Benjamin Grosvenor, piano—Friday, March 13, 2020, Lobero Theatre, Santa Barbara, 8:00PM—CAMA's Masterseries

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©Decca Photo by Sophie Wright 

BENJAMIN GROSVENOR 

piano 

Friday, March 13, 2020, 8:00PM 

Lobero Theatre, Santa Barbara

Community Arts String Orchestra 


Anne-Sophie Mutter 

Esa-Pekka Salonen 

Santa Barbara Band 

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6 CAMA'S 101ST CONCERT SEASON

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7

The International Dance Event of the Season! 

France’s National Treasure Makes its Only West Coast Appearance 

Lyon Opera Ballet 

“Trois Grandes Fugues” 

Celebrate Beethoven’s 250th birthday 

with three interpretations of his 

beloved masterpiece “Grosse Fuge” 

by three international 

choreographers. 

America’s 

Lucinda Childs 

France’s 

Maguy Marin 

photos: Bertrand Stofleth 

Belgium’s 

Anne Teresa De Keersmaeker 

Presented in association with the UCSB Department of Theater and Dance 

Presented through the generosity of the 

Albert & Elaine Borchard Foundation 

Corporate Sponsor: 

Dance Series Sponsors: 

Annette & Dr. Richard Caleel, Margo Cohen-Feinberg & Bob Feinberg, 

Irma & Morrie Jurkowitz, Barbara Stupay, and Sheila Wald 

Corporate Season 

Sponsor: 

Wed, Apr 1 & Thu, Apr 2 / 8 PM / Granada Theatre 

Tickets start at $35 / $19 all students (with valid ID) 

A Granada facility fee will be added to each ticket price 

(805) 893-3535 | www.ArtsAndLectures.UCSB.edu 

Granada event tickets can also be purchased at: (805) 899-2222 | www.GranadaSB.org


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MARCH 

26 

THUR, 8:00 PM 

2020 

Rotterdam 

Philharmonic 

Orchestra 

LAHAV SHANI 

conductor & piano 

Credit Marco Borggreve 

Founded in 1918, the Rotterdam Philharmonic Orchestra has now passed the century mark 

in a long Dutch tradition of musical excellence. After a close call in the 1940s, when German 

bombs destroyed their hall, their music library and all of their instruments, the orchestra rebuilt 

with community support and has been going strong ever since. Conducted by Israel’s 

Lahav Shani (winner of the first prize at the 2013 International Gustav Mahler Conducting 

Competition), the program includes Beethoven’s Piano Concerto No.4—with Shani as soloist!— 

and Bartók’s virtuosic Concerto for Orchestra. 

PROGRAM: 

BEETHOVEN: Piano Concerto No.4 in G Major, Op.58 

BARTÓK: Concerto for Orchestra 

Sponsors: Alison & Jan Bowlus • Bob & Val Montgomery • Andre & Michele Saltoun 

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100 TH ANNIVERSARY CONCERT 

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MARCH 6, 2020 

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7

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9


BOARD OF DIRECTORS 

(As of October 9, 2019) 

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DEBORAH BERTLING 

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APRIL 

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2020 

TUE, 8:00 PM 

WEST 

COAST 

PREMIERE! 

Chineke! 

Orchestra 

Community Arts Music Association presents the West Coast 

Premiere of an orchestra that is breaking down barriers for black 

and minority ethnic (BME) classical musicians! The Chineke! 

Orchestra is committed to championing change and celebrating 

diversity in classical music. Joining them will be accomplished 

Canadian pianist and composer Stewart Goodyear in a program 

featuring his own Callaloo, Carribean Suite as well as the music of 

Samuel Coleridge-Taylor and Brahms. 

