CAMA presents Orchestra of the Age of Enlightenment with Nicola Benedetti – Tuesday, February 13, 2018, International Series at The Granada Theatre, 8PM

Presenting the world’s finest classical artists since 1919 

ORCHESTRA OF THE AGE 

OF ENLIGHTENMENT 

NICOLA BENEDETTI, violin/director 

MICHAEL GUREVICH, concertmaster/director 

TUESDAY, FEBRUARY 13, 2018 

The Granada Theatre, 8PM 

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JUILLIARD 

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QUARTET 

SATURDAY, NOVEMBER 11, 2017, 8PM 

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Roger Tapping, Viola 

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BY SEROUJ KRADJIAN), PLUS 

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2


INTERNATIONAL SERIES at The GRANADA THEATRE 

SEASON SPONSORSHIP: SAGE PUBLICATIONS 

ORCHESTRA OF THE AGE OF ENLIGHTENMENT 

NICOLA BENEDETTI, violin/director 

MICHAEL GUREVICH, concertmaster/director 

TUESDAY, FEBRUARY 13, 2018, 8PM 

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

Ludwig van Beethoven 

(1770-1827) 

Symphony No.4 in B-flat Major, 

Op.60 (1806) 

Adagio-Allegro vivace 

Adagio 

Allegro vivace 

Allegro ma non troppo 

INTERMISSION 

Violin Concerto in D Major, 

Op.61 (1806) 

Allegro ma non troppo 

Larghetto 

Rondo. Allegro 

Programs and artists subject to change 

CAMA gratefully acknowledges our sponsors for tonight's performance. 

SPONSORS 



CO-SPONSORS 


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Lynn P. Kirst 



International Series Season Sponsor: SAGE Publications 

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 

Three decades ago, a group of inquisitive 

London musicians took a long hard look at 

that curious institution we call the Orchestra, 

and decided to start again from scratch. 

They began by throwing out the rulebook. 

Put a single conductor in charge? No way. 

Specialise in repertoire of a particular 

era? Too restricting. Perfect a work and 

then move on? Too lazy. The Orchestra 

of the Age of Enlightenment was born. 

And as this distinctive ensemble 

playing on period-specific instruments 

began to get a foothold, it made a promise 

to itself. It vowed to keep questioning, 

adapting and inventing as long as it lived. 

Those original instruments became just 

one element of its quest for authenticity. 

Baroque and Classical music became just 

one strand of its repertoire. Every time 

the musical establishment thought it had 

a handle on what the OAE was all about, 

the ensemble pulled out another shocker: 

a Symphonie Fantastique here, some 

conductor-less Bach there. All the while, 

the Orchestra’s players called the shots. 

At first it felt like a minor miracle. 

Ideas and talent were plentiful; money 

wasn’t. Somehow, the OAE survived to a 

4

year. Then to two. Then to five. 

making. Great performances 

It began to make benchmark 

now become recordings on the 

The ensemble’s 

recordings and attract the 

Orchestra’s in-house CD label. 

finest conductors. It became musicians were 

The ensemble has 

the toast of the European branded eccentric formed the bedrock for some 

touring circuit. It bagged 

idealists. And that 

of Glyndebourne’s most 

distinguished residencies at 

ground-breaking recent 

they were determined 

the Southbank Centre and 

productions. It travels as much 

Glyndebourne Festival Opera. 

It began, before long, to thrive. 

to remain. In the face 

of the music industry’s 

abroad as to the UK regions: 

New York and Amsterdam 

And then came the real 

big guns, the OAE 

court it, Birmingham 

challenge. The ensemble’s 

and Bristol cherish it. 

musicians were branded 

kept its head. 

Remarkable people are 

eccentric idealists. And that 

behind it. Simon Rattle, the 

they were determined to 

young conductor in whom the 

remain. In the face of the music industry’s 

big guns, the OAE kept its head. It got 

organised but remained experimentalist. It 

sustained its founding drive but welcomed 

new talent. It kept on exploring performance 

OAE placed so much of its initial trust, still 

cleaves to the ensemble. Iván Fischer, the 

visionary who punted some of his most 

individual musical ideas on the young 

orchestra, continues to challenge it. Mark 

formats, rehearsal approaches and Elder still mines for luminosity, shade 

musical techniques. It searched for and line. Vladimir Jurowski, the podium 

the right repertoire, instruments and 

approaches with even greater resolve. 

technician with an insatiable appetite 

for creative renewal, has drawn from 

It kept true to its founding vow. it some of the most revelatory noises 

In some small way, the OAE changed 

the classical music world too. It challenged 

of recent years. And, most recently, it’s 

been a laboratory for John Butt’s most 

those distinguished partner organisations exciting Bach experiments. All five 

and brought the very best from them, 

too. Symphony and opera orchestras 

began to ask it for advice. Existing period 

instrument groups started to vary their 

conductors and repertoire. New ones 

popped up all over Europe and America. 

