May 6, 2019, Monday, 8:00 PM—Mischa Maisky, cello and Lily Maisky, piano—CAMA's Masterseries at The Lobero Theatre

Presenting the world’s finest classical artists since 1919 

ince 1919 

2018/2019 | 100TH CONCERT SEASON 

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MASTERSERIES 

AT THE LOBERO THEATRE 

SEASON SPONSORSHIP: ESPERIA FOUNDATION 

MISCHA MAISKYcello 

LILY MAISKY piano 

Monday, May 6, 2019, 8:00 PM 

Lobero Theatre, Santa Barbara

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CAMA AT THE LOBERO THEATRE - MISCHA MAISKY AND LILY MAISKY 

5


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6 CENTENNIAL SEASON CELEBRATION

masterseries at THE LOBERO THEATRE 


MISCHA MAISKYCELLO 

LILY MAISKYPIANO 

Monday, May 6, 2019, 8:00 PM 

Lobero Theatre, Santa Barbara 

ALESSANDRO MARCELLO (1673–1747) Concerto in D minor, BWV 974: 

(arranged by J.S. Bach; and arranged 

Movement II. Adagio 

for cello by Mischa Maisky) 

JOHANN SEBASTIAN BACH (1685–1750) Concerto for Harpsichord, Strings 

(arr. S. Franco) and Continuo No.5 in F minor, BWV 1056: 

Movement II. Largo 

WOLFGANG AMADEUS MOZART (1756–1791) Pamina’s Aria from The Magic Flute 

(arr. Mischa Maisky) 

K.620/Act II: „Ach ich fühl’s, es ist verschwunden“ 

JOHANNES BRAHMS (1833–1897) 

Sonata No.2 in F major, Op.99 

Allegro vivace 

Adagio affettuoso 

Allegro appassionata 

Allegro molto 

INTERMISSION 

PYOTR ILYICH TCHAIKOVSKY (1840–1893) The Seasons, Op.37a, TH 135: 

(arr. J. Stutschewsky and I. Thaler) 

No.10. October: “Autumn Song” 

TCHAIKOVSKY 6 Pieces, Op.51, TH 143: 

(arr. Viktor Kubatsky) 

No.6. Valse Sentimentale 

DMITRI DMITRIYEVICH SHOSTAKOVICH Sonata for Cello and Piano, Op.40 

(1906–1975) Allegro non troppo 

Allegro 

Largo 

Allegro 

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

Program subject to change. 

Masterseries Season Sponsor: Esperia Foundation 

Co-Sponsor: Ellen & Craig Parton 

Concert Partners: Stephen Cloud • Raye Haskell Melville 

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 - MISCHA MAISKY AND LILY MAISKY 

7

Kasskara ©Deutsche Grammophon 

MISCHA MAISKY 

CELLO 

Maisky has the distinction of being the only 

cellist in the world to have studied with 

both Mstislav Rostropovich and Gregor Piatigorsky. 

Rostropovich has lauded Mischa 

Maisky as "... one of the most outstanding 

talents of the younger generation of cellists. 

His playing combines poetry and exquisite 

delicacy with great temperament 

and brilliant technique." 

Born in Latvia, educated in Russia, after 

his repatriation to Israel, Mischa Maisky has 

been enthusiastically received in London, Paris, 

Berlin, Vienna, New York and Tokyo, along 

with the rest ofthe major music centers. 

He considers himself as a citizen of 

the world: "I’m playing an Italian cello, with 

French and German bows, Austrian and 

German strings, my daughter was born 

in France, my oldest son in Belgium, the 

middle one in Italy and the youngest one 

in Switzerland, I’m driving a Japanese car, 

wear a Swiss watch, an Indian necklace and 

I feel at home everywhere where people appreciate 

and enjoy classical music." 

As an exclusive Deutsche Grammophon 

artist during the last 25 years he made well 

over 30 recordings with such orchestras 

as Vienna and Berlin Philharmonic, London 


8

Symphony, Israel Philharmonic, Orchestre 

de Paris, Orpheus und Chamber Orchestra of 

Europe and others. 

One of the highlights in his career was 

the year 2000 - it was mainly devoted to a 

world-wide Bach tour which included over 

100 concerts! In order to express his deep 

admiration for this great composer, Mischa 

Maisky has recorded Bach's Solo Suites for 

the third time. 

