Program Notes
Transcription
Program Notes
Presenting the world’s finest classical artists since 1919 Brooke Irish SEASON SPONSORSHIP: ESPERIA FOUNDATION DAWN UPSHAW Soprano Glibert Kalish, Piano SUNDAY, FEBRUARY 22, 2015, 4PM (AFTERNOON CONCERT) LOBERO THEATRE COMMUNITY ARTS MUSIC ASSOCIATION BIOGRAPHY SEASON SPONSORSHIP: ESPERIA FOUNDATION Dawn Upshaw, Soprano Glibert Kalish, Piano SUNDAY, FEBRUARY 22, 2015, 4PM Lobero Theatre, Santa Barbara IV. Charles Ives (1874-1954) Olivier Messiaen (1908-1992) Songs My Mother Taught Me Tom Sails Away Memories a. Very Pleasant b. Rather Sad Down East Le collier Amour oiseau d’étoile Prière exaucée Brooke Irish I. V. *program amended by artist, see below Béla Bartók (1881-1945) Fekete főd II. Charles Ives The Alcotts, from Piano Sonata No.2, Concord, Mass., 1840-60 Gilbert Kalish, Piano Zoltán Kodály (1882-1967) Egy kicsi madárka Ifjúság mint sólyommadár “Upshaw’s instrument has the kind of power, clarity and pure beauty that can transfix a listener.” – Pioneer Press Béla Bartók III. Franz Schubert (1797-1828) Im Frühling Geheimes Gretchen am Spinnrade Lied der Mignon (Nur wer die Sehnsucht kennt) Rastlose Liebe INTERMISSION Eddig való „Hatforintos” Nota VI. William Bolcom (b.1938) Song of Black Max (As Told by the de Kooning Boys) Waitin’ George *set V. amended to: Program subject to change. CAMA gratefully acknowledges our sponsors for this evening’s performance… DAWN UPSHAW Béla Bartók (1881-1945) Fekete főd Annyi bánat a szüvemen Régi keserves Eddig való dolgom „Hatforintos” Nóta Masterseries Season Sponsor: Esperia Foundation Principal Sponsor: Carla Hahn & The Stephen & Carla Hahn Foundation Co-Sponsor: The CAMA Women’s Board COMMUNITY ARTS MUSIC ASSOCIATION Joining a rare natural warmth with a fierce commitment to the transforming communicative power of music, Dawn Upshaw has achieved worldwide celebrity as a singer of opera and concert repertoire ranging from the sacred works of Bach to the freshest sounds of today. Her ability to reach to the heart of music and text has earned her both the devotion of an exceptionally diverse audience, and the awards and distinctions accorded to only the most distinguished of artists. In 2007, she was named a Fellow of the MacArthur Foundation, the first vocal artist to be awarded the fiveyear “genius” prize, and in 2008 she was named a Fellow of the American Academy of Arts & Sciences. Her acclaimed performances on the opera stage comprise the great Mozart roles (Pamina, Ilia, Susanna, Despina) as well as modern works by Stravinsky, Poulenc, and Messiaen. From Salzburg, Paris and Glyndebourne to the Metropolitan Opera, where she began her career in 1984 and has since made nearly 300 appearances, Dawn Upshaw has also championed numerous new works created for her including The Great Gatsby by John Harbison; the Grawemeyer Award-winning opera, L’Amour de Loin and oratorio La Passion de Simone by Kaija Saariaho; 3 John Adams’s Nativity Morning Walks on the oratorio El Niño; and “Of course, the classical ArtistShare Label. She Osvaldo Golijov’s chamber is featured on more music world has many opera Ainadamar and song than 50 recordings, singers with magical cycle Ayre. including the millionvoices, but Upshaw’s rare gift as a performer is an It says much about selling Symphony No.3 ability to inhabit a work Dawn Upshaw’s sensiby Henryk Górecki for on the most profound bilities as an artist and Nonesuch Records. Her levels, to live the music colleague that she is a discography also includes on stage rather than sing favored partner of many full-length opera recordit at you. At the end of a leading musicians, includings of Mozart’s Le nozze strong Upshaw perforing Gilbert Kalish, the di Figaro; Messiaen’s mance, one feels not Kronos Quartet, James St. Francois