CAMA's Masterseries Presents Benjamin Grosvenor, piano ⫽ Friday, March 18, 2022 ⫽ Lobero Theatre, Santa Barbara ⫽ 7:30PM

2021/2022 SEASON
Presenting the world’s finest classical artists since 1919
MASTERSERIES
AT THE LOBERO THEATRE
SEASON SPONSORSHIP: ESPERIA FOUNDATION
BENJAMIN
GROSVENOR, piano
Friday, March 18, 2022, 7:30PM
Lobero Theatre, Santa Barbara
COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC.
Photo by Benjamin Ealovega

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Presenting the world’s finest classical artists since 1919
BOARD OF DIRECTORS
(As of March 8, 2022)
ROBERT K. MONTGOMERY
Chairman
DEBORAH BERTLING
Vice Chair and President, Women's Board
Rosalind Amorteguy-Fendon
Marta Babson
Bitsy Becton Bacon
Isabel Bayrakdarian
Edward E. Birch
Andy Chou
Stephen Cloud
NancyBell Coe
Bridget Colleary
Joan Crossland
JAN BOWLUS
Vice Chair
WILLIAM MEEKER
Treasurer
CHRISTINE EMMONS
Secretary
Edward S. DeLoreto
Jill Felber
Raye Haskell Melville
Judith L. Hopkinson
Elizabeth Karlsberg
Frank E. McGinity
George Messerlian
Patti Ottoboni
Michele Saltoun
Judith F. Smith
Emeritus Directors
(As of March 8, 2022)
Robert J. Emmons
Arthur R. Gaudi
James H. Hurley, Jr.
Herbert J. Kendall
Sara Miller McCune
Nancy Wood
Russell S. Bock*
Dr. Robert M. Failing*
Mrs. Maurice E. Faulkner*
Léni Fé Bland*
Stephen Hahn*
Dr. Melville H. Haskell, Jr.*
Mrs. Richard Hellmann*
Dr. Dolores M. Hsu*
Robert Light*
Mrs. Frank R. Miller, Jr.*
Mary Lloyd Mills*
Mrs. Ernest J. Panosian*
Kenneth W. Riley*
Andre Saltoun*
Jan Severson*
* Deceased
Administration
(As of March 8, 2022)
Mark E. Trueblood
President
Elizabeth Alvarez
Director of Development
Michael Below
Office Manager/
Subscriber Services
Justin Rizzo-Weaver
Director of Operations
2060 Alameda Padre Serra, Suite 201 ⫽ Santa Barbara, CA 93103 ⫽ Tel (805) 966-4324 ⫽ Fax (805) 962-2014 ⫽ info@camasb.org

INTERNATIONAL SERIES
AT THE GRANADA THEATRE
SEASON SPONSORSHIP: SAGE PUBLISHING
JANUARY 11, 2022
ROYAL
PHILHARMONIC
ORCHESTRA
Primary Sponsor
The Elaine F. Stepanek
Foundation
Sponsors
Alison & Jan Bowlus
Judith L. Hopkinson
Sara Miller McCune
Bob & Val Montgomery
Ellen & John Pillsbury
The Shanbrom Family
Foundation
Co-Sponsor
Stephen J.M. & Anne Morris
JANUARY 28, 2022
LOS ANGELES
PHILHARMONIC
Principal Sponsors
Kum Su Kim & John Perry
Mosher Foundation
Sponsors
Peggy & Kurt Anderson
Bitsy & Denny Bacon and
The Becton Family Foundation
Bob & Val Montgomery
Michele Saltoun
Diane Sullivan
The Towbes Fund for the
Performing Arts, a field of
interest fund of the SBF
Co-Sponsors
Jane & Kenneth Anderson
Meg & Dan Burnham
Christine & Robert Emmons
MARCH 24, 2022
LONDON
SYMPHONY
ORCHESTRA
Primary Sponsors
Bitsy & Denny Bacon and
The Becton Family Foundation
APRIL 12, 2022
ENGLISH
BAROQUE
SOLOISTS
Principal Sponsors
Herbert & Elaine Kendall
Jocelyne & William Meeker
Sponsors
NancyBell Coe & Bill Burke
Bob & Val Montgomery
George & Judy Writer
Co-Sponsors
Elizabeth Karlsberg &
Jeff Young
John & Fran Nielsen
Ellen & Craig Parton
Nancy & Byron Kent Wood

MASTERSERIES
AT THE LOBERO THEATRE
SEASON SPONSORSHIP: ESPERIA FOUNDATION
MARCH 2, 2022
JORDI SAVALL
AND LE CONCERT
DES NATIONS
Sponsor
Jocelyne & William Meeker
Concert Partners
Stephen Cloud
Christine & Robert Emmons
Lois S. Kroc
MARCH 18, 2022
BENJAMIN
GROSVENOR, piano
Sponsors
Bitsy & Denny Bacon and
The Becton Family Foundation
Alison & Jan Bowlus
Concert Partner
Raye Haskell Melville
APRIL 23, 2022
ISABEL
BAYRAKDARIAN, soprano
MARK FEWER, violin
JAMIE PARKER, piano
Sponsors
Bob Boghosian & Beth Gates-Warren
The Elaine F. Stepanek Foundation
MAY 24, 2022
JAMES EHNES, violin
ORION WEISS, piano

4 CAMA'S 103 RD CONCERT SEASON

Presenting the world’s finest classical artists since 1919
MASTERSERIES AT THE LOBERO THEATRE
SEASON SPONSORSHIP: ESPERIA FOUNDATION
BENJAMIN GROSVENOR, piano
Friday, March 18, 2022, 7:30PM
Lobero Theatre, Santa Barbara
CÉSAR FRANCK (1822–1890)
Prélude, Choral et Fugue, M.21
Prélude
Choral
Fugue
ISAAC ALBÉNIZ (1860–1909)
Ibéria, Book I
Evocación
El Puerto
El Corpus Christi en Sevilla
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
MAURICE RAVEL (1875–1937)
Jeux d’eau
La Valse
INTERMISSION
Program subject to change
DECCA, EMI
Benjamin Grosvenor’s 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
Sponsors: Bitsy & Denny Bacon and The Becton Family Foundation • Alison & Jan Bowlus
Concert Partner: Raye Haskell Melville
We request that you switch off cellular phones, watch alarms and pager signals during the performance.
The photographing or sound recording of this concert is prohibited.
CAMA AT THE LOBERO THEATRE • BENJAMIN GROSVENOR
5

