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

Presenting the world’s finest classical artists since 1919

CAMA’S 2022/2023 SEASON

104 th Concert Season

Riccardo Muti

Gustavo Dudamel

INTERNATIONAL SERIES at the Granada Theatre

MASTERSERIES at the Lobero Theatre

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC.

Muti photo by Todd Rosenberg Photography | Dudamel photo by Stephan Rabold

Chaucer's Books

Locally owned and operated

since 1974

Over 150,000 titles for every age and interest

805-682-6787 3321 State St.

www.chaucersbooks.com

INTERNATIONAL SERIES

AT THE GRANADA THEATRE

Photo by Jake Turney

SEASON SPONSOR: SAGE PUBLISHING

Sheku

Kanneh‐Mason

Photo by Benjamin Ealovega

CITY OF BIRMINGHAM

SYMPHONY ORCHESTRA

Mirga

Gražinytė‐Tyla

conductor

Sheku

Kanneh‐Mason

cello

MONDAY, OCTOBER 10, 2022, 7:30PM

The Granada Theatre, Santa Barbara

BOT TEG

Photo courtesy of Olio e Limone Ristorante

Photo courtesy of Olio Bottega and Santi Visalli www.TheFinestPhoto.com

Photo courtesy of Olio Pizzeria® and AlessioMorello.com

Photo courtesy of Olio Pizzeria® and Kevin Steele / kevsteele.com

Photo courtesy of Olio e Limone Ristorante and Kevin Steele / kevsteele.com

Photo courtesy of Max Abrams / Santa Barbara Independent

OLIOCUCINA.COM

11 W. Victoria St., Ste.’s 17, 18 & 21 | Santa Barbara, CA 93101 | 805.899.2699


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

Jill Felber

GEORGE MESSERLIAN

Vice Chair

JAN BOWLUS

Treasurer

CHRISTINE EMMONS

Secretary

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

Emeritus Directors

(As of September 29, 2022)

Edward E. Birch

Robert J. Emmons

Arthur R. Gaudi

James H. Hurley, Jr.

Herbert J. Kendall

Sara Miller McCune

Russell S. Bock*

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*

Robert Light*

Mrs. Frank R. Miller, Jr.*

Mary Lloyd Mills*

Mrs. Ernest J. Panosian*

Kenneth W. Riley*

Andre Saltoun*

Jan Severson*

* Deceased

Administration

(As of March 8, 2022)

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

JANUARY 25, 2023

CHICAGO

SYMPHONY

ORCHESTRA

Primary Sponsor

Northern Trust

Sponsors

Alison & Jan Bowlus

Edward S. DeLoreto

Michele Saltoun

Co-Sponsors

Dorothy & John Gardner

Ellen & John Pillsbury

FEBRUARY 13, 2023

FILHARMONIE

BRNO

(OF THE CZECH REPUBLIC)

Sponsors

Edward S. DeLoreto

Lois S. Kroc

MAY 18, 2023

CURTIS

SYMPHONY

ORCHESTRA

(CURTIS INSTITUTE OF

MUSIC/PHILADELPHIA)

Sponsors

Anonymous

Alison & Jan Bowlus

Co-Sponsor


& Ronald Fendon

MAY 28, 2023

LOS ANGELES

PHILHARMONIC

Principal Sponsors

Mosher Foundation


Sponsors

Bitsy & Denny Bacon and

The Becton Family Foundation

Judith L. Hopkinson

Sara Miller McCune

The Towbes Fund for the

Performing Arts, a field of

interest fund of the Santa

Barbara Foundation

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

Alison & Jan Bowlus

Co-Sponsors

CAMA Women’s Board

Nancy & Byron K. Wood

Concert Partners

Stephen Cloud


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)

EXCLUSIVE SPONSOR

Marta Babson

APRIL 24, 2023

AUGUSTIN

HADELICH, solo violin

EXCLUSIVE SPONSOR

Jocelyne & William Meeker

SENIOR LIVING

Reimagined.

Where an endlessly inspiring setting, a wealth

of activities, first-class cuisine, innovative

wellness, and attentive service live under

one stylish roof with new friendships,

new passions, new discoveries,

new freedom—and the peace of mind

that comes from on-site supportive

services. It’s all here at Maravilla

senior living community. A place built

for all that makes you, you.

Call 805.308.9531 today

to schedule a tour!

CARF ACCREDITED • CASITAS • SENIOR RESIDENCES

INDEPENDENT & ASSISTED LIVING • MEMORY CARE

5486 Calle Real, Santa Barbara • 805.308.9531

MaravillaSeniorLiving.com

EQUAL HOUSING OPPORTUNITY

RCFE#425801937


INTERNATIONAL SERIES AT THE GRANADA THEATRE

SEASON SPONSOR: SAGE PUBLISHING

CITY OF BIRMINGHAM

SYMPHONY ORCHESTRA

Mirga Gražinytė‐Tyla

conductor

Monday, October 10, 2022, 7:30PM

The Granada Theatre, Santa Barbara

Sheku Kanneh‐Mason

cello

Ralph VAUGHAN WILLIAMS (1872–1958)

Fantasia on a Theme by Thomas Tallis

Sir Edward ELGAR (1857–1934)

Cello Concerto in E Minor, Op.85

Adagio—Moderato

Lento—Allegro molto

Adagio

Allegro—Moderato—Allegro, ma non troppo

—Poco più lento—Adagio

Sheku Kanneh-Mason, cello

INTERMISSION

Mieczysław WEINBERG (1919–1996)

“Jewish Rhapsody,” from Festive Scenes,

Op.36 (No.2)

Claude DEBUSSY (1862–1918)

La Mer

« De l’aube à midi sur la mer »

« Jeux de vagues »

« Dialogue du vent et de la mer »

Program and artists subject to change.

www.cbso.co.uk

The CBSO is grateful to Mr John Osborn, CBE, a former member

of the CBSO Board for his exceptional generosity in making the

tour possible.

Additional support has been provided by the Dunard Fund.

The CBSO is extremely grateful to all its supporters, both

individuals and trust and foundations who contribute to our

Soutnd of the Future Campaign. Their support enables us to offer

world-class, life-enhancing artistic experiences, enriches more

lives in schools and communities, nurtures young talent and

welcomes the next generation of concertgoers.

The City of Birmingham Symphony Orchestra’s 2022 US tour has

been made possible in collaboration with Arabella Arts.

Sheku Kanneh-Mason appears by arrangement with Enticott

Music Management.

Education Partners: Royal Birmingham Conservatoire, Services for

Education, Creative Future, Arts Award Supporter.

