Juilliard String Quartet
Saturday, November 11, 2017
Lobero Theatre, 8pm
Joseph Lin Violin • Ronald Copes Violin
Roger Tapping Viola • Astrid Schween Cello
Franz Joseph Haydn: Quartet in D Major, Op.76, No.5
Béla Bartók: Quartet No.5, Sz.102
Antonín Dvořák: Quartet No.11 in C Major, Op.61
Known through its performances and recordings as the quintessential American string quartet, the Juilliard String Quartet returns to the Lobero Theatre with new cellist Astrid Schween. In 2011, the multiple Grammy® Award-winning Quartet became the first classical music ensemble to receive a Lifetime Achievement Award from the National Academy of Recording Arts and Sciences.
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JUILLIARD
STRING
QUARTET
SIR ANDRÁS SCHIFF
ISABEL
BAYRAKDARIAN
PETER
SERKIN
COMMUNITY COMMUNITY ARTS MUSIC ARTS ASSOCIATION MUSIC ASSOCIATION
www.camasb.org
Simon Powis photo
Presenting the world’s finest classical artists since 1919
masterseries at The Lobero Theatre
SEASON SPONSOR: ESPERIA FOUNDATION
JUILLIARD STRING QUARTET
JOSEPH LIN, VIOLIN • RONALD COPES, VIOLIN
ROGER TAPPING, VIOLA • ASTRID SCHWEEN, CELLO
Saturday, November 11, 2017, 8pm • Lobero Theatre, Santa Barbara
FRANZ JOSEPH HAYDN
(1732-1809)
BÉLA BARTÓK
(1881-1945)
Quartet in D Major, Op.76, No.5
Allegretto
Largo. Cantabile e mesto
Menuetto. Allegro
Finale. Presto
Quartet No.5, Sz.102, BB 110
Allegro
Adagio Molto
Scherzo: alla bulgarese
Andante
Finale: Allegro vivace
INTERMISSION
ANTONÍN DVOŘÁK
(1841-1904)
Quartet in C Major, Op.61
Allegro
Poco adagio e molto cantabile
Allegro vivo
Finale. Vivace
Programs and artists subject to change
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CAMA gratefully acknowledges our sponsors for this evening’s performance…
Masterseries Season Sponsor: Esperia Foundation
Sponsor: Bitsy & Denny Bacon and the Becton Family Foundation
We request that you switch off cellular phones, watch alarms and pager signals during
the performance. The photographing or sound recording of this concert or possession of
any device for such photographing or sound recording is prohibited.
Stage flower arrangements by S.R. Hogue & Co.
COMMUNITY ARTS MUSIC ASSOCIATION | www.camasb.org
Biography
Simon Powis photo
Juilliard
String Quartet
With unparalleled artistry and enduring
vigor, the Juilliard String Quartet continues
to inspire audiences around the world
with its performances. Founded in 1946,
and widely known as “the quintessential
American string quartet,” the Juilliard
draws on a deep and vital engagement
with the classics, while embracing the
mission of championing new works – a
vibrant combination of the familiar and the
daring. Each performance of the Juilliard
Quartet is a unique experience, bringing
together the four members’ profound
understanding, total commitment, and
unceasing curiosity in sharing the wonders
of the string quartet literature.
Having welcomed cellist Astrid
Schween and celebrated its 70th
anniversary last season, the Juilliard String
Quartet marks the 2017-2018 season with
highly anticipated return appearances
in Seattle, Santa Barbara, Pasadena,
Memphis, Raleigh, Houston, Amsterdam,
and Copenhagen. The Quartet continues its
acclaimed annual performances in Detroit,
Philadelphia, and at the Ravinia Festival,
along with numerous concerts at home in
New York City, including appearances at
Lincoln Center and Town Hall. The season
kicks off with the release of a new album
featuring the world premiere recording
of Mario Davidovsky’s Fragments (2016),
4
together with Beethoven Op.95 and Bartók
No.1. Highlights of concert programming
throughout the 2017-2018 season include
visionary works by Beethoven, Bartók,
and Dvořák, as well as James MacMillan’s
haunting and evocative Quartet No.2, Why
is this night different? (1998).
The Juilliard String Quartet’s
groundbreaking interactive app on
Schubert’s “Death and the Maiden”, was
released in 2015 by the innovative app
developer, Touchpress, jointly with the
Juilliard School. Both the app and the
JSQ’s 2014 recording of the “Death and
the Maiden” are available on iTunes.
Celebrating one of the great collaborative
relationships in American music, Sony
Classical’s reissue of the Juilliard Quartet’s
landmark recordings of the first four Elliott
Carter String Quartets together with the
2013 recording of the Carter Quartet No.5
traces a remarkable period in the evolution
of both the composer and the ensemble.
The Quartet’s recordings of the Bartók and
Schoenberg Quartets, as well as those of
Debussy, Ravel and Beethoven, have won
Grammy® Awards, and in 2011 the Quartet
became the first classical music ensemble
to receive a Lifetime Achievement Award
from the National Academy of Recording
Arts and Sciences.
Devoted master teachers, the members
of the Juilliard String Quartet offer classes
and open rehearsals when on tour. At the
Juilliard School, where they are the String
Quartet in Residence, all are sought-after
members of the string and chamber music
faculty, and annually in May they are hosts
of the 5-day internationally recognized
Juilliard String Quartet Seminar. During
the summer, the JSQ works closely on
string quartet repertoire with students at
the renowned Tanglewood Music Center.
In performance, recordings and
incomparable work educating the major
artists and quartets of our time, the Juilliard
String Quartet has carried the banner of
the United States and the Juilliard School
throughout the world.
JOSEPH LIN, VIOLIN
An active solo and chamber
musician, Joseph Lin
was a founding member
of the Formosa Quartet,
winner of the 2006 London
International String
Quartet Competition. He
was named a Presidential Scholar in the
Arts and has won numerous awards,
including the Concert Artists Guild
International Competition, the Pro Musicis
International Award and First Prize at
the inaugural Michael Hill World Violin
Competition in New Zealand. His recordings
include the music of Korngold and Busoni
on the Naxos label, the unaccompanied
works of Bach and Ysaÿe on the N&F
label, and the Formosa Quartet’s debut CD
released by EMI. Mr. Lin has appeared as
a soloist with the New Japan Philharmonic,
the Sapporo Symphony, the Taiwan National
Symphony, the Auckland Philharmonia, the
Ukraine National Philharmonic, and the
Boston Symphony.
COMMUNITY ARTS MUSIC ASSOCIATION | www.camasb.org
5
After graduating from Harvard in
2000, he began an extended exploration
of China in 2002, and studied Chinese
music in Beijing as a Fulbright Scholar in
2004. From 2007 to 2011, Mr. Lin was an
Assistant Professor at Cornell University,
where he organized the inaugural Chinese
Musicians Residency. Joseph Lin’s violin
teachers have included Mary Canberg,
Shirley Givens and Lynn Chang.
Merriweather Post Competition and
the Concours International d’Exécution
Musicale in Geneva. During the summer he
is on faculty of the Kneisel Hall Chamber
Music Festival. For two decades, he served
as Professor of Violin at the University of
California, Santa Barbara, and joined the
faculty of The Juilliard School in 1997,
where he serves as chair of the violin
department.
