CAMA—Wednesday, March 20, 2019, The Granada Theatre, Santa Barbara, 8:00 PM—Philharmonia Orchestra with Esa-Pekka Salonen

Presenting the world’s finest classical artists since 1919 

INTERNATIONAL SERIES 

AT THE GRANADA THEATRE 

SEASON SPONSORSHIP: SAGE PUBLISHING 

Photo by Katja Tähjä 

PHILHARMONIA ORCHESTRA 

Esa-Pekka Salonen, Principal Conductor & Artistic Advisor 

Wednesday, March 20, 2019, 8:00 PM 

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

INTERNATIONAL SERIES 

AT THE GRANADA THEATRE 


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 

Sponsors 

Marta Babson 

Judith L. Hopkinson 

The Shanbrom Family 

Foundation 

Co-Sponsors 

Chaucer's Bookstore, 

Mahri Kerley 

Jocelyne & William Meeker 

Stephen J.M. & Anne Morris 

PHILHARMONIA 

BAROQUE 

ORCHESTRA 

FEBRUARY 5, 2019 

Sponsors 

Hollis Norris Fund 

Michele & Andre Saltoun 

Hubert Vos 

Co-Sponsors 

Edward DeLoreto 

The CAMA Women's Board 

RUSSIAN 

NATIONAL 

ORCHESTRA 

FEBRUARY 27, 2019 


Bitsy & Denny Bacon and the 

Becton Family Foundation 

Sponsor 

Anonymous 

Co-Sponsors 

Peggy & Kurt Anderson 

Louise & Michael Caccese 

PHILHARMONIA 

ORCHESTRA 

MARCH 20, 2019 

Sponsors 

Anonymous 

Alison & Jan Bowlus 

Natalia & Michael Howe 

Ellen & Peter Johnson 

Kum Su Kim & John Perry 

Co-Sponsors 

Elizabeth & Andrew Butcher 

Chris Lancashire 

& Catherine Gee 


Val & Bob Montgomery 

ROYAL SCOTTISH 

NATIONAL 

ORCHESTRA 

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Anonymous 

Meg & Dan Burnham 

Hubert Vos 

Co-Sponsor 

George & Judy Writer 

4 CENTENNIAL SEASON CELEBRATION

MASTERSERIES 

AT THE LOBERO THEATRE 

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RICHARD 

GOODE 

NOVEMBER 9, 2018 


The Stephen & Carla 

Hahn Foundation 

Co-Sponsors 

Bitsy & Denny Bacon 


TAFELMUSIK 

BAROQUE 

ORCHESTRA 

MARCH 9, 2019 

Concert Partners 

Deborah & Peter Bertling 

Bob Boghosian & 

Beth Gates Warren 

Bridget Colleary 

Dorothy & John Gardner 

Elizabeth Karlsberg & 

Jeff Young 

Lynn P. Kirst 

GARRICK 

OHLSSON 

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Co-Sponsors 

Anonymous 

Stephen J.M. & 

Anne Morris 

The CAMA Women's 

Board 

AUGUSTIN 

HADELICH 

APRIL 17, 2019 

Co-Sponsors 



Concert Partner 

Lois Sandra Kroc 

MISCHA MAISKY 

MAY 6, 2019 

Co-Sponsor 

Ellen & Craig Parton 

Concert Partners 

Stephen Cloud 

Raye Haskell Melville 

Concert Sponsors as of January 2019 

CAMA AT THE GRANADA THEATRE - PHILHARMONIA ORCHESTRA 

5


BOARD OF DIRECTORS 

ROBERT K. MONTGOMERY President 

DEBORAH BERTLING First Vice-President 

CRAIG A. PARTON Second Vice-President 

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Joanne C. Holderman 


As of February 13, 2019 

WILLIAM MEEKER Treasurer 

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President, CAMA Women’s Board 

Emeritus Directors 

Russell S. Bock* 

Dr. Robert M. Failing* 

Mrs. Maurice E. Faulkner* 

Léni Fé Bland* 

Arthur R. Gaudi 

Stephen Hahn* 

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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 

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Mark E. Trueblood 

Executive Director 

Elizabeth Alvarez 

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CAMA's Community 

spotlight 

Betty Meyer has been with the 

CAMA community for many years and she 

served as a CAMA Board Member for more 

than a decade. 

CAMA celebrates you, Betty, 

in your 99th year! 


Anton 

Bruckner 

Arnold 

Schoenberg 

INTERNATIONAL SERIES at the GRANADA THEATRE 


PHILHARMONIA ORCHESTRA 

ESA-PEKKA SALONEN, PRINCIPAL CONDUCTOR & ARTISTIC ADVISOR 

Wednesday, March 20, 2019 at 8:00 PM 

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

ARNOLD SCHOENBERG 

(1874–1951) 

Verklärte Nacht, Op.4 (Transfigured Night) 

INTERMISSION 

ANTON BRUCKNER Symphony No.7 in E Major 

(1824–1896) I. Allegro moderato 

II. Adagio: Sehr feierlich und sehr langsam 

III. Scherzo: Sehr schnell 

IV. Finale: Bewegt, doch nicht schnell 

Tour supported by the Philharmonia Foundation and the generous donors 

to the Philharmonia’s Future 75 Campaign. 

philharmonia.co.uk 

US Tour Management: Opus 3 Artists | 470 Park Avenue South, 9th Floor North, New York, NY 10016 | 

www.opus3artists.com 

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

Program subject to change. 

International Series Season Sponsor: SAGE Publishing 

Sponsors 

Anonymous • Alison & Jan Bowlus • Natalia & Michael Howe 

Ellen & Peter Johnson • Kum Su Kim & John Perry 

Co-Sponsors 

Elizabeth & Andrew Butcher • Chris Lancashire & Catherine Gee 

Jocelyne & William Meeker • Val & Bob Montgomery 

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. 

CAMA AT THE GRANADA THEATRE - PHILHARMONIA ORCHESTRA 7

© Katherine Leedale 

philharmonia 

orchestra 

F 

ounded in 1945, the Philharmonia 

is a world-class symphony 

orchestra for the 21st century. 

