CAMA's Masterseries presents Sir András Schiff, piano / April 12, 2018 / Lobero Theatre, Santa Barbara

Presenting the world’s finest classical artists since 1919 

masterseries at The Lobero Theatre 

SEASON SPONSORSHIP: ESPERIA FOUNDATION 

JUILLIARD 

STRING 

QUARTET 

SIR ANDRÁS SCHIFF 

ISABEL 

BAYRAKDARIAN 

PETER 

SERKIN 

COMMUNITY ARTS MUSIC ASSOCIATION


Michael Tilson Thomas 

INTERNATIONAL SERIES 

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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 

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and the Becton Family Foundation 

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Bayrakdarian 

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SPONSOR 

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Becton Family Foundation 

SAN FRANCISCO 

SYMPHONY 

PRIMARY SPONSOR 

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Concert Fund 


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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 


Val & Bob Montgomery 

Sir András Schiff 

PETER SERKIN, piano 

CO-SPONSOR 

CAMA Women's Board 

CONCERT PARTNERS 

Stephen Cloud 

Joanne Holderman 

Elizabeth Karlsberg & Jeff Young 

Stephen J.M. & Anne Morris 

SIR ANDRÁS SCHIFF, piano 


The Stephen & Carla Hahn Foundation 

CO-SPONSORS 


Craig & Ellen Parton 


Virginia Castagnola-Hunter 

Laurel Abbott, Berkshire Hathaway Luxury Properties 

Bridget Colleary 

Raye Haskell Melville 

ISABEL BAYRAKDARIAN, soprano 

ST. LAWRENCE STRING QUARTET 

SPONSOR 

CAMA Women's Board 

CO-SPONSOR 



Robert Boghosian & 

Mary E. Gates-Warren 

Department of Music, UC Santa Barbara 

Frank McGinity 

Sheila Bourke McGinity


Board of Directors 

(as of April 3, 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 

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Jill Felber 

Joanne C. Holderman 


James H. Hurley, Jr. 

Peter O. Johnson 

Elizabeth Karlsberg 

Lynn P. Kirst 

Frank E. McGinity 


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.* 


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 

2



SEASON SPONSOR: ESPERIA FOUNDATION 

SIR ANDRÁS SCHIFF PIANO 

THURSDAY, APRIL 12, 2018 • LOBERO THEATRE, SANTA BARBARA, 8:00 PM 

FELIX MENDELSSOHN-BARTHOLDY (1809-1847) 

FANTASY IN F-SHARP MINOR, OP.28 

Con moto agitato 

Allegro con moto 

Presto 

LUDWIG VAN BEETHOVEN (1770-1827) 

SONATA NO. 24 IN F-SHARP MAJOR, 

OP.78, “À THÉRÈSE” 

Adagio cantabile - Allegro ma non troppo 

Allegro vivace 

JOHANNES BRAHMS (1833-1897) 

8 KLAVIERSTÜCKE, OP.76 

Capriccio in F-sharp minor 

Capriccio in B minor 

Intermezzo in A-flat Major 

Intermezzo in B-flat Major 

Capriccio in C-sharp minor 

Intermezzo in A Major 

Intermezzo in A minor 

Capriccio in C Major 

INTERMISSION 

JOHANNES BRAHMS 

7 FANTASIEN, OP.116 

Capriccio in D minor 

Intermezzo in A minor 

Capriccio in G minor 

Intermezzo in E Major 

Intermezzo in E minor 

Intermezzo in E Major 

Capriccio in D minor 

JOHANN SEBASTIAN BACH (1685-1750) 

ENGLISH SUITE NO.6 IN D MINOR, BWV 811 

Prelude 

Allemande 

Courante 

Sarabande 

Double 

Gavotte I 

Gavotte II 

Gigue 

North American Representation: 

Kirshbaum Associates Inc. 

711 West End Avenue, Suite 5KN 

New York, NY 10025 

www.kirshbaumassociates.com 

Bösendorfer 280VC concert 

grand piano provided by 

Yamaha Corporation of 

America. 

CAMA thanks our generous 

sponsors who have made 

this evening’s performance 

possible: 

PRINCIPAL SPONSOR: 

The Stephen & 

Carla Hahn Foundation 

CO-SPONSORS: 



CONCERT PARTNERS: 



Laurel Abbott, Berkshire 

Hathaway Luxury 

Properties 


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. 

