Saturday, May 12, 2018 / Isabel Bayrakdarian, Soprano and St. Lawrence String Quartet / CAMA's Masterseries at The Lobero Theatre, 8:00 PM

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CAMA's Masterseries Presents
Isabel Bayrakdarian, Soprano
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 (“The Sunset”), P.101
Osvaldo Golijov: Qohelet (2011) for string quartet
Songs by Leonard Bernstein, arranged by John Greer:
“A Simple Song” (Hymn & Psalm), from MASS
“A Julia de Burgos,” from Songfest
“A Little Bit in Love,” from Wonderful Town
“I Can Cook Too,” from On the Town
TANGOS, arranged by Peter Tiefenbach:
Carlos Gardel: “Por una Cabeza”; “El Día Que Me Quieras”; “Volver”
Astor Piazzolla: “Oblivion”; “Che Tango Che”
Gerardo Matos Rodríguez: “La Cumparsita” (string quartet)
Kurt Weill: “Youkali (Tango Habanera)”
Hans-Otto Borgmann: “Tango Notturno”
Farid al-Atrash: “Ya Zahratan Fi Khayali”
Arno Babajanian: “Chqnagh Yeraz (Du Indz Hamar)”

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. A distinguished fellow of the Music Academy of the West in 1998, she was a winner in the 1997 Metropolitan Opera National Council Auditions, the first winner of the Marilyn Horne Song Competition in 1998, took the First Prize in the 2000 Placido Domingo Operalia vocal competition, and received both Queen Elizabeth II Golden Jubilee and Diamond Jubilee awards. Her Nonesuch CD of the songs of the Armenian composer Gomidas was nominated for a Grammy® in 2009, and in 2002 she was the featured vocalist on the Grammy®-award winning soundtrack of the blockbuster film The Two Towers from The Lord of The Rings trilogy.

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. They have served as ensemble-in-residence at Stanford University since 1998. ||

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ISABEL

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ISABEL BAYRAKDARIAN, soprano

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masterseries at The Lobero Theatre

SEASON SPONSOR: ESPERIA FOUNDATION

Presenting the world’s finest classical artists since 1919

ISABEL BAYRAKDARIAN Soprano

ST. LAWRENCE STRING QUARTET

Geoff Nuttall, Violin • Owen Dalby, Violin

Lesley Robertson, Viola • Christopher Costanza, Cello

SATURDAY, MAY 12, 2018, LOBERO THEATRE, 8:00 PM

Ottorino Respighi (1879-1936)

Il tramonto (“The Sunset”), P.101 (1914)

Osvaldo Golijov (b.1960)

Qohelet (2011) for string quartet (in two movements)

Composed in 2011 for the St. Lawrence String Quartet

Leonard Bernstein (1918-1990),

arranged by John Greer (b.1954)

“A Simple Song” (Hymn & Psalm), from MASS: A Theatre Piece

for Singers, Players, and Dancers (1971)

“A Julia de Burgos,” from Songfest: A Cycle of American

Poems for Six Singers and Orchestra (1977)

“A Little Bit in Love,” from Wonderful Town (1953)

“I Can Cook Too,” from On the Town (1944)

INTERMISSION

TANGOS, arranged by Peter Tiefenbach (b.1960)

Carlos Gardel (1890-1935)

“Por una Cabeza”

“El Día Que Me Quieras”

“Volver”

Astor Piazzolla (1921-1992)

“Oblivion”

“Che Tango Che”

Gerardo Matos Rodríguez (1897-1948)

“La Cumparsita”

(St. Lawrence String Quartet)

Kurt Weill (1900-1950)

“Youkali (Tango Habanera)”

Hans-Otto Borgmann (1901-1977)

“Tango Notturno”

Farid al-Atrash (1917-1974)

“Ya Zahratan Fi Khayali”

Arno Babajanian (1921-1983)

“Chqnagh Yeraz (Du Indz Hamar)”

Qohelet was Composed in

2011 for the St. Lawrence

String Quartet and cocommissioned

by Carnegie

Hall, and Stanford Lively Arts

Stanford University with the

generous support of

Kathryn Gould.

CAMA thanks our generous

sponsors who have made

this evening’s performance

possible:

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

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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.

Floral stage arrangements

by Hogue & Co.

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Biography

Marco Borggreve

Stefan Cohen

ST. LAWRENCE

STRING QUARTET

“Modern...dramatic...superb...wickedly

attentive...with a hint of rock ‘n roll energy...”

are just a few ways critics describe the

musical phenomenon that is the St Lawrence

String Quartet. The SLSQ is renowned

for the intensity of its performances, its

breadth of repertoire, and its commitment

to concert experiences that are at once

intellectually exciting and emotionally

alive. Highlights in 2016–17 include

performances of John Adams’s Absolute

Jest for string quartet and orchestra with

Gustavo Dudamel and the LA Philharmonic

and with Marin Alsop and the Baltimore

Symphony, as well as the European

GEOFF NUTTALL, VIOLIN

OWEN DALBY, VIOLIN

LESLEY ROBERTSON, VIOLA

CHRISTOPHER COSTANZA, CELLO

premieres of Adams’s Second Quartet.

Fiercely committed to collaboration

with living composers, the SLSQ’s fruitful

partnership with Adams, Jonathan Berger,

Osvaldo Golijov, and many others has

yielded some of the finest additions to

the quartet literature in recent years. The

Quartet is also especially dedicated to

the music of Haydn, and recording his

groundbreaking set of six Op. 20 quartets

in high-definition video for a free, universal

release online in 2017. According to The

New Yorker, “…no other North American

quartet plays the music of Haydn with

more intelligence, expressivity, and force...”

4


©Bo Huang/bohuang.ca

Established in Toronto in 1989, the

SLSQ quickly earned acclaim at top

international chamber music competitions

and was soon playing hundreds of concerts

per year worldwide. They established an

ongoing residency at Spoleto Festival

USA, made prize-winning recordings for

EMI of music by Schumann, Tchaikovsky,

and Golijov, earning two Grammy

nominations and a host of other prizes

before being appointed ensemble-inresidence

at Stanford University in 1999.

At Stanford, the SLSQ is at the

forefront of intellectual life on campus.

