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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MISCHA MAISKYcello

LILY MAISKY piano

Monday, May 6, 2019, 8:00 PM

Lobero Theatre, Santa Barbara

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MISCHA MAISKY

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CAMA AT THE LOBERO THEATRE - MISCHA MAISKY AND LILY MAISKY

5


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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

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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.


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)

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

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

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

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

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!



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

Bridget Colleary

Cornelia Chapman

Ellicott Million

Dr. Eric Boehm

Judy Pochini

Michael Towbes

Bridget B. Colleary

Gerd & Peter Jordano

Else (Leinie) Schilling Bard

Joanne C. Holderman

Frederica Vogle Burrows


Professor Frederick F. Lange

MaryAnn Lange

Harold M. Williams

Nancy Englander

Sybil Mueller

Lynn P. Kirst

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

MUSIC EDUCATION

MUSIC EDUCATION PROGRAM

$25,000 and above

The Walter J. & Holly O. Thomson Foundation

$10,000–$24,999

Ms. Irene Stone/ Stone Family Foundation

Mary Lloyd & Kendall Mills

$1,000–$9,999

CAMA Women's Board


Stefanie L. Lancaster Charitable Foundation

Sara Miller McCune

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

The Henry E. & Lola Monroe Foundation

Performing Arts Scholarship Foundation

Westmont College

$100–$999

Becky & William Banning

Lynn P. Kirst

James P. and Shirley F. McFarland Fund

of the Minneapolis Foundation

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)

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




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

Foundation

Esperia Foundation

The Stephen & Carla Hahn

Foundation

Judith L. Hopkinson


The Samuel B. & Margaret C.

Mosher Foundation

Sage Publications

The Elaine F. Stepanek

Foundation

Michael Towbes/The Towbes

Fund for the Performing Arts

SAPPHIRE

$250,000—$499,999

The CAMA Women's Board

Leni Fé Bland

Sara Miller McCune

The Wood-Claeyssens

Foundation

Patricia & Joseph Yzurdiaga

RUBY

$100,000—$249,999

Anonymous

The Adams Family Foundation

Joan C. Benson


Virginia Castagnola-Hunter

NancyBell Coe & William Burke

Robert & Christine Emmons

Mary & Raymond Freeman

Raye & Melville H. Haskell, Jr.

Hollis Norris Fund

Dolores M. & Immanuel Hsu

Shirley Ann & James H. Hurley, Jr.

Ann Jackson Family Foundation

Janet & Thomas Kelly/Winona

Fund

Shirley & Seymour Lehrer

John & Lucy Lundegard


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

The Henry E. & Lola Monroe

Foundation



Kathleen & John Moseley/

The Nichols Foundation

Nancy & William G. Myers

Michele & Andre Saltoun

The Santa Barbara Foundation

Jan & John G. Severson

Judith F. & Julian Smith

Jeanne C. Thayer

The Walter J. & Holly O.

Thomson Foundation

Union Bank

Marilyn & H.Wallace Vandever

The Wallis Foundation



EMERALD

$50,000—$99,999

Anonymous

Anonymous

Anonymous

Ruth Appleby

Linda & Peter Beuret

Edward & Sue Birch

Dan & Meg Burnham


Jane & Jack Catlett

Roger & Sarah Chrisman,

Schlinger Chrisman Foundation

Bridget & Robert Colleary

Suzanne & Maurice Faulkner

Arthur R. Gaudi

Sherry & Robert Gilson

George H. Griffiths and Olive J.

Griffiths Charitable Fund

Janette "Dotsy" Main Hellmann

& Richard Hellmann

Joanne C. Holderman


Hutton Parker Foundation


Lynn P. Kirst & Lynn R. Matteson

Lois Sandra Kroc

Betty & Max Meyer


Craig & Ellen Parton

Austin H. Peck


Foundation

Marjorie & Hugh Petersen/

La Arcada Trust Corp

Diana & Roger Phillips

Kathryn H. Phillips

Theodore Plute & Larry Falxa

Lady Leslie & Viscount Paul

Ridley-Tree


TOPAZ

$25,000—$49,999

Barbara & Edward Bakewell

Helene & Jerry Beaver

Bob Boghosian &

Beth Gates Warren

Alison & Jan Bowlus

Helen & Andrew Burnett


Huguette Clark

Cecelia & Leonard Dalsemer

Edward DeLoreto and

William DeLoreto

Patricia & Larry Durham

Nancyann & Robert Failing

Priscilla & Jason Gaines

Preston B. & Maurine M.

