CAMA's Centennial Season—December 11, 2018—Free Community Concert—Los Angeles Chamber Orchestra—Avi Avital, mandolin—The Granada Theatre, 8:00 PM

AS A GIFT TO THE COMMUNITY, 

CAMA'S BOARD OF DIRECTORS 

PRESENTS 

LOS ANGELES 

CHAMBER ORCHESTRA 

Avi Avital & The Four Seasons 

Tuesday, December 11, 2018, 8:00 PM 

The Granada Theatre (Santa Barbara Center for the Performing Arts)

INTERNATIONAL SERIES 

AT THE GRANADA THEATRE 

SEASON SPONSORSHIP: SAGE PUBLISHING 

LOS ANGELES 

Esa-Pekka Salonen 

PHILHARMONIC 

OCTOBER 28, 2018 

Primary Sponsor 

The Elaine F. Stepanek 

Concert Fund 

Principal Sponsor 

The Samuel B and Margaret 

C. Mosher Foundation 

Sponsors 

Bitsy & Denny Bacon and 

The Becton Family Foundation 

Val & Bob Montgomery 

The Towbes Fund for the 

Performing Arts, a field interest 

fund of the Santa Barbara 

Foundation 

Co-Sponsor 

Robert & Christine Emmons 

LOS ANGELES 

CHAMBER 

ORCHESTRA 

with Avi Avital 

DECEMBER 11, 2018 

A gift to the community 

from the CAMA Board 

of Directors 

ITZHAK 

Mikhail Pletnev 

PERLMAN 

JANUARY 15, 2019 


Sara Miller McCune 

Principal Sponsor 

Herbert & Elaine Kendall 

Sponsor 

Judith L. Hopkinson 

Co-Sponsor 

Jocelyne & William Meeker 

Stephen J.M. & Anne Morris 

PHILHARMONIA 

BAROQUE 

ORCHESTRA 

FEBRUARY 5, 2019 

Sponsors 

Hollis Norris Fund 

Michele & Andre Saltoun 

Co-Sponsor 

Edward DeLoreto 

RUSSIAN 

NATIONAL 

ORCHESTRA 

FEBRUARY 27, 2019 

Sponsor 

Bitsy & Denny Bacon 

Co-Sponsor 

Peggy & Kurt Anderson 

Louise & Michael Caccese 

PHILHARMONIA 

ORCHESTRA 

MARCH 20, 2019 

Sponsors 

Anonymous 

Alison & Jan Bowlus 

Ellen & Peter Johnson 

Co-Sponsors 

Elizabeth & Andrew Butcher 

Chris Lancashire 

& Catherine Gee 


ROYAL SCOTTISH 

NATIONAL 

ORCHESTRA 

APRIL 5, 2019 

Sponsor 

Meg & Dan Burnham 

Co-Sponsor 

George & Judy Writer

MASTERSERIES 

AT THE LOBERO THEATRE 

SEASON SPONSORSHIP: ESPERIA FOUNDATION 

RICHARD 

GOODE 

NOVEMBER 9, 2018 


The Stephen & Carla 

Hahn Foundation 

Co-Sponsors 

Bitsy & Denny Bacon 


TAFELMUSIK 

BAROQUE 

ORCHESTRA 

MARCH 9, 2019 

Concert Partners 

Bridget Colleary 

Lynn P. Kirst 

GARRICK 

OHLSSON 

MARCH 30, 2019 

Co-Sponsor 

Anonymous 

Stephen J.M. & 

Anne Morris 

AUGUSTIN 

HADELICH 

APRIL 17, 2019 

Co-Sponsor 

Jocelyn & William Meeker 


MISCHA MAISKY 

MAY 6, 2019 

Co-Sponsor 

Ellen & Craig Parton 

Concert Partner 

Raye Haskell Melville 

Concert Sponsors as of November 15, 2018 

CAMA AT THE GRANADA THEATRE - LOS ANGELES CHAMBER ORCHESTRA 

5

Presenting the world’s finest classical artists since 1919 

BOARD OF DIRECTORS 

ROBERT K. MONTGOMERY President 

DEBORAH BERTLING First Vice-President 

CRAIG A. PARTON Second Vice-President 

WILLIAM MEEKER Treasurer 

JOAN R. CROSSLAND Secretary 

Rosalind Amorteguy-Fendon 

Bitsy Becton Bacon 

Edward Birch 

Jan Bowlus 

Daniel P. Burnham 

Stephen Cloud 

NancyBell Coe 

Bridget B. Colleary 

Jill Felber 

Joanne C. Holderman 


James H. Hurley, Jr. 

Peter O. Johnson 

Elizabeth Karlsberg 


Hank Mitchel 

Stephen J.M. (Mike) Morris 

Patti Ottoboni 

Andre M. Saltoun 

Judith F. Smith 

Judith H. Writer 

Catherine Leffler, 

President, CAMA Women’s Board 

As of November 29, 2018 

Emeritus Directors 

Russell S. Bock* 

Dr. Robert M. Failing* 

Mrs. Maurice E. Faulkner* 

Léni Fé Bland* 

Arthur R. Gaudi 

Stephen Hahn* 

Dr. Melville H. Haskell, Jr.* 

Mrs. Richard Hellmann* 

Dr. Dolores M. Hsu 

Herbert J. Kendall 

Robert M. Light* 

Mrs. Frank R. Miller, Jr.* 


Mary Lloyd Mills 

Mrs. Ernest J. Panosian* 

Kenneth W. Riley* 

Mrs. John G. Severson* 

Nancy L. Wood 

* Deceased 

Administration 

Mark E. Trueblood 

Executive Director 

Elizabeth Alvarez 

Director of Development 

Michael Below 

Office Manager/ 

Subscriber Services 

Justin Rizzo-Weaver 

Director of Operations 

2060 Alameda Padre Serra, Suite 201 Santa Barbara, CA 93103 Tel (805) 966-4324 Fax (805) 962-2014 info@camasb.org 

6 CENTENNIAL SEASON CELEBRATION

INTERNATIONAL SERIES at the GRANADA THEATRE 

SEASON SPONSORSHIP: SAGE PUBLISHING 

LOS ANGELES CHAMBER ORCHESTRA 

AVI AVITAL LEADER & MANDOLIN 

Margaret Batjer violin, Tereza Stanislav violin, Josefina Vergara violin, Sarah Thornblade violin 

Tuesday, December 11, 2018, 8:00 PM 

The Granada Theatre (Santa Barbara Center for the Performing Arts) 

ANTONIO VILVALDI 

Concerto in G minor for Two Violins, RV517 

Allegro 

Andante 

Allegro 

Program subject to change. 

Concerto in A minor for Two Violins, RV523 

Allegro 

Larghetto e spiritoso 

Allegro 

INTERMISSION 

The Four Seasons 

Concerto in E major, Op.8, No.1, La primavera (Spring) 

Allegro 

Largo 

Danza pastorale 

Concerto in G minor, Op.8, No.2, L’estate (Summer) 

Allegro non molto 

Adagio e piano - Presto e forte 

Presto 

Concerto in F major, Op.8, No.3, L’autunno (Autumn) 

Allegro 

Adagio molto 

Allegro 

Concerto in F minor, Op.8, No.4, L’inverno (Winter) 

Allegro con molto 

Largo 

Allegro 

Mr. Avital, Ms. Batjer, Ms. Stanislav, Ms. Vergara, Ms. Thornblade 

CAMA thanks our generous sponsors who have made this evening’s performance possible: 

A gift to the community from the CAMA Board of Directors 

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. 


