CAMA - March 28, 2018 - Program Notes - San Francisco Symphony - International Series at The Granada Theatre

Presenting the world’s finest classical artists since 1919
Spencer-Lowel
SAN FRANCISCO
SYMPHONY
MICHAEL TILSON THOMAS
MUSIC DIRECTOR AND CONDUCTOR
GIL SHAHAM VIOLIN
WEDNESDAY, MARCH 28, 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
SPONSORS
Hollis Norris Fund
Alison & Jan Bowlus
CO-SPONSORS
Louise & Michael Caccese
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
Fran & John Nielsen
The Shanbrom Family Foundation
CO-SPONSORS
Anonymous
Elizabeth & Andrew Butcher
Mahri Kerley/Chaucer's Books
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 March 1, 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
SAN FRANCISCO SYMPHONY
MICHAEL TILSON THOMAS MUSIC DIRECTOR AND CONDUCTOR
GIL SHAHAM VIOLIN
WEDNESDAY, MARCH 28, 2018
The Granada Theatre (Santa Barbara Center for the Performing Arts)
Alban Berg
(1885-1935)
Violin Concerto (1935)
Andante—Allegretto
Allegro—Adagio
Gil Shaham, violin
Intermission
Gustav Mahler
(1860-1911)
Symphony No.5 in C-sharp minor (1902)
Trauermarsch (Funeral march: With measured step.
Strict. Like a cortege)
Stürmisch bewegt, mit grösster Vehemenz (Stormily.
With greatest vehemence)
Scherzo: Kräftig, nicht zu schnell (Scherzo: Vigorously,
not too fast)
Adagietto, sehr langsam (Adagietto: Very slow)
Rondo-Finale: Allegro
(Rondo-Finale: Allegro giocoso. Lively)
CAMA thanks our generous sponsors who have made this evening’s
performance possible:
International Series Season Sponsor: SAGE Publications
PRIMARY SPONSOR: The Elaine F. Stepanek Concert Fund
PRINCIPAL SPONSOR: Herbert & Elaine Kendall
SPONSOR: Bitsy & Denny Bacon and the Becton Family Foundation
Fran & John Nielsen • The Shanbrom Family Foundation
CO-SPONSORS: Anonymous • Elizabeth & Andrew Butcher • Mahri Kerley/Chaucer's Books
Lynn P. Kirst • Jocelyne & William Meeker • Val & Bob Montgomery
San Francisco Symphony tours are supported by the Frannie and Mort Fleishhacker Endowed Touring
Fund, the Halfmann-Yee Fund for Touring, the Fay and Ada Tom Family Fund for Touring, and the
Brayton Wilbur, Jr. Endowed Fund for Touring.
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
Stefan Cohen
SAN FRANCISCO
SYMPHONY
The San Francisco Symphony gave its
first concerts in 1911 and has grown
in acclaim under a succession of music
directors: Henry Hadley, Alfred Hertz,
Basil Cameron, Issay Dobrowen, Pierre
Monteux, Enrique Jordá, Josef Krips, Seiji
Ozawa, Edo de Waart, Herbert Blomstedt,
and, since 1995, Michael Tilson Thomas.
The SFS has won such recording awards
as France’s Grand Prix du Disque and
Britain’s Gramophone Award, and the
Mahler cycle on the Symphony’s own
label has been honored with numerous
Grammys, including those for Best
Classical Album (Mahler’s Third, Seventh,
and Eighth symphonies), Best Choral
Performance and Best Engineered
Classical Album (Mahler Eighth), and Best
Orchestral Performance (Mahler Sixth
and Seventh). The recording of John
Adams’s Harmonielehre and Short Ride
in a Fast Machine won a 2013 Grammy
for Best Orchestral Performance and an
ECHO Klassik award. A series of earlier
recordings by MTT and the Orchestra,
for RCA Red Seal, has also won praise,
and their collection of Stravinsky ballets
for RCA (Le Sacre du printemps, The
Firebird, and Perséphone) received three
Grammys. Some of the most important
4

conductors of the past and recent years
have been guests on the SFS podium,
among them Bruno Walter, Leopold
Stokowski, Leonard Bernstein, and Sir
Georg Solti, and among the composers
who have led the Orchestra are Stravinsky,
Ravel, Copland, and John Adams. The
SFS Youth Orchestra, founded in 1980,
has become known around the world, as
has the SFS Chorus, heard on recordings
and on the soundtracks of such films as
Amadeus and Godfather III. Adventures
in Music, the longest running education
program among US orchestras, brings
music to children in grades one through
five in San Francisco’s public schools.
Keeping Score, designed to connect
audiences with music, aired on PBS-TV,
is available on DVD and Blu-ray, and
can be accessed at keepingscore.org.
In 2014, the SFS launched SoundBox, a
new experimental performance venue and
music series located backstage at Davies
Symphony Hall. SFS radio broadcasts, the
first in the nation to feature symphonic
music when they began in 1926, today carry
the Orchestra’s concerts across the country.
MICHAEL
TILSON THOMAS
Art Streiber
Michael Tilson Thomas assumed his
post as the San Francisco Symphony’s
Music Director in 1995, consolidating a
relationship with the Orchestra that began
5