RONALD COPES, VIOLIN
ROGER TAPPING, VIOLA
Praised by audiences
and critics alike for his
insightful artistry, violinist
Ronald Copes has toured
extensively with Music
From Marlboro ensembles,
the Los Angeles and
Dunsmuir Piano Quartets, and with the
Juilliard String Quartet. During the 2011-
2013 seasons, he and Seymour Lipkin
performed cycles of the complete
Beethoven Sonatas for Piano and Violin at
the Kneisel Hall Chamber Music Festival
and the Juilliard School.
Mr. Copes has recorded numerous
solo and chamber music works for radio
and television broadcast as well as for
Sony Classical, Orion, CRI, Klavier, Bridge,
New World Records, ECM and the Musical
Heritage Society. He has worked closely
with composers including Stephen
Hartke and Donald Crockett, and has
garnered prizes in the Artists’ Advisory
Council International Competition, the
Roger Tapping joined
the Julliard Quartet and
the Juilliard School viola
faculty in 2013.
He moved from London to
the USA in 1995 to join the
Takács Quartet. His decade
with them included many Beethoven and
Bartók cycles in major cities around the
world. Their Decca/London recordings,
including the complete quartets of
Bartók and Beethoven, won many awards
including Gramophone Magazine’s Hall
of Fame, three Gramophone Awards,
a Grammy® and three more Grammy®
nominations.
He has been on the viola faculty of the
New England Conservatory, where he also
directed the Chamber Music program, and
he has served on the faculties of Itzhak
Perlman’s Chamber Music Workshop, the
Tanglewood Quartet Seminar and Yellow
Barn, and given viola master classes at
Banff.
6
“Each of the four has a notably beautiful tone, a sound
that sings out but also blends. They show a shared
understanding of the music they play; every bow stroke
adds to its meaning and its integrity.”
—Chicago Tribune
Mr. Tapping played and recorded with
a number of London’s leading chamber
ensembles, including Britain’s longest
established quartet, the Allegri Quartet. He
was a founding member of the Chamber
Orchestra of Europe. He has performed as
a guest with many distinguished quartets
from the U.S. and Europe, and he was a
member of the Boston Chamber Music
Society.
His teachers were Margaret Major and
Bruno Giuranna, and he participated in
master classes with William Primrose.
He holds degrees from the University of
Cambridge, is a member of the Order
of the Knight Cross of the Hungarian
Republic, has an Honorary Doctorate from
the University of Nottingham, and is a
Fellow of the Guildhall School of Music.
ASTRID SCHWEEN,
CELLO
Cellist Astrid Schween is an
internationally recognized
soloist, chamber artist,
and teacher. Her recent
appearances have included performances
with the Boston, Memphis, Detroit
and Seattle Chamber Music societies,
the Boston Trio and ongoing recital
partnerships with celebrated pianists
Randall Hodgkinson and Michael Gurt. An
active juror and panelist, she was recently
featured in Strings and Strad magazines,
on “Living the Classical Life,” National
Public Radio and as a guest speaker at the
Library of Congress on the role of women
in music.
As a longtime member of the Lark
Quartet, Astrid performed at major
venues around the world and received
many honors including the Naumburg
Chamber Music Award. During her tenure,
the quartet produced critically acclaimed
recordings for the Arabesque, Decca/Argo,
New World, CRI and Point labels, and
commissioned numerous works.
Astrid made her debut as soloist with
the New York Philharmonic under the
direction of Zubin Mehta and received
her degrees from the Juilliard School.
Her teachers included Harvey Shapiro,
Leonard Rose, Bernard Greenhouse and
Jacqueline du Pré. She participated in
the Marlboro Music Festival and William
Pleeth Master Classes, and was for many
years on the faculty of the University of
Massachusetts, Hartt School of Music,
Mount Holyoke College and Interlochen.
In September 2016, she succeeded Joel
Krosnick as cellist of the Juilliard String
Quartet and joined the Juilliard faculty.
7
Program Notes
©Susan Halpern, 2017
STRING QUARTET, IN D MAJOR,
OP.76, NO.5
Joseph Haydn
Born March 31, 1732, in Rohrau;
died May 31, 1809, in Vienna
In 1795, Haydn returned from his second
visit to London and settled in Vienna to live
out his remaining years as music’s grand
old man. Mozart, whom he had so greatly
admired, had died too young four years
before, and Beethoven, who was to be the
leader of the next generation (and of the
entire next century), was then only the
musical season’s best debutante. England
had showered wealth and honors on Haydn,
resulting in his lingering there for two
months after his last scheduled concert
before going home to the Continent.
By the standards of the time, Haydn
was an old man, sixty-three. What no
one knew was how different the work of
his last years would be. He had written
more than a hundred symphonies, but
after the dozen masterpieces that he
had composed expressly for his London
audiences, he never wrote another; yet
with the knowledge of Handel’s oratorios
that he had acquired in London, he
modernized and revitalized that form in
The Creation and The Seasons. He also
wrote six masses and some other sacred
works for the princely family that he had
served as staff conductor and composer
for thirty years.
Haydn’s greatest music until this time
had always been in his larger instrumental
works, but in his last few years, he wrote
almost no music except a few string
quartets, music that sums up a lifetime
of invention of the highest order. In 1797,
he wrote the six quartets we know as
Op.76, and in 1799, the two of Op.77. He
started another in 1803, but gave up after
two movements, which he allowed to be
published in 1806 with the apologetic
message, “All my strength is gone; I am
old and weak.” He wrote the last eight
completed quartets with the kind of
controlled freedom that comes only with
great maturity. Their rich instrumental
texture looks far forward, perhaps as far
as the work of Brahms.
The works in Op.76 are sometimes
called the Erdődy Quartets, after the
Hungarian Count who commissioned
them. For the fee of 100 ducats, Haydn
withheld them from publication until
1799, so that the Count could have
exclusive use of them for two years. The
8
Erdődys, who were related by marriage
to Haydn’s employers, the Esterházys,
were a family of great music lovers who,
a generation later, were closely involved
with Beethoven; they also helped launch
the career of the ten-year-old Franz Liszt.
Count Ladislaus Erdődy is listed among
the subscribers to Mozart’s Vienna
concerts in 1783; Beethoven dedicated
his two Trios, Op.70 (1808), and two
Cello Sonatas, Op.102 (1815), to his pupil,
the Countess Maria, wife of Count Peter
Erdődy.
The music of this fifth work in the
Op.76 set tells us that these quartets,
contrary to the custom of the time, were
not intended to make their charms easily
available to amateur chamber music
players. This is concert music, written for
performance by true professionals. The
first violin part soars to great heights
unattainable by the unskilled. The
harmonic and rhythmic complexities of
the music would have thrown any but the
most sophisticated musicians of the time
into confusion. The full texture keeps all
four players almost constantly occupied,
with hardly a moment of rest for any of
them. The subtle interrelationship of the
themes in all four movements places an
interpretative burden on the players,
as does the extraordinary key in which
Haydn composed the slow movement.
The unique structure of the
monothematic first movement may be
read in a number of different ways, for
its changes of key and of tempo seem
to overlap and cross the expected
boundaries of the sections. It is perhaps
most clearly heard as this sequence of
musical events: first, a very long pastoral
theme; second, a minor-key variation of it;
third, a return of the theme, ornamented;
fourth, a development of it, speeded up to
Allegro and running into the descending
scale passages of the coda.