And so the story continues, with ever 

more momentum and vision. The OAE’s 

series of nocturnal Night Shift performance 

of them share the title Principal Artist. 

Of the instrumentalists, many remain 

from those brave first days; many have 

come since. All seem as eager and hungry 

as ever. They’re offered ever greater 

respect, but continue only to question 

themselves. Because still, they pride 

themselves on sitting ever so slightly 

outside the box. They wouldn’t want it any 

have redefined concert parameters. Its new 

home at London’s Kings Place has fostered 

further diversity of planning and music- 

other way. 

©Andrew Mellor 

5

Biography 

Michael 

Gurevich concertmaster 

Dutch violinist and violist Michael Gurevich 

enjoys a varied performing career. Devoted 

to chamber music, he is a member of the 

London Haydn Quartet and performs regularly 

as a guest with the Nash Ensemble and many 

other groups. He has appeared in chamber 

music series at Carnegie Hall, Wigmore Hall, 

Concertgebouw, Louvre, Melbourne Recital 

Centre and at the Aldeburgh, Edinburgh, Aixen-Provence 

and Verbier festivals. Michael is 

also a frequent leader and guest principal of 

various ensembles, including the Orchestra 

of the Age of Enlightenment, Arcangelo, the 

English and Scottish Chamber Orchestras 

and Amsterdam Sinfonietta. Michael has 

recorded extensively for the Hyperion label, 

appearing on critically acclaimed discs 

with the London Haydn Quartet, the Nash 

Ensemble and Arcangelo. He also appears 

frequently in radio broadcasts on BBC Radio 

3, as well as SWR2 in Germany, ABC Classic 

FM in Australia, CBC Radio in Canada, NHK in 

Japan and many others. 

As a teacher, Michael served on the faculty 

of Chetham’s School of Music in Manchester 

for nine years and has given chamber 

music masterclasses at the Juilliard School, 

Indiana University, Yale University, Oxford 

University, Royal Academy of Music, Royal 

College of Music, Royal Northern College of 

Music, Sydney Conservatorium, Australian 

National Academy of Music, Yong Siew Toh 

Conservatory in Singapore and at Domaine 

Forget in Canada. 

Michael studied at the Royal Northern 

College of Music, where he was awarded 

the Sir John Manduell Prize “for outstanding 

contribution to the college”, concluding his 

time there as the Leverhulme Junior Fellow 

in violin and viola. Subsequently, he was a 

chamber music fellow at the Guildhall School 

of Music and Drama. He was a prize-winner 

in a number of competitions, including the 

Melbourne International Chamber Music 

Competition 2011. He greatly benefited 

from the guidance of the late Dr Christopher 

Rowland, Gaby Lester, Jan Repko, Maciej 

Rakowski, Ivry Gitlis and Pauline Nobes, as 

well as from masterclasses at the RNCM, 

Britten-Pears School, IMS Prussia Cove, Aixen-Provence 

and Verbier Academies with 

András Keller, Ferenc Rados, James Boyd, 

Leonidas Kavakos, Menahem Pressler, Gabor 

Takács-Nagy, Mitsuko Uchida and members 

of the Florestan and Gould trios and Endellion 

String Quartet. n 

6

Biography 

Simon Fowler 

Nicola 

Benedetti violin 

Nicola Benedetti is one of the most 

sought-after violinists of her generation. 

Her ability to captivate audiences with her 

innate musicianship and dynamic presence, 

coupled with her wide appeal as a highprofile 

advocate for classical music, has 

made her one of the most influential classical 

artists of today. 

