Friday, April 5, 2019—CAMA Presents Royal Scottish National Orchestra—International Series at The Granada Theatre—Santa Barbara, CA—8:00 PM

Presenting the world’s finest classical artists since 1919 

ince 1919 

2018/2019 | 100TH CONCERT SEASON 

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC

INTERNATIONAL SERIES 

AT THE GRANADA THEATRE 

SEASON SPONSORSHIP: SAGE PUBLISHING 

ROYAL SCOTTISH 

NATIONAL ORCHESTRA 

Photo by Martin Bubandt 

Thomas Søndergård, Music Director 

Olga Kern, piano 

Friday, April 5, 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 

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Concert Fund 

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C. Mosher Foundation 

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Performing Arts, a field 

interest fund of the 

Santa Barbara Foundation 

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4 CENTENNIAL SEASON CELEBRATION 

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CAMA AT THE GRANADA THEATRE - ROYAL SCOTTISH NATIONAL ORCHESTRA 

5


BOARD OF DIRECTORS 

ROBERT K. MONTGOMERY President 

DEBORAH BERTLING First Vice-President 

CRAIG A. PARTON Second Vice-President 

Rosalind Amorteguy-Fendon 

Marta Babson 

Isabel Bayrakdarian 

Bitsy Becton Bacon 

Edward Birch 

Jan Bowlus 

Daniel P. Burnham 

Stephen Cloud 

NancyBell Coe 

Bridget B. Colleary 

Jill Felber 

Joanne C. Holderman 


WILLIAM MEEKER Treasurer 

JOAN R. CROSSLAND Secretary 

James H. Hurley, Jr. 

Elizabeth Karlsberg 


George Messerlian 

Stephen J.M. (Mike) Morris 

Patti Ottoboni 

Andre M. Saltoun 

Judith F. Smith 

Judith H. Writer 

Catherine Leffler, 

President, CAMA Women’s Board 

As of March 25, 2019 

Emeritus Directors 

Russell S. Bock* 

Dr. Robert M. Failing* 

Mrs. Maurice E. Faulkner* 

Léni Fé Bland* 

Arthur R. Gaudi 

Stephen Hahn* 

Dr. Melville H. Haskell, Jr.* 

Mrs. Richard Hellmann* 

Dr. Dolores M. Hsu 

Herbert J. Kendall 

Robert M. Light* 

Mrs. Frank R. Miller, Jr.* 


Mary Lloyd Mills 

Mrs. Ernest J. Panosian* 

Kenneth W. Riley* 

Mrs. John G. Severson* 

Nancy L. Wood 

* Deceased 

Administration 

Mark E. Trueblood 

Executive Director 

Elizabeth Alvarez 

Director of Development 

Michael Below 

Office Manager/ 

Subscriber Services 

Justin Rizzo-Weaver 

Director of Operations 

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

6 CENTENNIAL SEASON CELEBRATION

Anton 

Bruckner 

JEAN SIBELIUS SERGEI RACHMANINOFF SERGEI PROKOFIEV 

INTERNATIONAL SERIES at the GRANADA THEATRE 




Thomas Søndergård, Music Director 

Olga Kern, piano 

Friday, April 5, 2019, 8:00 PM 

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

JEAN SIBELIUS 

(1865–1957) 

Symphony No.7 in C major, Op.105 

SERGEI 

RACHMANINOFF Rhapsody on a Theme of Paganini, Op.43 

(1873–1943) OLGA KERN, piano soloist 

INTERMISSION 

SERGEI PROKOFIEV Symphony No.5 in B-flat major, Op.100 

(1891–1953) 

Program subject to change. 

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

International Series Season Sponsor: SAGE Publishing 

Sponsor 


Co-Sponsors 

Anonymous • Bob & Val Montgomery • Hubert Vos • George & Judy Writer 

Tour Produced by and Orchestra Represented by 

COLUMBIA ARTISTS MANAGEMENT LLC 

Tim Fox, President & Alison Ahart Williams, Senior Vice President 

Douglas Sheldon, Senior Vice President & Stefana Atlas, Senior Vice President 

Olga Kern is a Steinway Artist. 

Olga Kern records exclusively for Harmonia Mundi. 

Olga Kern’s dresses are designed by Alex Teih. 

