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Susan Graham

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COMMUNITY ARTS MUSIC ASSOCIATION “Cottage’s iMRI technology offered me a different path to treat my brain tumor.”

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Corby Santa Maria THEODORE VICTOR CARL VALENKAMPH (1868-1924) HOME FROM THE SEA FRAMED OIL ON CANVAS || 16” HIGH X 20” WIDE STEWART When doctors diagnosed Corby with a brain tumor they believed was difficult to treat, they FINE ART recommended an intraoperative magnetic resonance imaging procedure (iMRI). The Santa ESTABLISHED 1986 DIANE WARREN STEWART Barbara Neuroscience Institute at Cottage is one of just a handful of hospitals in the nation who offer this specialized medicine. Our advanced imaging system provides neurosurgeons with the clearest images during brain surgery, helping them remove the most difficult to treat tumors. iMRI technology provides some patients with a different path and helps reduce Specializing in early California Plein the likelihood of an additional procedure. Air painters, and museum quality 215 W. MISSION STREET 19th/20th century American and SANTA BARBARA For 125 years, we’ve been advancing medicine. Learn more at cottagehealth.org/imri European art, as well as a selection of fine antiques and antique furniture 805-845-0255 DIANESTEWARTFINEART.COM Open from 11 to 5:30, closed Thursday and Sunday, PARKING IN BACK available by appointment Directors Emeriti Russell S. Bock * Dr. Robert M. Failing Presenting the world’s finest classical artists since 1919 Mrs. Maurice E. Faulkner * Presenting the world’s finest classical artists since 1919 Léni Fé Bland * Arthur R. Gaudi Stephen Hahn *

BOARD OF DIRECTORS Dr. Melville H. Haskell, Jr. * {as of March 27, 2017) Mrs. Richard Hellmann * Robert K. Montgomery, president Dr. Dolores M. Hsu Herbert J. Kendall Philharmonia Orchestra St. Petersburg THURSDAY, OCTOBER 6, 2016, 8PM Deborah Bertling, first vice-president Robert M. Light * Philharmonic Craig A. Parton, second vice-president Mrs. Frank R. Miller, Jr. * SPONSORS: TUESDAY, MARCH 14, 2017, 8PM Sara Miller McCune William Meeker, treasurer Dan & Meg Burnham PRIMARY SPONSOR: Mary Lloyd Mills Judith L. Hopkinson Joan R. Crossland, secretary Mrs. Ernest J. Panosian * The Elaine F. Stepanek Concert Fund Sara Miller McCune Kenneth W. Riley * CO-SPONSORS: Bitsy Becton Bacon Joanne C. Holderman Andre M. Saltoun Mrs. John G. Severson * The Towbes Fund for the Performing Arts, a field Elizabeth & Andrew Butcher Edward Birch Judith L. Hopkinson Judith F. Smith Nancy L. Wood of interest fund of the Santa Barbara Foundation Jocelyne & Bill Meeker Jan Bowlus James H. Hurley, Jr. Sam Toumayan * Deceased CO-SPONSOR: Frank & Sheila McGinity Daniel P. Burnham Elizabeth Karlsberg Judith H. Writer Administration Jan & Alison Bowlus Stephen Cloud Lynn P. Kirst Catherine Leffler, Michele & Andre Saltoun Mark E. Trueblood NancyBell Coe Frank E. McGinity president, Nancy Schlosser CAMA Women’s Board executive director Warsaw Philharmonic Bridget B. Colleary Raye Haskell Melville MONDAY, NOVEMBER 7, 2016, 8PM Elizabeth Alvarez Robert J. Emmons Stephen J.M. (Mike) Danish National director of development SPONSOR: Morris Jill Felber Ellen & Peter Johnson Symphony Orchestra Linda Proud TUESDAY, MARCH 28, 2017, 8PM Please send programming queries to: [email protected], office manager/subscriber services CO-SPONSORS: SPONSORS: Dan & Meg Burnham attn: CAMA Program Committee Justin Rizzo-Weaver Bob & Val Montgomery Jan & Alison Bowlus concert & publicity manager Michele & Andre Saltoun Hollis Norris Fund George & Judy Writer 2060 Alameda Padre Serra, Suite 201 Santa Barbara, CA 93103 Tel (805) 966-4324 Fax (805) 962-2014 [email protected] CO-SPONSORS: Bruckner Lynn P. Kirst Orchestra Linz Barbara & Sam Toumayan TUESDAY, FEBRUARY 7, 2017, 8PM Los Angeles Philharmonic PRINCIPAL SPONSOR: Herbert & Elaine Kendall SUNDAY, MAY 7, 2017, 4PM SPONSORS: Bitsy & Denny Bacon and PRINCIPAL SPONSOR: The Becton Family Foundation The Samuel B. & Margaret C. Mosher Foundation The Andrew H. Burnett Foundation CO-SPONSORS: CO-SPONSORS: Bitsy & Denny Bacon Louise & Michael Caccese and The Becton Family Foundation Jocelyne & William Meeker Robert & Christine Emmons Judith F. Smith Jocelyne & Bill Meeker Stephen Cloud Bob & Val Montgomery Anonymous in Honor of Robert McDuffie Ellen & Jock Pillsbury

Johnathan Biss Tafelmusik Baroque Orchestra Brentano Quartet WEDNESDAY, MARCH 8, 2017, 8PM MONDAY, OCTOBER 17, 2016, 8PM CO-SPONSOR: Craig & Ellen Parton CONCERT PARTNER: CONCERT PARTNERS: Robert & Christine Emmons Elizabeth Karlsberg & Jeff Young • Lynn P. Kirst Bob & Val Montgomery Susan Graham mezzo-soprano THURSDAY, APRIL 6, 2017, 8PM violin Augustin Hadelich CO-SPONSORS: Joyce Yang piano Stephen J.M. & Anne Morris • George & Judy Writer TUESDAY, NOVEMBER 22, 2016, 8PM CONCERT PARTNERS: SPONSOR: Bitsy & Denny Bacon Laurel Abbott, Berkshire Hathaway Luxury Properties and The Becton Family Foundation Bridget Colleary CONCERT PARTNER: Bob & Val Montgomery Raye Haskell Melville 2 Ted Plute & Larry Falxa Presenting the world’s finest classical artists since 1919 MEZZO-SOPRANO SUSAN GRAHAMOPUS 3 ARTISTS PRESENTS MALCOLM MARTINEAUOPUS PIANO 3 ARTISTS PRESENTS THURSDAY, APRIL 6, 2017, 8PM THE LOBERO THEATRE FRAUENLIEBE UND LEBEN: VARIATIONS FRAUENLIEBE SUSANUND LEBEN:GRAHAM, VARIATIONSmezzo-soprano

I SEIT ICH IHN GESEHEN Robert Schumann (1810-1856) Møte Edvard Grieg (1843-1907) Seitdem dein Aug’ in meines schaute Richard Strauss (1864-1949)

II ER, DER HERRLICHSTE VON ALLEN Robert Schumann (1810-1856) Shall I compare thee to a summer’s day? John Dankworth (1927-2010) Chanson d’amour Gabriel Fauré (1845-1924) Melodi Ture Rangström (1884-1947)

III ICH KANN’S NICHT FASSEN, NICHT GLAUBEN Robert Schumann (1810-1856) Jeg elsker dig Edvard Grieg (1843-1907) Au bord de l’eau Gabriel Fauré (1845-1924) Succession planning IV DU RING AN MEINEM FINGER Robert Schumann (1810-1856) makes all the difference Rheinlegendchen Gustav Mahler (1860-1911) Los dos miedos Joaquín Turina (1882-1949)

V Ensuring your wealth is transferred the way you intend HELFT MIR, IHR SCHWESTERN Robert Schumann (1810-1856) Mutter, Mutter, glaube nicht requires careful planning and execution. Lass mich ihm am Busen hangen Tout Gai! Maurice Ravel (1875-1937)

INTERMISSION When you partner with the Wealth Management team at Montecito Bank & Trust, your financial advisors will develop VI Phidylé Henri Duparc (1848-1933) a succession plan that prepares the next generation to La Chevelure Claude Debussy (1862-1918) SÜSSER FREUND, DU BLICKEST MICH VERWUNDERT AN Robert Schumann (1810-1856) handle whatever life brings their way. VII Le Carafon Francis Poulenc (1899-1963) Lullaby Pyotr Tchaikovsky (1840-1893) Wiegenliedchen Richard Strauss (1863-1920) AN MEINEM HERZEN, AN MEINER BRUST Robert Schumann (1810-1856)

VIII Absence Hector Berlioz (1803-1869) O muerte cruel Enrique Granados (1867- 1916) How Shall I your true love know? Roger Quilter (1877-1953) NUN HAST DU MIR DEN ERSTEN SCHMERZ GETAN Robert Schumann (1810-1856)

Programs and artists subject to change CAMA gratefully acknowledges our sponsors for this evening’s performance… “Susan Graham appears by arrangement with IMG Masterseries Season Sponsor: Esperia Foundation Artists, 7 West 54th St., Co-Sponsors: Stephen J.M. & Anne Morris • George & Judy Writer New York, NY 10019. montecito.bank • (805) 564-0298 Concert Partners: Bridget Colleary • Raye Haskell Melville ª Ted Plute & Larry Falxa Tel: 212/994-3500.” We request that you switch off cellular phones, watch alarms and pager signals during the “Susan Graham can be heard solvang goleta santa barbara montecito performance. The photographing or sound recording of this concert or possession of any on BMG, Erato, Sony, Decca, • • • device for such photographing or sound recording is prohibited. Philips, EMI, and the Warner Classics family of labels.” carpinteria • ventura • camarillo • westlake village Stage flower arrangements by S.R. Hogue & Co.

