Program Book | October 24, 2022 | CAMA presents Juilliard String Quartet | Masterseries at the Lobero Theatre, Santa Barbara

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JUILLIARD 

STRING QUARTET 

MONDAY, OCTOBER 24, 2022, 7:30PM 

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QUARTET 

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MASTERSERIES AT THE LOBERO THEATRE 

SEASON SPONSOR: ESPERIA FOUNDATION 

JUILLIARD 

STRING QUARTET 

Areta Zhulla, violin ⫽ Ronald Copes, violin ⫽ Molly Carr, viola ⫽ Astrid Schween, cello 

Monday, October 24, 2022, 7:30PM 

The Lobero Theatre, Santa Barbara 

LUDWIG VAN BEETHOVEN (1770–1827) 

Quartet No.16 in F Major, Op.135 (26’) 

I. Allegretto 

II. Vivace 

III. Lento assai, cantate e tranquillo 

IV. „Der schwer gefaßte Entschluß.” Grave, ma non troppo tratto („Muss es sein?”)— 

Allegro („Es muss sein!”)—Grave, ma non troppo tratto—Allegro 

ELEANOR ALBERGA (b.1949) 

Quartet No.2 (1994) (15’) 

INTERMISSION 

ANTONÍN DVOŘÁK (1841–1904) 

Quartet No.14 in A-flat Major, Op.105, B.193 (31’) 

I. Adagio ma non troppo—Allegro appassionato 

II. Molto vivace 

III. Lento e molto cantabile 

IV. Finale: Allegro non tanto 

Program subject to change. 

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

Masterseries Season Sponsor: Esperia Foundation 

Exclusive Concert Sponsor: Bitsy & Denny Bacon 

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 • JUILLIARD STRING QUARTET 

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 


(805) 966-4324 

info@camasb.org 

www.camasb.org


JUILLIARD STRING 

QUARTET 

With unparalleled artistry and enduring 

vigor, the Juilliard String Quartet (JSQ) 

continues to inspire audiences around 

the world. Founded in 1946 and hailed by 

The Boston Globe as “the most important 

American quartet in history,” the ensemble 

draws on a deep and vital engagement 

to the classics, while embracing the mission 

of championing new works, a vibrant 

combination of the familiar and the daring. 

Each performance of the Juilliard String 

Quartet is a unique experience, bringing together 

the four members’ profound understanding, 

total commitment, and unceasing 

curiosity in sharing the wonders of the 

string quartet literature. 

Molly Carr joins the JSQ as violist in 

May 2022—following in the footsteps of her 

late mentor, Roger Tapping—to close out 

the 2021/2022 season, which marks the 


9

CAMA Community Outreach 

Amazon 

Carpinteria Arts Center 

eji experiences 

Food from the Heart 

Foodbank of 

Santa Barbara County 

Fund for Santa Barbara 

Hospice of Santa Barbara 

Live Notes Santa Barbara 

Santa Barbara Arts Collaborative 

Santa Barbara Athletic Club 

Santa Barbara International 

Film Festival 

Santa Barbara Symphony 

Santa Barbara Young Black 

Professionals 

Santa Barbara Young Professionals 

Selah Dance Collective 

© Monie Photography 

© Zach Mendez 

© Zach Mendez 

© Monie Photography 

© Zach Mendez

Juilliard String Quartet’s 75th anniversary. 

Performances of the season include cities 

such as New York, San Francisco, and Detroit 

as well as a European tour including 

stops in Berlin, Dresden, and Essen. A special 

highlight of the upcoming 2022/2023 

season is the premiere of two string quartets 

by celebrated German composer Jörg 

Widmann to perform alongside late quartets 

by Beethoven. 

Adding to its celebrated discography, 

an album of works by Beethoven, Bartók, 

and Dvořák was released by Sony Classical 

in April 2021 to critical acclaim. Additionally, 

Sony Masterworks released a JSQ 

catalog release (The Early Juilliard Recordings) 

in June 2021. In the fall of 2018, the 

JSQ released an album on Sony featuring 

the world premiere recording of Mario Davidovsky’s 

Fragments (2016), together with 

Beethoven’s Quartet Op.95 and Bartók’s 

Quartet No.1. Additionally, Sony Classical’s 

2014 reissue of the Juilliard Quartet’s 

landmark recordings of the first four Elliott 

Carter String Quartets along with the 2013 

recording of Carter’s fifth quartet traces 

a remarkable period in the evolution of 

both the composer and the ensemble. The 

quartet’s recordings of the Bartók and 

Schoenberg Quartets, as well as those of 

Debussy, Ravel and Beethoven, have won 

Grammy ® Awards, and in 2011 the JSQ became 

the first classical music ensemble to 

receive a lifetime achievement award from 

the National Academy of Recording Arts 

and Sciences. 

Devoted master teachers, the members 

of the Juilliard String Quartet offer 

classes and open rehearsals when on tour. 

The JSQ is string quartet in residence at 

Juilliard and its members are all soughtafter 

teachers on the string and chamber 

music faculties. Each May, they host the 

five-day internationally recognized Juilliard 

String Quartet Seminar. During the summer, 

the JSQ works closely on string quartet 

repertoire with students at the Tanglewood 

Music Center. 

