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Program Book | December 7, 2022 | CAMA presents Hélène Grimaud, piano | Masterseries at the Lobero Theatre, Santa Barbara

WEDNESDAY, DECEMBER 7, 2022, 7:30PM HÉLÈNE GRIMAUD, piano Direct from Carnegie Hall! French pianist Hélène Grimaud is a deeply passionate and committed musical artist with an original and probing mind who takes no note for granted. Her poetic expression and peerless technical control have drawn comparisons to Martha Argerich and Jorge Bolet. Her contribution to and impact on the world of classical music were recognized by the French government with admission to the Ordre National de la Légion d’Honneur (France’s highest decoration) at the rank of Chevalier (Knight). In her role as a passionate wildlife conservationist, Grimaud established the Wolf Conservation Center in upper New York State, which offers education about wolves, their relationship to the environment, and the human role in protecting their future. PROGRAM: VALENTIN SILVESTROV: Bagatelle I CLAUDE DEBUSSY: Arabesque No.1 VALENTIN SILVESTROV: Bagatelle II ERIK SATIE: Gnossienne No.4 FRÉDÉRIC CHOPIN: Nocturne No.19 in E Minor. Op.72, No.1 ERIK SATIE: Gnossienne No.1 ERIK SATIE: Six pièces froides IV—“Danses de travers No.1: En y regardant à deux fois” CLAUDE DEBUSSY: La plus que lente FRÉDÉRIC CHOPIN: Mazurka in A Minor, Op.17, No.4 FRÉDÉRIC CHOPIN: Waltz No.3 in A Minor, Op.34, No.2 CLAUDE DEBUSSY: “Clair de lune” from Suite bergamasque CLAUDE DEBUSSY: Rêverie ERIK SATIE: Six pièces froides V—“Danses de travers No.2: Passer” ROBERT SCHUMANN: Kreisleriana, Op.16 •

WEDNESDAY, DECEMBER 7, 2022, 7:30PM

HÉLÈNE GRIMAUD, piano

Direct from Carnegie Hall!

French pianist Hélène Grimaud is a deeply passionate and committed musical artist with an original and probing mind who takes no note for granted. Her poetic expression and peerless technical control have drawn comparisons to Martha Argerich and Jorge Bolet. Her contribution to and impact on the world of classical music were recognized by the French government with admission to the Ordre National de la Légion d’Honneur (France’s highest decoration) at the rank of Chevalier (Knight). In her role as a passionate wildlife conservationist, Grimaud established the Wolf Conservation Center in upper New York State, which offers education about wolves, their relationship to the environment, and the human role in protecting their future.

PROGRAM:
VALENTIN SILVESTROV: Bagatelle I
CLAUDE DEBUSSY: Arabesque No.1
VALENTIN SILVESTROV: Bagatelle II
ERIK SATIE: Gnossienne No.4
FRÉDÉRIC CHOPIN: Nocturne No.19 in E Minor. Op.72, No.1
ERIK SATIE: Gnossienne No.1
ERIK SATIE: Six pièces froides IV—“Danses de travers No.1: En y regardant à deux fois”
CLAUDE DEBUSSY: La plus que lente
FRÉDÉRIC CHOPIN: Mazurka in A Minor, Op.17, No.4
FRÉDÉRIC CHOPIN: Waltz No.3 in A Minor, Op.34, No.2
CLAUDE DEBUSSY: “Clair de lune” from Suite bergamasque
CLAUDE DEBUSSY: Rêverie
ERIK SATIE: Six pièces froides V—“Danses de travers No.2: Passer”
ROBERT SCHUMANN: Kreisleriana, Op.16

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HÉLÈNE GRIMAUD

piano

WEDNESDAY, DECEMBER 7, 2022, 7:30PM

Lobero Theatre, Santa Barbara


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HÉLÈNE GRIMAUD, piano

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HÉLÈNE GRIMAUD, piano

Wednesday, December 7, 2022, 7:30PM

Lobero Theatre, Santa Barbara

VALENTIN SILVESTROV (b.1937)

Bagatelle I

CLAUDE DEBUSSY (1862–1918)

Arabesque № 1

SILVESTROV

Bagatelle II

ERIK SATIE (1866–1925)

Gnossienne № 4

FRÉDÉRIC CHOPIN (1810–1849)