Stage floral arrangements 

by Hogue & Co. 

COMMUNITY ARTS MUSIC ASSOCIATION | www.camasb.org

Biography 

Stefan Cohen 

Nadia F. Romanini \ ©ECM Records 

SIR ANDRÁS 

SCHIFF 

Sir András Schiff was born in Budapest, 

Hungary in 1953 and started piano lessons 

at the age of five with Elisabeth Vadász. 

Subsequently he continued his studies at 

the Franz Liszt Academy with Professor Pál 

Kadosa, György Kurtág and Ferenc Rados, 

and later in London with George Malcolm. 

Recitals and special cycles, including 

the major keyboard works of J.S. Bach, 

Haydn, Mozart, Beethoven, Schubert, 

Chopin, Schumann and Bartók form an 

important part of his activities. Since 

2004 he has performed complete cycles 

of the 32 Beethoven Sonatas worldwide 

and the cycle in the Tonhalle Zurich 

was recorded live for ECM Records. 

An exclusive ECM recording Artist, 

his recordings of works by Schubert, 

Schumann, Janáček, Beethoven and 

Bach, have been released to the highest 

of critical acclaim. The most recent 

disc, “Encores after Beethoven” was 

released in 2016: a collection of encores 

performed after his Beethoven Cycle 

programs. His newest recording, to be 

released in October, includes sonatas for 

4

violin and piano by Bach, Busoni, and 

Beethoven with violinist Yuuko Shiokawa. 

Sir András has worked with most major 

international orchestras and conductors, 

but in recent years has performed mainly 

as a conductor and soloist. In 1999 he 

created his own chamber orchestra, the 

Cappella Andrea Barca, which consists of 

international soloists, chamber musicians 

and friends. In addition to international 

tours with this orchestra, he works 

with the Chamber Orchestra of Europe. 

He appears as conductor and soloist 

with the New York Philharmonic and 

Chicago Symphony this season, in 

addition to over a dozen recitals in two 

North American visits. His other concert 

performances bring him to Europe, 

Australia, Japan, China, and South 

America. His projects and cycles can be 

heard in musical centers around the world. 

Since childhood he has enjoyed playing 

chamber music and from 1989-1998 was 

Artistic Director of the internationally 

highly praised “Musiktage Mondsee” 

chamber music festival near Salzburg. 

In 1995, together with Heinz Holliger, he 

founded the “Ittinger Pfingstkonzerte” 

in Koartause Ittingen, Switzerland. In 

1998 Sir András started a similar 

series, entitled “Hommage to Palladio” 

at the Teatro Olimpico in Vizenza. He 

has been, Pianist in Residence of the 

Berlin Philharmonic, a Perspective 

Artist at Carnegie Hall, and Pianist in 

Residence of the Kunstfest Weimar. 

Sir András has been awarded 

numerous international prizes. In 2006 

he became an Honorary Member of the 

Beethoven House in Bonn in recognition of 

his interpretations of Beethoven’s works; 

in 2008 he was awarded the Wigmore 

Hall Medal in appreciation of 30 years of 

music-making at Wigmore Hall; ; in 2009 

he was made a Special Supernumerary 

Fellow of Balliol College (Oxford, UK); 

in 2011he received the Schumann 

Prize, the Golden Mozart-Medaille by 

the International Stiftung Mozarteum, 

the Order pour le merite for Sciences 

and Arts, the Grosse Verdienstkreuz mit 

Stern der Bunderepublik Deutschland, 

and was made a Member of the Honour 

of Vienna Konzerthaus; he was given 

the Royal Philharmonic Society’s Gold 

Medal; in July 2014 he was awarded an 

Honorary Degree of Doctor of Music 

honoris causa by the University of Leeds. 

In the spring of 2011, Sir András 

attracted attention because of his 

opposition to the alarming political 

development in Hungary and in view 

of the ensuing attacks on him from 

some Hungarian Nationalists, decided 

not to perform again in his home country. 

In June 2014 he was bestowed a 

Knighthood for services to Music in 

the Queen’s Birthday Honours List. 