The next movement is also extraordinary.
It is cast in something like
the sonata-form usually found in first
movements, but because Haydn gave it
a slow tempo, he fashioned it in quite a
compact way so that it seems quite brief.
The heading is Largo, cantabile e mesto,
“broad, singing and sad,” and the key,
F-sharp, is one hardly expected to follow
D Major. Furthermore, the six sharps in
the key signature make it excruciatingly
difficult for many string players. In German
musical terminology the word for “sharp”
is the same as that for “cross,” which
led musicians to call this movement the
“Churchyard Largo.”
Twenty-five years earlier, in his Farewell
Symphony, Haydn depicted or at least
evoked, the fatigue of his orchestral
musicians by writing for them in F-sharp,
which almost guaranteed they would play
some wrong notes and would be out of
tune a good part of the time. The reason
Haydn chose it here must have been
rather different.
The third movement is a Minuet, Allegro,
or in some editions, Allegretto; it has a
rather serious cast, with a contrasting
central trio that features a cello solo in its
grumbling low register. The Finale, Presto,
is wittily developed from a little fragment
of a folkdance tune.
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STRING QUARTET NO.5
Béla Bartók
Born March 25, 1881, in Nagyszentmiklós,
Hungary; died September 26, 1945, in New York
Béla Bartók produced a series of six string
quartets over the course of thirty years.
These works, despite their unorthodoxies,
continue and extend the Classical quartet
tradition. The six quartets trace Bartók’s
developing attitude toward the unity of
multi-movement compositions and intermovement
relationships in terms of
themes and motives.
Bartók dedicated his Quartet No.5
to Elizabeth Sprague Coolidge, who
had endowed a branch of the Library
of Congress, which had commissioned
the work. Written between August 6 and
September 6, 1934, it premiered at the
Library performed by the Kolisch Quartet,
on April 8, 1935.
It, like Quartet No.4, written six years
before, has a five-movement form in a
symmetrical arrangement where the first
and fifth movements share materials,
and the second and fourth also are
thematically and structurally related.
The corresponding movements are not
identical in either form or substance, but
are constructed of subtly related ideas
that move in similar tempi. The third
movement stands alone as the “kernel”
(Bartók’s word) of the work, its heart, and
all the other movements are “arranged in
layers around it.” All the movements derive
from a variation of a single basic motive
even though the derivation is not always
evident. This symmetry of movements
flanking the “kernel” makes the music
move through a curve that many music
historians have called an “arch.”
The vibrant Allegro first movement and
the Finale, both sonata-like movements,
bind the quartet together with a cyclic
device: the fugue in the last movement is
a development of the opening theme of
the quartet. The first movement is based
on a multiplicity of sharply differentiated
themes: one a rhythmic figure hammered
out in octaves and another interwoven in
an intricate imitative counterpoint. When
the ideas have been developed at some
length, they are recapitulated in reverse
order and melodically inverted, giving the
movement the shape of a small arch at
one end of the large arch that makes
up the whole quartet. In this movement
two thematic complexes are joined by a
transition that takes on almost thematic
importance, something that Bartók
pointed out in his descriptive analysis for
listeners. He went on to point out the fact
that “key centers in the seven segments
of the movement form the ascending
whole tone scale.”
The second movement and the
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“Whether playing Beethoven, Schubert, Bartók or Carter,
the Juilliard Quartet remains unsurpassed in bringing attention
to details and expressive devices.”
—Cleveland Plain Dealer
fourth movement are parallel in shape.
The second is a slow nocturne built with
an introduction, Adagio molto, followed
by a main section that has three parts:
Andante, Adagio and then Largo, after
which there is a short coda.
The fourth, Andante, also slow in tempo,
like the second, has a flavor of “night
music.” Each has an ABA structure; the
fourth further expands and develops some
of the ideas of the second. Actually almost
everything in the second movement is
duplicated in varied form in the fourth.
Both have similar openings, beginning
hesitantly with fragmentary themes,
followed by “folk-like” principal subjects
and nocturnal melodies in the central
parts. The lyrical theme Bartók uses in
the second movement reappears but in a
more ornamented and expanded version
in the fourth movement.
At the center of the quartet is the
ingratiating Scherzo, Alla bulgarese (“in the
Bulgarian manner”), Vivace, a complicated
web of rhythm and sound. Bartók had first
encountered the kind of uneven rhythms
he uses here in 1912 in the course of his
research on the folk music of Bulgarians
living within the borders of Hungary.
The music is written in measures of nine
beats, which in conventional scores would
be divided into three groups of three,
but perhaps to offset the symmetries
elsewhere in the quartet, Bartók here
uses an uneven group of 4 + 2 + 3 beats.
This characteristic of uneven distribution
and the occasional silent beats, as well
as a sense of syncopation, embodies
Bulgarian folk music, but sometimes
seems, to American ears, to suggest
jazz. This movement has a central trio
section in which the measure is expanded
to ten beats of a constantly repeated,
rapidly rushing figure that the first violin
introduces; at the same time, the other
instruments repeat a simple melody.
The Finale last movement, in spirit and
form (sonata form) like the first movement,
uses many elements derived from the first
movement but with a dance-like abandon.
After an introduction, Allegro vivace, the
music increases in tempo to Presto, and
this regular meter continues to the end.
Rigorously canonic, the lines closely follow
each other at a distance of not more
than a measure. The work pushes forward
with enormous energy through dense
contrapuntal sections, including even an
exciting fugue, and relaxes only for a few
Allegretto interludes, one, according to
Bartók “capricious” and the other, which
is a variant, “indifferent.” In the capricious
one, the second violin articulates a little
melodic subject and is accompanied by
pizzicato chords, sounding “deliciously
out of tune.” The “indifferent” variant is
peculiar; critics have hypothesized that it is
an autobiographical touch, as here Bartók
11
introduces a hurdy-gurdy tune, its melody
taken from one of the movement’s other
episodes and set in augmented values.
Another interesting quality is the use of
silence, a dramatic feature that delivers
significant aural impact and is used several
times in this movement, each time providing
intensity through its contrast. Throughout
the rest of the movement, many passages
of melodies are then imitated in inversion.
The music accelerates and then hurls to an
abrupt end.
Throughout, Bartók pushes the skills
of the string players to the limit. Going
far beyond the conventional, he demands
unusual multiple stops, unorthodox
fingerings, several types of pizzicato and
glissando and a battery of special effects.
Yet the importance of the work is not the
ingenuity of his writing or the novelty of
his style but the strength, distinction and
persuasion with which the composition is
infused.
STRING QUARTET, IN C MAJOR,
OP.61
Antonín Dvořák
Born September 8, 1841, in Nelahozeves;
died May 1, 1904, in Prague
Antonín Dvořák began life modestly as the
son of a village innkeeper and butcher,
whose aspirations were limited to hoping
that his son would take over the family
trade, but Dvořák chose to make a career
in music instead. He studied the violin and
organ locally as a child, and at the age
of sixteen, left home to study in Prague.
