WEDNESDAY, APRIL 17, 2019, 8:00 PM
CAMA's Masterseries Presents
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)
#CAMASB #CAMAat100 #CAMACentennial
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
SEASON SPONSORSHIP: SAGE PUBLISHING
LOS ANGELES
Esa-Pekka Salonen
PHILHARMONIC
OCTOBER 28, 2018
Primary Sponsor
The Elaine F. Stepanek
Concert Fund
Principal Sponsor
The Samuel B and Margaret
C. Mosher Foundation
Sponsors
Bitsy & Denny Bacon and
The Becton Family Foundation
Val & Bob Montgomery
The Towbes Fund for the
Performing Arts, a field
interest fund of the
Santa Barbara Foundation
Co-Sponsor
Robert & Christine Emmons
LOS ANGELES
CHAMBER
ORCHESTRA
with Avi Avital
DECEMBER 11, 2018
A gift to the community
from the CAMA Board
of Directors
ITZHAK
Mikhail Pletnev
PERLMAN
JANUARY 15, 2019
Primary Sponsor
Sara Miller McCune
Principal Sponsor
Herbert & Elaine Kendall
Sponsors
Marta Babson
Judith L. Hopkinson
The Shanbrom Family
Foundation
Co-Sponsors
Chaucer's Bookstore,
Mahri Kerley
Jocelyne & William Meeker
Stephen J.M. & Anne Morris
PHILHARMONIA
BAROQUE
ORCHESTRA
FEBRUARY 5, 2019
Sponsors
Hollis Norris Fund
Michele & Andre Saltoun
Hubert Vos
4 CENTENNIAL SEASON CELEBRATION
Co-Sponsors
Edward DeLoreto
The CAMA Women's Board
RUSSIAN
NATIONAL
ORCHESTRA
FEBRUARY 27, 2019
Primary Sponsor
Bitsy & Denny Bacon and the
Becton Family Foundation
Sponsor
Anonymous
Co-Sponsors
Peggy & Kurt Anderson
Louise & Michael Caccese
PHILHARMONIA
ORCHESTRA
MARCH 20, 2019
Sponsors
Anonymous
Alison & Jan Bowlus
Natalia & Michael Howe
Ellen & Peter Johnson
Kum Su Kim & John Perry
Co-Sponsors
Elizabeth & Andrew Butcher
Chris Lancashire
& Catherine Gee
Jocelyne & William Meeker
Val & Bob Montgomery
ROYAL SCOTTISH
NATIONAL
ORCHESTRA
APRIL 5, 2019
Sponsor
Meg & Dan Burnham
Co-Sponsor
Anonymous
Bob & Val Montgomery
Hubert Vos
George & Judy Writer
RICHARD
GOODE
NOVEMBER 9, 2018
Primary Sponsor
The Stephen & Carla
Hahn Foundation
Co-Sponsors
Bitsy & Denny Bacon
Alison & Jan Bowlus
MASTERSERIES
AT THE LOBERO THEATRE
SEASON SPONSORSHIP: ESPERIA FOUNDATION
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
Jocelyne & William Meeker
Stephen J.M. & Anne Morris
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
Presenting the world’s finest classical artists since 1919
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
Raye Haskell Melville
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/
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
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
6 CENTENNIAL SEASON CELEBRATION
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
SEASON SPONSORSHIP: ESPERIA FOUNDATION
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.