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

R 

OYAL SCOTTISH 


The Royal Scottish National Orchestra is 

Scotland’s national symphonic ensemble 

and is one of the country’s five National 

Performing Companies. Formed 

in 1891 as the Scottish Orchestra, the 

company became the Scottish National 

Orchestra in 1950, and was awarded Royal 

Patronage in 1991. Throughout its history, 

the Orchestra has played an integral 

part in Scotland's musical life, including 

performing at the opening ceremony 

of the Scottish Parliament building in 

2004. Many renowned conductors have 

contributed to its success, including 

George Szell, Sir John Barbirolli, Walter 

Susskind, Sir Alexander Gibson, Neeme 

Järvi, Walter Weller, Alexander Lazarev 

and Stéphane Denève. In 2012 the RSNO 


8

welcomed British-Canadian musician 

and conductor Peter Oundjian as its latest 

Music Director and Danish conductor 

Thomas Søndergård as Principal Guest 

Conductor. 2012 also saw the appointments 

of two new Leaders, James Clark 

and Maya Iwabuchi. 

The RSNO performs across Scotland, 

including concerts in Glasgow, Edinburgh, 

Dundee, Aberdeen, Perth and Inverness. 

The Orchestra appears regularly at the 

Edinburgh International Festival and at the 

BBC Proms at London’s Royal Albert Hall. 

Recent appearances in England have included 

performances at Manchester’s 

Bridgewater Hall, Leeds Town Hall, The 

Sage, Gateshead and at The Sands Centre, 

Carlisle. In 2012 it undertook a weeklong 

residency in Shetland as part of the 

Cultural Olympiad, providing the most 

northerly UK cultural activity leading up 

to the 2012 Olympic Games. The RSNO 

regularly appears at the St Magnus Festival, 

Orkney, and has made recent tours 

to France, Germany, Spain, Austria, the 

Netherlands, Luxembourg and Serbia. In 

December 2012 and January 2013 the Orchestra 

undertook its first mainland Asia 

visit with a hugely successful tour of China 

with Peter Oundjian. 

The Orchestra is joined for choral 

performances by the RSNO Chorus, 

directed by Timothy Dean. The RSNO 

Chorus evolved from a choir formed in 

1843 to sing the first full performance 

of Handel’s Messiah in Scotland. Today, 

the RSNO Chorus is one of the most distinguished 

large symphonic choruses 

in Britain, with a membership of around 

160. The Chorus has performed nearly 

every work in the standard choral repertoire 

along with contemporary works by 

renowned composers, including John 

Adams, Magnus Lindberg, Howard Shore 

and James MacMillan. 

The acclaimed RSNO Junior Chorus, 

formed in 1978 by Jean Kidd, also performs 

regularly alongside the Orchestra. 

Since 1994 it has been directed by popular 

Chorus Director, Christopher Bell, and 

has expanded its membership to almost 

300, with members aged from eight to 

eighteen. It has built up a considerable 

reputation singing under some of the 

world’s most distinguished conductors 

and appearing on radio and television. 

The RSNO has a worldwide reputation 

for the quality of its recordings, receiving 

two Diapason d'Or de l'année Awards for 

Symphonic Music (Denève/Roussel 2007; 


9

Denève/Debussy 2012) and eight Grammy 

Award nominations over the last decade. 

Over 200 releases are available, including 

the complete symphonies of Sibelius 

(Gibson), Prokofiev (Järvi), Glazunov (Serebrier), 

Nielsen and Martinů (Thomson), 

Roussel (Denève) and the major orchestral 

works of Debussy (Denève). 

The RSNO’s Learning and Engagement 

team deliver progressive participatory 

music-making activities across 

Scotland, from Selkirk to Shetland, working 

with all ages and abilities. With a program 

of activity available for new-borns 

and onwards, the team are committed 

to delivering the highest quality workshops 

as well as nurturing and developing 

new talent. From schools and nursery 

concerts, to community workshops 

and annual residencies during which the 

Orchestra embeds itself at the center 

of Scottish communities, the team connects 

the Orchestra, its music and musicians 

with the people of Scotland. n 

THOMAS 

SØNDERGÅRD 

Danish conductor Thomas Søndergård 

is Music Director of Royal Scottish National 

Orchestra, after six seasons as 

Principal Guest Conductor. He served 

as Principal Conductor of BBC National 

Orchestra of Wales (BBCNOW) from September 

2012 – August 2018, and prior to 

this, as Principal Conductor and Musical 

Advisor of the Norwegian Radio Orchestra 

for three seasons. 

Thomas has conducted many leading 

orchestras, including London Philharmonic 

Orchestra, BBC Symphony, 

Royal Concertgebouw Orchestra, London 

Symphony Orchestra, Philharmonia 

Orchestra, Oslo Philharmonic Orchestra, 

Göteborgs Symfoniker, Danish National 

Symphony Orchestra, Royal Stockholm 

Philharmonic and Gewandhausorchester 

Leipzig, WDR Sinfonieorchester Köln, 

Deutsches Symphonie-Orchester Berlin, 

photo by © Mark Hamilton 


10

Mahler Chamber Orchestra, Bamberger 

Symphoniker; leading tours with 

Junge Deutsche Philharmonie and European 

Union Youth Orchestra; Rotterdam 

Philharmonic Orchestra, Nederlands 

Philharmonisch Orkest, Orchestre 

Philharmonique du Luxembourg, Brussels 

Philharmonic; Swedish Radio Symphony 

Orchestra, Orchestre National d'Ile 

de France; Toronto Symphony Orchestra, 

Atlanta Symphony Orchestra, Vancouver 

Symphony Orchestra, Houston Symphony 

and Seattle Symphony Orchestra. 