AD_CAMA_Wealth_BW_SusanGram_030817.indd 1 3/8/17 12:34 PM Susan Graham Mezzo-soprano

Susan Graham – hailed as “an artist to treasure” by the New York Times – rose to the highest echelon of international performers within just a few years of her professional debut, mastering an astonishing range of repertoire and genres along the way. Her operatic roles span four centuries, from Monteverdi’s Poppea to Sister Helen Prejean in Jake Heggie’s Dead Man Walking, which was written especially for her. She won a Grammy Award for her collection of Ives songs, and her recital repertoire is so broad that 14 composers from Purcell to Sondheim are represented on her most recent Onyx album, Virgins, Vixens & Viragos. This distinctly American artist has also been recognized ROBERT LIGHT throughout her career as one of the foremost exponents of French vocal music. Although Community Arts Music Association is pleased to dedicate tonight’s recital by Susan a native of Texas, Graham was awarded the Canteloube’s Chants d’Auvergne with the Graham to the memory of Robert M. Light, a long-serving CAMA Board member and French government’s prestigious “Chevalier de Philadelphia Orchestra and Yannick Nézet- la Légion d’Honneur,” both for her popularity Séguin; reprises Berlioz’s La mort de Cléopâtre patron of the arts who brightened the cultural life of Santa Barbara for many years. as a performer in France and in honor of her with the San Antonio Symphony; and sings commitment to French music. Ravel’s Shéhérazade and Mahler’s Symphony To launch the 2016-17 season, Graham No. 3 with the Sydney Symphony under David Bob was an internationally known fine arts dealer and collector who devoted his joined Renée Fleming and Michael Tilson Robertson. In recital, she reunites with regular time and resources to many arts institutions in Santa Barbara and nationally. His Thomas at the San Francisco Symphony’s partner Malcolm Martineau for accounts of opening-night gala, before stepping in to play “Frauenliebe und -leben Variations,” her wide- passion for music led to the creation of Esperia Foundation in 1983, through which he Dido in Lyric Opera of Chicago’s new, premiere ranging program inspired by Schumann’s iconic supported local music organizations, presented free concerts, and provided grants staging of Berlioz’s epic Les Troyens. Having song cycle, in Santa Barbara, Baltimore, and created the role of Sister Helen Prejean in Portland, Oregon. and scholarships for local musicians and scholars. the world premiere production of Dead Man Last season, Graham made her role debut as Walking, she stars in Washington National Countess Geschwitz in William Kentridge’s new Opera’s revival of the opera, now making production of Berg’s Lulu at the Metropolitan In 2001 Esperia Foundation made a generous gift to CAMA to support our Masterseries her role debut as the convict’s mother. She Opera, where she also starred in Die Fledermaus returns to Santa Fe Opera in the plum “trouser” under James Levine. In concert, she celebrated recital series. In keeping with Bob’s wish, CAMA has used this support to bring many role of Prince Orlofsky, in the company’s first New Year’s Eve in a Parisian-themed program thousands of persons who would otherwise be unable to attend into the Lobero to new production of Johann Strauss II’s Die with the New York Philharmonic, joined the Fledermaus in 25 years. In concert, she joins Orchestra of St. Luke’s for Purcell at Carnegie experience live music of the highest quality. Bob’s extraordinary legacy will continue the MET Orchestra and Esa- Pekka Salonen at Hall, and sang Berlioz with the San Francisco his tradition of giving for generations to come. Carnegie Hall for selections from Mahler’s Des Symphony and Michael Tilson Thomas. To Knaben Wunderhorn; sings Octavian to Renée cap the 2015-16 season, she premiered her Fleming’s Marschallin in Richard Strauss’s “Frauenliebe und -leben Variations” program Der Rosenkavalier with the Boston Symphony in recitals with Bradley Moore in Boston’s and Andris Nelsons; performs selections from Celebrity Series and at London’s Wigmore Hall,

6 7 before giving her role debut as Clarion in Paris, Chicago, San Francisco and beyond. She Richard Strauss’s Capriccio at Santa Fe Opera. recently made title role debuts in Offenbach’s Graham’s earliest operatic successes were comic masterpieces La belle Hélène and The in such trouser roles as Cherubino in Mozart’s Grand Duchess of Gerolstein at Santa Fe Opera, Le nozze di Figaro. Her technical expertise soon along with proving herself the standout star brought mastery of Mozart’s more virtuosic of the Met’s star-studded revival of Berlioz’s roles, like Sesto in La clemenza di Tito, Idamante Les Troyens, which was broadcast live to in Idomeneo and Cecilio in Lucio Silla, as well cinema audiences worldwide in the company’s as the title roles of Handel’s Ariodante and celebrated “Live in HD” series. She also returned Xerxes. She went on to triumph in two iconic to the Met in the title role of Susan Stroman’s Richard Strauss mezzo roles, Octavian in Der new production of Lehár’s The Merry Widow, Rosenkavalier and the Composer in Ariadne before closing the season opposite Bryan Hymel auf Naxos. These brought her to prominence in a new staging of Les Troyens by David McVicar on all the world’s major opera stages, including at San Francisco Opera. She also headlined gala the Met, Lyric Opera of Chicago, San Francisco concerts at Los Angeles Opera and Lyric Opera Opera, Covent Garden, Paris Opera, La Scala, of Chicago, where she joined Jane Lynch, Renée Bavarian State Opera, Vienna State Opera and Fleming, Ramsey Lewis and others to celebrate the Salzburg Festival, among many others. In the company’s 60th anniversary. addition to creating the role of Sister Helen Graham’s affinity for French repertoire has not Prejean in the world-premiere production of been limited to the opera stage; it also serves Dead Man Walking at San Francisco Opera, as the foundation for her extensive concert and she sang the leading ladies in the Met’s world recital career. Such great cantatas and symphonic premieres of John Harbison’s The Great Gatsby song cycles as Berlioz’s La mort de Cléopâtre and Tobias Picker’s An American Tragedy, and and Les nuits d’été, Ravel’s Shéhérazade and made her Dallas Opera debut as Tina in a new Chausson’s Poème de l’amour et de la mer production of The Aspern Papers by Dominick provide opportunities for collaborations with the Argento. As Houston Grand Opera’s Lynn Wyatt world’s leading orchestras, and she makes regular Great Artist, she starred as Prince Orlofsky in appearances with the New York Philharmonic, the company’s first staging of Die Fledermaus Boston Symphony, Orchestre de Paris and in 30 years, before heading an all-star cast as London Symphony Orchestra. In 2013-14 Graham Sycorax in the Met’s Baroque pastiche The joined Bernard Haitink and the Boston Symphony Enchanted Island and making her rapturously for Shéhérazade in Boston and at Carnegie Hall. received musical theater debut in a new In the 2014-15 season she sang Berlioz’s Les production of Rodgers & Hammerstein’s The nuits d’été with John Eliot Gardiner’s Orchestre King and I at the Théâtre du Châtelet in Paris. Revolutionnaire et Romantique, and later joined It was in an early Lyon production of Berlioz’s the Royal Flemish Philharmonic for La mort de Béatrice et Bénédict that Graham scored Cléopâtre. Finally she reunited with regular recital particular raves from the international press, and partner Malcolm Martineau for a West Coast tour a triumph in the title role of Massenet’s Chérubin and a season-closing recital in Classical Action’s at Covent Garden sealed her operatic stardom. Michael Palm Series. Further invitations to collaborate on French Graham’s distinguished discography music were forthcoming from many of that features all the works described above, as well repertoire’s preeminent conductors, including as a series of lauded solo albums, including Sir Colin Davis, Charles Dutoit, James Levine Un frisson français, a program of French song and Seiji Ozawa. New productions of Gluck’s recorded with pianist Malcolm Martineau for Visit our blog Iphigénie en Tauride, Berlioz’s La damnation Onyx; C’est ça la vie, c’est ça l’amour!, an de Faust and Massenet’s Werther were album of 20th-century operetta rarities on TheArtofOutdoorLiving.com mounted for the mezzo in New York, London, Erato; and La Belle Époque, an award-winning gracedesignassociates.com | (805) 687-3569 9 BELMOND EL ENCANTO, SANTA BARBARA collection of songs by Reynaldo Hahn with pianist Roger Vignoles, from Sony Classical. Among the mezzo’s additional honors are Musical America’s Vocalist of the Year and an COME RAISE A GLASS. Opera News Award. Gramophone magazine has dubbed her “America’s favorite mezzo.” n WE’LL RAISE THE BAR. www.susangraham.com https://www.facebook.com/MezzoGraham https://twitter.com/MezzoGraham © 21C Media Group, July 2016

