CAMA presents Academy of St Martin in the Fields with Joshua Bell / Wednesday, March 14, 2018, International Series at The Granada Theatre, 8:00 PM

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CAMA's International Series at The Granada Theatre presents
Academy of St Martin in the Fields

Wednesday, March 14, 2018
The Granada Theatre, Santa Barbara, 8:00 PM

Joshua Bell, Music Director and Violin


Felix Mendelssohn: Overture to A Midsummer Night’s Dream, Op.21
Henryk Wieniawski: Violin Concerto No.2 in D minor, Op.22
Ludwig van Beethoven: Symphony No.6 in F Major, Op.68, “Pastoral”

The Academy of St Martin in the Fields returns with famed Music Director and Violinist Joshua Bell. As one of the world’s premier chamber orchestras, the Academy is renowned for its fresh, brilliant interpretations of the world’s most-loved classical music. Joshua Bell is one of the most celebrated violinists of his era, and his restless curiosity, passion, and multi-faceted musical interests are almost unparalleled in the world of classical music. •

Presenting the world’s finest classical artists since 1919

ACADEMY OF ST MARTIN

IN THE FIELDS

Phillip Knott

JOSHUA BELL

MUSIC DIRECTOR AND VIOLIN

WEDNESDAY, MARCH 14, 2018

The Granada Theatre, 8PM


Presenting the world’s finest classical artists since 1919

Michael Tilson Thomas

INTERNATIONAL SERIES

SEASON SPONSORSHIP: SAGE PUBLICATIONS

ST. LOUIS SYMPHONY

ORCHESTRA

SPONSORS

Anonymous

Dan & Meg Burnham

Ellen & Peter Johnson

CO-SPONSORS

Anonymous

Dorothy Roberts

Barbara & Sam Toumayan

George & Judy Writer

LOS ANGELES

PHILHARMONIC

PRINCIPAL SPONSOR

The Samuel B. and Margaret C.

Mosher Foundation

SPONSORS

Nancy Schlosser

The Towbes Fund for the Performing

Arts,a field of interest fund of the

Santa Barbara Foundation

Dody Waugh & Eric Small

CO-SPONSORS

Bitsy & Denny Bacon

and the Becton Family Foundation

Frank Blue & Lida Light Blue

(LA PHIL CO-SPONSORS, cont.)

Elizabeth & Ken Doran

Robert & Christine Emmons

Dorothy & John Gardner

Jocelyne & William Meeker

ORCHESTRA OF THE AGE

OF ENLIGHTENMENT

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Hollis Norris Fund

Alison & Jan Bowlus

CO-SPONSORS

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The CAMA Women's Board

Lynn P. Kirst

Bob & Val Montgomery

Michele & Andre Saltoun

ACADEMY OF ST. MARTIN

IN THE FIELDS

SPONSORS

Judith L. Hopkinson

Sara Miller McCune

Anonymous

CO-SPONSORS

Peggy & Kurt Anderson

Edward DeLoreto

Jocelyne & William Meeker

Ellen & John Pillsbury

Michele & Andre Saltoun


MASTERSERIES

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

PRINCIPAL SPONSOR

Herbert & Elaine Kendall

SPONSOR

Bitsy & Denny Bacon and

the Becton Family Foundation

CO-SPONSORS

Anonymous

Elizabeth & Andrew Butcher

Mahri Kerley

Lynn P. Kirst

Jocelyne & William Meeker

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

PRINCIPAL SPONSOR

The Stephen & Carla Hahn Foundation

CO-SPONSORS

Stephen J.M. & Anne Morris

Craig & Ellen Parton

CONCERT PARTNERS

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

Stephen J.M. & Anne Morris

CONCERT PARTNERS

Robert Boghosian &

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 15, 2018)

ROBERT K. MONTGOMERY president

DEBORAH BERTLING, first vice-president

CRAIG A. PARTON second vice-president

WILLIAM MEEKER treasurer

JOAN R. CROSSLAND secretary

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

Stephen J.M. (Mike) Morris

Patti Ottoboni

Andre M. Saltoun

Judith F. Smith

Sam Toumayan

Judith H. Writer

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.*

Mrs. Richard Hellmann*

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

Administration

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

THURSDAY, APRIL 12, LOBERO THEATRE, 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

