Program Book / CAMA Presents the Chicago Symphony Orchestra with Maestro Riccardo Muti / January 25, 2023, The Granada Theatre, Santa Barbara, 7:30PM

Presenting the world’s finest classical artists since 1919 

CAMA’S 2022/2023 SEASON 

104 th Concert Season 

Riccardo Muti 

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MASTERSERIES at the Lobero Theatre 

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC. 

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SEASON SPONSORSHIP: SAGE PUBLISHING 

Todd Rosenberg Photography 

CHICAGO SYMPHONY 

ORCHESTRA 

RICCARDO MUTI 

Zell Music Director 

WEDNESDAY, JANUARY 25, 2023, 7:30PM 

Granada Theatre, Santa Barbara

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Emeritus Directors 


BOARD OF DIRECTORS 

(As of September 29, 2022) 

ROBERT K. MONTGOMERY 

Chairman 

DEBORAH BERTLING 

Chair-Elect and President, Women's Board 

Rosalind Amorteguy-Fendon 

Todd A. Amspoker 

Marta Babson 

Bitsy Becton Bacon 

Isabel Bayrakdarian 

Andy Chou 

Stephen Cloud 

NancyBell Coe 

Bridget Colleary 

Joan Crossland 

Edward S. DeLoreto 

GEORGE MESSERLIAN 

Vice Chair 

JAN BOWLUS 

Treasurer 

CHRISTINE EMMONS 

Secretary 

Jill Felber 

Raye Haskell Melville 

Judith L. Hopkinson 

Elizabeth Karlsberg 

Frank E. McGinity 

William Meeker 

George Messerlian 

Patti Ottoboni 

Michele Saltoun 

Judith F. Smith 

Nancy L. Wood 

Edward E. Birch 

Robert J. Emmons 

Arthur R. Gaudi 

James H. Hurley, Jr. 

Sara Miller McCune 

Russell S. Bock* 

Dr. Robert M. Failing* 

Mrs. Maurice E. Faulkner* 

Léni Fé Bland* 

Stephen Hahn* 

Dr. Melville H. Haskell, Jr.* 

Mrs. Richard Hellmann* 

Dr. Dolores M. Hsu* 

Herbert J. Kendall* 

Robert Light* 

Mrs. Frank R. Miller, Jr.* 

Mary Lloyd Mills* 

Mrs. Ernest J. Panosian* 

Kenneth W. Riley* 

Andre Saltoun* 

Jan Severson* 

* Deceased 

Administration 

Mark E. Trueblood 

President 

Elizabeth Alvarez 

Director of Development 

Michael Below 

Office Manager/ 

Subscriber Services 

Justin Rizzo-Weaver 

Director of Operations 

2060 Alameda Padre Serra, Suite 201 ⫽ Santa Barbara, CA 93103 ⫽ Tel (805) 966-4324 ⫽ Fax (805) 962-2014 ⫽ info@camasb.org

INTERNATIONAL SERIES 

AT THE GRANADA THEATRE 

SEASON SPONSORSHIP: SAGE PUBLISHING 

OCTOBER 10, 2022 

CITY OF 

BIRMINGHAM 

SYMPHONY 

ORCHESTRA 

Principal Sponsor 

Bob & Val Montgomery 

Sponsor 

CAMA Women’s Board 

Co-Sponsors 

Elizabeth & Andrew Butcher 

Beth & George Wood 

Zegar Family Fund 

MAY 18, 2023 

CURTIS 

SYMPHONY 

ORCHESTRA 

(CURTIS INSTITUTE OF 

MUSIC/PHILADELPHIA) 

Sponsors 

Anonymous 

Alison & Jan Bowlus 

Co-Sponsor 


& Ronald Fendon 

JANUARY 25, 2023 

CHICAGO 

SYMPHONY 

ORCHESTRA 

Primary Sponsors 

Northern Trust 

Anonymous 

CAMA Board of Directors 

Principal Sponsors 

Herbert and Elaine 

Kendall Foundation 

Kum Su Kim & John Perry 

Sponsors 





Co-Sponsors 

Peggy & Kurt Anderson 

Bob Boghosian 

& Beth Gates-Warren 

Dorothy & John Gardner 

The Granada Theatre 

Ellen & John Pillsbury 

FEBRUARY 13, 2023 

FILHARMONIE 

BRNO 

(OF THE CZECH REPUBLIC) 

Sponsors 


Lois S. Kroc 

Shanbrom Family Foundation 

Co-Sponsor 

Anonymous 

Bob Boghosian & 

Beth Gates-Warren 

MAY 28, 2023 

LOS ANGELES 

PHILHARMONIC 

Principal Sponsors 

Mosher Foundation 


Sponsors 

Bitsy & Denny Bacon and 

The Becton Family Foundation 



The Towbes Fund for the 

Performing Arts, a field of interest 

fund of the Santa Barbara Foundation 

George & Judy Writer 

Co-Sponsor 

Robert & Christine Emmons

MASTERSERIES 

AT THE LOBERO THEATRE 

SEASON SPONSORSHIP: ESPERIA FOUNDATION 

OCTOBER 24, 2022 

JUILLIARD STRING 

QUARTET 

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 

LOS ROMEROS 

THE ROMERO 

GUITAR QUARTET 

“THE ROYAL FAMILY OF THE GUITAR” 

Presented by CAMA and 

the Lobero Theatre Foundation 

In Celebration of the Lobero’s 

150th Anniversary 

(February 22, 1873 – February 22, 2023) 


Marta Babson 

APRIL 24, 2023 

AUGUSTIN 

HADELICH, solo violin 


Jocelyne & William Meeker

Remembering 

ANDRE SALTOUN 

Gifts made in Memory of Andre Saltoun 

Helen Arnold 

Melvin Brooks 

Sumner Fein 

Rosalind Amorteguy- 

Fendon & Ronald Fendon 

Eunice & J.Thomas Fly 

Priscilla & Jason Gaines 

Elliot Gross 

Joanne C. Holderman 

Susan Johnston 


Paul Levine 

Nancy Lynn 

Jaclyn Maduff 

Lesli Marasco 


Frank McGinity | 

Debbie Geremia 

Sandra Merwizer 

Jason Saltoun-Ebin 

Stuart Silverman 

Hayley Thompson 

Nancy & Byron Kent Wood 

Patricia Yzurdiaga 

CAMA fondly remembers Andre Meir Saltoun, 

former Board Director and Director Emeritus, 

who was cherished by the Community Arts 

Music Association community. Andre joined 

the CAMA Board in 2005 and served for 

14 years, including as President from 2012 

through 2015. 

Born in Iraq and fluent in French, Arabic 

and English, a teacher encouraged Andre to 

pursue higher education in the United States. 

Andre undertook a harrowing journey which 

included traveling on a coal boat filled with 

unsavory characters from France to Texas. 

A loan from a boat officer enabled Andre to 

get to the East Coast where bridge games 

and washing dishes paid for his successful 

completion of an undergraduate degree at 

the University of North Carolina at Chapel Hill. 

Andre attended the University of 

Wisconsin Law School where he served as 

managing editor of the Wisconsin Law Review. 

Upon graduation, he accepted an offer at the 

first and only international law firm at the 

time, Baker & McKenzie in Chicago. Given 

his language skills and counsel to American 

and French multinationals, Andre worked 

closely with another senior partner, Christine 

Lagarde of Baker & McKenzie, Paris, who currently 

serves as President of the European 

Central Bank. Andre was awarded the French 

Legion of Honor in 1975, the highest decoration 

awarded to a civilian by France, for the 

many years he served as legal counsel to the 

French government in Chicago. 

In the late 1980s Andre moved to San 

Francisco where he met his wife, Michele. As 

they looked forward to Andre’s retirement in 

2005, the couple chose Montecito as their 

home. Andre enjoyed an active life in Santa 

Barbara that included memberships at the 

Santa Barbara Polo and Racquet Club and 

Birnam Wood Golf Club. While Andre served 

as an officer and member of numerous committees 

during his years on the CAMA Board, 

perhaps his greatest contribution was in 

skillfully guiding the process by which CAMA 

decided to move our International Series 

from the Arlington Theatre to the newly renovated 

Granada Theatre in 2008. 

Andre passed away peacefully at his 

Montecito home in July 2020 with his wife, 

Michele, by his side. 

6 CAMA'S 104 TH CONCERT SEASON


MASTERSERIES AT THE GRANADA THEATRE 

SEASON SPONSOR: SAGE PUBLISHING 

CHICAGO SYMPHONY ORCHESTRA 

RICCARDO MUTI Zell Music Director 

Wednesday, January 25, 2023, 7:30PM 

The Granada Theatre, Santa Barbara 

Ludwig van BEETHOVEN (1770–1827) 

Coriolan Overture, Op.62 

BEETHOVEN 

Symphony No.8 in F Major, Op.93 

1. Allegro vivace con brio 

2. Allegretto scherzando 

3. Tempo di menuetto 

4. Allegro vivace 

INTERMISSION 

Anatoly LYADOV (1855–1914) 

The Enchanted Lake, Op.62 

Modest MUSSORGSKY (1839–1881) 

Pictures from an Exhibition 

{orch. Maurice RAVEL (1875–1937)} 

Promenade 

1. Gnomus {Gnome} 

Promenade— 

2. Il vecchio castello {The Old Castle} 

Promenade— 

3. Tuileries (Dispute d'enfants après jeux) 

{Tuileries (Children's Quarrel after Games)} 

4. Bydło {Cattle} 

Promenade— 

5. Балет невылупившихся птенцов 

{Ballet of the Chicks in their Shells} 

6. „Samuel“ Goldenberg und „Schmuÿle“ 

{“Samuel” Goldenberg and “Schmuÿle”} 

7. Limoges. Le marché (La grande nouvelle) 

{Limoges. The Market (The Great News)} 

8. Catacombæ (Sepulcrum romanum)— 

Promenade: Con [sic] mortuis in lingua mortua 

{Catacombs (Roman tomb)—Promenade: 

With the dead in a dead language} 

9. Избушка на курьих ножках (Баба-Яга) 

{The Hut on Hen’s Legs (Baba-Yaga)}— 

10. Богатырские ворота 

(В стольном городе во Киеве) 

{The Bogatyr Gates (In the Capital in Kiev)} 

(“The Great Gate of Kiev”) 

Program subject to change. 

The Chicago Symphony Orchestra’s North American Tour is generously sponsored by the Zell Family Foundation. 

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

International Series Season Sponsor: SAGE Publishing 

Primary Sponsors: Northern Trust • Anonymous • CAMA Board of Directors 

Principal Sponsors: Herbert & Elaine Kendall Foundation • Kum Su Kim & John Perry 

Sponsors: Alison & Jan Bowlus • Edward S. DeLoreto • Bob & Val Montgomery • Michele Saltoun 

Co-Sponsors: Peggy & Kurt Anderson • Bob Boghosian & Beth Gates-Warren 

Dorothy & John Gardner • The Granada Theatre • Ellen & John Pillsbury 

We request that you switch off cellular phones, watch alarms and pager signals during the performance. The photographing 

or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited. 

CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA 

7

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CHICAGO SYMPHONY 

ORCHESTRA 

The Chicago Symphony Orchestra is consistently 

hailed as one of the world’s leading 

orchestras, and in September 2010, 

renowned Italian conductor Riccardo Muti 

became its tenth music director. During 

his tenure, the Orchestra has deepened its 

engagement with the Chicago community, 

nurtured its legacy while supporting a new 

generation of musicians and composers, 

and collaborated with visionary artists. 

The history of the Chicago Symphony 

Orchestra began in 1889, when Theodore 

Thomas, then the leading conductor in 

America and a recognized music pioneer, 

was invited by Chicago businessman 

Charles Norman Fay to establish a symphony 

orchestra here. Thomas’s aim to build 

a permanent orchestra with performance 

capabilities of the highest quality was realized 

at the first concerts in October 1891 

in the Auditorium Theatre. Thomas served 

as music director until his death in January 

1905—just three weeks after the dedication 

of Orchestra Hall, the Orchestra’s permanent 

home designed by Daniel Burnham. 