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BENJAMIN
GROSVENOR
piano
Photo by Benjamin Ealovega
British pianist Benjamin Grosvenor is internationally
recognised 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.
A pianist of widespread international
acclaim, in the 21/22 season he is Artistin-Residence
at the prestigious Wigmore
Hall in London with three varying projects.
The previous season he was Artist-in-
Residence at both Radio France and with
the Bournemouth Symphony Orchestra.
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.
Recent and forthcoming concerto
highlights of the 21/22 season include engagements
with the Chicago, Baltimore
and Pittsburgh Symphony Orchestras, Philharmonia
Orchestra, Scottish Chamber,
Hamburg Staatsorchester and City of Birmingham
Symphony Orchestra. Benjamin
works with such esteemed conductors as
Semyon Bychkov, Riccardo Chailly, Sir Mark
CAMA AT THE LOBERO THEATRE • BENJAMIN GROSVENOR
7

Elder, Kent Nagano, Alan Gilbert, Manfred
Honeck, Vladimir Jurowski, François-Xavier
Roth and Esa‐Pekka Salonen.
In recital this coming season Benjamin
looks forward to returning to Théâtre des
Champs Elysées Paris, Munich’s Herkulessaal,
Konzerthaus Berlin and Palau de la
Música Catalana, Barcelona. He also undertakes
an extensive U.S. recital tour including
appearances with Philadelphia Chamber
Music Society and People’s Symphony
NYC. He has also performed at the ‘Chopin
and his Europe’ Festival in Warsaw, Montpellier
Festival, Barbican Centre, Southbank
Centre, Washington’s Kennedy Center, New
York’s Carnegie Hall and 92nd Street Y. A
keen chamber musician, regular collaborators
include Hyeyoon Park, Tabea Zimmermann,
Timothy Ridout, Benedict Kloeckner,
Kian Soltani and Doric String Quartet. Benjamin
is Co-Artistic Director of the Bromley
and Beckenham International Music Festival,
a unique and vibrant event for the local
community which was born out of the desire
to reconnect with the public during the
COVID‐19 pandemic.
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. Released
in 2020, his second concerto album featuring
Chopin’s piano concertos, recorded with
the Royal Scottish National Orchestra under
the baton of Elim Chan, received both the
Gramophone Concerto Award and a Diapason
d’Or de L’Année, with Diapason’s critic
declaring that the recording is “a version to
rank among the best, and confirmation of
an extraordinary artist.” The renewal of the
Decca recording partnership in early 2021
coincided with the release of Benjamin’s latest
album, Liszt, centered around the composer’s
Sonata in B minor.
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. In 2016, he
became the inaugural recipient of The Ronnie
and Lawrence Ackman Classical Piano
Prize with the New York Philharmonic.
Benjamin first came to prominence as
the outstanding winner of the Keyboard
Final of the 2004 BBC Young Musician
Competition, and he was invited to perform
with the BBC Symphony Orchestra at the
First Night of the 2011 BBC Proms. The
youngest of five brothers, Benjamin began
playing piano at age 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 is an Ambassador of Music
Masters, a charity dedicated to making
music education accessible to all children
regardless of their background, championing
diversity and inclusion.
www.benjamingrosvenor.co.uk
8 CAMA'S 103 RD CONCERT SEASON

NOTES ON THE PROGRAM
By Howard Posner
César Franck was raised to be a concertizing
piano virtuoso by a relentlessly pushy
father who was determined to make him
the next Liszt, and nearly succeeded.
Franck’s early compositions consist largely
of piano music written to show off his own
ability. But when he reached his mid‐twenties,
Franck broke with his father, moved
out of his parents’ house, married a woman
they disapproved of, and took a job as
a church organist, a musical profession at
the opposite end of the universe from that
of the touring piano virtuoso, and one he
would maintain the rest of his life. The piano
scarcely appears in the music he wrote
between 1846 and 1883: he may have
doubted whether he could make the piano
a medium for serious music, or associated
it with being under his father’s thumb.
But by 1884, when Franck had been a
professor of organ at the Paris Conservatory
for 12 years and his father had been dead
for 13, Franck turned back to the piano like
someone reconnecting with an old flame
many years after a bad breakup.
The Prelude, Chorale and Fugue from
that year is often cited as an example of
Franck’s use of “cyclical” elements, which
César Franck, ©New York Public Library
Creative Commons CC0 1.0 Universal Public Domain Dedication
is a way of saying he used themes from a
work’s earlier movements in its later movements.
It may be just as useful to think of
the Prelude, Chorale and Fugue as a work
in one movement (it has four sections
that are played without a break) in which
themes get developed and recapitulated in
quasi‐sonata style.
CAMA AT THE LOBERO THEATRE • BENJAMIN GROSVENOR
9

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The Prelude, like a sonata exposition,
presents three themes (the second
of which—the one that appears when all
the rippling and cascading stops—is a
three‐note motif that foreshadows the
Fugue’s subject). It leads into the Chorale
with an unsettling harmonic surprise (a B
dominant seventh chord, which your ear
will expect to resolve to E major even if
you have no idea what “dominant seventh”
means, instead resolves to E flat) which
is a way of signaling that, as Hermione
Granger once put it, “Everything’s going to
change now.”
The Chorale is at once brooding, mysterious
and tender, and has little in common
with the foursquare Lutheran congregation­
Robert Schumann (1850)
Johann Anton Völlner photo, Hamburg
al hymn normally associated with the word.
It leads into a transitional section that introduces
a motif that will become the fugue
subject. Franck marked the section “poco
allegro” but gave it no title; perhaps he
thought “Prelude, Chorale, another Prelude,
and Fugue” would sound stupid. The Fugue
begins as something that could almost
pass for one of Bach’s more chromatic
fugues, but turns into a giant recapitulation
as the Chorale returns in the texture of the
Prelude’s cascades.
The work was premiered in Paris by
Marie Poitevin, a rising pianistic star, in
January 1885 to good reviews for her and
Franck. But there were naysayers. Camille
Saint‐Saëns famously remarked that it
was “anything but pleasant or convenient
to play, where the chorale is not a chorale
nor the fugue a fugue.” He was not entirely
wrong in this, or even in saying that the
fugue “continues in interminable digressions
which no more resemble a fugue
than an invertebrate resembles a mammal.”
Saint‐Saëns was inadvertently pointing out
the obvious: that Franck was pushing the
limits of traditional form and refusing to be
bound by categories.
In Kreisleriana, Robert Schumann’s
creative imagination found fertile ground
in a fictional character of E.T.A. Hoffman
(1776–1822), who himself seems like a fictional
character written by an author unable
to make choices. Hoffman is now known
mostly for his fiction (Offenbach’s Tales
of Hoffman, Tchaikovsky’s Nutcracker and
Delibes’ Coppelia are based on his stories)
CAMA AT THE LOBERO THEATRE • BENJAMIN GROSVENOR
11

