CAMA's Masterseries at The Lobero Theatre presents
Peter Serkin, piano
Saturday, February 24, 2018
Lobero Theatre, Santa Barbara, California, 8pm
Wolfgang Amadeus Mozart: Adagio in B minor, K.540
Wolfgang Amadeus Mozart: Sonata No.17 in B-flat Major, K.570
Johann Sebastian Bach: The Goldberg Variations, BWV 988
The distinguished American pianist Peter Serkin‘s rich musical heritage extends back several generations: his father was pianist Rudolf Serkin and his grandfather violinist/composer Adolf Busch. Recognized over the past five decades as a major artist of deep passion and integrity, his inspired performances and recordings have successfully conveyed the essence of nearly five centuries of keyboard repertoire and been lauded worldwide. He returns for his fifth Masterseries appearance with an Apollonian program of Mozart, plus Bach’s immortal Goldberg Variations.
Presenting the world’s finest classical artists since 1919
masterseries at The Lobero Theatre
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PETER
SERKIN
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PETER SERKIN, piano
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Presenting the world’s finest classical artists since 1919
THURSDAY, APRIL 12, 2018, 8PM
SIR ANDRÁS SCHIFF PIANO
Mendelssohn-Bartholdy: Fantasy in F-sharp minor, Op.28
Beethoven: Sonata No.24 in F-sharp Major, Op.78
Brahms: 8 Klavierstücke, Op.76
Brahms: 7 Fantasien, Op.116
Bach: English Suite No.6 in D minor, BWV 811
Sir András Schiff is world-renowned and critically acclaimed
as a pianist, conductor, pedagogue and lecturer. He returns to
Santa Barbara for his seventh Masterseries appearance in recital.
Knighted by Queen Elizabeth II for his services to music,
Sir András is one of the piano’s true legends.
Single tickets at
The Lobero Theatre Box Office
A $64 • B $54
(805) 963-0761 • lobero.com
For more information visit camasb.org
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2
Presenting the world’s finest classical artists since 1919
masterseries at The Lobero Theatre
SEASON SPONSOR: ESPERIA FOUNDATION
PETER SERKIN PIANO
SATURDAY, FEBRUARY 24, 2018, 8PM • LOBERO THEATRE, SANTA BARBARA
WOLFGANG AMADEUS MOZART
(1756-1791)
Adagio in B minor, K.540
Sonata No.17 in B-flat Major, K.570
Allegro
Adagio
Allegretto
INTERMISSION
JOHANNES SEBASTIAN BACH
(1685-1750)
Goldberg Variations, BWV 988
Aria
Variatio 1. a 1 Clav.
Variatio 2. a 1 Clav.
Variatio 3. Canone all’Unisono. a 1 Clav.
Variatio 4. a 1 Clav.
Variatio 5. a 1 ô vero 2 Clav.
Variatio 6. Canone alla Seconda. a 1 Clav.
Variatio 7. a 1 ô vero 2 Clav. al tempo di Giga
Variatio 8. a 2 Clav.
Variatio 9. Canone alla Terza. a 1 Clav.
Variatio 10. Fughetta. a 1 Clav.
Variatio 11. a 2 Clav.
Variatio 12. a 1 Clav. Canone alla Quarta in moto contrario
Variatio 13. a 2 Clav.
Variatio 14. a 2 Clav.
Variatio 15. Canone alla Quinta. a 1 Clav.: Andante
Variatio 16. Ouverture. a 1 Clav.
Variatio 17. a 2 Clav.
Variatio 18. Canone alla Sesta. a 1 Clav.
Variatio 19. a 1 Clav.
Variatio 20. a 2 Clav.
Variatio 21. Canone alla Settima
Variatio 22. a 1 Clav. alla breve
Variatio 23. a 2 Clav.
Variatio 24. Canone all'Ottava. a 1 Clav.
Variatio 25. a 2 Clav.: Adagio
Variatio 26. a 2 Clav.
Variatio 27. Canone alla Nona. a 2 Clav.
Variatio 28. a 2 Clav.
Variatio 29. a 1 ô vero 2 Clav.
Variatio 30. a 1 Clav. Quodlibet
Aria da Capo
Peter Serkin is a Steinway Artist and has recorded for Arcana, Boston Records, Bridge, Decca, ECM, Koch Classics,
New World Records, RCA/BMG, Telarc and Vanguard Classics.
Worldwide Representation: Kirshbaum Demler & Associates, Inc.
711 West End Avenue, Suite 5KN • New York, NY 10025 • www.kirshdem.com
CAMA gratefully acknowledges our sponsors for tonight's performance.
MASTERSERIES SEASON SPONSOR: Esperia Foundation
CO-SPONSOR: CAMA Women's Board
CONCERT PARTNERS: Stephen Cloud • Joanne Holderman
Elizabeth Karlsberg & Jeff Young • Stephen J.M. & Anne Morris
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performance. The photographing or sound recording of this concert or possession of any device
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COMMUNITY ARTS MUSIC ASSOCIATION | www.camasb.org
© David Bazemore
PETER
SERKIN Piano
Recognized as an artist of passion
and integrity, the distinguished
American pianist Peter Serkin has
successfully conveyed the essence of
five centuries of repertoire. His inspired
performances with symphony orchestras,
in recital appearances, chamber music
collaborations and on recordings have
been lauded worldwide for decades.