2


Presenting the world’s finest classical artists since 1919

INTERNATIONAL SERIES at The GRANADA THEATRE

SEASON SPONSORSHIP: SAGE PUBLICATIONS

ACADEMY OF ST MARTIN IN THE FIELDS

JOSHUA BELL Director / Soloist

WEDNESDAY, MARCH 14, 2018

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

Felix Mendelssohn

(1809-1847)

A Midsummer Night’s Dream: Overture, Op.21

Henryk Wieniawski

(1835-1880)

Violin Concerto No.2 in D minor, Op.22

I. Allegro moderato

II. Romance

III. Allegro con fuoco – Allegro moderato

(à la zingara)

Joshua Bell, violin

INTERMISSION

Ludwig van Beethoven

(1770-1827)

Symphony No.6 in F Major, Op.68 (Pastorale)

1. Erwachen heiterer Empfindungen bei der Ankunft

auf dem Lande

2. Szene am Bach

3. Lustiges Zusammensein der Landleute

4. Gewitter, Sturm (Thunderstorm)

5. Hirtengesang, frohe und dankbare Gefühle

nach dem Sturm

www.asmf.org

The Academy’s work in the US is supported by Maria Cardamone and Paul Matthews together with the

American Friends of the Academy of St Martin in the Fields. Joshua Bell’s position as Music Director is supported by

Klara and Larry A. Silverstein together with the American Friends of the Academy of St Martin in the Fields.

The Academy’s concert in New York is supported by Jefferies.

Exclusive Management for the Academy of St Martin in the Fields:

OPUS 3 ARTISTS, 470 Park Avenue South, 9th Floor North, New York, NY 10016 | www.opus3artists.com

CAMA gratefully acknowledges our sponsors for tonight's performance.

International Series Season Sponsor: SAGE Publications

SPONSORS Judith L. Hopkinson • Sara Miller McCune • Anonymous

CO-SPONSORS Peggy & Kurt Anderson • Edward DeLoreto

Jocelyne & William Meeker • Ellen & John Pillsbury • Michele & Andre Saltoun

We request that you switch off cellular phones, watch alarms and pager signals during the

performance. The photographing or sound recording of this concert or possession of any device

for such photographing or sound recording is prohibited.

COMMUNITY ARTS MUSIC ASSOCIATION | www.camasb.org


Biography

ACADEMY OF

ST MARTIN IN THE FIELDS

The Academy of St Martin in the

Fields is one of the world’s greatest

chamber orchestras, renowned for

fresh, brilliant interpretations of the

world’s greatest classical music.

Formed by Sir Neville Marriner in 1958

from a group of leading London musicians,

the Academy gave its first performance in

its namesake church in November 1959.

Through unrivalled live performances and

a vast recording output – highlights of

which include the 1969 best-seller Vivaldi’s

Four Seasons and the soundtrack to

the Oscar-winning film Amadeus – the

Academy quickly gained an enviable

international reputation for its distinctive,

polished and refined sound. With over 500

releases in a much-vaunted discography

and a comprehensive international

touring programme, the name and sound

of the Academy is known and loved by

classical audiences throughout the world.

Today the Academy is led by Music

Director and virtuoso violinist Joshua

Bell, retaining the collegiate spirit and

flexibility of the original small, conductorless

ensemble which has become an

Academy hallmark. Under Bell’s direction,

4


and with the support of Leader/Director

Tomo Keller and Principal Guest Conductor

Murray Perahia, the Academy continues

to push the boundaries of play-directed

performance to new heights, presenting

symphonic repertoire and chamber

music on a grand scale at prestigious

venues from New York to Beijing.

Complementing a busy international

schedule, the Academy continues

to reach out to people of all ages and

backgrounds through its Learning and

Participation programmes. The orchestra’s

flagship project for young people

provides performance workshops for

primary and secondary school children;

partnerships with Southbank Sinfonia,

the Guildhall School of Music and

Drama, the Royal Northern College of

Music and masterclasses on tour further

the development of the professional

musicians of tomorrow; the Academy

provides a creative outlet for some of

London’s most vulnerable adults at

a centre for homeless people; and a

regular programme of pre-concert talks

and podcasts create opportunities for

Academy audiences the world over to

connect and learn with the orchestra.