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ut he also had a reputation as a composer
(surviving works include six operas, five piano
sonatas, a symphony and a ballet). He
was an important music critic, celebrated
to this day as the writer who made music
criticism significant. His career included
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 at 56.
The Hoffman character that inspired
Schumann was Johannes Kreisler, a violinist
and music director in three novels:
Kreisleriana (1813), The Musical Sufferings
of the 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 compared to late-
20th‐century postmodernism.
Schumann, himself better known as a
music critic than a composer, must have
seen Hoffman, who died when Schumann
was 12, 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 bipolar.
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 on Schumann’s mind when he
composed Kreisleriana in 1838. There was
also Clara Wieck, the 19‐year‐old daughter
of Schumann’s former piano teacher,
an internationally renowned pianist since
she was 11, a composer of considerable
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 eventually ruled in their favor in
1840, in time for them to wed the day before
Clara turned 21 and no longer needed
parental consent.
While the 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 composed nothing
but piano music during those years.
This had actually been the case all during
the 1830’s, 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 Clara the woman, but
geared to the musical intelligence of Clara
the musician.
“My imagination is never so lively as
CAMA AT THE LOBERO THEATRE • BENJAMIN GROSVENOR
13

when it is anxiously extended toward you,”
he wrote 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 some lesser ones,
such as the Carnival Jest from Vienna that
he sent Clara in Paris after she wrote to ask
him for a “something brilliant and easy to
understand,” that was “written for an audience,”
as opposed to the other cutting‐edge
music he was producing.
He wrote 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
Isaac Albéniz, displayed at the library of
Museu de la Música de Barcelona
movement, for example) abut sections of
great agitation. The music seems to explore
a landscape of bipolar mood swings,
but also a truly savage love.
Isaac Albéniz, like César Franck, was
thrust into a virtuoso career at a young age
by a stage father, and only in adulthood
sought and acquired the skills to write serious
music. He went to Paris in his 30s
to study with Paul Dukas, who was renowned
more as a composition teacher
than as a composer. After an unsatisfying
return to Spain, Albéniz came back to Paris
in 1902, but spent much time in the warmer
climate of Nice because it eased the symptoms
of the kidney disease that would
cause his death in 1909, a few days before
his 49th birthday.
14 CAMA'S 103 RD CONCERT SEASON

In the four years before his death he
composed Iberia, 12 piano pieces in four
“books” of three pieces each, the first of
which premiered in May 1906. They each
evoke a specific part of Spain with local
dance idioms, associations that will be
lost on non‐Spaniards. The very first piece,
called Evocación, conjures up a sort of
A‐to‐Z tour of Spain by using dance idioms
from Navarre, at the French border in the far
north, and Andalusia in the far south.
El Puerto depicts the festival season in
El Puerto de Santa Maria, a city on Andalusia’s
southern Atlantic Coast where the
Guadalete River flows into the Bay of Cadiz.
El Corpus Christi en Sevilla celebrates another
festival, the feast of Corpus Christi,
in which the sanctified communion host is
carried in a procession through the streets
of Seville.
Maurice Ravel’s Jeux d’eau (Literally
“Water Games” or “Fountain”) dates from
his interminable and rather bizarre time
as a student at the Paris Conservatory. He
was admitted in 1889 when he was 14, but
made inadequate progress in the eyes of
the Conservatory administration. He was
dismissed in 1895, readmitted in 1897, and
dismissed again in 1900, but continued to
audit Gabriel Fauré’s composition class
until 1903. He also continued to enter the
Conservatory’s Grand Prix de Rome composition
competition until 1905, submitting
at least one entry that he must have known
would be disqualified for breaking traditional
rules of harmony and voice‐leading.
During this time he became a composer
of some prominence with the Pavane for
a Dead Princess in 1899 and Jeux d’eau in
1901, and was already a significant figure in
the French avant‐garde, so it is unclear why
he continued to try to win a competition
judged by the Conservatory’s very conservative
faculty. The Conservatory’s treatment
of Ravel became a noted scandal, known
as L’Affaire Ravel, which eventually forced
the director to resign. Fauré replaced him.
Ravel wrote, “Jeux d’eau is at the origin
of whatever pianistic innovations my works
may be thought to contain. This piece, inspired
by the noise of water and the musical
sounds emitted by fountains, waterfalls
and streams, is based on two themes, on
the model of a sonata first movement, but
without conforming to the classical plan of
key relations.” The first page bears a dedi­
Maurice Ravel (1925), Bibliothèque nationale de France
CAMA AT THE LOBERO THEATRE • BENJAMIN GROSVENOR
15

