Program Notes – St. Louis Symphony – January 16, 2018 – CAMA

Presenting the world’s finest classical artists since 1919 

Photo by Suxiao Yang 

St. Louis Symphony Orchestra 

DAVID ROBERTSON, music director 

AUGUSTIN HADELICH, violin 

TUESDAY, JANUARY 16, 2018, 8PM 

The Granada Theatre 

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(as of January 4, 2018) 

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Kenneth W. Riley* 

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David Robertson music director 

Augustin Hadelich violin 

Tuesday, January 16, 2018, 8pm 

The Granada Theatre (Santa Barbara Center for the Performing Arts) 

THOMAS ADÈS 

(b.1971) 

BENJAMIN BRITTEN 

(1913-1976) 

Intermission 

DMITRI SHOSTAKOVICH 

(1906-1975) 

Powder Her Face Suite (1995/2017) 

SLSO co-commission 

Overture – 

Scene with Song – 

Wedding March – 

Waltz – 

Ode – 

Paperchase – 

Hotel Manager’s Aria “It is too late” – 

Finale 

Violin Concerto, Op.15 (1939) 

Moderato con moto – 

Vivace – 

Passacaglia: Andante lento (un poco meno 

mosso) 

AUGUSTIN HADELICH, violin 

Symphony No.1 in F minor, Op.10 (1925) 

Allegretto; Allegro non troppo 

Allegro 

Lento – 

Lento; Allegro molto 

Programs and artists subject to change 

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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. 

COMMUNITY ARTS MUSIC ASSOCIATION 5 

| www.camasb.org

Biography 

St. Louis 

Symphony 

Orchestra 

Celebrated as one of today’s most exciting 

orchestras, the St. Louis Symphony 

Orchestra is the second-oldest in the 

country and widely considered one of the 

world’s finest. Now in its 138th season, the 

SLSO is committed to artistic excellence, 

educational impact, and community 

connection—all in service of its mission to 

enrich lives through the power of music. 

American conductor David Robertson is 

the 12th music director in the orchestra’s 

history and has solidified the SLSO’s 

standing as one of the nation’s most vital 

and innovative ensembles. Defined by 

musical excellence, widespread acclaim, 

artistic partnerships, innovative programing, 

Grammy award-winning recordings, and 

unprecedented orchestral achievements, the 

Robertson era is recognized as one of this 

storied institution’s most illuminating. The 

SLSO pays tribute to Robertson as both a 

musical visionary and a gifted communicator 

as his remarkable 13-year tenure concludes 

at the close of the current season. 

6

In addition to concerts at 

Powell Hall, the orchestra’s 

home for 50 years, the SLSO is 

an integral part of the diverse 

St. Louis community, presenting 

hundreds of free education 

programs and performances 

throughout the region each year. 

Through weekly Saturday night 

concert broadcasts, celebrated 

recordings, and regular touring 

activity, the SLSO influences the 

entire orchestral world. 

Robertson and the SLSO 

most recently toured California during the 

2015/16 season, with stops in Berkeley and 

at Los Angeles’s Walt Disney Concert Hall. 

The tour featured stunning performances 

of Messiaen’s Des canyons aux étoiles…, 

which included video of the American 

The St. Louis 

Symphony is 

an integral part 

of the diverse 

St. Louis 

community, 

presenting 

hundreds of 

free education 

programs and 

performances 

throughout the 

region each year. 

Southwest landscapes that 

inspired the composer, created 

by artist Deborah O’Grady 

especially for the orchestra. 

This season’s tour of California 

will be Robertson’s final tour as 

music director. 

Today, the SLSO 

builds on the institution’s 

current momentum on all 

fronts, including its artistry, 

financial health, audience 

growth, and community 

impact. The orchestra 

looks toward the future with Stéphane 

Denève, who begins his tenure as 

music director in the 2019/20 season. 

Denève has made frequent appearances 

as a guest conductor with the SLSO 

since 2003. n 

7

Biography 

David 

Robertson 

David Robertson—conductor, artist, thinker, 

and American musical visionary—occupies 

some of the most prominent platforms 

on the international music scene. A highly 

sought-after podium figure in the worlds 

of opera, orchestral music, and new music, 

Robertson is celebrated worldwide as a 

champion of contemporary composers, an 

ingenious and adventurous programmer, 

and a masterful communicator whose 

passionate advocacy for the art form is 

widely recognized. A consummate and 

deeply collaborative musician, Robertson 

is hailed for his intensely committed music 

making. 