TICKETS $41–$121 / (805) 899-2222 / GRANADASB.ORG 

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masterseries at THE LOBERO THEATRE 

SEASON SPONSOR: ESPERIA FOUNDATION 

OPUS 3 ARTISTS presents 

BENJAMIN GROSVENOR PIANO 

Friday, March 13, 2020, 8:00PM 

Lobero Theatre, Santa Barbara 

JEAN-PHILIPPE RAMEAU (1683–1764) 

Gavotte and Variations from 

Suite in A Minor, RCT 5 

ROBERT SCHUMANN (1810–1856) 

Kreisleriana, Op.16 

Äußerst bewegt 

Sehr innig und nicht zu rasch 

Sehr aufgeregt 

Sehr langsam 

Sehr lebhaft 

Sehf langsam 

Sehr rasch 

Schnell und spielend 

FRANZ LISZT (1811–1886) 

Berceuse in D-flat Major, S.174 

(Second version) 

LISZT 

Sonata in B Minor, S.178 

Lento assai—Allegro energico 

Grandioso—Recitativo 

Andante sostenuto 

Allegro energico—Andante sostenuto— 

Lento assai 

INTERMISSION 

DECCA, EMI 

Exclusive Management: ARTS MANAGEMENT GROUP, INC. 

130 West 57th St., New York, NY 10019 

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

Masterseries Season Sponsor: Esperia Foundation 

Co-Sponsors: 

Alison & Jan Bowlus • Jocelyne & William Meeker 

Concert Partner: 

Stephen Cloud 

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. 


13

©Decca Sophie Wright 

BENJAMIN GROSVENOR 

piano 

British pianist Benjamin Grosvenor is internationally 

recognized for his electrifying 

performances, distinctive sound and 

insightful interpretations. His virtuosic 

command over the most arduous technical 

complexities underpins the remarkable 

depth and understanding of his music 

making. Described as “one in a million.. 

several million” by The Independent, his 

“astounding technical gifts, the freshness 

of his imagination, his intense concentration, 

the absence of any kind of show, 

and the unmistakable sense of poetic immersion 

directed solely at the realization 

of music” have been lauded by Süddeutsche 

Zeitung. 

Benjamin first came to prominence as 

the outstanding winner of the Keyboard 


15

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Final of the 2004 BBC Young Musician 

Competition at the age of eleven, and he 

was invited to perform with the BBC Symphony 

Orchestra at the First Night of the 

2011 BBC Proms aged just nineteen. A pianist 

of widespread international acclaim, 

he was announced as the inaugural recipient 

of The Ronnie and Lawrence Ackman 

Classical Piano Prize with the New York 

Philharmonic in 2016. 

Recent and forthcoming concerto 

highlights include engagements with the 

Boston and Chicago Symphony Orchestras, 

The Philadelphia Orchestra, Pittsburgh 

Symphony Orchestra, Gürzenich-Orchestra 

Cologne, Orchestre Philharmonique de Radio 

France, Hallé Orchestra, Orquesta Nacional 

de España, Filarmonica della Scala, 

Orchestra della Svizzera Italiana, London 

Philharmonic Orchestra, and the London, 

City of Birmingham, San Francisco, and 

Washington National Symphony Orchestras 

as well as a tour of China with Britten 

Sinfonia. Benjamin works with such 

esteemed conductors as Andrey Boreyko, 

Semyon Bychkov, Riccardo Chailly, Elim 

Chan, Sir Mark Elder, Edward Gardner, Alan 

Gilbert, Manfred Honeck, Vladimir Jurowski, 

Andrew Manze, Ludovic Morlot, Kent 

Nagano, Sir Roger Norrington, Gianandrea 

Noseda, Andrés Orozco-Estrada, François- 

Xavier Roth, Esa-Pekka Salonen, Leonard 

Slatkin, Nathalie Stutzmann, Michael 

Tilson Thomas, Krzysztof Urbański, and 

Kazuki Yamada. 

Among Benjamin’s major recital dates in 

the 2019/20 season are London’s Wigmore 

Hall, Théâtre des Champs Elysées Paris, 

Munich’s Herkulessaal, Cologne Philharmonie, 

Palau de la Música Catalana Barcelona, 

New York’s distinguished Peoples’ 

Symphony Concerts, Vancouver Recital 

Series, Atlanta’s Spivey Hall and Teatro 

Petruzzelli Bari. Also a keen chamber musician, 

the season sees Benjamin embark 

on a North American duo tour with violinist 

Hyeyoon Park, join musicians of the Lucerne 

Festival Soloists for a performance 

at the new Andermatt Concert Hall and, together 

with Hyeyoon Park, Timothy Ridout 

and Kian Soltani, return to the International 

Chamber Music Season at London’s Southbank 

Centre for a quartet programme featuring 

works by Strauss and Brahms. 

