival, the Bolshoi in Moscow, Sadler’s SEONG-JIN CHO Wells in London, Hong Kong Arts Festival Pianist and three highly successful tours of Japan. The Now critic wrote: “Teatr Wielki Seong-Jin Cho was brought to the world’s – Polish National Opera has filled the gap attention in October 2015 when he won between Berlin and Moscow on the map of First Prize at the Chopin International Europe.” Kaspszyk’s opera career has also Piano Competition in Warsaw. Four included productions for many renowned years before he had won Third Prize opera houses, including Deutsche Oper at the Tchaikovsky competition, aged am Rhein in Düsseldorf, Opéra Comique in only 16. With his overwhelming talent JACEK KASPSZYK Paris, Stockholm Opera, English National and natural musicality, Seong-Jin Cho Gergiev, and . Conductor Opera, Scottish Opera, Zurich Opera, is rapidly embarking on a world-class Future engagements in 2016 Teatro Colón in Buenos Aires and most career and is considered one of the and 2017 include concerts with the Since his success at the renowned Karajan recently Nuremberg Opera. most distinctive artists of his generation. Philharmonia Orchestra and Esa-Pekka Competition (1977), Jacek Kaspszyk has Since September 2013 Kaspszyk is In January 2016, Seong-Jin Cho signed Salonen, St Petersburg Philharmonic conducted major orchestras throughout Music Director of the Warsaw Philharmonic an exclusive contract with Deutsche and Yuri Temirkanov, Accademia Santa the world, including the New York and Orchestra, opening his tenure with the Grammophon. Cecilia di Roma and Valery Gergiev, Berlin Philharmonics, the Bayerischer orchestra’s first ever Internet concert Born in 1994 in Seoul, Seong-Jin Russian National Orchestra and Mikhail Rundfunk, RSO Berlin, Vienna Symphony, transmission and a recording of Weinberg’s started studying the piano at age six Pletnev, Tokyo Philharmonic and Myung- the Oslo, Rotterdam and Czech Symphony No.4 for Warner Classics, and gave his first public recital five years Whun Chung, Orchestre de Paris and Philharmonics and the Chamber Orchestra nominated for the annual “Fryderyk” award. later. In September, 2008 at the age of Tomás Netopil. Seong-Jin will play debut of Europe, with whom he toured Australia. Other accolades include a Platinum Disc 14, he won the first prize at the sixth recitals at the Concertgebouw Recital In the UK he has worked with all the for his recording of Moniuszko’s Haunted Moscow International Frederick Chopin Hall, St. Petersburg Philharmonia, major London orchestras, The Hallé, Royal Manor (EMI), a nomination for “Record of Competition. In November, 2009 he won London International Piano series, Liverpool, Royal Scottish, the Orchestra the Year” by BBC Music Magazine granted the first prize at the seventh Hamamatsu Suntory Hall in Tokyo, Prague Spring of the Age of Enlightenment as well as to Szymanowski’s King Roger (CD Accord) International Piano Competition in Japan Festival, Klavier Festival Ruhr, and the BBC Scottish and BBC Welsh, with and a Number 2 slot in the Classical Charts (youngest winner in its history). Carnegie Hall’s main hall. whom he made his BBC Proms debut. He for performances in the Progetto Martha Seong-Jin has performed with some Since 2012, Seong-Jin has been living has also conducted orchestras in Japan, Argerich (EMI). of the world’s major orchestras including in Paris. After studying with Professor Korea, Malaysia and performs regularly He is the recipient of many awards, the Royal Concertgebouw Orchestra, S.R. Park, S.J. Shin in Seoul, he studied in China with the Shanghai Philharmonic, most recently the prestigious Elgar Philharmonia Orchestra, Mariinsky with Michel Béroff at Paris Conservatoire Guangzhou Symphony and Beijing’s China Society Medal for his interpretations of Orchestra, Munich Philharmonic National Supérieur de Musique. Philharmonic. the composer’s music, the “Coryphaeus Orchestra, Berlin Radio Symphony “Cho has an envilable ability to make In his native Poland he has held of Polish Music” award for his concert at Orchestra, Seoul Philharmonic Orchestra, every note sound distinct and clear, numerous high-profile positions, including the Warsaw Autumn Festival, and