Biography
with his debut in 1974. A Los
Angeles native, he studied Michael Tilson Thomas
than a dozen members
of the SFS. Michael Tilson
with John Crown and Ingolf assumed his post as Thomas’s recordings
Dahl at the University
have won numerous
the San Francisco
of Southern California,
international awards,
becoming Music Director
Symphony’s Music
including twelve Grammys
of the Young Musicians Director in 1995, for SFS recordings. In
Foundation Debut Orchestra
consolidating a
2014, he inaugurated
at nineteen. He worked
SoundBox, the San
relationship with the
with Stravinsky, Boulez,
Francisco Symphony’s new
Stockhausen, and Copland Orchestra that began alternative performance
at the famed Monday with his SFS debut space and live music
Evening Concerts and was
in 1974.
series. His television
pianist and conductor for
the Piatigorsky and Heifetz
master classes. In 1969, Mr. Tilson
Thomas won the Koussevitzky Prize and
was appointed Assistant Conductor of
the Boston Symphony. Ten days later
he came to international recognition,
credits include the New
York Philharmonic Young
People’s Concerts and in 2004 he
and the SFS launched Keeping Score
on PBS-TV. His compositions include
From the Diary of Anne Frank, Shówa/
Shoáh, settings of Emily Dickinson and
replacing Music Director William Walt Whitman, Island Music, Notturno,
Steinberg in mid-concert at Lincoln
Center. He went on to become the
BSO’s Principal Guest Conductor, and
he has also served as Music Director
of the Buffalo Philharmonic, and as a
Principal Guest Conductor of the Los
Angeles Philharmonic. With the London
Symphony Orchestra he has served as
Principal Conductor and Principal Guest
Conductor; he was recently named
Conductor Laureate. He is Artistic
Director of the New World Symphony,
which he co-founded in 1987. NWS has
and most recently, Four Preludes on
Playthings of the Wind. Michael Tilson
Thomas is a Chevalier des Arts et des
Lettres of France, was Musical America’s
Musician and Conductor of the Year, and
was inducted into the Gramophone Hall
of Fame in 2015. He has been elected
to the American Academy of Arts and
Sciences, and in 2010 was awarded the
National Medal of Arts by President
Obama. Most recently he was elected
to the Academy of Arts and Letters
as an American Honorary Member.
helped launch the careers of more than
1,000 alumni worldwide, including more
6

GIL
SHAHAM
Gil Shaham was born in 1971 in Illinois
and grew up in Israel, where he studied
at the Rubin Academy of Music. He made
his debut at age ten with the Jerusalem
Symphony and Israel Philharmonic, and
the following year, took the first prize in
Israel’s Claremont Competition. He then
became a scholarship student at Juilliard,
and he also studied at Columbia University.
Recent season highlights include
performances with the Berlin Philharmonic,
Boston Symphony, Chicago Symphony, Israel
Philharmonic, Los Angeles Philharmonic,
New York Philharmonic, and Orchestre de
Paris, as well as multi-year residencies
with the orchestras of Montreal, Stuttgart,
and Singapore. Mr. Shaham continues his
exploration of violin concertos of the 1930s,
including the works of Barber, Bartók, Berg,
Korngold, and Prokofiev, among many
others. He joins his longtime duo partner,
pianist Akira Eguchi, in recitals throughout
North America, Europe, and Asia.
Mr. Shaham has recorded more than
two dozen CDs, earning multiple Grammy
awards, a Grand Prix du Disque, Diapason
d’Or, and Gramophone Editor’s Choice award.
Many of these recordings appear on Canary
Classics, the label he founded in 2004. Notable
releases include 1930s Violin Concertos,
Virtuoso Violin Works, Elgar’s Violin Concerto,
Hebrew Melodies, The Butterfly Lovers,
J.S. Bach’s complete sonatas and partitas
for solo violin, and many more. His most
recent recording in the series 1930s Violin
Concertos, Vol. 2, including Prokofiev’s Violin
Concerto No.2 and Bartók’s Violin Concerto
No.2, was nominated for a Grammy award.
Mr. Shaham was awarded an Avery
Fisher Career Grant in 1990 and won
the Avery Fisher Prize in 2008. He was
named Instrumentalist of the Year by
Musical America in 2012. He plays the 1699
“Countess Polignac” Stradivarius violin, and
lives in New York City with his wife, violinist
Adele Anthony, and their three children.
7

