Saturday, March 30, 2019—Garrick Ohlsson plays Brahms—CAMA's Masterseries at The Lobero Theatre, Santa Barbara

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Saturday, March 30, 2019, 8:00 PM 

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5

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Johannes 

Brahms 

masterseries at THE LOBERO THEATRE 


GARRICK OHLSSON PIANO 

Saturday, March 30, 2019 at 8:00 PM 

Lobero Theatre, Santa Barbara 

JOHANNES BRAHMS Sonata in F-sharp minor, Op.2 

(1833–1897) Allegro non troppo energico 

Andante espressione 

Scherzo: Allegro 

Finale: Allegro non troppo 

INTERMISSION 

Six Pieces, Op.118 

Intermezzo in A minor 

Intermezzo in A major 

Ballade in G minor 

Intermezzo in F minor 

Romanze in F major 

Intermezzo in E-flat minor 

Three Intermezzi, Op.117 

Intermezzo in E-flat major 

Intermezzo in B-flat minor 

Intermezzo in C-sharp minor 

Variations and Fugue on a Theme by Handel, Op.24 

Steinway Piano 

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Masterseries Season Sponsor: Esperia Foundation 

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Program subject to change. 

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

Photo by Dario Acosta. 

GARRICK OHLSSON 

pianist 

Since his triumph as winner of 

the 1970 Chopin International 

Piano Competition, pianist Garrick Ohlsson 

has established himself worldwide 

as a musician of magisterial interpretive 

and technical prowess. Although long regarded 

as one of the world’s leading exponents 

of the music of Frédéric Chopin, 

Mr. Ohlsson commands an enormous 

repertoire, which ranges over the entire 

piano literature. A student of the late 

Claudio Arrau, Mr. Ohlsson has come to 

be noted for his masterly performances 

of the works of Mozart, Beethoven and 

Schubert, as well as the Romantic repertoire. 

To date he has at his command 

more than 80 concertos, ranging from 

Haydn and Mozart to works of the 21st 

century, many commissioned for him. 

This season he launches an ambitious 


project spread over two seasons exploring 

the complete solo piano works of 

Brahms in four different programs. The 

cycle will be heard in New York, San Francisco, 

and Montreal with individual programs 

in London, Warsaw and a number 

of cities across North America. In concerto 

repertoire ranging from Beethoven 

to Brahms, Rachmaninoff, Barber and 

Busoni, he will return to the New York 

Philharmonic; Cleveland Orchestra; Philadelphia, 

Boston, Baltimore, Houston 

and Seattle Symphonies, concluding the 

season in Indianapolis with all the Rachmaninoff 

concerti programmed in one 

weekend. 

A frequent guest with the orchestras 

in Australia, Mr. Ohlsson has recently visited 

Perth, Brisbane, Melbourne, Sydney, 

Adelaide and Hobart as well as the New 

Zealand Symphony in Wellington and 

Auckland. An avid chamber musician, Mr. 

Ohlsson has collaborated with the Cleveland, 

Emerson, and Tokyo string quartets, 

and in the spring will tour with the 

Takacs Quartet and the Boston Chamber 

Players in Istanbul, Berlin, Munich, Warsaw, 

Luxembourg and Prague. Together 

with violinist Jorja Fleezanis and cellist 

Michael Grebanier, he is a founding member 

of the San Francisco-based FOG Trio. 

Passionate about singing and singers, 

Mr. Ohlsson has appeared in recital with 

such legendary artists as Magda Olivero, 

Jessye Norman, and Ewa Podleś. 

Mr. Ohlsson can be heard on the Arabesque, 

RCA Victor Red Seal, Angel, BMG, 

Delos, Hänssler, Nonesuch, Telarc, Hyperion 

and Virgin Classics labels. His ten-disc 

set of the complete Beethoven Sonatas, 

for Bridge Records, has garnered critical 

acclaim, including a GRAMMY® for Vol. 

3. His recording of Rachmaninoff’s Concerto 

No. 3, with the Atlanta Symphony 

and Robert Spano, was released in 2011. 

In the fall of 2008 the English label Hyperion 

re-released his 16-disc set of the 

Complete Works of Chopin followed 

in 2010 by all the Brahms piano variations, 

“Goyescas” by Enrique Granados, 

and music of Charles Tomlinson Griffes. 