Frederick Stock, recruited by Thomas 


9

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

to the viola section in 1895, became assistant 

conductor in 1899 and succeeded 

the Orchestra’s founder. His tenure lasted 

37 years, from 1905 to 1942—the longest 

of the Orchestra’s music directors. Dynamic 

and innovative, the Stock years saw the 

founding of the Civic Orchestra of Chicago, 

the first training orchestra in the United 

States affiliated with a major symphony 

orchestra, in 1919. Stock also established 

youth auditions, organized the first subscription 

concerts especially for children 

and began a series of popular concerts. 

Three eminent conductors headed the 

Orchestra during the following decade: Désiré 

Defauw was music director from 1943 

to 1947; Artur Rodzinski assumed the post 

in 1947–48; and Rafael Kubelík led the 

ensemble for three seasons from 1950 to 

1953. The next ten years belonged to Fritz 

Reiner, whose recordings with the Chicago 

Symphony Orchestra are still considered 

performance hallmarks. It was Reiner who 

invited Margaret Hillis to form the Chicago 

Symphony Chorus in 1957. For the five seasons 

from 1963 to 1968, Jean Martinon 

held the position of music director. 

Sir Georg Solti, the Orchestra’s eighth 

music director, served from 1969 until 

1991. His arrival launched one of the most 

successful musical partnerships of our 

time, and the CSO made its first overseas 

tour to Europe in 1971 under his direction, 

along with numerous award-winning recordings. 

Solti then held the title of music 

director laureate and returned to conduct 

the Orchestra for several weeks each season 

until his death in September 1997. 

Daniel Barenboim was named music 

director designate in January 1989, and he 

became the Orchestra’s ninth music director 

in September 1991, a position he held until 

June 2006. His tenure was distinguished by 

the opening of Symphony Center in 1997, 

highly praised operatic productions at Orchestra 

Hall, numerous appearances with 

the Orchestra in the dual role of pianist and 

conductor, twenty-one international tours, 

and the appointment of Duain Wolfe as the 

Chorus’s second director. 

Pierre Boulez’s long-standing relationship 

with the Orchestra led to his appointment 

as principal guest conductor in 1995. 

He was named Helen Regenstein Conductor 

Emeritus in 2006, a position he held until 

his death in January 2016. Only two others 

have served as principal guest conductors: 

Carlo Maria Giulini, who appeared in Chicago 

regularly in the late 1950s, was named 

to the post in 1969, serving until 1972; Claudio 

Abbado held the position from 1982 to 

1985. From 2006 to 2010, Bernard Haitink 

was the Orchestra's first principal conductor. 

Cellist Yo-Yo Ma served as the CSO’s 

Judson and Joyce Green Creative Consultant 

from 2010 to 2019. Hilary Hahn currently 

is the CSO’s Artist-in-Residence, a 

role that brings her to Chicago for multiple 

residencies each season. 

Jessie Montgomery was appointed 

Mead Composer-in-Residence in 2021. She 

follows ten highly regarded composers 

in this role, including John Corigliano and 

Shulamit Ran—both winners of the Pulitzer 


11

Prize for Music. In addition to composing 

works for the CSO, Montgomery curates the 

contemporary MusicNOW series. 

The Orchestra first performed at Ravinia 

Park in 1905 and appeared frequently 

through August 1931, after which the park 

was closed for most of the Great Depression. 

In August 1936, the Orchestra helped 

to inaugurate the first season of the Ravinia 

Festival, and it has been in residence nearly 

every summer since. 

Since 1916, recording has been a significant 

part of the Orchestra’s activities. 

Releases on CSO Resound, the Orchestra’s 

independent recording label, include the 

Grammy Award–winning release of Verdi’s 

Requiem led by Riccardo Muti. Recordings 

by the Chicago Symphony Orchestra and 

Chorus have earned sixty-three Grammy ® 

Awards from the Recording Academy. 




RICCARDO 

MUTI 

conductor 

Riccardo Muti is one of the world’s preeminent 

conductors. In 2010, he became 

the tenth music director of the Chicago 

Symphony Orchestra. Muti’s leadership 

has been distinguished by the strength of 

his artistic partnership with the Orchestra; 

his dedication to performing great works 

of the past and present, including 15 world 

premieres to date; the enthusiastic reception 

he and the CSO have received on national 

and international tours; and eleven 

recordings on the CSO Resound label, 

with three Grammy awards among them. 

In addition, his contributions to the cultural 

life of Chicago—with performances 

throughout its many neighborhoods and at 

Orchestra Hall—have made a lasting impact 

on the city. 

Born in Naples, Riccardo Muti studied 

piano under Vincenzo Vitale at the Conservatory 

of San Pietro a Majella, graduating 

with distinction. He subsequently received 

a diploma in composition and conducting 

from the Giuseppe Verdi Conservatory in 

Milan under the guidance of Bruno Bettinelli 

and Antonino Votto. 

He first came to the attention of critics 

and the public in 1967, when he won 

the Guido Cantelli Conducting Competition, 

by unanimous vote of the jury, in Milan. In 

1968, he became principal conductor of the 

Maggio Musicale Fiorentino, a position he 

held until 1980. In 1971, Muti was invited by 

Herbert von Karajan to conduct at the Salzburg 

Festival, the first of many occasions, 

which led to a celebration of fifty years of 

artistic collaboration with the Austrian festival 

in 2020. During the 1970s, Muti was 

chief conductor of London’s Philharmonia 

Orchestra (1972–1982) succeeding Otto 


13

Klemperer. From 1980 to 1992, he inherited 

the position of music director of the Philadelphia 

Orchestra from Eugene Ormandy. 

From 1986 to 2005, he was music director 

of Teatro alla Scala, and during this 

time, he directed major projects such as the 

three Mozart/Da Ponte operas and Wagner’s 

Ring cycle in addition to his exceptional 

contributions to the Verdi repertoire. 

Alongside the classics, he brought many 

rarely performed and neglected works to 

light, including pieces from the Neapolitan 

school, as well as operas by Gluck, Cherubini 

and Spontini. Poulenc’s Dialogues of the 

Carmelites earned Muti the prestigious Abbiati 

Prize. His tenure as music director of 

Teatro alla Scala, the longest in its history, 

culminated in the triumphant reopening of 

the restored opera house on December 7, 

2004, with Salieri’s Europa riconosciuta. 

Over the course of his extraordinary career, 

Riccardo Muti has conducted the most 

important orchestras in the world: from the 

Berlin Philharmonic to the Bavarian Radio 

Symphony Orchestra and from the New 

York Philharmonic to the Orchestre National 

de France; as well as the Vienna Philharmonic, 

an orchestra to which he is linked by 

particularly close and important ties, and 

with which he has appeared at the Salzburg 

Festival since 1971. 

When Muti was invited to lead the Vienna 

Philharmonic’s 150th-anniversary 

concert, the orchestra presented him with 

the Golden Ring, a special sign of esteem 

and affection, awarded only to a few select 

conductors. In 2021, he conducted the 

Vienna Philharmonic in the New Year’s 

Concert for the sixth time, having previously 

led the concert in 1993, 1997, 2000, 

2004, and 2018. The 2018 recording went 

double platinum, and the 2021 concert 

received the prestigious audience award, 

the Romy Prize in the TV Moment of the 

Year category. 

In April 2003, the French national radio 

channel, France Musique, broadcast a 

“Journée Riccardo Muti,” consisting of fourteen 

hours of his operatic and symphonic 

recordings made with all the orchestras 

he has conducted throughout his career. 

On December 14 of the same year, he conducted 

the long-awaited opening concert of 

the newly renovated La Fenice opera house 

in Venice. Radio France broadcast another 

“Riccardo Muti Day” on May 17, 2018, when 

he led a concert at the Auditorium de la 

Maison de la Radio. 

Muti’s recording activities, already notable 

by the 1970s and distinguished since 

by many awards, range from symphonic 

music and opera to contemporary compositions. 

The label RMMusic is responsible 

for Riccardo Muti’s recordings. 

Muti has received numerous international 

honors over the course of his career. 

He is Cavaliere di Gran Croce of the Italian 

Republic and a recipient of the German Verdienstkreuz. 

He received the decoration of 

Officer of the Legion of Honor from French 

President Nicolas Sarkozy in a private ceremony 

held at the Élysée Palace. He was 

made an honorary Knight Commander of 

the British Empire by Queen Elizabeth II in 


Britain. The Salzburg Mozarteum awarded 

him its silver medal for his contribution to 

Mozart’s music, and in Vienna, he was elected 

an honorary member of the Gesellschaft 

der Musikfreunde, Vienna Hofmusikkapelle 

and Vienna State Opera. The State of Israel 

has honored him with the Wolf Prize in the 

arts. In July 2018, President Petro Poroshenko 

presented Muti with the State Award 

of Ukraine during the Roads of Friendship 

concert at the Ravenna Festival in Italy following 

earlier performances in Kiev. In October 

2018, Muti received the prestigious 

Praemium Imperiale for Music of the Japan 

Arts Association in Tokyo. 

In September 2010, Riccardo Muti became 

music director of the Chicago Symphony 

Orchestra and was named 2010 Musician 

of the Year by Musical America. At 

the 53rd annual Grammy Awards ceremony 

in 2011, his live performance of Verdi’s 

Messa da Requiem with the Chicago Symphony 

Orchestra and Chorus was awarded 

Grammy awards for Best Classical Album 

and Best Choral Performance. In 2011, 

Muti was selected as the recipient of the 

coveted Birgit Nilsson Prize, presented in a 

ceremony at the Royal Opera in Stockholm 

in the presence of King Carl XVI Gustaf and 

Queen Silvia. In 2011, he received the Opera 

News Award in New York City, and he 

was awarded Spain’s prestigious Prince of 

Asturias Prize for the Arts. That summer, 

he was named an honorary member of the 

Vienna Philharmonic and honorary director 

for life of the Rome Opera. In May 2012, he 

was awarded the highest papal honor: the 

Knight of the Grand Cross First Class of 

the Order of St. Gregory the Great by Pope 

Benedict XVI. In 2016, he was honored by 

the Japanese government with the Order 

of the Rising Sun, Gold and Silver Star. In 

2021, Muti received the Great Golden Decoration 

of Honor for Services to the Republic 

of Austria, the highest possible civilian 

honor from the Austrian government. Muti 

has received more than twenty honorary 

degrees from the most important universities 

in the world. 

Passionate about teaching young musicians, 

Muti founded the Luigi Cherubini 

Youth Orchestra in 2004 and the Riccardo 

Muti Italian Opera Academy in 2015. 

Through Le vie dell’Amicizia (The Roads of 

Friendship), a project of the Ravenna Festival 

in Italy, he has conducted in many of 

the world’s most troubled areas in order to 

bring attention to civic and social issues. 

Riccardo Muti’s vast catalog of recordings, 

numbering in the hundreds, ranges 

from the traditional symphonic and operatic 

repertoires to contemporary works. He 

also has written four books: Verdi, l’italiano 

and Riccardo Muti, An Autobiography: First 

the Music, Then the Words, both of which 

have been published in several languages; 

as well as Infinity Between the Notes: My 

Journey Into Music, published in May 2019, 

and The Seven Last Words of Christ: a Dialogue 

with Massimo Cacciari, published in 

2020; both titles are available in Italian. 

www.riccardomuti.com 

www.riccardomutioperacademy.com 


15

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Selah Dance Collective 

© Monie Photography 

© Zach Mendez 

© Zach Mendez 

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© Zach Mendez

NOTES 

ON THE PROGRAM 

By Phillip Huscher 

LUDWIG VAN BEETHOVEN 

Born December 16, 1770; Bonn, Germany 

Died March 26, 1827; Vienna, Austria 

Coriolan Overture, Op.62 

COMPOSED 1807 

FIRST PERFORMANCE March 1807; 

Vienna, Austria 

INSTRUMENTATION two flutes, two 

oboes, two clarinets, two bassoons, two 

horns, two trumpets, timpani, strings 

APPROXIMATE PERFORMANCE TIME 

8 minutes 

Richard Wagner was right to point out that 

Beethoven might as well have written this 

overture for Shakespeare’s tragedy Coriolanus 

as for the play by Heinrich von Collin. 

