CAMA's Masterseries Presents James Ehnes and Orion Weiss ⳼ Tuesday, May 24, 2022, Lobero Theatre, Santa Barbara, California

CAMA'S 2021/2022 SEASON

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AT THE LOBERO THEATRE

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Photo by Benjamin Ealovega

JAMES EHNES

violin

ORION WEISS

piano

Photo by Lisa-Marie Mazzucco

Tuesday, May 24, 2022, 7:30PM

Lobero Theatre, Santa Barbara

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MASTERSERIES

AT THE LOBERO THEATRE


MARCH 2, 2022

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AND LE CONCERT

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APRIL 23, 2022

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MARK FEWER, violin

JAMIE PARKER, piano

Sponsors

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The Elaine F. Stepanek Foundation

MAY 24, 2022

JAMES EHNES, violin

ORION WEISS, piano

CAMA gratefully dedicates this

performance by James Ehnes and

Orion Weiss in remembrance of

Léni Fé Bland.

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MASTERSERIES AT THE LOBERO THEATRE


JAMES EHNES, violin

ORION WEISS, piano

Tuesday, May 24, 2022, 7:30PM

The Lobero Theatre, Santa Barbara

WOLFGANG AMADEUS MOZART (1756–1791)

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

I. Allegro vivace

II. Andante sostenuto

III. Allegro

FRANZ SCHUBERT (1797–1828)

Fantasie in C Major, D.934

INTERMISSION

ERICH WOLFGANG KORNGOLD (1897–1957)

Much Ado About Nothing, suite from the incidental music for violin and piano, Op.11

1. Maiden in the Bridal Chamber

2. March of the Watch (Dogberry and Verges)

3. Garden Scene

4. Hornpipe

CAMILLE SAINT-SAËNS (1835–1921)

Violin Sonata No.1 in D Minor, Op.75

I. Allegro agitato—Adagio

II. Allegretto moderato—Allegro molto

Program subject to change.

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

Masterseries Season Sponsor: Esperia Foundation

CAMA gratefully dedicates this performance by James Ehnes and Orion Weiss

in remembrance of Léni Fé Bland.

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 LOBERO THEATRE • JAMES EHNES ⫽ ORION WEISS

5

JAMES

EHNES

violin


James Ehnes has established himself as

one of the most sought-after violinists on

the international stage. Gifted with a rare

combination of stunning virtuosity, serene

lyricism and an unfaltering musicality,

Ehnes is a favourite guest of many of the

world’s most respected conductors including

Vladimir Ashkenazy, Marin Alsop, Andrew

Davis, Stéphane Denève, Mark Elder,

Iván Fischer, Edward Gardner, Paavo Järvi,

Juanjo Mena, Gianandrea Noseda, David

Robertson and Donald Runnicles. Ehnes’s

long list of orchestras he has worked with

include the Boston, Chicago, London, NHK

and Vienna symphony orchestras, the Los

Angeles, New York, Munich and Czech

philharmonic orchestras, and the Cleveland,

Philadelphia, Philharmonia and DSO

Berlin orchestras.

In 2021, Ehnes was announced as the

recipient of the coveted Artist of the Year

title in the 2021 Gramophone Awards which

celebrated his recent contributions to the

recording industry. This includes the launch

of a new online recital series entitled ‘Recitals

from Home’ which was released in June

2020 in response to the COVID-19 pandemic

and subsequent closure of concert halls.

Ehnes recorded the six Bach Sonatas and

Partitas and six Sonatas of Ysaÿe from his

home with state-of-the-art recording equipment

and released six episodes over the

period of two months. These recordings

have been met with great critical acclaim


7

by audiences worldwide and Ehnes was described

by Le Devoir as being "at the absolute

forefront of the streaming evolution".

Recent orchestral highlights include

the MET Orchestra at Carnegie Hall with

Gianandrea Noseda, Gewandhausorchester

Leipzig with Alexander Shelley, San

Francisco Symphony with Marek Janowski,

Frankfurt Radio Symphony with Andrés

Orozco-Estrada, London Symphony with

Daniel Harding, and Munich Philharmonic

with Jaap van Zweden. In 2017, Ehnes premiered

the Aaron-Jay Kernis Violin Concerto

with the Toronto, Seattle and Dallas

symphony orchestras, and gave further performances

of the piece with the Deutsches

Symphonie-Orchester and Melbourne

Symphony Orchestra. Throughout the

21/22 season, Ehnes is named as Artist

in Residence with the National Arts Centre

of Canada.

Alongside his concerto work, Ehnes

maintains a busy recital schedule. He performs

regularly at the Wigmore Hall, Carnegie

Hall, Symphony Center Chicago, Amsterdam

Concertgebouw, Ravinia, Montreux,

Chaise-Dieu, the White Nights Festival in

St Petersburg, Verbier Festival, Festival de

Pâques in Aix, and in 2018 he undertook a

recital tour to the Far East, including perfor-


The 2021 Gramophone Classical Music Awards were broadcast

on Tuesday, October 5, 2021 and announced James Ehnes as

the recipient of the coveted Artist of the Year award.

8 CAMA'S 103 RD CONCERT SEASON

mances in Hong Kong, Shanghai, Singapore

and Kuala Lumpur. In 2016, Ehnes undertook

a cross-Canada recital tour, performing

in each of the country’s provinces and

territories, to celebrate his 40th birthday.

As part of the Beethoven celebrations,

Ehnes was invited to perform the complete

cycle of Beethoven Sonatas at the Wigmore

Hall in 2019/20. His third and final instalment

of Beethoven Violin Sonatas recordings

with Andrew Armstrong was released

by Onyx in 2020 and was given a glowing

review by Gramophone: “[Ehnes gave us]

the flawless technique, the purity of his

sound, and the extent to which everything

always feels elegant and just right, with no

attention-grabbing quirks or determined

originalities… a huge spectrum of colour

and articulation [is] employed”.

As a chamber musician, he has collaborated

with leading artists such as Leif Ove

Andsnes, Renaud Capuçon, Louis Lortie,

Nikolai Lugansky, Yo-Yo Ma, Antoine Tamestit,

Jan Vogler, Inon Barnatan and Yuja

Wang. In 2010, he formally established

the Ehnes Quartet, with whom he has performed

in Europe at venues including the

Wigmore Hall, Auditorium du Louvre in

Paris and Théâtre du Jeu de Paume in Aix,

amongst others. Ehnes is the Artistic Director

of the Seattle Chamber Music Society.

