Thursday, March 24, 2022 ⫽ Music Academy of the West and CAMA ⫽ LONDON SYMPHONY ORCHESTRA ⫽ International Series at the Granada Theatre ⫽ Santa Barbara, California

CAMA'S 2021/2022 SEASON ⫽ 103 rd CONCERT SEASON 

INTERNATIONAL SERIES AT THE GRANADA THEATRE ⫽ SEASON SPONSORSHIP: SAGE PUBLISHING 

CAMA and Music Academy of the West co-present the London Symphony Orchestra 

in concert in celebration of the Music Academy’s 75th anniversary 

Presenting the world’s finest classical artists since 1919 

Photo by Mark Allan 

SIR SIMON RATTLE 

Music Director 

Thursday, March 24, 2022, 7:30PM 

Granada Theatre, Santa Barbara 

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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

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 



Bob & Val Montgomery 

Ellen & John Pillsbury 

The Shanbrom Family 


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 



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 

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. 

CAMA joins the Music Academy 

of the West in acknow ledging 

additional support in 

re mem brance of Léni Fé Bland. 

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 

SEASON SPONSORSHIP: ESPERIA FOUNDATION 


JORDI SAVALL 

AND LE CONCERT 

DES NATIONS 

Sponsor 


Concert Partners 

Stephen Cloud 

Christine & Robert Emmons 

Lois S. Kroc 


BENJAMIN 

GROSVENOR, piano 

Sponsors 




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

FLAGSHIP PROGRAMS 

SING! 

INNOVATION INSTITUTE 

LONDON SYMPHONY ORCHESTRA 

PARTNERSHIP AND 

GLOBAL EXCHANGES 

COMPETITION WINNERS 

RECITAL SERIES 

75 TH ANNIVERSARY 

SUMMER SCHOOL 

AND FESTIVAL 

NEW MARIPOSA 

CONCERT SERIES 

WOMEN’S AUXILIARY 

MUSICACADEMY.ORG


INTERNATIONAL SERIES AT THE GRANADA THEATRE 

SEASON SPONSORSHIP: SAGE PUBLISHING 

LONDON SYMPHONY ORCHESTRA 

Sir Simon Rattle, Music Director 

Thursday, March 24, 2022, 7:30PM 

The Granada Theatre, Santa Barbara 

HECTOR BERLIOZ (1803–1869) 

Ouverture: Le corsaire (1844, rev.1852) 

HANNAH KENDALL (b.1984) 

The Spark Catchers (2017) 

Sparks and Strikes 

Molten Madness 

Beneath the Stars/In the Silver Sheen 

The Matchgirls’ March 

JEAN SIBELIUS (1865–1957) 

Symphony No.7 in C Major, Op.105 (1924) 

Allegro moderato— 

Adagio di molto— 

Allegro, ma non tanto— 

Adagio—Vivacissimo—Adagio— 

Allegro molto moderato—Vivace— 

Presto—Adagio 

INTERMISSION 

BÉLA BARTÓK (1881–1945) 

The Miraculous Mandarin, Op.19: Suite (1919–1924) 

1. Introduction (Street Noises): The Commands 

of the Hoodlums directed to the Girl 

2. The Girl’s first inviting gestures, in 

Response to which the Old Gentleman 

appears, who gets thrown out in the end 

by the Hoodlums 

3. The Girl’s second inviting gestures, upon 

which appears the Young Lad, who is also 

thrown out 

4. The Girl’s third inviting gestures; 

the Mandarin appears 

5. The Girl’s seductive dance before 

the Mandarin 

6. The Mandarin catches up with the Girl 

after an ever wilder chase 

MAURICE RAVEL (1875–1937) 

La valse, poème chorégraphique 

pour orchestre (1919-1920) 

Program subject to change 

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. 

CAMA joins the Music Academy of the West in acknow ledging addition al support 

in re mem brance of Léni Fé Bland. 

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

International Series Season Sponsor: SAGE Publishing 

Primary Sponsor: Bitsy & Denny Bacon and The Becton Family Foundation 

We request that you switch off cellular phones, watch alarms and pager signals during the performance. The photographing 

or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited. 

MUSIC ACADEMY OF THE WEST + CAMA AT THE GRANADA • LONDON SYMPHONY ORCHESTRA 

5

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TUE, APR 5 | 7 PM 

DUO COMPETITION WINNERS 

Keoni Bolding viola, Mehlivia Raharjo piano 

World premiere by Conrad Tao 

WED, APR 6 | 7 PM 

SOLO PIANO COMPETITION WINNER 

Hsin-Hao Yang 

World Premiere by Tyshawn Sorey 

THU, APR 7 | 7 PM 

LEHRER VOCAL INSTITUTE 

MARILYN HORNE SONG 

COMPETITION WINNERS 

Shawn Roth tenor, Alexander Soloway piano 

World Premiere by Carlos Simon 

TICKETS $55 

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Get your tickets today at 

MUSICACADEMY.ORG

Photo by Mark Allan 

The London Symphony Orchestra is built on 

the belief that extraordinary music should 

be available to everyone, everywhere. From 

orchestral fans in the concert hall to firsttime 

listeners across the UK, Europe and 

the world. 

