SATURDAY, MARCH 30, 2019, 8:00 PM
CAMA's Masterseries at The Lobero Theatre
Season Sponsorship: Esperia Foundation
Garrick Ohlsson, piano
ALL-BRAHMS PROGRAM:
Piano Sonata No.2 in F-sharp minor, Op.2
6 Klavierstücke, Op.118
3 Intermezzi, Op.117
Variations and Fugue on a Theme by Handel, Op.24
Since his triumph at the 1970 Chopin Piano Competition, Garrick Ohlsson has established himself worldwide as one of the great American piano masters of the past 50 years, a musician of magisterial interpretive and technical prowess. Though long regarded as a leading exponent of the music of Frédéric Chopin, he commands an enormous repertoire, including more than 80 concertos ranging from Haydn and Mozart to works of the 21st Century. He returns to the Lobero for an all-Brahms recital on the heels of his virtuosic
March 2017 performance for CAMA of the Brahms Piano Concerto No.2 with the St. Petersburg Philharmonic.
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G A R R I C K O H L S S O N
piano
Photo by Dario Acosta
Saturday, March 30, 2019, 8:00 PM
Lobero Theatre, Santa Barbara
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OHLSSON
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CAMA AT THE LOBERO THEATRE - GARRICK OHLSSON
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6 CENTENNIAL SEASON CELEBRATION
Johannes
Brahms
masterseries at THE LOBERO THEATRE
SEASON SPONSORSHIP: ESPERIA FOUNDATION
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
Exclusive Management: Opus 3 Artists • 470 Park Avenue South • 9th Floor North • New York NY 10016
CAMA thanks our generous sponsors who have made this evening’s performance possible:
Masterseries Season Sponsor: Esperia Foundation
Co-Sponsors
Anonymous • Stephen J.M. & Anne Morris • The CAMA Women's Board
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.
CAMA AT THE LOBERO THEATRE - GARRICK OHLSSON
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
8 CENTENNIAL SEASON CELEBRATION
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
CAMA AT THE LOBERO THEATRE - GARRICK OHLSSON
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
10 CENTENNIAL SEASON CELEBRATION
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.
CAMA AT THE LOBERO THEATRE - GARRICK OHLSSON
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
12 CENTENNIAL SEASON CELEBRATION
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
CAMA AT THE LOBERO THEATRE - GARRICK OHLSSON
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
14 CENTENNIAL SEASON CELEBRATION
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
CAMA AT THE LOBERO THEATRE - GARRICK OHLSSON
15
Presenting the world’s finest classical artists since 1919
Anne-Sophie Mutter
Esa-Pekka Salonen
Santa Barbara Band
Community Arts String Orchestra
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Renée Fleming
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London Philharmonic
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Jill Doré Kent
ALLEGRO
$2,500–$4,999
Helene & Jerry Beaver
Shelley & Mark Bookspan
Bob Boghosian &
Beth Gates Warren
Suzanne & Peyton Bucy
Roger & Sarah Chrisman, Schlinger
Chrisman Foundation
Fredericka & Dennis Emory
Ronald & Rosalind A. Fendon
Mary & Raymond Freeman
Priscilla & Jason Gaines
Dorothy & John Gardner
Shirley Ann & James H. Hurley, Jr.
William H. Kearns Foundation
Connie & Richard Kennelly
Mahri Kerley/Chaucer's Books
Chris Lancashire &
Catherine Gee
Raye Haskell Melville
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
Santa Barbara Foundation
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.
CAMA AT THE LOBERO THEATRE - GARRICK OHLSSON
19
Presenting the world’s finest classical artists since 1919
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
Joanne C. Holderman
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
Santa Barbara Foundation
Anitra & Jack Sheen
Barbara & Wayne Smith
Marion Stewart
Milan E. Timm
Mark E. Trueblood
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
20 CENTENNIAL SEASON CELEBRATION
Presenting the world’s finest classical artists since 1919
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
George & Judy Writer
Rondo Level $100–$500
Anonymous (2)
Bridget B. Colleary
Edward DeLoreto
Karin Nelson & Eugene Hibbs, Jr.
and Maren N. Henle
Joanne C. Holderman
Lois Kroc
Ellen & Craig Parton
Andre & Michele Saltoun
Barbara & Sam Toumayan
Nancy & Byron Kent Wood
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.
CAMA AT THE LOBERO THEATRE - GARRICK OHLSSON
21
Presenting the world’s finest classical artists since 1919
CENTENNIAL
BIRTHDAY BASH
FREE TO THE COMMUNITY
This event is made possible through the generous support of
SAGE Publishing
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!