Five years later, he joined the orchestra of
the National Theater as a violist (in those
days an instrument usually taken up only
by failed violinists), but he was almost
thirty before he had his first successful
performance of one of his own major
compositions. Then his career took off; as
he wrote more music, his fame grew, and
he eventually became a figure of world
importance. He held a post as professor of
Composition at Prague Conservatory, was
the recipient of honorary degrees from
Cambridge University in England and the
Czech University of Prague, and, during
his three-year residence in the United
States, was director of a conservatory in
New York.
Chamber music had an important place
in Dvořák’s life. Many of his earliest works
were quartets and quintets, modeled after
Beethoven and Schubert, which he played
with his colleagues and friends while
developing his craft. Most of Dvořák’s
mature chamber music is permeated with
the Slavonic qualities of his homeland’s
folk art. In this Op.61 Quartet, however,
he modified his nationalist inclinations
12
considerably and returned to the classical
manner. He was writing for the famous
Vienna-based Hellmesberger Quartet,
which was founded and led by members
of a musical family that had known
Beethoven and was close to Schubert.
Johannes Brahms and his friend, Eduard
Hanslick the powerful, conservative
Viennese music critic, were the influential
intermediaries between the composer and
the performers.
Around October 25, 1881, after
a false start with a very Beethovenian
movement in F Major, Dvořák began work
in earnest on this quartet, hoping, he
wrote to Hellmesberger, that “the dear
Lord will whisper a few melodies to me.”
He completed the work on November 10,
1881, and dedicated it to Hellmesberger,
but a concert hall fire in Vienna led to a
postponement of the première there, so
the Joachim Quartet gave the premiere
performance in Berlin, on November 2,
1882. The group for whom it was intended,
the Hellmesberger Quartet, seems never
to have played it in public.
Dvořák opens the quartet with an
homage to Beethoven: a grand and noble
main theme that soon lends itself to the
adventurous harmonic treatment that
provides the basis for a large scale musical
structure. Next come a Romantically lyrical
slow movement, Poco adagio, and a lively
Scherzo, Allegro vivo, into whose contrasting
central section, Dvořák at last admits some
hint of the folk music of his native Bohemia.
The Vivace Finale, too, introduces highspirited
elements of folk song and dance. •
Presenting the world’s finest classical artists since 1919
JUILLIARD
STRING
QUARTET
SATURDAY, NOVEMBER 11, 2017, 8PM
JUILLIARD STRING
QUARTET
Joseph Lin, Violin
Ronald Copes, Violin
Roger Tapping, Viola
Astrid Schween, Cello
HAYDN, BARTÓK, DVOŘÁK
SATURDAY, FEBRUARY 24, 2018, 8PM
PETER
SERKIN PIANO
MOZART and BACH:
GOLDBERG VARIATIONS
THURSDAY, APRIL 12, 2018, 8PM
SIR ANDRÁS
SCHIFF PIANO
MENDELSSOHN, BEETHOVEN,
BRAHMS, BACH
SATURDAY, MAY 12, 2018, 8PM
ISABEL SOPRANO
BAYRAKDARIAN
ST. LAWRENCE
STRING QUARTET
SONGS BY OTTORINO RESPIGHI,
LEONARD BERNSTEIN (ARRANGED
BY SEROUJ KRADJIAN), PLUS
TROUBADOUR SONGS AND TANGOS!
SIR ANDRÁS SCHIFF
Single tickets at
The Lobero Theatre Box Office
Sir András Schiff: $64, $54• All Other Concerts: $49, $39
(805) 963-0761 • lobero.com
For more information visit camasb.org
ISABEL
BAYRAKDARIAN
PETER
SERKIN
COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC
13
Presenting the world’s finest classical artists since 1919
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Hollis Norris Fund
Alison & Jan Bowlus
CO-SPONSORS
Louise & Michael Caccese
CAMA Women's Board
Lynn P. Kirst
Bob & Val Montgomery
Michele & Andre Saltoun
ACADEMY OF ST. MARTIN
IN THE FIELDS
SPONSORS
Judith L. Hopkinson
Sara Miller McCune
CO-SPONSORS
Peggy & Kurt Anderson
Edward DeLoreto
Jocelyne & William Meeker
Ellen & John Pillsbury
Michele & Andre Saltoun
Michael Tilson Thomas
MASTERSERIES
SEASON SPONSORSHIP:
ESPERIA FOUNDATION
Isabel
Bayrakdarian
JUILLIARD STRING QUARTET
SPONSOR
Bitsy & Denny Bacon and the
Becton Family Foundation
SAN FRANCISCO
SYMPHONY
PRIMARY SPONSOR
The Elaine F. Stepanek
Concert Fund
PRINCIPAL SPONSOR
Herbert & Elaine Kendall
SPONSOR
Bitsy & Denny Bacon and
the Becton Family Foundation
CO-SPONSORS
Anonymous
Lynn P. Kirst
Jocelyne & William Meeker
Sir András Schiff
PETER SERKIN, piano
CO-SPONSOR
CAMA Women's Board
CONCERT PARTNERS
Steve Cloud
Elizabeth Karlsberg & Jeff Young
Stephen J.M. & Anne Morris
SIR ANDRÁS SCHIFF, piano
PRINCIPAL SPONSOR
The Stephen & Carla Hahn Foundation
CO-SPONSORS
Stephen J.M. & Anne Morris
Craig & Ellen Parton
CONCERT PARTNERS
Virginia Castagnola-Hunter
Bridget Colleary
Raye Haskell Melville
ISABEL BAYRAKDARIAN, soprano
ST. LAWRENCE STRING QUARTET
SPONSOR
CAMA Women's Board
CO-SPONSOR
Stephen J.M. & Anne Morris
CONCERT PARTNERS
Robert Boghosian &
Mary E. Gates-Warren
Department of Music, UC Santa Barbara
Frank McGinity
Sheila Bourke McGinity
LIFETIME GIVING
diamond circle
$500,000 and above
Suzanne & Russell Bock
Linda Brown *
Andrew H. Burnett
Foundation
Esperia Foundation
The Stephen & Carla Hahn
Foundation
Judith Hopkinson
Herbert J. Kendall
Sage Publications
Michael Towbes/The Towbes
Foundation
sapphire circle
$250,000 - $499,999
Anonymous
Bitsy & Denny Bacon
CAMA Women’s Board
Léni Fé Bland
TThe Samuel B. & Margaret C.
Mosher Foundation
The Stepanek Foundation
The Wood-Claeyssens
Foundation
ruby circle
$100,000 - $249,999
The Adams Foundation
Mr. & Mrs. David H. Anderson
Deborah & Peter Bertling
Virginia C. Hunter/
Castagnola Family
Foundation
Robert & Christine Emmons
Mary & Ray Freeman
Dr. & Mrs. Melville Haskell
Dolores Hsu
Mr. & Mrs. James H. Hurley, Jr.
