January 13, 2020—Emanuel Ax plays Beethoven—CAMA's Masterseries—Lobero Theatre, Santa Barbara, California
Monday, January 13, 2020, 8:00PM Emanuel Ax, piano Few American pianists are as accomplished as the masterful Emanuel Ax. Between 1986 and 1996, Ax was awarded five Grammy® Awards for Best Chamber Music Performance for his collaborations with Yo-Yo Ma, Jaime Laredo, Isaac Stern and Richard Stoltzman. Additionally, Ax has twice been recognized for his solo work, winning the Grammy® Award for Best Instrumental Soloist Performance (without orchestra) in 1995 and 2004. Ax’s all-Beethoven recital focuses on widely and lesser known masterpieces of the iconic master’s large piano canon in celebration of the 250th Anniversary of Beethoven’s birth in Bonn, Germany in 1770. ALL-BEETHOVEN PROGRAM: Bagatelle No.25 in A Minor (WoO 59, Bia 515), “Für Elise” Piano Sonata in A Major, Op.2, No.2 Six Variations on an original theme in F Major, Op.34 Piano Sonata in F Minor, Op.2, No.1 Five Variations on “Rule, Britannia!,” WoO 79 Piano Sonata in C Major, Op.2, No.3 #CAMASB #CAMA101 #EmanuelAx #Beethoven
Monday, January 13, 2020, 8:00PM
Emanuel Ax, piano
Few American pianists are as accomplished as the masterful Emanuel Ax. Between 1986 and 1996, Ax was awarded five Grammy® Awards for Best Chamber Music Performance for his collaborations with Yo-Yo Ma, Jaime Laredo, Isaac Stern and Richard Stoltzman. Additionally, Ax has twice been recognized for his solo work, winning the Grammy® Award for Best Instrumental Soloist Performance (without orchestra) in 1995 and 2004. Ax’s all-Beethoven recital focuses on widely and lesser known masterpieces of the iconic master’s large piano canon in celebration of the 250th Anniversary of Beethoven’s birth in Bonn, Germany in 1770.
ALL-BEETHOVEN PROGRAM:
Bagatelle No.25 in A Minor (WoO 59, Bia 515), “Für Elise”
Piano Sonata in A Major, Op.2, No.2
Six Variations on an original theme in F Major, Op.34
Piano Sonata in F Minor, Op.2, No.1
Five Variations on “Rule, Britannia!,” WoO 79
Piano Sonata in C Major, Op.2, No.3
#CAMASB #CAMA101 #EmanuelAx #Beethoven
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Presenting the world’s finest classical artists since 1919
Gustavo Dudamel | © Citizens of Humanity,
courtesy of the Los Angeles Philharmonic Association
a ROYAL
ANNIVERSARY SEASON
orld’s finest classical artists since 1919
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AT THE LOBERO THEATRE
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Photo by Lisa-Marie Mazzucco
EMANUEL AX
piano
Monday, January 13, 2020, 8:00 PM
Lobero Theatre, Santa Barbara
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Presenting the world’s finest classical artists since 1919
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Esa-Pekka Salonen
Santa Barbara Band
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A Uniquely Personal
Multimedia Experience
An Evening with
Itzhak Perlman
Stories of His Life and Career
“Itzhak Perlman has
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EMANUEL
AX, PIANO
JANUARY 13, 2020
Co-Sponsors
Anonymous
Alison & Jan Bowlus
Bob & Val Montgomery
Stephen J.M. & Anne Morris
Concert Partners
Deborah & Peter Bertling
Bob Boghosian & Beth
Gates-Warren
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Dorothy & John Gardner
Raye Haskell Melville
SERGIO
AND ODAIR
ASSAD, GUITARS
FEBRUARY 14, 2020
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Lois Sandra Kroc
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MARCH 13, 2020
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CRAIG A. PARTON
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Presenting the world’s finest classical artists since 1919
masterseries at THE LOBERO THEATRE
SEASON SPONSOR: ESPERIA FOUNDATION
OPUS 3 ARTISTS presents
EMANUEL AX PIANO
Monday, January 13, 2020, 8:00 PM
Lobero Theatre, Santa Barbara
ALL-BEETHOVEN PROGRAM
LUDWIG VAN BEETHOVEN
(1770–1827)
Bagatelle No.25 in A minor, WoO 59,
“Für Elise”
Piano Sonata No.2 in A major, Op.2, No.2
Allegro vivace
Largo appassionato
Scherzo: Allegretto
Rondo: Grazioso
Five variations for piano on
“Rule, Britannia!,” WoO 79
Piano Sonata No.3 in C major, Op.2, No.3
Allegro con brio
Adagio
Scherzo: Allegro
Allegro assai
Six variations on an original theme for
piano in F major, Op.34
Piano Sonata No.1 in F minor, Op.2, No.1
Allegro
Adagio
Menuetto—Allegretto
Prestissimo
INTERMISSION
Exclusive Management: Opus 3 Artists
470 Park Avenue South, 9th Floor, North New York, NY 10016
CAMA thanks our generous sponsors who have made this evening’s performance possible:
Masterseries Season Sponsor: Esperia Foundation
Co-Sponsors: Anonymous • Alison & Jan Bowlus • Bob & Val Montgomery
Stephen J.M. & Anne Morris
Concert Partners: Deborah & Peter Bertling • Bob Boghosian & Beth Gates-Warren
Bridget B. Colleary • Dorothy & John Gardner • Raye Haskell Melville
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.
