CAMA Presents English Baroque Soloists ⫽ John Eliot Gardiner, conductor ⫽ Tuesday, April 12, 2022 ⫽ The Granada Theatre, Santa Barbara, California ⫽ 7:30PM

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ENGLISH BAROQUE SOLOISTS 

JOHN ELIOT GARDINER 

CONDUCTOR 

KATI DEBRETZENI, violin 

⫽ 

FANNY PACCOUD, viola 

Tuesday, April 12, 2022, 7:30PM 

Granada Theatre, Santa Barbara 

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APRIL 12, 2022 

ENGLISH 

BAROQUE 

SOLOISTS 

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MARK FEWER, violin 

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JAMES EHNES, violin 

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In Memoriam 

MARY LLOYD MILLS 

Mary Lloyd Mills and her husband, Kendall were long-time residents of the Santa Ynez 

Valley where they raised their three children and were always active in community and 

church affairs. 

Known to her friends as "Lloyd," Mary Lloyd Mills joined the CAMA Board in 1994 and 

served for 10 years until leaving the Board in June 2004. She served as chair of the 

Nominating Committee and became the first chair of the Governance Committee 

when it was created in 2003. She also served on the Education Committee. Lloyd’s 

deep interest in education provided much of the impetus behind the expansion of 

CAMA’s music education and outreach programs. Not only did she help found CAMA’s 

Elementary School Appreciation Program, she and Kendall supported the CAMA 

program with generous annual gifts, and donated the first projector to La Patera School 

for use in the program. 

Lloyd and Kendall were founding members of the CAMA Mozart Society, and were 

among the very first patrons to make a commitment to the CAMA Endowment, inspiring 

many others to join in giving. Lloyd and Kendall were also founding members of CAMA’s 

International Circle, having joined at its inception in 1995. 

Known for her hard work, good judgment, productive ideas and delightful sense of 

humor, everyone who knew Lloyd enjoyed working with her. She approached each task 

with a quiet, intelligent efficiency. 

In recognition of Lloyd’s years of exemplary service to CAMA, on June 1, 2006 the Board 

of Directors unanimously voted to elect her as a Emeritus Director of Community Arts 

Music Association. 

Lloyd graduated from Occidental College and received her M.A. from UC Santa Barbara. 

She was a leader in funding programs for the arts, the environment, education, health 

and human services, and youth programs. An avid hiker, she was the founder of the 

Santa Ynez Valley Women Hikers and led many summer group hiking trips in the Alps.


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JOHN ELIOT GARDINER, 

conductor 

Kati Debretzeni, violin ⫽ Fanny Paccoud, viola 

Tuesday, April 12, 2022, 7:30PM 

The Granada Theatre, Santa Barbara 

PROGRAM: Mozart & Haydn Symphonies 

Franz Joseph HAYDN (1732–1809) 

Symphony No.103 in E-flat Major, “Drumroll” 

I. Adagio—Allegro con spirito 

II. Andante più tosto allegretto 

III. Minuet—Trio 

IV. Finale. Allegro con spirito 

INTERMISSION 

MOZART 

Symphony No.39 in E-flat Major, K.543 

I. Adagio—Allegro 

II. Andante con moto 

III. Menuetto—Trio 

IV. Finale. Allegro 

Wolfgang Amadeus MOZART (1756–1791) 

Sinfonia concertante in E-flat Major, K.364 

I. Allegro maestoso 

II. Andante 

III. Presto 

Program and artists subject to change. 

Monteverdi Choir | English Baroque Soloists | Orchestre Révolutionnaire et Romantique 

Artistic Director: John Eliot Gardiner | General Director: Rosa Solinas 

Monteverdi Choir and Orchestras | Level 12, 20 Bank Street, Canary Wharf, London E14 4AD, UK 

Registered charity 272279 | Company registered in England & Wales 1277513 

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

International Series Season Sponsor: SAGE Publishing 

Principal Sponsors: Herbert & Elaine Kendall • Jocelyne & William Meeker 

Sponsor: Anonymous • 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 

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. 