©Decca Sophie Wright 


17

OPERA SANTA BARBARA PRESENTS GOUNOD’S 

ROMEO & JULIET 

LOBERO THEATRE • MAY 1 & 3 

HOW TO ORDER 

BY PHONE 

805.963.0761 

IN PERSON 

Lobero Theatre Box Office 

33 E. Canon Perdido St. 

Santa Barbara, CA 93101 

ONLINE 

lobero.org 

Kostis Protopapas, Artistic | General Director

In 2011 Benjamin signed to Decca 

Classics, becoming the youngest British 

musician ever, and the first British pianist 

in almost 60 years, to sign to the label. Benjamin’s 

most recent CD on the label, Homages, 

explores works in which celebrated 

composers pay tribute to their predecessors, 

and includes Busoni’s transcription 

of Bach’s great solo violin Chaconne, 

Franck’s Choral, Prelude and Fugue and 

Liszt’s tribute to Italian folk song, Venezia 

e Napoli. Named Instrumental Recording of 

the Month in BBC Music Magazine, the disc 

was also awarded a Diapason d'Or, with Diapason's 

critic declaring that “his pianistic 

ingenuity, his lyrical voice and aristocratic 

distinction remind one of the young Josef 

Hofmann or Ignaz Friedman. The whole recital 

is charged with Romantic élan.” 

During his sensational career to date, 

Benjamin has received Gramophone’s 

Young Artist of the Year and Instrumental 

Awards, a Classic Brits Critics’ Award, UK 

Critics’ Circle Award for Exceptional Young 

Talent and a Diapason d’Or Jeune Talent 

Award. He has been featured in two BBC 

television documentaries, BBC Breakfast 

and The Andrew Marr Show, as well as in 

CNN’s Human to Hero series. 

The youngest of five brothers, Benjamin 

began playing the piano aged 6. He 

studied at the Royal Academy of Music 

with Christopher Elton and Daniel-Ben 

Pienaar, where he graduated in 2012 with 

the ‘Queen’s Commendation for Excellence’ 

and in 2016 was awarded a Fellowship 

from the institution. Benjamin has 

been supported since 2013 by EFG International, 

the widely respected global private 

banking group. 


19

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NOTES 

on the program 

By Howard Posner 

Jean-Philippe Rameau was known late in 

his life, and today, as the greatest French 

opera composer of the mid-18th century, 

but he was 50 years old when his first 

opera was staged in 1733. Before that he 

was a church organist and the preeminent 

musical theorist of the day. His 1722 Treatise 

on Harmony established the way musicians 

thought, and talked, about harmony. 

Even now, we still use terms like “tonic” 

and “dominant” because of it. Two of his 

four books of harpsichord music also date 

from the 1720’s. The piece that opens the 

program is from Nouvelles Suites de Pièces 

de Clavecin, published in about 1727 (the 

volume bears no date), and is titled simply 

“Gavotte” (a familiar dance form), followed 

by six pieces labeled “First Double,” “Second 

Double,” and so on for six doubles. 

A “double” was a type of variation in 

which the tempo and harmonic sequence 

of the original dance stayed the same, but 

the melodic line was elaborated in faster 

notes. The term “double” probably originated 

in simple arithmetic, as substituting 

16th-notes for eighth notes means playing 

twice as many notes; the English called the 

Jean-Philippe Rameau by Jean-Jacques Caffieri, 

terracotta (1760) 

same technique “divisions” for the same 

reason. All musicians learned how to improvise 

doubles or divisions, and would 

have looked at a set of them by a master 

like Rameau as not only a worthwhile addition 

to their repertoire, but also a lesson in 

how it’s done. 

Robert Schumann’s Kreisleriana represents 

the convergence of his imagination 

with a fictional creation of E.T.A. Hoffman 

(1776–1822), who himself seems like a 

fictional character written by an overly enthusiastic 

author unable to make choices. 