7

ABOUT 

LOS ANGELES 


2018/2019 Season 

Los Angeles Chamber Orchestra 

(LACO), ranked among the 

world’s top musical ensembles, 

marks the 2018-19 season with more artistic 

energy and creative impulse coursing 

through its musical veins than at any time in 

its history. Enhancing the intimacy and precision 

that is the Orchestra’s hallmark, LACO 

has named Jaime Martín as Music Director 

Designate. Praised as "a visionary conductor, 

discerning and meticulous" (Platea Magazine), 

Martín takes the podium as Music Director 

in the 2019-20 season. The Orchestra, 

beloved by audiences and praised by critics, 

is known as a champion of contemporary 

composers, with eight ASCAP Awards for Adventurous 

Programming, as well as a preeminent 

interpreter of historical masterworks. 

Headquartered in the heart of the country's 

cultural capital, LACO has been proclaimed 

“America’s finest chamber orchestra” (Public 

Radio International), “LA’s most unintimidating 

chamber music experience” (Los Angeles 

magazine), “resplendent” (Los Angeles 

Times) and “one of the world's great chamber 

orchestras"(KUSC Classical FM). 

In 2018-19, LACO spotlights its rich 

legacy and highlights the ensemble's depth 

and range with favorite works, including 

the Mozart Requiem, Beethoven’s Fifth and 

Sixth Symphonies and Mendelssohn’s “Italian” 

Symphony. Explored, too, is the intimate 

side of the last century, with works by Korngold, 

Ligeti, Seeger and Arvo Pärt. As part 

of MusicLAb, the Orchestra’s signature commitment 

to new music and pushing the envelope, 

the season also features world premieres 

by esteemed film composer James 

Newton Howard, Los Angeles-based composer 

Sarah Gibson and highly regarded 

Latin American composer Juan Pablo Contreras, 

and a West Coast premiere by Bryce 

Dessner, best known as a member of the 

Grammy Award-nominated band The National. 

American composer Andrew Norman 

continues as LACO’s Creative Advisor and 

Composer-in-Residence. 

Performing throughout greater Los Angeles, 

the Orchestra presents eight Orchestral 

Series concerts at Glendale’s Alex Theatre 

and UCLA’s Royce Hall; four Baroque Conversations 

at downtown LA's Zipper Hall and 

three at Santa Monica’s St. Monica Church or 

the First Presbyterian Church of Santa Monica; 

three In Focus chamber music concerts in 

partnership with The Huntington and at Santa 

Monica's New Roads School; and three SES- 

SION experiences that explore classical music's 

cutting-edge sounds and challenge traditional 

concert-going expectations. 

Long committed to the power of collaboration, 

LACO has partnered with the 


Inner City Youth Orchestra of Los Angeles 

and USC Thornton School of Music to create 

The Los Angeles Orchestra Fellowship, 

which, in September, welcomed its inaugural 

cohort of four top-tier post-graduate string 

musicians from underrepresented communities. 

The comprehensive training program 

addresses the lack of diversity within American 

orchestras with a rigorous curriculum 

that includes artistic mentoring, rehearsal, 

performance and auditioning opportunities 

over the course of two years. Further advancing 

the Orchestra’s mission to nurture 

future musicians and composers as well as 

inspire in young people a love of classical 

music, LACO presents an array of education 

and community programs, such as Meet 

the Music, Community Partners, Campus to 

Concert Hall and the LACO/USC Thornton 

Strings Mentorship Program. 

Los Angeles Chamber Orchestra was 

founded in 1968 as an artistic outlet for the 

recording industry’s most gifted musicians. 

Founder and cellist James Arkatov envisioned 

an ensemble that would allow these 

conservatory-trained players to balance 

studio work and teaching with pure artistic 

collaboration at the highest level. LACO 

presented its first performances with the 

financial backing of philanthropist Richard 

Colburn and managerial expertise from attorney 

Joseph Troy, who also became the 

Orchestra’s first president. Sir Neville Marriner, 

Gerard Schwarz, Iona Brown, Christof 

Perick and Jeffrey Kahane, LACO's illustrious 

Music Directors, each built upon a tradition 

of joyous music-making performed by exceptional 

artists as adept in the Baroque as 

in the music of today. Jaime Martín continues 

this tradition beginning in 2019-20. The 

Orchestra has made 31 recordings, toured 

Europe, South America and Japan, and performed 

across North America. LACO's offices 

are located in downtown Los Angeles. n 


9

AVI AVITAL 

T 

violin 

he first mandolin soloist to be nominated for a classical Grammy, Avi 

Avital is one of the foremost ambassadors for his instrument. Avital’s 

inspired music-making has electrified audiences in performances 

around the world. He has recently appeared with the Chicago Symphony, Los 

Angeles Philharmonic, and St. Louis Symphony, and in 2018/19 makes his debut 

with the San Diego, Seattle, and Detroit symphonies, as well as his debut on the 


at the Marlboro Music Festival, La Jolla 

Sum¬merfest, Sarasota Music Festival and 

the Salzburg Festival, and is the curator 

of LACO’s chamber music series, In Focus. 

She is on the violin faculty at USC, Thornton 

School of Music and the Colburn School. 

Margaret Batjer 

main stage of Carnegie Hall with Orpheus 

Chamber Orchestra. Born in southern 

Israel, Avital began learning the mandolin 

at the age of eight. He later graduated 

from the the Conservatorio Cesare Pollini 

in Padua, Italy, where he studied with Ugo 

Orlandi. 

MARGARET BATJER 

violinMargaret Batjer, 

Tereza Stanislav 

who has served as 

concertmaster of 

Los Angeles Chamber Orchestra since 

1998, made her first solo appearance at 

the age of 15 with the Chicago Symphony 

Orchestra. She has performed with a 

succession of major orchestras, including 

the Phila¬delphia Orchestra and the 

St. Louis, Seattle and Dallas symphony 

orchestras. Batjer has also performed with 

such European ensembles as the Chamber 

Orchestra of Europe, the Prague Chamber 

Orchestra and the Berlin Symphony 

Orchestra. As an esteemed chamber 

musician, she has appeared regularly 

TEREZA STANISLAV 

violinHailed for the “expressive 

beauty and wonderful 

intensity” (Robert Mann) 

of her playing, Los Angeles Chamber 

Orchestra’s assistant concertmaster 

Tereza Stanislav is an active and versatile 

performer. A highly sought after chamber 

musician, she has appeared in venues 

such as the Library of Congress, Wigmore 

Hall and Carnegie Hall’s Weill Recital 

Hall, and waith artists such as Jean-Yves 

Thibaudet, the Miró Quartet and Jon 


11

Kimura Parker. An advocate for new music, 

Stanislav has worked with many composers 

and performed several world premieres 

including Gunther Schuller’s Horn Quintet 

and Louis Andriessen’s The City of Dis. 

Stanislav was awarded the highest grant 

from the Canada Council for the Arts in 

the category for Professional Musicians 

(Individuals) in Classical Music. 

and Carmel chamber music competitions 

and has collaborated with Gilbert Kalish, 

Jeffrey Kahane, Andres Cardenes, 

Randall Hodgkinson and Warren Jones. 