MALCOLM Provence, Vienna, Edinburgh, Schubertiade, Munich and Salzburg Festivals. MARTINEAU Piano Recording projects have included Schubert, Schumann and English song recitals with Bryn Malcolm Martineau was born in Edinburgh, read Terfel (for Deutsche Grammophon); Schubert and Music at St Catharine’s College, Cambridge and Strauss recitals with Simon Keenlyside (for EMI) studied at the Royal College of Music. and Songs of War which won a Grammy Award; Recognised as one of the leading recital recordings with Angela Gheorghiu and accompanists of his generation, he has worked Barbara Bonney (for Decca), Magdalena Kozena with many of the world’s greatest singers (for DG), Della Jones (for Chandos), Susan Bullock including Sir Thomas Allen, Dame Janet Baker, (for Crear Classics), Solveig Kringelborn (for NMA); Olaf Bär, Barbara Bonney, Ian Bostridge, Angela Amanda Roocroft (for Onyx); the complete Fauré Gheorghiu, Susan Graham, Thomas Hampson, songs with Sarah Walker and Tom Krause; the Della Jones, Simon Keenlyside, Angelika complete Britten Folk Songs for Hyperion; the Kirchschlager, Magdalena Kozena, Solveig complete Beethoven Folk Songs for Deutsche Kringelborn, Jonathan Lemalu, Dame Felicity Grammophon; the complete Poulenc songs for Lott, Christopher Maltman, Karita Mattila, Lisa Signum; and Britten Song Cycles as well as Milne, Ann Murray, Anna Netrebko, Anne Sofie Schubert’s Winterreise and Schwanengesang with von Otter, Joan Rodgers, Amanda Roocroft, Florian Boesch for Onyx; Heimliche Aufförderrung Michael Schade, Frederica von Stade, Sarah and Scene! with Christiane Karg and Portraits Walker and Bryn Terfel. with Dorothea Röschmann. He has presented his own series at This season’s engagements include SAVOR CONTEMPORARY CALIFORNIA-COASTAL CUISINE, the Wigmore Hall (a Britten and a Poulenc appearances with Sarah Connolly, Dorothea series and Decade by Decade – 100 years of Roschman, Angelika Kirschlager, Simon COMPLEMENTED WITH GRACIOUS SERVICE AND A SIDE German Song broadcast by the BBC) and at Keenleyside, a tour with Magdalena Kozena, an OF STUNNING SANTA BARBARA VIEWS. the Edinburgh Festival (the complete lieder appearance at Oxford Lieder with Ann Murray of Hugo Wolf). He has appeared throughout and Thomas Allen, a US tour with Florian Europe (including London’s Wigmore Hall, Boesch and Miah Persson and recitals in New Barbican, Queen Elizabeth Hall and Royal Opera York and Washington with Anne Schwanewilms. House; La Scala, Milan; the Chatelet, Paris; He was a given an honorary doctorate at the the Liceu, Barcelona; Berlin’s Philharmonie and Royal Scottish Academy of Music and Drama Konzerthaus; Amsterdam’s Concertgebouw in 2004, and appointed International Fellow and the Vienna Konzerthaus and Musikverein), of Accompaniment in 2009. Malcolm was the North America (including in New York both Alice Artistic Director of the 2011 Leeds Lieder+ 800 ALVARADO PLACE, SANTA BARBARA, CA 93103 | 805 845 5800 Tully Hall and Carnegie Hall), Australia (including Festival. He was made an OBE in the 2016 New the Sydney Opera House) and at the Aix en Year’s Honours. n HOTELS | TRAINS | RIVER CRUISES | JOURNEYS | BELMOND.COM

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EE CAMA Concert Series ad 1016.indd 1 10/26/16 3:12 PM BEAU KNOWS BEST! Pacific Coast Business Times is the weekly business journal of record serving Santa Barbara, Ventura and San Luis Obispo counties.

PROGRAM NOTES BY DR. SUSAN YOUENS

PRELUDE “Man’s love is of man’s life a thing apart,/‘Tis Songs are bite-sized commentaries on and woman’s whole existence,” said Byron in Don Juan, reflections of human existence. Whatever their and the poetic cycle by the French aristocrat Louis purely musical attributes (and their greatness, or not, Charles Adeläide de Chamisso de Boncourt, or Now in its 16th year of publication, the Business Times is dependent upon the composer’s compositional Adelbert von Chamisso---when he was nine, his has the largest team devoted full-time to business and profundity), they participate in the “big things” of life: family fled the French Revolution for Prussia--- financial news on the central coast. Our multi-media birth, death, love, hate, isolation, friendship, Time, might seem at first glance in accord with that platform includes weekly print editions delivered each and more. Schumann knew this: in the year of his peculiarly masculine view of women. According Friday, email newsletters and alerts, events and a battle for Clara Wieck’s hand-in-marriage, he clearly to some, the “female” poetic voice in this cycle combined print-digital subscription that provides full thought long and hard about the vicissitudes of love is actually male, and the work is meant to teach access our web site. and translated those thoughts into songs written women how the paterfamilias of the day wished Included with each subscription are 24 special reports for her, among them Frauenliebe und leben: a tale to be worshipped by his wife. According to others including Dealmakers of the Year, Giving Guide, our (present company included), the poems are Year-end Tax & Financial Planning Guide and a number of married love at its loveliest, from its beginnings of Who’s Who sections that profile the major players in humble abnegation through fulfillment to the actually in sympathy with the emerging women’s in key industries. Subscriptions also include a copy of inevitable ending in one partner’s death. Other movement because it is the woman, not the our Book of Lists, the region’s most comprehensive composers in other countries have also sung of love, husband, who is the narrator; Chamisso was hailed business-to-business directory. courtship, marriage, birth, and grief; what tonight’s in his time as a champion of women. While listeners artists have done is to compile small anthologies of will make up their own minds, it is undeniable that CONTACT US FOR MORE INFORMATION: diverse songs on the rites of passage given us at Schumann saw in these words the occasion for 805-845-2745 • WWW.PACBIZTIMES.COM each stage of Schumann’s cycle. great musical beauty. We hear a portrait in tones

13 of a loving, tender, generous-hearted creature II. Er, der Herrlichste von allen: anyone would be proud to love and to be In praise of the beloved loved by. In the second song of Frauenliebe, the woman in love catalogues her beloved’s wonderful I. Seit ich ihn gesehen: attributes—his lips, eyes, mind, and courage- “Love comes in at the eye” --and then resolves to rejoice in her beloved’s “And love comes in at the eye,” wrote William fantasied marriage to someone else as long Butler Yeats: in this first group of three songs, as he is happy. Trying to do the right thing, lovers look at the beloved and are helpless to she nonetheless finds it incredibly painful and resist such beauty. In the “Amen”- chords at weeps in private. Schumann was prone to invent the start of Schumann’s Seit ich ihn gesehen, wordless extensions of poetic meaning in his we hear the nameless woman’s reverence for piano postludes, and this one is exquisite: in the man she loves but believes is beyond her the contrapuntal strands that drift downwards reach, hence the slight tinge of darkness and from the high treble register, we hear the wistful sadness in this music. Schumann had a passion dissolution of her dream of love. for Bach, and he channels Baroque tradition in The persona of Shakespeare’s eighteenth this sarabande-song (the “sarabande” was a sonnet, Shall I compare thee to a summer’s Baroque dance in triple meter with the second day?, declares that as long as this poem and third beats often tied, usually grave in shall exist, his beloved will “live,” defying time nature). and death. Shakespeare and jazz: one might Love not yet admitted, much less not expect the combination, but the great acknowledged, in Schumann’s first song is British jazzman John Dankworth composed a taken several steps farther in Møte from Edvard wonderfully evocative setting of this sonnet for Grieg’s famous Haugtussa cycle. In the first half his wife, the jazz and pop singer Cleo Laine. of Arne Garborg’s poetic cycle, the clairvoyant Chanson d’amour is in “madrigal style,” with heroine Veslemøy--called “Haugtussa,” or “hill its accompaniment that suggests the strumming sprite” for her ability to commune with Nature- of a lute or guitar and its time-traveling aura of --falls in love with the “wild boy” Jon. As she an older era. “I love, I love, I love each individual dreams of him on a hilltop, he appears, and she thing about you,” this ardent lover proclaims, gazes at him entranced before they fall into one and Fauré aids and abets all this repetition for another’s arms. Her desire for him at the start, emphasis by repeating the first stanza twice the music saturated with chromatic motion in more in the course of his setting. the inner voices (a traditional trope for desire), is Ture Rangström is one of the foremost early consummated at the end in their first tryst; we 20th-century Swedish composers of romans (art hear climax and the “dying-away” aftermath of song)---some 250 of them. Melodi is a setting lovemaking at the end. of a love poem by Bo Bergman; here, love “Since your eyes gazed in mine . . . what more brings Nature to more intense life and banishes could I ask of life?”, the lover in Richard Strauss’s suffering. Nature’s sparkling voices ripple in Seitdem dein Aug’ in meines schaute asks. the piano throughout the song, accompanying Strauss begins without a piano introduction, a beautiful melody; the words tell us that love the directness very moving, and singles out the itself is song and that it is all-powerful. word at the heart of it all-- “Liebe,” “love”---by a vault upwards for the singer, underscored by III. Ich kann’s nicht fassen, nicht glauben: the first tonic chord of the song. The throbbing Avowals of lasting love syncopated patterns, the crescendo of rising Somewhere between the second and third passion that builds throughout, and the rhythmic songs in Schumann’s Frauenliebe, the beloved elongation of “ganzes Leben” (my whole life) are man has declared his love for her, and she all transformations of passion into song. is overwhelmed. We hear her come to the