Sir András Schiff’s book, “Musik kommt 

aus der Stille”, essays and conversations 

with Martin Meyer, was published in 

March 2017 by Bärenreiter and Henschel. 

5

Program Notes 

Mendelssohn’s Fantasy in 

F-sharp minor belongs to 

the fairly extensive category 

of 19th-century German 

works inspired by Scotland, which 

was, in German eyes, a distant locale 

of exotic romance. Unlike Schumann, 

who turned 20 Robert Burns poems into 

songs, or Max Bruch, whose best-known 

composition is the Scottish Fantasy, 

Mendelssohn actually visited Scotland, 

although the effect of that visit on the 

F minor Fantasy is hard to gauge. He 

wrote the first version, titled Sonata 

Écossaise (Scottish sonata), in 1828, a 

year before his first visit to England and 

Scotland. His sister Fanny wrote that 

she liked its “Scottish” features. Those 

bits of Scottishness, in such details as 

chord voicings, were obvious to someone 

raised in the German style of the day who 

would immediately notice any deviation 

from that style, but they are lost on 

modern listeners, much as the difference 

between a Berlin accent and a Bavarian 

one is lost on non-German-speakers. 

The Sonata Écossaise has not 

survived, so there is no way to know 

what changes Mendelssohn made to it, 

but he published the finished version 

with the “Fantasy” title in 1834, meaning 

that he no longer called it Scottish and 

6

no longer called it a sonata. He may have 

thought that its form—a slow movement 

followed by a moderately fast movement 

followed by a very fast movement—too 

unorthodox to be a sonata, although 

Beethoven’s Moonlight Sonata does 

pretty much the same thing. The 

Fantasy’s outer movements are more 

overtly virtuosic, and the finale more 

relentlessly driving, than we expect of 

Mendelssohn. The middle movement 

is in the ABA form of a scherzo. 

Ludwig 

van Beethoven 

Beethoven’s opus 78 sonata 

is not among his best-known 

sonatas, but Beethoven himself 

was very fond of it. Written 

in October 1809, five years after his 

previous sonata, the Apassionata, it is 

as good-humored as its predecessor 

is stormy. He dedicated it to Countess 

Therese von Brunswick, a Hungarian 

aristocrat who has been posited as one 

of Beethoven’s love interests on the 

basis of fanciful readings of the evidence. 

Therese seems to have decided in her 

middle teens that she would not marry, 

and she never did. In her middle age, 

after Beethoven’s death, she became a 

pioneer in early childhood development 

and feminist causes. She founded the first 

pre-schools in Hungary and the Women’s 

Association in Budapest, and worked 

for women’s education and equality. 

The opus 78 sonata is a happy work, 

if an unorthodox one. Its key of F-sharp 

major—in which every note of the scale 

except B is played as a sharp—is very 

unusual. It is Beethoven’s only work 

in that key, which is one more than 

Mozart wrote. The first movement, after 

a one-phrase slow introduction, features 

attractive melody melding with flowing 

runs. Unusually, Beethoven instructs the 

player to repeat the second part of 

the movement – the part of a sonata 

movement we now call the development 

and recapitulation. While such a repeat 

was normal practice in the 18th century, 

the mostly disappeared in the 19th century 

because a sonata movement introduced 

uncertainty or conflict or tension in its 

first half, and resolved it in the second, 

so repeating the second half of the 

movement was like hearing the end of a 

mystery story twice. Beethoven may have 

been recognizing that this movement, 

7

with a short development section, 

didn’t have much mystery to resolve. 

The second, and last, movement is 

Beethoven the comedian, writing the sort 

of movement that led critics to complain 

about his capriciousness and speculate 

about his sanity. It starts in the “wrong” 

key, with a sort of G-sharp chord, the 

dominant of C-sharp major, which is in 

turn the dominant of the home key of 

F-sharp), and takes several phrases and 

progressions before arriving, more or 

less, in the “right” key. It sets off a brief but 

brilliant spate of revelry, with the left hand 

chasing the right all over the keyboard. 