CAMA AT THE GRANADA THEATRE • ENGLISH BAROQUE SOLOISTS 

5

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ENGLISH BAROQUE 

SOLOISTS 

Photo by Simon van Boxtel 

Founded in 1978 by John Eliot Gardiner, 

the English Baroque Soloists seeks to challenge 

preconceptions of 200 years of music 

ranging from Monteverdi to Mozart and 

Haydn. Equally at home in chamber, symphonic 

and operatic performances, their 

distinctively warm and incisive playing is 

instantly recognisable. One of the world’s 

leading period instrument orchestras, the 

ensemble has performed at many of the 

world’s most prestigious venues including 

the Milan’s Teatro alla Scala, the Concertgebouw 

in Amsterdam and the Sydney 

Opera House. 

In 2021, the ensemble performed its 

first live streamed concert; Bach’s St John 

Passion, filmed in Oxford’s historic Sheldonian 

Theatre and streamed on Deutsche 

Grammophon’s online platform ‘DG Stage’. 

It also gave critically acclaimed performances 

of Handel and Bach at two of Europe’s 

most prestigious music festivals; the 

BBC Proms and the Berliner Festspiele. 

In 2019 the EBS made its inaugural visit 

to South America for the Cartagena International 

Music Festival, and subsequently 

undertook a tour of Handel’s dramatic oratorio 

Semele with the Monteverdi Choir, 

visiting a series of iconic venues including 

Barcelona’s Palau de la Música and Milan’s 

Teatro alla Scala. The ensemble then gave 

its debut performances in Russia alongside 

the Monteverdi Choir with a programme 

of works by Monteverdi, Carissimi, Scarlatti 

and Purcell, before returning to South 

America for further inaugural concerts in 

Brazil, Uruguay, Argentina and Chile. 

2017 saw the EBS take part in the celebrated 

Monteverdi 450 tour, in which they 

performed all three of Monteverdi’s surviving 

operas across Europe and in the USA, a 

project that was recognised by a Royal Philharmonic 

Society award in the Opera and 

Music Theatre category. 

The ensemble famously took part in 

the iconic Bach Cantata Pilgrimage in 2000 

alongside the Monteverdi Choir, performing 

all of Bach’s sacred cantatas throughout Europe. 

The EBS has also participated in major 

opera productions alongside the Choir 

in works by Handel, Purcell and Monteverdi, 

and recorded Mozart’s greatest operas for 

Deutsche Grammophon in the 1990s. 


7

JOHN ELIOT 

GARDINER 

conductor 

Photo by Liliya Olkhovaya 

John Eliot Gardiner is revered as one of the 

world’s most innovative and dynamic musicians 

and is a leader in the contemporary 

musical world. His work, as Founder and 

Artistic Director of the Monteverdi Choir, 

English Baroque Soloists (EBS) and Orchestre 

Révolutionnaire et Romantique (ORR) 

has made him a key figure both in the early 

music revival and historically informed performance 

practice. 

Gardiner is a regular guest of the 

world’s leading symphony orchestras, including 

the London Symphony Orchestra, 

Symphonieorchester des Bayerischen 

Rundfunks, Royal Concertgebouw Orchestra 

and Gewandhausorchester Leipzig, 

conducting repertoire from the 16th to the 

20th centuries. He has also conducted 

opera productions at the Royal Opera 

House, Covent Garden, the Wiener Staatsoper 

and the Teatro alla Scala in Milan. 

From 1983 to 1988 he was Artistic Director 

of the Opéra de Lyon, where he founded its 

new orchestra. 

His broad repertoire is illustrated by 

his extensive catalogue of award-winning 

recordings with the Monteverdi ensembles 

and other leading orchestras on both major 

labels and his own Soli Deo Gloria label. He 

holds two GRAMMY ® awards and has received 

more Gramophone Awards than any 

other living artist. 

In 2021 Gardiner conducted the Monteverdi 

Choir and EBS in a live streamed 


9

performance of Bach’s St John Passion 

from Oxford’s Sheldonian Theatre, and performed 

at several of Europe’s most prestigious 

music festivals, including his 60th appearance 

at the BBC Proms. He ended the 

year conducting the Monteverdi Choir and 

ORR in performances of Berlioz’s sacred 

oratorio L’enfance du Christ, which included 

a critically acclaimed performance at the 

Monteverdi Choir & Orchestras new London 

home, St Martin-in-the-Fields. 

