January 27, 2018 – Program Notes – Los Angeles Philharmonic – CAMA's International Series at The Granada Theatre


CAMA's International Series Presents

Los Angeles Philharmonic

Saturday, January 27, 2018
The Granada Theatre, 8pm

Gustavo Dudamel, Music Director
Joseph Pereira, Timpani
Maraca2, Percussion

Igor Stravinsky: Fireworks, Op.4 (1908)
Joseph Pereira: Threshold (world premiere weekend, LA Phil commission with generous support from Marcia and Gary Hollander)
Johannes Brahms: Symphony No.1 in C minor, Op.68

“Los Angeles Has America’s Most Important Orchestra. Period.”
—The New York Times

At the height of their powers, Maestro Gustavo Dudamel and the Los Angeles Philharmonic return to Santa Barbara with a powerful and unique program featuring LA Phil Principal Timpanist Joseph Pereira’s new Concerto for timpani and two percussion. Featured in the concerto are Pereira and Maraca2 (percussionists Tim Palmer and Jason Huxtable), a young percussion duo who are making waves in today’s music scene. •

Presenting the world’s finest classical artists since 1919

Los Angeles Philharmonic



MARACA2 Percussion


The Granada Theatre, 8PM


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








Bitsy & Denny Bacon and the

Becton Family Foundation




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



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

Board of Directors

(as of January 17, 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 info@camasb.org


Presenting the world’s finest classical artists since 1919



Los Angeles Philharmonic


JOSEPH PEREIRA Timpani • MARACA2 Percussion


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




(b. 1974)

Fireworks, Op.4


(world premiere weekend,

LA Phil commission with generous support

from Marcia and Gary Hollander)

Joseph Pereira, Timpani

Maraca2, Percussion




Symphony No.1, in C minor, Op.68

Un poco sostenuto Allegro

Andante sostenuto

Un poco allegretto e grazioso

Adagio Allegro non troppo, ma con brio

Programs and artists subject to change

International Series Season Sponsor: SAGE Publications


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

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.



Los Angeles Philharmonic

The Los Angeles Philharmonic, under

the vibrant leadership of Music & Artistic

Director Gustavo Dudamel, presents

an inspiring array of music, through a

commitment to foundational works and

adventurous explorations. Both at home

and abroad, the Philharmonic recognized

as one of the world’s outstanding

orchestras is leading the way in groundbreaking

programming, both on stage and

in the community, offering a diverse range

of programs that reflect the orchestra’s

artistry and demonstrate its vision. 2017/18

marks the orchestra’s 99th season.

More than 250 concerts are either

performed or presented by the LA Phil at

its two iconic venues: the Frank Gehrydesigned

Walt Disney Concert Hall and the

Hollywood Bowl. During its winter season

with approximately 165 performances

at Walt Disney Concert Hall, the LA Phil

creates festivals, artist residencies, and

other thematic programs designed to

enhance the symphonic music experience

and delve further into certain artists’

or composers’ work. The organization’s

commitment to the music of our time

is also evident throughout the season


Among its wide-ranging education initiatives is Youth Orchestra Los Angeles (YOLA).

Inspired by Venezuela’s revolutionary El Sistema, the LA Phil and its community

partners provide free instruments, intensive music training, and leadership training

to nearly 800 students from underserved neighborhoods, empowering them through

multi-year engagement to be college-ready and on a path to becoming vital citizens,

leaders, and agents of change.

programming, as well as in the exhilarating

Green Umbrella series and the LA Phil’s

extensive commissioning initiatives.

Since 2003, the LA Phil’s winter home

has been the inimitable Walt Disney

Concert Hall. Praise for both the design

and the acoustics of Walt Disney Concert

Hall has been effusive, and the building

embodies the energy, imagination, and

creative spirit of the city of Los Angeles

and its orchestra.