The Orchestra’s home is Southbank 

Centre’s Royal Festival Hall, in the heart 

of London, where the Philharmonia has 

been resident since 1995 and presents 

a season of around 50 performances 

each year. Under Principal Conductor & 

Artistic Advisor Esa-Pekka Salonen, the 

Philharmonia has created a series of 

critically-acclaimed, visionary projects, 

distinctive for both their artistic scope 

and supporting live and digital content. 

Recent series include Stravinsky: Myths 

& Rituals (2016), which won a South 

Bank Sky Arts Award. In 2019, Salonen 

presents his newest series with the 

Orchestra, Weimar Berlin: Bittersweet Metropolis. 


The Philharmonia is resident 

orchestra at Bedford 

Corn Exchange, De Montfort 

Hall in Leicester, The Marlowe 

in Canterbury, The Anvil in 

Basingstoke, the Three Choirs 

Festival in the West of England, 

and Garsington Opera. At 

the heart of these residencies 

is an education programme 

that empowers people in every 

community to engage with, and participate 

in, orchestral music. 

Internationally, the Philharmonia is 

active across Europe, Asia and the USA. 

In 2018/19, the Orchestra performs extensively 

in Europe and undertakes three 

major international tours, to China and 

South Korea (October 2018); to Cartagena 

in Colombia, in a joint digital installation-live 

concert tour (January 2019); 

and to the USA (March 2019). 

The Philharmonia’s international 

reputation in part derives from its extraordinary 

recording legacy, which in 

the last 10 years has been built on by its 

pioneering work with digital technology, 

most recently blazing a trail for classical 

music in Virtual Reality. VR experiences 

featuring music by Sibelius, Mahler and 

Beethoven, placing the viewer 

at the heart of the orchestra, 

have been presented at Southbank 

Centre and internationally. 

The Philharmonia records 

and releases music across 

multiple channels and media. 

An app for iPad, The Orchestra, 

has sold tens of thousands of 

copies; Hollywood composers 

choose to record their scores for films, 

video games and television series with 

the Orchestra; the Philharmonia is Classic 

FM’s ‘Orchestra on Tour’ and broadcasts 

extensively on BBC Radio 3; with Signum 

Records the Philharmonia releases live recordings 

of signature concerts. 

Finnish conductor and composer 

Esa-Pekka Salonen has been Principal 

Conductor & Artistic Advisor since 2008. 

Jakub Hrůša and Santtu-Matias Rouvali 

are Principal Guest Conductors. Christoph 

von Dohnányi is Honorary Conductor for 

Life and Vladimir Ashkenazy is Conductor 

Laureate. Composer Unsuk Chin is Artistic 

Director of the Music of Today series. 

The Philharmonia’s Principal International 

Partner is Wuliangye. n 

philharmonia.co.uk 

Photo by Camilla Greenwell 


9

© Annick Ramp 

Esa-Pekka Salonen’s restless 

innovation drives 

him constantly to reposition classical 

music in the 21st century. He is known 

as both a composer and conductor and 

is currently the Principal Conductor & 

Artistic Advisor for the Philharmonia 

Orchestra and the Conductor Laureate 

for both the Swedish Radio Symphony 

Orchestra and the Los Angeles Philharmonic, 

where he was Music Director 

from 1992 until 2009. In 2020, he will become 

the Music Director of the San Francisco 

Symphony. He is the Artist in Association 

at the Finnish National Opera 

and Ballet, where he will conduct his first 

full Ring cycle in future seasons. This 

season, he joined the Colburn School 

faculty, where he will develop and direct 

the pre-professional Negaunee Conducting 

Program. Salonen co-founded 

the annual Baltic Sea festival, serving 

as Artistic Director from 2003 to 2018. 

This season, thirteen of Salonen’s 

works are programmed around the world, 

from playful early pieces to his melodically 

and rhythmically complex new 

works. Among them are Homunculus, for 

string quartet; Helix, at the Minnesota 

Orchestra and Oslo Philharmonic; and 


LA Variations at the LA Phil. He also conducts 

his own Pollux at the Helsinki Festival 

and Maggio Fiorentino, and his cello 

concerto on tour with the Philharmonia 

and at the Baltic Sea Festival, with Truls 

Mørk as soloist. Last year the New York 

Philharmonic and the Barbican Centre 

shaped their programming around Salonen’s 

music as part of his composer-inresidence 

in New York and a season-long 

Salonen focus in London. 

2018-19 sees Salonen conducting 

the Philharmonia Orchestra on tour 

across Europe, the US, and Asia. Salonen 

will also direct a new Ivo Van Hove production 

of Weill’s Rise and Fall of the City 

of Mahagonny at the Aix-en-Provence 

Festival in summer 2019. Recent years 

have seen Salonen experiment with 

groundbreaking ways to present music, 

with the first major virtual-reality 

production from a UK symphony orchestra; 

the award-winning RE-RITE and 

Universe of Sound installations, and the 

much-hailed iPad app, The Orchestra. 

As the Music Director of the Los Angeles 

Philharmonic for 17 years, Salonen 

is widely credited with revitalising the organization. 

He was instrumental in helping 

the orchestra to open Walt Disney 

Concert Hall; presided over countless 

premieres of contemporary work; began 

the Esa-Pekka Salonen Commissions 

Fund, and made the orchestra one of the 

best-attended and funded in the USA. In 

spring 2019 he brings a series that he 

created at the Philharmonia to the LA 

Phil, presenting programmes of Stravinsky’s 

“Myths,” “Rituals,” and “Faith.” 

Salonen has an extensive and varied 

recording career. An album of Henri Dutilleux’s 

Correspondances, recorded with 

the Orchestre Philharmonique de Radio 

France in the presence of the composer, 

was released in 2013 by Deutsche Grammophon 

on the composer’s 97th birthday. 