Currently in his valedictory season as 

music director of the St. Louis Symphony 

Orchestra, and in his fifth season as chief 

conductor and artistic director of the Sydney 

Symphony Orchestra, he has served as 

artistic leader to many musical institutions, 

including the BBC Symphony Orchestra, 

the Orchestre National de Lyon, and, as 

a protégé of Pierre Boulez, the Ensemble 

8

During his 13-year tenure with the St. Louis Symphony, 

Robertson has solidified the orchestra’s standing as one of the 

nation’s most enduring and innovative. 

Intercontemporain. With frequent projects 

at the world’s most prestigious opera 

houses, including the Metropolitan Opera, 

La Scala, Bayerische Staatsoper, Théâtre 

du Châtelet, the San Francisco Opera, and 

more, Robertson will return to the Met 

Opera in 2018 to conduct the premiere of 

Phelim McDermott’s new production of 

Così fan tutte. 

During his 13-year tenure with the SLSO, 

Robertson has solidified the orchestra’s 

standing as one of the nation’s most 

enduring and innovative. His established 

and fruitful relationships with artists 

across a wide spectrum is evidenced by 

the orchestra’s ongoing collaboration with 

composer John Adams. The 2014 release of 

City Noir (Nonesuch Records)—comprising 

works by Adams performed by the SLSO with 

Robertson—won the Grammy Award for best 

orchestral performance. Robertson is the 

recipient of numerous musical and artistic 

awards, and in 2010 was made a Chevalier de 

l’Ordre des Arts et des Lettres. n 

9

Biography 

Augustin 

Hadelich Violin 

Musical America’s 2018 instrumentalist 

of the year, Augustin Hadelich has firmly 

established himself as one of the great 

violinists of today. He has performed 

with every major orchestra in the United 

States, many on numerous occasions, as 

well as an ever-growing number of major 

orchestras in Europe and Asia. 

One of the highlights of Hadelich’s 

2017/18 season will be a return to the 

Boston Symphony, performing the 

Ligeti Concerto with Thomas Adès 

on the podium, featuring the U.S. 

premiere of Adès’s new cadenza for the 

concerto. Additional highlights include 

performances with the San Francisco 

Symphony and the symphony orchestras 

of Atlanta, Detroit, Houston, Indianapolis, 

Milwaukee, Nashville, Oregon, Pittsburgh, 

Seattle, and Utah. Abroad, he will play 

with the Seoul Philharmonic Orchestra, 

Polish National Radio Orchestra, the 

Lahti Symphony, Royal Scottish National 

Orchestra, the Hallé Orchestra, and the 

Orquesta Sinfónica de Castilla y León. 

Among recent and upcoming worldwide 

performances are the BBC Philharmonic, 

BBC Symphony, Bournemouth Symphony, 

Concertgebouw Orchestra, Danish 

Hadelich "is an intimate 

performer whose selfeffacing 

quality allows 

the music to soar. He 

has what Mozart 

once told a friend was 

more important than 

virtuosity: taste 

and feeling." 

National Symphony, Finnish Radio 

Orchestra, Hamburg Philharmonic, Hong 

Kong Philharmonic, London Philharmonic, 

Mozarteum Orchestra, Netherlands Phil– 

harmonic, Norwegian Radio Orchestra, 

NHK Symphony, São Paulo Symphony, 

and the radio orchestras of Cologne, 

Frankfurt, Saarbrücken, and Stuttgart. 

Hadelich’s career took off when he 

was named gold medalist of the 2006 

International Violin Competition of 

Indianapolis. Since then, he has garnered 

an impressive list of honors, including the 

inaugural Warner Music Prize in 2015, and 

a 2016 Grammy Award for his recording 

of Dutilleux’s Violin Concerto, L’arbre des 

songes, with the Seattle Symphony under 

Ludovic Morlot. 

– Los Angeles Times 

Hadelich plays the 1723 “Ex- 

Kiesewetter” Stradivari violin, on loan 

from Clement and Karen Arrison through 

the Stradivari Society of Chicago. t 

11

Program Notes 

by Benjamin Pesetsky 

Benjamin 

Britten 

Thomas Adès 

Dmitri Shostakovich 

Thomas Adès, Benjamin Britten, and Dmitri Shostakovich 

were all under the age of 30 when they wrote the pieces on today’s program. Adès’s 

opera, Powder Her Face, and Shostakovich’s Symphony No.1 launched their composers 

to fame, receiving international performances soon after their premieres. Britten’s Violin 

Concerto has burned its way into the repertoire more slowly, increasingly recognized 

for its subtlety and beauty. 