To find out more about the Academy

of St Martin in the Fields please visit

www.asmf.org, or follow the orchestra

on Facebook, Twitter and Instagram. If

you are interested in getting involved

and supporting the work of the Academy,

please contact development@asmf.org.

JOSHUA

BELL

With a career spanning more than 30 years

as a soloist, chamber musician, recording

artist and conductor, Joshua Bell is one of

the most celebrated violinists of his era,

and his restless curiosity, passion, and

multi-faceted musical interests are almost

unparalleled in the world of classical

music. Named the Music Director of the

Academy of St Martin in the Fields in

2011, he is the only person to hold this

post since Sir Neville Marriner formed

the orchestra in 1958, and recently

renewed his contract through 2020.

An exclusive Sony Classical artist, he

has recorded more than 40 CDs garnering

Grammy, Mercury, Gramophone and

Echo Klassik awards, and is a recipient

of the Avery Fisher Prize. The Joshua

Bell Virtual Reality video produced by

Sony received a Lumiere Award. His

discography encompasses much of the

major violin repertoire as well as groundbreaking

collaborations across multiple

musical genres with respected artists from

the worlds of Pop (Sting, Josh Groban),

Jazz (Chick Corea, Branford Marsalis),

Bluegrass (Edgar Meyer, Bela Fleck) and

Film (including John Corigliano’s Oscarwinning

soundtrack, The Red Violin and

the Oscar-nominated score to Ladies in

Lavender written by Nigel Hess and starring

Dames Judi Dench and Maggie Smith).

5


Biography

The Academy of St Martin in

the Fields’ first release under

Bell’s leadership, Beethoven

Symphonies No. 4 and 7,

debuted at #1 on the Billboard

charts, and was followed up

by the critically acclaimed

Bach. In 2016, Sony released

Bell’s album For the Love of

Brahms with the Academy of

St Martin in the Fields, cellist

Steven Isserlis and pianist

Jeremy Denk, followed in 2017

by the Joshua Bell Classical

Collection, a 14 CD set of Bell’s

Sony recording highlights from

the past 20 years. Soon to be released

is

Bell’s recording with the Academy

of St Martin in the Fields of Bruch’s

Scottish Fantasy and g minor Concerto.

Summer 2017 saw Joshua Bell perform at

the BBC Proms with the Royal Philharmonic

Orchestra, at the Verbier Festival, as Artist

In Residence at the Edinburgh International

Festival and – in the US - at Tanglewood,

Ravinia, and the Mostly Mozart Festival. In

the 2017/18 season in the US, Bell takes

part in the New York Philharmonic’s

celebration of Leonard Bernstein’s

centennial, performing Bernstein’s

Serenade led by Alan Gilbert, and also

appears with the Philadelphia Orchestra

and Los Angeles Chamber Orchestra

among others. His North American recital

tours take him to Carnegie Hall, Chicago’s

Symphony Center and Washington D.C.’s

Strathmore Center. Highlights in Europe

Convinced of the

value of music as

a diplomatic and

educational tool,

Bell participated

in President

Obama’s

Committee on

the Arts and

Humanities’ first

cultural mission

to Cuba.

include appearances as soloist

with the Vienna Symphony and

Danish National Symphony; as

director and soloist with the

Orchestre National de Lyon;

and recitals in Paris, Zurich,

Geneva, Bologna, Milan and

London. With the Academy

of St Martin in the Fields he

will tour widely including in

the United Kingdom, United

States and Europe, featuring

performances in London,

New York, San Francisco,

Reykjavik and at the

Elbphilharmonie in Hamburg.

Convinced of the value of music as

a diplomatic and educational tool, Bell

participated in President Obama’s

Committee on the Arts and Humanities’

first cultural mission to Cuba. He is also

involved in Turnaround Arts, another project

implemented by the Committee and the

John F. Kennedy Center for the Performing

Arts which provides arts education to lowperforming

elementary and middle schools.

Born in Bloomington, Indiana, Bell

received his first violin at age 4 and at

12 began studying with Josef Gingold at

Indiana University. At 14 Bell began his

rise to stardom, performing with Riccardo

Muti and the Philhadelphia Orchestra

and at 17 made his Carnegie Hall debut

and toured Europe for the first time.