The beginning of 2020 saw Gardiner 

conduct the ORR in three Beethoven symphony 

cycles as part of the Beethoven 250 

anniversary celebrations, with concerts at 

Barcelona’s Palau de la Música, New York’s 

Carnegie Hall, and the Harris Theatre in 

Chicago. Other recent achievements with 

the Monteverdi ensembles include the RPS 

award winning Monteverdi 450 project in 

2017, a reprise of the 2000’s famous Bach 

Cantata Pilgrimage, which toured to some 

of Europe’s most famous concert halls and 

churches in 2018, a five-year exploration 

of Berlioz’s major works to mark the 150th 

anniversary of the composer’s death, and a 

landmark performance of Verdi’s Requiem 

at London’s Westminster Cathedral in aid of 

Cancer Research UK. In 2019 Gardiner conducted 

new productions of Handel’s Semele 

and Berlioz’s Benvenuto Cellini, and gave his 

debut performances in Colombia, Russia, 

Brazil, Uruguay, Argentina and Chile. 

An authority on the music of Johann 

Sebastian Bach, Gardiner’s book, Music in 

the Castle of Heaven: A Portrait of Johann 

Sebastian Bach, was published in October 

2013 by Allen Lane, leading to the Prix des 

Muses award (Singer-Polignac). Among numerous 

awards in recognition of his work, 

Gardiner holds several honorary doctorates. 

He was awarded a knighthood for his services 

to music in the 1998 Queen’s Birthday 

Honours List. 

Photo by Sim Canetty-Clarke

KATI 

DEBRETZENI 

violin 

Photo by Eric Richmond 

Born in Transylvania, Kati studied the violin 

with Ora Shiran in Israel, and the Baroque 

violin with Catherine Mackintosh and 

Walter Reiter at the Royal College of Music 

in London. 

Since the year 2000 she has led the 

English Baroque Soloists under the direction 

of John Eliot Gardiner, and her playing 

can be heard on their recordings of the 

Bach Cantata Pilgrimage (SDG). In 2008 

she was appointed as one of the leaders of 

the Orchestra of the Age of Enlightenment, 

with whom she has often appeared as soloist, 

directing and leading the orchestra in 

performances in the UK, Europe and the US. 

Kati has recorded numerous chamber 

music CDs with the ensembles Florilegium 

(Chanel Classics), Ricordo (Linn Records) 

and most recently Trio Goya (Chandos). 

Additionally, she features as soloist on 

two versions of Bach’s Brandenburg 

Concertos, one with the European Brandenburg 

Ensemble under Trevor Pinnock 

(Avie Records—Gramophone Award 2008), 

and the other with the English Baroque 

Soloists (SDG). 

Over the last few years, Kati has been 

invited to direct various ensembles in Israel, 

Canada, Norway, Poland, Iceland and the 

UK. She currently teaches the Baroque and 

Classical violin at the Royal Conservatory 

of Music in The Hague. 


11

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FANNY 

PACCOUD 

viola 

Photo Courtesy of Monteverdi Choir Orchestra 

After receiving her Diploma from the Strasbourg 

Conservatory, Fanny Paccoud concentrated 

initially on chamber music and 

new music. Since 1999 she has formed a 

duo with the pianist Michel Gaechter, exploring 

a rich repertoire from Mozart to 

Schoenberg. She has taken part in many 

premières and recordings, including Gérard 

Pesson's Forever Valley, Pascal Dusapins's 

Momo, Claudio Gabriele's Ai confine dell' 

oscurità, Veillée and Georges Aperghis’s Le 

Petit Chaperon Rouge. 

Aside from chamber music and contemporary 

music, Fanny pursues research 

into early music interpretation on original 

instruments. She is a member—playing 

violin and viola—of the Concert Spirituel 

(Hervé Niquet), the English Baroque Soloists 

and the Orchestre Révolutionnaire 

et Romantique (John Eliot Gardiner), the 

Concert Brisé (William Dongois), Les Ambassadeurs 

(Alexis Kossenko), Pygmalion 

(Raphaël Pichon), the Amarillis ensemble, 

with whom she travels the world, taking 

part in numerous recordings. 

In 2002 she founded the Anpapié string 

trio with violinist Alice Piérot and cellist 

Elena Andreyev, which is devoted specifically 

to Classical repertoire (2011 recording 

of the trios of Hyacinth Jadin for the 

« La Courroie » label). 


