CAMA's Masterseries presents Peter Serkin, piano - Saturday, February 24, 2018, Lobero Theatre, Santa Barbara, 8PM

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.

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.


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Presenting the world’s finest classical artists since 1919

masterseries at The Lobero Theatre











Presenting the world’s finest classical artists since 1919







Dan & Meg Burnham

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Mosher Foundation


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Arts,a field of interest fund of the Santa

Barbara Foundation

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and the Becton Family Foundation

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Bitsy & Denny Bacon and the

Becton Family Foundation




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Concert Fund


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Bitsy & Denny Bacon and

the Becton Family Foundation



Elizabeth & Andrew Butcher

Mahri Kerley

Lynn P. Kirst

Jocelyne & William Meeker

Val & Bob Montgomery

Sir András Schiff



CAMA Women's Board


Stephen Cloud

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The Stephen & Carla Hahn Foundation


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Craig & Ellen Parton


Virginia Castagnola-Hunter

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CAMA Women's Board


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Mary E. Gates-Warren

Department of Music, UC Santa Barbara

Frank McGinity

Sheila Bourke McGinity

Presenting the world’s finest classical artists since 1919

Board of Directors

(as of February 14, 2018)


DEBORAH BERTLING, first vice-president

CRAIG A. PARTON second vice-president



Bitsy Becton Bacon

Edward Birch

Jan Bowlus

Daniel P. Burnham

Stephen Cloud

NancyBell Coe

Bridget B. Colleary

Robert J. Emmons

Jill Felber

Joanne C. Holderman

Judith L. Hopkinson

James H. Hurley, Jr.

Peter O. Johnson

Elizabeth Karlsberg

Lynn P. Kirst

Frank E. McGinity

Raye Haskell Melville

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Andre M. Saltoun

Judith F. Smith

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Catherine Leffler,

president, CAMA Women’s Board

Emeritus Directors

Russell S. Bock*

Dr. Robert M. Failing

Mrs. Maurice E. Faulkner*

Léni Fé Bland*

Arthur R. Gaudi

Stephen Hahn*

Dr. Melville H. Haskell, Jr.*

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Dr. Dolores M. Hsu

Herbert J. Kendall

Robert M. Light*

Mrs. Frank R. Miller, Jr.*

Sara Miller McCune

Mary Lloyd Mills

Mrs. Ernest J. Panosian*

Kenneth W. Riley*

Mrs. John G. Severson*

Nancy L. Wood

* Deceased


Mark E. Trueblood

executive director

Elizabeth Alvarez

director of development

Linda Proud

office manager/subscriber services

Justin Rizzo-Weaver

director of operations

2060 Alameda Padre Serra, Suite 201 Santa Barbara, CA 93103 Tel (805) 966-4324 Fax (805) 962-2014 info@camasb.org

Presenting the world’s finest classical artists since 1919



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



Presenting the world’s finest classical artists since 1919

masterseries at The Lobero Theatre






Adagio in B minor, K.540

Sonata No.17 in B-flat Major, K.570







Goldberg Variations, BWV 988


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.


CO-SPONSOR: CAMA Women's Board

CONCERT PARTNERS: Stephen Cloud • Joanne Holderman

Elizabeth Karlsberg & Jeff Young • Stephen J.M. & Anne Morris

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.


© David Bazemore



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


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


Peter Serkin has

performed many


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.


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


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


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


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


Unlike the two Mozart works, BACH’S


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


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


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


composed thirty variations over that bass


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


Presenting the world’s finest classical artists since 1919

Message from the President

As President of Community Arts Music

Association (CAMA), I am delighted to

invite you to join us as a contributor to

Santa Barbara’s oldest arts organization,

CAMA, the Queen of Santa Barbara’s


CAMA is now entering its 99th season

of presenting the world’s major classical

orchestras and soloists here in Santa

Barbara. And what a season we have to

look forward to in 2017/2018!

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

and we are deeply committed to continuing

the tradition. We look forward to welcoming

you personally to our CAMA community, and

hope you will also consider a sponsorship

opportunity for one or more of our concerts.

