Program Book / October 10, 2022 / CAMA Presents the City of Birmingham Symphony Orchestra with Mirga Gražinytė‑Tyla and Sheku Kanneh‑Mason

Presenting the world’s finest classical artists since 1919
CAMA’S 2022/2023 SEASON
104 th Concert Season
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AT THE GRANADA THEATRE
Photo by Jake Turney
SEASON SPONSOR: SAGE PUBLISHING
Sheku
Kanneh‐Mason
Photo by Benjamin Ealovega
CITY OF BIRMINGHAM
SYMPHONY ORCHESTRA
Mirga
Gražinytė‐Tyla
conductor
Sheku
Kanneh‐Mason
cello
MONDAY, OCTOBER 10, 2022, 7:30PM
The Granada Theatre, Santa Barbara

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(As of September 29, 2022)
Edward E. Birch
Robert J. Emmons
Arthur R. Gaudi
James H. Hurley, Jr.
Herbert J. Kendall
Sara Miller McCune
Russell S. Bock*
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AT THE GRANADA THEATRE
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OCTOBER 10, 2022
CITY OF
BIRMINGHAM
SYMPHONY
ORCHESTRA
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Co-Sponsors
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JANUARY 25, 2023
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(OF THE CZECH REPUBLIC)
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& Ronald Fendon
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interest fund of the Santa
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MARCH 4, 2023
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Presenting the world’s finest classical artists since 1919
INTERNATIONAL SERIES AT THE GRANADA THEATRE
SEASON SPONSOR: SAGE PUBLISHING
CITY OF BIRMINGHAM
SYMPHONY ORCHESTRA
Mirga Gražinytė‐Tyla
conductor
Monday, October 10, 2022, 7:30PM
The Granada Theatre, Santa Barbara
Sheku Kanneh‐Mason
cello
Ralph VAUGHAN WILLIAMS (1872–1958)
Fantasia on a Theme by Thomas Tallis
Sir Edward ELGAR (1857–1934)
Cello Concerto in E Minor, Op.85
Adagio—Moderato
Lento—Allegro molto
Adagio
Allegro—Moderato—Allegro, ma non troppo
—Poco più lento—Adagio
Sheku Kanneh-Mason, cello
INTERMISSION
Mieczysław WEINBERG (1919–1996)
“Jewish Rhapsody,” from Festive Scenes,
Op.36 (No.2)
Claude DEBUSSY (1862–1918)
La Mer
« De l’aube à midi sur la mer »
« Jeux de vagues »
« Dialogue du vent et de la mer »
Program and artists subject to change.
www.cbso.co.uk
The CBSO is grateful to Mr John Osborn, CBE, a former member
of the CBSO Board for his exceptional generosity in making the
tour possible.
Additional support has been provided by the Dunard Fund.
The CBSO is extremely grateful to all its supporters, both
individuals and trust and foundations who contribute to our
Soutnd of the Future Campaign. Their support enables us to offer
world-class, life-enhancing artistic experiences, enriches more
lives in schools and communities, nurtures young talent and
welcomes the next generation of concertgoers.
The City of Birmingham Symphony Orchestra’s 2022 US tour has
been made possible in collaboration with Arabella Arts.
Sheku Kanneh-Mason appears by arrangement with Enticott
Music Management.
Education Partners: Royal Birmingham Conservatoire, Services for
Education, Creative Future, Arts Award Supporter.
Principal Funders: Arts Council England, Birmingham City Council
Corporate Partners: Evelyn Partners, Charles Stanley, Deloitte,
Hyatt Regency, Marsh, Savills, Berwick Partners, William King Ltd,
Nicholls Brimble Bhol Solicitors.
facebook.com/thecbso
twitter.com/thecbso
instagram.com/thecbso
The Board of Directors of Community Arts Music Association dedicate this concert to the memory of
Her Majesty The Queen Elizabeth II and of Her Majesty's 70 years of service to the people of the
United Kingdom, the Realms, and the Common wealth.
CAMA thanks our generous sponsors who have made this evening’s performance possible:
International Series Season Sponsor: SAGE Publishing
Principal Sponsor: Bob & Val Montgomery
Sponsor: CAMA Women’s Board
Co-Sponsors: Elizabeth & Andrew Butcher • Beth & George Wood • Zegar Family Fund
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 • CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
7

The CAMA Women’s Board invites you to
SAVE THE DATE!
with cocktails and
hors d’oeuvres at
The Cabrillo Pavilion
Monday
March 20, 2023
5:30–7:30 pm
Presenting the world’s finest classical artists since 1919
(805) 966-4324
info@camasb.org
www.camasb.org

THE CITY OF
BIRMINGHAM SYMPHONY
ORCHESTRA
Photo by Hannah Fathers
The City of Birmingham Symphony Orchestra
(CBSO) is the flagship of musical
life in Birmingham and the West Midlands,
and one of the world’s great orchestras.
Based in Symphony Hall, Birmingham,
the CBSO typically presents over 150 concerts
each year in Birmingham, the UK
and around the world, playing music that
ranges from classics to contemporary, film
scores and even symphonic disco. With a
far-reaching community programme and a
family of choruses and ensembles, it is involved
in every aspect of music-making in
the Midlands. But at its centre is a team of
90 superb professional musicians, and over
a 100-year tradition of making the world’s
greatest music in the heart of Birmingham.
That local tradition started with the
orchestra’s very first symphonic concert
in 1920—conducted by Sir Edward Elgar.
Ever since then, through war, recessions,
social change and civic renewal, the CBSO
has been proud to be Birmingham’s orchestra.
Under principal conductors including
Adrian Boult, George Weldon, Andrzej
Panufnik and Louis Frémaux, the CBSO
won an artistic reputation that spread far
beyond the Midlands. But it was when it
discovered the young British conductor Simon
Rattle in 1980 that the CBSO became
internationally famous—and showed how
the arts can help give a new sense of direction
to a whole city.
Rattle’s successors Sakari Oramo and
Andris Nelsons helped cement that global
reputation and continued to build on the
CBSO’s tradition of flying the flag for Birmingham.
And under the dynamic leadership
of Mirga Gražinytė-Tyla, the CBSO
continued to do what it does best—playing
great music for the people of Birmingham,
the Midlands, and beyond. In September
of last year, the Orchestra announced that
Japanese conductor Kazuki Yamada had
been appointed as its Chief Conductor and
Artistic Advisor with effect from 1 April
2023—having been the Orchestra’s Principal
Guest Conductor since October 2018.
CAMA AT THE GRANADA THEATRE • CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
9