The SLSQ directs the music department’s

chamber music program, and frequently

collaborates with other departments

including the Schools of Law, Medicine,

Business and Education. The Quartet

performs regularly at Stanford Live,

hosts an annual chamber music seminar,

and runs the Emerging String Quartet

Program through which they mentor

the next generation of young quartets.

In the words of Alex Ross of The New

Yorker: “The St. Lawrence are remarkable

not simply for the quality of their music

making, exalted as it is, but for the

joy they take in the act of connection.”

ISABEL

BAYRAKDARIAN

Soprano

It’s not every prima donna who can boast

a degree in biomedical engineering,

but then, Isabel Bayrakdarian isn’t your

average prima donna. In a career still in

its second decade, an eagerly anticipated

visitor to opera houses and concert

halls the world over, she’s become as

5


celebrated for her beauty, presence, and

style as for a strikingly multihued voice

that’s wholly in sync with the rest of her.

A winner of the Metropolitan Opera

National Council Auditions—the same

year she graduated from the University

of Toronto cum laude with a Biomedical

Engineering Degree—Ms. Bayrakdarian

thereafter found her career taking rapid

wing. She scored a notable success in the

Lyric Opera of Chicago’s world premiere

production of William Bolcom’s A View

from the Bridge; the following year, she

walked away from Plácido Domingo’s

prestigious Operalia competition

with first prize. More debuts followed,

including her San Francisco Opera debut,

as Valencienne in The Merry Widow, and

her Metropolitan Opera debut, in the

New York premiere of Bolcom’s opera; a

season later, she won plaudits as Teresa

in the Met premiere of Berlioz’s Benvenuto

Cellini. Mozart became a specialty: Zerlina

in Don Giovanni (New York, Houston,

Salzburg), Susanna in Le nozze di Figaro

(Los Angeles, London), and Pamina in The

Magic Flute (New York, Toronto). Her roles

at Toronto’s Canadian Opera Company

range from Gluck’s Euridice to Debussy’s

Mélisande to Poulenc’s Blanche in

Dialogues des Carmélites; and away from

Canada, she has shone as Monteverdi’s

Poppea in Barcelona, Handel’s Romilda

(Serse) in Dresden, and Janáček’s Vixen

in New York, Florence, and the Saito

Kinen Festival in Matsumoto, Japan.

​ But opera is only one page of the

Bayrakdarian résumé. An ever-active

concertizer, she’s appeared with the

premier orchestras of New York, Boston,

Chicago, San Francisco, Los Angeles,

Pittsburgh, Minnesota, RAI Torino, Paris,

London, Vienna, Toronto, Vancouver

and Montreal under the baton of such

eminent conductors as Seiji Ozawa,

James Conlon, David Zinman, Michael

Tilson Thomas, Alan Gilbert, Nicholas

McGegan, Christoph von Dohnányi,

Christoph Eschenbach, Colin Davis, Sir

Andrew Davis, Nikolaus Harnoncourt,

Mariss Jansons, Leonard Slatkin, James

Levine, Anne Manson, Bramwell Tovey,

Peter Oundjian and Richard Bradshaw.

​ Her versatility is also reflected

in being the featured vocalist on the

Grammy® Award-winning soundtrack of

the blockbuster film The Two Towers from

The Lord of The Rings trilogy and on

the soundtrack of Atom Egoyan’s Ararat.

A trance music collaboration with the

electronica band Delerium garnered yet

another Grammy nomination. She sings on

the BBC-produced short film HOLOCAUST

- A Music Memorial Film from Auschwitz,

as well as her Gemini-nominated film Long

Journey Home, documenting her first

visit to her ancestral homeland Armenia.

Bayrakdarian is the winner of four

consecutive Juno Awards for Best

Classical Album, and her latest recording,

Mother of Light, was nominated for a 2018

Juno Award. Her recordings with orchestra

include Henryk Górecki’s Symphony No. 3

with John Axelrod conducting the Danish

National Symphony Orchestra, released on

the Sony Classical label, Gustav Mahler’s

Symphony No. 2, with Michael Tilson-

Thomas conducting the San Francisco

Symphony, and Respighi’s Il Tramonto

with Orchestre Symphonique de Laval.

She is also the recipient of many

awards, including the Marilyn Horne

6


Foundation

Competition

Award, Queen Elizabeth

II Golden Jubilee and the

Diamond Jubilee Medals,

the Arbor Award from the

University of Toronto, the

George London Foundation

Award, Canada Council’s

Virginia Parker Prize, and

the Republic Of Armenia

“Komitas Medal”. Most

recently, she was awarded the

“Movses Khorenatsi” medal

- the Republic of Armenia’s

highest cultural award.


She holds an Honorary

Doctorate from Canada’s

Wilfrid Laurier University, and

an Honorary Fellowship from the Royal

Conservatory of Music. Ms. Bayrakdarian

is on the Voice Faculty at the University

of California, Santa Barbara (UCSB).

NOTES

on the PROGRAM

By Howard Posner

When Ottorino Respighi composed

Il Tramonto in 1914, he had been living

in Rome for about a year, teaching

composition at the Liceo Musicale di S

Cecilia and still finding his own voice as

a composer, which was no small search

in the days before World War I. The

world of art music was fragmenting into

strains that bore so little resemblance

to each other that there was no longer

even rough agreement about what music

should sound like. Il Tramonto came

A winner of the

Metropolitan Opera

National Council

Auditions—the

same year she

graduated from

the University of

Toronto cum laude

with a Biomedical

Engineering

Degree—Isabel

Bayrakdarian

thereafter found her

career taking rapid

wing.

within four years after such

radically different works as

Stravinsky’s Rite of Spring

(1913), Schoenberg’s Pierrot

Lunaire (1912), Mahler’s Ninth

Symphony (1910), Sibelius’

Fourth Symphony (1911), Der

Rosenkavalier (1910), Ravel’s

Daphnis et Chloé (1912),

and Puccini’s Fanciulla del

West (1910). Respighi was

more a traditionalist than a

modernist, and the voice that

emerged took note of most

contemporary trends but

was tuneful and accessible.

Respighi was drawn to

the poetry of Percy Bysshe

Shelley during these years. He would

eventually compose elaborate settings

of five Shelley poems. He illustrates “The

Sunset,” a poem about the triumph of death

over love, with a sort of impressionistic

drifting tonality. The strings supply much

of the melodic interest, often in sweeping

lines of considerable range, while the

soprano sings simple lines that stay largely

within an octave, stressing the words.

