CAMA Presents the Los Angeles Philharmonic ⫽ Friday, January 28, 2022 ⫽ International Series at the Granada Theatre, Santa Barbara ⫽ 7:30PM

2021/2022 SEASON 

Presenting the world’s finest classical artists since 1919 

103 rd CONCERT SEASON 

SEASON SPONSORSHIP: SAGE PUBLISHING 

ELIM CHAN 

conductor 

IGOR LEVIT 

piano 

Friday, January 28, 2022, 7:30PM 

Granada Theatre, Santa Barbara 

Elim Chan 

Igor Levit 

Courtesy of Los Angeles Philharmonic Association ⫽ Elim Chan photo by Rahi Rezvani ⫽ Igor Levit photo by Robbie Lawrence 

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BOARD OF DIRECTORS 

(December 23, 2021) 

ROBERT K. MONTGOMERY 

Chairman 

DEBORAH BERTLING 

Vice Chair and President, Women's Board 

Rosalind Amorteguy-Fendon 

Marta Babson 

Bitsy Becton Bacon 

Isabel Bayrakdarian 

Edward E. Birch 

Andy Chou 

Stephen Cloud 

NancyBell Coe 

Bridget Colleary 

Joan Crossland 

JAN BOWLUS 

Vice Chair 

WILLIAM MEEKER 

Treasurer 

CHRISTINE EMMONS 

Secretary 

Jill Felber 

Raye Haskell Melville 

Judith L. Hopkinson 

Elizabeth Karlsberg 

Frank E. McGinity 

George Messerlian 

Patti Ottoboni 

Craig A. Parton 

Michele Saltoun 

Judith F. Smith 

Emeritus Directors 

(As of October 1, 2021) 

Robert J. Emmons 

Arthur R. Gaudi 

James H. Hurley, Jr. 

Herbert J. Kendall 

Sara Miller McCune 

Nancy Wood 

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 October 1, 2021) 

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 


JANUARY 11, 2022 

ROYAL 

PHILHARMONIC 

ORCHESTRA 

Primary Sponsor 

The Elaine F. Stepanek 

Foundation 

Sponsors 

Alison & Jan Bowlus 



Bob & Val Montgomery 

Ellen & John Pillsbury 

The Shanbrom Family 


Co-Sponsor 

Stephen J.M. & Anne Morris 

JANUARY 28, 2022 

LOS ANGELES 

PHILHARMONIC 

Principal Sponsors 

Kum Su Kim & John Perry 

Mosher Foundation 

Sponsors 

Peggy and Kurt Anderson 

Bitsy & Denny Bacon and 

The Becton Family Foundation 



Diane Sullivan 

The Towbes Fund for the 

Performing Arts, a field of 

interest fund of the SBF 

Co-Sponsors 

Jane & Kenneth Anderson 

Meg & Dan Burnham 

Christine & Robert Emmons 

MARCH 24, 2022 

LONDON 

SYMPHONY 

ORCHESTRA 

Primary Sponsors 



APRIL 12, 2022 

ENGLISH 

BAROQUE 

SOLOISTS 

Principal Sponsors 

Herbert & Elaine Kendall 

Jocelyne & William Meeker 

Sponsors 

NancyBell Coe & Bill Burke 


George & Judy Writer 

Co-Sponsors 

Elizabeth Karlsberg & 

Jeff Young 

John & Fran Nielsen 

Ellen & Craig Parton 

Nancy & Byron Kent Wood

MASTERSERIES 

AT THE LOBERO THEATRE 

SEASON SPONSORSHIP: ESPERIA FOUNDATION 

MARCH 2, 2022 

JORDI SAVALL 

AND LE CONCERT 

DES NATIONS 

Co-Sponsors 


Concert Partners 

Stephen Cloud 

Christine & Robert Emmons 

Lois S. Kroc 

MARCH 18, 2022 

BENJAMIN 

GROSVENOR, piano 

Sponsors 




Concert Partner 


APRIL 23, 2022 

ISABEL 

BAYRAKDARIAN, soprano 

MARK FEWER, violin 

JAMIE PARKER, piano 

Sponsors 

Bob Boghosian & Beth Gates-Warren 

The Elaine F. Stepanek Foundation 

MAY 24, 2022 

JAMES EHNES, violin 

ORION WEISS, piano

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 

JMA Foundation 

Susan Johnson 

Paul Levine 

Nancy & James Lynn 

Jaclyn Maduff 

Lesli Marasco 


Frank McGinity | 

Debbie Geremia 

Sandra Merwizer 

Stuart Silverman 

Hayley Thomson 

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. 

4 CAMA'S 103 RD CONCERT SEASON


INTERNATIONAL SERIES AT THE GRANADA THEATRE 


LOS ANGELES PHILHARMONIC 

Elim Chan, conductor Igor Levit, piano 

Friday, January 28, 2022, 7:30PM 

The Granada Theatre, Santa Barbara 

Elizabeth 

OGONEK Cloudline (c.13 minutes) 

(b.1989) 

(U.S. premiere, LA Phil commission with generous 

support from Elizabeth and Justus Schlichting) 

Ludwig van 

BEETHOVEN Piano Concerto No.3 in C Minor, Op.37 (c.34 minutes) 

(1770–1827) Allegro con brio 

Largo 

Rondo. Allegro 

Igor Levit, piano 

INTERMISSION 

Felix 

MENDELSSOHN Symphony No.4 in A Major, “Italian,” Op.90 (c.27 minutes) 

(1809–1847) Allegro vivace 

Andante con moto 

Con moto moderato 

Saltarello. Presto 

Rolex is the Official Timepiece of the Los Angeles Philharmonic. 

Program and artists subject to change. 

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

International Series Season Sponsor: SAGE Publishing 

Principal Sponsors: Kum Su Kim & John Perry • Mosher Foundation 

Sponsors: Peggy and Kurt Anderson • Bitsy & Denny Bacon and The Becton Family 

Foundation • Bob & Val Montgomery • Michele Saltoun • Diane Sullivan • The Towbes Fund 

for the Performing Arts, a field of interest fund of the SBF 

Co-Sponsors: Jane & Kenneth Anderson • Meg & Dan Burnham • Christine & Robert Emmons 

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 • LOS ANGELES PHILHARMONIC 

5

On behalf of the CAMA Board of Directors, we 

send our deep appreciation to the many steadfast 

subscribers whose attendance, ticket donations 

and financial contributions to CAMA have sustained 

our mission through these challenging times. 

Thank you for your support of CAMA! 

Bob Montgomery, CAMA Chairman

Photo Courtesy of Los Angeles Philharmonic Association 

The Los Angeles Philharmonic, under the 

vibrant leadership of Music & Artistic Director 

Gustavo Dudamel, presents an inspiring 

array of music through a commitment to 

foundational works and adventurous explorations. 

Both at home and abroad, the LA 

Phil—recognized as one of the world’s outstanding 

orchestras—is leading the way in 

groundbreaking and diverse programming, 

on stage and in the community, that reflects 

the orchestra’s artistry and demonstrates 

its vision. 2021/22 marks the orchestra’s 

103rd season. 