Peter Serkin’s rich musical heritage
extends back several generations: his
grandfather was violinist and composer
Adolf Busch and his father pianist Rudolf
Serkin. He has performed with the world’s
major symphony orchestras, led by such
eminent conductors as Seiji Ozawa,
Pierre Boulez, Alexander Schneider,
Daniel Barenboim, George Szell, Eugene
Ormandy, Claudio Abbado, Simon Rattle,
James Levine, Herbert Blomstedt, Rafael
Frühbeck de Burgos and George Cleve.
A dedicated chamber musician, Mr.
Serkin has collaborated with Alexander
Schneider, Pamela Frank, Yo-Yo Ma, the
Budapest, Guarneri, Orion, Shanghai,
and Dover String Quartets and TASHI,
of which he was a founding member.
An avid exponent of the music of
many of the 20th and 21st century’s most
important composers, Mr. Serkin has been
4
instrumental in bringing to
life the music of Schoenberg,
Reger, Webern, Berg, Stravinsky,
Wolpe, Messiaen, Takemitsu,
Wuorinen, Goehr, and Knussen
for audiences around the
world. He has performed many
important world premieres
of works written specifically
for him, in particular by Toru
Takemitsu, Hans Werner Henze,
Luciano Berio, Leon Kirchner,
Alexander Goehr, Oliver Knussen
and Charles Wuorinen. Mr. Serkin
has recently made several arrangements
of four-hand music by Mozart, Schumann
and his grandfather, Adolf Busch, for
various chamber ensembles and for
full orchestra. He has also arranged all
of Brahms’s organ Chorale-Preludes,
transcribed for one piano, four-hands.
Mr. Serkin’s 2017-2018 season
began with concerts in Japan, and he
continues with solo recitals in Ashland
OR, Sonoma, Fresno, and Santa Barbara
CA, Ridgewood, NJ, and St. Paul, MN,
performing Mozart Sonatas paired with
Bach’s Goldberg Variations. Orchestral
engagements include the Bartók Concerto
for Two Pianos, Percussion, and Orchestra
with Anna Polansky, Orchestra Now, and
Leon Botstein at Carnegie Hall. The pianist
also performs with the Rogue Valley and
Duluth-Superior Symphonies, and he joins
the Dover Quartet for the Brahms Piano
Quintet at South Mountain Concerts.
Last season, Mr. Serkin performed solo
recitals in New York City, Beacon, NY, and
Mount Kisco, NY, and orchestral programs
n
Peter Serkin has
performed many
important
world premieres
of works written
specifically for him,
in particular by Toru
Takemitsu, Hans
Werner Henze,
Luciano Berio,
Leon Kirchner,
Alexander Goehr,
Oliver Knussen and
Charles Wuorinen.
n
with the Sacramento
Philharmonic and Berkshire
and Longwood Symphonies. In
April, he joined members of
the New York Philharmonic
in a performance of the
Busch Piano Quintet at
New York City’s Merkin
Concert Hall at Kaufman
Music Center. Following
engagements with the Curtis
Symphony Orchestra in
Philadelphia, Mr. Serkin
embarked on a European tour
with the orchestra, performing Brahms
Piano Concert No. 1 in London, Berlin, Vienna,
Salzburg, Dresden, Bremen and Wroclaw.
Recent summer seasons have featured
engagements at the Ravinia, Tanglewood,
La Jolla, Chautauqua, and Music Mountain
Music Festivals, BBC Proms, Oxford
Philharmonic and Bellingham Music
Festivals performing concertos, chamber
music, and duo piano programs. Mr.
Serkin traveled to Havana, Cuba with
the Bard Conservatory Orchestra in June
2016 and has been Artist-in-Residence
at the Santa Fe Chamber Music Festival.
Orchestral highlights of recent
seasons have included the Boston,
Chicago, American, Sydney and Saint
Louis Symphonies, New York Philharmonic
and Scottish Chamber Orchestra, while
recital tours have taken Mr. Serkin to
Hong Kong, Cologne, Philadelphia,
Detroit, Pittsburgh, Santa Monica,
Princeton and New York’s 92nd Street Y.