CAMA AT LOBERO THEATRE - AUGUSTIN HADELICH
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
12 CENTENNIAL SEASON CELEBRATION CAMA AT LOBERO THEATRE - AUGUSTIN HADELICH 13
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
14 CENTENNIAL SEASON CELEBRATION CAMA AT LOBERO THEATRE - AUGUSTIN HADELICH 15
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,
16 CENTENNIAL SEASON CELEBRATION
CAMA AT LOBERO THEATRE - AUGUSTIN HADELICH
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
18 CENTENNIAL SEASON CELEBRATION
CAMA AT LOBERO THEATRE - AUGUSTIN HADELICH
19
Presenting the world’s finest classical artists since 1919
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
CAMA AT LOBERO THEATRE - AUGUSTIN HADELICH
21
Presenting the world’s finest classical artists since 1919
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
George & Judy Writer
RONDO
$50,000–$99,999
Anonymous
Deborah & Peter Bertling
Meg & Dan Burnham
NancyBell Coe & William Burke
Lois Sandra Kroc
Sara Miller McCune
Jocelyne & William Meeker
Mari & Hank Mitchel
Bob & Val Montgomery
Stephen J.M. & Anne Morris
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
Natalia & Michael Howe
Ann Jackson Family
Foundation
Ellen & Peter Johnson
Herbert & Elaine Kendall
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
Peggy & Kurt Anderson
Elizabeth & Andrew Butcher
Louise & Michael Caccese
Stephen Cloud
Edward DeLoreto
Elizabeth Karlsberg &
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
Dorothy & John Gardner
Shirley Ann & James H. Hurley, Jr.
William H. Kearns Foundation
Connie & Richard Kennelly
Chris Lancashire &
Catherine Gee
Raye Haskell Melville
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
Santa Barbara Foundation
Judith F. Smith
Carrie Towbes & John Lewis
Steven Trueblood
(Continued next page.)
CAMA’s Centennial spans two concert seasons, 2018/2019 and 2019/2020.
The CAMA Board gratefully acknowledges and thanks the generosity of the
CAMA community. Donor lists will be fully updated February 2019.
All cummulative donations of $250 and above through
the 100 th and 101 st Seasons will be listed.
Please call Elizabeth Alvarez should you notice any errors on these pages – (805) 276-8270.
22 CENTENNIAL SEASON CELEBRATION
CAMA AT LOBERO THEATRE - AUGUSTIN HADELICH 23
Presenting the world’s finest classical artists since 1919
Presenting the world’s finest classical artists since 1919
CENTENNIAL CELEBRATION DONORS
(Continued from previous page)
ADAGIO
$1,000–$2,499
Todd & Allyson Aldrich Family Charitable Fund
Diane Boss
Wendel Bruss
Karen Bushnell
Annette & Richard Caleel
Patricia Clark
Joan & Steven Crossland
Gregory Dahlen III & Christi Walden
Jan Davis-Hadley
Margaret & Ronald Dolkart
Wendy & Rudy Eisler
Nancy Englander
Katina Etsell
Nancyann & Robert Failing
Margo & Bob Feinberg
Jill Felber
Catherine H. Gainey
Andrea & Ron Gallo
David Hamilton
Renee & Richard Hawley
Maison K
Karin Nelson & Eugene Hibbs/Maren Henle
Gerhart Hoffmeister
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
Santa Barbara Foundation
Anitra & Jack Sheen
Barbara & Wayne Smith
Marion Stewart
Milan E. Timm
Mark E. Trueblood
UCSB—Department of Music,
University of California, Santa Barbara
Esther & Tom Wachtell
Barbara & Gary Waer
Sheila Wald
Nick & Patty Weber
Dr. Robert Weinman
Judy L. Weisman
Westmont College
Victoria & Norman Williamson
Nancy & Byron Kent Wood
Cheryl & Peter Ziegler
Ann & Dick Zylstra
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
24 CENTENNIAL SEASON CELEBRATION
CAMA AT LOBERO THEATRE - AUGUSTIN HADELICH 25
Presenting the world’s finest classical artists since 1919
Presenting the world’s finest classical artists since 1919
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!