Unlike Wagner and most concertgoers 

today, Beethoven knew both plays. He admired 

and loved Shakespeare enormously. 

But Collin was a friend of his, and his Coriolan 

had enjoyed considerable popularity 

in the years immediately following its 

first performance in 1802. Beethoven was 

inspired, either by friendship or theater, 

to put something of the story into music. 

Beethoven didn’t write his overture for a 

theatrical performance; he was writing for 

an audience that probably knew Collin’s 

play but was not attending an actual production. 

The first performance was given at 

one of two concerts at the palace of Prince 

Lobkowitz, where it was overshadowed by 

the premieres of the more genial Fourth 

Symphony and the Fourth Piano Concerto. 

The overture and the play were united just 

once in Beethoven’s lifetime, in April 1807, 

at the Burgtheater in Vienna, apparently 

without success. 

The Coriolan Overture is terse and 

strongly knit; it is as compact as anything 

Beethoven had written at the time. 

Beethoven finds enormous power in C minor, 

his favorite minor key. (Sketches for 

his Fifth Symphony, in the same key, were 

already well advanced at the time.) As in 

his Leonore Overture No.3, finished the year 

before, he understood how to manipulate 

the outlines of sonata form to accommodate 

human drama. (Here, only the second 

theme appears in the recapitulation.) 

Wagner described Beethoven’s overture 

as a musical counterpart to the turning 


17

point in Shakespeare’s Coriolanus. Many 

listeners have heard, in its tightly worded 

argument, the conflict between Coriolanus, 

the exiled leader who marches against his 

own people, and his mother Volumnia, who 

pleads for mercy until her son finally yields. 

The main themes readily lend themselves 

to this reading—the first fierce and determined, 

the second earnest and imploring. 

In the play, Coriolanus commits suicide; 

Beethoven’s music disintegrates at the end. 

Beethoven surely identified with Coriolanus’s 

lonely pride, for it marked every day of 

his own life. And, although his tough public 

image and brilliantly triumphant music argue 

otherwise, we now know that he, too, 

fought recurring suicidal tendencies. 

BEETHOVEN 

Symphony No.8 in F Major, 

Op.93 

COMPOSED 1811-1812 

FIRST PERFORMANCE February 17, 1814; 

Vienna, Austria 

INSTRUMENTATION two flutes, two 

oboes, two clarinets, two bassoons, two 

horns, two trumpets, timpani, strings 

APPROXIMATE PERFORMANCE TIME 

27 minutes 

In a life characterized by difficulties—with 

people, work, romance, and more—1812 

may well have been the most difficult year 

Beethoven ever had. In any case, the toll 


was great: in October, shortly after he finished 

his Eighth Symphony, Beethoven 

sank into a serious depression, finding creativity 

a tiresome effort. Over the next two 

years, he wrote only the two cello sonatas, 

Op.102, and a handful of occasional pieces. 

The main problem of 1812 involved 

an unknown woman, who has come to be 

known as the “Immortal Beloved.” Conjecture 

about her identity is one of the favorite 

games of Beethoven scholarship. (In his 

watershed biography of Beethoven, Maynard 

Solomon suggests Amalie Brentano, 

who is the most plausible.) The evidence 

is slight—essentially little more than the 

astonishing letter Beethoven wrote on July 

6 and 7, which was discovered among his 

papers after his death. It’s Beethoven’s only 

letter to a woman that uses the informal German 

du, and, in its impassioned, unsparing 

tone, it tells us much about the composer, if 

nothing at all about the woman in question. 

This wasn’t the last time Beethoven would 

find misery and longing where he sought romance 

and domestic harmony, but it’s the 

most painful case we have record of, and 

it certainly helped to convince him that he 

would remain alone—and lonely—for life. 

The diary he began in late 1812 finds him 

despondent at the failure of his relationships 

and more determined than ever in his 

single-minded dedication to music. It also 

admits thoughts of suicide. 

Beethoven’s Eighth Symphony quickly 

followed his Seventh, and, particularly in 

light of its predecessors, it was misunderstood 

from the start. When Beethoven was 

reminded that the Eighth was less successful 

than his Seventh, he is said to have replied: 

“That’s because it is so much better.” 

Contemporary audiences are seldom the 

best judges of new music, but Beethoven’s 

latest symphony must have seemed a letdown 

at the time, for, after symphonies 

of unexpected power and unprecedented 

length, with movements that include thunder 

and lightning and that lead directly from 

one to another, the Eighth is a throwback to 

an easier time. The novelty of this symphony, 

however, is that it manages to do new 

and unusual things without ever waving the 

flag of controversy. 

The first movement, for example, is of 

modest dimensions, with a compact first 

theme—its first two quick phrases like a 

textbook definition of antecedent-consequent 

(question-and-answer) structure. The 

next subject comes upon us without warning—unless 

two quiet measures of expectant 

chords have tipped us off. The whole 

moves like lightning, and when we hit the 

recapitulation—amid thundering fff timpani, 

with a new singing theme high above the 

original tune, we can hardly believe we’re 

already home. But just when Beethoven 

seems about to wrap things up, he launches 

into a giant epilogue that proves, in no 

uncertain terms, just how far we’ve come 

from the predictable, four-square proportions 

of the works by Haydn and Mozart. 

For early nineteenth-century audiences 

who were just getting used to Beethoven’s 

spacious slow movements, the second 

movement of the Eighth was a puzzle, for 

it’s neither slow nor long. It is also, through 

no fault of its own, nothing like the second 


19

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 


movement of Beethoven’s Seventh Symphony, 

which had been an instant and tremendous 

hit. The incredible nineteenth-century 

practice of inserting that beloved slow 

movement into the Eighth Symphony says 

more about the tastes of earlier generations 

than about any supposed deficiencies 

in Beethoven’s Allegretto. The scherzo that 

follows isn’t a scherzo at all, but a leisurely, 

old-world minuet, giving us all the room and 

relaxation we missed in the Allegretto. As 

always, there’s method in Beethoven’s madness, 

though it was often only the madness 

that got noticed. 

In the context of the composer’s personal 

sorrows of 1812, it’s either astonishing 

or perfectly predictable—depending on 

your outlook on human nature—that the 

finale is one of the funniest pieces of music 

Beethoven ever wrote. The tone is jovial 

from the start—a light, rambunctious 

theme—and the first real joke comes at the 

very end of that theme, when Beethoven 

tosses out a loud unison C-sharp—an odd 

exclamation point for an F-major sentence. 

Many moments of wit follow: tiny whispers 

that answer bold declarations; gaping 

pauses when you can’t help but question 

what will happen next; places where 

Beethoven seems to enjoy tugging on the 

rug beneath our feet. But he saves his best 

punch line for last, and he has been working 

up to it all along. When that inappropriate 

C-sharp returns one last time—as it 

was destined to do, given the incontestable 

logic of Beethoven’s wildest schemes—it’s 

no longer a stumbling block in an F-major 

world, but a gateway to the unlikely key of 

F-sharp minor. It takes some doing to pull 

us back to terra firma: the trumpets begin 

by defiantly hammering away on F-natural, 

and Beethoven spends the last pages endlessly 

turning somersaults through F major, 

until memories of any other sounds are 

banished for good. 

ANATOLY LYADOV 

Born May 11, 1855; 

Saint Petersburg, Russia 

Died August 28, 1914; 

Polïnovka, Novgorod District, Russia 

The Enchanted Lake, Op. 62 

COMPOSED 1909 

Anatoly Lyadov is best known for the music 

he didn’t write. He regularly surfaces 

in music histories not as the composer of 

a handful of exquisitely crafted orchestral 

pieces, including The Enchanted Lake, but 

as the man who blew his chance to write 

The Firebird, which of course turned out to 

be a career-making hit for Igor Stravinsky. 

According to the most familiar—though 

unsubstantiated—version, Lyadov had only 

just gotten around to buying his manuscript 

paper when the first installment of the score 

was due, forcing Sergei Diaghilev, who 

was staging the ballet, to fire him from the 

job. But in fact, Lyadov wasn’t even Diaghilev’s 

first choice—the assignment 

had originally gone to Nikolai Tcherepnin, 

who withdrew—and he declined Diaghilev’s 

offer from the start, for reasons we may 

never adequately understand. 


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.

Anatoly Lyadov 

Early on, Lyadov had earned a reputation 

as a slacker. He regularly cut classes at 

the Saint Petersburg Conservatory—“he 

simply could not be bothered,” said Rimsky- 

Korsakov, who was his teacher and found 

him “irresponsible.” Sergei Prokofiev, who 

later studied with Lyadov and admired him 

greatly, admitted in his memoirs that “Laziness 

was [his] most remarkable feature.” 

But from the start of his career, Lyadov also 

had drawn attention for the boldness and 

orchestral brilliance of his compositions. 

As early as 1873—the time of his first songs, 

eventually published as his Op.1—Mussorgsky 

described him as “a new, unmistakable, 

original, and Russian young talent.” 

Igor Stravinsky, who owed his overnight 

fame to Lyadov’s withdrawing, later 

said he liked Lyadov’s music, but that he 

“could never have written a long and noisy 

ballet like The Firebird.” (“He was more relieved 

than offended, I suspect, when I accepted 

the commission,” Stravinsky said.) 

Throughout his life, Stravinsky was quick 

to defend Lyadov, claiming that he was a 

charming and cultured man—“He always 

carried books under his arm—Maeterlinck, 

E.T.A. Hoffmann, Andersen: he liked tender, 

fantastical things”—and, above all, that he 

was “the most progressive of the musicians 

of his generation.” Lyadov had championed 

Stravinsky’s own early works before others 

saw his genius, and once, in Stravinsky’s 

presence, he defended Scriabin, whose music 

had not yet found an audience. It’s hard 

to know what Stravinsky really thought of 

Lyadov as a composer; he wrote admiringly 

of his sense of harmony and instrumental 

color, but he also called him “short-winded”—that 

is to say, in words that Stravinsky 

could not bring himself to use, a master of 

the miniature. (This was, after all, the era 

of the Big Piece: Mahler’s Sixth, Seventh, 

and Eighth symphonies; Strauss’s Sinfonia 

domestica; and Schoenberg’s Pelleas und 

Melisande all date from around the time Lyadov 

wrote The Enchanted Lake.) 

Lyadov’s catalog is slight: several 

songs and piano pieces, a handful of choral 

compositions, and less than a dozen small 

works for orchestra. His most successful 

compositions are the three brief descriptive 

orchestral pieces based on Russian 

fairy tales—Baba-Yaga, Kikimora, and The 

Enchanted Lake—and they clearly demonstrate 

his mastery, precisely in an art form 

where Stravinsky made little headway. 

L yadov called The Enchanted Lake a 

fable-tableau. “How picturesque it is,” he 

wrote to a friend, “how clear, the multitude 

of stars hovering over the mysteries of the 

deep… only nature—cold, malevolent, and 


23

fantastic as a fairy tale.” Lyadov’s music 

vividly suggests the serenity and delicate 

shadings of the night scene. “One has 

to feel the change of the colors, the chiaroscuro, 

the incessantly changeable stillness 

and seeming immobility.” It may not 

be the music of a composer ideally suited 

for The Firebird, but as a miniature landscape 

of unusual intimacy and finesse, it is 

close to perfection. 

MODEST MUSSORGSKY 

Born March 21, 1839; Karevo, Russia 

Died March 28, 1881; St. Petersburg, Russia 

Pictures from an Exhibition 

(Orchestrated by Maurice Ravel) 

COMPOSED for piano, 1874; orchestrated 

by Maurice Ravel, summer 1922 

When Victor Hartmann died at the age of 

thirty-nine, little did he know that the pictures 

he left behind—the legacy of an undistinguished 

career as artist and architect— 

would live on. The idea for an exhibition 

of Hartmann’s work came from Vladimir 

Stassov, the influential critic who organized 

a show in Saint Petersburg in the spring of 

1874. But it was Modest Mussorgsky, so 

shocked at the unexpected death of his 

dear friend, who set out to make something 

of this loss. “Why should a dog, a horse, 

a rat have life,” he is said to have asked, 

paraphrasing King Lear, “and creatures like 

Hartmann must die?” 