The 2018/19 season includes his debuts 

with Chicago Symphony Orchestra 

joined by Alexander Gavrylyuk, New Zealand 

Symphony Orchestra, Helsinki Philharmonic 

Orchestra, Orchestre National 

de France and Tapiola Sinfonietta. He 

makes return visits to Atlanta Symphony 

Orchestra, Toronto Symphony Orchestra, 

BBC National Orchestra of Wales, Danish 

National Symphony Orchestra, the 

orchestra of the Royal Danish Academy 

Copenhagen, Swedish Radio Symphony 

Orchestra, Bayerische Staatsoper (Turandot) 

and Deutsche Oper Berlin (Berlioz’s 

Romeo and Juliet). Plans with 

RSNO include tours to China and the 

United States, premieres of new commissions 

and Marsalis’ Violin Concerto with 

Nicola Benedetti. 

Recent highlights include debuts 

with Rundfunk Sinfonieorchester Berlin, 

Bern Symphony Orchestra, Gurzenich- 

Orchester Köln, SWR Baden-Baden, Orchestre 

Philharmonique de Strasbourg 

and return visits to Sydney Symphony 

Orchestra, Orchestre National du Capitole 

de Toulouse and the revival of The 

Magic Flute with Norwegian Opera. 

A passionate supporter of the music 

of Carl Nielsen, his most recent programme 

with Swedish Radio Symphony 

Orchestra (Symphony No.5) received 

wide praise as “equal of the great pioneers 

of Nielsen interpretation… It’s 

harder to imagine a finer performance of 

this remarkable symphony” (Dagens Nyheter). 

As part of the 2015 anniversary 

celebrations of both Sibelius and Nielsen 

he conducted a wide variety of works by 

these two composers with many leading 

orchestras. In 2019 he will participate in 

a special concert to celebrate Nielsen’s 

work with the Royal Danish Academy of 

Music Copenhagen. 

Thomas is also an experienced opera 

conductor at home in mainstream 

and contemporary repertoire. Previous 


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opera includes Bayerische Staatsoper 

(Turandot), Norwegian Opera (Die Zauberflöte), 

Deutsche Oper Berlin (world 

premiere of Scartazzini's Edward II) and 

Tosca, Turandot (Nina Stemme) and Les 

dialogues des Carmelites for Kungliga 

Operan (Royal Swedish Opera). He was 

described as “a sensation” at his debut 

with the Royal Danish Opera conducting 

Ruders’ opera Kafka’s Trial: “He is one of 

the best things that has happened to the 

art of opera for many years” and subsequent 

productions there have included Il 

barbiere di Siviglia, Le Nozze di Figaro, La 

bohème, Cunning Little Vixen and Il viaggio 

a Reims. 

Releases with BBCNOW include Sibelius 

Symphonies 1, 2, 6 & 7 and most 

recently a disc which shines light on Sibelius’ 

tone poems and theatre music, 

featuring Finlandia and Valse Triste (Linn 

Records). Other noteworthy recordings 

include Vilde Frang’s celebrated first recording 

for EMI, and Ruders’ Piano Concerto 

No.2 on Bridge Records which was 

nominated for a Gramophone Award in 

2011. In 2011 he was awarded the prestigious 

Queen Ingrid Foundation Prize for 

services to Music in Denmark. Due for 

release shortly are the Lutoslawski and 

Dutilleux cello concertos with Johannes 

Moser and Rundfunk Sinfonieorchester 

Berlin for Pentatone. n 

OLGA KERN piano 

Russian-American pianist Olga Kern is 

now recognized as one of her generation’s 

great pianists. She jumpstarted her 

U.S. career with her historic Gold Medal 

win at the Van Cliburn International Piano 

Competition in Fort Worth, Texas as 

the first woman to do so in more than 

thirty years. 

First prize winner of the Rachmaninoff 

International Piano Competiphoto 

by © Chris Lee 


12

tion at seventeen, Ms. Kern is a laureate 

of many international competitions. In 

2016 she served as Jury Chairman of 

both the Seventh Cliburn International 

Amateur Piano Competition and the 

first Olga Kern International Piano Competition, 

where she also holds the title 

of Artistic Director. Ms. Kern frequently 

gives masterclasses and since September 

2017 has served on the piano faculty 

of the prestigious Manhattan School 

of Music. 