More than 250 concerts are either performed 

or presented by the LA Phil at its 

three iconic venues: the Frank Gehry-designed 

Walt Disney Concert Hall, The Ford, 

and the famed Hollywood Bowl. During its 

winter season at Walt Disney Concert Hall, 

with approximately 165 performances, the 

LA Phil creates festivals, artist residencies, 

and other thematic programs designed to 

enhance the audience’s experience of orchestral 

music. Since 1922, its summer 

home has been the world-famous Hollywood 

Bowl, host to the finest artists from 

all genres of music. Situated in a 32-acre 

park and under the stewardship of the LA 

Phil since December 2019, The Ford presents 

an eclectic summer season of music, 

dance, film, and family events that are reflective 

of the communities that comprise 

Los Angeles. 

The orchestra’s involvement with Los 


7

Photo Courtesy of Los Angeles Philharmonic Association

“So far ahead of other American orchestras 

that it is in competition mainly with its own 

past achievements.” —The New Yorker’s Alex Ross 

Angeles extends far beyond the concert 

hall, with wide-ranging performances in the 

schools, churches, and neighborhood centers 

of a vastly diverse community. Among 

its influential and multifaceted learning initiatives 

is YOLA (Youth Orchestra Los Angeles), 

inspired by Venezuela’s revolutionary 

El Sistema. Through YOLA, the LA Phil and 

its community partners provide free instruments, 

intensive music instruction, and 

leadership training to nearly 1,300 students 

from underserved neighborhoods, empowering 

them to become vital citizens, leaders, 

and agents of change. In fall of 2021, YOLA 

opened its own permanent, purpose-built 

facility: The Judith and Thomas L. Beckmen 

YOLA Center at Inglewood, designed by architect 

Frank Gehry. 

The orchestra also undertakes tours, 

both domestically and internationally, including 

regular visits to New York, London 

(where the orchestra is the Barbican Centre’s 

International Orchestral Partner), Paris, 

and Tokyo. As part of its global Centennial 

activities, the orchestra visited Seoul, Tokyo, 

Mexico City, London, Boston, and New 

York. The LA Phil’s first tour was in 1921, 

and the orchestra has made annual tours 

since the 1969/70 season. 

The LA Phil has released an array of critically 

acclaimed audio recordings, including 

world premieres of the music of John 

Adams and Louis Andriessen, along with 

Grammy ® Award-winning recordings featuring 

the music of Johannes Brahms, Charles 

Ives, and Andrew Norman. Deutsche Grammophon 

has released a comprehensive box 

set in honor of the orchestra’s Centennial. 

The Los Angeles Philharmonic was 

founded in 1919 by William Andrews Clark, 

Jr., a wealthy amateur musician. Walter 

Henry Rothwell became its first Music Director, 

serving until 1927; since then, 10 

renowned conductors have served in that 

capacity. Their names are: Georg Schnéevoigt 

(1927–1929); Artur Rodziński (1929– 

1933); Otto Klemperer (1933–1939); Alfred 

Wallenstein (1943–1956); Eduard van Beinum 

(1956–1959); Zubin Mehta (1962– 

1978); Carlo Maria Giulini (1978–1984); 

André Previn (1985–1989); Esa-Pekka Salonen 

(1992–2009); and Gustavo Dudamel 

(2009–present). 


9

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ELIM CHAN 

conductor 

Photo by Rahi Rezvani 

One of the most sought-after young conductors 

and already widely admired for 

her unique combination of “drama and 

tenderness, power and delicacy” (Hereford 

Times), Elim Chan became the first female 

winner of the Donatella Flick Conducting 

Competition and was appointed Chief Conductor 

of the Antwerp Symphony Orchestra 

beginning with the 2019/20 season. In addition, 

she also holds the position of Principal 

Guest Conductor of the Royal Scottish 

National Orchestra since 2018/19. 

The 2021/22 season starts off with 

her appearance at the Edinburgh International 

Festival, followed by debuts with the 

Sinfonieorchester Basel, the Boston and 

St. Louis symphony orchestras, European 

Union Youth Orchestra, Mahler Chamber 

Orchestra, ORF Radio-Symphonieorchester 

Wien, Orchestre National de Lyon, and 

Junge Deutsche Philharmonie. Additionally, 

Elim Chan will return to orchestras 

with which she is closely connected, 

amongst them the Philharmonia Orchestra, 

Los Angeles Philharmonic, and Gürzenich 

Orchester Cologne. 

Recent highlights include her engagements 

with the Orchestre National de Lille, 

Barcelona Symphony Orchestra, Orquesta 

Sinfónica de Castilla y León, Konzerthausorchester 

Berlin, Gothenburg Symphony, 

Netherlands Philharmonic, and Royal 


11

Stockholm Philharmonic, as well as the City 

of Birmingham Symphony Orchestra. 

Elim Chan became Assistant Conductor 

of the London Symphony Orchestra 

in 2015/16 and was appointed to the Dudamel 

Fellowship program with the Los Angeles 

Philharmonic in the following season. 

Previously, she led the Orchestre de la Francophonie 

as part of the 2012 NAC Summer 

Music Institute, where she worked with Pinchas 

Zukerman, and she participated in the 

Musical Olympus Festival in St. Petersburg 

as well as in workshops with the Cabrillo 

Festival and Baltimore Symphony orchestras 

(with Marin Alsop, Gerard Schwarz, and 

Gustav Meier). She also took part in master 

classes with Bernard Haitink in Lucerne in 

spring 2015. 

Elim Chan holds degrees from Smith 

College and the University of Michigan. 

While there, she served as Music Director 

of the University of Michigan Campus Symphony 

Orchestra and the Michigan Pops Orchestra. 

She also received the Bruno Walter 

Conducting Scholarship in 2013. 

elimchan.com 

facebook.com/elimchan28 

twitter.com/itselimchan 

instagram.com/itselimchan/?hl=de 

Photo by Willeke Machiels 


IGOR LEVIT 

piano 

Photo by Robbie Lawrence 

With an alert and critical mind, Igor Levit 

places his art in the context of social events 

and understands it as inseparably linked to 

them. The New York Times describes him 

as one of the “most important artists of his 

generation.” Igor Levit is Musical America’s 

“Recording Artist of the Year 2020” and the 

2018 Gilmore Artist. In November 2020, he 

was nominated for a Grammy Award in the 

Best Classical Instrumental Solo category. 

As a recitalist, Igor Levit regularly performs 

at the world’s most renowned concert 

halls and festivals. He is a regular 

soloist with the world’s leading orchestras 

such as the Berlin Philharmonic, the Cleveland 

Orchestra, the Gewandhausorchester 

Leipzig, the Royal Concertgebouw Orchestra, 

and the Vienna Philharmonic. Igor Levit’s 

upcoming schedule includes concerts 

in Boston, Chicago, Los Angeles, New York, 

Amsterdam, Berlin, London, Madrid, Paris, 

Vienna, and Tokyo. In 2022, the artist premieres 

a new piano concerto written for him 

by William Bolcom as well as a solo piece 

written for him by jazz pianist Fred Hersch. 

In spring 2021, Igor Levit and the Lucerne 

Festival announced a multi-year collaboration 

for a new piano festival he will curate 

starting in 2023. 

An exclusive recording artist for Sony 


13


Classical, Igor Levit made his label debut 

with the highly acclaimed 2019 recording 

of the 32 Beethoven Sonatas, which 

earned him the Gramophone Artist of the 

Year Award as well as the Opus Klassik 

in autumn 2020. His next album Encounter 

followed in September 2020. Recorded 

during the lockdown in spring 2020, it is a 

deeply personal album marked by a desire 

for human encounter and togetherness. 