Most recently on that label are Scriabin’s 

Complete Poèmes, Smetana Czech Dances, 

and ètudes by Debussy, Bartok and 

Prokofiev. The latest CDs in his ongoing 

association with Bridge Records are 

the Complete Scriabin Sonatas, “Close 

Connections,” a recital of 20th-Century 

pieces, and two CDs of works by Liszt. In 

recognition of the Chopin bicentenary in 


9

2010, Mr. Ohlsson was 

featured in a documentary 

“The Art of Chopin” 

co-produced by Polish, 

French, British and 

Chinese television stations. 

Most recently, 

both Brahms concerti 

and Tchaikovsky’s second 

piano concerto 

were released on live 

performance recordings 

with the Melbourne and Sydney 

Symphonies on their own recording labels, 

and Mr. Ohlsson was featured on 

Dvorak’s piano concerto in the Czech 

Philharmonic’s recordings of the composer’s 

complete symphonies & concertos, 

released July of 2014 on the Decca 

label. 

A native of White Plains, N.Y., Garrick 

Ohlsson began his piano studies at 

the age of 8, at the Westchester Conservatory 

of Music; at 13 he entered The 

Juilliard School, in New York City. His 

musical development has been influenced 

in completely different ways by a 

succession of distinguished teachers, 

most notably Claudio Arrau, Olga Barabini, 

Tom Lishman, Sascha Gorodnitzki, 

Photo by Bartek Sadowski 

Rosina Lhévinne and 

Irma Wolpe. Although 

he won First Prizes at 

the 1966 Busoni Competition 

in Italy and 

the 1968 Montréal 

Piano Competition, it 

was his 1970 triumph 

at the International 

Chopin Competition 

in Warsaw, where he 

won the Gold Medal 

(and remains the single American to 

have done so), that brought him worldwide 

recognition as one of the finest 

pianists of his generation. Since then 

he has made nearly a dozen tours of Poland, 

where he retains immense personal 

popularity. Mr. Ohlsson was awarded the 

Avery Fisher Prize in 1994 and received 

the 1998 University Musical Society Distinguished 

Artist Award in Ann Arbor, 

MI. He is the 2014 recipient of the Jean 

Gimbel Lane Prize in Piano Performance 

from the Northwestern University Bienen 

School of Music, and in August 2018 the 

Polish Deputy Culture Minister awarded 

him with the Gloria Artis Gold Medal for 

cultural merit. He is a Steinway Artist 

and makes his home in San Francisco. n 


ALL-BRAHMS PROGRAM 

Notes by Howard Posner 

Brahms likely composed his Sonata 

in F-sharp minor, along with four others, 

in 1852, when he was 19, but the first specific 

mention of it is in a November 1853 

letter in which he told Robert Schumann 

that he would “select the sonatas in C 

major and F-sharp minor to be [published 

as] my opus 1 and 2” now that his music 

was suddenly in demand. 

Schumann was the reason his music 

was suddenly in demand. Brahms had 

spent all of October in the Dusseldorf 

home of Robert and his wife Clara, who 

was then a mother of seven, manager of 

Robert’s affairs, and one of the best pianists 

in the world. Both Schumanns were 

entranced with the 20-year-old, recognizing 

him as a genius as soon as they heard 

him play his music. Even before Brahms 

left Dusseldorf, Robert, one of the more 

prominent musical journalists of the day, 

had written a short article for the Neue 

Zeitschrift für Musik that all but anointed 

Brahms as the next Beethoven, “who 

would bring us mastery not in gradual 

developments, but rather, like Minerva, 

spring fully armored from the forehead of 

Jove.” 

Brahms' Grave in the Central Cemetery, Vienna. Juliane Jacobs photo. 


11

“Sitting at the piano, he began to reveal 

wonderful regions. We were drawn into 

ever more magical spheres. There came 

about an entirely brilliant performance, 

that made the piano into an orchestra of 

lamenting and jubilant voices. There were 

sonatas, or rather veiled symphonies…” 

News of “Schumann’s young Messiah” 

spread quickly. Berlioz wrote a few 

weeks later of meeting “this diffident, 

audacious young man who has taken it 

into his head to make a new music. He 

will suffer greatly.” 

Indeed, the overnight stardom seems 

to have enhanced Brahms’ already acute 

faculty for self-criticism. Three of his 

five early piano sonatas never saw the 

light of day. The sonata on this program, 

which Brahms did not destroy, had to 

be one of the “veiled symphonies” that 

so impressed the Schumanns. It’s not 

hard to see why. Apart from the level of 

invention and mastery of technique, the 

sonata stands out for its sheer audacity. 