The London Symphony Orchestra 

was established in 1904, as one of the 

first orchestras shaped by its musicians. 

Since then, generations of remarkable 

talents have built the LSO’s reputation 

for uncompromising quality, and inspirational 

repertoires. 

Today, the LSO is ranked among the 

world’s top orchestras, with a family of artists 

that includes Music Director Sir Simon 

Rattle, Principal Guest Conductors Gianandrea 

Noseda and François-Xavier Roth, 

and Conductor Laureate Michael Tilson 

Thomas. In March 2021 it was announced 

that Sir Antonio Pappano will take up the 

role of Chief Conductor of the LSO from 

September 2024. 

The LSO is Resident Orchestra at the 

Barbican in the City of London. The Orchestra 

reaches international audiences through 

touring and artistic residencies—including 

with the Aix-en-Provence Festival and Music 

Academy of the West in Santa Barbara—and 

through digital partnerships and an 

extensive programme of live-streamed and 

on-demand online broadcasts. 


7

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Through a world-leading learning and community 

programme, LSO Discovery, the LSO 

connects people from all walks of life to 

the power of great music. Based at LSO St 

Luke’s, the Orchestra’s community and music 

education center and a leading performance 

venue on Old Street, LSO Discovery’s 

reach extends across East London, the UK 

and the world through both in-person and 

digital activity. 

LSO musicians are at the heart of this 

unique programme, leading workshops, 

mentoring bright young talent, performing 

at free concerts for the local community 

and using music to support adults with 

learning disabilities. LSO musicians also 

visit children’s hospitals, and lead training 

programmes for music teachers. 

The ambition behind all of this work is 

simple: to share the transformative power 

of classical music with people who would 

not normally experience it. The impact is 

unrivaled, and every year, LSO Discovery 

reaches thousands of people of all ages. 

In 1999, the LSO formed its own recording 

label, LSO Live, and revolutionized how 

live orchestral music is recorded, with over 

150 recordings released so far. Overall, the 

LSO has made more recordings than any 

other orchestra. 

As a leading orchestra for film, the LSO 

has entertained millions with classic scores 

for Star Wars, Indiana Jones, The Shape of 

Water, and many more. The LSO also uses 

streaming services to reach a worldwide 

audience totalling millions of music-lovers 

who listen online every month. 

Through inspiring music, educational programmes 

and technological innovations, 

the LSO’s reach extends far beyond the concert 

hall. Thanks to the generous support of 

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individual donors, the LSO is able to continue 

sharing extraordinary music with as 

many people as possible, across London, 

and the world. 


9

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SIR SIMON 

RATTLE 

conductor 

Photo by Oliver Helbig 

Sir Simon Rattle was born in Liverpool and 

studied at the Royal Academy of Music. 

From 1980 to 1998, Sir Simon was Principal 

Conductor and Artistic Adviser of the 

City of Birmingham Symphony Orchestra 

and was appointed Music Director in 1990. 

In 2002 he took up the position of Artistic 

Director and Chief Conductor of the Berliner 

Philharmoniker where he remained until the 

end of the 2017/2018 season. Sir Simon 

took up the position of Music Director of 

the London Symphony Orchestra in September 

2017. He will remain in this position 

until the 2023/2024 season, when he will 

become the orchestra’s Conductor Emeritus. 

From the 2023/2024 season Sir Simon 

will take up the position of Chief Conductor 

with the Symphonieorchester des Bayerischen 

Rundfunks in Munich. He is a Principal 

Artist of the Orchestra of the Age of 

Enlightenment and Founding Patron of Birmingham 

Contemporary Music Group. 

Sir Simon has made over 70 recordings 

for EMI record label (now Warner Classics) 

and has received numerous prestigious 

international awards for his recordings on 

various labels. Releases on EMI include 

Stravinsky’s Symphony of Psalms (which 

received a Grammy Award for Best Choral 

Performance) Berlioz's Symphonie fantastique, 

Ravel’s L'enfant et les sortilèges, 

Tchaikovsky’s Nutcracker Suite, Mahler’s 

Symphony No. 2, Stravinsky’s The Rite of 

Spring and Rachmaninov’s The Bells and 

Symphonic Dances, all recorded with the 

Berliner Philharmoniker. His most recent 


11

ecordings include Berlioz’ La damnation 

de Faust, Helen Grime’s Woven Space, Debussy’s 

Pelléas et Mélisande, Turnage’s Remembering, 

and Beethoven’s Christ on the 

Mountain of Olives, which were all released 

by the London Symphony Orchestra’s own 

record label, LSO Live. 