MASTERSERIES AT THE LOBERO THEATRE • EMANUEL AX
11
Photo by Lisa-Marie Mazzucco
EMANUEL AX
pianist
Born in modern day Lvov, Poland, Emanuel
Ax moved to Winnipeg, Canada, with
his family when he was a young boy. His
studies at the Juilliard School were supported
by the sponsorship of the Epstein
Scholarship Program of the Boys Clubs
of America, and he subsequently won the
Young Concert Artists Award. Additionally,
he attended Columbia University where he
majored in French. Mr. Ax made his New
York debut in the Young Concert Artists Series,
and captured public attention in 1974
when he won the first Arthur Rubinstein International
Piano Competition in Tel Aviv.
In 1975 he won the Michaels Award of
Young Concert Artists followed four years
later by the coveted Avery Fisher Prize.
Highlights of the 2019/20 season include
a European summer festivals tour
with the Vienna Philharmonic and longtime
collaborative partner Bernard Haitink,
an Asian tour with the London Symphony
and Sir Simon Rattle, US concerts with the
Rotterdam Philharmonic and Lahav Shani
in addition to three concerts with regular
partners Leonidas Kavakos and Yo-Yo Ma
at Carnegie Hall in March 2020. Further
participation in Carnegie Hall’s celebration
of Beethoven’s 250th birthday will culminate
in a solo recital in May preceded
by recitals in Madison, Santa Barbara,
Orange County, Washington, Las Vegas
and Colorado Springs. With orchestra he
can be heard in Houston, Baltimore, Atlanta,
San Diego, San Francisco, Los Angeles,
New York, Montreal, Philadelphia,
MASTERSERIES AT THE LOBERO THEATRE • EMANUEL AX
13
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Cincinnati and Indianapolis. In Europe he
can be heard with orchestras in London,
Frankfurt, Berlin, Rome, Zurich, Rotterdam
and Tel Aviv.
Always a committed exponent of contemporary
composers, with works written
for him by John Adams, Christopher Rouse,
Krzysztof Penderecki, Bright Sheng, and
Melinda Wagner already in his repertoire,
most recently he has added HK Gruber's
Piano Concerto and Samuel Carl Adams’
“Impromptus.”
A Sony Classical exclusive recording
artist since 1987, recent releases include
Mendelssohn Trios with Yo-Yo Ma and
Itzhak Perlman, Strauss' Enoch Arden narrated
by Patrick Stewart, and discs of twopiano
music by Brahms and Rachmaninoff
with Yefim Bronfman. In 2015 Deutche
Grammophon released a duo recording
with Mr. Perlman of Sonatas by Faure and
Strauss, which the two artists presented
on tour during the 2015/2016 season. Mr.
Ax has received GRAMMY ® Awards for the
second and third volumes of his cycle of
Haydn’s piano sonatas. He has also made
a series of Grammy-winning recordings
with cellist Yo-Yo Ma of the Beethoven and
Brahms sonatas for cello and piano. His
other recordings include the concertos of
Liszt and Schoenberg, three solo Brahms
albums, an album of tangos by Astor Piazzolla,
and the premiere recording of John
Adams's Century Rolls with the Cleveland
Orchestra for Nonesuch. In the 2004/05
season Mr. Ax also contributed to an International
EMMY ® Award-Winning BBC
documentary commemorating the Holocaust
that aired on the 60th anniversary
of the liberation of Auschwitz. In 2013, Mr.
Ax's recording Variations received the Echo
Klassik Award for Solo Recording of the
Year (19th century music/Piano).