January 18, 2022: We are deeply sad to say 

goodbye to Roger Tapping. Roger’s kindness, 

his intelligence, his breathtaking musical 

talents, and his passion for collaboration 

will always be an inspiration. 


11

ARETA 

ZHULLA 

violin 

Praised by the critics for her “rare emotional 

sensitivity and internal articulation,” 

Greek violinist Areta Zhulla has gained recognition 

as a passionate and poetic artist. 

She has been recently named “Young Artist 

of the Year” by the National Critics Association 

in Greece, and is a recipient of the prestigious 

Triandi Career Grant as well as the 

Tassos Prassopoulos Foundation Award. In 

2018, Ms. Zhulla joined the Juilliard String 

Quartet as their first violinist, and serves on 

the violin and chamber music faculties at 

The Juilliard School. 

Ms. Zhulla has appeared as soloist, 

recitalist, and chamber musician throughout 

the United States, Europe, Canada, and 

Asia, at venues such as Carnegie Hall, Auditorium 

du Louvre in Paris, Alice Tully Hall, 

Kennedy Center, Metropolitan Museum of 

Art, and National Arts Centre of Canada. 

Ms. Zhulla was a member of Chamber Music 

Society Two of Lincoln Center, where 

she performed and toured regularly with 

some of today’s most acclaimed artists. 

Memorable collaborations include performances 

with Itzhak Perlman at Carnegie 

Hall, Metropolitan Museum of Art, and the 

Rose Theater at Lincoln Center, as well as 

collaborations with legendary conductor 

Michel Plasson, Pinchas Zukerman, Gary 

Hoffman, Gilbert Kalish, Colin Carr, and 

members of the Cleveland, Emerson, and 

Cavani String Quartets. Her performances 

have been broadcast on PBS “Live from Lincoln 

Center,” The Kennedy Center Honors, 

and on WQXR, among other radio stations 

throughout the world. 

A passionate educator, Ms. Zhulla has 

served as teaching assistant to Itzhak Perlman 

at Juilliard for the past two years. She 

is on the violin and chamber music faculties 

at Juilliard’s Pre-College division, and 

serves as chamber music faculty at the 

prestigious Perlman Music Program, of 

which she is an alumna. Ms. Zhulla is Artistic 

Director of the newly formed Perlman- 

Genesis Violin Project, a series of workshops 

at the Tel-Aviv Conservatory in Israel. 

Ms. Zhulla holds Bachelor’s and Master’s 

degrees from The Juilliard School 

in New York City, where she studied 

with Itzhak Perlman and Catherine Cho, 

and was a recipient of the Vergotis Scholarship. 

Other teachers include Pinchas 

Zukerman, Patinka Kopec, and her father, 

Lefter Zhulla. 

12 CAMA'S 104 TH CONCERT SEASON

RONALD 

COPES 

violin 

Photo by Rosalie O'Connor Photography 

Praised by audiences and critics alike 

for his insightful artistry, violinist Ronald 

Copes has received international acclaim 

as concerto soloist, recitalist and chamber 

musician. Having appeared as a featured 

performer in the Marlboro, Tanglewood, 

Bermuda, Cheltenham, Colorado and Olympic 

music festivals, Mr. Copes has toured 

extensively with Music From Marlboro ensembles, 

the Los Angeles and Dunsmuir 

Piano Quartets, and, since 1997, with the 

Juilliard String Quartet in concerts throughout 

Europe, Asia, Australia and North America. 

During the 2011-13 seasons, he and 

Seymour Lipkin performed cycles of the 

complete Beethoven Sonatas for Piano and 

Violin at the Kneisel Hall Chamber Music 

Festival and the Juilliard School. 

He has recorded numerous solo and 

chamber music works for radio and television 

broadcast as well as for labels including 

Sony Classical, Orion, CRI, Klavier, 

Bridge, New World Records, ECM and the 

Musical Heritage Society. Devoting considerable 

energy to the development and presentation 

of contemporary string literature, 

he has worked closely with composers including 

Stephen Hartke and Donald Crockett, 

and has given the first performances 

of solo and chamber works by Stephen 

Dembski and Robert Kraft, among others. 

With the New York New Music Ensemble, 

he recorded Ralph Shapey’s Three for Six, 

and was presented in solo recital by the International 

Society of Contemporary Music 

in New York. 

Mr. Copes has garnered prizes in several 

national and international competitions 

including the Artists’ Advisory Council International 

Competition, the Merriweather 

Post Competition and the Concours International 

d’Exécution Musicale in Geneva. 

For two decades, he served as Professor of 

Violin at the University of California, Santa 

Barbara, and, in 1997, joined the faculty of 

The Juilliard School, where he serves as 

chair of the violin department. With the JSQ 

and individually, Mr. Copes has coached 

string quartets and given master classes 

at Juilliard, Tanglewood and on tour. During 

the summer he is on the artist-faculty of the 

Kneisel Hall Chamber Music Festival. 