Ehnes has an extensive discography

and has won many awards for his recordings,

including a Grammy Award (2019) for

his live recording of Aaron Jay Kernis Violin

Concerto with the Seattle Symphony and

Ludovic Morlot, and a Gramophone Award

for his live recording of the Elgar Concerto

with the Philharmonia Orchestra and Andrew

Davis. His recording of the Korngold,

Barber and Walton violin concertos won a

Grammy Award for ‘Best Instrumental Soloist

Performance’ and a JUNO award for

‘Best Classical Album of the Year’. His recording

of the Paganini Caprices earned

him universal praise, with Diapason writing

of the disc, “Ehnes confirms the predictions

of Erick Friedman, eminent student of Heifetz:

‘there is only one like him born every

hundred years’.” Recent releases include

sonatas by Beethoven, Debussy, Elgar and

Respighi, and concertos by Walton, Britten,

Shostakovich, Prokofiev and Strauss, as

well as the Beethoven Violin Concerto with

the Royal Liverpool Philharmonic Orchestra

and Andrew Manze, which was released in

October 2017 on Onyx Classics.

Ehnes began violin studies at the age of

five, became a protégé of the noted Canadian

violinist Francis Chaplin aged nine, and

made his orchestra debut with L’Orchestre

symphonique de Montréal aged 13. He continued

his studies with Sally Thomas at the

Meadowmount School of Music and The

Juilliard School, winning the Peter Mennin

Prize for Outstanding Achievement and

Leadership in Music upon his graduation

in 1997. He is a Fellow of the Royal Society

of Canada and in 2010 was appointed

a Member of the Order of Canada. Ehnes

was awarded the 2017 Royal Philharmonic

Society Award in the Instrumentalist category.

Ehnes plays the “Marsick” Stradivarius

of 1715.


9

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ORION

WEISS

piano

Photo by Lisa-Marie Mazzucco

One of the most sought-after soloists and

chamber music collaborators of his generation,

Orion Weiss is widely regarded as

a “brilliant pianist” (The New York Times)

with “powerful technique and exceptional

insight” (The Washington Post). With a

warmth to his playing that outwardly reflects

his engaging personality, Weiss has

dazzled audiences with his passionate,

lush sound and performed with dozens

of orchestras in North America including

the Chicago Symphony, Boston Symphony,

Los Angeles Philharmonic, and New

York Philharmonic.

Recent seasons have seen Weiss in

performances for the Lucerne Festival,

the Denver Friends of Chamber Music, the

Chamber Music Society of Lincoln Center,

the Kennedy Center’s Fortas Series,

and the 92nd Street Y, and at the Aspen,

Bard, Ravinia, and Grand Teton summer

festivals among others. Highlights also include

his third performance with the Chicago

Symphony Orchestra, a performance

of Beethoven's Triple Concerto with the

Saint Paul Chamber Orchestra, the release

of his recording of Christopher Rouse’s

Seeing, and recordings of Gershwin’s complete

works for piano and orchestra with

the Buffalo Philharmonic Orchestra and

JoAnn Falletta.

Known for his affinity for chamber music,

Weiss performs regularly with violinists

Augustin Hadelich, William Hagen, Benjamin

Beilman, James Ehnes, and Arnaud

Sussman; pianist Shai Wosner; cellist Julie

Albers; and the Ariel, Parker, and Pacifica

Quartets. As a recitalist and chamber musician,

Weiss has appeared across the United

States at venues and festivals including

Sheldon Concert Hall, the Broad Stage, Seattle

Chamber Music Festival, La Jolla Music

Society SummerFest, the Schubert Club,

Chamber Music Northwest, Bridgehampton


11

Chamber Music Festival, Spivey Hall, and

many more.

In the summer of 2011, Weiss made his

debut with the Boston Symphony Orchestra

at Tanglewood as a last-minute replacement

for Leon Fleisher. In recent seasons,

he has also performed with the San Francisco

Symphony, Philadelphia Orchestra,

Pittsburgh Symphony, Toronto Symphony

Orchestra, National Arts Centre Orchestra,

and Orpheus Chamber Orchestra, and in

duo summer concerts with the New York

Philharmonic at both Lincoln Center and

the Bravo! Vail Valley Festival. In 2005, he

toured Israel with the Israel Philharmonic

Orchestra conducted by Itzhak Perlman.

Weiss can be heard on the Naxos,

Telos, Bridge, Yarlung and Artek labels in

recordings such as The Piano Protagonists

with The Orchestra Now led by Leon Botstein;

Scarlatti’s Complete Keyboard Sonatas;

a disc of Bartók, Dvorák, and Prokofiev;

Brahms Sonatas with violinist Arnaud Sussmann;

a solo album of J.S. Bach, Scriabin,

Mozart, and Carter; and a recital disc of

Rachmaninoff, Beethoven, Schumann, Massenet,

and Piatigorsky with cellist Julie Albers.

In 2018, Weiss self-released Presentiment,

a recording that explores the omens

and anxiety of the tense world leading up to

the first World War with music by Granados,

Janáček, and Scriabin.

Weiss’s impressive list of awards includes

the Classical Recording Foundation’s

Young Artist of the Year, Gilmore

Young Artist Award, an Avery Fisher Career

Grant, the Gina Bachauer Scholarship at the

Juilliard School, and the Mieczyslaw Munz

Scholarship. He won the 2005 William

Petschek Recital Award at Juilliard and

made his New York recital debut at Alice

Tully Hall that April. Also in 2005, he made

his European debut in a recital at the Musée

du Louvre in Paris. He was a member of

Lincoln Center's The Bowers Program (formerly

CMS Two) from 2002-2004, which included

his appearance in the opening concert

of the Society’s 2002-2003 season at

Alice Tully Hall performing Ravel’s La Valse

with Shai Wosner.