A frequent and committed partner for
chamber music, he has worked regularly
with such artists as Young Uck Kim, Cho-
Liang Lin, Mr. Ma, Edgar Meyer, Peter Serkin,
Jaime Laredo, and the late Isaac Stern.
Mr. Ax resides in New York City with
his wife, pianist Yoko Nozaki. They have
two children together, Joseph and Sarah.
He is a Fellow of the American Academy of
Arts and Sciences and holds honorary doctorates
of music from Skidmore College,
Yale University, and Columbia University.
For more information about Mr. Ax’s career,
please visit www.EmanuelAx.com.
MASTERSERIES AT THE LOBERO THEATRE • EMANUEL AX
15
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Ludwig van Beethoven
NOTES
on the program
By Howard Posner
Ludwig van Beethoven probably discussed
his own music less than most composers
did, but we can get a sense of his regard for
some of his creations, and lack of regard
for others, from the way he treated them.
Given the overwhelming familiarity of
Für Elise, stemming from its position as
both a great melody and the Beethoven
piece every beginning pianist plays, it is
odd that its history is so dodgy. If it were a
person, you wouldn’t lend money to it.
It was first published in 1867 in a book
about Beethoven’s letters by the music
scholar Ludwig Nohl, who added a footnote
saying, “This very charming little piano
piece comes from the estate of Therese von
Droßdik née Malfatti, who gave it to Fräulein
[Babeth] Bredl of Munich.” According to
Nohl, the manuscript found in Bredl’s home
was inscribed, “For Elise on 27 April as a
remembrance of L.v.Beethoven.” Therese
Malfatti was one of the upper-class young
women who made up a good number of
Beethoven’s piano students over the years.
He became infatuated with some of them,
and one unverifiable legend has him actu-
MASTERSERIES AT THE LOBERO THEATRE • EMANUEL AX
17
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18 CAMA'S 101ST CONCERT SEASON
ally proposed marriage to Malfatti in 1810,
when he was 40 and she not quite half that
age. Perhaps for this reason, Nohl believed
that Für Elise was composed in 1810.
The manuscript then mysteriously and
suspiciously vanished, leading to speculation
in two directions. One was that Nohl
had misread the inscription, which actually
said “Für Therese,” although it is hard to
imagine anyone misreading Beethoven’s
handwriting quite that badly. More likely
there was an actual Elise, which a common
German diminutive for Elisabeth. A likely
candidate is Elisabeth Röckel, an aspiring
singer who left Vienna in 1810 and married
the composer Johann Nepomuk Hummel
in 1813.
Another is that Nohl was as much the
composer as Beethoven, assembling the
piece from unfinished sketches and then
making up a story about the lost manuscript.
This last is belied by the existence
of another manuscript of a different, untitled
version of the piece (the principal
difference being that the left hand doesn’t
play on the downbeat of each measure,
but comes in a note later, making the music
less flowing and more lurching) which
Beethoven was working on in 1822.
So apparently, Beethoven created two
versions of Für Elise and didn’t like either
of them enough to publish it. If so, would
he reconsider his judgment if he knew how
popular it would become? Maybe. Told
in 1801 that his Septet was being played
everywhere, he retorted that it should be
burned instead.
The Beethoven Monument on the Munsterplatz in
Bonn, Germany
If “not for publication” was the bottom of
the scale, the top was “published with an
opus number.”
Opus numbers originated in the 17th
century, and were originally given to collections
of instrumental music, usually sets
of six or twelve trios or concertos. Since
these were typically sold by subscription or
otherwise bought sight unseen, opus numbers
told potential buyers that they weren’t
buying something they already had.
Opus numbers gradually acquired a
different meaning. Beethoven gave opus
numbers to music that he considered significant
in his output. Much of his music,
even if published, did not a number, including
everything he composed before he
was 23. There is rather a lot of such music,
which over the years has been given
“Werke ohne opus” (“work without opus”)
numbers. The Beethoven catalog includes
138 opus numbers and 205 WoO numbers,
among them three piano sonatas published
in 1783, when he was 12 years old.
Beethoven was in his mid-20’s and
MASTERSERIES AT THE LOBERO THEATRE • EMANUEL AX
19
already a star in the Vienna music scene,
he was particularly choosy about what music
he published, and even choosier about
his first opus numbers, knowing that these
publications would be his calling card to
the larger musical world. Opus 1 was a set
of three piano trios. Opus 2 was a set of
three piano sonatas printed in 1796 and
dedicated to Haydn.
