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

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


Michael Tilson Thomas 

INTERNATIONAL SERIES 

SEASON SPONSORSHIP: SAGE PUBLICATIONS 

ST. LOUIS SYMPHONY 

ORCHESTRA 

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LOS ANGELES 

PHILHARMONIC 

PRINCIPAL SPONSOR 

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Mosher Foundation 

SPONSORS 

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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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ACADEMY OF ST. MARTIN 

IN THE FIELDS 

SPONSORS 

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Bayrakdarian 

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Sir András Schiff 

PETER SERKIN, piano 

CO-SPONSOR 

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CONCERT PARTNERS 

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ISABEL BAYRAKDARIAN, soprano 

ST. LAWRENCE STRING QUARTET 

SPONSOR 

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CO-SPONSOR 



Robert Boghosian & 

Mary E. Gates-Warren 

Department of Music, UC Santa Barbara 

Frank McGinity 

Sheila Bourke McGinity


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 

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Daniel P. Burnham 


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Frank E. McGinity 


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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 

Administration 

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executive director 

Elizabeth Alvarez 

director of development 

Linda Proud 

office manager/subscriber services 

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director of operations 

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


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


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. 

12

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


Message from the President 

As President of Community Arts Music 

Association (CAMA), I am delighted to 

invite you to join us as a contributor to 

Santa Barbara’s oldest arts organization, 

CAMA, the Queen of Santa Barbara’s 

non-profits. 

CAMA is now entering its 99th season 

of presenting the world’s major classical 

orchestras and soloists here in Santa 

Barbara. And what a season we have to 

look forward to in 2017/2018! 

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

and we are deeply committed to continuing 

the tradition. We look forward to welcoming 

you personally to our CAMA community, and 

hope you will also consider a sponsorship 

opportunity for one or more of our concerts. 

Robert K. Montgomery 

President 

14

Recognition and Benefits of Sponsorship 

n Personal acknowledgement from Executive Director 

in onstage welcome before performance 

n Acknowledgement at CAMA’s Opening and Closing Dinners 

and International Circle events 

n Listing in onscreen video presentations in the Granada and Lobero 

Theatres on concert night 

n Pre-concert complimentary dinner 

n Post-concert backstage access to greet the performers 

(with artist approval) 

n Listing in concert program magazines throughout the season 

n Listing in concert advertisements 

n Listing on CAMA’s website 

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

with photographs, previews, and reviews of your concert 

n Membership in CAMA’s International Circle 

n Valet Parking at The Granada Theatre for International 

Series concerts 

If you are interested in sponsoring a concert 

please contact Elizabeth Alvarez, Director of Development 

(805) 966-4324 Elizabeth@camasb.org 

15

LIFETIME GIVING 

diamond circle 

$500,000 and above 

Suzanne & Russell Bock 

Linda Brown * 

Andrew H. Burnett 

Foundation 

Esperia Foundation 

The Stephen & Carla Hahn 


Judith Hopkinson 

Herbert J. Kendall 

Sage Publications 

Michael Towbes/The Towbes 


sapphire circle 

$250,000 - $499,999 

Anonymous 

Bitsy & Denny Bacon 

CAMA Women’s Board 

Léni Fé Bland 

TThe Samuel B. & Margaret C. 