13

MOLLY 

CARR 

viola 

Violist Molly Carr enjoys a diverse musical 

career as recitalist, chamber musician, educator, 

and artistic director. Hailed as “one 

of the most interesting interpreters of the 

viola today” (Codalario Spain) and praised 

for her “intoxicating” (The New York Times) 

and “ravishing” (The Strad) performances, 

she has been the recipient of numerous international 

awards, including the Primrose 

International Viola Competition, Chamber 

Music America, ProMusicis Foundation, 

and the Davidson Institute. In 2018, she was 

honored at the United Nations for her work 

with refugees, named by the Sandi Klein 

Show as one of America’s leading “Creative 

Women,” and awarded the ProMusicis International 

Father Eugène Merlet Award for 

Community Service for her work in prisons 

as the Founding Director for Project: Music 

Heals Us, a non-profit which brings free 

chamber music performances and interactive 

programming to marginalized populations 

with limited ability to access the Arts 

themselves. Her performances have taken 

her across North America, Europe, the Middle 

East, and Asia and been featured in The 

New York Times, Forbes, and The Wall Street 

Journal, as well as on PBS, CNN, NPR, and 

BBC World News. She is the violist of the 

Juilliard String Quartet and the Carr-Petrova 

Duo, and serves on the faculties of The 

Juilliard School, Manhattan School of Music, 

and Bard College Conservatory. 


ASTRID 

SCHWEEN 

cello 

Cellist Astrid Schween has gained a rich 

following and enjoys a varied career as a 

soloist, chamber artist and teacher. Since 

joining the Juilliard String Quartet in 2016, 

she has appeared at Amsterdam’s Concertgebouw, 

the Musikverein in Vienna, the 

Berlin Konzerthaus, London’s Wigmore Hall, 

Yamaha Hall in Tokyo, and in Hong Kong, 

Singapore, Greece, China, Spain, Scandinavia 

and throughout the US, with concerts 

at the Lincoln Center Chamber Music Society, 

New York’s 92nd Street Y, Ravinia, 

Tanglewood and the Kennedy Center. With 

degrees from the Juilliard School, Astrid 

Schween received her training under the 

guidance of Leonard Rose, Harvey Shapiro, 

Bernard Greenhouse, Ardyth Alton and Dr. 

H.T. Ma, and was mentored as a young cellist 

by Jacqueline Du Pré and Zubin Mehta. 

She participated in the Marlboro Music Festival, 

the William Pleeth Cello Master Classes 

in Aldeburgh and made her debut at the 

age of 16 with the New York Philharmonic. 

This season, Astrid Schween will appear 

as soloist-special guest artist at the 

Violoncello Society of New York, Seattle 

Chamber Music Festival, Cleveland Cello 

Society, Gather NYC, Aronson Cello Festival 

and in Minneapolis at the 20th Biennial 

Suzuki Association of the Americas Conference. 

In the spring, she will host a special 

event in honor of the Guarneri String Quartet 

at the Metropolitan Museum of Art. Other 

recent solo engagements have taken her 

around the US, with a performance of the 

Elgar Concerto in Boulder, CO last season 

and performances with the Memphis Symphony 

and at the Peninsula, Interlochen and 

Sewanee festivals. Astrid Schween was recently 

featured in Strings and Strad magazines, 

on various NPR programs, and was 

a guest speaker on Women in Music at the 

Library of Congress. She also appears on 

classical music internet platforms such as 

“Living the Classical Life,” The Violin Channel 

and CelloBello. Her current collabo- 


15

ations include frequent appearances at 

the Seattle Chamber Music Festival, recitals 

with pianists Victor Asuncion, Randall 

Hodgkinson and a soon-to-be-released CD 

of Romantic cello sonatas with pianist Michael 

Gurt. Recent collaborative releases 

appear on the Sony, Centaur and JRI labels. 

Astrid Schween 4317 new 8x12 Credit Lisa 

Astrid Schween is a member of the cello 

faculty at Juilliard and the Perlman Music 

Program on Shelter Island. She was for 

many years, senior cello faculty at Interlochen, 

the University of Massachusetts Amherst 

and Mount Holyoke College. She was 

also cellist of the Boston Trio, a frequent 

guest with the Boston Chamber Music Society 

and a longtime member of the Lark 

Quartet, with whom she earned the Naumburg 

Chamber Music Award, appeared at 

Carnegie Hall, Lockenhaus, the Schleswig- 

Holstein Festival and other prestigious 

venues. Additional recordings appear on 

the Arabesque, Decca/Argo, New World, 

CRI and Point labels. She is represented by 

Thomas Gallant of General Arts Touring. 



NOTES 

ON THE PROGRAM 

By Howard Posner 

Ludwig van Beethoven’s last quartet is one 

of his most congenial, belying the difficult 

circumstances in which it was composed. 

He wrote it in October 1826 at his brother's 

country estate where he and his nephew 

Karl (the son of Beethoven’s deceased other 

brother) were taking refuge after Karl’s 

attempted suicide, which was probably 

more an expression of frustration at life 

with his uncle (who had wrested custody 

of the youth from his mother years earlier) 

than a real attempt to end his own life. But 

suicide was still a crime, and it was necessary 

to get Karl out of sight while a fairly 

minor bullet wound to his head healed. 

The quartet’s first movement begins 

with one of Beethoven’s favorite sleights 

of hand—the “wrong-key” beginning. Before 

landing in its home key of F, the first four 

bars are an elaborated C dominant-seventh 

chord. The movement blends Bachian complexity 

with Haydnesque wit. 