Mr. Serkin currently teaches at Bard
College Conservatory of Music. n
5
Program Notes
by Howard Posner
Nothing is known about the
origin of the MOZART works on
this program other than what
Mozart wrote on the manuscript
scores, which say the Adagio in B minor
was composed in Vienna in 1788, and the
Sonata in B flat in Vienna in 1789. Those were
difficult years for Mozart. For most musicians
of that time, the key to success and security
was to get a good job in a church or an
aristocratic court. The musician who dealt
directly with the public by staging his own
concerts, publishing his compositions and
teaching privately was still a rarity. Mozart
had settled in the capital in 1782 and
prospered in the life of a free-lance musician
and concert impresario, and his career in
Vienna showed both the advantages and
disadvantages of going solo. Within a few
years the Mozarts could afford expensive
lodgings and servants, but his concert
business began to wane, and when the Holy
Roman Empire went to war with the Ottoman
Empire in 1788, it caused a recession that
hit Mozart particularly hard because many
of the aristocrats who were his clientele left
the city. He was unwilling to cut back his
expenditures enough to match his reduced
income, probably figuring that the problem
was only temporary, and he could revive his
fortunes by looking abroad if necessary. In
the long run, he would doubtless have been
proved right, but the turnaround had barely
begun when he died in 1791.
The Emperor himself became concerned
that Mozart would leave Vienna, and in
Bach Monument, Leipzig, created by Carl Seffner in 1908
©Vladimir Ovchinnikov
6
December 1787 appointed him Imperial
Chamber Composer. This was a prestigious
position (it was vacant only because Christoph
Willibald Gluck, the previous holder, had
died) but not a full-time job. Mozart styled
himself “Kapellmeister” because of it, but
the only firm duty was writing dances for
Imperial balls. Mozart did indeed go looking
for prospects elsewhere, making a mid-
1789 trip to Berlin (where he hoped for
commissions or employment from the musicloving
king of Prussia), Leipzig, and Dresden,
but returned to Vienna with nothing to show
for the journey.
The Adagio in B minor was published
the year it was composed. It is an intense
and adventurous work in sonata form,
characterized by yearning, eerie chromatically
altered harmonies. Parts of the development
come unmoored tonally, with unsettling
modulations that would be at home in a work
written a century later.
Mozart wrote the Sonata in B flat, his
penultimate piano sonata, just before he set
off for Berlin in 1789. It is far more relaxed
in spirit and far less compositionally bold
than the Adagio, staying well within the 18th
century. Although it would seem to be a more
accessible, and therefore more saleable,
work than the B minor Adagio, it was not
until five years after Mozart died that it was
published (with a spurious violin part that
adds nothing musically: music publishers
catered to amateurs who wanted music to
play socially, and if a work that complete as
a piano solo but could also accommodate
a violin, or violin and cello, it was doubly
marketable)
The slow movement is a rondo, in which
the contrasting episodes are set aside more
by changes in key than changes in mood. The
finale has been described as “rondo of sorts,”
with one less repetition of the first section
than normal (it’s missing from the middle of
the movement). The movement is full of wry
humor, and has passages where it doesn’t
take much imagination to hear the piano
laughing.
Unlike the two Mozart works, BACH’S
TITANIC SET OF VARIATIONS has a wellknown
origin story, even if that story is
probably a complete myth.
Bach published very little of his music.
Publication was routine in Mozart’s day was
routine, but it could be an expensive and
time-consuming process in the mid-18th
century, and Bach must have known that
his music had such a reputation for being
difficult to play that it would be a tough
sell. But there was a vogue for published
collections of keyboard music titled Clavier-
Übung (Keyboard Practice), and Bach, the
musicians’ musician par excellence, thought
fit to throw his hat into the ring with four
Clavier-Übung volumes of his own. The fourth
volume, printed in Nuremberg in 1742, was
titled:
Keyboard Practice,
consisting of an Aria
with Diverse Variations
for the Harpsichord with 2 Manuals
Composed for Music Lovers, to Refresh the
Spirits, by
Johann Sebastian Bach
Royal Polish and Electoral Saxon Composer,
Capellmeister, and
Director Chori Musici in Leipzig
7
The Aria with Diverse Variations has
become known as the Goldberg Variations
because of a story that Johann Nicolaus
Forkel related in On Johann Sebastian
Bach’s Life, Genius and Works, the first
book-length Bach biography. According
to Forkel, Bach wrote the variations for
the Russian ambassador to the court of
Saxony in Dresden, Count Hermann Karl von
Keyserlingk, who “often stayed in Leipzig,”
where Bach lived and worked as music
director for three Lutheran churches and
principal of the church-affiliated choir school.
The ambassador brought with him his court
harpsichordist, Johann Gottlieb Goldberg, “to
have him given musical instruction by Bach.
The count was often ill and had sleepless
nights. At such times, Goldberg, who lived
in his house, had to spend the night in an
antechamber, so as to play for him during
his insomnia. The count once told Bach that
he would like to have some clavier pieces
for Goldberg, which should be of such a
smooth and somewhat lively character that
he might be a little cheered up by them in
his sleepless nights.” Bach obliged, and the
ambassador was so pleased with the set
of variations Bach supplied that he “always
called them his variations. He never tired of
them, and for a long time sleepless nights
meant: ‘Dear Goldberg, do play me one of
my variations.’ Bach was perhaps never so
rewarded for one of his works as for this. The
count presented him with a golden goblet
filled with 100 louis-d’or.”