Mr. & Mrs. Palmer Jackson
Mrs. Thomas A. Kelly
Shirley & Seymour Lehrer
Sara Miller McCune
Mr & Mrs Frank R Miller, Jr. /
The Henry E. & Lola Monroe
Foundation
John & Kathleen Moselely/
The Nichols Foundation
Nancy & William G. Myers
Michele & Andre Saltoun
The Santa Barbara Foundation
Jan & John G. Severson
Mr. & Mrs. Edward Stepanek
Jeanne C. Thayer
Mrs. Walter J. Thomson
Union Bank
Dr. & Mrs. H. Wallace Vandever
The Wallis Foundation
Nancy & Kent Wood
Mr. & Mrs. Joseph Yzurdiaga
emerald circle
$50,000 - $99,999
Anonymous
Ms. Joan C. Benson
Mr. & Mrs. Peter Beuret
Dr. & Mrs. Edward E. Birch
Louise & Michael Caccese
Dr. & Mrs. Jack Catlett
Roger & Sarah Chrisman
NancyBell Coe &
Bill Burke
Mr. & Mrs. Robert M. Colleary
Mrs. Maurice E. Faulkner
Mr. Daniel H. Gainey
Mr. Arthur R. Gaudi
Mr. & Mrs. Robert B. Gilson
The George H. Griffiths &
Olive J. Griffiths Charitable
Foundation
Mr. Richard Hellman
Joanne Holderman
Michael & Natalia Howe
The Hutton Parker Foundation
Ellen & Peter Johnson
Judith Little
John & Lucy Lundegard
Mrs. Max E. Meyer
Montecito Bank & Trust
Bob & Val Montgomery
Mr. & Mrs. Craig A. Parton
Performing Arts Scholarship
Foundation
Marjorie S. Petersen/
La Arcada Investment Corp.
Mr. Ted Plute & Mr. Larry Falxa
Lady Ridley-Tree
Barbara & Sam Toumayan
Judy & George Writer
topaz circle
$25,000 - $49,999
Anonymous
Edward Bakewell
Helene & Jerry Beaver
Deborah & Peter Bertling
Robert Boghosian &
Mary E. Gates-Warren
Mr. & Mrs. Andrew Burnett
Linda Stafford BurrowsMs.
Huguette Clark
Mrs. Leonard Dalsemer
Edward S. De Loreto
Mr. & Mrs. Larry Durham
Dr. Robert M. & Nancyann
Failing
The George Frederick Jewett
Foundation
Patricia Kaplan
Elizabeth Karlsberg &
Jeff Young
Lynn P. Kirst & Lynn R.
Matteson
Otto Korntheuer/ The Harold L.
Wyman Foundation in memory
of Otto Korntheuer
Chris Lancashire &
Catherine Gee
Mrs. Jon B. Lovelace
Leatrice Luria
Mrs. Frank Magid
Ruth McEwen
Frank McGinity
Sheila Bourke McGinity
Frank R. Miller, Jr.
James & Mary Morouse
Patricia Hitchcock O’Connell
Efrem Ostrow Living Trust
Mr. Ernest J. Panosian
Mr. & Mrs. Roger A. Phillips
Kathryn H. Phillips
Mrs. Kenneth Riley
Judith F. Smith
Marion Stewart
Ina Tournallyay
Mrs. Edward Valentine
The Outhwaite Foundation
The Elizabeth Firth Wade
Endowment Fund
Maxine Prisyon & Milton
Warshaw
Mrs. Roderick Webster
Westmont College
amethyst
circle
$10,000 - $24,999
Anonymous
Mr. & Mrs. Peter Adams
Mrs. David Allison
Dr. & Mrs. Mortimer Andron
Mr. & Mrs. Robert Arthur
Mr. & Mrs. J.W. Bailey
Mrs. Archie Bard
Leslie & Philip Bernstein
Frank Blue &
Lida Light Blue
Mrs. Erno Bonebakker
Elizabeth & Andrew Butcher
CAMA Fellows
Mrs. Margo Chapman
Chubb-Sovereign Life
Insurance Co.
Carnzu A. Clark
Dr. Gregory Dahlen &
Nan Burns
Karen Davidson M.D.
Julia Dawson
Mr. & Mrs. William Esrey
Ronald & Rosalind A. Fendon
Audrey Hillman Fisher
Foundation
Dave Fritzen/DWF Magazines
Catherine H. Gainey
Kay & Richard Glenn
The Godric Foundation
Corinna & Larry Gordon
Mr. & Mrs. Freeman Gosden, Jr.
Mr. & Mrs. Bruce Hanna
Mr. & Mrs. Robert Hanrahan
Lorraine Hansen
Mr. & Mrs. Stanley Hatch
Dr. & Mrs. Richard Hawley
Dr. & Mrs. Alan Heeger
Mr. Preston Hotchkis
Elizabeth & Gary Johnston
Mahri Kerley
KDB Radio
Linda & Michael Keston
Mrs. Robert J. Kuhn
Catherine Lloyd/Actief-cm, Inc.
Leatrice Luria
Nancy & Jim Lynn
Keith J. Mautino
Jayne Menkemeller
Myra & Spencer Nadler
Karin Nelson & Eugene Hibbs, Jr.
Joanne & Alden Orpet
Mr. & Mrs. Charles Patridge
Patricia & Carl Perry
John Perry
Mrs. Ray K. Person
Ellen & John Pillsbury
Anne & Wesley Poulson
Susannah Rake
Mr. & Mrs. Frank Reed
Jack Revoyr
Betty & Don Richardson
The Grace Jones
Richardson Trust
Dorothy Roberts
The Roberts Bros. Foundation
John F. Saladino
Jack & Anitra Sheen
Sally & Jan Smit
Betty Stephens &
Lindsay Fisher
Selby & Diane Sullivan
Joseph M. Thomas
Milan E. Timm
Mark E. Trueblood
Steven D. Trueblood
Kenneth W. & Shirley C. Tucker
Mr. & Mrs. Hubert D. Vos
Barbara & Gary Waer
Mr. &Mrs. David Russell Wolf
Dick & Ann Zylstra
* promised gift
(Gifts and pledges received
as of October 2, 2017)
16
Presenting the world’s finest classical artists since 1919
“I think too often
people think of the
arts as decoration to
the experiences of life,
sort of a frosting on
the cake. But to me,
the arts are essential
to understanding the
problems of life, and to
helping us get through
the experiences of life
with intelligent understanding
and grace.”
– Philanthropist
and CAMA Friend
Robert M. Light
YOU Ensure
the Tradition
Your generosity through planned giving secures
the future of CAMA. When you include CAMA in
your will or living trust, your contribution ensures
CAMA’s great classical music performances and
music outreach programs continue.
Thank you for being part of our Community.
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.
Join Elizabeth Alvarez, CAMA Director of Development,
for lunch to learn more. (805) 276-8270 direct.
Elizabeth@camasb.org
COMMUNITY ARTS MUSIC ASSOCIATION
(805) 966-4324 • www.camasb.org
17
CAMA ENDOWMENT: A Sound Investment
YOU ensure that great music and world-class artists
continue to grace Santa Barbara stages for decades to come.
Endowment funds are needed to bridge the gap between ticket sales
and steadily rising artist fees and concert production costs. Funds are also
needed to sustain CAMA’s outstanding music education programs.
MOZART SOCIETY
Our CAMA community members who contribute a cash gift to the endowment of $10,000
or more enjoy many benefits of The Mozart Society, including participation in our annual
black-tie dinner.
LEGACY SOCIETY
Our CAMA community members who have included CAMA in their will or estate plan
belong to the Legacy Society. Legacy Society members participate in the Annual Legacy
Event. In May 2017, Legacy members gathered for a Sunset Cruise on the Channel Cat.