The Stepanek Foundation 

The Wood-Claeyssens 


ruby circle 

$100,000 - $249,999 

The Adams Foundation 

Mr. & Mrs. David H. Anderson 

Deborah & Peter Bertling 

Virginia C. Hunter/ 

Castagnola Family 



Mary & Ray Freeman 

Dr. & Mrs. Melville Haskell 

Dolores Hsu 

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

Mr. & Mrs. Palmer Jackson 

Mrs. Thomas A. Kelly 

Shirley & Seymour Lehrer 


Mr & Mrs Frank R Miller, Jr. / 

The Henry E. & Lola Monroe 


John & Kathleen Moselely/ 

The Nichols Foundation 

Nancy & William G. Myers 


The Santa Barbara Foundation 

Jan & John G. Severson 

Mr. & Mrs. Edward Stepanek 

Jeanne C. Thayer 

Mrs. Walter J. Thomson 

Union Bank 

Dr. & Mrs. H. Wallace Vandever 

The Wallis Foundation 

Nancy & Kent Wood 

Mr. & Mrs. Joseph Yzurdiaga 

emerald circle 

$50,000 - $99,999 

Anonymous 

Ms. Joan C. Benson 

Mr. & Mrs. Peter Beuret 

Dr. & Mrs. Edward E. Birch 


Dr. & Mrs. Jack Catlett 

Roger & Sarah Chrisman 

NancyBell Coe & 

Bill Burke 

Mr. & Mrs. Robert M. Colleary 

Mrs. Maurice E. Faulkner 

Mr. Daniel H. Gainey 

Mr. Arthur R. Gaudi 

Mr. & Mrs. Robert B. Gilson 

The George H. Griffiths & 

Olive J. Griffiths Charitable 


Mr. Richard Hellman 

Joanne Holderman 

Michael & Natalia Howe 

The Hutton Parker Foundation 


Judith Little 

John & Lucy Lundegard 

Mrs. Max E. Meyer 

Montecito Bank & Trust 


Mr. & Mrs. Craig A. Parton 

Performing Arts Scholarship 


Marjorie S. Petersen/ 

La Arcada Investment Corp. 

Mr. Ted Plute & Mr. Larry Falxa 

Lady Ridley-Tree 


Judy & George Writer 

topaz circle 

$25,000 - $49,999 

Anonymous 

Edward Bakewell 

Helene & Jerry Beaver 



Mary E. Gates-Warren 

Mr. & Mrs. Andrew Burnett 

Linda Stafford BurrowsMs. 

Huguette Clark 

Mrs. Leonard Dalsemer 

Edward S. De Loreto 

Mr. & Mrs. Larry Durham 

Dr. Robert M. & Nancyann 

Failing 

The George Frederick Jewett 


Patricia Kaplan 

Elizabeth Karlsberg & 

Jeff Young 

Lynn P. Kirst & Lynn R. 

Matteson 

Otto Korntheuer/ The Harold L. 

Wyman Foundation in memory 

of Otto Korntheuer 

Chris Lancashire & 

Catherine Gee 

Mrs. Jon B. Lovelace 

Leatrice Luria 

Mrs. Frank Magid 

Ruth McEwen 


Sheila Bourke McGinity 

Frank R. Miller, Jr. 

James & Mary Morouse 

Patricia Hitchcock O’Connell 

Efrem Ostrow Living Trust 

Mr. Ernest J. Panosian 

Mr. & Mrs. Roger A. Phillips 

Kathryn H. Phillips 

Mrs. Kenneth Riley 

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 


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 


Anne & Wesley Poulson 

Susannah Rake 

Mr. & Mrs. Frank Reed 

Jack Revoyr 

Betty & Don Richardson 

The Grace Jones 

Richardson Trust 


The Roberts Bros. Foundation 

John F. Saladino 

Jack & Anitra Sheen 

Sally & Jan Smit 

Betty Stephens & 

Lindsay Fisher 

Selby & Diane Sullivan 

Joseph M. Thomas 

Milan E. Timm 


Steven D. Trueblood 

Kenneth W. & Shirley C. Tucker 

Mr. & Mrs. Hubert D. Vos 

Barbara & Gary Waer 

Mr. &Mrs. David Russell Wolf 

Dick & Ann Zylstra 

* promised gift 

(Gifts and pledges received 

as of January 4, 2018) 

16


“I think too often 

people think of the 

arts as decoration to 

the experiences of life, 

sort of a frosting on 

the cake. But to me, 

the arts are essential 

to understanding the 

problems of life, and to 

helping us get through 

the experiences of life 

with intelligent understanding 

and grace.” 

– Philanthropist and 

CAMA Friend 

Robert M. Light 

YOU Ensure 

the Tradition 

Your generosity through planned giving secures 

the future of CAMA. When you include CAMA in 

your will or living trust, your contribution ensures 

CAMA’s great classical music performances and 

music outreach programs continue. 

Thank you for being part of our Community. 

CAMA offers the opportunity to ensure the 

future of our mission to bring world-class music 

to Santa Barbara. By including CAMA in your will or 

living trust, you leave a legacy of great concerts and 

music appreciation outreach programs for future 

generations. 

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

Join Elizabeth Alvarez, CAMA Director of Development, 

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

elizabeth@camasb.org 

COMMUNITY ARTS MUSIC ASSOCIATION 

(805) 966-4324 • www.camasb.org 

17

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 



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 




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) 

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 


Joan & Palmer Jackson 



Lynn P. Kirst 



Mary Lloyd & Kendall Mills 



The Samuel B. & Margaret C. 


Fran & John Nielsen 



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 

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 


Montecito Bank & Trust 


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 


Bridget Colleary 

Fredericka & Dennis Emory 

Priscilla & Jason Gaines 

Elizabeth Karlsberg & Jeff Young 



Jill Dore Kent 

Lois Kroc 

MaryAnn Lange 

Shirley & Seymour Lehrer 

Dona & George McCauley 


Sheila Bourke McGinity 



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 

Diana & Roger Phillips 

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 

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 


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 


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. 

21

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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