For the 2018-19 season, Kern will 

perform with the Moscow Philharmonic, 

Santa Fe Symphony, and the St. Louis 

Symphony, as well as opening Pacific 

Symphony’s season. Olga will also be 

featured soloist with the Royal Scottish 

National Orchestra, both in Glasgow, and 

on their Spring 2019 US tour. She will appear 

in recitals in Chicago, Dallas, Detroit, 

Southern California, Zurich, and Milan. 

In recent seasons, Kern served as 

Artist in Residence for the San Antonio 

Symphony's 2017-18 season , had her 

Chinese debut with the National Youth 

Orchestra of China tour, performed concerts 

with Detroit Symphony, Pacific 

Symphony, Colorado Symphony, the 

State of Mexico Symphony Orchestra, 

Stuttgart Philharmonic, Tivoli Symphony 

Orchestra, and La Jolla Music 

Festival, and recitals in Santa Fe, New 

Haven, Scottsdale, and San Francisco. 

Ms. Kern opened the Baltimore Symphony's 

2015-2016 centennial season 

with Marin Alsop. Other season highlights 

included returns to the Royal 

Philharmonic with Pinchas Zukerman, 

Orchestre Philharmonique de Nice with 

Giancarlo Guerrero, a month-long tour 

of South Africa for concerts with the 

Cape and KwaZulu Natal philharmonics, 

an Israeli tour with the Israel Symphony, 

solo recitals at Sarasota's Van Wezel 

Hall, New York's 92nd Street Y, and the 

University of Kansas' Lied Center, and 

recitals with Renée Fleming in Carnegie 

Hall and Berkeley. 

Ms. Kern’s discography includes her 

Grammy Nominated recording of Rachmaninoff’s 

Corelli Variations and other 

transcriptions (2004), Brahms Variations 

(2007) and Chopin Piano Sonatas 

Nos.2 and 3 (2010). She was featured in 

the award-winning documentary about 

the 2001 Cliburn Competition, Playing 

on the Edge. n 


13

JEAN SIBELIUS 

Born December 8, 1865, 

in Hameenlinna (Tavastehus) 

Died September 20, 1957, 

in Jarvenpaa, near Helsinski 

Symphony No.7, Op.105, C major 

Sounds of nature pervade Sibelius’ orchestral 

works: the calls of swans and 

cranes, or wind rustling through leaves 

and screaming through pine-tops. But 

Sibelius looked deeper, to the very processes 

of the natural world, for inspiration. 

Rivers fascinated him: ‘I should 

like to compare the symphony to a 

river’, he wrote in his diary in 1912. ‘It 

is born from various rivulets that seek 

each other and in this way the river proceeds 

wide and powerful toward the 

sea.’ ‘But where do we get the water’, 

he asks? Another entry provides an answer: 

‘The musical thoughts – the motives, 

that is – are the things that must 

create the form and stabilise my path.’ 

In jottings like this, Sibelius was 

clearly trying to define something that 

he had already begun to notice in his 

own music. In the slow movement of 

his Fourth Symphony (1911) his ‘musical 

thoughts’ had led him to create 

a new kind of form – one could call it 

‘variations in search of a theme’. Then 

in the Fifth (1914-19) Sibelius arrived at 

a still more original idea: a moderately 

paced first movement which builds up 

momentum like a river approaching rapids, 

eventually boiling over into a thrilling 

accelerating scherzo. But it was with 

the Seventh Symphony (1924) that this 

process of fusing separate ‘movements’ 

into a single, organic unity was to reach 

its ultimate expression. 

The most immediately striking feature 

of the Seventh Symphony - apart 

from its famous, noble trombone theme 

- is that it is in one continuous move- 

CAMA AT THE GRANADA THEATRE - PHILHARMONIA ORCHESTRA 

14

ment. Granted Sibelius wasn’t the first 

composer to attempt a symphonic 

structure in one movement. There 

was already a magnificent example in 

Schoenberg’s First Chamber Symphony 

(1906). In the Schoenberg, however, it 

is easy to pick out sections which resemble 

the traditional symphonic first 

movement, scherzo, slow movement 

and so on. Sibelius’ Seventh follows a 

different, much more river-like course. 

The speed and character of the music 

change frequently, but the different sections 

(if ‘sections’ is the right word) are 

so skillfully dovetailed that it is virtually 

impossible to say where one begins and 

another ends. 

Arriving at this radical new kind of 

symphonic structure was a struggle. 