It explores expressive extremes, explores 

harmonies that would have been ultramodern 

in the 1850’s, and reshapes form. 

For example, in the turbulent first 

movement, the sense of turmoil is maintained 

even in places that were traditionally 

points of release, such as the beginning 

of recapitulation section, a revisiting 

of the movement’s opening that was expected 

to be a homecoming. In this sonata, 

it is another storm without a port. 

The second movement is a set of 

variations on a theme loosely based on 

an old German song. The scherzo that 

follows is a new treatment of the same 

theme, so the “A” section of the third 

movement’s ABA form is actually the 

fourth variation or the second movement. 

The epic finale is notable both for its 

wealth of ideas and for its adventurous 

use of dissonance. Brahms here uses 

the clash of semitones (an adjacent 

black and white key on the piano played 

simultaneously, for example) as part of 

the texture rather than a special event. 

The middle of the program offers 

works of Brahms’ maturity, or as he 

might have put it, decline. By 1891, he 

had convinced himself that he was in the 

autumn of his years, would not live much 

longer, and was at the end of his composing 

days. He would indeed succumb 

to liver cancer in six years, but he was far 

from played out. He would produce significant 

music, including the four chamber 

works with clarinet and his last piano 


pieces. He had written virtually no piano 

music in 13 years and, having now written 

four of the more important symphonies 

of his era, was not about to return 

to the “veiled symphony” piano sonatas 

that had made his reputation as a young 

man. The 20 pieces published as opus 

numbers 116–119, are relatively brief 

and introverted. They are all in ABA form, 

which makes them appear formally simple 

on the surface, however complex 

they actually are. The three intermezzi 

(with Brahms, a fairly uninformative title, 

which probably meant that he didn’t 

have strong feelings about what to call 

the piece) of opus 117 were published in 

1892; the six pieces of opus 118 in 1893. 

Your program tells you that the first 

intermezzo of opus 118 is in A minor, but 

take it with a grain of salt. There might 

be two actual A-minor chords in its 42 

measures, but mostly its harmonies drift 

without settling into any particular tonality, 

in a way that seems strikingly modern, 

or at least very Late Romantic. The 

piece is a signpost to the sort of music 

Vienna would be producing soon after: it 

would be only another six years before 

Arnold Schoenberg composed Verklärte 

Nacht. (Schoenberg himself saw Brahms 

as a forebear; he published an essay titled 

“Brahms the Progressive” in 1947.) 

The other five pieces are less surprising. 

The second is a sensuously lovely 

nocturne. The third is in the manner of 

scherzo with a lyrical middle section. 

The fourth displays Brahms’ lifelong 

love of cross-rhythms, pitting three-note 

groups against two-note groups in great 

proliferation. The fifth features a hymnlike 

melody in the outer sections and 

flighty arabesques in the middle section. 

The sixth is a dark journey in the dark key 

of E-flat minor. It focuses on one theme, 

with more than passing resemblance to 

the Dies Irae chant about judgment day 

from the Catholic Requiem Mass. The 

mood goes from sepulchral to heroic 

and back again. 

The three Intermezzi of opus 117 

have been described as a sequence of 

lullabies. Brahms made it obvious in 

the first one, at the head of which he 

had printed a quote from Johann Gottfried 

Herder’s 1779 collection Volkslieder: 

“Sleep softly my child, sleep softly 

and sweetly. It makes me so sad to see 

you cry.” Brahms notes that it is “Scottish,” 

which is more or less true: the 

words are from a song known as Lady 


13

Anne Bothwell’s Lament, so called because 

it includes some not-very-specific 

complaints about how the baby’s father 

treated the mother (any Scot would have 

known that Lord Bothwell married Lady 

Anne in Denmark, abandoned her and 

the baby in Flanders, then went on to 

abduct and marry Mary Queen of Scots, 

get driven out of Scotland, and spend his 

last decade in a dungeon in Denmark.) 

This particular Brahms lullaby has the 

lilting triple rhythm and drone bass of 

the sicilienne, long a cliché for lullabies 

and Nativity scenes. 

The second intermezzo is more tonally 

definite than the first piece of opus 

118, but it does not arrive in the home 

key of B-flat minor until the very end. 

Brahms described the third intermezzo 

as “the lullaby of all my griefs,” 

with moments of starkness and darkness, 

but a middle section of light. 