The story has aroused much doubt. For
one thing, nobody has any idea where Forkel
got it. His biography dates from 1802, more
than 60 years after the fact and 50 years after
Bach’s death, and there is no known source
for the story before that. Forkel relied on
Bach’s two eldest sons for other anecdotes,
but there is no evidence that either of them
mentioned it. Even if Bach composed the
variations just before sending them to the
printer, Goldberg would have been no older
than 14 in 1741 (he died of tuberculosis
in 1756, so Forkel could not have gotten
the story from him). The variations bear no
dedication to the ambassador, which would
be very much against social convention—and
thus unspeakably rude on Bach’s part—if
the ambassador had commissioned them.
There is no gold goblet mentioned in the
detailed inventory of Bach’s estate. There is
no evidence that Bach ever taught Goldberg.
And it would have been very odd for the
ambassador to the Dresden court to spend
so much time in Leipzig, where it would
take three days to learn about, and respond
to, any development in Dresden. Writers
of history and biography in Forkel’s day
tended to be inclusive rather than skeptical,
so even a conscientious writer like Forkel
might pass along apocrypha without
vetting it.
Still, Forkel’s story has hung on, and
has even created the impression among
the more impressionable that the Goldberg
Variations should be somehow soporific in
nature: an extended lullaby.
Bach would have had a more obvious
purpose: illustrating the full range of
technical and musical resources possible on
the keyboard. He began with an aria based
on elaboration of the bass line known at the
time as the chaconne—which descends (G-F
sharp-E-D) then ascends (B-C-D-G)—then
8
composed thirty variations over that bass
line.
There are ten groups of three
variations. In the first nine groups, the
third variation is a canon, in which the
second voice imitates the first voice
strictly. The first canon is “all unisono”
(the second voice enters on the same
note as the first) but the voices enter one
note further apart in each succeeding
canons. So in Variation 6, the first voice
begins on a G and the second voice
enters “alla Seconda” on the A one note
higher. In Variation 9, “Canona alla Terza,”
the first voice begins on a B and the
second voice on the G a third lower, but
the second voice is “inverted”: it ascends
wherever the first voice descends and
vice versa, as if it’s the first voice written
upside down. In every canon but the last,
Variation 27, the voices imitating each
other in canon are accompanied by a
freely composed bass line. This sort of
composition is a something of a game
between the composer and the player
looking the score (and the game could
get weird: composers were fond of puzzle
canons, in which they might write one
line and let the player figure out that the
second voice is the first one upside down
and backwards, perhaps with the aid of a
cryptic verbal hint) so the concert listener
hearing it for the first time, or the tenth, is
unlikely to figure out what the rules are.
Some variations, typically the second in
the group of three, are free counterpoint
of the sort that Bach elsewhere called a
two-part invention. Bach’s contemporaries
would have heard dance rhythms in some
variations, such as the gigue in Variation 11
and the minuet in Variation 19.
Variation 10 is a short fugue. Variation
16 is a full-blown French Overture, with a
stately pompous opening leading to a fugal
second section.
Variation 30, the only third variation
that is not a canon, is a quodlibet, in which
at least three folk songs (there could be
more; modern scholars have not been
able to identify all the melodic strains)
superimposed on each other. This is both
a compositional stunt and the innest of
in jokes. Forkel wrote that the Bach and
his relatives had annual family reunions
devoted to music, in which they would start
by singing hymns, move on to songs that
were “partly comic and partly naughty,” and
then finally improvise quodlibets.
Some of the variations feature more
purely virtuosic showing off than we’re used
to getting from Bach, and it’s so hard not
to hear the influence of Domenico Scarlatti
in the scampering and hand-crossings in
Variations 14, 20, 23 26 and 28 that some
Bach scholars assume Bach had studied
Scarlatti’s 30 Essercizi, the only publication of
Scarlatti’s harpsichord music during Bach’s
(or Scarlatti’s) lifetime. It came out in 1738,
which meant that Bach would have had to
get his hands on it soon after it came out.
There is no actual evidence that he did, but
Bach was an avid devourer of music by any
composer he thought he might learn from.
It would have entirely in character for him to
immerse himself in the latest cutting-edge
keyboard music and reflect that immersion
in his epic essay of keyboard possibilities. n
©2018, Howard Posner
9
Presenting the world’s finest classical artists since 1919
Message from the President
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hope you will also consider a sponsorship
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Robert K. Montgomery
President
10
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(805) 966-4324 Elizabeth@camasb.org
11
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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
Louise & Michael Caccese
Dr. & Mrs. Jack Catlett
Roger & Sarah Chrisman
NancyBell Coe &
Bill Burke
Mr. & Mrs. Robert M. Colleary
Mrs. Maurice E. Faulkner
Mr. Daniel H. Gainey
Mr. Arthur R. Gaudi
Mr. & Mrs. Robert B. Gilson
The George H. Griffiths &
Olive J. Griffiths Charitable
Foundation
Mr. Richard Hellman
Joanne Holderman
Michael & Natalia Howe
The Hutton Parker Foundation
Ellen & Peter Johnson
Judith Little
John & Lucy Lundegard
Mrs. Max E. Meyer
Montecito Bank & Trust
Bob & Val Montgomery
Mr. & Mrs. Craig A. Parton
Performing Arts Scholarship
Foundation
Marjorie S. Petersen/
La Arcada Investment Corp.