His recordings have enjoyed worldwide 

critical acclaim and have been awarded five 

times the prestigious Record Academy Prize 

in Tokyo, three times Echo Deutscher Schallplattenpreis, 

Grand Prix du Disque in Paris 

and Diapason d’Or of the Year as well as the 

coveted Grammy nominations. 

Truly a world-class musician and regular 

guest in most major International Festivals 

he collaborated with such conductors 

as Leonard Bernstein, Charles Dutoit, Carlo 

Maria Giulini, Lorin Maazel, Zubin Mehta, Riccardo 

Muti, James Levine, Vladimir Ashkenazy, 

Giuseppe Sinopoli and Daniel Barenboim 

and his partnerships have included artists as 

Martha Argerich, Radu Lupu, Nelson Freire, 

Evgeny Kissin, Lang Lang, Peter Serkin, Gidon 

Kremer, Yuri Bashmet, Vadim Repin, Maxim 

Vengerov, Joshua Bell, Julian Rachlin and Janine 

Jansen to name just a few. n 

LILY 

MAISKY 

PIANO 

Lily Maisky was born in Paris, moving to 

Brussels soon after. She began playing the 

piano at the age of four, with Lyl Tiempo, also 

studying with Hagit Kerbel, Ilana Davids and 

Alan Weiss. Lily was a pupil at the “Purcell 

School of Music” from 2001 till 2005 where 

she also studied jazz piano. She has received 

master classes and musical advice from renowned 

artists including Martha Argerich, 

Dmitri Bashkirov, Joseph Kalichstein, Pavel 

Gililov and Vitalij Margulis to name a few. 

Concert appearances have taken her 

throughout Europe and she regularly tours 

the Far East, North and South America. Lily 

has been invited to many of the great festivals 

such as the Verbier Festival, Progetto 

Martha Argerich in Lugano, the Edinburgh 

Festival, Miyazaki Festival, Maggio Musicale 

Fiorentino, Bergamo-Brescia, the Beijing Piano 

Festival, the Franz Liszt festival in Austria, 

Julian Rachlin and Friends in Dubrovnik, Rencontres 

de Bel Air in France, Gstaad Festival, 

the Schlesswig-Holstein Music Festival as 

well as the Berlin Festival and many others. 

She has had the privilege of performing concertos 

under the batons of maestros Leonard 

Slatkin, Thomas Sanderling, Gerd Albrecht, 

Gabor Takacs-Nagy, Daniel Raiskin, Alberto 

Veronesi, Jack Martin Händler, Josep Caballé- 

Domenech, Enrique Diemecke and Charles 

Benjamin Brolet 


9

Olivieri Munroe, amongst others. She has 

also performed in such prestigious venues 

as the Royal Festival Hall in London, Vienna’s 

Musikverein and Concerthaus, Munich’s 

Prinzregentheatre, Hamburg’s Leiszhalle 

and Elbphilarmonie, Berlin’s Konzerthaus, 

Venezia’s La Fenice, Bonn’s Beethoven- 

Halle, Tokyo’s Suntory Hall, Rome’s Teatro 

Olimpico, Moscow Conservatory, Saint Petersburg 

Philarmonie, New York’s Carnegie 

Hall, Seoul’s Performing Arts Center, Athens 

Megaron, Palais des Beaux-Arts in Brussels, 

the Liszt Academy in Budapest, Essen 

Philarmonie, Auditorium de Lyon and Teatro 

Colon in Argentina among many others. 

Lily has released several recordings for 

Deutsche Grammophon, EMI and Belgian 

label Avanti Classics, has been frequently 

broadcasted on European and Asian radio 

and television, as well as featuring in several 

documentaries. Her latest release on 

Deutsche Grammophon, “Adagietto” is a 

special compilation of live chamber works 

with the Maisky Trio, Janine Jansen and Julian 

Rachlin as well as some studio recorded 

transcriptions with Mischa Maisky. An album 

of 20th Century works with Mischa Maisky 

is planned for 2019 and many other exciting 

projects in the making. 

Lily has a predilection for chamber music 

and forms a regular duo with Mischa Maisky, 

as well as the Maisky trio with her brother. 