d’Assise; dazzled by a glittering Levine, and Esa-Pekka operatic star, but rather Stravinsky’s The Rake’s Salonen. In her work as swept into the world of a Progress; John Adams’s a recitalist, and particu El Niño; two volumes of fellow life-traveler.” larly in her work with comCanteloube’s “Songs of – The Boston Globe posers, Dawn Upshaw the Auvergne,” a dozen has become a generative recital recordings, and force in concert music, having prean acclaimed three-disc series of miered more than 25 works in the Osvaldo Golijov’s music for Deutsche past decade. From Carnegie Hall to Grammophon. large and small venues throughout the Dawn Upshaw holds honorworld she regularly presents specially ary doctorate degrees from Yale, designed programs composed of liethe Manhattan School of Music, the der, unusual contemporary works in Juilliard School, Allegheny College, many languages, and folk and popuand Illinois Wesleyan University. She lar music. She furthers this work in began her career as a 1984 winner of master classes and workshops with the Young Concert Artists Auditions young singers at major music festiand the 1985 Walter W. Naumburg vals, conservatories, and liberal arts Competition, and was a member of colleges. She is Artistic Director of the Metropolitan Opera Young Artists the Vocal Arts Program at the Bard Development Program. College Conservatory of Music, and Ms. Upshaw has recorded extenrecently announced as Head of the sively for the Nonesuch label. She may Vocal Arts Program at the Tanglewood also be heard on Angel/EMI, BMG, Music Center. Deutsche Grammophon, London, Sony A five-time Grammy® Award winner, Classical, Telarc, and on Erato and Dawn Upshaw, most recently received Teldec in the Warner Classics Family of the 2014 Best Classical Vocal Solo labels. n Grammy for Maria Schneider’s Winter 4 Gilbert Kalish piano The profound influence of pianist Gilbert Kalish as an educator and pianist in myriad performances and recordings has established him as a major figure in American music-making. Mr. Kalish is a native New Yorker and a graduate of Columbia College. He was the pianist of the Boston Symphony Chamber Players for 30 years and was a founding member of the Contemporary Chamber ensemble, a group devoted to new music that flourished during the 1960’s and 70’s. He is a frequent guest with many of the world’s most distinguished chamber ensembles. Since 2006 he has been an Artist member of the Chamber Music Society of Lincoln Center. His thirty year partnership with the great mezzo-soprano Jan DeGaetani was universally recognized as one of the most remarkable artistic collaborations of our time. He has long standing partnerships with the soprano Dawn Upshaw as well as with the cellists Timothy Eddy and Joel Krosnick. As educator, he is Distinguished Professor at Stony Brook University where he has served for over forty years. From 1969-1997 he was a faulty member at the Tanglewood Music Center and served as “Chairman of the Faculty” at Tanglewood from 19851997. Since that time he has been a participant in summer music institutions such as the Banff Centre, the Marlboro Festival, the Steans Institute at Ravinia and the Yellow Barn Festival. He has been a performer and faculty member at Music@Menlo since its inception, and in 2012 was appointed Director of the International Program at this festival. Mr. Kalish has been presented with the Paul Fromm award by the University of Chicago’s music department for distinguished service to the music of our time, the Peabody Medal by the Peabody Institute for his contributions to the music of America and the Richard J. Bogomolny National Service Award by Chamber Music America for his outstanding contributions to chamber music in America. His discography of some 100 recordings encompasses classical