Program Notes
Alban Berg
Concerto for Violin and Orchestra
ALBAN MARIA
JOHANNES BERG
BORN: February 9, 1885. Vienna
DIED: December 24, 1935. Vienna
COMPOSED: Begun in late April 1935,
substantially completed by the middle of
July, with the complete score being finished
on August 11.
WORLD PREMIERE: April 19, 1936, with
violinist Louis Krasner and the Orquesta Pau
Casals, conducted by Hermann Scherchen
(substituting at the last minute for Anton
Webern), at the International Society for
Contemporary Music Festival in Barcelona.
INSTRUMENTATION: 2 flutes (both doubling
piccolo), 2 oboes (2nd doubling English horn),
3 clarinets (3rd doubling alto saxophone) and
bass clarinet, 2 bassoons and contrabassoon,
4 horns, 2 trumpets, 2 trombones (tenor and
bass), tuba, timpani, bass drum, cymbals,
snare drum, low tam-tam, high gong, triangle,
and strings.
DURATION: About 22 mins
In February 1935, Louis Krasner, a Ukrainianborn,
Boston-based violinist, approached
the fifty-year-old Alban Berg to request that
he compose a concerto. Krasner, who would
live to the age of ninety-one, was near
8

the beginning of a long career that would
occupy a place of honor in the annals
of contemporary music; in addition to
introducing Berg’s Violin Concerto, he would
go on to premiere concertos by Arnold
Schoenberg, Alfredo Casella, and Roger
Sessions, as well as important shorter works
by Henry Cowell and Roy Harris, among
others. But Berg expressed no interest
in Krasner’s request. As a composer he
tended to be slow and methodical, and at
the moment he was completely absorbed
in the composition of his opera Lulu. It
seemed unlikely that Krasner’s dream
would be fulfilled. But privately the idea
had intrigued Berg, not least because of
Krasner’s argument that what twelve-tone
music really needed to become popular was
a genuinely expressive, heartfelt piece in an
audience-friendly genre like a concerto.
Then, too, the generous commission that
Krasner offered was sorely tempting:
$1,500 would go a long way in 1935. In spite
of himself, Berg started making tentative
stabs towards writing such a work as
Krasner envisaged, and he accepted the
commission.
That spring, the composer received
word that on April 22 Manon Gropius, the
eighteen-year-old daughter of Alma Mahler
Werfel (widow of Gustav) and the wellknown
architect Walter Gropius, had died
of polio. Berg had adored the girl since
her earliest childhood, and, harnessing the
creative energy that tragedy can inspire, he
resolved to compose a musical memorial.
“Before this terrible year has passed,” he
wrote in a letter to Alma, “you and Franz
[Werfel, her current husband] will be able
to hear, in the form of a score which I shall
dedicate ‘to the memory of an angel,’ that
which I feel and today cannot express.” He
immediately turned his entire focus on the
violin concerto, left off work on the final act
of Lulu (which would remain incomplete),
and moved to a summer cottage on the
Wörthersee. It was at the Wörthersee that
Mahler had built a summer getaway—at
Maiernigg, on the lake’s southern shore.
And, as Berg was delighted to point out,
it was at the Wörthersee that Brahms had
written much of his Violin Concerto, while
staying at a hotel in Pörtschach, on the
northern side.
Letters to friends make it clear that
Berg worked feverishly on the concerto,
so much so that he substantially finished
it within two and a half months, though he
would take another month to finish writing
out the full score. Normally Berg required
two years to write a large-scale work; the
Violin Concerto was completed in less than
four months. At the head of the manuscript
he inscribed “To the Memory of an Angel,”
just as he had promised. The name of Louis
Krasner was also appended to the score as
dedicatee.
This piece, Berg’s only solo concerto,
evolved according to the twelve-tone
principles that the composer had learned
from Schoenberg and championed as only
a great composer could—which is to say, by
using those principles as a means toward
articulating a unique world of expression.
Within his tone row (that is, the series of
twelve pitches on which a composition
is based), Berg chooses to emphasize
those pitches that correspond to the open
strings of the violin, yielding a harmonic
basis that makes perfect sense in terms
9