Stassov’s memorial show gave 

Mussorgsky the idea for a suite of piano 

pieces that depicted the composer “roving 

through the exhibition, now leisurely, 

now briskly, in order to come closer to a 

picture that had attracted his attention, 

and at times sadly, thinking of his departed 

friend.” Mussorgsky worked feverishly that 

spring, and by June 22, 1874, Pictures from 

an Exhibition was finished. Mussorgsky 

may well have had an inflated impression 

of Hartmann’s artistic importance (as 

friends often do), but these Pictures guaranteed 

Hartmann a place in history that 

his art alone could never have achieved. 

There’s no record of a public performance 

of Pictures in Mussorgsky’s lifetime, and 

the composer didn’t even play the work on 

his extensive 1879 concert tour, perhaps 

finding it too personal for the stage. It was 

left to Rimsky-Korsakov, the musical executor 

of Mussorgsky’s estate, to edit the 

manuscript and bring Pictures to the light 

of day. 

The thought of orchestrating Pictures 

evidently never occurred to Mussorgsky. 

But it has intrigued musicians ever since 

his death, and over the years several have 

tried their hand at turning Mussorgsky’s 

black-and-white pieces into full color. The 

earliest was that of Rimsky-Korsakov’s 

student, Mikhail Tushmalov, conducted 

(and most likely improved) by the teacher 

himself. (The Chicago Symphony’s first 

performances, in 1920, were of this version.) 

In 1915, Sir Henry Wood, an eminent 

British conductor, produced a version that 

was popular until Maurice Ravel unveiled 

his orchestration in 1922. 

Although Ravel worked from the 


Modest Mussorgsky 

same Rimsky-Korsakov edition of Pictures 

that Tushmalov and Wood used (he had 

tried without success to find a copy of 

Mussorgsky’s original, which wasn’t published 

until 1930), his orchestral version far 

outstrips theirs in the brilliance of its colors 

and its sheer ingenuity. Ravel was already 

sensitive to Mussorgsky’s style from his collaboration 

with Igor Stravinsky on an edition 

of Khovanshchina in 1913, and, since most 

of his own orchestral works started out as 

piano scores, the process of transcription 

was second nature to him. Ravel remained 

as faithful as possible to the original; only in 

the final Great Gate of Kiev did he add a few 

notes of his own to Mussorgsky’s. 

The success of Ravel’s edition inspired 

still further efforts, including one by Leopold 

Stokowski that was popular for many 

years (the Chicago Symphony played it as 

recently as 1998). Mussorgsky’s Pictures 

also has been rescored for rock band, brass 

ensemble, acoustic guitar, massed accordions, 

and even re-arranged for solo piano 

by Vladimir Horowitz. (Essentially a piano 

transcription of Ravel’s orchestration—a 

translation of a translation, in other words— 

Horowitz’s Pictures are far removed, stylistically, 

from Mussorgsky’s). But Ravel’s orchestration 

remains the best-known guide 

to Mussorgsky’s picture collection. 

Mussorgsky chose eleven of Hartmann’s 

works for his set of piano pieces. He 

owned the sketches of Samuel Goldenberg 

and Schmuÿle, which were combined in one 

“picture”; most, though not all, of the other 

works were in Stassov’s exhibition. Some of 

the original pictures have since disappeared. 

(Of the four hundred Hartmann works 

exhibited, less than a hundred have come 

to light; only six of those in Mussorgsky’s 

score can be identified with certainty.) 

Mussorgsky referred to Pictures as 

“an album series,” implying a random, ad 

hoc collection of miniatures, but the score 

is a coherently designed whole, organized 


25

around a recurring theme and judiciously 

paced to progress from short pieces to a 

longer, majestic finale—creating a kind of 

crescendo effect like that of Schumann’s 

Carnaval. Mussorgsky had no use for the 

conventional forms of the earlier classical 

masters—“I am not against symphonies,” 

he once wrote, “just symphonists, incorrigible 

conservatives.” We don’t know when 

Mussorgsky settled on the overall layout of 

his picture series, but a letter he wrote to 

Stassov suggests that he had worked on at 

least the first five in order, and apparently 

had the entire set in mind when he started. 

Mussorgsky begins with a promenade, 

which takes him into the gallery and 

later accompanies him as he walks around 

the room, reflecting a change in mood 

from one picture to another. (Despite 

his girth, Mussorgsky apparently was a 

fast walker—the promenade is marked allegro, 

rather than andante [Italian for “walking”]—and 

Mussorgsky was precise in his 

tempo markings.) 

1. Gnomus. Hartmann’s drawing, 

which has since been lost, was for 

a Christmas tree ornament—“a kind 

of nutcracker, a gnome into whose 

mouth you put a nut to crack,” according 

to Stassov’s commentary 

in the catalog. Mussorgsky’s music, 

with its awkward leaps, bizarre 

harmonies, and slippery melodies, 

suggests the gnome’s “droll movements” 

and “savage shrieks.” 

2. The Old Castle. Two drawings of 

medieval castles are listed in the 

catalog, both sketched while Hartmann 

was in France, just before he 

met Mussorgsky. The music gives 

song to the troubadour standing in 

front of the castle. Mussorgsky’s 

melody, which Ravel memorably 

gives to the alto saxophone, is 

clearly indebted to Russian folk 

music, despite the provenance of 

the castle. 

3. Tuileries. Hartmann lived in Paris 

long enough to get to know the famous 

park with its squabbling children 

and their nurses. 

4. Bydło. Stassov describes a Polish 

wagon (“bydło” is Polish for 

cattle) drawn by oxen. Although 

Mussorgsky wanted the piece to 

begin fortissimo—“right between 

the eyes,” as he told Stassov— 

Rimsky-Korsakov switched to a 

pianissimo opening followed by a 

crescendo to create the illusion of 

the approaching cart and the tread 

of hooves. 

5. Ballet of the Chicks in their Shells. 

Hartmann designed costumes for 

a ballet, Trilbi, in 1871. The music 

depicts a scene where “a group of 

little boys and girls, pupils of the 

Theatre School, dressed as canaries, 

scampered on the stage. Some 

of the little birds were wearing over 

their dresses big eggshells resembling 

breastplates.” 

6. “Samuel” Goldenberg and “Schmuÿle.” 

Mussorgsky owned two drawings 

entitled “A Rich Jew in a Fur Hat” 


and “A Poor Jew,” to which he gave 

proper names. Hartmann, whose 

wife was Polish, visited Sandomierz, 

in southern Poland, in 1868; 

there he painted scenes and characters 

in the Jewish ghetto, including 

these two men, as well as Bydło. 

7. The Marketplace at Limoges. Hartmann 

did more than a hundred 

and fifty watercolors of Limoges 

in 1866, including many genre pictures. 

In the margin of his score, 

Mussorgsky brings the scene to life: 

“Great news! M. de Puissangeout 

has just recovered his cow… Mme 

de Remboursac has just acquired 

a beautiful new set of teeth, while 

M. de Pantaleon’s nose, which is 

in his way, is as much as ever the 

color of a peony.” 

8. Catacombs: Sepulcrum romanum. 

Hartmann, a friend, and a guide 

with a lamp explore underground 

Paris; to their right in Hartmann’s 

watercolor is a pile of skulls. ⫻ 

Promenade: Con [sic] mortuis in 

lingua mortua. At the end of Catacombs, 

Mussorgsky penciled in 

his manuscript: “Con [sic] mortuis 

in lingua mortua” (With the dead in 

a dead language), signaling the 

start of this mournful rendition of 

the promenade. 

9. The Hut on Hen’s Legs (Baba-Yaga). 

Hartmann sketched a clock of 

bronze and enamel in the shape 

of the hut of the witch Baba-Yaga. 

Mussorgsky concentrates not on 

the clock, but on the child-eating 

Baba-Yaga herself, who, according 

to Russian folk literature, lived 

deep in the woods in a hut on hen’s 

legs, which allowed her to rotate to 

confront each approaching victim. 

(Incidentally, Stassov’s first impression 

of Hartmann was of him 

dressed as Baba-Yaga at a masked 

ball in 1861.) 

10. The Great Gate of Kiev. Hartmann 

entered this design in a competition 

for a gateway to Kiev that 

was ultimately called off for lack 

of funds. Hartmann modeled his 

gate on the traditional headdress 

of Russian women, with the belfry 

shaped like the helmet of Slavonic 

warriors. Mussorgsky’s piece, with 

its magnificent climaxes and pealing 

bells, finds its ultimate realization 

in Ravel’s orchestration. 

A word about our title. Pictures at an Exhibition 

has long been the traditional English 

title for this score, but Pictures from an 

Exhibition is a more accurate translation 

of Mussorgsky’s original title in Russian, 

Картинки с выставки. Grove Music, the 

industry standard, also now uses Pictures 

from an Exhibition as the preferred title. 

Phillip Huscher is the program annotator for 

the Chicago Symphony Orchestra. 


27

CHICAGO SYMPHONY ORCHESTRA 

RICCARDO MUTI, Zell Music Director 

Jessie Montgomery, Mead Composer-in-Residence 

Hilary Hahn, Artist-in-Residence 

VIOLINS 

Robert Chen Concertmaster 

The Louis C. Sudler Chair, 

endowed by an anonymous 

benefactor 

Stephanie Jeong 

Associate Concertmaster 

The Cathy and Bill Osborn Chair 

David Taylor 

Assistant Concertmaster * 

The Ling Z. and Michael C. 

