April 17, 2019—Augustin Hadelich, violin and Orion Weiss, piano—CAMA's Masterseries at The Lobero Theatre, Santa Barbara

Presenting the world’s finest classical artists since 1919

MASTERSERIES AT THE LOBERO THEATRE

SEASON SPONSORSHIP: ESPERIA FOUNDATION

Photo by Luca Valentina

AUGUSTIN HADELICH violin

ORION WEISS piano

Wednesday, April 17, 2019, 8:00 PM

Lobero Theatre, Santa Barbara

INTERNATIONAL SERIES

AT THE GRANADA THEATRE

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LOS ANGELES

Esa-Pekka Salonen

PHILHARMONIC

OCTOBER 28, 2018

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C. Mosher Foundation

Sponsors

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The Becton Family Foundation

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The Towbes Fund for the

Performing Arts, a field

interest fund of the

Santa Barbara Foundation

Co-Sponsor

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LOS ANGELES

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ITZHAK

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MASTERSERIES

AT THE LOBERO THEATRE


TAFELMUSIK

BAROQUE

ORCHESTRA

MARCH 9, 2019

Concert Partners

Deborah & Peter Bertling

Bob Boghosian &

Beth Gates Warren

Bridget Colleary

Dorothy & John Gardner

Elizabeth Karlsberg &

Jeff Young

Lynn P. Kirst

GARRICK

OHLSSON

MARCH 30, 2019

Co-Sponsors

Anonymous

Stephen J.M. &

Anne Morris

The CAMA Women's

Board

AUGUSTIN

HADELICH

APRIL 17, 2019

Co-Sponsors



Concert Partner

Lois Sandra Kroc

MISCHA MAISKY

MAY 6, 2019

Co-Sponsor

Ellen & Craig Parton

Concert Partners

Stephen Cloud

Raye Haskell Melville

Concert Sponsors as of January 2019

CAMA AT LOBERO THEATRE - AUGUSTIN HADELICH

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

Judith L. Hopkinson

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 April 8, 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.*

Sara Miller McCune

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/

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Director of Operations

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Presenting the world’s finest classical artists since 1919 1919–2019/20

MASTERSERIES

AT THE LOBERO THEATRE

SEASON SPONSORSHIP:

ESPERIA FOUNDATION

MONDAY, MAY 6, 2019, 8:00 PM

Mischa Maisky cello

Lily Maisky piano

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

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.

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC


Kasskara ©Deutsche Grammophon

PROGRAM

MARCELLO (arranged by J.S. Bach; and arranged for cello by Mischa Maisky):

Movement II: Adagio, from Concerto in D minor, BWV 974

BACH (arr. S. Franco): Movement II: Largo, from Concerto for Harpsichord, Strings and Continuo No.5 in F

minor, BWV 1056

MOZART (arr. M. Maisky): Pamina’s Aria from The Magic Flute, K.620/Act II:

“Ach ich fühl’s, es ist verschwunden”

BRAHMS: Sonata No.2 in F major, Op.99

TCHAIKOVSKY (arr. J. Stutschewsky and I. Thaler): No.10: October: “Autumn Song,”

from The Seasons, Op.37a, TH 135

TCHAIKOVSKY (arr. Viktor Kubatsky): No.6, “Valse Sentimentale,” from 6 Pieces, Op.51, TH 143

SHOSTAKOVICH: Sonata for Cello and Piano, Op.40

Co-Sponsor: Ellen & Craig Parton Concert Partners: Stephen Cloud • Raye Haskell Melville

TICKETS (805) 963-0761 lobero.com

masterseries at THE LOBERO THEATRE


LUDWIG VAN BEETHOVEN

Sonata No.4 in A minor, Op.23

(1770–1827) Presto

Andante scherzoso, più Allegretto

Allegro molto

CLAUDE DEBUSSY Sonata in G minor, L.140

(1862–1918) Allegro vivo

Intermède: Fantasque et léger

Finale: Très animé

FRANCISCO COLL

(b.1985)

Hyperlude No.5

EUGÈNE YSAŸE

Sonata for unaccompanied violin No.6 in E major,

(1858–1931) “Manuel Quiroga”

In one movement: Allegro giusto non troppo vivo

INTERMISSION

AUGUSTIN HADELICH VIOLIN

ORION WEISS PIANO

Wednesday, April 17, 2019 at 8:00 PM

Lobero Theatre, Santa Barbara

JOHANNES BRAHMS

Violin Sonata No.2 in A major, Op.100

(1833–1897) Allegro amabile

Andante tranquillo

Allegretto grazioso, quasi andante

DEBUSSY L’isle joyeuse, L.100

JOHN ADAMS

(b.1947)

Road Movies

Relaxed Groove

Meditative

40% Swing

Augustin Hadelich is represented by Schmidt Artists International, Inc.