Also that year, Sony completed a 

project that began with Salonen and the 

LA Phil nearly 30 years before: a twodisc 

set of the orchestral works of Witold 

Lutosławski, released in what would 

have been the composer’s 100th year. An 

album of five of his orchestral works is 

available on Sony. Salonen’s most recent 

recordings include a disc of Stravinsky’s 

Persephone, released by Pentatone Music, 

and a 61-disc box set of all Salonen’s 

recordings for Sony. 2019 sees a muchanticipated 

release for Salonen’s cello 

concerto for Yo-Yo Ma. n 


11

ARNOLD 

SCHOENBERG 

Although Arnold Schoenberg and Anton 

Bruckner were born 50 years apart, 

only 16 years separate the two works on 

this program, and both of them were seen 

as controversially modern when new. 

Both works were the composer’s first major 

success. And while both works have 

strong roots in the influence of Richard 

Wagner and the belief that he pointed 

the way to music’s future, Schoenberg 

and Bruckner were influenced in widely 

different ways. Bruckner, a late but zealous 

convert to Wagnerism who met and 

idolized the man himself, adopted the 

gestures and stylistic features of Wagner’s 

grand style, even while completely 

avoiding Wagner’s chosen genre of music 

drama and holding fast to traditional 

tonality. Schoenberg, who was nine when 

Wagner died, grew up in a post-Wagnerian 

world and saw Tristan und Isolde as 

the work that burst the bounds of traditional 

tonality forever. 

Schoenberg was 25 when he composed 

the original string sextet version 

of Verklärte Nacht in late 1899. An acquaintance 

remembered that he wrote 

the entire work in three weeks that September, 

but Schoenberg’s manuscript is 

dated December 1, so the process likely 

occupied a few months. 

The tone poem takes its inspiration 

and its title from a poem in Richard 

Dehmel’s 1896 collection Weib und Welt 

(Woman and the World): 

Two people are walking through a 

bare, cold grove; the moon keeps pace 

with them; they peer at it. The moon 

moves along above tall oaks, no cloud 

obscures the sky’s light into which the 

black boughs reach. A woman’s voice 

speaks: 

“I am carrying a child, and not by you. I 


am walking beside you in a state of sin. 

I offended greatly against myself. I had 

despaired of happiness, and yet still 

yearned strongly for something to fill 

my life, for a mother’s joy and duty; and 

so, shuddering, I yielded my sex to the 

embrace of a stranger, and even thought 

myself blessed. Now life has taken its revenge: 

now I have met you.” 

She walks on with awkward steps. 

She looks up; the moon keeps pace. Her 

dark gaze drowns in light. A man’s voice 

speaks: 

“Do not let the child you conceived burden 

your soul. See how brightly the universe 

shines! Everything around glows. 

You are floating with me on a cold sea, 

but there is the glow of an inner warmth 

from you in me, from me in you. That 

warmth will transfigure the stranger’s 

child, and you bear it me, as if begot by 

me. You have brought the glow into me, 

made me like a child.” 

He puts an arm about her strong hips. 

Their breath kisses in the air. Two people 

walk on through the high, bright night. 

What is lost on readers more than 

a century after the poem’s publication 

is its sheer impropriety. It completely rejects 

accepted the sexual morality of the 

last decades of Imperial Germany and 

Austria, and indeed Prussian authorities 

prosecuted Dehmel for obscenity and 

blasphemy, charging that in Weib und 

Welt he wrote of “extramarital sexual relations 

or perverse sexual inclinations.” He 

was acquitted because the court found 

the book to be “very heavy fare and suitable 

only for literary connoisseurs” who 

would be “fully aware of the author’s intent 

regarding the questionable passages 

and … not likely to interpret or perceive 

them as obscene.” Those sophisticates 

included most of the composers on the 

cutting edge of Germanic art music, including 

Schoenberg, Richard Strauss, 

Carl Orff, Kurt Weill, and Anton Webern, all 

of whom set Dehmel’s poems as songs. 

In 1912, Schoenberg wrote to 

Dehmel that his poems had “a decisive 

effect on my musical development.” He 

did not need to add that Verklärte Nacht 

had already had a decisive effect on his 

stature as a composer. The tone poem 

was controversial from the start (the Vienna 

Musical Society rejected it for performance, 

one member objecting that it 

contained a kind of inverted ninth chord 


13

for which there was no formal description 

and therefore was officially nonexistant, 

and another complaining that 

its drifting chromatic tonality “sounded 

as if someone had smeared the score 

of Tristan und Isolde while it was still 

wet”) but after its 1902 Vienna premiere 

it quickly became the work that made 

Schoenberg’s name known. It remains 

his most popular work. Schoenberg created 

two string orchestra versions, one 

in 1917 and another in 1943. 

Dehmel attended the 1902 premiere 

and wrote to Schoenberg, “I had intended 

to follow the motives of my text in 

your composition, but soon forgot to do 

so, I was so enthralled by the music.” This 

is a fairly typical reaction to a first listening, 

because the half-hour-long composition 

is a vast expansion on a poem that 

can be recited in 90 seconds. The D Minor 

opening obviously depicts the night and 

the cold grove, and the D Major ending 

clearly invokes the shimmering, warmth 

and brightness in the text, but in between, 

trying to associate specific passages of 

the impassioned late-Romantic outpourings 

with any specific part of the text is 

more distracting than illuminating. 

ANTON 

BRUCKNER 

When he finished his seventh symphony 

in 1883, Anton Bruckner was 59 

and yet to make his mark as a composer. 

He had already withdrawn two early 

symphonies, and each of his first five 

numbered symphonies had already been 

revised, or turned into alternative second 

versions. He wasn’t always the one doing 

the revising, for reasons having to do with 

his personality and personal history. 

Statue of Anton Bruckner in the Stadtpark of Vienna 


Bruckner had been born in a 

small village in Upper Austria, where his 

father was the schoolmaster and the 

church’s music director and organist. 