Brahms left off writing solo piano 

music in the 1860s, and when 

he started again in 1878, his 

approach had changed. The 

piano music of his youth was dominated 

large-scale works of great scope and 

ambition; Schumann called the first two 

piano sonatas “veiled symphonies” after 

the 20-year-old Brahms played them for 

him. But he returned to solo piano music 

after a dozen-year hiatus in which he 

produced his first two symphonies, the 

Violin Concerto, the German Requiem, 

the Alto Rhapsody and Song of Destiny, 

so he may have decided to leave large 

statements to large forces. Piano music 

may also have become less important to 

him. Young Brahms had made his living 

as a pianist, but middle-aged Brahms 

was successful enough as a composer 

that he could afford not to practice 

the piano much, and was becoming, 

in his own eyes, a second-rate player. 

For whatever reasons, his solo piano 

Johannes Brahms 

output in the last two decades of his life 

consisted of 30 (mostly short) pieces, 

half of which are on this program. 

Brahms titled all the 15 pieces of 

opus 76 and 116 either “Capriccio,” a 

word that had lost any real meaning by 

1878, or “Intermezzo,” which had even less 

real meaning. Taken together, they give 

the general impression that a capriccio 

should be faster than an intermezzo, 

except when it shouldn’t. Each opus 

can be played as a set, as they are in 

this concert, but also find their way onto 

concert programs as individual pieces. 

When opus 76 is presented in 

sequence, the drama of the opening 

F-sharp minor Capriccio is followed by 

8

the slightly clunky (and 

slightly Hungarian) humor 

of the second Capriccio, 

in B minor. The first 

Intermezzo, in A, contrasts 

two strains that create 

differing sonorities, one 

of them delicate and 

bell-like, the other lush. 

The fourth piece (the 

second 

Intermezzo) 

presents an unsettling 

casualness in its tonal 

meanderings. Although it 

hints at the home key of B 

flat and alights briefly in G 

minor, the relative minor, it doesn’t actual 

come to rest in B flat until the very end. 

The fifth piece is unsettling in a 

different way. 

There’s no question, 

despite all its chromatic slithering, 

that the key is C-sharp minor. But 

the rhythm is a persistent threeagainst 

two, as it is in the Intermezzo 

in A that follows. Brahms’ fondness for 

chromaticism and cross-rhythms was 

the sort of thing that led a Boston critic, 

panning his First Symphony in 1878, to 

complain that he was “a modern of the 

moderns” whose music “is a remarkable 

expression of the inner life of this 

anxious, introverted, over-earnest age.” 

The Intermezzo in A minor, with 

its hymn-like main theme, is more 

grounded and less anxious, introverted 

and over-earnest. The rippling, shifting 

arpeggios of the final Capriccio in C 

have more than a hint of impressionism. 

The opus 116 Intermezzos and 

Capriccios date from about 1892, when 

Pianist Clara 

Schumann, a 

longtime friend and 

confidante, who 

knew, and played, 

Brahms’ music 

better than anyone, 

described opus 

116 as “dreamy” 

intermezzos 

interspersed with 

“deeply passionate” 

capriccios, and it 

would be hard to 

improve on that 

description. 

Brahms was emerging 

from a short period of 

artistic depression, a 

feeling that he was played 

out and approaching 

his end in his late 50’s. 

His chamber music with 

clarinet, and a new crop of 

piano miniatures, signaled 

a revival of his spirits. 

Opus 116 originally 

consisted of only five 

pieces, and it was only 

after the publisher 

had them in hand that 

Brahms decided to 

add two more, perhaps an indication 

that he was thinking of them as an 

integrated set rather than a collection. 

Pianist Clara Schumann, a longtime 

friend and confidante, who knew, and 

played, Brahms’ music better than 

anyone, described opus 116 as “dreamy” 

intermezzos interspersed with “deeply 

passionate” capriccios, and it would be 

hard to improve on that description. 

When the pieces are played in sequence, 

the powerful capriccios at the beginning, 

middle and end are a sort of real-world 

anchor for the otherworldly intermezzos. 

The dreamiest of them is the fourth 

piece, an intermezzo in E in which Brahms 

exploits a soft, sustained resonance in 

the instrument. It forms a trilogy with 

an E minor Intermezzo, marked “with 

grace and the most intimate feeling” 

(an unusually specific direction for a 

composer notoriously uninformative 

in his performance directions), and an 

E major Intermezzo marked “tenderly.” 