21 W 74th Street, Suite 1C, New York, NY 10023.

Recordings: Warner Classics. augustinhadelich.com

Orion Weiss is represented by MKI Artists || One Lawson Lane, Suite 320, Burlington, VT 05401.

Recordings: Naxos Records, Bridge Records. orionweiss.com

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

Masterseries Season Sponsor: Esperia Foundation

Co-Sponsors: Jocelyne & William Meeker • Stephen J.M. & Anne Morris

Concert Partner: Lois Sandra Kroc

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.


9

Jersey, North Carolina, San Diego, and Se-

lot, Andris Nelsons, Sakari Oramo, Andrés

attle, as well as the Los Angeles Philhar-

Orozco-Estrada, Peter Oundjian, Vasily Pet-

monic at the Hollywood Bowl.

renko, David Robertson, Donald Runnicles,

Summer 2018 saw his debut at the

Jukka-Pekka Saraste, Lahav Shani, John

Salzburger Festspiele, performing the Si-

Storgårds, Yan Pascal Tortelier, Krzysztof

belius concerto with the ORF Vienna Radio

Urba?ski, Gilbert Varga, Edo de Waart, and

Symphony, as well as return appearances

Jaap van Zweden, among others.

at the Aspen, Bravo! Vail, and Colorado

An active recitalist, Mr. Hadelich’s

music festivals. Other summer appearances

include the BBC Proms, the Boston

numerous engagements include appearances

at Carnegie Hall, the Concertgebouw

Symphony at Tanglewood, the Cleveland

(Amsterdam), The Frick Collection (New

Orchestra at Blossom, Britt, Chautauqua

York), Kennedy Center (Washington), Kioi

(where he made his U.S. orchestral debut

Hall (Tokyo), the Louvre, and the Wigmore

in 2001), Eastern, Grand Teton, Marlboro,

Hall (London). His chamber music partners

Suxiao Yang

and Sun Valley.

Among recent international performances

are the BBC Philharmonic (Man-

have included Inon Barnatan, Jeremy Denk,

James Ehnes, Alban Gerhardt, Richard

Goode, Gary Hoffman, Kim Kashkashian,

chester), Concertgebouw Orchestra (Am-

Robert Kulek, Cho-Liang Lin, Midori, Charles

AUGUSTIN HADELICH

VIOLIN

sterdam), Hallé Orchestra (UK), Hamburg

Philharmonic, London Philharmonic, Mozarteum

Orchestra (Salzburg), Munich

Philharmonic, Netherlands Philharmonic,

Norwegian Radio Orchestra, NHK Sym-

Owen, Vadim Repin, Mitsuko Uchida, Joyce

Yang, and members of the Guarneri and

Juilliard quartets.

Augustin Hadelich is the winner of a

2016 Grammy Award – “Best Classical In-

Augustin Hadelich is one of the great violinists

of our time. From Adès to Paganini,

from Brahms to Bartók, he showcases a

wide-ranging and adventurous repertoire

and is often referred to by colleagues as

a “musician’s musician.” Recently named

Musical America’s 2018 “Instrumentalist of

the Year”, he is consistently cited for his

phenomenal technique, soulful approach,

and insightful interpretations in solo appearances

around the world.

International highlights of the 2018/

2019 season include Mr. Hadelich’s debut

with the Bavarian Radio Orchestra in

Munich and engagements with the Belgian

National Orchestra, Danish National

Symphony, Finnish Radio Symphony, Hong

Kong Philharmonic, Orchestre National de

Lyon, Orquesta Nacional de España, and

the symphony orchestras of Bournemouth,

City of Birmingham, New Zealand, São

Paulo, and Singapore. He will also perform

in a 10-concert tour of Germany with the

Academy of St. Martin in the Fields, featuring

double concertos with violinist Julia

Fischer. In the United States, Mr. Hadelich

will return to the symphonies of Cincinnati,

Dallas, Indianapolis, Minnesota, New

phony (Tokyo), Sapporo Symphony, Seoul

Philharmonic, and the radio orchestras

of Cologne, Frankfurt, Saarbrücken, and

Stuttgart.

Augustin Hadelich has collaborated

with such renowned conductors as Thomas

Adès, Marin Alsop, Stefan Asbury, Herbert

Blomstedt, Andrey Boreyko, Stéphane

Denève, Christoph von Dohnányi, Thierry

Fischer, the late Rafael Frühbeck de Burgos,

Alan Gilbert, Hans Graf, Giancarlo

Guerrero, Miguel Harth-Bedoya, Manfred

Honeck, Jakub Hruša, Carlos Kalmar,

Hannu Lintu, Andrew Litton, Cristian Macelaru,

Jun Märkl, Juanjo Mena, Ludovic Mor-

strumental Solo” – for his recording of Dutilleux’s

Violin Concerto, L’Arbre des songes,

with the Seattle Symphony under Ludovic

Morlot (Seattle Symphony MEDIA). A prolific

recording artist, his newest disc –

Paganini 24 Caprices for Warner Classics

– was released in January. Germany’s Süddeutsche

Zeitung wrote about this recording:

“Anyone who masters these pieces so

confidently has, so to speak, reached the

regions of eternal snow: he has reached the

top.” Other recent discs include live recordings

of the violin concertos by Tchaikovsky

and Lalo (Symphonie espagnole) with the

London Philharmonic Orchestra on the LPO

10 CENTENNIAL SEASON CELEBRATION CAMA AT LOBERO THEATRE - AUGUSTIN HADELICH 11

label (2017), and an album of duo works

for violin and piano on AVIE in collaboration

with Joyce Yang (2016). Previous

recordings on the AVIE label include the

Mendelssohn Violin Concerto and Bartók’s

Concerto No. 2 with the Norwegian Radio

Orchestra under Miguel Harth-Bedoya

(2015), and the violin concertos of Jean Sibelius

and Thomas Adès (Concentric Paths)

with Hannu Lintu conducting the Royal

Liverpool Philharmonic Orchestra (2014),

nominated for a Gramo-phone Award and

listed by NPR on their Top 10 Classical CDs

of 2014.

Mr. Hadelich’s career took off when he

won the Gold Medal at the 2006 International

Violin Competition of Indianapolis.

Since then, he has garnered an impressive

list of honors, including an Avery Fisher

Career Grant (2009); a Borletti-Buitoni

Trust Fellowship in the UK (2011); Lincoln

Center’s Martin E. Segal Award (2012); the

inaugural Warner Music Prize (2015); a

Grammy Award (2016); an honorary doctorate

from the University of Exeter in the

UK (2017); and Musical America’s “2018 Instrumentalist

of the Year.”

Born in Italy, the son of German parents,

Augustin Hadelich is now an American

citizen. He holds an Artist Diploma

from The Juilliard School, where he was a

student of Joel Smirnoff.

Mr. Hadelich plays the 1723 “Ex-Kiesewetter”

Stradivari violin, on loan from

Clement and Karen Arrison through the

Stradivari Society of Chicago. n

www.augustin-hadelich.com

© Jacob Blickenstaff

ORION WEISS

PIANO

One of the most sought-after soloists in his

generation of young American musicians,

the pianist Orion Weiss has performed with

the major American orchestras, including

the Chicago Symphony, Boston Symphony,

Los Angeles Philharmonic, and New York

Philharmonic. His deeply felt and exceptionally

crafted performances go far beyond his

technical mastery and have won him worldwide

acclaim.

His 2018-19 season sees him beginning

that season with the Lucerne Festival

and ending with the Minnesota Orchestra,

with performances for the Denver Friends

of Chamber Music, the University of Iowa,

the Chamber Music Society of Lincoln

Center, the Albany Symphony, the Kennedy

Center’s Fortas Series, the 92 nd Street Y,

and the Broad Stage in between. In 2017-

18 Orion performed Beethoven's Triple Concerto

with the Saint Paul Chamber Orchestra,

toured with James Ehnes, and soloed

with twelve orchestras around the United

States. Other highlights of recent seasons

include his third performance with the Chicago

Symphony, a North American tour with

the world-famous Salzburg Marionette Theater

in a performance of Debussy’s La Boîte


à Joujoux, the release of his recording of

Christopher Rouse’s Seeing, and recordings

of the complete Gershwin works for piano

and orchestra with his longtime collaborators

the Buffalo Philharmonic and JoAnn

Falletta.

Named the Classical Recording Foundation’s

Young Artist of the Year in September

2010, in the summer of 2011 Weiss made his

debut with the Boston Symphony Orchestra

at Tanglewood as a last-minute replacement

for Leon Fleisher. In recent seasons, he has

also performed with the Los Angeles Philharmonic,

San Francisco Symphony, Philadelphia

Orchestra, Pittsburgh Symphony,

Toronto Symphony Orchestra, National Arts

Centre Orchestra, and Orpheus Chamber Orchestra,

and in duo summer concerts with

the New York Philharmonic at both Lincoln

Center and the Bravo! Vail Valley Festival. In

2005, he toured Israel with the Israel Philharmonic

Orchestra conducted by Itzhak

Perlman.

Also known for his affinity and enthusiasm

for chamber music, Weiss performs

regularly with the violinists Augustin

Hadelich, William Hagen, Benjamin Beilman,

James Ehnes, and Arnaud

Sussman; the pianist Shai Wosner; and

the cellist Julie Albers; and the Ariel, Parker,

and Pacifica Quartets. As a recitalist and

chamber musician, Weiss has appeared

across the U.S. at venues and festivals including

Lincoln Center, the Ravinia Festival,

Sheldon Concert Hall, the Seattle Chamber

Music Festival, La Jolla Music Society

SummerFest, Chamber Music Northwest,

the Bard Music Festival, the Bridgehampton

Chamber Music Festival, the Kennedy

Center, and Spivey Hall. He won the 2005

William Petschek Recital Award at Juilliard,

and made his New York recital debut at

Alice Tully Hall that April. Also in 2005 he

made his European debut in a recital at the

Musée du Louvre in Paris. He was a member

of the Chamber Music Society Two program

of the Chamber Music Society of Lincoln

Center from 2002-2004, which included his

appearance in the opening concert of the

Society’s 2002-2003 season at Alice Tully

Hall performing Ravel’s La Valse with Shai

Wosner.

