About the Academy
70 Years of Great Classical Music
About the Academy
70 Years of Great Classical Music
Since 1947, the Music Academy of the West has been making a unique and enduring contribution to the world of music by:
• Advancing the development of the next generation of great classically trained musicians
• Cultivating discerning, appreciative, and adventurous audiences
The Music Academy of the West is among the nation’s preeminent summer schools and festivals for gifted young classically-trained musicians. At its ocean-side campus in Santa Barbara, the Academy provides these musicians with the opportunity for advanced study and performance under the guidance of internationally renowned faculty artists, guest conductors, and soloists.
The Academy cultivates discerning, appreciative, and adventurous audiences, presenting more than 200 public events annually, many of them free of charge. These include performances by faculty, visiting artists, and fellows; masterclasses; orchestra and chamber music concerts; and a fully staged opera.
Miraflores, the stunning 10-acre garden estate that has been home to the Music Academy since 1951, originally served as the site of the Santa Barbara Country Club.
The property’s main building, a clubhouse designed by Francis W. Wilson in 1909, was partially destroyed by fire in 1912 and rebuilt the following year. By that time, however, the existing nine-hole golf course had been deemed inadequate, and the 23-acre site considered too small for expansion. Shortly thereafter, the Santa Barbara Country Club decided to move to its present site, changing its name in the process to the Montecito Country Club.
The former country club property was purchased in 1915 by Mr. and Mrs. John Percival Jefferson, who named it Miraflores (Spanish for “Look at the flowers”) and hired Pasadena architect Reginald D. Johnson to convert the clubhouse into a dwelling. Johnson, renowned for his mastery of the Spanish revival style gaining regional prominence at the time, achieved a remarkable architectural conversion in just 12 months – transforming the boxy, institutional building into a simple yet elegant example of Spanish domestic architecture with a regal carved stone entrance. The building enclosed three sides of a large rear terrace flanked by romantic loggia, a design that contributed to its suitability for entertaining.
Miraflores Transformed
Paul G. Thiene, who frequently worked with Johnson, was called in to integrate the landscape design with that of the house. One of the leading landscape architects of the Mediterranean revival era, Thiene had been trained as a horticulturalist in Germany and his practice was entirely residential. Thiene’s plan brought guests to an entrance gate near the west property line, creating a dramatic straight-line approach to Johnson's elaborate front door. The rear terrace and sunken pool garden centered beyond it are in line with the primary axis of the driveway. The garden’s remaining formal elements were skillfully arranged to fit the irregular shape of the lot. Thiene’s plan shows a formal garden and reflecting pool parallel to the driveway, asymmetrically balanced across the driveway by a rose garden, cutting garden, lath house, and greenhouse. (The three latter elements are now the sites of Hahn Hall and Singher and Wood studios.) Below and to the southeast, an outdoor theater with reflecting pool was planned at an oblique angle to the house, perhaps to capture the last light of the setting sun upon its stage. It was never built.
Miraflores was regarded as one of the showcase gardens of Montecito. Photographs and descriptions of the property appear in several early books about Montecito gardens, and it was regularly included in Pearl Chase’s annual benefit garden tours beginning in 1926. In 1976 the Garden Club of America sponsored a project to create modern slides from its collection of 1,800 historic glass lantern slides, taken between 1920 and 1933. Miraflores was one of 24 gardens in the Santa Barbara area to be represented in this priceless collection. The project formed the core of the Garden Club of America’s 65,000-image “Slide Library of Notable American Parks and Gardens,” donated to the Smithsonian Institution’s Office of Horticulture in 1987. The slides remain part of the Smithsonian’s permanent collection, used by scholars to research gardens of the era.