22 CENTENNIAL SEASON CELEBRATION
Presenting the world’s finest classical artists since 1919
OUR BUSINESS PARTNERS
Serving the public at the May 19 event!
CAMA AT THE LOBERO THEATRE - GARRICK OHLSSON
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
William H. Kearns Foundation
Stefanie L. Lancaster Charitable Foundation
Sara Miller McCune
Mr. & Mrs. Frank R. Miller, Jr. /
The Henry E. & Lola Monroe Foundation
Performing Arts Scholarship Foundation
Westmont College
$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
Carolyn & Dennis Naiman
David Malvinni
Carolyn & Dennis Naiman
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
Bridget Colleary
Cornelia Chapman
Ellicott Million
Dr. Eric Boehm
Judy Pochini
Michael Towbes
Bridget B. Colleary
Gerd & Peter Jordano
Else (Leinie) Schilling Bard
Joanne C. Holderman
Frederica Vogle Burrows
Linda Stafford Burrows
Professor Frederick F. Lange
MaryAnn Lange
Harold M. Williams
Nancy Englander
Sybil Mueller
Lynn P. Kirst
Dr. Robert Sinsheimer
& Karen Sinsheimer
Bob Boghosian &
Beth 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
Bridget B. Colleary
24 CENTENNIAL SEASON CELEBRATION
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
Montecito Bank & Trust
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
Performing Arts Scholarship
Foundation
Pete Clements Catering
Presqu’ile Winery
Regent Seven Seas Cruises
Renaud's Patisserie & Bistro
Rose Story Farm
Sabine Myers Design
SAGE Publishing
Santa Barbara Choral
Society
Santa Barbara Foundation
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 AT THE LOBERO THEATRE - GARRICK OHLSSON
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
Foundation
Esperia Foundation
The Stephen & Carla Hahn
Foundation
Judith L. Hopkinson
Herbert & Elaine Kendall
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
Sara Miller McCune
The Wood-Claeyssens
Foundation
Patricia & Joseph Yzurdiaga
RUBY
$100,000—$249,999
Anonymous
The Adams Family Foundation
Joan C. Benson
Deborah & Peter Bertling
Virginia Castagnola-Hunter
NancyBell Coe & William Burke
Robert & Christine Emmons
Mary & Raymond Freeman
Raye & Melville H. Haskell, Jr.
Hollis Norris Fund
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
Jocelyne & William Meeker
Mr. & Mrs. Frank R. Miller, Jr./
The Henry E. & Lola Monroe
Foundation
Montecito Bank & Trust
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
Nancy & Byron Kent Wood
George & Judy Writer
EMERALD
$50,000—$99,999
Anonymous
Anonymous
Anonymous
Ruth Appleby
Linda & Peter Beuret
Edward & Sue Birch
Dan & Meg Burnham
Louise & Michael Caccese
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
Joanne C. Holderman
Natalia & Michael Howe
Hutton Parker Foundation
Ellen & Peter Johnson
Lynn P. Kirst & Lynn R. Matteson
Lois Sandra Kroc
Betty & Max Meyer
Stephen J.M. & Anne Morris
Craig & Ellen Parton
Austin H. Peck
Performing Arts Scholarship
Foundation
Marjorie & Hugh Petersen/
La Arcada Trust Corp
Diana & Roger Phillips
Kathryn H. Phillips
Theodore Plute & Larry Falxa
Lady Leslie & Viscount Paul
Ridley-Tree
Barbara & Sam Toumayan
TOPAZ
$25,000—$49,999
Barbara & Edward Bakewell
Helene & Jerry Beaver
Bob Boghosian &
Beth Gates Warren
Alison & Jan Bowlus
Helen & Andrew Burnett
Elizabeth & Andrew Butcher
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
Elizabeth Karlsberg &
Jeff Young
William H. Kearns Foundation
Jill Doré Kent
As of February 14, 2019
26 CENTENNIAL SEASON CELEBRATION
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
Linda Stafford Burrows
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
Westmont College
AMETHYST
$10,000—$24,999
Anonymous
Rebecca & Peter Adams
Christina & David Allison
Peggy & Kurt Anderson
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
Dorothy & John Gardner
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
Performing Arts Scholarship
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
Mark E. Trueblood
Steven Trueblood
Drs. Shirley & Kenneth Tucker
Barbara & Gary Waer
Lisa Bjornsen Wolf &
David Russell Wolf
Ann & Dick Zylstra
*promised
CAMA AT THE LOBERO THEATRE - GARRICK OHLSSON
27
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