With concerto performances at the heart 

of her career, Nicola is in much demand with 

major orchestras and conductors across 

the globe. Conductors with whom Nicola 

has worked include Vladimir Ashkenazy, Jiří 

Bělohlávek, Stéphane Denéve, Christoph 

Eschenbach, James Gaffigan, Hans Graf, 

Valery Gergiev, Alan Gilbert, Jakub Hrůša, 

Kirill Karabits, Andrew Litton, Kristjan Järvi, 

Vladimir Jurowski, Cristian Măcelaru, Zubin 

Mehta, Andrea Marcon, Peter Oundjian, 

Vasily Petrenko, Donald Runnicles, Thomas 

Søndergård, Krzysztof Urbanski, Juraj Valcua, 

Edo de Waart, Pinchas Zukerman and Jaap 

van Zweden. 

Nicola enjoys working with the highest 

level of orchestras including collaborations 

with the London Symphony Orchestra, 

London Philharmonic Orchestra, New York 

Philharmonic, National Symphony Orchestra 

of Washington D.C., Orchestra of the Mariinsky 

Theatre, Leipzig Gewandhausorchester, 

Frankfurt Radio Symphony, Camerata 

Salzburg, Czech Philharmonic, Danish 

National Symphony Orchestra, Los Angeles 

Philharmonic, San Francisco Symphony 

and the Chicago Symphony at the Ravinia 

Festival. 

The Summer of 2017 saw Nicola make 

her debut at the Gstaad Menuhin Festival 

with Antonio Pappano and the Orchestra 

dell’ Accademia Nazionale di Santa Cecilia. 

She returned to the BBC Proms with 

Thomas Søndergård and the BBC National 

Orchestra of Wales and to the Edinburgh 

International Festival with Iván Fischer and 

7

Biography 

the Budapest Festival Orchestra. This 

17/18 season Nicola makes her debut with 

the Orchestre de Paris and collaborates 

with the Deutsches Symphonie-Orchester 

Berlin, Philadelphia Orchestra, City of 

Birmingham Symphony, Royal Scottish 

National Orchestra, Bremen Philharmonic, 

Warsaw Philharmonic, Dallas Symphony, 

Atlanta Symphony, New World Symphony 

and Baltimore Symphony with Marin 

Alsop. She will also undertake a U.K. and 

North American tour with the Orchestra of 

the Age of Enlightenment. 

With her regular duo partner pianist 

Alexei Grynyuk, Nicola frequently performs 

recitals in the world’s leading concert halls 

and festivals with most recent highlights 

including Wigmore Hall, Concertgebouw 

Amsterdam, Utrecht, Rome, Copenhagen, 

Dortmund, Ludwigshafen, Bielefeld and 

Kiel. Nicola is also a devoted chamber 

musician and collaborates with cellist 

Leonard Elschenbroich and pianist Alexei 

Grynyuk, who have been performing as 

a trio since 2008. Recent performances 

include London’s Cadogan Hall, 

Amsterdam Concertgebouw, Birmingham 

Symphony Hall, Edinburgh Festival, 

Glasgow Royal Concert Hall, Frankfurt 

Alte Oper, Ravinia Festival, New York’s 

92nd Street Y and Hong Kong City Hall. 

In Summer 2017, the trio returned for 

the third time to extensively tour South 

America. Spring 2018 will see the trio’s 

welcome return to North America with 

performances in Boston and Vancouver. 

Fiercely committed to music education 

and to developing young talent, Nicola has 

formed associations with schools, music 

colleges and local authorities. In 2010, 

she became Sistema Scotland’s official 

musical “Big Sister” for the Big Noise 

project; a music initiative partnered with 

Venezuela’s El Sistema (Fundación Musical 

Simón Bolívar). As a board member and 

teacher, Nicola embraces her position of 

role model to encourage young people 

to take up music and work hard at it, and 

she continues to spread this message in 

school visits and masterclasses, not only 

in Scotland, but all around the world. 

In addition, Nicola developed her 

own education and outreach initiative 

entitled The Benedetti Sessions that give 

hundreds of aspiring young string players 

the opportunity to rehearse, undertake 

and observe masterclasses culminating in 

a performance alongside Nicola. She has 

presented The Benedetti Sessions at the 

Royal Albert Hall, Cheltenham Festival and 

Royal Concert Hall Glasgow, and has plans 

to develop this on an international scale. 

Winner of Best Female Artist at both 

2012 and 2013 Classical BRIT Awards, 

Nicola records exclusively for Decca 

(Universal Music). Her most recent 

recording of Shostakovich & Glazunov 

Violin Concertos has been met with critical 

acclaim. 

Richard Morrison of The Times 

maintains that “This riveting performance 

of Shostakovich’s First Violin Concerto is 

Nicola Benedetti’s best recording to date.” 