Weiss’s impressive list of awards includes

the Gilmore Young Artist Award, an

Avery Fisher Career Grant, the Gina Bachauer

Scholarship at the Juilliard School and

the Mieczyslaw Munz Scholarship. A native

of Lyndhurst, OH, Weiss attended the

Cleveland Institute of Music, where he

studied with Paul Schenly, Daniel Shapiro,

Sergei Babayan, Kathryn Brown, and Edith

Reed. In February of 1999, Weiss made

his Cleveland Orchestra debut performing

Liszt’s Piano Concerto No. 1. In March

1999, with less than 24 hours’ notice, Weiss

stepped in to replace André Watts for a

performance of Shostakovich’s Piano Concerto

No. 2 with the Baltimore Symphony

Orchestra. He was immediately invited to

return to the Orchestra for a performance

of the Tchaikovsky Piano Concerto in October

1999. In 2004, he graduated from

the Juilliard School, where he studied with

Emanuel Ax. n

Beethoven composed fourth of his ten

sonatas, along with its twin, the “Spring”

Sonata, opus 24, in 1800, about a year after

his first symphony. He intended that the

two vastly different sonatas be published

together, but it did not happen that way for

reasons that are not clear. They were typeset

for two different sizes of paper, which

would have made it impossible to combine

them for one volume, but it is not clear

whether that caused the decision to print

PROGRAM

notes

B y H o w a r d P o s n e r

them as two different opus numbers, or

resulted from that decision.

BEETHOVEN

The A-minor sonata was an early step

in Beethoven’s transformation of chamber

music into something bigger and more

demanding, moving it out of the realm of

social entertainment for amateurs and into

the realm of public concert music. The

large-scale gesture of the impulsive but

yearning opening movement, with its powerful

sense of urgency, was unusual for


the time, as was the choice of a minor key,

with the seriousness and drama that come

with it. Minor-key works were unusual in

the late-Classical style in which Beethoven

was raised, and even in his own music.

The A-minor sonata was the 40th work he

published, but only the eighth in a minor key.

The middle movement, in A major, is

marked andante scherzoso, piu allegretto.

“Andante” means literally “walking,” and

Beethoven was never sure whether someone

reading that instruction would understand

it to mean “a bit slow” or “a bit fast.”

Here he added “more like allegretto” to

make it clear that he did not mean “slow.”

The movement ambles along, refusing to

take itself seriously and changing the subject

whenever it is in danger of doing so.

For example, the second subject is always

presented as the beginning of fugue that

never gets very far. The two instruments

seem to stop and trade witticisms every

now and then. The rondo finale combines

the some of the demonic energy of the first

movement with the clever byplay of the

second. All three movements end quietly.

Debussy’s only violin sonata was part of

a projected set of six “Sonatas for Various Instruments”

begun in 1915. He finished it and

two other sonatas, but died before completing

the set. He had been fighting colon cancer

for years, and would succumb in March

1918. The violin sonata, completed in 1917,

was his last major composition, and its May

1917 premiere, with Gaston Poulet on violin

and Debussy at the piano in a benefit concert

for French soldiers, was his last public

DEBUSSY

performance, as he contended with pain and

fatigue from the disease and the treatments.

“I wrote this sonata only to be rid of the

thing, spurred on by my dear publisher,” he

wrote to a colleague in June 1917. “This sonata

will be interesting from a documentary

point of view and as an example of what

may be produced by a sick man in time of

war.”

The war changed the way Debussy

and other Parisians thought. The front was

less than 75 miles from the city, there were

shortages of fuel and food, and civilization

itself seemed to be disintegrating in a war

of unimaginable destruction. Debussy had

never composed a sonata before 1915. His

turning to that most traditional of forms

in wartime may have been a way to affirm

that some institutions and traditions were

surviving the cataclysm. But traditionalism

had its limits, and the closely-constructed

sonata form of Beethoven and Brahms—a

journey away from and back to the tonic key

by way of the dominant key and others more

foreign, would have seemed both archaic

to Debussy’s sense of tonality and overly

Germanic to a composer whose patriotism

had been so stimulated by the war that he

had the title page of the published sonata

announce that it was composed by “Claude

Debussy, Musicien Français.”

The sonata’s texture is different from

the other works on this program. The violin

is very much the star, with the piano rarely

seizing the spotlight, although it often provides

a cascading background for the violin’s

melodies.