14 15 realization that this wonder is true in the course sweetheart at court, recognizing it, will immediately of this song, with its shifting moods and changing return to her faithful lover: the eternity symbol of tempi; the astonishment at the start is succeeded the ring brings together true lovers who have been by the somewhat slower, thoughtful repetition of parted. In this song, we hear the typically Mahlerian his words. “I can hardly grasp it, hardly believe it,” ironic disjunction between the naiveté of the folk she repeats over and over; the final statement is text and the extreme sophistication of the musical preceded by a remarkable little piano interlude, setting; Mahler himself pointed out the originality rocking back and forth between different levels as of its harmonization. if to say “He loves me, he loves me not” before at Spain’s leading Romantic poet Ramón de last accepting that love is hers. Campoamor explored the oxymorons of love in In Grieg’s Jeg elsker dig, to words by Hans his Poem in the form of songs, set to music Christian Andersen, a lover swears to love only by the Seville-born Joaquín Turina, who merged the beloved through all eternity; the song was sevillanismo with French influences (he studied composed for the composer’s cousin Nina Hagerup with Vincent d’Indy at the Paris Conservatory). The in the year of their engagement. Each of the two third song, Los dos miedos, expresses fear of the stanzas culminates in a threefold proclamation of beloved before the night of love and fear of being love that rises ecstatically by stages. Somehow without him after they have been together. it seems appropriate that the song is in C major (representing the ultimate clarity and purity of V. Helft mir, ihr Schwestern: love) but is shot through with chromatic color and Weddings, families, and communal rejoicing EXPERIENCE feeling, as in the lovely introduction. Returning to Frauenliebe, the woman now sings In Au bord de l’eau, another poet also declares a song of rejoicing as her sisters help her with that his love will endure for eternity, but Fauré’s her bridal dress; in their company and on this OF A LIFETIME music, like Time itself, flows ever onward, in occasion, she can safely confess her desire for her calm contemplation of all those things that will beloved and his for her. Near the close, there is a pass—including this love. “My dear old au bord momentary touch of melancholy as she bids her SINCE 1979 de l’eau,” Henri Duparc wrote to Fauré in 1883, so siblings farewell, but happiness resumes its sway consummately expressive of Fauré’s art is this song. as she goes to her husband. The wedding march A LIFETIMEE OF we hear at the end owes a debt of gratitude to Felix IV. Du Ring an meinem Finger: Mendelssohn’s music for A Midsummer Night’s Lovers’ rings and wedding nights Dream. EXPERIENCE “To love him, serve him, belong wholly to him,” Schumann fashioned his song cycle Myrthen not Frauenliebe’s nameless woman sings passionately after the model of its Beethovenian or Schubertian in mid-song she contemplates her wedding ring. predecessors but according to his own unique This was the accepted model for matrimonial love design, with 26 songs that constitute an alphabet at the time, and the strong-minded Clara Wieck--- of love. In the Lied der Braut I (“Mutter, Mutter, “My parents still complain that every piece no pushover, she---says such things in her letters glaube nicht”), a bride reassures her mother, “I of wood around my childhood home was to Robert. This fourth song is the mirror of the shan’t love you any less for marrying the man I riddled with nails. You could say I was bred second, the two sharing the same key, some of the love,” and thanks the woman who bore her for or for building and hard work, but for me, it’s same harmonies, and the “heartbeat” chords in the an existence that has now become something a love that has stood the test of time.” right hand (in the interior of this song). splendid. Schumann made a habit of extending Another ring figures prominently in Gustav the poem wordlessly in his postlude, and this Trevor Eikenbary, Project Manager Mahler’s Rheinlegendchen, one of his songs on one ends with a beautiful Adagio variation on folk poems from the famous early 19th-century “such splendor.” The daughter-bride continues to anthology Des KnabenWunderhorn (The Youth’s reassure her mother in Lied der Braut II (Lass Magic Horn): a lover separated from his beloved mich ihm am Busen hangen, set to chordal strains fantasizes throwing his ring into the Rhine, where as if the wedding march were already beginning to a fish will swallow it, and the King, when served sound in the background. that very same fish, will ask whose ring it is. The At the start of the 20th century, a French

16 17 Hellenist named Hubert Octave Pernot (1870- and her first sexual encounter with the youth 1946), in company with a Greek colleague named Lykas: his narrative of seduction, quoted within the Pericles Matsa, collected Greek popular songs. song, makes Bilitis a figment of his imagination, The musicologist Pierre Aubry, who was giving a but she ultimately contains his dream within her lecture on the songs of the oppressed Greeks and own recounting. In this intensely erotic scenario, it Armenians, asked another musicologist, Michel is no wonder that we encounter Wagner’s famous Calvocoressi, to select some of Pernot’s Greek “Tristan” chord at the moment of imagined—soon We’re out songs as illustrations. Calvocoressi taught the singer to be actual---climax. Louise Thomasset to produce the texts phonetically; In Schumann’s Süsser Freund, du blickest when she wanted piano accompaniments, he mich, the woman tells her bewildered husband, turned to Ravel, who wrote five accompaniments who has found her both weeping and smiling, that in 36 hours---his first of several forays into folklore. she is pregnant. This is the only song where he is to set a Tout gai! is an irresistible invitation to the dance, present, and Schumann disposes the piano part the text not quite coherent because sung while in at times as a dialogue between treble and bass full fling, the singer distracted by the sight of lovely registers, between man and wife. It is in the piano legs in joyous activity. Whatever the inimitably that she whispers her glad tidings into his ear, the new standard French veil thrown over the proceedings by Ravel, music rising in mini-waves of dawning realization, we feel as if transported to some sun-washed followed by a tender dialogue between her melody Greek village. and his cello-like wordless phrases in the left hand.

INTERMISSION VII. Songs to the child: for wealth An meinem Herzen an meiner Brust VI. Lovemaking and the creation of a child: The Russian poet Apollon Maikov paraphrased a Süsser Freund, du blickest mich Greek folk song, with echoes of Homeric animism, From the Parnassian poet Leconte de Lisle’s in a Lullaby set to music by Tchaikovsky; here, Études latines (Latin Studies), Henri Duparc plucked a mother invokes mighty forces of Nature as management. Phydilé for one of his last and loveliest songs. guardians to keep her child safe while it sleeps. The (Duparc composed only seventeen melodies composer dedicated his song to Nikolai Rimsky- before falling victim to a mysterious neurasthenic Korsakov’s wife (she was expecting her first child), disease that prevented him from composing at and it is deservedly a “chestnut,” in which the pianist all in the final forty-eight years of his life. As if rocks a cradle with both hands in alternation, while in compensation for such a hideous fate, his the singer’s melody gently swings and sways in songs are among the greatest in the French cradling motion as well. language, their subtlety and gravitas beyond the La courte paille (The Short Straw) was Francis reach of most of his contemporaries.) At the start, Poulenc’s last song cycle, composed three years refined sensuality is evoked by limited motion to before his death for the soprano Denise Duval and neighboring harmonies; from there, ravishment her young son. Like Schumann’s Kinderszenen, proceeds apace. By the time the musical persona these are songs about children rather than being bids his beloved “Repose” (Rest) three times in children’s music. In the sixth song, Le Carafon, succession, we are all of us seduced. everything in the world wants a darling baby, In 1894, the French poet Pierre Louÿs published so the wizard Merlin obligingly provides a water Les Chansons de Bilitis, a collection of prose- carafe—it has, we are told, a lovely soprano voice-- poems supposedly the work of Bilitis, a courtesan -with a pretty little infant carafe. Lively whimsy and in ancient Greece at the time of Sappho; the sweetness join hands in this song. (855) 886-4824 or visit www.fi rstrepublic.com New York Stock Exchange Symbol: FRC poems were, he wrote, discovered in her tomb by a A similar, somewhat gentlerwhimsy is on display German archeologist named G. Heim (“geheim,” or in Strauss Strauss’s Wiegenliedchen (one would First Republic Private Wealth Management includes First Republic Trust Company; First Republic Trust Company “secret”). Louÿs, of course, was the actual author. never guess from this song that his opera Salome of Delaware LLC; First Republic Investment Management, Inc., an SEC Registered Investment Advisor; and First Republic Securities Company, LLC, Member FINRA/SIPC. The text of La Chevelure comes from the first would follow only four years later), in which a Investment and Advisory Products and Services are Not FDIC Insured, Not Guaranteed and May Lose Value. section entitled “Bucolics,” about Bilitis’s childhood little bee and a spider are bidden to hum and

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CAMA 04-06-17 We'reOutPWM-P BW ND2015.indd 1 3/15/17 2:42 PM spin “my little prince” to sleep. Again, we hear of depression: she does not wish to live any the cradle rocking in the piano as Strauss, in longer. The same progression, from tragic outcry his inimitable fashion, touches lightly upon many to deadened quietude, is then repeated, and the different tonalities, as if on all the different shades piano postlude recapitulates in brief the same of maternal love. terrible, truthful contrast. Returning again to Frauenliebe, there is now In Act IV, scene 5 of Shakespeare’s Hamlet, the even more love in the picture, that of a mother mad Ophelia sings three songs, the first containing for the infant daughter she nurses in An meinem echoes of the so-called “Walsingham Ballad,” written Herzen, an meiner Brust. The two chords at the some 50 years after the destruction of Walsingham start, one loud, one soft, open the doors of the Shrine in 1538, during the English Reformation. In bedchamber and allow us access to this intimate Shakespeare’s variant, a woman asks piteously scene, unique in German song. In another of about her pilgrim lover and discovers that he Schumann’s expressive postludes, we hear both is dead and buried. Roger Quilter’s setting is a waves of tender maternal feeling and the physical poignant thing, filled with echophrases; the use of motion as the child is swung gently up and down. the Phrygian, or flatted, 2nd degree at the words “He is dead and gone, lady, he is dead and gone” is VIII. Songs of grief and mourning: quietly powerful. Nun hast du mir den ersten Schmerz getan The ferocious minor chord at the start of Nun In the same year of 1840 as Frauenliebe und –leben, hast du mir den ersten Schmerz getan could Hector Berlioz composed his song cycle Les nuits hardly be more of a shock. Schumann knew that A Browser’s Paradise Over 40 Years of Excellent Customer Service d’été, for what reason, we do not know: to make accusatory anger and a sense of betrayal are 3321 State St. Santa Barbara some money? as a vehicle for one of Paris’s famous among the whirlwind of emotions we feel when chaucersbooks.com (805)682-6787 mezzos (Pauline Viardot, perhaps)? as a parting someone beloved dies, and that is what we hear gift for its poet, en route to Spain? Whatever the first in this searing song. The initial bitterness gives reasons, the fourth song, L’Absence, is a plangent way to more inward grief and finally, to one of lament by someone parted from his beloved by Schumann’s most heart-stopping compositional Supporting the Arts in our Community great distance; in this context, we can imagine it decisions: the wordless return of the first song in as the distance of final illness, separating the living the postlude. Only the accompaniment, not the from the dead. Over and over, the singer implores, vocal line, returns---half a song for a life deprived of “Return, return, my dear beloved,” and over and half of its meaning. We are meant to hear the slight over, a brief silence follows---no one answers---, musical “bump,” the transition from the present to before the singer resumes the griefstricken plaint. the past as she remembers the start of it all, eight Enrique Granados was inspired by the Spanish songs and a lifetime ago. tradition of theatre songs called tonadillas to create his own Tonadillas en estilo antiguo, in Notes by R. Susan Youens – The musicologist which majas and majos (near-untranslatable terms Susan Youens is widely regarded as one of the for the arrogant, boisterous, charming, proud world’s foremost authorities on German song, and working-class young men and women of Madrid, the music of Franz Schubert and Hugo Wolf. She is who engaged in complex games of courtship one of very few people in the United States who have along a gamut from white-hot passion to white- won four fellowships from the National Endowment hot contempt) sing of love. The weightiest are the for the Humanities, as well as fellowships from A������� �� L�� three songs in the mini-cycle La maja dolorosa, in the National Humanities Center, the Guggenheim J���� P. B��������� which a maja grieves for her deadmajo. The first Foundation, and the Institute for Advanced Study song, O muerte cruel!, begins by striking iron- at Princeton. Dr. Youens is the author of eight Real Estate, Trust and Probate hard, heavy tones in the piano -- we will hear a books. She also regularly writes program-booklet 329 East Anapamu Street Litigation similar harsh blow at the start of Schumann’s last essays for song recitals at Carnegie Hall, as well as (805) 962-2201 song---, followed by a cry of protest that begins numerous liner notes for CDs. Artist Thomas Van Stein Santa Barbara California in the heights and descends into the depths

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I.