An Estate in Transition
Miraflores’ house and grounds suited the Jeffersons very well. They entertained frequently, sometimes with musical performances in the large living room. After Mr. Jefferson died in 1934, Mrs. Jefferson stayed on, assisted by the couple’s longtime secretary and devoted friend, Theresa (Helen) Marso. When Mrs. Jefferson died in 1950, the property and all household furnishings were inherited by the couple’s niece, Alice Wetmore Brann; Helen Marso was willed a large sum of money. Legal documents are not entirely clear, but it seems Mrs. Brann did not want any part of the estate, save two large Waterford crystal chandeliers that hung in the living room. On the same date that the property deed was granted to her, April 2, 1951, she sold it to Ms. Marso for just over $100,000. Helen Marso granted 18 acres of the estate to the Music Academy of the West on April 20, retaining the remaining acreage for her own use.b
Founded just four years earlier, the Music Academy was to that point hosting its summer sessions at Cate School in Carpinteria.
In making the gift, Ms. Marso specified that the property must be used “for a conservatory of music only,” and stated her desire to have Miraflores serve as a lasting memorial to the Jeffersons. Although some members of the Academy Board of Directors worried about taking on the financial burden entailed in maintaining the estate, in the end the Academy’s acceptance of the property was conditional only on the county’s zoning requirements. Future neighbors were contacted and reassured that the Academy would not be an intrusion. Later in April, the County Planning Commission recommended granting a permit to the Music Academy; there were no dissenting speakers at the public hearing.
An immediate financial boost by the Santa Barbara Foundation, in the form of a $5,000 grant, helped pay for the conversion of the Miraflores facilities. In announcing the gift, Foundation President L. Stuart Wing said: “The importance of the Music Academy of the West to the future of musical culture and education, and to the prestige of Santa Barbara as an art center, is well recognized.”
Readied for Its New Role
Though it could not be readied for full use by the beginning of the summer session, the property was made ready for an open house reception and musical performance on August 5, 1951. More than 1,500 people came to see Miraflores and enjoy the orchestral performance and debut of the Academy’s new Romany Chorus conducted by vocal department director John Charles Thomas. This lively and colorful chorus, a mix of students and local people, performed in gypsy costume. The energetic Thomas had a dual role that year as a member of the faculty and as newly named executive director of the Music Academy.
By the 1952 summer session the Miraflores campus was ready. The enormous living room and dining room had required very little alteration to become concert halls with excellent acoustics. Not only were the public rooms well-suited for concerts, but the many bedrooms in the house were readily adaptable for faculty teaching studios, and the servants’ rooms in the main building and over the garage provided adequate practice studios.
The only disadvantage of the new site was the lack of dormitory and faculty housing that Cate School had provided to that point. That year, and for a number of years thereafter, students were housed in sorority and fraternity houses at UCSB. They were provided with breakfast and dinner in the houses, and were transported by bus to the Music Academy, where lunch was served cafeteria style in the large Music Academy kitchen.
A generous offer by Mrs. John D. Graham solved the immediate problem of faculty housing. Mrs. Graham invited the Music Academy to use her 30-room mansion on Eucalyptus Hill as a guest home and residence for faculty members. The house also provided facilities where students and faculty could mingle socially.
An Evolution Nearly Complete
Abravanel Hall, the antecedent to Hahn Hall, opened in 1972. The earlier building was named for the late conductor Maurice Abravanel, who served as music director at the Academy from 1954 to 1980. Claeyssens Hall, the beautiful teaching and practice facility situated to the west of Anne’s Garden, opened in 1993. And in 2006 the Music Academy completed reconstruction of the Wood II building, since renamed Lehrer Studios in the Wood Building in honor of Academy benefactors Shirley and Seymour Lehrer. Originally a carriage house on the Jefferson estate, this campus facility features 16 acoustically designed practice studios and remodeled restrooms and shower rooms.
Hahn Hall – named in honor of Academy benefactors Carla and Stephen Hahn – was completed just prior to the start of the 2008 Summer School and Festival. During the off-season, the hall is used for Metropolitan Opera “Live in HD” simulcasts; area arts organizations also use the facility.