Principal Funders: Arts Council England, Birmingham City Council

Corporate Partners: Evelyn Partners, Charles Stanley, Deloitte,

Hyatt Regency, Marsh, Savills, Berwick Partners, William King Ltd,

Nicholls Brimble Bhol Solicitors.

facebook.com/thecbso

twitter.com/thecbso

instagram.com/thecbso

The Board of Directors of Community Arts Music Association dedicate this concert to the memory of

Her Majesty The Queen Elizabeth II and of Her Majesty's 70 years of service to the people of the

United Kingdom, the Realms, and the Common wealth.

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

International Series Season Sponsor: SAGE Publishing

Principal Sponsor: Bob & Val Montgomery

Sponsor: CAMA Women’s Board

Co-Sponsors: Elizabeth & Andrew Butcher • Beth & George Wood • Zegar Family Fund

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

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

CAMA AT THE GRANADA THEATRE • CITY OF BIRMINGHAM SYMPHONY ORCHESTRA

7

The CAMA Women’s Board invites you to

SAVE THE DATE!

with cocktails and

hors d’oeuvres at

The Cabrillo Pavilion

Monday

March 20, 2023

5:30–7:30 pm


(805) 966-4324

info@camasb.org

www.camasb.org

THE CITY OF

BIRMINGHAM SYMPHONY

ORCHESTRA

Photo by Hannah Fathers

The City of Birmingham Symphony Orchestra

(CBSO) is the flagship of musical

life in Birmingham and the West Midlands,

and one of the world’s great orchestras.

Based in Symphony Hall, Birmingham,

the CBSO typically presents over 150 concerts

each year in Birmingham, the UK

and around the world, playing music that

ranges from classics to contemporary, film

scores and even symphonic disco. With a

far-reaching community programme and a

family of choruses and ensembles, it is involved

in every aspect of music-making in

the Midlands. But at its centre is a team of

90 superb professional musicians, and over

a 100-year tradition of making the world’s

greatest music in the heart of Birmingham.

That local tradition started with the

orchestra’s very first symphonic concert

in 1920—conducted by Sir Edward Elgar.

Ever since then, through war, recessions,

social change and civic renewal, the CBSO

has been proud to be Birmingham’s orchestra.

Under principal conductors including

Adrian Boult, George Weldon, Andrzej

Panufnik and Louis Frémaux, the CBSO

won an artistic reputation that spread far

beyond the Midlands. But it was when it

discovered the young British conductor Simon

Rattle in 1980 that the CBSO became

internationally famous—and showed how

the arts can help give a new sense of direction

to a whole city.

Rattle’s successors Sakari Oramo and

Andris Nelsons helped cement that global

reputation and continued to build on the

CBSO’s tradition of flying the flag for Birmingham.

And under the dynamic leadership

of Mirga Gražinytė-Tyla, the CBSO

continued to do what it does best—playing

great music for the people of Birmingham,

the Midlands, and beyond. In September

of last year, the Orchestra announced that

Japanese conductor Kazuki Yamada had

been appointed as its Chief Conductor and

Artistic Advisor with effect from 1 April

2023—having been the Orchestra’s Principal

Guest Conductor since October 2018.


9

CAMA Community Outreach

Amazon

Carpinteria Arts Center

eji experiences

Food from the Heart

Foodbank of

Santa Barbara County

Fund for Santa Barbara

Hospice of Santa Barbara

Live Notes Santa Barbara

Santa Barbara Arts Collaborative

Santa Barbara Athletic Club

Santa Barbara International

Film Festival

Santa Barbara Symphony

Santa Barbara Young Black

Professionals

Santa Barbara Young Professionals

Selah Dance Collective

© Monie Photography

© Zach Mendez

© Zach Mendez

© Monie Photography

© Zach Mendez

Photo by Frans Jansen

MIRGA

GRAŽINYTĖ-TYLA

conductor

Mirga Gražinytė-Tyla was named Music

Director of the City of Birmingham Symphony

Orchestra in February 2016 following

in the footsteps of Sir Simon Rattle,

Sakari Oramo and Andris Nelsons. With

the start of the 2022/2023 season she assumes

the position of principal guest conductor

of the CBSO for one season. Winner

of the 2012 Salzburg Festival Young Conductors

Award, she subsequently made

her debut with the Gustav Mahler Youth

Orchestra in a symphonic concert at the

Salzburger Festspiele.

Recent highlights include a highly acclaimed

performance of Britten’s War Requiem

at the Salzburger Festspiele, her

celebrated return to opera with a new production

of Janáček’s The Cunning Little

Vixen, staged by Barrie Kosky, at the Bayerische

Staatsoper München in January 2022,

numerous European tours with the City

of Birmingham Symphony Orchestra, and

performances with the London Symphony

Orchestra, the NDR Elbphilharmonie, the

Swedish Radio Orchestra, Filarmonica della

Scala, and the Los Angeles Philharmonic.

Gražinytė-Tyla has electrified audiences

as a guest conductor all over the

world. In Europe, she has collaborated

with the Lithuanian National Symphony

Orchestra, the Royal Stockholm Philharmonic,

the Beethoven Orchestra Bonn, the

Deutsche Radiophilharmonie, the Bavarian

Radio Symphony Orchestra, MDR Leipzig,

Orchestre Philharmonique de Radio France,

Orchestre National de France, the Orchestre

National de Lyon, as well as the

Chamber Orchestra of Vienna, the Danish


11

National Symphony Orchestra, the Mozarteum

Orchestra,the Camerata Salzburg,

and the Orchestra of the Komische Oper in

Berlin. At the Kremerata Baltica, she has

enjoyed a dynamic collaboration with Gidon

Kremer on numerous European tours.

She has led operas in Munich, Heidelberg,

Salzburg, Komische Oper Berlin, and Bern,

where she served as Kapellmeister. In

North America, she has worked with the

orchestras of Philadelphia, Seattle and San

Diego and led the Metropolitan Opera Orchestra

in her Carnegie Hall debut in May of

2018. With the Los Angeles Philharmonic,

Gražinytė-Tyla was a Dudamel Fellow in

the 2012-13 season, Assistant Conductor

(2014-16), and Associate Conductor (2016-

17). She was the Music Director of the Salzburg

Landestheater from 2015 until 2017.

An exclusive Deutsche Grammophon

Artist since 2018, her first album on the yellow

label was released in the spring of 2019.

It delighted critics and listeners worldwide

and was hailed as an essential contribution

to the rediscovery of Mieczysław Weinberg’s

OEuvre, winning also the Opus Klassik

and Grammophon Awards later in 2020.

The recording was the result of a cooperation

of the City of Birmingham Symphony

Orchestra, Kremerata Baltica and Gidon

Kremer. A second recording was released

by Deutsche Grammophon in November

2019. This features works by her compatriot

Raminta Šerkšnytė and was followed by

her most recent CD „The British Project“ including

works by Elgar, Britten, Walton and

Vaughan Williams in July 2021.