Bruckner was educated and trained to 

follow in his father’s footsteps, which he 

more or less did in a succession of jobs 

in villages and a prominent monastery in 

the area. He found ways to study music 

with capable teachers outside of work, 

and even after obtaining a prestigious 

job as cathedral organist at in Linz when 

he was 32, he continued with formal 

musical studies until he was nearly 40, 

when he finally began what he called his 

“composition period” at an age Schubert, 

Mendelssohn and Chopin never reached. 

At about the same time, he discovered 

Wagner’s operas and became a Wagner 

devotee. 

The humble, devout Catholic Bruckner, 

whose dress and manners marked 

him as a country bumpkin all his days, 

could scarcely have been more different 

from Wagner, a trailblazing artistic genius 

but a narcissistic bigot whose religion 

consisted mostly of himself. When 

Bruckner came to Vienna in 1868 to take 

up positions as a professor in the Conservatory 

and an organist in the Imperial 

Chapel, the support of the Wagnerians 

made him a target of prominent Vienna 

critics who detested Wagner, his music 

and his acolytes. So while Bruckner the 

organist became famous enough to go 

on tour to France and England, Bruckner 

the composer went nowhere. The 

compositions that drew favorable attention 

were his liturgical works. He never 

stopped being a church musician, which 

may be why large stretches of his symphonies 

have a strongly hymnal quality. 

Some of his former students encouraged 

him to revise his symphonies, or 

did the revisions themselves. Their goal 

was to make them more popular, but their 

means to that end often involved making 

them sound more like Wagner. The result 

is that for most of Bruckner’s symphonies, 

there is no definitive version, and a 

lot of debate about how an editor should 

arrive at a performing score. 

Bruckner was relatively confident 

about the seventh symphony, and its 

only significant issue is a cymbal crash/ 

triangle roll at the climax of the second 

movement. It was not in Bruckner’s original 

score, but was suggested by his ex- 


15

students and adopted by the conductor 

of the first performance, in Leipzig in 

1884. Most performances keep the cymbal 

and triangle at that spot, even though 

those two percussionists play nowhere 

else in the symphony. 

It was while Bruckner was composing 

the second movement in February 

1883 that he learned of Wagner’s death, 

and tradition has it that he turned the 

movement into a tribute to Wagner. It 

does mark the first appearance in any 

symphony of the “Wagner tuba,” a somewhat 

misnamed instrument that is essentially 

a horn with a wider bore and 

more open sound, often described as a 

middle ground between the horn’s tone 

and the trombones. The same description 

might apply to other brass instruments 

being developed in those early 

days of valved brasses (the euphonium, 

flugelhorn or saxhorn, for example), but 

the Wagner tuba, developed at Wagner’s 

request for his Ring cycle of operas, differs 

from them in being designed to be 

played by horn players, using the smaller 

horn mouthpiece. The four Wagner tubas 

play only in the second and fourth 

movements of this symphony. They not 

only enhance the full sound of the orchestra, 

but also create a striking richness 

on their own or, as at the end of the 

second movement, in combination with 

the horns and tuba. 

A crowing rooster is said to have 

given Bruckner the idea for the trumpet 

call that pervades the energetic third 

movement. The two outer movements 

are more siblings than cousins. The principal 

themes of both movements have 

a similar upward sweep, and indeed the 

opening theme of the first movement 

is echoed in the fanfares that close the 

symphony. 

