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

Presenting the world’s finest classical artists since 1919 

Los Angeles Philharmonic 

GUSTAVO DUDAMEL Conductor 

JOSEPH PEREIRA Timpani 

MARACA2 Percussion 

SATURDAY, JANUARY 27, 2018 

The Granada Theatre, 8PM 

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INTERNATIONAL SERIES at The GRANADA THEATRE 

SEASON SPONSORSHIP: SAGE PUBLICATIONS 


GUSTAVO DUDAMEL Conductor 

JOSEPH PEREIRA Timpani • MARACA2 Percussion 

SATURDAY, JANUARY 27, 2018, 8PM 

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

IGOR STRAVINSKY 

(1882-1971) 

JOSEPH PEREIRA 

(b. 1974) 

Fireworks, Op.4 

Threshold 

(world premiere weekend, 

LA Phil commission with generous support 

from Marcia and Gary Hollander) 

Joseph Pereira, Timpani 

Maraca2, Percussion 

INTERMISSION 

JOHANNES BRAHMS 

(1833-1897) 

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 

SPONSORS 


The Towbes Fund for the Performing Arts, a field of interest fund 

of the Santa Barbara Foundation 


CO-SPONSORS 

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. 

COMMUNITY ARTS MUSIC ASSOCIATION | www.camasb.org

Biography 


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 

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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 

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Biography 

Gustavo 

Dudamel 

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 

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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 

7

Biography 

Joseph 

Pereira 

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 

Recordings. 

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 

8

Maraca2 

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. Read more at 

worldpercussiongroup.com. 

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Program Notes 

FIREWORKS 

Igor Stravinsky 

(1882-1971) 

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 

conducting 

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 

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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 

substance.” 

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 

THRESHOLD 

Joseph Pereira 

(b.1974) 

Composed: 2017 


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) 


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. 

11

“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 

true. 

“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 

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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 

SYMPHONY 

NO.1 IN 

C MINOR, OP.68 

Johannes Brahms 

(1833-1897) 

Composed: 1855-1876 


Orchestration: 2 flutes, 2 oboes, 

2 clarinets, 2 bassoons, contrabassoon, 

4 horns, 2 trumpets, 3 trombones, 

timpani, and strings 


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 

13

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 

14

Gustavo Dudamel 

Music & Artistic 

Director 

Walt and Lilly Disney 

Chair 

Esa-Pekka Salonen 

Conductor Laureate 

Susanna Mälkki 

Principal Guest 

Conductor 

Paolo Bortolameolli 

Assistant Conductor 

John Adams 

Creative Chair 

FIRST VIOLINS 

Martin Chalifour 

Principal 

Concertmaster 

Marjorie Connell 

Wilson Chair 

Nathan Cole 

First Associate 

Concertmaster 

Ernest Fleischmann 

Chair 

Bing Wang 

Associate 

Concertmaster 

Barbara and Jay 

Rasulo Chair 

Akiko Tarumoto 

Assistant 

Concertmaster 

Philharmonic Affiliates 

Chair 

Michele Bovyer 

Rochelle Abramson 

Camille Avellano 

Margaret and 

Jerrold L. 

Eberhardt Chair 

Mark Baranov 

Minyoung Chang 

I.H. Albert Sutnick 

Chair 

Miika Gregg 

Vijay Gupta 

Mark Houston Dalzell 

and James Dao- 

Dalzell Chair 

Mischa Lefkowitz 

Edith Markman 

Mitchell Newman 

Rebecca Reale 

Stacy Wetzel 

SECOND VIOLINS 

Lyndon Johnston Taylor 

Principal 

Dorothy Rossel Lay 

Chair 

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 

VIOLAS 

Principal (Vacant) 

John Connell Chair 

Dale Hikawa 

Silverman 


Ben Ullery 

Assistant Principal 

Dana Lawson 

Richard Elegino 

John Hayhurst 

Ingrid Hutman 

Michael Larco 

Hui Liu 

Meredith Snow 

Leticia Oaks Strong 

Minor L. Wetzel 

CELLOS 

Robert deMaine 

Principal 

Bram and Elaine 

Goldsmith Chair 

Ben Hong 


Sadie and Norman 

Lee Chair 

Dahae Kim 


Jonathan Karoly 

David Garrett 

Barry Gold 

Jason Lippmann 

Gloria Lum 

Linda and Maynard 

Brittan Chair 

Tao Ni 

Serge Oskotsky 

Brent Samuel 

BASSES 

Dennis Trembly* 

Principal 

Christopher Hanulik 

Principal 

Oscar M. Meza 


David Allen Moore 

Ted Botsford 

Jack Cousin 

Jory Herman 

Brian Johnson 

Peter Rofé 

FLUTES 

Denis Bouriakov 

Principal 

Virginia and Henry 

Mancini Chair 

Catherine Ransom 

Karoly 


Mr. and Mrs. H. 