Gražinytė-Tyla was discovered by the

German Conducting Forum (Deutsches Dirigentenforum)

in April 2009. A native of

Vilnius, Lithuania, she was born into a musical

family. Before pursuing her studies

at the Music Conservatory in Zurich, she

studied at the Music Conservatory Felix

Mendelssohn-Bartholdy in Leipzig and at

the Music Conservatory in Bologna, Italy.

She graduated with a bachelor's degree in

choral and orchestral conducting from the

University of Music and Fine Arts, Graz,

Austria. She has participated in numerous

masterclasses and conducting workshops,

and has worked with many established

conductors and professors, such as Christian

Ehwald, George Alexander Albrecht,

Johannes Schlaefli, Herbert Blomstedt, and

Colin Metters.

Photo by Frans Jansen

12 CAMA'S 104 TH CONCERT SEASON

SHEKU

KANNEH-MASON

cello


Sheku Kanneh-Mason is already in great

demand from major orchestras and concert

halls worldwide. He became a household

name in 2018 after performing at the wedding

of the Duke and Duchess of Sussex

at Windsor Castle, his performance having

been greeted with universal excitement

after being watched by nearly two billion

people globally. Sheku initially garnered renown

as the winner of the 2016 BBC Young

Musician competition, the first Black musician

to take the title. A Decca Classics recording

artist, Sheku’s latest album, Song,

showcases his lyrical playing with a wide

selection of arrangements and collaborations.

His 2020 album Elgar reached No. 8

in the main UK Official Album Chart, making

Sheku the first ever cellist to reach the

UK Top 10. Sheet music collections of his

performance repertoire along with his own

arrangements and compositions are published

by Faber.

In the 2022/2023 season, Sheku appears

as Artist in Residence with the Philharmonia

Orchestra, performing three concerti

across the year in addition to chamber

music and giving educational workshops.

He also performs with orchestras such as

the London Mozart Players, Orchestre de

chambre de Paris, Royal Northern Sinfonia,

Camerata Salzburg, Hallé Orchestra, and

Royal Scottish National Orchestra. In the

Americas, Sheku features as soloist with

the Philadelphia Orchestra, Los Angeles

Chamber Orchestra, Toronto Symphony,

Boston Symphony, São Paulo Symphony,

and on tour with the City of Birmingham

Symphony Orchestra. He also performs his


13


first solo cello recital programme in venues

such as Wigmore Hall London, National

Concert Hall Dublin, Palau de la Música

Catalana Barcelona, Auditorio Nacional de

Música Madrid, Musée du Louvre Paris,

and De Doelen Rotterdam and returns to

the Dortmund Konzerthaus as one of their

Junge Wilde artists.

Since his debut in 2017, Sheku has performed

every summer at the BBC Proms,

including in 2020 when he gave a breathtaking

recital performance with his sister,

Isata, to an empty auditorium due to the

Covid-19 pandemic. He was selected to appear

in the coveted role as guest soloist at

the 2022 Last Night of the Proms with the

BBC Symphony Orchestra.

A graduate of London’s Royal Academy

of Music where he studied with Hannah

Roberts, Sheku was appointed in May

2022 as the Academy’s first Menuhin Visiting

Professor of Performance Mentoring.

He is an ambassador for the Juvenile Diabetes

Research Foundation, Future Talent,

and Music Masters. Sheku was appointed

a Member of the Most Excellent Order of

the British Empire (MBE) in the 2020 New

Year’s Honours List. He plays a Matteo Goffriller

cello from 1700 which is on indefinite

loan to him.


NOTES

ON THE PROGRAM

By Howard Posner

Ralph Vaughan Williams was in his early

30s and gradually acquiring a reputation

as a composer when the Oxford University

Press hired him to be music editor of

The English Hymnal, an updated, upgraded

and definitive volume of Church of England

congregational hymns.

The book, published in 1906, was

hailed as a triumph largely because of

Vaughan Williams’ work, but it concerns us,

a century or so later and a continent or so

away, because in the course of that work

he became enamored of a hymn by the Tudor

composer Thomas Tallis (1505–1585)

that he found in the 1567 Psalter of Matthew

Parker, Archbishop of Canterbury. It

is a setting of the first part of Psalm 2, beginning,

“Why fumeth in fight the Gentiles'

spite, in fury raging stout? Why taketh in

hand the people fond, vain things to bring

about?” (Two centuries later, Handel would

set a newer translation in Messiah: “Why do

the nations so furiously rage together, and

why do the people imagine a vain thing?”)

Ralph Vaugham Williams


15

The text’s aggressive cast led Tallis

to write a tune in Phrygian mode, which is

mostly a minor scale (E to E on the white

keys), but with mostly major harmonies,

and it may have been this tonal ambiguity

that attracted Vaughan Williams. He used

it as the tune for more modern texts, and

later in music for Bunyan’s Christian allegory

A Pilgrim’s Progress. It was still on his

mind when he was invited to contribute a

new work for the 1910 Three Choirs Festival

in Gloucester. It was with the recesses

of that ancient Gothic church in mind that

Vaughan Williams composed the Fantasia

on a Theme of Thomas Tallis.

The Fantasia is scored in 14 parts—

two five-part string orchestras, one with

more players on a part than the other, and

a quartet of soloists—that echo each other,

answer each other, and often combine into

one five-part tutti.

Vaughan Williams presents the theme

with Tallis’ basic harmonization, but it

seems right at home in its setting, rather

than a visitor from four or five centuries

ago. It is treated freely, with shifting meter

and tonality. The composer may have

thought it all a little too free, as he revised

it twice, once for the 1913 London premiere

and once in 1919, shortening it each time.

The Fantasia is about how beautiful

music can be and how good a string ensemble

can sound, and manages to do it

without becoming syrupy, which is a magnificent

achievement. It is both a complex

work with depth and the ultimate feel-good

piece, which has made ubiquitous in the

repertoire: it was commercially recorded 61

times between 1936 and 2022.

Sir Edward Elgar’s Cello Concerto came at

the end of two eras. The most obvious end

was the old order in Europe, destroyed by

World War I along with a staggering number

of its young men. It was also the end of the

two-decade era in which Elgar had stood

atop the British musical world. The era began

when the Enigma Variations catapulted

the 42-year-old composer from obscurity to

stardom in 1899, and continued with years

of remarkable creative fertility in which he

composed virtually all the music for which

he is known now.

The war slowed Elgar’s output to a

trickle, and toward its end his finances and

health were suffering. “I am more alone

and the prey of circumstances than ever

before,” he said. “Everything good and nice

and clean and fresh and sweet is far away,

never to return.”