9

In contrast to the other works on the 

program, we know almost nothing about 

the origin of Bach’s six English Suites. 

They were not published in his lifetime 

and there is no manuscript in his hand. 

A half dozen manuscripts contemporary 

with Bach indicate that the suites were 

completed between 1712 and 1722. It 

isn’t clear why they are called “English,” 

and there is no evidence that Bach 

himself ever described them as English. 

His first biographer wrote in 1802 that 

they had been written for, or dedicated 

(or sold) to an unidentified Englishman 

of rank. A manuscript copy of the first 

suite once owned by Bach’s youngest 

son Johann Christian, who came to 

London 12 years after his father died and 

spent the last 20 years of his life there, 

says it was “done for the English,” which 

might mean that Bach composed them 

for a prominent English family. Another 

explanation is the presence of expansive 

preludes, a feature common in English 

music and rare in Bach’s other works. 

The sixth suite’s epic prelude, the 

longest movement in the English Suites, 

is in the form of a prelude and fugue. 

The other movements are dance pieces, 

or at least forms that had been dances. 

A late Baroque composer would not 

have expected anyone to actually dance 

to his suites: they were art music, and 

the sequence of dance forms was a 

shorthand way of indicating rhythm, 

tempo and mood to players and listeners. 

Allemande is a French word meaning 

“German,” and eighteenth-century 

writers noted that it was a dance of some 

gravity, befitting the grave character 

of German people. The basic steps 

consisted mostly of walking, and though 

the allemande’s heyday was around the 

turn of the seventeenth century and 

it was rarely danced in Bach’s time, 

it still retained its walking character. 

The courante — French for “running” 

— was, in other hands, a quick dance 

in a swinging triple meter. Bach 

preferred a more complex type of 

courante in which the basic pulse is 

slower, there are four notes to the 

beat, and the rhythm is less obvious. 

The sarabande as Bach was slow and 

serious in triple time, with an accented 

second beat. In the sixth suite it is 

followed by a double, an ornamented 

repetition with faster note values. 

The gavotte is a jaunty dance in duple 

meter. Here, Gavotte I and its repetition 

sandwich a chimey Gavotte II in D major 

(the only extended major-key sojourn in 

the suite) in which the left hand never 

drops below a droning D above middle C. 

The concluding gigue (jig in English) 

is both a lively dance in compound triple 

meter (nine short notes in groups of 

three) and another three-voice fugue. 

10



SEASON SPONSORSHIP: ESPERIA FOUNDATION 

Tickets at The Lobero Theatre Box Office 

(805) 963-0761 • lobero.com 

ISABEL 

BAYRAKDARIAN Soprano 

with St. Lawrence String Quartet 

Saturday, May 12, 2018 • Lobero Theatre, 8pm 

Geoff Nuttall Violin 

Owen Dalby Violin 

Lesley Robertson Viola 

Christopher Costanza Cello 

Ottorino Respighi: Il Tramonto 

Leonard Bernstein: Songs, to be announced 

(arranged by John Greer) 

Tangos, to be announced (arranged by 

Peter Tiefenbach) 

Canadian-Armenian soprano Isabel Bayrakdarian is widely celebrated for her 

strikingly multihued voice and immense interpretive talent. She is an eagerly 

anticipated vocalist at major opera houses and concert 

halls the world over including New York, Chicago, 

San Francisco, Boston, London, Paris, Vienna, 

Florence and Salzburg. 

Established in Toronto in 1989, the St. Lawrence String 

Quartet quickly earned acclaim at top international 

chamber music competitions and was soon playing 

hundreds of concerts per year worldwide. 

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 

COMMUNITY ARTS MUSIC ASSOCIATION | camasb.org


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 

12

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 

13

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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 


Sheila Bourke McGinity 

Frank R. Miller, Jr. 