The program includes rarely heard arrangements 

of Bach and Brahms by Ferruccio 

Busoni and Max Reger, as well as “Palais de 

Mari”—Morton Feldman’s final work for piano. 

Igor Levit’s latest release is a double album 

featuring Shostakovich’s 24 Preludes 

and Fugues, Op.87, and Ronald Stevenson’s 

“Passacaglia on DSCH.” The artwork 

for this album has been specially created 

by the internationally renowned artist and 

graphic designer Christoph Niemann, who 

regularly illustrates for The New Yorker and 

The New York Times. 

Born in Nizhny Novgorod, Igor Levit 

moved to Germany with his family at the 

age of eight. He completed his piano studies 

at Musikhochschule Hannover with the 

highest score in the history of the institute. 

His teachers included Karl-Heinz Kämmerling, 

Matti Raekallio, Bernd Goetzke, Lajos 

Rovatkay, and Hans Leygraf. Igor Levit was 

the youngest participant in the 2005 International 

Arthur Rubinstein Competition in 

Tel Aviv, where he won the silver medal, the 

special prize for chamber music, the audience 

prize, and the special prize for best 

performance of contemporary pieces. In 

spring 2019, he was appointed professor of 

piano at his alma mater, the University of 

Music, Theater, and Media Hanover. 

For his political commitment, Igor Levit 

has been awarded the Fifth International 

Beethoven Prize in 2019, followed by his 

receipt of the “Statue B” from the International 

Auschwitz Committee in January 

2020. His 53 live house concerts, Twitterstreamed 

during the lockdown in spring 

2020, garnered a worldwide audience, offering 

a sense of community and hope in 

a time of isolation and desperation. In October 

2020, Igor Levit was recognized with 

the Order of Merit of the Federal Republic 

of Germany. In spring 2021, Hanser published 

Igor Levit’s first book, House Concert, 

co-authored by Florian Zinnecker. In Berlin, 

where he makes his home, Igor Levit is 

playing on a Steinway D Grand Piano kindly 

given to him by the Trustees of Independent 

Opera at Sadler’s Wells. 

Igor Levit is an exclusive recording artist 

of Sony Classical. 

Artist’s website: www.igor-levit.com 

Exclusive World Management: 

Classic Concerts Management GmbH, 

Manager: Kristin Schuster. 


15

An historic treasure 

with contemporary comforts 

in the heart of Santa Barbara 

50 Guest Rooms & Suites

NOTES ON THE PROGRAM 

Cloudline 

Elizabeth Ogonek (b.1989) 

Composed: 2021 

Duration: c.13 minutes 

Orchestration: 2 flutes (1st=alto flute, 

2nd=piccolo), 2 oboes (2nd=English horn), 

2 clarinets (2nd=bass clarinet), 2 bassoons 

(2nd=contrabassoon), 4 horns, 2 trumpets, 

2 trombones, bass trombone, percussion 

(cowbells, woodblock, splash cymbals, and 

marimba), harp, piano, and strings 

First Los Angeles Philharmonic 

performance: January 27, 2022, 

Elim Chan conducting 

Elizabeth Ogonek 

In Song of the Universal, Walt Whitman 

wrote, “Over the mountain growths, disease 

and sorrow, / An uncaught bird is ever hovering, 

hovering, / High in the purer, happier 

air. / From imperfection’s murkiest cloud, / 

Darts always forth one ray of perfect light, / 

One flash of heaven’s glory.” 

Gavin Pretor-Pinney notes in his book 

The Cloudspotter’s Guide that, “[a]lthough 

cloudspotting is an activity best undertaken 

with time on your hands, it is something 

that everyone can enjoy. Clouds are the 

most egalitarian of nature’s displays, since 

each one of us has a good view of them, so 

it really doesn’t matter where you are.” 

At the Shakespeare & Co. bookshop in Paris 

hangs a handwritten sign that reads, “Some 

people call me the Don Quixote of the Latin 

Quarter because my head is so far up in the 

clouds that I can imagine all of us are angels 

in paradise.” 

Georgia O’Keeffe was perpetually captivated 

by the sky. To her friend, photographer 

Anita Pollitzer, she wrote: “The Eastern sky 

was all grey blue—bunches of clouds—different 

kinds of clouds—sticking around ev- 


17

erywhere and the whole thing—lit up—first 

in one place—then in another with flashes 

of lightning—sometimes just sheet lightning—and 

sometimes sheet lightning with 

a sharp bright zigzag flashing across it—I 

walked out past the last house—past the 

last locust tree—and sat on the fence for 

a long time—looking—just looking—at the 

lightning—you see there was nothing but 

sky and flat prairie land—land that seems 

more like the ocean than anything else I 

know—There was a wonderful moon. Well, 

I just sat there and had a great time all by 

myself—Not even many night noises—just 

the wind—” 

In the 1960s, O’Keeffe painted her Sky 

Above Clouds series which was inspired by 

the new visual perspective provided by the 

burgeoning commercial flight industry. Her 

largest canvas, Sky Above Clouds IV, hangs 

in the Art Institute of Chicago. 

This sampling of thoughts, visited again 

and again, rests behind Cloudline, my musical 

offering to the infinite canon of cloudinspired 

musings. At the center of the 

piece is a repeating chord progression (or 

cloud progression as I came to think of it) 

that is derived from a sequence of delicate 

clarinet multiphonics (two or more tones 

produced simultaneously). Though the 

progression morphs, fractures, and reconstitutes 

itself in sometimes unrecognizable 

ways over the course of the work’s 13 

minutes, it remains an ever-present guide. 

This treatment of musical material follows 

in the footsteps of other works including 

the Lament from Purcell’s Dido and Aeneas 

and the last movement of Brahms’ Fourth 

Symphony, in which expansive, dynamic 

music unfolds against quite humble repeating 

bass lines. 

While writing Cloudline, I started watching 

the BBC show Killing Eve. A few episodes 

in, I had this comical image of a decadently 

clad Villanelle, the show’s feral and 

mercurial assassin, swinging giddily from 

cloud to cloud as she prepared to pounce 

on her next victim. As fate would have it, 

Stokowski’s arrangement of Dido’s Lament 

came to feature quite prominently in the 

third season of the show, as did the Royal 

Albert Hall itself. It struck me as oddly and 

hilariously serendipitous, given the very origins 

of this piece. 

Cloudline came to be during our year and a 

half at home. As is perhaps evident from the 

strange collection of untethered threads, 

half-thoughts, and non sequiturs that have 

woven this lyrical hurricane of a piece into 

existence, it seems, in retrospect, to be an 

expression of the tempestuous and bizarre 

texture of life during those trying yet often 

tender 16 months. 

–Elizabeth Ogonek 


Ludwig van Beethoven 

Piano Concerto No.3 

in C Minor, Op.37 

Ludwig van Beethoven (1770–1827) 



Orchestration: 2 flutes, 2 oboes, 

2 clarinets, 2 bassoons, 2 horns, 

2 trumpets, timpani, strings, and solo piano 


performance: January 29, 1926, Walter 

Henry Rothwell conducting, with pianist 

Mischa Levitzki 

The composer introduced his Concerto in C 

Minor at one of those massive all-Beethoven 

benefits—with Beethoven as beneficiary— 

which continues to boggle the mind two 

centuries after the fact. The date was April 

5, 1803, in the Theater an der Wien, the program 

offering three premieres: the present 

work, the Second Symphony, and the oratorio 

Christ on the Mount of Olives, as well as 

a reprise of the First Symphony, first heard 

a year earlier. 