A native of Lyndhurst, Ohio, Weiss

attended the Cleveland Institute of Music

where he studied with Paul Schenly,

Daniel Shapiro, Sergei Babayan, Kathryn

Brown, and Edith Reed. In February of

1999, Weiss made his Cleveland Orchestra

debut performing Liszt’s Piano Concerto

No. 1. The next month, with less than 24

hours’ notice, Weiss stepped in to replace

André Watts for a performance of Shostakovich’s

Piano Concerto No. 2 with the

Baltimore Symphony Orchestra and was

immediately invited to return for a performance

of the Tchaikovsky Piano Concerto

in that October. In 2004, he graduated from

the Juilliard School, where he studied with

Emanuel Ax.

For more information visit

www.orionweiss.com


NOTES

ON THE PROGRAM

By Howard Posner

Throughout Wolfgang Amadeus Mozart’s

life the piano-violin sonata was in a state

of evolution in the musical world around

him. Many composers wrote for amateur

keyboard players who might want to invite

a violinist (or violinist and cellist) over

for duets occasionally, but wanted music

that also worked without additional players.

The sonatas tended to be complete

in the keyboard part, with the violin either

doubling the right-hand keyboard part or

adding body to the sound without playing

anything indispensable. The violin gradually

achieved equality, and then, in the 19th

century, supremacy.

But Mozart was inclined to give the

violin a more significant role right from the

start, when keyboard-violin sonatas were

the bulk of his earliest compositions—he

wrote 16 of them by the time he was nine!

Twelve years later, he finished his first

adult keyboard-violin sonata on March 11,

1778, at the tail end of a four-month stay in

Mannheim, part of an extended excursion

in search of employment anywhere other

than his native Salzburg. Mozart and his

Wolfgang Amadeus Mozart

mother lodged in the home of a Mannheim

privy court counselor not only at no cost,

but with candles and firewood thrown

in, as Frau Mozart wrote in a letter to her

husband in Salzburg. In exchange for the

VIP treatment, Wolfgang gave piano lessons

to the counselor’s 15-year-old daughter,

Thérèse Pierron Serrarius. It proved a

better exchange than the Serrarius family

could have expected, because Mozart

wrote this sonata for Thérèse as a parting

gift of sorts. It was a remarkably consider-


13

ate thing to do for someone as preoccupied

as Mozart was, not only with preparing to

travel to Paris, but also with his first serious

love affair, with the singer Aloysia Weber. (It

didn’t work out, and he married her sister

Constanze four years later.)

It may have been out of regard for the

Serrarius family that Mozart did not publish

the sonata with a group of others printed

in Paris later in 1778. In 1781, Mozart published

it as part of set of six in Vienna that

was labeled “Opus 2.”

The sonata’s energetic dialogue between

the two instruments struck contemporaries

as something new. A Hamburg

critic described the Opus 2 Sonatas as “the

only ones of their kind” in a 1783 review,

calling them “rich in new ideas, showing the

great musical genius of their author,” and

noting that the “the violin accompaniment

is so ingeniously combined with the piano

part that both instruments are continuously

employed; and thus these sonatas demand

a violinist as accomplished as the pianist.”

The day was coming when nobody would

think of saying “violin accompaniment,” and

Mozart was hastening it.

Franz Schubert’s Fantasie in C dates

from December 1827, when Schubert was

suffering from advanced syphilis and had

less than a year to live, but managed to

maintain a level of productivity that would

have exhausted nearly anyone else.

Like the Rondeau brillant of a year earlier,

the Fantasie was written for the young

Bohemian violinist Josef Slawjk, who had

recently come to Vienna. Slawjk was looking

for crowd-pleasing music, and the Rondeau

had served admirably in that capacity,

but the Fantasie may have disappointed

him: one critic at its first performance in

January 1828 wrote that much of the audience

left before it was finished. It may

have been the end of a long evening, or a

bad performance, or it may have been that

those first listeners didn’t quite know what

to make of a work that seemed undecided

about whether it wanted to be virtuosic fluff

or a serious sonata. Even today, it seems to

go both ways, or perhaps either way. The

insistent piano tremolos in the introduction

may sound mysterious, threatening, or

just sentimental, depending on how they’re

played or the listener’s mood. The vivacious

second movement, in loose sonata

form, greatly resembles many calling-card

pieces that virtuoso players were writing

for themselves, but also has some more

cerebral features, such as the way the vio-

Franz Schubert by Josef Kriehuber (1800–1876)


lin and piano play the theme in canon. And

characteristically for Schubert, it wanders

into remote keys (more noticeable and unnerving

to Schubert’s contemporaries, who

were still used to the more settled harmonic

language of Haydn, than it is to us), taking

a movement that begins in A minor and

eventually leading into a third movement in

the very distant key A-flat major, (the A‐flatmajor

scale has only two notes in common

with the A‐minor scale).

The third movement, about as long

as the other three put together, is a set of

variations on a somewhat altered version

of Schubert’s 1822 song “Sei mir gegrüßt.”

Again, the movement comes to no real

close, but leads into a section that recalls

the original introduction. What it introduces

this time is a jaunty marchlike finale in C major,

which makes another surprising modulation

to A‐flat major, for what amounts to

one more variation on “Sei mir gegrüßt,” before

a quick coda ends the Fantasie.

Erich Wolfgang Korngold’s incidental

music for Shakespeare’s Much Ado About

Nothing was a work in progress for about

two years. It began in 1918 when the Wiener

Volksbünde, a Vienna theater company,

commissioned Korngold to write music

for a production it would be staging in

the 18th-century Schloßtheater in the

Schönbrunn Palace.

The 21‐year‐old Korngold, who was being

underused as a music director for an

Austrian army Vienna regiment, jumped at

the prospect. He wrote 18 numbers, from

short cues and transitions to full‐blown

Erich Wolfgang Korngold in 1916, credit AKG-Images

scenes, running about 40 minutes in all. He

conceived it for a small group, for several

reasons: resources were limited because

World War I was still going on (and Austria

was losing it), the performing space was

small, and some of his music was to be

played under the dialogue. So his orchestra

was a chamber ensemble with one player to

a part: strings, four woodwinds, two horns,

trumpet, trombone and percussion.