Brahms composed the Variations 

and Fugue on a Theme of Handel in 1861, 

when he was emerging from something 

of a downturn in a career that had been 

rising since he met the Schumanns. His 

first piano concerto had been badly received 

in 1859, as had a “manifesto” he 

had co-authored condemning the “New 

German School”—essentially, the followers 

of Liszt and Wagner—that had been 

leaked in 1860 while it was still being 

circulated among prominent German 

musicians for signatures. Brahms would 

avoid written polemics for the rest of his 

life, but he had put himself permanently 

at the head of the school of musicians 

who felt that the future of music lay in 

pure music: well-constructed forms that 

took Beethoven’s symphonies and sonatas 

as their model. The New German 

Schoolers also saw themselves as the 

heirs of Beethoven, but specifically the 

Beethoven of the Ninth Symphony’s choral 

celebration of brotherhood: following 

Wagner’s lead, they believed music 

needed to be about something other 

than itself, and the future lay in musical 

drama and programmatic tone poems. 

So it is no coincidence that a year 

after the fizzled manifesto, Brahms produced 

a major work in the very traditional 

variations and fugue form, on a theme 

by Handel, a revered master who had 

been dead for a century. (Brahms’ interest 

in older music was always unusual 

for the time. He was a collector of pre- 

Baroque music, gave public performances 

of works by Gabrieli and Schütz, and 


edited a published edition of Couperin’s 

music.) He gave the Handel Variations 

to Clara Schumann that September as a 

42nd birthday present, and she gave the 

first public performance in December. 

The piece was an unqualified success 

that even impressed Wagner. The 

one time he and Brahms met, in 1864, 

Brahms played it for him (which was a 

provocative thing to do, Wagner being the 

person most likely to disapprove of a set 

of variations), and Wagner remarked that 

it was an example of what could still be 

done with the old forms by someone who 

knew how to use them. It was the only 

nice thing he ever said about Brahms. 

The theme, from Handel’s suite in B- 

flat for harpsichord, is remarkable for its 

limitations: it consists of short, repetitive 

phrases and goes nowhere in particular. 

This would be a drawback in most 

contexts, but it works particularly well as 

the basis for a set of variations, which is 

how Handel used it in the suite. Brahms 

was thus one-upping one his idols in 

composing a vastly grander set of variations, 

an act of supreme confidence. 

Brahms’ treatment of the theme has 

its own limitations. It stays largely in B- 

flat major, with rare excursions to B-flat 

minor and G minor, and confines itself to 

the structure of Handel’s theme: two sentences 

of four measures, each repeated, 

although some variations have a writtenout 

varied repeat of one or both strains. 

And yet it explores a wealth of possibilities 

and styles. Most of them are pure 

Brahms, but there are some tributes to 

his forebears. Variation 11, with its 18thcentury-style 

arpeggiated “Alberti bass,” 

is Brahms doing Mozart. The perkily canonic 

variation 17 is Brahms doing Bach. 

The chimey French elegance of variation 

22 is Brahms doing Couperin. The epic 

fugue, with its insistent exploitation of 

the opening four-note figure, is Brahms 

doing Beethoven to bring the whole set 

to a powerful end. n 

Notes © 2019, Howard Posner 


15


Anne-Sophie Mutter 

Esa-Pekka Salonen 

Santa Barbara Band 

Community Arts String Orchestra 

CAMA’S CENTENNIAL 

100 th and 101 st SEASONS 

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Please contact either Elizabeth Alvarez or Nancy Lynn 

at (805) 966-4324 to learn more. 

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Lisa-Marie MAzzucco photo 

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I send you my heartiest 

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—ITZHAK PERLMAN, CO-CHAIR, 

CAMA CENTENNIAL 

HONORARY ARTISTS COUNCIL 

centennial honorary artists council 

Itzhak Perlman 

honorary co-chair 


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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 



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. 


21


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! 


23

MUSIC EDUCATION 

$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 



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 



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 


25

MUSIC EDUCATION PROGRAM 

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 


Esperia Foundation 

The Stephen & Carla Hahn 




The Samuel B. & Margaret C. 

Mosher Foundation 

Sage Publications 

The Elaine F. Stepanek 


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 


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 



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 



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 

As of February 14, 2019 


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 


The Walter J. & Holly O. Thomson 


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 



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 


27

Saturday, March 30, 2019—Garrick Ohlsson plays Brahms—CAMA's Masterseries at The Lobero Theatre, Santa Barbara

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