Spanish composer Francisco Coll has

composed works for a number of major orchestras,

including the London Symphony

and Los Angeles Philharmonic. Four of his

five Hyperludes for solo violin were specifically

commissioned by Culturarts of his native

Valencia or the London Sinfonietta. The

only one of the set that was not composed

on a commission is the fifth, which bears

the dedication “for Judith.” Although its idiom

is obviously modern, it is full of dissonances

resolving into consonances in a way

that that is more than a little reminiscent of

Monteverdi.

The Belgian Eugène Ysaÿe dominated

the violin world in the two decades before

World War I. When neuritis and diabetes

weakened his bow arm after the war, he

concentrated on conducting. After serving

YSAŸE

as music director of the Cincinnati symphony

from 1918 to 1922, he returned to

Brussels and become the center of a circle

of some of best young violinists in Europe.

Each of his six sonatas for unaccompanied

violin, written in 1924, was dedicated to one

of them. The sixth was dedicated to the

Spanish violinist Manuel Quiroga. It is full of

devices that Quiroga used in his own music,

including rapid passages in double stops and

quick sequences of triple stops. The middle

part of the one-movement sonata features

the rhythm of the habañera, a Cuban dance

popular in Spain (and known everywhere

else in Europe after Bizet gave it star billing

in Carmen in 1875). Quiroga was composing

at least one habañera of his own in 1924,



17

which Ysaÿe may or may not have known.

take moderate to extremes, as in the second

Quiroga never played Ysaÿe’s sonata in

sonata’s third movement, marked Allegretto

aristocratic party with a statue of Venus

public.

grazioso (quasi Andante) which might be in-

in the foreground and flying cupids in the

Brahms wrote his second violin sonata

terpreted to mean something like “slightly

background, is both iconic and enigmatic.

during the summer of 1886 at Hofstetten, a

fast, but not so fast that anyone would think

Debussy began composing the work in

village on the shore of Lake Thun just north

it was anything other than moderato”). The

1903 or 1904, about the time he met Emma

of the Swiss Alps. Like Beethoven before

gesture is nearly always song rather than

Bardac. They were both about 41, and both

him (and Mahler after him) Brahms liked

dance, and indeed the sonatas use melodic

married. It was not her first affair with a

to leave Vienna for the country in the sum-

material taken from Brahms’ own songs.

prominent composer; a decade earlier, she

mer, finding nature and lack of urban bustle

The second subject of the second sonata’s

had been Gabriel Faure’s lover, and accord-

conducive to composing. That summer he

opening movement refers to the Brahms-

ing to all his biographers, the inspiration

produced 16 choral songs, 15 solo songs,

Klaus Groth song “Wie Melodien” which

for his burst of creativity in the 1890’s. De-

the second cello sonata, the piano trio in

Brahms composed that summer.

bussy’s wife attempted suicide when he left

C-minor, and the second violin sonata, and

The first movement’s form is a straight-

her for Emma in 1904 (she shot herself in

did most of the composition on his third

violin sonata, which he finished two years

later. Brahms was much in the company

forward sonata allegro movement, but in the

second and third movements Brahms treats

form with whimsical freedom. The second

the chest, but hit nothing vital). When the

scandal became too intense even for the

French, Debussy and Emma went to live in-

JOHN ADAMS

of the 67-year-old Klaus Groth, a literature

movement takes the place of both a slow

conspicuously for a while in England, where

professor whose poems Brahms often set

movement and a scherzo, using elements

he finished L’isle Joyeuse (using the English

“Very much like travelling. You see an ob-

as songs, and the 30-year-old contralto Her-

of variation and rondo form. It presents two

“isle” instead of the French “île” in a nod to

ject in the distance,” which “passes you by

mine Spies, a renowned singer whose quick

themes simultaneously at the outset, and

the joyful island where they taken refuge),

and you’re on to the next idea.” He sees the

wit and intelligent affability made her both

develops and varies both of them in alter-

and they had a daughter in 1905. They mar-

movement as “motivically quite economi-

an ideal interpreter of Brahms’ music and a

nating slow and fast sections. The third

ried in 1908, and had a difficult relationship

cal: very little material, but enough to keep

cherished friend. Brahms had a number of

movement, featuring one of those won-

until his death. He dedicated the violin so-

things rolling.”

relationships with such high-powered women,

though in nearly every case the exact na-

derful Brahms tunes that express nobility,

strength and yearning all at the same time,

nata to her.

Debussy disliked musical pictorialism,

Adams describes the second movement

as a “kind of desert solitaire,” in which

ture of the relationship remains uncertain:

is a sonata-rondo in which one episode is a

and there is no apparent depiction of Wat-

he imagines “sitting on the porch of a cab-

the bachelor Brahms was no celibate, but he

development section.

teau in Debussy’s joyous island, which runs

in and just very slowly and casually riffing

was discrete.