And when Sibelius had finished it, he 

was suddenly overcome with doubt: 

had he gone too far this time – was 

this really a ‘symphony’ at all? When 

the work first appeared in 1924, Sibelius 

cautiously gave it another title, 

Fantasia Sinfonica. But the work’s success 

gave him courage, and Sibelius 

was soon referring to it as ‘the Seventh 

Symphony’. 

The Symphony’s originality becomes 

obvious as soon as one tries to 

describe its form: one could say that 

three Adagio sections - each centred on 

the magnificent trombone theme mentioned 

above – merge into and emerge 

from two faster episodes. But even that 

is too simple. At the very beginning, after 

the expectant rising string scale that 

starts the process, the woodwind, horn 

and string phrases seem initially to be 

moving at slightly different speeds – 

like objects borne along on the different 

currents and eddies of a great river. 

After the trombone theme makes its 

climactic appearance, the initial Adagio 

gradually mutates into a rapid, scherzo-like 

Vivacissimo. But then the dancing 

string figures begin to move more 

smoothly, and the trombone theme 

is heard again, now in the minor. The 

strings still seem to be moving quite 

fast, but the trombone theme retains 


its original monumental grandeur – to 

borrow an image from Sibelius’ sketchbook, 

it is like seeing the moon through 

swirling storm-clouds. 

After this moment of vision, the 

music surges on into an Allegro molto 

moderato. This seems steady enough 

for a while, but then comes a pause, 

and a sudden gear-change (the only 

one in the entire Symphony): leading 

to a long Presto crescendo powered 

by driving string figures and the rising 

scale that began the symphony (now 

on horns). Through these the trombone 

theme returns in full, this time 

in the original sunlit C major. There is 

an elemental climax, then the clouds 

vanish and high strings initiate a slow, 

chorale-like winding down. A brief 

reminiscence of the trombone theme 

leads to a moment of hush (woodwind 

and strings), before the music settles 

firmly in C major for the rock-like final 

cadence. 

© Stephen Johnson 


16

SERGEI 

RACHMANINOFF 

Born April 1, 1873 in Semyonovo 

Died March 28, 1943 in Beverly Hills 

Rhapsody on a Theme 

of Paganini, Op.43 

The inspiration 

Rachmaninov’s 1934 Rhapsody consists 

of 24 variations on a pithy but 

memorable tune by 18th-century Italian 

violinist Nicolò Paganini (1782- 

1840): his 24th Caprice for solo violin 

— itself a theme with variations. Rachmaninov 

was not the first to see the 

melody's potential for further invention, 

with Brahms and Liszt both basing 

virtuoso piano works on it, and when 

the choreographer Michael Fokine suggested 

to him that they collaborate on 

a ballet, Rachmaninov pushed hard for 

the Rhapsody, elaborating on his own 

imagined visual scenario: ‘Consider 

the Paganini legend – about the sale 

of his soul to the evil spirit in exchange 

for perfection in art, and for a woman. 

All variations on the Dies Irai would be 

for the evil spirit.’ 

The music 

There is certainly a devilish quality 

about the opening, presenting in skeletal, 

mysterious form the bare ‘bones’ of 

Paganini’s tune. After this first variation 

the theme itself is heard plainly on the 

violins, sharpened by some initial brittle 

notes from the soloist. The piano then 

resumes the variations, rudely pinging 

out the first phrases of the theme before 

dashing away in exuberant scales. 

Rachmaninov now begins to totally 

break down Paganini’s tune, often exploiting 

stark contrasts of texture and 

technique between piano and orchestra. 

One moment, the soloist plays a nonchalant, 

almost lazy foil to a feverishly chat- 


tering woodwind section – while in the 

next, it is full of elfin humour and impatient 

rushings over sober strings. Much 

of the dramatic impetus comes from 

the juxtaposition of the Paganini music 

with a tune based on the medieval Dies 

Irai plainchant; this first appears in the 

seventh variation in the piano’s sober, 

somehow monastic chords, with doleful 

commentary from a bassoon. 

The piece is notable not only for 

Rachmaninov’s tireless, febrile creativity 

with his material, but also for the 

orchestral variety and colour. In the demonic 

ninth variation, for example, the 

strings conjure unearthly sounds from 

the wooden edge of their bows joined 

by nasty, cheeping woodwinds, and then 

an anxiously tapping cymbal. Effects of 

the greatest delicacy abound too; when, 

out of a silence, single plucked violin 

tones begin to tread forward, a gently 

poised minuet begins, featuring yearning 

solos from clarinet, horn and cellos. 

The actual methods by which Rachmaninov 

varies the theme are often disarmingly 

simple; the tune of the muchloved 

eighteenth variation is formed 

by merely turning the first five notes 

of the Paganini theme upside down! 