of the forces involved. These are intoned
at the very outset of the concerto. In fact,
many nineteenth-century violin concertos,
including those of Beethoven, Brahms,
and Tchaikovsky, had settled their tonic
on the note D, a note at the heart of the
instrument’s tuning—not such a different
tactic from Berg’s.
The concerto’s most astonishing section
is doubtless its conclusion: a set of variations
on the Lutheran chorale “Es ist genug!
Herr wenn es Dir gefällt” (It is enough!
Lord, if it pleases You). After the piece was
already well along, Berg discovered that
the opening notes of that chorale, which he
knew through its harmonization in Bach’s
Cantata No. 60, corresponded exactly to
the final four notes of his tone row. The
chorale melody is striking in that it begins
with a succession of three whole tones,
which together describe a tritone (the
interval of the augmented fourth), anciently
forbidden as the “devil in music.” As such, it
is not a particularly “comfortable” melody
in the context of traditional tonic-centered
tonality, and even Bach’s harmonization
had to reach in unaccustomed directions
to harness it. Berg quickly realized that his
current project enjoyed not just a musical
connection to the chorale, but a poetic
one as well, since the text of the chorale
supremely expressed an emotion he was
wanting to express about Manon Gropius’s
inevitable resignation to untimely death:
It is enough!
Lord, if it pleases You
Unshackle me at last.
My Jesus comes;
I bid the world goodnight.
I travel to the heavenly home.
I surely travel there in peace,
My troubles left below.
It is enough! It is enough!
The concerto occupies two movements,
each in two parts, in the overall sequence
of Andante—Allegretto / Allegro—Adagio
(or, as Berg described it in a letter to
Schoenberg two weeks after the piece
was completed, Preludium—Scherzo /
Cadenza—Chorale Variations). Berg told his
biographer Willi Reich that in the Andante—
Allegretto movement he “had tried to
translate the young girl’s characteristics into
musical characters.” A nostalgic, dreamy
quality pervades the first section, whose
improvisational spirit belies its rigid musical
organization. The ensuing Allegretto recalls
a more cheerful aspect of Manon, even to
the point of Berg’s introducing a Carinthian
folk melody, played by solo horn.
Following this pastoral reverie, the
second movement seems macabre
and nightmarish. It begins in energetic,
rhapsodic phrases that lead to a musical
climax. This introduces the chorale melody,
which sounds almost shocking in its twelvetone
context, followed by two variations on
the melody. Berg quotes it in Bach’s own
harmonization, with clarinets mimicking a
Bachian organ, though with a filigree of
dissonance wafting over it. In the score, Berg
instructs the soloist to assume leadership
over the violin and viola sections “audibly
and visibly” as the movement progresses,
and asks those orchestral string players to
successively join and resist the soloist “in
just as demonstrative a manner,” eventually
dropping away so that only the soloist is
10

playing. Following this musical and dramatic
struggle, a metaphor for the struggle of the
living soul against the insistence of death,
the Carinthian folk song wafts through again,
this time as if from a distance, and then the
chorale appears one last time. In the final
bars, the solo violin, as if solving the puzzle
presented by the two disparate approaches
to harmony, articulates the entire twelvetone
row simple and unadorned, from its
lowest note to its highest, three octaves
above. As the violin ascends in this ultimate
gesture, the other instruments of the
orchestra descend to their lowest registers,
a world away from the soloist.
In a tragic turn that Berg could not have
foreseen, the Violin Concerto was to be his
last completed work. Shortly after composing
it, the composer was annoyed by an abscess
on his back, presumably the result of an
insect bite. Treatment proved ineffective and
blood poisoning ensued. Berg died at the
end of the year in which he composed his
concerto, a day before Christmas.
Years later, Krasner, who had gone on to
play the work’s premiere in 1936, recalled
how he had visited Berg as the composer
was engrossed in the project. “A short time
later,” Krasner reported, “Berg sent me all
the pages of his manuscript. It was in a roll,
neatly addressed by him and marked: Value,
50 francs.” Succeeding generations would
dispute that modest valuation. Berg’s Violin
Concerto cuts deep into the human psyche,
and it stands near the summit of its genre.
The philosopher Theodor Adorno, a one-time
Berg pupil and a critical but appreciative
listener to his teacher’s music, pondered
his own reaction to this work: “In some
of its simplest, intellectually most irritating
passages, for instance the two-fold quotation
of the Carinthian folk song, the Violin Concerto
acquires an almost heartbreaking emotive
power unlike almost anything else Berg ever
wrote. He was granted something accorded
only the very greatest artists: access to
that sphere, most comparable with Balzac,
in which the lower realm, the not quite fully
formed, suddenly becomes the highest. . . .
The way, however, in which the imagerie of
the nineteenth century stirs within Berg is
forward-looking. Nowhere in this music is it
a matter of restoring a familiar idiom or of
alluding to a childhood to which he seeks
a return. Berg’s memory embraced death.
Only in the sense that the past is retrieved
as something irretrievable, through its own
death, does it become part of the present.”
— James M. Keller
San Francisco Symphony © 2018
Symphony No.5
in C‐sharp minor
GUSTAV
MAHLER
BORN: July 7, 1860. Kalischt (Kaliště),
Bohemia, near the town of Humpolec
DIED: May 18, 1911. Vienna
COMPOSED: 1901‐02
WORLD PREMIERE: October 18, 1904. Mahler
led the Gürzenich Orchestra in Cologne, having
conducted a read‐through with the Vienna
Philharmonic earlier that year.
NORTH AMERICAN PREMIERE: March 25,
1905. Frank van der Stucken conducted the
Cincinnati Symphony.
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INSTRUMENTATION: The score calls for 4
flutes (2 doubling piccolo), 3 oboes and English
horn, 3 clarinets and bass clarinet, 3 bassoons
and contrabassoon, 6 horns, 4 trumpets, 3
trombones, tuba, timpani, cymbals, bass drum,
bass drum with cymbals attached, snare drum,
triangle, glockenspiel, tam-tam, slapstick, harp,
and strings.
DURATION: About 75 mins
In the first movement of Mahler’s Fourth
Symphony (1899‐1901), a sunny exposition
leads to a surprisingly shadowed
development. Its explosive climax is quickly
stifled, and, across the muttering of a few
instruments, a trumpet calls the orchestra
to order with an insistent fanfare. A variant
of this fanfare opens the Symphony No.5.
There is no obvious explanation for this link.
But the fanfare is too arresting, and it is
too critically placed in both symphonies, to
ignore some relationship. Let us speculate.
In 1901, at the juncture of completing the
Fourth Symphony and beginning the Fifth,
Mahler was acutely conscious of taking a
new path (as Beethoven had put it just a
hundred years before). Perhaps, as he set
out, he wanted to show that the seed for the
new was to be found in the old.
In what sense is the Fifth Symphony new?
After a run of unconventional symphonies,
Mahler comes back to a more “normal”
design, one that could be described as
concentric as well as symmetrical. In the First
Symphony, the orchestra plays long passages
from Mahler’s Songs of a Wayfarer, and
the Second, Third, and Fourth symphonies
actually include singing. While the Fifth
also alludes to three of Mahler’s songs, it is
essentially an instrumental conception. This
movement toward the purely orchestral is
tied to another change in Mahler’s work.
Except for a few brief departures, Mahler
for thirteen years had set only texts from
Des Knaben Wunderhorn. But in July 1901,
he composed his last Wunderhorn song and
turned to the writings of Friedrich Rückert,
setting six of his poems that month and next.
With that change of literary inspiration, a
certain kind of “open” Wunderhorn lyricism
disappears from Mahler’s symphonies. The
music becomes leaner and harder. About
this time Mahler acquired the complete
edition of Bach and, at least partly in
consequence of his excited discovery of what
was in those volumes, his textures become
more polyphonic. But this new “intensified
polyphony,” as Bruno Walter called it,
demanded a new orchestral style, and this
did not come easily. Mahler was always a
pragmatist in orchestration, tending to revise
in response to his experience conducting
his own works or hearing them under a
trusted colleague like Willem Mengelberg in
Amsterdam, but never did he find he had so
thoroughly miscalculated a sound as in the
first version of the Fifth, with its apparently
deafening barrage of percussion. He made
alterations until at least 1907.
Mahler’s wife, Alma, was ill and could not
accompany him to Cologne for the premiere,
and to that unhappy circumstance we owe
one of the composer’s most remarkable
and delightful letters, written just after the
first rehearsal. Of the symphony he wrote:
“Heavens, what is the public to make of this
chaos in which new worlds are forever being
engendered, only to crumble into ruin the
next moment? What are they to say to this
primeval music, this foaming, roaring, raging
12