The scherzo is full of Beethoven’s piein-the-face 

sense of humor, and takes the 

Ludwig van Beethoven (iconic statue) 


17

hythmic capriciousness that marks the 

minuet movements of many Haydn quartets 

to bizarre lengths. It is written entirely 

in 3/4 time, but is rife with rhythmic jokes 

likely to convince players that they (or the 

composer) can’t count. The four parts tug 

at each other in four different rhythms, or 

get together to run up and down and stop 

for no good reason. In mid-movement, the 

first violin gets lost in a series of syncopated 

leaps while the three lower parts repeat 

the same five-note sequence 48 times! 

A decade earlier, a far subtler instance of 

repetitive insistence in the Seventh Symphony 

had brought Carl Maria von Weber 

to exclaim that Beethoven was “ripe for the 

madhouse.” The ridiculous gives way to the 

sublime in a placid, seamless slow movement 

consisting of three variations on a 

softly rolling theme. 

Before the finale—a brief slow introduction 

followed by an energetic allegro— 

Beethoven wrote „Der schwer gefaßte 

Entschluß”, which can be translated as, “the 

decision reached with difficulty” or “the difficult 

resolution.” Beneath it, he wrote the 

three-note motif of the slow introduction 

with the words „Muss es sein?” (“Must it 

be?”), followed by the two three note-motifs 

that make up the allegro’s principal theme, 

underlaid with the words „Es muss sein! 

Es muss sein!” (“It must be! It must be!”). 

These inscriptions cry out for an explanation. 

There are two. 

Ignaz Dembscher, a wealthy imperial 

court official and musical amateur, attended 

nearly every concert by the Schuppanzigh 

Quartet, which premiered Beethoven’s 

late quartets, and also put on chamber music 

concerts in his own house. Beethoven 

usually let Dembscher use manuscripts 

of his new music for Dembscher’s house 

concerts, but when Dembscher asked for 

the score of the Op.130 Quartet—while not 

having subscribed to the concert in which 

it was first played—Beethoven delined. 

Karl Holz, Beethoven’s secretary (and second 

violinist in Schuppanzigh’s quartet), 

told Dembscher that if he wanted to use 

the manuscript he would have to pay the 

subscription price of the concert he had 

missed. Dembscher asked, probably with a 

smile, “Must it be?” As the story goes, when 

Holz told Beethoven about the conversation, 

Beethoven immediately wrote a canon 

for four male voices (WoO 196) to the 

words, “It must be! Yes, yes, yes, yes, take 

out your wallet!” using the „Es muss sein!” 

theme of the Op.135 finale. 

But why did Beethoven base the last 

movement of his last quartet on an inside 

joke? When Beethoven sent the manuscript 

of the quartet to his publisher, Moritz 

Schlesinger, he explained in an accompanying 

letter that it was the last of the quartets 

Schlesinger was expecting, and went on: 

“Here, my dear friend, is my last quartet. 

It will be the last; and indeed it has 

given me much trouble. For I could not 

bring myself to compose the last movement. 

But as your letters were reminding 

me of it, in the end I decided to 

compose it. And that is the reason why 


Photo by Navona Records 

Eleanor Alberga 

I have written the motto 'The decision 

taken with difficulty—Must it be?— 

It must be, it must be! —'” 

For Beethoven, composition was a series of 

agonizing decisions about which version of 

a theme to use or in which direction to take 

it, and it must sometimes have been an act 

of extreme will to make his choices and 

finish a movement. „Es muss sein!” may 

mean, “At last, I know how it must sound.” 

The note of triumph is unmistakable. 

Eleanor Alberga’s String Quartet No.2 

dates from 1994, when she had been living 

and working in England for nearly a quarter 

century. Her youth in Jamaica, where she 

studied music and classical piano at the 

Jamaica School of Music and played guitar 

with the Jamaican Folk Singers, laid the 

groundwork for the eclectic approach she 

brings to composition. When she moved 

to England in 1970, she danced with the 


19

African dance company Fontomfrom and 

played piano in Nanquidno, a piano eighthands 

(two piano four-hands) ensemble, 

and in Double Exposure, a duo with her violinist 

husband Thomas Bowes. She retired 

from her performing career in 2001 to devote 

her time to composing. 

Alberga’s earlier works show the influence 

of her folk experience with elements 

such as driving repeated rhythmic figures, 

and diatonic melodies and harmonies that 

were based on, though in no way limited to, 

major and minor chords. 

The Second String Quartet, a work in 

one four-section movement, expands the 

use of dissonance. It is a dissonance in 

which traditional harmonies clash, and are 

still present in textures that are at once 

astringent and lush. Much of the lushness 

comes from the number of notes being 

played—there are lots of double-stops and 

chords, and the quartet texture is remarkable 

for the volume of sound it creates. Everything 

in the Second Quartet is an exploration 

or elaboration of elements we have 

heard in the first few moments, developed 

in ways that are energetic, muscular and, in 

the end, triumphant. 

Antonin Dvořák's last string quartet 

was a holdover from his days in America. 

