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

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JUILLIARD

STRING

QUARTET

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

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SIR ANDRÁS SCHIFF, piano

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Presenting the world’s finest classical artists since 1919

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(as of April 3, 2018)

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Emeritus Directors

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Dr. Robert M. Failing

Mrs. Maurice E. Faulkner*

Léni Fé Bland*

Arthur R. Gaudi

Stephen Hahn*

Dr. Melville H. Haskell, Jr.*

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Dr. Dolores M. Hsu

Herbert J. Kendall

Robert M. Light*

Mrs. Frank R. Miller, Jr.*

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Mary Lloyd Mills

Mrs. Ernest J. Panosian*

Kenneth W. Riley*

Mrs. John G. Severson*

Nancy L. Wood

* Deceased

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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

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

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.

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

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,

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

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.”

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.

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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hope you will also consider a sponsorship

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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)

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

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

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

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)

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

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

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

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

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

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