Russell 

Smith Chair 

Elise Shope Henry 

Mari L. Danihel Chair 

Sarah Jackson 

PICCOLO 

Sarah Jackson 

OBOES 

Principal (Vacant) 

Marion Arthur Kuszyk 


Anne Marie Gabriele 

Carolyn Hove 

ENGLISH HORN 

Carolyn Hove 

CLARINETS 

Boris Allakhverdyan 

Principal 

Michele and Dudley 

Rauch Chair 

Burt Hara 


Andrew Lowy 

David Howard 

E-FLAT CLARINET 

Andrew Lowy 

BASS CLARINET 

David Howard 

BASSOONS 

Whitney Crockett 

Principal 

Shawn Mouser 


Michele Grego 

CONTRABASSOON 

(Vacant) 

HORNS 

Andrew Bain 

Principal 

John Cecil Bessell 

Chair 


(Vacant) 

Gregory Roosa 

Amy Jo Rhine 

Loring Charitable Trust 

Chair 

Brian Drake 

Reese and Doris 

Gothie Chair 

Ethan Bearman 

Assistant 

Bud and Barbara 

Hellman Chair 

TRUMPETS 

Thomas Hooten 

Principal 

M. David and Diane 

Paul Chair 

James Wilt 


Nancy and Donald de 

Brier Chair 

Christopher Still 

Ronald and Valerie 

Sugar Chair 

TROMBONES 

David Rejano Cantero 

Principal 

James Miller 


Judith and Thomas L. 

Beckmen Chair 

BASS TROMBONE 

John Lofton 

TUBA 

Norman Pearson 

TIMPANI 

Joseph Pereira 

Principal 

Cecilia and Dudley 

Rauch Chair 

PERCUSSION 

Matthew Howard 

Principal 

James Babor 

Perry Dreiman 

KEYBOARDS 

Joanne Pearce Martin 

Katharine Bixby 

Hotchkis Chair 

HARP 

Lou Anne Neill 

LIBRARIANS 

Kazue Asawa 

McGregor* 

Kenneth Bonebrake 

Stephen Biagini 

PERSONNEL 

MANAGER 

Jeffrey Neville 

CONDUCTING 

FELLOWS 

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 

periodically. 

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 


are represented by 

Professional Musicians 

Local 47, AFM. 

15


Message from the President 

As President of Community Arts Music 

Association (CAMA), I am delighted to 

invite you to join us as a contributor to 

Santa Barbara’s oldest arts organization, 

CAMA, the Queen of Santa Barbara’s 

non-profits. 

CAMA is now entering its 99th season 

of presenting the world’s major classical 

orchestras and soloists here in Santa 

Barbara. And what a season we have to 

look forward to in 2017/2018! 

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

and we are deeply committed to continuing 

the tradition. We look forward to welcoming 

you personally to our CAMA community, and 

hope you will also consider a sponsorship 

opportunity for one or more of our concerts. 

Robert K. Montgomery 

President 

16

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 

17

LIFETIME GIVING 

diamond circle 

$500,000 and above 

Suzanne & Russell Bock 

Linda Brown * 

Andrew H. Burnett 

Foundation 

Esperia Foundation 

The Stephen & Carla Hahn 


Judith Hopkinson 

Herbert J. Kendall 

Sage Publications 

Michael Towbes/The Towbes 


sapphire circle 

$250,000 - $499,999 

Anonymous 

Bitsy & Denny Bacon 

CAMA Women’s Board 

Léni Fé Bland 

TThe Samuel B. & Margaret C. 