26 CENTENNIAL SEASON CELEBRATION
CAMA AT LOBERO THEATRE - AUGUSTIN HADELICH
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
William H. Kearns Foundation
Stefanie L. Lancaster Charitable Foundation
Sara Miller McCune
Mr. & Mrs. Frank R. Miller, Jr. /
The Henry E. & Lola Monroe Foundation
Performing Arts Scholarship Foundation
Westmont College
$100–$999
Becky & William Banning
Lynn P. Kirst
James P. and Shirley F. McFarland Fund
of the Minneapolis Foundation
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
Linda Stafford 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
Carolyn & Dennis Naiman
David Malvinni
Carolyn & Dennis Naiman
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
Presenting the world’s finest classical artists since 1919
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
George & Judy Writer
Rondo Level $100–$500
Anonymous (2)
Bridget B. Colleary
Edward DeLoreto
Karin Nelson & Eugene Hibbs, Jr.
and Maren N. Henle
Joanne C. Holderman
Lois Kroc
Ellen & Craig Parton
Andre & Michele Saltoun
Barbara & Sam Toumayan
Nancy & Byron Kent Wood
28 CENTENNIAL SEASON CELEBRATION CAMA AT LOBERO THEATRE - AUGUSTIN HADELICH 29
MUSIC EDUCATION PROGRAM
LIFETIME GIVING
DIAMOND
$500,000 and above
Anonymous
Bitsy & Denny Bacon and
The Becton Family Foundation
Suzanne & Russell Bock
Linda Brown*
The Andrew H. Burnett
Foundation
Esperia Foundation
The Stephen & Carla Hahn
Foundation
Judith L. Hopkinson
Herbert & Elaine Kendall
The Samuel B. & Margaret C.
Mosher Foundation
Sage Publications
The Elaine F. Stepanek
Foundation
Michael Towbes/The Towbes
Fund for the Performing Arts
SAPPHIRE
$250,000—$499,999
The CAMA Women's Board
Leni Fé Bland
Sara Miller McCune
The Wood-Claeyssens
Foundation
Patricia & Joseph Yzurdiaga
RUBY
$100,000—$249,999
Anonymous
The Adams Family Foundation
Joan C. Benson
Deborah & Peter Bertling
Virginia Castagnola-Hunter
NancyBell Coe & William Burke
Robert & Christine Emmons
Mary & Raymond Freeman
Raye & Melville H. Haskell, Jr.
Hollis Norris Fund
Dolores M. & Immanuel Hsu
Shirley Ann & James H. Hurley, Jr.
Ann Jackson Family Foundation
Janet & Thomas Kelly/Winona
Fund
Shirley & Seymour Lehrer
John & Lucy Lundegard
Jocelyne & William Meeker
Mr. & Mrs. Frank R. Miller, Jr./
The Henry E. & Lola Monroe
Foundation
Montecito Bank & Trust
Bob & Val Montgomery
Kathleen & John Moseley/
The Nichols Foundation
Nancy & William G. Myers
Michele & Andre Saltoun
The Santa Barbara Foundation
Jan & John G. Severson
Judith F. & Julian Smith
Jeanne C. Thayer
The Walter J. & Holly O.
Thomson Foundation
Union Bank
Marilyn & H.Wallace Vandever
The Wallis Foundation
Nancy & Byron Kent Wood
George & Judy Writer
EMERALD
$50,000—$99,999
Anonymous
Anonymous
Anonymous
Ruth Appleby
Linda & Peter Beuret
Edward & Sue Birch
Dan & Meg Burnham
Louise & Michael Caccese
Jane & Jack Catlett
Roger & Sarah Chrisman,
Schlinger Chrisman Foundation
Bridget & Robert Colleary
Suzanne & Maurice Faulkner
Arthur R. Gaudi
Sherry & Robert Gilson
George H. Griffiths and Olive J.