Sir Simon regularly tours within Europe 

and Asia and has strong longstanding 

relationships with the world’s leading 

orchestras. He regularly conducts the 

Symphonieorchester des Bayerischen 

Rundfunks, Staatskapelle Berlin, Deutsche 

Symphonieorchester Berlin, Berlin Philharmonic 

Orchestra and the Czech Philharmonic. 

Recent operatic highlights include 

Manon Lescaut with the Deutsche Oper Berlin, 

Der Rosenkavalier with the Metropolitan 

Opera New York, Janáček’s Jenufa with the 

Deutsche Staatsoper Berlin, and Tristan und 

Isolde with the London Symphony Orchestra 

at Festival d’Aix en Provence. 

Music education is of supreme importance 

to Sir Simon, and his partnership 

with the Berliner Philharmoniker broke new 

ground with the education programme Zukunft@Bphil, 

earning him the Comenius 

Prize, the Schiller Special Prize from the 

city of Mannheim, the Golden Camera and 

the Urania Medal. He and the Berliner Philharmoniker 

were also appointed International 

UNICEF Ambassadors in 2004—the 

first time this honor has been conferred 

on an artistic ensemble. In 2019 Simon announced 

the creation of the LSO East London 

Academy, developed by the London 

Symphony Orchestra in partnership with 10 

East London boroughs. This free program 

aims to identify and develop the potential 

of young East Londoners between the ages 

of 11 and 18 who show exceptional musical 

talent, irrespective of their background or 

financial circumstance. Sir Simon has also 

been awarded several prestigious personal 

honors which include a knighthood in 1994, 

becoming a member of the Order of Merit 

from Her Majesty the Queen in 2014 and 

was recently bestowed the Order of Merit in 

Berlin in 2018. In 2019, Sir Simon was given 

the Freedom of the City of London. 

In the 2021/2022 season, Sir Simon will 

conduct the London Symphony Orchestra, 

Staatskapelle Berlin, the Berlin Philharmonic 

Orchestra and the Chamber Orchestra of 

Europe. He will return to the Deutsche Staatsoper 

Berlin to revive Rameau’s Hippolyte 

et Aricie, and in the spring will conduct a 

new production of Janáček’s Makropulos 

Case. He will tour Europe and the US with 

the London Symphony Orchestra, and later 

on in the season will join mezzo‐soprano 

Magdalena Kožená for a chamber music 

project, where they will tour some of Europe’s 

major cities. 


13

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NOTES ON THE PROGRAM 

Hector Berlioz (1803–1869) 

Ouverture: Le corsaire (1844 rev.1852) 

The overture which eventually finished up 

with the name Le corsaire first occupied 

Berlioz in the summer of 1844, when a sixweek 

holiday in Nice to escape various Parisian 

tribulations turned out to be a creative 

pick-me-up. There he found the tower of 

a ruined castle on the edge of a precipice 

overlooking the sea to be a congenial spot: 

‘in front of it is a tiny level space where I 

stretch myself in the sun and watch, at my 

ease, the approach of the distant ships; I 

count the fishing boats and gaze with admiration 

on the sparkling, gleaming tracks 

which (as Moore says) should lead to some 

happy and peaceful isle’. Thus it was that 

the overture that resulted from this musing 

was originally entitled ‘Le tour de Nice’, and 

it was under that title that it was premiered 

in Paris in January 1845. 

Subsequently, however, Berlioz revised 

and renamed it; for a while it was known 

as ‘Le corsaire rouge’, linking it to James 

Fenimore Cooper’s novel The Red Rover, 

and finally, when it was published in 1852, 

it became simply Le corsaire, this time suggesting 

a connection with Byron’s poem. 

Yet no amount of poring over those 

vividly Romantic literary sources can diminish 

the immediacy of that original inspiration, 

for Le corsaire is first and foremost 

a sea-piece given bracing and exhilarating 

Hector Berlioz photo by Félix Nadar (1820–1910) 

extra life by excitable imaginings (perhaps 

inspired by Berlioz’s commanding situation 

by the watchtower) of the dashing life of 

the pirate. 

The piece opens with a swaggering 

flourish to grab the attention, but quickly 

subsides to a tranquil Adagio in which we 

can surely picture the smooth blue waters, 

creeping white sails and vague longings of 

Berlioz’s cliff-top vigil. The opening music 

returns, however, followed by a jaunty new 

theme, and from here on it is the corsair’s 

buccaneering pursuits that take over, whipping 

the music into successively raised levels 

of boisterousness and vigour. 

Programme Note ©Lindsay Kemp 


15


INTERNATIONAL SERIES 

at the Granada Theatre 

Season Sponsor: SAGE Publishing 

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 • Bob & Val Montgomery • George & Judy Writer 

Co-Sponsors: Edward S. DeLoreto • Elizabeth Karlsberg & Jeff Young 

John & Fran Nielsen • Ellen & Craig Parton • Nancy & Byron Kent Wood

Hannah Kendall 

Hannah Kendall (b.1984) 

The Spark Catchers (2017) 

Where the Queen Elizabeth Olympic Park 

now stands in London, there was once a 

factory owned by the match manufacturers 

Bryant & May. In celebration of the 2012 

Olympics, Lemn Sissay wrote the poem 

The Spark Catchers. It reflects on the 

women who were employed to catch stray 

sparks—stopping them from setting the 

factory and its contents alight—imagining 

them as athletes. 