She has also performed with such artists as 

Julian Rachlin, Janine Jansen, Dora Schwarzberg, 

Renaud Capuçon, Maxim Rysanov, Gérard 

Caussé, Chantal Juillet, Sergey Krylov, 

Martha Argerich, Nicholas Angelich, Frank 

Braley, as well as Philippe Quint, Alissa Margulis, 

Hrachya Avanesyan, Geza Hosszu- 

Legocky, Boris Andrianov, Isztvan Vardai, Alexander 

Mogilevsky, Orfeo Mandozzi, Alena 

Baeva, Boris Brovstyn and the Szymanowski 

Quartet. 

Lily is a Steinway Artist and the proud 

owner of the last instrument of the legendary 

Arturo Benedetti Michelangeli. n 

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC 


BACH 

PROGRAM 

notes 

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

The violoncello boasts a distinguished 

heritage dating back about three and a half 

centuries. So what could be a more fitting 

way to begin a cello recital than with a couple 

of oboe pieces and an opera aria? 

The Adagio that opens the program is 

the slow movement of an oboe concerto by 

the Venetian Alessandro Marcello (1673– 

1747). It was published in Amsterdam in 

1717, but Bach, who was avidly collecting 

and reverse-engineering Italian concertos 

during the 1710s, created a version for solo 

harpsichord a year or two earlier, which 

meant he had obtained a manuscript copy. 

The Bach Arioso that follows may also 

have originated as the slow movement of 

an oboe concerto, but its earliest known 

incarnation is as the sinfonia for oboe 

and strings that begins cantata 156, Ich 

stehe mit einem Fuss in Grabe (“I stand with 

one foot in the grave”), first performed in 

Leipzig church services for the third Sunday 

after Trinity in January 1729. Bach 

turned the music into the slow movement 


11

of his F-minor concerto for harpsichord 

and strings, BWV 1056, adding ornaments 

to the melody to accommodate the harpsichord’s 

inability to sustain a long tone. The 

movement is remarkably similar to, and 

may have been admired, by the first movement 

of a Telemann oboe concerto. 

Pamina, the damsel constantly in distress, 

sings and speaks a good deal in The 

Magic Flute, the singspiel Mozart composed 

three months before his death in 1791, but 

she gets only one solo aria, in which she 

worries about losing the love of her rescuer 

Prince Pamino. 

In 1884, the cellist Robert Hausmann 

asked Brahms to compose a new sonata 

for him. Hausmann was part of the circle of 

artists and friends Brahms held dear, and 

was a kindred musical spirit in many ways, 

sharing Brahms’ classical conservatism 

in modern music and interest in older music. 

He played the viola da gamba, which 

had been extinct for a century as a tool for 

current music, and he played cello without 

using an endpin, though its use had been 

normal for more than a generation. He had 

championed Brahms’ otherwise neglected 

Opus 38 sonata of twenty years earlier, and 

Brahms was happy to compose a sonata 

for such a skilled and sympathetic interpreter. 

Brahms did most of his composing 

during summers away from Vienna. He 

spent the next two summers composing 

35 songs and his fourth symphony before 

turning his attention to chamber music in 

1886, finishing the second cello sonata 

BRAHMS 

along with the Violin Sonata in A and the 

C-minor Piano Trio. 

Hausmann may have been looking for 

a work more adventurous than the relatively 

subdued Opus 38 sonata. He certainly 

got one, full of grand gestures and 

big statements. In places it requires heavy 

lifting from the cellist, since Brahms liked 

to write dense piano parts with full chords, 

creating a rich, full sound, which does not 

make life easy for the cellist who needs to 

be heard. (A piece of Brahms folklore has it 

that after a less-than-stellar cellist played 

this sonata through with Brahms, she complained 

that she couldn’t hear herself play. 

Brahms replied, “You were lucky.”) 

The first movement begins with the 

cello announcing one of those Brahms signature 

sweeping, soaring themes over a 

tremolo on the piano. These two elements 

CAMA AT LOBERO THEATRE - MISCHA MAISKY AND LILY MAISKY 

12

constitute much of the movement, with the 

opening theme or derivative motifs nearly 

always present in the melodic texture. The 

tremolo is taken over by the cello, played 

by alternating the two lowest strings—a 

strikingly sonorous effect—through much 

of the development and coda. 

The reflective second movement begins 

in the distant and unrelated key of F- 

sharp major, then enters a sort of tonal noman’s 

land in a middle section that drifts 

in and out of D-flat major on its way to a 

modulation to F minor that never really arrives. 