Bruckner became so accustomed to 

failure in his adopted city that even after 

the Seventh Symphony had successful 

performances in Leipzig and Munich, 

he tried to discourage a performance in 

Vienna, afraid that the critical reception 

would derail the symphony’s journey 

into the repertoire. It didn’t. The symphony 

became Bruckner’s ticket to international 

recognition as a composer. n 


© Camilla Greenwell 


17

© Camilla Greenwell 

Philharmonia 

Orchestra 

US Tour Roster 


Principal Conductor and Artistic Advisor 

1ST VIOLIN 

Zsolt-Tihamér Visontay 

Sarah Oates 

Fabrizio Falasca 

Eugene Lee 

Soong Choo 

Minhee Lee 

Eleanor Wilkinson 

Victoria Irish 

Adrián Varela 

Karin Tilch 

Lulu Fuller 

Erzsebet Racz 

Charlotte Reid 

Cassandra Hamilton 

Alessandro Cannizzaro 

Caroline Frenkel 

2ND VIOLIN 

Tamás Sándor 

Emily Davis 

Fiona Cornall 

Samantha Reagan 

Gideon Robinson 

Nuno Carapina 

Sophie Cameron 

Julian Milone 

Jan Regulski 

Susan Hedger 

Helen Cochrane 

Marina Gillam 

Teresa Pople 

Emma Oldfield 

VIOLA 

Yukiko Ogura 

Nicholas Bootiman 

Sylvain Séailles 

Cheremie Hamilton-Miller 

Carol Hultmark 

Michael Turner 

Gijs Kramers 

Linda Kidwell 

Stephanie Edmundson 

Ellen Blythe 

Rebecca Carrington 

Lucia Ortiz Sauco 

CELLO 

Timothy Walden 

Karen Stephenson 

Richard Birchall 

Eric Villeminey 

Anne Baker 

Ella Rundle 

Alexander Rolton 

Yaroslava Trofymchuk 

Miwa Rosso 

Tessa Seymour 

BASS 

Tim Gibbs †† 

Christian Geldsetzer 

Michael Fuller 

Gareth Sheppard 

Simon Oliver 

Josie Ellis 

Philip Nelson 

Mark O' Leary 

FLUTE 

Samuel Coles † 

June Scott 

Kristin Hammerseth 

ALTO FLUTE 

June Scott 

PICCOLO 

Keith Bragg † 

Kristin Hammerseth 

OBOE 

Tom Blomfield † 

Timothy Rundle †† 

Katherine Bryer 

COR ANGLAIS 

Jill Crowther † 

CLARINET 

Mark van de Wiel † 

Jennifer McLaren 

Jordan Black 

E FLAT CLARINET 

Jennifer McLaren 

BASS CLARINET 

Laurent Ben Slimane † 

CONTRA BASS 

CLARINET 

Laurent Ben Slimane † 

BASSOON 

Robin O'Neill † 

Shelly Organ 

Fraser Gordon 

CONTRA 

BASSOON 

Luke Whitehead 

Fraser Gordon 

HORN 

Nigel Black * 

Diego Incertis Sanchez 

Kira Doherty 

Alex Wide 

Carsten Williams 

Jonathan Maloney 

TRUMPET 

Jason Evans * 

Mark Calder * 

Alistair Mackie * 

OFF STAGE 

TRUMPETS 

Robert Farley † 

TROMBONE 

Byron Fulcher * 

Philip White 

BASS TROMBONE 

James Buckle 

TUBA 

Peter Smith 

WAGNER TUBA 

Diego Incertis Sanchez 

Richard Berry 

Jonathan Maloney 

Carsten Williams 

TIMPANI 

Antoine Siguré 

Elsa Bradley 

PERCUSSION 

Emmanuel Curt 

Paul Stoneman 

Peter Fry 

Kevin Hathway 

Elsa Bradley 

HARP 

Heidi Krutzen 

Stephanie Beck 

PIANO 

Alison Procter 

CELESTE 

Janet Simpson 

Alison Procter 

†† Professor at the Guildhall 

School of Music and 

Drama 

† Professor at the Royal Academy 

of Music 

* Professor at the Royal College 

of Music 


© Felix Broede © Katherine Leedale © Katja Tähjä 

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The Corner Shop 

PR Media Relations 

Consultant 

AUDIENCE 

DEVELOPMENT 

Tom Spurgin 

Audience Development 

Manager 

DIGITAL 

Thomas Gillet 

Head of Digital 

Luke Ritchie 

Head of Digital Innovation 

and Partnerships 

Marina Vidor 

Digital Producer 

William Gregg 

Developer 

Ash Brown 

Digital Production 

Manager 

EDUCATION 

Alexandra Brierley 

Director of Education 

Yasmin Hemmings 

Learning and Participation 

Producer 

Catherine Bullough 

Community and Outreach 

Manager 

Elisa Mare 

Education Assistant 

FINANCE 

John Whiterow 

Interim Finance Director 

and Company Secretary 

Francisca Onwuka 

Financial Controller 

Christina Macpherson 

Players' Fees 

Administrator 

Aneke De Sousa Caires 

Finance Officer 

PHILHARMONIA 

APPRENTICESHIP 

PROGRAMME 

Revell Dixon 

Digital and Education 

Projects Apprentice 

Luke Treherne 

Marketing and 

Fundraising Apprentice 

ARCHIVE 

Michael Hurwitz 

Archivist 

For Opus 3 Artists 

David V. Foster, President 

and CEO 

Leonard Stein, Senior 

Vice President, Director, 

Touring Division 

William Bowler, Manager, 

Artists & Attractions 

Tania Leong, Associate, 

Touring Division 

Irene Lönnblad, Tour 

Manager 

Thomas F. Eirman, Stage 

Manager 


19


Anne-Sophie Mutter 


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 


21


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 

The Elaine F. Stepanek Foundation 

CADENZA 

$100,000–$249,999 


Samuel B. and Margaret C. Mosher Foundation 

Ed & Sue Birch / Robert & Christine Emmons 

SAGE Publishing 


RONDO 

$50,000–$99,999 

Anonymous 


NancyBell Coe & William Burke 




Mari & Hank Mitchel 

Bob & Val Montgomery 


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

will include Centennial Circle membership. 


CONCERTO 

$25,000–$49,999 

Marta Babson 

Suzanne & Russell Bock 

Meg & Dan Burnham 

The Stephen & Carla Hahn 

Foundation 

The Walter J. & Holly O. 

Thomson Foundation 

The Towbes Fund for the 

Performing Arts 

Patricia Yzurdiaga 

SONATA 

$10,000–$24,999 

Anonymous 


City of Santa Barbara 


George H. Griffiths and Olive 

J. Griffiths Charitable Fund 



Ann Jackson Family 

Foundation 



Kum Su Kim & John Perry 

Mary Lloyd & Kendall Mills 

Montecito Bank & Trust 

John & Ellen Pillsbury 

Anne Smith Towbes 

The Shanbrom Family 

Foundation 

Hubert Vos 

The CAMA Women’s Board 

VIVACE 

$5,000–$9,999 

Anonymous 




Stephen Cloud 



Jeff Young 

Jill Doré Kent 

ALLEGRO 

$2,500–$4,999 

Helene & Jerry Beaver 

Shelley & Mark Bookspan 



Suzanne & Peyton Bucy 

Roger & Sarah Chrisman, Schlinger 

Chrisman Foundation 

Fredericka & Dennis Emory 

Ronald & Rosalind A. Fendon 

Mary & Raymond Freeman 

Priscilla & Jason Gaines 


Shirley Ann & James H. Hurley, Jr. 

William H. Kearns Foundation 

Connie & Richard Kennelly 

Mahri Kerley/Chaucer's Books 

Chris Lancashire & 

Catherine Gee 


Craig & Ellen Parton 

Irene & Robert Stone/Stone 

Family Foundation 

Barbara & Sam Toumayan 

Winona Fund 

Lynn P. Kirst 

Lois Kroc 

Stefanie Lancaster Charitable 

Foundation 

MaryAnn Lange 

Shirley & Seymour Lehrer 

Dona & George McCauley 

Performing Arts Scholarship 

Foundation 

Diana & Roger Phillips 

Ann M. Picker 

Dorothy Roberts 


Judith F. Smith 

Carrie Towbes & John Lewis 

Steven Trueblood 

(Continued next page.) 

CAMA’s Centennial spans two concert seasons, 2018/2019 and 2019/2020. 

The CAMA Board gratefully acknowledges and thanks the generosity of the 

CAMA community. Donor lists will be fully updated February 2019. 

All cummulative donations of $250 and above through 

the 100 th and 101 st Seasons will be listed. 

Please call Elizabeth Alvarez should you notice any errors on these pages – (805) 276-8270. 