The orchestra’s involvement with Los

Angeles extends far beyond symphony

concerts in a concert hall, with

performances in schools, churches, and

neighborhood centers of a vastly diverse

community. Among its wide-ranging

education initiatives is Youth Orchestra Los

Angeles (YOLA). Inspired by Venezuela’s

revolutionary El Sistema, the LA Phil and

its community partners provide free

instruments, intensive music training, and

leadership training to nearly 800 students

from underserved neighborhoods,

empowering them through multi-year

engagement to be college-ready and on

a path to becoming vital citizens, leaders,

and agents of change.

The orchestra also undertakes tours,

both domestically and internationally,

including regular visits with partners in

New York, Paris, and Tokyo, among others.

The Philharmonic has been an

International Associate at London’s

Barbican Centre since 2009. The

orchestra’s very first tour was in 1921, and

the Philharmonic has made annual tours

beginning with the 1969/70 season.

The orchestra has a substantial catalog

of concerts available online, including

the first full-length classical music video

released on iTunes. In 2017, the Los Angeles

Philharmonic and Conductor Laureate

Esa-Pekka Salonen were nominated for a

Grammy for Best Classical Compendium

for their live recording of Frank Zappa’s

200 Motels.

The Los Angeles Philharmonic was

founded by William Andrews Clark, Jr., a

millionaire and amateur musician, who

established the city’s first permanent

symphony orchestra in 1919. Walter

Henry Rothwell became its first Music

Director, serving until 1927; since then,

ten renowned conductors have served in

that capacity: Georg Schnéevoigt (1927-

1929); Artur Rodzinski (1929-1933); Otto

Klemperer (1933-1939); Alfred Wallenstein

(1943-1956); Eduard van Beinum (1956-

1959); Zubin Mehta (1962-1978); Carlo Maria

Giulini (1978-1984); André Previn (1985-

1989); Esa-Pekka Salonen (1992-2009);

and Gustavo Dudamel (2009-present). n





As an internationally renowned symphonic

and operatic conductor, Gustavo Dudamel

is motivated by a profound belief in music’s

power to unite and inspire. He currently

serves as Music Director of the Simón

Bolívar Symphony Orchestra of Venezuela

and Music & Artistic Director of the Los

Angeles Philharmonic, and the impact of

his leadership extends from the greatest

concert stages to classrooms, cinemas, and

innovative digital platforms around the world.

Dudamel also appears as guest conductor

with some of the world’s most famous musical

institutions: in 2017/18, he leads the Bavarian

Radio Symphony Orchestra in Munich, tours

Europe with the Berlin Philharmonic, and

takes the Vienna Philharmonic on a tour of

the Americas, with concerts in New York’s

Carnegie Hall, Mexico City’s Bellas Artes,

Bogotá’s Teatro Mayor, as well as the famed

Teatro Colón in Buenos Aires. This season also

sees Dudamel’s return to the opera house,

conducting a new production of Puccini’s La

Bohème at the Opéra National de Paris.

Dudamel is now in his ninth season as

Music & Artistic Director of the Los Angeles

Philharmonic, and his contract has been

extended until 2021/22. At his initiative, the

Los Angeles Philharmonic has dramatically

expanded the scope of its community

outreach programs, including, most notably,

the creation of Youth Orchestra Los Angeles

(YOLA), influenced by the philosophy of

Venezuela’s admired El Sistema, which

encourages social development through

music. With YOLA and diverse local

educational initiatives, Dudamel brings music

to children in underserved communities of

Los Angeles.

Dudamel’s work in his native Venezuela

serves as the cornerstone of his engagement

with young people, and he steadfastly

commits some 25 weeks of his annual

schedule to the orchestras and children of

El Sistema, both in Caracas and around the

country. During his 19th season as Music

Director of the entire El Sistema project,

he continues to lead the Simón Bolívar

Symphony Orchestra in Venezuela, as well

as on tour around the globe.

Recordings, broadcasts, and digital

innovations are also fundamental to

Dudamel’s passionate advocacy for universal

access to music. A Grammy-winning Deutsche

Grammophon artist since 2005, Dudamel has


also independently produced an all-Wagner

recording available exclusively for download,

a complete set of Beethoven symphonies

for digital learning, and a broadcast of two

Stravinsky ballets with the Simón Bolívar

Symphony Orchestra in cooperation with the

Berlin Philharmonic’s Digital Concert Hall.