SERGEI 

PROKOFIEV 

© Robin Versteeg 

Born April 23, 1891 in Sontzovka, Ukraine 

Died March 5, 1953 in Moscow 

Symphony No.5, Op.100, 

B-flat major 

In 1936 Prokofiev, with his family, made 

a final return to the Soviet Union to settle 

for good. While he had the undoubted 

satisfaction of being at home in his 

native land, with the added stimulus 

of the fellowship of his countrymen after 

years of wandering, the remaining 

17 years of his life were far from easy. 

Prokofiev’s return coincided with some 

difficult times in the musical and artistic 

life of the Soviet Union, from which 

his emeritus status was by no means 

a guarantee of protection. But despite 

these difficulties in working circumstances 

and the reception of compositions, 

there were also stimulating times 

for the composer. In the late 1930s Prokofiev 

began his historic collaboration 

with the film director Sergey Eisenstein 

and a remarkably successful encounter 

with socialist realism in the Cantata for 

the Twentieth Anniversary of the October 

Revolution (1937), even if the work was 


not deemed sufficiently socialist or realist 

by the authorities. 

The early 1940s were marked by 

personal misfortune for Prokofiev. In 

Spring 1941 he had a number of heart 

attacks. Along with his physical disability 

came the dissolution of his marriage 

and evacuation to the remoter parts of 

the Soviet Union as part of a policy to 

remove the artistic community from the 

immediate effects of the War. But these 

were also productive years in which he 

composed the monumental opera based 

on Tolstoy’s War and Peace and the ballet 

Cinderella. 

The same period of difficulty and 

constraint saw the composition of the 

Fifth Symphony in B flat. It was composed 

in 1944 and premiered on 13 January 

1945 with Prokofiev conducting - his 

last public performance. The success 

which greeted the unveiling of this work 

was very much the high summer of the 

composer’s career in the Soviet Union. 

The enthusiastic reception was genuine 

and heartfelt, and the Symphony has 

maintained a hold on the repertoire both 

in Russia and abroad. The contemporary 

fate of the Symphony stood in marked 

contrast to Prokofiev’s next attempt at 

the genre. The Sixth Symphony, along 

with Shostakovich’s Eighth, was branded 

as ‘formalist’. And 1948 saw the widespread 

condemnation of much of the 

composer’s work and his gradual retreat 

from public life. 

Prokofiev was well aware of the significance 

of his Fifth Symphony. In an 

introduction to a broadcast of the work 

in 1945 he mentioned that it was his first 

work in the genre for 16 years. He went 

on to say that he conceived it as an expression 

of ‘the greatness of the human 

spirit’. That his view of the ‘human spirit’ 

was clearly optimistic is evident from 

the prevalent tone of the score, most 

especially in the final movement. But 

occasional moments of darkness and 

introspection indicate a rounded view 


19

of humanity in what must be considered 

one of Prokofiev’s most successful 

works. 

The gentle lyrical opening generates 

much of the material of the first movement, 

including some vigorous development. 

The broad return of the main theme 

leads to a grand, march-like peroration. 

