January 13, 2020—Emanuel Ax plays Beethoven—CAMA's Masterseries—Lobero Theatre, Santa Barbara, California

Presenting the world’s finest classical artists since 1919

Gustavo Dudamel | © Citizens of Humanity,

courtesy of the Los Angeles Philharmonic Association

a ROYAL

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orld’s finest classical artists since 1919

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Nell Campbell photo ©2019

We invite you to join the CAMA Board of Directors by

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Photo by Lisa-Marie Mazzucco

EMANUEL AX

piano

Monday, January 13, 2020, 8:00 PM

Lobero Theatre, Santa Barbara

Community Arts String Orchestra


Anne-Sophie Mutter

Esa-Pekka Salonen

Santa Barbara Band

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honorary co-chair

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honorary co-chair

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7

A Uniquely Personal

Multimedia Experience

An Evening with

Itzhak Perlman

Stories of His Life and Career

“Itzhak Perlman has

had a five-star career, made

five-star recordings and

remains indelibly a five-star

presence on the concert

platform.”

The Guardian (U.K.)

Join us for Itzhak Perlman’s special 75th birthday celebration! The beloved

violin virtuoso will share stories from his life and career and perform with

longtime pianist Rohan De Silva. This extraordinary event promises to be an

exceptional evening with one of classical music’s singular figures.

Presented through the generosity of Sara Miller McCune

Tue, Jan 21 / 6:30 PM (note special time) / Granada Theatre

Tickets start at $50 / $25 UCSB students

A Granada facility fee will be added to each ticket price

Corporate Season Sponsor:

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Photo by Fadi Kheir

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SÉRGIO &

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100 TH ANNIVERSARY CONCERT

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MARCH 6, 2020

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5

MASTERSERIES


SEASON SPONSORSHIP: ESPERIA FOUNDATION

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EMANUEL

AX, PIANO

JANUARY 13, 2020

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AND ODAIR

ASSAD, GUITARS

FEBRUARY 14, 2020

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Foundation

Concert Partners


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7


BOARD OF DIRECTORS

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ROBERT K. MONTGOMERY

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Special Events

Gala 100 th Anniversary Concert:

LA Phil + CAMA

100 years to the date since the LA Phil's

first performance in Santa Barbara on

March 6, 1920!

Gustavo Dudamel | © Citizens of Humanity,

courtesy of the Los Angeles Philharmonic Association

Friday Evening, March 6, 2020

5:15–5:55 – Pre-concert Lecture on the

shared history of CAMA + LA Phil with

Hattie Beresford, New Vic Theatre

6:00–6:55 – Red Carpet Reception at

The Granada Theatre for all ticket holders

7:00–9:00 – 100 th Anniversary Concert

Los Angeles Philharmonic at

The Granada Theatre

e h a v e d e s i g n e d + p r o d u c e d o v e r

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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


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.


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,


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.


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-


17

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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


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


21

Lending Banking Investing

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


23

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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


25


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.


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


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


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


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


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.

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


33

LIFETIME GIVING

DIAMOND

$500,000 and above

Anonymous


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


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

Montecito Bank & Trust



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


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


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


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


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


Choral Society

Santa Barbara Foundation


Travel Bureau

Santa Barbara Winery

Stewart Fine Art

The Tent Merchant

The Upham Hotel

UCSB Arts & Lectures

Via Maestra 42

Westmont Orchestra


37



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


Allow yourself to dream

“Casa Dorinda has an engaging and fascinating culture

rooted in a rich social life, an extraordinary estate,

and truly superb healthcare.”

CASA DORINDA’S MUSIC ROOM AT THE HISTORIC BLISS ESTATE

Refined Retirement Living

casadorinda.org | 805 969 8011

Casa Dorinda is a private LifeCare community, type A CCRC, owned and operated by the Montecito Retirement Association, a nonsectarian,

nonprofit, tax-exempt organization. State of California Licenses RCFE #421700160, SNF #050000112, CCRC Certificate of Authority #126.

Sometimes, a Round of

Applause Just Isn’t Enough.

Northern Trust is proud to support Community Arts Music

Association of Santa Barbara. For 130 years, we’ve been

meeting our clients’ financial needs while nurturing a culture

of caring and a commitment to invest in the communities we

serve. We’re proud to play a supporting role.

TO LEARN MORE VISIT

northerntrust.com

WEALTH PLANNING | BANKING | TRUST & ESTATE SERVICES | INVESTING | FAMILY OFFICE

January 13, 2020—Emanuel Ax plays Beethoven—CAMA's Masterseries—Lobero Theatre, Santa Barbara, California

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