Her past seven recordings on Universal/ 

Deutsche Grammophon include a varied 

catalogue of works from Szymanowski 

8

Concerto (London Symphony Orchestra/ 

Daniel Harding) to Homecoming; A 

Scottish Fantasy, which made Nicola the 

first solo British violinist since the 1990s 

to enter the Top 20 of the Official U.K. 

Albums Chart. 

Nicola attracts an enormous amount 

of worldwide media attention following 

the various facets of her extraordinary 

career and her international television 

appearances have been wide and varied 

including performing at the Opening 

Ceremony of the 2014 Commonwealth 

Games to a live audience of approximately 

40,000 and TV viewing audience of 

9.4 million people. 

Nicola was awarded the Queen’s 

Medal for Music in 2017, the youngest 

ever recipient, and was appointed as 

a Member of the Most Excellent Order 

of the British Empire (MBE) in the 2013 

New Year Honours, in recognition of her 

international music career and work with 

musical charities throughout the United 

Kingdom. In addition, Nicola has received 

eight honorary degrees to date. 

Born in Scotland of Italian heritage, 

Nicola began violin lessons at the age 

of five with Brenda Smith. In 1997, she 

entered the Yehudi Menuhin School, 

where she studied with Natasha 

Boyarskaya. Upon leaving, she continued 

her studies with Maciej Rakowski and 

then Pavel Vernikov, and continues to 

work with multiple acclaimed teachers 

and performers. 

Nicola plays the Gariel Stradivarius 

(1717), courtesy of Jonathan Moulds. n 

9

Program Notes 

Ludwig 

van Beethoven (1770-1827) 

Symphony No.4 in B-flat Major, Op.60 

I Adagio – Allegro vivace 

II Adagio 

III Allegro vivace 

IV Allegro ma non troppo 

Much of Beethoven’s music sounds every bit 

as revolutionary as the time in which it was 

written. In the first years of the nineteenth 

century, new social impulses were surging 

through Europe in the aftermath of the 

French Revolution. In these turbulent times, 

the first fully freelance composer of note was 

wresting musical expression from the grip of 

the aristocracy. 

Two of the most iconic manifestations 

of Beethoven’s struggle are his Third and 

Fifth Symphonies. One heroic, one tragic, 

both deal in the big gestures that aligned 

musical expression with the upheavals of the 

time. In between the two came a symphony 

that sounded rather different. Beethoven 

Gustav Mahler, photo by 

actually wrote Adolph his E. Fourth Bieber-Kohut Symphony (1900) either 

side of work on his Fifth. The piece has 

been described variously as ‘delicate’ and 

‘shrinking’. Perhaps it is best viewed not as a 

departure from the imperatives of the Third 

and Fifth, but as a catching of the breath in 

between them. 

As in the Violin Concerto heard later 

tonight, it’s easy to miss the progressive 

characteristics in a piece that doesn’t 

stampede or rail like its neighbours. In 

this symphony, Beethoven maintains the 

elements of surprise, shock and suspense 

with which he had ensured audiences at 

his concerts would sit up and listen. But 

here, they’re more guarded and obscured. 

As the Beethoven expert Barry Cooper has 

observed, this symphony shows a far greater 

10

degree of integration between sections. It 

blurs its boundaries more. 

We hear that happening in the symphony’s 

opening movement. After a slow introduction 

full of suspense, the Allegro vivace seems 

to collapse into life. A steady stream of 

boisterous music follows until the movement 

loses power and we hear ominous rumblings 

from the tuned drums at the back of the 

orchestra, the timpani. 

This is an unusual gesture from 

Beethoven. Firstly because it’s a drum rather 

than a melody instrument which proceeds to 

herald the return of the opening music, with 

a 23-bar timpani rumble on the keynote, B 

flat. Secondly, because Beethoven creates 

a curiously stabilizing mixture of rootedness 

and expectation in that timpani roll, an idea 

he would take further in the Violin Concerto. 

The timpani come to the fore again in 

Beethoven’s Adagio. We hear a graceful song 

over a pulsating accompaniment, both on 

strings to begin with. Not really music for 

drums, you might think. But Beethoven’s 

timpani creep into the discourse once more, 

taking over that that accompaniment figure 

entirely in the movement’s closing bars. 