Qohelet (usually spelled Kohelet) is

the Hebrew title of the Biblical book

better known by its Latinized Greek title,

Ecclesiastes. The Hebrew word means

literally “gatherer” or “assembler” but

may be meant in the sense of “teacher.” A

collection of worldly observations, often

skeptical or fatalistic, it is traditionally

attributed to King Solomon on its own

authority—it begins, “The words of Kohelet

son of David, king in Jerusalem”—but

most scholars think it was written much

later. The book is a literary masterpiece

7


that has become a lasting

part of the English language

through expressions like

“For everything there is a

season,” “The race is not to

the swift nor the battle to

the strong,” “There is nothing

new under the sun,” and

“For everything there is a

season, and a time for every

purpose under Heaven.”

Argentine-American

composer Osvaldo Golijov

wrote Qohelet for the St.

Robson Fernandjes

on many musical styles in

setting not only the Roman

Catholic Mass in Latin, but

other Christian and Jewish

liturgical texts, and songs

with English lyrics by

Steven Schwartz, who had

written words and music for

Godspell and would go on

to write Pippin and Prince of

Egypt. The first of the English

songs is “A simple song,”

Osvaldo Golijov which comes after a severesounding

opening Kyrie.

Lawrence quartet in 2011. He wrote that it

is “inspired by some of the teachings and

poetic images in Ecclesiastes.” He did not

elaborate about which passages inspired

him, but did offer a description of the work:

The first movement of the work flows like

two slow river currents, perhaps memory

and present. The merging and bifurcations

of these currents are punctuated by

cradling bells: reflection rather than action.

The second movement is a meditation on

motion and melancholy. Those seemingly

contradictory states actually feed each

other here: a lyrical line emerges in

the first violin from a gritty, ever more

propulsive ride in the other instruments.

The first violin finally lifts in flight and

Bernstein composed “A Julia de

Burgos” in 1976 as part of Songfest, a

45-minute suite of 12 songs by American

poets intended for the United States

bicentennial. He did not finish the whole

work in 1976, so it got premiered piecemeal

before the first performance of the entire

work in 1977. The poem is a sort of selfportrait

by Julia de Burgos (1914-1953),

an advocate for independence for her

native Puerto Rico and Secretary General

of the Daughters of Freedom, a sort of

women’s auxiliary of the Puerto Rican

Nationalist Party. She spent her last years

in New York, dying of pneumonia after

collapsing on a Spanish Harlem sidewalk.

The poem deals with her opposing

the movement ends suspended in self-images as politically aware activist

midair, like the sword of Don Quixote

at the end of Chapter VIII in that book.

No work embodies the wide-ranging

eclecticism of Leonard Bernstein more

than MASS, commissioned by Jacqueline

Kennedy for the 1971 inauguration of

the Kennedy Center for the Performing

Arts in Washington, D.C. Bernstein drew

and conventional woman of the 1950’s.

“A Little Bit in Love” and “I Can Cook,

Too” are from Bernstein’s collaborations

with the writing team of Comden and

Green. Bernstein met Adolph Green in

1937 when Bernstein was a student at

Harvard and a counselor at a summer

music camp. When Bernstein came to

8


New York in 1940, he

shared an apartment with

Green, and they, Green’s

writing partner Betty

Green, and comedian Judy

Holliday formed a musical

comedy troupe called the

Revuers that played in

Greenwich Village. In 1944

Bernstein and Comden

and Green created On the

Town, based on Bernstein’s

ballet about three sailors

on leave in New York. The

1949 MGM film version, a

Allan Warren

Carlos Gardel was one

of the biggest recording

and movie stars of his era.

In the years after World

War I he introduced the

tango-canción, in which

the tango, until then a

dance performed by tango

orchestras, branched out

into songs in which the

words were important. He

sang them in his movies,

of which he had made 21

Leonard Bernstein

before dying in a plane crash

at the height of his fame.

star vehicle for Frank Sinatra, Ann Miller

and Gene Kelly, had little of Bernstein’s

music in it, because the producer did not

care for it. One of the songs that didn’t

make it into the movie is “I can cook, too,”

a sort of anthem of female sexual selfconfidence

from Hildy the Taxi Driver.

Bernstein teamed up with Comden

and Green nearly a decade later for A

Wonderful Town, a tale of two sisters

in search of success in New York. It

won five Tony awards in 1953, including

Astor Piazzolla pioneered the “new

tango,” a blend of traditional tango

with elements of polyphony, jazz, and

contemporary classical styles. It was

a cosmopolitan approach befitting a

cosmopolitan man. He became known as

a child prodigy on the bandoneon, a type

of accordion, in his native Buenos Aires,

then moved with his family to New York,

where as a teenager he met Carlos Gardel,

for whom he worked as a tour guide,

musician and translator. He returned to

best musical (but not including Buenos Aires when he was 16 and formed

awards to Bernstein or Comden and

Green), and has been revived with a

fair bit of frequency (four times in the

last decade, including a production in

German by the Staatsoperette Dresden.

In North America, the tango is a

dance, and its importance can be easy to

miss. In South America, it is part of the

culture, imbued with its own traditions

and pervading arts other than music.

And the tango has insinuated itself into

cultures distant from Latin America.

The French-Argentinian singer/dancer

an orchestra to play his compositions.

He went to Paris in 1954 to study for a

year with the legendary teacher Nadia

Boulanger, who encouraged him to

continue composing tangos, which he

did on returning to Buenos Aires. In

1974 he finally settled in Paris. “Oblivion”,

composed for the 1984 Italian film

Enrico IV, became a major international

hit and has been performed by many

combinations of instruments and voices.

The title “Che, Tango, Che” is a

not-very-translatable pun. “Che” is an

9


interjection similar to

the 1937 film of the

“hey!” in English, but is

same name, and was

also both Argentinian

sung by Pola Negri, a

slang for “you” and non-

Polish actress who had

Argentinian slang for

been a major silentfilm

star in America.

“Argentinian.” The lyrics

are by the Uruguayan

Farid al-Atrash

poet Horacio Ferrer

might be called the

(1933-2014), who in his

Carlos Gardel of the Arab

youth promoted New

world, and then some.