Perhaps the event that helped

most to transform his reputation from

musicians’ musician to household name

6


was his incognito performance in a

Washington, DC subway station in 2007.

Ever adventurous, Bell had agreed to

participate in the Washington Post story

by Gene Weingarten which thoughtfully

examined art and context. The story earned

Weingarten a Pulitzer Prize and sparked

an international firestorm of discussion.

Bell has received many accolades,

including the Dushkin Award from the

Music Institute of Chicago in 2016, and

honours from the New York Chapter of The

Recording Academy, the National Young

Arts Foundations, Arts Horizons, Moment

Magazine and Seton Hall University. Bell

was named ‘Instrumentalist of the Year,

2010’ by Musical America, was honoured

by Education Through Music in 2009 and

received the Academy of Achievement

Award in 2008. He was awarded the Avery

Fisher Prize in 2007 and was inducted into

the Hollywood Bowl Hall of Fame in 2005.

Bell performs on the 1713 Huberman

Stradivarius violin and uses a late 18th

century French bow by François Tourte.

Joshua Bell appears by arrangement with Park

Avenue Artists (www.parkavenueartists.com)

and Primo Artists (www.primoartists.com).

Press Representation for Joshua Bell:

Jane Covner, JAG Entertainment

7


Program Notes

Felix Mendelssohn-Bartholdy

At a remove of nearly two

centuries, it can hard to

understand what a groundbreaking

work the Midsummer

Night’s Dream Overture was. In it, the

17-year-old Felix Mendelssohn created a

new musical genre and language.

It was the first “concert overture,” a

work intended not to introduce a dramatic

presentation, but to represent, complete in

itself, a literary work, or story, or place. Music

as literature soon became a quintessentially

Romantic concept, so the concert overture

and its offshoot, the tone poem, became

common in the 19th century.

The Midsummer Night’s Dream

Overture’s sounds and concept may be

forward-looking but, Mendelssohn being

Mendelssohn, it is in form very much a

traditional sonata. He originally wrote it as

a piano duet in 1826, but must have had

much of the orchestration in mind from the

beginning. The orchestral version, completed

soon after the duet and premiered in 1827,

did much to establish his reputation.

In 1833, Mendelssohn wrote to his

publishers, who had apparently asked

him if there was specific program to the

overture:

I believe it will suffice to remember

how the rulers of the elves, Oberon and

Titania, constantly appear throughout

8


[Shakespeare’s] play with all their train,

now here and now there; then comes

Prince Theseus of Athens and joins a

hunting party in the forest…then the

two pairs of tender lovers, who lose

and find themselves; finally the troop of

clumsy, coarse tradesmen, who ply their

ponderous amusements; then again the

elves, who entice all—and on this the

piece is constructed. When at the end

all is happily resolved…the elves return

and bless the house, and disappear as

morning arrives. So ends the play, and

also my overture.

Mendelssohn’s letter did not bother to

mention that Bottom, one of the coarse

tradesmen, spends much of the play with

a donkey’s head in place of his own. The

overture is full of braying of one sort or

another. To the orchestra that had been

standard since Mozart’s day, he added

an ophicleide, a bass brass instrument

that works like a woodwind, changing

pitch by covering and uncovering holes

with keys. Its sound is edgier, and rather

more ass-like, than that of the tuba, which

supplanted it in the second half of the 19th

century. Although the ophicleide had been

invented only in 1817, Spontini and Berlioz

had already used it in serious music. But

including an ophicleide (or tuba) among

trombones in a big orchestra was a far

cry from writing for it in a small orchestra

used as sparingly as Mendelssohn

used his in this overture, where the

bass instruments are held out for long

stretches, leaving a light and transparent

texture. The big instrument can stick out

of the shimmering orchestral fabric like

Bottom the weaver, with his jackass head,

sticks out of the fairy queen’s bower,

which is of course the point in using it.

It even gets to bray like an ass, exposed

under the softly scurrying violins, in the

recapitulation.

Henryk

Wieniawski

The overture is full of other memorable

touches. After opening chords define the

key of E Major, violins divided into four

parts abruptly change to E minor, letting us

know we’re entering a different world, and

then depict the fairy world in quick notes.