Traditionally, symphonic third movements 

referenced aristocratic dances, a Minuet 

alternating with a Trio in three-time. As in his 

First Symphony, the republican Beethoven 

subverts his dances, obliterating them 

physically and aesthetically with crossrhythms 

and syncopations. Point made. 

All the musical themes presented so 

far are heard again in Beethoven’s final 

movement. But there are games in store 

here too. After a lone bassoon introduces 

a breakneck theme, the orchestra charges 

forwards before appearing to completely 

lose power again, twice. The second time, 

the music stops completely. First violins play 

the same theme quietly and at half speed, 

the bassoon follows hesitantly, and suddenly 

the full orchestra lunges in again to bring the 

symphony to its close. 

Some claim the Fourth Symphony sounds 

different because it’s concerned more 

with musical arguments than with social 

or philosophical ones. That final movement 

adds weight to the theory. Beethoven wrote 

the symphony quickly in the summer of 

1806, rocked by poor performances of his 

opera Fidelio and deeply worried by his 

brother Carl’s ill-advised decision to marry. 

If Beethoven had sought to escape in ‘pure 

music’, the result suggests it was a fruitful 

and happy place to be. 

Ludwig 

van Beethoven (1770-1827) 

Violin Concerto in D Major, Op.61 

I Allegro ma non troppo 

II Larghetto – 

III Rondo: Allegro 

Yet another piece was brewing inside 

Beethoven in 1806, one that also prompts 

thoughts of an emotional escape. In the very 

same notebooks as he was sketching the 

Fifth Symphony, Beethoven was playing with 

ideas for a work that would share some of 

its characteristics but would sound entirely 

different once more. It was a Violin Concerto 

11

Program Notes 

in the sunny key of D Major, the brightest 

and most contented orchestral work the 

composer would write. 

The concerto was commissioned by 

Franz Clement, leader of the Theatre an der 

Wien’s orchestra, which had introduced the 

composer’s Third Symphony the year before. 

There wasn’t a great deal of time separating 

Beethoven’s finishing of the piece in mid- 

December 1806 and Clement’s booking to 

perform it on 23 of that month. Either way, 

the first performance was a notorious fiasco 

in which Clement resorted to showmanship 

in an attempt to maintain the audience’s 

attention. It took the more committed 

partnership of violinist Joseph Joachim and 

conductor Felix Mendelssohn to rescue the 

concerto from obscurity, in London, almost 

forty years later. 

The demands placed on both Clement 

and Joachim were sizeable. Despite it’s 

cheerful nature, Beethoven’s concerto is a 

tricky customer. It is also a piece from which 

many of our modern notions of virtuosity 

stem. Beethoven was insistent that the role 

of music in society be changed, an ideal he 

reflected musically as well as physically in 

his five piano concertos. The Violin Concerto 

may be genial and tender, but its solo line is 

a triumphant endorsement of individual will, 

spirit and integrity that almost all subsequent 

concertos for the violin have built on. 

Once again, we experience a determined 

but quiet revolution in this piece. And once 

again, the timpani are to the fore. Five 

rooted but understated drumbeats secure 

the concerto’s foundations and are followed 

by a theme that does much the same via 

a combination of grandeur and economy. 

When the solo violin enters soon afterwards, 

it does so on the sharpened pitch of the 

keynote D, with Beethoven asking that it be 

played ‘sweetly’. 

This was an unorthodox way to begin 

a concerto (which might well have put the 

frighteners on Clement) but one that gave 

the piece its distinctively genial footing. 

These first pages establish the work’s tonal 

and rhythmic centres of gravity despite – or 

perhaps because of – that semitone diversion. 

Listen out for the return of the drumbeats, at 

pivotal moments, as the concerto proceeds 

(sometimes they are reimagined by the 

orchestra itself). 

Another vital example of the concerto’s 

unusual disposition comes in the middle 

movement, marked Larghetto (‘fairly 

slow’). Here the violin presents variations 

on a contemplative theme over a muted 

accompaniment that includes touching 

pizzicatos (plucked strings). In Beethovenian 

terms, this is music of comparatively little 

action. But it rises to poignant climaxes 

before the strings hurl the music back into 

the home key with a sudden fortissimo (‘very 

loud’) outburst. 

The soloist’s cadenza – an improvised 

flourish – then plonks the orchestra onto 

the rails of the playful final movement, which 

employs a theme Beethoven doesn’t once 

feel the need to alter. The music charges 

along until it veers into a quiet diversion, and 

then into another strange key (A flat), before 

halting conclusively once and for all. 