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NOTES ON THE PROGRAM 

By Howard Posner 

In the years after he left England for the last 

time in 1795, Franz Joseph Haydn would 

often say that he “first became famous in 

Germany through England.” This was only a 

bit of an overstatement. 

Haydn had worked as music director 

for Esterházy princes at their estates in 

Eisenstadt, Austria and rural Hungary since 

1761, and developed a sufficient reputation 

from his published music that when 

one music‐loving Esterházy died and his 

non‐music‐loving Esterházy successor dismissed 

most of the court musicians and 

left Haydn a paid retainer with nothing to 

do, there were promoters who thought of 

him as a hot property. His music was particularly 

popular in England, giving the violinist 

and impresario Johann Peter Salomon the 

confidence to make Haydn a generous offer 

to come to London. 

Haydn wound up spending nearly four 

years in England in 1791‐92 and 1794‐95, 

where he was treated like a superstar and 

increased his net worth eightfold, if not 

more. It made him financially comfortable 

for the rest of his life. After composing a 

dozen symphonies for his London stays, he 

never wrote another one. 

Haydn’s penultimate symphony was 

first heard March 2, 1795 as part of a concert 

series led by Giovanni Battista Viotti, 

an eminent Italian violinist who would, improbably, 

be remembered as the father of 

the French school of violin‐playing. 

The symphony begins with something 

of a mystery: the drumroll that gives it its 

name. Haydn wrote a single half note with 

16th‐note flags on its stem, the symbol for 

a drumroll (also a string tremolo). There is 

no marking for how loud to play it. He wrote 


15

On June 7, 1954, Austrian-born sculptor, poet and artist Gustinus Ambrosi reunited Franz Joseph Haydn’s skull with 

his body, returning it to the coffin in the church at Eisenstadt, Austria. 

“solo” beneath the note (no one else is playing) 

and “Intrada” above it, which may mean 

the player is expected to play more than a 

simple roll. In some performances, the player 

improvises a flourish on both timpani. 

However played, the timpani solo was an 

extraordinary way to begin a symphony. 

What follows is equally extraordinary: 

a dark slow introduction that would not be 

out of place in music written half a century 

later, redolent of Berlioz as much as Haydn, 

with a theme that recalls the Gregorian 

chant Dies irae from the Catholic Requiem 

Mass, though it is unclear that Haydn 

intended any such allusion, and unlikely 

that he would have expected his Church 

of England‐going audience to recognize it 

if he did. 

As is usually the case in movements 

with murky slow introductions, the Allegro 

con spirito that follows is mostly sunshine, 

in that muscularly happy vein that Haydn 

developed in his mature years. The second 

subject has the character of a ländler, or 

even a waltz (the waltz was known in Austria 

throughout Haydn’s adulthood, but the 

monied classes were slow in taking to it), 

and reminds us that Haydn was born a middle‐class 

rural Austrian villager, and never 

entirely left his roots behind. 

16 CAMA'S 103 RD CONCERT SEASON

The movement manages an extraordinary 

ending by bringing back its extraordinary 

beginning by way of a coda. It was 

rare to reprise the slow introduction once 

the allegro part of the movement started, 

as if allegros regarded slow introductions 

as backward relatives they were ashamed 

of. Haydn, the composer who did more to 

establish the rules of the symphony than 

anyone else, could also have a grand time 

breaking them. 

The second movement is an extended 

set of variations on a sly‐sounding theme. 

The third variation is a long violin solo, a 

nod to Viotti. 

The full‐throated Minuet has a middle 

section of velvety delicacy. The flutes, 

oboes, trumpets, second bassoon and 

timpani are silent, while the two clarinets 

(which were silent the entire second movement) 

double the first and second violins, 

and the first bassoon doubles the violas, in 

undulating arpeggiated lines. 

Haydn wrote two versions of the sparkling, 

driving finale. The original version 

made another venture into shadowy tonal 

regions just before the end. Haydn thought 

better of it, either because it didn’t fit the 

mood or because he’d already had enough 

fun messing with the audience, and wrote a 

simpler, brighter finish. 