There are also personal, professional, and aesthetic connections between these three 

composers. In the 1960s, Britten and Shostakovich became friends, connected by their 

mutual collaborator, the cellist Mstislav Rostropovich. Though two generations younger, 

Adès, an Englishman, was artistic director of the Aldeburgh Festival, which Britten 

founded in 1948. 

All three works show a concern for public relevance, belying the narrative that 

20th-century classical music invariably drifted toward academic obscurity. Here is a 

strand of complex musical artistry, attuned to audience understanding, running from 

1926 to the present day. 

12

Program Notes 

Thomas Adès 

Born March 1, 1971, London 

Powder Her Face Suite 

Powder Her Face is Thomas Adès’s 1995 

chamber opera, based on Margaret 

Campbell, Duchess of Argyll, whose reallife 

1963 divorce created a sensational sex 

scandal in England. Her husband accused 

her of infidelity, introducing a set of stolen 

Polaroid photos as evidence in court. Later 

in life, she squandered her inheritance 

and ended up living in a hotel suite. This is 

where the opera finds her, as she slips into 

the past, conjuring scenes set in the 1930s 

through ‘70s. 

Both the 24-year-old Adès and his 

librettist, Philip Hensher, were drawn to the 

tabloid tale when they were commissioned 

by London’s Almeida Opera in the mid- 

1990s. “The Almeida didn’t disguise their 

complete bewilderment at what we were 

proposing,” Hensher told The Guardian in 

2008. “The director of opera said he had no 

idea what I meant when I said I wanted it to 

seem like scenes from the life of a medieval 

saint, only with shopping expeditions 

instead of miracles.” The opera was met 

with a mix of outrage and admiration—and 

is now one of the most frequently produced 

operas of the late 20th century. 

In 2007, Adès extracted three orchestral 

numbers from the opera and published 

them as Dances from Powder Her Face. 

Since the original score used a 15-piece 

pit band, he rescored the music for full 

orchestra. For the 2017 Powder Her Face 

Suite performed on today’s program, 

he added five more movements, now 

including some vocal writing transcribed 

for purely instrumental forces. The 

expanded suite was co-commissioned 

by the Berlin Philharmonic, the Danish 

National Symphony Orchestra, the London 

Philharmonic Orchestra, the Philadelphia 

Orchestra, Carnegie Hall, and the St. 

Louis Symphony Orchestra. The Berlin 

Philharmonic and Simon Rattle premiered 

it in May 2017. 

Scene with Song comes from the 

opera’s opening, where a maid and an 

electrician fool around in the Duchess’s 

hotel room, laughing and mocking the old 

woman behind her back. Wedding March, 

Waltz, and Ode call back to her earlier 

life, and draw on the popular dance styles 

of the time. Paperchase finds the Duke 

searching for incriminating evidence. In the 

libretto’s stage directions, “he goes over to 

the trunk and starts pulling out clothes and 

letters. Papers scatter everywhere, on the 

floor, on the bed … finally in the last drawer, 

13

he finds a camera. He rips it open and pulls 

out the film.” Hotel Manager’s Aria and 

Finale return to the end of the Duchess’s 

life, when she is evicted from the hotel. The 

Manager, originally sung by a bass, and 

here portrayed by the horn, is an avatar of 

death. 

Scoring: 

3 flutes (3rd doubling piccolo), 3 oboes, 

3 clarinets (1st, 2nd, and 3rd doubling 

bass clarinets), 3 bassoons (3rd doubling 

contraforte), soprano saxophone, alto 

saxophone (doubling tenor saxophone), 

4 horns, 3 trumpets, 3 trombones, 

tuba, timpani, percussion (bass drum, 

glockenspiel, high hat, pop gun, rototoms, 

tam-tam, tambourine, triangle, vibraslap, 

side drum, antique cymbals, cabasa, 

flexatone, guiro, lion’s roar, sizzle cymbal, 

wood wind chimes, clash cymbal, monkey 

drum, paper bag (for bursting), xylophone, 

tubular bells, bongos, washboard, anvil, 

rattle, kit bass drum, 2 whips, 2 suspended 

cymbals, 3 brake drums, 3 temple blocks), 

harp, piano, and strings 

Performance Time: 

approximately 20 minutes 

Benjamin Britten 

Born November 22, 1913, Lowestoft, 

United Kingdom 

Died December 4, 1976, Aldeburgh, 

United Kingdom 

Violin Concerto, Op.15 

Britten is so closely associated with his 

native England that it may be hard to 

imagine that for a few years at the beginning 

of the Second World War he emigrated to 

the United States—and might have stayed, 

had he not grown homesick by 1942. But 

it was an important three-year detour: his 

relationship with his traveling companion, 

Peter Pears, grew from an ambiguous 

friendship into affirmed romance. He found 

critical success in New York, and then 

drove across the continent with Pears in a 

borrowed Ford, arriving to stay with friends 

in Escondido, California. It was in a Southern 

California bookshop in 1941 that he picked 

up a collection by the 19th-century English 

poet George Crabbe, which made him 

nostalgic for his coastal home in Suffolk and 

inspired his 1945 opera, Peter Grimes. 