Programme notes by 

Andrew Mellor © 2017 

12

Orchestra of the Age 

of Enlightenment 

USA Tour | February 2018 

John Butt 

principal artist 

Sir Mark Elder 


Iván Fischer 


Vladimir Jurowski 


Sir Simon Rattle 


William Christie 

emeritus conductor 

Sir Roger Norrington 

emeritus conductor 

VIOLIN I 

Michael Gurevich, 

concertmaster 

Alice Evans 

Andrew Roberts 

Kinga Ujszaszi 

Claudia Norz 

Silvia Schweinberger 

Jayne Spencer 

VIOLIN II 

John Crockatt 

Dominika Fehér 

Declan Daly 

Iona Davies 

Debbie Diamond 

Stephen Rouse 

VIOLA 

Max Mandel 

Nicholas Logie 

Marina Ascherson 

Kathryn Heller 

CELLO 

Andrew Skidmore 

Catherine Rimer 

Helen Verney 

Ruth Alford 

BASS 

Cecelia Bruggemeyer 

Carina Cosgrave 

FLUTE 

Lisa Beznosiuk 

OBOE 

Daniel Lanthier 

Leo Duarte 

CLARINET 

Antony Pay 

Katherine Spencer 

BASSOON 

Meyrick Alexander 

Sally Jackson 

HORN 

Phillip Eastop 

Martin Lawrence 

TRUMPET 

David Blackadder 

Phillip Bainbridge 

TIMPANI 

Adrian Bending 

ORCHESTRA 

OF THE AGE OF 

ENLIGHTENMENT 

MANAGEMENT 

CHIEF EXECUTIVE 

Crispin Woodhead 

ORCHESTRA 

MANAGER 

Philippa Brownsword 

PROJECTS 

MANAGER 

Jo Perry 

DEVELOPMENT 

DIRECTOR 

Emily Stubbs 

DIRECTOR 

OF FINANCE & 

OPERATIONS 

Ivan Rockey 

EDUCATION DIRECTOR 

Cherry Forbes 

DIRECTOR OF 

MARKETING & 

AUDIENCE 

DEVELOPMENT 

John Holmes 

PR DIRECTOR 

Katy Bell 

INTERNATIONAL TOUR 

MANAGEMENT by 

Askonas Holt Ltd 

CHIEF EXECUTIVE 

Donagh Collins 

HEAD OF TOURS AND 

PROJECTS 

Sergio Porto Bargiela 

SENIOR PROJECT 

Manager 

Suzanne Doyle 

PROJECT 

ADMINISTRATOR 

Elinor Camlin 

13


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 

14

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 

15

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) 

16


“I think too often 

people think of the 

arts as decoration to 

the experiences of life, 

sort of a frosting on 

the cake. But to me, 

the arts are essential 

to understanding the 

problems of life, and to 

helping us get through 

the experiences of life 

with intelligent understanding 

and grace.” 

– Philanthropist and 

CAMA Friend 

Robert M. Light 

YOU Ensure 

the Tradition 

Your generosity through planned giving secures 

the future of CAMA. When you include CAMA in 

your will or living trust, your contribution ensures 

CAMA’s great classical music performances and 

music outreach programs continue. 

Thank you for being part of our Community. 

CAMA offers the opportunity to ensure the 

future of our mission to bring world-class music 

to Santa Barbara. By including CAMA in your will or 

living trust, you leave a legacy of great concerts and 

music appreciation outreach programs for future 

generations. 

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

Join Elizabeth Alvarez, CAMA Director of Development, 

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

elizabeth@camasb.org 

COMMUNITY ARTS MUSIC ASSOCIATION 

(805) 966-4324 • www.camasb.org 

17

CAMA ENDOWMENT: A Sound Investment 

YOU ensure that great music and world-class artists 

continue to grace Santa Barbara stages for decades to come. 

Endowment funds are needed to bridge the gap between ticket sales 

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

needed to sustain CAMA’s outstanding music education programs. 

MOZART SOCIETY 

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

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

black-tie dinner. 

LEGACY SOCIETY 

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

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

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

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

to learn more about CAMA’s Endowment. 