Gustavo Dudamel is one of the most

decorated conductors of his generation.

He received the Americas Society Cultural

Achievement Award in 2016, and the 2014

Leonard Bernstein Lifetime Achievement

Award for the Elevation of Music in Society

from the Longy School of Music. He was

named Musical America’s 2013 Musician of

the Year, one of the highest honors in the

classical music industry, and was voted into

the Gramophone Hall of Fame. In October of

2011, he was named Gramophone Artist of

the Year, and in May of the same year, was

inducted into the Royal Swedish Academy

of Music in consideration of his “eminent

merits in the musical art.” The previous year,

he received the Eugene McDermott Award in

the Arts at MIT.

Access to music for all has

been the cornerstone of Gustavo’s

philosophy both professionally and

philanthropically. Inspired by his early

musical and mentoring experiences,

the Gustavo Dudamel Foundation,

a registered charity, was created in 2012

with the goal of promoting access to music

as a human right and catalyst for learning,

integration, and social change.

For more information about Gustavo

Dudamel, visit his official website:

gustavodudamel.com. You can find more

about the Gustavo Dudamel Foundation at

dudamelfoundation.org. n





Joseph Pereira (b. 1974) enjoys a

multi-faceted career as a timpanist/

percussionist, composer, conductor,

and teacher. His work in all areas has

been widely hailed for his creativity and

virtuosity, and has been profiled in feature

articles in both The New York Times

(2006) and the Los Angeles Times (2012

and 2015). In 2015, Pereira was featured

on the PBS series Craft in America.

Pereira was appointed Principal

Timpanist of the Los Angeles Philharmonic

by Esa-Pekka Salonen in 2007. He

regularly appears as a solo percussionist

in the LA Phil’s Green Umbrella new music

series. Previously he was the Assistant

Principal Timpanist/Section Percussionist

of the New York Philharmonic, from

January 1998 to September 2008. He

currently runs the percussion studio at

the USC Thornton School of Music and

was previously on faculty at The Juilliard

School from 2005 to 2013.

Pereira’s works as a composer have

been performed by the San Francisco

Contemporary Music Players, Duo

Harpverk at the Dark Days Music Festival,

Iceland, New York Philharmonic/Music

Academy of the West, Hear Now/Paris,

Aspen Music Festival, pianists Joanne

Pearce Martin and Vicki Ray, Los Angeles

Percussion Quartet, and the Manhattan

School of Music.

Pereira’s recent commissions have

come from percussionist Colin Currie, the

Miró Quartet, the Los Angeles Percussion

Quartet, Vicki Ray/Piano Spheres, the

Manhattan School of Music, and the Los

Angeles Philharmonic.

In 2016, he conducted his piece

for amplified bass quartet, which was

selected for the Hear Now Music Festival

in L.A. Also in 2016, his string trio Blur

was performed at the Hear Now Paris

American Music Festival. In 2012, the

Los Angeles Philharmonic premiered his

Percussion Concerto with soloist Colin

Currie. The work was programmed again

the following season with Pereira as the

soloist with the Los Angeles Philharmonic

and Gustavo Dudamel, in Los Angeles

and at London’s Barbican. His works

can be heard on Yarlung Records, Sono

Luminus, Electrum Duo, and New Focus


In 2007, his first orchestral piece,

Mask, was selected by the American

Composers Orchestra’s annual new music

readings for top emerging composers. At

the New York Philharmonic, he conducted

the premiere of his Quintet for Winds

in 2005 on the Chamber Ensembles



series at Merkin Concert Hall. The New

York Times wrote, “it is a restless yet

lucidly textured work with an astringent

harmonic language.” Pereira’s percussion

works are published by Bachovich Music.