21

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Artist Thomas Van Stein 

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Hoffman is now known mostly for his fiction, 

but he also had a substantial reputation 

as a composer that is well supported 

by surviving works that include six operas, 

five piano sonatas, four chamber works, 

a symphony, a ballet, incidental music 

and several liturgical pieces. He was also 

known as a music critic, and to this day is 

celebrated as the writer who made music 

criticism an important genre. His career including 

work as a painter, stagehand, playwright, 

music director of a theater and an 

opera house, Prussian government official 

in Warsaw, and judge in a Berlin court, before 

he died of syphilis in 1822. 

Hoffman’s stories are the basis not 

only of Offenbach’s Tales of Hoffman, but 

also Tchaikovsky’s Nutcracker and Delibes’s 

Coppelia. 

The Hoffman creation that inspired 

Schumann was Johannes Kreisler, a fictional 

violinist and music director who 

appears in three Hoffman novels: Kreisleriana 

(1813), The Musical Sufferings of the 

Robert and Clara Schumann by Eduard Kaiser (1847) 

Kapellmeister Johannes Kreisler (1815), and 

The Life and Opinions of the Tomcat Murr 

together with a fragmentary Biography of 

Kapellmeister Johannes Kreisler on Random 

Sheets of Waste Paper (1822). The last was 

exactly what the title described: a cat’s 

writings about life written on discarded 

pages of a biography about Kreisler. It has 

been described as a work that could pass 

for late-20th-century postmodernism. 

Schumann, who was himself better 

known as a music critic than a composer, 

must have seen Hoffman, who died when 

Schumann was ten, as a kindred mind. He 

must have seen an even more kindred spirit 

in the character of Kreisler, who was created 

when Schumann was three and had 

never died. Kreisler was passionate, given 

to irreverence expressed in trenchant wit, 

and prone to huge mood swings: he seems 

to have been what until recently was called 

“manic depressive.” 

Schumann was all of those things. He 

suffered from debilitating depression in 

which “my heart pounds sickeningly and I 

turn pale … I often feel as if I were dead.” 

He also had manic periods of astonishing 

creative productivity, during which he did 

much of his composing. 

Kreisler and Hoffman were scarcely 

the only thing Schumann would have been 

thinking of when he composed Kreisleriana 

in 1838. He was much focused on 

Clara Wieck, the 19-year-old daughter of 

Schumann’s former piano teacher, a worldrenowned 

pianist in her own right since 

she was 11, a composer of considerable 


23

ability, and Schumann’s fiancée since the 

previous year. When her father adamantly 

refused to allow them to marry, they sued 

for a court order allowing the marriage. The 

court would eventually rule in their favor in 

1840, just in time for them to wed the day 

before Clara turned 21 and no longer needed 

parental consent to marry. 

In the meantime, as the court case 

dragged on, Clara spent much of her time 

concertizing away from her Leipzig home, 

which at least allowed them to exchange 

correspondence that her father forbade 

when he was watching her at home. 

Schumann wrote nothing but piano music 

during those years. This had actually been 

the case all during the 1830s, his first decade 

of composition, but from mid-decade, 

when his relationship with Clara turned romantic, 

he produced a flood of important 

piano works that were not only inspired 

by his feelings for Clara the woman, but 

geared to the keen musical intelligence of 

Clara the performer. 

“I have noticed that my imagination is 

never so lively as when it is anxiously extended 

toward you,” he wrote to her in May 

1838. “While waiting for a letter from you, I 

composed enough to fill eleven volumes.” 

The music from those few years included 

major efforts like the three Sonatas, 

Carnaval, the Davidsbündlertanze, the 

Scenes from Childhood, the Fantasie in C, 

and Arabeske, as well as a good number 

of lesser ones, such as the Carnival Jest 

from Vienna that he sent to Clara in Paris 

after she wrote to ask him for a “something 

brilliant and easy to understand,” that was 

“written for an audience.” 

Clara and Robert both knew he was 

getting far ahead of his audience, and Kreisleriana 

was in the vanguard of his musical 

development and his emotions. He wrote 

to her that he was writing “extraordinary 

music, at times mad, at times solemn and 

dreamy … You will open your eyes wide 

when you decipher it. Do you know, sometimes 

I have the notion that I shall end up 

bursting with music, the ideas so press and 

seethe within me when I dream of our love. 