18

MOZART SOCIETY 

conductor’s circle 

($500,000 and above) 

Mr. & Mrs. Russell S. Bock 

Linda Brown* 

Esperia Foundation 

SAGE Publications 

crescendo circle 

($250,000-$499,999) 

Andrew H. Burnett Foundation 



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 



19 


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 


NancyBell Coe & Bill Burke 

Dan & Meg Burnham 

The CAMA Women's Board 

NancyBell Coe & William Burke 


The Elaine F. Stepanek 


Carla Hahn 



Joan & Palmer Jackson 



Lynn P. Kirst 

John Lundegard 



Mary Lloyd & Kendall Mills 



The Samuel B. & Margaret C. 






Nancy Schlosser 

The Shanbrom Family Foundation 

The Walter J. & 

Holly O. Thomson Foundation 


The Towbes Fund for the 

Performing Arts 

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 

Priscilla & Jason Gaines 

Ronda & Bill Hobbs 


Shirley Ann & James H. Hurley, Jr. 

Jill Dore Kent 

Lois Kroc 

MaryAnn Lange 

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 

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) 

20

MUSICIANS SOCIETY 

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

Thank you for your generous annual donation. 

Benefactors 

($500 - $999) 

David Ackert 

Shelley & Mark Bookspan 

Edith M. Clark 

Betsy & Kenneth Coates 

Wendy & Rudy Eiser 

Thomas & Doris Everhart 

Elinor & James Langer 

Christie & Morgan Lloyd 

Phyllis Brady & Andy Masters 

Patriicia & William McKinnon 

Pamela McLean & 

Frederic Hudson 

Peter L. Morris 

Maryanne Mott 

Natalie Myerson 

Justyn Person 

Patricia & Robert Reid 

Lynn & Mark Schiffmacher 

Maureen & Les Shapiro 

Halina W. Silverman 

Barbara & Wayne Smith 

Carol Vernon & Robert Turbin 

Dody Waugh & Eric Small 

Cheryl & Peter Ziegler 

Contributors 

($250 - $499) 

Sylvia Abualy 

Antoinette & Shawn Addison 

Jyl & Allan Atmore 

Howard A. Babus 

Doris Lee Carter 

Lavelda & Lynn Clock 

Michael & Ruth Ann Collins 

Joan & Steven Crossland 

Peggy & Timm Crull 

Ann & David Dwelley 

Margaret Easton 

Ghita Ginberg 

Linda & Antony Harbour 

Debbie & Frank Kendrick 

June & William Kistler 

Andrew Mester, Jr. 

Myra & Spencer Nadler 

Carolyn & Dennis Naiman 

Maureen O'Rourke 

Hensley & James Peterson 

Julia & Arthur Pizzinat 

Bette & Claude Saks 

Ada B. Sandburg 

Kathryn Lawhun & 

Mark Shinbrot 

Karen Spechler 

Beverly & Michael Steinfeld 

Jacqueline & Ronald Stevens 


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) 

21

MUSIC EDUCATION PROGRAM 

$25,000 and above 

The Walter J. & Holly O. Thomson Foundation 

$10,000 - $24,999 

Ms. Irene Stone/ 

Stone Family Foundation 

$1,000 - $9,999 

William H. Kearns Foundation 


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 

DR. WALTER PICKER 

Ann M. Picker 

FREDERICK F. LANGE 

MaryAnn Lange 

CORNELIA CHAPMAN 

Ellicott Million 

NAN BURNS 

DR. GREG DALLEN 

ROBERT S. GRANT 

William S. Hanrahan 

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) 

22

BUSINESS SUPPORTERS 

American Riviera Bank 

James P. Ballantine 

Belmond El Encanto 

Wes Bredall 

Heather Bryden 

Ca' Dario 

Camerata Pacifica 

Casa Dorinda 

Chaucer's Books 

Cottage Health System 

DD Ford Construction 

Eye Glass Factory 

First Republic Bank 

Flag Factory of Santa Barbara 

Gainey Vineyard 

Colin Hayward/The Hayward Group 

Steven Handelman Studios 

Help Unlimited 

SR Hogue & Co Florist 

Indigo Interiors 

Maravilla/Senior Resource Group 

Microsoft® Corporation 


Northern Trust 

Oceania Cruises 

Olio e Limone/Olio Crudo Bar/ 

Olio Pizzeria 

Pacific Coast Business Times 

Peregrine Galleries 



Regent Seven Seas Cruises 

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 

23

CAMA presents Orchestra of the Age of Enlightenment with Nicola Benedetti – Tuesday, February 13, 2018, International Series at The Granada Theatre, 8PM

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