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

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Performing Arts, a field 

interest fund of the 

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with Avi Avital 

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of Directors 

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 


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.* 


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 

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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 


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 


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 




Mari & Hank Mitchel 



Cumulative contributions of $50,000 and above during CAMA’s Centennial Seasons 

will include Centennial Circle membership. 

CONCERTO 

$25,000–$49,999 

Marta Babson 

Suzanne & Russell Bock 

The Stephen & Carla Hahn 


The Walter J. & Holly O. 

Thomson Foundation 

The Towbes Fund for the 

Performing Arts 

Patricia Yzurdiaga 

SONATA 

$10,000–$24,999 

Anonymous 


City of Santa Barbara 


George H. Griffiths and Olive 

J. Griffiths Charitable Fund 



Ann Jackson Family 




Kum Su Kim & John Perry 

Mary Lloyd & Kendall Mills 

The Henry E. and Lola Monroe 


Montecito Bank & Trust 

John & Ellen Pillsbury 

Anne Smith Towbes 

The Shanbrom Family 


Hubert Vos 

The CAMA Women’s Board 

VIVACE 

$5,000–$9,999 

Anonymous 




Stephen Cloud 



Jeff Young 

Jill Doré Kent 

Mahri Kerley/Chaucer's Books 

ALLEGRO 

$2,500–$4,999 

Helene & Jerry Beaver 

Shelley & Mark Bookspan 



Suzanne & Peyton Bucy 

Roger & Sarah Chrisman, Schlinger 

Chrisman Foundation 

Fredericka & Dennis Emory 

Ronald & Rosalind A. Fendon 

Mary & Raymond Freeman 

Priscilla & Jason Gaines 


Shirley Ann & James H. Hurley, Jr. 

William H. Kearns Foundation 

Connie & Richard Kennelly 

Chris Lancashire & 

Catherine Gee 


Craig & Ellen Parton 

Irene & Robert Stone/Stone 

Family Foundation 

Barbara & Sam Toumayan 

Winona Fund 

Zegar Family Fund—In honor 

of CAMA’s 100th Anniversary and in 

appreciation of their friendship with 

Daniel P. Burnham 

Lynn P. Kirst 

Lois Kroc 

Stefanie Lancaster Charitable 


MaryAnn Lange 

Shirley & Seymour Lehrer 

Dona & George McCauley 

Performing Arts Scholarship 


Diana & Roger Phillips 

Ann M. Picker 

Dorothy Roberts 


Judith F. Smith 

Carrie Towbes & John Lewis 

Steven Trueblood 

(Continued next page.) 

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

The CAMA Board gratefully acknowledges and thanks the generosity of the 

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

All cummulative donations of $250 and above through 

the 100 th and 101 st Seasons will be listed. 

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


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 


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 


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 


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 


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

The Henry E. & Lola Monroe Foundation 

Performing Arts Scholarship Foundation 


$100–$999 

Becky & William Banning 

Lynn P. Kirst 

James P. and Shirley F. McFarland Fund 

of the Minneapolis Foundation 

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 


Cornelia Chapman 

Ellicott Million 

Dr. Eric Boehm 

Judy Pochini 

MEMORIAL GIFTS 

Michael Towbes 


Gerd & Peter Jordano 

Else (Leinie) Schilling Bard 


Frederica Vogle Burrows 


Professor Frederick F. Lange 

MaryAnn Lange 

Harold M. Williams 

Nancy Englander 

Sybil Mueller 

Lynn P. Kirst 

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 



Lynn R. Matteson 

Lynn P. Kirst 

Robert S. Grant 

Robert L. Grant 

Nan Burns, Dr. Greg Dahlen, 

Robert S. Grant 

William S. Hanrahan 

Susie Vos 



The CAMA Women’s Board Presents 

A PRE-CONCERT LECTURE SERIES 

2018/2019—CENTENNIAL SEASON 

CAMA's Women's Board gratefully 

thanks the following supporters! 