James & Mary Morouse 

Patricia Hitchcock O’Connell 

Efrem Ostrow Living Trust 

Mr. Ernest J. Panosian 

Mr. & Mrs. Roger A. Phillips 

Kathryn H. Phillips 

Mrs. Kenneth Riley 


Marion Stewart 

Ina Tournallyay 

Mrs. Edward Valentine 

The Outhwaite Foundation 

The Elizabeth Firth Wade 

Endowment Fund 

Maxine Prisyon & Milton 

Warshaw 

Mrs. Roderick Webster 

Westmont College 

amethyst 

circle 

$10,000 - $24,999 

Anonymous 

Mr. & Mrs. Peter Adams 

Mrs. David Allison 

Dr. & Mrs. Mortimer Andron 

Mr. & Mrs. Robert Arthur 

Mr. & Mrs. J.W. Bailey 

Mrs. Archie Bard 

Leslie & Philip Bernstein 

Frank Blue & 

Lida Light Blue 

Mrs. Erno Bonebakker 


CAMA Fellows 

Mrs. Margo Chapman 

Chubb-Sovereign Life 

Insurance Co. 

Carnzu A. Clark 

Dr. Gregory Dahlen & 

Nan Burns 

Karen Davidson M.D. 

Julia Dawson 

Mr. & Mrs. William Esrey 

Ronald & Rosalind A. Fendon 

Audrey Hillman Fisher 

Foundation 

Dave Fritzen/DWF Magazines 

Catherine H. Gainey 

Kay & Richard Glenn 

The Godric Foundation 

Corinna & Larry Gordon 

Mr. & Mrs. Freeman Gosden, Jr. 

Mr. & Mrs. Bruce Hanna 

Mr. & Mrs. Robert Hanrahan 

Lorraine Hansen 

Mr. & Mrs. Stanley Hatch 

Dr. & Mrs. Richard Hawley 

Dr. & Mrs. Alan Heeger 

Mr. Preston Hotchkis 

Elizabeth & Gary Johnston 


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) 

14


“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 

15

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 


JOHN LUNDEGARD 


Lynn P. Kirst 

MICHAEL TOWBES 


SUSIE VOS 


LYNN R. MATTESON 

Lynn P. Kirst 

SYBIL MUELLER 

Lynn P. Kirst 

HAROLD M. WILLIAMS 

Nancy Englander 

DR. ROBERT SINSHEIMER 

& KAREN SINSHEIMER 

Robert Boghosian 

& Mary E. Gates Warren 

ROBERT M. LIGHT 

Edward & Sue Birch 



Lynn P. Kirst 

Betty Meyer 

Diana & Roger Phillips 

Joan & Geoffrey Rutkowski 



16 

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 



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 


Lynn P. Kirst & Lynn R. 

Matteson 

Dr. & Mrs. Robert J. Kuhn 

Mr. John Lundegard/ 

Lundegard Family Fund 


Jayne Menkemeller 

Mr. & Mrs. Max Meyer 


Mary & James Morouse 

Dr. & Mrs. Spencer Nadler 

Patricia Hitchcock O’Connell 


Foundation 

John Perry 

Mrs. Hugh Petersen 

Mr. & Mrs. Roger A. Phillips 


Miss Susannah E. Rake 

Mrs. Kenneth W. Riley 


Dr. & Mrs. Jack Sheen/Peebles 

Sheen Foundation 

Sally & Jan E.G. Smit 

Mr. & Mrs. Edward Stepanek 

Betty J. Stephens, in 

recognition of my friend 

Judy Hopkinson 

Dr. & Mrs. William A. Stewart 



The Elizabeth Firth Wade 

Endowment Fund 

Mr. & Mrs. Gary Waer 

Mr. & Mrs. David Russell Wolf 


LEGACY SOCIETY 

WE GRATEFULLY ACKNOWLEDGE CAMA LEGACY SOCIETY MEMBERS FOR 

REMEMBERING CAMA IN THEIR ESTATE PLANS WITH A DEFERRED GIFT. 

Anonymous 

Peter & Becky Adams 


Else Schilling Bard 

Peter & Deborah Bertling 


Lida Light Blue & Frank Blue 

Mrs. Russell S. Bock 

Dr. Robert Boghosian & 

Ms. Mary-Elizabeth Gates-Warren 

Linda Brown * 



Jane & Jack Catlett 

Bridget & Bob Colleary 

Karen Davidson, M.D & 

David B. Davidson, M.D. 