… Have you played my Kreisleriana? Some 

of the pages contain a truly savage love.” 

“You shock me sometimes,” Clara 

wrote back. “I wonder if it is true that this 

man will be my husband?” 

Kreisleriana is full of abrupt and sometimes 

violent contrasts. Its very opening 

is not only emotionally turbulent, but unsettled 

harmonically and rhythmically (the 

notes that are most prominent melodically 

are off the beat). The movements that follow 

are in the same mold. Dreamy, hauntingly 

beautiful sections (the main part of 

the second movement and middle section 

of the third movement, for example) abut 

sections of great agitation. The music 

seems to explore a landscape of bipolar 

mood swings in all their facets. 

Franz Liszt and Schumann were the 

same age, but came to stand for different 

aesthetics. Indeed, they came to represent 

a divide in the generation of composers 

that came after Beethoven and considered 

themselves his artistic heirs. On one side 

were the ones now sometimes simplistically 

called classic-romantics, exemplified 


25

Lending Banking Investing 

y Schumann and Mendelssohn and then, 

after their early deaths, by Brahms. They 

believed music should be carefully worked 

out and integrated, and relied on traditional 

forms, of which the sonata had been king 

since Mozart’s time. On the other side was 

the dramatically-oriented music of what 

would soon be called the “New German 

School,” of which Liszt and Wagner were 

considered the standard bearers 

It became fashionable in musicological 

circles to think of Lizst and similarlyminded 

composers as forward-thinking 

“Romantics” and Schumann as a traditiongrounded 

“Classic-Romantic” but it’s hardly 

necessary to point out the inadequacy 

of that way of pigeonholing to an audience 

that has just heard Kreisleriana. 

Had Liszt died at 40, he would be remembered 

as the father of modern pianism, 

and not just because of his advances 

in technique. A piano recital like the present 

one is Liszt’s invention. The model for 

a public concert before Liszt had the composer-performer 

play his own solo compositions 

and improvisations, interspersed 

with chamber music and songs or, if there 

was an orchestra, a symphony and concerto. 

Liszt originated the public “recital” 

(he also originated the word) in which one 

pianist performed alone, playing from the 

entire known repertoire, including composers 

long dead, and playing from memory. 

Even the practice of putting the piano sidelong 

to the audience was his idea (it allows 

the sound of the instrument to resonate off 

the open lid toward the audience, but also 

presents the player in profile, and Liszt was 

Franz Liszt (1858) 

aware that his profile made an impression). 

Liszt had great respect for Schumann. 

The Schumanns liked Liszt personally but 

had decidedly mixed feelings about his music, 

which they thought often too splashy 

and showy and not well constructed or 

thought out. 

Liszt may have had thoughts along 

those lines himself. By 1848, he was famous 

for his pianistic skill, famous for the 

scandal of his two liaisons with married 

aristocratic women, famous for being a 

Hungarian national hero, famous for piano 

pieces that pushed the envelope of virtuosity, 

famous for piano transcriptions and 

arrangements that did for the symphony 

what recordings would do a century later, 

and famous for being famous. What he 

was not famous for was being a serious 

composer. In 1848, he gave up touring as 

a piano virtuoso to become Kapellmeister 

at the court of the Grand Duke of Saxe- 

Weimar-Eisenach in Weimar. Directing the 

concerts and operas of a court musical 


27

An historic treasure 

with contemporary comforts 

in the heart of Santa Barbara 

50 Guest Rooms & Suites 

a ROYAL 

ANNIVERSARY SEASON 

Presenting the world’s finest classical artists since 1919 1919–2019/20 

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC 


establishment, choosing music, planning 

programs, hiring musicians and scheduling 

rehearsals was a very old-fashioned kind 

of job—aristocratic courts were getting 

rarer—and an improbable career move for 

music’s biggest star, which was why he did 

it. It allowed him to plunge his hands up to 

the elbows in a broad-based musical experience, 

learn how the orchestra worked, and 

learn other composers’ music from the inside 

out. He must have expected to acquire 

a better understanding of composition. 