In the summer of 1919, with Korngold

polishing the orchestration and the production

virtually ready, the Wiener Volksbühne

went bankrupt and shut down. Vienna's bigger

and wealthier Burgtheater took over the

production, and contracted members of

the Vienna Philharmonic to play Korngold’s

music, but it would be nearly another year

before the curtain would go up.

In the meantime, Korngold fashioned

some of the music into a three-movement

orchestral suite, which he conducted in performance

in January 1920. If it was the first

time the music was refashioned for life out-


15

Camille Saint-Saëns

side the theater, it would not be the last.

The play opened May 6, 1920, and was

such a success that it ran months longer

than anyone expected, long past the time

the Vienna Philharmonic players had to quit

because the Philharmonic’s 1920/1921

season was beginning. Other seasons were

also beginning, which meant finding eight

good wind players free on short notice

might be difficult, but Korngold was friends

with two of the best solo and chamber violinists

in Vienna, so he quickly reworked

the entire score for piano and violin. Much

Ado, like all Shakespeare’s comedies, is a

story about young couples getting joined.

The couple that everyone remembers from

Much Ado is Beatrice and Benedick, who

constantly joust with, and insult, each other

in a “merry war of words,” until their friends

“trick” them into realizing that the they really

love each other.

The “Maiden in the Bridal Chamber” is

not Beatrice, but her cousin Hero, whose

almost-destroyed betrothal absorbs much

of the plot.

“Dogberry and Verges, March of the

Watch” is “in the tempo of a grotesque

funeral march,” which almost begs to be

likened to Mahler. “Watch” was an Elizabethan

term for local police; and the constabulary

in Much Ado are buffoons, with

Dogberry, their chief, comically mangling

the language at every opportunity.

The “Scene in the Garden” refers to the

scene in Act V when Beatrice and Benedick

start to have a serious talk about loving

each other, but lapse into their personal

brand of jest:

Benedick:

Tell me for which of my bad parts

didst thou first fall in love with me?

Beatrice:

For them all together; which maintained

so politic a state of evil that

they will not admit any good part to

intermingle with them.

The music is adapted from Korngold’s otherwise-forgotten

1917 work Dances in the

Old Style. It is the best known of the Much

Ado music, and shows the melodic gift that


served Korngold well when he came to Los

Angeles and scored 21 movies between

1935 and 1957. The Hornpipe that concludes

this suite also concludes the play.

If the Mozart and Korngold works on

this program are products of child prodigies

emerging into adulthood, and the

Schubert work the product of a 27-year-old

former prodigy staring at death, Camille

Saint‐Saëns’s first violin sonata is the work

of a 49‐year‐old former prodigy settling into

the full flush of international success.

He wrote it in 1885, after his three violin

concertos (and the ever‐popular 1865

über‐bonbon Introduction and Rondo Capriccioso

he wrote for the Spanish violinist

Pablo de Sarasate in 1865). The first sonata

is a different animal. It is Saint‐Saëns at his

most Beethovenian.

The allegro agitato that begins the work

is brooding, turbulent, and full of contrast

even by late 19th‐century standards. The

opening theme begins with 27‐beat phrases

(three measures in 6⁄8 time followed by

one measure in 9⁄8), an irregular meter that

makes everything uncertain and a bit surprising.

The second theme is angelically lyrical

(it, and the sonata as a whole, inspired

the sonata by the fictional Vinteuil in Marcel

Proust’s À la Recherche du temps perdu),

but it is just a respite from a battle that engulfs

both violin and piano. The movement

loses steam and melts away into the gentle

but passionate Adagio second movement.

The third movement is an edgy scherzo

with a middle section that uses the same

melodic figure as the main section, but

changes its character by changing the articulation

from short staccato notes to

smoother legato ones. It leads without

pause to the not‐quite-perpetual motion

of the finale. The first movement’s second

theme makes a return appearance, improbably

set against the finale’s running

16th‐notes.

Saint‐Saëns dedicated the sonata to

the Paris violinist Martin Pierre Marsick,

who played the first performance with him

in January 1886. [James Ehnes plays the

“Marsick” Stradivarius of 1715.] Saint‐Saëns

was aware that the sonata made enormous

demands on the violinist, and demanded a

great variety of technique and expression.

He wrote to his publisher that ordinary violinists

would call it the “hippogriff sonata.”

For non‐Harry Potter fans, a hippogriff has

the legs of a horse but the body of a giant

eagle. A very different animal indeed.

©2022, Howard Posner


17

An historic treasure

with contemporary comforts

in the heart of Santa Barbara

50 Guest Rooms & Suites

CENTENNIAL CIRCLE

CRESCENDO

$250,000–$500,000

Bitsy & Denny Bacon and The Becton Family Foundation

Robert & Christine Emmons

The Elaine F. Stepanek Foundation

CADENZA

$100,000–$249,000

Judith L. Hopkinson

Sara Miller McCune


The Samuel B. & Margaret C. Mosher Foundation

SAGE Publishing


RONDO

$50,000–$99,999

Anonymous

Marta Babson

Deborah & Peter Bertling

Alison & Jan Bowlus

Dan & Meg Burnham

NancyBell Coe & William Burke

Jill Felber & Paul A. Bambach


Lois S. Kroc


Mari & Hank Mitchel


Northern Trust

Michele & Andre Saltoun

The Walter J. & Holly O. Thomson Foundation

Patricial Yzurdiaga

Cumulative Centennial Celebration Gifts of $50,000 and above include Centennial Circle membership.

October 2018–May 2020

LIFETIME GIVING

DIAMOND CIRCLE

$500,000 and above



Suzanne & Russell Bock

Linda Brown*

The Andrew H. Burnett

Foundation

Esperia Foundation

The Stephen & Carla Hahn

Foundation

Judith L. Hopkinson


Mary Lloyd & Kendall Mills

Mosher Foundation

SAGE Publishing


Foundation

Elaine & Edward Stepanek

The Towbes Fund for the

Performing Arts

SAPPHIRE CIRCLE

$250,000–$499,999

The CAMA Women's Board


Ann Jackson Family Foundation

Sara Miller McCune

The Walter J. & Holly O. Thomson

Foundation

Wood-Claeyssens Foundation

Patricia & Joseph Yzurdiaga

RUBY CIRCLE

$100,000–$249,999

Denise & Stephen Adams/Adams

Family Foundation

Hollis Norris Fund


Alison & Jan Bowlus

Dan & Meg Burnham

Janet & Thomas Kelly/Winona

Fund

Virginia Castagnola-Hunter


Léni Fé Bland

Mary & Raymond Freeman

George H. Griffiths and Olive J.