Patricia & Larry Durham 

Christine & Robert Emmons 




Stephen & Carla Hahn 

Beverly Hanna 

Ms. Lorraine Hansen 



Dolores M. Hsu 

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

Elizabeth & Gary Johnston 



Lynn P. Kirst & Lynn R. Matteson 

Lucy & John Lundegard 




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

Dr. & Mrs. Spencer Nadler 

Ellen & Craig Parton 




Judith & Julian Smith 

Mr. & Mrs. Sam Toumayan 




Nancy & Kent Wood 


(Gifts and pledges received 

as of December 1, 2017) 

17

INTERNATIONAL CIRCLE 

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

and other elegant events. 

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

PRESIDENT'S CIRCLE 

($10,000 and above) 

Anonymous (2) 

Bitsy & Denny Bacon and 

The Becton Family Foundation 

Alison & Jan Bowlus 

NancyBell Coe & Bill Burke 

Dan & Meg Burnham 

The CAMA Women's Board 

George H. Griffiths and Olive J. 

Griffiths Charitable Fund 

Stephen Hahn Foundation 

Hollis Norris Fund 


Joan & Palmer Jackson 



Lynn P. Kirst 



Mary Lloyd & Kendall Mills 



The Samuel B. & Margaret C. 


Fran & John Nielsen 



Nancy Schlosser 

The Shanbrom Family 

Foundation 

The Elaine F. Stepanek 

Foundation 

The Walter J. & Holly O. 

Thomson Foundation 

Dody Waugh & Eric Small 

George & Judy Writer 

Patricia Yzurdiaga 

COMPOSER'S CIRCLE 

($5,000 - $9,999) 

Peggy & Kurt Anderson 



Mary E. Gates Warren 



Edward De Loreto 

Elizabeth & Kenneth Doran 



Dorothy & John Gardner 

William H. Kearns Foundation 

Preston B. & Maurine M. 

Hotchkis Family Foundation 


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

The Henry E. & Lola Monroe 

Foundation 



Ann M. Picker 


Irene & Robert Stone/Stone 

Family Foundation 


Winona Fund 

Wood-Claeyssens Foundation 

VIRTUOSO CIRCLE 

($2,500 - $4,999) 

Helene & Jerry Beaver 



Roger & Sarah Chrisman, 

Schlinger Chrisman Foundation 

Stephen Cloud 


Fredericka & Dennis Emory 

Priscilla & Jason Gaines 

Elizabeth Karlsberg & Jeff Young 


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

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

Thank you! 


Jill Dore Kent 

Lois Kroc 

MaryAnn Lange 

Shirley & Seymour Lehrer 

Dona & George McCauley 


Sheila Bourke McGinity 


Foundation 

Dr. Shirley Tucker 

Department of Music, University 

of California, Santa Barbara 

CONCERTMASTER 

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

Todd & Allyson Aldrich Family 

Charitable Fund 


Edward & Sue Birch 

Suzanne & Peyton Bucy 

Annette & Richard Caleel 

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 


Regina & Rick Roney 

William E. Sanson 

Linda Stafford Burrows 

Vera & Gary Sutter 

Suzanne Holland & 

Raymond Thomas 

Steven Trueblood 

Esther & Tom Wachtell 


Nick & Patty Weber 

Victoria & Norman Williamson 

Ann & Dick Zylstra 

PRINCIPAL PLAYER'S 

CIRCLE ($1,000 - $1,499) 

Leslie & Philip Bernstein 

Diane Boss 

Patricia Clark 

Nancy Englander 

Katina Etsell 

Jill Felber 

Tish Gainey & Charles Roehm 

Perri Harcourt 

Renee Harwick 

Glenn Jordan & Michael Stubbs 

Barbara & Tim Kelley 

Sally Kinney 

Dora Anne Little 

Russell Mueller 

Patti Ottoboni 

Anitra & Jack Sheen 

Maurice Singer 


Diane Sullivan 

Milan E. Timm 

Cheryl & Peter Ziegler 

18 


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 


Julie Antelman & William Ure 

Mary H. Walsh 

Lorraine & Stephen Weatherford 

ASSOCIATES 

($100 - $249) 