Wolfgang Amadeus Mozart usually 

composed with a specific performance or 

publication or dedication in mind, but he 

didn’t always leave evidence about why, or 

even when, he wrote a piece. Both the Mozart 

works on this program present origin 

puzzles. The Sinfonia concertante for violin 

and viola dates from 1779 or 1780, days 

of his early adulthood in Salzburg, when he 

spent much time garnering adulation on 

tours and, upon his return, was dissatisfied 

with both the quality of the Archbishop's 

musical establishment and his own 

status within it. In particular, he had been 

in Mannheim, home of Europe’s most renowned 

virtuoso orchestra. The sinfonia 

concertante with multiple soloists was an 

unusual form in places like Salzburg, where 

the quality of the orchestra was nothing 

special, but it was very popular in more 

favored musical establishments. Carl Stamitz, 

who composed for the Mannheim orchestra, 

wrote dozens of them, including at 

least three for solo violin and viola. It isn’t 

known why Mozart wrote the present work. 

One obvious possibility is that he wrote it 

for himself and his father, the man who literally 

wrote the book on violin playing (Leopold 

Mozart’s Treatise on the Fundamentals 

of Violin Playing dates, like Wolfgang, from 

1756, and was reprinted many times in 

several languages). Either of them could 

have played either part. 

Because he chose to cast his soloists 

as absolute equals, engaging in a running 

dialogue, Mozart was concerned that the 

violin not overpower the less brilliant viola. 

He solved the problem by having the viola 

tune up a half‐step and play in D major 

while everyone else plays in E‐flat. Not only 

does this let the viola play in a key that is 

more resonant for the instrument, since 

the viola's open A, D and G strings vibrate 

in sympathy with the principal harmonic 

chords (the tonic, subdominant and domi- 


17

nant chords) in D major, but it also makes 

the viola a bit louder, because tuning a 

string higher means the string is more massive 

in relation to its pitch, and a the greater 

the mass‐to‐pitch ratio the louder the string, 

up to a point. At some point the increased 

tension interferes with the instrument’s 

resonance, breaks the strings, or damages 

the instrument. Playing the Sinfonia concertante 

on a tuned‐up viola as Mozart wrote it 

is mostly the province of period‐instrument 

players. It wreaks havoc with the modern viola, 

which is already strung at nearly twice 

the tension of the 18th‐century instrument. 

Mozart struck another blow for equal 

viola rights by writing two viola parts in 

the orchestra, and with the double‐basses 

given their own part rather than playing 

from a single bass part with the cellos and 

continuo, the strings are always in six parts 

(eight, counting the soloists). It lends some 

richness to a work that is scored lightly, the 

only other instruments being pairs of horns 

and oboes. 

The slow movement, one of Mozart’s 

few slow movements in a minor key, brings 

the atmosphere of an operatic lament. The 

concluding rondo displays Mozart’s wealth 

of melodic invention, as if he is seeing just 

how many catchy tunes he can throw at the 

listener before he needs to repeat one. 

While we know from Mozart's personal 

catalogue of his works that the Symphony 

in E‐flat was finished June 26, 1788 in Vienna, 

we know nothing for certain about 

what was done with it or the other two 

symphonies he composed that year, the 

Portrait of Wolfgang Amadeus Mozart, Dated 

c.1788–1790. Courtesy of Hampel Auctions, Munich, 

Artist Unknown 

last he would write. The lack of information 

about them has bred a myth that they 

were never performed in his lifetime. They 

almost certainly were: he included symphonies 

in concerts he gave in Leipzig in 1789 

and Frankfurt in 1790, and would doubtless 

have used the new ones. We also know that 

a “grand symphony” by Mozart was performed 

at a concert led by Antonio Salieri in 

Vienna in April 1791. But there is no way to 

identify a specific symphony with any occasion 

because concert advertisements and 

programs typically would not name symphonies 

by key, and certainly not by number. 

Mozart himself would have had no idea 

what “Symphony number 39” meant; the 

numbers we use for his symphonies were 


assigned to them by a publisher nearly a 

century after his death. 

The Symphony in E‐flat is unusual, 

even a bit weird, in that it does not include 

oboes. The orchestra in the late 18th century 

was not standardized, but oboes, horns 

and bassoons were pretty much standard 

equipment. Clarinets were not universally 

available and trumpets and timpani were 

often left out, as they were in the G‐minor 

symphony Mozart wrote after this one. 

The oboes’ absence in the Symphony in 

E‐flat makes more room in the spotlight for 

the clarinets. 