Mr. Ted Plute & Mr. Larry Falxa
Lady Ridley-Tree
Barbara & Sam Toumayan
Judy & George Writer
topaz circle
$25,000 - $49,999
Anonymous
Edward Bakewell
Helene & Jerry Beaver
Deborah & Peter Bertling
Robert Boghosian &
Mary E. Gates-Warren
Mr. & Mrs. Andrew Burnett
Linda Stafford BurrowsMs.
Huguette Clark
Mrs. Leonard Dalsemer
Edward S. De Loreto
Mr. & Mrs. Larry Durham
Dr. Robert M. & Nancyann
Failing
The George Frederick Jewett
Foundation
Patricia Kaplan
Elizabeth Karlsberg &
Jeff Young
Lynn P. Kirst & Lynn R.
Matteson
Otto Korntheuer/ The Harold L.
Wyman Foundation in memory
of Otto Korntheuer
Chris Lancashire &
Catherine Gee
Mrs. Jon B. Lovelace
Leatrice Luria
Mrs. Frank Magid
Ruth McEwen
Frank McGinity
Sheila Bourke McGinity
Frank R. Miller, Jr.
James & Mary Morouse
Patricia Hitchcock O’Connell
Efrem Ostrow Living Trust
Mr. Ernest J. Panosian
Mr. & Mrs. Roger A. Phillips
Kathryn H. Phillips
Mrs. Kenneth Riley
Judith F. Smith
Marion Stewart
Ina Tournallyay
Mrs. Edward Valentine
The Outhwaite Foundation
The Elizabeth Firth Wade
Endowment Fund
Maxine Prisyon & Milton
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
Ronald & Rosalind A. Fendon
Audrey Hillman Fisher
Foundation
Dave Fritzen/DWF Magazines
Catherine H. Gainey
Kay & Richard Glenn
The Godric Foundation
Corinna & Larry Gordon
Mr. & Mrs. Freeman Gosden, Jr.
Mr. & Mrs. Bruce Hanna
Mr. & Mrs. Robert Hanrahan
Lorraine Hansen
Mr. & Mrs. Stanley Hatch
Dr. & Mrs. Richard Hawley
Dr. & Mrs. Alan Heeger
Mr. Preston Hotchkis
Elizabeth & Gary Johnston
Mahri Kerley
KDB Radio
Linda & Michael Keston
Mrs. Robert J. Kuhn
Catherine Lloyd/Actief-cm, Inc.
Leatrice Luria
Nancy & Jim Lynn
Keith J. Mautino
Jayne Menkemeller
Myra & Spencer Nadler
Karin Nelson & Eugene Hibbs, Jr.
Joanne & Alden Orpet
Mr. & Mrs. Charles Patridge
Patricia & Carl Perry
John Perry
Mrs. Ray K. Person
Ellen & John Pillsbury
Anne & Wesley Poulson
Susannah Rake
Mr. & Mrs. Frank Reed
Jack Revoyr
Betty & Don Richardson
The Grace Jones
Richardson Trust
Dorothy Roberts
The Roberts Bros. Foundation
John F. Saladino
Jack & Anitra Sheen
Sally & Jan Smit
Betty Stephens &
Lindsay Fisher
Selby & Diane Sullivan
Joseph M. Thomas
Milan E. Timm
Mark E. Trueblood
Steven D. Trueblood
Kenneth W. & Shirley C. Tucker
Mr. & Mrs. Hubert D. Vos
Barbara & Gary Waer
Mr. &Mrs. David Russell Wolf
Dick & Ann Zylstra
* promised gift
(Gifts and pledges received
as of January 4, 2018)
12
Presenting the world’s finest classical artists since 1919
“I think too often
people think of the
arts as decoration to
the experiences of life,
sort of a frosting on
the cake. But to me,
the arts are essential
to understanding the
problems of life, and to
helping us get through
the experiences of life
with intelligent understanding
and grace.”
– Philanthropist and
CAMA Friend
Robert M. Light
YOU Ensure
the Tradition
Your generosity through planned giving secures
the future of CAMA. When you include CAMA in
your will or living trust, your contribution ensures
CAMA’s great classical music performances and
music outreach programs continue.
Thank you for being part of our Community.
CAMA offers the opportunity to ensure the
future of our mission to bring world-class music
to Santa Barbara. By including CAMA in your will or
living trust, you leave a legacy of great concerts and
music appreciation outreach programs for future
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
13
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.
14
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
Judith L. Hopkinson
Herbert & Elaine Kendall
cadenza patrons
($100,000-$249,999)
Anonymous
Anonymous
Bitsy Becton Bacon
Mary & Ray Freeman
Mr. & Mrs. James H. Hurley Jr.
