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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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


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


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

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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


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



APRIL 12, 2022

ENGLISH

BAROQUE

SOLOISTS

Principal Sponsors

Herbert & Elaine Kendall

Jocelyne & William Meeker

Sponsors

NancyBell Coe & Bill Burke


George & Judy Writer

Co-Sponsors

Elizabeth Karlsberg &

Jeff Young

John & Fran Nielsen

Ellen & Craig Parton

Nancy & Byron Kent Wood

MASTERSERIES

AT THE LOBERO THEATRE


MARCH 2, 2022

JORDI SAVALL

AND LE CONCERT

DES NATIONS

Sponsor


Concert Partners

Stephen Cloud

Christine & Robert Emmons

Lois S. Kroc

MARCH 18, 2022

BENJAMIN

GROSVENOR, piano

Sponsors



Alison & Jan Bowlus

Concert Partner


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


MASTERSERIES AT THE LOBERO THEATRE


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

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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


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


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.


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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)


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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


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.


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


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.


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


The Samuel B. & Margaret C. Mosher Foundation

SAGE Publishing


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


Lois S. Kroc


Mari & Hank Mitchel


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



Suzanne & Russell Bock

Linda Brown*

The Andrew H. Burnett

Foundation

Esperia Foundation

The Stephen & Carla Hahn

Foundation

Judith L. Hopkinson


Mary Lloyd & Kendall Mills

Mosher Foundation

SAGE Publishing


Foundation

Elaine & Edward Stepanek

The Towbes Fund for the

Performing Arts

SAPPHIRE CIRCLE

$250,000–$499,999

The CAMA Women's Board


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


Alison & Jan Bowlus

Dan & Meg Burnham

Janet & Thomas Kelly/Winona

Fund

Virginia Castagnola-Hunter


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


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


Santa Barbara Bank & Trust

Santa Barbara Foundation

Jan & John G. Severson

Judith F. & Julian Smith

Jeanne C. Thayer

Marilyn & H.Wallace Vandever

Wallis Foundation



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


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


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


Linda Brown*

SAGE Publishing

Elaine Stepanek

Esperia Foundation

CRECENDO CIRCLE

$250,000–$499,999



The Andrew H.

Burnett Foundation


Judith L. Hopkinson



CADENZA PATRONS

$100,000–$249,999


The Stephen & Carla

Hahn Foundation


Nancy & William G. Myers

Jan Severson

Judith F. Smith

The Towbes Fund for

the Performing Arts


RONDO PATRONS

$50,000–$99,999

Ruth Appleby



Dr. Dolores M. Hsu

Lois Sandra Kroc

The Samuel B. & Margaret C.

Mosher Foundation

Santa Barbara Bank & Trust


CONCERTO PATRONS

$25,000–$49,999

Jane Catlett

Bridget B. Colleary

Suzanne Faulkner

Léni Fé Bland


Joanne C. Holderman

Hutton Parker Foundation

Sara Miller McCune

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


Foundation

Efrem Ostrow Living Trust





Foundation


SONATA PATRONS

$10,000–$24,999

Anonymous


Denise & Stephen Adams/

Adams Family Foundation

Marta Babson

Else Schilling Bard

Edward & Sue Birch


Bob Boghosian &

Beth Gates-Warren




Margo Chapman





& Ronald Fendon


Arthur R. Gaudi

Sherry & Robert Gilson

Lorraine C. Hansen

Mary & Campbell Holmes

Patricia Kaplan

Winona Fund


Lynn P. Kirst

Laura Kuhn

John Lundegard

Keith Moore

Jayne Menkemeller

Betty Meyer

Mary & James Morouse


Pat Hitchcock O'Connell

John Perry

Marjorie & Hugh Petersen


Susannah Rake


Anitra & Jack Sheen

Sally & Jan E.G. Smit

Constance Smith


Foundation

Betty J. Stephens

Mark E. Trueblood

Marilyn Vandever

Barbara & Gary Waer

David & Lisa Wolf

*promised


LEGACY SOCIETY







Linda Brown



Jane Catlett

Bridget B. Colleary




& Ronald Fendon



Arthur R. Gaudi

Lorraine C. Hansen


Joanne C. Holderman

Judith L. Hopkinson

Dr. Dolores M. Hsu




Lynn P. Kirst

Lois Sandra Kroc

John Lundegard

Keith Moore






Andre & Michele Saltoun

Judith F. Smith


Mark E. Trueblood

Marilyn Vandever

Barbara & Gary Waer



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


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



Jerry & Geraldine Bidwell

Edward & Sue Birch


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


Louise & Michael Caccese

Annette & Richard Caleel


Susan & Claude Case


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


Frederika & Dennis Emory

Nancy Englander

Lois Erburu

Thomas & Doris Everhart


Bob & Margo Feinberg


Rosalind Amorteguy-Fendon &

Ronald Fendon



Catherine H. Gainey

Tish Gainey & Charles Roehm


Dorothy & John Gardner

Arthur R. Gaudi

George H. Griffiths and Olive J.

Griffiths Charitable Fund

The Stephen & Carla Hahn

Foundation

David Hamilton


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


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


James P. Kearns


Connie & Richard Kennelly

Jill Dore Kent

Kum Su Kim & John Perry

Sally Kinney

Lynn P. Kirst

Thomas & Travis Kranz


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


Sally & George Messerlian


Foundation

Robert Miller & Susie Triolo Miller





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


Carol & Kenneth Pasternack

Samuel F. Pellicori

Performing Arts Scholarship

Foundation

Patricia & Carl Perry


Ann M. Picker


Minie & Hjalmar Pompe van

Meerdervoort

Carol & Edward Portnoy


Donald Rink

The Roberts Brothers Foundation

Dorothy Roberts

Regina & Rick Roney

Merlin Rossow

SAGE Publishing

Michele Saltoun

Ada B. Sandburg

William E. Sanson


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



Foundation

Marion Stewart

Irene & Robert Stone/Stone

Family Foundation

Elaine & Robert Sweet

Pamala Temple

Suzanne Holland &

Raymond Thomas


Foundation

Milan E. Timm


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



Grace & Edward Yoon

Patricia Yzurdiaga

Katina Zaninovich

Zegar Family Fund

Cheryl & Peter Ziegler

Ann & Dick Zylstra



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



MUSIC EDUCATION

$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


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


$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


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



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


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

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


(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

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

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

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