Symphony Level $5,000 

Patricia Yzurdiaga 

Sonata Level $1,000 

Peter & Rebecca Adams 

Mrs. Richard H. Roberts 


Rondo Level $100–$500 

Anonymous (2) 



Karin Nelson & Eugene Hibbs, Jr. 

and Maren N. Henle 


Lois Kroc 

Ellen & Craig Parton 

Andre & Michele Saltoun 





LIFETIME GIVING 

DIAMOND 

$500,000 and above 

Anonymous 

Bitsy & Denny Bacon and 

The Becton Family Foundation 

Suzanne & Russell Bock 

Linda Brown* 

The Andrew H. Burnett 


Esperia Foundation 

The Stephen & Carla Hahn 




The Samuel B. & Margaret C. 

Mosher Foundation 

Sage Publications 

The Elaine F. Stepanek 


Michael Towbes/The Towbes 

Fund for the Performing Arts 

SAPPHIRE 

$250,000—$499,999 

The CAMA Women's Board 

Leni Fé Bland 


The Wood-Claeyssens 


Patricia & Joseph Yzurdiaga 

RUBY 

$100,000—$249,999 

Anonymous 

The Adams Family Foundation 

Joan C. Benson 


Virginia Castagnola-Hunter 

NancyBell Coe & William Burke 

Robert & Christine Emmons 

Mary & Raymond Freeman 

Raye & Melville H. Haskell, Jr. 


Dolores M. & Immanuel Hsu 

Shirley Ann & James H. Hurley, Jr. 

Ann Jackson Family Foundation 

Janet & Thomas Kelly/Winona 

Fund 

Shirley & Seymour Lehrer 

John & Lucy Lundegard 


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

The Henry E. & Lola Monroe 




Kathleen & John Moseley/ 

The Nichols Foundation 

Nancy & William G. Myers 

Michele & Andre Saltoun 

The Santa Barbara Foundation 

Jan & John G. Severson 

Judith F. & Julian Smith 

Jeanne C. Thayer 

The Walter J. & Holly O. 

Thomson Foundation 

Union Bank 

Marilyn & H.Wallace Vandever 

The Wallis Foundation 



EMERALD 

$50,000—$99,999 

Anonymous 

Anonymous 

Anonymous 

Ruth Appleby 

Linda & Peter Beuret 

Edward & Sue Birch 

Dan & Meg Burnham 


Jane & Jack Catlett 

Roger & Sarah Chrisman, 

Schlinger Chrisman Foundation 

Bridget & Robert Colleary 

Suzanne & Maurice Faulkner 

Arthur R. Gaudi 

Sherry & Robert Gilson 

George H. Griffiths and Olive J. 

Griffiths Charitable Fund 

Janette "Dotsy" Main Hellmann 

& Richard Hellmann 



Hutton Parker Foundation 


Lynn P. Kirst & Lynn R. Matteson 


Betty & Max Meyer 


Craig & Ellen Parton 

Austin H. Peck 



Marjorie & Hugh Petersen/ 

La Arcada Trust Corp 

Diana & Roger Phillips 

Kathryn H. Phillips 

Theodore Plute & Larry Falxa 

Lady Leslie & Viscount Paul 

Ridley-Tree 


TOPAZ 

$25,000—$49,999 

Barbara & Edward Bakewell 

Helene & Jerry Beaver 




Helen & Andrew Burnett 


Huguette Clark 

Cecelia & Leonard Dalsemer 

Edward DeLoreto and 

William DeLoreto 

Patricia & Larry Durham 

Nancyann & Robert Failing 

Priscilla & Jason Gaines 

Preston B. & Maurine M. 

Hotchkis Family Foundation 

The George Frederick 

Jewett Foundation 

Patricia Kaplan 


Jeff Young 


Jill Doré Kent 

Otto Korntheuer/The Harold L. 