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Santa Barbara Young Black
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Selah Dance Collective
© Monie Photography
© Zach Mendez
© Zach Mendez
© Monie Photography
© Zach Mendez

Photo by Frans Jansen
MIRGA
GRAŽINYTĖ-TYLA
conductor
Mirga Gražinytė-Tyla was named Music
Director of the City of Birmingham Symphony
Orchestra in February 2016 following
in the footsteps of Sir Simon Rattle,
Sakari Oramo and Andris Nelsons. With
the start of the 2022/2023 season she assumes
the position of principal guest conductor
of the CBSO for one season. Winner
of the 2012 Salzburg Festival Young Conductors
Award, she subsequently made
her debut with the Gustav Mahler Youth
Orchestra in a symphonic concert at the
Salzburger Festspiele.
Recent highlights include a highly acclaimed
performance of Britten’s War Requiem
at the Salzburger Festspiele, her
celebrated return to opera with a new production
of Janáček’s The Cunning Little
Vixen, staged by Barrie Kosky, at the Bayerische
Staatsoper München in January 2022,
numerous European tours with the City
of Birmingham Symphony Orchestra, and
performances with the London Symphony
Orchestra, the NDR Elbphilharmonie, the
Swedish Radio Orchestra, Filarmonica della
Scala, and the Los Angeles Philharmonic.
Gražinytė-Tyla has electrified audiences
as a guest conductor all over the
world. In Europe, she has collaborated
with the Lithuanian National Symphony
Orchestra, the Royal Stockholm Philharmonic,
the Beethoven Orchestra Bonn, the
Deutsche Radiophilharmonie, the Bavarian
Radio Symphony Orchestra, MDR Leipzig,
Orchestre Philharmonique de Radio France,
Orchestre National de France, the Orchestre
National de Lyon, as well as the
Chamber Orchestra of Vienna, the Danish
CAMA AT THE GRANADA THEATRE • CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
11

National Symphony Orchestra, the Mozarteum
Orchestra,the Camerata Salzburg,
and the Orchestra of the Komische Oper in
Berlin. At the Kremerata Baltica, she has
enjoyed a dynamic collaboration with Gidon
Kremer on numerous European tours.
She has led operas in Munich, Heidelberg,
Salzburg, Komische Oper Berlin, and Bern,
where she served as Kapellmeister. In
North America, she has worked with the
orchestras of Philadelphia, Seattle and San
Diego and led the Metropolitan Opera Orchestra
in her Carnegie Hall debut in May of
2018. With the Los Angeles Philharmonic,
Gražinytė-Tyla was a Dudamel Fellow in
the 2012-13 season, Assistant Conductor
(2014-16), and Associate Conductor (2016-
17). She was the Music Director of the Salzburg
Landestheater from 2015 until 2017.
An exclusive Deutsche Grammophon
Artist since 2018, her first album on the yellow
label was released in the spring of 2019.
It delighted critics and listeners worldwide
and was hailed as an essential contribution
to the rediscovery of Mieczysław Weinberg’s
OEuvre, winning also the Opus Klassik
and Grammophon Awards later in 2020.
The recording was the result of a cooperation
of the City of Birmingham Symphony
Orchestra, Kremerata Baltica and Gidon
Kremer. A second recording was released
by Deutsche Grammophon in November
2019. This features works by her compatriot
Raminta Šerkšnytė and was followed by
her most recent CD „The British Project“ including
works by Elgar, Britten, Walton and
Vaughan Williams in July 2021.
Gražinytė-Tyla was discovered by the
German Conducting Forum (Deutsches Dirigentenforum)
in April 2009. A native of
Vilnius, Lithuania, she was born into a musical
family. Before pursuing her studies
at the Music Conservatory in Zurich, she
studied at the Music Conservatory Felix
Mendelssohn-Bartholdy in Leipzig and at
the Music Conservatory in Bologna, Italy.
She graduated with a bachelor's degree in
choral and orchestral conducting from the
University of Music and Fine Arts, Graz,
Austria. She has participated in numerous
masterclasses and conducting workshops,
and has worked with many established
conductors and professors, such as Christian
Ehwald, George Alexander Albrecht,
Johannes Schlaefli, Herbert Blomstedt, and
Colin Metters.
Photo by Frans Jansen
12 CAMA'S 104 TH CONCERT SEASON

SHEKU
KANNEH-MASON
cello
Photo by Jake Turney
Sheku Kanneh-Mason is already in great
demand from major orchestras and concert
halls worldwide. He became a household
name in 2018 after performing at the wedding
of the Duke and Duchess of Sussex
at Windsor Castle, his performance having
been greeted with universal excitement
after being watched by nearly two billion
people globally. Sheku initially garnered renown
as the winner of the 2016 BBC Young
Musician competition, the first Black musician
to take the title. A Decca Classics recording
artist, Sheku’s latest album, Song,
showcases his lyrical playing with a wide
selection of arrangements and collaborations.
His 2020 album Elgar reached No. 8
in the main UK Official Album Chart, making
Sheku the first ever cellist to reach the
UK Top 10. Sheet music collections of his
performance repertoire along with his own
arrangements and compositions are published
by Faber.
In the 2022/2023 season, Sheku appears
as Artist in Residence with the Philharmonia
Orchestra, performing three concerti
across the year in addition to chamber
music and giving educational workshops.
He also performs with orchestras such as
the London Mozart Players, Orchestre de
chambre de Paris, Royal Northern Sinfonia,
Camerata Salzburg, Hallé Orchestra, and
Royal Scottish National Orchestra. In the
Americas, Sheku features as soloist with
the Philadelphia Orchestra, Los Angeles
Chamber Orchestra, Toronto Symphony,
Boston Symphony, São Paulo Symphony,
and on tour with the City of Birmingham
Symphony Orchestra. He also performs his
CAMA AT THE GRANADA THEATRE • CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
13