Gazeta Czech Philharmonic Orchestra, shaping and balancing each phrase Music Director of the Polish National Radio Wyborcza’s “Man of the Year” audience Festival Orchestra, Danish National perfectly... he superbly demonstrated Symphony Orchestra, Artistic Director award for excellence. Symphony Orchestra, Russian National his understanding of Chopin’s stated of the NFM Wrocław Philharmonic and a Early in 2016 he made a very well Orchestra, Radio Philharmonic, intent: ‘calm and melancholy, giving highly successful tenure as Artistic and received concert tour of Japan and South NHK Symphony Orchestra, under the impression of a thousand happy General Director of the Polish National Korea with Warsaw Philharmonic Orchestra renowned conductors such as Myung- memories. It’s a kind of moonlight Opera, which led to the company’s and the Chopin Competition prize-winners Whun Chung, Lorin Maazel, Marek reverie on a beutiful spring evening.’” acclaimed appearances at the Beijing of 2015. n Janowski, Mikhail Pletnev, Valery – Backtrack, November 2015 n

6 7 specific literary inspiration, or in their Knowing Brahms’ mischievous nature, own commentaries. However, Johannes one can easily imagine his amusement Brahms always upheld the autonomy of at the strenuous efforts to discover music, identifying himself with the ideas literary inspirations, which most of his friend, the influential Viennese probably did not exist, and the jokes critic Edward Hanslick, who passionately with which he would have brushed off questioned the thesis that instrumental inquisitive listeners. music was capable of expressing any Program Note by Piotr Maculewicz theme or idea. Therefore, his two overtures, composed at the same time and “complementary” in a way, FRÉDÉRIC CHOPIN: are quite exceptional in his legacy Piano Concerto No. 1 in E minor, Op. 11 (perhaps together with his early piano Ballads of a narrative character, which Born: Żelazowa Wola, Poland, also attempted to be interpreted as March 1, 1810 program pieces). While the humorous Died: Paris, France, Oct 17, 1849 Academic Festival Overture conceals Composed: 1830 no secrets, being simply a charming potpourri based on motifs from popular In the works of Frédéric Chopin we find student songs, the Tragic Overture a unique example of a composer writing Op. 81 became a matter of endless almost exclusively for the piano, who Johannes Brahms conjecture among Romantic performers, nonetheless has been granted a place whom the composer himself did not aid among the greatest composers of all in the least, by not revealing any extra- time — universally idolized in his own musical inspiration. They considered century and in ours. His contemporaries, Sophocles’ and Shakespeare’s plays perhaps from jealousy, were sometimes NOTES ON THE PROGRAM (especially King Lear and Hamlet), so slighting; yet, despite their derogatory beloved by Brahms, and also Goethe’s epithets, the fact remains that Chopin Faust (the composer was considering invented a keyboard style that fitted composing music for it); obviously, ideally into nineteenth-century JOHANNES BRAHMS: to music that accompanied plays (by they also examined Brahms’ life and Romanticism. His music is tinged with Tragic Overture, D minor, Op. 81 Goethe and Collin), however, their purely emotional attachments, the latter melancholy, suggesting a never-ending symphonic qualities quickly turned both usually unfortunate, if one considers the search for the unattainable, yet arrayed Born: , , May 7, 1833 of them into strictly concert pieces. romantic sphere… Even if some direct in an impeccable technical structure. All Died: Vienna, , April 3, 1897 However, the extra-musical inspiration inspirations did exist — we will not his works demand of the player not only Composed: 1880 remained explicit. discover them, and speculations seem a flawless touch and technique but also Other popular concert overtures of the pointless and against the composer’s an imaginative use of the pedals and a The Romantic concert overture was 19th century (by Berlioz, Mendelssohn, intentions. Perhaps he even wished discreet application of tempo rubato, usually regarded as a genre of program Tchaikovsky) also originated either in to create a piece that would be very which Chopin himself described as a music — Beethoven’s overtures Egmont the theatre or their authors disclosed powerful in its epic élan, yet expressed slight pushing or holding back within and Coriolan (which set an example for their program in various manners — nothing but the universal symbol of the phrase of the right-hand while the manyCOMMUNITY such works) ARTS originally MUSIC ASSOCIATION belonged OFthrough SANTA BARBARA, the title, INC by • CAMASB.ORGmentioning a tragic emotions that music can convey. left-hand continues in strict time