The Stepanek Foundation 

The Wood-Claeyssens 


ruby circle 

$100,000 - $249,999 

The Adams Foundation 

Mr. & Mrs. David H. Anderson 

Deborah & Peter Bertling 

Virginia C. Hunter/ 

Castagnola Family 



Mary & Ray Freeman 

Dr. & Mrs. Melville Haskell 

Dolores Hsu 

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

Mr. & Mrs. Palmer Jackson 

Mrs. Thomas A. Kelly 

Shirley & Seymour Lehrer 


Mr & Mrs Frank R Miller, Jr. / 

The Henry E. & Lola Monroe 


John & Kathleen Moselely/ 

The Nichols Foundation 

Nancy & William G. Myers 


The Santa Barbara Foundation 

Jan & John G. Severson 

Mr. & Mrs. Edward Stepanek 

Jeanne C. Thayer 

Mrs. Walter J. Thomson 

Union Bank 

Dr. & Mrs. H. Wallace Vandever 

The Wallis Foundation 

Nancy & Kent Wood 

Mr. & Mrs. Joseph Yzurdiaga 

emerald circle 

$50,000 - $99,999 

Anonymous 

Ms. Joan C. Benson 

Mr. & Mrs. Peter Beuret 

Dr. & Mrs. Edward E. Birch 


Dr. & Mrs. Jack Catlett 

Roger & Sarah Chrisman 

NancyBell Coe & 

Bill Burke 

Mr. & Mrs. Robert M. Colleary 

Mrs. Maurice E. Faulkner 

Mr. Daniel H. Gainey 

Mr. Arthur R. Gaudi 

Mr. & Mrs. Robert B. Gilson 

The George H. Griffiths & 

Olive J. Griffiths Charitable 


Mr. Richard Hellman 

Joanne Holderman 

Michael & Natalia Howe 

The Hutton Parker Foundation 


Judith Little 

John & Lucy Lundegard 

Mrs. Max E. Meyer 

Montecito Bank & Trust 


Mr. & Mrs. Craig A. Parton 

Performing Arts Scholarship 


Marjorie S. Petersen/ 

La Arcada Investment Corp. 

Mr. Ted Plute & Mr. Larry Falxa 

Lady Ridley-Tree 


Judy & George Writer 

topaz circle 

$25,000 - $49,999 

Anonymous 

Edward Bakewell 

Helene & Jerry Beaver 



Mary E. Gates-Warren 

Mr. & Mrs. Andrew Burnett 

Linda Stafford BurrowsMs. 

Huguette Clark 

Mrs. Leonard Dalsemer 

Edward S. De Loreto 

Mr. & Mrs. Larry Durham 

Dr. Robert M. & Nancyann 

Failing 

The George Frederick Jewett 


Patricia Kaplan 

Elizabeth Karlsberg & 

Jeff Young 

Lynn P. Kirst & Lynn R. 

Matteson 

Otto Korntheuer/ The Harold L. 

Wyman Foundation in memory 

of Otto Korntheuer 

Chris Lancashire & 

Catherine Gee 

Mrs. Jon B. Lovelace 

Leatrice Luria 

Mrs. Frank Magid 

Ruth McEwen 


Sheila Bourke McGinity 

Frank R. Miller, Jr. 

James & Mary Morouse 

Patricia Hitchcock O’Connell 

Efrem Ostrow Living Trust 

Mr. Ernest J. Panosian 

Mr. & Mrs. Roger A. Phillips 

Kathryn H. Phillips 

Mrs. Kenneth Riley 


Marion Stewart 

Ina Tournallyay 

Mrs. Edward Valentine 

The Outhwaite Foundation 

The Elizabeth Firth Wade 

Endowment Fund 

Maxine Prisyon & Milton 

Warshaw 

Mrs. Roderick Webster 

Westmont College 

amethyst 

circle 

$10,000 - $24,999 

Anonymous 

Mr. & Mrs. Peter Adams 

Mrs. David Allison 

Dr. & Mrs. Mortimer Andron 

Mr. & Mrs. Robert Arthur 

Mr. & Mrs. J.W. Bailey 

Mrs. Archie Bard 

Leslie & Philip Bernstein 

Frank Blue & 

Lida Light Blue 

Mrs. Erno Bonebakker 

Elizabeth & Andrew Butcher 

CAMA Fellows 

Mrs. Margo Chapman 

Chubb-Sovereign Life 

Insurance Co. 

Carnzu A. Clark 

Dr. Gregory Dahlen & 

Nan Burns 

Karen Davidson M.D. 