While at Weimar, Lizst wrote a book 

about Frederic Chopin, who had died in 

1849. The writing process included immersion 

in Chopin’s music, and Liszt wound up 

producing a few musical tributes to his late 

friend. His Berceuse (a berceuse is a piece 

in the nature of a lullaby) is in D-flat major, 

the same key as Chopin’s opus 57, and is 

among Liszt’s more Chopinesque works. 

He composed the first version at Weimar 

in 1854. The second version, on tonight’s 

program, dates from 1862. 

The most visible result of Liszt’s Weimar 

immersion is the B-minor sonata that 

he wrote in 1853 and published a year later. 

It shows his focus on developing ideas into 

a coherent large structure rather than transitory 

effects, an attempt to meld his own 

dazzling style with the sobriety and logic 

of Schumann. All five movements develop 

and vary the same thematic material, and 

thus movements can be said to correspond 

to one of the phases (exposition, development, 

recapitulation) of a single sonata 

movement. 

Liszt dedicated his B-minor sonata 

to Schumann, and may have seen it as a 

bridge across the post-Beethoven stylistic 

chasm: the musical texture was flashy and 

dramatic, but it was contained in a fullydeveloped 

sonata structure. If he thought 

it would make him the darling of both 

camps, he was to be disappointed. When 

he played it for an unknown, but obviously 

gifted, 20-year-old visitor to Weimar named 

Johannes Brahms in 1853, Brahms fell 

asleep. Schumann never heard it—he had 

suffered his final mental breakdown and 

was in a sanitarium by the time it came 

out—but Clara, to whom Liszt had dedicated 

his Six Transcendental Studies After 

Paganini, wrote to Brahms that the sonata 

was “really terrible,” complaining, “and now 

I’m even expected to thank him for it.” 

What probably bored Brahms and irritated 

Clara Schumann was what they 

would have heard as disjointedness: not so 

much a lack of logic in the large-scale development, 

but in the smaller phrases of the 

music. The occasional emotional eruption, 

interruption of an idea or impulsive grab 

at impressive pianistic effect, would have 

seemed to their ears like a sort of attention 

deficit at work. One person’s brilliance is 

another’s noise, and musicians with strong 

convictions about what music should be 

are not likely to be the most open-minded 

about it. Time has dulled the controversies. 

The established repertoire that Liszt envisaged 

exists, and the B-minor sonata is firmly 

in it, though it still presents challenges 

for both players and listeners. 

—Howard Posner ©2020 


29


31

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 x104 

Elizabeth@camasb.org 


33


CAMA ENDOWMENT 

CAMA’s mission is to enrich Santa Barbara’s cultural life by 

bringing live performances by world-renowned classical 

artists and orchestras of the highest artistic excellence to 

our community and by providing creative, focused music 

education programs for individuals of all ages. 

CAMA thanks and honors the following members of 

the CAMA community who have contributed to CAMA’s 

Endowment. A commitment to CAMA’s Endowment 

ensures the success of CAMA’s next 100 years. Gifts at 

every level are deeply appreciated. 

James H. Hurley and Judith L. Hopkinson 

Endowment Co-Chairs

CONDUCTOR'S CIRCLE 

$500,000 and above 

Suzanne & Russell Bock 

Linda Brown* 

SAGE Publishing 

Elaine Stepanek 

Esperia Foundation 

CRECENDO CIRCLE 

$250,000—$499,999 

The Andrew H. 

Burnett Foundation 


Herbert & Elaine Kendall 

Mary Lloyd & Kendall Mills 

CADENZA PATRONS 

$100,000—$249,999 



Mary & Raymond Freeman 

The Stephen & Carla 

Hahn Foundation 

Shirley Ann & James H. Hurley, Jr. 

Nancy & William G. Myers 

Jan Severson 


The Towbes Fund for 

the Performing Arts 


RONDO PATRONS 

$50,000—$99,999 

Ruth Appleby 


Linda & Peter Beuret 


Dr. Dolores M. Hsu 


The Samuel B. & Margaret C. 

Mosher Foundation 

Santa Barbara Bank & Trust 

Nancy & Byron Kent Wood 

CONCERTO PATRONS 

$25,000—$49,999 

Jane Catlett 


Suzanne Faulkner 

Léni Fé Bland 



Hutton Parker Foundation 


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

The Henry E. & Lola 

Monroe Foundation 

Efrem Ostrow Living Trust 


Diana & Roger Phillips 

Linda Stafford Burrows 

The Walter J. & Holly O. 