Hannah Kendall’s piece of the same 

name was written for the 2017 BBC Proms. 

It doesn’t try to recreate the poem in sound. 

Instead, each of its four parts are inspired 

by specific lines from the poem to act as 

structural markers. 

The vigorous, displaced rhythms of 

'Sparks and Strikes’ set up the momentum 

that is carried into the darker atmosphere 

of ‘Molten Madness’, from which a soaring 

melody on horns and violins emerges. 

‘Beneath the Stars/In the Silver Sheen’ is a 

crystalline nocturne of interweaving lines 

on high pitches. 

‘The Matchgirls’ March’ then takes root, 

a strident dance, before a final section reprises 

music from all four sections, exploding 

in sparks of its own. 

Program Note ©Andrew Mellor 


17

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Jean Sibelius (1865–1957) 

Symphony No.7 in C Major, 

Op.105 (1924) 

Allegro moderato— 

Adagio di molto— 

Allegro, ma non tanto— 

Adagio—Vivacissimo—Adagio— 

Allegro molto moderato—Vivace— 

Presto—Adagio 

Sounds of nature pervade Sibelius’ orchestral 

works: the calls of swans and cranes, or 

wind rustling through leaves and screaming 

through pine-tops. But Sibelius looked 

deeper, to the very processes of the natural 

world, for inspiration. Rivers fascinated 

him: ‘I should like to compare the symphony 

to a river’, he wrote in his diary in 1912. 

‘It is born from various rivulets that seek 

each other and in this way the river proceeds 

wide and powerful toward the sea.’ 

‘But where do we get the water?’, he asks. 

Another entry provides an answer: ‘The musical 

thoughts—the motives, that is—are the 

things that must create the form and stabilise 

my path’. 

In jottings like this, Sibelius was clearly 

trying to define something that he had already 

begun to notice in his own music. In 

the slow movement of his Fourth Symphony 

(1911) his ‘musical thoughts’ had led him to 

create a new kind of form—one could call 

it ‘variations in search of a theme’. Then in 

the Fifth (1914–1919) he arrived at a still 

more original idea: a moderately paced first 

movement which builds up momentum like 

a river approaching rapids, eventually boiling 

over into a thrilling accelerating scherzo. 

But it was with the Seventh Symphony 

(1924) that this process of fusing separate 

‘movements’ into a single, organic unity 

was to reach its ultimate expression. 

The most immediately striking feature 

of the Seventh Symphony—apart from its 

famous, noble trombone theme—is that it is 

Jean Sibelius 


19

in one continuous movement. Granted, Sibelius 

wasn’t the first composer to attempt 

a symphonic structure in one movement. 

There was already a magnificent example 

in Schoenberg’s First Chamber Symphony 

(1906). In the Schoenberg however it is 

easy to pick out sections that resemble 

the traditional symphonic first movement, 

scherzo, slow movement and so on. Sibelius’ 

Seventh follows a different, much more 

river-like course. The speed and character 

of the music change frequently, but the 

different sections (if ‘sections’ is the right 

word) are so skilfully dovetailed that it is 

virtually impossible to say where one begins 

and another ends. 

Arriving at this radical new kind of symphonic 

structure was a struggle. And when 

Sibelius had finished it, he was suddenly 

overcome with doubt: had he gone too far 

this time—was this really a ‘symphony’ at 

all? When the work first appeared in 1924, 

Sibelius cautiously gave it another title, 

Fantasia Sinfonica. But the work’s success 

gave him courage, and he was soon referring 

to it as ‘the Seventh Symphony’. The 

Symphony’s originality becomes obvious 

as soon as one tries to describe its form: 

one could say that three Adagio sections— 

each centred on the magnificent trombone 

theme mentioned above—merge into and 

emerge from two faster episodes. But even 

that is too simple. At the very beginning, 

after the expectant rising string scale that 

starts the process, the woodwind, horn and 

string phrases initially seem to be moving 

at slightly different speeds—like objects 

born along on the different currents and 

eddies of a great river. After the trombone 

theme makes its climactic appearance, 

the initial Adagio gradually mutates into a 

rapid, scherzo-like Vivacissimo. But then 

the dancing string figures begin to move 

more smoothly, and the trombone theme is 

heard again, now in the minor. The strings 

still seem to be moving quite fast, but the 

trombone theme retains its original monumental 

grandeur; to borrow an image from 

Sibelius’ sketchbook, it is like seeing the 

moon through swirling storm clouds. 

After this moment of vision, the music 

surges on into an Allegro molto moderato. 