Tango as a radio producer

He was a songwriter,

and magazine editor,

singer and actor, and

and began collaborating

was called the “king of

with Piazzolla as a

the oud” because of

lyricist in the late 1960’s.

his virtuosity on that

The name of Uruguayan

member of the lute

composer Gerardo Matos

Farid al-Atrash family. His love affairs,

Rodríguez may be

including one with the

obscure, but his first known composition,

“La Cumparsita” (“the little parade”)

from 1917, will be instantly recognized

by listeners who don’t know its name

and may never have heard it all the way

through. Its status as a cliché has made it

a movie star in its right: it has been used

in 53 films, including Las Luces de Buenos

Aires (1931), for which all the other music

was supplied by its star, Carlos Gardel.

“Youkali”, a song that wistfully evokes

a non-existent Utopia, is from music Kurt

Weill wrote for the play Marie Galante

while he was in Paris in 1934, a year after

he fled Nazi Germany and a year before

he settled in New York. It is a habanera

(a tango “from Havana”) characterized

by the rocking bass pattern that Bizet’s

Carmen fixed forever in European ears.

In Germany at the same time, Hans-

Otto Borgmann was thriving as a film

composer. “Tango Notturno” is from

ex-wife of the deposed King Farouk, got

Johann Sebastian Bach

as much publicity as his music. In 31

films between 1941 and 1974, al-Atrash

starred, sang his songs and wrote the

songs everyone else sang. “Ya Zahratan Fi

Khayali”, with words by the Egyptian poet

Ma’moun El Shenawy, dates from 1947.

Arno Babajanian was an eminent

figure in Armenian music during the

Soviet era. He composed in a tuneful,

post-romantic style, but like his

contemporary Leonard Bernstein, he had

a popular side. He wrote the tango love

song “Chqnagh Yeraz” (“Du Indz Hamar”),

with words by the Armenian poet and

humorist Aramais Sahakyan (1936-2016),

in 1947, shortly before the piano trio in

F-sharp minor, that made his reputation

as a classical composer, and the Heroic

Ballade for piano and orchestra, which

won him a prestigious Stalin Prize.

©2018, Howard Posner

10


TEXTS AND TRANSLATIONS

OTTORINO RESPIGHI

Il tramonto (“The Sunset”), P.101

(The Italian text is based on the original English poem by Percy Bysshe Shelley.)

Già v'ebbe un uomo, nel cui tenue spirto

(qual luce e vento in delicata nube

che ardente ciel di mezzo-giorno stempri)

la morte e il genio contendeano.

Oh! quanta tenera gioia,

che gli fè il respiro venir meno

(così dell'aura estiva l'ansia talvolta)

quando la sua dama, che allor solo conobbe

l'abbandono

pieno e il concorde palpitar di due creature

che s'amano,

egli addusse pei sentieri d'un campo,

ad oriente da una foresta biancheggiante

ombrato

ed a ponente discoverto al cielo!

Ora è sommerso il sole; ma linee d'oro

pendon sovra le cineree nubi,

sul verde piano sui tremanti fiori

sui grigi globi dell' antico smirnio,

e i neri boschi avvolgono,

del vespro mescolandosi alle ombre.

Lenta sorge ad oriente

l'infocata luna tra i folti rami

delle piante cupe:

brillan sul capo languide le stelle.

E il giovine sussura: "Non è strano?

Io mai non vidi il sorgere del sole, o Isabella.

Domani a contemplarlo verremo insieme."

Il giovin e la dama giacquer tra il sonno e il

dolce amor

congiunti ne la notte: al mattin

gelido e morto ella trovò l'amante.

Oh! nessun creda che, vibrando tal colpo,

fu il Signore misericorde.

Non morì la dama, né folle diventò:

anno per anno visse ancora.

Ma io penso che la queta sua pazienza, e i

trepidi sorrisi,

e il non morir... ma vivere a custodia del

vecchio padre

(se è follia dal mondo dissimigliare)

fossero follia. Era, null'altro che a vederla,

come leggere un canto da ingegnoso bardo

intessuto a piegar gelidi cuori in un dolor

pensoso.

There late was One within whose subtle being,

As light and wind within some delicate cloud

That fades amid the blue noon's burning sky,

Genius and death contended. None may know

The sweetness of the joy which made his breath

Fail, like the trances of the summer air,

When, with the lady of his love, who then

First knew the unreserve of mingled being,

He walked along the pathway of a field

Which to the east a hoar wood shadowed o'er,

But to the west was open to the sky.

There now the sun had sunk, but lines of gold

Hung on the ashen clouds, and on the points

Of the far level grass and nodding flowers

And the old dandelion's hoary beard,

And, mingled with the shades of twilight, lay

On the brown massy woods - and in the east

The broad and burning moon lingeringly rose

Between the black trunks of the crowded trees,

While the faint stars were gathering overhead.

"Is it not strange, Isabel," said the youth,

"I never saw the sun? We will walk here

To-morrow; thou shalt look on it with me."

That night the youth and lady mingled lay

In love and sleep - but when the morning came

The lady found her lover dead and cold.

Let none believe that God in mercy gave

That stroke. The lady died not, nor grew wild,

But year by year lived on - in truth I think

Her gentleness and patience and sad smiles,

And that she did not die, but lived to tend

Her aged father, were a kind of madness,

If madness 'tis to be unlike the world.

For but to see her were to read the tale

Woven by some subtlest bard, to make hard

hearts

11


Neri gli occhi ma non fulgidi più;

consunte quasi le ciglia dalle lagrime;

le labbra e le gote parevan cose morte tanto

eran bianche;

ed esili le mani e per le erranti vene e le

giunture rossa

del giorno trasparia la luce.

La nuda tomba, che il tuo fral racchiude,

cui notte e giorno un'ombra tormentata

abita,

è quanto di te resta, o cara creatura perduta!

"Ho tal retaggio, che la terra non dà:

calma e silenzio, senza peccato e senza

passione.

Sia che i morti ritrovino (non mai il sonno!)

ma il riposo,

imperturbati quali appaion,

o vivano, o d'amore nel mar profondo

scendano;

oh! che il mio epitaffio, che il tuo sia: Pace!"

Questo dalle sue labbra l'unico lamento.

Dissolve away in wisdom-working grief;

Her eyes were black and lustreless and wan:

Her eyelashes were worn away with tears,

Her lips and cheeks were like things dead - so

pale;

Her hands were thin, and through their

wandering veins

And weak articulations might be seen

Day's ruddy light. The tomb of thy dead self

Which one vexed ghost inhabits, night and day,

Is all, lost child, that now remains of thee!