Little woodwind fanfare figures that seem

inconsequential in the exposition become

mysterious, like spirits popping out of the

shadows and then disappearing, in the

development. The strings offer their own

9


hee-haws. Loud horn calls evoke both the

threatening darkness of the forest and

Theseus’ hunting party.

Mendelssohn was creating new

sounds. Many composers had conjured

the fairy world before, but no one had

been able to do it so convincingly and

completely.

Henryk Wieniawski made a splash as

a child prodigy in Warsaw and the Paris

Conservatory, and all over Europe as one

of the leading violinists of the mid-19th

century, but his most important musical

legacy came from his time in Russia,

where he lived from 1860 to 1872. He

settled in St. Petersburg at the invitation

of pianist-conductor-composer Anton

Rubinstein, his sometime duet partner,

who was in the process of founding

the St. Petersburg Conservatory and

believed that Wieniawski could help raise

Russian musical standards. Wieniawski’s

distinctive bow technique (keeping the

right elbow high and pressing the bow

with index finger’s second joint) was

transmitted through Leopold Auer, his

colleague, sometime pupil and successor

at the Conservatory, to two generations

of violinists. Auer’s students, including

Mischa Elman, Jascha Heifetz, Efram

Zimbalist and Nathan Milstein, dominated

the violin world in the early and mid

20th century. Wieniawski may thus have

been the biggest single influence on violin

playing in the 20th century.

It was in St. Petersburg in 1862 that

Wieniawski produced his second concerto,

his most significant statement as a

composer. It is a bold work that strives

for power and drama. Unusually for a

19th-century concerto, the orchestration

includes trombones, as if Wieniawski

were emphasizing its seriousness. He

dedicated it to the to the 18-year-old

Spanish violinist Pablo Sarasate, another

prodigy who would soon be regarded as a

rival.

The concerto was a great success,

and stayed successful for generations.

In his 1925 book Violin Master Works and

Their Interpretation, Leopold Auer wrote

that outside of the “three violin superconcertos”

(Beethoven, Mendelssohn and

Brahms), its popularity was rivaled only by

the Saint-Saëns concerto in B minor and

Lalo’s Symphonie Espagnole. The current

status of the latter three works is a sign

of how much tastes change; the status

of the former three is shows how much

tastes stay the same.

The opening movement is dark,

brooding and dramatic, but the tension

dissipates into a short transition for a lone

clarinet that leads into the soulful slow

movement, which Auer described as “a

song to sung in a way which will make us

forget the instrument.” The finale, marked

“à la Zingara” (“gypsy style”) brings back

the lyrical secondary theme of the first

movement to contrast with the main

theme’s energetic scampering.

Ludwig van Beethoven composed

his fifth and sixth symphonies at the

same time, working on them in 1807

and 1808, with much of the work done in

the countryside outside Vienna where he

liked to spend his summers. As different

as the two works are—they seem like

the products of two different minds—

they were very much twins. At their first

10


Ludwig

van Beethoven

Henryk

Wieniawski

performance, in Vienna’s Theater an der

Wien in December 22, 1808, their numbering

was reversed, with the Pastorale called

the fifth and played earlier on the all-

Beethoven program. That concert, by the

bye, also included the Gloria and Sanctus

from the Mass in C, a piano improvisation,

the concert aria “Ah, Perfido,” and the

first performances of the fourth piano

concerto and the Choral Fantasy. For all its

breathtaking ambition, the four-hour-long

concert did not go particularly well. Four

hours of new music by a composer noted

for writing difficult music would have been a

dicey proposition even without the decline

in Viennese orchestral playing caused

by the Napoleonic wars, the seasonal

unavailability of some of the better players,

the coldness of the theater, the difficulties

inherent in having Beethoven direct the

performance when his hearing was failing

(it would be his last public performance),

and insufficient rehearsal time.

Beethoven was not the first composer

to write music about nature, and would not

be the last. But he approached it, as he

did everything, in his own distinctive way.

There are programmatic touches, but most

of the impressions are internal. In the first

movement, about “awakening of cheerful

feelings on arriving in the country,” and the

last movement, a song of “grateful feelings”

after a storm, nothing actually happens.

Droning basses might obliquely suggest

stereotypical shepherds’ bagpipes, and the

flute may contribute the occasional birdchirp

here and there in the busier parts of

the first movement where they may escape

notice, but otherwise the music is solely

about feelings.