SEIT ICH IHN GESEHEN Since I saw him Frauenliebe und Leben No. 1 Robert Schumann (1810-1856) Text by Adelbert von Chamisso ( 1781-1838)

Seit ich ihn gesehen, Since I saw him, Glaub ich blind zu sein; I think I am blind; Wo ich hin nur blicke, Every place I look, She ich ihn allein; I see him alone; “Age is an issue of mind over matter. Wie im wachen Traume As in a waking dream Schwebt sein Bild mir vor, His image appears before me, If you don’t mind, it doesn’t matter.” Taucht aus tiefstem Dunkel Rising out of darkest depths – Mark Twain Heller nur empor. Only more brightly.

Sonst ist licht-und farblos Everything else is dark and colorless Alles um mich her, All around me, Nach der Schwestern Spiele For my sisters’ games Nicht begehr ich mehr, I am no longer eager,

Möchte lieber weinen, I would like instead to weep Still im Kämmerlein; quietly in my little room; Seit ich ihn gesehen, Since I saw him, Glaub ich blind zu sein. I think I am blind.

Møte The Encounter From Haugtussa, Op. 67, No. 4 Edvard Grieg (1843-1907) Text by Arne Garborg (1851-1924)

Ho sìt ein Sundag lengtande Li; One Sunday she sits quietly on the hill, det strøymer på med desse søte Tankar; While pleasant thoughts rush over her, og Hjarta fullt og tungt i Barmen bankar, And her heart beats fully and heavily in her chest, og Draumen vaknar, bivrande og blid. And a shy dream awakens inside her. Då gjeng det som ei Hildring yver Nuten; Suddenly, enchantment arrives on the hilltop. ho raudnar heit; -- der kjem den vene Guten. She blushes red; here he comes, the boy she loves.

Burt vil ho gøyme seg i Ørska brå, She wants to hide in her embarrassment, men stoggar tryllt og Augo mot han vender; But shyly she raises her eyes to him; dei tek einannan i dei varme Hender Their warm hands reach out for each other, og stend so der og veit seg inkje Råd. And they stand there, neither one knowing what to say. Då bryt ho ut i dette Undringsord: Then she bursts out, exclaiming, «men snilde deg daa... at du er so stor!» “My, how tall you are!”

Og som det lid ti svale Kveldings Stund, And as the day changes softly into night, alt meir og meir i Lengt dei saman søkjer; They turn to each other full of longing, og brådt um Hals den unge Arm seg krøkjer, Their young arms wind around each other’s necks, og øre skjelv dei saman Munn mot Munn. And trembling mouth meets trembling mouth. Alt svimrar burt. Og der i Kvelden varm Everything falls away, and in the warm night i heite Sæle søv ho i hans Arm. She falls blissfully asleep enfolded in his arms.

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II. Seitdem dein Aug’ in meines schaute Since your eyes first looked into mine Op. 17, No. 1 ER, DER HERRLICHSTE VON ALLEN He, the most wonderful of all Richard Strauss (1864-1949) Frauenliebe und Leben No. 2 Text by Adolf Friedrich von Schack (1815-1894) Robert Schumann (1810-1856) Text by Adelbert von Chamisso ( 1781-1838) Seitdem dein Aug' in meines schaute, Since your eyes looked into mine, Und Liebe, wie vom Himmel her, and love, as if here from Heaven, Er, der Herrlichste von allen, He, the most wonderful of all, Aus ihm auf mich herniedertaute, fell from above onto me like dew, Wie so milde, wie so gut. So gentle, so good. Was böte mir die Erde mehr? what more could the earth give me? Holde Lippen, klares Auge, Lovely lips, sparkling eyes, Heller Sinn und fester Mut. Clear mind and firm resolve. Ihr Bestes hat sie mir gegeben, It has given me its best, Und von des Herzens stillem Glück and from the heart's quiet happiness, So wie dort in blauer Tiefe, As in the blue depths, Ward übervoll mein ganzes Leben My whole life was overflowing Hell und herrlich jener Stern, That star, bright and beautiful, Durch jenen einen Augenblick. through one glance. Also er an meinem Himmel So is he in my heaven, Hell und herrlich, hehr und fern. Bright and beautiful, majestic, distant.

Wandle, wandle deine Bahnen; Wander, wander your ways; Nur betrachten deinen Schein, Just to watch your radiance, Nur in Demut ihn betrachten, Just to watch it in humility, Selig nur und traurig sein. Just to be blissful and sad!

Höre nicht mein stilles Beten, Hear not my silent prayer Deinem Glücke nur geweiht; Your happiness only blessed; Darfst mich niedre Magd nicht kennen, I, lowly maid, must not know, Hoher Stern der Herrlichkeit. Lofty, wonderful star.

Nur die Würdigste von allen Only the most worthy woman of all Darf beglücken deine Wahl May your choice favor Und ich will die Hohe segnen And that exalted one will I bless Viele tausend Mal. Many thousands of times.

Will mich freuen dann und weinen, Then shall I rejoice and cry, Selig, selig bin ich dann, Be blissful, blissful then; Sollte mir das Herz auch brechen, Even if my heart breaks, Brich, o Herz, was liegt daran? Then break, O heart, what does it matter?

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Shall I compare thee to a summer’s day? Melodi Melody Sonnet No. 18 From Fem dikter Sir John Dankworth (1927-2010) Ture Rangstrôm (1884-1947) Text by William Shakespeare (1564-1616) Text by Bo Bergman (1869-1967)

Shall I compare thee to a summer’s day? Bara du går över markerna, You simply walk across the meadows, Thou art more lovely and more temperate: lever var källa, and every spring becomes alive, Rough winds do shake the darling buds of May, sjunger var tuva ditt namn. every blad of grass sings your name. And summer’s lease hath all too short a date: Skyarna brinna och parkerna The clouds burn and the trees Sometime too hot the eye of heaven shines, susa och fälla whistle and drop their And often is his gold complexion dimm’d; lövet som guld i din famn. leaves like gold on your lap. And every fair from fair sometime declines, By chance or nature's changing course untrimm’d; Och vid de skummiga stränderna By the foamy shores But thy eternal summer shall not fade hör jag din stämmas I hear your soothing voice Nor lose possession of that fair thou ow’st; vaggande vågsorl till tröst rocking in a wave's murmur. Nor shall Death brag thou wander’st in his shade, Räck mig de älskade händerna. Reach out your beloved hands. When in eternal lines to time thou growest: Mörkret skall skrämmas. Darkness will be scared away. So long as men can breathe or eyes can see, Kvalet skall släppa mitt bröst. Torment will leave my breast. So long lives this, and this gives life to thee. Bara du går över ängarna, You simply walk across the meadows, bara jag ser dig I see you Chanson d’amour Song of Love vandra i fjärran förbi, wandering in the distance, From the Second Recuecil, Op. 27, No. 2 darra de eviga strängarna. those eternal strains tremble. Gabriel Fauré (1845-1924) Säg mig vem ger dig Tell me who bestoes upon you Text by Armand Silvestre (1837-1901) makten som blir melodi? the power which becomes this melody?

J’aime tes yeux, j’aime ton front, I love your eyes, I love your face, Ô ma rebelle, ô ma farouche, Oh my rebel, oh my wild one, III. J’aime tes yeux, j’aime ta bouche I love your eyes, I love your mouth, Où mes baisers s’épuiseront. Where my kisses exhaust themselves. ICH KANN’S NICHT FASSEN, NICHT I cannot grasp it, cannot believe it GLAUBEN J’aime ta voix, jaime l’étrange I love your voice, I love the strange Frauenliebe und Leben No. 3 Grâce de tout ce que tu dis, Grace in everything that you say, Robert Schumann (1810-1856) Ô ma rebelle, ô mon cher ange, Oh my rebel, oh my dear angel, Text by Adelbert von Chamisso ( 1781-1838) Mon enfer et mon paradis! My hell and my paradise! Ich kann’s nicht fassen, nicht glauben, I cannot grasp it, cannot believe it, J’aime tout ce qui te fait belle, I love everything that makes you beautiful, Es hat ein Traum mich berückt; I am swept away in a dream; De tes pieds jusqu’à tes cheveux, from your feet to your hair, Wie hätt’ er doch unter allen How, from everyone, has he Ô toi vers qui montent mes vœux, Oh you towards whom my desires climb! Mich Arme erhöht und beglückt? Raised and chosen poor me? Ô ma farouche, ô ma rebelle! Oh my wild one, oh my rebel! Mir war’s, er habe gesprochen: I thought he said, “Ich bin auf ewig dein,” “I am yours forever,” Mir war’s, ich träume noch immer, I thought I was still dreaming, Es kann ja nimmer so sein. For it can never be so.

O lass im Traume mich sterben, O let me, dreaming, die, Gewieget an seiner Brust, Cradled on his breast; Den seligen Tod mich schlürfen Blissful death let me savour, In Tränen unendlicher Lust. In tears of endless hapiness.

