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 martha@camasb.org
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