As would be Beethoven’s wont throughout
his career, the sonatas are very different
from each other—Beethoven rarely
repeated himself—but each makes a bold
statement.
The second sonata of the set, the first
heard tonight, is a blend of geniality and
audacity. The first movement is bright and
spirited, with its whooshing two-octave
scales, (first cousins of the whooshing
Statue of Ludwig van Beethoven in Vienna
Photo credit Abxyz, Dreamstime.com
arpeggios that begin and run through the
rondo finale, and second cousins of the
burbling arpeggios that begin the scherzo).
But the movement goes to unexpected
places in a development section that begins
in C major, quickly modulates to A-flat
major, and gets back to the home key of A
major via a scenic route through keys not
much related to it.
The first sonata of the set is the most
firmly rooted in the tradition that it was
poised to shatter. Its very first notes are
a prominent late-18th-century cliché: an
ascending F minor arpeggio with a turn of
16th-notes at the top. Because it reminded
later musicologists of a firework shooting
and exploding, it has been dubbed the
“Mannheim rocket.”
But the sonata’s outer movements
break ground with their use, or abuse, of
the piano. The instrument in 1796 was still
pretty much a harpsichord with a hammer
mechanism instead of a plucking action,
allowing the player to vary its loudness by
the force of the fingers on the keys, something
not possible with the harpsichord or
organ. Beethoven exploited that capacity
in a way that older composers had not.
The first movement is full of notes marked
sforzato (“forced”), a direction to play the
note much louder than the notes before and
after. Mozart occasionally used a similar
“loud-soft” direction, usually to make sure
the right note got accented. Beethoven just
as often directs a sforzato on the “wrong”
note, making accents that are unexpected.
The Prestissimo finale, with its cascades of
notes and loud interjections of right-hand
MASTERSERIES AT THE LOBERO THEATRE • EMANUEL AX
21
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The Beethoven Monument in Münsterplatz in
Bonn, Germany / Photo credit Sir James
chords an integral part of the principal
theme, is already what we recognize as vintage
Beethoven. Those chords would have
been something of a shock to his contemporaries,
playing or listening to a woodenframe
instrument that weighs a tenth of
what the modern iron-frame concert grand
weighs. Enough force on the keys can
make that instrument jangle in a way that
its suave, super-powered descendant does
not. Nobody these days worries that a pianist
is going to break a Steinway.
But it’s the third sonata that really
serves notice that things are never going to
be the same again. It is full of grand public
gestures of the sort that would be expected
in a concerto, such as the thunderous
entrance of the first movement’s second
theme, imitating an orchestral tutti, or the
concerto-like cadenza, set up the same
way it would be in a concerto.
The second movement’s quiet E major
first theme turns out to be a portal to
a scene of both mystery and powerful expression
as the left hand plays simple but
dramatically compelling melodies above
and below the right hand’s arpeggios. The
frenetically contrapuntal scherzo manages
to be simultaneously learned and comedic.
The sonata-rondo finale returns to concerto-like
grandness of the first movement, including
another short cadenza just before
the end. The cadenza includes the sonata’s
one pure show-off moment: a triple trill,
something of a Beethoven trademark.
The Opus 34 set of variations was a
favored child of composer. The Rule Britannia
set of variations, composed a year
later and published without opus number
in 1804, was not.
Beethoven began the Opus 34 theme
and variations in May 1802, a month after
taking up residence in Heiligenstadt, then
a rural area on the Danube about an hour
north of Vienna. He went there hoping that
his health generally, and his hearing specifically,
would improve in the country. He
MASTERSERIES AT THE LOBERO THEATRE • EMANUEL AX
23
An historic treasure
with contemporary comforts
in the heart of Santa Barbara
50 Guest Rooms & Suites
COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC
24 CAMA'S 101ST CONCERT SEASON
was to be disappointed. Between October
6 and October 10 he wrote what has become
known as the Heiligenstadt Testament,
in which he expressed his anguish
over realizing that he was going deaf. But
he continued to work, and eight days later,
he sent the Opus 34 and 35 variations to
the publisher Breitkopf & Härtel, with a letter
saying they were composed “in a quite
new style and each in an entirely different
way. Each theme in them is treated independently
and in a wholly different manner.
As a rule I only hear of it from others when
I have new ideas, since I never know it myself;
but this time—I myself can assure
you that in both works the style is quite
new for me.”