repertory, 20th Century masterworks and new compositions. Of special note are his solo recordings of Charles Ives’ Concord Sonata and Sonatas of Joseph Haydn, landmarks of the 20th Century by composers such as Carter, Crumb, Harbison, Shapey and Schoenberg as well as an immense discography of vocal music with Jan DeGaetani. n 5 TEXTS AND TRANSLATIONS CHARLES IVES (1874-1954) Songs My Mother Taught Me Text by Natalie Macfarren (1826-1916) Songs my mother taught me in the days long vanished, Seldom from her eyelids were the tear drops banished. Now I teach my children each melodious measure; Often tears are flowing from my memory’s treasure. Tom Sails Away Scenes from my childhood are with me, I’m in the lot behind our house upon the hill, A spring day’s sun is setting, mother with Tom in her arms is coming towards the garden; the lettuce rows are showing green. Thinner grows the smoke o’er the town, stronger comes the breeze from the ridge, ‘Tis after six, the whistles have blown, the milk train’s gone down the valley Daddy is coming up the hill from the mill, We run down the lane to meet him But today! In freedom’s cause Tom sailed away for over there, over there! Scenes from my childhood are floating before my eyes. Memories Very Pleasant We’re sitting in the opera house; We’re waiting for the curtain to arise With wonders for our eyes; We’re feeling pretty gay, And well we may, “O, Jimmy, look!” I say, “The band is tuning up And soon will start to play.” We whistle and we hum, Beat time with the drum. 6 We’re sitting in the opera house; We’re waiting for the curtain to arise With wonders for our eyes, A feeling of expectancy, A certain kind of ecstasy, Expectancy and ecstasy... Sh’s’s’s. Rather Sad From the street a strain on my ear doth fall, A tune as threadbare as that “old red shawl,” It is tattered, it is torn, It shows signs of being worn, It’s the tune my Uncle hummed from early morn, ‘Twas a common little thing and kind ‘a sweet, But ‘twas sad and seemed to slow up both his feet; I can see him shuffling down To the barn or to the town, A humming. Down East Songs! Visions of my homeland, come with strains of childhood, Come with tunes we sang in school days and with songs from mother’s heart; Way down east in a village by the sea, stands an old, red farm house that watches o’er the lea; All that is best in me, lying deep in memory, draws my heart where I would be, nearer to thee. Ev’ry Sunday morning, when the chores were almost done, from that little parlor sounds the old melodeon, “Nearer my God to Thee, nearer to Thee,” With those strains a stronger hope comes nearer to me. FRANZ SCHUBERT (1797-1828) Text by Ernst Konrad Friedrich Schulze (1789-1817) Im Frühling (In Spring) Still sitz’ ich an des Hügels Hang, der Himmel ist so klar, das Lüftchen spielt im grünen Tal. Wo ich beim ersten Frühlingsstrahl einst, ach so glücklich war. Quietly I sit on the hill’s slope. The sky is so clear; a breeze plays in the green valley where I was at Spring’s first sunbeam once - ah, I was so happy; Wo ich an ihrer Seite ging so traulich und so nah, und tief im dunkeln Felsenquell den schönen Himmel blau und hell und sie im Himmel sah. Where I walked at her side, So intimate and so close, and deep in the dark rocky spring was the beautiful sky, blue and bright; and I saw her in the sky. Sieh, wie der bunte Frühling schon aus Knosp’ und Blüte blickt! Nicht alle Blüten sind mir gleich, am liebsten pflückt ich von dem Zweig, von welchem sie gepflückt! Look how colorful Spring already looks out from bud and blossom! Not every blossom is the same for me: I like best to pick from the branch from which she picked hers. Denn alles ist wie damals noch, die Blumen, das Gefild; die Sonne scheint nicht minder hell, nicht minder freundlich schwimmt im