23


CENTENNIAL CELEBRATION DONORS 

(Continued from previous page) 

ADAGIO 

$1,000–$2,499 

Todd & Allyson Aldrich Family Charitable Fund 

Diane Boss 

Wendel Bruss 

Karen Bushnell 

Annette & Richard Caleel 

Patricia Clark 

Joan & Steven Crossland 

Gregory Dahlen III & Christi Walden 

Jan Davis-Hadley 

Margaret & Ronald Dolkart 

Wendy & Rudy Eisler 

Nancy Englander 

Katina Etsell 

Nancyann & Robert Failing 

Margo & Bob Feinberg 

Jill Felber 

Catherine H. Gainey 

Andrea & Ron Gallo 

David Hamilton 

Renee & Richard Hawley 

Maison K 

Karin Nelson & Eugene Hibbs/Maren Henle 

Gerhart Hoffmeister 


Jackie Inskeep 

Diane Johnson 

Gerd & Peter Jordano 

James Kearns 

Sally Kinney 

Karin Jacobson & Hans Koellner 

Kathryn Lawhun & Mark Shinbrot 

Dora Anne Little 

Cynthia Brown & Arthur Ludwig 

Nancy & James Lynn 

Gloria & Keith Martin 

Maureen Masson 

Ruth & John Matuszeski 

Karine & Donald McCall 

Frank McGinity 

Sally & George Messerlian 

Russell Mueller 

Northern Trust 

Ellen Lehrer Orlando & Thomas Orlando 

Gail Osherenko & Oran Young 

Patti Ottoboni 

Anne & Daniel Ovadia 

Donald Rink 

Tiffany & Justin Rizzo-Weaver 

Regina & Rick Roney 

Ada B. Sandburg 


Anitra & Jack Sheen 

Barbara & Wayne Smith 

Marion Stewart 

Milan E. Timm 


UCSB - Department of Music, 

University of California, Santa Barbara 

Esther & Tom Wachtell 

Barbara & Gary Waer 

Sheila Wald 

Nick & Patty Weber 

Dr. Robert Weinman 

Judy L. Weisman 

Westmont College 

Victoria & Norman Williamson 

Nancy & Byron Kent Wood 

Cheryl & Peter Ziegler 

Ann & Dick Zylstra 

ANDANTE 

$250–$999 

Sylvia Abualy 

Antoinette & Shawn Addison 

Jyl & Allan Atmore 

Howard A. Babus 

Becky & William Banning 

Patricia & Richard Blake 

Edith M. Clark 

Lavelda & Lynn Clock 

Betsy & Kenneth Coates 

Michael & Ruth Ann Collins 

Nancy Donaldson 

Michael K. Dunn 

Ann & David Dwelley 

Meg & Jim Easton 

Julia Emerson 

Thomas & Doris Everhart 

Eunice & J. Thomas Fly 

Ghita Ginberg 

Nancy & Frederic Golden 

Robert Hanrahan 

Lorna S. Hedges 

Glenn Jordan & Michael Stubbs 

Debbie & Frank Kendrick 

June & William Kistler 

Christie & Morgan Lloyd 

Barbara & Ernest Marx 

Phyllis Brady & Andy Masters 

Jeffrey McFarland 

Patriicia & William McKinnon 

Christine & James V. McNamara 

Andrew Mester 

James P. And Shirley F. McFarland Fund of 

The Minneapolis Foundation 

Peter L. Morris 

Mrs. Raymond King Myerson 

Maureen O'Rourke 

Hensley & James Peterson 

David & Dottie Pickering 

Minie & Hjalmar Pompe van Meerdervoort 

Patricia & Robert Reid 

Rotary Club of Montecito Foundation, Inc. 

Lynn & Mark Schiffmacher 

Naomi Schmidt 

Maureen & Les Shapiro 

Halina W. Silverman 

Paul and Delia Smith 

Linda Stafford Burrows 

Beverly & Michael Steinfeld 

Jacqueline & Ronald Stevens 

Elaine Sweet 

Carol Vernon & Robert Turbin 

Mary H. Walsh 

Lorraine & Stephen Weatherford 

Grace & Edward Yoon 



CELEBRATING 

CAMA's CENTENNIAL 

by Hattie Beresford 

Celebrating CAMA’s Centennial 

commemorates the CAMA story 

with hundreds of images and engaging 

tales of the spectacular musical performances 

brought to the the stages of Santa Barbara’s concert halls. 

Beautiful music, exciting music, profound music — Community 

Arts Music Association has been bringing this gift to Santa Barbara for 

100 years. Born in the dark days following World War I, flourishing during 

the Roaring Twenties, and eluding demise during the Great Depression, 

CAMA has endured through a story of struggle, survival and triumph as 

compelling as the world-renowned music and performers it brought. 

ABOUT THE AUTHOR 

Besides writing a local history column for the Montecito Journal for 

over a decade, Hattie Beresford has written two issues of Noticias 

and co-edited My Santa Barbara Scrap Book, the memoir of artist 

Elizabeth Eaton Burton, for the Santa Barbara Historical Museum. Her 

most recent book, The Way It Was: Santa Barbara Comes of Age, is a 

collection of a few of her nearly 300 articles written for the Journal. 

ON SALE NOW 

AT CHAUCER'S BOOKS 

$30.00 + tax 


25


CENTENNIAL 

BIRTHDAY BASH 

FREE TO THE COMMUNITY 

This event is made possible through the generous support of 


The Elaine F. Stepanek Foundation 

City of Santa Barbara 

SUNKEN GARDENS 

at the Santa Barbara County Courthouse 

Sunday, May 19, 2019 

1:00 PM–4:00 PM 

While this event is free and open to the public, for planning purposes we ask that you 

RSVP to events@camasb.org with the number in your party. Thank you! 


OUR BUSINESS PARTNERS 

Serving the public at the May 19 event! 