"Inheritor of more than earth can give,

Passionless calm and silence unreproved,

Where the dead find, oh, not sleep! but rest,

And are the uncomplaining things they seem,

Or live, a drop in the deep sea of Love;

Oh, that like thine, mine epitaph were - Peace!"

This was the only moan she ever made.

LEONARD BERNSTEIN

“Simple Song,” from MASS

Sing God a simple song:

Lauda, Laudē,

Make it up as you go along

Lauda, Laudē,

Sing like you like to sing.

God loves all simple things,

For God is the simplest of all,

I will sing the Lord a new song

To praise Him, to bless Him, to bless the

Lord.

I will sing His praises while I live

All of my days.

Blessed is the man who loves the Lord,

Blessed is the man who praises Him.

Lauda, Lauda, Laudē,

And walks in His ways.

I will lift up my eyes

To the hills from whence comes my help

I will lift up my voice to the Lord

Singing Lauda, Laudē.

For the Lord is my shade,

Is the shade upon my right hand,

And the sun shall not smite me by day

Nor the moon by night.

Blessed is the man who loves the Lord,

Lauda, Lauda, Laudē,

And walks in His ways.

Lauda, Lauda, Laudē,

Lauda, Lauda di da di day,

All of my days.

12


LEONARD BERNSTEIN

“A Julia de Burgos” from Songfest

Music by Leonard Bernstein

Ya las gentes murmuran que yo soy tu

enemiga porque dicen que en verso doy al

mundo tu yo.

Mienten, Julia de Burgos.

Mienten, Mienten, Julia de Burgos.

La que se alza en mis versos no es tu voz:

Es mi voz:

Es mi voz: porque tú eres ropaje y laescencia

soy yo: y el más profundo abismo se tinede

entre las dos.

Tú eras fria muñeca mentira social, y yo, viril

destello de la humana verdad.

Tú, miel de cortesanas hipocresías; yo no: que

en todos mis poemas desnudo el corazón.

Tú eras como tu mundo, egoísta; yo no; que

todo me lo juego a ser lo que soy yo,

Tú eras sólo la graveseñora señorona; yo no;

yo soy la vida, la fuerza, la mujer.

Tu eres de tu mariso, de tu amo: yo no; Yo de

nadie, o de todos, porque a todos.

A todos, en mi limpio sentir y en mi pensar me

doy.

Tú te rizas el pelo y te pintas; yo bo; a mí mi

riza/al vientos; a mí me pinta/el sol.

Tú eras dama casera resignada, sumisa, atada

a los prejuicios de los hombres; yo no; que yo

soy Rocinante, Rocinante corriendo, sorriendo

desbocado olfate ando horizontes, olfate/ando

horizontes de justicia de Dios, de justicia de

Dios.

Text by Julia de Burgos

Already the people murmur that I am your

enemy because they say that in verse I give

the world your “me”.

They lie, Julia de Burgos.

They lie, Julia de Burgos.

Who rises in my verses is not your voice. It is

my voice, because you are the apparel and the

essence is me;

and the most profound abyss is spread

between us.

You are the cold doll of social lies, and me, the

virile starburst of human truth.

You, honey of courtesan hypocrisies; not me;

in all my poems I undress my heart.

You are like your world, selfish; not me, who

gambles everything betting on what I am.

You are nothing but a pompous lady.

Not me; I am life, strength, woman.

You belong to your husband, your master;

Not me; I belong to nobody or to all,

because to all, to all I give myself in my pure

emotion and in my thought.

You curl your hair and paint yourself; not me;

the wind curls my hair, the sun paints me.

You are a housewife, resigned, submissive,

tied to the prejudices of men;

not me; unbridled I am a runaway Rocinante,

breathing in the horizons of God’s justice.

13


LEONARD BERNSTEIN

“A Little Bit in Love,” from Wonderful Town

Mm...I'm a little bit in love;

Never felt this way before.

Mm..., I’m a little bit in love,

Or perhaps a little bit more.

When he looks at me

ev’rything's hazy and all out of focus.

When he touches me

I'm in the spell of his strange hocus-pocus.

It's so

I don't know,

I'm so

I don't know, I don't know, but I know if it's

love, then it's lovely!

Mm, It’s so nice to be alive

When you meet someone who bewitches you.

Will he be my all,

or did I just fall a little bit,

a little bit in love?

Mm….

“I can cook too,” from On the Town

Oh, I can cook, too, on top of the rest,

My seafood’s the best in the town.

Yes, I can cook, too,

My fish can’t be beat,

My sugar’s the sweetest around.

I’m a man’s ideal of a perfect meal,

Right down to the demitasse.

I’m a pot of joy for a hungry boy,

Baby, I’m cookin’ with gas.

Oh, I’m a gumdrop,

A Sweet Lollipop,

A brook-trout right out of the brook.

And what’s more, baby, I can cook!

Some girls make magazine covers,

Some girls keep house on a dime,

Some girls make wonderful lovers,

But what a lucky find I’m.

I’d make a magazine cover,

I do keep house on a dime,

I’d make a wonderful lover,

I should be paid overtime,

‘Cause I can bake, too, on top of the lot,

My oven’s the hottest you’ll find.

Yes, I can roast, too,

my chickens just ooze,

My gravy will lose you your mind.

I’m a brand new note on a table d’hote,

But just try me a la carte.

With a single course you could choke a horse,

Baby, you won’t know where to start.

Oh, I’m an hors d’oeuvre,

A jelly preserve,

Not in the recipe book,

And what’s more,

Baby, I can cook!

Some girls make wonderful jivers,

Some girls can hit a high C,

Some girls make good taxi drivers,

But what a genius is me.

I’d make a wonderful jiver,

I even hit a high C,

I make the best taxi driver,

I rate a big Navy “E.”

‘Cause I can fry, too, on top of the heap,

My Crisco’s as deep as a pool.

Yes, I can broil too,

my ribs win applause,

My lamb chops will cause you to drool.

For a candied sweet or a pickled beet,

Step up to the smorgasbord.

Walk around until you get your fill,

Baby, you’ll never be bored.

Oh I’m a pâté,

A marron glacé,

A dish you will wish you had took,

And what’s more,

Baby, I can cook!