Nocturne № 19 in E Minor, Op.72, No.1

INTERMISSION

ROBERT SCHUMANN (1810–1856)

Kreisleriana, Op.16

1. Äußerst bewegt

2. Sehr innig und nicht zu rasch

3. Sehr aufgeregt

4. Sehr langsam

5. Sehr lebhaft

6. Sehf langsam

7. Sehr rasch

8. Schnell und spielend

SATIE

Gnossienne № 1

Six pièces froides IV — « Danses de

travers № 1: En y regardant à deux fois »

DEBUSSY

La plus que lente

CHOPIN

Mazurka in A Minor, Op.17, No.4

Waltz № 3 in A Minor, Op.34, No.2

DEBUSSY

« Clair de lune »

from Suite bergamasque

Rêverie

SATIE

Six pièces froides V — « Danses de

travers № 2: Passer »

Program subject to change.

Keynote Artist Management / 86-90 Paul Street, London, EC2A 4NE

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

Masterseries Season Sponsor: Esperia Foundation

Sponsor: Alison & Jan Bowlus ⫽ Co-Sponsors: CAMA Women’s Board • Nancy & Byron K. Wood

Concert Partners: Stephen Cloud • Raye Haskell Melville • Maureen & Les Shapiro

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CAMA AT THE LOBERO THEATRE • HÉLÈNE GRIMAUD

7


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HÉLÈNE

GRIMAUD

piano

Photo by Mat Hennek

Renaissance woman HÉLÈNE GRIMAUD

is not just a deeply passionate and committed

musical artist whose pianistic accomplishments

play a central role in her

life. She is a woman with multiple talents

that extend far beyond the instrument she

plays with such poetic expression and peerless

technical control. The French artist has

established herself as a committed wildlife

conservationist, a compassionate human

rights activist, and as a writer.

Grimaud was born in 1969 in Aix-en-

Provence and began her piano studies at

the local conservatory with Jacqueline

Courtin before going on to work with Pierre

Barbizet in Marseille. She was accepted

into the Paris Conservatoire at just 13 and

won first prize in piano performance a mere

three years later. She continued to study

with György Sándor and Leon Fleisher until,

in 1987, she gave her well-received debut

recital in Tokyo. That same year, renowned

conductor Daniel Barenboim invited her to

perform with the Orchestre de Paris: this

marked the launch of Grimaud’s musical

career, characterized ever since by concerts

with most of the world’s major orchestras

and many celebrated conductors.

Between her debut in 1995 with

the Berlin Philharmonic under Claudio

Abbado and her first performance with

the New York Philharmonic under Kurt

Masur in 1999—just two of many notable

musical milestones—Grimaud made a

wholly different kind of debut: in upper

New York State she established the Wolf

Conservation Center.

Her love for the endangered species

was sparked by a chance encounter with

a wolf in northern Florida; this led to her

CAMA AT THE LOBERO THEATRE • HÉLÈNE GRIMAUD

9


Celebrating

their 60th Wedding Anniversary

SEPTEMBER 2022

Les & Maureen Shapiro


determination to open an environmental

education center. “To be involved in direct

conservation and being able to put animals

back where they belong,” she says, “there’s

just nothing more fulfilling.” But Grimaud’s

engagement doesn’t end there: she is also

a member of the organization Musicians

for Human Rights, a worldwide network of

musicians and people working in the field

of music to promote a culture of human

rights and social change.

For a number of years she also

found time to pursue a writing career,

publishing three books that have appeared

in various languages. Her first, Variations

Sauvages, appeared in 2003. It was followed

in 2005 by Leçons particulières,

and in 2013 by Retour à Salem, both semiautobiographical

novels.

It is, however, through her thoughtful

and tenderly expressive music-making

that Hélène Grimaud most deeply touches

the emotions of audiences. Fortunately,

they have been able to enjoy her concerts

worldwide, thanks to the extensive tours

she undertakes as a soloist and recitalist.

A committed chamber musician, she has

also performed at the most prestigious

festivals and cultural events with a wide

range of musical collaborators, including

Sol Gabetta, Rolando Villazón, Jan Vogler,

Truls Mørk, Clemens Hagen, Gidon Kremer,

Gil Shaham and the Capuçon brothers. Her

prodigious contribution to and impact on

the world of classical music were recognised

by the French government when she

was admitted into the Ordre National de la

Légion d’Honneur (France’s highest decoration)

at the rank of Chevalier (Knight).