Wyman Foundation 

Laura & Robert Kuhn 

Chris Lancashire & Catherine Gee 

Lillian & Jon Lovelace 

Leatrice & Eli Luria 

Marilyn & Frank Magid 

Ruth McEwen 

Frank McGinity 

Sheila Bourke McGinity 

Mary & James Morouse 

Pat Hitchcock O'Connell 

Efrem Ostrow Living Trust 

Outhwaite Foundation 

Carolyn & Ernest Panosian 

John & Ellen Pillsbury 

Mary Dell Pritzlaff & John Pritzlaff 

Mary Louise & Kenneth W. Riley 

The Shanbrom Family Foundation 

Anitra & Jack Sheen 


Marion & William Stewart 

Irene & Robert Stone/Stone Family 


The Walter J. & Holly O. Thomson 


Ina & Martin Tornallyay 

Carol & Edward R. Valentine 

Susie & Hubert Vos 

The Elizabeth Firth Wade 

Endowment Fund 

Marjorie K. & Roderick S. Webster 


AMETHYST 

$10,000—$24,999 

Anonymous 

Rebecca & Peter Adams 

Christina & David Allison 


Bernice & Mortimer Andron 

Sally & Robert Arthur 

Marta Babson 

Marjorie & J.W. Bailey 

Else Schilling Bard 

Joan C. Benson 

Leslie & Philip Bernstein 

Frank Blue & Lida Light Blue 

Toos & Erno Bonebakker 

The CAMA Fellows 

Margo & Charles Chapman 

Chubb Sovereign 

Carnzu A. Clark 

Nan Burns & Dr. Gregory Dahlen 

Karen Davidson, M.D. 

Fredericka & Dennis Emory 

Julie & William Esrey 

Ronald & Rosalind A. Fendon 

Audrey Hillman Fisher Foundation 

David W. Fritzen/DWF Magazines, 

DWF Media 

International 

Catherine H. Gainey 

Tish Gainey & Charles Roehm 


Kay & Richard Glenn 

Corinna Gordon, Larry Dale Gordon 

Dorothy & Freeman Gosden 

Dianne & Robert S. Grant 

Beverly & Bruce Hanna 

Dolores & Robert Hanrahan 

Lorraine C. Hansen 

Margret & David F. Hart 

Betty & Stan Hatch 

Renee & Richard Hawley 

Ruth & Alan Heeger 

Karin Nelson & Eugene Hibbs/ 

Maren Henle 

Mary & Campbell Holmes 

Elizabeth & Gary Johnson 

Glenn Jordan & Michael Stubbs 

Martha & Peter Karoff 

Mahri Kerley/Chaucer's Books 

Linda & Michael Keston 

Kum Su Kim 

Catherine Lloyd/Actief-cm, Inc. 

MaryAnn & Frederick Lange 

Dora Anne Little 

Cynthia Brown & Arthur Ludwig 

Leatrice Luria 

Ruth & John Matuszeski 

Keith Mautino 

Dona & George McCauley 

Jayne Menkemeller 

Sybil & Russell Mueller 

Myra & Spencer Nadler 

Fran & John Nielsen 

Joanne & Alden Orput 

Mr. & Mrs. Charles W. Partridge 



Patricia & Carl Perry 

John Perry 

Justyn & Ray Person 

Susan & James Petrovich 

Anne & C.Wesley Poulson 

Susannah Rake 

Jaquelin & Frank Reed 

Jack Revoyr 

Betty & Don Richardson 

Grace Jones Richardson Trust 

Dorothy Roberts 

The Roberts Bros. Foundation 

Regina & Rick Roney 

Rebecca Ross 

Betty Barrett & John Saladino 

William E. Sanson 

Maryan & Richard Schall 

Nancy & William Schlosser 

Pat & Roby Scott 

Sally & Jan E.G. Smit 

Constance & C.Douglas Smith 

Betty J. Stephens 

Diane & Selby Sullivan 

The Godric Foundation 

Joseph Thomas 

Milan E. Timm 

Carrie Towbes & John Lewis 


Steven Trueblood 

Drs. Shirley & Kenneth Tucker 

Barbara & Gary Waer 

Lisa Bjornsen Wolf & 

David Russell Wolf 

Ann & Dick Zylstra 

*promised 

As of February 14, 2019 



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 



Pete Clements Catering 

Presqu’ile Winery 

Regent Seven Seas Cruises 

Renaud's Patisserie & Bistro 

Rose Story Farm 

Sabine Myers Design 


Santa Barbara Choral 

Society 


Santa Barbara Travel Bureau 

Santa Barbara Winery 

Stewart Fine Art 

The Tent Merchant 

The Upham Hotel 

UCSB Arts & Lectures 

Via Maestra 42 

Westmont Orchestra

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

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