The key of F minor does arrive in the 

scherzo, the principal theme of which bears 

a striking resemblance to the finale of the 

Third Symphony (also in F minor), recast 

into triple meter, but with the same driving 

mood. The middle section lies somewhere 

between hymn and love song. The finale, 

a carefree rondo in which nothing terribly 

important happens, is less a climax than a 

dessert after a particularly nutritious meal. 

Both Tchaikovsky pieces on the program 

were originally composed for solo piano 

at the behest of Nikolai Bernard, editor 

of the St. Petersburg monthly music magazine 

Nuvelliste. In a time when a large proportion 

of people with disposable income 

were skilled amateur instrumentalists, it 

made financial sense to publish magazines 

containing music for them to play. In a December 

1875 letter Bernard asked Tchaikovsky 

to compose a piece for each month 

of the year, and suggested subtitles for 

TCHAIKOVSKY 

each piece. Tchaikovsky, a better composer 

than negotiator, wrote back that he was 

“most grateful for your courtesy and readiness 

to pay me such a high fee,” and supplied 

the pieces well ahead of the publication 

schedule. Bernard also supplied each 

piece with a poetic epigraph, most of them 

by Russian poets unfamiliar to Western 

readers. Those verses appear in only two 

of Tchaikovsky’s manuscript scores (January 

and March), so it is not certain that he 

had the other ten in mind as he composed. 

The verse for October, “Autumn Song,” describes 

fallen yellowed leaves blowing in 

the wind. 

In 1882, Bernard again proposed 

a set of character pieces, but this time 


Tchaikovsky’s publishers, Pyotr and Osip 

Jurgensen, stepped in, pointing out that 

their contract with Tchaikovsky gave them 

a right of first refusal on anything he composed. 

Tchaikovsky was peeved, but conceded 

that the Jurgensens were within their 

rights. They eventually published a set of six 

pieces as Opus 51. The Chopinesque Valse 

Sentimentale is the sixth of the set. 

Shostakovich’s only cello sonata dates 

from what he would have called a pivotal time 

of his life, and he didn’t know the half of it. 

He was at the top of the Soviet musical 

world with the success of his second 

opera, Lady Macbeth of the Mtsensk District. 

Its January 22, 1934 premiere in Leningrad 

was followed two days later by its first 

performance in Moscow, and it continued 

to fill seats in both opera houses for two 

years. It was hailed as a great leap forward 

for Soviet opera in the very year that Soviet 

bureaucracy promulgated a directive to the 

effect that “socialist realism” was the artistic 

ideal for music, although the directive 

said nothing specific about what “socialist 

realism” meant. 

In May of 1934 the opera was performed 

as part of an international festival 

in Leningrad, where Shostakovich met and 

fell in love with a 20-year-old university 

student who was working as an interpreter 

for the festival. It caused a separation, 

and then a divorce, from his wife of two 

years, Nina Varzar (the dedicatee of Lady 

Macbeth). While they were apart, in August 

1934, Shostakovich composed the cello 

sonata, his first major chamber work. He 

dedicated it to Viktor Kubatsky, who played 

in the Bolshoi Theater orchestra, and gave 

its first performance with him on December 

25, 1934. The choice of Kubatsky was 

more politic than artistic: he was known as 

an organizer of concerts, so involving him 

would mean the new sonata would get repeated 

public performances. He was also 

known for his limitations as a player, which 

may have had something to do with the sonata’s 

being received poorly at first. 

Shostakovich quickly remarried Nina, 

writing to a friend, “I have only now realized 

and fathomed what a remarkable woman 

she is, and how precious to me.” Nina was 

also pregnant with their first child. Their 

marriage appears to have been a success 

until her death in 1954, with Nina acting as 

his personal and business manager as well 

as wife, mother and emotional support. He 

would need her in the coming years, when 

the Soviet establishment moved to bring 

its musical establishment to heel, choosing 

to make Shostakovich, its golden boy, 

and Lady Macbeth, its major international 

success, examples of—as an infamous 

January 1936 Pravda article put it—“petit 

bourgeois and formalist” degeneracy. 

In a time of government purges that 

became known simply as “The Terror,” 

the Pravda article made Shostakovich an 

outcast, and most of his concert music 

was effectively banned. The cello sonata 

seems to have escaped that ban, perhaps 

because chamber music was not much on 

officialdom’s radar, or perhaps because the 

sonata offended no one. 