27

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 


Stefanie L. Lancaster Charitable 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 

In honor of 

Joan Crossland 

NancyBell Coe & Bill Burke 

Carolyn & Dennis Naiman 

Nancy Lynn 


David Malvinni 


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 

Tita Lanning 

Keith Mautino 

Jim Ryerson 

Christine Ryerson 

Sharon Felber Taylor 


Cornelia Chapman 

Ellicott Million 

Dr. Eric Boehm 

Judy Pochini 

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 



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 

Doors to The Granada Theatre will open 

for the lecture 15 minutes before lecture. 

Lecture seating is limited to the first 100 

patrons. First come, first served. 

CAMA's Women's Board gratefully 

thanks the following supporters! 

Symphony Level $5,000 

Patricia Yzurdiaga 

Sonata Level $1,000 

Peter & Rebecca Adams 

Mrs. Richard H. Roberts 


Rondo Level $100–$500 

Anonymous (2) 



Karin Nelson & Eugene Hibbs, Jr. 

and Maren N. Henle 


Lois Kroc 

Ellen & Craig Parton 

Andre & Michele Saltoun 



April 5, 2019 

Friday, Lecture begins at 7:00 PM 

ROYAL SCOTTISH NATIONAL 

ORCHESTRA 

THOMAS SØNDERGÅRD, CONDUCTOR 

The Granada Theatre 

PRE-CONCERT LECTURE 

ROBERT KOENIG, Professor and Vice Chair, 

Department of Music, UC Santa Barbara. 

Lecture will begin at 7:00 PM; doors to The Granada 

Theatre will open for the lecture at 6:45 PM. 

Lecture seating is limited to the first 100 patrons. 

First come, first served. 


29


LIFETIME GIVING 

DIAMOND 

$500,000 and above 

Anonymous 

Bitsy & Denny Bacon and 

The Becton Family Foundation 

Suzanne & Russell Bock 

Linda Brown* 

The Andrew H. Burnett 

Foundation 

Esperia Foundation 

The Stephen & Carla Hahn 

Foundation 



The Samuel B. & Margaret C. 

Mosher Foundation 

Sage Publications 

The Elaine F. Stepanek 

Foundation 

Michael Towbes/The Towbes 

Fund for the Performing Arts 

SAPPHIRE 

$250,000—$499,999 

The CAMA Women's Board 

Leni Fé Bland 


The Wood-Claeyssens 

Foundation 

Patricia & Joseph Yzurdiaga 

RUBY 

$100,000—$249,999 

Anonymous 

The Adams Family Foundation 

Joan C. Benson 


Virginia Castagnola-Hunter 

NancyBell Coe & William Burke 

Robert & Christine Emmons 

Mary & Raymond Freeman 

Raye & Melville H. Haskell, Jr. 


Dolores M. & Immanuel Hsu 

Shirley Ann & James H. Hurley, Jr. 

Ann Jackson Family Foundation 

Janet & Thomas Kelly/Winona 

Fund 

Shirley & Seymour Lehrer 

John & Lucy Lundegard 


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

The Henry E. & Lola Monroe 

Foundation 


Bob & Val Montgomery 

Kathleen & John Moseley/ 

The Nichols Foundation 

Nancy & William G. Myers 

Michele & Andre Saltoun 

The Santa Barbara Foundation 

Jan & John G. Severson 

Judith F. & Julian Smith 

Jeanne C. Thayer 

The Walter J. & Holly O. 

Thomson Foundation 

Union Bank 

Marilyn & H.Wallace Vandever 

The Wallis Foundation 



EMERALD 

$50,000—$99,999 

Anonymous 

Anonymous 

Anonymous 

Ruth Appleby 

Linda & Peter Beuret 

Edward & Sue Birch 

Dan & Meg Burnham 


Jane & Jack Catlett 

Roger & Sarah Chrisman, 

Schlinger Chrisman Foundation 

Bridget & Robert Colleary 

Suzanne & Maurice Faulkner 

Arthur R. Gaudi 

Sherry & Robert Gilson 

George H. Griffiths and Olive J. 

Griffiths Charitable Fund 

Janette "Dotsy" Main Hellmann 

& Richard Hellmann 



Hutton Parker Foundation 


Lynn P. Kirst & Lynn R. Matteson 


Betty & Max Meyer 


Craig & Ellen Parton 

Austin H. Peck 


Foundation 

Marjorie & Hugh Petersen/ 

La Arcada Trust Corp 

Diana & Roger Phillips 

Kathryn H. Phillips 

Theodore Plute & Larry Falxa 

Lady Leslie & Viscount Paul 

Ridley-Tree 


TOPAZ 

$25,000—$49,999 

Barbara & Edward Bakewell 

Helene & Jerry Beaver 




Helen & Andrew Burnett 


Huguette Clark 

Cecelia & Leonard Dalsemer 

Edward DeLoreto and 

William DeLoreto 

Patricia & Larry Durham 

Nancyann & Robert Failing 

Priscilla & Jason Gaines 

Preston B. & Maurine M. 

Hotchkis Family Foundation 

The George Frederick 

Jewett Foundation 

Patricia Kaplan 


Jeff Young 


Jill Doré Kent 


Otto Korntheuer/The Harold L. 

Wyman Foundation 

Laura & Robert Kuhn 

Chris Lancashire & Catherine Gee 

Lillian & Jon Lovelace 

Leatrice & Eli Luria 

Marilyn & Frank Magid 

Ruth McEwen 

Frank McGinity 

Sheila Bourke McGinity 

Mary & James Morouse 

Pat Hitchcock O'Connell 

Efrem Ostrow Living Trust 

Outhwaite Foundation 

Carolyn & Ernest Panosian 

John & Ellen Pillsbury 

Mary Dell Pritzlaff & John Pritzlaff 

Mary Louise & Kenneth W. Riley 

The Shanbrom Family Foundation 

Anitra & Jack Sheen 


Marion & William Stewart 

Irene & Robert Stone/Stone Family 

Foundation 

The Walter J. & Holly O. Thomson 

Foundation 

Ina & Martin Tornallyay 

Carol & Edward R. Valentine 

Susie & Hubert Vos 

The Elizabeth Firth Wade 

Endowment Fund 

Marjorie K. & Roderick S. Webster 


AMETHYST 

$10,000—$24,999 

Anonymous 

Rebecca & Peter Adams 

Christina & David Allison 


Bernice & Mortimer Andron 

Sally & Robert Arthur 

Marta Babson 

Marjorie & J.W. Bailey 

Else Schilling Bard 

Joan C. Benson 

Leslie & Philip Bernstein 

Frank Blue & Lida Light Blue 

Toos & Erno Bonebakker 

The CAMA Fellows 

Margo & Charles Chapman 

Chubb Sovereign 

Carnzu A. Clark 

Nan Burns & Dr. Gregory Dahlen 

Karen Davidson, M.D. 