He had been lured to New York to become 

the Director of a new National Conservatory 

of Music of America, which was bankrolled 

by its president Jeanette Thurber, wife of 

a millionaire grocery baron. Mrs. Thurber 

wanted a world-class Director of the con- 

Mieczysław Weinberg 


servatory, and was willing to pay Dvořák 

a salary of $15,000—25 times as much as 

he was paid by the Prague Conservatory. 

She also had an egalitarian vision that included 

allowing marginalized races and 

ethnicities, and women into the conservatory, 

which had the side effect of exposing 

Dvořák to the variety of American music, 

which he was eager to soak up. 

In the short time Dvořák was in America, 

he composed his most noted works— 

the Cello Concerto, the “New World” Symphony, 

and the “American” Quartet. The 

Panic of 1893 led to his salary being halved, 

and what was worse, not paid reliably. Thus 

Dvořák left New York to return to Prague in 

April 1895. He was working on the Quartet 

in A-flat when he left, but left it alone for 

several months after his return in which he 

did not compose, as if decompressing from 

America and reabsorbing the atmosphere 

of his native Bohemia. In November and 

early December he composed the G-major 

Quartet Op.106, and then finished the the 

Quartet in A-flat between December 12 and 

December 20. The G-major Quartet was 

published later, which is why it has a higher 

opus number. 

The A-flat-major Quartet turned out to 

be the last work in Dvořák’s imposing canon 

of chamber music. He devoted himself 

to opera and symphonic poems over the 

next few years before his untimely death. 

The first movement begins with a short 

introduction in the unlikely key of A-flat minor 

(there are seven flats in the key signature), 

which immediately goes adrift into 

uncharted tonality. Composers had long 

used murky introductions to set up sunny 

first movements (think of Mozart’s “Dissonant” 

Quartet, or Beethoven’s “Harp” Quartet), 

and Dvořák does something similar 

here, although the introduction is a signal 

that the bright, energetic first movement, 

like the quartet as a whole, will occasionally 

explore some dark recesses. 

Both middle movements are in ABA 

form. The scherzo sounds a bit like a lightfooted 

Mendelssohn scherzo that just can’t 

resist turning into a foot-stomping Bohemian 

dance. The middle section contrasts 

with long, lyrical lines. 

The slow movement’s main section features 

a theme that’s equal-part love song, 

lullaby, and hymn. Its rapturous sweetness 

derives, perhaps unexpectedly, from 

the intricate contrapuntal interweaving of 

the four parts with independent melodic 

interest. A similar intricacy turns a bit 

ominous in a minor-key middle section in 

which the lines rise and fall chromatically. 

When the main theme returns, it comes 

back marked scherzando, adorned with 

quick-note filigrees. 

The rollicking finale recalls the highspirited 

energy of the first movement. 

Dvořák liked the main theme so much 

that he used it in his 1897 tone poem 

A Hero’s Song. 

©2022, Howard Posner 


21


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 



Stephen J.M. & Anne Morris 

The Samuel B. & Margaret C. Mosher Foundation 

SAGE Publishing 


RONDO 

$50,000–$99,999 

Anonymous 

Marta Babson 

Deborah & Peter Bertling 


Dan & Meg Burnham 

NancyBell Coe & William Burke 

Jill Felber & Paul A. Bambach 

Herbert & Elaine Kendall 

Lois S. Kroc 

Jocelyne & William Meeker 

Mari & Hank Mitchel 



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 




Mary Lloyd & Kendall Mills 



The Elaine F. Stepanek 


Elaine & Edward Stepanek 

The Towbes Fund for the 

Performing Arts 

SAPPHIRE CIRCLE 

$250,000–$499,999 

The CAMA Women's Board 


Ann Jackson Family Foundation 


The Walter J. & Holly O. Thomson 


Wood-Claeyssens Foundation 

Patricia & Joseph Yzurdiaga 

RUBY CIRCLE 

$100,000–$249,999 

Denise & Stephen Adams/Adams 

Family Foundation 

Hollis Norris Fund 




Janet & Thomas Kelly/ 

Winona Fund 

Virginia Castagnola-Hunter 


Léni Fé Bland 

Mary & Raymond Freeman 

George H. Griffiths and Olive J. 

Griffiths Charitable Fund 

Raye & Melville H. Haskell, Jr. 

Dolores M. & Immanuel Hsu 

Shirley Ann & James H. Hurley, Jr. 

Shirley & Seymour Lehrer 

John & Lucy Lundegard 


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

The Henry E. & Lola Monroe 


Montecito Bank & Trust 



Kathleen & John Moseley/The 

Nichols Foundation 

Nancy & William G. Myers 



Santa Barbara Bank & Trust 

Santa Barbara Foundation 

Jan & John G. Severson 

Judith F. & Julian Smith 

Jeanne C. Thayer 

Marilyn & H.Wallace Vandever 

Wallis Foundation 

Nancy & Byron Kent Wood 


EMERALD CIRCLE 

$50,000–$99,999 

Anonymous (3) 