Sarah Thornblade 

Josefina Vergara 

JOSEFINA VERGARA 

violinJosefina Vergara joined LACO 

SARAH THORNBLADE 

violinSarah Thornblade joined LACO in 

1999 and is now the Orchestra’s 

associate principal second 

violin. She is a member of the Eclipse Quartet 

and is a recent recipient of an Aaron Copland 

Fund recording grant. She has recorded 

music by composers such as Morton 

Feldman, Frederic Rzewski, James Tenney 

and Zeena Parkins for the Tzadik, New 

World and Bridge labels. Thornblade has 

performed with the Denali and Arianna string 

quartets, Camerata Pacifica, Jacaranda 

Music and the Auros Group for New Music. 

A Pomona College faculty member, she is a 

grand prize winner at the Fishoff, Coleman 

in 1999 as principal second 

violin. Ms. Vergara’s chamber 

and recital appearances have included the 

La Jolla Chamber Music Society, Santa Fe 

Chamber Music Festival, Ojai Music Festival, 

Aspen, Camerata Pacifica, and the St. Bart’s 

Music Festival. Josefina Vergara was a 

founding member of the Pacifica Quartet. 

She has taught at the Music Academy of 

the West and the Brevard Music Festival. 

Ms. Vergara earned her Bachelor of Music 

degree at Indiana University, studying with 

Miriam Fried. Ms. Vergara has appeared 

as Principal Second with the National Arts 

Centre Orchestra, and performed with the Los 

Angeles Philharmonic, Pittsburgh Symphony, 

and New Century Chamber Orchestra. n 


the four seasons 

by Donald Munro 

For Patricia Mabee, who adores Vivaldi’s The 

Four Seasons but isn’t quite so infatuated 

with commuting through all of them, “winter” 

in LA is thankfully a gentle term. It doesn’t 

involve a thick parka rated to 10 below zero. 

No slushy streets. Freezing her fingers because 

of forgotten gloves? Not a chance. For 

that, the longtime Los Angeles Chamber Orchestra 

principal keyboard has to get out of 

town. 

“I love traveling to cold places like Scandinavia, 

Canada and New York in the winter,” 

she says, “but no more than a few weeks at a 

time, please!” 

Then it’s back to Los Angeles, which has, 

at the most -- two seasons? One? The matter 

is up for debate. 

Cover art from the Orchestra’s 1980 recording of The Four Seasons under the 

baton of former music director Gerard Schwarz. Photos by Ken Veeder. 

Antonio Vivaldi wrote his famed The Four Seasons 

when he was living in Mantua, Italy, a place that 

definitely has all four. After experiencing hot, humid 

summers and freezing winters, it’s no wonder 

he was always so glad to see spring and autumn 

(especially without air conditioning or central 

heating). Vivaldi probably would have loved the 

weather in LA Everyone else does, right? 

“I love traveling to cold 

places like Scandinavia, 

Canada and New York in 

the winter but no more 

than a few weeks at a 

time, please!” 

— Patricia Mabee 

— principal keyboardist 


13

Patricia, who’s played The Four Seasons for 

LACO seven times during her 42-year tenure 

with the Orchestra, is “mainly a SoCal girl,” 

but she did live in a small Colorado town for 

three years, so she knows her traditional seasons. 

She remembers sledding, ice skating 

and making “snowpeople.” In the spring she 

watched for bird nests. 

“I felt a thrill when the eggs hatched, seeing 

the birds learn to fly,” she says. “It was 

bittersweet when they finally flew away. The 

changes of seasons in rural Colorado created 

an indelible impression of how the cycles of 

life are always present.” 

Many artists throughout history have felt 

the same way. In the four violin concerti that 

make up Vivaldi’s piece, the composer offers 

narrative elements inspired by seasonal 

changes around him: rushing streams, buzzing 

insects, singing birds, drunken dancers, 

thundering storms, a dog barking while his 

goatherd master sleeps. Painters, composers, 

choreographers, poets, filmmakers and 

other artists have long been intrigued with 

the theme of the four seasons, and not just 

in the literal sense of green shoots breaking 

through the soil or leaves turning a golden 

brown. 

From a biological and cultural standpoint, 

the idea of the seasons is a powerful influence, 

even for people who don’t live in climates that 

offer the “traditional” lineup of fall colors and 

white Christmases. In a more contemplative 

sense, the seasons at their most fundamental 

can symbolize the circular nature of life: from 

birth to death. That’s often what draws artists 

to the theme, from Nicolas Poussin to David 

Hockney and Jasper Johns. 

Johns’ set of four intaglio prints, The Seasons 

(Spring, Summer, Fall, Winter), was part 

of a recent retrospective of the artist’s work, 

Something Resembling Truth, at The Broad 

museum in downtown Los Angeles. 

Mantua is a city in Lombardy, Italy, and capital of the province of the same name. 

The engraving shows a bird’s-eye view of a city in the middle of a lake. It also the city 

where Vivaldi composed the Four Seasons. 

The four panels, painted in 1985-86, are 

filled with seasonal symbols and art history 

allusions. You can find the obvious (a snowman 

in Winter) to the more subtle (in Summer, 

look closely at the American flag, which 

is a famous subject 

for Johns, because 

it only has 48 stars). 

Sprinkled through the 

works are seahorses, 

recurring allusions to 

Picasso, streaks of 

rain, and, in each one, a 

branch with blossoms, 

leaves, or no growth at 

all, depending on the 

season. Johns puts his 

own figure into each 

of the four paintings, 

an 

touch. 

autobiographical 


For Ed Schad, who curated The Broad 

exhibition, Johns painted not with whimsy 

but “spirit and grace,” he says. “It’s emotional, 

rather than something that’s analytic.” When 

the series was first displayed in New York, the 

paintings were hung in “traditional” order: 

spring, summer, fall and winter, or what you 

could call the traditional birth-to-death progression. 

But the Broad, in consultation with 

the artist, hung them differently: summer, fall, 

winter, spring. 

This might seem a 

subtle change, but it 

was significant: “The 

idea was that it would 

feel more like a circle 

than a linear expression 

of the seasons,” Schad 

says. “Seeing spring at 

the end sees the whole 

thing as a circle, more 

than the literal march 

from birth to death.” 

Picking up on that 

circle theme, another 

recurring element in 

each painting is a partial 

circle with a human 

arm pointing in various 

positions, like the hand 

of a clock. The confident, 

outstretched 

limb brings to mind 

Leonardo Da Vinci’s 

iconic Vitruvian Man. 

Schad suggests it could 

signify “the sort of arbitrary 

ways by which 

we measure our lives. 

There are devices and 

instruments that we use to organize ourselves: 

rulers, clocks, agreed upon conventions. And 

then there are things that are unique to us and 

are hard to measure: personal memory, gesture, 

expression.” 

The seasons, then, stay the same. But each 

individual journey through them is as one-of-akind 

as the snowflakes you find in “Winter.” 

When you talk to the experts, you’ll find 

that our relationship to those seasons is both 

biological and cultural. 

The Vitruvian Man (Italian: Le proporzioni del corpo umano secondo Vitruvio, which 

is translated to “The proportions of the human body according to Vitruvius”), or 

simply L’Uomo Vitruviano, is a drawing by the Italian polymath Leonardo da Vinci 

around 1490. 


15

In some ways, we’re like birds that instinctively 

know it’s time to fly south (or at 

least to the nearest Macy’s gift-wrapping 

department). Over the course of millennia, 

humans have adapted both genetically and 

environmentally to the regions to which our 

gatherer-hunter ancestors migrated, says Dr. 