According to Beethoven’s pupil Ferdinand 

Ries, the rehearsal—the only rehearsal 

for the entire concert—began at 8 a.m. 

and was a shambles. The orchestra was 

the Viennese second-string, the city’s best 

players having been hired by a competing 

presenter for a performance of Haydn’s Creation 

that same evening. “[It] was frightful,” 

Ries recalled. “At half past two, everyone 


19

was exhausted and dissatisfied. Prince Karl 

Lichnowsky [one of Beethoven’s patrons], 

who was at the rehearsal from its beginning, 

sent out for large baskets of buttered 

bread, cold meats, and wine. He invited all 

the musicians to help themselves, which 

they did heartily, and a collegial atmosphere 

was restored.” 

The score of the Concerto was not finished 

by the time of the rehearsal, and indeed 

it remained a work in progress during 

the performance, as was noted by another 

Beethoven pupil, Ignaz von Seyfried, who 

considered himself fortunate to have been 

chosen by Beethoven as his page-turner. “I 

saw empty pages with here and there what 

looked like Egyptian hieroglyphs, totally unintelligible 

to me, scribbled to serve as clues 

for him. He played nearly all of his part from 

memory, since, obviously, he had put so 

little on paper. So, whenever he reached the 

end of some invisible passage, he gave me 

a surreptitious nod and I turned the page. 

My anxiety not to miss such a nod amused 

him greatly and the recollection of it at our 

convivial dinner after the concert sent him 

into gales of laughter.” 

The C-minor Concerto had a second 

“premiere” in Vienna a year later, from 

the finished manuscript—presumably 

without hieroglyphs—when the honor of 

playing it was given to Ferdinand Ries by 

the composer. 

The Concerto bridges the divide between 

Beethoven’s two earlier, more clearly 

Mozart-derived concertos and a more personal 

style, while simultaneously showing 

a keen awareness of Mozart’s most 

Beethoven-like concerto, K.491, in the same 

key of C minor. Both open with the strings 

softly playing an ascending figure, the winds 

gradually joining in for the first climax. 

A thematic fragment—C, E-flat, A-flat—of 

the theme of the Mozart K.491 first movement 

is stated by the low strings in the 

ninth measure of the Beethoven. Most 

strikingly, as Charles Rosen has noted, 

Beethoven’s solo arpeggios in his coda recall 

portions of Mozart’s in his work. But 

here, the ferocious C-minor runs with which 

the piano subsequently enters are purest 

Beethovenian drama. 

The slow movement is an oasis of 

calm amid the agitated outer movements, 

with the songful expanse of piano melody 

accompanied by muted strings, after which 

the piano arpeggios curl around the theme, 

now stated by strings and woodwinds. 

There follows a magical passage where 

piano arpeggios accompany a duet for bassoon 

and flute. 

The rondo finale, in C minor again, has 

plenty of spirit but also a good deal of tension 

and the full bag of Beethoven tricks: a 

second theme, announced by the clarinet, 

whereupon the principal theme is transformed 

into a fugue whose conclusion signals 

the return of C minor. But no, it ascends 

a semitone to A-flat (an old Haydn trick), 

and then the piano wanders to E major, 

which may be far from A-flat but not from 

the slow movement of this very Concerto. 

–Herbert Glass 


Symphony No.4 in A Major, 

“Italian,” Op.90 

Felix Mendelssohn (1809–1847) 



Orchestration: 2 flutes, 2 oboes, 

2 clarinets, 2 bassoons, 2 horns, 

2 trumpets, timpani, and strings 


performance: July 24, 1930, Bernardino 

Molinari conducting 

Mendelssohn went to Italy in October 1830. 

The trip lasted 10 months—he started in 

Venice and worked his way south to Rome, 

stopping in Bologna and Florence along 

the way. During his stay in Rome, he witnessed 

the coronation of Pope Pius VIII and 

the city’s festivities during Holy Week (the 

week leading up to Easter). From Rome, he 

went on to Naples and visited Pompeii before 

returning to Germany through Genoa 

and Milan. 

His impressions of the trip were recorded 

in a series of watercolors and sketches—Mendelssohn 

was a decent amateur 

artist—and in the present Symphony. There 

is nothing particularly Italian about the symphony 

until its final movement. Rather, the 

work strives more to convey a series of impressions 

of Italy—Mediterranean sunshine, 

religious solemnity, monumental art and architecture, 

and open countryside. 

The symphony opens with a burst of 

sound—woodwinds and pizzicato strings— 

whose irrepressible eighth notes become 

the accompaniment to a jubilant string 

melody. The winds play an especially prominent 

role in this movement, with Mendelssohn 

treating them with a great degree of 

freedom that gives the movement a transparent, 

airy texture. It’s like a musical rendition 

of the Italian blue sky that impressed 

Mendelssohn, who was used to the cloudflecked 

skies of northern Europe, so deeply 

(he once described the symphony as “blue 

sky in A major”). The movement is in sonata 

form, but it also uniquely includes a transitional 

passage between the exposition and 

its repeat whose material is developed later 

Statue of Felix Mendelssohn-Bartholdy in Leipzig. 

Photo by Christian Draghici. 


21

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on. The turbulent minor-key development 

section also may remind the listener that 

Mendelssohn was working on his stormcloud-riddled 

“Scottish” Symphony (in A minor) 

at the same time he was composing 

the “Italian.” 

In the second movement, an andante 

con moto in D minor, Mendelssohn recalls 

the impressive processions he had witnessed 

during his time in Rome. He evokes 

these with a dusky melody (oboes, clarinets, 

and violas) that unfolds over a plodding 

bassline. This alternates with two contrasting, 

relaxed, major-key sections. 

The flowing minuet (con moto moderato), 

with its legato writing for stings and 

winds, offers a musical equivalent of the 

symmetrical forms and restrained beauty of 

some of the architecture Mendelssohn saw 

during his Italian sojourn. The trio sounds 

vaguely militaristic, with its fanfare-like melodic 

figure for horns and bassoons. 

In the finale, Mendelssohn uses another 

dance, the raucous Neapolitan 

saltarello, as the basis of the movement. He 

never relaxes the tension during the movement, 

which hurtles to a close with a minor-key 

reiteration of the first movement’s 

opening theme. 

Mendelssohn completed the symphony 

on March 13, 1833, in partial fulfillment of 

a commission from the Philharmonic Society 

of London. He conducted the premiere 

exactly two months later, on May 13, which 

was a great success—the work was repeated 

in June. Mendelssohn, however, was never 

entirely satisfied with the symphony. He 

revised it twice, in 1837 and again before he 

died in 1847, but it was never published during 

his lifetime. This final version premiered 

in Leipzig on November 1, 1849, with Julius 

Rietz conducting the Gewandhaus Orchestra. 

It is this version that was published in 

1851 and is regularly performed today. 