Ruth Appleby 

Marta Babson 

Helene & Jerry Beaver 

Linda & Peter Beuret 

Edward & Sue Birch 

Bob Boghosian & Beth Gates- 

Warren 


Louise & Michael Caccese 

Jane & Jack Catlett 

Roger & Sarah Chrisman, 

Schlinger Chrisman Foundation 

Bridget & Robert Colleary 

Suzanne & Maurice Faulkner 



Sherry & Robert Gilson 

Janette "Dotsy" Main Hellmann 

& Richard Hellmann 

Joanne C. Holderman 

Natalia & Michael Howe 

Hutton Parker Foundation 

Ellen & Peter Johnson 

Elizabeth Karlsberg & Jeff Young 

Lynn P. Kirst & Lynn R. Matteson 

Lois Sandra Kroc 

Betty & Max Meyer 

Craig & Ellen Parton 

Austin H. Peck 

Marjorie & Hugh Petersen 

Diana & Roger Phillips 

Theodore Plute & Larry Falxa 

Lady Leslie & Viscount Paul 

Ridley-Tree 

SB County Office of Arts 

& Culture 

The Shanbrom Family Foundation 

Barbara & Sam Toumayan 

Carrie Towbes and John Lewis 

TOPAZ CIRCLE 

$25,000–$49,999 

Anonymous 

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 


The George Frederick Jewett 


Patricia Kaplan 

Jill Dore Kent 

Kum Su Kim 

Otto Korntheuer/The Harold L. 

Wyman Foundation

LIFETIME GIVING 

Laura & Robert Kuhn 

Chris Lancashire & Catherine Gee 

Lillian & Jon Lovelace 

Leatrice & Eli Luria 

Marilyn & Frank Magid 

Ruth McEwen 

Frank McGinity 

Mary & James Morouse 

Pat Hitchcock O'Connell 

Efrem Ostrow Living Trust 

The Outhwaite Foundation 

Carolyn & Ernest Panosian 

Performing Arts Scholarship 


John & Ellen Pillsbury 

William H. Kearns Foundation 

Mary Dell Pritzlaff & John Pritzlaff 

Mary Louise & Kenneth W. Riley 

Dorothy Roberts 

City of Santa Barbara 

Anitra & Jack Sheen 

Linda Stafford Burrows 

Marion Stewart 

Irene & Robert Stone/Stone 


Ina & Martin Tornallyay 

Steven Trueblood 

Carol & Edward R. Valentine 

Susie & Hubert Vos 

Marjorie K. & Roderick S. Webster 

Westmont College 

Ann & Dick Zylstra 

AMETHYST CIRCLE 

$10,000–$24,999 

Rebecca & Peter Adams 

Christina & David Allison 

Bernice & Mortimer Andron 

Sally & Robert Arthur 

Marjorie & J.W. Bailey 

Else Schilling Bard 

Joan C. Benson 

Leslie & Philip Bernstein 

Frank Blue & Lida Light Blue 

Toos & Erno Bonebakker 

Shelley & Mark Bookspan 

Cynthia Brown & Arthur Ludwig 

Suzanne & Peyton Bucy 

The CAMA Fellows 

Margo & Charles Chapman 

Chubb Sovereign 

Carnzu Clark 

Stephen Cloud 

Nan Burns & Dr. Gregory Dahlen 

Karen Davidson, M.D. 

Elizabeth & Kenneth Doran 

Julie & William Esrey 

Audrey Hillman Fisher 


David W. Fritzen/DWF Magazines, 

DWF Media International 

Catherine H. Gainey 

Tish Gainey & Charles Roehm 


Kay & Richard Glenn 

Corinna Gordon, Larry Dale 

Gordon 

Dorothy & Freeman Gosden 

Grace Jones Richardson Trust 

Dianne & Robert S. Grant 

Beverly & Bruce Hanna 

Dolores & Robert Hanrahan 

Lorraine C. Hansen 

Margret & David F. Hart 

Betty & Stan Hatch 

Renee & Richard Hawley 

Ruth & Alan Heeger 

Mary & Campbell Holmes 

Jackie Inskeep 

Glenn Jordan & Michael Stubbs 

Martha & Peter Karoff 

Connie & Richard Kennelly 

Mahri Kerley/Chaucer's Books 

Linda & Michael Keston 

MaryAnn & Frederick Lange 

Dodie Little 

Ruth & John Matuszeski 

Dona & George McCauley 

Jayne Menkemeller 

Sally & George Messerlian 

Keith W. Moore 

Maryanne Mott & Herman Warsh 

Sybil & Russell Mueller 

Myra & Spencer Nadler 

Karin Nelson & Eugene Hibbs/ 

Maren Henle 

Fran & John Nielsen 

Ellen Lehrer Orlando & Thomas 

Orlando 

Joanne & Alden Orput 

Mr. & Mrs. Charles W. Partridge 

John Perry 

Patricia & Carl Perry 

Justyn & Ray Person 

Susan & James Petrovich 

Ann M. Picker 

Anne & C.Wesley Poulson 

Susannah Rake 

Jaquelin & Frank Reed 

Jack Revoyr 

Regina & Rick Roney 

Rebecca Ross 

Betty Barrett & John Saladino 

William E. Sanson 

Maryan & Richard Schall 

Nancy & William Schlosser 

Pat & Roby Scott 

Dody Waugh & Eric Small 

Sally & Jan E.G. Smit 

Constance & C.Douglas Smith 

Barbara & Wayne Smith 

Betty J. Stephens 

Diane & Selby Sullivan 

The Godric Foundation 

Joseph Thomas 

Milan E. Timm 


Drs. Shirley & Kenneth Tucker 

Barbara & Gary Waer 

Nick & Patty Weber 

Dr. Robert W. Weinman 

Victoria & Norman Williamson 

Lisa Bjornsen Wolf & David 

Russell Wolf 

Charles and Merryl Snow Zegar 

*promised 

Gifts received by 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 


Suzanne & Russell Bock 

Linda Brown* 


Elaine Stepanek 

Esperia Foundation 

CRECENDO CIRCLE 

$250,000–$499,999 



The Andrew H. 