Britten’s American journey was 

motivated by his commitment to pacifism 

in the face of war in Europe. He began the 

Violin Concerto in England and completed it 

in Quebec during the summer of 1939, just 

before he and Pears settled temporarily 

in New York. The piece feels more of its 

time than of a particular place: it’s serious 

and uneasy, with lyrical surfaces built on a 

dangerously unstable foundation. 

14

Britten creates this impression through 

harmony: from the start, he undermines 

the clarity of the key. The opening violin 

melody starts in F major, but by the third 

measure drifts toward F minor, then falls 

a woozy half step toward F-flat, before 

recovering back up—all while tracing the 

contour of a much more conventional tune. 

This is just one example of this concerto’s 

tonal ambiguities, which crop up on both 

small and large scales. 

The first movement’s second theme is 

bold and belligerent, yet also lighthearted, 

perhaps mocking military pomp. Later, in what 

might be the concerto’s most breathtaking 

moment, the orchestral strings take up the 

opening violin melody—now hushed, muted, 

and elongated—while the soloist picks up the 

original orchestral accompaniment (mixed 

with the restless second theme) in sharp 

accents, plucking, and strumming. 

Though the concerto’s three movements 

are linked together without pause, the 

beginning of the second movement is clear 

from its instant rambunctiousness. But the 

movement also holds periods of stasis, which 

grow into surprising colors. One passage 

finds the violin in its highest range, whistling 

almost pitchlessly. Then it hands the effect 

over to two piccolos before the tuba enters, 

six octaves below, creating a harrowing 

chasm of range. The movement ends with a 

cadenza, which plays with material from both 

the first and second movements. 

With an echo of the concerto’s opening 

theme, the cadenza bridges into the finale. 

The trombones enter down low with a 

phrase that will be repeated—sometimes 

boldly and sometimes subtly—throughout 

the movement. This is the passacaglia, an 

idea Britten borrowed from Baroque music, 

where a whole piece is built over a repeated 

ground bass. Britten, however, weakens the 

form’s usual stability with another harmonic 

trick: The first four entrances each shift 

down a half step—almost imperceptible 

to the listener, but enough to maintain the 

concerto’s deep-seated unease. Toward 

the end of the movement, a newfound 

brightness starts to shine through. In the 

final measures, the concerto coalesces 

around the key of D, shedding most of its 

harmonic complications, while still wavering 

between sweet major and bitter minor. 

The New York Times review of the 

March 1940 premiere (at Carnegie Hall 

with the New York Philharmonic and 

violinist Antonio Brosa) noted, “the ending 

is uncommon, very earnest and far from 

the conventional ‘hoopla’ finale.” The writer 

also struck a note of praiseful restraint, 

observing “there is more in this interesting 

work than was to be fully grasped or finally 

assessed at first hearing.” 

Scoring: 3 flutes (2nd and 3rd doubling 

piccolo), 2 oboes (2nd doubling English 

horn), 2 clarinets, 2 bassoons, 4 horns, 

3 trumpets, 3 trombones, tuba, timpani, 

percussion (snare drum, suspended cymbal, 

triangle, cymbals, glockenspiel, bass drum, 

tenor drum), harp, and strings 



15

Dmitri 

Shostakovich 

Born November 25, 1906, Saint Petersburg 

Died August 9, 1975, Moscow 

Symphony No.1 in F minor, Op.10 

In the mid-1920s, a decade before 

Shostakovich was denounced by Stalin and 

made to fear for his life, his troubles were 

simply those of a student: not enough money, 

conflicts with teachers, and shaky confidence 

in his own work. He held evening jobs playing 

piano in cinemas, which he detested, while 

studying at the Leningrad Conservatory. 

Shostakovich began his Symphony 

No.1 as a conservatory assignment, and 

it became his graduation piece. At first he 

was dismissive, writing in October 1924, 

“Now I’m writing a symphony … which is 

quite bad, but I have to write it so that I 

can be done with the conservatory this 

year.” He grew more invested in the project 

and defended it from the criticism of his 

teacher, Maximilian Steinberg, who thought 

its drafts were excessively grotesque. By 

May of 1925, Shostakovich completed a 

two-piano version of the symphony, which 

he played for his teachers as a final exam. 

