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

Presenting the world’s finest classical artists since 1919 

masterseries at The Lobero Theatre 

SEASON SPONSORSHIP: ESPERIA FOUNDATION 

JUILLIARD 

STRING 

QUARTET 

SIR ANDRÁS SCHIFF 

ISABEL 

BAYRAKDARIAN 

PETER 

SERKIN 

COMMUNITY ARTS MUSIC ASSOCIATION


INTERNATIONAL SERIES 

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PHILHARMONIC 

PRINCIPAL SPONSOR 

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Mosher Foundation 

SPONSORS 

Nancy Schlosser 

The Towbes Fund for the Performing 

Arts,a field of interest fund of the Santa 

Barbara Foundation 

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CO-SPONSORS 

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and the Becton Family Foundation 

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IN THE FIELDS 

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SEASON SPONSORSHIP: 

ESPERIA FOUNDATION 

Isabel 

Bayrakdarian 

JUILLIARD STRING QUARTET 

SPONSOR 

Bitsy & Denny Bacon and the 

Becton Family Foundation 

SAN FRANCISCO 

SYMPHONY 

PRIMARY SPONSOR 

The Elaine F. Stepanek 

Concert Fund 


Herbert & Elaine Kendall 

SPONSOR 

Bitsy & Denny Bacon and 

the Becton Family Foundation 

CO-SPONSORS 

Anonymous 

Elizabeth & Andrew Butcher 

Mahri Kerley 

Lynn P. Kirst 


Val & Bob Montgomery 

Sir András Schiff 

PETER SERKIN, piano 

CO-SPONSOR 

CAMA Women's Board 

CONCERT PARTNERS 

Stephen Cloud 

Joanne Holderman 

Elizabeth Karlsberg & Jeff Young 

Stephen J.M. & Anne Morris 

SIR ANDRÁS SCHIFF, piano 


The Stephen & Carla Hahn Foundation 

CO-SPONSORS 


Craig & Ellen Parton 


Virginia Castagnola-Hunter 

Laurel Abbott, Berkshire Hathaway Luxury Properties 

Bridget Colleary 

Raye Haskell Melville 

ISABEL BAYRAKDARIAN, soprano 

ST. LAWRENCE STRING QUARTET 

SPONSOR 

CAMA Women's Board 

CO-SPONSOR 



Robert Boghosian & 

Mary E. Gates-Warren 

Department of Music, UC Santa Barbara 

Frank McGinity 

Sheila Bourke McGinity


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(as of February 14, 2018) 

ROBERT K. MONTGOMERY president 

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CRAIG A. PARTON second vice-president 

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Judith F. Smith 

Sam Toumayan 

Judith H. Writer 

Catherine Leffler, 

president, CAMA Women’s Board 

Emeritus Directors 

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Dr. Robert M. Failing 

Mrs. Maurice E. Faulkner* 

Léni Fé Bland* 

Arthur R. Gaudi 

Stephen Hahn* 

Dr. Melville H. Haskell, Jr.* 

Mrs. Richard Hellmann* 

Dr. Dolores M. Hsu 

Herbert J. Kendall 

Robert M. Light* 

Mrs. Frank R. Miller, Jr.* 


Mary Lloyd Mills 

Mrs. Ernest J. Panosian* 

Kenneth W. Riley* 

Mrs. John G. Severson* 

Nancy L. Wood 

* Deceased 

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Mark E. Trueblood 

executive director 

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director of development 

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office manager/subscriber services 

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director of operations 

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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 

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC 

2


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 3. Canone all’Unisono. 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 9. Canone alla Terza. a 1 Clav. 

Variatio 10. Fughetta. a 1 Clav. 


Variatio 12. a 1 Clav. Canone alla Quarta in moto contrario 



Variatio 15. Canone alla Quinta. a 1 Clav.: Andante 

Variatio 16. Ouverture. a 1 Clav. 


Variatio 18. Canone alla Sesta. a 1 Clav. 



Variatio 21. Canone alla Settima 

Variatio 22. a 1 Clav. alla breve 


Variatio 24. Canone all'Ottava. a 1 Clav. 

Variatio 25. a 2 Clav.: Adagio 


Variatio 27. Canone alla Nona. 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 

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

© 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


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 

10

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 

11

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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 


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 


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) 

12


“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 



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 

Efrem Ostrow Living Trust 


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 


Foundation 

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 



15 


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 

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 


Joan & Palmer Jackson 



Lynn P. Kirst 



Mary Lloyd & Kendall Mills 



The Samuel B. & Margaret C. 


Fran & John Nielsen 



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 



Mary E. Gates Warren 



Edward De Loreto 

Elizabeth & Kenneth Doran 



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 



Ann M. Picker 


Irene & Robert Stone/Stone 

Family Foundation 


Winona Fund 

Wood-Claeyssens Foundation 

VIRTUOSO CIRCLE 

($2,500 - $4,999) 

Helene & Jerry Beaver 



Roger & Sarah Chrisman, 

Schlinger Chrisman Foundation 

Stephen Cloud 


Fredericka & Dennis Emory 

Priscilla & Jason Gaines 

Elizabeth Karlsberg & Jeff Young 


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! 


Jill Dore Kent 

Lois Kroc 

MaryAnn Lange 

Shirley & Seymour Lehrer 

Dona & George McCauley 


Sheila Bourke McGinity 


Foundation 

Dr. Shirley Tucker 

Department of Music, University 

of California, Santa Barbara 

CONCERTMASTER 

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

Todd & Allyson Aldrich Family 

Charitable Fund 


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 


Regina & Rick Roney 

William E. Sanson 

Linda Stafford Burrows 

Vera & Gary Sutter 

Suzanne Holland & 

Raymond Thomas 

Steven Trueblood 

Esther & Tom Wachtell 


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 


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 


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 


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 


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 


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 

HAROLD M. WILLIAMS 

Nancy Englander 

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 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 


Northern Trust 

Oceania Cruises 

Olio e Limone/Olio Crudo Bar/ 

Olio Pizzeria 

Pacific Coast Business Times 

Peregrine Galleries 


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

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

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