8 9 MIECZYSŁAW WEINBERG: Soviet citizenship with his forename Symphony No. 4, A minor, Op. 61 Mieczysław exchanged for Moisey and dispatched to Minsk where he Born: Warsaw, Poland, Dec 8, 1919 enrolled at the conservatory to study Died: Moscow, Russia, Feb 26, 1996 composition with Vasily Zolotarev. On Composed: 1957 June 24, 1941 his diploma composition was performed by the local orchestra In the mid-1960s, when Serge Prokofiev only to be followed the next day by was no longer alive and Alfred Schnittke’s Germany’s invasion of her former ally. generation was only just beginning to Once again on the run he managed to attract attention, according to many get to Tashkent from where thanks to observers of the Russian musical scene Shostakovich’s support he was allowed the most interesting composer besides to relocate to the capital. After a few was Mieczysław far from idyllic years of life in Moscow, The bronze Chopin Statue Weinberg. He had come to the USSR in the small hours of February 7, 1953 that stands in the upper from Poland — not altogether by after a concert during which David part of Warsaw’s Royal Baths Park (Łazienki Park) choice. He lived in Moscow where his Oistrakh had performed his Rhapsody symphonies, concertos and string on Moldavian Themes, Weinberg was quartets would appear regularly in arrested. Stalin’s timely death and an concert programmes performed by intervention by Shostakovich allowed In the summer of 1829, Chopin up in one’s soul beautiful memories the most distinguished interpreters. He him to regain his freedom, after 11 completed his studies at the Warsaw — for instance, a fine, moonlit, spring earned his living by writing film music: weeks spent in Lubyanka prison. Conservatory and left for Vienna to night. I have written for violins with winning fame with the melodrama The Weinberg’s 50-year career as a investigate the possibility of publishing mutes as an accompaniment to it.” Cranes Are Flying and popularity with composer, uninterrupted until his illness some of his music. While there, he gave The Concerto No.1 in E minor Winnie the Pooh. and death in 1996, yielded an enormous a concert that critics said “electrified the was finished in August, 1830, and in Weinberg was born in 1919 in contribution including 22 symphonies, 9 public.” When Chopin yielded to demands September, rehearsals were begun, Warsaw. Twenty years later, having concertos, 7 cantatas, 70 chamber works for a second concert, it was less to please with a string quartet accompaniment. completed his piano studies with Jozef and almost 30 song cycles set to Polish, the Viennese public than to impress the A rehearsal with nearly full orchestra Turczynski he was being tipped as the Jewish and Russian poetry as well as 8 people back home in Warsaw. minus and timpani was held next winner of the Chopin Competition, works for the stage including 4 . On May 25, the composer wrote, “The in Warsaw on September 22 before a when war broke out and he was forced Weinberg’s exceptional productivity rondo for my concerto is not yet finished select audience. The premiere took place to flee from the Germans — for the first was fostered by his conviction that because the right, inspired mood has on October 11, and was a great success. time. In 1941 he fled from them for a when writing music one should always always been lacking. When I have just The concert was his farewell: three weeks second time. His life hung by a thread draw on the past, as only then is it the Allegro and Adagio completely later Chopin set on a long tour across for a third time