In March 1918, he had his tonsils removed

at his doctor’s urging, and was in

pain for days, pain relief in 1918 being nothing

close to what it is now. “But nevertheless,”

his daughter Carice wrote, “he woke

up one morning and asked for pencil and

paper and wrote down the opening theme

of the Cello Concerto.” He did not yet know

it would wind up in a cello concerto, and

nothing came of it for while longer, as Elgar

plunged into composing three significant

chamber works. By the time they were finished

in May 1919, the cello concerto was


Sir Edward Elgar

taking shape. By June 5, it was concrete

enough that Elgar had the cellist Felix Salmond

try out some of the solo passages.

Salmond played the premiere on October

27 with the London Symphony. It was

a train wreck. The Concerto was the only

work on the program that Elgar conducted,

and the conductor of the other items

on the program, Albert Coates, hogged

the rehearsal time. Reviewing the concert,

the eminent critic Ernest Newman wrote,

“There have been rumours about during the

week of inadequate rehearsal. Whatever

the explanation, the sad fact remains that

never, in all probability, has so great an orchestra

made so lamentable an exhibition

of itself.” He went on to say, “The work itself

is lovely stuff, very simple – that pregnant

simplicity that has come upon Elgar's

music in the last couple of years – but with

a profound wisdom and beauty underlying

its simplicity.”

The concerto’s unforgettable moments

come early: the outcry of the solo cello at

the very beginning, and the rolling theme

that daughter Clarice called, with more

insight than literal accuracy, the opening

theme (nearly everyone has followed suit

ever since). At once noble and deeply anguished,

it was the perfect theme for the

post-war world, and still speaks to the present

one. It makes short reappearances in

the second and fourth movements. During

his last illness in 1933, Elgar hummed it

to a friend and said, “If ever after I'm dead

you hear someone whistling this tune on

the Malvern Hills, don't be alarmed. It's

only me.”

Elgar laid the concerto out like a symphony,

with a scherzo second movement

and a slow third movement, and an energetic

finale in which themes from the slow

movement recur, along with a last reference

to the opening solo, and that main theme

one more time, as if Elgar is whistling in the

Malvern Hills.

The Concerto now holds an exalted

position in the repertoire, but such was not

the case for a generation or two after its

premiere. In the 1960’s recordings by the

dynamic young British cellist Jacqueline

DuPre made the concerto both a staple and


17

Mieczysław Weinberg

DuPre’s calling card, and remains a sort of

theme song for her tragically short career

and life.

The tales of creative artists—Jewish

artists in particular—being scattered to the

winds as they fled before the onslaught of

Nazi Germany are myriad. Many of them,

of course, wound up in Southern California.

Mieczysław (or Moisey) Weinberg (or

Vainberg, or Vaynberg, or a good number of

other variant spellings) fled to the east and

stayed there.

He was a precocious musician who entered

the Warsaw Conservatory at 12, and

had an offer from the most eminent piano

teacher of the day to study in America, but

he narrowly escaped the German invasion

of Poland, which eventually claimed the

lives of the rest of his family, by going to

Minsk in Belarus, and then, as the German

army advanced, to Tashkent in Uzbekistan.

He would spend the rest of his life in the

Union of Soviet Socialist Republics, which

he would outlive by five years.

In 1943 he sent a copy of his first symphony

to Shostakovich, who was impressed.

They became lifelong friends, Shostakovich

once calling him “a fine composer, a good

man with upright character, but definitely

too modest.” It was Shostakovich who arranged

for Weinberg to come to Moscow,

where he remained until his death in 1996.

He arrived in a period between the two

biggest crackdowns to make Soviet composers

conform to official notions of what

music should be. Weinberg was not one to


keep his head down. When the Party moved

to control music in 1948 by labeling composers

“formalist” or insufficiently attuned

to “Socialist realism,” Weinberg was one

of only two who did not offer apologies or

recantations, and he suffered professionally

for it. (Soviet composers whose music

was “banned” still managed to get commissions

for less-prestigious theater or music

movie, which Weinberg had to do for a few

years. But he eventually composed about

150 works, including 21 symphonies and

17 string quartets.

Shostakovich championed Weinberg’s

music and made sure his A-list performer

friends like the cellist Mstislav Rostropovich,

and violinist David Oistrakh performed

his works. Weinberg exposed Shostakovich

to Jewish music, which manifested itself in

a number of Shostakovich works. But overt

Jewishness in music was not wise in the

Soviet Union, where antisemitism lurked behind

an official policy of eschewing ethnic

prejudice. The Jewish Rhapsody, one of his

Festive Scenes for Orchestra from 1946-47,

may be a reflection of the optimism in the

air right after the war ended.

“I was destined for the fine career of

a sailor,” wrote Claude Debussy to a friend

in September 1903 as La Mer was taking

shape. “Only the accidents of life put me on

another path.”

The finished version of “The Sea” is a

unique mix of tone poem and symphony, a

three-movement impression of the ocean.

Debussy would have bristled at the

Claude Debussy


19

suggestion that he was painting specific

scenes in music. He had no interest in pictorialism

or program music. A few months

earlier, in a review for a Paris newspaper,

he had written that the popularity of

Beethoven’s Pastorale Symphony “rests on

the common and mutual misunderstanding

that exists between man and nature.” He

wrote that the birdcalls in that symphony

were more like the art of the 18th-century

creator of a famous mechanical duck “than

drawn from nature’s book. All such imitations

are in the end useless—purely arbitrary

interpretations.” Elsewhere he wrote

that the Pastorale succeeded “simply because

there is no attempt at direct imitation,

but rather at capturing the invisible

sentiments of nature.” If Debussy thought

that Beethoven could not pull off an imitation

of nature in music, he certainly was

not about to try it himself. Yet he acknowledged

that a musical work about the ocean

“could turn out to be like a studio landscape,”

but concluded, “I have countless

reminiscences. This matters more, in my

opinion, than a reality.”

The determination to depict the ocean

generally rather than specifically led to

changes in titles. In a 1903 letter to his publisher,

Debussy proposed “The Sea; Three

symphonic sketches for orchestra: I. Beautiful

sea by the bloodthirsty islands. II. Play

of the waves. III. The wind makes the sea

dance.” By the time Debussy finished La Mer

in March 1905, he had changed the title of

the first movement to “From dawn to midday

on the sea,” and that of the last movement

to “Dialogue of the wind and the sea.”

The original title of the first movement was

the title of a short story by Camille Mauclair.

Though Debussy liked the contrast

between beauty and blood-thirst, he gave it

up, probably because using Mauclair’s title

might give the idea that the music tracked

the story.

The three movements have a similar

feel, perhaps because some similar building

blocks went into them. The first thing

heard above the quietly droning basses is a

rising progression built on the whole tones,

fourths and fifths, and using rhythmic figure

of a short note on the downbeat moving

to a much longer one. Fourths and fifths

stacked on each other have a strong, forthright

quality (they are the key elements of

fanfares) but also a sort of blankness (the

open strings of violins, violas and cellos are

tuned in fifths, those of double basses and

guitars are in fourths). The fourth and fifths

recur throughout the work without calling

much attention to themselves, since they

are such a fundamental part of tonal music,

but they bring an elemental quality to

the music, as if conveying something wide

and open and vast, such as, for example,

the ocean. The short-long rhythmic figure

is easier to pick out, and conveys a sense

of poignancy in places and sheer power in

others, as when the brass thunder it out at

the end of the first movement.

