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


St. Louis Symphony

Tuesday, January 16, 2018
The Granada Theatre, 8pm

David Robertson Music Director
Augustin Hadelich Violin

Thomas Adès: Dances from Powder Her Face (2007)
Benjamin Britten: Violin Concerto, Op.15
Dmitri Shostakovich: Symphony No.1 in F minor, Op.10

The St. Louis Symphony was founded in 1880 and is the second-oldest symphony orchestra in the United States, one of the nation’s great orchestras. A consummate musician, masterful programmer, and dynamic presence, American Maestro David Robertson has established himself as one of today’s most sought-after conductors. A passionate and compelling communicator with an extensive orchestral and operatic repertoire, he has forged close relationships with major orchestras around the world through his exhilarating music-making and stimulating ideas.

Augustin Hadelich astonishes audiences with his phenomenal technique and gorgeous tone, Hadelich was awarded the inaugural Warner Music Prize, and just months later won the 2016 Grammy® for “Best Classical Instrumental Solo.”
Hadelich plays the “Kiesewetter” Stradivarius violin, crafted in Cremona c.1723. Hadelich has been named Musical America’s 2018 Instrumentalist of the Year.

Dan & Meg Burnham
Ellen & Peter Johnson
Dorothy Roberts
Barbara & Sam Toumayan
George & Judy Writer

Presenting the world’s finest classical artists since 1919

Photo by Suxiao Yang

St. Louis Symphony Orchestra

DAVID ROBERTSON, music director



The Granada Theatre


Presenting the world’s finest classical artists since 1919

Board of Directors

(as of January 4, 2018)


DEBORAH BERTLING, first vice-president

CRAIG A. PARTON second vice-president



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


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

Presenting the world’s finest classical artists since 1919

Michael Tilson Thomas







Dan & Meg Burnham

Ellen & Peter Johnson



Dorothy Roberts

Barbara & Sam Toumayan

George & Judy Writer




The Samuel B. and Margaret C.

Mosher Foundation



Nancy Schlosser

The Towbes Fund for the Performing

Arts,a field of interest fund of the Santa

Barbara Foundation

Dody Waugh & Eric Small


Bitsy & Denny Bacon and the

Becton Family Foundation

Frank Blue & Lida Light Blue

Robert & Christine Emmons

Ronald & Rosalind A. Fendon


Dorothy & John Gardner

Jocelyne & William Meeker




Hollis Norris Fund

Alison & Jan Bowlus


Louise & Michael Caccese

The CAMA Women's Board

Lynn P. Kirst

Bob & Val Montgomery

Michele & Andre Saltoun




Judith L. Hopkinson

Sara Miller McCune


Peggy & Kurt Anderson

Edward DeLoreto

Jocelyne & William Meeker

Ellen & John Pillsbury

Michele & Andre Saltoun





The Elaine F. Stepanek

Concert Fund


Herbert & Elaine Kendall


Bitsy & Denny Bacon and

the Becton Family Foundation



Mahri Kerley

Lynn P. Kirst

Jocelyne & William Meeker

Val & Bob Montgomery

Sir András Schiff






Bitsy & Denny Bacon and the

Becton Family Foundation



CAMA Women's Board


Stephen Cloud

Joanne Holderman

Elizabeth Karlsberg & Jeff Young

Stephen J.M. & Anne Morris





The Stephen & Carla Hahn Foundation


Stephen J.M. & Anne Morris

Craig & Ellen Parton


Virginia Castagnola-Hunter

Laurel Abbott, Berkshire Hathaway Luxury Properties

Bridget Colleary

Raye Haskell Melville




CAMA Women's Board


Stephen J.M. & Anne Morris


Robert Boghosian &

Mary E. Gates-Warren

Department of Music, UC Santa Barbara

Frank McGinity

Sheila Bourke McGinity

Presenting the world’s finest classical artists since 1919



David Robertson music director

Augustin Hadelich violin

Tuesday, January 16, 2018, 8pm

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








Powder Her Face Suite (1995/2017)

SLSO co-commission


Scene with Song

Wedding March




Hotel Manager’s Aria “It is too late”


Violin Concerto, Op.15 (1939)

Moderato con moto


Passacaglia: Andante lento (un poco meno



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

Allegretto; Allegro non troppo



Lento; Allegro molto

Programs and artists subject to change

International Series Season Sponsor: SAGE Publications

SPONSORS: Anonymous • Dan & Meg Burnham • Ellen & Peter Johnson

CO-SPONSORS: Anonymous • Dorothy Roberts • Barbara & Sam Toumayan

George & Judy Writer

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.