Griffiths Charitable Fund

Raye & Melville H. Haskell, Jr.

Dolores M. & Immanuel Hsu

Shirley Ann & James H. Hurley, Jr.

Shirley & Seymour Lehrer

John & Lucy Lundegard


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

The Henry E. & Lola Monroe

Foundation

Montecito Bank & Trust



Kathleen & John Moseley/The

Nichols Foundation

Nancy & William G. Myers


Santa Barbara Bank & Trust

Santa Barbara Foundation

Jan & John G. Severson

Judith F. & Julian Smith

Jeanne C. Thayer

Marilyn & H.Wallace Vandever

Wallis Foundation



EMERALD CIRCLE

$50,000–$99,999

Anonymous (3)

Ruth Appleby

Marta Babson

Helene & Jerry Beaver

Linda & Peter Beuret

Edward & Sue Birch

Bob Boghosian & Beth Gates-

Warren

Elizabeth & Andrew Butcher

Louise & Michael Caccese

Jane & Jack Catlett

Roger & Sarah Chrisman,

Schlinger Chrisman Foundation

Bridget & Robert Colleary

Suzanne & Maurice Faulkner


Arthur R. Gaudi

Sherry & Robert Gilson

Janette "Dotsy" Main Hellmann

& Richard Hellmann

Joanne C. Holderman

Natalia & Michael Howe

Hutton Parker Foundation

Ellen & Peter Johnson

Elizabeth Karlsberg & Jeff Young

Lynn P. Kirst & Lynn R. Matteson

Lois Sandra Kroc

Betty & Max Meyer

Northern Trust

Craig & Ellen Parton

Austin H. Peck

Marjorie & Hugh Petersen

Diana & Roger Phillips

Theodore Plute & Larry Falxa

Lady Leslie & Viscount Paul

Ridley-Tree

SB County Office of Arts

& Culture

The Shanbrom Family Foundation

Barbara & Sam Toumayan

Carrie Towbes and John Lewis

TOPAZ CIRCLE

$25,000–$49,999

Anonymous


Barbara & Edward Bakewell

Helen & Andrew Burnett

California Small Business Relief

Program

Huguette Clark

Cecelia & Leonard Dalsemer

Edward DeLoreto and William

DeLoreto

Patricia & Larry Durham

Frederika & Dennis Emory

Nancyann & Robert Failing

Rosalind Amorteguy-Fendon &

Ronald Fendon

Priscilla & Jason Gaines

Preston B. & Maurine M. Hotchkis

Family Foundation

The George Frederick Jewett

Foundation

Patricia Kaplan

Jill Dore Kent

Kum Su Kim

Otto Korntheuer/The Harold L.

Wyman Foundation

LIFETIME GIVING

Laura & Robert Kuhn

Chris Lancashire & Catherine Gee

Lillian & Jon Lovelace

Leatrice & Eli Luria

Marilyn & Frank Magid

Ruth McEwen

Frank McGinity

Mary & James Morouse

Pat Hitchcock O'Connell

Efrem Ostrow Living Trust

The Outhwaite Foundation

Carolyn & Ernest Panosian

Performing Arts Scholarship

Foundation

John & Ellen Pillsbury

William H. Kearns Foundation

Mary Dell Pritzlaff & John Pritzlaff

Mary Louise & Kenneth W. Riley

Dorothy Roberts

City of Santa Barbara

Anitra & Jack Sheen

Linda Stafford Burrows

Marion Stewart

Irene & Robert Stone/Stone

Family Foundation

Ina & Martin Tornallyay

Steven Trueblood

Carol & Edward R. Valentine

Susie & Hubert Vos

Marjorie K. & Roderick S. Webster

Westmont College

Ann & Dick Zylstra

AMETHYST CIRCLE

$10,000–$24,999

Rebecca & Peter Adams

Christina & David Allison

Bernice & Mortimer Andron

Sally & Robert Arthur

Marjorie & J.W. Bailey

Else Schilling Bard

Joan C. Benson

Leslie & Philip Bernstein

Frank Blue & Lida Light Blue

Toos & Erno Bonebakker

Shelley & Mark Bookspan

Cynthia Brown & Arthur Ludwig

Suzanne & Peyton Bucy

The CAMA Fellows

Margo & Charles Chapman

Chubb Sovereign

Carnzu Clark

Stephen Cloud

Nan Burns & Dr. Gregory Dahlen

Karen Davidson, M.D.