Photo by Jake Turney
first solo cello recital programme in venues
such as Wigmore Hall London, National
Concert Hall Dublin, Palau de la Música
Catalana Barcelona, Auditorio Nacional de
Música Madrid, Musée du Louvre Paris,
and De Doelen Rotterdam and returns to
the Dortmund Konzerthaus as one of their
Junge Wilde artists.
Since his debut in 2017, Sheku has performed
every summer at the BBC Proms,
including in 2020 when he gave a breathtaking
recital performance with his sister,
Isata, to an empty auditorium due to the
Covid-19 pandemic. He was selected to appear
in the coveted role as guest soloist at
the 2022 Last Night of the Proms with the
BBC Symphony Orchestra.
A graduate of London’s Royal Academy
of Music where he studied with Hannah
Roberts, Sheku was appointed in May
2022 as the Academy’s first Menuhin Visiting
Professor of Performance Mentoring.
He is an ambassador for the Juvenile Diabetes
Research Foundation, Future Talent,
and Music Masters. Sheku was appointed
a Member of the Most Excellent Order of
the British Empire (MBE) in the 2020 New
Year’s Honours List. He plays a Matteo Goffriller
cello from 1700 which is on indefinite
loan to him.
14 CAMA'S 104 TH CONCERT SEASON

NOTES
ON THE PROGRAM
By Howard Posner
Ralph Vaughan Williams was in his early
30s and gradually acquiring a reputation
as a composer when the Oxford University
Press hired him to be music editor of
The English Hymnal, an updated, upgraded
and definitive volume of Church of England
congregational hymns.
The book, published in 1906, was
hailed as a triumph largely because of
Vaughan Williams’ work, but it concerns us,
a century or so later and a continent or so
away, because in the course of that work
he became enamored of a hymn by the Tudor
composer Thomas Tallis (1505–1585)
that he found in the 1567 Psalter of Matthew
Parker, Archbishop of Canterbury. It
is a setting of the first part of Psalm 2, beginning,
“Why fumeth in fight the Gentiles'
spite, in fury raging stout? Why taketh in
hand the people fond, vain things to bring
about?” (Two centuries later, Handel would
set a newer translation in Messiah: “Why do
the nations so furiously rage together, and
why do the people imagine a vain thing?”)
Ralph Vaugham Williams
CAMA AT THE GRANADA THEATRE • CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
15

The text’s aggressive cast led Tallis
to write a tune in Phrygian mode, which is
mostly a minor scale (E to E on the white
keys), but with mostly major harmonies,
and it may have been this tonal ambiguity
that attracted Vaughan Williams. He used
it as the tune for more modern texts, and
later in music for Bunyan’s Christian allegory
A Pilgrim’s Progress. It was still on his
mind when he was invited to contribute a
new work for the 1910 Three Choirs Festival
in Gloucester. It was with the recesses
of that ancient Gothic church in mind that
Vaughan Williams composed the Fantasia
on a Theme of Thomas Tallis.
The Fantasia is scored in 14 parts—
two five-part string orchestras, one with
more players on a part than the other, and
a quartet of soloists—that echo each other,
answer each other, and often combine into
one five-part tutti.
Vaughan Williams presents the theme
with Tallis’ basic harmonization, but it
seems right at home in its setting, rather
than a visitor from four or five centuries
ago. It is treated freely, with shifting meter
and tonality. The composer may have
thought it all a little too free, as he revised
it twice, once for the 1913 London premiere
and once in 1919, shortening it each time.
The Fantasia is about how beautiful
music can be and how good a string ensemble
can sound, and manages to do it
without becoming syrupy, which is a magnificent
achievement. It is both a complex
work with depth and the ultimate feel-good
piece, which has made ubiquitous in the
repertoire: it was commercially recorded 61
times between 1936 and 2022.
Sir Edward Elgar’s Cello Concerto came at
the end of two eras. The most obvious end
was the old order in Europe, destroyed by
World War I along with a staggering number
of its young men. It was also the end of the
two-decade era in which Elgar had stood
atop the British musical world. The era began
when the Enigma Variations catapulted
the 42-year-old composer from obscurity to
stardom in 1899, and continued with years
of remarkable creative fertility in which he
composed virtually all the music for which
he is known now.
The war slowed Elgar’s output to a
trickle, and toward its end his finances and
health were suffering. “I am more alone
and the prey of circumstances than ever
before,” he said. “Everything good and nice
and clean and fresh and sweet is far away,
never to return.”
In March 1918, he had his tonsils removed
at his doctor’s urging, and was in
pain for days, pain relief in 1918 being nothing
close to what it is now. “But nevertheless,”
his daughter Carice wrote, “he woke
up one morning and asked for pencil and
paper and wrote down the opening theme
of the Cello Concerto.” He did not yet know
it would wind up in a cello concerto, and
nothing came of it for while longer, as Elgar
plunged into composing three significant
chamber works. By the time they were finished
in May 1919, the cello concerto was
16 CAMA'S 104 TH CONCERT SEASON

Sir Edward Elgar
taking shape. By June 5, it was concrete
enough that Elgar had the cellist Felix Salmond
try out some of the solo passages.
Salmond played the premiere on October
27 with the London Symphony. It was
a train wreck. The Concerto was the only
work on the program that Elgar conducted,
and the conductor of the other items
on the program, Albert Coates, hogged
the rehearsal time. Reviewing the concert,
the eminent critic Ernest Newman wrote,
“There have been rumours about during the
week of inadequate rehearsal. Whatever
the explanation, the sad fact remains that
never, in all probability, has so great an orchestra
made so lamentable an exhibition
of itself.” He went on to say, “The work itself
is lovely stuff, very simple – that pregnant
simplicity that has come upon Elgar's
music in the last couple of years – but with
a profound wisdom and beauty underlying
its simplicity.”
The concerto’s unforgettable moments
come early: the outcry of the solo cello at
the very beginning, and the rolling theme
that daughter Clarice called, with more
insight than literal accuracy, the opening
theme (nearly everyone has followed suit
ever since). At once noble and deeply anguished,
it was the perfect theme for the
post-war world, and still speaks to the present
one. It makes short reappearances in
the second and fourth movements. During
his last illness in 1933, Elgar hummed it
to a friend and said, “If ever after I'm dead
you hear someone whistling this tune on
the Malvern Hills, don't be alarmed. It's
only me.”
Elgar laid the concerto out like a symphony,
with a scherzo second movement
and a slow third movement, and an energetic
finale in which themes from the slow
movement recur, along with a last reference
to the opening solo, and that main theme
one more time, as if Elgar is whistling in the
Malvern Hills.
The Concerto now holds an exalted
position in the repertoire, but such was not
the case for a generation or two after its
premiere. In the 1960’s recordings by the
dynamic young British cellist Jacqueline
DuPre made the concerto both a staple and
CAMA AT THE GRANADA THEATRE • CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
17