courtesy of the Soviet possible to create something both finished, I shall have no anxiety about the Germany to Paris, from which he was government. His persecutors varied, but personal and intelligible. This approach finale. The Adagio is in E Major, and of a never to return. In Polish eyes, Chopin was the reasons for the threat remained the to music he acquired at home. His father romantic, calm and partly melancholy viewed as a Polish national composer. same: he was Jewish. Shmuel was a violinist and self-taught character. It is intended to convey the Program Note by Columbia Artists When in September 1939 he conductor, who from an early age impression one receives when the eye Management Inc., ©1998 managed to make his way across worked in theatres. He practiced music rests on a beloved landscape that calls the Eastern borders, he was given with a passion but treated it as a craft

10 11 that required an excellent technique, above all in the symphonies of Gustav knowledge of repertoire, diligence and Mahler, who in pre-war Warsaw was not familiarity with audiences’ expectations. performed or respected as a composer. Consequently Weinberg reached for It was in Moscow that Weinberg traditional genres and proven means of acquired enthusiasm for his music. In expression. the slow second movement’s opening When composing Symphony No.4, (and closing) melancholy clarinet and the forty-year old Weinberg already string duet, the accompanying motifs had three unperformed symphonies in in the brass section adhere even his drawer (No.1 – 1942, No.2 – 1946, more clearly to Mahlarian traditions, No.3 – 1949). He probably expected albeit further removed from traditional that his fourth would meet with the tonalities — having been composed half same fate, albeit that from time to time a century later. The atmosphere of this he would play it to friends on a piano, movement, earlier entitled Intermezzo or someone would read the score. is typical of many of Weinberg’s Indeed, he dedicated it to just such a works and allows us to understand potential “reader,” a younger composer- why during the purges instigated in colleague Revol Bunin. Meanwhile with 1948 by Zhdanov many of his works Mieczysław Weinberg the new decade came the “golden were banned following accusations of years” in his compositional career. pessimism. Never before or after were so many of The Symphony’s third movement, his works performed, both old and new, initially entitled Serenade, suggests including Symphony No.4, which on an emotionally driven programme, complete) Weinberg replied: “In every we hear in the background violin October 16, 1961 was performed by the moreover often present in Weinberg’s single one of my symphonies I have pizzicatos reminiscent of a freilach, the Moscow Philharmonic Orchestra under works. To the tragic loss of his parents exploited elements from vocal works, most popular dance among Eastern the baton of Kirill Kondrashin. When and sister who died in the Trawniki romances or opera…. I believe that European Jews, familiar to Weinberg preparing the work for performance concentration camp, along with the in music, including instrumental, the from days when in pre-war Warsaw he the composer made certain corrections entire Jewish community, Weinberg most significant element is melody, earned a living by playing in “boulevard” to the score, changing the order of the alluded in his music on many occasions, within which rests that which is most theatres and at Jewish weddings. slow movements and deleting their expressed in the verses he reached important.” He acted accordingly when The dance rhythms of the finale are titles. for when composing vocal works as composing this symphony, taking into of a completely different character. The first movement’s original title well as in titles and dedications to his account that the third movement’s main The theme of the animated variations of Toccata relates to its main theme instrumental pieces. This movement subject draws on the song Jewboy from is based on the Russian folk melody played unisono by the strings thus opens with a horn solo, perhaps an his 1956 setting of Gipsy Bible based entitled The Partridge (which