Griffiths Charitable Fund
Janette "Dotsy" Main Hellmann
& Richard Hellmann
Joanne C. Holderman
Natalia & Michael Howe
Hutton Parker Foundation
Ellen & Peter Johnson
Lynn P. Kirst & Lynn R. Matteson
Lois Sandra Kroc
Betty & Max Meyer
Stephen J.M. & Anne Morris
Craig & Ellen Parton
Austin H. Peck
Performing Arts Scholarship
Foundation
Marjorie & Hugh Petersen/
La Arcada Trust Corp
Diana & Roger Phillips
Kathryn H. Phillips
Theodore Plute & Larry Falxa
Lady Leslie & Viscount Paul
Ridley-Tree
Barbara & Sam Toumayan
TOPAZ
$25,000—$49,999
Barbara & Edward Bakewell
Helene & Jerry Beaver
Bob Boghosian &
Beth Gates Warren
Alison & Jan Bowlus
Helen & Andrew Burnett
Elizabeth & Andrew Butcher
Huguette Clark
Cecelia & Leonard Dalsemer
Edward DeLoreto and
William DeLoreto
Patricia & Larry Durham
Nancyann & Robert Failing
Priscilla & Jason Gaines
Preston B. & Maurine M.
Hotchkis Family Foundation
The George Frederick
Jewett Foundation
Patricia Kaplan
Elizabeth Karlsberg &
Jeff Young
William H. Kearns Foundation
Jill Doré Kent
Otto Korntheuer/The Harold L.
Wyman Foundation
Laura & Robert Kuhn
Chris Lancashire & Catherine Gee
Lillian & Jon Lovelace
Leatrice & Eli Luria
Marilyn & Frank Magid
Ruth McEwen
Frank McGinity
Sheila Bourke McGinity
Mary & James Morouse
Pat Hitchcock O'Connell
Efrem Ostrow Living Trust
Outhwaite Foundation
Carolyn & Ernest Panosian
John & Ellen Pillsbury
Mary Dell Pritzlaff & John Pritzlaff
Mary Louise & Kenneth W. Riley
The Shanbrom Family Foundation
Anitra & Jack Sheen
Linda Stafford Burrows
Marion & William Stewart
Irene & Robert Stone/Stone Family
Foundation
The Walter J. & Holly O. Thomson
Foundation
Ina & Martin Tornallyay
Carol & Edward R. Valentine
Susie & Hubert Vos
The Elizabeth Firth Wade
Endowment Fund
Marjorie K. & Roderick S. Webster
Westmont College
AMETHYST
$10,000—$24,999
Anonymous
Rebecca & Peter Adams
Christina & David Allison
Peggy & Kurt Anderson
Bernice & Mortimer Andron
Sally & Robert Arthur
Marta Babson
Marjorie & J.W. Bailey
Else Schilling Bard
Joan C. Benson
Leslie & Philip Bernstein
Frank Blue & Lida Light Blue
Toos & Erno Bonebakker
The CAMA Fellows
Margo & Charles Chapman
Chubb Sovereign
Carnzu A. Clark
Nan Burns & Dr. Gregory Dahlen
Karen Davidson, M.D.
Fredericka & Dennis Emory
Julie & William Esrey
Ronald & Rosalind A. Fendon
Audrey Hillman Fisher Foundation
David W. Fritzen/DWF Magazines,
DWF Media
International
Catherine H. Gainey
Tish Gainey & Charles Roehm
Dorothy & John Gardner
Kay & Richard Glenn
Corinna Gordon, Larry Dale Gordon
Dorothy & Freeman Gosden
Dianne & Robert S. Grant
Beverly & Bruce Hanna
Dolores & Robert Hanrahan
Lorraine C. Hansen
Margret & David F. Hart
Betty & Stan Hatch
Renee & Richard Hawley
Ruth & Alan Heeger
Karin Nelson & Eugene Hibbs/
Maren Henle
Mary & Campbell Holmes
Elizabeth & Gary Johnson
Glenn Jordan & Michael Stubbs
Martha & Peter Karoff
Mahri Kerley/Chaucer's Books
Linda & Michael Keston
Kum Su Kim
Catherine Lloyd/Actief-cm, Inc.