Hélène Grimaud has been an exclusive

Deutsche Grammophon artist since 2002.

Her recordings have been critically acclaimed

and awarded numerous accolades,

among them the Cannes Classical Recording

of the Year, Choc du Monde de la musique,

Diapason d’or, Grand Prix du disque,

Record Academy Prize (Tokyo), Midem

Classic Award and the Echo Klassik Award.

Her early recordings include Credo and

Reflection (both of which feature a number

of thematically linked works); a Chopin and

Rachmaninov Sonatas disc; a Bartók CD on

which she plays the Third Piano Concerto

with the London Symphony Orchestra and

Pierre Boulez; a Beethoven disc with the

Staatskapelle Dresden and Vladimir Jurowski

which was chosen as one of history’s

greatest classical music albums in

the iTunes “Classical Essentials” series;

a selection of Bach’s solo and concerto

works, in which she directed the Deutsche

Kammerphilharmonie Bremen from the piano;

and a DVD release of Rachmaninov’s

Second Piano Concerto with the Lucerne

Festival Orchestra and Claudio Abbado.

In 2010 Grimaud recorded the solo recital

album Resonances, showcasing music

by Mozart, Berg, Liszt and Bartók. This

was followed in 2011 by a disc featuring

her readings of Mozart’s Piano Concertos

Nos.19 and 23 as well as a collaboration

with singer Mojca Erdmann in the

same composer’s Ch’io mi scordi di te?.

Her next release, Duo, recorded with cel-

CAMA AT THE LOBERO THEATRE • HÉLÈNE GRIMAUD

11


list Sol Gabetta, won the 2013 Echo Klassik

Award for “chamber recording of the year”,

and her album of the two Brahms piano

concertos, the First recorded with Andris

Nelsons and the Bavarian Radio Symphony

Orchestra, the Second with Nelsons

and the Vienna Philharmonic, appeared in

September 2013.

This was followed by Water (January

2016), a live recording of performances

from tears become… streams become…, the

critically-acclaimed large-scale immersive

installation at New York’s Park Avenue Armory

created by Turner Prize-winning artist

Douglas Gordon in collaboration with

Grimaud. Water features works by nine

composers: Berio, Takemitsu, Fauré, Ravel,

Albéniz, Liszt, Janáček, Debussy and Nitin

Sawhney, who wrote seven short Water

Transitions for the album as well as producing

it. April 2017 then saw the release of

Perspectives, a two-disc personal selection

Photo by Mat Hennek

12 CAMA'S 104 TH CONCERT SEASON


of highlights from her DG catalogue, including

two “encores”—Brahms’s Waltz in A-flat

and Sgambati’s arrangement of Gluck’s

“Dance of the Blessed Spirits”—previously

unreleased on CD/via streaming.

Grimaud’s next album, Memory, was

released in September 2018. Exploring music’s

ability to bring the past back to life, it

comprises a selection of evanescent miniatures

by Chopin, Debussy, Satie and Valentin

Silvestrov which, in the pianist’s own

words, “conjure atmospheres of fragile

reflection, a mirage of what was—or what

could have been.”

For her most recent recording, The

Messenger, Grimaud created an intriguing

dialogue between Silvestrov and Mozart.

“I was always interested in couplings that

were not predictable,” she explained, “because

I feel as if certain pieces can shed

a special light onto one another.” Together

with the Camerata Salzburg, she recorded

Mozart’s Piano Concerto K.466 and

Silvestrov’s Two Dialogues with Postscript

and The Messenger—1996, of which she

also created a solo version. Mozart’s Fantasias

K.397 and K.475 complete the program.

The Messenger was released in

October 2020.

Hélène Grimaud began the 2022/2023

season with a recital of her Memory recording

in Santa Fe’s Lensic Performing

Arts Center. Her concerts this season include

performances of Brahms’s Piano

Concerto No.1 in D Minor with the Dallas

Symphony Orchestra and Fabio Luisi (October),

Vancouver Symphony Orchestra

and Otto Tausk (November), and St. Louis

Symphony Orchestra and Stéphane Denève

(January); Schumann’s Piano Concerto in A

Minor with Cincinnati Symphony Orchestra

and Louis Langrée (October); finishing the

year with a recital at Carnegie Hall (December).