Julia Dawson 

Mr. & Mrs. William Esrey 


Audrey Hillman Fisher 


Dave Fritzen/DWF Magazines 

Catherine H. Gainey 

Kay & Richard Glenn 

The Godric Foundation 

Corinna & Larry Gordon 

Mr. & Mrs. Freeman Gosden, Jr. 

Mr. & Mrs. Bruce Hanna 

Mr. & Mrs. Robert Hanrahan 

Lorraine Hansen 

Mr. & Mrs. Stanley Hatch 

Dr. & Mrs. Richard Hawley 

Dr. & Mrs. Alan Heeger 

Mr. Preston Hotchkis 

Elizabeth & Gary Johnston 

Mahri Kerley 

KDB Radio 

Linda & Michael Keston 

Mrs. Robert J. Kuhn 

Catherine Lloyd/Actief-cm, Inc. 

Leatrice Luria 

Nancy & Jim Lynn 

Keith J. Mautino 

Jayne Menkemeller 

Myra & Spencer Nadler 

Karin Nelson & Eugene Hibbs, Jr. 

Joanne & Alden Orpet 

Mr. & Mrs. Charles Patridge 

Patricia & Carl Perry 

John Perry 

Mrs. Ray K. Person 


Anne & Wesley Poulson 

Susannah Rake 

Mr. & Mrs. Frank Reed 

Jack Revoyr 

Betty & Don Richardson 

The Grace Jones 

Richardson Trust 


The Roberts Bros. Foundation 

John F. Saladino 

Jack & Anitra Sheen 

Sally & Jan Smit 

Betty Stephens & 

Lindsay Fisher 

Selby & Diane Sullivan 

Joseph M. Thomas 

Milan E. Timm 


Steven D. Trueblood 

Kenneth W. & Shirley C. Tucker 

Mr. & Mrs. Hubert D. Vos 

Barbara & Gary Waer 

Mr. &Mrs. David Russell Wolf 

Dick & Ann Zylstra 

* promised gift 

(Gifts and pledges received 

as of January 4, 2018) 

18


“I think too often 

people think of the 

arts as decoration to 

the experiences of life, 

sort of a frosting on 

the cake. But to me, 

the arts are essential 

to understanding the 

problems of life, and to 

helping us get through 

the experiences of life 

with intelligent understanding 

and grace.” 

– Philanthropist and 

CAMA Friend 

Robert M. Light 

YOU Ensure 

the Tradition 

Your generosity through planned giving secures 

the future of CAMA. When you include CAMA in 

your will or living trust, your contribution ensures 

CAMA’s great classical music performances and 

music outreach programs continue. 

Thank you for being part of our Community. 

CAMA offers the opportunity to ensure the 

future of our mission to bring world-class music 

to Santa Barbara. By including CAMA in your will or 

living trust, you leave a legacy of great concerts and 

music appreciation outreach programs for future 

generations. 

Make a gift of cash, stocks or bonds and enjoy immediate tax benefits. 

Join Elizabeth Alvarez, CAMA Director of Development, 

for lunch to learn more. (805) 276-8270 direct. 

elizabeth@camasb.org 

COMMUNITY ARTS MUSIC ASSOCIATION 

(805) 966-4324 • www.camasb.org 

19

CAMA ENDOWMENT: A Sound Investment 

YOU ensure that great music and world-class artists 

continue to grace Santa Barbara stages for decades to come. 

Endowment funds are needed to bridge the gap between ticket sales 

and steadily rising artist fees and concert production costs. Funds are also 

needed to sustain CAMA’s outstanding music education programs. 

MOZART SOCIETY 

Our CAMA community members who contribute a cash gift to the endowment of $10,000 

or more enjoy many benefits of The Mozart Society, including participation in our annual 

black-tie dinner. 

LEGACY SOCIETY 

Our CAMA community members who have included CAMA in their will or estate plan 

belong to the Legacy Society. Legacy Society members participate in the Annual Legacy 

Event. In May 2017, Legacy members gathered for a Sunset Cruise on the Channel Cat. 

Call Elizabeth Alvarez at the CAMA Office (805) 966-4324 

to learn more about CAMA’s Endowment. 