Mieczysław Weinberg
DuPre’s calling card, and remains a sort of
theme song for her tragically short career
and life.
The tales of creative artists—Jewish
artists in particular—being scattered to the
winds as they fled before the onslaught of
Nazi Germany are myriad. Many of them,
of course, wound up in Southern California.
Mieczysław (or Moisey) Weinberg (or
Vainberg, or Vaynberg, or a good number of
other variant spellings) fled to the east and
stayed there.
He was a precocious musician who entered
the Warsaw Conservatory at 12, and
had an offer from the most eminent piano
teacher of the day to study in America, but
he narrowly escaped the German invasion
of Poland, which eventually claimed the
lives of the rest of his family, by going to
Minsk in Belarus, and then, as the German
army advanced, to Tashkent in Uzbekistan.
He would spend the rest of his life in the
Union of Soviet Socialist Republics, which
he would outlive by five years.
In 1943 he sent a copy of his first symphony
to Shostakovich, who was impressed.
They became lifelong friends, Shostakovich
once calling him “a fine composer, a good
man with upright character, but definitely
too modest.” It was Shostakovich who arranged
for Weinberg to come to Moscow,
where he remained until his death in 1996.
He arrived in a period between the two
biggest crackdowns to make Soviet composers
conform to official notions of what
music should be. Weinberg was not one to
18 CAMA'S 104 TH CONCERT SEASON

keep his head down. When the Party moved
to control music in 1948 by labeling composers
“formalist” or insufficiently attuned
to “Socialist realism,” Weinberg was one
of only two who did not offer apologies or
recantations, and he suffered professionally
for it. (Soviet composers whose music
was “banned” still managed to get commissions
for less-prestigious theater or music
movie, which Weinberg had to do for a few
years. But he eventually composed about
150 works, including 21 symphonies and
17 string quartets.
Shostakovich championed Weinberg’s
music and made sure his A-list performer
friends like the cellist Mstislav Rostropovich,
and violinist David Oistrakh performed
his works. Weinberg exposed Shostakovich
to Jewish music, which manifested itself in
a number of Shostakovich works. But overt
Jewishness in music was not wise in the
Soviet Union, where antisemitism lurked behind
an official policy of eschewing ethnic
prejudice. The Jewish Rhapsody, one of his
Festive Scenes for Orchestra from 1946-47,
may be a reflection of the optimism in the
air right after the war ended.
“I was destined for the fine career of
a sailor,” wrote Claude Debussy to a friend
in September 1903 as La Mer was taking
shape. “Only the accidents of life put me on
another path.”
The finished version of “The Sea” is a
unique mix of tone poem and symphony, a
three-movement impression of the ocean.
Debussy would have bristled at the
Claude Debussy
CAMA AT THE GRANADA THEATRE • CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
19

suggestion that he was painting specific
scenes in music. He had no interest in pictorialism
or program music. A few months
earlier, in a review for a Paris newspaper,
he had written that the popularity of
Beethoven’s Pastorale Symphony “rests on
the common and mutual misunderstanding
that exists between man and nature.” He
wrote that the birdcalls in that symphony
were more like the art of the 18th-century
creator of a famous mechanical duck “than
drawn from nature’s book. All such imitations
are in the end useless—purely arbitrary
interpretations.” Elsewhere he wrote
that the Pastorale succeeded “simply because
there is no attempt at direct imitation,
but rather at capturing the invisible
sentiments of nature.” If Debussy thought
that Beethoven could not pull off an imitation
of nature in music, he certainly was
not about to try it himself. Yet he acknowledged
that a musical work about the ocean
“could turn out to be like a studio landscape,”
but concluded, “I have countless
reminiscences. This matters more, in my
opinion, than a reality.”
The determination to depict the ocean
generally rather than specifically led to
changes in titles. In a 1903 letter to his publisher,
Debussy proposed “The Sea; Three
symphonic sketches for orchestra: I. Beautiful
sea by the bloodthirsty islands. II. Play
of the waves. III. The wind makes the sea
dance.” By the time Debussy finished La Mer
in March 1905, he had changed the title of
the first movement to “From dawn to midday
on the sea,” and that of the last movement
to “Dialogue of the wind and the sea.”
The original title of the first movement was
the title of a short story by Camille Mauclair.
Though Debussy liked the contrast
between beauty and blood-thirst, he gave it
up, probably because using Mauclair’s title
might give the idea that the music tracked
the story.
The three movements have a similar
feel, perhaps because some similar building
blocks went into them. The first thing
heard above the quietly droning basses is a
rising progression built on the whole tones,
fourths and fifths, and using rhythmic figure
of a short note on the downbeat moving
to a much longer one. Fourths and fifths
stacked on each other have a strong, forthright
quality (they are the key elements of
fanfares) but also a sort of blankness (the
open strings of violins, violas and cellos are
tuned in fifths, those of double basses and
guitars are in fourths). The fourth and fifths
recur throughout the work without calling
much attention to themselves, since they
are such a fundamental part of tonal music,
but they bring an elemental quality to
the music, as if conveying something wide
and open and vast, such as, for example,
the ocean. The short-long rhythmic figure
is easier to pick out, and conveys a sense
of poignancy in places and sheer power in
others, as when the brass thunder it out at
the end of the first movement.
©️ 2022, Howard Posner
20 CAMA'S 104 TH CONCERT SEASON