Call Elizabeth Alvarez at the CAMA Office (805) 966-4324 to learn more
about CAMA’s Endowment.
Presenting the world’s finest classical artists since 1919
INTERNATIONAL SERIES
AT THE GRANADA THEATRE
Tuesday, January 16, 2018
The Granada Theatre, 8pm
ST. LOUIS
SYMPHONY
David Robertson Music Director
Augustin Hadelich Violin
David
Robertson
Thomas Adès: Dances from Powder Her Face (2007)
Benjamin Britten: Violin Concerto, Op.15
Dmitri Shostakovich: Symphony No.1 in F minor, Op.10
Granada Theatre Box Office (805) 899-2222 • granadasb.org
18
MOZART SOCIETY
conductor’s circle
($500,000 and above)
Mr. & Mrs. Russell S. Bock
Linda Brown*
Esperia Foundation
SAGE Publications
crescendo circle
($250,000-$499,999)
Andrew H. Burnett Foundation
Judith L. Hopkinson
Herbert & Elaine Kendall
cadenza patrons
($100,000-$249,999)
Anonymous
Anonymous
Bitsy Becton Bacon
Mary & Ray Freeman
Mr. & Mrs. James H. Hurley Jr.
William & Nancy Myers
Jan & John Severson
Judith & Julian Smith
Michael Towbes
rondo patrons
($50,000-$99,999)
Peter & Deborah Bertling
Linda & Peter Beuret
Robert & Christine Emmons
Stephen R. & Carla Hahn
Dolores M. Hsu
The Samuel B. & Margaret C.
Mosher Foundation
Santa Barbara Bank & Trust
Mr. & Mrs. Byron K. Wood
concerto patrons
($25,000-$49,999)
Linda Stafford Burrows,
in memory of Frederika
Voogd Burrows
Dr. & Mrs. Jack Catlett
Bridget & Robert Colleary
Mrs. Maurice E. Faulkner
Léni Fé Bland
Dr. & Mrs. Melville H. Haskell, Jr.
Sara Miller McCune
Mr. & Mrs. Frank R. Miller, Jr.
The Hutton Foundation
Efrem Ostrow Living Trust
Craig & Ellen Parton
Walter J. Thomson/
The Thomson Trust
Mr. & Mrs. Sam Toumayan
sonata patrons
($10,000-$24,999)
Anonymous
The Adams Foundation
Mr. & Mrs. Peter Adams
Else Schilling Bard
Dr. & Mrs. Edward E. Birch
Frank Blue & Lida Light Blue
CAMA Women’s Board
(Sally Lee Remembrance
Fund and Marilyn Roe
Remembrance Fund)
Dr. Robert Boghosian &
Ms. Mary E. Gates-Warren
Mr. & Mrs. Andrew Butcher
Virginia Castagnola-Hunter
Dr. & Mrs. Charles Chapman
Dr. Karen Davidson
Mr. & Mrs. Larry Durham
Dr. Robert & Nancyann Failing
Dr. & Mrs. Jason Gaines
Mr. & Mrs. Daniel Gainey/
Daniel C. Gainey Fund
Arthur R. Gaudi
Sherry & Robert B. Gilson
Mr. & Mrs. Bruce Hanna
Ms. Lorraine Hansen
Joanne C. Holderman
Patricia Kaplan
Elizabeth Karlsberg &
Jeff Young
Mrs. Thomas A. Kelly
Mahri Kerley
Lynn P. Kirst & Lynn R.
Matteson
Dr. & Mrs. Robert J. Kuhn
Mr. John Lundegard/
Lundegard Family Fund
Keith J. Mautino
Jayne Menkemeller
Mr. & Mrs. Max Meyer
Bob & Val Montgomery
Mary & James Morouse
Dr. & Mrs. Spencer Nadler
Patricia Hitchcock O’Connell
Performing Arts Scholarship
Foundation
John Perry
Mrs. Hugh Petersen
Mr. & Mrs. Roger A. Phillips
Ellen & John Pillsbury
Miss Susannah E. Rake
Mrs. Kenneth W. Riley
Michele & Andre Saltoun
Dr. & Mrs. Jack Sheen/Peebles
Sheen Foundation
Sally & Jan E.G. Smit
Mr. & Mrs. Edward Stepanek
Betty J. Stephens, in
recognition of my friend
Judy Hopkinson
Dr. & Mrs. William A. Stewart
Mark E. Trueblood
Dr. & Mrs. H. Wallace Vandever
The Elizabeth Firth Wade
Endowment Fund
Mr. & Mrs. Gary Waer
Mr. & Mrs. David Russell Wolf
* promised gift
LEGACY SOCIETY
WE GRATEFULLY ACKNOWLEDGE CAMA LEGACY SOCIETY MEMBERS FOR
REMEMBERING CAMA IN THEIR ESTATE PLANS WITH A DEFERRED GIFT.
Anonymous
Peter & Becky Adams
Bitsy Becton Bacon
Else Schilling Bard
Peter & Deborah Bertling
Linda & Peter Beuret
Lida Light Blue & Frank Blue
Mrs. Russell S. Bock
Dr. Robert Boghosian &
Ms. Mary-Elizabeth Gates-Warren
Linda Brown *
Elizabeth & Andrew Butcher
Virginia Castagnola-Hunter
Jane & Jack Catlett
Bridget & Bob Colleary
Karen Davidson, M.D &
David B. Davidson, M.D.
Patricia & Larry Durham
Christine & Robert Emmons
Ronald & Rosalind A. Fendon Mary
& Ray Freeman
Arthur R. Gaudi
Stephen & Carla Hahn
Beverly Hanna
Ms. Lorraine Hansen
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
Keith J. Mautino
Sara Miller McCune
Raye Haskell Melville
Mr. & Mrs. Frank R. Miller, Jr.
Dr. & Mrs. Spencer Nadler
Ellen & Craig Parton
Diana & Roger Phillips
Ellen & John Pillsbury
Michele & Andre Saltoun
Judith & Julian Smith
Mr. & Mrs. Sam Toumayan
Mark E. Trueblood
Dr. & Mrs. H. Wallace Vandever
Barbara & Gary Waer
Nancy & Kent Wood
* promised gift
(Gifts and pledges received
as of October 2, 2017)
19
INTERNATIONAL CIRCLE
Join us for delightful garden parties, the International Circle Wine Intermission,
and other elegant events.
Call Elizabeth Alvarez for an Invitation Packet. (805) 276-8270
PRESIDENT'S CIRCLE
($10,000 and above)
Anonymous (2)
Bitsy & Denny Bacon and
The Becton Family Foundation
Suzanne & Russell Bock
Robert Boghosian &
Mary E. Gates Warren
Alison & Jan Bowlus
NancyBell Coe & Bill Burke
Dan & Meg Burnham
The CAMA Women's Board
Robert & Christine Emmons
The Elaine F. Stepanek
Foundation
Carla Hahn
Hollis Norris Fund
Judith L. Hopkinson
Joan & Palmer Jackson
Ellen & Peter Johnson
Herbert & Elaine Kendall
Lynn P. Kirst
John Lundegard
Sara Miller McCune
Jocelyne & William Meeker
Mary Lloyd & Kendall Mills
Bob & Val Montgomery
Stephen J.M. & Anne Morris
The Samuel B. & Margaret C.