Program Notes
Gustav Mahler
sea of sound, to these dancing stars, to
these breathtaking, iridescent, and flashing
breakers?”
For the composer Ernst Krenek, the Fifth
Symphony is the work with which Mahler
enters “upon the territory of the ‘new’ music
of the twentieth century.” And to return for
a moment to Mahler’s report from Cologne:
“Oh that I might give my symphony its first
performance fifty years after my death! . . . Oh
that I were a Cologne town councilor with
a box at the Municipal Theater and at the
Gürzenich Hall and could look down upon all
modern music!”
Mahler casts the work in five movements,
but some large Roman numerals in the score
indicate a more basic division into three
sections, consisting respectively of the first
two, the third, and the last two movements.
At the center stands the Scherzo, its place
in the design pleasingly ambiguous in that
it is framed between larger structural units
(Sections I and III) but is itself longer than any
other single movement.
Mahler begins with funeral music. He
starts here with the summons of the single
trumpet. Most of the orchestra is drawn
into this darkly sonorous exordium, whose
purpose is to prepare a lament sung by violins
and cellos. At least that is how it is sung to
begin with, but it is characteristic of Mahler’s
scoring that colors and textures, weights
and balances, degrees of light and shade
shift from moment to moment. Something
else that changes is the melody itself. Ask
six friends who know this symphony to sing
this dirge for you and you may well get six
versions, no two of them identical but all of
13