Elizabeth & Kenneth Doran

Julie & William Esrey

Audrey Hillman Fisher

Foundation

David W. Fritzen/DWF Magazines,

DWF Media International

Catherine H. Gainey

Tish Gainey & Charles Roehm

Dorothy & John Gardner

Kay & Richard Glenn

Corinna Gordon, Larry Dale

Gordon

Dorothy & Freeman Gosden

Grace Jones Richardson Trust

Dianne & Robert S. Grant

Beverly & Bruce Hanna

Dolores & Robert Hanrahan

Lorraine C. Hansen

Margret & David F. Hart

Betty & Stan Hatch

Renee & Richard Hawley

Ruth & Alan Heeger

Mary & Campbell Holmes

Jackie Inskeep

Glenn Jordan & Michael Stubbs

Martha & Peter Karoff

Connie & Richard Kennelly

Mahri Kerley/Chaucer's Books

Linda & Michael Keston

MaryAnn & Frederick Lange

Dodie Little

Ruth & John Matuszeski

Dona & George McCauley

Jayne Menkemeller

Sally & George Messerlian

Keith W. Moore

Maryanne Mott & Herman Warsh

Sybil & Russell Mueller

Myra & Spencer Nadler

Karin Nelson & Eugene Hibbs/

Maren Henle

Fran & John Nielsen

Ellen Lehrer Orlando & Thomas

Orlando

Joanne & Alden Orput

Mr. & Mrs. Charles W. Partridge

John Perry

Patricia & Carl Perry

Justyn & Ray Person

Susan & James Petrovich

Ann M. Picker

Anne & C.Wesley Poulson

Susannah Rake

Jaquelin & Frank Reed

Jack Revoyr

Regina & Rick Roney

Rebecca Ross

Betty Barrett & John Saladino

William E. Sanson

Maryan & Richard Schall

Nancy & William Schlosser

Pat & Roby Scott

Dody Waugh & Eric Small

Sally & Jan E.G. Smit

Constance & C.Douglas Smith

Barbara & Wayne Smith

Betty J. Stephens

Diane & Selby Sullivan

The Godric Foundation

Joseph Thomas

Milan E. Timm

Mark E. Trueblood

Drs. Shirley & Kenneth Tucker

Barbara & Gary Waer

Nick & Patty Weber

Dr. Robert W. Weinman

Victoria & Norman Williamson

Lisa Bjornsen Wolf & David

Russell Wolf

Charles and Merryl Snow Zegar

*promised

Gifts received by December 13, 2021

MOZART SOCIETY

CAMA’s mission is to enrich Santa Barbara’s cultural life by bringing live performances by worldrenowned

classical artists and orchestras of the highest artistic excellence to our community

and by providing creative, focused music education programs for individuals of all ages.

CAMA thanks and honors the following members of the CAMA community who have

contributed to CAMA’s Endowment. A commitment to CAMA’s Endowment ensures the

success of CAMA’s next 100 years. Gifts at every level are deeply appreciated.

James H. Hurley and Judith L. Hopkinson

Co-Chairs Endowment

CONDUCTOR'S CIRCLE

$500,000 and above


Linda Brown*

SAGE Publishing

Elaine Stepanek

Esperia Foundation

CRECENDO CIRCLE

$250,000–$499,999



The Andrew H.

Burnett Foundation


Judith L. Hopkinson



CADENZA PATRONS

$100,000–$249,999


The Stephen & Carla

Hahn Foundation


Nancy & William G. Myers

Jan Severson

Judith F. Smith

The Towbes Fund for

the Performing Arts


RONDO PATRONS

$50,000–$99,999

Ruth Appleby



Dr. Dolores M. Hsu

Lois Sandra Kroc

The Samuel B. & Margaret C.

Mosher Foundation

Santa Barbara Bank & Trust


CONCERTO PATRONS

$25,000–$49,999

Jane Catlett

Bridget B. Colleary

Suzanne Faulkner

Léni Fé Bland


Joanne C. Holderman

Hutton Parker Foundation

Sara Miller McCune

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


Foundation

Efrem Ostrow Living Trust





Foundation


SONATA PATRONS

$10,000–$24,999

Anonymous


Denise & Stephen Adams/

Adams Family Foundation

Marta Babson

Else Schilling Bard

Edward & Sue Birch


Bob Boghosian &

Beth Gates-Warren




Margo Chapman





& Ronald Fendon


Arthur R. Gaudi

Sherry & Robert Gilson

Lorraine C. Hansen

Mary & Campbell Holmes

Patricia Kaplan

Winona Fund


Lynn P. Kirst

Laura Kuhn

John Lundegard

Keith Moore

Jayne Menkemeller

Betty Meyer

Mary & James Morouse


Pat Hitchcock O'Connell

John Perry

Marjorie & Hugh Petersen


Susannah Rake


Anitra & Jack Sheen

Sally & Jan E.G. Smit

Constance Smith


Foundation

Betty J. Stephens

Mark E. Trueblood

Marilyn Vandever

Barbara & Gary Waer

David & Lisa Wolf

*promised


LEGACY SOCIETY







Linda Brown



Jane Catlett

Bridget B. Colleary




& Ronald Fendon



Arthur R. Gaudi

Lorraine C. Hansen


Joanne C. Holderman

Judith L. Hopkinson

Dr. Dolores M. Hsu




Lynn P. Kirst

Lois Sandra Kroc

John Lundegard

Keith Moore






Andre & Michele Saltoun

Judith F. Smith


Mark E. Trueblood

Marilyn Vandever

Barbara & Gary Waer



We gratefully acknowledge all CAMA Mozart Society and Legacy

Society members for their gifts to CAMA’s endowment, ensuring

CAMA’s mission to bring the world’s greatest classical artists to

Santa Barbara for years to come.

Thank you

INTERNATIONAL CIRCLE

We most gratefully acknowledge and thank International Circle Members

for their annual contribution of $1,000 or more.

Anonymous (4)

Sylvia Abualy

Catherine L. Albanese

Todd & Allyson Aldrich Family

Charitable Fund

Jane & Kenneth Anderson


Argonaut Charitable Foundation

Marta Babson

Bitsy & Denny Bacon and The

Becton Family Foundation

Becky & William Banning

Ms. Isabel Bayrakdarian

Helene Beaver

Bitsy & Denny Bacon and The

Becton Family Foundation



Jerry & Geraldine Bidwell

Edward & Sue Birch


Bob Boghosian & Beth Gates-

Warren

Shelley & Mark Bookspan

Diane Boss

Alison & Jan Bowlus

Cynthia Brown & Arthur Ludwig

Wendel Bruss

Suzanne & Peyton Bucy

Barbara Burger & Paul Munch

Alison H. Burnett

Dan & Meg Burnham

Karen Bushnell


Louise & Michael Caccese

Annette & Richard Caleel


Susan & Claude Case


Roger & Sarah Chrisman,

Schlinger Chrisman Foundation

Patricia Clark

Lavelda & Lynn Clock

Stephen Cloud

Betsy & Kenneth Coates

NancyBell Coe & Bill Burke

Bridget B. Colleary

Joan & Steven Crossland

Gregory Dahlen III &

Christi Walden

Jan Davis-Hadley

Janet Davis

Sheryl & Michael DeGenring

Edward S. DeLoreto

Diane L. Dodds

Margaret & Ronald Dolkart

Nancy Donaldson

Elizabeth & Kenneth Doran

Glenn and Karen Doshay

Ann & David Dwelley

Wendy & Rudy Eisler

Julia Emerson


Frederika & Dennis Emory

Nancy Englander

Lois Erburu

Thomas & Doris Everhart


Bob & Margo Feinberg


Rosalind Amorteguy-Fendon &

Ronald Fendon



Catherine H. Gainey

Tish Gainey & Charles Roehm


Dorothy & John Gardner

Arthur R. Gaudi

George H. Griffiths and Olive J.