CAMA and Music Academy of the West co-present the London Symphony Orchestra
in concert in celebration of the Music Academy’s 75th anniversary
THURSDAY, MARCH 24, 2022, 7:30PM
LONDON SYMPHONY
ORCHESTRA
Sir Simon Rattle, Music Director
Works by Berlioz, Sibelius, Bartók,
Ravel and Hannah Kendall.
Join CAMA and the Music
Academy of the West for this
not-to-be-missed historic
Santa Barbara classical
music concert collaboration.
The London Symphony Orchestra’s 2022 North American Tour is made possible through an
intercontinental partnership with the Music Academy of the West.
The lead sponsors of the Music Academy of the West and London Symphony Orchestra
partnership are Linda & Michael Keston and Mary Lynn & Warren Staley.
Additional support has been provided in remembrance of Léni Fé Bland.
CAMA thanks our generous sponsors who have made this performance possible:
International Series Season Sponsor: SAGE Publishing
Primary Sponsor: Bitsy & Denny Bacon and The Becton Family Foundation
Photo by Mark Allan
LONDON SYMPHONY ORCHESTRA SINGLE TICKETS ON SALE NOW!
Granada Theatre Box Office ⫽ (805) 899-2222 ⫽ granadasb.org
COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA ⫽ camasb.org

cation to “My dear teacher Gabriel Fauré,”
and a quotation, “A river god laughing at
the water that tickles him,” from a poem by
Hénri Regnier.
As early as 1906, Ravel conceived of
an orchestral tribute to the Viennese waltz,
which he planned to call Wien, which is what
the Viennese call Vienna. But it remained
just an idea until after World War I, when
Serge Diaghilev, the ballet impresario who
had already commissioned Ravel’s Daphnis
et Chloe, Stravinsky’s Firebird and Rite
of Spring, and scores by Debussy, Richard
Strauss, Prokofiev and de Falla, suggested
that Ravel’s Vienna tribute could be a ballet.
Ravel composed La Valse (after the war
with Austria and Germany, a German title
would have been a bad idea) for orchestra,
then made a two‐piano version so that Diaghilev
could hear it. Francis Poulenc, who
was in the room when Diaghilev listened to
it in 1920, wrote that Diaghilev told Ravel
it was a masterpiece, but not a ballet. “It’s
a portrait of a ballet.” Ravel picked up his
score and calmly left the room, apparently
without speaking, and never forgave Diaghilev.
When they met five years later, Ravel
refused to shake his hand, and Diaghilev
challenged him to a duel. Friends eventually
calmed him down. (Another version of the
incident has Ravel issuing the challenge.)
Ravel wrote, “I had intended this work
to be a kind of apotheosis of the Viennese
waltz, with which was associated in my
imagination with an impression of a fantastic
and fatal kind of Dervish’s dance. I imagined
this waltz being danced in an imperial
palace in about 1855.” The only explicit visual
suggestion is made in a preface to the
score, intended as a ballet stage direction
that refers to letters that are commonly
put into scores so conductors can tell players
where to restart in rehearsal: “Through
whirling clouds can be glimpsed now and
again waltzing couples. The mists gradually
disperse, and at letter A [about a minute
into the piece] a huge ballroom is revealed
filled with a great crowd of whirling dancers.
At the fortissimo at letter B [about another
minute into the piece] the lights in the
chandeliers are full on.”
But the work’s progression from primordial
ooze at the beginning to waltz‐on‐steroids
to a calamitous‐sounding end, coming
just after a war that killed millions and
ended the old regimes of Austria, Germany
and Russia, has led to its being interpreted
as a dark comment on the death of the old
order and its art. Already by 1922, Ravel
complained to an interviewer about how La
Valse had “elicited so much strange commentary.”
He continued to insist that it really
was about Vienna in 1855.
La Valse has been staged as a ballet,
but its real life has been in orchestral
concerts. Ravel’s solo piano arrangement
is full of alternative passages, because it
is impossible to cram the whole work into
ten fingers on one keyboard. Thus at many
points the performer has to choose what
notes to play.
CAMA AT THE LOBERO THEATRE • BENJAMIN GROSVENOR
17

Sir John Eliot Gardiner
English Baroque Soloists
© Sim Canetty-Clarke
APRIL
12
TUE, 7:30PM
2022
ENGLISH BAROQUE SOLOISTS
Sir John Eliot Gardiner, Music Director
Kati Debretzeni, violin ⫽ Fanny Paccoud, viola
Almost inexcusably absent from the pantheon of great conductors appearing
in Santa Barbara during CAMA’s long history, Sir John Eliot Gardiner will at last
grace the Granada stage directing the English Baroque Soloists, the preeminent
period-instrument chamber ensemble founded by the maestro himself in 1978.
Arguably the foremost living interpreter of 17th‐ and 18th‐century choral and
orchestral repertoire, Sir John Eliot Gardiner is also the Founder and Director
of the Monteverdi Choir and the Orchestre Révolutionnaire et Romantique.
With these and other ensembles, he has recorded more than 250 albums; among
them are benchmark recordings of the Monteverdi Vespers and Bach B‐minor
Mass, the complete Beethoven symphony cycle on period instruments, and each
and every Bach sacred cantata. In his spare time, the prodigious maestro runs an
organic farm at Springhead near Fontmell Magna in North Dorset.
Haydn: Symphony No.103 in E‐flat Major, “The Drumroll,” H.1/103
Mozart: Sinfonia Concertante for Violin, Viola and Orchestra in E‐flat Major, K.364 (320d)
Mozart: Symphony No.39 in E‐flat Major, K.543
Principal Sponsors: Herbert & Elaine Kendall • Jocelyne & William Meeker
Sponsors: NancyBell Coe & Bill Burke
Co-Sponsors: Elizabeth Karlsberg & Jeff Young • John & Fran Nielsen
George & Judy Writer • Nancy & Byron Kent Wood

CENTENNIAL CIRCLE
CRESCENDO
$250,000–$500,000
Bitsy & Denny Bacon and The Becton Family Foundation
Robert & Christine Emmons
The Elaine F. Stepanek Foundation
CADENZA
$100,000–$249,000
Judith L. Hopkinson
Sara Miller McCune
Stephen J.M. & Anne Morris
The Samuel B. & Margaret C. Mosher Foundation
SAGE Publishing
George & Judy Writer
RONDO
$50,000–$99,999
Anonymous
Marta Babson
Deborah & Peter Bertling
Alison & Jan Bowlus
Dan & Meg Burnham
NancyBell Coe & William Burke
Jill Felber & Paul A. Bambach
Herbert & Elaine Kendall
Lois S. Kroc
Jocelyne & William Meeker
Mari & Hank Mitchel
Bob & Val Montgomery
Northern Trust
Michele & Andre Saltoun
The Walter J. & Holly O. Thomson Foundation
Patricial Yzurdiaga
Cumulative Centennial Celebration Gifts of $50,000 and above include Centennial Circle membership.
October 2018–May 2020