This seems steady enough for a while, but 

then comes a pause, and a sudden gear 

change (the only one in the entire Symphony), 

leading to a long Presto crescendo 

powered by driving string figures and the rising 

scale that began the Symphony (now on 

horns). Through these the trombone theme 

returns in full, this time in the original sunlit 

C major. There is an elemental climax, 

then the clouds vanish and high strings initiate 

a slow, chorale-like winding down. A 

brief reminiscence of the trombone theme 

leads to a moment of hush (woodwind and 

strings), before the music settles firmly in C 

major for the rock-like final cadence. 

Programme Note ©Stephen Johnson 

20 CAMA'S 103 RD CONCERT SEASON

Béla Bartók 

Béla Bartók (1881–1945) 

The Miraculous 

Mandarin (1919–1924) 

1. Introduction (Street Noises): 

The Commands of the Hoodlums 

directed to the Girl 

2. The Girl’s first inviting gestures, 

in Response to which the Old 

Gentleman appears, who gets 

thrown out in the end by 

the Hoodlums 

3. The Girl’s second inviting gestures, 

upon which appears the Young Lad, 

who is also thrown out 

4. The Girl’s third inviting gestures; 

the Mandarin appears 

5. The Girl’s seductive dance before 

the Mandarin 

6. The Mandarin catches up with the 

Girl after an ever wilder chase 

Béla Bartók’s last work for the stage originated 

in a ‘grotesque pantomime’ by the 

Hungarian playwright Menyhért (Melchior) 

Lengyel (1890–1974) which he came 

across in 1917. With its low-life setting, this 

story of prostitution and violence was as 

remote from the fairy-tale world of his second 

stage work, The Wooden Prince, as the 

graphic action of that ballet had been from 

the dark intensity of the opera, Duke Bluebeard’s 

Castle. A clear connection between 

the three works, however, is the composer’s 

close attention to orchestral sonority; although 

Bartók completed the piano score 

of The Miraculous Mandarin by the spring 

of 1919, the orchestration was not finished 

until the autumn of 1924. 

Bartók’s music plots the course of 


21

Lengyel’s bizarre, expressionistic tale in 

compelling detail and from its premiere in 

Cologne in 1926 a whiff of scandal shadowed 

the work; a staging in Budapest 

planned to honour Bartók’s fiftieth birthday 

in 1931 did not survive the dress rehearsal. 

The presentation of the story is far from 

the conventionally balletic. Indeed, the 

action of The Mandarin is propelled as 

much by mime as by dance. Nevertheless, 

Bartók’s control of the dramatic structure is 

superbly assured. 

The opening of the work evokes the 

sounds of the city outside the tawdry room 

in which the action takes place. Three 

hoodlums force a girl to lure men from the 

street whom they intend to beat up and rob. 

There are three victims lured by the girl, depicted 

in sinuous clarinet solos: a penniless 

roué, an attractive young man and finally a 

strange Mandarin with an intense stare. He 

pursues and captures the girl at which point 

the robbers emerge. The last part of the ballet 

moves from the brutally physical to the 

eerily metaphysical. Despite the hoodlums’ 

attempts to smother and stab the Mandarin, 

he refuses to die. After they hang him, 

he begins to glow with a greenish-blue light; 

the girl accepts his embrace and at last his 

wounds begin to bleed and he dies. 

The musical style of the work is perceptibly 

harder edged than in the composer’s 

earlier stage works and the expression 

more succinct. Moments of stillness alternate 

with frantic activity in a score which 

has more than a hint of Stravinsky’s The 

Rite of Spring. As contemporary reactions 

showed, the accompaniment to this bizarre 

scenario is appallingly vivid, but it makes 

for compulsive listening. 

Bartók prepared a concert version of 

the ballet almost as soon as its was completed; 

he intended it to be based on the 

scenes up to and including the Mandarin 

catching the girl. Rather than calling it a 

Suite, which would imply a conventional 

collection of dances, he preferred the title 

‘Music from The Miraculous Mandarin’. 

Program Note ©Jan Smaczny 

Maurice Ravel (1875–1937) 

La valse, poème chorégraphique 

pour orchestre (1919-1920) 

‘Through whirling clouds, waltzing couples 

may be faintly distinguished. The 

clouds gradually scatter: one sees an immense 

hall peopled with a whirling crowd. 

The scene is gradually illuminated. The light 

of the chandeliers bursts forth …’ (Ravel’s 

preface to the score) 

The idea of celebrating the giddy glamour 

of the Viennese Waltz had been in 

Maurice Ravel’s mind for a long time. The 

elegance and hedonism of this dance was 

tinged with a hint of danger—the heroines 

of countless novels are swept off their feet 

in the waltz’s powerfully seductive rhythms, 

and not always by the most honourable 

of gentlemen. 