CBSO PERSONNEL
USA tour
VIOLIN 1
Eugene Tzikindelean
Jonathan Martindale
Philip Brett
Andrew Harvey
Jack Greed
Jane Wright
Kirsty Lovie
Stefano Mengoli
Colette Overdijk
Katharine Gittings
Bethan Allmand
Tam Mott
Morane Cohen-
Lamberger
Rosemary Hinton
Jessica Coleman
Eloise Prouse
VIOLIN 2
Peter Campbell-Kelly
Lisa Obert
Moritz Pfister
Catherine Arlidge
Amy Jones
Caroline Simon
Georgia Hannant
Timothy Birchall
Bryony Morrison
Gabriel Dyker
Richard Thomas
Adam Hill
Jamie Hutchinson
Toby Tramaseur
VIOLA
Chris Yates
Adam Romer
Michael Jenkinson
Catherine Bower
David BaMaung
Amy Thomas
Jessica Tickle
Sarah Malcolm
Joe Ichinose
Cheryl Law
Kim Becker
Henrietta Ridgeon
CELLO
Eduardo Vassallo
Jonathan Ayling
Arthur Boutillier
David Powell
Miguel Fernandes
Catherine Ardagh-Walter
Helen Edgar
Sarah Berger
Jonathan Pether
Joss Brookes
DOUBLE BASS
Anthony Alcock
Julian Atkinson
Jeremy Watt
Mark Goodchild
Julian Walters
David Burndrett
Aisling Reilly
Ryan Smith
FLUTE
Marie-Christine
Zupancic
Veronika Klirova
PICCOLO
Helen Benson
OBOE
Jennifer Galloway
Emmet Byrne
COR ANGLAIS
Rachael Pankhurst
CLARINETS
Oliver Janes
Joanna Patton
BASS CLARINET
Mark O’Brien
BASSOON
Nikolaj Henriques
Johan Segerman
Elena Comelli
CONTRABASSOON
Margaret Cookhorn
HORN
Elspeth Dutch
Jeremy Bushell
Mark Phillips
Jack Sewter
Oliver Johnson
TRUMPET
Matthew Williams
Jonathan Holland
Jonathan Quirk
Stuart Essenhigh
Stephen Murphy
TROMBONE
Richard Watkin
Anthony Howe
Richard Ward
BASS TROMBONE
David Vines
TUBA
Michael Levis
TIMPANI
Matthew Hardy
PERCUSSION
Adrian Spillett
Andrew Herbert
Toby Kearney
Barnaby Archer
HARP
Katherine Thomas
Mary Reid
CAMA AT THE GRANADA THEATRE • CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
21

Presenting the world’s finest classical artists since 1919
IRA GIFTS TO CAMA
Timely and Tax-Wise
If you have not yet withdrawn all your Required Minimum Distribution
(RMD) from your Individual Retirement Account (IRA) for the 2022
calendar year, you may use your IRA to make a tax-wise gift to
Community Arts Music Association (CAMA) before December 31, 2022.
You must be at least 70 or older to roll over IRA assets to meet your
RMD requirement. On withdrawals of up to $100,000 you do not have
to pay any income tax and CAMA will receive full value of your gift.
Please consider CAMA when you plan for your year-end giving.
Contact your IRA plan administrator to request a direct transfer of
your specified gift amount to CAMA, 2060 Alameda Padre Serra,
Suite 201, Santa Barbara, CA 93103. As a a qualified charity, the check
will then be sent directly to CAMA (Federal Tax ID # 95-1816010).
You will not be required to declare this withdrawal amount as part
of your taxable income for 2022, as rollover gifts such as these are
not counted as part of your income. These gifts do not qualify for
an itemized charitable deduction, meaning this option works to the
advantage for the majority of taxpayers who do not itemize charitable
contributions, but rather take the standard deduction.
Thank you for your support of CAMA. If you have any questions,
please contact Elizabeth Alvarez, Director of Development at
Elizabeth@camasb.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
Judith L. Hopkinson
Sara Miller McCune
Stephen J.M. & Anne Morris
The Samuel B. & Margaret C. Mosher Foundation
SAGE Publishing
George & Judy Writer
RONDO
$50,000–$99,999
Anonymous
Marta Babson
Deborah & Peter Bertling
Alison & Jan Bowlus
Dan & Meg Burnham
NancyBell Coe & William Burke
Jill Felber & Paul A. Bambach
Herbert & Elaine Kendall
Lois S. Kroc
Jocelyne & William Meeker
Mari & Hank Mitchel
Bob & Val Montgomery
Northern Trust
Michele & Andre Saltoun
The Walter J. & Holly O. Thomson Foundation
Patricial Yzurdiaga
Cumulative Centennial Celebration Gifts of $50,000 and above include Centennial Circle membership.
October 2018–May 2020

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

LIFETIME GIVING
Laura & Robert Kuhn
Chris Lancashire & Catherine Gee
Lillian & Jon Lovelace
Leatrice & Eli Luria
Marilyn & Frank Magid
Ruth McEwen
Frank McGinity
Mary & James Morouse
Pat Hitchcock O'Connell
Efrem Ostrow Living Trust
The Outhwaite Foundation
Carolyn & Ernest Panosian
Performing Arts Scholarship
Foundation
John & Ellen Pillsbury
William H. Kearns Foundation
Mary Dell Pritzlaff & John Pritzlaff
Mary Louise & Kenneth W. Riley
Dorothy Roberts
City of Santa Barbara
Anitra & Jack Sheen
Linda Stafford Burrows
Marion Stewart
Irene & Robert Stone/Stone
Family Foundation
Ina & Martin Tornallyay
Steven Trueblood
Carol & Edward R. Valentine
Susie & Hubert Vos
Marjorie K. & Roderick S. Webster
Westmont College
Ann & Dick Zylstra
AMETHYST CIRCLE
$10,000–$24,999
Rebecca & Peter Adams
Christina & David Allison
Bernice & Mortimer Andron
Sally & Robert Arthur
Marjorie & J.W. Bailey
Else Schilling Bard
Joan C. Benson
Leslie & Philip Bernstein
Frank Blue & Lida Light Blue
Toos & Erno Bonebakker
Shelley & Mark Bookspan
Cynthia Brown & Arthur Ludwig
Suzanne & Peyton Bucy
The CAMA Fellows
Margo & Charles Chapman
Chubb Sovereign
Carnzu Clark
Stephen Cloud
Nan Burns & Dr. Gregory Dahlen
Karen Davidson, M.D.
Elizabeth & Kenneth Doran
Julie & William Esrey
Audrey Hillman Fisher
Foundation
David W. Fritzen/DWF Magazines,
DWF Media International
Catherine H. Gainey
Tish Gainey & Charles Roehm
Dorothy & John Gardner
Kay & Richard Glenn
Corinna Gordon, Larry Dale
Gordon
Dorothy & Freeman Gosden
Grace Jones Richardson Trust
Dianne & Robert S. Grant
Beverly & Bruce Hanna
Dolores & Robert Hanrahan
Lorraine C. Hansen
Margret & David F. Hart
Betty & Stan Hatch
Renee & Richard Hawley
Ruth & Alan Heeger
Mary & Campbell Holmes
Jackie Inskeep
Glenn Jordan & Michael Stubbs
Martha & Peter Karoff
Connie & Richard Kennelly
Mahri Kerley/Chaucer's Books
Linda & Michael Keston
MaryAnn & Frederick Lange
Dodie Little
Ruth & John Matuszeski
Dona & George McCauley
Jayne Menkemeller
Sally & George Messerlian
Keith W. Moore
Maryanne Mott & Herman Warsh
Sybil & Russell Mueller
Myra & Spencer Nadler
Karin Nelson & Eugene Hibbs/
Maren Henle
Fran & John Nielsen
Ellen Lehrer Orlando & Thomas
Orlando
Joanne & Alden Orput
Mr. & Mrs. Charles W. Partridge
John Perry
Patricia & Carl Perry
Justyn & Ray Person
Susan & James Petrovich
Ann M. Picker
Anne & C.Wesley Poulson
Susannah Rake
Jaquelin & Frank Reed
Jack Revoyr
Regina & Rick Roney
Rebecca Ross
Betty Barrett & John Saladino
William E. Sanson
Maryan & Richard Schall
Nancy & William Schlosser
Pat & Roby Scott
Dody Waugh & Eric Small
Sally & Jan E.G. Smit
Constance & C.Douglas Smith
Barbara & Wayne Smith
Betty J. Stephens
Diane & Selby Sullivan
The Godric Foundation
Joseph Thomas
Milan E. Timm
Mark E. Trueblood
Drs. Shirley & Kenneth Tucker
Barbara & Gary Waer
Nick & Patty Weber
Dr. Robert W. Weinman
Victoria & Norman Williamson
Lisa Bjornsen Wolf & David
Russell Wolf
Charles and Merryl Snow Zegar
*promised
Gifts received by September 13, 2022