20

MOZART SOCIETY 

conductor’s circle 

($500,000 and above) 

Mr. & Mrs. Russell S. Bock 

Linda Brown* 

Esperia Foundation 

SAGE Publications 

crescendo circle 

($250,000-$499,999) 

Andrew H. Burnett Foundation 



cadenza patrons 

($100,000-$249,999) 

Anonymous 

Anonymous 



Mr. & Mrs. James H. Hurley Jr. 

William & Nancy Myers 

Jan & John Severson 

Judith & Julian Smith 

Michael Towbes 

rondo patrons 

($50,000-$99,999) 

Peter & Deborah Bertling 

Linda & Peter Beuret 


Stephen R. & Carla Hahn 

Dolores M. Hsu 

The Samuel B. & Margaret C. 


Santa Barbara Bank & Trust 

Mr. & Mrs. Byron K. Wood 

concerto patrons 

($25,000-$49,999) 

Linda Stafford Burrows, 

in memory of Frederika 

Voogd Burrows 

Dr. & Mrs. Jack Catlett 

Bridget & Robert Colleary 

Mrs. Maurice E. Faulkner 

Léni Fé Bland 

Dr. & Mrs. Melville H. Haskell, Jr. 


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

The Hutton Foundation 



Walter J. Thomson/ 

The Thomson Trust 

Mr. & Mrs. Sam Toumayan 

sonata patrons 

($10,000-$24,999) 

Anonymous 

The Adams Foundation 

Mr. & Mrs. Peter Adams 

Else Schilling Bard 

Dr. & Mrs. Edward E. Birch 


The CAMA Women’s Board 

(Sally Lee Remembrance 

Fund and Marilyn Roe 

Remembrance Fund) 

Dr. Robert Boghosian & 

Ms. Mary E. Gates-Warren 

Mr. & Mrs. Andrew Butcher 


Dr. & Mrs. Charles Chapman 

NancyBell Coe & William Burke 

Dr. Karen Davidson 

Mr. & Mrs. Larry Durham 

Dr. Robert & Nancyann Failing 

Dr. & Mrs. Jason Gaines 

Mr. & Mrs. Daniel Gainey/ 

Daniel C. Gainey Fund 


Sherry & Robert B. Gilson 

Mr. & Mrs. Bruce Hanna 

Ms. Lorraine Hansen 


Patricia Kaplan 

Elizabeth Karlsberg & 

Jeff Young 

Mrs. Thomas A. Kelly 

Mahri Kerley 

Lynn P. Kirst & Lynn R. 

Matteson 

Dr. & Mrs. Robert J. Kuhn 

Mr. John Lundegard/ 

Lundegard Family Fund 


Jayne Menkemeller 

Mr. & Mrs. Max Meyer 


Mary & James Morouse 

Dr. & Mrs. Spencer Nadler 

Patricia Hitchcock O’Connell 



John Perry 

Mrs. Hugh Petersen 

Mr. & Mrs. Roger A. Phillips 


Miss Susannah E. Rake 

Mrs. Kenneth W. Riley 


Dr. & Mrs. Jack Sheen/Peebles 

Sheen Foundation 

Sally & Jan E.G. Smit 

Mr. & Mrs. Edward Stepanek 

Betty J. Stephens, in 

recognition of my friend 

Judy Hopkinson 

Dr. & Mrs. William A. Stewart 



The Elizabeth Firth Wade 

Endowment Fund 

Mr. & Mrs. Gary Waer 

Mr. & Mrs. David Russell Wolf 


LEGACY SOCIETY 

WE GRATEFULLY ACKNOWLEDGE CAMA LEGACY SOCIETY MEMBERS FOR 

REMEMBERING CAMA IN THEIR ESTATE PLANS WITH A DEFERRED GIFT. 

Anonymous 

Peter & Becky Adams 


Else Schilling Bard 

Peter & Deborah Bertling 


Lida Light Blue & Frank Blue 

Mrs. Russell S. Bock 

Dr. Robert Boghosian & 

Ms. Mary-Elizabeth Gates-Warren 

Linda Brown * 



Jane & Jack Catlett 

Bridget & Bob Colleary 

Karen Davidson, M.D & 

David B. Davidson, M.D. 