Work on this piece, La valse, in 1914 


was almost immediately interrupted by the 

outbreak of war and not resumed until it 

had ended. No doubt the shattering experience 

of the war years, in which Ravel lost 

his beloved mother as well as countless 

friends and colleagues, caused the music 

to emerge differently when he returned to 

it towards the end of 1919. In fact the underlying 

idea went back much further even 

than 1914. In 1906 Ravel had written to a 

friend, ‘you know my intense feeling for [the 

waltz’s] marvellous rhythms’, shortly before 

planning a new orchestral work to be called 

Vienne (and later Wien, the final title only 

appearing in 1920). 

Earlier still, in 1905, Ravel had attended 

a grand ball at the Opéra with a group of 

friends. Roger Nichols cites a fascinating 

diary entry from one of these friends, Ricardo 

Viñes, thinking back on that memorable 

evening: ‘As always when I see young beautiful 

women, lights, music and all this activity, 

I thought of death, of the ephemeral 

nature of everything, I imagined balls from 

past generations who are now nothing but 

dust, as will be all the masks I saw, and in a 

short while!’ Perhaps these thoughts made 

an impression on the composer; they seem 

to offer an uncannily apt reading of the dazzling 

and unnerving work that Ravel was to 

complete some 15 years later. 

The music begins mysteriously, with 

dancing couples glimpsed through swirling 

clouds. Impressionist delicacy gradually 

turns to sumptuousness as the full glory 

of the crowded ballroom is revealed. About 

halfway through the music dies down and 

Maurice Ravel 

seems to begin again, tracing a similar 

course as dancers gradually emerge to form 

a brilliant circling throng. But this time their 

unstoppable rhythms become increasingly 

menacing, and towards the end the dance 

seems to spiral out of control, tearing itself 

to pieces. Ravel imagined the piece would 

be staged as a ballet with the Ballets Russes, 

but Diaghilev refused to take it up. La 

valse has been choreographed numerous 

times since, but like his opera Daphnis and 

Chloé, Debussy’s Jeux and many of Stravinsky’s 

ballets, it has particularly flourished in 

the concert hall. 

Program Note ©Jeremy Thurlow 


23


MASTERSERIES 

at the Lobero Theatre 

Season Sponsor: Esperia Foundation 

© Zach Mendez 

APRIL 

23 

SAT, 7:30PM 


ISABEL 

BAYRAKDARIAN, soprano 

MARK FEWER, violin ⫽ JAMIE PARKER, piano 

Program: “Glorious and Free” 

Romani-inspired Songs and Operetta Arias 

Featuring works by Brahms, Dvořák, Iradier, Valverde, Sarasate, Yvain, Lehár and Kálmán 

Soprano Isabel Bayrakdarian has been an eagerly anticipated performer 

at major opera houses and concert halls the world over including New York, 

Chicago, San Francisco, Boston, London, Paris, Vienna, Florence and Salzburg. 

She was a fellow of the Music Academy of the West in 1996, winner of the 1997 

Marilyn Horne International Voice Competition and the 2000 Placido Domingo 

Operalia competition, recipient of Queen Elizabeth II Golden Jubilee and 

Diamond Jubilee awards, and was awarded the Republic of Armenia’s “Komitas 

Medal” and the “Movses Khorenatsi” medal, Armenia’s highest cultural award. 

Ms. Bayrakdarian is currently an Associate Professor of Voice in the Department 

of Music at UC Santa Barbara. She is joined by extraordinary Canadian chamber 

musicians Mark Fewer and Jamie Parker for a not-to-be-missed concert! 