Andrew Jones, a sociology professor at California 

State University, Fresno. 

One recent study indicates that human 

DNA reacts to the seasons, changing 

the body’s chemistry depending on the time 

of year. (As many as one-fifth of all genes in 

blood cells undergo seasonal changes, even 

in terms of warding off inflammation. Take 

that, cold and flu season.) 

We also behave in certain ways depending 

on the season, taking cues from our 

surroundings. 

“We wear different clothing to recognize 

what season we are living in depending on 

the region in which we live,” Jones says. “One 

can get away with wearing shorts year round 

in LA, but I would not recommend that during 

winter time in Buffalo, New York! While humans 

living on the East Coast may wear long 

coats in winter, you would be hard pressed 

to see anyone wearing such garments on the 

West Coast. Think of how some mammals 

shed fur to stay cool in the summertime – we 

shed layers of clothing.” 

Different calendars around the South Asian countries of India, Bangladesh, Nepal 

and Sri Lanka, recognize six seasons or ritu: Vasanta (spring), Grishma (summer), 

Varsha (rains/monsoon), Sharad (autumn), Hemanta (winter), Shishira (cool season). 

Our acknowledgment of seasons in the 

northern hemisphere is subject, then, to cultural 

construction. Along with the obvious holidays 

and seasonal transitions (Halloween just 

seems more fun when there’s a chill in the air), 

we also receive cues as to what season it is by 

the availability of goods. 

Fashion tends to 

run one to two seasons 

ahead, for example. “If the 

clothing racks in stores 

have summer fashions on 

display, it must be winter, 

and if coats are on display, 

it must be summer,” 

Jones says. This is marketing 

strategy, yes, but 

it’s based on human nature: 

people like to plan 

ahead, and they also get 

antsy. In February, who 

wants to think about buying 

yet another sweater? 

Then there’s the question 

of why there are four seasons. 

It’s not necessarily 

a given. 


For instance, the Hindu calendar recognizes 

six seasons. In India there is summer, 

monsoon, autumn, late autumn, winter and 

spring, Jones says. The Bengali and Tamil 

calendars also recognize six seasons. Scandinavian 

countries denote seasons by temperature 

– winter begins when the temperature 

does not rise above zero degrees Centigrade; 

summer when the temperature rises above 

10 degrees Centigrade. The Sami of northern 

Scandinavia have seasons that correspond to 

the life cycle of reindeer, and thus, acknowledge 

eight different seasons. The eight seasons 

of this cycle are directly related to the 

annual behavioral patterns of the reindeer. 

There isn’t any Arctic wildlife wandering 

the freeways of Southern California, of course, 

but Angelenos have other ways of demarcating 

the seasons. At The Broad, Schad pondered 

the subject during the run of the Jasper 

Johns show. 

“I definitely thought about it almost every 

day that I saw them,” he says of the works 

that make up The Four Seasons. “One of the 

interesting things for me is that with Johns’ 

thoughts on these points of measurement – 

whether it’s a clock or a ruler – the fact that 

we don’t have readily identifiable seasons in 

Los Angeles makes me think of all the micro 

things that mark a year. It may be 50 degrees 

in LA in the winter, but that’s an opportunity 

for a person to wear a sweater or a coat, even 

though it isn’t necessary.” 

That’s because so many people in Southern 

California are transplants, bringing their 

own traditions along, he speculates. From 

seasonal menu items to the way people dress, 

the area is a melting pot of seasonal customs. 

“A lot of the ways that people mark the seasons 

are kind of grandfathered in for Los Angeles,” 

he says. 

Patricia, the LACO principal keyboard, 

can’t think offhand of any quirky seasonal traditions 

of her own. Temperate weather is just 

fine by her. 

“I wear my big fluffy slippers all year 

round,” she says. 

She continues to adore The Four Seasons, 

even though she has to reach back to 

her childhood to make a real seasonal connection. 

Her favorite part as a keyboardist 

comes in the second movement of Autumn, 

aka “The drunkards have fallen asleep.” 

“If we get the OK from the leader, it’s an 

opportunity to improvise a bit of an interpretation 

of the drunkard’s dreams under the 

surface of the somnambulant strings,” she 

says. “There really is no melodic material, so 

we take our cues from the harmonies. They 

begin placidly, meandering. 

But before long they become quite dissonant 

and disturbing until they again return to total 

calm.” 

That full cycle — placid to dissonant 

to total calm — fits in rather nicely with the 

theme of Johns and other artists who have 

been drawn to the rhythm of the seasons. It’s 

an idea that has traction wherever you live, 

regardless of whether you ever need snow 

tires. Schad lives in Culver City near a movie 

studio, and one night he came home from 

work to find his entire block covered in fake 

snow. That’s Los Angeles for you. 

“If it doesn’t have seasons,” he says, “it’s 

happy to invent them.” 

Writer Donald Munro has had a career in journalism 

for the past three decades. A California native, 

he went from being the student editor of Cal Poly’s 

Mustang Daily to an arts journalism grad student at 

Columbia University to a local arts critic in Fresno. 

He can be reached for comment at donaldfresnoarts@gmail.com. 


17

program notes 

ANTONIO 

VIVALDI 

Concerto in G minor for Two Violins, 

RV517 (c.1725) 

Orchestration: 2 solo violins; strings; continuo 

Estimated Duration: 11 minutes 

Concerto in A minor 

for Two Violins, RV522 (1711) 

Orchestration: 2 solo violins; strings; continuo 

Estimated Duration: 12 minutes 

Le quattro stagioni (The Four 

Seasons), Op.8, Nos.1-4 (1715) 

Orchestration: solo mandolin; strings; continuo 

Estimated Duration: 37 minutes 

Antonio Vivaldi wrote more 

than 500 concertos in his lifetime. 

Some featured a solo 

instrument with an orchestra (the violin was 

most often the solo instrument), while some 

concertos, like the first two this evening were 

“doubles,” with two solo instruments. Some 

featured groups of soloists with an orchestra, 

a genre known as the concerto grosso. 

In 1711, Vivaldi published an incredibly influential 

collection of concertos called L’estro 

armonico, of which the A-minor Concerto for 

Two Violins was part. It was more than a decade 

later that Vivaldi began writing his most 

famous works, a set of four concertos called 

Le quattro stagioni, better known as The Four 

Seasons. Vivaldi’s works were a great source 

of inspiration for later composers like J.S. 

Bach, who copied out many of Vivaldi’s works 

for study or arrangement. For example, Bach 

adapted the A-minor Concerto for Two Violins 

as an organ work. 

Through his extensive work in the genre, 

Vivaldi standardized some of the characteristics 

we associate with the concerto. For instance, 

he regularly composed his concertos with 

quick outer movements and a slower central 

movement, a structure that was the norm for 

the whole of the Baroque period. He used 

ritornello form in the fast movements of his 

concertos, a form that allowed for give and 

take between soloist and orchestra. Vivaldi’s 

RV517 and RV522 are fine examples of double 

concertos. The two works have a few things 

in common: they are both in minor keys and 

both follow the traditional three-movement 

structure. In each, the two solo violins spend 

much of the time in the quick movements 


trading musical material or playing in harmony 

with one another. These are two of 

Vivaldi’s most recognizable concertos—their 

melodies are beautifully crafted and evoke a 

sense of both drive and drama. The central 

movements of each provide contrast, with 

slower tempos and more pensive moods. 