them correct. It is a wonderful
play of perpetual variation.
“Oh that I might give
my symphony
the point of transforming itself
for a moment into a march of
The opening music comes
its first performance
unseemly jauntiness. Now
back. Again the summons
fifty years after my
trumpets and trombones intone
leads to the inspired threnody,
unfolded this time at greater
breadth and with a more intense
grieving. Yet again the trumpet
death! . . . Oh that I
were a Cologne town
councilor with a box at
the Municipal Theater
a chorale, the symphony’s first
extended music in a major key.
But it is too soon for victory. The
grand proclamation vanishes,
recalls the symphony’s first bars,
and at the Gürzenich
and this movement, too,
but this time, suddenly, with
utmost violence and across a
brutally simple accompaniment,
violins fling forth a whipping
downward scale and the trumpet
is pushed to scream its anguish.
An attempt to introduce a loftier
Hall and could look
down upon all modern
music!”
–Gustav Mahler
dematerializes in a passage of
the most astounding orchestral
fantasy.
As we reach the middle
member of Mahler’s symphonic
triptych, four horns in unison
declare the opening of the
strain is quickly swept aside. Gradually Mahler
returns to the original slow tempo and to the
cortege we have come to associate with it,
and it is here that he alludes for a moment to
one of the songs of that rich summer of 1901.
It is the first of the Rückert Kindertotenlieder,
and the line is the poet’s bitter greeting to
the first sunrise after the death of his child.
When the whipping violin scale returns it
is in the context of the slow tempo, and
the movement disintegrates in ghostly
reminders of the fanfare and a savagely final
punctuation mark.
What we have heard so far is a slow
movement with a fast interruption. There
follows its inversion, a quick movement that
returns several times to the tempo of the
funeral march. These two parts of Section I
actually share thematic material. Still more
variants of the great threnody appear, and
the grieving commentary that accompanied
the melody in the first movement comes
more insistently into the foreground, to
Scherzo. The voice of a single horn detaches
itself from that call, the beginning of a
challenging obbligato for the principal player.
This is country music, by turns ebullient,
nostalgic, and a mite parodistic. There is
room even for awe as horns speak and
echo across deep mountain gorges. It is
exuberantly inventive too, its energies fed by
the bold ingenuity of Mahler’s polyphony, and
it is brilliantly set for the orchestra.
The diminutive in the title of the famous
fourth movement refers to its brevity and is
not meant as a qualification of its adagio‐ness;
indeed, in the first three measures alone
Mahler tells the conductor three times and
in two languages that he wants it “very
slow.” If any single movement can convey the
essence of Mahler’s heartache, the Adagietto
is it. The orchestra is reduced to strings
with harp, and one could go on learning
forever from the uncanny sense of detail
with which Mahler moves those few strands
of sound. If the harp part were lost and one
14

had to reconstruct it, figuring out the right
harmonies would be easy, but nobody could
ever guess Mahler’s hesitating rhythm or his
sensitive spacing of those chords.
The Adagietto is cousin to one of Mahler’s
first Rückert songs, “Ich bin der Welt
abhanden gekommen”—“I am Lost to the
World.” It is not so much a matter of quotation
or allusion as of drawing twice from the same
well. Adagietto and song share characteristic
features of contour, harmony, and texture,
and our knowledge of the song, which ends
with the lines “I live alone in my heaven, in
my loving, in my song,” confirms our sense of
what Mahler wishes to tell us in this page of
his symphony.
After the brightness of the Scherzo,
Mahler sets the Adagietto in a darker key.
Then, in a most delicately imagined passage,
he finds his way back to the light. As abruptly
as he had moved from the tragedy of the
first two movements into the joyous vitality
of the Scherzo, Mahler now leaves behind
the hesitations and cries of his Adagietto
to dive into the radiant, abundant finale. It
is, most of it, superb comedy, so vigorous
that it can even include the melody of the
Adagietto—in quick tempo—as one of its
themes. The brass chorale from the second
movement comes back, this time in its full
extension, as a gesture of triumph and as
a structural bridge across the symphony’s
great span. When all is done, though, no one
is in the mood for an exalted close, and the
symphony ends on a shout of laughter.
—Michael Steinberg
San Francisco Symphony © 2018
15