St. Louis



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.


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



hundreds of

free education

programs and


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





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


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


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




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


Program Notes

by Benjamin Pesetsky



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.


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,


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



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.


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

Performance Time:

approximately 32 minutes




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.


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

Performance Time:

approximately 28 minutes

© Benjamin Pesetsky 2018




138TH SEASON 2017-2018



Music Director

Gemma New

Resident Conductor and

Director of the St. Louis

Symphony Youth


Amy Kaiser

Director of the St. Louis

Symphony Chorus

AT&T Foundation Chair

Kevin McBeth

Director of the St. Louis




David Halen


Eloise and Oscar

Johnson, Jr. Chair

Heidi Harris

Associate Concertmaster

Louis D. Beaumont


Celeste Golden Boyer

Second Associate


Erin Schreiber

Assistant Concertmaster

Dana Edson Myers

Justice Joseph H. and

Maxine Goldenhersh


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*


Alison Harney


Dr. Frederick Eno

Woodruff Chair

Kristin Ahlstrom

Associate Principal

Virginia V. Weldon, M.D.


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*


Kathleen Mattis

Associate Principal

Jonathan Chu

Assistant Principal

Susan Gordon

Leonid Gotman

Morris Jacob

Chris Tantillo

Shannon Farrell


Christian Woehr

Xi Zhang

Carrie Dennis*

Laura Reycraft*


Daniel Lee


Frank Y. and Katherine

G. Gladney Chair

Melissa Brooks

Associate Principal

Ruth and Bernard

Fischlowitz Chair

David Kim

Assistant Principal

Anne Fagerburg

Elizabeth Chung

James Czyzewski

Alvin McCall

Bjorn Ranheim

Yin Xiong

Davin Rubicz*


Underwritten in part

by a generous gift from

Dr. Jeanne and Rex


Erik Harris


Henry Loew Chair

Christopher Carson

Acting Associate


David DeRiso

Donald Martin

Ronald Moberly

Adam Anello**

Mary Reed**

Timothy Weddle*


Allegra Lilly


Elizabeth Eliot

Mallinckrodt Chair


Mark Sparks


Herbert C. and Estelle

Claus Chair

Andrea Kaplan

Associate Principal

Jennifer Nitchman

Ann Choomack


Ann Choomack


Jelena Dirks


Morton D. May Chair

Philip Ross

Associate Principal

Cally Banham

Xiomara Mass**


Cally Banham


Scott Andrews


Walter Susskind Chair

Diana Haskell

Associate Principal

Wilfred and Ann Lee

Konneker Chair

Tina Ward

Mabel Dorn Reeder

Honorary Chair

Tzuying Huang


Tzuying Huang

Nathan Nabb*

James Romain*


Andrew Cuneo


Molly Sverdrup Chair

Andrew Gott

Associate Principal

Felicia Foland

Vincent Karamanov

Henry Skolnick*


Vincent Karamanov


Henry Skolnick*


Nathan Nabb*

Soprano Saxophone

James Romain*

Alto and Tenor



Roger Kaza


W.L. Hadley and Phoebe

P. Griffin Chair

Thomas Jöstlein

Associate Principal

Christopher Dwyer

Tod Bowermaster

Julie Thayer

Lawrence Strieby


Karin Bliznik


Symphony Volunteer

Association Chair

Thomas Drake

Associate Principal

Jeffrey Strong

Michael Walk

David J. Hyslop Chair


Timothy Myers


Mr. and Mrs. William R.