Robert K. Montgomery



Recognition and Benefits of Sponsorship

n Personal acknowledgement from Executive Director

in onstage welcome before performance

n Acknowledgement at CAMA’s Opening and Closing Dinners

and International Circle events

n Listing in onscreen video presentations in the Granada and Lobero

Theatres on concert night

n Pre-concert complimentary dinner

n Post-concert backstage access to greet the performers

(with artist approval)

n Listing in concert program magazines throughout the season

n Listing in concert advertisements

n Listing on CAMA’s website

n Copy of CAMA’s Season in Review at the end of the season

with photographs, previews, and reviews of your concert

n Membership in CAMA’s International Circle

n Valet Parking at The Granada Theatre for International

Series concerts

If you are interested in sponsoring a concert

please contact Elizabeth Alvarez, Director of Development

(805) 966-4324 Elizabeth@camasb.org



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Frank R. Miller, Jr.

James & Mary Morouse

Patricia Hitchcock O’Connell

Efrem Ostrow Living Trust

Mr. Ernest J. Panosian

Mr. & Mrs. Roger A. Phillips

Kathryn H. Phillips

Mrs. Kenneth Riley

Judith F. Smith

Marion Stewart

Ina Tournallyay

Mrs. Edward Valentine

The Outhwaite Foundation

The Elizabeth Firth Wade

Endowment Fund

Maxine Prisyon & Milton


Mrs. Roderick Webster

Westmont College



$10,000 - $24,999


Mr. & Mrs. Peter Adams

Mrs. David Allison

Dr. & Mrs. Mortimer Andron

Mr. & Mrs. Robert Arthur

Mr. & Mrs. J.W. Bailey

Mrs. Archie Bard

Leslie & Philip Bernstein

Frank Blue &

Lida Light Blue

Mrs. Erno Bonebakker

Elizabeth & Andrew Butcher

CAMA Fellows

Mrs. Margo Chapman

Chubb-Sovereign Life

Insurance Co.

Carnzu A. Clark

Dr. Gregory Dahlen &

Nan Burns

Karen Davidson M.D.

Julia Dawson

Mr. & Mrs. William Esrey

Ronald & Rosalind A. Fendon

Audrey Hillman Fisher


Dave Fritzen/DWF Magazines

Catherine H. Gainey

Kay & Richard Glenn

The Godric Foundation

Corinna & Larry Gordon

Mr. & Mrs. Freeman Gosden, Jr.

Mr. & Mrs. Bruce Hanna

Mr. & Mrs. Robert Hanrahan

Lorraine Hansen

Mr. & Mrs. Stanley Hatch

Dr. & Mrs. Richard Hawley

Dr. & Mrs. Alan Heeger

Mr. Preston Hotchkis

Elizabeth & Gary Johnston

Mahri Kerley

KDB Radio

Linda & Michael Keston

Mrs. Robert J. Kuhn

Catherine Lloyd/Actief-cm, Inc.

Leatrice Luria

Nancy & Jim Lynn

Keith J. Mautino

Jayne Menkemeller

Myra & Spencer Nadler

Karin Nelson & Eugene Hibbs, Jr.

Joanne & Alden Orpet

Mr. & Mrs. Charles Patridge

Patricia & Carl Perry

John Perry

Mrs. Ray K. Person

Ellen & John Pillsbury

Anne & Wesley Poulson

Susannah Rake

Mr. & Mrs. Frank Reed

Jack Revoyr

Betty & Don Richardson

The Grace Jones

Richardson Trust

Dorothy Roberts

The Roberts Bros. Foundation

John F. Saladino

Jack & Anitra Sheen

Sally & Jan Smit

Betty Stephens &

Lindsay Fisher

Selby & Diane Sullivan

Joseph M. Thomas

Milan E. Timm

Mark E. Trueblood

Steven D. Trueblood

Kenneth W. & Shirley C. Tucker

Mr. & Mrs. Hubert D. Vos

Barbara & Gary Waer

Mr. &Mrs. David Russell Wolf

Dick & Ann Zylstra

* promised gift

(Gifts and pledges received

as of January 4, 2018)


Presenting the world’s finest classical artists since 1919

“I think too often

people think of the

arts as decoration to

the experiences of life,

sort of a frosting on

the cake. But to me,

the arts are essential

to understanding the

problems of life, and to

helping us get through

the experiences of life

with intelligent understanding

and grace.”