The new year starts with her European

tour with Camerata Salzburg in Ludwigshafen,

Salzburg, and Turin (February). Followed

by recitals in Vienna, Luxembourg,

Munich, Berlin, and London (March–May)

to name a few.

Hélène Grimaud is undoubtedly a multifaceted

artist. Her deep dedication to her

musical career, both in performances and

recordings, is reflected and reciprocally

amplified by the scope and depth of her environmental,

literary, and artistic interests.

CAMA AT THE LOBERO THEATRE • HÉLÈNE GRIMAUD

13


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


NOTES

ON THE PROGRAM

By Howard Posner

The two Bagatelles by Valentin Silvestrov

are from a set of three published in 2005 as

Op.1, but they are by no means early works.

The Ukrainian composer (now living in Germany

because of the war) was 67 years old

and had a career’s worth of work behind

him when he finally used an opus number.

In his early career Silvestrov was a

committed atonalist, something frowned

on in the Soviet Union, but beginning in

the 1970s he began to transition to a style

based on traditional melody and harmony,

which Silvestrov himself called “kitsch.”

The music culture of the late 20th century

being what it was, his turn toward tonal music

occasioned much discussion, some of

it derisive. It is in that context that he wrote

that his Bagatelles “are little jewels because

they are not encumbered with any kind of

ideological baggage and the creative act

always occurs in a flash.” Played well, the

bagatelles sound like improvisations, but

the score is full of detailed directions about

loudness, slowing down and speeding up,

and pedaling that affect literally every note.

The four pieces on the program by

Claude Debussy span most of the composer’s

career. The Arabesque is one of two that

Valentin Silvestrov

he wrote as early as 1888. Although written

when Brahms and Tchaikovsky were in

their musical primes, it belongs to the 20th

century, with the hallmarks of the signature

Debussy style: rippling arpeggios, sweeping

melodic phrases, and a prominent use

of the sixth tone of the scale that makes the

modality ambiguously major/minor.

La plus que lente dates from 1910,

about a generation later. Its title, “more

than slow,” is a wry reference to the vogue

Photo by Najib Nafid

CAMA AT THE LOBERO THEATRE • HÉLÈNE GRIMAUD

15


Montage Community Concert

Department of Music, UC Santa Barbara and Friends

Sunday February 26, 2023

4pm to 5pm

Marjorie Luke Theatre

Free and open to the public

Sponsor

Elaine F. Stepanek Foundation

16 CAMA'S 104 TH CONCERT SEASON


for the sentimental “slow waltz” in Paris,

and might be taken to mean “the ultimate

slow waltz.” It does not mean that the

piece is to be played particularly slowly.

Debussy “recorded” it on a player piano roll

in 1913, and—even allowing for some inaccuracy

in the process—the performance is

pretty sprightly.

The ubiquitous « Clair de lune »

(“Moonlight”) is from the Suite bergamasque,

which Debussy began in 1890 and

published only in 1905. It is not known how

much he revised it over the years, but one

clue is that « Clair de lune » was originally

titled « Promenade sentimentale ». The final

version’s “Moonlight” title comes from

an 1869 poem by Paul Verlaine, and the music

seems to depict its third stanza:

Rêverie is another early work, dating

from 1890. Debussy was not fond of it, considering

it a sin of his youth when his publisher

decided to print it years later. “I regret

very much your decision to publish Rêverie.

I wrote it in a hurry years ago, purely for material

considerations. It is a work of no consequence

and I frankly consider it to be no

good.” Later generations have disagreed.

The four pieces by Erik Satie on the

program date from the 1890s, when he was

playing piano and conducting in small theatrical

establishments and, if his own statements

are to be believed, avoiding creditors.