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, CAMA Endowment
CONDUCTOR'S CIRCLE
$500,000 and above
Suzanne & Russell Bock
Linda Brown*
SAGE Publishing
Elaine Stepanek
Esperia Foundation
CRECENDO CIRCLE
$250,000–$499,999
Bitsy & Denny Bacon and
The Becton Family Foundation
The Andrew H.
Burnett Foundation
Robert & Christine Emmons
Judith L. Hopkinson
Herbert & Elaine Kendall
Mary Lloyd & Kendall Mills
CADENZA PATRONS
$100,000–$249,999
Mary & Raymond Freeman
The Stephen & Carla
Hahn Foundation
Shirley Ann & James H. Hurley, Jr.
Nancy & William G. Myers
Jan Severson
Judith F. Smith
The Towbes Fund for
the Performing Arts
George & Judy Writer
RONDO PATRONS
$50,000–$99,999
Ruth Appleby
Deborah & Peter Bertling
Linda & Peter Beuret
Dr. Dolores M. Hsu
Lois Sandra Kroc
The Samuel B. & Margaret C.
Mosher Foundation
Santa Barbara Bank & Trust
Nancy & Byron Kent Wood
CONCERTO PATRONS
$25,000–$49,999
Jane Catlett
Bridget B. Colleary
Suzanne Faulkner
Léni Fé Bland
Raye Haskell Melville
Joanne C. Holderman
Hutton Parker Foundation
Sara Miller McCune
Mr. & Mrs. Frank R. Miller, Jr./
The Henry E. & Lola Monroe
Foundation
Efrem Ostrow Living Trust
Craig & Ellen Parton
Diana & Roger Phillips
Linda Stafford Burrows
The Walter J. & Holly O. Thomson
Foundation
Barbara & Sam Toumayan
SONATA PATRONS
$10,000–$24,999
Anonymous
Rebecca & Peter Adams
Denise & Stephen Adams/
Adams Family Foundation
Marta Babson
Else Schilling Bard
Edward & Sue Birch
Frank Blue & Lida Light Blue
Bob Boghosian &
Beth Gates-Warren
Elizabeth & Andrew Butcher
The CAMA Women's Board
Virginia Castagnola-Hunter
Margo Chapman
NancyBell Coe & William Burke
Karen Davidson, M.D.
Nancyann & Robert Failing
Rosalind Amorteguy-Fendon
& Ronald Fendon
Priscilla & Jason Gaines
Arthur R. Gaudi
Sherry & Robert Gilson
Lorraine C. Hansen
Mary & Campbell Holmes
Patricia Kaplan
Winona Fund
Mahri Kerley/Chaucer's Books
Lynn P. Kirst
Laura Kuhn
John Lundegard
Keith Moore
Jayne Menkemeller
Betty Meyer
Mary & James Morouse
Myra & Spencer Nadler
Pat Hitchcock O'Connell
John Perry
Marjorie & Hugh Petersen
John & Ellen Pillsbury
Susannah Rake
Michele & Andre Saltoun
Anitra & Jack Sheen
Sally & Jan E.G. Smit
Constance Smith
The Elaine F. Stepanek
Foundation
Betty J. Stephens
Mark E. Trueblood
Marilyn Vandever
Barbara & Gary Waer
David & Lisa Wolf
*promised
Gifts received by September 13, 2022