The theme and variations form grew
out of improvisation, which was an essential
skill for musicians well into the 19th
century. Mozart and Beethoven improvised
both in the homes of aristocratic patrons
and in their public concerts. A skilled player
could ornament and elaborate a theme at
length, and often improvised in concert, as
did. But variations conventionally did not
stray as far from the theme as they would
with Brahms or Rachmaninoff, and they
typically stayed in the key of the theme,
with perhaps one variation in the relative
minor or tonic minor (B minor or D minor,
respectively, in the key of D).
The Variations on Rule Brittania take
this traditional approach, up to a point.
They stay in D major, except for the fourth
variation in B minor, until the coda, which
goes berserk, threatening to dash off into
six or seven different keys and actually
settling bizarrely into C-sharp minor for a
second or two before order, and D major,
are restored for a rousing conclusion. Full
of invention and his characteristic humor,
the Rule Brittania variations are the sort of
thing Beethoven might have tossed off on
the spur of the moment and then written
down with refinements (he had the ability
to recall his own improvisations), so they
cost him less effort than most of the music
he wrote.
But the theme and six variations of
Opus 34 appear to have been thoroughly
planned to break with precedent. The variations
are in different keys from the theme
and each other. Each of the first five variations
modulates down a third: the theme is
in F major, with the variations in D, B-flat, G,
E-flat, and C minor, with a transitional passage
in C major leading to the sixth variation
in F major. Each modulation brings its
own set of expectations. For example, even
if you’re not consciously thinking that C minor
is the relative minor of E-flat major, the
modulation to C minor might bring to mind
the middle section of a piece in ABA form,
and even if you’re not thinking that C major
is the dominant of F major, the move from
C to F for the last variation sounds like
coming home. Each modulation conveys a
sense of changing the subject and moving
to new territory.
Music critics often remarked—from
their point of view, complained—that
Beethoven went out of his way to pursue
novelty. In this case, he agreed with them.
—Howard Posner ©2020
MASTERSERIES AT THE LOBERO THEATRE • EMANUEL AX
25
MASTERSERIES AT THE LOBERO THEATRE • EMANUEL AX
27
Santa Barbara County’s
PHILANTHROPIC
ADVISORS
CREATE YOUR IMPACT
Let the Santa Barbara Foundation help you
establish your personalized giving plan.
Join us in our 90-year journey connecting those
who give to those in need and all who dream
of a better Santa Barbara County.
Learn more at SBFoundation.org
Official Chocolatier of the
CAMA Centennial
CAMA thanks our restaurant,
food and wine partners!
Thank you.
MASTERSERIES AT THE LOBERO THEATRE • EMANUEL AX
29
CAMA: WHO WE ARE TODAY
Beautiful music, exciting music, profound music – Community Arts Music Association has been
bringing this gift to Santa Barbara for 100 years. Today we offer the following musical treasures.
CORE PROGRAMS FOR OUR COMMUNITY
INTERNATIONAL
SERIES
at The Granada Theatre
Presenting the world’s
greatest orchestras,
conductors and soloists
from around the world
MASTERSERIES
at The Lobero Theatre
Presenting the
finest national and
international artists and
chamber ensembles
MUSIC EDUCATION
Music Matters
Docent Program to area
elementary schools
Tickets to concerts
for high school,
college students and
the underserved
Any musical organisation reaching
its 100th birthday is most likely older
than anyone performing or listening
there. Its memories are rich and, with
CAMA, its future promises to be as
cherishable. Huge congratulations on
this wonderful milestone.
–Stephen Hough
30 CAMA'S 101ST CONCERT SEASON
EACH AND EVERY GIFT
ENRICHES THE FUTURE OF CAMA!
We invite YOU to join in CAMA’S CENTENNIAL CELEBRATION – each donation works to ensure
the next 100 years of beautiful music for generations to come.
There are many ways to support CAMA's CENTENNIAL CELEBRATION
Centennial
Gift Fund
Endowment
Fund
Planned
Giving
Options
Please contact Elizabeth Alvarez, Director of Development at the CAMA office
for more information.
(805) 966-4324 x 104
Elizabeth@camasb.org
MASTERSERIES AT THE LOBERO THEATRE • EMANUEL AX
31
SHOW YOUR KIDS
YOU CAN LIVE ON
YOUR OWN...
SAFELY.
HAPPILY.
BEAUTIFULLY.
Musette Profant
Certified Age-In-Place Designer
USC Architecture Alumna
Licensed Contractor & Crew
Simple Hourly Rates
No Mark-Ups
“
Life-Changing Design!
”
- D.S., Montecito
PLEASE CALL FOR SPECIAL CAMA RATES!