LIFETIME GIVING
DIAMOND CIRCLE
$500,000 and above
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
Mary Lloyd & Kendall Mills
Mosher Foundation
SAGE Publishing
The Elaine F. Stepanek
Foundation
Elaine & Edward Stepanek
The Towbes Fund for the
Performing Arts
SAPPHIRE CIRCLE
$250,000–$499,999
The CAMA Women's Board
Robert & Christine Emmons
Ann Jackson Family Foundation
Sara Miller McCune
The Walter J. & Holly O. Thomson
Foundation
Wood-Claeyssens Foundation
Patricia & Joseph Yzurdiaga
RUBY CIRCLE
$100,000–$249,999
Denise & Stephen Adams/Adams
Family Foundation
Hollis Norris Fund
Deborah & Peter Bertling
Alison & Jan Bowlus
Dan & Meg Burnham
Janet & Thomas Kelly/Winona
Fund
Virginia Castagnola-Hunter
NancyBell Coe & William Burke
Léni Fé Bland
Mary & Raymond Freeman
George H. Griffiths and Olive J.
Griffiths Charitable Fund
Raye & Melville H. Haskell, Jr.
Dolores M. & Immanuel Hsu
Shirley Ann & James H. Hurley, Jr.
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
Michele & Andre Saltoun
Santa Barbara Bank & Trust
Santa Barbara Foundation
Jan & John G. Severson
Judith F. & Julian Smith
Jeanne C. Thayer
Marilyn & H.Wallace Vandever
Wallis Foundation
Nancy & Byron Kent Wood
George & Judy Writer
EMERALD CIRCLE
$50,000–$99,999
Anonymous (3)
Ruth Appleby
Marta Babson
Helene & Jerry Beaver
Linda & Peter Beuret
Edward & Sue Birch
Bob Boghosian & Beth Gates-
Warren
Elizabeth & Andrew Butcher
Louise & Michael Caccese
Jane & Jack Catlett
Roger & Sarah Chrisman,
Schlinger Chrisman Foundation
Bridget & Robert Colleary
Suzanne & Maurice Faulkner
Jill Felber & Paul A. Bambach
Arthur R. Gaudi
Sherry & Robert Gilson
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
Northern Trust
Craig & Ellen Parton
Austin H. Peck
Marjorie & Hugh Petersen
Diana & Roger Phillips
Theodore Plute & Larry Falxa
Lady Leslie & Viscount Paul
Ridley-Tree
SB County Office of Arts
& Culture
The Shanbrom Family Foundation
Barbara & Sam Toumayan
Carrie Towbes and John Lewis
TOPAZ CIRCLE
$25,000–$49,999
Anonymous
Peggy & Kurt Anderson
Barbara & Edward Bakewell
Helen & Andrew Burnett
California Small Business Relief
Program
Huguette Clark
Cecelia & Leonard Dalsemer
Edward DeLoreto and William
DeLoreto
Patricia & Larry Durham
Frederika & Dennis Emory
Nancyann & Robert Failing
Rosalind Amorteguy-Fendon &
Ronald Fendon
Priscilla & Jason Gaines
Preston B. & Maurine M. Hotchkis
Family Foundation
The George Frederick Jewett
Foundation
Patricia Kaplan
Jill Dore Kent
Kum Su Kim
Otto Korntheuer/The Harold L.
Wyman Foundation

LIFETIME GIVING
Laura & Robert Kuhn
Chris Lancashire & Catherine Gee
Lillian & Jon Lovelace
Leatrice & Eli Luria
Marilyn & Frank Magid
Ruth McEwen
Frank McGinity
Mary & James Morouse
Pat Hitchcock O'Connell
Efrem Ostrow Living Trust
The Outhwaite Foundation
Carolyn & Ernest Panosian
Performing Arts Scholarship
Foundation
John & Ellen Pillsbury
William H. Kearns Foundation
Mary Dell Pritzlaff & John Pritzlaff
Mary Louise & Kenneth W. Riley
Dorothy Roberts
City of Santa Barbara
Anitra & Jack Sheen
Linda Stafford Burrows
Marion Stewart
Irene & Robert Stone/Stone
Family Foundation
Ina & Martin Tornallyay
Steven Trueblood
Carol & Edward R. Valentine
Susie & Hubert Vos
Marjorie K. & Roderick S. Webster
Westmont College
Ann & Dick Zylstra
AMETHYST CIRCLE
$10,000–$24,999
Rebecca & Peter Adams
Christina & David Allison
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
Shelley & Mark Bookspan
Cynthia Brown & Arthur Ludwig
Suzanne & Peyton Bucy
The CAMA Fellows
Margo & Charles Chapman
Chubb Sovereign
Carnzu Clark
Stephen Cloud
Nan Burns & Dr. Gregory Dahlen
Karen Davidson, M.D.
Elizabeth & Kenneth Doran
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
Grace Jones Richardson Trust
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
Mary & Campbell Holmes
Jackie Inskeep
Glenn Jordan & Michael Stubbs
Martha & Peter Karoff
Connie & Richard Kennelly
Mahri Kerley/Chaucer's Books
Linda & Michael Keston
MaryAnn & Frederick Lange
Dodie Little
Ruth & John Matuszeski
Dona & George McCauley
Jayne Menkemeller
Sally & George Messerlian
Keith W. Moore
Maryanne Mott & Herman Warsh
Sybil & Russell Mueller
Myra & Spencer Nadler
Karin Nelson & Eugene Hibbs/
Maren Henle
Fran & John Nielsen
Ellen Lehrer Orlando & Thomas
Orlando
Joanne & Alden Orput
Mr. & Mrs. Charles W. Partridge
John Perry
Patricia & Carl Perry
Justyn & Ray Person
Susan & James Petrovich
Ann M. Picker
Anne & C.Wesley Poulson
Susannah Rake
Jaquelin & Frank Reed
Jack Revoyr
Regina & Rick Roney
Rebecca Ross
Betty Barrett & John Saladino
William E. Sanson
Maryan & Richard Schall
Nancy & William Schlosser
Pat & Roby Scott
Dody Waugh & Eric Small
Sally & Jan E.G. Smit
Constance & C.Douglas Smith
Barbara & Wayne Smith
Betty J. Stephens
Diane & Selby Sullivan
The Godric Foundation
Joseph Thomas
Milan E. Timm
Mark E. Trueblood
Drs. Shirley & Kenneth Tucker
Barbara & Gary Waer
Nick & Patty Weber
Dr. Robert W. Weinman
Victoria & Norman Williamson
Lisa Bjornsen Wolf & David
Russell Wolf
Charles and Merryl Snow Zegar
*promised
Gifts received by December 13, 2021