He became friends with Debussy, who

called him “a gentle medieval musician lost

in this century.” Debussy later called him

the precursor,” a prescient recognition of

how influential he would become. The two

selected Gnossienes and two selections

from Six pièces froides (Six Cold Pieces)

Au calme clair de lune triste et beau,

Qui fait rêver les oiseaux dans

les arbres

Et sangloter d’extase les jets d’eau…

With the calm moonlight, sad

and lovely

Which makes the birds dream in

the trees

And the plumes of the fountains

weep in ecstasy…

Claude Debussy, 1902

CAMA AT THE LOBERO THEATRE • HÉLÈNE GRIMAUD

17


display Satie’s trademark simple, tuneful

style, as well as his penchant for whimsical

titles. He invented the title Gnossienne,

which may have to do with his interest in

Gnosticism. (He did not actually put that

title on the fourth Gnossienne, which was

untitled until it was published 1968, fortythree

years after his death).

The Six Cold Pieces from 1897 include

three “crooked dances.” The two very similar

crooked dances on this program are

“Looking Twice” and “Go On.” Both crooked

dances and the Gnossiene No.4 are written

without key signatures, time signatures, or

bar lines.

The three pieces by Frédéric Chopin on

the program were likely composed within

a span of about six years. His Opus 17

Mazurkas date from 1832 and 1833, when

he had become established in Paris and

knew he was unlikely to go back to his native

Poland any time soon. As he was leaving

Poland at the end of 1830, an uprising to

throw off Russian control of the country

broke out. It was eventually suppressed,

and Chopin turned out to be one of the

first émigrés in a wave of emigration from

Poland. He never saw his homeland again.

Chopin composed all but six of his

59 known mazurkas after he left Poland,

perhaps out of nostalgia for home. Some

of his mazurkas are so different from the

traditional mazurka—a lively triple-time

folk dance—as to seem a distant recollection

of the dance. The mazurka on this

program is slow, marked lento ma non

troppo, and more dream than dance, its

Erik Satie, circa 1919

harmonies drifting chromatically in a decidedly

non-folksy way.

Chopin’s 19th Nocturne is actually one

of his first, composed in Poland as early

as 1827 but published in 1855, six years

after his death. Like the nocturnes that followed,

it features a singing melody in the

right hand that acquires much ornamental

filigree as the piece proceeds.

The Waltz in A Minor, Op.34 No.2, was

one of a set of three waltzes published

in 1838, although the A-minor waltz may

have been written as early as 1831. It is

an early example of the melancholic, sentimental

valse triste (sad waltz) or valse

lente (slow waltz) that Debussy explored in

La plus que lente.

Robert Schumann’s Kreisleriana was

inspired by a fictional creation of E.T.A.

18 CAMA'S 104 TH CONCERT SEASON


Hoffman (1776–1822), who seems like a

fictional character written by an overly enthusiastic

author unable to make choices.

Hoffman is now known mostly for his fiction,

but he also had a reputation as a composer

of six operas, five piano sonatas, four

chamber works, a symphony, a ballet, incidental

music, and several liturgical pieces.

He was also a noted music critic, known

to this day as the writer who made music

criticism an important genre. Hoffman was

also painter, stagehand, playwright, music

director of a theater and an opera house,

Prussian government official in Warsaw,

and judge in a Berlin court, before he died

of syphilis in 1822.

Hoffman’s stories are the basis not

only of Offenbach’s Tales of Hoffman,

but also Tchaikovsky’s Nutcracker and

Delibes’s Coppelia.

The Hoffman creation that inspired

Schumann was Johannes Kreisler, a fictional

violinist and music director who appears

in three Hoffman novels: Kreisleriana

(1813), The Musical Sufferings of the Kapellmeister

Johannes Kreisler (1815), and

The Life and Opinions of the Tomcat Murr

together with a fragmentary Biography of

Kapellmeister Johannes Kreisler on Random

Sheets of Waste Paper (1822). The last was

exactly what the title described: a cat’s writings

about life written on discarded pages

of a biography of Kreisler, in what might

pass for late-20th-century postmodernism!

Schumann, himself better known as a

music critic than a composer, must have

seen a kindred mind in Hoffman, who died

when Schumann was ten, He must have

seen an even more kindred spirit in the fictional

Kreisler, who was passionate, given

to irreverence expressed in trenchant wit,

and prone to huge mood swings—he seems

to have been what until recently was called

“manic depressive.”

Schumann was all of those things. He

suffered from debilitating depression in

which “my heart pounds sickeningly and I

turn pale…. I often feel as if I were dead.”

He also had manic periods of astonishing

creative productivity, during which he did

much of his composing.