SHOSTAKOVICH 

Shostakovich had made public statements 

in 1935, when everyone wanted 

to hear his opinions, about developing a 

more simple, expressive style, and getting 

away from the striving for originality that 

often marked his music. The sonata, while 

not simple by any standard, largely avoids 

the excursions into the grotesque that been 

a part of his style since his student days, 

when it annoyed his composition professor. 

The sonata is in largely traditional 

forms. The musical language of the sonataform 

first movement is remarkably generic 

in a sense: Shostakovich’s style is normally 

so distinctive that his authorship is immediately 

obvious, but large stretches of the first 

movement could be by almost anyone, and 

the secondary theme has more than a little 

Rachmaninoff in it. The movement ends 

with a slow coda, setting up a contrast with 

an energetic scherzo of a second movement 

full of trademark Shostakovich sounds like 

the repeated notes and melodies in widely 

spaced octaves on the piano. 

The third movement combines elements 

of rondo form and variation form. A 

loose road map would be: first theme, followed 

by second theme and two variations 

on it, then a variation on the first theme, two 

more variations on the second theme, and a 

last variation on the first theme. The roaring 

finale is a more traditional scherzo. • 

Program Notes ©2019, Howard Posner 



Anne-Sophie Mutter 

Esa-Pekka Salonen 

Santa Barbara Band 

Community Arts String Orchestra 

CAMA’S CENTENNIAL 

100 th and 101 st SEASONS 

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

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

participate in CAMA’s historic Centennial Celebration. 

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

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our concert programs. 

Please contact either Elizabeth Alvarez or Nancy Lynn 

at (805) 966-4324 to learn more. 

Renée Fleming 

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André Previn 

London Philharmonic

Lisa-Marie MAzzucco photo 

“It’s always been a 

great pleasure for 

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I send you my heartiest 

congratulations 

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season. Bravo!” 

—ITZHAK PERLMAN, CO-CHAIR, 

CAMA CENTENNIAL 

HONORARY ARTISTS COUNCIL 

centennial honorary artists council 

Itzhak Perlman 

honorary co-chair 


honorary co-chair 

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17


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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. 


19


CENTENNIAL CELEBRATION DONORS 

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 

(Continued from previous page) 