Mosher Foundation
Efrem Ostrow Living Trust
Craig & Ellen Parton
Ellen & John Pillsbury
Michele & Andre Saltoun
Nancy Schlosser
The Shanbrom Family Foundation
The Walter J. &
Holly O. Thomson Foundation
Barbara & Sam Toumayan
The Towbes Fund for the
Performing Arts
George & Judy Writer
Patricia Yzurdiaga
COMPOSER'S CIRCLE
($5,000 - $9,999)
Peggy & Kurt Anderson
Helene & Jerry Beaver
Frank Blue & Lida Light Blue
The Wood-Claeyssens
Foundation
Elizabeth & Andrew Butcher
Louise & Michael Caccese
Stephen Cloud
Bridget Colleary
Edward De Loreto
Ronald & Rosalind A. Fendon
Dorothy & John Gardner
Raye Haskell Melville
Preston & Maurine Hotchkis
Elizabeth Karlsberg & Jeff Young
Winona Fund
Frank McGinity
Sheila Bourke McGinity
Mr. & Mrs. Frank R. Miller, Jr./
The Henry E. & Lola Monroe
Foundation
Montecito Bank & Trust
Performing Arts Scholarship
Foundation
Dorothy Roberts
Judith F. Smith
Irene & Robert Stone/
Stone Family Foundation
VIRTUOSO CIRCLE
($2,500 - $4,999)
Annette & Richard Caleel
Virginia Castagnola-Hunter
Sarah & Roger Chrisman
Fredericka & Dennis Emory
Nancyann & Robert Failing
Mary & Raymond Freeman
Ronda & Bill Hobbs
Shirley Ann & James H. Hurley, Jr.
Jill Dore Kent
Lois Kroc
Shirley & Seymour Lehrer
Ruth & John Matuszeski
Dona & George McCauley
Theodore Plute & Larry Falxa
Steven Trueblood
Department of Music, University
of California, Santa Barbara
Nick & Patty Weber
CONCERTMASTER
CIRCLE ($1,500 - $2,499)
Todd & Allyson Aldrich Family
Charitable Fund
Deborah & Peter Bertling
Linda & Peter Beuret
Edward & Sue Birch
Diane Boss
Suzanne & Peyton Bucy
Jill Felber
Renee Harwick
Renee & Richard Hawley
Maison K
Karin Nelson & Eugene Hibbs/
Maren Henle
Joanne C. Holderman
Karen & Chuck Kaiser
Barbara & Tim Kelley
Connie & Richard Kennelly
Kum Su Kim
Karin Jacobson & Hans Koellner
The Harold L. Wyman
Foundation
Chris Lancashire &
Catherine Gee
MaryAnn Lange
Cynthia Brown & Arthur Ludwig
Gloria & Keith Martin
Sally & George Messerlian
Gail Osherenko & Oran Young
Anne & Daniel Ovadia
Carol & Kenneth Pasternack
Regina & Rick Roney
William E. Sanson
Linda Stafford Burrows
Marion Stewart
Vera & Gary Sutter
Suzanne Holland & Raymond
Thomas
Esther & Tom Wachtell
Barbara & Gary Waer
Westmont College
Victoria & Norman Williamson
Ann & Dick Zylstra
PRINCIPAL PLAYER'S
CIRCLE ($1,000 - $1,499)
Leslie & Philip Bernstein
Wendel Bruss
Patricia Clark
Lois Erburu
Katina Etsell
Audrey Hillman Fisher
Foundation
Catherine H. Gainey
Tish Gainey & Charles Roehm
Perri Harcourt
Glenn Jordan & Michael Stubbs
Peter Karoff
Sally Kinney
Dora Anne Little
Russell Mueller
Ellen & Thomas Orlando
Diana & Roger Phillips
Maurice Singer
Diane Sullivan
Milan E. Timm
Shirley Tucker
Hubert Vos
Nancy Englander &
Harold Williams
Your annual International Circle Membership plays such an important role in continuing
CAMA's grand tradition of bringing the best in classical music to Santa Barbara.
Thank you!
(Gifts and pledges received from
June 1, 2016 – October 2, 2017)
20
MUSICIANS SOCIETY
Your annual gift is vitally important to continuing CAMA's nearly 100-year tradition –
Thank you for your generous annual donation.
Benefactors
($500 - $999)
David Ackert
Shelley & Mark Bookspan
Edith M. Clark
Betsy & Kenneth Coates
Wendy & Rudy Eiser
Thomas & Doris Everhart
Elinor & James Langer
Christie & Morgan Lloyd
Phyllis Brady & Andy Masters
Patriicia & William McKinnon
Pamela McLean &
Frederic Hudson
Peter L. Morris
Maryanne Mott
Natalie Myerson
Justyn Person
Patricia & Robert Reid
Lynn & Mark Schiffmacher
Maureen & Les Shapiro
Halina W. Silverman
Barbara & Wayne Smith
Carol Vernon & Robert Turbin
Dody Waugh & Eric Small
Cheryl & Peter Ziegler
Contributors
($250 - $499)
Sylvia Abualy
Antoinette & Shawn Addison
Jyl & Allan Atmore
Howard A. Babus
Doris Lee Carter
Lavelda & Lynn Clock
Michael & Ruth Ann Collins
Joan & Steven Crossland
Peggy & Timm Crull
Ann & David Dwelley
Margaret Easton
Ghita Ginberg
Linda & Antony Harbour
Debbie & Frank Kendrick
June & William Kistler
Andrew Mester, Jr.
Myra & Spencer Nadler
Carolyn & Dennis Naiman
Maureen O'Rourke
Hensley & James Peterson
Julia & Arthur Pizzinat
Bette & Claude Saks
Ada B. Sandburg
Kathryn Lawhun &
Mark Shinbrot
Karen Spechler
Beverly & Michael Steinfeld
Jacqueline & Ronald Stevens
Mark E. Trueblood
Julie Antelman & William Ure
Lorraine & Stephen Weatherford
Associates
($100 - $249)
Catherine L. Albanese
Nancy & Jesse Alexander
Carol & Gilbert Ashor
Esther & Don Bennett
Myrna Bernard
Alison H. Burnett
Margaret & David Carlberg
Polly Clement
Melissa Colborn
Janet Davis
Marilyn DeYoung
Lois & Jack Duncan
Michael K. Dunn
Julia Emerson
Barbara Faulkner
Eunice & J.Thomas Fly
Bernice & Harris Gelberg
Deborah Branch Geremia
Dolores Airey Gillmore
Nancy & Frederic Golden
Elizabeth & Harland Goldwater
Marge & Donald Graves
Marie-Paule & Laszlo Hajdu
Carolyn Hanst
M.Louise Harper &
Richard Davies
Elizabeth Hastings
Lorna S. Hedges
Edward O. Huntington
Gina & Joseph Jannotta
Virginia Stewart Jarvis
Brian Frank Johnson
Monica & Desmond Jones
Emmy & Fred Keller
Robin Alexandra Kneubuhl
Anna & Petar Kokotovic
Doris Kuhns
Linda & Rob Laskin
Lady Patricia &
Sir Richard Latham
Lavender Oak Ranch LLC
Barbara & Albert Lindemann
Barbara & Ernest Marx
Jeffrey McFarland
Terry McGovern
Meredith McKittrick-Taylor &
Al Taylor
Christine & James V. McNamara
Renée & Edward Mendell
Lori Kraft Meschler
Betty Meyer
Susan Levine & Jack Murray
Carol Hawkins & Larry Pearson
Marilyn Perry
Francis Peters, Jr.