Sponsors: Bob Boghosian & Beth Gates-Warren • The Elaine F. Stepanek Foundation

MUSIC DIRECTOR: SIR SIMON RATTLE OM CBE 

PRINCIPAL GUEST CONDUCTORS: GIANANDREA NOSEDA, FRANÇOIS-XAVIER ROTH 

CONDUCTOR LAUREATE: MICHAEL TILSON THOMAS 

ASSOCIATE ARTIST: BARBARA HANNIGAN 

CHORAL DIRECTOR: SIMON HALSEY CBE 

FIRST VIOLINS 

Roman Simovic, Leader 

Carmine Lauri 

Jerome Benhaim 

Clare Duckworth 

Ginette Decuyper 

Laura Dixon 

Maxine Kwok 

William Melvin 

Elizabeth Pigram 

Laurent Quénelle 

Harriet Rayfield 

Sylvain Vasseur 

David Alberman 

Dániel Mészöly 

SECOND VIOLINS 

Julián Gil Rodríguez 

Thomas Norris 

Miya Väisänen 

Matthew Gardner 

Alix Lagasse 

Belinda McFarlane 

Iwona Muszynska 

Csilla Pogany 

Louise Shackelton 

Alexandra Lomeiko 

Lyrit Milgram 

Patrycja Mynarska 

VIOLAS 

Edward Vanderspar 

Malcolm Johnston 

Stephen Doman 

Carol Ella 

Sofia Silva Sousa 

Robert Turner 

Michelle Bruil 

Luca Casciato 

May Dolan 

Errika Horsley 

CELLOS 

Rebecca Gilliver 

Alastair Blayden 

Jennifer Brown 

Noël Bradshaw 

Daniel Gardner 

Laure Le Dantec 

Amanda Truelove 

Francois Thirault 

DOUBLE BASSES 

David Stark 

Patrick Laurence 

Matthew Gibson 

Thomas Goodman 

Joe Melvin 

José Moreira 

Jani Pensola 

FLUTES 

Gareth Davies 

Katherine Baker 

Patricia Moynihan 

PICCOLO 

Sharon Williams 

OBOES 

Juliana Koch 

Olivier Stankiewicz 

Rosie Jenkins 

COR ANGLAIS 

Maxwell Spiers 

CLARINETS 

Chris Richards 

Sérgio Pires 

Chi-Yu Mo 

BASS CLARINET 

Katy Ayling 

BASSOONS 

Rachel Gough 

Daniel Jemison 

Joost Bosdijk 

CONTRABASSOON 

Gareth Twigg 

HORNS 

Timothy Jones 

Diego Incertis Sánchez 

Angela Barnes 

Olivia Gandee 

Jonathan Maloney 

TRUMPETS 

James Fountain 

Niall Keatley 

Matthew Williams 

Katie Smith 

TROMBONES 

Peter Moore 

Jono Ramsay 

Matthew Lewis 

BASS TROMBONE 

Paul Milner 

TUBA 

Ben Thomson 

TIMPANI 

Nigel Thomas 

PERCUSSION 

Neil Percy 

David Jackson 

Sam Walton 

Paul Stoneman 

Tom Edwards 

Christine Comer* 

Madison Shake* 

HARPS 

Bryn Lewis 

Daniel De-Fry 

PIANO 

Catherine Edwards 

CELESTE 

Philip Moore 

LSO ADMIN 

Managing Director 

Kathryn McDowell CBE 

Tours Manager 

Frankie Sheridan 

Tours & Projects 

Manager 

Tim Davy 

Orchestra Personnel 

Manager 

Emily Rutherford 

Librarian 

John Cummins 

Stage Managers 

Sophia Tuffin 

Charlotte Fry 

*Music Academy of 

the West Keston 

MAX Fellow 


25


MASTERSERIES at the Lobero Theatre 

Season Sponsor: Esperia Foundation 

James 

Ehnes 

© Benjamin Ealovega 

© Jacob Blickenstaff 

Orion 

Weiss 

MAY 

24 

TUE, 7:30PM 


JAMES EHNES, violin 

ORION WEISS, piano 

“A violinist in a class of his own” —The Times 

Canadian James Ehnes has established himself as one of the most treasured violinists 

of international stages. Acclaimed as “a supreme virtuoso and artist of the first rank” 

(The Daily Telegraph), James Ehnes plays the “Marsick” Stradivarius (1715). His Santa 

Barbara debut in July 2019 at the Granada Theatre with the London Symphony 

Orchestra (presented by the Music Academy of the West) elicited the following 

glowing concert review: “Ehnes was magnificent throughout, an impressive figure on 

stage whose playing blazed like a laser beam, though brimming with compassion and 

heart” (seenandheard-international.com). Ehnes is joined by gifted collaborative pianist 

Orion Weiss who previously appeared in Masterseries with violinist Augustin Hadelich. 

Mozart: Violin Sonata No.17 in C Major, K.296 

Schubert: Fantasy in C Major, D.934 

Korngold: Much Ado About Nothing, Suite Op.11 

Saint-Saëns: Violin Sonata No.1 in D Minor, Op.75


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 




The Samuel B. & Margaret C. Mosher Foundation 

SAGE Publishing 


RONDO 

$50,000–$99,999 

Anonymous 

Marta Babson 

Deborah & Peter Bertling 


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 


Esperia Foundation 

The Stephen & Carla Hahn 




Mary Lloyd & Kendall Mills 





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 


The Walter J. & Holly O. Thomson 


Wood-Claeyssens Foundation 

Patricia & Joseph Yzurdiaga 

RUBY CIRCLE 

$100,000–$249,999 

Denise & Stephen Adams/Adams 

Family Foundation 

Hollis Norris Fund 




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 


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 

Nancy & Byron Kent Wood 


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 



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 


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 


The George Frederick Jewett 


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 


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 


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 


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 


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 



Linda Brown* 


Elaine Stepanek 

Esperia Foundation 

CRECENDO CIRCLE 

$250,000–$499,999 



The Andrew H. 

Burnett Foundation 





CADENZA PATRONS 

$100,000–$249,999 


The Stephen & Carla 

Hahn Foundation 


Nancy & William G. Myers 

Jan Severson 


The Towbes Fund for 

the Performing Arts 


RONDO PATRONS 

$50,000–$99,999 

Ruth Appleby 



Dr. Dolores M. Hsu 


The Samuel B. & Margaret C. 