Markovitz Chair 

Yuan-Qing Yu 

Assistant Concertmaster * 

So Young Bae 

Cornelius Chiu 

Alison Dalton ‡ 

Gina DiBello ‡ 

Kozue Funakoshi 

Russell Hershow 

Qing Hou 

Matous Michal 

Simon Michal 

Blair Milton ‡ 

Sando Shia 

Susan Synnestvedt 

Rong-Yan Tang § 

Baird Dodge Principal 

Lei Hou 

Ni Mei 

Hermine Gagné 

Rachel Goldstein 

Mihaela Ionescu 

Sylvia Kim Kilcullen 

Melanie Kupchynsky 

Wendy Koons Meir 

Aiko Noda ‡ 

Joyce Noh 

Nancy Park 

Ronald Satkiewicz 

Florence Schwartz 

VIOLAS 

Li-Kuo Chang 

Assistant Principal § 

Catherine Brubaker 

Beatrice Chen 

Youming Chen 

Sunghee Choi ‡ 

Wei-Ting Kuo 

Danny Lai 

Weijing Michal ‡ 

Diane Mues 

Lawrence Neuman 

Max Raimi 

CELLOS 

John Sharp Principal 

The Eloise W. Martin Chair 

Kenneth Olsen 

Assistant Principal 

The Adele Gidwitz Chair 

Karen Basrak 

The Joseph A. and Cecile 

Renaud Gorno Chair 

Loren Brown 

Richard Hirschl 

Daniel Katz 

Katinka Kleijn 

David Sanders 

Gary Stucka 

Brant Taylor 

BASSES 

Alexander Hanna Principal 

The David and Mary Winton 

Green Principal Bass Chair 

Daniel Armstrong 

Daniel Carson 

Robert Kassinger 

Mark Kraemer 

Stephen Lester 

Bradley Opland 

HARP 

Lynne Turner 

FLUTES 

Stefán Ragnar Höskuldsson 

Principal 

The Erika and Dietrich M. Gross 

Principal Flute Chair 

Yevgeny Faniuk 


Emma Gerstein ‡ 

Jennifer Gunn 

PICCOLO 

Jennifer Gunn 

The Dora and John Aalbregtse 

Piccolo Chair 

OBOES 

William Welter Principal 

The Nancy and Larry Fuller 

Principal Oboe Chair 

Lora Schaefer 

Scott Hostetler 

ENGLISH HORN 

Scott Hostetler 

CLARINETS 

Stephen Williamson Principal 

John Bruce Yeh 


Gregory Smith 

E-FLAT CLARINET 

John Bruce Yeh 

BASSOONS 

Keith Buncke Principal 

William Buchman 


Miles Maner 


CONTRABASSOON 

Miles Maner 

HORNS 

David Cooper Principal 

Daniel Gingrich 

Associate Principal 

James Smelser 

David Griffin 

Oto Carrillo 

Susanna Gaunt 

TRUMPETS 

Esteban Batallán Principal 

The Adolph Herseth Principal 

Trumpet Chair, endowed by 

an anonymous benefactor 

Mark Ridenour 


John Hagstrom 

The Bleck Family Chair 

Tage Larsen 

TROMBONES 

Jay Friedman Principal 

The Lisa and Paul Wiggin 

Principal Trombone Chair 

Michael Mulcahy 

Charles Vernon 

BASS TROMBONE 

Charles Vernon 

TUBA 

Gene Pokorny Principal 

The Arnold Jacobs Principal 

Tuba Chair, endowed by 

Christine Querfeld 

TIMPANI 

David Herbert Principal 

The Clinton Family Fund Chair 

Vadim Karpinos 


PERCUSSION 

Cynthia Yeh Principal 

Patricia Dash 

Vadim Karpinos 

James Ross 

LIBRARIANS 

Peter Conover Principal 

Carole Keller 

Mark Swanson 

CSO FELLOW 

Gabriela Lara violin 

ORCHESTRA 

PERSONNEL 

John Deverman 

Director 

Anne MacQuarrie 

Manager, CSO Auditions 

and Orchestra Personnel 

STAGE TECHNICIANS 

Christopher Lewis 

Stage Manager 

Blair Carlson 

Paul Christopher 

Ryan Hartge 

Peter Landry 

Joshua Mondie 

Todd Snick 

EXTRA MUSICIANS 

Bernardo Arias violin 

Grace Browning harp 

Ying Chai violin 

Roger Chase viola 

Ian Ding percussion 

Pauli Ewing violin 

Theodore Gabrielides bass 

Kiju Joh violin 

Kelly Karamanov keyboard 

Min Ha Kim flute 

Isaac Polinsky bass 

James Romain saxophone 

Di Shi viola 

Judy Stone cello 

Jennifer Strom viola 

Tamae Clara Takarabe viola 

Pavel Vinnitsky clarinet 

* Assistant concertmasters are listed by seniority. 

‡ On leave 

§ On sabbatical 

The Paul Hindemith Principal Viola, Gilchrist Foundation, and Louise H. Benton Wagner chairs currently are unoccupied. 

The Chicago Symphony Orchestra string sections utilize revolving seating. Players behind the first desk (first two desks 

in the violins) change seats systematically every two weeks and are listed alphabetically. Section percussionists also are 

listed alphabetically. 

The CSO's music director position is endowed in perpetuity by a generous gift from the Zell Family Foundation 


29

History 

Academy of Ancient Music 

Academy of St Martin 

in the Fields 

Aguilar Lute Quartet of Madrid 

American Ballet Theatre 

American Youth Symphony 

Anonymous 4 

Australian Chamber Orchestra 

Bahia Orchestra Project 

(Núcleos Estaduais de Orquestras 

Juvenis e Infantis da Bahia) 

Bakhor State Folk Dance 

Ensemble from Uzbekistan SSR 

Bali Java Dancers 

Ballet Russe de Monte Carlo 

Barbour Quartet 

Barrère Little Symphony 

Bavarian Symphony Orchestra 

of Munich 

BBC Philharmonic 

BBC Symphony Orchestra 

Beethoven String Quartet 

Belcea Quartet 

Belgian Piano String Quartet 

Berlin Philharmonic Orchestra 

Berlin Radio Symphony Orchestra 

Bolshoi Symphony Orchestra 

Boston Symphony Orchestra 

Brentano Quartet 

Brodetsky Chamber 

Music Ensemble 

Bruckner Orchestra Linz 

Budapest Festival Orchestra 

California Theatre Orchestra 

Camerata Musica-Berlin 

Le Concert des Nations 

La Capella Reial de Catalunya 

Carnegie Hall Jazz Band 

Chicago Symphony Orchestra 

China Philharmonic Orchestra 

Choir of New College Oxford 

Chorus of School Children 

Cincinnati Symphony Orchestra 

City Lights Band 

City of Birmingham 

Symphony Orchestra 

Clerbois Little Symphony 

Cleveland Orchestra 

Col. W. de Basil's Ballets Russes 

de Monte Carlo 

Community Arts 

Association Chorus 

Community Arts Choral Society 

Community Arts Madrigal Octet 

Community Arts Orchestra 

Community Arts String Orchestra 

Community Orchestra of 

Santa Barbara 

Concertgebouw Orchestra of 

Amsterdam 

Contiguglia Brothers, 

Duo-Pianists 

Czech Philharmonic Orchestra 

Dallas Symphony Orchestra 

Danish National 


Detroit Symphony Orchestra 

Dresden Philharmonic Orchestra 

Dresden Staatskapelle 

(Sächsische Staatskapelle Dresden) 

English Baroque Soloists 

English Chamber Orchestra 

The English Concert 

Eroica Trio 

Estonian National Symphony 

Orchestra 

Flonzaley Quartet 

Gewandhaus Orchestra 

of Leipzig 

Gothenburg 


Hancock Ensemble 

Hart House String Quartet 

Helsinki Philharmonic 

Hespèrion XXI 

Hong Kong 

Philharmonic Orchestra 

Houston Symphony Orchestra 

Hungarian National 


Jerusalem Symphony Orchestra 

Jooss European Ballet 

Juilliard String Quartet 

Junior Orchestra 

(Community Arts Association) 

Kafkaz Dance Ensemble 

Kalichstein-Laredo-Robinson Trio 

Kedroff Quartet 

Kirov Orchestra of the Mariinsky 

Theatre/Mariinsky Orchestra 

Kolisch String Quartet 

Krasnayarsk Dance Company 

of Siberia 

Kremerata Baltica 

Lietuva Folk Song and Dance 

Ensemble of Lithuania 

London Chamber Orchestra 

London Philharmonic Orchestra 

London String Quartet 

London Symphony Orchestra 

Los Angeles Chamber Orchestra 

Los Angeles Philharmonic 

Chamber Orchestra 

Los Angeles Philharmonic 

Orchestra (LA Phil) 

Los Angeles Symphony Orchestra 

Martha Graham and Company 

Maurice Faulkner Brass Quintet 

(Department of Music, 

UC Santa Barbara) 

Mazowsze Dance Company 

Menuhin Festival Orchestra 

of London 

Minnesota Orchestra 


Orchestras & Ensembles (1920–2022) 

Montreal Symphony Orchestra 

(Orchestre symphonique 

de Montréal) 

Moscow Philharmonic Orchestra 

Moscow State Radio 


Moscow Virtuosi 

National Philharmonic of Russia 

National Symphony Orchestra 

NDR Symphony Orchestra 

of Hamburg 

Negaunee Conducting Program 

Call-Back Auditions, with 

Philharmonia Orchestra 

New York Philharmonic 

Opera Santa Barbara Chorus 

Orchester der 

Beethovenhalle Bonn 

L'Orchestre du Capitole 

de Toulouse 

Orchestra of the 

Age of Enlightenment 

Orchestra of the 

Eighteenth Century 

Orchestra of the Royal Opera 

House, Covent Garden 

Orchestre de la Suisse Romande 

Orchestre de Paris 

Orchestre National de France 

Orchestre Philharmonique de 

Radio France 

Orpheus Chamber Orchestra 

Orquesta Nacional de España 

Orquesta Sinfónica del Estado 

de México (State Symphony 

of Mexico) 

Osaka Philharmonic Orchestra 

Oslo Philharmonic 

Pasquier Trio 

Performing Arts Scholarship 

Foundation Competition Finals 

Persinger String Quartet 

Philadelphia Orchestra 

Philharmonia Baroque Orchestra 

Philharmonia Hungarica Orchestra 

Philharmonia of the Nations 

Philharmonia Orchestra 

Pittsburgh Symphony Orchestra 

Polish Chamber Orchestra 

Polish National Radio 


Prague Chamber Orchestra 

Prague Symphony 

Pro Arte String Quartet 

Promises, Promises (Musical) 

Radio Symphony Orchestra 

of Berlin 

Roger Wagner Chorale 

Roth String Quartet 

Rotterdam 


Royal Philharmonic Orchestra 

Royal Scottish National Orchestra 

Russian National Orchestra 

Russian Revue 

Saint Paul Chamber Orchestra 

Salzedo Harp Ensemble 

San Francisco Ballet 

San Francisco Symphony 

San Marcos High School 

Madrigal Singers 

Santa Barbara Band 

Santa Barbara Choral Club 

Santa Barbara Symphony 

Brass Quintet 

Schleswig-Holstein 

Festival Orchestra 

School Children's Choruses 

(Community Arts Association) 

Seattle Symphony 

Seoul Philharmonic Orchestra 

Sérgio & Odair Assad, 

Duo-Guitarists 

Shanghai Symphony Orchestra 

SING! Program (Music Academy 

of the West) 

Sofia Philharmonic Orchestra 

I Solisti di Zagreb 

Sonos5winds (Westmont Music) 

State Symphonic Kapelle of 

Moscow (Soviet Philharmonic) 

St. Lawrence String Quartet 

St. Louis Symphony Orchestra 

St. Petersburg Philharmonic 

(Leningrad Philharmonic) 

State Symphony Orchestra 

of Russia (State Symphony 

Orchestra of the U.S.S.R.) 

Symphony Orchestra of the 

Florence Festival 

Tafelmusik Baroque Orchestra 

The Tallis Scholars 

Tetzlaff Quartet 

Tetzlaff-Vogt Duo 

Tokyo Symphony Orchestra 

Toronto Symphony 

UCSB Flute Ensemble 

Utah Symphony Orchestra 

Van der Voort Ensemble 

Vancouver Symphony Orchestra 

Venice Baroque Orchestra 

Vermeer Quartet 

Vienna Symphony Orchestra 

Les Violons du Roy 

Warsaw Philharmonic Orchestra 

WDR Symphony 

Orchestra, Cologne 

Westmont String Trio 

Woodwind Quintet of 

San Francisco 

World's Fair Choirs 

Yunost Ukrainian Dance Ensemble 

ZAWA! 