William & Nancy Myers
Jan & John Severson
Judith & Julian Smith
Michael Towbes
rondo patrons
($50,000-$99,999)
Peter & Deborah Bertling
Linda & Peter Beuret
Robert & Christine Emmons
Stephen R. & Carla Hahn
Dolores M. Hsu
The Samuel B. & Margaret C.
Mosher Foundation
Santa Barbara Bank & Trust
Mr. & Mrs. Byron K. Wood
concerto patrons
($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.
Sara Miller McCune
Mr. & Mrs. Frank R. Miller, Jr.
The Hutton Foundation
Efrem Ostrow Living Trust
Craig & Ellen Parton
Walter J. Thomson/
The Thomson Trust
Mr. & Mrs. Sam Toumayan
sonata patrons
($10,000-$24,999)
Anonymous
The Adams Foundation
Mr. & Mrs. Peter Adams
Else Schilling Bard
Dr. & Mrs. Edward E. Birch
Frank Blue & Lida Light Blue
The CAMA Women’s Board
(Sally Lee Remembrance
Fund and Marilyn Roe
Remembrance Fund)
Dr. Robert Boghosian &
Ms. Mary E. Gates-Warren
Mr. & Mrs. Andrew Butcher
Virginia Castagnola-Hunter
Dr. & Mrs. Charles Chapman
NancyBell Coe & William Burke
Dr. Karen Davidson
Mr. & Mrs. Larry Durham
Dr. Robert & Nancyann Failing
Dr. & Mrs. Jason Gaines
Mr. & Mrs. Daniel Gainey/
Daniel C. Gainey Fund
Arthur R. Gaudi
Sherry & Robert B. Gilson
Mr. & Mrs. Bruce Hanna
Ms. Lorraine Hansen
Joanne C. Holderman
Patricia Kaplan
Elizabeth Karlsberg &
Jeff Young
Mrs. Thomas A. Kelly
Mahri Kerley
Lynn P. Kirst & Lynn R.
Matteson
Dr. & Mrs. Robert J. Kuhn
Mr. John Lundegard/
Lundegard Family Fund
Keith J. Mautino
Jayne Menkemeller
Mr. & Mrs. Max Meyer
Bob & Val Montgomery
Mary & James Morouse
Dr. & Mrs. Spencer Nadler
Patricia Hitchcock O’Connell
Performing Arts Scholarship
Foundation
John Perry
Mrs. Hugh Petersen
Mr. & Mrs. Roger A. Phillips
Ellen & John Pillsbury
Miss Susannah E. Rake
Mrs. Kenneth W. Riley
Michele & Andre Saltoun
Dr. & Mrs. Jack Sheen/Peebles
Sheen Foundation
Sally & Jan E.G. Smit
Mr. & Mrs. Edward Stepanek
Betty J. Stephens, in
recognition of my friend
Judy Hopkinson
Dr. & Mrs. William A. Stewart
Mark E. Trueblood
Dr. & Mrs. H. Wallace Vandever
The Elizabeth Firth Wade
Endowment Fund
Mr. & Mrs. Gary Waer
Mr. & Mrs. David Russell Wolf
* promised gift
LEGACY SOCIETY
WE GRATEFULLY ACKNOWLEDGE CAMA LEGACY SOCIETY MEMBERS FOR
REMEMBERING CAMA IN THEIR ESTATE PLANS WITH A DEFERRED GIFT.
Anonymous
Peter & Becky Adams
Bitsy Becton Bacon
Else Schilling Bard
Peter & Deborah Bertling
Linda & Peter Beuret
Lida Light Blue & Frank Blue
Mrs. Russell S. Bock
Dr. Robert Boghosian &
Ms. Mary-Elizabeth Gates-Warren
Linda Brown *
Elizabeth & Andrew Butcher
Virginia Castagnola-Hunter
Jane & Jack Catlett
Bridget & Bob Colleary
Karen Davidson, M.D &
David B. Davidson, M.D.
Patricia & Larry Durham
Christine & Robert Emmons
Ronald & Rosalind A. Fendon
Mary & Ray Freeman
Arthur R. Gaudi
Stephen & Carla Hahn
Beverly Hanna
Ms. Lorraine Hansen
Joanne C. Holderman
Judith L. Hopkinson
Dolores M. Hsu
Mr. & Mrs. James H. Hurley, Jr.
Elizabeth & Gary Johnston
Herbert & Elaine Kendall
Mahri Kerley
Lynn P. Kirst & Lynn R. Matteson
Lucy & John Lundegard
Keith J. Mautino
Sara Miller McCune
15
Raye Haskell Melville
Mr. & Mrs. Frank R. Miller, Jr.
Dr. & Mrs. Spencer Nadler
Ellen & Craig Parton
Diana & Roger Phillips
Ellen & John Pillsbury
Michele & Andre Saltoun
Judith & Julian Smith
Mr. & Mrs. Sam Toumayan
Mark E. Trueblood
Dr. & Mrs. H. Wallace Vandever
Barbara & Gary Waer
Nancy & Kent Wood
* promised gift
(Gifts and pledges received
as of December 1, 2017)
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
Alison & Jan Bowlus
NancyBell Coe & Bill Burke
Dan & Meg Burnham
The CAMA Women's Board
George H. Griffiths and Olive J.