– Philanthropist and

CAMA Friend

Robert M. Light

YOU Ensure

the Tradition

Your generosity through planned giving secures

the future of CAMA. When you include CAMA in

your will or living trust, your contribution ensures

CAMA’s great classical music performances and

music outreach programs continue.

Thank you for being part of our Community.

CAMA offers the opportunity to ensure the

future of our mission to bring world-class music

to Santa Barbara. By including CAMA in your will or

living trust, you leave a legacy of great concerts and

music appreciation outreach programs for future


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

Join Elizabeth Alvarez, CAMA Director of Development,

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



(805) 966-4324 • www.camasb.org


CAMA ENDOWMENT: A Sound Investment

YOU ensure that great music and world-class artists

continue to grace Santa Barbara stages for decades to come.

Endowment funds are needed to bridge the gap between ticket sales

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

needed to sustain CAMA’s outstanding music education programs.


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

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

black-tie dinner.


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

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

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

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

to learn more about CAMA’s Endowment.



conductor’s circle

($500,000 and above)

Mr. & Mrs. Russell S. Bock

Linda Brown*

Esperia Foundation

SAGE Publications

crescendo circle


Andrew H. Burnett Foundation

Judith L. Hopkinson

Herbert & Elaine Kendall

cadenza patrons




Bitsy Becton Bacon

Mary & Ray Freeman

Mr. & Mrs. James H. Hurley Jr.

William & Nancy Myers

Jan & John Severson

Judith & Julian Smith

Michael Towbes

rondo patrons


Peter & Deborah Bertling

Linda & Peter Beuret

Robert & Christine Emmons

Stephen R. & Carla Hahn

Dolores M. Hsu

The Samuel B. & Margaret C.

Mosher Foundation

Santa Barbara Bank & Trust

Mr. & Mrs. Byron K. Wood

concerto patrons


Linda Stafford Burrows,

in memory of Frederika

Voogd Burrows

Dr. & Mrs. Jack Catlett

Bridget & Robert Colleary

Mrs. Maurice E. Faulkner

Léni Fé Bland

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

Sara Miller McCune

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

The Hutton Foundation

Efrem Ostrow Living Trust

Craig & Ellen Parton

Walter J. Thomson/

The Thomson Trust

Mr. & Mrs. Sam Toumayan

sonata patrons



The Adams Foundation

Mr. & Mrs. Peter Adams

Else Schilling Bard

Dr. & Mrs. Edward E. Birch

Frank Blue & Lida Light Blue

The CAMA Women’s Board

(Sally Lee Remembrance

Fund and Marilyn Roe

Remembrance Fund)

Dr. Robert Boghosian &

Ms. Mary E. Gates-Warren

Mr. & Mrs. Andrew Butcher

Virginia Castagnola-Hunter

Dr. & Mrs. Charles Chapman

NancyBell Coe & William Burke

Dr. Karen Davidson

Mr. & Mrs. Larry Durham

Dr. Robert & Nancyann Failing

Dr. & Mrs. Jason Gaines

Mr. & Mrs. Daniel Gainey/

Daniel C. Gainey Fund

Arthur R. Gaudi

Sherry & Robert B. Gilson

Mr. & Mrs. Bruce Hanna

Ms. Lorraine Hansen

Joanne C. Holderman

Patricia Kaplan

Elizabeth Karlsberg &

Jeff Young

Mrs. Thomas A. Kelly

Mahri Kerley

Lynn P. Kirst & Lynn R.