He passed, and was pleased with his work, 

but could not have expected it would soon 

bring him international fame. 

The public premiere of the complete, 

orchestrated symphony came a year 

later, in May 1926, with the Leningrad 

Philharmonic, on a special concert 

presented by the Leningrad Association for 

Contemporary Music. It was an immediate 

success, pleasing both the composer and 

the public. It also established Shostakovich 

as an emblematic Soviet composer, fit for 

export abroad. 

In January 1927, Shostakovich met the 

conductor Bruno Walter in Leningrad and 

played his new symphony on the piano for 

him. Walter was impressed and promised 

to perform the piece in Germany with the 

Berlin Philharmonic. Shostakovich attended 

the concert the following spring, traveling 

at the expense of the Soviet government, 

though he chose to sit anonymously in the 

hall, unacknowledged. 

From Europe, the piece spread to the 

United States, where it was premiered by 

the Philadelphia Orchestra under Leopold 

Stokowski in 1928 (five years before the 

United States and the Soviet Union would 

establish diplomatic relations). It was 

first taken up by the St. Louis Symphony 

Orchestra in 1939, under the direction 

of the Mexican composer and conductor 

Carlos Chávez. 

Shostakovich’s aunt, Nadezhda, had 

emigrated to America, where she heard a 

performance of her nephew’s symphony. 

She later told a biographer that she 

recognized themes from his childhood 

piano improvisations and early, now-lost 

compositions. The final two movements 

are tenuously linked to Hans Christian 

Andersen’s “The Little Mermaid”—a story 

which interested Shostakovich and inspired 

sketches for a ballet he left incomplete. 

Under one interpretation, the dramatic 

snare drum roll linking the third and fourth 

movements of the symphony represents the 

mermaid’s transition from the underwater 

world to the land of human beings. 

16

Whatever the sources, there is an 

unmistakable collage quality to the First 

Symphony. And it’s very plausible that— 

like many young artists—Shostakovich drew 

from adolescent sketches to complete 

his first largescale work. The process of 

revisiting and reworking is part of what 

gives a composer a distinctive voice, and 

already in the Symphony No.1, you can hear 

the recognizable voice of Shostakovich. It is 

not as harrowed as his later works, and its 

sarcastic edges gleam with acerbity more 

than grim irony. But it’s this youthful voice 

that first made an impression on listeners 

around the globe, who had never before 

heard of Shostakovich, and had no idea of 

his later (now nearly mythologized) torment. 

The symphony is also striking for its 

creative orchestration, sometimes surprisingly 

thin, verging on chamber music. 

Exposed solos pop from bare textures, 

with especially prominent roles for the 

concertmaster, principal cello, and piano. The 

first two movements, Allegretto and Allegro 

(also called a scherzo in Shostakovich’s 

notes)—are lean, brisk, and satirical. The 

expressive weight of the symphony rests 

on the third and fourth movements. In them 

you can hear a premonition of the later 

symphonies in his towering output. 

Scoring: 3 flutes (2nd and 3rd doubling 

piccolo), 2 oboes, 2 clarinets, 2 bassoons, 

4 horns, 2 trumpets, alto trumpet, 

3 trombones, tuba, timpani, percussion 

(bass drum, cymbals, glockenspiel, snare 

drum, tam-tam, triangle), piano, and strings 



© Benjamin Pesetsky 2018 

17

ST. LOUIS SYMPHONY 

ORCHESTRA 

138TH SEASON 2017-2018 

DAVID 

ROBERTSON 

Music Director 

Gemma New 

Resident Conductor and 

Director of the St. Louis 

Symphony Youth 

Orchestra 

Amy Kaiser 


Symphony Chorus 

AT&T Foundation Chair 

Kevin McBeth 


Symphony 

IN UNISON® Chorus 

FIRST VIOLINS 

David Halen 

Concertmaster 

Eloise and Oscar 

Johnson, Jr. Chair 

Heidi Harris 

Associate Concertmaster 

Louis D. Beaumont 

Chair 

Celeste Golden Boyer 

Second Associate 

Concertmaster 

Erin Schreiber 

Assistant Concertmaster 

Dana Edson Myers 

Justice Joseph H. and 

Maxine Goldenhersh 

Chair 

Jessica Cheng 

Margaret B. Grigg Chair 

Ann Fink 

Emily Ho 

Silvian Iticovici 

Second Associate 

Concertmaster Emeritus 

Melody Lee 

Xiaoxiao Qiang 

Angie Smart 

Mary and Oliver 

Langenberg Chair 

Hiroko Yoshida 

Hyorim Han* 

Grace Kim* 

Jecoliah Wang* 

SECOND VIOLINS 

Alison Harney 

Principal 

Dr. Frederick Eno 

Woodruff Chair 

Kristin Ahlstrom 

Associate Principal 

Virginia V. Weldon, M.D. 