Jackie Inskeep 

Diane Johnson 

Gerd & Peter Jordano 

James Kearns 

Sally Kinney 

Karin Jacobson & Hans Koellner 

Kathryn Lawhun & Mark Shinbrot 

Dora Anne Little 

Cynthia Brown & Arthur Ludwig 

Nancy & James Lynn 

Gloria & Keith Martin 

Maureen Masson 

Ruth & John Matuszeski 

Karine & Donald McCall 

Frank McGinity 

Sally & George Messerlian 

Russell Mueller 

Northern Trust 

Ellen Lehrer Orlando & Thomas Orlando 

Gail Osherenko & Oran Young 

Patti Ottoboni 

Anne & Daniel Ovadia 

Donald Rink 

Tiffany & Justin Rizzo-Weaver, 

in memory of Dolores M. Hsu 

Regina & Rick Roney 

Ada B. Sandburg 


Anitra & Jack Sheen 

Barbara & Wayne Smith 

Marion Stewart 

Milan E. Timm 


UCSB—Department of Music, 

University of California, Santa Barbara 

Esther & Tom Wachtell 

Barbara & Gary Waer 

Sheila Wald 

Nick & Patty Weber 

Dr. Robert Weinman 

Judy L. Weisman 

Westmont College 

Victoria & Norman Williamson 

Nancy & Byron Kent Wood 

Cheryl & Peter Ziegler 

Ann & Dick Zylstra 

ANDANTE 

$250–$999 

Sylvia Abualy 

Antoinette & Shawn Addison 

Jyl & Allan Atmore 

Howard A. Babus 

Becky & William Banning 

Patricia & Richard Blake 

Edith M. Clark 

Lavelda & Lynn Clock 

Betsy & Kenneth Coates 

Michael & Ruth Ann Collins 

Nancy Donaldson 

Michael K. Dunn 

Ann & David Dwelley 

Meg & Jim Easton 

Julia Emerson 

Thomas & Doris Everhart 

Eunice & J. Thomas Fly 

Ghita Ginberg 

Nancy & Frederic Golden 

Robert Hanrahan 

Lorna S. Hedges 

Glenn Jordan & Michael Stubbs 

Debbie & Frank Kendrick 

June & William Kistler 

Christie & Morgan Lloyd 

Barbara & Ernest Marx 

Phyllis Brady & Andy Masters 

Jeffrey McFarland 

Patriicia & William McKinnon 

Christine & James V. McNamara 

Andrew Mester 

James P. And Shirley F. McFarland Fund of 

The Minneapolis Foundation 

Peter L. Morris 

Mrs. Raymond King Myerson 

Maureen O'Rourke 

Hensley & James Peterson 

David & Dottie Pickering 

Minie & Hjalmar Pompe van Meerdervoort 

Patricia & Robert Reid 

Rotary Club of Montecito Foundation, Inc. 

Lynn & Mark Schiffmacher 

Naomi Schmidt 

Maureen & Les Shapiro 

Halina W. Silverman 

Paul and Delia Smith 

Linda Stafford Burrows 

Beverly & Michael Steinfeld 

Jacqueline & Ronald Stevens 

Elaine Sweet 

Carol Vernon & Robert Turbin 

Mary H. Walsh 

Lorraine & Stephen Weatherford 

Grace & Edward Yoon 



CAMA's 100 th 

BIRTHDAY BASH 

FREE TO THE COMMUNITY 

This event is made possible through the generous support of 


The Elaine F. Stepanek Foundation 

City of Santa Barbara 

SUNKEN GARDENS 

at the Santa Barbara County Courthouse 

Sunday, May 19, 2019 

1:00 PM–4:00 PM 

While this event is free and open to the public, for planning purposes we ask that you 

RSVP to events@camasb.org with the number in your party. Thank you! 



OUR BUSINESS PARTNERS 

Serving the public at the May 19 event! 

Official Chocolatier of the 

CAMA Centennial 



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 


23

MEMORIAL GIFTS 

Dr. Dolores M. Hsu 

Jill Felber & Paul Bambach 

Dr. Robert Failing 

Mrs. Betty Meyer 

Dr. Walter Picker 

Ann M. Picker 

Tita Lanning 

Keith Mautino 

Jim Ryerson 

Christine Ryerson 

Sharon Felber Taylor 


Cornelia Chapman 

Ellicott Million 

Dr. Eric Boehm 

Judy Pochini 

Michael Towbes 


Gerd & Peter Jordano 

Else (Leinie) Schilling Bard 


Frederica Vogle Burrows 


Professor Frederick F. Lange 

MaryAnn Lange 

Harold M. Williams 

Nancy Englander 

Sybil Mueller 

Lynn P. Kirst 

Dr. Robert Sinsheimer 

& Karen Sinsheimer 



Lynn R. Matteson 

Lynn P. Kirst 

Robert S. Grant 

Robert L. Grant 

Nan Burns, Dr. Greg Dahlen, 

Robert S. Grant 

William S. Hanrahan 

Susie Vos 


MUSIC EDUCATION 

MUSIC EDUCATION PROGRAM 

$25,000 and above 

The Walter J. & Holly O. Thomson Foundation 

$10,000–$24,999 

Ms. Irene Stone/ Stone Family Foundation 

Mary Lloyd & Kendall Mills 

$1,000–$9,999 

CAMA Women's Board 


Stefanie L. Lancaster Charitable Foundation 


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

The Henry E. & Lola Monroe Foundation 

Performing Arts Scholarship Foundation 


$100–$999 

Becky & William Banning 

Lynn P. Kirst 

James P. and Shirley F. McFarland Fund 

of the Minneapolis Foundation 

CAMA Education Endowment 

Fund Income 

$10,000 AND ABOVE William & Nancy Myers 

$1,000–$4,999 Linda Stafford Burrows – 

This opportunity to experience great musicians excelling is 

given in honor and loving memory of Frederika Voogd Burrows 

to continue her lifelong passion for enlightening young people 

through music and math. 

Kathryn H. Phillips, in memory of Don R. Phillips 

Walter J. Thomson/The Thomson Trust 

$50–$999 

Lynn P. Kirst 

Keith J. Mautino 

Performing Arts Scholarship Foundation 

Marjorie S. Petersen 

In honor of 

Joan Crossland 

NancyBell Coe & Bill Burke 

Carolyn & Dennis Naiman 

Nancy Lynn 


David Malvinni 


Volunteer docents are trained by CAMA’s Education Committee Chair, Joan Crossland, to deliver this program to 

area schools monthly. Music enthusiasts are invited to learn more about the program and volunteer opportunities. 