There are two joyful islands, one of

the gamut from contentment to exuberance.

on a simple melody.” The low string of the

Brahms’ violin sonatas are about instru-

them real, behind Debussy’s piano piece

John Adams wrote Road Movies in

violin is tuned down a tone from G to F, giv-

ment’s lyrical qualities. He could exploit its

of that name. The first is the subject of

1995 on a commission from the Library of

ing it what Adams calls a “slightly sagging

dramatic voice when he wanted to — think

The Embarcation for Cythera, which An-

Congress. He has explained that “a lot of my

sound.” It actually makes the notes on the

of the screaming first entrance in the Violin

toine Watteau painted in 1717, and again,

pieces are suggested by movement,” and

low string resemble the reedy sound of a

Concerto — but his violin sonatas are, on the

with a few changes, a year or two later.

Road Movies is “the most relaxed of those

viola. The last movement is energetic and

whole, relaxed and soulful, redolent of con-

Cythera is the mythical birthplace of Aph-

pieces,” evoking “an easy drive through an

ranks fairly low on the relaxation scale. Ad-

tentment with few regrets. The tempos are

rodite, the goddess of love. The paintings,

imagined landscape.”

ams declines to explain the meaning of its

moderate (indeed, Brahms could manage to

which show what looks like an outdoor

He describes the first movement as

“40% Swing” heading. n



19


Santa Barbara Band

Anne-Sophie Mutter

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.

Esa-Pekka Salonen

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

André Previn

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

Renée Fleming

our concert programs.

Please contact either Elizabeth Alvarez or Nancy Lynn

at (805) 966-4324 to learn more.

London Philharmonic

Michael Tilson Thomas

centennial honorary artists council

Itzhak Perlman

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

Sara Miller McCune

honorary co-chair

Leonard Slatkin

Christian Tetzlaff

Jean-Yves Thibaudet

Chris Thile

Michael Tilson Thomas

Dawn Upshaw

André Watts

Pinchas Zukerman


21


CENTENNIAL CELEBRATION DONORS

MAESTRO

$1,000,000 and above

CONCERTMASTER

$500,000–$999,999

CRESCENDO

$250,000–$499,999

Bitsy & Denny Bacon and The Becton Family Foundation

The Elaine F. Stepanek Foundation

CADENZA

$100,000–$249,999

Judith L. Hopkinson

Samuel B. and Margaret C. Mosher Foundation

Ed & Sue Birch / Robert & Christine Emmons

SAGE Publishing


RONDO

$50,000–$99,999

Anonymous


Meg & Dan Burnham

NancyBell Coe & William Burke

Lois Sandra Kroc

Sara Miller McCune


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

Foundation

The Walter J. & Holly O.

Thomson Foundation

The Towbes Fund for the

Performing Arts

Patricia Yzurdiaga

SONATA

$10,000–$24,999

Anonymous

Alison & Jan Bowlus

City of Santa Barbara

Bridget Colleary

George H. Griffiths and Olive

J. Griffiths Charitable Fund

Hollis Norris Fund


Ann Jackson Family

Foundation



Kum Su Kim & John Perry

Mary Lloyd & Kendall Mills

The Henry E. and Lola Monroe

Foundation

Montecito Bank & Trust

John & Ellen Pillsbury

Anne Smith Towbes

The Shanbrom Family

Foundation

Hubert Vos

The CAMA Women’s Board

VIVACE

$5,000–$9,999

Anonymous




Stephen Cloud

Edward DeLoreto


Jeff Young

Jill Doré Kent

Mahri Kerley/Chaucer's Books

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


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

Foundation

MaryAnn Lange

Shirley & Seymour Lehrer

Dona & George McCauley

Performing Arts Scholarship

Foundation

Diana & Roger Phillips

Ann M. Picker

Dorothy Roberts


Judith F. Smith

Carrie Towbes & John Lewis

Steven Trueblood

(Continued next page.)

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

The CAMA Board gratefully acknowledges and thanks the generosity of the

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

All cummulative donations of $250 and above through

the 100 th and 101 st Seasons will be listed.

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


CAMA AT LOBERO THEATRE - AUGUSTIN HADELICH 23



CENTENNIAL CELEBRATION DONORS

(Continued from previous page)

ADAGIO

$1,000–$2,499

Todd & Allyson Aldrich Family Charitable Fund

Diane Boss

Wendel Bruss

Karen Bushnell

Annette & Richard Caleel

Patricia Clark

Joan & Steven Crossland

Gregory Dahlen III & Christi Walden

Jan Davis-Hadley

Margaret & Ronald Dolkart

Wendy & Rudy Eisler

Nancy Englander

Katina Etsell

Nancyann & Robert Failing

Margo & Bob Feinberg

Jill Felber

Catherine H. Gainey

Andrea & Ron Gallo

David Hamilton

Renee & Richard Hawley

Maison K

Karin Nelson & Eugene Hibbs/Maren Henle

Gerhart Hoffmeister

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

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

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

Donald Rink

Tiffany & Justin Rizzo-Weaver

Regina & Rick Roney

Ada B. Sandburg


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

Minie & Hjalmar Pompe van Meerdervoort

Patricia & Robert Reid

Rotary Club of Montecito Foundation, Inc.