Completed in 2012, the Luria Education Center is named in honor of longtime Music Academy benefactors Leatrice and Eli Luria. In addition to a masterclass venue bearing the name of Academy supporter Robert W. Weinman, the facility features an expanded music library, individual and ensemble practice rooms and teaching facilities, a pair of lounges, and a catering kitchen and serving area. The center also includes a central campus courtyard named in honor of local philanthropist Leslie Ridley-Tree, and an enclosed dining patio bearing the name of Academy advocate Sarah Jane Lind.
And many more changes are to come. In 2016, the Main House was renovated and renamed the Marilyn Horne Main House. And following the 2016 Summer Festival, construction commenced on the Hind Hall teaching studio building.
A Move to Westmont College
2016 marks a historic transition of the Academy fellows’ residential campus from Cate School in Carpinteria to Westmont College in Montecito. After decades of a wonderful partnership with Cate School, located 12 miles south of the Music Academy, the fellows’ accommodations are now located at Westmont College, a gorgeous private college campus just 3.5 miles from the Music Academy. Having instructional and residential campuses in closer proximity became a significant priority for the Academy in order to offer a more balanced and productive Festival schedule. “We’re committed to creating the highest quality experience for our fellows both on and off stage,” says Scott Reed, Music Academy President and CEO. “The Westmont campus, an all-Steinway institution with superb facilities, helps us achieve that goal. The close proximity is ideal for our fellows and faculty, who travel frequently to our campus and downtown Santa Barbara.”
SEVEN DECADES
1940'S
In June 1947, the Music Academy offered financial assistance for students to attend its inaugural season. Scholarships were funded by Jeanette MacDonald and Nelson Eddy, Jascha Heifetz, and Hollywood studio mogul Daryl F. Zanuck, among others.
Early faculty included music luminaries Lotte Lehmann, a co-founder along with Otto Klemperer, Roman Totenberg, Ernest Bloch, Darius Milhaud, Roy Harris, Rosalyn Tureck, Arnold Schoenberg (the Academy’s first composer in residence), and John Charles Thomas.
1950'S
The Academy received a gift of the coastal property Miraflores, a Spanish revival style home built in 1915, and the surrounding property, for use as “a conservatory of music only and for no other purpose.”
Lotte Lehmann oversaw the Academy’s first opera productions and the Academy began to produce its first internationally successful alumni including Lucine Amara, Burt Bacharach, Grace Bumbry, Marilyn Horne, and Benita Valente.
Maurice Abravanel became Music Director, a post he held until 1980. Gregor Piatigorsky served on the faculty from 1950-53, and continued teaching at the Academy through 1975.
The Women’s Auxiliary formed, crucial ambassadors and fundraisers still active today.
1960'S
Martial Singher became head of the Voice Department in 1962, remaining until 1981.
William Primrose joined the faculty.
1970'S
Faculty member Jerome Lowenthal performed at the opening concert of the dedication of the newly dedicated Abravanel Hall in July, 1972.
1980'S
Violist Donald McInnes and pianist Paul Schenly joined the faculty.
1990'S
Marilyn Horne became Voice Program Director.
The Music Academy became a full-scholarship institution.
The 13 studio building Claeyssens Hall was added to campus.
The Compeer Program was launched.
2000'S
Abravanel Hall was fully renovated both architecturally and acoustically, becoming Hahn Hall.
2010'S
Luria Education Center opened, offering additional world-class facilities on campus. Main House renovated and dedicated to Marilyn Horne.
Mosher Guest Artist Recital Series began, featuring international artists in the intimate space of Hahn Hall.
New York Philharmonic Partnership initiated, bringing Academy fellows to perform in New York with the Philharmonic, and performances by the New York Philharmonic in Santa Barbara. The Philharmonic’s former Concertmaster, Glenn Dicterow, joined the faculty.
2017
Jeremy Denk and the Takács Quartet join the faculty.