Griffiths Charitable Fund
Stephen Hahn Foundation
Hollis Norris Fund
Judith L. Hopkinson
Joan & Palmer Jackson
Ellen & Peter Johnson
Herbert & Elaine Kendall
Lynn P. Kirst
Sara Miller McCune
Jocelyne & William Meeker
Mary Lloyd & Kendall Mills
Bob & Val Montgomery
Stephen J.M. & Anne Morris
The Samuel B. & Margaret C.
Mosher Foundation
Fran & John Nielsen
Ellen & John Pillsbury
Michele & Andre Saltoun
Nancy Schlosser
The Shanbrom Family
Foundation
The Elaine F. Stepanek
Foundation
The Walter J. & Holly O.
Thomson Foundation
Dody Waugh & Eric Small
George & Judy Writer
Patricia Yzurdiaga
COMPOSER'S CIRCLE
($5,000 - $9,999)
Peggy & Kurt Anderson
Frank Blue & Lida Light Blue
Robert Boghosian &
Mary E. Gates Warren
Elizabeth & Andrew Butcher
Louise & Michael Caccese
Edward De Loreto
Elizabeth & Kenneth Doran
Robert & Christine Emmons
Ronald & Rosalind A. Fendon
Dorothy & John Gardner
William H. Kearns Foundation
Preston B. & Maurine M.
Hotchkis Family Foundation
Mahri Kerley
Mr. & Mrs. Frank R. Miller, Jr./
The Henry E. & Lola Monroe
Foundation
Montecito Bank & Trust
Craig & Ellen Parton
Ann M. Picker
Dorothy Roberts
Irene & Robert Stone/Stone
Family Foundation
Barbara & Sam Toumayan
Winona Fund
Wood-Claeyssens Foundation
VIRTUOSO CIRCLE
($2,500 - $4,999)
Helene & Jerry Beaver
Linda & Peter Beuret
Virginia Castagnola-Hunter
Roger & Sarah Chrisman,
Schlinger Chrisman Foundation
Stephen Cloud
Bridget Colleary
Fredericka & Dennis Emory
Priscilla & Jason Gaines
Elizabeth Karlsberg & Jeff Young
Raye Haskell Melville
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!
Joanne C. Holderman
Jill Dore Kent
Lois Kroc
MaryAnn Lange
Shirley & Seymour Lehrer
Dona & George McCauley
Frank McGinity
Sheila Bourke McGinity
Performing Arts Scholarship
Foundation
Dr. Shirley Tucker
Department of Music, University
of California, Santa Barbara
CONCERTMASTER
CIRCLE ($1,500 - $2,499)
Todd & Allyson Aldrich Family
Charitable Fund
Deborah & Peter Bertling
Edward & Sue Birch
Suzanne & Peyton Bucy
Annette & Richard Caleel
Nancyann & Robert Failing
Mary & Raymond Freeman
Gutsche Family Foundation
Renee & Richard Hawley
Maison K
Karin Nelson & Eugene Hibbs/
Maren Henle
Ronda & Bill Hobbs
Shirley Ann & James H. Hurley, Jr.
Joan & Palmer Jackson
Karen & Chuck Kaiser
Connie & Richard Kennelly
Kum Su Kim
Karin Jacobson & Hans Koellner
The Harold L. Wyman Foundation
Chris Lancashire & Catherine Gee
Cynthia Brown & Arthur Ludwig
Gloria & Keith Martin
Ruth & John Matuszeski
Sally & George Messerlian
Ellen Lehrer Orlando &
Thomas Orlando
Gail Osherenko & Oran Young
Carol & Kenneth Pasternack
Diana & Roger Phillips
Regina & Rick Roney
William E. Sanson
Linda Stafford Burrows
Vera & Gary Sutter
Suzanne Holland &
Raymond Thomas
Steven Trueblood
Esther & Tom Wachtell
Barbara & Gary Waer
Nick & Patty Weber
Victoria & Norman Williamson
Ann & Dick Zylstra
PRINCIPAL PLAYER'S
CIRCLE ($1,000 - $1,499)
Leslie & Philip Bernstein
Diane Boss
Patricia Clark
Nancy Englander
Katina Etsell
Jill Felber
Tish Gainey & Charles Roehm
Perri Harcourt
Renee Harwick
Glenn Jordan & Michael Stubbs
Barbara & Tim Kelley
Sally Kinney
Dora Anne Little
Russell Mueller
Patti Ottoboni
Anitra & Jack Sheen
Maurice Singer
Marion Stewart
Diane Sullivan
Milan E. Timm
Cheryl & Peter Ziegler
16
Gifts and pledges received from
June 2016 through November 2017
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
Nancy Donaldson
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
Anne & Daniel Ovadia
Justyn Person
Patricia & Robert Reid
Maureen & Les Shapiro
Halina W. Silverman
Barbara & Wayne Smith
Carol Vernon & Robert Turbin
CONTRIBUTORS
($250 - $499)
Sylvia Abualy
Antoinette & Shawn Addison
Jyl & Allan Atmore
Howard A. Babus
Doris Lee Carter
Edith M. Clark
Lavelda & Lynn Clock
Michael & Ruth Ann Collins
Peggy & Timm Crull
Ann & David Dwelley
Margaret Easton
Ghita Ginberg
Debbie & Frank Kendrick
June & William Kistler
Kathryn Lawhun &
Mark Shinbrot
Andrew Mester, Jr.