Quell das blaue Himmelsbild. For all is as it was back then: the flowers, the field; the sun does not shine less brightly, nor does the stream reflect any less charmingly the blue image of the sky. Es wandeln nur sich Will und Wahn, es wechseln Lust und Streit, vorüber flieht der Liebe Glück, und nur die Liebe bleibt zurück, die Lieb und ach, das Leid. O wär ich doch ein Vöglein nur dort an dem Wiesenhang dann blieb ich auf den Zweigen hier, und säng ein süßes Lied von ihr, den ganzen Sommer lang. The only things that change are will and illusion: Joys and quarrels alternate, the happiness of love flies past and only the love remains – The love and, ah, the sorrow. Oh, if only I were a little bird, there on the meadow’s slope – then I would remain here on these branches and sing a sweet song about her the whole summer long. 7 Geheimes (Secret) Text by Johann Wolfgang von Goethe (1749-1832) Gretchen am Spinnrade (Gretchen at the Spinning Wheel) Text by Johann Wolfgang von Goethe Über meines Liebchens Äugeln Stehn verwundert alle Leute Ich, der Wissende, dagegen, Weiß recht gut, was das bedeute. Meine Ruh ist hin, Mein Herz ist schwer, Ich finde sie nimmer Und nimmermehr. Denn es heißt: ich liebe diesen Und nicht etwa den und jenen. Lasset nur, ihr guten Leute, Euer Wundern, euer Sehnen! Wo ich ihn nicht hab, Ist mir das Grab, Die ganze Welt Ist mir vergällt. Ja, mit ungeheuren Machten Blicket sie wohl in die Runde; Doch sie sucht nur zu verkünden Ihm die nächste süße Stunde. Mein armer Kopf Ist mir verrückt, Mein aremer Sinn Ist mir zerstückt. Everyone is astonished At the look my sweetheart makes; But I, who understand, Know quite well what they mean. Nach ihm nur schau ich Zum Fenster hinaus, Nach ihm nur geh ich Aus dem Haus. For they say: I love him, Not this one or that one. So, good people cease Your wondering and your longing! Sein hoher Gang, Sein’ edle Gestalt, Seines Mundes Lächeln, Seiner Augen Gewalt, Indeed, she may well look about her With a mightily powerful eye, But she seeks only to give him a foretaste Of the next sweet hour. Und seiner Rede Zauberfluss, Sein Händedruck, Und ach, sein Kuss. Meine Ruh’ ist hin, Mein Herz ist schwer, Ich finde sie nimmer Und nimmermehr. Mein Busen drängt sich Nach ihm hin. Ach dürft ich fassen Und halten ihn, My peace is gone, My heart is heavy, I will find it never and never more. Where I do not have him, That is the grave, The whole world Is bitter to me. My poor head Is crazy to me, My poor mind Is torn apart. For him only, I look Out the window Only for him do I go Out of the house. His superior walk, His noble air, His smiling mouth, His compelling eyes, And his words-their magic flow, His handclasp, and ah! his kiss! My peace is gone, My heart is heavy, I will find it never and never more. Lied der Mignon (Nur wer die Sehnsucht kennt) (Song of Mignon (Only one who knows longing)) Text by Johann Wolfgang von Goethe Nur wer die Sehnsucht kennt Weiß, was ich leide! Allein und abgetrennt Von aller Freude, Seh ich ans Firmament Nach jener Seite. Ach! der mich liebt und kennt, Ist in der Weite. Es schwindelt mir, es brennt Mein Eingeweide. Nur wer die Sehnsucht kennt Weiß, was ich leide! Only one who knows longing Understands what I suffer! Alone and separated From all joy, I look to the heavens Towards the other side. Oh! the one who loves and knows me, Is far away. I feel dizzy, and it burns my insides. Only one who knows longing Understands what I suffer! My bosom urges itself toward him. Ah, might I grasp And hold him! And kiss him, just as I liked, and in his kisses I should die Und küssen ihn, So wie ich wollt, An seinen Küssen Vergehen sollt! 