Pereira has also performed with the New

York Percussion Quartet, the New York

New Music Ensemble, Alea III, the Boston

Symphony Orchestra, the Robert Shaw

Festival Singers, and the New Zealand

Symphony Orchestra as principal

timpanist. He can be heard on Telarc,

Teldec, and Deutsche Grammophon /

iTunes recordings as well as soundtracks

to major motion pictures. His custom line

of timpani mallets is manufactured and

sold by JG Percussion.

When not performing, writing, or

teaching, Pereira likes to spend time with

his wife, violinist Minyoung Chang, and

their daughters Sophia and Julia. Please

visit jpereiramusic.com.

Maraca2 are prized as one of the world’s

leading percussion ensembles today.

Tim Palmer and Jason Huxtable met

while studying at the Royal Birmingham

Conservatoire in England. While there,

they attained the highest degree

classifications, achieved distinction in

the postgraduate course specializing in

percussion duo, and now teach at the

Conservatoire as tutors of percussion. In

2014, they were both bestowed with the

honor of becoming honorary members of

the institution.

Maraca2 perform regularly at festivals

and concert halls worldwide and have

appeared as artists at many of the major

percussion events including an evening

concert at the Percussive Arts Society

International Convention. 2017/18 sees

the duo debut with one of the world’s

leading orchestras and conductors

Los Angeles Philharmonic and Gustavo

Dudamel in Threshold, Joseph Pereira’s

new concerto for solo timpani, percussion

duo, and orchestra.

The duo have visited over 50

universities around the world and

through this activity have inspired

hundreds of young percussionists to

pursue a career within the percussive

arts. Maraca2’s latest project The

World Percussion Group offers young

up-and-coming percussion artists the

opportunity of touring with Maraca2 in

a professional setting.



Program Notes


Igor Stravinsky


Composed: 1908

Length: c.5 minutes

Orchestration: piccolo, 2 flutes,

2 oboes (2nd = English horn), 3 clarinets

(3rd = bass clarinet), 2 bassoons,

6 horns, 3 trumpets, 3 trombones, tuba,

timpani, percussion (bass drum, cymbals,

glockenspiel, triangle), 2 harps, celesta,

and strings

First Los Angeles Philharmonic

performance: July 21, 1925, Fritz Reiner


Stravinsky’s Fireworks in spite of its

brevity occupies an important place in

his output for two reasons. First, most

commentators consider it his first fully

characteristic piece, the work in which the

young composer’s own voice emerged for

the first time, unencumbered by echoes of

his forebears. Second, Fireworks got the

attention of a figure who would play a key

role in Stravinsky’s career, the impresario

Serge Diaghilev.

Stravinsky wrote Fireworks as a wedding

present for Nadezhda Rimsky-Korsakov,

daughter of composer and pedagogue

Nikolai Rimsky-Korsakov, Stravinsky’s most

important teacher, and another Rimsky

pupil, Maximilian Steinberg. Steinberg

received the finished composition by the

end of June 1908 and expressed his initial

enthusiasm in a July 1 letter to his friend

Mikhail Gnesin, who would later become

a famous teacher in his own right: “I

like it very much; the music is typical

of Igor…. It’s brilliantly scored, if it only

proves playable, for it’s incredibly hard.”

Over the years, Stravinsky’s once friendly

relationship with Steinberg hardened

into mutual animosity; Stravinsky’s own

biography records a different reaction

from Steinberg, the memory certainly

polluted by those feelings: “The best he

could do even for my Fireworks was to

shrug his shoulders.”

The audience at the work’s first public

performance wasn’t much warmer, but, by

that time, the little “fantasy” had already

made its impression on Diaghilev. He

heard Stravinsky play it at the piano at a


private performance at the Conservatory

sometime in 1909, before the public

premiere in January 1910. The work gave

Diaghilev the encouragement he needed

to commission a full-length ballet from

Stravinsky the result was The Firebird,

a score foreshadowed by Fireworks in

many ways. By the time of Fireworks’

public premiere, Diaghilev was already

laying the groundwork for Stravinsky’s

success a review essentially “planted”

by the impresario praised Fireworks for its

“witty hints at the reproduction in sound

of a sensational explosion of skyrockets”