Lynn & Mark Schiffmacher

Naomi Schmidt

Maureen & Les Shapiro

Halina W. Silverman

Paul and Delia Smith

Linda Stafford Burrows

Beverly & Michael Steinfeld

Jacqueline & Ronald Stevens

Elaine Sweet

Carol Vernon & Robert Turbin

Mary H. Walsh

Lorraine & Stephen Weatherford

Grace & Edward Yoon

CELEBRATING

CAMA's CENTENNIAL

by Hattie Beresford

Celebrating CAMA’s Centennial

commemorates the CAMA story

with hundreds of images and engaging

tales of the spectacular musical performances

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

Beautiful music, exciting music, profound music — Community

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

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

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

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

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

ABOUT THE AUTHOR

Besides writing a local history column for the Montecito Journal for

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

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

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

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

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

ON SALE NOW

AT CHAUCER'S BOOKS

$30.00 + tax


CAMA AT LOBERO THEATRE - AUGUSTIN HADELICH 25



CENTENNIAL

BIRTHDAY BASH

FREE TO THE COMMUNITY

OUR BUSINESS PARTNERS

Serving the public at the May 19 event!

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!



27

MUSIC EDUCATION

MUSIC EDUCATION PROGRAM

$25,000 and above

The Walter J. & Holly O. Thomson Foundation

$10,000–$24,999

Ms. Irene Stone/ Stone Family Foundation

Mary Lloyd & Kendall Mills

$1,000–$9,999

CAMA Women's Board


Stefanie L. Lancaster Charitable Foundation

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

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.

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

MEMORIAL GIFTS

Michael Towbes

Bridget B. Colleary

Gerd & Peter Jordano

Else (Leinie) Schilling Bard

Joanne C. Holderman

Frederica Vogle Burrows


Professor Frederick F. Lange

MaryAnn Lange

Harold M. Williams

Nancy Englander

Sybil Mueller

Lynn P. Kirst

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


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


The CAMA Women’s Board Presents

A PRE-CONCERT LECTURE SERIES

2018/2019—CENTENNIAL SEASON

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)

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





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


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


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


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

The Henry E. & Lola Monroe

Foundation



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

Joanne C. Holderman


Hutton Parker Foundation


Lynn P. Kirst & Lynn R. Matteson

Lois Sandra Kroc

Betty & Max Meyer


Craig & Ellen Parton

Austin H. Peck


Foundation

Marjorie & Hugh Petersen/

La Arcada Trust Corp

Diana & Roger Phillips

Kathryn H. Phillips

Theodore Plute & Larry Falxa

Lady Leslie & Viscount Paul

Ridley-Tree


TOPAZ

$25,000—$49,999

Barbara & Edward Bakewell

Helene & Jerry Beaver

Bob Boghosian &

Beth Gates Warren

Alison & Jan Bowlus

Helen & Andrew Burnett


Huguette Clark

Cecelia & Leonard Dalsemer

Edward DeLoreto and

William DeLoreto

Patricia & Larry Durham

Nancyann & Robert Failing

Priscilla & Jason Gaines

Preston B. & Maurine M.

Hotchkis Family Foundation

The George Frederick

Jewett Foundation

Patricia Kaplan


Jeff Young


Jill Doré Kent

Otto Korntheuer/The Harold L.

Wyman Foundation

Laura & Robert Kuhn

Chris Lancashire & Catherine Gee

Lillian & Jon Lovelace

Leatrice & Eli Luria

Marilyn & Frank Magid

Ruth McEwen

Frank McGinity

Sheila Bourke McGinity

Mary & James Morouse

Pat Hitchcock O'Connell

Efrem Ostrow Living Trust

Outhwaite Foundation

Carolyn & Ernest Panosian

John & Ellen Pillsbury

Mary Dell Pritzlaff & John Pritzlaff

Mary Louise & Kenneth W. Riley

The Shanbrom Family Foundation

Anitra & Jack Sheen


Marion & William Stewart

Irene & Robert Stone/Stone Family

Foundation

The Walter J. & Holly O. Thomson

Foundation

Ina & Martin Tornallyay

Carol & Edward R. Valentine

Susie & Hubert Vos

The Elizabeth Firth Wade

Endowment Fund

Marjorie K. & Roderick S. Webster

Westmont College

AMETHYST

$10,000—$24,999

Anonymous

Rebecca & Peter Adams

Christina & David Allison


Bernice & Mortimer Andron

Sally & Robert Arthur

Marta Babson

Marjorie & J.W. Bailey

Else Schilling Bard

Joan C. Benson

Leslie & Philip Bernstein

Frank Blue & Lida Light Blue

Toos & Erno Bonebakker

The CAMA Fellows

Margo & Charles Chapman

Chubb Sovereign

Carnzu A. Clark

Nan Burns & Dr. Gregory Dahlen

Karen Davidson, M.D.

