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

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HÉLÈNE GRIMAUD 

piano 

WEDNESDAY, DECEMBER 7, 2022, 7:30PM 

Lobero Theatre, Santa Barbara

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Barbara Foundation 

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AT THE LOBERO THEATRE 

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OCTOBER 24, 2022 

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EXCLUSIVE SPONSOR 

Bitsy & Denny Bacon 

DECEMBER 7, 2022 

HÉLÈNE GRIMAUD, piano 

Sponsor 


Co-Sponsors 

CAMA Women’s Board 

Nancy & Byron K. Wood 

Concert Partners 

Stephen Cloud 


Les & Maureen Shapiro 

MARCH 4, 2023 

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APRIL 24, 2023 

AUGUSTIN 

HADELICH, solo violin 


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MASTERSERIES AT THE LOBERO THEATRE 

SEASON SPONSOR: ESPERIA FOUNDATION 

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 

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 • HÉLÈNE GRIMAUD 

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

HÉLÈNE 

GRIMAUD 

piano 


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 


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- 


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 


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. 


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 


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 


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 


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. 


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 


19


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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 


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 



The Andrew H. 

Burnett Foundation 

Robert & Christine Emmons 


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 


The Towbes Fund for 

the Performing Arts 


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. 


Santa Barbara Bank & Trust 

Nancy & Byron Kent Wood 

CONCERTO PATRONS 

$25,000–$49,999 

Jane Catlett 

Bridget B. Colleary 

Suzanne Faulkner 

Léni Fé Bland 


Joanne C. Holderman 

Hutton Parker Foundation 


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 


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 


The CAMA Women's Board 

Virginia Castagnola-Hunter 

Margo Chapman 

NancyBell Coe & William Burke 

Karen Davidson, M.D. 

Nancyann & Robert Failing 



Priscilla & Jason Gaines 


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 


Betty J. Stephens 


Marilyn Vandever 

Barbara & Gary Waer 

David & Lisa Wolf 

*promised 

Gifts received by September 13, 2022

MOZART SOCIETY 

Rebecca & Peter Adams 





Frank Blue & Lida Light Blue 

Linda Brown 


Virginia Castagnola-Hunter 

Jane Catlett 


Karen Davidson, M.D. 





Priscilla & Jason Gaines 


Lorraine C. Hansen 




Dr. Dolores M. Hsu 


Herbert & Elaine Kendall 


Lynn P. Kirst 

Lois Sandra Kroc 

John Lundegard 

Keith Moore 


Myra & Spencer Nadler 




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

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 



Isabel Bayrakdarian 



Jerry & Geraldine Bidwell 

Edward & Sue Birch 

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 

Dan & Meg Burnham 


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 


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 

Jill Felber & Paul A. Bambach 




Priscilla Gaines 

Catherine H. Gainey 

Tish Gainey & Charles Roehm 

Dorothy & John Gardner 


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 

William H. Kearns Foundation 

Mr. James P. Kearns 

Herbert Kendall 

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 


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 


Jeffrey McFarland 

Frank McGinity | Debbie Geremia 

Patriicia & William McKinnon 

Jocelyne & William Meeker 

Sally & George Messerlian 

Robert Miller & Susie Triolo Miller 

Montecito Bank & Trust 


Stephen J.M. & Anne Morris 

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 

Performing Arts 

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 

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 


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 

Westmont College 

Victoria & Norman Williamson 


George & Beth Wood 


Grace & Edward Yoon 

Patricia Yzurdiaga 

Zegar Family Fund 

Cheryl & Peter Ziegler 

Ann & Dick Zylstra 

Winona Fund 



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 


With special thanks to 

Sullivan Goss 


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 


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 

Westmont College 

$100–$999 

Becky & William Banning 

William S. Hanrahan 

Lynn P. Kirst 

CAMA Education Endowment 

Fund Income 

$50,000 AND ABOVE 

Mary Lloyd Mills 

$1,000–$4,999 


$1,000–$4,999 

Linda Stafford Burrows – 

This opportunity to experience great musicians excelling is 

given in honor and loving memory of Frederika Voogd 

Burrows to continue her lifelong passion for enlightening 

young people through music and math. 

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

Walter J. Thomson/The Thomson Trust 

$50–$999 

Lynn P. Kirst 

Keith J. Moore 

Performing Arts Scholarship Foundation 

Marjorie S. Petersen 


Volunteer docents are trained by CAMA's Education 

Committee Chair Joan Crossland to deliver this 

program to area schools monthly. Music enthusiasts 

are invited to learn more about the program and 

volunteer opportunities. 

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

more information about the docent program. 

MEMORIAL GIFTS 

IN MEMORY OF 

IN HONOR OF 

Michelle "CoCo" Ogburn 

Margaret & Ronald Dolkart 

Prof. Frederick F. Lange 

MaryAnn Lange 

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 


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 


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 


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

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

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