Griffiths Charitable Fund

The Stephen & Carla Hahn

Foundation

David Hamilton


Renee & Richard Hawley

Maison K

Kevin Hess

Barbara Hirsch

Ronda & Bill Hobbs

Gerhart Hoffmeister

Joanne C. Holderman

Hollis Norris Fund

Judith L. Hopkinson

Natalia & Michael Howe


Jackie Inskeep

Ann Jackson Family Foundation

Karin Jacobson & Hans Koellner

Gina & Joseph Jannotta

Diane Johnson

Ellen & Peter Johnson

Glenn Jordan & Michael Stubbs

Gerd & Peter Jordano

Elizabeth Karlsberg & Jeff Young


James P. Kearns


Connie & Richard Kennelly

Jill Dore Kent

Kum Su Kim & John Perry

Sally Kinney

Lynn P. Kirst

Thomas & Travis Kranz


INTERNATIONAL CIRCLE

Lois Sandra Kroc

Chris Lancashire & Catherine Gee

Stefanie L. Lancaster Charitable

Foundation

Francis and Stefanie Lancaster

MaryAnn Lange

Elinor & James Langer

Kathryn Lawhun & Mark Shinbrot

Shirley & Seymour Lehrer

Dodie Little

Christie & Morgan Lloyd

Nancy & James Lynn

Gloria & Keith Martin

Maureen Masson

Phyllis Brady & Andy Masters

Ruth & John Matuszeski

Donald & Karine McCall

Dona & George McCauley

Sara Miller McCune

Jeffrey McFarland

Frank McGinity & Debbie Geremia

Patriicia & William McKinnon


Sally & George Messerlian


Foundation

Robert Miller & Susie Triolo Miller





Peter L. Morris

The Samuel B. & Margaret C.

Mosher Foundation

Maryanne Mott

Russell Mueller

Mrs. Raymond King Myerson

Karin Nelson & Eugene Hibbs/

Maren Henle

Fran & John Nielsen

Northern Trust

Ellen Lehrer Orlando &

Thomas Orlando

Gail Osherenko & Oran Young

Patti Ottoboni

Anne & Daniel Ovadia


Carol & Kenneth Pasternack

Samuel F. Pellicori

Performing Arts Scholarship

Foundation

Patricia & Carl Perry


Ann M. Picker


Minie & Hjalmar Pompe van

Meerdervoort

Carol & Edward Portnoy


Donald Rink

The Roberts Brothers Foundation

Dorothy Roberts

Regina & Rick Roney

Merlin Rossow

SAGE Publishing

Michele Saltoun

Ada B. Sandburg

William E. Sanson


City of Santa Barbara

Lynn & Mark Schiffmacher

Nancy Schlosser

The Shanbrom Family Foundation

Maureen & Les Shapiro

Anitra & Jack Sheen

Halina W. Silverman

Dody Waugh & Eric Small

Paul & Delia Smith

Judith F. Smith

Barbara & Wayne Smith



Foundation

Marion Stewart

Irene & Robert Stone/Stone

Family Foundation

Elaine & Robert Sweet

Pamala Temple

Suzanne Holland &

Raymond Thomas


Foundation

Milan E. Timm


TheTowbes Fund for the

Performing Arts, a field of

interest fund of the

Bicky Townsend

Mark E. Trueblood

Steven Trueblood

Dr. Shirley Tucker

Carol Vernon & Robert Turbin

Department of Music, University

of California, Santa Barbara

Hubert Vos

Esther & Tom Wachtell

Barbara & Gary Waer

Sheila Wald

Nick & Patty Weber

Dr. Robert Weinman

Judy L Weisman

Westmont College

Victoria & Norman Williamson

Winona Fund

Wood-Claeyssens Foundation



Grace & Edward Yoon

Patricia Yzurdiaga

Katina Zaninovich

Zegar Family Fund

Cheryl & Peter Ziegler

Ann & Dick Zylstra



25

MUSICIANS SOCIETY

CAMA thanks our Musicians Society for their annual support.