Chair 

Eva Kozma 

Assistant Principal 

Andrea Jarrett 

Rebecca Boyer Hall 

Nicolae Bica 

Janet Carpenter 

Lisa Chong 

Elizabeth Dziekonski 

Ling Ling Guan 

Jooyeon Kong*** 

Asako Kuboki 

Wendy Plank Rosen 

Shawn Weil 

Mary Edge* 

VIOLAS 

Kathleen Mattis 


Jonathan Chu 


Susan Gordon 

Leonid Gotman 

Morris Jacob 

Chris Tantillo 

Shannon Farrell 

Williams 

Christian Woehr 

Xi Zhang 

Carrie Dennis* 

Laura Reycraft* 

CELLOS 

Daniel Lee 

Principal 

Frank Y. and Katherine 

G. Gladney Chair 

Melissa Brooks 


Ruth and Bernard 

Fischlowitz Chair 

David Kim 


Anne Fagerburg 

Elizabeth Chung 

James Czyzewski 

Alvin McCall 

Bjorn Ranheim 

Yin Xiong 

Davin Rubicz* 

DOUBLE BASSES 

Underwritten in part 

by a generous gift from 

Dr. Jeanne and Rex 

Sinquefield 

Erik Harris 

Principal 

Henry Loew Chair 

Christopher Carson 

Acting Associate 

Principal 

David DeRiso 

Donald Martin 

Ronald Moberly 

Adam Anello** 

Mary Reed** 

Timothy Weddle* 

HARP 

Allegra Lilly 

Principal 

Elizabeth Eliot 

Mallinckrodt Chair 

FLUTES 

Mark Sparks 

Principal 

Herbert C. and Estelle 

Claus Chair 

Andrea Kaplan 


Jennifer Nitchman 

Ann Choomack 

PICCOLO 

Ann Choomack 

OBOES 

Jelena Dirks 

Principal 

Morton D. May Chair 

Philip Ross 


Cally Banham 

Xiomara Mass** 

ENGLISH HORN 

Cally Banham 

CLARINETS 

Scott Andrews 

Principal 

Walter Susskind Chair 

Diana Haskell 


Wilfred and Ann Lee 

Konneker Chair 

Tina Ward 

Mabel Dorn Reeder 

Honorary Chair 

Tzuying Huang 

BASS CLARINET 

Tzuying Huang 

Nathan Nabb* 

James Romain* 

BASSOONS 

Andrew Cuneo 

Principal 

Molly Sverdrup Chair 

Andrew Gott 


Felicia Foland 

Vincent Karamanov 

Henry Skolnick* 

CONTRABASSOON 

Vincent Karamanov 

CONTRAFORTE 

Henry Skolnick* 

SAXOPHONES 

Nathan Nabb* 

Soprano Saxophone 

James Romain* 

Alto and Tenor 

Saxophone 

HORNS 

Roger Kaza 

Principal 

W.L. Hadley and Phoebe 

P. Griffin Chair 

Thomas Jöstlein 


Christopher Dwyer 

Tod Bowermaster 

Julie Thayer 

Lawrence Strieby 

TRUMPETS 

Karin Bliznik 

Principal 

Symphony Volunteer 

Association Chair 

Thomas Drake 


Jeffrey Strong 

Michael Walk 

David J. Hyslop Chair 

TROMBONES 

Timothy Myers 

Principal 

Mr. and Mrs. William R. 

Orthwein, Jr. Chair 

Amanda Stewart 


Jonathan Reycraft 

BASS TROMBONE 

Gerard Pagano 

TUBA 

Michael Sanders 

Principal 

Lesley A. Waldheim 

Chair 

TIMPANI 

Shannon Wood 

Principal 

Symphony Volunteer 

Association Chair 

Thomas Stubbs 


Paul A. and Ann S. Lux 

Chair 

PERCUSSION 

William James 

Principal 

St. Louis Post-Dispatch 

Foundation Chair 

Alan Stewart 


Alyn and Marlynn 

Essman Chair 

Thomas Stubbs 

Stephen Kehner* 

KEYBOARD 

INSTRUMENTS 

Peter Henderson* 

Florence G. and Morton 

J. May Chair 

MUSIC LIBRARY 

Elsbeth Brugger 

Librarian 

Henry Skolnick 

Associate Librarian 

Amanda Tallant 

Assistant Librarian 

Roberta Gardner 

Library Assistant 

STAGE STAFF 

M. Jason Pruzin 

Stage Manager 

Ron Bolte, Jr. 