©️ 2022, Howard Posner


CBSO PERSONNEL

USA tour

VIOLIN 1

Eugene Tzikindelean

Jonathan Martindale

Philip Brett

Andrew Harvey

Jack Greed

Jane Wright

Kirsty Lovie

Stefano Mengoli

Colette Overdijk

Katharine Gittings

Bethan Allmand

Tam Mott

Morane Cohen-

Lamberger

Rosemary Hinton

Jessica Coleman

Eloise Prouse

VIOLIN 2

Peter Campbell-Kelly

Lisa Obert

Moritz Pfister

Catherine Arlidge

Amy Jones

Caroline Simon

Georgia Hannant

Timothy Birchall

Bryony Morrison

Gabriel Dyker

Richard Thomas

Adam Hill

Jamie Hutchinson

Toby Tramaseur

VIOLA

Chris Yates

Adam Romer

Michael Jenkinson

Catherine Bower

David BaMaung

Amy Thomas

Jessica Tickle

Sarah Malcolm

Joe Ichinose

Cheryl Law

Kim Becker

Henrietta Ridgeon

CELLO

Eduardo Vassallo

Jonathan Ayling

Arthur Boutillier

David Powell

Miguel Fernandes

Catherine Ardagh-Walter

Helen Edgar

Sarah Berger

Jonathan Pether

Joss Brookes

DOUBLE BASS

Anthony Alcock

Julian Atkinson

Jeremy Watt

Mark Goodchild

Julian Walters

David Burndrett

Aisling Reilly

Ryan Smith

FLUTE

Marie-Christine

Zupancic

Veronika Klirova

PICCOLO

Helen Benson

OBOE

Jennifer Galloway

Emmet Byrne

COR ANGLAIS

Rachael Pankhurst

CLARINETS

Oliver Janes

Joanna Patton

BASS CLARINET

Mark O’Brien

BASSOON

Nikolaj Henriques

Johan Segerman

Elena Comelli

CONTRABASSOON

Margaret Cookhorn

HORN

Elspeth Dutch

Jeremy Bushell

Mark Phillips

Jack Sewter

Oliver Johnson

TRUMPET

Matthew Williams

Jonathan Holland

Jonathan Quirk

Stuart Essenhigh

Stephen Murphy

TROMBONE

Richard Watkin

Anthony Howe

Richard Ward

BASS TROMBONE

David Vines

TUBA

Michael Levis

TIMPANI

Matthew Hardy

PERCUSSION

Adrian Spillett

Andrew Herbert

Toby Kearney

Barnaby Archer

HARP

Katherine Thomas

Mary Reid


21


IRA GIFTS TO CAMA

Timely and Tax-Wise

If you have not yet withdrawn all your Required Minimum Distribution

(RMD) from your Individual Retirement Account (IRA) for the 2022

calendar year, you may use your IRA to make a tax-wise gift to

Community Arts Music Association (CAMA) before December 31, 2022.

You must be at least 70 or older to roll over IRA assets to meet your

RMD requirement. On withdrawals of up to $100,000 you do not have

to pay any income tax and CAMA will receive full value of your gift.

Please consider CAMA when you plan for your year-end giving.

Contact your IRA plan administrator to request a direct transfer of

your specified gift amount to CAMA, 2060 Alameda Padre Serra,

Suite 201, Santa Barbara, CA 93103. As a a qualified charity, the check

will then be sent directly to CAMA (Federal Tax ID # 95-1816010).

You will not be required to declare this withdrawal amount as part

of your taxable income for 2022, as rollover gifts such as these are

not counted as part of your income. These gifts do not qualify for

an itemized charitable deduction, meaning this option works to the

advantage for the majority of taxpayers who do not itemize charitable

contributions, but rather take the standard deduction.

Thank you for your support of CAMA. If you have any questions,

please contact Elizabeth Alvarez, Director of Development at

Elizabeth@camasb.org.

CENTENNIAL CIRCLE

CRESCENDO

$250,000–$500,000

Bitsy & Denny Bacon and The Becton Family Foundation


The Elaine F. Stepanek Foundation

CADENZA

$100,000–$249,000

Judith L. Hopkinson

Sara Miller McCune

Stephen J.M. & Anne Morris

The Samuel B. & Margaret C. Mosher Foundation

SAGE Publishing

George & Judy Writer

RONDO

$50,000–$99,999

Anonymous

Marta Babson

Deborah & Peter Bertling

Alison & Jan Bowlus

Dan & Meg Burnham

NancyBell Coe & William Burke

Jill Felber & Paul A. Bambach

Herbert & Elaine Kendall

Lois S. Kroc


Mari & Hank Mitchel


Northern Trust

Michele & Andre Saltoun

The Walter J. & Holly O. Thomson Foundation

Patricial Yzurdiaga

Cumulative Centennial Celebration Gifts of $50,000 and above include Centennial Circle membership.

October 2018–May 2020

LIFETIME GIVING

DIAMOND CIRCLE

$500,000 and above



Suzanne & Russell Bock

Linda Brown*

The Andrew H. Burnett

Foundation

Esperia Foundation

The Stephen & Carla Hahn

Foundation

Judith L. Hopkinson


Mary Lloyd & Kendall Mills

Mosher Foundation

SAGE Publishing

The Elaine F. Stepanek

Foundation

Elaine & Edward Stepanek

The Towbes Fund for the

Performing Arts

SAPPHIRE CIRCLE

$250,000–$499,999

The CAMA Women's Board


Ann Jackson Family Foundation

Sara Miller McCune

The Walter J. & Holly O. Thomson

Foundation

Wood-Claeyssens Foundation

Patricia & Joseph Yzurdiaga

RUBY CIRCLE

$100,000–$249,999

Denise & Stephen Adams/Adams

Family Foundation

Hollis Norris Fund


Alison & Jan Bowlus

Dan & Meg Burnham

Janet & Thomas Kelly/

Winona Fund

Virginia Castagnola-Hunter


Léni Fé Bland

Mary & Raymond Freeman

George H. Griffiths and Olive J.

Griffiths Charitable Fund

Raye & Melville H. Haskell, Jr.

Dolores M. & Immanuel Hsu

Shirley Ann & James H. Hurley, Jr.