BENEFACTORS

$500–$999

Catherine L. Albanese

Barbara Burger and Paul Munch

Sandy and Jerry Gothe

Dr. Hsiu-Zu Ho &

Dr. William A. Below

Edward O. Huntington

James and Stephanie Ingraham

Sue Larsen

Phyllis Brady & Andy Masters

Julia & Arthur Pizzinat

Monica Romero

Michael and Nancy Sheldon

Taka Yamashita

CONTRIBUTORS

$250–$499

Helen Arnold

Jyl & Allan Atmore

Howard A. Babus

Lance and Judy Boyd

Maggy Cara

Edith M. Clark

Michael & Ruth Ann Collins

Meg & Jim Easton

Claudette & Gene Geller

Nancy & Frederic Golden

Robert L. Grant

Marie-Paule & Laszlo Hajdu

Lorraine C. Hansen

Lorna S. Hedges

David and Linda James

Debbie & Frank Kendrick

Christine & James V. McNamara

Doug and Diane Morgan

Carolyn & Dennis Naiman

Maureen O'Rourke

George Porter

Gaines Post

Muriel & Ian K. Ross

Denis and Jennifer Sanan

Naomi Schmidt

Joan Tapper & Steven Siegel

Beverly & Michael Steinfeld

Heidi Stilwell

Jerre Sumter

Katherine Thomassin

ASSOCIATES

$100–$249

Anonymous

Peter and Mary Alden

Barbara Bonadeo

Margaret & David Carlberg

Joanne & John Chere

Marna Coday

Pattie & Charles Firestone

Eunice & J.Thomas Fly

Edward Gastaldo

Bernice & Harris Gelberg

Ghita Ginberg

Bradford and Ursula Ginder

Robert Hanrahan

Victoria Hendler

Emmy & Fred Keller

Anna & Petar Kokotovic

Lady Patricia & Sir Richard

Latham

Catherine Leffler

Mr. Paul Levine

Lesli and Michael Marasco

Ria S. Marsh

Barbara & Ernest Marx

Andrew Mester

Betty Meyer

Catherine & Kenneth Murphy

Carol Hawkins & Larry Pearson

Jean Perloff

Jane Roney

Sonia Rosenbaum

Dr. Paul Ryack

Alan R Schweitzer

Laura Tomooka

Mary H. Walsh

Jon and Nina Warner

Lorraine & Stephen Weatherford

Judy & Mort Weisman

Theresa & Julian Weissglass

David Yager

FRIENDS

$10–$99

Anne Ashmore

Susan Badger

Melvin and Pearl Brooks

Polly Clement

Amelia Dallenbach

Margaret & Nicholas Dewey

Sumner and Dana Fein

Nona & Lorne Fienberg

George and Leanne Friedenthal

Susan & Larry Gerstein

Elliot Gross

Betty Harwick

Ms. Martha Hassenplug

Carol Hester

Christine Hoehner

Susan S. Johnston

Ms. Jaclyn Maduff

Christine Markussen

Phillip and Pam McLendon

Sandra and Nelson Merwizer

Lori Kraft Meschler

Elisabetta Riva

Doris & Bob Schaffer

Dr. and Mrs. Stuart L Silverman

Julie & Richard Steckel

Hayley Thompson

Patricia & Edward Wallace

Fritz and Hertha Will



MUSIC EDUCATION

$25,000 and above

The Walter J. & Holly O. Thomson Foundation

$10,000–$24,999

Ms. Irene Stone/ Stone Family Foundation


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

The Henry E. & Lola Monroe Foundation

$1,000–$9,999

CAMA Women's Board


Stefanie L. Lancaster Charitable Foundation

Sara Miller McCune

James P. and Shirley F. McFarland Fund

of the Minneapolis Foundation

Performing Arts Scholarship Foundation

Westmont College

$100–$999

Becky & William Banning

William S. Hanrahan

Lynn P. Kirst

CAMA Education Endowment

Fund Income

$50,000 AND ABOVE

Mary Lloyd Mills

$1,000–$4,999


$1,000–$4,999

Linda Stafford Burrows –

This opportunity to experience great musicians excelling is

given in honor and loving memory of Frederika Voogd

Burrows to continue her lifelong passion for enlightening

young people through music and math.

Kathryn H. Phillips, in memory of Don R. Phillips

Walter J. Thomson/The Thomson Trust

$50–$999

Lynn P. Kirst

Keith J. Moore

Performing Arts Scholarship Foundation

Marjorie S. Petersen


Volunteer docents are trained by CAMA's Education

Committee Chair Joan Crossland to deliver this

program to area schools monthly. Music enthusiasts

are invited to learn more about the program and

volunteer opportunities.

Call the CAMA office at (805) 966-4324 for

more information about the docent program.

MEMORIAL GIFTS

IN MEMORY OF

IN HONOR OF

Michelle "CoCo" Ogburn

Margaret & Ronald Dolkart

Prof. Frederick F. Lange

MaryAnn Lange

Deborah Bertling

Diane Dodds

Nancy L. Wood

David Wood

Mark Trueblood

Nancy & James Lynn

Joan Crossland, Nancy Lynn

and David Malvinni

Carolyn & Dennis Naiman

Joan Crossland

George Porter

Elizabeth Alvarez



27

BUSINESS SUPPORTERS

We thank the many businesses that support

CAMA's programs and events!

Laurel Abbott, Berkshire

Hathaway Luxury Properties

Alma Rosa Winey

Babcock Winery

James P. Ballantine

Bertling Law Group

Bibi Ji

Black Sheep Restaurant

Blue Star Parking

bouchon

Brander Vineyard

Wes Bredall

Ca' Dario Ristorante

Camerata Pacifica

Cebada Wine

The Cheese Shop

Chaucer's Books

Chocolats du CaliBressan

Custom Printing

eji experiences

Eye Glass Factory

Felici Events

Finch & Fork

Flag Factory of

Santa Barbara

Frequency Wine

Gainey Vineyard

The Good Lion

Grassini Family Vineyards

Grimm’s Bluff

Hogue & Company

Holdren's Catering

Inside Wine Santa Barbara

Kristin Jackson

Graphic Design

Jano Printing & Mailworks

Jardesca

Le Sorelle

Lumen Wines

M4 Interactive

Maravilla/Senior

Resource Group

Mercury Press International


Montgomery Vineyard

Northern Trust

Olio e Limone/Olio Crudo

Bar/Olio Pizzeria

Opal Restaurant & Bar

Opera Santa Barbara

Pacific Coast

Business Times

Pali Wine Co.

Performing Arts

Scholarship Foundation

Pete Clements Catering

Presqu’ile Winery

SAGE Publishing


Santa Barbara

Travel Bureau

The Tent Merchant

The Upham Hotel

Via Maestra 42

Westmont Orchestra

The CAMA Women’s Board

wishes to thank supporters of

at The Cabrillo Pavilion

S p on s or s

Concerto ($10,000 and above)


Sonata ($5,000 - $9,999)

In honor of Doris B. Kuhns

Allegro ($1,000 - $2,499)

Peter & Rebecca Adams

Bitsy & Denny Bacon

Frank McGinity

Marie, Michele & Musette Profant

Wendy Yager

Andante ($500 - $999)

Marta Babson

Deborah Bertling


Nancybell Coe

Bridget B. Colleary

Mr. & Mrs. Ray Freeman

Judith Hopkinson

Jill Kent

Michele Saltoun

Adagio (up to $499)

Leslie Pruitt

Lois Kroc

Dodie Little

Betty Meyer

Harriet Mosson

Nancy Wood

Photo by Mark Allan


(805) 966-4324 • info@camasb.org • www.camasb.org

Sometimes, a Round of

Applause Just Isn’t Enough.

Northern Trust is proud to support Community Arts Music

Association of Santa Barbara. For 130 years, we’ve been

meeting our clients’ financial needs while nurturing a culture

of caring and a commitment to invest in the communities we

serve. We’re proud to play a supporting role.

TO LEARN MORE VISIT

northerntrust.com

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

CAMA's Masterseries Presents James Ehnes and Orion Weiss ⳼ Tuesday, May 24, 2022, Lobero Theatre, Santa Barbara, California

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