–John Mangum 


23


Gustavo Dudamel 

Music & Artistic Director 

Walt and Lilly Disney Chair 

Zubin Mehta 

Conductor Emeritus 

Esa-Pekka Salonen 

Conductor Laureate 

Susanna Mälkki 

Principal Guest Conductor 

Ann Ronus Chair 

Paolo Bortolameolli 

Associate Conductor 

John Adams 

John and Samantha 

Williams Creative Chair 

FIRST VIOLINS 

Martin Chalifour 

Principal Concertmaster 

Marjorie Connell Wilson Chair 

Nathan Cole 

First Associate 

Concertmaster 

Ernest Fleischmann Chair 

Bing Wang 

Associate Concertmaster 

Barbara and Jay Rasulo Chair 

Akiko Tarumoto 

Assistant Concertmaster 

Philharmonic Affiliates Chair 

Rebecca Reale 

Michele Bovyer 

Deanie and Jay Stein Chair 

Rochelle Abramson 

Camille Avellano 

Margaret and Jerrold L. 

Eberhardt Chair 

Minyoung Chang 

I.H. Albert Sutnick Chair 

Miika Gregg 

Tianyun Jia 

Jordan Koransky 

Mischa Lefkowitz 

Edith Markman 

Stacy Wetzel 

Justin Woo 

SECOND VIOLINS 

Lyndon Johnston Taylor + 

Principal 

Dorothy Rossel Lay Chair 

Mark Kashper 

Associate Principal 

Kristine Whitson 

Johnny Lee 

Dale Breidenthal 

Mark Houston 

Dalzell and James 

Dao-Dalzell Chair for 

Artistic Service to 

the Community 

Ingrid Chun 

Jin-Shan Dai 

Chao-Hua Jin 

Nickolai Kurganov 

Varty Manouelian 

Michelle Tseng 

Suli Xue 

Gabriela Pena-Kim * 

Sydney Adedamola * 

Eugene and Marilyn 

Stein LA Phil Resident 

Fellow Chair 

VIOLAS 

Teng Li 

Principal 

John Connell Chair 

Dale Hikawa Silverman 


Ben Ullery 

Assistant Principal 

Dana Lawson 

Richard Elegino 

John Hayhurst 

Ingrid Hutman 

Michael Larco 

Hui Liu 

Meredith Snow 

Leticia Oaks Strong 

Minor L. Wetzel 

Jarrett Threadgill * 

CELLOS 

Robert deMaine 

Principal 

Bram and Elaine 

Goldsmith Chair 

Ben Hong 


Sadie and Norman Lee Chair 

Dahae Kim 


Jonathan Karoly 

David Garrett 

Barry Gold 

Jason Lippmann 

Gloria Lum 

Linda and Maynard 

Brittan Chair 

Serge Oskotsky 

Brent Samuel 

BASSES 

Christopher Hanulik 

Principal 

Diane Disney Miller 

and Ron Miller Chair 

Oscar M. Meza 


David Allen Moore 

Ted Botsford 

Jack Cousin 

Jory Herman 

Brian Johnson 

Peter Rofé 

Michael Fuller * 

FLUTES 

Denis Bouriakov 

Principal 

Virginia and Henry 

Mancini Chair 

Catherine Ransom Karoly 


Mr. and Mrs. H. Russell 

Smith Chair 

Elise Shope Henry 

Mari L. Danihel Chair 

Sarah Jackson 

Piccolo 

Sarah Jackson 

OBOES 

Principal (Vacant) 

Carol Colburn 

Grigor Chair 

Marion Arthur Kuszyk + 


Anne Marie Gabriele 

Carolyn Hove 

English Horn 

Carolyn Hove 

Alyce de Roulet 

Williamson Chair 



CLARINETS 

Boris Allakhverdyan 

Principal 

Michele and Dudley 

Rauch Chair 

Burt Hara 


Andrew Lowy 

David Howard 

E-Flat Clarinet 

Andrew Lowy 

Bass Clarinet 

David Howard 

BASSOONS 

Whitney Crockett 

Principal 

Shawn Mouser 


Ann Ronus Chair 

Michele Grego 

Evan Kuhlmann 

Contrabassoon 

Evan Kuhlmann 

HORNS 

Andrew Bain 

Principal 

John Cecil Bessell Chair 

Ethan Bearman 

Assistant 

Bud and Barbara 

Hellman Chair 

TRUMPETS 

Thomas Hooten 

Principal 

M. David and Diane Paul Chair 

James Wilt 


Nancy and Donald 

de Brier Chair 

Christopher Still 

Ronald and Valerie 

Sugar Chair 

Jeffrey Strong 

TROMBONES 

David Rejano Cantero 

Principal 

James Miller 


Judith and Thomas L. 

Beckmen Chair 

Paul Radke 

Bass Trombone 

John Lofton 

Miller and Goff Family Chair 

TUBA 

PERCUSSION 

Matthew Howard 

Principal 

James Babor 

Perry Dreiman 

Wesley Sumpter * 

Nancy and Leslie Abell 

LA Phil Resident Fellow Chair 

KEYBOARDS 

Joanne Pearce Martin 

Katharine Bixby 

Hotchkis Chair 

HARP 

Emmanuel Ceysson 

LIBRARIANS 

Stephen Biagini 

Benjamin Picard 

KT Somero 

PERSONNEL 

MANAGER 

Jeffrey Neville 

CONDUCTING 

FELLOWS 

François López-Ferrer 

Enluis Montes Olivar 

Camilo Téllez 

Chloé van Soeterstede 

* 

Judith and Thomas L. 

Beckmen LA Phil 

Resident Fellows 

+ 

on sabbatical 

The Los Angeles 

Philharmonic string 

section utilizes revolving 

seating on a systematic 

basis. Players listed 

alphabetically change 

seats periodically. 

The musicians of the 

Los Angeles Philharmonic 

are represented by 

Professional Musicians 

Local 47, AFM. 

Gregory Roosa 

(Vacant) 

Alan Scott Klee Chair 

Amy Jo Rhine 

Loring Charitable 

Trust Chair 

Elyse Lauzon 

Reese and Doris 

Gothie Chair 

TIMPANI 

Joseph Pereira 

Principal 

Cecilia and Dudley 

Rauch Chair 


25


I 

t was March 6, 2020 when we gathered together at the Granada Theatre 

and CAMA was presenting an historic concert in celebration of the 100th 

anniversary of the first concert by the Los Angeles Philharmonic in Santa 

Barbara. It was a marvelous occasion—then the COVID‐19 pandemic hit only a few days 

later and concerts state- and worldwide were cancelled. 

Following the longest period of “dark stages”—19 months!—in CAMA's long history, 

we were at last able to present a special performance by Les Violons du Roy with 

mandolinist Avi Avital on October 19, 2021 at the Lobero Theatre. Not even World War II 

had caused such a prolonged interruption of CAMA’s live performances. We were thrilled 

that so many of our patrons were able to join us for the “welcome back” performance. 

We are all so delighted to be back in our theaters, continuing CAMA's long tradition of 

bringing the world’s finest classical artists to everyone in our community. 

CAMA's Board of Directors and staff thank you all who have supported CAMA over these 

past two years. Your heart-warming and generous support has enabled us to come 

through the past many months carrying the bright torch of our mission to bring the 

finest in classical music to our community. We are most sincerely grateful. 