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Jeg elsker Dig I love you IV. From Hjertets Melodier, Op. 5, No. 3 Edvard Grieg (1843-1907) DU RING AN MEINEM FINGER You, Ring on my finer Text by Hans Christian Adersen (1805-1875) Frauenliebe und Leben No. 4 Robert Schumann (1810-1856) Min Tankes Tanke ene du er vorden, You are the one thought of my thoughts, Text by Adelbert von Chamisso ( 1781-1838) Du er mit Hjertes første Kærlighed. You are the first love of my heart. Jeg elsker Dig, som Ingen her på Jorden, I love you as I love no one else here on Earth, Du Ring an meinem Finger, You, ring on my finger, Jeg elsker Dig i Tid og Evighed! I love you for all time and all eternity! Mein goldenes Ringelein, My little golden ring, Ich drücke dich fromm an die Lippen, I press you with reverence to my lips, An das Herze mein. To my heart.

Au Bord de L’eau At the Riverside Ich hatt’ ihn ausgeträumet, I had finished dreaming Op. 8, No. 1 Der Kindheit friedlich schönen Traum, Childhood’s calm and beautiful dream, Garbriel Fauré (1845-1924) Ich fand allein mich, verloren I found myself alone, lost Text by René-François Sully-Prudhomme Im öden unendlichen Raum. In boundless desolation. (1839-1907) Du Ring an meinem Finger, You, ring on my finger, S'asseoir tous deux au bord du flot qui passe, To sit together on the edge of the stream that passes Da hast du mich erst belehrt, You have first taught me, Le voir passer, To see it passing; Hast meinem Blick erschlossen Unlocked my eyes Tous deux s'il glisse un nuage en l'espace, Together, when a cloud float in space, Des Lebens unendlichen, tiefen Wert. To life’s deep, unending worth. Le voir glisser; To see it float; À l'horizon s'il fume un toit de chaume, When a cottage chimney is smoking on the horizon, Ich will ihm dienen, ihm leben, I will serve him, live for him, Le voir fumer; To see it smoke; Ihm angehören ganz, Belong wholly to him, Aux alentours si quelque fleur embaume, If nearby a flower spreads its fragrances, Hin selber mich geben und finden Give myself to him and find S'en embaumer; To take in its scent; Verklärt mich in seinem Glanz. Myself transfigured in his glance. Entendre au pied du saule où To hear at the foot of the willow tree, where L'eau murmurer, The water murmurs, Ne pas sentir tant que ce rêve dure Not to sense, while this dream lasts, Le temps durer. The passage of time, Mais n'apportant de passion profonde But to feel deep passion Qu'à s'adorer, Only to adore each other; Sans nul souci des querelles du monde Not to care at all about the world’s quarrels Les ignorer; To ignore them, Et seuls tous deux devant tout ce qui lasse And alone, the two of us, facing all that grows weary, Sans se lasser, Not to grow weary, Sentir l'amour devant tout ce qui passe To experience love while everything passes away, Ne point passer! Never to change!

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28 29

Rheinlegend Rhein legend Los dos miedos The Two Fears From Das Knaben Wunderhorn From Poema en forma de canciones, Op. 18, No. 4 Gustav Mahler (1860-1911) Joaquín Turina (1882-1949) Text by Clemens Brentano (1778-1842) Text by de Campoamor y Campoosorio (1817-1901) Bald gras ich am Neckar, Sometimes I mow by the Neckar, Bald gras ich am Rhein; Sometimes I mow by the Rhein. Al comenzar la noche de aquel día At dusk on that day, Bald hab ich ein Schätzel, Sometimes I have a sweetheart, Ella lejos de mí, Far from me she said: Bald bin ich allein! Sometimes I am all alone! ¿Por qué te acercas tanto? Me decía, “Why do you come so close to me? Tengo miedo de ti. I am afraid of you.” Was hilft mir das Grasen, How does mowing help me Wenn d'Sichel nicht schneid't! If the sickle will not cut? Y después que la noche hubo pasado And after the night ended, Was hilft mir ein Schätzel, How does a sweetheart help me Dijo, cerca de mí: Close to me she said: Wenn's bei mir nicht bleibt. If she will not stay with me? ¿Por qué te alejas tanto de mi lado? “Why do you move so far from me? ¡Tengo miedo sin ti! I am afraid without you.” So soll ich denn grasen So if I am going to mow Am Neckar, am Rhein, By the Neckar, by the Rhein So werf ich mein goldenes Then I shall throw in Ringlein hinein. My little golden ring. Es fließt im Neckar It will float down the Neckar, Und fließt im Rhein, Float down the Rhein, Soll schwimmen hinunter And will swim under, down Ins Meer tief hinein. Into the depths of the ocean.

Und schwimmt es, das Ringlein, And if the ring swims, So frißt es ein Fisch! A fish shall eat it! Das Fischlein soll kommen The little fish will end up Auf's Königs sein' Tisch! On the table of a king! Der König tät fragen, The king will ask, How can Rolfing® Structural Wem's Ringlein sollt sein? Whose ring is this? Integration help you? Da tät mein Schatz sagen: And then my sweetheart will say, Das Ringlein g'hört mein. The ring belongs to me.

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30 31

V. Mutter, Mutter, glaube nicht Mother, Mother, do not believe Lied der Braut I Bride’s Song I HELFT MIR, IHR SCHWESTERN Help me, sisters From Myrten, Op. 25 Frauenliebe und Leben No. 5 Robert Schumann (1810-1856) Robert Schumann (1810-1856) Text Friedrich Rückert (1788-1866) Text by Adelbert von Chamisso ( 1781-1838) Mutter, Mutter! glaube nicht, Mother, mother, do not believe Helft mir, ihr Schwestern, Help me, sisters, Weil ich ihn lieb' also sehr, That because I love him so much Freundlich mich schmücken, In kindness to dress myself, Daß nun Liebe mir gebricht, I cannot love you Dient der Glücklichen heute, mir. Serve me, the happy one, today, Dich zu lieben wie vorher. as I have in the past. Windet geschäftig Eagerly weave mir um die Stirne About my brow Mutter, Mutter! seit ich ihn Mother, mother, since I love him Noch der blühenden Myrte Zier. The blooming myrtle. Liebe, lieb' ich erst dich sehr. I now for the first time love you. Laß mich an mein Herz dich zieh'n Let me draw you to my heart Als ich befriedigt, When I, content, Und dich küssen, wie mich er. And kiss you as he kisses me! Freudigen Herzens, With a happy heart, Sonst dem Geliebten im Arme lag, Lie in my beloved’s arms, Mutter, Mutter! seit ich ihn Mother, mother! Since I love him Immer noch rief er, Still would he call Liebe, lieb' ich erst dich ganz, I finally love you completely Sehnsucht im Herzen, With a yearning heart, Daß du mir das Sein verlieh'n, For giving me this life Ungeduldig den heutigen Tag. Impatiently for today. Das mir ward zu solchem Glanz. That has become so joyous for me.

Helft mir, ihr Schwestern, Help me, sisters, Helft mir verscheuchen Help me disperse Lass mich ihm am Busen hangen Let me cling to his chest Eine törichte Bangigkeit; Unfounded fears; Lied der Braut II Bride’s Song II Dass ich mit klarem So that I, clear From Myrten Aug ihn empfange, Eyed, may receive him, Robert Schumann (1810-1856) Ihn, die Quelle der Freudigkeit. The source of my joy. Text Friedrich Rückert (1788-1866)

Bist, mein Geliebter, You, my beloved, Laß mich ihm am Busen hangen, Let me cling to his chest, Du mir erschienen, Have appeared before me, Mutter, Mutter! laß das Bangen. Mother, Mother! Do not worry. Gibst du mir, Sonne, deinen Schein? Will you, sun, shine upon me? Frage nicht: wie soll sich's wenden? Don't ask: how should it change? Lass mich in Andacht, Let me in reverence, Frage nicht: wie soll das enden? Don't ask: how should it end? Lass mich in Demut, Let me in humility, Enden? Enden soll sich's nie, End? It should never end, Lass mich verneigen dem Herren mein. Let me bow to my lord. Wenden, noch nicht weiß ich, wie! Change, I still don't know how!

Streuet ihm, Schwestern, Scatter flowers, Sisters, Tout gai! Everyone is happy! Streuet ihm Blumen, Scatter flowers for him, From Cing melodies populaires grecques Bringt ihm knospende Rosen dar. Offer budding roses. Maurice Ravel (1875-1937) Aber euch, Schwestern, But you, sisters, Michael Dimitri Calvocoressi (1877-1944) Grüss ich mit Wehmut, I greet sadly, Freudig scheidend aus eurer Schar. Departing, joyous, from your throng. Tout gai! gai, Ha, tout gai! Everyone is happy, happy! Belle jambe, tireli, qui danse; Beautiful legs, which dance, Belle jambe, la vaisselle danse, Beautiful legs; even the dishes are dancing! Tra la la la la... Tra la la, la la la!