Thomson Foundation 


SONATA PATRONS 

$10,000—$24,999 

Rebecca & Peter Adams 

Denise & Stephen Adams/ 

Adams Family Foundation 

Else Schilling Bard 

Edward & Sue Birch 

Frank Blue & Lida Light Blue 

Bob Boghosian & 

Beth Gates-Warren 


The CAMA Women's Board 

Virginia Castagnola-Hunter 

Margo Chapman 

NancyBell Coe & William Burke 

Karen Davidson, M.D. 

Nancyann & Robert Failing 


& Ronald Fendon 

Priscilla & Jason Gaines 


Sherry & Robert Gilson 

Lorraine C. Hansen 

Mary & Campbell Holmes 

Patricia Kaplan 

Winona Fund 

Mahri Kerley/Chaucer's Books 

Lynn P. Kirst 

Laura Kuhn 

John Lundegard 

Keith Mautino 

Jayne Menkemeller 

Betty Meyer 

Mary & James Morouse 

Myra & Spencer Nadler 

Pat Hitchcock O'Connell 

John Perry 

Marjorie & Hugh Petersen 


Susannah Rake 

Michele & Andre Saltoun 

Anitra & Jack Sheen 

Sally & Jan E.G. Smit 

Anonymous 

Constance Smith 

The Elaine F. Stepanek 

Foundation 

Betty J. Stephens 


Marilyn Vandever 

Barbara & Gary Waer 

David & Lisa Wolf 

Endowment gifts up to $9,999 

Bernice Andron • Argonaut Charitable Foundation • Sally & Robert Arthur • John & Jean Bailey • Brad & M.J. Bakove 

Helene Beaver • Joan C. Benson • Mr. Leonard S. Berman • Marlyn Bernstein • Emily Blair • Marjorie Boyle 

Mrs. Louise Brant • Wendel Bruss • Ms. Hilary Burkemper • The CAMA Fellows • Mary Carpenter • Carnzu Clark 

Ms. Eileen Clark • Stephen Cloud • Ms. Peggy McShane Cochrane • Ms. Catherine S. Cudlip • Ms. Julia Dawson 

Samuel R. & Marcia Edwards • Mrs. Maureen H. Fialkoff • Ms. Deborah Glassman • Kay & Richard Glenn 

David & Leesa Goldmuntz • Corinna Gordon • Robert Hanrahan • Ms. Nancy G. Harris • Kent Hodgetts & Latane Keeler 

Elizabeth Karlsberg & Jeff Young • Ms. Joyce Koehler • Doris Kuhns • Ms. Catherine Lee • Mrs. Jean T. Leonard 

Mrs. Phyllis J. Leveen • Mrs. Betty Z. Levinson • Nancy & James Lynn • Marilyn Magid • Ms. Harriet Miller 

Dr. Jerry M. Nathan • Clarence & Anne Neal • Scott & Kathy O'Leary • Olio e Limone • David & Catherine Peri • Justyn Person 

Kirk Peters & Susan Roe • Kathryn Phillips • Martha & Bruno Pilorz • Eric Boehm • Anne & C. Wesley Poulson 

Hugh & Elizabeth Ralston • Ms. Mondra Randall • George & Bessie Lou Reid • Mary Louise Riley • Glenn & Claire Roberts 

Russell & Winifred Roberts • Martin & Marilyn Roe • Mr. Frank Schmidt Mrs. Peter Senn • Marlene Sheehan 

Cynthia Skenazi • Marion Stewart • Mr. Emil Torick • Steven Trueblood • C.M. & Laura Tull • Carol Vernon & Robert Turbin 

Mr. Chip Turner • Kathleen Wall • Richard & Gloria Wascher • Marjorie K. & Roderick S. Webster • Douglas & Gerlinde White 

Mrs. Elizabeth A. Whitney • Ron & Laurie Yttri • Patricia Yzurdiaga

To ensure that CAMA will continue bringing the greatest 

recitalists and orchestras from around the world, we must 

enrich CAMA’s endowment. 