LEGACY SOCIETY
Rebecca & Peter Adams
Bitsy & Denny Bacon and
The Becton Family Foundation
Deborah & Peter Bertling
Linda & Peter Beuret
Frank Blue & Lida Light Blue
Linda Brown
Elizabeth & Andrew Butcher
Virginia Castagnola-Hunter
Jane Catlett
Bridget B. Colleary
Karen Davidson, M.D.
Robert & Christine Emmons
Rosalind Amorteguy-Fendon
& Ronald Fendon
Mary & Raymond Freeman
Priscilla & Jason Gaines
Arthur R. Gaudi
Lorraine C. Hansen
Raye Haskell Melville
Joanne C. Holderman
Judith L. Hopkinson
Dr. Dolores M. Hsu
Shirley Ann & James H. Hurley, Jr.
Herbert & Elaine Kendall
Mahri Kerley/Chaucer's Books
Lynn P. Kirst
Lois Sandra Kroc
John Lundegard
Keith Moore
Mary Lloyd & Kendall Mills
Myra & Spencer Nadler
Craig & Ellen Parton
Diana & Roger Phillips
John & Ellen Pillsbury
Andre & Michele Saltoun
Judith F. Smith
Barbara & Sam Toumayan
Mark E. Trueblood
Marilyn Vandever
Barbara & Gary Waer
Nancy & Byron Kent Wood
Gifts received by September 13, 2022
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
Thank you International Circle Members!
CAMA sincerely appreciates your support for our mission
to bring great orchestras and soloists to Santa Barbara
and to introduce young people to classical music.
–Chris Emmons, International Circle Chair
Anonymous (4)
Ann Jackson Family Foundation
Sylvia Abualy
Todd & Allyson Aldrich Family
Charitable Fund
Jane & Kenneth Anderson
Peggy & Kurt Anderson
Argonaut Charitable Foundation
Marta Babson
Bitsy & Denny Bacon and
The Becton Family Foundation
Isabel Bayrakdarian
Deborah & Peter Bertling
Linda & Peter Beuret
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
Michele Brustin
Suzanne & Peyton Bucy
Barbara Burger and Paul Munch
Alison H. Burnett
Dan & Meg Burnham
Elizabeth & Andrew Butcher
Louise & Michael Caccese
Annette & Richard Caleel
The CAMA Women's Board
Susan & Claude Case
Roger & Sarah Chrisman,
Schlinger Chrisman Foundation
Patricia Clark
Lavelda & Lynn Clock
Stephen Cloud
Betsy & Kenneth Coates
Bridget B. Colleary
Joan & Steven Crossland
Gregory Dahlen III &
Christi Walden
Ms. Jan Davis-Hadley
Janet Davis
Janet & Roger DeBard/
DeBard Johnson Foundation
Sheryl & Michael DeGenring
Edward S. DeLoreto
Margaret & Ronald Dolkart
Nancy Donaldson
Elizabeth & Kenneth Doran
Glenn & Karen Doshay
Ann & David Dwelley
Wendy & Rudy Eisler
Julia Emerson
Lauren Emma
Robert & Christine Emmons
Frederika & Dennis Emory
Nancy Englander
Bob & Margo Feinberg
Jill Felber & Paul A. Bambach
Rosalind Amorteguy-Fendon
& Ronald Fendon
Mary & Raymond Freeman
Priscilla Gaines
Catherine H. Gainey
Tish Gainey & Charles Roehm
Dorothy & John Gardner
Arthur R. Gaudi
Sandy & Jerry Gothe
George H. Griffiths and Olive J.
Griffiths Charitable Fund
The Stephen & Carla
Hahn Foundation
David Hamilton
William S. Hanrahan
Raye Haskell Melville
Renee & Richard Hawley
Maison K
Henry E. Lola Monroe Foundation
Barbara Hirsch
Ronda & Bill Hobbs
Gerhart Hoffmeister
Joanne C. Holderman
Hollis Norris Fund
Judith L. Hopkinson
Natalia & Michael Howe
Shirley Ann & James H. Hurley, Jr.
Jackie Inskeep
Karin Jacobson
Gina & Joseph Jannotta
Diane Johnson
Ellen & Peter Johnson
Elizabeth Karlsberg & Jeff Young
William H. Kearns Foundation
Mr. James P. Kearns
Herbert Kendall
28 CAMA'S 104 TH CONCERT SEASON

INTERNATIONAL CIRCLE
Connie & Richard Kennelly
Jill Dore Kent
Mahri Kerley/Chaucer's Books
Kum Su Kim & John Perry
Sally Kinney
Lynn P. Kirst
Thomas & Travis Kranz
Lois S. Kroc
Chris Lancashire
Stefanie L. Lancaster Charitable
Foundation
MaryAnn Lange
Elinor & James Langer
Kathryn Lawhun & Mark Shinbrot
Shirley & Seymour Lehrer
Dodie Little
Christie & Morgan Lloyd
Nancy Lynn
Maureen Masson
Phyllis Brady & Andy Masters
Ruth & John Matuszeski
Donald & Karine McCall
Dona & George McCauley
Sara Miller McCune
Jeffrey McFarland
Frank McGinity | Debbie Geremia
Patriicia & William McKinnon
Jocelyne & William Meeker
Sally & George Messerlian
Robert Miller & Susie Triolo Miller
Montecito Bank & Trust
Bob & Val Montgomery
Stephen J.M. & Anne Morris
Peter L. Morris
Mosher Foundation
Maryanne Mott
Russell Mueller
Mrs. Raymond King Myerson
Karin Nelson & Eugene Hibbs/
Maren Henle
Fran & John Nielsen
Northern Trust
Ellen Lehrer Orlando &
Thomas Orlando
Gail Osherenko & Oran Young
Patti Ottoboni
Anne & Daniel Ovadia
Craig & Ellen Parton
Carol & Kenneth Pasternack
Samuel F. Pellicori
Performing Arts
Scholarship Foundation
Patricia Perry
Diana & Roger Phillips
Ann M. Picker
John & Ellen Pillsbury
Minie & Hjalmar
Pompe van Meerdervoort
Carol & Edward Portnoy
William H. Kearns Foundation
The Roberts Brothers Foundation
Jacy Romero
Monica Romero
Regina & Rick Roney
Merlin Rossow
SAGE Publishing
Michele Saltoun
Ada B. Sandburg
William E. Sanson
Santa Barbara Foundation
City of Santa Barbara
Lynn & Mark Schiffmacher
Nancy Schlosser
Shanbrom Family Foundation
Maureen & Les Shapiro
Anitra Sheen
Halina W. Silverman
Eric Small
Delia Smith
Judith F. Smith
Barbara & Wayne Smith
Linda Stafford Burrows
The Elaine F.
Stepanek Foundation
Marion Stewart
The Stone Family Foundation
Diane Sullivan
Elaine & Robert Sweet
Mr. Clay Tedeschi
Pamala Temple
Suzanne Holland &
Raymond Thomas
The Walter J. & Holly O.
Thomson Foundation
Milan E. Timm
Barbara & Sam Toumayan
Anne Smith Towbes
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
Esther & Tom Wachtell
Barbara & Gary Waer
Sheila Wald
Nick & Patty Weber
Robert Weinman
Judy L Weisman
Westmont College
Victoria & Norman Williamson
Nancy & Byron Kent Wood
George & Beth Wood
George & Judy Writer
Grace & Edward Yoon
Patricia Yzurdiaga
Zegar Family Fund
Cheryl & Peter Ziegler
Ann & Dick Zylstra
Winona Fund
Gifts received by September 13, 2022
CAMA AT THE GRANADA THEATRE • CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
29