Santa Barbara Bank & Trust 


CONCERTO PATRONS 

$25,000–$49,999 

Jane Catlett 

Bridget B. Colleary 

Suzanne Faulkner 

Léni Fé Bland 



Hutton Parker Foundation 


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



Efrem Ostrow Living Trust 







SONATA PATRONS 

$10,000–$24,999 

Anonymous 


Denise & Stephen Adams/ 

Adams Family Foundation 

Marta Babson 

Else Schilling Bard 



Bob Boghosian & 

Beth Gates-Warren 




Margo Chapman 





& Ronald Fendon 



Sherry & Robert Gilson 


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 



Sally & Jan E.G. Smit 

Constance Smith 



Betty J. Stephens 


Marilyn Vandever 


David & Lisa Wolf 

*promised 

Gifts received by December 13, 2021


LEGACY SOCIETY 







Linda Brown 



Jane Catlett 





& Ronald Fendon 








Dr. Dolores M. Hsu 




Lynn P. Kirst 


John Lundegard 

Keith Moore 






Andre & Michele Saltoun 




Marilyn Vandever 



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 


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 



Bob Boghosian & Beth Gates- 

Warren 

Shelley & Mark Bookspan 

Diane Boss 


Cynthia Brown & Arthur Ludwig 

Wendel Bruss 

Suzanne & Peyton Bucy 

Barbara Burger & Paul Munch 

Alison H. Burnett 


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 


Joan & Steven Crossland 

Gregory Dahlen III & 

Christi Walden 

Jan Davis-Hadley 

Janet Davis 

Sheryl & Michael DeGenring 


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 


George H. Griffiths and Olive J. 

Griffiths Charitable Fund 

The Stephen & Carla Hahn 


David Hamilton 


Renee & Richard Hawley 

Maison K 

Kevin Hess 

Barbara Hirsch 

Ronda & Bill Hobbs 

Gerhart Hoffmeister 


Hollis Norris Fund 


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 


Chris Lancashire & Catherine Gee 

Stefanie L. Lancaster Charitable 


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 


Jeffrey McFarland 

Frank McGinity & Debbie Geremia 

Patriicia & William McKinnon 


Sally & George Messerlian 



Robert Miller & Susie Triolo Miller 





Peter L. Morris 

The Samuel B. & Margaret C. 


Maryanne Mott 

Russell Mueller 

Mrs. Raymond King Myerson 

Karin Nelson & Eugene Hibbs/ 

Maren Henle 

Fran & John Nielsen 


Ellen Lehrer Orlando & 

Thomas Orlando 

Gail Osherenko & Oran Young 

Patti Ottoboni 

Anne & Daniel Ovadia 


Carol & Kenneth Pasternack 

Samuel F. Pellicori 

Performing Arts Scholarship 


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 



Ada B. Sandburg 

William E. Sanson 


City of Santa Barbara 

Lynn & Mark Schiffmacher 

Nancy Schlosser 

The Shanbrom Family Foundation 

Maureen & Les Shapiro 


Halina W. Silverman 

Dody Waugh & Eric Small 

Paul & Delia Smith 


Barbara & Wayne Smith 




Marion Stewart 

Irene & Robert Stone/Stone 


Elaine & Robert Sweet 

Pamala Temple 

Suzanne Holland & 

Raymond Thomas 



Milan E. Timm 


TheTowbes Fund for the 

Performing Arts, a field of 

interest fund of the 

Bicky Townsend 


Steven Trueblood 

Dr. Shirley Tucker 

Carol Vernon & Robert Turbin 

Department of Music, University 

of California, Santa Barbara 

Hubert Vos 

Esther & Tom Wachtell 


Sheila Wald 

Nick & Patty Weber 

Dr. Robert Weinman 

Judy L Weisman 


Victoria & Norman Williamson 

Winona Fund 

Wood-Claeyssens Foundation 



Grace & Edward Yoon 

Patricia Yzurdiaga 

Katina Zaninovich 

Zegar Family Fund 

Cheryl & Peter Ziegler 

Ann & Dick Zylstra 



33


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 


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 


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 


James P. and Shirley F. McFarland Fund 

of the Minneapolis Foundation 

Performing Arts Scholarship Foundation 


$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 



35


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 


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 



Santa Barbara 

Travel Bureau 

The Tent Merchant 

The Upham Hotel 

Via Maestra 42 

Westmont Orchestra

Thank You for a Successful Event! 

The CAMA Women’s Board 

with cocktails and hors d’oeuvres at 

The Cabrillo Pavilion 

Monday 

March 21, 2022 

5:30–7:30PM 

Julian Reeve, 

Hamilton, 

TED Talk speaker, and author 

Presenting the world’s finest classical artists since 1919

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

Thursday, March 24, 2022 ⫽ Music Academy of the West and CAMA ⫽ LONDON SYMPHONY ORCHESTRA ⫽ International Series at the Granada Theatre ⫽ Santa Barbara, California

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