16

SAN FRANCISCO SYMPHONY
Michael Tilson Thomas
Music Director & Conductor
Herbert Blomstedt
Conductor Laureate
Christian Reif
Resident Conductor
Ragnar Bohlin
Chorus Director
Vance George
Chorus Director Emeritus
FIRST VIOLINS
Alexander Barantschik
Concertmaster
Naoum Blinder Chair
Nadya Tichman
Associate Concertmaster
San Francisco Symphony
Foundation Chair
Jeremy Constant
Assistant Concertmaster
Mariko Smiley
Acting Assistant
Concertmaster
Paula & John Gambs
Second Century Chair
Melissa Kleinbart
Katharine Hanrahan Chair
Yun Chu
Sharon Grebanier*
Naomi Kazama Hull
In Sun Jang
Yukiko Kurakata
Catherine A. Mueller Chair
Suzanne Leon
Leor Maltinski
Diane Nicholeris
Sarn Oliver
Florin Parvulescu
Victor Romasevich
Catherine Van Hoesen*
Sarah Knutson†
Yeh Shen†
Emma Votapek†
Sarah Wood†
SECOND VIOLINS
Dan Carlson
Principal
Dinner & Swig Families Chair
Helen Kim
Associate Principal
Audrey Avis Aasen-Hull Chair
Paul Brancato
Assistant Principal
Dan Nobuhiko Smiley
The Eucalyptus Foundation
Second Century Chair
Raushan Akhmedyarova
David Chernyavsky
John Chisholm
Cathryn Down
Darlene Gray
Stan & Lenora Davis Chair
Amy Hiraga
Kum Mo Kim
Kelly Leon-Pearce*
Eliot Lev
Isaac Stern Chair
Chunming Mo
Polina Sedukh
Chen Zhao
Jessica Fellows†
VIOLAS
Jonathan Vinocour
Principal
Yun Jie Liu
Associate Principal
Katie Kadarauch
Assistant Principal
John Schoening
Joanne E. Harrington
& Lorry I. Lokey Second
Century Chair
Gina Cooper
Nancy Ellis
David Gaudry
David Kim
Christina King
Wayne Roden
Nanci Severance
Adam Smyla
Matthew Young
CELLOS
Michael Grebanier* Principal
Philip S. Boone Chair
Peter Wyrick
Associate Principal
Peter & Jacqueline Hoefer
Chair
Amos Yang
Assistant Principal
Margaret Tait
Lyman & Carol Casey
Second Century Chair
Barbara Andres
The Stanley S. Langendorf
Foundation Second Century
Chair
Barbara Bogatin
Jill Rachuy Brindel*
Gary & Kathleen
Heidenreich
Second Century Chair
Sébastien Gingras
David Goldblatt
Christine & Pierre Lamond
Second Century Chair
Carolyn McIntosh
Anne Pinsker
Richard Andaya†
Nora Pirquet†
BASSES
Scott Pingel Principal
Daniel G. Smith
Associate Principal
Stephen Tramontozzi
Assistant Principal
Richard & Rhoda Goldman
Chair
S. Mark Wright
Lawrence Metcalf Second
Century Chair
Charles Chandler
Lee Ann Crocker*
Chris Gilbert
Brian Marcus
William Ritchen
Robert Ashley†
FLUTES
Tim Day
Principal
Caroline H. Hume Chair
Robin McKee
Associate Principal
Catherine & Russell Clark
Chair
Linda Lukas
Alfred S. & Dede Wilsey
Chair
Catherine Payne Piccolo
OBOES
Eugene Izotov Principal
Edo de Waart Chair
James Button
Associate Principal
Pamela Smith
Dr. William D. Clinite Chair
Russ deLuna
English Horn
Joseph & Pauline Scafidi
Chair
CLARINETS
Carey Bell Principal
William R. & Gretchen B.
Kimball Chair
Luis Baez
Associate Principal & E-flat
Clarinet
David Neuman
Jerome Simas Bass Clarinet
BASSOONS
Stephen Paulson Principal
Steven Dibner
Associate Principal
Rob Weir
Steven Braunstein
Contrabassoon
SAXOPHONE
David Henderson†
HORNS
Robert Ward Principal
Nicole Cash*
Associate Principal
Bruce Roberts
Assistant Principal
Jonathan Ring
Jessica Valeri
Daniel Hawkins
Chris Cooper†
Joshua Paulus†
TRUMPETS
Mark Inouye Principal
William G. Irwin Charity
Foundation Chair
Guy Piddington
Ann L. & Charles B. Johnson
Chair
Jeff Biancalana
David Vonderheide†
TROMBONES
Timothy Higgins Principal
Robert L. Samter Chair
Nicholas Platoff
Associate Principal
Paul Welcomer
John Engelkes
Bass Trombone
TUBA
Jeffrey Anderson Principal
James Irvine Chair
HARP
Douglas Rioth Principal
TIMPANI
Edward Stephan
Principal
Marcia & John Goldman
Chair
PERCUSSION
Jacob Nissly
Principal
Raymond Froehlich
Tom Hemphill
James Lee Wyatt III
KEYBOARDS
Robin Sutherland
Jean & Bill Lane Chair
LIBRARIANS
Margo Kieser Principal
Nancy & Charles Geschke
Chair
John Campbell Assistant
Matt Gray Assistant
Sakurako Fisher, President
Mark C. Hanson,
Executive Director
Matthew Spivey, Director of
Artistic Planning
Andrew Dubowski, Director of
Operations
Rebecca Blum, Director of
Orchestra, Education, and
Strategic Initiatives
Robin Freeman, Director of
Public Relations
Joyce Cron Wessling,
Manager of Tours and Media
Production
Bradley Evans, Orchestra
Personnel Manager
Nicole Zucca, Tours and
Media Production Assistant
Shoko Kashiyama, Executive
Assistant to the Music Director
Robert Doherty,
Stage Manager
Mike Olague, Stage Technician
Michael “Barney” Barnard,
Stage Technician
* On leave
† Acting member
of the SFS
The San Francisco Symphony
string section utilizes
revolving seating on a
systematic basis. Players
listed in alphabetical order
change seats periodically.

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
18

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
19

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/Chaucer's Books
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)
20