MOZART SOCIETY
CAMA’s mission is to enrich Santa Barbara’s cultural life by bringing live performances by worldrenowned
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
Co-Chairs Endowment
CONDUCTOR'S CIRCLE
$500,000 and above
Suzanne & Russell Bock
Linda Brown*
SAGE Publishing
Elaine Stepanek
Esperia Foundation
CRECENDO CIRCLE
$250,000–$499,999
Bitsy & Denny Bacon and
The Becton Family Foundation
The Andrew H.
Burnett Foundation
Robert & Christine Emmons
Judith L. Hopkinson
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
Judith F. Smith
The Towbes Fund for
the Performing Arts
George & Judy Writer
RONDO PATRONS
$50,000–$99,999
Ruth Appleby
Deborah & Peter Bertling
Linda & Peter Beuret
Dr. Dolores M. Hsu
Lois Sandra Kroc
The Samuel B. & Margaret C.
Mosher Foundation
Santa Barbara Bank & Trust
Nancy & Byron Kent Wood
CONCERTO PATRONS
$25,000–$49,999
Jane Catlett
Bridget B. Colleary
Suzanne Faulkner
Léni Fé Bland
Raye Haskell Melville
Joanne C. Holderman
Hutton Parker Foundation
Sara Miller McCune
Mr. & Mrs. Frank R. Miller, Jr./
The Henry E. & Lola Monroe
Foundation
Efrem Ostrow Living Trust
Craig & Ellen Parton
Diana & Roger Phillips
Linda Stafford Burrows
The Walter J. & Holly O. Thomson
Foundation
Barbara & Sam Toumayan
SONATA PATRONS
$10,000–$24,999
Anonymous
Rebecca & Peter Adams
Denise & Stephen Adams/
Adams Family Foundation
Marta Babson
Else Schilling Bard
Edward & Sue Birch
Frank Blue & Lida Light Blue
Bob Boghosian &
Beth Gates-Warren
Elizabeth & Andrew Butcher
The CAMA Women's Board
Virginia Castagnola-Hunter
Margo Chapman
NancyBell Coe & William Burke
Karen Davidson, M.D.
Nancyann & Robert Failing
Rosalind Amorteguy-Fendon
& Ronald Fendon
Priscilla & Jason Gaines
Arthur R. Gaudi
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 Moore
Jayne Menkemeller
Betty Meyer
Mary & James Morouse
Myra & Spencer Nadler
Pat Hitchcock O'Connell
John Perry
Marjorie & Hugh Petersen
John & Ellen Pillsbury
Susannah Rake
Michele & Andre Saltoun
Anitra & Jack Sheen
Sally & Jan E.G. Smit
Constance Smith
The Elaine F. Stepanek
Foundation
Betty J. Stephens
Mark E. Trueblood
Marilyn Vandever
Barbara & Gary Waer
David & Lisa Wolf
*promised
Gifts received by December 13, 2021

LEGACY SOCIETY
Rebecca & Peter Adams
Bitsy & Denny Bacon and
The Becton Family Foundation
Deborah & Peter Bertling
Linda & Peter Beuret
Frank Blue & Lida Light Blue
Linda Brown
Elizabeth & Andrew Butcher
Virginia Castagnola-Hunter
Jane Catlett
Bridget B. Colleary
Karen Davidson, M.D.
Robert & Christine Emmons
Rosalind Amorteguy-Fendon
& Ronald Fendon
Mary & Raymond Freeman
Priscilla & Jason Gaines
Arthur R. Gaudi
Lorraine C. Hansen
Raye Haskell Melville
Joanne C. Holderman
Judith L. Hopkinson
Dr. Dolores M. Hsu
Shirley Ann & James H. Hurley, Jr.
Herbert & Elaine Kendall
Mahri Kerley/Chaucer's Books
Lynn P. Kirst
Lois Sandra Kroc
John Lundegard
Keith Moore
Mary Lloyd & Kendall Mills
Myra & Spencer Nadler
Craig & Ellen Parton
Diana & Roger Phillips
John & Ellen Pillsbury
Andre & Michele Saltoun
Judith F. Smith
Barbara & Sam Toumayan
Mark E. Trueblood
Marilyn Vandever
Barbara & Gary Waer
Nancy & Byron Kent Wood
Gifts received by December 13, 2021
We gratefully acknowledge all CAMA Mozart Society and Legacy
Society members for their gifts to CAMA’s endowment, ensuring
CAMA’s mission to bring the world’s greatest classical artists to
Santa Barbara for years to come.
Thank you