Patricia & Larry Durham 

Christine & Robert Emmons 




Stephen & Carla Hahn 

Beverly Hanna 

Ms. Lorraine Hansen 



Dolores M. Hsu 

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

Elizabeth & Gary Johnston 


Mahri Kerley 

Lynn P. Kirst & Lynn R. Matteson 

Lucy & John Lundegard 



21 


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

Dr. & Mrs. Spencer Nadler 

Ellen & Craig Parton 

Diana & Roger Phillips 



Judith & Julian Smith 

Mr. & Mrs. Sam Toumayan 




Nancy & Kent Wood 


(Gifts and pledges received 

as of December 1, 2017)

INTERNATIONAL CIRCLE 

Join us for delightful garden parties, the International Circle Wine Intermission, 

and other elegant events. 

Call Elizabeth Alvarez for an Invitation Packet. (805) 276-8270 

PRESIDENT'S CIRCLE 

($10,000 and above) 

Anonymous (2) 

Bitsy & Denny Bacon and 

The Becton Family Foundation 

Suzanne & Russell Bock 


Mary E. Gates Warren 

Alison & Jan Bowlus 

NancyBell Coe & Bill Burke 

Dan & Meg Burnham 

The CAMA Women's Board 

NancyBell Coe & William Burke 


The Elaine F. Stepanek 


Carla Hahn 

Hollis Norris Fund 


Joan & Palmer Jackson 



Lynn P. Kirst 

John Lundegard 



Mary Lloyd & Kendall Mills 



The Samuel B. & Margaret C. 







The Shanbrom Family Foundation 

The Walter J. & 

Holly O. Thomson Foundation 


The Towbes Fund for the 

Performing Arts 

George & Judy Writer 

Patricia Yzurdiaga 

COMPOSER'S CIRCLE 

($5,000 - $9,999) 

Peggy & Kurt Anderson 

Helene & Jerry Beaver 


The Wood-Claeyssens 




Stephen Cloud 


Edward De Loreto 


Dorothy & John Gardner 


Preston & Maurine Hotchkis 

Elizabeth Karlsberg & Jeff Young 

Winona Fund 


Sheila Bourke McGinity 

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

The Henry E. & Lola Monroe 







Irene & Robert Stone/ 

Stone Family Foundation 

VIRTUOSO CIRCLE 

($2,500 - $4,999) 

Annette & Richard Caleel 


Sarah & Roger Chrisman 

Fredericka & Dennis Emory 

Nancyann & Robert Failing 

Mary & Raymond Freeman 

Ronda & Bill Hobbs 

Shirley Ann & James H. Hurley, Jr. 

Jill Dore Kent 

Lois Kroc 

Shirley & Seymour Lehrer 

Ruth & John Matuszeski 

Dona & George McCauley 

Theodore Plute & Larry Falxa 

Steven Trueblood 

Department of Music, University 

of California, Santa Barbara 

Nick & Patty Weber 

CONCERTMASTER 

CIRCLE ($1,500 - $2,499) 

Todd & Allyson Aldrich Family 

Charitable Fund 



Edward & Sue Birch 

Diane Boss 

Suzanne & Peyton Bucy 

Jill Felber 

Renee Harwick 

Renee & Richard Hawley 

Maison K 

Karin Nelson & Eugene Hibbs/ 

Maren Henle 


Karen & Chuck Kaiser 

Barbara & Tim Kelley 

Connie & Richard Kennelly 

Kum Su Kim 

Karin Jacobson & Hans Koellner 

The Harold L. Wyman 


Chris Lancashire & 

Catherine Gee 

MaryAnn Lange 

Cynthia Brown & Arthur Ludwig 

Gloria & Keith Martin 

Sally & George Messerlian 

Gail Osherenko & Oran Young 

Anne & Daniel Ovadia 

Carol & Kenneth Pasternack 

Regina & Rick Roney 

William E. Sanson 

Linda Stafford Burrows 


Vera & Gary Sutter 

Suzanne Holland & Raymond 

Thomas 

Esther & Tom Wachtell 



Victoria & Norman Williamson 

Ann & Dick Zylstra 

PRINCIPAL PLAYER'S 

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

Leslie & Philip Bernstein 

Wendel Bruss 

Patricia Clark 

Lois Erburu 

Katina Etsell 

Audrey Hillman Fisher 


Catherine H. Gainey 

Tish Gainey & Charles Roehm 

Perri Harcourt 

Glenn Jordan & Michael Stubbs 

Peter Karoff 

Sally Kinney 

Dora Anne Little 

Russell Mueller 

Ellen & Thomas Orlando 


Maurice Singer 

Diane Sullivan 

Milan E. Timm 

Shirley Tucker 

Hubert Vos 

Nancy Englander & 

Harold Williams 

Your annual International Circle Membership plays such an important role in continuing 

CAMA's grand tradition of bringing the best in classical music to Santa Barbara. 