While the first movement breathes the air 

of joyful aspiration, the scherzo-like second 

communicates through its charm 

and wit; its graceful central section has 

clear affinities with the music for Cinderella, 

composed shortly before the 

Symphony. The Adagio continues in the 

same vein of sustained lyricism, with the 

brief tension of the middle section giving 

way to a grand and dignified climax. The 

Finale begins modestly enough, with 

some delicately orchestrated introductory 

gestures before the violas introduce 

the body of the movement. The breezy 

main theme appears first in the clarinet 

before it is taken up by the other sections 

of the orchestra. The prevalent tone is 

light and understated, with Prokofiev 

keeping the full force of the orchestra in 

check apart from occasional moments 

of development. The end comes abruptly 

after some strangely comic cadence 

gestures from an orchestra reduced 

to soloists. n 


Thomas Sondergard Conductor 

Olga Kern Piano 

1 ST VIOLIN 

Maya Iwabuchi 

Leader 

Emily Davis 

Tamás Fejes 

Assistant Leader 

Lena Zeliszewska 

Patrick Curlett 

Barbara Paterson 

Jane Reid 

Caroline Parry 

Ursula Heidecker Allen 

Tania Passendji 

Elizabeth Lloyd 

Lorna Rough 

Susannah Lowdon 

Alan John 

2 ND VIOLIN 

Xander van Vliet 

Principal 

Jacqueline Speirs 

Jessica Ling 

Marion Wilson 

Christopher Ffoulkes 

Nigel Mason 

Michael Rigg 

Paul Medd 

Anne Bünemann 

Sophie Lang 

Liam Lynch 

Alice Rickards 

VIOLA 

Tom Dunn Principal 

Luba Tunnicliffe 

Benjamin Kaminski 

Susan Buchan 

Rik Evans 

Lisa Rourke 

Claire Dunn 

Nicola McWhirter 

Maria Trittinger 

Francesca Hunt 

CELLO 

Aleksei Kiseliov Principal 

Betsy Taylor 

Arthur Boutillier 

William Paterson 

Ruth Rowlands 

Rachael Lee 

Miranda Phythian-Adams 

Laura Sergeant 

DOUBLE BASS 

Ana Cordova Principal 

Margarida Castro 

Michael Rae 

Paul Sutherland 

Sally Davis 

Paul Speirs 

FLUTE 

Katherine Bryan Principal 

Helen Brew 

Janet Richardson Principal 

Piccolo 

OBOE 

Adrian Wilson Principal 

Peter Dykes 

Mike Austin Cor Anglais 

CLARINET 

Matt Glendening 

Guest Principal 

Robert Fairley 

Robert Digney 

Eflat Clarinet 

Duncan Swindells Principal 

Bass Clarinet 

BASSOON 

David Hubbard Principal 

Luis Eisen 

Paolo Dutto Contrabassoon 

HORN 

Christopher Gough Principal 

Alison Murray 

Andrew McLean 

David McClenaghan 

Martin Murphy 

TRUMPET 

Christopher Hart Principal 

Marcus Pope 

Jason Lewis 

Andrew Connell-Smith 

TROMBONE 

Dávur Juul Magnussen 

Principal 

Lance Green 

Alastair Sinclair 

Principal Bass Trombone 

TUBA 

John Whitener Principal 

TIMPANI 

Paul Philbert Principal 

PERCUSSION 

John Poulter 

Associate Principal 

Tom Hunter 

Stuart Semple 

Philip Hague 

Julian Wolstencroft 

HARP 

Pippa Tunnell 

PIANO & CELESTE 

Lynda Cochrane 

STAFF 

Angela Moreland – Interim 

Chief Executive 

Bill Chandler – Interim 

Deputy Chief Executive 

Michael Cameron – Driver 

and Assistant Stage 

Manager 

Bekah Cork – Artistic 

Planning & Tours Manager 

Ewen McKay – Head of 

Orchestra Management 

Fiona McLeod – Head of 

Major Gifts 

Daniel Pollitt – 

Communications Manager 

Craig Swindells – Stage & 

Production Manager 

Junping Qian – Assistant 

Conductor 


21


MASTERSERIES 

AT THE LOBERO THEATRE 

SEASON SPONSORSHIP: ESPERIA FOUNDATION 

WEDNESDAY, APRIL 17, 2019, 8:00 PM 

Augustin Hadelich violin 

Orion Weiss piano 

Named “Instrumentalist of the Year” for 2018 by Musical America, 

Augustin Hadelich has firmly established himself as one of the world’s 

great violinists – and one of classical music’s most inspiring performers. His 

many honors also include a 2016 Grammy® and the inaugural 2015 Warner 

Prize. He returns to CAMA for the 4th consecutive year following his riveting 

performance of the Britten Violin Concerto with the St. Louis Symphony 

at The Granada Theatre last season and will once again be playing the 

“Kiesewetter” Stradivarius violin. 

PROGRAM: 

Ludwig van Beethoven: Violin Sonata No.4 in A minor, Op.23 

Claude Debussy: Sonata in G minor (1917) 

Francisco Coll: Hyperlude V (2014) (solo violin) 

Eugène Ysaÿe: Sonata in E major for Solo Violin, Op.27, No.6, “Manuel Quiroga” 

Johannes Brahms: Violin Sonata No.2 in A major, Op.100 

Claude Debussy: L’isle joyeuse (1904) (solo piano) 

John Adams: Road Movies (1995) 

Co-Sponsors 



Concert Partner 



© Benjamin Brolet 

MONDAY, MAY 6, 2019, 8:00 PM 

Mischa Maisky cello 

Lily Maisky piano 

Kasskara ©Deutsche Grammophon 

Lauded by The Guardian for his “dazzling precision, fleet brilliance, and tender lyricism”, Latvianborn 

Israeli cello master Mischa Maisky is considered by many worldwide to be one of the 

handful of greatest living cellists. He has the distinction of being the only cellist in the world 

to have studied with both Mstislav Rostropovich and Gregor Piatigorsky and to carry on the 

deep musical legacy of these two great 20th Century Russian masters of the cello. His romantic 

emotion and absolute musical commitment carry the command of a true artist. It is fitting that 

Mischa Maisky will return by popular demand to the historic Lobero for the closing recital of 

CAMA’s historic 100th Concert Season. 