in music distinguished by its “richness of


Fireworks begins with a running

accompaniment in the flutes and a

swinging three-note motto tossed

between horns, first violins (with piccolo

and pizzicato seconds and violas), and

solo trumpet. Horns and trumpets develop

this motto into fanfares; a final explosion

from the percussion leads to a languid

central section. The work’s ternary form

(A-B-A) means that Stravinsky brings back

the opening material to round things off,

a time-honored structural device. It’s

Fireworks’ musical substance above all,

its quirky harmonic twists and transparent

orchestration that points the way

forward, with pre-echoes of several

passages from The Firebird and the later

Diaghilev ballets. John Mangum


Joseph Pereira


Composed: 2017

Length: c.25 minutes

Orchestration: piccolo, 2 flutes

(2nd = bass flute), 2 oboes, English horn,

2 clarinets, bass clarinet, contra-bass

clarinet, 2 bassoons, contrabassoon,

4 horns, 3 trumpets, 3 trombones, tuba,

percussion (bass drum, scrub brush,

ceramic tile, bongos, congas, almglocken,

thunder sheet, gong, temple bowl with

loose sleigh bells inside, Chinese cymbal,

suspended cymbals, metal wind chimes,

glockenspiel, octobons, tom-toms, tam

tam, Korean gong, ratchet, crotales, Thai

gongs, vibraphone, & bell plates), 2 harps,

piano, celesta, strings, and solo timpani

and 2 solo percussion (timpani with

medium gongs, 4 tom-toms, 8 roto-toms,

congas, bongos, thunder sheets, spring

coils, spiral cymbals, 8 ceramic tiles,

2 rocks, vibraphones, Chinese cymbals,

bass drums, temple bowls with loose

sleigh bells inside)

First Los Angeles Philharmonic

performances (world premiere)

Thresholds, Joseph Pereira’s new score

reminds us, are two faced, looking

backwards and forwards. They separate

and they connect, they open and they

close. They represent opportunity and the

path not yet taken; cross the threshold

and you are committed to a new space.


“Music, and art in general, is really about

creating space, and the thresholds within

that space are what really interest me,”

Pereira says. “At the time of writing this

piece, I could not help but think about the

world we now live in, how the ‘threshold’

of our current human experience of

each other and the world has changed

drastically. There are so many issues we

are now faced with, issues that get thrown

at us every day from the news and now

you have to question if any of it is even


“Whether you agree with certain issues

or not, we are living in a polarized climate.

In a way, there’s a concentration of

intensity which questions the thresholds

we live in. Because of this, life has become

saturated with tension and anxiety much

like the feeling of this piece.”

Sonic space then is a formal element

of Threshold, and timbre and texture are

its thematic components. This is reflected

physically, with the three soloists spread

symmetrically across the front of the

orchestra, with ceramic tiles literal

thresholds made musical in center

place. Indeed, with three percussionists

of its own across the back, the orchestra

is enveloped in percussion, and most

instruments exploit and share percussive

techniques and gestures, just as there are

bowed and resonating wind elements in

the percussion array.

The piece was written for the Maraca2

percussion duo at their suggestion. The solo

parts are very virtuosic, and create a sense

of volatility and anxiousness. But though they

are sometimes competitive with each other

and have defined cadenzas, they are not in

opposition with the orchestra, or contrasted

against it, in conventional concerto dynamics.

That is another freely explored and crossed

threshold, as the sound of soloists and

orchestra merge into a strong collective

presence, expanding and relaxing as a sort

of organic hyper-instrument.

The three soloists begin at maximum

distance from each other, with a softly

sighing ebb and flow from gongs placed on

timpani. Orchestral instruments soon join

them, and the gliding glissandos merge

into the sound of blown air, and finally

pitched scales, which symbolize “meaning.”

The chanting rhythms that come in and out

of time and the temple bowls with bells

suggest religious rituals, representing hope.