Thank you! 

(Gifts and pledges received from 

June 1, 2016 – October 2, 2017) 

22

MUSICIANS SOCIETY 

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

Thank you for your generous annual donation. 

Benefactors 

($500 - $999) 

David Ackert 

Shelley & Mark Bookspan 

Edith M. Clark 

Betsy & Kenneth Coates 

Wendy & Rudy Eiser 

Thomas & Doris Everhart 

Elinor & James Langer 

Christie & Morgan Lloyd 

Phyllis Brady & Andy Masters 

Patriicia & William McKinnon 

Pamela McLean & 

Frederic Hudson 

Peter L. Morris 

Maryanne Mott 

Natalie Myerson 

Justyn Person 

Patricia & Robert Reid 

Lynn & Mark Schiffmacher 

Maureen & Les Shapiro 

Halina W. Silverman 

Barbara & Wayne Smith 

Carol Vernon & Robert Turbin 


Cheryl & Peter Ziegler 

Contributors 

($250 - $499) 

Sylvia Abualy 

Antoinette & Shawn Addison 

Jyl & Allan Atmore 

Howard A. Babus 

Doris Lee Carter 

Lavelda & Lynn Clock 

Michael & Ruth Ann Collins 

Joan & Steven Crossland 

Peggy & Timm Crull 

Ann & David Dwelley 

Margaret Easton 

Ghita Ginberg 

Linda & Antony Harbour 

Debbie & Frank Kendrick 

June & William Kistler 

Andrew Mester, Jr. 

Myra & Spencer Nadler 

Carolyn & Dennis Naiman 

Maureen O'Rourke 

Hensley & James Peterson 

Julia & Arthur Pizzinat 

Bette & Claude Saks 

Ada B. Sandburg 

Kathryn Lawhun & 

Mark Shinbrot 

Karen Spechler 

Beverly & Michael Steinfeld 

Jacqueline & Ronald Stevens 


Julie Antelman & William Ure 

Lorraine & Stephen Weatherford 

Associates 

($100 - $249) 

Catherine L. Albanese 

Nancy & Jesse Alexander 

Carol & Gilbert Ashor 

Esther & Don Bennett 

Myrna Bernard 

Alison H. Burnett 

Margaret & David Carlberg 

Polly Clement 

Melissa Colborn 

Janet Davis 

Marilyn DeYoung 

Lois & Jack Duncan 

Michael K. Dunn 

Julia Emerson 

Barbara Faulkner 

Eunice & J.Thomas Fly 

Bernice & Harris Gelberg 

Deborah Branch Geremia 

Dolores Airey Gillmore 

Nancy & Frederic Golden 

Elizabeth & Harland Goldwater 

Marge & Donald Graves 

Marie-Paule & Laszlo Hajdu 

Carolyn Hanst 

M.Louise Harper & 

Richard Davies 

Elizabeth Hastings 

Lorna S. Hedges 

Edward O. Huntington 

Gina & Joseph Jannotta 

Virginia Stewart Jarvis 

Brian Frank Johnson 

Monica & Desmond Jones 

Emmy & Fred Keller 

Robin Alexandra Kneubuhl 

Anna & Petar Kokotovic 

Doris Kuhns 

Linda & Rob Laskin 

Lady Patricia & 

Sir Richard Latham 

Lavender Oak Ranch LLC 

Barbara & Albert Lindemann 

Barbara & Ernest Marx 

Jeffrey McFarland 

Terry McGovern 

Meredith McKittrick-Taylor & 

Al Taylor 

Christine & James V. McNamara 

Renée & Edward Mendell 

Lori Kraft Meschler 

Betty Meyer 

Susan Levine & Jack Murray 

Carol Hawkins & Larry Pearson 

Marilyn Perry 

Francis Peters, Jr. 