The second movement is more pictorial

in its depiction of the flowing brook, but

11


the flowing-water figures in the

strings are merely a backdrop

to an extraordinary outpouring

of melody. At movement’s end

the flute, oboe and clarinet

imitate the nightingale, quail

and cuckoo.

The third and fourth

movements seem to

depict actual events. The

third movement, a “merry

coming-together of country

folk,” invokes the idea of an

unorganized gathering from

different directions by a surprisingly

sophisticated stretching of tonality. Twice,

some introductory measures in F Major

lead to a theme in D, and when the music

“corrects” itself the third time around so

that the introductory measures are in D,

the theme starts up in C. It takes another

modulation to finally arrive in F. Beethoven

is joking with us. It was this sort of thing

that critics and academics had in mind

when they complained, as they seemed to

do a lot, that Beethoven pursued novelty

and strangeness for their own sake.

When the country folk are assembled,

it is not hard to hear a little band in which

the bassoon can play only three notes and

the clarinet has trouble playing together

with the oboe. As the music becomes more

boisterous (changing from triple time to

2/4) the trumpets join in for the first time in

the symphony.

Everything halts as a few drops of rain

fall and distant thunder is heard, and then a

storm bursts, with the tympani making their

first entrance to emphasize it. Beethoven

Beethoven’s fifth and

sixth symphonies

were the first

symphonies to use

trombones, which

had been common

in church music and

serious opera. Putting

them into a symphony

was a mark of the

increasing importance

that the symphony

was acquiring, in large

part because of

Beethoven.

conjures rumbling clouds with

the contrabasses playing a

rapid four-note repeated rapid

scale figure against an even

more rapid five-note repeated

scale figure on the cellos (thus,

in a measure the basses play

16 16th-notes while the cellos

play 20 “quintuplet”16th notes),

so that the clashing notes

create a sound effect instead

of discernible pitch. As the

storm grows more intense, the

piccolo enters for the first time,

suggesting howling wind. Finally the storm

climaxes on a violent diminished chord in

the entire orchestra, including, at last, the

trombones.

Program annotators are fond of writing

that Beethoven’s fifth and sixth symphonies

were the first symphonies to use trombones,

which had been common in church music and

serious opera. Putting them into a symphony

was a mark of the increasing importance

that the symphony was acquiring, in large

part because of Beethoven. There is some

truth to that narrative, but Beethoven was

not actually the first composer, or even

the first German composer, to include

trombones in a symphony. He was just the

first to use trombones in a symphony that

anyone cares about.

While the trombones continue to enrich

the orchestra until the end of the symphony,

the tympani, and the violent weather they

represent, are not heard during the finale,

the most rapturously joyful music ever

conceived.

©2018, Howard Posner.

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ACADEMY OF

ST MARTIN IN THE FIELDS

VIOLIN I

Joshua Bell (director)

Harvey de Souza

Miranda Playfair

Jeremy Morris

Helen Paterson

Martin Gwilym-Jones

Richard Milone

Alicja Smietana

VIOLIN II

Jennifer Godson

Fiona Brett

Mark Butler

Rebecca Scott-Smissen

Sijie Chen

Joanna Wronko

VIOLA

Fiona Bonds

Alexandros Koustas

Martin Humbey

Matt Maguire

CELLO

Stephen Orton

William Schofield

Juliet Welchman

Reinoud Ford

DOUBLE BASS

Lynda Houghton

Benjamin Russell

FLUTE

Fiona Kelly

Sarah Newbold

Rebecca Larsen

OBOE

Tom Blomfield

Rachel Ingleton

CLARINET

Fiona Cross

Sarah Thurlow

BASSOON

Emily Hultmark

Richard Skinner

HORN

Stephen Stirling

Tim Caister

Alexia Cammish

James Shields

TRUMPET

Mark David

William O’Sullivan

TROMBONE

Roger Harvey

Andrew Cole

David Stewart

TIMPANI

Adrian Bending

ADMINISTRATION

MUSIC DIRECTOR

Joshua Bell

FOUNDING PRESIDENT

Sir Neville Marriner CH, CBE

PRINCIPAL GUEST CONDUCTOR

Murray Perahia KBE

LEADER/DIRECTOR

Tomo Keller

STAFF

Chief Executive

Alan Watt

Director of Concerts

Alison Tedbury

Concerts and Tours Manager

Richard Brewer

Orchestra Manager

(USA Tour)