14


CARLOS GARDEL:

“Por una Cabeza”

Music by Carlos Gardel

Lyrics by Alfredo Le Pera

Por una cabeza

de un noble potrillo

que justo en la raya

afloja al llegar,

y que al regresar

parece decir:

No olvidés, hermano,

vos sabés, no hay que jugar.

Por una cabeza,

metejón de un día

de aquella coqueta

y burlona mujer,

que al jurar sonriendo

el amor que está mintiendo,

quema en una hoguera

todo mi querer.

Por una cabeza,

todas las locuras.

Su boca que besa,

borra la tristeza,

calma la amargura.

Por una cabeza,

si ella me olvida

qué importa perderme

mil veces la vida,

para qué vivir?

Cuántos desengaños,

por una cabeza.

Yo jugué mil veces,

no vuelvo a insistir.

Pero si un mirar

me hiere al pasar,

sus labios de fuego

otra vez quiero besar.

Basta de carreras,

se acabó la timba.

¡Un final reñido

ya no vuelvo a ver!

Pero si algún pingo

llega a ser fija el domingo,

yo me juego entero.

¡Qué le voy a hacer..!

“By a head (of a horse)”

Losing by a head

of a noble horse

who slackens just

down the stretch

and when it comes back

it seems to say:

Don’t forget brother,

You know you shouldn’t bet.

Losing by a head…

instant violent love

of that flirtatious and

cheerful woman

who, swearing with a smile

on a love she’s lying about,

burns all my love

in a blaze.

Losing by a head…

there was all that madness;

her mouth kisses,

wipes out the sadness,

and calms the bitterness.

Losing by a head…

if she forgets me,

no matter if I lost

my life a thousand times;

what is there to live for?

How many disappointments…

Losing by a head…

I swore a thousand times

not to play again

but if a look sways me

while passing by

I want to kiss her lips

of fire once more.

Enough of race tracks,

no more gambling,

a photo-finish end

I’m not watching again,

but if a pony looks like

a sure thing on Sunday,

I’ll bet everything again,

what can I do?

15


“El Día Que Me Quieras”

“El Día Que Me Quieras”

Music by Carlos Gardel

Lyrics by Alfredo Le Pera

Acaricia mi ensueño

el suave murmullo de tu suspirar,

¡como ríe la vida

si tus ojos negros me quieren mirar!

Y si es mío el amparo

de tu risa leve que es como un cantar,

ella aquieta mi herida,

¡todo, todo se olvida..!

El Día que me quieras

la rosa que engalana,

se vestirá de fiesta

con su mejor color.

Al viento las campanas

dirán que ya eres mía

y locas las fontanas

me contarán tu amor.

La noche que me quieras

desde el azul del cielo,

las estrellas celosas

nos mirarán pasar

y un rayo misterioso

hará nido en tu pelo,

luciérnaga curiosa

que verá...¡que eres mi consuelo..!

(Recitado):

El día que me quieras

no habrá más que armonías,

Traerá quieta la brisa

rumor de melodías

y nos darán las fuentes

su canto de cristal.

El día que me quieras

endulzará sus cuerdas

el pájaro cantor,

florecerá la vida,

no existirá el dolor...

La noche que me quieras

desde el azul del cielo,

las estrellas celosas

nos mirarán pasar

y un rayo misterioso

hará nido en tu pelo,

luciérnaga curiosa

que verá...¡que eres mi consuelo!

The day when you love me”

I hear you softly breathing;

that quiet murmur caresses my dream.

How my life seems to laugh when

your big dark eyes look at me with their gleam.

And if I have the comfort

of your singing laughter,

whose bursts always seem

to make my wounds feel better,

I instantly become a forgetter!

The day when you love me,

the lovely roses clinging

to my old house will dress up

in all their festive hues.

The wind chimes will be ringing

to tell the world that you’re mine now;

The fountains will madly sing

About how much I am loved by you.

The night when you love me,

the jealous stars will see us

from the blue sky above

as we walk hand in hand.

A ray of mysterious light

Will nest in your dark tresses,

And a firefly, ever so curious,

will see that you are my consolation!

(Spoken)

The day when you love me

All things will be harmonious.

The quiet breeze will carry

The sound of gentle music,

And we will hear the fountains’

crystalline voices sing aloud.

The day when you love me

The birds will sweeten

Their singing chords beyond belief,

Life will be full of flowers,

There will be no more grief!

(Sung)

The night when you love me,

the jealous stars will see us

from the blue sky above

as we walk hand in hand.

A ray of mysterious light

Will nest in your dark tresses,

And a firefly, ever so curious,

will see that you are my consolation!

16


CARLOS GARDEL:

“Volver”

Music by Carols Gardel

Lyrics by Alfredo Le Pera

Yo adivino el parpadeo

de las luces que a lo lejos,

van marcando mi retorno.

Son las mismas que alumbraron,

con sus pálidos reflejos,

hondas horas de dolor.

Y aunque no quise el regreso,

siempre se vuelve al primer amor.

La quieta calle donde el eco dijo:

“Tuya es su vida, tuyo es su querer”,

bajo el burlón mirar de las estrellas

que con indiferencia hoy me ven volver.

Volver...

con la frente marchita,

las nieves del tiempo

platearon mi sien.

Sentir, que es un soplo la vida,

que veinte años no es nada,

que febril la mirada

errante en las sombras

te busca y te nombra.

Vivir,

con el alma aferrada

a un dulce recuerdo,

que lloro otra vez.

Tengo miedo del encuentro

con el pasado que vuelve

a enfrentarse con mi vida.

Tengo miedo de las noches

que, pobladas de recuerdos,

encadenen mi soñar.

Pero el viajero que huye,

tarde o temprano detiene su andar.

Y aunque el olvido que todo destruye,

haya matado mi vieja ilusión,

guardo escondida una esperanza humilde,

que es toda la fortuna de mi corazón.

Volver...

“To return”

I can almost see the flicker

Of the lights, which in the distance,

Mark my return…

They’re the same ones that illuminated,

With their pale and misty reflections,

Many hours of deep pain.

And although I did not want to return,

One always comes back to their first love.

The quiet street where the echo said:

“Her life is yours, her love is yours to earn”,

Under the stars that mockingly look down on

me,

And now with indifference see me return

today.