Shirley & Seymour Lehrer

John & Lucy Lundegard


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

The Henry E. & Lola Monroe

Foundation

Montecito Bank & Trust



Kathleen & John Moseley/The

Nichols Foundation

Nancy & William G. Myers

Northern Trust


Santa Barbara Bank & Trust

Santa Barbara Foundation

Jan & John G. Severson

Judith F. & Julian Smith

Jeanne C. Thayer

Marilyn & H.Wallace Vandever

Wallis Foundation

Nancy & Byron Kent Wood


EMERALD CIRCLE

$50,000–$99,999

Anonymous (3)

Ruth Appleby

Marta Babson

Helene & Jerry Beaver

Linda & Peter Beuret

Edward & Sue Birch

Bob Boghosian & Beth Gates-

Warren


Louise & Michael Caccese

Jane & Jack Catlett

Roger & Sarah Chrisman,

Schlinger Chrisman Foundation

Bridget & Robert Colleary

Suzanne & Maurice Faulkner


Arthur R. Gaudi

Sherry & Robert Gilson

Janette "Dotsy" Main Hellmann

& Richard Hellmann

Joanne C. Holderman

Natalia & Michael Howe

Hutton Parker Foundation

Ellen & Peter Johnson

Elizabeth Karlsberg & Jeff Young

Lynn P. Kirst & Lynn R. Matteson

Lois Sandra Kroc

Betty & Max Meyer

Craig & Ellen Parton

Austin H. Peck

Marjorie & Hugh Petersen

Diana & Roger Phillips

Theodore Plute & Larry Falxa

Lady Leslie & Viscount Paul

Ridley-Tree

SB County Office of Arts

& Culture

The Shanbrom Family Foundation

Barbara & Sam Toumayan

Carrie Towbes and John Lewis

TOPAZ CIRCLE

$25,000–$49,999

Anonymous

Peggy & Kurt Anderson

Barbara & Edward Bakewell

Helen & Andrew Burnett

California Small Business Relief

Program

Huguette Clark

Cecelia & Leonard Dalsemer

Edward DeLoreto and William

DeLoreto

Patricia & Larry Durham

Frederika & Dennis Emory

Nancyann & Robert Failing

Rosalind Amorteguy-Fendon &

Ronald Fendon

Priscilla & Jason Gaines

Preston B. & Maurine M. Hotchkis

Family Foundation

The George Frederick Jewett

Foundation

Patricia Kaplan

Jill Dore Kent

Kum Su Kim

Otto Korntheuer/The Harold L.

Wyman Foundation

LIFETIME GIVING

Laura & Robert Kuhn

Chris Lancashire & Catherine Gee

Lillian & Jon Lovelace

Leatrice & Eli Luria

Marilyn & Frank Magid

Ruth McEwen

Frank McGinity

Mary & James Morouse

Pat Hitchcock O'Connell

Efrem Ostrow Living Trust

The Outhwaite Foundation

Carolyn & Ernest Panosian

Performing Arts Scholarship

Foundation

John & Ellen Pillsbury

William H. Kearns Foundation

Mary Dell Pritzlaff & John Pritzlaff

Mary Louise & Kenneth W. Riley

Dorothy Roberts

City of Santa Barbara

Anitra & Jack Sheen

Linda Stafford Burrows

Marion Stewart

Irene & Robert Stone/Stone

Family Foundation

Ina & Martin Tornallyay

Steven Trueblood

Carol & Edward R. Valentine

Susie & Hubert Vos

Marjorie K. & Roderick S. Webster

Westmont College

Ann & Dick Zylstra

AMETHYST CIRCLE

$10,000–$24,999

Rebecca & Peter Adams

Christina & David Allison

Bernice & Mortimer Andron

Sally & Robert Arthur

Marjorie & J.W. Bailey

Else Schilling Bard

Joan C. Benson

Leslie & Philip Bernstein

Frank Blue & Lida Light Blue

Toos & Erno Bonebakker

Shelley & Mark Bookspan

Cynthia Brown & Arthur Ludwig

Suzanne & Peyton Bucy

The CAMA Fellows

Margo & Charles Chapman

Chubb Sovereign

Carnzu Clark

Stephen Cloud

Nan Burns & Dr. Gregory Dahlen

Karen Davidson, M.D.

Elizabeth & Kenneth Doran

Julie & William Esrey

Audrey Hillman Fisher

Foundation

David W. Fritzen/DWF Magazines,

DWF Media International

Catherine H. Gainey

Tish Gainey & Charles Roehm


Kay & Richard Glenn

Corinna Gordon, Larry Dale

Gordon

Dorothy & Freeman Gosden

Grace Jones Richardson Trust

Dianne & Robert S. Grant

Beverly & Bruce Hanna

Dolores & Robert Hanrahan

Lorraine C. Hansen

Margret & David F. Hart

Betty & Stan Hatch

Renee & Richard Hawley

Ruth & Alan Heeger

Mary & Campbell Holmes

Jackie Inskeep

Glenn Jordan & Michael Stubbs

Martha & Peter Karoff

Connie & Richard Kennelly

Mahri Kerley/Chaucer's Books

Linda & Michael Keston

MaryAnn & Frederick Lange

Dodie Little

Ruth & John Matuszeski

Dona & George McCauley

Jayne Menkemeller

Sally & George Messerlian

Keith W. Moore

Maryanne Mott & Herman Warsh

Sybil & Russell Mueller

Myra & Spencer Nadler

Karin Nelson & Eugene Hibbs/

Maren Henle

Fran & John Nielsen

Ellen Lehrer Orlando & Thomas

Orlando

Joanne & Alden Orput

Mr. & Mrs. Charles W. Partridge

John Perry

Patricia & Carl Perry

Justyn & Ray Person

Susan & James Petrovich

Ann M. Picker

Anne & C.Wesley Poulson

Susannah Rake

Jaquelin & Frank Reed

Jack Revoyr

Regina & Rick Roney

Rebecca Ross

Betty Barrett & John Saladino

William E. Sanson

Maryan & Richard Schall

Nancy & William Schlosser

Pat & Roby Scott

Dody Waugh & Eric Small

Sally & Jan E.G. Smit

Constance & C.Douglas Smith

Barbara & Wayne Smith

Betty J. Stephens

Diane & Selby Sullivan

The Godric Foundation

Joseph Thomas

Milan E. Timm

Mark E. Trueblood

Drs. Shirley & Kenneth Tucker

Barbara & Gary Waer

Nick & Patty Weber

Dr. Robert W. Weinman

Victoria & Norman Williamson

Lisa Bjornsen Wolf & David

Russell Wolf

Charles and Merryl Snow Zegar

*promised

Gifts received by September 13, 2022

MOZART SOCIETY

CAMA’s mission is to enrich Santa Barbara’s cultural life by bringing live performances by worldrenowned

classical artists and orchestras of the highest artistic excellence to our community

and by providing creative, focused music education programs for individuals of all ages.