31

History 

Kazuyoshi Akiyama 

Nikolai Alexeev 

Petr Altrichter 

Vladimir Ashkenazy 

David Atherton 

Avi Avital 

Sir John Barbirolli 

Daniel Barenboim 

Alan Barker 

John Barnett 

George Barrère 

Arturo Basile 

Enrique Bátiz 

Eduard van Beinum 

Joshua Bell 

Jiří Bělohlávek 

André Bernard 

Leonard Bernstein 

Arthur Bliss 

Herbert Blomstedt 

Karl Böhm 

Paolo Bortolameolli 

Leon Botstein 

Julian Brodetsky 

Frans Brüggen 

Anshel Brusilow 

Semyon Bychkov 

Miltiades Caridis 

Ricardo Castro 

Riccardo Chailly 

Elim Chan 

Carlos Chávez 

Lew Christensen 

Myung-Whun Chung 

Elisa Citterio 

Georges (Roger) Clerbois 

Léon Clerbois 

Anita Cochran 

Frederick A. “Fritz” Cohen 

Ross Collins 

Dennis Russell Davies 

Sir Peter Maxwell Davies 

Andrew Davis 

Sir Colin Davis 

Sir Andrew Davis 

Christoph von Dohnányi 

Antal Doráti 

Sir Edward Downes 

Gustavo Dudamel 

Charles Dutoit 

Richard Egarr 

Sixten Ehrling 

Henry Eichheim 

Akira Endo 

Philippe Entremont 

Mark Ermler 

Christoph Eschenbach 

Jon Faddis 

Jill Felber 

Peter Feranec 

János Ferencsik 

Arthur Fiedler 

Iván Fischer 

Frank Fisher 

Anatol Fistoulari 

Angeleita Floyd 

Lukas Foss 

Lawrence Foster 

Justus Frantz 

Rafael Frühbeck de Burgos 

Sir John Eliot Gardiner 

Daniele Gatti 

Valery Gergiev 

Sir Alexander Gibson 

Alan Gilbert 

Carlo Maria Giulini 

Nikolai Gogotzky 

Walter Goldschmidt 

Igor Golovchin 

Jan Grabia 

Hans Graf 

Mirga Gražinytė-Tyla 

Harold Gregson 

Steven Gross 

Bernard Haitink 

Daniel Harding 

Sidney Harth 

Walter Hendl 

Adam Hickox 

Christopher Hogwood 

Christine Hollinger 

Louis Horst 

Jakub Hrůša 

Signor Indreani 

Konstantin Iliev 

José Iturbi 

Mariss Jansons 

Neeme Järvi 

Paavo Järvi 

Eugen Jochum 

Armin Jordan 

Vladimir Jurowski 

Jeffrey Kahane 

Okku Kamu 

Herbert von Karajan 

Jacek Kaspszyk 

Kevin Kelly 

Eri Klas 

Otto Klemperer 

Paul Kletzki 

Zoltán Kocsis 

Kazimierz Kord 

Gidon Kremer 

Josef Krips 

Karl Krueger 

Rafael Kubelik 

Efrem Kurtz 


Conductors & Directors (1920–2022) 

Jeanne Lamon 

John Lanchbery 

Erich Leinsdorf 

Daniel Lewis 

Henry Lewis 

Jesús López-Cobos 

Fabio Luisi 

Lorin Maazel 

Sir Charles Mackerras 

Jerzy Maksymiuk 

Sir Neville Marriner 

Jean Martinon 

Kurt Masur 

Bobby McFerrin 

Nicholas McGegan 

Zubin Mehta 

Yehudi Menuhin 

Dimitri Mitropoulos 

Pierre Monteux 

Ludovic Morlot 

Charles Munch 

Earl Bernard Murray 

Riccardo Muti 

Kent Nagano 

Daniel Newman-Lessler 

Jonathan Nott 

Eugene Ormandy 

Eiji Oue 

Seiji Ozawa 

Murray Perahia 

Vasily Petrenko 

Peter Phillips 

Ryszard Pierzchala 

Trevor Pinnock 

Michel Plasson 

Mikhail Pletnev 

Valery Polyansky 

Georges Prêtre 

André Previn 

Kostis Protopapas 

Robert Quinney 

Sir Simon Rattle 

Lyle R. Ring 

David Robertson 

Mendi Rodan 

Artur Rodziński 

Walter Henry Rothwell 

Gennady Rozhdestvensky 

Victor de Sabata 

Esa-Pekka Salonen 

Carlos Salzedo 

Gerhard Samuel 

Sir Malcolm Sargent 

Jordi Savall 

Wolfgang Sawallisch 

Thomas Schippers 

Hans Schmidt-Isserstedt 

Georg Schnéevoigt 

Gerard Schwarz 

Hans Schwieger 

Joseph Silverstein 

Calvin Simmons 

Giuseppe Sinopoli 

Stanislaw Skrowaczewski 

Leonard Slatkin 

Václav Smetáček 

Sir Georg Solti 

Ignat Solzhenitsyn 

Thomas Søndergård 

Vladimir Spivakov 

William Steinberg 

Leopold Stokowski 

Igor Stravinsky 

Walter Susskind 

Leoš Svárovský 

Yevgeny Svetlanov 

Hans Swarowsky 

George Szell 

Yuri Temirkanov 

Carolyn Teraoka-Brady 

Michael Tilson Thomas 

Richard Tognetti 

Bramwell Tovey 

Molly Turner 

Antoni (Anthony) Van der Voort 

André Vandernoot 

Osmo Vänskä 

Emmanuel Villaume 

Hans Vonk 

Edo de Waart 

Julian Wachner 

Roger Wagner 

Alfred Wallenstein 

Bruno Walter 

Christopher Warren-Green 

Roderick White 

Antoni Wit 

Bohdan Wodiczko 

Long Yu 

Christian Zacharias 

Carlo Zecchi 

Pinchas Zukerman 


33

History 

Timothy Accurso, piano 

Isidor Achron, piano 

Joaquín Achúcarro, piano 

Harry Adaskin, violin 

Thomas Adès, piano 

Katrina Agate, cello 

Esequiel Aguilar, laudín 

Guillermo Aguilar, tenor 

Pepe Aguilar, laudete 

Elisa Aguilar, laud (lute) 

Paco Aguilar, laudón 

Pierre-Laurent Aimard, piano 

Solon Alberti, piano 

Elizabeth Alexander, piano 

Dmitri Alexeev, piano 

Madame Louise Alvar, voice 

John Amadio, flute 

Misha Amory, viola 

Marian Anderson, contralto 

Claudia Anderson, flute 

and alto flute 

Piotr Anderszewski, piano 

Leif Ove Andsnes, piano 

Jeno Antal, violin 

Valentina (Yushny-)Arenzwari, 

dance 

Patricia Jennings Armstrong, 

soprano 

Claudio Arrau, piano 

Litha Ashforth, soprano 

Shmuel Ashkenasi, violin 

Frederick Ashton, dance 

Odair Assad, guitar 

Sérgio Assad, guitar 

Victor Asunción, piano 

Herbert Ausman, trombones 

Florence Austral, soprano 

Avi Avital, mandolin 

Emanuel Ax, piano 

Joy Babcock, violin 

Gina Bachauer, piano 

Badev. Georgi, violin 

Zlatko Baloković, violin 

Artur Balsam, piano 

Giuseppe Bamboschek, piano 

Lyell Barbour, piano 

Helen Manchee Barnett, piano 

and soprano 

Howard Barr, piano 

George Barrère, flute 

Manuel Barrueco, guitar 

Cecilia Bartoli, mezzo-soprano 

Sara Bashore, violin 

Werner Bass, piano 

Antonio Bassi, violin 

Margaret Batjer, violin 

Kathleen Battle, soprano 

Wolf-Dieter Batzdorf, violin 

Harold Bauer, piano 

Jean-Efflam Bavouzet, piano 

Emanuel Bay, piano 

Isabel Bayrakdarian, soprano 

Thelma Beach, violin 

Mebane Beasley, bass 

Rachel Beckett, recorder 

Corina Belcea, violin 

Joshua Bell, violin 

Nicola Benedetti, violin 

and director 

André Benoist, piano 

Boris Berezovsky, piano 

André Bernard, trumpet 

Leonard Bernstein, piano 

Molly Bernstein, piano 

Deborah Bertling, soprano 

Adolfo Betti, violin 

Pavlo Beznosiuk, violin piccolo 

Edwin Biltcliffe, piano 

Dorothy Bird, dance 

Jonathan Biss, piano 

David Blackadder, trumpet 

Geraldine Blackburn, voice 

Dixie Blackstone, violin 

Milton Blackstone, viola 

Steven Blier, piano 

Howard Bliss, cello 

Arthur Bliss, piano 

Michele Bloch, clarinet 

Roger Bobo, tuba 

Nina Bodnar, violin 

Jorge Bolet, piano 

Elisso Bolkvadze, piano 

Danny Bond, bassoon 

Alexander Borisoff, cello 

Nathalie Boshko, violin 

Ian Bostridge, tenor 

Shibley Boyes, piano 

Lubomír Brabec, guitar 

Alexander Brailowsky, piano 

Jens Harald Bratlie, piano 

David Breidenthal, bassoon 

Alfred Brendel, piano 

Carter Brey, cello 

Arthur Briegleb, horns 

Anthony Briglio, violin 

Patricia Brinton, soprano 

Leila Barlow Briscoe, soprano 

Albert Broad, tenor 

Dorothy Innis Bromfield, soprano 

Yefim Bronfman, piano 

Ilya Bronson, cello 

Lawrence Brown, piano 

John Browning, piano 

Frank de Bruine, oboe 


Soloists & Recitalists (1920–2022) 

(Page 1 of 4) 