Maureen O'Rourke
Hensley & James Peterson
Julia & Arthur Pizzinat
Ada B. Sandburg
Naomi Schmidt
Joan Tapper & Steven Siegel
Paul and Delia Smith
Karen Spechler
Beverly & Michael Steinfeld
Jacqueline & Ronald Stevens
Mark E. Trueblood
Julie Antelman & William Ure
Mary H. Walsh
Lorraine & Stephen Weatherford
ASSOCIATES
($100 - $249)
Catherine L. Albanese
Nancy & Jesse Alexander
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
Pattie & Charles Firestone
Eunice & J.Thomas Fly
Bernice & Harris Gelberg
Nancy & Frederic Golden
Elizabeth & Harland Goldwater
Marge & Donald Graves
Marie-Paule & Laszlo Hajdu
William S. Hanrahan
Carolyn Hanst
M.Louise Harper &
Richard Davies
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
Meredith McKittrick-Taylor &
Al Taylor
Christine & James V. McNamara
RenÈe & Edward Mendell
Lori Kraft Meschler
Betty Meyer
Ellicott Million
Carolyn & Dennis Naiman
Carol Hawkins &
Laurence Pearson
Marilyn Perry
Francis Peters, Jr.
Eric Boehm
Sonia Rosenbaum
Muriel & Ian K. Ross
Shirley & E.Walton Ross
Joan & Geoffrey Rutkowski
Sharon & Ralph Rydman
Doris & Bob Schaffer
James Poe Shelton
Anne Sprecher
Florence & Donald Stivers
Laura Tomooka
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
Nona & Lorne Fienberg
Susan & Larry Gerstein
Dolores Airey Gillmore
Lorraine C. Hansen
Carol Hester
Jalama Canon Ranch
Catherine Leffler
Margaret Menninger
Edith & Raymond Ogella
Jean Perloff
Joanne Samuelson
Alice & Sheldon Sanov
Susan Schmidt
Ann Shaw
Julie & Richard Steckel
Shela West
Gifts and pledges received from
June 2016 through November 2017
17
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
Sara Miller McCune
Mr. & Mrs. Frank R. Miller, Jr./
The Henry E. & Lola Monroe Foundation
Performing Arts Scholarship Foundation
Westmont College
$100 - $999
Lynn P. Kirst
Volunteer docents are trained by CAMA’s Education
Committee Chair, Joan Crossland, to deliver this
program to area schools monthly. Music enthusiasts
are invited to learn more about the program and
volunteer opportunities.
CAMA Education Endowment
Fund Income
$10,000 AND ABOVE
William & Nancy Myers
$1,000 - $4,999
Linda Stafford Burrows –
This opportunity to experience great musicians excelling
is given in honor and loving memory of Frederika Voogd
Burrows to continue her lifelong passion for enlightening
young people through music and math.
Kathryn H. Phillips, in memory of Don R. Phillips
Walter J. Thomson/The Thomson Trust
$50 - $999
Lynn P. Kirst
Keith J. Mautino
Performing Arts Scholarship Foundation
Marjorie S. Petersen
(Gifts and pledges received from June 1, 2016 – January 4, 2018)
Call the CAMA office at (805) 966-4324 for more information about the docent program.
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
Joanne C. Holderman
JOHN LUNDEGARD
Bridget Colleary
Lynn P. Kirst
MICHAEL TOWBES
Bridget Colleary
SUSIE VOS
Bridget Colleary
LYNN R. MATTESON
Lynn P. Kirst
SYBIL MUELLER
Lynn P. Kirst
HAROLD M. WILLIAMS
Nancy Englander
DR. ROBERT SINSHEIMER
& KAREN SINSHEIMER
Robert Boghosian
& Mary E. Gates Warren
ROBERT M. LIGHT
Edward & Sue Birch
Joanne C. Holderman
Judith L. Hopkinson
Lynn P. Kirst
Betty Meyer
Diana & Roger Phillips
Joan & Geoffrey Rutkowski
Judith F. Smith
Marion Stewart
Gifts and pledges received from
June 2016 through November 2017
18
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
Montecito Bank & Trust
Northern Trust
Oceania Cruises
Olio e Limone/Olio Crudo Bar/
Olio Pizzeria
Pacific Coast Business Times
Peregrine Galleries
Performing Arts Scholarship
Foundation
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
19
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