Nigel Barratt

Concerts and Participation

Assistant

Hattie Rayfield

Librarian

Katherine Adams

Learning and

Participation Producer

Charlotte O’Dair

Director of Development

Andrew McGowan

Development Manager

Amy Scott

Marketing Manager

Fiona Bell

PR Consultant

Rebecca Driver

Media Relations

Shervin Lainez

13

For Opus 3 Artists

David V. Foster,

President & CEO

Leonard Stein, Senior Vice

President, Director, Touring

Division

Robert Berretta, Vice President,

Manager, Artists & Attractions

Tania Leong,

Associate, Touring Division

Grace Hertz, Assistant, Artists &

Attractions

Kay McCavic, Company Manager


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

non-profits.

CAMA is now entering its 99th season

of presenting the world’s major classical

orchestras and soloists here in Santa

Barbara. And what a season we have to

look forward to in 2017/2018!

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

and we are deeply committed to continuing

the tradition. We look forward to welcoming

you personally to our CAMA community, and

hope you will also consider a sponsorship

opportunity for one or more of our concerts.

Robert K. Montgomery

President

14


Recognition and Benefits of Sponsorship

n Personal acknowledgement from Executive Director

in onstage welcome before performance

n Acknowledgement at CAMA’s Opening and Closing Dinners

and International Circle events

n Listing in onscreen video presentations in the Granada and Lobero

Theatres on concert night

n Pre-concert complimentary dinner

n Post-concert backstage access to greet the performers

(with artist approval)

n Listing in concert program magazines throughout the season

n Listing in concert advertisements

n Listing on CAMA’s website

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

with photographs, previews, and reviews of your concert

n Membership in CAMA’s International Circle

n Valet Parking at The Granada Theatre for International

Series concerts

If you are interested in sponsoring a concert

please contact Elizabeth Alvarez, Director of Development

(805) 966-4324 Elizabeth@camasb.org

15


LIFETIME GIVING

diamond circle

$500,000 and above

Suzanne & Russell Bock

Linda Brown *

Andrew H. Burnett

Foundation

Esperia Foundation

The Stephen & Carla Hahn

Foundation

Judith Hopkinson

Herbert J. Kendall

Sage Publications

Michael Towbes/The Towbes

Foundation

sapphire circle

$250,000 - $499,999

Anonymous

Bitsy & Denny Bacon

CAMA Women’s Board

Léni Fé Bland

TThe Samuel B. & Margaret C.

Mosher Foundation

The Stepanek Foundation

The Wood-Claeyssens

Foundation

ruby circle

$100,000 - $249,999

The Adams Foundation

Mr. & Mrs. David H. Anderson

Deborah & Peter Bertling

Virginia C. Hunter/

Castagnola Family

Foundation

Robert & Christine Emmons

Mary & Ray Freeman

Dr. & Mrs. Melville Haskell

Dolores Hsu

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

Mr. & Mrs. Palmer Jackson

Mrs. Thomas A. Kelly

Shirley & Seymour Lehrer

Sara Miller McCune

Mr & Mrs Frank R Miller, Jr. /

The Henry E. & Lola Monroe

Foundation

John & Kathleen Moselely/

The Nichols Foundation

Nancy & William G. Myers

Michele & Andre Saltoun

The Santa Barbara Foundation

Jan & John G. Severson

Mr. & Mrs. Edward Stepanek

Jeanne C. Thayer

Mrs. Walter J. Thomson

Union Bank

Dr. & Mrs. H. Wallace Vandever

The Wallis Foundation

Nancy & Kent Wood

Mr. & Mrs. Joseph Yzurdiaga

emerald circle

$50,000 - $99,999

Anonymous

Ms. Joan C. Benson

Mr. & Mrs. Peter Beuret

Dr. & Mrs. Edward E. Birch

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)

16


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

17


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

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)

18


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

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

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

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

Thank you!

Gifts and pledges received from

June 2016 through November 2017

19


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

Mrs. Raymond King 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

20


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.

21

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