8 9 Rastlose Liebe (Restless Love) Dem Schnee, dem Regen, Dem Wind entgegen, Im Dampf der Klüfte, Durch Nebeldüfte, Immer zu! Immer zu! Ohne Rast und Ruh! Lieber durch Leiden Möcht ich mich schlagen, Als so viel Freuden Des Lebens ertragen. All das Neigen Von Herzen zu Herzen, Ach, wie so eigen Schaffet das Schmerzen! Wie soll ich fliehen? Wälderwärts ziehen? Alles vergebens! Krone des Lebens, Glück ohne Ruh, Liebe, bist du! Into snow, into rain, into wind, headlong, through the gorges’ fog, through mist, ever on! Ever on! No halt, no rest! Through affliction sooner I’d battle, than so many joys of life endure. All this inclining of heart for heart, ah, how strangely it creates pain! How shall I flee? Make for the woods? All is in vain! Diadem of life, joy without rest, that, Love, are you! 10 OLIVIER MESSIAEN (1908-1992) Le collier (The Necklace) Printemps enchainé, arc-en-ciel léger du matin, Ah! mon collier! Ah! mon collier! Petit soutien vivant de mes oreilles lasses, Collier de renouveau, de sourire et de grace, Collier d’Orient, collier choisi multicolore aux perles dures et cocasses! Paysage courbe, épousant l’air frais du matin, Ah! mon collier! Ah! mon collier! Tes deux bras autour de mon cou, ce matin. Spring enchained, a weightless morning rainbow, Ah! my necklace! Ah! my necklace! A small, living support for my weary ears, A necklace of renewal, of smile and grace, A necklace of the Orient, a choice multi-colored necklace with tough and comical pearls! A curving landscape, marrying the cold air of the morning, Ah! my necklace! Ah! my necklace! Your two arms around my neck, this morning. Amour oiseau d’étoile (Love star bird) Oiseau d’étoile, Ton oeil qui chante Vers les étoiles, Ta tête à l’envers sous le ciel. Ton oeil d’étoile Chaînes tombantes, Vers les étoiles, Plus court chemin de l’ombre au ciel. Tous les oiseaux des étoiles, Loin du tableau mes mains chantent, Étoile, silence augmenté du ciel. Mes mains, ton oeil, ton cou, le ciel. Star bird, Your eye that sings Toward the stars, Your head overturned under the sky. Your star-eye, Chains sagging, Toward the stars, The shortest path from the shadows to the sky. All star birds, Far from the picture my hands sing, Star, augmented silence of the sky. My hands, your eye, your neck, the sky. Prière exaucée (Prayer answered) Ébranlez la solitaire, la vieille montagne de douleur, Que le soleil travaille les eaux amères de mon coeur! O Jésus, Pain vivante et qui donnez la vie, Ne dites qu’une seule parole et mon âme sera guérie. Ébranlez la solitaire, la vieille montagne de douleur, Que le soleil travaille les eaux amères de mon coeur! Donnez-moi votre grâce, Donnez-moi votre grâce, Donnex-moi votre grâce! Carillonne, mon coeur! Que ta résonance soit dure, et longue, et profonde! Frappe, tape. choque pour ton roi! Frappe, tape, choque pour ton Dieu! Voici ton jour de gloire et de résurrection! La joie est revenue. Shake the lonely, old mountain of pain, The sun works the bitter waters of my heart! O Jesus, living and life-giving bread, Say not a single word and my soul will be healed. Shake the lonely, old mountain of pain, The sun works the bitter waters of my heart! Give me Your Grace, Give me Your Grace, Give me Your Grace! Chime, my heart! Your resonance is hard, and long, and deep! Beat, knock, and clang for your King! Beat, knock, and clang for your God! This is your day of Glory and Resurrection! Joy has returned! BÉLA BARTÓK (1881-1945) Fekete főd (Black is the Earth) Folk poetry – Translation not available Fekete fõd, fehér az én zsebkendõm, Elhagyott a legkedvesebb szeretõm. Úgy elhagyott, hogy még meg sem siratott, Erzi szívem, nemsokára meghalok. ZOLTÁN KODÁLY (1882-1967) Egy kicsi madárka (Came a bird aflying) Folk poetry – Translation not available Egy kicsi madárka Hozzám kezde járni, Virágos kertemben Fészket kezde rakni. De azt az irigyek Eszre kezték venni, Kicsi madár fészkét Széjjel kezték hányni. Átokúl meghagyom Minden éfiúnak: Szeretőt ne tartson Senki ő magának! Mer’ én azt tartottam, Nagyon elhirvadtam, Szeretőm elhagyott, Magamra maradtam. 