Ann Picker 

Eric Boehm 

Constance Pratt 

Sonia Rosenbaum 

Muriel & Ian K. Ross 

Shirley & E.Walton Ross 

Joan & Geoffrey Rutkowski 

Sharon & Ralph Rydman 

Doris & Bob Schaffer 

Naomi Schmidt 

Anitra & Jack Sheen 

James Poe Shelton 

Joan Tapper & Steven Siegel 

Anne Sprecher 

Florence & Donald Stivers 

Laura Tomooka 

Mary H. Walsh 

Judy Weirick 

Judy & Mort Weisman 

Theresa & Julian Weissglass 

Donna & Barry Williiams 

Deborah Winant 

Barbara Wood 

David Yager 

Taka Yamashita 

Grace & Edward Yoon 

Friends 

($10 - $99) 

Anne Ashmore 

Robert Baehner 

Barbara Bonadeo 

Cholame Vineyard 

Thomas Craveiro 

Patricia Ericson 

Hannelore Foraker 

Susan & Larry Gerstein 

Katherine B. & 

Richard D. Godfrey 

William S. Hanrahan 

Lorraine C. Hansen 

Carol Hester 

Jalama Canon Ranch 

Catherine Leffler 

Margaret Menninger 

Ellicott Million 

Edith & Raymond Ogella 

Jean Perloff 

Cherie Topper & Mark Rodgers 

Judith & Frank Salazar 

Joanne Samuelson 

Alice & Sheldon Sanov 

Susan Schmidt 

Diane & Morris Seidler 

Allan Serviss 

Ann Shaw 

Laura & Alan Smith 

Julie & Richard Steckel 

Patricia & Edward Wallace 

Shela West 


June 1, 2016 – October 2, 2017) 

23

MUSIC EDUCATION PROGRAM 

$25,000 and above 

The Walter J. & Holly O. Thomson Foundation 

$10,000 - $24,999 

Ms. Irene Stone/ 

Stone Family Foundation 

$1,000 - $9,999 


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

The Henry E. & Lola Monroe Foundation 

Performing Arts Scholarship Foundation 


$100 - $999 

Lynn P. Kirst 

Volunteer docents are trained by CAMA’s Education 

Committee Chair, Joan Crossland, to deliver this 

program to area schools monthly. Music enthusiasts 

are invited to learn more about the program and 

volunteer opportunities. 

CAMA Education Endowment 

Fund Income 

$10,000 AND ABOVE 

William & Nancy Myers 

$1,000 - $4,999 

Linda Stafford Burrows – 

This opportunity to experience great musicians excelling 

is given in honor and loving memory of Frederika Voogd 

Burrows to continue her lifelong passion for enlightening 

young people through music and math. 

Kathryn H. Phillips, in memory of Don R. Phillips 

Walter J. Thomson/The Thomson Trust 

$50 - $999 

Lynn P. Kirst 


Performing Arts Scholarship Foundation 

Marjorie S. Petersen 

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

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

MEMORIAL GIFTS 

3 In Memory of 3 

ELSE (LEINIE) 

SCHILLING BARD 


JOHN LUNDEGARD 


Lynn P. Kirst 

MICHAEL TOWBES 


SUSIE VOS 


LYNN R. MATTESON 

Lynn P. Kirst 

SYBIL MUELLER 

Lynn P. Kirst 

DR. ROBERT SINSHEIMER 

& KAREN SINSHEIMER 

Robert Boghosian 

& Mary E. Gates Warren 

ROBERT M. LIGHT 

Edward & Sue Birch 



Lynn P. Kirst 

Betty Meyer 


Joan & Geoffrey Rutkowski 




June 1, 2016 – January 4, 2018) 

24

BUSINESS SUPPORTERS 

American Riviera Bank 

James P. Ballantine 

Belmond El Encanto 

Wes Bredall 

Heather Bryden 

Ca' Dario 

Camerata Pacifica 

Casa Dorinda 

Chaucer's Books 

Cottage Health System 

DD Ford Construction 

Eye Glass Factory 

First Republic Bank 

Flag Factory of Santa Barbara 

Gainey Vineyard 

Colin Hayward/The Hayward Group 

Steven Handelman Studios 

Help Unlimited 

SR Hogue & Co Florist 

Indigo Interiors 

Maravilla/Senior Resource Group 

Microsoft® Corporation 


Northern Trust 

Oceania Cruises 

Olio e Limone/Olio Crudo Bar/ 

Olio Pizzeria 

Pacific Coast Business Times 

Peregrine Galleries 



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 

25

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

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