Exclusive Sponsor: Marta Babson 

Avi Avital performing with Les Violons du Roy at the Lobero Theatre for CAMA ⫽ October 19, 2021 

Photo by David Bazemore

CENTENNIAL CIRCLE 

CRESCENDO 

$250,000–$500,000 

Bitsy & Denny Bacon and The Becton Family Foundation 

Robert & Christine Emmons 

The Elaine F. Stepanek Foundation 

CADENZA 

$100,000–$249,000 




The Samuel B. & Margaret C. Mosher Foundation 

SAGE Publishing 


RONDO 

$50,000–$99,999 

Anonymous 

Marta Babson 

Deborah & Peter Bertling 


Dan & Meg Burnham 

NancyBell Coe & William Burke 

Jill Felber & Paul A. Bambach 


Lois Sandra 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 


Esperia Foundation 

The Stephen & Carla Hahn 




Mary Lloyd & Kendall Mills 





Elaine & Edward Stepanek 

The Towbes Fund for the 

Performing Arts 

SAPPHIRE CIRCLE 

$250,000–$499,999 

The CAMA Women's Board 


Ann Jackson Family Foundation 


The Walter J. & Holly O. Thomson 


Wood-Claeyssens Foundation 

Patricia & Joseph Yzurdiaga 

RUBY CIRCLE 

$100,000–$249,999 

Denise & Stephen Adams/Adams 

Family Foundation 

Hollis Norris Fund 




Janet & Thomas Kelly/Winona 

Fund 

Virginia Castagnola-Hunter 


Léni Fé Bland 

Mary & Raymond Freeman 

George H. Griffiths and Olive J. 

Griffiths Charitable Fund 

Raye & Melville H. Haskell, Jr. 

Dolores M. & Immanuel Hsu 

Shirley Ann & James H. Hurley, Jr. 

Shirley & Seymour Lehrer 

John & Lucy Lundegard 


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

The Henry E. & Lola Monroe 


Montecito Bank & Trust 



Kathleen & John Moseley/The 

Nichols Foundation 

Nancy & William G. Myers 


Santa Barbara Bank & Trust 

Santa Barbara Foundation 

Jan & John G. Severson 

Judith F. & Julian Smith 

Jeanne C. Thayer 

Marilyn & H.Wallace Vandever 

Wallis Foundation 

Nancy & Byron Kent Wood 


EMERALD CIRCLE 

$50,000–$99,999 

Anonymous (3) 

Ruth Appleby 

Marta Babson 

Helene & Jerry Beaver 

Linda & Peter Beuret 

Edward & Sue Birch 

Bob Boghosian & Beth Gates- 

Warren 

Elizabeth & Andrew Butcher 

Louise & Michael Caccese 

Jane & Jack Catlett 

Roger & Sarah Chrisman, 

Schlinger Chrisman Foundation 

Bridget & Robert Colleary 

Suzanne & Maurice Faulkner 



Sherry & Robert Gilson 

Janette "Dotsy" Main Hellmann 

& Richard Hellmann 


Natalia & Michael Howe 

Hutton Parker Foundation 

Ellen & Peter Johnson 

Elizabeth Karlsberg & Jeff Young 

Lynn P. Kirst & Lynn R. Matteson 


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 


Preston B. & Maurine M. Hotchkis 


The George Frederick Jewett 


Patricia Kaplan 

Jill Dore Kent 

Otto Korntheuer/The Harold L. 

Wyman Foundation

LIFETIME GIVING 

Laura & Robert Kuhn 

Chris Lancashire & Catherine Gee 

Lillian & Jon Lovelace 

Leatrice & Eli Luria 

Marilyn & Frank Magid 

Ruth McEwen 

Frank McGinity 

Mary & James Morouse 

Pat Hitchcock O'Connell 

Efrem Ostrow Living Trust 

The Outhwaite Foundation 

Carolyn & Ernest Panosian 

Performing Arts Scholarship 


John & Ellen Pillsbury 

William H. Kearns Foundation 

Mary Dell Pritzlaff & John Pritzlaff 

Mary Louise & Kenneth W. Riley 

Dorothy Roberts 

City of Santa Barbara 

Anitra & Jack Sheen 

Linda Stafford Burrows 

Marion Stewart 

Irene & Robert Stone/Stone 


Ina & Martin Tornallyay 

Steven Trueblood 

Carol & Edward R. Valentine 

Susie & Hubert Vos 

Marjorie K. & Roderick S. Webster 

Westmont College 

Ann & Dick Zylstra 

AMETHYST CIRCLE 

$10,000–$24,999 

Rebecca & Peter Adams 

Christina & David Allison 

Bernice & Mortimer Andron 

Sally & Robert Arthur 

Marjorie & J.W. Bailey 

Else Schilling Bard 

Joan C. Benson 

Leslie & Philip Bernstein 

Frank Blue & Lida Light Blue 

Toos & Erno Bonebakker 

Shelley & Mark Bookspan 

Cynthia Brown & Arthur Ludwig 

Suzanne & Peyton Bucy 

The CAMA Fellows 

Margo & Charles Chapman 

Chubb Sovereign 

Carnzu Clark 

Stephen Cloud 

Nan Burns & Dr. Gregory Dahlen 

Karen Davidson, M.D. 

Elizabeth & Kenneth Doran 

Julie & William Esrey 

Audrey Hillman Fisher 


David W. Fritzen/DWF Magazines, 

DWF Media International 

Catherine H. Gainey 

Tish Gainey & Charles Roehm 

Dorothy & John Gardner 

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 

Kum Su Kim 

MaryAnn & Frederick Lange 

Dodie Little 

Ruth & John Matuszeski 

Dona & George McCauley 

Jayne Menkemeller 

Sally & George Messerlian 

Keith W. Moore 

Maryanne Mott & Herman Warsh 

Sybil & Russell Mueller 

Myra & Spencer Nadler 

Karin Nelson & Eugene Hibbs/ 

Maren Henle 

Fran & John Nielsen 

Ellen Lehrer Orlando & Thomas 

Orlando 

Joanne & Alden Orput 

Mr. & Mrs. Charles W. Partridge 

John Perry 

Patricia & Carl Perry 

Justyn & Ray Person 

Susan & James Petrovich 

Ann M. Picker 

Anne & C.Wesley Poulson 

Susannah Rake 

Jaquelin & Frank Reed 

Jack Revoyr 

Regina & Rick Roney 

Rebecca Ross 

Betty Barrett & John Saladino 

William E. Sanson 

Maryan & Richard Schall 

Nancy & William Schlosser 

Pat & Roby Scott 

Dody Waugh & Eric Small 

Sally & Jan E.G. Smit 

Constance & C.Douglas Smith 

Barbara & Wayne Smith 

Betty J. Stephens 

Diane & Selby Sullivan 

The Godric Foundation 

Joseph Thomas 

Milan E. Timm 


Drs. Shirley & Kenneth Tucker 

Barbara & Gary Waer 

Nick & Patty Weber 

Dr. Robert W. Weinman 

Victoria & Norman Williamson 

Lisa Bjornsen Wolf & David 

Russell Wolf 

Charles and Merryl Snow Zegar 

*promised 

Gifts received by December 13, 2021

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 Endowment 

CONDUCTOR'S CIRCLE 



Linda Brown* 


Elaine Stepanek 

Esperia Foundation 

CRECENDO CIRCLE 

$250,000–$499,999 



The Andrew H. 