MUSICIANS SOCIETY
CAMA thanks our Musicians Society for their annual support.
CONTRIBUTORS
$250–$499
Glenn Jordan & Michael Stubbs
Maggy Cara
Michael & Ruth Ann Collins
Nancy & Frederic Golden
Debbie & Frank Kendrick
Phyllis Brady & Andy Masters
Sun Ae & Andrew Mester
Maureen O'Rourke
Gaines Post
Doris & Bob Schaffer
ASSOCIATES
$100–$249
Julie Antelman & William Ure
Alison H. Burnett
Margaret & David Carlberg
Joanne & John Chere
Meg & Jim Easton
Thomas & Doris Everhart
Marie-Paule & Laszlo Hajdu
Ronda & Bill Hobbs
Anna & Petar Kokotovic
Amanda McIntyre
Christine & James V. McNamara
Ted and Kay Stern
Laura Tomooka
Mary H. Walsh
FRIENDS
$10–$99
Irwin and Roslyn Bendet
Polly Clement
Thomas Craveiro
Susan & Larry Gerstein
Susan Harbold
Christine Hoehner
Ms. Pita Khorsandi
Lori Kraft Meschler
Jean Perloff
Joan Tapper & Steven Siegel
Mr. Charles Harvey Talmadge
Ms. Renee Templeraud
Mr. Charles Weis
Fritz and Hertha Will
Gifts received by September 13, 2022
With special thanks to
Sullivan Goss
30 CAMA'S 104 TH CONCERT SEASON

MUSIC EDUCATION
$25,000 and above
The Walter J. & Holly O. Thomson Foundation
$10,000–$24,999
Ms. Irene Stone/ Stone Family Foundation
Mary Lloyd & Kendall Mills
Mr. & Mrs. Frank R. Miller, Jr. /
The Henry E. & Lola Monroe Foundation
$1,000–$9,999
CAMA Women's Board
William H. Kearns Foundation
Stefanie L. Lancaster Charitable Foundation
Sara Miller McCune
James P. and Shirley F. McFarland Fund
of the Minneapolis Foundation
Performing Arts Scholarship Foundation
Westmont College
$100–$999
Becky & William Banning
William S. Hanrahan
Lynn P. Kirst
CAMA Education Endowment
Fund Income
$50,000 AND ABOVE
Mary Lloyd Mills
$1,000–$4,999
Linda Stafford Burrows
$1,000–$4,999
Linda Stafford Burrows –
This opportunity to experience great musicians excelling is
given in honor and loving memory of Frederika Voogd
Burrows to continue her lifelong passion for enlightening
young people through music and math.
Kathryn H. Phillips, in memory of Don R. Phillips
Walter J. Thomson/The Thomson Trust
$50–$999
Lynn P. Kirst
Keith J. Moore
Performing Arts Scholarship Foundation
Marjorie S. Petersen
Gifts received by September 13, 2022
Volunteer docents are trained by CAMA's Education
Committee Chair Joan Crossland to deliver this
program to area schools monthly. Music enthusiasts
are invited to learn more about the program and
volunteer opportunities.
Call the CAMA office at (805) 966-4324 for
more information about the docent program.
MEMORIAL GIFTS
IN MEMORY OF
IN HONOR OF
Michelle "CoCo" Ogburn
Margaret & Ronald Dolkart
Prof. Frederick F. Lange
MaryAnn Lange
Deborah Bertling
Diane Dodds
Nancy L. Wood
David Wood
Mark Trueblood
Nancy & James Lynn
Joan Crossland, Nancy Lynn
and David Malvinni
Carolyn & Dennis Naiman
Joan Crossland
George Porter
Elizabeth Alvarez
Stephen J.M. & Anne Morris
CAMA AT THE GRANADA THEATRE • CITY OF BIRMINGHAM SYMPHONY ORCHESTRA
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
Blue Star Parking
bouchon
Brander Vineyard
Wes Bredall
Ca' Dario Ristorante
Camerata Pacifica
Cebada Wine
The Cheese Shop
Chaucer's Books
Chocolats du CaliBressan
Custom Printing
eji experiences
Eye Glass Factory
Felici Events
Finch & Fork
Flag Factory of
Santa Barbara
Frequency Wine
Gainey Vineyard
The Good Lion
Grassini Family Vineyards
Grimm’s Bluff
Hogue & Company
Holdren's Catering
Inside Wine Santa Barbara
Kristin Jackson
Graphic Design
Jano Printing & Mailworks
Jardesca
Le Sorelle
Lumen Wines
M4 Interactive
Maravilla/Senior
Resource Group
Mercury Press International
Montecito Bank & Trust
Montgomery Vineyard
Northern Trust
Olio e Limone/Olio Crudo
Bar/Olio Pizzeria
Opal Restaurant & Bar
Opera Santa Barbara
Pacific Coast
Business Times
Pali Wine Co.
Performing Arts
Scholarship Foundation
Presqu’ile Winery
SAGE Publishing
Santa Barbara Foundation
Santa Barbara
Travel Bureau
Sullivan Goss
The Tent Merchant
The Upham Hotel
Via Maestra 42
Westmont Orchestra

wine country cuisine
in the heart of the Historic Arts District
Santa Barbara ‘Wine Country Cuisine’ means
we source our ingredients using an ‘as-fresh-andas-local-as-possible’
approach, with fish from
the Santa Barbara Channel and produce from
the surrounding countryside. We then take into
account how these flavors can be presented in
concert with our local wines.
dinner nightly
Sunday-Thursday 5-9pm
Friday-Saturday 5-10pm
bouchon
Photo by Mark Allan
9 west victoria street | 805.730.1160 | bouchonsantabarbara.com

Northern Trust would
like to dedicate this
season to our friend
and CAMA supporter
ANDRE
SALTOUN
(1930 - 2020)
For over 133 years, Northern Trust has been caring for our
clients’ financial needs with a commitment to invest in the
communities we serve. We are proud to continue playing
this supportive role with Community Arts Music Association
of Santa Barbara.
TO LEARN MORE VISIT
northerntrust.com
WEALTH PLANNING | BANKING | TRUST & ESTATE SERVICES | INVESTING | FAMILY OFFICE