INTERNATIONAL CIRCLE
We most gratefully acknowledge and thank International Circle Members
for their annual contribution of $1,000 or more.
Anonymous (4)
Sylvia Abualy
Catherine L. Albanese
Todd & Allyson Aldrich Family
Charitable Fund
Jane & Kenneth Anderson
Peggy & Kurt Anderson
Argonaut Charitable Foundation
Marta Babson
Bitsy & Denny Bacon and The
Becton Family Foundation
Becky & William Banning
Ms. Isabel Bayrakdarian
Helene Beaver
Bitsy & Denny Bacon and The
Becton Family Foundation
Deborah & Peter Bertling
Linda & Peter Beuret
Jerry & Geraldine Bidwell
Edward & Sue Birch
Suzanne & Russell Bock
Bob Boghosian & Beth Gates-
Warren
Shelley & Mark Bookspan
Diane Boss
Alison & Jan Bowlus
Cynthia Brown & Arthur Ludwig
Wendel Bruss
Suzanne & Peyton Bucy
Barbara Burger & Paul Munch
Alison H. Burnett
Dan & Meg Burnham
Karen Bushnell
Elizabeth & Andrew Butcher
Louise & Michael Caccese
Annette & Richard Caleel
The CAMA Women's Board
Susan & Claude Case
Mahri Kerley/Chaucer's Books
Roger & Sarah Chrisman,
Schlinger Chrisman Foundation
Patricia Clark
Lavelda & Lynn Clock
Stephen Cloud
Betsy & Kenneth Coates
NancyBell Coe & Bill Burke
Bridget B. Colleary
Joan & Steven Crossland
Gregory Dahlen III &
Christi Walden
Jan Davis-Hadley
Janet Davis
Sheryl & Michael DeGenring
Edward S. DeLoreto
Diane L. Dodds
Margaret & Ronald Dolkart
Nancy Donaldson
Elizabeth & Kenneth Doran
Glenn and Karen Doshay
Ann & David Dwelley
Wendy & Rudy Eisler
Julia Emerson
Robert & Christine Emmons
Frederika & Dennis Emory
Nancy Englander
Lois Erburu
Thomas & Doris Everhart
Nancyann & Robert Failing
Bob & Margo Feinberg
Jill Felber & Paul A. Bambach
Rosalind Amorteguy-Fendon &
Ronald Fendon
Mary & Raymond Freeman
Priscilla & Jason Gaines
Catherine H. Gainey
Tish Gainey & Charles Roehm
Santa Barbara Foundation
Dorothy & John Gardner
Arthur R. Gaudi
George H. Griffiths and Olive J.
Griffiths Charitable Fund
The Stephen & Carla Hahn
Foundation
David Hamilton
Raye Haskell Melville
Renee & Richard Hawley
Maison K
Kevin Hess
Barbara Hirsch
Ronda & Bill Hobbs
Gerhart Hoffmeister
Joanne C. Holderman
Hollis Norris Fund
Judith L. Hopkinson
Natalia & Michael Howe
Shirley Ann & James H. Hurley, Jr.
Jackie Inskeep
Ann Jackson Family Foundation
Karin Jacobson & Hans Koellner
Gina & Joseph Jannotta
Diane Johnson
Ellen & Peter Johnson
Glenn Jordan & Michael Stubbs
Gerd & Peter Jordano
Elizabeth Karlsberg & Jeff Young
William H. Kearns Foundation
James P. Kearns
Herbert & Elaine Kendall
Connie & Richard Kennelly
Jill Dore Kent
Kum Su Kim & John Perry
Sally Kinney
Lynn P. Kirst
Thomas & Travis Kranz
24 CAMA'S 103 RD CONCERT SEASON

INTERNATIONAL CIRCLE
Lois Sandra Kroc
Chris Lancashire & Catherine Gee
Stefanie L. Lancaster Charitable
Foundation
Francis and Stefanie Lancaster
MaryAnn Lange
Elinor & James Langer
Kathryn Lawhun & Mark Shinbrot
Shirley & Seymour Lehrer
Dodie Little
Christie & Morgan Lloyd
Nancy & James Lynn
Gloria & Keith Martin
Maureen Masson
Phyllis Brady & Andy Masters
Ruth & John Matuszeski
Donald & Karine McCall
Dona & George McCauley
Sara Miller McCune
Jeffrey McFarland
Frank McGinity & Debbie Geremia
Patriicia & William McKinnon
Jocelyne & William Meeker
Sally & George Messerlian
The Henry E. & Lola Monroe
Foundation
Robert Miller & Susie Triolo Miller
Mary Lloyd & Kendall Mills
Montecito Bank & Trust
Bob & Val Montgomery
Stephen J.M. & Anne Morris
Peter L. Morris
The Samuel B. & Margaret C.
Mosher Foundation
Maryanne Mott
Russell Mueller
Mrs. Raymond King Myerson
Karin Nelson & Eugene Hibbs/
Maren Henle
Fran & John Nielsen
Northern Trust
Ellen Lehrer Orlando &
Thomas Orlando
Gail Osherenko & Oran Young
Patti Ottoboni
Anne & Daniel Ovadia
Craig & Ellen Parton
Carol & Kenneth Pasternack
Samuel F. Pellicori
Performing Arts Scholarship
Foundation
Patricia & Carl Perry
Diana & Roger Phillips
Ann M. Picker
John & Ellen Pillsbury
Minie & Hjalmar Pompe van
Meerdervoort
Carol & Edward Portnoy
William H. Kearns Foundation
Donald Rink
The Roberts Brothers Foundation
Dorothy Roberts
Regina & Rick Roney
Merlin Rossow
SAGE Publishing
Michele Saltoun
Ada B. Sandburg
William E. Sanson
Santa Barbara Foundation
City of Santa Barbara
Lynn & Mark Schiffmacher
Nancy Schlosser
The Shanbrom Family Foundation
Maureen & Les Shapiro
Anitra & Jack Sheen
Halina W. Silverman
Dody Waugh & Eric Small
Paul & Delia Smith
Judith F. Smith
Barbara & Wayne Smith
Linda Stafford Burrows
The Elaine F. Stepanek
Foundation
Marion Stewart
Irene & Robert Stone/Stone
Family Foundation
Elaine & Robert Sweet
Pamala Temple
Suzanne Holland &
Raymond Thomas
The Walter J. & Holly O. Thomson
Foundation
Milan E. Timm
Barbara & Sam Toumayan
TheTowbes Fund for the
Performing Arts, a field of
interest fund of the
Bicky Townsend
Mark E. Trueblood
Steven Trueblood
Dr. Shirley Tucker
Carol Vernon & Robert Turbin
Department of Music, University
of California, Santa Barbara
Hubert Vos
Esther & Tom Wachtell
Barbara & Gary Waer
Sheila Wald
Nick & Patty Weber
Dr. Robert Weinman
Judy L Weisman
Westmont College
Victoria & Norman Williamson
Winona Fund
Wood-Claeyssens Foundation
Nancy & Byron Kent Wood
George & Judy Writer
Grace & Edward Yoon
Patricia Yzurdiaga
Katina Zaninovich
Zegar Family Fund
Cheryl & Peter Ziegler
Ann & Dick Zylstra
Gifts received by December 13, 2021
CAMA AT THE LOBERO THEATRE • BENJAMIN GROSVENOR
25