11 Ifjúság mint sólyommadár (A Little Sad Song) Folk poetry – Translation not available Ifjúság mint sólyommadár, Addig víg, míg szabadon jár, De énnékem, szegénnek, már Szívem víg örömet nem vár. Hol mások járnak kettesen, Mint egy Apolló, kedvesen, Fejem lehajtván könnyesen, Nézek csak nagy keservesen. Mennék én is, ha mehetnék, Szárnyamra, ha fölkelhetnék, Így, magányosan nem élnék, Mint madár, társat keresnék! De meg vagyok határozva, Szabad fejem be van zárva, Olyan vagyok, mint az árva, Nagy bánatban elfáradva. Adja Isten hogy lehessek, Valaha véled élhessek! Ezt óhajtja ez a lélek, Akié ez a kis ének. BÉLA BARTÓK Eddig való (Up to Now) Folk poetry – Translation not available Eddig való dolgom a tavaszi szántás, Kertekbe, rétekbe füvet lekaszálás; Immár ökröm hejjin lovam a nyeregbe, Szíjostorom hejjin kantárszár kezembe. Eljött már az a nap, melyben kell indulni, Házamtól, hazámtól bús szivvel távozni. Kedves szüleimtõl sirva elbúcsuzni, Kedves hitestársam árván itt kell hagyni. 12 „Hatforintos” nota (Six-florin dance) Folk poetry – Translation not available A cseroldalt összejártam, Sehol párom nem találtam. Ez a hatforintos nóta, Kinek tetszik, járja réa, járja réa. Kinek nincsen hat forintja, Erre bizony nem járhatja; Hat forintját ki sajnálja, Erre bizony ne is járja, ne járja. Eddig vendég jól mulattál, Ha tetszenék elindulnál! Uccu gazda, kerülj botra, A vendéget indítsd útra. Hej, Kinek nincsen hat forintja, Erre bizony nem járhatja, Erre bizony, erre ne is járja! WILLIAM BOLCOM (b. 1938) Song of Black Max (As Told by the de Kooning Boys) Text by Arnold Weinstein (1927-2005) He was always dressed in black, long black jacket, broad black hat, sometimes a cape, and as thin, and as thin as rubber tape: Black Max. He would raise that big black hat to the big-shots of the town who raised their hats right back, never knew they were bowing to Black Max. I’m talking about night in Rotterdam when the right night people of all the town would find what they could in the night neighborhood of Black Max. There were women in the windows with bodies for sale dressed in curls like little girls in little dollhouse jails. When the women walked the street with the beds upon their backs, who was lifting up his brim to them? Black Max! And there were looks for sale, the art of the smile -(only certain people walked that mystery mile: artists, charlatans, vaudevillians, men of mathematics, acrobatics and civilians). There was knitting-needle music from a lady organ-grinder with all her sons behind her, Marco, Vito, Benno (Was he strong! Though he walked like a woman) and Carlo, who was five. He must be still alive! Ah, poor Marco had the syph, and if you didn’t take the terrible cure those days you went crazy and died and he did. And at the coffin before they closed the lid, who raised his lid? Black Max! I was climbing on the train one day going far away to the good old U.S.A. when I heard some music underneath the tracks. Standing there beneath the bridge, long black jacket, broad black hat, playing the harmonica, one hand free to lift that hat to me: Black Max, Black Max, Black Max. Waitin’ Text by Arnold Weinstein Waitin waitin I’ve been waitin Waitin waitin all my life. That light keeps on hiding from me, But it someday just might bless my sight. Waitin waitin waitin George Text by Arnold Weinstein My friend George, used to say: “Oh call me Georgia, Hon, get yourself a drink.” And sang the best soprano In our part of town. In beads, brocade, and pins, He sang if you happened in Through the door he never locked And said “Get yourself a drink” and sang out loud Till tears fell in the cognac And the