Orthwein, Jr. Chair

Amanda Stewart

Associate Principal

Jonathan Reycraft


Gerard Pagano


Michael Sanders


Lesley A. Waldheim



Shannon Wood


Symphony Volunteer

Association Chair

Thomas Stubbs

Associate Principal

Paul A. and Ann S. Lux



William James


St. Louis Post-Dispatch

Foundation Chair

Alan Stewart

Associate Principal

Alyn and Marlynn

Essman Chair

Thomas Stubbs

Stephen Kehner*



Peter Henderson*

Florence G. and Morton

J. May Chair


Elsbeth Brugger


Henry Skolnick

Associate Librarian

Amanda Tallant

Assistant Librarian

Roberta Gardner

Library Assistant


M. Jason Pruzin

Stage Manager

Ron Bolte, Jr.

Assistant Stage Manager


Joseph Clapper

Assistant Stage Manager


Rick McKenna


*Extra Musician


***Leave of absence


Presenting the world’s finest classical artists since 1919

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


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



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



diamond circle

$500,000 and above

Suzanne & Russell Bock

Linda Brown *

Andrew H. Burnett


Esperia Foundation

The Stephen & Carla Hahn


Judith Hopkinson

Herbert J. Kendall

Sage Publications

Michael Towbes/The Towbes


sapphire circle

$250,000 - $499,999


Bitsy & Denny Bacon

CAMA Women’s Board

Léni Fé Bland

TThe Samuel B. & Margaret C.

Mosher Foundation

The Stepanek Foundation

The Wood-Claeyssens


ruby circle

$100,000 - $249,999

The Adams Foundation

Mr. & Mrs. David H. Anderson

Deborah & Peter Bertling

Virginia C. Hunter/

Castagnola Family


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


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


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


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


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


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


The George Frederick Jewett


Patricia Kaplan

Elizabeth Karlsberg &

Jeff Young

Lynn P. Kirst & Lynn R.


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


Mrs. Roderick Webster

Westmont College



$10,000 - $24,999


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


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 January 4, 2018)


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


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.


(805) 966-4324 •


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.


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.


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.



conductor’s circle

($500,000 and above)

Mr. & Mrs. Russell S. Bock

Linda Brown*

Esperia Foundation

SAGE Publications

crescendo circle


Andrew H. Burnett Foundation

Judith L. Hopkinson

Herbert & Elaine Kendall

cadenza patrons




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


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


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



The Adams Foundation

Mr. & Mrs. Peter Adams

Else Schilling Bard

Dr. & Mrs. Edward E. Birch

Frank Blue & Lida Light Blue

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

Virginia Castagnola-Hunter

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

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.


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


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





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 December 1, 2017)


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


($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

NancyBell Coe & William Burke

Robert & Christine Emmons

The Elaine F. Stepanek


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


($5,000 - $9,999)

Peggy & Kurt Anderson

Helene & Jerry Beaver

Frank Blue & Lida Light Blue

The Wood-Claeyssens


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


Montecito Bank & Trust

Performing Arts Scholarship


Dorothy Roberts

Judith F. Smith

Irene & Robert Stone/

Stone Family Foundation


($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


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


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


Esther & Tom Wachtell

Barbara & Gary Waer

Westmont College

Victoria & Norman Williamson

Ann & Dick Zylstra


CIRCLE ($1,000 - $1,499)

Leslie & Philip Bernstein

Wendel Bruss

Patricia Clark

Lois Erburu

Katina Etsell

Audrey Hillman Fisher


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)



Your annual gift is vitally important to continuing CAMA's nearly 100-year tradition.

Thank you for your generous annual donation.


($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


($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


($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


($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)



$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 January 4, 2018)

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


3 In Memory of 3



Joanne C. Holderman


Bridget Colleary

Lynn P. Kirst


Bridget Colleary


Bridget Colleary


Lynn P. Kirst


Lynn P. Kirst



Robert Boghosian

& Mary E. Gates Warren


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 January 4, 2018)



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


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


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