To return…

with my forehead all wrinkled,

My temples turned

silver by time’s falling snow…

To feel...that one’s life is a twinkle,

that twenty years hardly reckon,

and two fevered eyes beckon

and glance in the shadows

seeking and calling you.

To live…

with the soul firmly clinging

to a sweet memory

which makes me weep again.

I am frightened of the encounter

with the past which returns to confront

my life all over again.

I am frightened of the nighttimes

When I’m chained to my dreams

And old memories come to stay.

And yet the traveller who flees,

Sooner or later must stop on the way…

And although oblivion destroys everything,

And has killed my old hopes and illusions,

a humble hope keeps hidden within me,

That is the only fortune in my heart.

To return...

17


ÁSTOR PIAZZOLLA:

“J’oublie” (Oblivion)

“Oblivion”

(Vocalise)

ÁSTOR PIAZZOLLA:

“Che Tango Che”

Music by Ástor Piazzolla

Lyrics by Jean-Claude Carrière after Angela

Denia Terenzi

Che Tango Che

rossée usée

abusée et désabusée

Che Tango Che

Che Tango Che

qui m’a draguée

qui m’a droguée

qui m’a croquée

Che Tango Che

Che Tango Che

limée minée

élimée et

éliminée

Che Tango Che.

Che Tango Che

qui m’a violée

qui m’a viciée

qui m’a virée.

Che Tango Che

fauchée fichée

esseulée et

déboussolée

Che Tango Che.

Qui me frôlais

qui m’affolais

et qui m’a flouée

Che Tango Che

Tu m’as fait valdinguer

Tu m’as fait déglinguer

“Che Tango Che”

Translation by Pascale Roger

Che Tango Che,

Slapped, spent

Abused and surly

Che Tango Che

Che Tango Che

Who picked me up

Who drugged me

Who ate me up

Che Tango Che

Che Tango Che

Grated gashed

Ground and

Grilled

Che Tango Che

Che Tango Che

Who raped me

Who corrupted me

Who dumped me.

Che Tango Che

Broken slotted

Alone and

Out of joint

Che Tango Che

Who brushed up against me

Who drove me berserk

Who jerked me around

Che Tango Che

You made me crash

You made me crazy

18


“Che Tango Che”

Tu m’avais déshabillée

Tu m’avais dévergondée

Tu m’as fait me pâmer

Tu m’as fait me paumer

Tu m’avais tannée

Tu m’avais matée

Tu m’as baratinée

Et tu m’as laissée

Rétamée.

Che Tango Che

Râpée tapée

Camée cassée

Décarcassée

Che Tango Che

Che Tango Che

Qui m’a gâtée

Qui m’a fêtée

Qui m’a jetée

Che Tango Che

Bandominée

Bandorlotée

Bando dormant

Néon néant

Abandonée

Che Tango Che

Qui m’a soûlée

Qui m’a roulée

Et m’a coulée

Che Tango Che

Tango câlin

Tango éteint

Tango destin

Che Tango Che

Qui m’a grisée

Qui m’a brisée

Mais qui m’a aimée

Che Tango Che.

You stripped me

You made me run wild

You made me enjoy it

You made me lose myself

Had hounded me down

You subdued me

You strung me along

And you left me

Exhausted.

Che Tango Che

Used-up banged-up

Drugged-up busted-up

Boneless

Che Tango Che

Che Tango Che

Who spoiled me

Who praised me

Who ditched me

Che Tango Che

Blindfolded

Blind comfort

Sleeping bandanna

Worthless neon

Abandoned

Che Tango Che

Who made me drunk

Who ripped me off

Who drowned me.

Che Tango Che

Fondling tango

Fading tango

Fated tango

Che Tango Che

Who went to my head

Who split me up

But who loved me

Che Tango Che

19


GERARDO MATOS RODRÍGUEZ:

“La Cumparsita” (string quartet)

KURT WEILL:

“Youkali: Tango Habanera”

Music by Kurt Weill

Lyrics by Roger Femay

C'est presque au bout du monde,

Ma barque vagabonde,

Errant au gré de l'onde,

M'y conduisit un jour.

L'île est toute petite,

Mais la fée qui l'habite

Gentiment nous invite

À en faire le tour.

Youkali,

C'est le pays de nos désirs,

Youkali,

C'est le bonheur,

C'est le plaisir, Youkali,

C'est la terre où l'on

Quitte tous les soucis,

C'est dans notre nuit,

Comme une éclaircie,

L'étoile qu'on suit,

C'est Youkali!

Youkali,

C'est le respect de tous les vœux échangés,

Youkali,

C'est le pays des beaux amours partagés,

C'est l'espérance

Qui est au cœur de tous les humains,

La délivrance que nous attendons tous pour

demain,

Youkali,

C'est le pays de nos désirs,

Youkali,

C'est le bonheur,

C'est le plaisir,

Mais c'est un rêve, une folie,

Il n'y a pas de Youkali!

Youkali: Tango Habanera”

Translation by A. Reaux

Near the end of the world

my vagabond ship,

wandering at the whim of the waves,

directed me there one day

This island is very small

but the fairy who lives there

gently invited us

to take a tour…

Youkali,

It is the land of our desires,

Youkali,

It is happiness,

It is pleasure

It is the land where

One leaves all cares,

It is, in our night,

Like a bright light,

A star which one follows-

It is Youkali!

Youkali,

It is the respect of exchanged vows.

Youkali,

It is the land of beautiful loves.

It is the hope

Which is at the heart of all humans,

The deliverance we want for tomorrow.

Youkali,

It is the land of our desires,

Youkali,

It is happiness,

It is pleasure

But it is a dream, a folly.

There is no Youkali.

20


“Youkali (Tango Habanera)”

Et la vie nous entraîne,

Lassante, quotidienne,

Mais la pauvre âme humaine,

Cherchant partout l'oubli,

A pour quitter la terre,

Su trouver le mystère

Où nos rêves se terrent

En quelque Youkali...

Youkali,

C'est le pays de nos désirs,

Youkali,

C'est le bonheur,

C'est le plaisir, Youkali,

C'est la terre

Où l'on quitte tous les soucis,

C'est dans notre nuit,

Comme une éclaircie,

L'étoile qu'on suit,

C'est Youkali!