Burnett Foundation 





CADENZA PATRONS 

$100,000–$249,999 


The Stephen & Carla 

Hahn Foundation 


Nancy & William G. Myers 

Jan Severson 


The Towbes Fund for 

the Performing Arts 


RONDO PATRONS 

$50,000–$99,999 

Ruth Appleby 



Dr. Dolores M. Hsu 


The Samuel B. & Margaret C. 


Santa Barbara Bank & Trust 


CONCERTO PATRONS 

$25,000–$49,999 

Jane Catlett 

Bridget B. Colleary 

Suzanne Faulkner 

Léni Fé Bland 



Hutton Parker Foundation 


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



Efrem Ostrow Living Trust 







SONATA PATRONS 

$10,000–$24,999 

Anonymous 


Denise & Stephen Adams/ 

Adams Family Foundation 

Marta Babson 

Else Schilling Bard 



Bob Boghosian & 

Beth Gates-Warren 




Margo Chapman 





& Ronald Fendon 



Sherry & Robert Gilson 


Mary & Campbell Holmes 

Patricia Kaplan 

Winona Fund 


Lynn P. Kirst 

Laura Kuhn 

John Lundegard 

Keith Moore 

Jayne Menkemeller 

Betty Meyer 

Mary & James Morouse 


Pat Hitchcock O'Connell 

John Perry 

Marjorie & Hugh Petersen 


Susannah Rake 



Sally & Jan E.G. Smit 

Constance Smith 



Betty J. Stephens 


Marilyn Vandever 


David & Lisa Wolf 

*promised 

Gifts received by December 13, 2021

LEGACY SOCIETY 







Linda Brown 



Jane Catlett 





& Ronald Fendon 








Dr. Dolores M. Hsu 




Lynn P. Kirst 


John Lundegard 

Keith Moore 






Andre & Michele Saltoun 




Marilyn Vandever 



Gifts received by December 13, 2021 

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 

We most gratefully acknowledge and thank International Circle Members 

for their annual contribution of $1,000 or more. 

Anonymous (4) 

Sylvia Abualy 

Catherine L. Albanese 

Todd & Allyson Aldrich Family 

Charitable Fund 

Jane & Kenneth Anderson 

Peggy & Kurt Anderson 

Argonaut Charitable Foundation 

Marta Babson 

Bitsy & Denny Bacon and The 

Becton Family Foundation 

Becky & William Banning 

Ms. Isabel Bayrakdarian 

Helene Beaver 

Bitsy & Denny Bacon and The 

Becton Family Foundation 



Jerry & Geraldine Bidwell 



Bob Boghosian & Beth Gates- 

Warren 

Shelley & Mark Bookspan 

Diane Boss 


Cynthia Brown & Arthur Ludwig 

Wendel Bruss 

Suzanne & Peyton Bucy 

Barbara Burger & Paul Munch 

Alison H. Burnett 


Karen Bushnell 


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 

NancyBell Coe & Bill Burke 


Joan & Steven Crossland 

Gregory Dahlen III & 

Christi Walden 

Jan Davis-Hadley 

Janet Davis 

Sheryl & Michael DeGenring 

Edward S. DeLoreto 

Diane L. Dodds 

Margaret & Ronald Dolkart 

Nancy Donaldson 

Elizabeth & Kenneth Doran 

Glenn and Karen Doshay 

Ann & David Dwelley 

Wendy & Rudy Eisler 

Julia Emerson 


Frederika & Dennis Emory 

Nancy Englander 

Lois Erburu 

Thomas & Doris Everhart 


Bob & Margo Feinberg 


Rosalind Amorteguy-Fendon & 

Ronald Fendon 



Catherine H. Gainey 

Tish Gainey & Charles Roehm 


Dorothy & John Gardner 


George H. Griffiths and Olive J. 

Griffiths Charitable Fund 

The Stephen & Carla Hahn 


David Hamilton 


Renee & Richard Hawley 

Maison K 

Kevin Hess 

Barbara Hirsch 

Ronda & Bill Hobbs 

Gerhart Hoffmeister 


Hollis Norris Fund 


Natalia & Michael Howe 


Jackie Inskeep 

Ann Jackson Family Foundation 

Karin Jacobson & Hans Koellner 

Gina & Joseph Jannotta 

Diane Johnson 

Ellen & Peter Johnson 

Glenn Jordan & Michael Stubbs 

Gerd & Peter Jordano 

Elizabeth Karlsberg & Jeff Young 


James P. Kearns 


Connie & Richard Kennelly 

Jill Dore Kent 

Kum Su Kim & John Perry 

Sally Kinney 

Lynn P. Kirst 

Thomas & Travis Kranz 


INTERNATIONAL CIRCLE 


Chris Lancashire & Catherine Gee 

Stefanie L. Lancaster Charitable 


Francis and Stefanie Lancaster 

MaryAnn Lange 

Elinor & James Langer 

Kathryn Lawhun & Mark Shinbrot 

Shirley & Seymour Lehrer 

Dodie Little 

Christie & Morgan Lloyd 


Gloria & Keith Martin 

Maureen Masson 

Phyllis Brady & Andy Masters 

Ruth & John Matuszeski 

Donald & Karine McCall 

Dona & George McCauley 


Jeffrey McFarland 

Frank McGinity & Debbie Geremia 

Patriicia & William McKinnon 


Sally & George Messerlian 



Robert Miller & Susie Triolo Miller 





Peter L. Morris 

The Samuel B. & Margaret C. 


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 


Patricia & Carl Perry 


Ann M. Picker 


Minie & Hjalmar Pompe van 

Meerdervoort 

Carol & Edward Portnoy 


Donald Rink 

The Roberts Brothers Foundation 

Dorothy Roberts 

Regina & Rick Roney 

Merlin Rossow 



Ada B. Sandburg 

William E. Sanson 


City of Santa Barbara 

Lynn & Mark Schiffmacher 

Nancy Schlosser 

The Shanbrom Family Foundation 

Maureen & Les Shapiro 


Halina W. Silverman 

Dody Waugh & Eric Small 

Paul & Delia Smith 


Barbara & Wayne Smith 




Marion Stewart 

Irene & Robert Stone/Stone 


Elaine & Robert Sweet 

Pamala Temple 

Suzanne Holland & 

Raymond Thomas 



Milan E. Timm 


TheTowbes Fund for the 

Performing Arts, a field of 

interest fund of the 

Bicky Townsend 


Steven Trueblood 

Dr. Shirley Tucker 

Carol Vernon & Robert Turbin 

Department of Music, University 

of California, Santa Barbara 

Hubert Vos 

Esther & Tom Wachtell 


Sheila Wald 

Nick & Patty Weber 

Dr. Robert Weinman 

Judy L Weisman 


Victoria & Norman Williamson 

Winona Fund 

Wood-Claeyssens Foundation 



Grace & Edward Yoon 

Patricia Yzurdiaga 

Katina Zaninovich 

Zegar Family Fund 

Cheryl & Peter Ziegler 

Ann & Dick Zylstra 



33

MUSICIANS SOCIETY 

CAMA thanks our Musicians Society for their annual support. 