differs placing additional emphasis on its allusion to a ritualistic shofar, associated on Juliusz Tuwin’s collection of verses greatly from the Belarusian version). vitality. Both this and the contrasting with mourning. Another sign pointing of the same name (Jewboy written There is a perceptible presence of theme (played by the brass) allude to a programmatic understanding of in 1924, the collection published in mazurka rhythms, while hovering over to a style created by Shostakovich, his music relates to an interview during 1934). Moreover as we listen to a everything is an aura of Stravinsky’s Weinberg’s teacher and mentor. The which when asked how he learned to melody, which earlier accompanied Petrushka. origins of the second theme, like many compose at such speed (Symphony the poignant words about the fate other motifs in this work, are rooted No.4 took barely three months to of a displaced and rejected Jew, Program Note by Danuta Gwizdalanka

12 13 We gratefully acknowledge CAMA Legacy Society members for Ensure CAMA's future remembering CAMA in their estate plans with a deferred gift. Anonymous Peter & Becky Adams Bitsy Becton Bacon LEGACY SOCIETY MEMBER Else Schilling Bard Joan C. Benson Peter & Deborah Bertling Linda & Peter Beuret SPOTLIGHT Lida Light Blue & Frank Blue Mrs. Russell S. Bock Linda Brown * LEAVE A LEGACY Elizabeth & Andrew Butcher JAMES H. Virginia Castagnola-Hunter OF MUSIC​ HURLEY JR., Jane & Jack Catlett “It would be hard on the Bridget & Bob Colleary to overestimate the Importance of Karen Davidson, M.D & David B. Davidson, M.D. achievements and CAMA’s Legacy Julia Dawson importance of CAMA. Society Patricia & Larry Durham The devotion and Christine & Robert Emmons Mary & Ray Freeman commitment of its CAMA has been members should be an Arthur R. Gaudi fortunate to have Stephen & Carla Hahn example of how much Jim Hurley as a Beverly Hanna one can do to enrich Ms. Lorraine Hansen Board member since the cultural life of a Joanne C. Holderman 1983. Over those Judith L. Hopkinson community.” year, Jim has served in numerous significant Dolores M. Hsu – Vladimir Ashkenazy Board capacities. Yet one that he feels most Mr. & Mrs. James H. Hurley, Jr. Elizabeth & Gary Johnston strongly about is the Legacy Society, which he Herbert & Elaine Kendall helped bring into existence seven years ago. Mahri Kerley “As a Board member of Community Arts Lynn P. Kirst & Lynn R. Matteson Through the generosity of people like you, Lucy & John Lundegard Music Association for over 30 years, I have Nancy R. Lynn CAMA offers the opportunity to ensure the future of our mission seen the cost of presenting orchestras rise Keith J. Mautino to bring world-class music to Santa Barbara. By including CAMA in tremendously. Since ticket prices cannot cover Sara Miller McCune Raye Haskell Melville the cost of the orchestras, and since CAMA your will or living trust, you leave a legacy of great concerts and music Mr. & Mrs. Frank R. Miller, Jr. wishes to keep prices in line so as many people appreciation outreach programs for future generations. Dr. & Mrs. Spencer Nadler as possible can appreciate the artists we bring Ellen & Craig Parton Make a gift of cash, stocks or bonds and enjoy immediate tax benefits. to Santa Barbara, we have established the Diana & Roger Phillips Ellen & John Pillsbury Legacy Society to help fund those orchestras Dr. Donald G. Richardson in the future. Our Legacy Society helps our Andre M. Saltoun If you have provided a gift to CAMA in your will or estate plan, or if you would endowment which in turn helps us to supplement Judith & Julian Smith like to receive more information on tax wise ways to leave a legacy to CAMA, Mr. & Mrs. Sam Toumayan the cost of presenting the world’s finest Mark E. Trueblood please contact Martha Donelan, director of development to Santa Barbara audiences.” Dr. & Mrs. H. Wallace Vandever at (805) 966-4324 or [email protected] For more information on how to include Barbara & Gary Waer CAMA in your estate planning, please Nancy & Kent Wood * promised gift contact CAMA’s Development Director (as of October 24, 2016) Martha Donelan at 805-966-4324.

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