Vivaldi’s Four Seasons, known 

in Italian as Le quattro stagioni, were published 

in 1725 as part of a set of twelve 

concertos. It was Vivaldi’s eighth opus, 

and he called it Il cimento dell’armonica e 

dell’inventione, or The Contest of Harmony 

and Invention. The Concertos were inspired 

not just by the seasons themselves, but by 

a set of four sonnets written about spring, 

summer, autumn and winter. The authorship 

of these sonnets is questionable, but most 

historians believe that it was Vivaldi himself. 

This makes sense because each sonnet is 

broken down into three sections, each section 

corresponding to a movement in the 

Concerto. The Four Seasons can therefore 

be classified as “programmatic,” music that 

intends to evoke something extra-musical. 

Originally written for solo violin, tonight’s 

performance features Avi Avital’s virtuosic 

arrangement for solo mandolin. 

All of the Concertos demonstrate virtuosic 

musical displays by all players, but 

especially by the soloist. “La primavera,” or 

Spring, begins with the crispness and clarity 

of a cloudless spring day, and features singing 

birds and murmuring streams. A sudden 

quick thunderstorm invades, but birdsong 

soon regains control. The second movement 

illustrates a peaceful day, the quiet 

disturbed only by a barking dog. The final 

movement is a lively dance for countryfolk 

who seem to be celebrating the return of life 

after a long winter. 

The first movement of Summer, 

“L’estate,” begins slowly, almost as if it’s too 

hot to move. The birds sing lazily, and the 

air is mostly still, until a breeze whips up, 

a warning of a gathering storm. The most 

striking moment of this Concerto is the hailstorm 

that rains down in the third movement, 

a perfect contrast to the tranquility of 

the opening. 

Autumn, “L’autunno,” seems to return to 

the clarity we heard in Spring. The musical 

themes in both first movements are similar. 

Once again, the countryfolk are celebrating, 

but this time they are rejoicing in their successful 

harvest. Wine is part of this merriment, 

and the slowing of the tempo and the 

quieting of the dynamics seems to reflect 

the peaceful sleep that overtakes some of 

the party-goers. The last part of the Concerto 

illustrates a hunt with horn calls. A chase 

ensues, harkening back to the fourteenth 

century tradition of the Italian genre called 

the “Caccia,” songs that glorified the hunt 

through vocal canons (literally one voice 

chasing another). 

Finally, there is winter, “L’inverno.” 

The opening sounds like a shivering person 

rhythmically stamping his feet to stay 

warm. The soloist provides the icy winds, 

and the ensemble responds with chattering 

teeth. The middle movement describes the 

peaceful pleasure of warming up inside by a 

crackling fire. In the final movement, those 

outdoors walk carefully on the icy paths, 

while those inside feel winter’s chill relentlessly 

finding its way into the house. But 

still, Vivaldi reminds us, winter—like all the 

other seasons—has its specific charms and 

moments of contentment. n 

By Christine Gengaro, PhD 


19

CAMA WISHES YOU JOY THIS SEASON 

AND THROUGH THE YEAR.

FREE COMMUNITY 

CONCERT 

CELEBRATING CAMA AT 100 


LOS ANGELES CHAMBER ORCHESTRA 

ALL-VIVALDI PROGRAM INCLUDING THE FOUR SEASONS 

THE GRANADA THEATRE 

The CAMA Board of Directors 

are the sponsors of this concert offered free to the community as a gesture of thanks 

to the "CAMA Family" of engaged music lovers who have supported bringing the 

world’s finest classical music to Santa Barbara for 100 concert seasons. 

The Board thanks and celebrates the generations of concertgoers and patrons 

who have made this legacy possible, as well as those who are investing 

in the next 100 years. 

Thank you! 

BOARD OF DIRECTORS 

ROBERT K. MONTGOMERY President 

DEBORAH BERTLING First Vice-President 

CRAIG A. PARTON Second Vice-President 

WILLIAM MEEKER Treasurer 

JOAN R. CROSSLAND Secretary 

Rosalind Amorteguy-Fendon 

Bitsy Becton Bacon 

Edward Birch 

Jan Bowlus 

Daniel P. Burnham 

Stephen Cloud 

NancyBell Coe 


Jill Felber 



James H. Hurley, Jr. 

Peter O. Johnson 



Hank Mitchel 

Stephen J.M. (Mike) Morris 

Patti Ottoboni 

Andre M. Saltoun 


Judith H. Writer 

Catherine Leffler, 

President, CAMA Women’s Board 


COMMUNITY ARTS MUSIC ASSOCIATION • camasb.org 

21

Centennial Events 


CENTENNIAL GALA 

HONORING SARA MILLER McCUNE 

Four Seasons Resort The Biltmore 

Ray and Mary Freeman 

Stephanie Slosser, Sara Miller McCune, 

Chuck Slosser 

Alexandra and Robert Nourse, 

Bob and Val Montgomery 

Robert and Christine Emmons Sue and 

Ed Birch 

Deborah and Peter Bertling 

Val and Bob Montgomery Sara Miller 

McCune 

Jackie Inskeep and Isabel Bayrakdarian 

Back row: Val Montgomery, Chancellor 

Yang and Dilling Yang 

front row: Bob Montgomery, Sara Miller 

McCune, and Judith Hopkinson 

Sara Miller McCune, Harry and 

Judy Weisbart 

Photos by Monie Photography 



Join me as a member of CAMA's International 

Circle. Our next event is a post-concert 

reception with Itzhak Perlman, famed and 

beloved violinist and Co-Chair with Sara Miller 

McCune of CAMA's Centennial Artist Council. 

I look forward to welcoming you to this wonderful 

event and other events throughout CAMA's 

historic Centennial Celebration. 

Chris Emmons 

For more information about CAMA's International 

Circle, call Elizabeth Alvarez at (805) 966-4324. 



INTERNATIONAL CIRCLE || MUSIC ON THE RIVIERA 

Photos by Nell Campbell 

CAMA’s International Circle and special guests were invited to inaugurate 

CAMA’s two-year Centennial Celebration at the spectacular and historic Riviera Park. 

Guests were treated to an afternoon of sweets, savories and Champagne along 

with a performance by the Music Department, UC Santa Barbara Flute Ensemble. 

With special thanks to International Circle Chair Christine Emmons and to Elizabeth Karlsberg, 

Sponsor and Chair of the event. For more information about CAMA’s International Circle, 

contact Elizabeth Alvarez at (805) 966-4324. 


23


RED CARPET 

RECEPTION 

OCTOBER 28, 20118 

CAMA honored all subscribers and ticket holders of the 

opening concert of the 100th Season with the Los Angeles Philharmonic 

with a Red Carpet Reception. 

With appreciation to Sara Miller McCune and Bitsy Becton Bacon 

for sponsoring the Red Carpet Reception, and to Deborah Bertling, Centennial 

Celebration Chair for planning this warm welcome to the CAMA community. 

Historic photos lined the lobby and a short video played in the McCune Founders Room 

as guests enjoyed light tapas, wine and champagne. 


nting the world’s finest classical artists since 1919 

Photos by Monie Photography 


25


Anne-Sophie Mutter 

Esa-Pekka Salonen 

Santa Barbara Band 

Community Arts String Orchestra 

CAMA’S CENTENNIAL 

100 th and 101 st SEASONS 

Honoring CAMA’s 100-year tradition of bringing the finest classical 

music in the world to our special community, we invite you to 

participate in CAMA’s historic Centennial Celebration. 