Catherine L. Albanese 

Nancy & Jesse Alexander 

Esther & Don Bennett 

Myrna Bernard 

Alison H. Burnett 

Margaret & David Carlberg 

Polly Clement 

Melissa Colborn 

Janet Davis 

Marilyn DeYoung 

Lois & Jack Duncan 

Michael K. Dunn 

Julia Emerson 

Barbara Faulkner 

Pattie & Charles Firestone 

Eunice & J.Thomas Fly 

Bernice & Harris Gelberg 

Nancy & Frederic Golden 

Elizabeth & Harland Goldwater 

Marge & Donald Graves 

Marie-Paule & Laszlo Hajdu 

William S. Hanrahan 

Carolyn Hanst 

M.Louise Harper & 

Richard Davies 

Lorna S. Hedges 

Edward O. Huntington 

Gina & Joseph Jannotta 

Virginia Stewart Jarvis 

Brian Frank Johnson 

Monica & Desmond Jones 

Emmy & Fred Keller 

Robin Alexandra Kneubuhl 

Anna & Petar Kokotovic 

Doris Kuhns 

Linda & Rob Laskin 

Lady Patricia & 

Sir Richard Latham 

Lavender Oak Ranch LLC 

Barbara & Albert Lindemann 

Barbara & Ernest Marx 

Jeffrey McFarland 

Meredith McKittrick-Taylor & 

Al Taylor 

Christine & James V. McNamara 

RenÈe & Edward Mendell 

Lori Kraft Meschler 

Betty Meyer 

Ellicott Million 

Carolyn & Dennis Naiman 

Carol Hawkins & 

Laurence Pearson 

Marilyn Perry 

Francis Peters, Jr. 

Eric Boehm 

Sonia Rosenbaum 

Muriel & Ian K. Ross 

Shirley & E.Walton Ross 

Joan & Geoffrey Rutkowski 

Sharon & Ralph Rydman 

Doris & Bob Schaffer 

James Poe Shelton 

Anne Sprecher 

Florence & Donald Stivers 

Laura Tomooka 

Judy Weirick 

Judy & Mort Weisman 

Theresa & Julian Weissglass 

Donna & Barry Williiams 

Deborah Winant 

Barbara Wood 

David Yager 

Taka Yamashita 

Grace & Edward Yoon 

FRIENDS 

($10 - $99) 

Anne Ashmore 

Robert Baehner 

Nona & Lorne Fienberg 

Susan & Larry Gerstein 

Dolores Airey Gillmore 

Lorraine C. Hansen 

Carol Hester 

Jalama Canon Ranch 

Catherine Leffler 

Margaret Menninger 

Edith & Raymond Ogella 

Jean Perloff 

Joanne Samuelson 

Alice & Sheldon Sanov 

Susan Schmidt 

Ann Shaw 

Julie & Richard Steckel 

Shela West 


June 2016 through November 2017 

19

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. 

BUSINESS SUPPORTERS 

American Riviera Bank 

James P. Ballantine 

Belmond El Encanto 

Wes Bredall 

Heather Bryden 

Ca' Dario 

Camerata Pacifica 

Casa Dorinda 

Chaucer's Books 

Cottage Health System 

DD Ford Construction 

Eye Glass Factory 

First Republic Bank 

Flag Factory of Santa Barbara 

Gainey Vineyard 

Colin Hayward/The Hayward Group 

Steven Handelman Studios 

Help Unlimited 

SR Hogue & Co Florist 

Indigo Interiors 

Maravilla/Senior Resource Group 

Microsoft® Corporation 


Northern Trust 

Oceania Cruises 

Olio e Limone/Olio Crudo Bar/ 

Olio Pizzeria 

Pacific Coast Business Times 

Peregrine Galleries 


Foundation 

Regent Seven Seas Cruises 

Renaud's Patisserie & Bistro 

Sabine Myers/Motto Design 

Stewart Fine Art 

Santa Barbara Choral Society 

Santa Barbara Foundation 

Santa Barbara Travel Bureau 

The Upham Hotel & 

Upham Country House 

UCSB Arts & Lectures 

Westmont Orchestra 

Contact Heather Bryden for information about showcasing your business in CAMA's Program Book. 

(805) 965-5558 or HeatherBryden@cox.net 

20

CAMA's Masterseries presents Sir András Schiff, piano / April 12, 2018 / Lobero Theatre, Santa Barbara

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