Burnett Foundation 





CADENZA PATRONS 

$100,000–$249,999 


The Stephen & Carla 

Hahn Foundation 


Nancy & William G. Myers 

Jan Severson 


The Towbes Fund for 

the Performing Arts 


RONDO PATRONS 

$50,000–$99,999 

Ruth Appleby 



Dr. Dolores M. Hsu 


The Samuel B. & Margaret C. 


Santa Barbara Bank & Trust 


CONCERTO PATRONS 

$25,000–$49,999 

Jane Catlett 

Bridget B. Colleary 

Suzanne Faulkner 

Léni Fé Bland 



Hutton Parker Foundation 


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

The Henry E. & Lola Monroe 


Efrem Ostrow Living Trust 




The Walter J. & Holly O. Thomson 



SONATA PATRONS 

$10,000–$24,999 

Anonymous 


Denise & Stephen Adams/ 

Adams Family Foundation 

Marta Babson 

Else Schilling Bard 



Bob Boghosian & 

Beth Gates-Warren 




Margo Chapman 



Nancyann & Robert Failing 





Sherry & Robert Gilson 


Mary & Campbell Holmes 

Patricia Kaplan 

Winona Fund 


Lynn P. Kirst 

Laura Kuhn 

John Lundegard 

Keith Moore 

Jayne Menkemeller 

Betty Meyer 

Mary & James Morouse 


Pat Hitchcock O'Connell 

John Perry 

Marjorie & Hugh Petersen 


Susannah Rake 


Anitra & Jack Sheen 

Sally & Jan E.G. Smit 

Constance Smith 

The Elaine F. Stepanek 


Betty J. Stephens 


Marilyn Vandever 


David & Lisa Wolf 

*promised 

Gifts received by September 13, 2022

LEGACY SOCIETY 







Linda Brown 



Jane Catlett 













Dr. Dolores M. Hsu 




Lynn P. Kirst 


John Lundegard 

Keith Moore 






Andre & Michele Saltoun 




Marilyn Vandever 



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. 

This season's annual Mozart Award Dinner honors 

Mary & Ray Freeman and will be held January 28, 2023. 

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 



Isabel Bayrakdarian 



Jerry & Geraldine Bidwell 


Bob Boghosian & 

Beth Gates-Warren 

Shelley & Mark Bookspan 

Diane Boss 


Cynthia Brown & Arthur Ludwig 

Wendel Bruss 

Michele Brustin 

Suzanne & Peyton Bucy 

Barbara Burger and Paul Munch 

Alison H. Burnett 



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 


Joan & Steven Crossland 

Gregory Dahlen III & 

Christi Walden 

Ms. Jan Davis-Hadley 

Janet Davis 

Janet & Roger DeBard/ 

DeBard Johnson Foundation 

Sheryl & Michael DeGenring 


Margaret & Ronald Dolkart 

Nancy Donaldson 

Elizabeth & Kenneth Doran 

Glenn & Karen Doshay 

Ann & David Dwelley 

Wendy & Rudy Eisler 

Julia Emerson 

Lauren Emma 


Frederika & Dennis Emory 

Nancy Englander 

Bob & Margo Feinberg 





Priscilla Gaines 

Catherine H. Gainey 

Tish Gainey & Charles Roehm 



Sandy & Jerry Gothe 

George H. Griffiths and Olive J. 