chocolate milk and gin And all the beads and brocade and pins When strangers happened through his open door George said, “Stay, but yuh gotta keep quiet! While I sing” and then a minute after. “And call me Georgia.” One fine day a stranger in a suit of navy blue Took George’s life with a knife George had placed beside an apple pie he’d baked. And stabbed him in the middle of “Un bel dì vedremo”. As he sang for this particular stranger who was in the United States Navy. The funeral was at the cocktail hour. We knew George would like it like that. Tears fell on the beads, brocade and pins in the coffin which was white. Cause George was a virgin. Oh call him Georgia, “Hon, get yourself a drink. You can call me Gerogia Hon, get yourself a drink!” ◄ 13 We gratefully acknowledge CAMA Legacy Society members for remembering CAMA in their estate plans with a deferred gift. LEAVE A LEGACY OF MUSIC Nell Campbell photo Ensure CAMA's future Judith Hopkinson with Maestro Esa-Pekka Salonen LEGACY SOCIETY MEMBER SPOTLIGHT JUDITH L. HOPKINSON: A Legacy of Classical Music “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 Judith Hopkinson became interested in classical music as a young girl in Canada through her mother, an interest that continued when her family moved to the San Gabriel Valley and attended concerts in Pasadena. Attending UC Berkeley during the tumultuous 1960s, Judy didn’t have time to pursue her love of classical music. She enthusiastically reintroduced classical music into her life in the 1970s when she moved to Pasadena, and even more so when she lived on the west side of Los Angeles, when she would go downtown to the Music Center. Her busy and successful life in redevelopment in Pasadena and San Francisco and then in private real estate development and finally in the financial world didn’t leave much time for enjoying music. She also served as a Regent of the University of California. Judy was delighted to move to Santa Barbara where she at last had time to subscribe to and hear some of the world’s finest classical music right at her doorstep. She joined the CAMA Board in 2000, which united her business acumen with her love of music, serving as CAMA Board President from 2002-2005. Explaining her decision to join CAMA’s Legacy Society, Judy says, “CAMA is such an important part of Santa Barbara’s cultural life! The organization needs to sustain itself to be able to continue to offer our community the world’s finest classic music – which is becoming more difficult through the years, as the expenses of bringing orchestras and soloists to our community is increasing so significantly – and to provide educational programs for our young people. Supporting CAMA is very important to me and I am delighted to be a Legacy Society donor through my estate to help CAMA continue to operate on a solid financial footing in the years to come.” • 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. Haskell Joanne C. Holderman Judith L. Hopkinson Dolores M. Hsu Mr. & Mrs. James H. Hurley, Jr. Elizabeth & Gary Johnston Herbert & Elaine Kendall Mahri Kerley Lynn P. Kirst & Lynn R. Matteson Lucy & John Lundegard Nancy R. Lynn Keith J. Mautino Sara Miller McCune Mr. & Mrs. Frank R. Miller, Jr. Dr. & Mrs. Spencer Nadler Ellen & Craig Parton Diana & Roger Phillips Dr. Donald G. Richardson Ellen & John Pillsbury Andre M. Saltoun Judith & Julian Smith Mr. & Mrs. Sam Toumayan Mark E. Trueblood Dr. & Mrs. H. Wallace Vandever Barbara & Gary Waer Nancy & Kent Wood * promised gift (as of February 2, 2015) 15 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 MASTERSERIES at the Lobero 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 93103-1713 Community Arts Music Association of Santa Barbara, Inc. Presenting the world’s finest classical artists since 1919