CAMA thanks and honors the following members of the CAMA community who have

contributed to CAMA’s Endowment. A commitment to CAMA’s Endowment ensures the

success of CAMA’s next 100 years. Gifts at every level are deeply appreciated.

James H. Hurley and Judith L. Hopkinson

Co-Chairs, CAMA Endowment

CONDUCTOR'S CIRCLE

$500,000 and above

Suzanne & Russell Bock

Linda Brown*

SAGE Publishing

Elaine Stepanek

Esperia Foundation

CRECENDO CIRCLE

$250,000–$499,999



The Andrew H.

Burnett Foundation


Judith L. Hopkinson



CADENZA PATRONS

$100,000–$249,999


The Stephen & Carla

Hahn Foundation


Nancy & William G. Myers

Jan Severson

Judith F. Smith

The Towbes Fund for

the Performing Arts


RONDO PATRONS

$50,000–$99,999

Ruth Appleby



Dr. Dolores M. Hsu

Lois Sandra Kroc

The Samuel B. & Margaret C.

Mosher Foundation

Santa Barbara Bank & Trust


CONCERTO PATRONS

$25,000–$49,999

Jane Catlett

Bridget B. Colleary

Suzanne Faulkner

Léni Fé Bland


Joanne C. Holderman

Hutton Parker Foundation

Sara Miller McCune

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

The Henry E. & Lola Monroe

Foundation

Efrem Ostrow Living Trust




The Walter J. & Holly O. Thomson

Foundation


SONATA PATRONS

$10,000–$24,999

Anonymous


Denise & Stephen Adams/

Adams Family Foundation

Marta Babson

Else Schilling Bard

Edward & Sue Birch


Bob Boghosian &

Beth Gates-Warren




Margo Chapman



Nancyann & Robert Failing


& Ronald Fendon


Arthur R. Gaudi

Sherry & Robert Gilson

Lorraine C. Hansen

Mary & Campbell Holmes

Patricia Kaplan

Winona Fund


Lynn P. Kirst

Laura Kuhn

John Lundegard

Keith Moore

Jayne Menkemeller

Betty Meyer

Mary & James Morouse


Pat Hitchcock O'Connell

John Perry

Marjorie & Hugh Petersen


Susannah Rake


Anitra & Jack Sheen

Sally & Jan E.G. Smit

Constance Smith

The Elaine F. Stepanek

Foundation

Betty J. Stephens

Mark E. Trueblood

Marilyn Vandever

Barbara & Gary Waer

David & Lisa Wolf

*promised


LEGACY SOCIETY







Linda Brown



Jane Catlett

Bridget B. Colleary




& Ronald Fendon



Arthur R. Gaudi

Lorraine C. Hansen


Joanne C. Holderman

Judith L. Hopkinson

Dr. Dolores M. Hsu




Lynn P. Kirst

Lois Sandra Kroc

John Lundegard

Keith Moore






Andre & Michele Saltoun

Judith F. Smith


Mark E. Trueblood

Marilyn Vandever

Barbara & Gary Waer



We gratefully acknowledge all CAMA Mozart Society and Legacy

Society members for their gifts to CAMA’s endowment, ensuring

CAMA’s mission to bring the world’s greatest classical artists to

Santa Barbara for years to come.

Thank you

INTERNATIONAL CIRCLE

Thank you International Circle Members!

CAMA sincerely appreciates your support for our mission

to bring great orchestras and soloists to Santa Barbara

and to introduce young people to classical music.

–Chris Emmons, International Circle Chair

Anonymous (4)

Ann Jackson Family Foundation

Sylvia Abualy

Todd & Allyson Aldrich Family

Charitable Fund

Jane & Kenneth Anderson

Peggy & Kurt Anderson

Argonaut Charitable Foundation

Marta Babson



Isabel Bayrakdarian



Jerry & Geraldine Bidwell

Edward & Sue Birch

Bob Boghosian &

Beth Gates-Warren

Shelley & Mark Bookspan

Diane Boss

Alison & Jan Bowlus

Cynthia Brown & Arthur Ludwig

Wendel Bruss

Michele Brustin

Suzanne & Peyton Bucy

Barbara Burger and Paul Munch

Alison H. Burnett

Dan & Meg Burnham


Louise & Michael Caccese

Annette & Richard Caleel


Susan & Claude Case

Roger & Sarah Chrisman,

Schlinger Chrisman Foundation

Patricia Clark

Lavelda & Lynn Clock

Stephen Cloud

Betsy & Kenneth Coates

Bridget B. Colleary

Joan & Steven Crossland

Gregory Dahlen III &

Christi Walden

Ms. Jan Davis-Hadley

Janet Davis

Janet & Roger DeBard/

DeBard Johnson Foundation

Sheryl & Michael DeGenring

Edward S. DeLoreto

Margaret & Ronald Dolkart

Nancy Donaldson

Elizabeth & Kenneth Doran

Glenn & Karen Doshay

Ann & David Dwelley

Wendy & Rudy Eisler

Julia Emerson

Lauren Emma


Frederika & Dennis Emory

Nancy Englander

Bob & Margo Feinberg



& Ronald Fendon


Priscilla Gaines

Catherine H. Gainey

Tish Gainey & Charles Roehm


Arthur R. Gaudi

Sandy & Jerry Gothe

George H. Griffiths and Olive J.