Sterling Sites
Quick Home Facelifts & Custom Remodels
sterlingsites.com • musette@sterlingsites.com • (805) 450-2001
32 CAMA'S 101ST CONCERT SEASON
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
Mr. & Mrs. Frank R. Miller, Jr. /
The Henry E. & Lola Monroe Foundation
$1,000–$9,999
CAMA Women's Board
William H. Kearns Foundation
Stefanie L. Lancaster Charitable Foundation
Sara Miller McCune
Performing Arts Scholarship Foundation
Westmont College
$100–$999
Becky & William Banning
William S. Hanrahan
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
Carolyn & Dennis Naiman
David Malvinni
Carolyn & Dennis Naiman
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.
MEMORIAL GIFTS
Elaine Kendall
NancyBell Coe & William Burke
and Sara Miller McCune
Dr. Dolores M. Hsu, PhD.
Jill Felber & Paul A. Bambach
Nancy Cudahy
Betty Meyer
David Marks
Bridget Colleary
Sharon Felber Taylor
Bridget Colleary
Tita Lanning
Keith Mautino Moore
Dr. Eric Boehm
Judy Pochini
Jim Ryerson
Christine Ryerson
Dr. Robert Failing
Betty Meyer
Professor Frederick F. Lange
MaryAnn Lange
MASTERSERIES AT THE LOBERO THEATRE • EMANUEL AX
33
LIFETIME GIVING
DIAMOND
$500,000 and above
Anonymous
Bitsy & Denny Bacon and
The Becton Family Foundation
Suzanne & Russell Bock
Linda Brown*
The Andrew H. Burnett
Foundation
Esperia Foundation
The Stephen & Carla Hahn
Foundation
Judith L. Hopkinson
Herbert & Elaine Kendall
The Samuel B. & Margaret C.
Mosher Foundation
Sage Publications
The Elaine F. Stepanek
Foundation w
Michael Towbes/The Towbes
Fund for the Performing Arts
SAPPHIRE
$250,000—$499,999
The CAMA Women's Board
Leni Fé Bland
Sara Miller McCune
The Wood-Claeyssens
Foundation
Patricia & Joseph Yzurdiaga
RUBY
$100,000—$249,999
Anonymous
The Adams Family Foundation
Joan C. Benson
Deborah & Peter Bertling
Dan & Meg Burnham
Virginia Castagnola-Hunter
NancyBell Coe & William Burke
Robert & Christine Emmons
Mary & Raymond Freeman
Raye & Melville H. Haskell, Jr.
Hollis Norris Fund
Dolores M. & Immanuel Hsu
Shirley Ann & James H.
Hurley, Jr.
Ann Jackson Family Foundation
Janet & Thomas Kelly/
Winona Fund
Shirley & Seymour Lehrer
John & Lucy Lundegard
Jocelyne & William Meeker
Mr. & Mrs. Frank R. Miller, Jr./
The Henry E. & Lola Monroe
Foundation
Montecito Bank & Trust
Bob & Val Montgomery
Stephen J.M. & Anne Morris
Kathleen & John Moseley/
The Nichols Foundation
Nancy & William G. Myers
Northern Trust
Michele & Andre Saltoun
The Santa Barbara Foundation
Jan & John G. Severson
Judith F. & Julian Smith
Jeanne C. Thayer
The Walter J. & Holly O.
Thomson Foundation
Union Bank
Marilyn & H.Wallace Vandever
The Wallis Foundation
Nancy & Byron Kent Wood
George & Judy Write
EMERALD
$50,000—$99,999
Anonymous
Anonymous
Anonymous
Ruth Appleby
Marta Babson
Linda & Peter Beuret
Edward & Sue Birch
Bob Boghosian & Beth
Gates Warren
Alison & Jan Bowlus
Louise & Michael Caccese
Jane & Jack Catlett
Roger & Sarah Chrisman,
Schlinger Chrisman Foundation
Bridget & Robert Colleary
Edward DeLoreto and
William DeLoreto
Suzanne & Maurice Faulkner
Arthur R. Gaudi
Sherry & Robert Gilson
George H. Griffiths and Olive J.