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
21

CAMA ENDOWMENT: A Sound Investment
YOU ensure that great music and world-class artists
continue to grace Santa Barbara stages for decades to come.
Endowment funds are needed to bridge the gap between ticket sales
and steadily rising artist fees and concert production costs. Funds are also
needed to sustain CAMA’s outstanding music education programs.
MOZART SOCIETY
Our CAMA community members who contribute a cash gift to the endowment of $10,000
or more enjoy many benefits of The Mozart Society, including participation in our annual
black-tie dinner.
LEGACY SOCIETY
Our CAMA community members who have included CAMA in their will or estate plan
belong to the Legacy Society. Legacy Society members participate in the Annual Legacy
Event. In May 2017, Legacy members gathered for a Sunset Cruise on the Channel Cat.
Call Elizabeth Alvarez at the CAMA Office (805) 966-4324
to learn more about CAMA’s Endowment.
MEMORIAL GIFTS
3 In Memory of 3
DR. WALTER PICKER
Ann M. Picker
FREDERICK F. LANGE
MaryAnn Lange
CORNELIA CHAPMAN
Ellicott Million
NAN BURNS
DR. GREG DAHLEN
ROBERT S. GRANT
William S. Hanrahan
ELSE (LEINIE)
SCHILLING BARD
Joanne C. Holderman
JOHN LUNDEGARD
Bridget Colleary
Lynn P. Kirst
MICHAEL TOWBES
Bridget Colleary
SUSIE VOS
Bridget Colleary
LYNN R. MATTESON
Lynn P. Kirst
SYBIL MUELLER
Lynn P. Kirst
HAROLD M. WILLIAMS
Nancy Englander
DR. ROBERT SINSHEIMER
& KAREN SINSHEIMER
Robert Boghosian
& Mary E. Gates Warren
ROBERT M. LIGHT
Edward & Sue Birch
Joanne C. Holderman
Judith L. Hopkinson
Lynn P. Kirst
Betty Meyer
Diana & Roger Phillips
Joan & Geoffrey Rutkowski
Judith F. Smith
Marion Stewart
22
Gifts and pledges received from
June 2016 through November 2017

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/Chaucer's Books
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/Chaucer's Books
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)
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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/Chaucer's Books
Mr. & Mrs. Frank R. Miller, Jr./
The Henry E. & Lola Monroe
Foundation
Montecito Bank & Trust
Craig & Ellen Parton
Ann M. Picker
Dorothy Roberts
Irene & Robert Stone/Stone
Family Foundation
Barbara & Sam Toumayan
Winona Fund
Wood-Claeyssens Foundation
VIRTUOSO CIRCLE
($2,500 - $4,999)
Helene & Jerry Beaver
Linda & Peter Beuret
Virginia Castagnola-Hunter
Roger & Sarah Chrisman,
Schlinger Chrisman Foundation
Stephen Cloud
Bridget Colleary
Fredericka & Dennis Emory
Priscilla & Jason Gaines
Elizabeth Karlsberg & Jeff Young
Raye Haskell Melville
Your annual International Circle Membership plays such an important role in continuing
CAMA's grand tradition of bringing the best in classical music to Santa Barbara.
Thank you!
Joanne C. Holderman
Jill Dore Kent
Lois Kroc
MaryAnn Lange
Shirley & Seymour Lehrer
Dona & George McCauley
Frank McGinity
Sheila Bourke McGinity
Performing Arts Scholarship
Foundation
Dr. Shirley Tucker
Department of Music, University
of California, Santa Barbara
CONCERTMASTER
CIRCLE ($1,500 - $2,499)
Todd & Allyson Aldrich Family
Charitable Fund
Deborah & Peter Bertling
Edward & Sue Birch
Suzanne & Peyton Bucy
Annette & Richard Caleel
Joan & Steven Crossland
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
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Gifts and pledges received from
June 2016 through November 2017

MUSICIANS SOCIETY
Your annual gift is vitally important to continuing CAMA's nearly 100-year tradition.
Thank you for your generous annual donation.
BENEFACTORS
($500 - $999)
David Ackert
Nancy Donaldson
Wendy & Rudy Eiser
Thomas & Doris Everhart
Elinor & James Langer
Christie & Morgan Lloyd
Phyllis Brady & Andy Masters
Patriicia & William McKinnon
Pamela McLean &
Frederic Hudson
Peter L. Morris
Maryanne Mott
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
25

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.
BUSINESS SUPPORTERS
American Riviera Bank
James P. Ballantine
Belmond El Encanto
Wes Bredall
Heather Bryden
Ca' Dario
Camerata Pacifica
Casa Dorinda
Chaucer's Books
Cottage Health System
DD Ford Construction
Eye Glass Factory
First Republic Bank
Flag Factory of Santa Barbara
Gainey Vineyard
Colin Hayward/The Hayward Group
Steven Handelman Studios
Help Unlimited
SR Hogue & Co Florist
Indigo Interiors
Maravilla/Senior Resource Group
Microsoft® Corporation
Montecito Bank & Trust
Northern Trust
Oceania Cruises
Olio e Limone/Olio Crudo Bar/
Olio Pizzeria
Pacific Coast Business Times
Peregrine Galleries
Performing Arts Scholarship
Foundation
Regent Seven Seas Cruises
Renaud's Patisserie & Bistro
Sabine Myers/Motto Design
Stewart Fine Art
Santa Barbara Choral Society
Santa Barbara Foundation
Santa Barbara Travel Bureau
The Upham Hotel &
Upham Country House
UCSB Arts & Lectures
Westmont Orchestra
Contact Heather Bryden for information about showcasing your business in CAMA's Program Book.
(805) 965-5558 or HeatherBryden@cox.net
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