Griffiths Charitable Fund

The Stephen & Carla

Hahn Foundation

David Hamilton

William S. Hanrahan


Renee & Richard Hawley

Maison K

Henry E. Lola Monroe Foundation

Barbara Hirsch

Ronda & Bill Hobbs

Gerhart Hoffmeister

Joanne C. Holderman

Hollis Norris Fund

Judith L. Hopkinson

Natalia & Michael Howe


Jackie Inskeep

Karin Jacobson

Gina & Joseph Jannotta

Diane Johnson

Ellen & Peter Johnson

Elizabeth Karlsberg & Jeff Young


Mr. James P. Kearns

Herbert Kendall


INTERNATIONAL CIRCLE

Connie & Richard Kennelly

Jill Dore Kent


Kum Su Kim & John Perry

Sally Kinney

Lynn P. Kirst

Thomas & Travis Kranz

Lois S. Kroc

Chris Lancashire

Stefanie L. Lancaster Charitable

Foundation

MaryAnn Lange

Elinor & James Langer

Kathryn Lawhun & Mark Shinbrot

Shirley & Seymour Lehrer

Dodie Little

Christie & Morgan Lloyd

Nancy Lynn

Maureen Masson

Phyllis Brady & Andy Masters

Ruth & John Matuszeski

Donald & Karine McCall

Dona & George McCauley

Sara Miller McCune

Jeffrey McFarland

Frank McGinity | Debbie Geremia

Patriicia & William McKinnon


Sally & George Messerlian

Robert Miller & Susie Triolo Miller




Peter L. Morris

Mosher Foundation

Maryanne Mott

Russell Mueller

Mrs. Raymond King Myerson

Karin Nelson & Eugene Hibbs/

Maren Henle

Fran & John Nielsen

Northern Trust

Ellen Lehrer Orlando &

Thomas Orlando

Gail Osherenko & Oran Young

Patti Ottoboni

Anne & Daniel Ovadia


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

SAGE Publishing

Michele Saltoun

Ada B. Sandburg

William E. Sanson


City of Santa Barbara

Lynn & Mark Schiffmacher

Nancy Schlosser

Shanbrom Family Foundation

Maureen & Les Shapiro

Anitra Sheen

Halina W. Silverman

Eric Small

Delia Smith

Judith F. 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

Mark E. Trueblood

Steven Trueblood

Dr. Shirley Tucker

Carol Vernon & Robert Turbin

Esther & Tom Wachtell

Barbara & Gary Waer

Sheila Wald

Nick & Patty Weber

Robert Weinman

Judy L Weisman

Westmont College

Victoria & Norman Williamson


George & Beth Wood


Grace & Edward Yoon

Patricia Yzurdiaga

Zegar Family Fund

Cheryl & Peter Ziegler

Ann & Dick Zylstra

Winona Fund



29

MUSICIANS SOCIETY

CAMA thanks our Musicians Society for their annual support.

CONTRIBUTORS

$250–$499

Glenn Jordan & Michael Stubbs

Maggy Cara

Michael & Ruth Ann Collins

Nancy & Frederic Golden

Debbie & Frank Kendrick

Phyllis Brady & Andy Masters

Sun Ae & Andrew Mester

Maureen O'Rourke

Gaines Post

Doris & Bob Schaffer

ASSOCIATES

$100–$249

Julie Antelman & William Ure

Alison H. Burnett

Margaret & David Carlberg

Joanne & John Chere

Meg & Jim Easton

Thomas & Doris Everhart

Marie-Paule & Laszlo Hajdu

Ronda & Bill Hobbs

Anna & Petar Kokotovic

Amanda McIntyre

Christine & James V. McNamara

Ted and Kay Stern

Laura Tomooka

Mary H. Walsh

FRIENDS

$10–$99

Irwin and Roslyn Bendet

Polly Clement

Thomas Craveiro

Susan & Larry Gerstein

Susan Harbold

Christine Hoehner

Ms. Pita Khorsandi

Lori Kraft Meschler

Jean Perloff

Joan Tapper & Steven Siegel

Mr. Charles Harvey Talmadge

Ms. Renee Templeraud

Mr. Charles Weis

Fritz and Hertha Will


With special thanks to

Sullivan Goss


MUSIC EDUCATION

$25,000 and above

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

Sara Miller McCune

James P. and Shirley F. McFarland Fund

of the Minneapolis Foundation

Performing Arts Scholarship Foundation

Westmont College

$100–$999

Becky & William Banning

William S. Hanrahan

Lynn P. Kirst

CAMA Education Endowment

Fund Income

$50,000 AND ABOVE

Mary Lloyd Mills

$1,000–$4,999


$1,000–$4,999

Linda Stafford Burrows –

This opportunity to experience great musicians excelling is

given in honor and loving memory of Frederika Voogd

Burrows to continue her lifelong passion for enlightening

young people through music and math.

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

Walter J. Thomson/The Thomson Trust

$50–$999

Lynn P. Kirst

Keith J. Moore

Performing Arts Scholarship Foundation

Marjorie S. Petersen


Volunteer docents are trained by CAMA's Education

Committee Chair Joan Crossland to deliver this

program to area schools monthly. Music enthusiasts

are invited to learn more about the program and

volunteer opportunities.

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

more information about the docent program.

MEMORIAL GIFTS

IN MEMORY OF

IN HONOR OF

Michelle "CoCo" Ogburn

Margaret & Ronald Dolkart

Prof. Frederick F. Lange

MaryAnn Lange

Deborah Bertling

Diane Dodds

Nancy L. Wood

David Wood

Mark Trueblood

Nancy & James Lynn

Joan Crossland, Nancy Lynn

and David Malvinni

Carolyn & Dennis Naiman

Joan Crossland

George Porter

Elizabeth Alvarez



31

BUSINESS SUPPORTERS

We thank the many businesses that support

CAMA's programs and events!

Laurel Abbott, Berkshire

Hathaway Luxury Properties

Alma Rosa Winey

Babcock Winery

James P. Ballantine

Bertling Law Group

Bibi Ji

Blue Star Parking

bouchon

Brander Vineyard

Wes Bredall

Ca' Dario Ristorante

Camerata Pacifica

Cebada Wine

The Cheese Shop

Chaucer's Books

Chocolats du CaliBressan

Custom Printing

eji experiences

Eye Glass Factory

Felici Events

Finch & Fork

Flag Factory of

Santa Barbara

Frequency Wine

Gainey Vineyard

The Good Lion

Grassini Family Vineyards

Grimm’s Bluff

Hogue & Company

Holdren's Catering

Inside Wine Santa Barbara

Kristin Jackson

Graphic Design

Jano Printing & Mailworks

Jardesca

Le Sorelle

Lumen Wines

M4 Interactive

Maravilla/Senior

Resource Group

Mercury Press International


Montgomery Vineyard

Northern Trust

Olio e Limone/Olio Crudo

Bar/Olio Pizzeria

Opal Restaurant & Bar

Opera Santa Barbara

Pacific Coast

Business Times

Pali Wine Co.

Performing Arts

Scholarship Foundation

Presqu’ile Winery

SAGE Publishing


Santa Barbara

Travel Bureau

Sullivan Goss

The Tent Merchant

The Upham Hotel

Via Maestra 42

Westmont Orchestra

wine country cuisine

in the heart of the Historic Arts District

Santa Barbara ‘Wine Country Cuisine’ means

we source our ingredients using an ‘as-fresh-andas-local-as-possible’

approach, with fish from

the Santa Barbara Channel and produce from

the surrounding countryside. We then take into

account how these flavors can be presented in

concert with our local wines.

dinner nightly

Sunday-Thursday 5-9pm

Friday-Saturday 5-10pm

bouchon

Photo by Mark Allan

9 west victoria street | 805.730.1160 | bouchonsantabarbara.com

Northern Trust would

like to dedicate this

season to our friend

and CAMA supporter

ANDRE

SALTOUN

(1930 - 2020)

For over 133 years, Northern Trust has been caring for our

clients’ financial needs with a commitment to invest in the

communities we serve. We are proud to continue playing

this supportive role with Community Arts Music Association

of Santa Barbara.

TO LEARN MORE VISIT

northerntrust.com

WEALTH PLANNING | BANKING | TRUST & ESTATE SERVICES | INVESTING | FAMILY OFFICE

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?