Griffiths Charitable Fund
Janette "Dotsy" Main Hellmann
& Richard Hellmann
Joanne C. Holderman
Natalia & Michael Howe
Hutton Parker Foundation
Ellen & Peter Johnson
Elizabeth Karlsberg &
Jeff Young
Lynn P. Kirst & Lynn R. Matteson
Lois Sandra Kroc
Betty & Max Meyer
Craig & Ellen Parton
Austin H. Peck
Performing Arts Scholarship
Foundation
Marjorie & Hugh Petersen/
La Arcada Trust Corp
Diana & Roger Phillips
Kathryn H. Phillips
Theodore Plute & Larry Falxa
Lady Leslie & Viscount
Paul Ridley-Tree
Barbara & Sam Toumayan
TOPAZ
$25,000—$49,999
Barbara & Edward Bakewell
Helene & Jerry Beaver
Helen & Andrew Burnett
Elizabeth & Andrew Butcher
City of Santa Barbara
Huguette Clark
Cecelia & Leonard Dalsemer
Patricia & Larry Durham
Nancyann & Robert Failing
Priscilla & Jason Gaines
Ronald & Rosalind A. Fendon
Preston B. & Maurine M.
Hotchkis Family Foundation
The George Frederick
34 CAMA'S 101ST CONCERT SEASON
LIFETIME GIVING
Jewett Foundation
Patricia Kaplan
William H. Kearns Foundation
Jill Doré Kent
Otto Korntheuer/The Harold L.
Wyman Foundation
Kum Su Kim & John Perry
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
Dorothy Roberts
The Shanbrom Family Foundation
Anitra & Jack Sheen
Linda Stafford Burrows
Marion & William Stewart
Irene & Robert Stone/Stone
Family Foundation
The Walter J. & Holly O.
Thomson Foundation
Ina & Martin Tornallyay
Carol & Edward R. Valentine
Susie & Hubert Vos
The Elizabeth Firth Wade
Endowment Fund
Marjorie K. & Roderick S. Webster
Westmont College
AMETHYST
$10,000—$24,999
Anonymous
Rebecca & Peter Adams
Christina & David Allison
Peggy & Kurt Anderson
Bernice & Mortimer Andron
Sally & Robert Arthur
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
Audrey Hillman Fisher Foundation
David W. Fritzen/DWF Magazines,
DWF Media International
Catherine H. Gainey
Tish Gainey & Charles Roehm
Dorothy & John Gardner
Kay & Richard Glenn
Corinna Gordon, Larry Dale Gordon
Dorothy & Freeman Gosden
Dianne & Robert S. Grant
Beverly & Bruce Hanna
Dolores & Robert Hanrahan
Lorraine C. Hansen
Margret & David F. Hart
Betty & Stan Hatch
Renee & Richard Hawley
Ruth & Alan Heeger
Karin Nelson & Eugene Hibbs/
Maren Henle
Mary & Campbell Holmes
Elizabeth & Gary Johnson
Glenn Jordan & Michael Stubbs
Martha & Peter Karoff
Mahri Kerley/Chaucer's Books
Linda & Michael Keston
Catherine Lloyd/Actief-cm, Inc.
MaryAnn & Frederick Lange
Dora Anne Little
Cynthia Brown & Arthur Ludwig
Leatrice Luria
Ruth & John Matuszeski
Keith Mautino Moore
Dona & George McCauley
Jayne Menkemeller
Sybil & Russell Mueller
Myra & Spencer Nadler
Fran & John Nielsen
Joanne & Alden Orput
Mr. & Mrs. Charles W. Partridge
Performing Arts
Scholarship Foundation
Patricia & Carl Perry
Justyn & Ray Person
Susan & James Petrovich
Anne & C.Wesley Poulson
Susannah Rake
Jaquelin & Frank Reed
Jack Revoyr
Betty & Don Richardson
Grace Jones Richardson Trust
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
Nick & Patti Weber
Lisa Bjornsen Wolf & David
Russell Wolf
Ann & Dick Zylstra
*promised
As of October 2019
MASTERSERIES AT THE LOBERO THEATRE • EMANUEL AX
35
MUSIC EDUCATION PROGRAM
BUSINESS SUPPORTERS
We thank the many businesses that support
CAMA's programs and events!