MUSICIANS SOCIETY
CAMA thanks our Musicians Society for their annual support.
BENEFACTORS
$500–$999
Catherine L. Albanese
Barbara Burger and Paul Munch
Sandy and Jerry Gothe
Dr. Hsiu-Zu Ho &
Dr. William A. Below
Edward O. Huntington
James and Stephanie Ingraham
Sue Larsen
Phyllis Brady & Andy Masters
Julia & Arthur Pizzinat
Monica Romero
Michael and Nancy Sheldon
Taka Yamashita
CONTRIBUTORS
$250–$499
Helen Arnold
Jyl & Allan Atmore
Howard A. Babus
Lance and Judy Boyd
Maggy Cara
Edith M. Clark
Michael & Ruth Ann Collins
Meg & Jim Easton
Claudette & Gene Geller
Nancy & Frederic Golden
Robert L. Grant
Marie-Paule & Laszlo Hajdu
Lorraine C. Hansen
Lorna S. Hedges
David and Linda James
Debbie & Frank Kendrick
Christine & James V. McNamara
Doug and Diane Morgan
Carolyn & Dennis Naiman
Maureen O'Rourke
George Porter
Gaines Post
Muriel & Ian K. Ross
Denis and Jennifer Sanan
Naomi Schmidt
Joan Tapper & Steven Siegel
Beverly & Michael Steinfeld
Heidi Stilwell
Jerre Sumter
Katherine Thomassin
ASSOCIATES
$100–$249
Anonymous
Peter and Mary Alden
Barbara Bonadeo
Margaret & David Carlberg
Joanne & John Chere
Marna Coday
Pattie & Charles Firestone
Eunice & J.Thomas Fly
Edward Gastaldo
Bernice & Harris Gelberg
Ghita Ginberg
Bradford and Ursula Ginder
Robert Hanrahan
Victoria Hendler
Emmy & Fred Keller
Anna & Petar Kokotovic
Lady Patricia & Sir Richard
Latham
Catherine Leffler
Mr. Paul Levine
Lesli and Michael Marasco
Ria S. Marsh
Barbara & Ernest Marx
Andrew Mester
Betty Meyer
Catherine & Kenneth Murphy
Carol Hawkins & Larry Pearson
Jean Perloff
Jane Roney
Sonia Rosenbaum
Dr. Paul Ryack
Alan R Schweitzer
Laura Tomooka
Mary H. Walsh
Jon and Nina Warner
Lorraine & Stephen Weatherford
Judy & Mort Weisman
Theresa & Julian Weissglass
David Yager
FRIENDS
$10–$99
Anne Ashmore
Susan Badger
Melvin and Pearl Brooks
Polly Clement
Amelia Dallenbach
Margaret & Nicholas Dewey
Sumner and Dana Fein
Nona & Lorne Fienberg
George and Leanne Friedenthal
Susan & Larry Gerstein
Elliot Gross
Betty Harwick
Ms. Martha Hassenplug
Carol Hester
Christine Hoehner
Susan S. Johnston
Ms. Jaclyn Maduff
Christine Markussen
Phillip and Pam McLendon
Sandra and Nelson Merwizer
Lori Kraft Meschler
Elisabetta Riva
Doris & Bob Schaffer
Dr. and Mrs. Stuart L Silverman
Julie & Richard Steckel
Hayley Thompson
Patricia & Edward Wallace
Fritz and Hertha Will
Gifts received by December 13, 2021
26 CAMA'S 103 RD CONCERT SEASON

MUSIC EDUCATION
$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
James P. and Shirley F. McFarland Fund
of the Minneapolis Foundation
Performing Arts Scholarship Foundation
Westmont College
$100–$999
Becky & William Banning
William S. Hanrahan
Lynn P. Kirst
CAMA Education Endowment
Fund Income
$50,000 AND ABOVE
Mary Lloyd Mills
$1,000–$4,999
Linda Stafford Burrows
$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. Moore
Performing Arts Scholarship Foundation
Marjorie S. Petersen
Gifts received by December 13, 2021
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
IN MEMORY OF
IN HONOR OF
Michelle "CoCo" Ogburn
Margaret & Ronald Dolkart
Prof. Frederick F. Lange
MaryAnn Lange
Deborah Bertling
Diane Dodds
Nancy L. Wood
David Wood
Mark Trueblood
Nancy & James Lynn
Joan Crossland, Nancy Lynn
and David Malvinni
Carolyn & Dennis Naiman
Joan Crossland
George Porter
Elizabeth Alvarez
Stephen J.M. & Anne Morris
CAMA AT THE LOBERO THEATRE • BENJAMIN GROSVENOR
27

BUSINESS SUPPORTERS
We thank the many businesses that support
CAMA's programs and events!
Laurel Abbott, Berkshire
Hathaway Luxury Properties
Alma Rosa Winey
Babcock Winery
James P. Ballantine
Bertling Law Group
Bibi Ji
Black Sheep Restaurant
Blue Star Parking
bouchon
Brander Vineyard
Wes Bredall
Ca' Dario Ristorante
Camerata Pacifica
Cebada Wine
The Cheese Shop
Chaucer's Books
Chocolats du CaliBressan
Custom Printing
eji experiences
Eye Glass Factory
Felici Events
Finch & Fork
Flag Factory of
Santa Barbara
Frequency Wine
Gainey Vineyard
The Good Lion
Grassini Family Vineyards
Grimm’s Bluff
Hogue & Company
Holdren's Catering
Inside Wine Santa Barbara
Kristin Jackson
Graphic Design
Jano Printing & Mailworks
Jardesca
Le Sorelle
Lumen Wines
M4 Interactive
Maravilla/Senior
Resource Group
Mercury Press International
Montecito Bank & Trust
Montgomery Vineyard
Northern Trust
Olio e Limone/Olio Crudo
Bar/Olio Pizzeria
Opal Restaurant & Bar
Opera Santa Barbara
Pacific Coast
Business Times
Pali Wine Co.
Performing Arts
Scholarship Foundation
Pete Clements Catering
Presqu’ile Winery
SAGE Publishing
Santa Barbara Foundation
Santa Barbara
Travel Bureau
The Tent Merchant
The Upham Hotel
Via Maestra 42
Westmont Orchestra

The CAMA Women’s Board
invites you to celebrate
with cocktails and hors d’oeuvres at
The Cabrillo Pavilion
Monday
March 21, 2022
5:30–7:30PM
featured speaker
Julian Reeve,
Music Director of the Broadway hit Hamilton,
TED Talk speaker, and author
Presenting the world’s finest classical artists since 1919
(805) 966-4324
WB@camasb.org
www.camasb.org

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
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