We are celebrating CAMA's Centennial by gratefully acknowledging donors who 

contribute during CAMA’s 100th and 101st Seasons. Contributions of $250 and 

above during this time will be recognized in the Centennial acknowlegements in 

our concert programs. 

Please contact either Elizabeth Alvarez or Nancy Lynn 

at (805) 966-4324 to learn more. 

Renée Fleming 

Michael Tilson Thomas 

André Previn 

London Philharmonic

Lisa-Marie MAzzucco photo 

“It’s always been a 

great pleasure for 

me to perform on the 

CAMA series, and 

I’m looking forward to 

many more visits. 

I send you my heartiest 

congratulations 

on your centennial 

season. Bravo!” 

—ITZHAK PERLMAN, CO-CHAIR, 

CAMA CENTENNIAL 

HONORARY ARTISTS COUNCIL 

centennial honorary artists council 

Itzhak Perlman 

honorary co-chair 


honorary co-chair 

Vladimir Ashkenazy 

Isabel Bayrakdarian 

Joshua Bell 

Alfred Brendel 

Renée Fleming 

Daniele Gatti 

Richard Goode 

Hilary Hahn 

Stephen Hough 

Olga Kern 

Lang Lang 

Jerome Lowenthal 

Zubin Mehta 

Anne-Sophie Mutter 

Sir András Schiff 

Peter Serkin 

Leonard Slatkin 

Christian Tetzlaff 

Jean-Yves Thibaudet 

Chris Thile 

Michael Tilson Thomas 

Dawn Upshaw 

André Watts 

Pinchas Zukerman 


27


CENTENNIAL CELEBRATION DONORS 

MAESTRO 

$1,000,000 and above 

CONCERTMASTER 

$500,000–$999,999 

CRESCENDO 

$250,000–$499,999 

Bitsy & Denny Bacon and The Becton Family Foundation 

CADENZA 



Samuel B. and Margaret C. Mosher Foundation 

Ed & Sue Birch 


SAGE Publishing 

The Elaine F. Stepanek Foundation 

George & Judy Writer 

RONDO 

$50,000–$99,999 

Deborah & Peter Bertling 

NancyBell Coe & William Burke 




Anne & Stephen J.M. Morris 

Cumulative contributions of $50,000 and above during CAMA’s Centennial Seasons 

will include Centennial Circle membership. 

28 CENTENNIAL SEASON CELEBRATION 

As of November 15, 2018

CONCERTO 

$25,000–$49,999 

Suzanne & Russell Bock 

Meg & Burnham 

SONATA 

$10,000–$49,999 

Anonymous 

Marta Babson 


City of Santa Barbara 


Ann Jackson Family 

Foundation 




Mary Lloyd & Kendall Mills 

Montecito Bank & Trust 

Ellen & John Pillsbury 



Performing Arts 

Hubert Vos 

VIVACE 

$5,000–$9,999 

Elizabeth & Andrew 

Butcher 

Edward S. De Loreto 

Louise & Michael 

Caccese 

Chris Lancashire & 

Catherine Gee 

Jill Doré Kent 


Craig & Ellen Parton 

Winona Fund 

ADAGIO 

$1,000–$2,499 

Karen Bushnell 

Shelley & Mark Bookspan 

Diane Boss 

Suzanne & Peyton Bucy 

Annette & Richard Caleel 

CAMA Women's Board 

Susan & Claude Case 

Patricia Clark 

Gregory Dahlen III & Christi Walden 

Department of Music University of 

California Santa Barbara" 

Wendy & Rudy Eiser 

Katina Etsell 

Nancyann & Robert Failing 

Jill Felber 

Kum Su Kim 

Bob & Margo Feinberg 

Catherine H. Gainey 

David Hamilton 

Renee & Richard Hawley 

ALLEGRO 

$2,500–$4,999 

Helene & Jerry Beaver 

Robert Boghosian & Mary 

E. Gates Warren 

Roger & Sarah Chrisman 

Foundation 

Fredericka & Dennis Emory 

Ronald & Rosalind A. 

Fendon 

Mary & Raymond 

Freeman 

Elizabeth Karlsberg & 

Jeff Young 


Shirley Ann & James H. Hurley Jr. 

Karin Jacobson & Hans Koellner 

Diane Johnson 

Jackie Inskeep 

Gerd & Peter Jordano 

Sally Kinney 

Lois Kroc 

Dora Anne Little 

Maison K 

Gloria & Keith Martin 

Maureen Masson 

Ruth & John Matuszeski 

Dona & George McCauley 

Frank McGinity 

Karin Nelson & Eugene Hibbs/ 

Maren Henle 

Russell Mueller 

Northern Trust 

Gail Osherenko & Oran Young 

Anne & Daniel Ovadia 

Diana & Roger Phillips 

Ann M. Picker 

Connie & Richard Kennelly 

Lynn P. Kirst 


Sally & George Messerlian 


Scholarship Foundation 

Dorothy Roberts 

Steven Trueblood 

Carrie Towbes and 

John Lewis 

Donald Rink 

Anitra & Jack Sheen 

Halina W. Silverman 

Barbara & Wayne Smith 


Marion Stewart 

Santa Barbara Foundation 

Linda Stafford Burrows 

Beverly & Michael Steinfeld 

Milan E. Timm 

Barbara & Sam Toumayan 

Anne Smith Towbes 

Pam & Terry Valeski 

Barbara & Gary Waer 

Sheila Wald 

Nick & Patty Weber 

Dr. Robert Weinman 

Westmont College 

Victoria & Norman Williamson 

Patricia Yzurdiaga 

Cheryl & Peter Ziegler 

CAMA’s Centennial 

spans two concert 

seasons, 2018/2019 

and 2019/2020. 

Please call Nancy Lynn 

or Elizabeth Alvarez at 

the CAMA office to 

learn more about the 

Centennial Circle. 

Centennial Celebration 

campaign began May 1, 2018 

and spans two seasons: 

2018/2019 and 2019/2020 

ANDANTE 

$250–$999 

Sylvia Abualy 

Antoinette & Shawn Addison 

Jyl & Allan Atmore 

Howard A. Babus 

Becky & William Banning 

Phyllis Brady & Andy Masters 

Edith M. Clark 

Lavelda & Lynn Clock 

Michael & Ruth Ann Collins 

Joan & Steven Crossland 

Michael K. Dunn 

Ann & David Dwelley 

Meg & Jim Easton 

Julia Emerson 

Thomas & Doris Everhart 

Eunice & J.Thomas Fly 

Ghita Ginberg 

Nancy & Frederic Golden 

Robert L. Grant 

Glenn Jordan & Michael Stubbs 

Debbie & Frank Kendrick 

Kathryn Lawhun & Mark Shinbrot 

Christie & Morgan Lloyd 

Barbara & Ernest Marx 

Patriicia & William McKinnon 

James P. and Shirley F. McFarland 

Fund of the Minneapolis Foundation 

Christine & James V. McNamara 

Donald & Karine McCall 

Andrew Mester 

Peter L. Morris 

Mrs. Raymond King Myerson 

Maureen O'Rourke 

Hensley & James Peterson 

David & Dottie Pickering 

Minie & Hjalmar Pompe van 

Meerdervoort 

Carol & Edward Portnoy 

Patricia & Robert Reid 

Tiffany & Justin Rizzo-Weaver 

Ada B. Sandburg 

Lynn & Mark Schiffmacher 

Naomi Schmidt 

Carol Vernon & Robert Turbin 

Lorraine & Stephen Weatherford 

Grace & Edward Yoon 


29

MUSIC EDUCATION 

MUSIC EDUCATION PROGRAM 

$25,000 and above 

The Walter J. & Holly O. Thomson Foundation 

$10,000–$24,999 

Ms. Irene Stone/ Stone Family Foundation 

Mary Lloyd & Kendall Mills 

$1,000–$9,999 

CAMA Women's Board 

William H. Kearns Foundation 


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

The Henry E. & Lola Monroe Foundation 

Performing Arts Scholarship Foundation 


$100–$999 

Becky & William Banning 

Lynn P. Kirst 

James P. and Shirley F. McFarland Fund 

of the Minneapolis Foundation 

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 

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. 