Theo Bruins, piano 

Anshel Brusilow, violin 

Rudolf Buchbinder, piano 

Fernando Bujones, dance 

Leslie Cain, piano 

Christine Cairns, mezzo-soprano 

Alice Brandon Caldwell, piano 

May Hogan Cambern, harp 

Mary Cameron, piano 

Serena Canin, violin 

Renaud Capuçon, violin 

Gautier Capuçon, cello 

Grazia Carbone, contralto 

Kathryn Carlson, cello 

Sadie Carlston, violin 

Giuliano Carmignola, violin 

Zita Carno, organ 

Molly Carr, viola 

Herbert Carrick, piano 

Margaret Huston Carrington, 

soprano 

Ardis Carter, contralto 

Robert Casadesus, piano 

Pablo Casals, cello 

Gaspar Cassadó, cello 

John Cerminaro, horn 

Mario Chamlee, tenor 

Roger Chase, viola 

Chee-Yun, violin 

Edith Chen, piano 

Xiaoduo Chen, soprano 

Ching-Yun Chen, piano 

Silvia Chiesa, cello 

Seong-Jin Cho, piano 

Krzysztof Chorzelski, viola 

Dorothea Chryst, soprano 

Kyung-Wha Chung, violin 

Myung-Wha Chung, cello 

Myung-Whun Chung, piano 

Sergio Ciomei, piano 

McAllister Clarke, bass 

Beth Clerbois, violin and viola 

Caro Clerbois, viola 

Dyna Clerbois, mezzo-soprano 

Georges (Roger) Clerbois, piano 

Léon Clerbois, voice 

Van Cliburn, piano 

Eben Coe, baritone 

F. A. Cohen, piano 

Oscar Colcaire, tenor 

Community Arts Madrigal Octet 

John Contiguglia, piano 

Richard Contiguglia, piano 

Anita Cook, piano 

Blake Cooper, tuba 

Ronald Copes, violin 

Christopher Costanza, cello 

Robert Cowart, english horn 

Henry Cowell, piano 

Richard Crooks, tenor 

Paul Crossley, piano 

Ruth Cunningham, voice 

Gretl Curth, percussion 

K. Dadev, doire 

Owen Dalby, violin 

Dobrinin Damansky, dance 

E. Harold Dana, baritone 

David Daniels, countertenor 

Iwan d'Archambeau, cello 

Hyman Davidson, viola 

Julie Davies, soprano 

Arax Davtian, soprano 

Shirley Day, soprano 

William Dazeley, baritone 

Henri De Busscher, oboe 

Rohan De Silva, piano 

Kati Debretzeni, violin 

James Decker, horns 

Henri Deering, piano 

Robert deMaine, cello 

Steven DeMuth, baritone 

I. K. Denissoff, tenor 

Carrie Dennis, viola 

Michelle DeYoung, 

mezzo-soprano 

Andrea Di Maggio, flute 

Neil Di Maggio, piano 

Misha Dichter, piano 

Glenn Dicterow, violin 

Andrea DiMaggio, flute 

and piccolo 

Robert DiVall, trumpet 

Jaroff Dobrinin, dance 

Lester Donohue, piano 

Albert van Doorn, cello 

Celius Dougherty, piano 

George Drexler, flute 

Estelle Heartt Dreyfus, contralto 

Constance Dreyfus, flute 

Stanley Drucker, clarinet 

Wenwen Du, piano 

Suzanne Duffy, flute and piccolo 

Katherine Duke, soprano 

Ethylemae Dunton, soprano 

Samuel Dushkin, violin 

L. Dzbak, dance 

G. Dzhuraeva, dance 

Ku Ebbinge, oboe 

Jared Eben, piano 

José Echaniz, piano 

Nelson Eddy, baritone 

Richard Egarr, harpsichord 

James Ehnes, violin 

Susanne Ehrhardt, 

soprano blockflute 


35

History 

Robert Ehrlich, recorder 

Henry Eichheim, violin 

Ethel Roe Eichheim, piano 

Henny Ekstrom, contralto 

Philippe Entremont, piano 

M. Ergasteva, dance 

Robert Clipper Erickson, piano 

Eroica Trio 

Philip Evans, piano 

Wilbur Evans, baritone 

Charles Warwick Evans, cello 

Jon Faddis, trumpet 

Naghmeh Farahmand, 

percussion 

Trey Farrell, oboe 

Roberta Endicott Faxon, soprano 

G. Fazyldzhanova, dance 

Jill Felber, flute and alto flute 

Lydia Ferguson, mezzo-soprano 

Émile Férir, viola 

François Fernández, violin 

Walter Ferner, cello 

Christian Ferras, violin 

Mark Fewer, violin 

Philip Ficsor, violin 

Montserrat Figueras, soprano, 

voice, and cithara 

Nathan Firestone, viola 

Rudolf Firkusny, piano 

Kirsten Flagstad, soprano 

Renée Fleming, soprano 

Ingrid Fliter, piano 

Charles Foidart, viola 

Michel Fokine, choreography, 

scenes, and dance 

Manuel Forcano, narrator 

Louis Ford, violin 

Amanda Forsyth, cello 

Chris Fossek, guitar 

Samson François, piano 

Pamela Frank, violin 

Justus Frantz, piano 

Volerie Salathe Freeman, soprano 

Nelson Freire, piano 

Adolphe Frezin, cello 

Povla Frijsh, soprano 

David Frisina, violin 

Christian Funke, violin 

Rosemary Furniss, violin 

Ossip Gabrilowitsch, piano 

Anthony Garcia, percussion 

Chester Garden, piano 

Will Garroway, piano 

Jacques Gasselin, violin 

Bert Gassman, oboe 

Lisa Gasteen, soprano 

Édouard Gendron, piano 

Marsha Genensky, voice 

Alban Gerhardt, cello 

Kirill Gerstein, piano 

Brenna Giacchino, string bass 

Dusolina Giannini, soprano 

Donna Gibbs, soprano 

Terra Giddens, mezzo-soprano 

Walter Gieseking, piano 

J. J. Gilbert, flute 

Anne Diener Giles, flute 

Albert Gillette, baritone 

Désiré Gilson, flute 

Bronislaw Gimpel, violin 

Matthias Goerne, baritone 

Miwa Gofuku, piano 

Mona Golabek, piano 

Raphael Gomez, dance 

Richard Goode, piano 

Julia Gooding, soprano 

Mrs. Clay Goodloe, soprano 

Alan Goodman, bassoon 

Emilio de Gogorza, baritone 

Gary Graffman, piano 

Martha Graham, dance 

Susan Graham, mezzo-soprano 

Donald Green, trumpets 

Cynthia Gregory, dance 

Harold Gregson, piano 

Myrtle Gregson, mezzo-soprano 

Ursula Greville, soprano 

Oscar Griffiths, baritone 

Hélène Grimaud, piano 

Benjamin Grosvenor, piano 

John Guarnieri, tenor 

Janet Guggenheim, piano 

Qiele (Cello) Guo, cello 

Michael Gurevich, violin 

Gulia Gurevich, violin 

Mark Gutierrez, piano 

Laura Hackstein, violin 

Augustin Hadelich, violin 

Noelle Hadsall, piano 

Hilary Hahn, violin 

Matt Haimovitz, cello 

Laurent Halleux, violin 

Ella Rose Halloran, piano 

Boris Hambourg, cello 

Zachary Hamilton, viola 

Pierre Hamon, ney, gaita, 

and flutes 

Håkan Hardenberger, trumpet 

Raymond Harmon, tenor 

Lynn Harrell, cello 

Lucas Harris, lute, theorbo, 

and guitar 

Sidney Harth, violin 

William Hartshorn, narrator 



(Page 2 of 4) 

Hanns Hastings, 

musical accompaniment 

Erick Hawkins, dance 

Haydn Trio 

Roland Hayes, tenor 

Sam Haywood, piano 

Hein Heckroth, costumes 

Desmond Heeley, costumes 

Jascha Heifetz, violin 

Benar Heifetz, cello 

Eero Heinonen, piano 

Walter Helfer, composer 

and piano 

Susan Hellauer, voice 

Frans Helmerson, cello 

Nino Herschel, piano 

Manfred Herzog, cello 

Dame Myra Hess, piano 

Adriane Hill, bass flute 

Raymond C. Hill, bass 

Takashi Hironaka, piano 

Jan Hlinka, viola 

Lester Hodges, piano 

Owen W. Hoffman, english horn 

Ludwig Hoffmann, piano 

Josef Hofmann, piano 

Hartmut Höll, piano 

Carroll Hollister, piano 

Jacques Holtman, violin 

Boyde Hood, trumpets 

Florence Hooper, violin 

Paul Horn, flute 

Marilyn Horne, soprano 

Jacqueline Horner-Kwiatek, voice 

Vladimir Horowitz, piano 

Louis Horst, piano 

Russell Horton, tenor 

Hans Horwitz, piano 

Ho-Te-Ma-We, mezzo-soprano 

Sir Stephen Hough, piano 

Laura Lou Houghton, recitation 

Peter Howard, cello 

Judith Howarth, soprano 

Annis Stockton Howell, voice 

Hradil Antonin, concertmaster 

Bronislaw Huberman, violin 

Mrs. Lafayette M. Hughes, 

mezzo-soprano 

J. F. Hurlbut, tenor 

Brian Hwang, violin 

Alex Iles, trombone 

Ish-Te-Opi, baritone 

Eugene Istomin, piano 

José Iturbi, piano 

Mario Ivelja, string bass 

Maria Ivogün, soprano 

Paul Jacobs, piano 

Sascha Jacobsen, violin 

Tasso Janopoulo, piano 

Gundula Janowitz, soprano 

J. Jaroff, dance 

Resnik Javorsky, dance 

Marc Johnson, cello 

Irma Leigh Johnstone, violin 

Joela Jones, piano 

Gwyn Hughes Jones, tenor 

Warren Jones, piano 

Leila Josefowicz, violin 

Youjin Jung, violin 

Jeffrey Kahane, harpsichord 

and piano 

Joseph Kalichstein, piano 

Gilbert Kalish, piano 

Chun-Wei Kang, piano 

Sheku Kanneh-Mason, cello 

Harry Kaplun, cello 

Grace Kaplun, piano 

T. F. Kasakoff, tenor 

Alfred Kastner, harp 

Martin Katz, piano 

Leonidas Kavakos, violin 

Lüwa Ke, soprano 

N. N. Kedroff, baritone 

C. N. Kedroff, bass 

Hannes Keller, piano 

Wilhelm Kempff, piano 

Nigel Kennedy, violin 

Olga Kern, piano 

Muriel Kerr, piano 

Sergey Khachatryan, violin 

Felix Khuner, violin 

Hans Kindler, cello 

Albert King, piano 

Natasha Kislenko, piano 

Otto Klemperer, piano 

Jennifer Kloetzel, cello 

Marjorie Knapp, violin 

Edith Knox, piano 

Paul Kochanski, violin 

Zoltán Kocsis, piano 

Varoujan Kodjian, violin 

Robert Koenig, piano 

Neltha Koke, mezzo-soprano 

Rudolf Kolisch, violin 

Madison Kolkow, flute 

Konrad Kono, piano 

Nina Koshetz, soprano 

P. Kosmowskaja, dance 

Manfredo Kraemer, violin 

Boris Krajný, piano 

Gidon Kremer, violin 

Géza de Kresz, violin 

Joel Krosnick, cello 

Jenna Ku, flute 


37

History 

Jan Kubelik, violin 

Ernest Kubitschek, bassoon 

Susan Kuehn, mezzo-soprano 

Elisabeth Kufferath, violin 

L. Kosmowskaja, dance 

Katia Labèque, piano 

Marielle Labèque, piano 

Lang Lang, piano 

Jaime Laredo, violin 

Alicia de Larrocha, piano 

Hulda Lashanska, soprano 

Ivan Law, cello 

Mark Lawrence, trombone 

William Lawrence, piano 

Erik Lawrence, piano 

Michaela Laza, soprano 

Antoine Lederlin, cello 

Christine Lee, piano 

Karis Lee, viola 

Nina Lee, cello 

Lotte Lehmann, soprano 

Eugene Lehner, viola 

Dobrinin Lelik, dance 

Lelik and Orlik, dance 

Ronald Leonard, cello 

Vincent Lertchareonyong, piano 

Lorin Levee, clarinet 

James Levey, violin 

Igor Levit, piano 

Richard Levitt, tenor 

Mischa Levitzki, piano 

Jon Lewis, trumpet 

George Li, piano 

Buyun Li, piano 

Jia Li, pipa 

Theo Lieven, piano 

Ellie Lim, violin 

Cho-Liang Lin, violin 

Joseph Lin, violin 

Valentina Lisitsa, piano 

Judy Loman, harp 

Sinclair Lott, horn 

Felicity Lott, soprano 

Clifford Lott, bass 

Jack Lowe, piano 

Jerome Lowenthal, piano 

Pierre Luboschutz, piano 

Madame Lea Luboshutz, violin 

Cassandra Luckhardt, 

viola da gamba 

Nikolai Lugansky, piano 

Joseph Lulloff, saxophone 

Radu Lupu, piano 

Andrew Lvoff, violin 

Robert Maas, cello 

Madame Sugi Machin, soprano 

Alison Mackay, string bass 

Archibald MacLeish, libretto 

Marie Hughes MacQuarrie, harp 

Teiko Maehashi, violin 

Nikita de Magaloff, piano 

Mischa Maisky, cello 

Lily Maisky, piano 

Valerie Malvinni, violin 

Sofia Malvinni, violin 

David Malvinni, guitar 

Franco Mannino, piano 

Carol Ann Manzi, soprano 

Maraca2, percussion 

Silvia Marcovici, violin 

Mark Markham, piano 

Elinor Marlo, mezzo-soprano 

Helena Marsh, contralto 

Catherine Marshall, bass flute 

Malcolm Martineau, piano 

Giovanni Martinelli, tenor 

Anthony Marwood, violin 

Inoue Masaoki, violin 

Sophie Maslow, dance 

John Mason, horn 

Louise E. Massey, soprano 

Denis Matsuev, piano 

Margaret Matzenauer, 

mezzo-soprano 

Charles Maxtone-Smith, organ 

Mrs. William Maxwell, piano 

Edwin McArthur, piano 

Paul McCoole, piano 

Monique McDonald, soprano 

Robert McDuffie, violin 

Bobby McFerrin, voice 

Rob Roy McGregor, trumpet 

Frank McGuire, bodhrán 

Dustin McKinney, trumpet 

Sylvia McNair, soprano 

Heinz Medjimorec, piano 

Kathryn Meisle, contralto 

Meng Meng, soprano 

Yehudi Menuhin, violin 

Jeremy Menuhin, piano 

Nan Merriman, mezzo-soprano 

Darius Milhaud, piano 

Nathan Milstein, violin 

Shlomo Mintz, violin 

Leopold Mittmann, piano 

Alexander Mogilevsky, piano 

Pierre Moirandat, recitation 

Nicolas Moldavan, viola 

Ferenc Molnar, viola 

Gui (Guillaume) Mombaerts, piano 

Gerald Martin Moore, piano 

Ivan Moravec, piano 

Alfonso Moreno, guitar 

Erika Morini, violin 



(Page 3 of 4) 