Youkali,

C'est le respect de tous les vœux échangés,

Youkali,

C'est le pays des beaux amours partagés,

C'est l'espérance

Qui est au cœur de tous les humains,

La délivrance que nous attendons tous pour

demain,

Youkali,

C'est le pays de nos désirs,

Youkali,

C'est le bonheur, c'est le plaisir,

Mais c'est un rêve, une folie,

Il n'y a pas de Youkali!

And life goes on,

weariness everyday.

But the poor human soul

Looks everywhere to forget it,

To leave the earth,

To find the mystery.

We dream on earth

To live on some Youkali.

Youkali,

It is the land of our desires,

Youkali,

It is happiness,

It is pleasure

It is the land where

One leaves all cares,

It is, in our night,

Like a bright light,

A star which one follows-

It is Youkali!

Youkali,

It is the respect of exchanged vows.

Youkali,

It is the land of beautiful loves.

It is the hope

Which is at the heart of all humans,

The deliverance we want for tomorrow.

Youkali,

It is the land of our desires,

Youkali,

It is happiness, it is pleasure

But it is a dream, a folly.

There is no Youkali.

21


HANS-OTTO BORGMANN:

“Tango Notturno”

Music by Hans-Otto Borgmann

Lyrics by Hans-Fritz Beckmann

Ich hab’ an Dich gedacht,

als der Tango Notturno

zwischen Abend und Morgen

aus der Ferne erklang.

Mein Herz ist aufgewacht,

weil der Tango Notturno

eine zärtliche Kunde

Deiner Liebe mir sandt.

Dass Du mein Schicksal bist,

hab' vor Glück ich empfunden,

als in einsamen Stunden

ich vor Freude geweint.

Ich hab’ an Dich gedacht,

als der Tango Notturno

mit dem Zauber der Töne

uns're Herzen vereint.

Wie die Liebe wirklich ist

das könnt' ich Euch erzählen,

denn ich kenne Sie sehr gut.

Ich weiss dass Sie schön ist

und weiss, wie weh Sie auch tut.

Ich hab' manchen Mann geküsst

und hab’ Ihn dann vergessen,

weil ein and'rer mich begehrt

bis einmal der Zufall

den richt'gen Mann mir beschert.

Dass du mein Schicksal bist,

hab vor Glück ich empfunden

als in einsamen Stunden

ich vor Freude geweint.

“Tango Notturno”

I thought of you

when “Tango Notturno”

was heard from afar between the

magical hours of evening and morning.

My heart awoke

because “Tango Notturno”

is a tender sign of love

sent by you to me.

That you’re my fate,

I’ve felt it to be my biggest luck,

And in my lonely hours

I cry out with joy.

I thought of you

when “Tango Notturno”

with the magic of its sounds

united our hearts.

How love really is

I could tell you

because I know it very well.

I know how beautiful it is

and I know how much it hurts.

I have kissed many men

and forgot them again,

because another desired me,

until one day chance

provided me with the right one.

That you’re my fate,

I’ve felt it to be my biggest luck,

And in my lonely hours

I cry out with joy.

22


FARID AL-ATRASH

“Ya Zahratan Fee Khayalee”

Music and lyrics by Fareed El-Atrache

Ya zahratan fee khayalee,

Ra’aytouha fee fou’adee

Zhanat ‘aalayha ellayalee

Wa azbalatha elayadee

Wa shaghalatha el’ouyoun

Famata sahr elroukoun.

Ya gharamee koullou shay’an da’a mnnee

Fanaza’ata el’houbbou min albee wa rou’hee

Wawahabtou el’oumr awtaree wa la’hnee

Wataghannayt fadawayt eljourou’hee,

Ana tayrun fee rouba elfann youghannee

Liltouyour lilzouhour elwoujoud.

The Flower of My Imagination”

The flower of my imagination

Which I guarded tenderly in my heart,

Was envied by countless nights,

And was faded by many hands.

Everyone was curious about it,

Causing the magic of its tranquility to die.

Oh! I lost everything

When love was snatched away from my

heart and soul.

Therefore, I dedicated my life to music

and to my songs.

I sang, and my wounds healed!

Now I’m like a bird singing in the world of art,

Singing to the birds, to the flowers, and to

nature.

ARNO BABAJANIAN:

“Tcheknagh Yeraz”

Music by Arno Babadjanian

Lyrics by Aramayis Sahakian

Du ints hamar siro aghpouyr

Yes kez hamar kootse vochinch

Du ints hamar yeraz makoor

Yes kez hamar kootse vochinch

Hervits kone yes kez desnem sirem

Vorbes gyankees tcheknagh yeraz

Arekageen bedk e hervits nayel

Gayre yete shad modenas

Gyankoom du mishd oorakh mnas

Yev mishd yeghir baydsar oo tchintch

Ampoghtch mi gyank sirov kda

Yes kez hamar kootse votchintch

Hervits kone yes kez desnem sirem

Vorbes gyankees tcheknagh yeraz

Arekageen bedk e hervits nayel

Gayre yete shad modenas

Gayre yete shad modenas

Du im gyankee tcheknagh yeraz.

“Beautiful Dream”

To me, you are the fountain of love.

To you, I am probably nothing at all.

To me, you are the purest of all dreams.

To you, I am probably nothing at all.

At least let me see you from afar

And love you as my life’s beautiful dream.

One should look at the sun from a distance;

It will burn if you get too close to it.

May you always be happy in life

And may you remain radiant and pure forever.

I’ve found the meaning of life through my

love for you,

Even though I probably mean nothing to you.

At least let me see you from afar

And love you as my life’s beautiful dream.

One should look at the sun from a distance;

It will burn if you get too close to it.

It will burn if you get too close to it.

You are the beautiful dream of my life!

23


Presenting the world’s finest classical artists since 1919

Message from the President

As President of Community Arts Music

Association (CAMA), I am delighted to

invite you to join us as a contributor to

Santa Barbara’s oldest arts organization,

CAMA, the Queen of Santa Barbara’s

non-profits.

CAMA is now entering its 99th season

of presenting the world’s major classical

orchestras and soloists here in Santa

Barbara. And what a season we have to

look forward to in 2017/2018!

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

and we are deeply committed to continuing

the tradition. We look forward to welcoming

you personally to our CAMA community, and

hope you will also consider a sponsorship

opportunity for one or more of our concerts.

Robert K. Montgomery

President

24


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

25


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)

26


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

27


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

28

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)

29


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

30

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

31


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

32

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