Laurel Abbott, Berkshire
Hathaway Luxury Properties
Alma Rosa Winey
American Riviera Bank
Babcock Winery
James P. Ballantine
Belmond El Encanto
Bertling Law Group
Bibi Ji
Black Sheep Restaurant
Blue Star Parking
Bon Fortune Style & Events
Brander Vineyard
Wes Bredall
Heather Bryden
Ca' Dario Ristorante
Camerata Pacifica
Casa Dorinda
Cebada Wine
C'est Cheese
Chaucer's Books
Chocolats du CaliBressan
Chooket Patisserie
Cottage Health System
Custom Printing
Eye Glass Factory
Felici Events
Finch & Fork
First Republic Bank
Flag Factory of
Santa Barbara
Frequency Wine
Gainey Vineyard
Grace Design Associates
Grassini Family Vineyards
Grimm’s Bluff
Colin Hayward/
The Hayward Group
Steven Handelman Studios
Hogue & Company
Holdren's Catering
Indigo Interiors
Inside Wine Santa Barbara
Islay A/V
Kristin Jackson
Graphic Design
Jardesca
Le Sorelle
Lumen Wines
Maravilla/Senior
Resource Group
Michael's Catering
Microsoft ® Corporation
Mission Security
Montecito Bank & Trust
Montgomery Vineyard
Northern Trust
Oak Cottage of
Santa Barbara
Oceania Cruises
Olio e Limone/Olio Crudo
Bar/Olio Pizzeria
Opal Restaurant & Bar
Opera Santa Barbara
Pacific Coast
Business Times
Pali Wine Co.
Peregrine Galleries
Performing Arts
Scholarship Foundation
Pete Clements Catering
Presqu’ile Winery
Regent Seven Seas Cruises
Renaud's Patisserie & Bistro
Rose Story Farm
Sabine Myers Design
SAGE Publishing
Santa Barbara
Choral Society
Santa Barbara Foundation
Santa Barbara
Travel Bureau
Santa Barbara Winery
Stewart Fine Art
The Tent Merchant
The Upham Hotel
UCSB Arts & Lectures
Via Maestra 42
Westmont Orchestra
MASTERSERIES AT THE LOBERO THEATRE • EMANUEL AX
37
Presenting the world’s finest classical artists since 1919
Presenting the world’s finest classical artists since 1919
WOMEN’S
BOARD
The CAMA Women’s Board Presents
in partnership with the Santa Barbara Public Library
2020 PRE-CONCERT LECTURE SERIES
Faulkner Gallery, Santa Barbara Central Library
and a special lecture event at The New Vic
The Women’s Board has invited local musical luminaries to speak before all six of CAMA’s
International Series concerts.
Dr. Michael Shasberger, Adams Chair of Music & Worship at Westmont College. Conductor
of Westmont Orchestra and Westmont College Choir.
January 27, 2020 at 6:45 PM, Faulkner Gallery, SB Central Library, prior to the 8:00 PM
performance by the Royal Philharmonic Orchestra; Pinchas Zucherman, conductor & violin
SPECIAL 100 TH ANNIVERSARY LECTURE AT THE NEW VIC
Hattie Beresford, Historic Researcher and Writer. Author of Celebrating CAMA’s Centennial:
Bringing the World’s Finest Classical Music to Santa Barbara.
March 6, 2020 at 5:15 PM, The New Vic, prior to the Gala 100th Anniversary Concert at
7:00 PM by the Los Angeles Philharmonic; Gustavo Dudamel, Music Director (NOTE: Early
start time for lecture and concert.)
Simon Williams, PhD, Professor Emeritus, UCSB Department of Theater & Dance, Opera &
Theater Critic.
March 26, 2020 at 6:45 PM, Faulkner Gallery, SB Central Library, prior to the
8:00 PM performance by the Rotterdam Philharmonic Orchestra; Lavi Shani, conductor;
Nelson Freire, piano
Ani Aznavoorian, Principal Cellist with Camerata Pacifica, performing and recording artist.
April 14, 2020 at 6:45 PM, Faulkner Gallery, SB Central Library, prior to the 8:00 PM
performance by Chineke! Orchestra; Kevin John Edusei, conductor; Stewart Goodyear, piano
David Malvinni, PhD, musicologist, classical guitarist, author and creator of CAMA's
outreach program, “Music Matters.”
April 28, 2020 at 6:45 PM , Faulkner Gallery, SB Central Library, prior to the 8:00 PM
performance by Les Violons du Roy; Jonathan Cohen, conductor; Avi Avital, mandolin
Jennifer Kloetzel, cellist, Assistant Professor of Cello and Chamber Music and Head of
String Area at UCSB Department of Music, performing and recording artist.
May 18, 2020 at 6:45 PM, Faulkner Gallery, SB Central Library, prior to the 8:00 PM
performance by Los Angeles Chamber Orchestra; Jaime Martín, conductor; Sheku
Kanneh-Mason, cello
38 CAMA'S 101ST CONCERT SEASON
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of caring and a commitment to invest in the communities we
serve. We’re proud to play a supporting role.
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