Molly Morkoski, piano 

Isabel Keith Morrison, piano 

Leila Livingston Morse, 

mezzo-soprano 

Gertrude Motto, soprano 

May Mukle, cello 

Simon Mulligan, piano 

Kenneth Munday, bassoon 

Anne-Sophie Mutter, violin 

Sergei Nakariakov, trumpet 

Laura Nalbandgian, dance 

Vagen Nalbandgian, dance 

Alon Nashman, narrator 

Raphael Negrete, dance 

Marc Neikrug, piano 

Amy Neill, violin 

Nils Nelson, piano 

Zara Nelsova, cello 

Erika Nickrenz, piano 

Sylvain Noack, violin 

Jessye Norman, soprano 

Geoff Nuttall, violin 

Andrew von Oeyen, piano 

Garrick Ohlsson, piano 

Heiichiro Ohyama, viola 

Athelda Oliver, soprano 

Alphonse Onnou, violin 

Ursula Oppens, piano 

Christopher O'Riley, piano 

Lambert Orkis, piano 

Chenoa Orme-Stone, cello 

Lillian Ortiz, dance 

Anne Sofie von Otter, 

(mezzo-)soprano 

Vladimir Ovchinikov, piano 

Fanny Paccoud, viola 

Piotr Paleczny, piano 

Mrs. Imogen Avis Palmer, piano 

G. Randolph Palmer, tenor 

Eugeniusz Papliński, dance 

Kevin Park, piano 

Jon Kimura Parker, piano 

Jamie Parker, piano 

Étienne Pasquier, cello 

Jean Pasquier, violin 

Pierre Pasquier, viola 

Irene Maddocks Pattison, 

soprano 

Mrs. W. G. Paul, contralto 

Valentin Pavlowsky, piano 

Theodore Paxson, piano 

Antony Pay, basset clarinet 

Pedro Paz, viola 

Elida Pederson, piano 

Byron Peebles, trombones 

Jan Peerce, tenor 

Adela Peña, violin 

J.J. Penna, piano 

Leonard Pennario, piano 

John Pennington, violin 

Murray Perahia, piano 

Joseph Pereira, timpani 

Itzhak Perlman, violin 

Louis Persinger, violin 

Petra Peršolja, piano 

Christy Lee Peterson, soprano 

Marius Petipa, choreography 

Thomas Petre, violin 

Demetri Petsalakis, oud 

Frieda Peycke, 

composer-interpreter 

Matthias Pfaender, cello 

William Pfeiffer, flute 

Catherine Phelps, violin 

Gregor Piatigorsky, cello 

Philippe Pierlot, 7-string bass viol 

William Pilcher, tenor 

Trevor Pinnock, harpsichord 

Alfred Pochon, violin 

Leon Pommers, piano 

Rosa Ponselle, soprano 

Helen Portune, soprano 

Ruth Posselt, violin 

Germain Prévost, viola 

Vassily Primakov, piano 

William Primrose, viola 

Eileen Pritchard, piano 

Stephen Prutsman, piano 

Dimitri Psonis, oud, santur, 

and morisca 

Sergei Rachmaninoff, composer 

and piano 

Albert Rahier, violin 

Samuel Ramey, bass 

George Perkins Raymond, tenor 

Teag Reaves, horn 

William Rees, bass 

Kurt Reher, cello 

Davis Reinhart, piano 

Sheila Reinhold, violin 

Merrill Remington, oboe 

Ken Remo, tenor 

Elisabeth Rethberg, soprano 

Jeffrey Reynolds, trombones 

Samuel Rhodes, viola 

Ruggiero Ricci, violin 

Rodolfo Richter, violin 

Lesley Robertson, viola 

Paul Robeson, bass-baritone 

Mrs. Hennion Robinson, piano 

Sharon Robinson, cello 

Elizabeth Rockwell, soprano 

Pepe Romero, guitar 

Myor Rosen, harp 


39

History 

Stuart Ross, piano 

Mstislav Rostropovich, cello 

Feri Roth, violin 

Daniel Rothmuller, cello 

Terry Row, oboe 

Connor Rowe, trombone 

Edythe Reily Rowe, cello 

Alexander Rozhdestvensky, violin 

Artur Rubinstein, piano 

Belle Rubio, dance 

Zlatko Rucner, cello 

U. Saidova, dance 

Philip Sainton, viola 

Nadja Salerno-Sonnenberg, violin 

Lise de la Salle, piano 

Esa-Pekka Salonen, Director 

Carlos Salzedo, harp and piano 

Laura Samuel, violin 

Sara Sant'Ambrogio, cello 

Jordi Savall, viola da gamba, 

6-string treble viol, 7-string bass 

viol, lira da gamba, and rebab 

Lidewij Scheifes, cello 

Sir András Schiff, piano 

William Schimmel, accordion 

Tito Schipa, tenor 

Alexander Schmalcz, piano 

Rudolph Schmitt, clarinet 

Artur Schnabel, piano 

Michael Schnitzler, violin 

Alice Schoenfeld, violin 

Eleonore Schoenfeld, cello 

Andreas Scholl, countertenor 

Sanford Schonbach, viola 

Walter Schulz, cello 

Carl Schulze, trumpet 

Madame Ernestine 

Schumann-Heink, soloist 

Katherine Schurmeier, piano 

and organ 

Joseph Schuster, cello 

Astrid Schween, cello 

Rudolf Serkin, piano 

Peter Serkin, piano 

Nestor Serrano, narrator 

Asher Severini, piano 

Gil Shaham, violin 

Shirley Shang, violin 

Alexander Shanin, violin 

Irene Sharaff, costumes 

Nellie Mae Shaw, soprano 

Annie Strubbe Shearer, soprano 

George Shkultetsky, baritone 

Jeffrey Siegel, piano 

John Sievers, clarinet 

Joseph Silverstein, violin 

Dmitry Sitkovetsky, violin 

Joel Smirnoff, violin 

Gary Smith, tenor 

Imogen Seth Smith, 

viola da gamba 

Joy Pottle Smith, piano 

Oliver Smith, scenery 

Winifred Smith, contralto 

Shaun Smyth, narrator, voice 

Elisabeth Söderström, soprano 

Anna Sokolow, dance 

Emily Sommerman, violin 

John Sondquist, piano 

Musicians from John Philip 

Sousa's Marching Band 

Albert Spalding, violin 

Mark Sparks, flute 

Vladimir Spivakov, violin 

Frederica von Stade, 

mezzo-soprano 

Simon Standage, violin 

Jan Stanienda, violin 

Tereza Stanislav, violin 

Olga Steeb, piano 

Mark Steinberg, violin 

John Steinmetz, bassoon 

Isaac Stern, violin 

Eduard Steuermann, piano 

Thomas Stevens, trumpet 

Reginald Stewart, piano 

Morris Stoloff, violin 

Lawrence Strauss, tenor 

Igor Stravinsky, piano 

Marta Sudraba, cello 

Xin Sun, guzheng 

Bertha Svedrofsky, violin 

Gladys Swarthout, 

mezzo-soprano 

Margaret Sykes, soprano 

Henryk Szeryng, violin 

Joseph Szigeti, violin 

Mathias Tacke, violin 

Zauri Takhadze, soloist 

Alexander Tansman, piano 

Roger Tapping, viola 

Dame Kiri Te Kanawa, soprano 

Richard Tetley-Kardos, piano 

Christian Tetzlaff, violin 

Tanja Tetzlaff, cello 

Jacques Thibaud, violin 

Jean-Yves Thibaudet, piano 

Chris Thile, mandolin 

John Charles Thomas, baritone 

Sarah Thornblade, violin 

Lawrence Tibbett, baritone 

Michael Tilson Thomas, piano 

Jürnjakob Timm, cello 

Lubov Timofeeva, piano 

Jennifer Tipton, lighting 



(Page 4 of 4) 

Richard Tognetti, violin 

Maryem Tollar, voice and qanun 

Alexander Toradze, piano 

Donald Francis Tovey, piano 

Sylvie Tran, flute 

Michael Tree, violin 

Alexander Treger, violin 

Viktor Tretyakov, violin 

Daniil Trifonov, piano 

Herman Trutner, horn 

Kristina Tsanova, violin 

Mari Tsumura, violin 

Antony Tudor, choreography 

Antony Tudor, ballet 

Mitsuko Uchida, piano 

Paul Ulanowsky, piano 

Ula Ulijona, viola 

Val Underwood, piano 

Dawn Upshaw, soprano 

Masuko Ushioda, violin 

William Vallandigham, baritone 

Brahm Van den Berg, piano 

William Van den Burg, cello 

Antoni (Anthony) Van der Voort, 

violin and piano 

Claudia (Kiser) Vanderschraaf, 

cello 

George Vause, piano 

Kosti Vehanen, piano 

Louis Velasquez, dance 

Maxim Vengerov, violin 

Josefina Vergara, violin 

Marco Vitale, harpsichord 

Allan Vogel, oboe 

Jan Vogler, cello 

Lars Vogt, piano 

Deborah Voigt, soprano 

Cynthia Vong, alto flute 

Timothy Wakerell, organ 

F. Waldmann, piano 

Christine Walevska, cello 

Lillian Wang, alto flute 

Yuja Wang, piano 

Nan Wang, erhu 

Azeem Ward, flute 

Muriel Ward, recitation 

Harry Waldo Warner, viola 

Christopher Warren-Green, violin 

Viola Wasterlain, violin 

André Watts, piano 

Wu Wei, sheng 

Alisa Weilerstein, cello 

Hanna Weinmeister, viola 

Sidney Weiss, violin 

David Weiss, oboe 

Jeanne Weiss, piano 

Orion Weiss, piano 

Richard Weiss, piano 

Reinald Werrenrath, baritone 

Joseph Wetzels, cello 

Roderick White, violin 

Arthur Whittemore, piano 

Leslie Whytal (Janney), cello 

Mary Wigman, dance 

Axel Wilczok, violin 

John Williams, guitar 

Blair Williams, narrator 

Stephen Williamson, clarinet 

Seidler Winkler, piano 

Barbara Winters, oboe 

Henry Woempner, flute 

Norman S. Wright, piano 

Isabelle Yalkovsky (Byman), piano 

Joyce Yang, piano 

Audrey Yoder, soprano 

Richard Young, viola 

Alana Youssefian, violin 

Pinshu Yu, piano 

Yascha Yushny, dance 

Besnik Yzeiri, viola 

Christian Zacharias, piano 

Alexander Zakin, piano 

Maurice Zam, piano 

Charles Zebley, flute 

Qi Zhou, violin 

Natalie Zhu, piano 

Areta Zhulla, violin 

Efrem Zimbalist, violin 

Krystian Zimerman, piano 

Nikolaj Znaider, violin 

Pinchas Zukerman, violin 


41

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 


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 

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 




The CAMA Women's Board 

Virginia Castagnola-Hunter 

Margo Chapman 

NancyBell Coe & William Burke 

Karen Davidson, M.D. 

Nancyann & Robert Failing 





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 


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. 







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 



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 



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 


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 



45

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 


MEMORIAL GIFTS 

IN MEMORY 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 


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. 

With special thanks to 

Sullivan Goss 


47

BUSINESS SUPPORTERS 

We thank the many businesses that support 

CAMA's programs and events! 

Alicia Bair Florals 

Laurel Abbott, Berkshire 

Hathaway Luxury Properties 

Alma Rosa Winery 

Babcock Winery 

James P. Ballantine 

David Bazemore 

Bertling Law Group 

Bibi Ji 

Blue Star Parking 

bouchon 

Kay Bowman Catering 

Brander Vineyard 

Wes Bredall 

Ca' Dario Ristorante 

Camerata Pacifica 

Catering Connection 

Cebada Wine 

The Cheese Shop 

Chaucer's Books 

Chocolats du CaliBressan 

Custom Printing 

eji experiences 

Eye Glass Factory 

Felici Events 

Flag Factory of 


Frequency Wine 

Gainey Vineyard 

The Good Lion Hospitality 

Grassini Family Vineyards 

Grimm’s Bluff 

Hogue & Company 

Holdren's Catering 

Inside Wine Santa Barbara 

Kristin Jackson 

Graphic Design 

Jano Printing & Mailworks 

Kaleidoscope Flowers 

Kay Bowman Catering 

Kunin Wines 

Le Sorelle 

Little Things Bakery 

Lobero Events 

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 


Travel Bureau 

Savoir Faire 

Sullivan Goss 

The Tent Merchant 

Town and Country Rentals 

The Upham Hotel 

Via Maestra 42 

Waiākea Water 

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 / CAMA Presents the Chicago Symphony Orchestra with Maestro Riccardo Muti / January 25, 2023, The Granada Theatre, Santa Barbara, 7:30PM

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