Fredericka & Dennis Emory 

Julie & William Esrey 

Ronald & Rosalind A. Fendon 

Audrey Hillman Fisher Foundation 

David W. Fritzen/DWF Magazines, 

DWF Media 

International 

Catherine H. Gainey 

Tish Gainey & Charles Roehm 


Kay & Richard Glenn 

Corinna Gordon, Larry Dale Gordon 

Dorothy & Freeman Gosden 

Dianne & Robert S. Grant 

Beverly & Bruce Hanna 

Dolores & Robert Hanrahan 

Lorraine C. Hansen 

Margret & David F. Hart 

Betty & Stan Hatch 

Renee & Richard Hawley 

Ruth & Alan Heeger 

Karin Nelson & Eugene Hibbs/ 

Maren Henle 

Mary & Campbell Holmes 

Elizabeth & Gary Johnson 

Glenn Jordan & Michael Stubbs 

Martha & Peter Karoff 

Mahri Kerley/Chaucer's Books 

Linda & Michael Keston 

Kum Su Kim 

Catherine Lloyd/Actief-cm, Inc. 

MaryAnn & Frederick Lange 

Dora Anne Little 

Cynthia Brown & Arthur Ludwig 

Leatrice Luria 

Ruth & John Matuszeski 

Keith Mautino 

Dona & George McCauley 

Jayne Menkemeller 

Sybil & Russell Mueller 

Myra & Spencer Nadler 

Fran & John Nielsen 

Joanne & Alden Orput 

Mr. & Mrs. Charles W. Partridge 


Foundation 

Patricia & Carl Perry 

John Perry 

Justyn & Ray Person 

Susan & James Petrovich 

Anne & C.Wesley Poulson 

Susannah Rake 

Jaquelin & Frank Reed 

Jack Revoyr 

Betty & Don Richardson 

Grace Jones Richardson Trust 

Dorothy Roberts 

The Roberts Bros. Foundation 

Regina & Rick Roney 

Rebecca Ross 

Betty Barrett & John Saladino 

William E. Sanson 

Maryan & Richard Schall 

Nancy & William Schlosser 

Pat & Roby Scott 

Sally & Jan E.G. Smit 

Constance & C.Douglas Smith 

Betty J. Stephens 

Diane & Selby Sullivan 

The Godric Foundation 

Joseph Thomas 

Milan E. Timm 

Carrie Towbes & John Lewis 


Steven Trueblood 

Drs. Shirley & Kenneth Tucker 

Barbara & Gary Waer 

Lisa Bjornsen Wolf & 

David Russell Wolf 

Ann & Dick Zylstra 

*promised 

As of February 14, 2019 


31


BUSINESS SUPPORTERS 

We thank the many businesses that support 

CAMA's programs and events! 

Laurel Abbott, Berkshire 

Hathaway Luxury Properties 

Alma Rosa Winey 

American Riviera Bank 

Babcock Winery 

James P. Ballantine 

Belmond El Encanto 

Bertling Law Group 

Bibi Ji 

Black Sheep Restaurant 

Blue Star Parking 

Bon Fortune Style & Events 

Brander Vineyard 

Wes Bredall 

Heather Bryden 

Ca' Dario Ristorante 

Camerata Pacifica 

Casa Dorinda 

Cebada Wine 

C'est Cheese 

Chaucer's Books 

Chocolats du CaliBressan 

Chooket Patisserie 

Cottage Health System 

Custom Printing 

Eye Glass Factory 

Felici Events 

Finch & Fork 

First Republic Bank 

Flag Factory of 

Santa Barbara 

Frequency Wine 

Gainey Vineyard 

Grace Design Associates 

Grassini Family Vineyards 

Grimm’s Bluff 

Colin Hayward/ 

The Hayward Group 

Steven Handelman Studios 

Hogue & Company 

Holdren's Catering 

Indigo Interiors 

Inside Wine Santa Barbara 

Islay A/V 

Jardesca 

Le Sorelle 

Lumen Wines 

Maravilla/Senior Resource 

Group 

Michael's Catering 

Microsoft® Corporation 

Mission Security 


Montgomery Vineyard 

Northern Trust 

Oak Cottage of Santa 

Barbara 

Oceania Cruises 

Olio e Limone/Olio Crudo 

Bar/Olio Pizzeria 

Opal Restaurant & Bar 

Opera Santa Barbara 

Pacific Coast Business Times 

Pali Wine Co. 

Peregrine Galleries 


Foundation 

Pete Clements Catering 

Presqu’ile Winery 

Regent Seven Seas Cruises 

Renaud's Patisserie & Bistro 

Rose Story Farm 

Sabine Myers Design 


Santa Barbara Choral 

Society 


Santa Barbara Travel Bureau 

Santa Barbara Winery 

Stewart Fine Art 

The Tent Merchant 

The Upham Hotel 

UCSB Arts & Lectures 

Via Maestra 42 

Westmont Orchestra

CAMA—Wednesday, March 20, 2019, The Granada Theatre, Santa Barbara, 8:00 PM—Philharmonia Orchestra with Esa-Pekka Salonen

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CAMA—Wednesday, March 20, 2019, The Granada Theatre, Santa Barbara, 8:00 PM—Philharmonia Orchestra with Esa-Pekka Salonen