Call the CAMA office at (805) 966-4324 for more information about the docent program. 



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 




25


LIFETIME GIVING 

DIAMOND 

$500,000 and above 

Anonymous 

Bitsy & Denny Bacon and 

The Becton Family Foundation 

Suzanne & Russell Bock 

Linda Brown* 

The Andrew H. Burnett 


Esperia Foundation 

The Stephen & Carla Hahn 




The Samuel B. & Margaret C. 

Mosher Foundation 

Sage Publications 

The Elaine F. Stepanek 


Michael Towbes/The Towbes 

Fund for the Performing Arts 

SAPPHIRE 

$250,000—$499,999 

The CAMA Women's Board 

Leni Fé Bland 


The Wood-Claeyssens 


Patricia & Joseph Yzurdiaga 

RUBY 

$100,000—$249,999 

Anonymous 

The Adams Family Foundation 

Joan C. Benson 


Virginia Castagnola-Hunter 

NancyBell Coe & William Burke 

Robert & Christine Emmons 

Mary & Raymond Freeman 

Raye & Melville H. Haskell, Jr. 


Dolores M. & Immanuel Hsu 

Shirley Ann & James H. Hurley, Jr. 

Ann Jackson Family Foundation 

Janet & Thomas Kelly/Winona 

Fund 

Shirley & Seymour Lehrer 

John & Lucy Lundegard 


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

The Henry E. & Lola Monroe 




Kathleen & John Moseley/ 

The Nichols Foundation 

Nancy & William G. Myers 

Michele & Andre Saltoun 

The Santa Barbara Foundation 

Jan & John G. Severson 

Judith F. & Julian Smith 

Jeanne C. Thayer 

The Walter J. & Holly O. 

Thomson Foundation 

Union Bank 

Marilyn & H.Wallace Vandever 

The Wallis Foundation 



EMERALD 

$50,000—$99,999 

Anonymous 

Anonymous 

Anonymous 

Ruth Appleby 

Linda & Peter Beuret 

Edward & Sue Birch 

Dan & Meg Burnham 


Jane & Jack Catlett 

Roger & Sarah Chrisman, 

Schlinger Chrisman Foundation 

Bridget & Robert Colleary 

Suzanne & Maurice Faulkner 

Arthur R. Gaudi 

Sherry & Robert Gilson 

George H. Griffiths and Olive J. 

Griffiths Charitable Fund 

Janette "Dotsy" Main Hellmann 

& Richard Hellmann 



Hutton Parker Foundation 


Lynn P. Kirst & Lynn R. Matteson 


Betty & Max Meyer 


Craig & Ellen Parton 

Austin H. Peck 



Marjorie & Hugh Petersen/ 

La Arcada Trust Corp 

Diana & Roger Phillips 

Kathryn H. Phillips 

Theodore Plute & Larry Falxa 

Lady Leslie & Viscount Paul 

Ridley-Tree 


TOPAZ 

$25,000—$49,999 

Barbara & Edward Bakewell 

Helene & Jerry Beaver 




Helen & Andrew Burnett 


Huguette Clark 

Cecelia & Leonard Dalsemer 

Edward DeLoreto and 

William DeLoreto 

Patricia & Larry Durham 

Nancyann & Robert Failing 

Priscilla & Jason Gaines 

Preston B. & Maurine M. 

Hotchkis Family Foundation 

The George Frederick 

Jewett Foundation 

Patricia Kaplan 


Jeff Young 


Jill Doré Kent 

As of February 14, 2019 


26

LIFETIME GIVING 

Otto Korntheuer/The Harold L. 