Call the CAMA office at (805) 966-4324 for more information about the docent program. 

MEMORIAL GIFTS 

Dr. Robert Failing 

Mrs. Betty Meyer 

Dr. Walter Picker 

Ann M. Picker 

Jim Ryerson 

Christine Ryerson 

Sharon Felber Taylor 

Bridget Colleary 

Cornelia Chapman 

Ellicott Million 

Dr. Eric Boehm 

Eric Boehm 

Michael Towbes 


Gerd & Peter Jordano 

Else (Leinie) Schilling Bard 


Frederica Vogle Burrows 


Professor Frederick F. Lange 

MaryAnn Lange 

Harold M. Williams 

Nancy Englander 

Sybil Mueller 

Lynn P. Kirst 

Dr. Robert Sinsheimer 

& Karen Sinsheimer 

Robert Boghosian & 

Mary E. Gates Warren 

Lynn R. Matteson 

Lynn P. Kirst 

Robert S. Grant 

Robert L. Grant 

Nan Burns, Dr. Greg Dahlen, 

Robert S. Grant 

William S. Hanrahan 

Susie Vos 




The CAMA Women’s Board Presents 

A PRE-CONCERT LECTURE SERIES 

2018/2019—CENTENNIAL SEASON 

December 11, 2018 

Tuesday, 7:00 PM 

Community Celebration Concert 

LOS ANGELES 


AVI AVITAL, MANDOLIN 

The Granada Theatre 

PRE-CONCERT LECTURE 

David Malvinni, PhD, musicologist, 

classical 

guitarist, author, and creator of CAMA’s 

outreach program 

January 15, 2019 


ITZHAK 

PERLMAN, VIOLIN 



Kostis Protopapas, Artistic & General 

Director 

of Opera Santa Barbara 

February 5, 2019 


PHILHARMONIA BAROQUE 

ORCHESTRA 

NICHOLAS McGEGAN, Director 



Andy Radford, Music Director, 

Santa Barbara Youth Symphony and 

Lecturer, Woodwind Brass & Percussion 

Program, UCSB Department 

of Music 

February 27, 2019 

Wednesday, 7:00 PM 

RUSSIAN NATIONAL 

ORCHESTRA 

MIKHAIL PLETNEV, Director 



Derek Katz, Professor of Music History 

at UCSB 

March 20, 2019 

Wednesday, 7:00 PM 

PHILHARMONIA 

ORCHESTRA 

ESA-PEKKA SALONEN, Conductor 



Simon Williams, Professor Emeritus, 

UCSB Department of Theater and Dance; 

Opera 

and Theater Critic 

April 5, 2019 

Friday, 7:00 PM 

ROYAL SCOTTISH NATIONAL 

ORCHESTRA 

THOMAS SØNDERGÅRD, 

CONDUCTOR 



Adrian Spence, Artistic Director of 

Camerata Pacifica 

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC 

31 CENTENNIAL CAMA AT THE SEASON GRANADA CELEBRATION 

THEATRE - LOS ANGELES CHAMBER ORCHESTRA 

31

In 

Memoriam 

Dr. Robert 

Mayo Failing 

(1928–2018) 

CAMA fondly remembers our long-time Board 

member and past President, Dr. Robert Failing, who 

passed away last month. 

Dr. Failing found time apart from his busy career 

as a prominent member of Santa Barbara Cottage 

Hospital’s pathology department to serve on the 

CAMA Board for 29 years from 1969 to 1997. 

He served as CAMA's Vice President for nine years 

and for two years as President during the 1978/79 

and 1979/80 seasons. 

Everyone who knew him will remember him for his 

keen intelligence, storytelling wit and astonishing 

mountaineering accomplishments. 

Over the span of 18 years beginning at age 49 

he was the ninth person on record to have reached 

the summits of all 50 states in the USA, and reached 

the top of six continents, in the process scaling the 

highest points of over 45 countries. 

Dr. Failing's 

Horn Concerto 

During his active summer 

trips to Europe during 

the Cold War years, longtime 

CAMA Board member 

Dr. Robert M. Failing mixed 

classical concert attending 

with “peak bagging,” 

including ascents of three 

of Switzerland’s mightiest. 

Failing wrote that his “Swiss 

three-movement triplehorn 

concerto premiered 

in Zermatt. Breithorn, the 

first movement, was light 

and harmonic. The second 

movement, Mettelhorn, was 

strong but a little metallic 

and dissonant. The concerto 

reached the top, climbing to 

a booming, melodic third and 

final Matterhorn movement.” 

He will be greatly missed by everyone in the 

CAMA family. 


32

COMMUNITY PARTNERSHIPS 

IN CAMA'S CENTENNIAL 

CELEBRATION YEARS 

g the world’s finest classical artists since 1919 

2018/2019 

November 8 

MASTER CLASS 

RICHARD GOODE, PIANO 

— partnership with Department of 

Music, UC Santa Barbara 

December 11 

FREE 

COMMUNITY 

CONCERT 

LOS ANGELES CHAMBER 

ORCHESTRA 

AVI AVITAL, MANDOLIN 

January 19 

PUBLIC BOOK 

TALK 

BY HATTIE BERESFORD 

at the Faulkner Gallery, 

Santa Barbara Central Library 

— partnership with Santa Barbara 

Public Library 

February 28 

RUSSIAN 

TEA ROOM 

— partnership with 

Opera Santa Barbara 

Kelly Newberry 

1st prize winner in 2018 

April 10 

CONCERT 

CHOIR OF NEW COLLEGE 

OXFORD 

— co-sponsored by Westmont 

College, Trinity Episcopal Church, 

CAMA, and the American Guild 

of Organists 

April 28 

COMPETITION 

FINALS 

PERFORMING ARTS 

SCHOLARSHIP FOUNDATION 

— partnership, CAMA and PASF 

May 19 

CAMA’S 

100 th BIRTHDAY 

BASH 

with performances by Department 

of Music (UC Santa Barbara), 

Westmont Music Department, 

Music Academy of the West, Santa 

Barbara Symphony, and Opera 

Santa Barbara; plus partnerships 

with area restaurants and wineries 

(Throughout the Season) 

PRE-CONCERT 

LECTURES 

featuring speakers associated 

with CAMA, Opera Santa Barbara, 

SB Youth Symphony, UCSB 

Department of Music, and UCSB 

Department of Theater and Dance 

2019/ 

2020 

November 7, 2020 

EDUCATION AND 

OUTREACH EVENT FOR 

CHILDREN 

— partnership with the Santa Barbara Youth Symphony 

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC 

(805) 966-4324 • www.camasb.org 


33

MUSIC EDUCATION PROGRAM 

LIFETIME GIVING 

diamond circle 

$500,000 and above 

Bitsy & Denny Bacon and 

The Becton Family 

Foundation 

Suzanne & Russell Bock 

Linda Brown* 

Andrew H. Burnett 

Foundation 

Esperia Foundation 

The Stephen & 

Carla Hahn Foundation 




Michael Towbes / 



sapphire circle 

$250,000–$499,999 

Anonymous 

The CAMA Women's Board 

Léni Fé Bland 


The Samuel B. & Margaret C. 