Hind Hall teaching studio building opens, adding eight state-of-the-art studios to the campus.
The Music Academy presented the largest classical music event in Santa Barbara's history for 7,500 attendees at La Playa Stadium featuring the New York Philharmonic.
The Music Academy becomes an All-Steinway Institution, and a Commissions & Premieres program is launched.
Office of the President
Artistic Operations
Facilities
Finance
Institutional Advancement
Marketing & Communications
Student Services
Emeritus Presidents
NancyBell Coe
David L. Kuehn
BOARD MEMBERS
Former Directors
Donna Abbey
Judith W. Bartholomew*
Judith Bergman
Kathleen Bielen
Richard Blake
Kandy Luria-Budgor
Peter Brown
Michele Brustin
Gay Bryant
John Burgee*
Margaret Cafarelli
Cevin Cathell
Howard Chase
Lee Chase
Andy Chou
Roger A. Clarke*
Benjamin Cohen
Barbara Colville-O'Donnell
Shirley Cribbs
Sue Dalzell
James Davidson
Charles de L'Arbre
Meg Di Napoli
Eunice Fly
Linda Frankel
Howard Freedman
Raymond C. Freeman*
Roy Gaskin
Arthur R. Gaudi*
Konnie Gault
Jon Greenleaf
Eva Haller
Anna Maria Halling
Carole Halsted*
Steve Halsted
Tara Holbrook
Joanne Holderman
Nan Holt
Nancy Hunter
Donald Jackson*
Anne Jones
Michael Keston
Ann Koepfli
Robert M. Light*
Leatrice Luria*
Georgia Lynn*
Katharine Mallin
Sarah Coade Mandell
Philip W. Marking*
Eva Masin
Barbara Mathews
Sheila Bourke McGinity
Parker Montgomery
Val Montgomery
Thomas Mullaney
Mead F. Northrop*
Robert Nourse
Stanya Owen
Royal E. Peterson II*
Arthur F. Pizzinat
Leslie Ridley-Tree
Regina Roney
Joan Rutkowski
Bernie Sacharski
Christine Seemann*
Frank Serena
Stephen C. Singleton
Judith F. Smith*
Marion Stewart*
Diane Sullivan
Gerald Thede
Tom Thomas
James Tilton
Robert Toledo
Mary Alice Tudor
Joseph Tumbler
George Turpin
Hugh Vos
Tom Wathen
William Wayne
Patricia Weber
Robert Weinman
Sharon Westby
Kate Winn-Rogers
*EMERITUS
Music Academy alumni number nearly 7,000. A veritable "who's who" in the world of classical music, Academy alumni perform around the globe as soloists and in major symphony orchestras, chamber orchestras, ensembles, and opera companies. Many teach at prestigious universities and conservatories.
distinguished ALUMNI award winners
Are you an Academy alumnus? Learn about alumni offerings, the new Alumni Enterprise Awards, and send us your career and contact updates!
Alumni Search
Faculty & GUEST Artists
STRINGS
WOODWINDS
BRASS
PERCUSSION
TIMPANI
HARP
SOLO PIANO
COLLABORATIVE PIANO
VOICE & VOCAL PIANO FACULTY / TEACHING ARTISTS
PERFORMANCE COACH
FACULTY EMERITUS
2019 GUEST CONDUCTORS (more tba)
2019 GUEST ARTISTS TBA
2019 MOSHER GUEST ARTISTS TBA
LONDON SYMPHONY ORCHESTRA GUEST ARTISTS (more tba)
2019 COMPOSERS-IN-RESIDENCE (more tba)
Violin
Viola
Cello
Double Bass
Flute
Oboe
Clarinet
Bassoon
Horn
Trumpet
Tenor Trombone
Bass Trombone
Tuba
Percussion
Harp
Solo Piano
Collaborative Piano
Vocal Piano
Soprano
Mezzo-Soprano