PROGRAM: 

Robert Schumann: Five Pieces in the Folk Style, Op.102 

Johannes Brahms: Cello Sonata No.2 in F major, Op.99 

Sergei Rachmaninoff: Mélodie in E major, Op.3, No.3 (transcription by Mischa Maisky) 

Rachmaninoff: Vocalise, Op.34, No.14 

Rachmaninoff: Elégie, Op.3, No.1 (transcription by Mischa Maisky) 

Dmitri Shostakovich: Cello Sonata in D minor, Op.40 (1934) 

Co-Sponsor: Ellen & Craig Parton Concert Partner: Raye Haskell Melville 

TICKETS (805) 963-0761 lobero.com 


23


Anne-Sophie Mutter 

Esa-Pekka Salonen 

Santa Barbara Band 

Community Arts String Orchestra 

CAMA’S CENTENNIAL 

100 th and 101 st SEASONS 

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

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

participate in CAMA’s historic Centennial Celebration. 

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

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

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

our concert programs. 

Please contact either Elizabeth Alvarez or Nancy Lynn 

at (805) 966-4324 to learn more. 

Renée Fleming 

Michael Tilson Thomas 

André Previn 

London Philharmonic

Lisa-Marie MAzzucco photo 

“It’s always been a 

great pleasure for 

me to perform on the 

CAMA series, and 

I’m looking forward to 

many more visits. 

I send you my heartiest 

congratulations 

on your centennial 

season. Bravo!” 

—ITZHAK PERLMAN, CO-CHAIR, 

CAMA CENTENNIAL 

HONORARY ARTISTS COUNCIL 

centennial honorary artists council 

Itzhak Perlman 

honorary co-chair 


honorary co-chair 

Vladimir Ashkenazy 

Isabel Bayrakdarian 

Joshua Bell 

Alfred Brendel 

Renée Fleming 

Daniele Gatti 

Richard Goode 

Hilary Hahn 

Stephen Hough 

Olga Kern 

Lang Lang 

Jerome Lowenthal 

Zubin Mehta 

Anne-Sophie Mutter 

Sir András Schiff 

Peter Serkin 

Leonard Slatkin 

Christian Tetzlaff 

Jean-Yves Thibaudet 

Chris Thile 

Michael Tilson Thomas 

Dawn Upshaw 

André Watts 

Pinchas Zukerman 


25


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 

George & Judy Writer 

RONDO 

$50,000–$99,999 

Anonymous 



NancyBell Coe & William Burke 




Mari & Hank Mitchel 



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 

The Stephen & Carla Hahn 


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 




Kum Su Kim & John Perry 

Mary Lloyd & Kendall Mills 

The Henry E. and Lola Monroe 


Montecito Bank & Trust 

John & Ellen Pillsbury 

Anne Smith Towbes 

The Shanbrom Family 


Hubert Vos 

The CAMA Women’s Board 

VIVACE 

$5,000–$9,999 

Anonymous 




Stephen Cloud 



Jeff Young 

Jill Doré Kent 

Mahri Kerley/Chaucer's Books 

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 

Chris Lancashire & 

Catherine Gee 


Craig & Ellen Parton 

Irene & Robert Stone/Stone 

Family Foundation 

Barbara & Sam Toumayan 

Winona Fund 

Zegar Family Fund—In honor 

of CAMA’s 100th Anniversary and in 

appreciation of their friendship with 

Daniel P. Burnham 

Lynn P. Kirst 

Lois Kroc 

Stefanie Lancaster Charitable 


MaryAnn Lange 

Shirley & Seymour Lehrer 

Dona & George McCauley 

Performing Arts Scholarship 


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. 


27


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 



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! 


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. 


32


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 




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 


33

Westmont College, Trinity Episcopal Church, 

CAMA, and American Guild of Organists Present 

CHOIR OF NEW COLLEGE OXFORD 

in concert Wednesday April 10, 7:00 p.m. 

Trinity Episcopal Church 

1500 State Street, Santa Barbara 

$20 general admission; $10 students 

www.westmont.edu/music | 805-565-6040 


LIFETIME GIVING 

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 

As of February 14, 2019 


35


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


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 


37

CAMA's Community 

spotlight 

CAMA celebrates 

Mrs. Raymond King Myerson 

in her 100 th year! 

Mrs. Myerson with Nancy Lynn at the 

Red Carpet Reception, Granada Theatre, 

immediately before CAMA's opening concert 

of the 100 th Season, October 2018.

Friday, April 5, 2019—CAMA Presents Royal Scottish National Orchestra—International Series at The Granada Theatre—Santa Barbara, CA—8:00 PM

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Friday, April 5, 2019—CAMA Presents Royal Scottish National Orchestra—International Series at The Granada Theatre—Santa Barbara, CA—8:00 PM