Griffiths Charitable Fund 

The Stephen & Carla 

Hahn Foundation 

David Hamilton 

William S. Hanrahan 


Renee & Richard Hawley 

Maison K 

Henry E. Lola Monroe Foundation 

Barbara Hirsch 

Ronda & Bill Hobbs 

Gerhart Hoffmeister 


Hollis Norris Fund 


Natalia & Michael Howe 


Jackie Inskeep 

Karin Jacobson 

Gina & Joseph Jannotta 

Diane Johnson 

Ellen & Peter Johnson 

Elizabeth Karlsberg & Jeff Young 


Mr. James P. Kearns 

Herbert Kendall 


INTERNATIONAL CIRCLE 

Connie & Richard Kennelly 

Jill Dore Kent 


Kum Su Kim & John Perry 

Sally Kinney 

Lynn P. Kirst 

Thomas & Travis Kranz 

Lois S. Kroc 

Chris Lancashire 

Stefanie L. Lancaster Charitable 


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 


Jeffrey McFarland 

Frank McGinity | Debbie Geremia 

Patriicia & William McKinnon 


Sally & George Messerlian 

Robert Miller & Susie Triolo Miller 




Peter L. Morris 


Maryanne Mott 

Russell Mueller 

Mrs. Raymond King Myerson 

Karin Nelson & Eugene Hibbs/ 

Maren Henle 

Fran & John Nielsen 


Ellen Lehrer Orlando & 

Thomas Orlando 

Gail Osherenko & Oran Young 

Patti Ottoboni 

Anne & Daniel Ovadia 


Carol & Kenneth Pasternack 

Samuel F. Pellicori 


Scholarship Foundation 

Patricia Perry 


Ann M. Picker 


Minie & Hjalmar 

Pompe van Meerdervoort 

Carol & Edward Portnoy 


The Roberts Brothers Foundation 

Jacy Romero 

Monica Romero 

Regina & Rick Roney 

Merlin Rossow 



Ada B. Sandburg 

William E. Sanson 


City of Santa Barbara 

Lynn & Mark Schiffmacher 

Nancy Schlosser 

Shanbrom Family Foundation 

Maureen & Les Shapiro 

Anitra Sheen 

Halina W. Silverman 

Eric Small 

Delia Smith 


Barbara & Wayne Smith 


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 


Anne Smith Towbes 

TheTowbes Fund for the 

Performing Arts, a field of 

interest fund of the 

Bicky Townsend 


Steven Trueblood 

Dr. Shirley Tucker 

Carol Vernon & Robert Turbin 

Esther & Tom Wachtell 


Sheila Wald 

Nick & Patty Weber 

Robert Weinman 

Judy L Weisman 


Victoria & Norman Williamson 


George & Beth Wood 


Grace & Edward Yoon 

Patricia Yzurdiaga 

Zegar Family Fund 

Cheryl & Peter Ziegler 

Ann & Dick Zylstra 

Winona Fund 



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 


With special thanks to 

Sullivan Goss 


MUSIC EDUCATION 


The Walter J. & Holly O. Thomson Foundation 

$10,000–$24,999 

Ms. Irene Stone/ Stone Family Foundation 


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

The Henry E. & Lola Monroe Foundation 

$1,000–$9,999 

CAMA Women's Board 


Stefanie L. Lancaster Charitable Foundation 


James P. and Shirley F. McFarland Fund 

of the Minneapolis Foundation 

Performing Arts Scholarship Foundation 


$100–$999 

Becky & William Banning 

William S. Hanrahan 

Lynn P. Kirst 

CAMA Education Endowment 

Fund Income 

$50,000 AND ABOVE 

Mary Lloyd Mills 

$1,000–$4,999 


$1,000–$4,999 

Linda Stafford Burrows – 

This opportunity to experience great musicians excelling is 

given in honor and loving memory of Frederika Voogd 

Burrows to continue her lifelong passion for enlightening 

young people through music and math. 

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

Walter J. Thomson/The Thomson Trust 

$50–$999 

Lynn P. Kirst 

Keith J. Moore 

Performing Arts Scholarship Foundation 

Marjorie S. Petersen 


Volunteer docents are trained by CAMA's Education 

Committee Chair Joan Crossland to deliver this 

program to area schools monthly. Music enthusiasts 

are invited to learn more about the program and 

volunteer opportunities. 

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

more information about the docent program. 

MEMORIAL GIFTS 

IN MEMORY OF 

IN HONOR OF 

Michelle "CoCo" Ogburn 

Margaret & Ronald Dolkart 

Prof. Frederick F. Lange 

MaryAnn Lange 

Deborah Bertling 

Diane Dodds 

Nancy L. Wood 

David Wood 

Mark Trueblood 

Nancy & James Lynn 

Joan Crossland, Nancy Lynn 

and David Malvinni 

Carolyn & Dennis Naiman 

Joan Crossland 

George Porter 

Elizabeth Alvarez 



31

BUSINESS SUPPORTERS 

We thank the many businesses that support 

CAMA's programs and events! 

Laurel Abbott, Berkshire 

Hathaway Luxury Properties 

Alma Rosa Winey 

Babcock Winery 

James P. Ballantine 

Bertling Law Group 

Bibi Ji 

Blue Star Parking 

bouchon 

Brander Vineyard 

Wes Bredall 

Ca' Dario Ristorante 

Camerata Pacifica 

Cebada Wine 

The Cheese Shop 

Chaucer's Books 

Chocolats du CaliBressan 

Custom Printing 

eji experiences 

Eye Glass Factory 

Felici Events 

Finch & Fork 

Flag Factory of 

Santa Barbara 

Frequency Wine 

Gainey Vineyard 

The Good Lion 

Grassini Family Vineyards 

Grimm’s Bluff 

Hogue & Company 

Holdren's Catering 

Inside Wine Santa Barbara 

Kristin Jackson 

Graphic Design 

Jano Printing & Mailworks 

Jardesca 

Le Sorelle 

Lumen Wines 

M4 Interactive 

Maravilla/Senior 

Resource Group 

Mercury Press International 


Montgomery Vineyard 


Olio e Limone/Olio Crudo 

Bar/Olio Pizzeria 

Opal Restaurant & Bar 

Opera Santa Barbara 

Pacific Coast 

Business Times 

Pali Wine Co. 


Scholarship Foundation 

Presqu’ile Winery 



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

Program Book | October 24, 2022 | CAMA presents Juilliard String Quartet | Masterseries at the Lobero Theatre, Santa Barbara

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