CAMA's Masterseries presents Sir András Schiff, piano / April 12, 2018 / Lobero Theatre, Santa Barbara
CAMA's Masterseries presents Sir András Schiff, Piano Thursday, April 12, 2018 Lobero Theatre, 8:00 PM Program: Felix Mendelssohn-Bartholdy: Fantasy in F-sharp minor, Op.28 Ludwig van Beethoven: Sonata No.24 in F-sharp Major, Op.78 Johannes Brahms: 8 Klavierstücke, Op.76 Johannes Brahms: 7 Fantasien, Op.116 Johann Sebastian Bach: English Suite No.6 in D minor, BWV 811 “…so successful was the evening that the critic can only throw up his hands, wish you had been there, and quote Ira Gershwin’s endearing tombstone inscription: ‘Words Fail Me.’” —The New York Times “Listening to Schiff play is like looking into a running stream and seeing all the colorful, round pebbles beneath the water.” —San Jose Mercury “Schiff stands with perhaps only a handful of pianists in his total achievement of the most severe beauty.” —The Philadelphia Inquirer 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. •
CAMA's Masterseries presents
Sir András Schiff, Piano
Thursday, April 12, 2018
Lobero Theatre, 8:00 PM
Program:
Felix Mendelssohn-Bartholdy: Fantasy in F-sharp minor, Op.28
Ludwig van Beethoven: Sonata No.24 in F-sharp Major, Op.78
Johannes Brahms: 8 Klavierstücke, Op.76
Johannes Brahms: 7 Fantasien, Op.116
Johann Sebastian Bach: English Suite No.6 in D minor, BWV 811
“…so successful was the evening that the critic can only throw up his hands, wish you had been there, and quote Ira Gershwin’s endearing tombstone inscription: ‘Words Fail Me.’”
—The New York Times
“Listening to Schiff play is like looking into a running stream and seeing all the colorful, round pebbles beneath the water.”
—San Jose Mercury
“Schiff stands with perhaps only a handful of pianists in his total achievement of the most severe beauty.”
—The Philadelphia Inquirer
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. •
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Presenting the world’s finest classical artists since 1919
masterseries at The Lobero Theatre
SEASON SPONSORSHIP: ESPERIA FOUNDATION
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STRING
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SIR ANDRÁS SCHIFF
ISABEL
BAYRAKDARIAN
PETER
SERKIN
COMMUNITY ARTS MUSIC ASSOCIATION
Presenting the world’s finest classical artists since 1919
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Sir András Schiff
PETER SERKIN, piano
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SIR ANDRÁS SCHIFF, piano
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CONCERT PARTNERS
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ISABEL BAYRAKDARIAN, soprano
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Presenting the world’s finest classical artists since 1919
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(as of April 3, 2018)
ROBERT K. MONTGOMERY president
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CRAIG A. PARTON second vice-president
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Robert J. Emmons
Jill Felber
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Frank E. McGinity
Raye Haskell Melville
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Emeritus Directors
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Mrs. Frank R. Miller, Jr.*
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2
Presenting the world’s finest classical artists since 1919
masterseries at The Lobero Theatre
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:
Stephen J.M. & Anne Morris
Craig & Ellen Parton
CONCERT PARTNERS:
Virginia Castagnola-Hunter
Bridget Colleary
Laurel Abbott, Berkshire
Hathaway Luxury
Properties
Raye Haskell Melville
We request that you switch off
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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.
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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
Presenting the world’s finest classical artists since 1919
masterseries at The Lobero Theatre
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
Presenting the world’s finest classical artists since 1919
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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
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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
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)
14
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
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
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
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
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)
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
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
18
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
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
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
20