The air sounds that come back, mostly

at the end of the piece, symbolize nature,

a reminder that there’s something bigger

than us,” the composer says. “It is not


until the last section that we have all the

elements together air, chanting, and

the barest elements of the pitch material

attempting to create a vast open space.

The soloists’ parts are mostly improvised

here. The solo material is laid out linearly

against the orchestra, creating even more

expansive space.”

John Henken




Johannes Brahms


Composed: 1855-1876

Length: c.45 minutes

Orchestration: 2 flutes, 2 oboes,

2 clarinets, 2 bassoons, contrabassoon,

4 horns, 2 trumpets, 3 trombones,

timpani, and strings

First Los Angeles Philharmonic

performance: October 21, 1921, Walter

Henry Rothwell conducting

Because of his relentlessly self-questioning

nature, Brahms waited longer than most

composers to write his first symphony.

When, at the age of 20, he met Robert

Schumann, the older composer heard in

the piano sonatas Brahms played for him

“veiled symphonies.” Although Brahms

tended to destroy the evidence of his

unfinished works, he sometimes recast

scores in new ways; thus, we can hear

in the stormy opening movement of his

First Piano Concerto music that had been

intended as a symphony (as early as 1854).

By 1862, Brahms had presumably

composed at least the first movement

of his First Symphony; he sent the music

to Clara Schumann. In 1868, he sent her

a birthday postcard from Switzerland,

quoting a tune the composer claimed to

have heard played on an Alpine horn by

a shepherd. This music would reappear

to introduce the famous striding theme

of the Symphony’s finale. Despite these

indications of his occasional attention

to the Symphony, it would have to wait

until 1876 for completion, and even then

the composer would make significant

revisions to the second movement before

publishing the work in 1877.

Brahms opens his Symphony No.1

with music of extraordinary intensity.

Throbbing basses and relentless timpani

strokes create an immediate atmosphere

of darkness and conflict. The struggle

proceeds in two directions at once, rising

from below and falling from above, but

overlapping musical phrases are also

dueling with one another. After the tension

subsides, a sudden single drum stroke

announces the beginning of the Allegro

section. There is hardly what could be

identified as a theme, since Brahms

continues his motivic expansion, sculpting

the air before our very ears with bold

sweeping gestures. There are moments

of relaxation during the course of the

movement’s progress, but they seem

always to lead us back to ever more


intense activity. Finally, however, the coda

brings serene, almost seraphic resolution.

Between his stormy opening and

turbulent conclusion, Brahms places a

pair of interludes. The Andante is dreamy

and withdrawn, almost religious in its

contemplative mood. Once more, the

scoring is distinctive, this time emphasizing

the exquisite delicacy of a composer

whose greatest “hit” for many years was

that notorious Lullaby. The composer’s

chamber-music experience serves him

well in the closing pages of the movement,

with a solo violin floating sweetly above

the orchestra. The third movement is an

easy-going Allegretto, with wonderfully

bucolic writing for the clarinets. This might

be part of a “Pastoral” Symphony, had

Brahms written one.

Once again, a slow introduction sets

the stage for the movement to follow.

Urgent music for pizzicato strings leads

us through mysterious, disturbing pages

to one of the most truly pictorial moments

in all of Brahms. The mists clear away as

we hear the horn call from that birthday

card to Clara Schumann, continuing in a

noble flute solo; as the echoes subside,

a chorale from the trombones introduces

a repeat of the horn call, which gives

way to what Michael Steinberg describes

simply as “the tune.” Again, we hear the

full mastery of the orchestra as Brahms

approaches the culmination of his musical

drama. Instead of repeating “the tune” at

the climax, he turns to the horn call for

the final grand chorale that precedes a

vigorous and triumphant coda.

Dennis Bade


Gustavo Dudamel

Music & Artistic


Walt and Lilly Disney


Esa-Pekka Salonen

Conductor Laureate

Susanna Mälkki

Principal Guest


Paolo Bortolameolli

Assistant Conductor

John Adams

Creative Chair


Martin Chalifour



Marjorie Connell

Wilson Chair

Nathan Cole

First Associate


Ernest Fleischmann


Bing Wang



Barbara and Jay

Rasulo Chair

Akiko Tarumoto



Philharmonic Affiliates


Michele Bovyer

Rochelle Abramson

Camille Avellano

Margaret and

Jerrold L.