Ann Picker
Eric Boehm
Constance Pratt
Sonia Rosenbaum
Muriel & Ian K. Ross
Shirley & E.Walton Ross
Joan & Geoffrey Rutkowski
Sharon & Ralph Rydman
Doris & Bob Schaffer
Naomi Schmidt
Anitra & Jack Sheen
James Poe Shelton
Joan Tapper & Steven Siegel
Anne Sprecher
Florence & Donald Stivers
Laura Tomooka
Mary H. Walsh
Judy Weirick
Judy & Mort Weisman
Theresa & Julian Weissglass
Donna & Barry Williiams
Deborah Winant
Barbara Wood
David Yager
Taka Yamashita
Grace & Edward Yoon
Friends
($10 - $99)
Anne Ashmore
Robert Baehner
Barbara Bonadeo
Cholame Vineyard
Thomas Craveiro
Patricia Ericson
Hannelore Foraker
Susan & Larry Gerstein
Katherine B. &
Richard D. Godfrey
William S. Hanrahan
Lorraine C. Hansen
Carol Hester
Jalama Canon Ranch
Catherine Leffler
Margaret Menninger
Ellicott Million
Edith & Raymond Ogella
Jean Perloff
Cherie Topper & Mark Rodgers
Judith & Frank Salazar
Joanne Samuelson
Alice & Sheldon Sanov
Susan Schmidt
Diane & Morris Seidler
Allan Serviss
Ann Shaw
Laura & Alan Smith
Julie & Richard Steckel
Patricia & Edward Wallace
Shela West
(Gifts and pledges received from
June 1, 2016 – October 2, 2017)
21
MUSIC EDUCATION PROGRAM
$25,000 and above
The Walter J. & Holly O. Thomson Foundation
$10,000 - $24,999
Ms. Irene Stone/
Stone Family Foundation
$1,000 - $9,999
Sara Miller McCune
Mr. & Mrs. Frank R. Miller, Jr./
The Henry E. & Lola Monroe Foundation
Performing Arts Scholarship Foundation
Westmont College
$100 - $999
Lynn P. Kirst
Volunteer docents are trained by CAMA’s Education
Committee Chair, Joan Crossland, to deliver this
program to area schools monthly. Music enthusiasts
are invited to learn more about the program and
volunteer opportunities.
CAMA Education Endowment
Fund Income
$10,000 AND ABOVE
William & Nancy Myers
$1,000 - $4,999
Linda Stafford Burrows –
This opportunity to experience great musicians excelling
is given in honor and loving memory of Frederika Voogd
Burrows to continue her lifelong passion for enlightening
young people through music and math.
Kathryn H. Phillips, in memory of Don R. Phillips
Walter J. Thomson/The Thomson Trust
$50 - $999
Lynn P. Kirst
Keith J. Mautino
Performing Arts Scholarship Foundation
Marjorie S. Petersen
(Gifts and pledges received from June 1, 2016 – October 2, 2017)
Call the CAMA office at (805) 966-4324 for more information about the docent program.
MEMORIAL GIFTS
IN MEMORY...
Else (Leinie) Schilling Bard
Joanne C. Holderman
John Lundegard
Bridget Colleary
Lynn P. Kirst
Michael Towbes
Bridget Colleary
Susie Vos
Bridget Colleary
Dr. Robert Sinsheimer
& Karen Sinsheimer
Robert Boghosian
& Mary E. Gates Warren
Sybil Mueller
Lynn P. Kirst
Robert M. Light
Edward & Sue Birch
Joanne C. Holderman
Judith L. Hopkinson
Lynn P. Kirst
Betty Meyer
Diana & Roger Phillips
Joan & Geoffrey Rutkowski
Judith F. Smith
Marion Stewart
(Gifts and pledges received from
June 1, 2016 – October 9, 2017)
22
BUSINESS SUPPORTERS
American Riviera Bank
James P. Ballantine
Belmond El Encanto
Wes Bredall
Heather Bryden
Ca' Dario
Camerata Pacifica
Casa Dorinda
Chaucer's Books
Cottage Health System
DD Ford Construction
Eye Glass Factory
First Republic Bank
Flag Factory of Santa Barbara
Gainey Vineyard
Colin Hayward/The Hayward Group
Steven Handelman Studios
Help Unlimited
SR Hogue & Co Florist
Indigo Interiors
Maravilla/Senior Resource Group
Microsoft® Corporation
Montecito Bank & Trust
Northern Trust
Oceania Cruises
Olio e Limone/Olio Crudo Bar/
Olio Pizzeria
Pacific Coast Business Times
Peregrine Galleries
Performing Arts Scholarship
Foundation
Renaud's Patisserie & Bistro
Sabine Myers/Motto Design
Stewart Fine Art
Santa Barbara Choral Society
Santa Barbara Foundation
Santa Barbara Travel Bureau
The Upham Hotel &
Upham Country House
UCSB Arts & Lectures
Westmont Orchestra
Contact Heather Bryden for information about showcasing your business
in CAMA's Program Magazines. (805) 965-5558 • HeatherBryden@cox.net
Presenting the world’s finest classical artists since 1919
Board of Directors
(as of November 3, 2017)
ROBERT K. MONTGOMERY president
DEBORAH BERTLING, first vice-president
CRAIG A. PARTON second vice-president
WILLIAM MEEKER treasurer
JOAN R. CROSSLAND secretary
Bitsy Becton Bacon
Edward Birch
Jan Bowlus
Daniel P. Burnham
Stephen Cloud
NancyBell Coe
Bridget B. Colleary
Robert J. Emmons
Jill Felber
Joanne C. Holderman
Judith L. Hopkinson
James H. Hurley, Jr.
Peter O. Johnson
Elizabeth Karlsberg
Lynn P. Kirst
Frank E. McGinity
Raye Haskell Melville
Stephen J.M. (Mike) Morris
Patti Ottoboni
Andre M. Saltoun
Judith F. Smith
Sam Toumayan
Judith H. Writer
Catherine Leffler,
president, CAMA Women’s Board
Emeritus Directors
Russell S. Bock*
Dr. Robert M. Failing
Mrs. Maurice E. Faulkner*
Léni Fé Bland*
Arthur R. Gaudi
Stephen Hahn*
Dr. Melville H. Haskell, Jr.*
Mrs. Richard Hellmann*
Dr. Dolores M. Hsu
Herbert J. Kendall
Robert M. Light*
Mrs. Frank R. Miller, Jr.*
Sara Miller McCune
Mary Lloyd Mills
Mrs. Ernest J. Panosian*
Kenneth W. Riley*
Mrs. John G. Severson*
Nancy L. Wood
* Deceased
Administration
Mark E. Trueblood
executive director
Elizabeth Alvarez
director of development
Linda Proud
office manager/subscriber services
Justin Rizzo-Weaver
director of operations
2060 Alameda Padre Serra, Suite 201 Santa Barbara, CA 93103 Tel (805) 966-4324 Fax (805) 962-2014 info@camasb.org
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