The first movement’s slow introduction, 

compared to the one from Haydn’s 

“Drumroll” Symphony, is normalcy itself: 

a traditional grand gesture that tells us 

something big is coming. It also introduces 

the descending runs in the violins that 

lace themselves through the allegro part of 

the movement. 

The ambling Andante con moto and the 

bounding, energetic Minuet are typical of 

Mozart’s mature symphonies. The middle 

section of the Minuet, with one clarinet 

playing a simple but unforgettable little 

tune over the other clarinet’s bubbly arpeggios, 

would be at home in any of the dances 

that Mozart was writing in his part‐time job 

as Imperial court chamber composer. 

The scrambling finale is almost the opposite 

of the Sinfonia concertante’s finale. 

Instead of a plethora of melodic ideas, this 

finale relies on a single theme, explored and 

worked over in exquisite depth. Haydn was 

known for such monothematic construction, 

and Mozart may have had his older 

friend and mentor in mind in this finale. A 

Haydnesque sense of mischief is also very 

much present, never more apparent than 

at the very end, when the theme gets in 

the last word, elbowing aside conventional 

final chords. 


19


MASTERSERIES 

at the Lobero Theatre 

Season Sponsor: Esperia Foundation 

© Zach Mendez 

APRIL 

23 

SAT, 7:30PM 

2022 

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 

Tickets at the Lobero Theatre Box Office 

(805) 963-0761 ⫽ lobero.org


VIOLIN I 

Kati Debretzeni 

Beatrice Philips 

Jane Gordon 

May Kunstovny 

Jenna Sherry 

Silvia Schweinberger 

Jayne Spencer 

Beatrice Scaldini 

Sophie Simpson 

VIOLIN II 

Lucy Jeal 

Davina Clarke 

Jean Paterson 

Debbie Diamond 

Håkan Wikström 

Henrietta Wayne 

Anna Lester 

Chloe Prendergast 

VIOLA 

Fanny Paccoud 

Monika Grimm 

Lisa Cochrane 

Mari Giske 

Jordan Bowron 

Aliye Cornish 

CELLO 

Marco Frezzato 

Catherine Rimer 

Ruth Alford 

Kinga Gáborjáni 

DOUBLE BASS 

Valerie Botwright 

Cecilia Bruggemeyer 

Markus van Horn 

FLUTE 

Rachel Beckett 

Christine Garratt 

OBOE 

Michael Niesemann 

Rachel Chaplin 

CLARINET 

Frank van den Brink 

James Maltby 

BASSOON 

Veit Scholz 

Catriona McDermid 

HORN 

Anneke Scott 

Gijs Laceulle 

TRUMPET 

Neil Brough 

Robert Vanryne 

TIMPANI 

Robert Kendell 

Photo by Eric Larraydieu 


21


MASTERSERIES at the Lobero Theatre 

Season Sponsor: Esperia Foundation 

James 

Ehnes 

© Benjamin Ealovega 

© Jacob Blickenstaff 

Orion 

Weiss 

MAY 

24 

TUE, 7:30PM 

2022 

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 

Tickets at the Lobero Theatre Box Office 

(805) 963-0761 ⫽ lobero.org

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 

Foundation 

Esperia Foundation 

The Stephen & Carla Hahn 

Foundation 



Mary Lloyd & Kendall Mills 




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 


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 




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 

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 

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 


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 


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./ 


Foundation 

Efrem Ostrow Living Trust 





Foundation 


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 


Foundation 

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 

Foundation 

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 

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 


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. 


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 

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 



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 



Foundation 

Marion Stewart 

Irene & Robert Stone/Stone 


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 


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 



29

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 



31

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 TO OUR CO-PRESENTER 

THE MUSIC ACADEMY OF THE WEST! 

THURSDAY, MARCH 24, 2022, 7:30PM 

LONDON SYMPHONY 

ORCHESTRA 

Sir Simon Rattle, Music Director 

Works by Berlioz, Sibelius, Bartók, 

Ravel and Hannah Kendall. 

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 

Photo by Mark Allan 

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

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 Presents English Baroque Soloists ⫽ John Eliot Gardiner, conductor ⫽ Tuesday, April 12, 2022 ⫽ The Granada Theatre, Santa Barbara, California ⫽ 7:30PM

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