MaryAnn & Frederick Lange
Dora Anne Little
Cynthia Brown & Arthur Ludwig
Leatrice Luria
Ruth & John Matuszeski
Keith Mautino
Dona & George McCauley
Jayne Menkemeller
Sybil & Russell Mueller
Myra & Spencer Nadler
Fran & John Nielsen
Joanne & Alden Orput
Mr. & Mrs. Charles W. Partridge
Performing Arts Scholarship
Foundation
Patricia & Carl Perry
John Perry
Justyn & Ray Person
Susan & James Petrovich
Anne & C.Wesley Poulson
Susannah Rake
Jaquelin & Frank Reed
Jack Revoyr
Betty & Don Richardson
Grace Jones Richardson Trust
Dorothy Roberts
The Roberts Bros. Foundation
Regina & Rick Roney
Rebecca Ross
Betty Barrett & John Saladino
William E. Sanson
Maryan & Richard Schall
Nancy & William Schlosser
Pat & Roby Scott
Sally & Jan E.G. Smit
Constance & C.Douglas Smith
Betty J. Stephens
Diane & Selby Sullivan
The Godric Foundation
Joseph Thomas
Milan E. Timm
Carrie Towbes & John Lewis
Mark E. Trueblood
Steven Trueblood
Drs. Shirley & Kenneth Tucker
Barbara & Gary Waer
Lisa Bjornsen Wolf &
David Russell Wolf
Ann & Dick Zylstra
*promised
As of February 14, 2019
30 CENTENNIAL SEASON CELEBRATION
CAMA AT LOBERO THEATRE - AUGUSTIN HADELICH
31
MUSIC EDUCATION PROGRAM
BUSINESS SUPPORTERS
We thank the many businesses that support
CAMA's programs and events!
Laurel Abbott, Berkshire
Hathaway Luxury Properties
Alma Rosa Winey
American Riviera Bank
Babcock Winery
James P. Ballantine
Belmond El Encanto
Bertling Law Group
Bibi Ji
Black Sheep Restaurant
Blue Star Parking
Bon Fortune Style & Events
Brander Vineyard
Wes Bredall
Heather Bryden
Ca' Dario Ristorante
Camerata Pacifica
Casa Dorinda
Cebada Wine
C'est Cheese
Chaucer's Books
Chocolats du CaliBressan
Chooket Patisserie
Cottage Health System
Custom Printing
Eye Glass Factory
Felici Events
Finch & Fork
First Republic Bank
Flag Factory of
Santa Barbara
Frequency Wine
Gainey Vineyard
Grace Design Associates
Grassini Family Vineyards
Grimm’s Bluff
Colin Hayward/
The Hayward Group
Steven Handelman Studios
Hogue & Company
Holdren's Catering
Indigo Interiors
Inside Wine Santa Barbara
Islay A/V
Jardesca
Le Sorelle
Lumen Wines
Maravilla/Senior Resource
Group
Michael's Catering
Microsoft® Corporation
Mission Security
Montecito Bank & Trust
Montgomery Vineyard
Northern Trust
Oak Cottage of Santa
Barbara
Oceania Cruises
Olio e Limone/Olio Crudo
Bar/Olio Pizzeria
Opal Restaurant & Bar
Opera Santa Barbara
Pacific Coast Business Times
Pali Wine Co.
Peregrine Galleries
Performing Arts Scholarship
Foundation
Pete Clements Catering
Presqu’ile Winery
Regent Seven Seas Cruises
Renaud's Patisserie & Bistro
Rose Story Farm
Sabine Myers Design
SAGE Publishing
Santa Barbara Choral
Society
Santa Barbara Foundation
Santa Barbara Travel Bureau
Santa Barbara Winery
Stewart Fine Art
The Tent Merchant
The Upham Hotel
UCSB Arts & Lectures
Via Maestra 42
Westmont Orchestra
Change language