Assistant Stage Manager 

(Sound) 

Joseph Clapper 

Assistant Stage Manager 

(Lighting) 

Rick McKenna 

Stagehand 

*Extra Musician 

**Replacement 

***Leave of absence 

18


Message from the President 

As President of Community Arts Music 

Association (CAMA), I am delighted to 

invite you to join us as a contributor to 

Santa Barbara’s oldest arts organization, 

CAMA, the Queen of Santa Barbara’s 

non-profits. 

CAMA is now entering its 99th season 

of presenting the world’s major classical 

orchestras and soloists here in Santa 

Barbara. And what a season we have to 

look forward to in 2017/2018! 

The Board and I are proud of CAMA’s history, 

and we are deeply committed to continuing 

the tradition. We look forward to welcoming 

you personally to our CAMA community, and 

hope you will also consider a sponsorship 

opportunity for one or more of our concerts. 

Robert K. Montgomery 

President 

19

Recognition and Benefits of Sponsorship 

n Personal acknowledgement from Executive Director 

in onstage welcome before performance 

n Acknowledgement at CAMA’s Opening and Closing Dinners 

and International Circle events 

n Listing in onscreen video presentations in the Granada and Lobero 

Theatres on concert night 

n Pre-concert complimentary dinner 

n Post-concert backstage access to greet the performers 

(with artist approval) 

n Listing in concert program magazines throughout the season 

n Listing in concert advertisements 

n Listing on CAMA’s website 

n Copy of CAMA’s Season in Review at the end of the season 

with photographs, previews, and reviews of your concert 

n Membership in CAMA’s International Circle 

n Valet Parking at The Granada Theatre for International 

Series concerts 

If you are interested in sponsoring a concert 

please contact Elizabeth Alvarez, Director of Development 

(805) 966-4324 Elizabeth@camasb.org 

20

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. 


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 


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 


Mr & Mrs Frank R Miller, Jr. / 

The Henry E. & Lola Monroe 

Foundation 

John & Kathleen Moselely/ 

The Nichols Foundation 

Nancy & William G. Myers 


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 


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 


Judith Little 

John & Lucy Lundegard 

Mrs. Max E. Meyer 

Montecito Bank & Trust 


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 


Judy & George Writer 

topaz circle 

$25,000 - $49,999 

Anonymous 

Edward Bakewell 

Helene & Jerry Beaver 



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 


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 


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 


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 


Anne & Wesley Poulson 

Susannah Rake 

Mr. & Mrs. Frank Reed 

Jack Revoyr 

Betty & Don Richardson 

The Grace Jones 

Richardson Trust 


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 


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 January 4, 2018) 

21


“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 

22

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. 

23

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 



cadenza patrons 

($100,000-$249,999) 

Anonymous 

Anonymous 



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 


Stephen R. & Carla Hahn 

Dolores M. Hsu 

The Samuel B. & Margaret C. 


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. 


Mr. & Mrs. Frank R. Miller, Jr. 

The Hutton Foundation 



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 


The 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 


Dr. & Mrs. Charles Chapman 

NancyBell Coe & William Burke 

Dr. Karen Davidson 

Mr. & Mrs. Larry Durham 

Dr. Robert & Nancyann Failing 

Dr. & Mrs. Jason Gaines 

Mr. & Mrs. Daniel Gainey/ 

Daniel C. Gainey Fund 


Sherry & Robert B. Gilson 

Mr. & Mrs. Bruce Hanna 

Ms. Lorraine Hansen 


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 


Jayne Menkemeller 

Mr. & Mrs. Max Meyer 


Mary & James Morouse 

Dr. & Mrs. Spencer Nadler 

Patricia Hitchcock O’Connell 


Foundation 

John Perry 

Mrs. Hugh Petersen 

Mr. & Mrs. Roger A. Phillips 


Miss Susannah E. Rake 

Mrs. Kenneth W. Riley 


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 



The Elizabeth Firth Wade 

Endowment Fund 

Mr. & Mrs. Gary Waer 

Mr. & Mrs. David Russell Wolf 


LEGACY SOCIETY 

WE GRATEFULLY ACKNOWLEDGE CAMA LEGACY SOCIETY MEMBERS FOR 

REMEMBERING CAMA IN THEIR ESTATE PLANS WITH A DEFERRED GIFT. 