Fredericka & Dennis Emory

Julie & William Esrey

Ronald & Rosalind A. Fendon

Audrey Hillman Fisher Foundation

David W. Fritzen/DWF Magazines,

DWF Media

International

Catherine H. Gainey

Tish Gainey & Charles Roehm


Kay & Richard Glenn

Corinna Gordon, Larry Dale Gordon

Dorothy & Freeman Gosden

Dianne & Robert S. Grant

Beverly & Bruce Hanna

Dolores & Robert Hanrahan

Lorraine C. Hansen

Margret & David F. Hart

Betty & Stan Hatch

Renee & Richard Hawley

Ruth & Alan Heeger

Karin Nelson & Eugene Hibbs/

Maren Henle

Mary & Campbell Holmes

Elizabeth & Gary Johnson

Glenn Jordan & Michael Stubbs

Martha & Peter Karoff

Mahri Kerley/Chaucer's Books

Linda & Michael Keston

Kum Su Kim

Catherine Lloyd/Actief-cm, Inc.

MaryAnn & Frederick Lange

Dora Anne Little

Cynthia Brown & Arthur Ludwig

Leatrice Luria

Ruth & John Matuszeski

Keith Mautino

Dona & George McCauley

Jayne Menkemeller

Sybil & Russell Mueller

Myra & Spencer Nadler

Fran & John Nielsen

Joanne & Alden Orput

Mr. & Mrs. Charles W. Partridge


Foundation

Patricia & Carl Perry

John Perry

Justyn & Ray Person

Susan & James Petrovich

Anne & C.Wesley Poulson

Susannah Rake

Jaquelin & Frank Reed

Jack Revoyr

Betty & Don Richardson

Grace Jones Richardson Trust

Dorothy Roberts

The Roberts Bros. Foundation

Regina & Rick Roney

Rebecca Ross

Betty Barrett & John Saladino

William E. Sanson

Maryan & Richard Schall

Nancy & William Schlosser

Pat & Roby Scott

Sally & Jan E.G. Smit

Constance & C.Douglas Smith

Betty J. Stephens

Diane & Selby Sullivan

The Godric Foundation

Joseph Thomas

Milan E. Timm

Carrie Towbes & John Lewis

Mark E. Trueblood

Steven Trueblood

Drs. Shirley & Kenneth Tucker

Barbara & Gary Waer

Lisa Bjornsen Wolf &

David Russell Wolf

Ann & Dick Zylstra

*promised

As of February 14, 2019



31


BUSINESS SUPPORTERS

We thank the many businesses that support

CAMA's programs and events!

Laurel Abbott, Berkshire

Hathaway Luxury Properties

Alma Rosa Winey

American Riviera Bank

Babcock Winery

James P. Ballantine

Belmond El Encanto

Bertling Law Group

Bibi Ji

Black Sheep Restaurant

Blue Star Parking

Bon Fortune Style & Events

Brander Vineyard

Wes Bredall

Heather Bryden

Ca' Dario Ristorante

Camerata Pacifica

Casa Dorinda

Cebada Wine

C'est Cheese

Chaucer's Books

Chocolats du CaliBressan

Chooket Patisserie

Cottage Health System

Custom Printing

Eye Glass Factory

Felici Events

Finch & Fork

First Republic Bank

Flag Factory of

Santa Barbara

Frequency Wine

Gainey Vineyard

Grace Design Associates

Grassini Family Vineyards

Grimm’s Bluff

Colin Hayward/

The Hayward Group

Steven Handelman Studios

Hogue & Company

Holdren's Catering

Indigo Interiors

Inside Wine Santa Barbara

Islay A/V

Jardesca

Le Sorelle

Lumen Wines

Maravilla/Senior Resource

Group

Michael's Catering

Microsoft® Corporation

Mission Security


Montgomery Vineyard

Northern Trust

Oak Cottage of Santa

Barbara

Oceania Cruises

Olio e Limone/Olio Crudo

Bar/Olio Pizzeria

Opal Restaurant & Bar

Opera Santa Barbara

Pacific Coast Business Times

Pali Wine Co.

Peregrine Galleries


Foundation

Pete Clements Catering

Presqu’ile Winery

Regent Seven Seas Cruises

Renaud's Patisserie & Bistro

Rose Story Farm

Sabine Myers Design

SAGE Publishing

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

April 17, 2019—Augustin Hadelich, violin and Orion Weiss, piano—CAMA's Masterseries at The Lobero Theatre, Santa Barbara

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