Mosher Foundation 

The Stepanek Foundation 

The Wood-Claeyssens 

Foundation 

ruby circle 


The Adams Foundation 

Ann Jackson Family 

Foundation 

Deborah & Peter Bertling 

Dan & Meg Burnham 

Virginia Castagnola-Hunter 

NancyBell Coe & 

William Burke 


Mary & Raymond Freeman 

Dr. Dolores M. Hsu 


Shirley Ann & 

James H. Hurley Jr. 

Shirley & Seymour Lehrer 


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

The Henry E. & 

Lola Monroe Foundation 

John & Kathleen Moseley/ 

The Nichols Foundation 


Nancy & William G. Myers 



The Santa Barbara Foundation 

Jan & John G Severson 


Jeanne C. Thayer 

Mrs. Walter Thomson 

Union Bank 

Dr. & Mrs. H. Wallace Vandever 

The Wallis Foundation 

Winona Fund 

Nancy & Byron 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. Jane Catlett 

Roger & Sarah Chrisman 

Mr. & Mrs. Robert M. Colleary 

Mrs. Maurice E. Faulkner 

Arthur R. Gaudi 

Mr. & Mrs. Robert B. Gilson 

The George H. Griffiths & 

Olive J. Griffiths Charitable 

Foundation 

Mr. Richard Hellman 


Michael & Natalia Howe 

Hutton Parker Foundation 


Judith Little 

John & Lucy Lundegard 


Mrs. Max E. Meyer 

Craig & Ellen Parton 

Performing Arts Scholarship 

Foundation 

Marjorie S. Petersen/ La 

Arcada Investment Corp. 

Diana & Roger Phillips 

Mr. Ted Plute & 

Mr. Larry Falxa 

Lady Ridley-Tree 

Barbara & Sam Toumayan 

George & Judy Writer 


topaz circle 

$25,000–$49,999 

Anonymous 

Edward Bakewell 

Helene & Jerry Beaver 

Robert Boghosian & 

Mary E. Gates Warren 



Elizabeth & Andrew Butcher 

Ms. Huguette Clark 

Mrs. Leonard Dalsemer 

Edward S. Deloreto 

Mr. & Mrs. Larry Durham 

Lynn P. Kirst & 

Lynn R. Matteson 

Dr. & Mrs. Robert Failing 

Priscilla & Jason Gaines 

The George Frederick 

Jewett Foundation 

Patricia Kaplan 


& Jeff Young 

William H. Kearns Foundation 

Jill Dore Kent 

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 

James & Mary Morouse 


Patricia Hitchcock O’Connell 

Efrem Ostrow Living Trust 

Mr. Ernest J. Panosian 

Kathryn H. Phillips 

Mrs. Kenneth Riley 

Anitra & Jack Sheen 

Marion Stewart 

Ina Tournallyay 

Mrs. Edward Valentine 

The Outhwaite Foundation 

The Elizabeth Firth Wade 

Endowment Fund 

Mrs. Roderick Webster 


amethyst circle 

$10,000–$24,999 

Anonymous 

Anonymous 

Rebecca & Peter Adams 

Mrs. David Allison 

Dr. & Mrs. Mortimer Andron 

Mr. & Mrs. Robert Arthur 

Mr. & Mrs. J.W. Bailey 

Marta Babson 

Mrs. Archie Bard 

Leslie & Phillip Bernstein 

Frank Blue & Lida Light Blue 

Mrs. Erno Bonebakker 

CAMA Fellows 

Mrs. Margo Chapman 

Chubb-Sovereign Life 

Insurance Co. 

Carnzu A Clark 

Chaucer's Books/ Mahri Kerley 

Lavelda & Lynn Clock 

Dr. Gregory Dahlen & Nan Burns 

Karen Davidson M.D. 

Julia Dawson 

Mr. & Mrs. William Esrey 

Fredericka & Dennis Emory 

Ronald & Rosalind A. Fendon 

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 

Robert Hanrahan 

Lorraine C. Hansen 

Mr. & Mrs. Stanley Hatch 

Renee & Richard Hawley 

Dr. & Mrs. Alan Heeger 

Karin Nelson & Eugene 

Hibbs/Maren Henle 

Mr. Preston Hotchkis 

Glenn Jordan & Michael 

Stubbs 

Elizabeth & Gary Johnston 

KDB Radio 

Linda & Michael Keston 

Mrs. Robert J. Kuhn 

Katherine Lloyd/ Actief-cm, Inc 

Lois Kroc 

Dora Anne Little 

Ruth & John Matuszeski 

Keith Mautino 

Dona & George McCauley 

Jayne Menkemeller 

Russell Mueller 

Myra & Spencer Nadler 

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 Saladino 

Jack & Anitra Sheen 

Sally & Jan Smit 

Betty Stephens & 

Lindsay Fisher 

Selby & Diane Sullivan 

Joseph M. Thomas 

Irene & Robert Stone/Stone 

Family Foundation 

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 


BUSINESS SUPPORTERS 

BUSINESS SUPPORTERS 

We thank the many businesses that support 

CAMA's programs and events! 

Laurel Abbott, Berkshire Hathaway 

Luxury Properties 

American Riviera Bank 

James P. Ballantine 

Belmond El Encanto 

Bertling Law Group 

Blue Star Parking 

Bon Fortune Style & Events 

Wes Bredall 

Heather Bryden 

Ca' Dario 

Camerata Pacifica 

Casa Dorinda 

C'est Cheese 

Chaucer's Books 

Chooket Patisserie 

Cottage Health System 

Custom Printing 

Eye Glass Factory 

First Republic Bank 

Flag Factory of Santa Barbara 

Frequency Wine 

Gainey Vineyard 

Grace Design Associates 

Colin Hayward/The Hayward Group 

Steven Handelman Studios 

Hogue & Company 

Holdren's Catering 

Indigo Interiors 

Islay A/V 

Jardesca 

Maravilla/Senior Resource Group 

Microsoft® Corporation 

Mission Security 



Oak Cottage of Santa Barbara 

Oceania Cruises 

Olio e Limone/Olio Crudo Bar/ 

Olio Pizzeria 

Opera Santa Barbara 

Pacific Coast Business Times 

Peregrine Galleries 

Performing Arts Scholarship 

Foundation 

Regent Seven Seas Cruises 

Renaud's Patisserie & Bistro 

Rose Story Farm 

Sabine Myers Design 


Santa Barbara Choral Society 

Santa Barbara Foundation 

Santa Barbara Travel Bureau 

Stewart Fine Art 

The Tent Merchant 

The Upham Hotel 

UCSB Arts & Lectures 

Westmont Orchestra 


35

CAMA's Centennial Season—December 11, 2018—Free Community Concert—Los Angeles Chamber Orchestra—Avi Avital, mandolin—The Granada Theatre, 8:00 PM

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?