Wyman Foundation 

Laura & Robert Kuhn 

Chris Lancashire & Catherine Gee 

Lillian & Jon Lovelace 

Leatrice & Eli Luria 

Marilyn & Frank Magid 

Ruth McEwen 

Frank McGinity 

Sheila Bourke McGinity 

Mary & James Morouse 

Pat Hitchcock O'Connell 

Efrem Ostrow Living Trust 

Outhwaite Foundation 

Carolyn & Ernest Panosian 

John & Ellen Pillsbury 

Mary Dell Pritzlaff & John Pritzlaff 

Mary Louise & Kenneth W. Riley 

The Shanbrom Family Foundation 

Anitra & Jack Sheen 


Marion & William Stewart 

Irene & Robert Stone/Stone Family 


The Walter J. & Holly O. Thomson 


Ina & Martin Tornallyay 

Carol & Edward R. Valentine 

Susie & Hubert Vos 

The Elizabeth Firth Wade 

Endowment Fund 

Marjorie K. & Roderick S. Webster 


AMETHYST 

$10,000—$24,999 

Anonymous 

Rebecca & Peter Adams 

Christina & David Allison 


Bernice & Mortimer Andron 

Sally & Robert Arthur 

Marta Babson 

Marjorie & J.W. Bailey 

Else Schilling Bard 

Joan C. Benson 

Leslie & Philip Bernstein 

Frank Blue & Lida Light Blue 

Toos & Erno Bonebakker 

The CAMA Fellows 

Margo & Charles Chapman 

Chubb Sovereign 

Carnzu A. Clark 

Nan Burns & Dr. Gregory Dahlen 

Karen Davidson, M.D. 

Fredericka & Dennis Emory 

Julie & William Esrey 

Ronald & Rosalind A. Fendon 

Audrey Hillman Fisher Foundation 

David W. Fritzen/DWF Magazines, 

DWF Media 

International 

Catherine H. Gainey 

Tish Gainey & Charles Roehm 


Kay & Richard Glenn 

Corinna Gordon, Larry Dale Gordon 

Dorothy & Freeman Gosden 

Dianne & Robert S. Grant 

Beverly & Bruce Hanna 

Dolores & Robert Hanrahan 

Lorraine C. Hansen 

Margret & David F. Hart 

Betty & Stan Hatch 

Renee & Richard Hawley 

Ruth & Alan Heeger 

Karin Nelson & Eugene Hibbs/ 

Maren Henle 

Mary & Campbell Holmes 

Elizabeth & Gary Johnson 

Glenn Jordan & Michael Stubbs 

Martha & Peter Karoff 

Mahri Kerley/Chaucer's Books 

Linda & Michael Keston 

Kum Su Kim 

Catherine Lloyd/Actief-cm, Inc. 

MaryAnn & Frederick Lange 

Dora Anne Little 

Cynthia Brown & Arthur Ludwig 

Leatrice Luria 

Ruth & John Matuszeski 

Keith Mautino 

Dona & George McCauley 

Jayne Menkemeller 

Sybil & Russell Mueller 

Myra & Spencer Nadler 

Fran & John Nielsen 

Joanne & Alden Orput 

Mr. & Mrs. Charles W. Partridge 



Patricia & Carl Perry 

John Perry 

Justyn & Ray Person 

Susan & James Petrovich 

Anne & C.Wesley Poulson 

Susannah Rake 

Jaquelin & Frank Reed 

Jack Revoyr 

Betty & Don Richardson 

Grace Jones Richardson Trust 

Dorothy Roberts 

The Roberts Bros. Foundation 

Regina & Rick Roney 

Rebecca Ross 

Betty Barrett & John Saladino 

William E. Sanson 

Maryan & Richard Schall 

Nancy & William Schlosser 

Pat & Roby Scott 

Sally & Jan E.G. Smit 

Constance & C.Douglas Smith 

Betty J. Stephens 

Diane & Selby Sullivan 

The Godric Foundation 

Joseph Thomas 

Milan E. Timm 

Carrie Towbes & John Lewis 


Steven Trueblood 

Drs. Shirley & Kenneth Tucker 

Barbara & Gary Waer 

Lisa Bjornsen Wolf & 

David Russell Wolf 

Ann & Dick Zylstra 

*promised 

As of February 14, 2019 


27


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 


28

CAMA's Community 

spotlight 

CAMA celebrates 

Mrs. Raymond King Myerson 

in her 100 th year! 

Mrs. Myerson with Nancy Lynn at the 

Red Carpet Reception, Granada Theatre, 

immediately before CAMA's opening concert 

of the 100 th Season, October 2018.

May 6, 2019, Monday, 8:00 PM—Mischa Maisky, cello and Lily Maisky, piano—CAMA's Masterseries at The Lobero Theatre

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