Dr. & Mrs. Robert J. Kuhn

Mr. John Lundegard/

Lundegard Family Fund

Keith J. Mautino

Jayne Menkemeller

Mr. & Mrs. Max Meyer

Bob & Val Montgomery

Mary & James Morouse

Dr. & Mrs. Spencer Nadler

Patricia Hitchcock O’Connell

Performing Arts Scholarship


John Perry

Mrs. Hugh Petersen

Mr. & Mrs. Roger A. Phillips

Ellen & John Pillsbury

Miss Susannah E. Rake

Mrs. Kenneth W. Riley

Michele & Andre Saltoun

Dr. & Mrs. Jack Sheen/Peebles

Sheen Foundation

Sally & Jan E.G. Smit

Mr. & Mrs. Edward Stepanek

Betty J. Stephens, in

recognition of my friend

Judy Hopkinson

Dr. & Mrs. William A. Stewart

Mark E. Trueblood

Dr. & Mrs. H. Wallace Vandever

The Elizabeth Firth Wade

Endowment Fund

Mr. & Mrs. Gary Waer

Mr. & Mrs. David Russell Wolf

* promised gift





Peter & Becky Adams

Bitsy Becton Bacon

Else Schilling Bard

Peter & Deborah Bertling

Linda & Peter Beuret

Lida Light Blue & Frank Blue

Mrs. Russell S. Bock

Dr. Robert Boghosian &

Ms. Mary-Elizabeth Gates-Warren

Linda Brown *

Elizabeth & Andrew Butcher

Virginia Castagnola-Hunter

Jane & Jack Catlett

Bridget & Bob Colleary

Karen Davidson, M.D &

David B. Davidson, M.D.

Patricia & Larry Durham

Christine & Robert Emmons

Ronald & Rosalind A. Fendon

Mary & Ray Freeman

Arthur R. Gaudi

Stephen & Carla Hahn

Beverly Hanna

Ms. Lorraine Hansen

Joanne C. Holderman

Judith L. Hopkinson

Dolores M. Hsu

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

Elizabeth & Gary Johnston

Herbert & Elaine Kendall

Mahri Kerley

Lynn P. Kirst & Lynn R. Matteson

Lucy & John Lundegard

Keith J. Mautino

Sara Miller McCune


Raye Haskell Melville

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

Dr. & Mrs. Spencer Nadler

Ellen & Craig Parton

Diana & Roger Phillips

Ellen & John Pillsbury

Michele & Andre Saltoun

Judith & Julian Smith

Mr. & Mrs. Sam Toumayan

Mark E. Trueblood

Dr. & Mrs. H. Wallace Vandever

Barbara & Gary Waer

Nancy & Kent Wood

* promised gift

(Gifts and pledges received

as of December 1, 2017)


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

and other elegant events.

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


($10,000 and above)

Anonymous (2)

Bitsy & Denny Bacon and

The Becton Family Foundation

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


The Elaine F. Stepanek


The Walter J. & Holly O.

Thomson Foundation

Dody Waugh & Eric Small

George & Judy Writer

Patricia Yzurdiaga


($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


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


($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


Dr. Shirley Tucker

Department of Music, University

of California, Santa Barbara


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


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


Gifts and pledges received from

June 2016 through November 2017


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

Thank you for your generous annual donation.


($500 - $999)

David Ackert

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


($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


($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


($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



$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


Ann M. Picker


MaryAnn Lange


Ellicott Million




William S. Hanrahan



Joanne C. Holderman


Bridget Colleary

Lynn P. Kirst


Bridget Colleary


Bridget Colleary


Lynn P. Kirst


Lynn P. Kirst


Nancy Englander



Robert Boghosian

& Mary E. Gates Warren


Edward & Sue Birch

Joanne C. Holderman

Judith L. Hopkinson

Lynn P. Kirst

Betty Meyer

Diana & Roger Phillips

Joan & Geoffrey Rutkowski

Judith F. Smith

Marion Stewart

Gifts and pledges received from

June 2016 through November 2017



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


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


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