Each year, the fees paid to bring outstanding artists to our 

community have been substantially increasing. 

ORCHESTRA COSTS 1971-72 THROUGH 2018-19 

COST PER SEASON IN $ 

900,000 

800,000 

700,000 

600,000 

500,000 

400,000 

300,000 

200,000 

100,000 

5.0% 

TOTAL 

ORCHESTRA 

COST 

48-YEAR AVERAGE 

INFLATION 

1971-72 

1974-75 

1979-80 

1984-85 

1989-90 

1994-95 

1999-00 

2004-05 

2009-10 

2014-15 

1971-72 

2018-19 


Deborah Bertling, Centennial Celebration Chair, with Joshua Bell 

Please consider CAMA in your Planned Giving. 

We thank and acknowledge these generous members 

of the CAMA Community for remembering CAMA 

in their estate plans! 

Rebecca & Peter Adams 




Linda & Peter Beuret 

Frank Blue & Lida Light Blue 

Linda Brown 


Virginia Castagnola-Hunter 

Jane Catlett 


Karen Davidson, M.D. 



& Ronald Fendon 

Mary & Raymond Freeman 

Priscilla & Jason Gaines 


Lorraine C. Hansen 




Dr. Dolores M. Hsu 

Shirley Ann & James H. Hurley, Jr. 

Herbert & Elaine Kendall 

Mahri Kerley/Chaucer's Books 

Lynn P. Kirst 


John Lundegard 

Keith Mautino Moore 


Myra & Spencer Nadler 


Diana & Roger Phillips 


Andre & Michele Saltoun 




Marilyn Vandever 

Barbara & Gary Waer 

Nancy & Byron Kent Wood 


37

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 


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 


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 


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 

Robert S. Grant 

Robert L. Grant 


39

Happy 100 th Birthday, CAMA! 

Thank you for bringing the world’s finest classical musicians 

to our fair city and enriching our lives through music. 

HAPPY 100TH BIRTHDAY, CAMA! 

Thank you for bringing the world’s finest classical musicians 

to our fair city and enriching our lives through music. 

Inside Wine SB is a a fun and educational not-for-profit wine tasting Meetup group 

open to the public 21 + years old. We organize winemaker, sommelier, wine and 

food pairing events, and field trips to wine destinations! Mark you calendars to 

SAVE THE DATE of November 7, 2020 for the Feast of Apicius II—a celebration 

of the world’s first cookbook, with a top chef competition and winemaker/chef 

pairings featuring recipes adapted from the 1st century Roman cookbook. 

READ ABOUT US: www.meetup.com/inside-wine-santa-barbara 

Inside Wine SB is a a fun and educational not-for-profit wine tasting Meetup group open to 

the public 21+ years old. We organize winemaker, sommelier, wine and food pairing events, 

and field trips to wine destinations! 

Mark you calendars to SAVE THE DATE of November 7, 2020 for the Feast of Apicius II— 

a celebration of the world’s first cookbook, with a top chef competition and winemaker/chef 

pairings featuring recipes adapted from the 1st century Roman cookbook. 

Read about us: www.meetup.com/inside-wine-santa-barbara

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 


41


WOMEN’S 

BOARD 

THE CAMA WOMEN'S BOARD GRATEFULLY 

THANKS THE FOLLOWING SUPPORTERS! 

SYMPHONY LEVEL 

$5,000 

Patricia Yzurdiaga 

SONATA LEVEL 

$1,000 

Peter & Rebecca Adams 

NancyBell Coe & Bill Burke 

Jill Doré Kent 

Mrs. Richard H. Roberts 


RONDO LEVEL 

$100–$500 

Anonymous (2) 

Beth Gates-Warren & Bob Boghosian 


Edward DeLoreto 

Karin Nelson & Eugene Hibbs, Jr. 

and Maren N. Henle 



Elen & Craig Parton 

Andre & Michele Saltoun 


Nancy & Byron Kent Wood



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 


43

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 


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

Benjamin Grosvenor, piano—Friday, March 13, 2020, Lobero Theatre, Santa Barbara, 8:00PM—CAMA's Masterseries

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