Eberhardt Chair

Mark Baranov

Minyoung Chang

I.H. Albert Sutnick


Miika Gregg

Vijay Gupta

Mark Houston Dalzell

and James Dao-

Dalzell Chair

Mischa Lefkowitz

Edith Markman

Mitchell Newman

Rebecca Reale

Stacy Wetzel


Lyndon Johnston Taylor


Dorothy Rossel Lay


Mark Kashper

Associate Principal

Kristine Whitson

Johnny Lee

Dale Breidenthal

Ingrid Chun

Jin-Shan Dai

Tianyun Jia

Chao-Hua Jin

Nickolai Kurganov

Guido Lamell

Varty Manouelian

Yun Tang

Michelle Tseng

Suli Xue


Principal (Vacant)

John Connell Chair

Dale Hikawa


Associate Principal

Ben Ullery

Assistant Principal

Dana Lawson

Richard Elegino

John Hayhurst

Ingrid Hutman

Michael Larco

Hui Liu

Meredith Snow

Leticia Oaks Strong

Minor L. Wetzel


Robert deMaine


Bram and Elaine

Goldsmith Chair

Ben Hong

Associate Principal

Sadie and Norman

Lee Chair

Dahae Kim

Assistant Principal

Jonathan Karoly

David Garrett

Barry Gold

Jason Lippmann

Gloria Lum

Linda and Maynard

Brittan Chair

Tao Ni

Serge Oskotsky

Brent Samuel


Dennis Trembly*


Christopher Hanulik


Oscar M. Meza

Assistant Principal

David Allen Moore

Ted Botsford

Jack Cousin

Jory Herman

Brian Johnson

Peter Rofé


Denis Bouriakov


Virginia and Henry

Mancini Chair

Catherine Ransom


Associate Principal

Mr. and Mrs. H.


Smith Chair

Elise Shope Henry

Mari L. Danihel Chair

Sarah Jackson


Sarah Jackson


Principal (Vacant)

Marion Arthur Kuszyk

Associate Principal

Anne Marie Gabriele

Carolyn Hove


Carolyn Hove


Boris Allakhverdyan


Michele and Dudley

Rauch Chair

Burt Hara

Associate Principal

Andrew Lowy

David Howard


Andrew Lowy


David Howard


Whitney Crockett


Shawn Mouser

Associate Principal

Michele Grego




Andrew Bain


John Cecil Bessell


Associate Principal


Gregory Roosa

Amy Jo Rhine

Loring Charitable Trust


Brian Drake

Reese and Doris

Gothie Chair

Ethan Bearman


Bud and Barbara

Hellman Chair


Thomas Hooten


M. David and Diane

Paul Chair

James Wilt

Associate Principal

Nancy and Donald de

Brier Chair

Christopher Still

Ronald and Valerie

Sugar Chair


David Rejano Cantero


James Miller

Associate Principal

Judith and Thomas L.

Beckmen Chair


John Lofton


Norman Pearson


Joseph Pereira


Cecilia and Dudley

Rauch Chair


Matthew Howard


James Babor

Perry Dreiman


Joanne Pearce Martin

Katharine Bixby

Hotchkis Chair


Lou Anne Neill


Kazue Asawa


Kenneth Bonebrake

Stephen Biagini



Jeffrey Neville



Jonathon Heyward

Tianyi Lu

Ruth Reinhardt

* on sabbatical

The Los Angeles

Philharmonic string

section utilizes revolving

seating on a systematic

basis. Players listed alphabetically

change seats


In those sections where

there are two principals

the musicians share the

position equally and are

listed in order of length

of service.

The musicians of the

Los Angeles Philharmonic

are represented by

Professional Musicians

Local 47, AFM.


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 Elizabeth@camasb.org



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 • www.camasb.org


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 HeatherBryden@cox.net


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