Anonymous 

Peter & Becky Adams 


Else Schilling Bard 

Peter & Deborah Bertling 


Lida Light Blue & Frank Blue 

Mrs. Russell S. Bock 

Dr. Robert Boghosian & 

Ms. Mary-Elizabeth Gates-Warren 

Linda Brown * 



Jane & Jack Catlett 

Bridget & Bob Colleary 

Karen Davidson, M.D & 

David B. Davidson, M.D. 

Patricia & Larry Durham 

Christine & Robert Emmons 




Stephen & Carla Hahn 

Beverly Hanna 

Ms. Lorraine Hansen 



Dolores M. Hsu 

Mr. & Mrs. James H. Hurley, Jr. 

Elizabeth & Gary Johnston 


Mahri Kerley 

Lynn P. Kirst & Lynn R. Matteson 

Lucy & John Lundegard 



24 


Mr. & Mrs. Frank R. Miller, Jr. 

Dr. & Mrs. Spencer Nadler 

Ellen & Craig Parton 

Diana & Roger Phillips 



Judith & Julian Smith 

Mr. & Mrs. Sam Toumayan 




Nancy & Kent Wood 


(Gifts and pledges received 

as of December 1, 2017)

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 


Mary E. Gates Warren 

Alison & Jan Bowlus 

NancyBell Coe & Bill Burke 

Dan & Meg Burnham 

The CAMA Women's Board 

NancyBell Coe & William Burke 


The Elaine F. Stepanek 

Foundation 

Carla Hahn 

Hollis Norris Fund 


Joan & Palmer Jackson 



Lynn P. Kirst 

John Lundegard 



Mary Lloyd & Kendall Mills 



The Samuel B. & Margaret C. 






Nancy Schlosser 

The Shanbrom Family Foundation 

The Walter J. & 

Holly O. Thomson Foundation 


The Towbes Fund for the 

Performing Arts 


Patricia Yzurdiaga 

COMPOSER'S CIRCLE 

($5,000 - $9,999) 

Peggy & Kurt Anderson 

Helene & Jerry Beaver 


The Wood-Claeyssens 

Foundation 





Edward De Loreto 


Dorothy & John Gardner 


Preston & Maurine Hotchkis 

Elizabeth Karlsberg & Jeff Young 

Winona Fund 


Sheila Bourke McGinity 

Mr. & Mrs. Frank R. Miller, Jr./ 

The Henry E. & Lola Monroe 

Foundation 



Foundation 



Irene & Robert Stone/ 

Stone Family Foundation 

VIRTUOSO CIRCLE 

($2,500 - $4,999) 

Annette & Richard Caleel 


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 



Edward & Sue Birch 

Diane Boss 

Suzanne & Peyton Bucy 

Jill Felber 

Renee Harwick 

Renee & Richard Hawley 

Maison K 

Karin Nelson & Eugene Hibbs/ 

Maren Henle 


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 


Vera & Gary Sutter 

Suzanne Holland & Raymond 

Thomas 

Esther & Tom Wachtell 



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 


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) 

25

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 


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 


June 1, 2016 – October 2, 2017) 

26

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 


Mr. & Mrs. Frank R. Miller, Jr./ 

The Henry E. & Lola Monroe Foundation 

Performing Arts Scholarship Foundation 


$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 


Performing Arts Scholarship Foundation 

Marjorie S. Petersen 

(Gifts and pledges received from June 1, 2016 – January 4, 2018) 

Call the CAMA office at (805) 966-4324 for more information about the docent program. 

MEMORIAL GIFTS 

3 In Memory of 3 

ELSE (LEINIE) 

SCHILLING BARD 


JOHN LUNDEGARD 


Lynn P. Kirst 

MICHAEL TOWBES 


SUSIE VOS 


LYNN R. MATTESON 

Lynn P. Kirst 

SYBIL MUELLER 

Lynn P. Kirst 

DR. ROBERT SINSHEIMER 

& KAREN SINSHEIMER 

Robert Boghosian 

& Mary E. Gates Warren 

ROBERT M. LIGHT 

Edward & Sue Birch 



Lynn P. Kirst 

Betty Meyer 


Joan & Geoffrey Rutkowski 




June 1, 2016 – January 4, 2018) 

27

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 


Northern Trust 

Oceania Cruises 

Olio e Limone/Olio Crudo Bar/ 

Olio Pizzeria 

Pacific Coast Business Times 

Peregrine Galleries 


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 Book. 

(805) 965-5558 or HeatherBryden@cox.net 

28

Program Notes – St. Louis Symphony – January 16, 2018 – CAMA

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