Kreisler and Hoffman were scarcely

the only thing Schumann would have been

thinking of when he composed Kreisleriana

in 1838. There was also Clara Wieck, the

19-year-old daughter of Schumann’s former

piano teacher, a renowned pianist in her

own right, a composer of considerable ability,

and Schumann’s fiancée since the previous

year. When her father refused to let her

marry, they sued for a court order allowing

the marriage. The court would eventually

rule in their favor in 1840, just before Clara

turned 21 and no longer needed parental

consent to marry.

As the court case dragged on, Clara

spent much time concertizing away from

her Leipzig home, which at least allowed

them to exchange correspondence that

her father forbade when she was at home.

Schumann wrote nothing but piano music

during those years. This had actually been

true of his output during all of the 1830s. But

the mid-decade, when Clara and Robert’s

CAMA AT THE LOBERO THEATRE • HÉLÈNE GRIMAUD

19


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.


Robert Schumann

relationship turned romantic, brought a

flood of works that were both inspired by

Robert’s feelings for Clara and geared to her

keen musical intelligence—including major

efforts like the three Sonatas, Carnaval,

the Davidsbündlertänze, the Scenes from

Childhood, the Fantasie in C, and Arabeske,

as well as a good number of lesser ones,

such as the Carnival Jest from Vienna that

he sent to Clara in Paris after she wrote to

ask him for a “something brilliant and easy

to understand,” that was “written for an

audience.”

“I have noticed that my imagination is

never so lively as when it is anxiously extended

toward you,” Robert wrote to Clara

in May 1838. “While waiting for a letter from

you, I composed enough to fill eleven volumes.”

They both knew Schumann was getting

ahead of his audience, and Kreisleriana

was in the vanguard of his musical development

and his emotions. He wrote to her

that he was writing “extraordinary music, at

times mad, at times solemn and dreamy….

You will open your eyes wide when you decipher

it. Do you know, sometimes I have

the notion that I shall end up bursting with

music, the ideas so press and seethe within

me when I dream of our love.”

Kreisleriana is full of abrupt and sometimes

violent contrasts. Its very opening

is not only emotionally turbulent, but unsettled

harmonically and rhythmically (the

notes that are most prominent melodically

are off the beat). The movements that follow

are in the same mold. Dreamy, hauntingly

beautiful sections (the main part of

the second movement and middle section

of the third movement, for example) abut

sections of great agitation.

“Have you played my Kreisleriana?”

Robert wrote to Clara. “Some of the pages

contain a truly savage love.”

“You shock me sometimes,” Clara

wrote back. “I wonder if it is true that this

man will be my husband?”

©2022, Howard Posner

CAMA AT THE LOBERO THEATRE • HÉLÈNE GRIMAUD

21


CAMA’S FUTURE:

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, Jr. 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


MOZART 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.

This season's annual Mozart Award Dinner honors

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

Thank you


CAMA TODAY:

INTERNATIONAL CIRCLE Annual gifts $1,500 and above

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

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

24 CAMA'S 104 TH CONCERT SEASON


ANNUAL GIFTS

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

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 LOBERO THEATRE • HÉLÈNE GRIMAUD

25


CAMA TODAY: ANNUAL GIFTS

MUSICIANS SOCIETY Annual gifts up to $1,000

CAMA thanks our Musicians Society for their annual support.

CONTRIBUTORS

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

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

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

26 CAMA'S 104 TH CONCERT SEASON


MUSIC EDUCATION

$25,000 and above

Elaine F. Stepanek Foundation

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

Lynn Robert Matteson, PhD

Lynn P. Kirst

Mrs. Raymond King Myerson

William Hanrahan

Deborah Bertling

Diane Dodds

Nancy L. Wood

David Wood

Joan Crossland, Nancy Lynn

and David Malvinni

Carolyn & Dennis Naiman

Joan Crossland

George Porter

Elizabeth Alvarez

Stephen J.M. & Anne Morris

CAMA AT THE LOBERO THEATRE • HÉLÈNE GRIMAUD

27


BUSINESS SUPPORTERS

We thank the many businesses that support

CAMA's programs and events!

Laurel Abbott, Berkshire

Hathaway Luxury Properties

Alma Rosa Winey

Babcock Winery

James P. Ballantine

Bertling Law Group

Bibi Ji

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

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