BENEFACTORS 

$500–$999 

Catherine L. Albanese 

Barbara Burger and Paul Munch 

Sandy and Jerry Gothe 

Dr. Hsiu-Zu Ho & 

Dr. William A. Below 

Edward O. Huntington 

James and Stephanie Ingraham 

Sue Larsen 

Phyllis Brady & Andy Masters 

Julia & Arthur Pizzinat 

Monica Romero 

Michael and Nancy Sheldon 

Taka Yamashita 

CONTRIBUTORS 

$250–$499 

Helen Arnold 

Jyl & Allan Atmore 

Howard A. Babus 

Lance and Judy Boyd 

Maggy Cara 

Edith M. Clark 

Michael & Ruth Ann Collins 

Meg & Jim Easton 

Claudette & Gene Geller 

Nancy & Frederic Golden 

Robert L. Grant 

Marie-Paule & Laszlo Hajdu 


Lorna S. Hedges 

David and Linda James 

Debbie & Frank Kendrick 

Christine & James V. McNamara 

Doug and Diane Morgan 

Carolyn & Dennis Naiman 

Maureen O'Rourke 

George Porter 

Gaines Post 

Muriel & Ian K. Ross 

Denis and Jennifer Sanan 

Naomi Schmidt 

Joan Tapper & Steven Siegel 

Beverly & Michael Steinfeld 

Heidi Stilwell 

Jerre Sumter 

Katherine Thomassin 

ASSOCIATES 

$100–$249 

Anonymous 

Peter and Mary Alden 

Barbara Bonadeo 

Margaret & David Carlberg 

Joanne & John Chere 

Marna Coday 

Pattie & Charles Firestone 

Eunice & J.Thomas Fly 

Edward Gastaldo 

Bernice & Harris Gelberg 

Ghita Ginberg 

Bradford and Ursula Ginder 

Robert Hanrahan 

Victoria Hendler 

Emmy & Fred Keller 

Anna & Petar Kokotovic 

Lady Patricia & Sir Richard 

Latham 

Catherine Leffler 

Mr. Paul Levine 

Lesli and Michael Marasco 

Ria S. Marsh 

Barbara & Ernest Marx 

Andrew Mester 

Betty Meyer 

Catherine & Kenneth Murphy 

Carol Hawkins & Larry Pearson 

Jean Perloff 

Jane Roney 

Sonia Rosenbaum 

Dr. Paul Ryack 

Alan R Schweitzer 

Laura Tomooka 

Mary H. Walsh 

Jon and Nina Warner 

Lorraine & Stephen Weatherford 

Judy & Mort Weisman 

Theresa & Julian Weissglass 

David Yager 

FRIENDS 

$10–$99 

Anne Ashmore 

Susan Badger 

Melvin and Pearl Brooks 

Polly Clement 

Amelia Dallenbach 

Margaret & Nicholas Dewey 

Sumner and Dana Fein 

Nona & Lorne Fienberg 

George and Leanne Friedenthal 

Susan & Larry Gerstein 

Elliot Gross 

Betty Harwick 

Ms. Martha Hassenplug 

Carol Hester 

Christine Hoehner 

Susan S. Johnston 

Ms. Jaclyn Maduff 

Christine Markussen 

Phillip and Pam McLendon 

Sandra and Nelson Merwizer 

Lori Kraft Meschler 

Elisabetta Riva 

Doris & Bob Schaffer 

Dr. and Mrs. Stuart L Silverman 

Julie & Richard Steckel 

Hayley Thompson 

Patricia & Edward Wallace 

Fritz and Hertha Will 



MUSIC EDUCATION 


The Walter J. & Holly O. Thomson Foundation 

$10,000–$24,999 

Ms. Irene Stone/ Stone Family Foundation 


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

The Henry E. & Lola Monroe Foundation 

$1,000–$9,999 

CAMA Women's Board 


Stefanie L. Lancaster Charitable Foundation 


James P. and Shirley F. McFarland Fund 

of the Minneapolis Foundation 

Performing Arts Scholarship Foundation 


$100–$999 

Becky & William Banning 

William S. Hanrahan 

Lynn P. Kirst 

CAMA Education Endowment 

Fund Income 

$10,000 AND ABOVE 

William & Nancy Myers 

$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 


Joan Crossland, Nancy Lynn 

and David Malvinni 

Carolyn & Dennis Naiman 

Joan Crossland 

George Porter 

Elizabeth Alvarez 



35

BUSINESS SUPPORTERS 

We thank the many businesses that support 

CAMA's programs and events! 

Laurel Abbott, Berkshire 

Hathaway Luxury Properties 

Alma Rosa Winey 

American Riviera Bank 

Babcock Winery 

James P. Ballantine 

Belmond El Encanto 

Bertling Law Group 

Bibi Ji 

Black Sheep Restaurant 

Blue Star Parking 

Bon Fortune Style & Events 

bouchon 

Brander Vineyard 

Wes Bredall 

Ca' Dario Ristorante 

Camerata Pacifica 

Casa Dorinda 

Cebada Wine 

C'est Cheese 

Chaucer's Books 

Chocolats du CaliBressan 

Chooket Patisserie 

Cottage Health System 

Custom Printing 

eji experiences 

Eye Glass Factory 

Felici Events 

Finch & Fork 

First Republic Bank 

Flag Factory of 

Santa Barbara 

Frequency Wine 

Gainey Vineyard 

Grace Design Associates 

Grassini Family Vineyards 

Grimm’s Bluff 

Colin Hayward/ 

The Hayward Group 

Steven Handelman Studios 

Hogue & Company 

Holdren's Catering 

Indigo Interiors 

Inside Wine Santa Barbara 

Islay A/V 

Kristin Jackson 

Graphic Design 

Jano Printing & Mailworks 

Jardesca 

Le Sorelle 

Lumen Wines 

Maravilla/Senior 

Resource Group 

Michael's Catering 

Microsoft ® Corporation 

Mission Security 


Montgomery Vineyard 


Oak Cottage of 

Santa Barbara 

Oceania Cruises 

Olio e Limone/Olio Crudo 

Bar/Olio Pizzeria 

Opal Restaurant & Bar 

Opera Santa Barbara 

Pacific Coast 

Business Times 

Pali Wine Co. 

Peregrine Galleries 

Performing Arts 

Scholarship Foundation 

Pete Clements Catering 

Presqu’ile Winery 

Regent Seven Seas Cruises 

Renaud's Patisserie & Bistro 

Rose Story Farm 


Santa Barbara 

Choral Society 


Santa Barbara 

Travel Bureau 

Santa Barbara Winery 

Stewart Fine Art 

The Tent Merchant 

The Upham Hotel 

UCSB Arts & Lectures 

Via Maestra 42 

Westmont Orchestra

The CAMA Women’s Board 

invites you to celebrate 

with cocktails and hors d’oeuvres at 

The Cabrillo Pavilion 

Monday 

March 21, 2022 

5:30–7:30PM 

featured speaker 

Julian Reeve, 

Music Director of the Broadway hit Hamilton, 

TED Talk speaker, and author 


(805) 966-4324 

info@camasb.org 

www.camasb.org

Sometimes, a Round of 

Applause Just Isn’t Enough. 

Northern Trust is proud to support Community Arts Music 

Association of Santa Barbara. For 130 years, we’ve been 

meeting our clients’ financial needs while nurturing a culture 

of caring and a commitment to invest in the communities we 

serve. We’re proud to play a supporting role. 

TO LEARN MORE VISIT 

northerntrust.com 

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

CAMA Presents the Los Angeles Philharmonic ⫽ Friday, January 28, 2022 ⫽ International Series at the Granada Theatre, Santa Barbara ⫽ 7:30PM

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