Hotchkis Family Foundation

The George Frederick

Jewett Foundation

Patricia Kaplan


Jeff Young


Jill Doré Kent

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

Foundation

The Walter J. & Holly O. Thomson

Foundation

Ina & Martin Tornallyay

Carol & Edward R. Valentine

Susie & Hubert Vos

The Elizabeth Firth Wade

Endowment Fund

Marjorie K. & Roderick S. Webster

Westmont College

AMETHYST

$10,000—$24,999

Anonymous

Rebecca & Peter Adams

Christina & David Allison


Bernice & Mortimer Andron

Sally & Robert Arthur

Marta Babson

Marjorie & J.W. Bailey

Else Schilling Bard

Joan C. Benson

Leslie & Philip Bernstein

Frank Blue & Lida Light Blue

Toos & Erno Bonebakker

The CAMA Fellows

Margo & Charles Chapman

Chubb Sovereign

Carnzu A. Clark

Nan Burns & Dr. Gregory Dahlen

Karen Davidson, M.D.

Fredericka & Dennis Emory

Julie & William Esrey

Ronald & Rosalind A. Fendon

Audrey Hillman Fisher Foundation

David W. Fritzen/DWF Magazines,

DWF Media

International

Catherine H. Gainey

Tish Gainey & Charles Roehm


Kay & Richard Glenn

Corinna Gordon, Larry Dale Gordon

Dorothy & Freeman Gosden

Dianne & Robert S. Grant

Beverly & Bruce Hanna

Dolores & Robert Hanrahan

Lorraine C. Hansen

Margret & David F. Hart

Betty & Stan Hatch

Renee & Richard Hawley

Ruth & Alan Heeger

Karin Nelson & Eugene Hibbs/

Maren Henle

Mary & Campbell Holmes

Elizabeth & Gary Johnson

Glenn Jordan & Michael Stubbs

Martha & Peter Karoff

Mahri Kerley/Chaucer's Books

Linda & Michael Keston

Kum Su Kim

Catherine Lloyd/Actief-cm, Inc.

MaryAnn & Frederick Lange

Dora Anne Little

Cynthia Brown & Arthur Ludwig

Leatrice Luria

Ruth & John Matuszeski

Keith Mautino

Dona & George McCauley

Jayne Menkemeller

Sybil & Russell Mueller

Myra & Spencer Nadler

Fran & John Nielsen

Joanne & Alden Orput

Mr. & Mrs. Charles W. Partridge


Foundation

Patricia & Carl Perry

John Perry

Justyn & Ray Person

Susan & James Petrovich

Anne & C.Wesley Poulson

Susannah Rake

Jaquelin & Frank Reed

Jack Revoyr

Betty & Don Richardson

Grace Jones Richardson Trust

Dorothy Roberts

The Roberts Bros. Foundation

Regina & Rick Roney

Rebecca Ross

Betty Barrett & John Saladino

William E. Sanson

Maryan & Richard Schall

Nancy & William Schlosser

Pat & Roby Scott

Sally & Jan E.G. Smit

Constance & C.Douglas Smith

Betty J. Stephens

Diane & Selby Sullivan

The Godric Foundation

Joseph Thomas

Milan E. Timm

Carrie Towbes & John Lewis

Mark E. Trueblood

Steven Trueblood

Drs. Shirley & Kenneth Tucker

Barbara & Gary Waer

Lisa Bjornsen Wolf &

David Russell Wolf

Ann & Dick Zylstra

*promised

As of February 14, 2019


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


Foundation

Pete Clements Catering

Presqu’ile Winery

Regent Seven Seas Cruises

Renaud's Patisserie & Bistro

Rose Story Farm

Sabine Myers Design

SAGE Publishing

Santa Barbara Choral

Society


Santa Barbara Travel Bureau

Santa Barbara Winery

Stewart Fine Art

The Tent Merchant

The Upham Hotel

UCSB Arts & Lectures

Via Maestra 42

Westmont Orchestra


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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