INTERMISSION

32 33 VI. SÜSSER FREUND, DU BLICKEST MICH Sweet friend, you look at me in wonder Phidylé VERWUNDERT AN Henri Duparc (1848-1933) Frauenliebe und Leben No. 6 Text: Charles-Marie-René Leconte de Lisle Robert Schumann (1810-1856) (1818-1894) Text by Adelbert von Chamisso ( 1781-1838)

L’herbe est molle au sommeil sous les frais peupliers, The grass is bending with sleep under the fresh poplars, Süsser Freund, du blickest mich verwundert an, Sweet friend, you look at me in wonder, Aux pentes des sources moussues On the slopes of the mossy springs Kannst es nicht begreifen, You cannot understand Qui dans les prés en fleurs germant par mille issues, That in the blooming fields, sprouting abundantly, Wie ich weinen kann; How I can weep; Se perdent sous les noïrs halliers. Disappear through the black thickets, Lass der feuchten Perlen These moist pearls let, Ungewohnte Zier As a strange decoration, Repose ô Phidylé, Rest, oh Phidylé. Freudig hell erzittern Tremble joyous bright In dem Auge mir. In my eyes. Midi sur les feuillages Noon on the branches shines Rayonne, et t’invite au sommeil. And invites you to sleep. Wie so bang mein Busen, How anxious my heart, Par le trèfle et le thym, seules en plein soleil, By the clover and the thyme, alone in bright sunlight, Wie so wonnevoll! How full of joy! Chantent les abeilles volages; The buzzing bees sing; Wüsst ich nur mit Worten, If I only knew the words Wie ich’s sagen soll; To say it as I should; Un chaud parfum circule au détour des sentiers, A warm fragrance circles by the path’s bend, Komm und birg dein Antlitz Come, hide your face, La rouge fleur des blés s’incline, The red flowers of the wheat bows, Hier an meiner Brust, Here, against my breast, Et les oiseaux, rasant de l’aile la colline, And birds, skimming the hill, Will ins Ohr dir flüstern For me to whisper you Cherchent l’ombre des églantiers. Seek the shade of the wild roses. Alle meine Lust. My full joy.

Repose ô Phidylé, Rest, oh Phidylé. Weisst du nun die Tränen, Now you know the tears Die ich weinen kann, That I can weep, Mais quand l’Astre incliné sur sa courbe éclatante, But, when the sun, bending in its dazzling curve, Sollst du nicht sie sehen, Shoould you not see them, Verra ses ardeurs s’apaiser, Will see its blaze calmed, Du geliebter Mann? Beloved man? Que ton plus beau sourire et ton meillure baiser Then your most beautiful smile and your best kisses Bleib an meinem Herzen, Stay against my heart, Me récompensent, me récompensent de l’attente. Will reward me, reward me for having waited. Fühle dessen Schlag, Feel its beating, Dass ich fest und fester That I may press you La chevelure The Hair Nur dich drücken mag. Ever closer. From Les Chansons de Bilitis, No. 2, L. 97 Claude Debussy (1862-1918) Hier an meinem Bette Here by my bed Text by Pierre Louÿs (1870-1925) Hat die Wiege Raum, Is the cradle’s place, Wo sie still verberge Where, it sliently hides Il m'a dit: He told me: Meinen holden Traum; My sweet dream. "Cette nuit, j'ai rêvé. "Last night I had a dream. Kommen wird der Morgen, The morning will come J'avais ta chevelure autour de mon cou. Your hair was around my neck. Wo der Traum erwacht; When that dream will awake, J'avais tes cheveux comme un colier noir Your hair was like a black collar Und daraus dein Bildnis And your image autour de ma nuque et sur ma poitrine. around my neck and upon my chest. mir entgegen lacht. Will laugh up at me.

"Je les caressais, et c'étaient les miens; I caressed it and it was mine; et nous étions liés pour toujours ainsi, and we were bound together forever like this, par la même chevelure la bouche sur la bouche, ainsi By the same hair, mouth on mouth, que deux lauriers n'ont souvent qu'une racine. like two laurels that often have one root.

"Et peu à peu, il m'a semblé, tant nos membres étaient Little by little, so intertwined were our limbs, it seemed to confondus, que je devenais toi-même me that I was becoming you, ou que tu entrais en moi comme mon songe." or that you were entering into me like my dream."

Quand il eu achevé, When he had finished, il mit doucement ses mains sur mes épaules, he gently placed his hands on my shoulders, et il me regarda d'un regard si tendre, and helooked at me with a look so tender que je baissai les yeux avec un frisson. that I lowered my eyes with a shiver.

34 35 VII. V njan'ki ja tebe vzjala I've hired as nannies for you Veter, solnce i orla. The Wind, the Sun and the Eagle. Le Carafon The Baby Carafe from La courte paille, FP 178, No. 6 Francis Poulenc (1899-1963) Wiegenliedchen Text by Maurice Carême (1899-1978) From Acht Lieder, Op. 49, No. 3 Cradle Song Richard Strauss (1864-1949) ‘Pourquoi’, se plaignait la carafe, “Why”, complained the carafe, Text by Richard Dehmel (1863-1920) ‘N’aurais-je pas un carafon? “Can’t I have a baby carafe? Au zoo, madame la Girafe At the zoo, doesn’t Mrs Giraffe Bienchen, Bienchen, N’a-t-elle pas un girafon?’ Have a baby giraffe?” Wiegt sich im Sonnenschein, Little bee, little bee, Un sorcier qui passait par là, A wizard who was passing by, Spielt um mein Kindelein, Swaying in the sunshine, À cheval sur un phonographe, Riding on a phonograph, Summt dich in Schlummer ein, Playing around my little child, Enregistra la belle voix Recorded the lovely voice Süßes Gesicht. Humming to sleep, De soprano de la carafe, Of the soprano carafe, Sweet face. Et la fit entendre à Merlin. And played it for Merlin to hear. Spinnchen, Spinnchen, ‘Fort bien’, dit celui-ci, ‘fort bien!’ “Most fine”, said he, ‘most fine!’ Flimmert im Sonnenschein, Little spider, little spider, II frappa trois fois dans les mains, He clapped his hands three times, Schlummre, mein Kindelein, Shimmering in the sunshine, Et la dame de la maison And the lady of the house Spinnt dich in Träume ein, Slumber, my little child, Se demande encore pourquoi Still wonders why Rühre dich nicht! Spin yourself in dreams, Elle trouva, ce matin-là, She found, that very morning, Disturb not yourself. Un joli petit carafon A pretty baby carafe Tief-Edelinchen Blotti tout contre la carafe, Snuggling close to the carafe, Schlüpft aus dem Sonnenschein Rich little fellow, Ainsi qu’au zoo, le girafon Just as at the zoo the baby giraffe Träume, mein Kindelein, Slip out of the sunshine Pose son con fragile et long Lays his long and fragile neck Haucht dir ein Seelchen ein: Dream, my little child, Sur le flanc clair de la girafe. Against the pale flank of the giraffe. Liebe zum Licht. Breathe into yourself a little soul: Love of the light. AN MEINEM HERZEN, AN MEINER BRUST Lullaby Lullaby Frauenliebe und Leben No. 7 On my heart, On my breast Op. 16, No. 1 Robert Schumann (1810-1856) Pyotr Tchaikovsky (1840-1893) Text by Adelbert von Chamisso ( 1781-1838) Text by Apollon Nikolayevich Maykov (1821-1897) An meinem Herzen, an meiner Brust, Spi, ditja mojo, usni! Sleep, my baby, sleep, go to sleep, sleep, go to sleep! Du meine Wonne, du meine Lust. On my heart, on my breast, Sladkij son k sebe mani: Bring sweet dreams to yourself: Das Glück ist die Liebe, You my delight, you my joy! V njan'ki ja tebe vzjala I've hired as nannies for you Die Lieb ist das Glück, Happiness is love, Veter, solnce i orla. The Wind, the Sun and the Eagle. Ich hab’s gesagt und nehm’s nicht zurück. Love is happiness, I have said and will not take back. Uletel orjol domoj; The Eagle has flown back home, Hab überschwenglich mich geschätzt, Solnce skrylos' pod vodoj: The Sun has hidden under the oceans, Bin überglücklich aber jetzt. I thought myself rapturous, Veter, posle trekh nochej, And three nights later Nur die da säugt, nur die da liebt But now I am delirious with joy. Mchitsja k materi svojej. The Wind is rushing back to her Mother. Das Kind, dem sie die Nahrung gibt; Only she who suckles, only she who loves The child she nourishes; Vetra sprashivajet mat': The Wind's mother has been asking: Nur eine Mutter weiss allein, «Gde izvolil propadat'? "Where have you been all this time? Was lieben heisst und glücklich sein. Only a mother knows Ali zvezdy vojeval? Have you been fighting with the stars? O wie bedauer’ ich doch den Mann, What it means to love and be happy. Ali volny vsjo gonjal. Have you been chasing after the waves?" Der Mutterglück nicht fühlen kann. Oh, how I pity the man Who cannot feel a mother’s happiness. «Ne gonjal ja voln morskikh, "I haven't been chasing the waves, Du lieber, lieber Engel du, Zvezd ne trogal zolotykh; I haven't been fighting the golden stars, Du schaust mich an und lächelst dazu. You dear, dear angel, Ja ditja oberegal, I have been guarding a baby An meinem Herzen, an meiner Brust, You look at me and smile. Kolybelochku kachal! And rocking him gently his little cradle". Du meine Wonne, du meine Lust. On my heart, on my breast, You my delight, you my joy! Spi, ditja mojo, spi, usni! spi, usni! Sleep, my baby, sleep, go to sleep, sleep, go to sleep! Sladkij son k sebe mani: Bring sweet dreams to yourself:

36 37

VIII. How shall I your true love know From Four Shakespeare Songs, Op. 30, No. 3 Absence Roger Quilter (1877-1953) From Les nuits d’ete, Op. 7, No. 4 Absence Text from Hamlet Hector Berlioz (1803-1869) by William Shakespere (1564-1616) Text by Théophile Gautier (1811-1872) How should I your true love know Reviens, reviens, ma bien-aimée; From another one? Comme une fleur loin du soleil, Come back, return, my well-beloved! By his cockle hat and staff, La fleur de ma vie est fermée Like a flower far from the sun, And his sandal shoon. Loin de ton sourire vermeil! The flower of my life is closed Far from your smiling ruby lips! He is dead and gone, lady, Entre nos coeurs qu'elle distance! He is dead and gone; Tant d'espace entre nos baisers! Between our hearts, what distance! At his head a grass green turf, O sort amer! ô dure absence! What space between our kisses! At his heels a stone. O grands désirs inapaisés. O bitter fate! o harsh absence! O great desires unappeased! White his shroud as the mountain snow, D'ici là-bas que de campagnes, Larded with sweet flowers; Que de villes et de hameaux, From here to there, how much land there is! Which bewept to the grave did go Que de vallons et de montagnes, How very many villages and hamlets, With true-love showers A lasser le pied des chevaux! How very many valleys and mountains, And will he not come again? To tire the hoofs of the horses! And will he not come again? O Muerte Cruel No, no, he is dead: From Tonadillas en un estilo antiquo, H. 136 Oh Cruel Death Go to thy deathbed. Enrique Granados Campiña (1867-1916) He never, never will come again, Text by Fernando Periquet y Zuaznabar He never will come again. (1873-1940) His beard was as white as snow, ¡Oh muerte cruel! All flaxen was his poll; ¿Por qué tú, a traición, Oh, cruel death! He is gone, mi majo arrebataste a mi pasión? Why have you so traitorously And we cast away moan: ¡No quiero vivir sin él, stolen my beloved? God ha' mercy on his soul. porque es morir, porque es morir I cannot bear to live without him, así vivir! for life as such is nothing more NUN HAS DU MIR than death. DEN ERSTEN SCHMERZ GETAN Now have you caused me my first pain No es posible ya Frauenliebe und Leben No. 8 sentir más dolor: It is not possible Robert Schumann (1810-1856) en lágrimas desecha ya mi alma está. to feel a greater pain: Text by Adelbert von Chamisso ( 1781-1838) ¡Oh Dios, torna mi amor, my soul is drowning in my tears. porque es morir, porque es morir Oh, God! Return my beloved to me, Nun hast du mir den ersten Schmerz getan, así vivir! for life as such is nothing more Der aber traf, Now have you caused me my first pain, than death. Du schläfst, du harter, unbarmherz’ger Mann, But it has struck me hard. Den Todesschlaf. You, harsh, pitiless man are sleeping The sleep of death. Es blicket die Verlassne vor sich hin, Die Welt ist leer. The deserted one stares ahead, Geliebet hab ich und gelebt, The world is void. Ich bin nicht lebend mehr. Loved have I and lived, I am living no longer. Ich zieh mich in mein Innres still zurück, Der Schleier fällt; Quietly I withdraw into myself, Da hab ich dich und mein verlornes Glück, The veil falls; Du meine Welt There I have you and my lost happiness, My world.

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Subscription renewals will be mailed to current series subscribers by May 1. New subscription orders will be accepted Monday, May 1.

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC

45 We gratefully acknowledge CAMA Legacy Society members for remembering CAMA in their estate SANTA BARBARA FOUNDATION plans with a deferred gift. Anonymous The Santa Barbara Foundation has been the community’s trusted Peter & Becky Adams source for giving since 1928. We partner with donors to achieve their LEGACY SOCIETY MEMBER Bitsy Becton Bacon charitable goals, we help nonprofits fulfill their missions and we lead Else Schilling Bard Peter & Deborah Bertling the community in solving complex challenges. Linda & Peter Beuret SPOTLIGHT Lida Light Blue & Frank Blue Mrs. Russell S. Bock Dr. Robert Boghosian & Ms. Mary-Elizabeth Gates-Warren JAMES H. Linda Brown * HURLEY, JR. Elizabeth & Andrew Butcher Virginia Castagnola-Hunter on the Jane & Jack Catlett Importance of Bridget & Bob Colleary CAMA’s Legacy Karen Davidson, M.D & David B. Davidson, M.D. Society Patricia & Larry Durham Christine & Robert Emmons Mary & Ray Freeman CAMA has been Arthur R. Gaudi fortunate to have Jim Stephen & Carla Hahn Hurley as a Board Beverly Hanna Ms. Lorraine Hansen member since 1983. Joanne C. Holderman Building Philanthropy Strengthening the Nonprofit Sector Over those years , Jim has served in numerous Judith L. Hopkinson significant Board capacities. Yet one that he feels Dolores M. Hsu Mr. & Mrs. James H. Hurley, Jr. most strongly about is the Legacy Society, which Elizabeth & Gary Johnston he helped bring into existence seven years ago. Herbert & Elaine Kendall “As a Board member of Community Arts Music Mahri Kerley Lynn P. Kirst & Lynn R. Matteson Association for over 30 years, I have seen the Lucy & John Lundegard cost of presenting orchestras rise tremendously. Keith J. Mautino Sara Miller McCune Since ticket prices cannot cover the cost of the Raye Haskell Melville orchestras, and since CAMA wishes to keep Mr. & Mrs. Frank R. Miller, Jr. prices in line so as many people as possible can Dr. & Mrs. Spencer Nadler Ellen & Craig Parton appreciate the artists we bring to Santa Barbara, Diana & Roger Phillips we have established the Legacy Society to help Ellen & John Pillsbury fund those orchestras in the future. Our Legacy Michele & Andre Saltoun Judith & Julian Smith Society helps our endowment which in turn helps Mr. & Mrs. Sam Toumayan us to supplement the cost of presenting the world’s Mark E. Trueblood Solving Community Challenges finest classical music to Santa Barbara audiences.” Dr. & Mrs. H. Wallace Vandever Barbara & Gary Waer For more information on how to include CAMA in your Nancy & Kent Wood Learn how you can join us in advancing philanthropy in our region and beyond. estate planning, please contact CAMA’s Development * promised gift Director Elizabeth Alvarez at (805) 966-4324. (as of March 13, 2017) (805) 963-1873 • sbfoundation.org

47

PCBT Giving Guide Ads.indd 2 8/31/2016 4:09:07 PM INTERNATIONAL CIRCLE ANNUAL GIVING president's composer's circle Cynthia Brown & Milan Timm circle ($20,000 and above) ($5,000 – $9,999) Arthur Ludwig Shirley Tucker Anonymous Anonymous Gloria & Keith Martin Susie & Hubert Vos Bitsy & Denny Bacon Helene & Jerry Beaver Ruth & John Matuszeski Dr. Robert Weinman Dan & Meg Burnham Elizabeth & Andrew Butcher Dona & George McCauley Harold L. Wyman Foundation Hollis Norris Fund CAMA Women’s Board Mary Lloyd Mills & Ann & Dick Zylstra Kendall Mills Judith L. Hopkinson Virginia Castagnola-Hunter THE WESTMONT ORCHESTRA Sybil & Russell Mueller Joan & Palmer Jackson Sarah & Roger Chrisman principal player's Ellen & Thomas Orlando Ellen & Peter Johnson Bridget Colleary circle Dr. Michael Shasberger, conductor Regina & Rick Roney ($1,000 – $1,499) Herbert & Elaine Kendall Edward De Loreto Dr. William E. Sanson Patricia Andersons Sara Miller McCune Fredericka & Dennis Emory Linda Stafford Burrows Leslie & Philip Bernstein Jocelyne & William Meeker Elizabeth Karlsberg & UPCOMING CONCERTS: Joseph Thomas Diane Boss Bob & Val Montgomery Jeff Young Ina Tornallyay Maria Brant The Samuel B. & Margaret C. Jill Dore Kent ORCHESTRA CONCERTO CONCERT Mosher Foundation Lynn P. Kirst Steven Trueblood Patricia Clark Michele & Andre Saltoun Lois Kroc Barbara & Gary Waer Betsy & Kenneth Coates Thursday, April 27, 7 p.m. Friday, April 28, 7 p.m. The Stepanek Foundation Chris Lancashire & Patriia & Nicholas Weber Joan & Steven Crossland Westmont College First Presbyterian Church The Walter J. & Holly O. Catherine Gee Westmont College Nan Burns & Page Multipurpose Room 21 E. Constance Ave. Victoria & Norman Williamson Dr. Gregory Dahlen Thomson Foundation Shirley & Seymour Lehrer General admission $10, students free The Towbes Fund for the Marilyn Magid Nancy & Byron Kent Wood Wendy & Rudy Eiser Performing Arts Performing Arts Scholarship Katina Etsell Wood-Claeyssens Foundation Foundation concertmaster Audrey Hillman Fisher www.westmont.edu/music | 805-565-6040 Patricia Yzurdiaga Ellen & John Pillsbury circle Foundation Nancy Schlosser ($1,500 – $2,499) Glenn Jordan & Michael Stubbs maestro circle Judith F. Smith Peggy & Kurt Anderson Kum Su Kim ($10,000 – $19,999) Diane & Selby Sullivan Dr. Robert Boghosian & Mary Gates-Warren Sally Kinney Alison & Jan Bowlus Winona Fund Shelley & Mark Bookspan Louise & Michael Caccese Laura Kuhn Wendel Bruss Elinor & James Langer NancyBell Coe & Bill Burke virtuoso Circle Lois Erburu Robert & Christine Emmons ($2,500 – $4,999) Maryanne Mott Jill Felber & Paul Bambach Gail Osherenko & Winona Fund Laurel Abbott, Berkshire Catherine H. Gainey Oran Young George H. Griffiths & Olive J. Hathaway Luxury Properties Tish Gainey & Charles Roehm Marjorie Petersen Griffiths Charitable Fund Deborah & Peter Bertling Robert Grant Susannah Rake Carla Hahn Linda & Peter Beuret Betty & Stan Hatch Anitra & Jack Sheen Preston & Maurine Hotchkis Edward & Sue Birch Renee & Richard Hawley Halina Silverman John Lundegard Suzanne & Peyton Bucy Suzanne Holland & Vera & Gary Sutter Sheila & Frank McGinity Annette & Richard Caleel Raymond Thomas Douglas Throop Montecito Bank & Trust Lisa & Stephen Cloud Barbara Kelley Stephen J.M. & Anne Morris Nancy Englander & Nancyann & Robert Failing BAZEMORE DAVID Connie & Richard Kennelly Harold Williams Craig & Ellen Parton Rosalind & Ron Fendon Dora Anne Little Grace & Edward Yoon Ted Plute & Larry Falxa Mary & Raymond Freeman Henry E. & Lola Monroe Gina & Alex Ziegler The Shanbrom Family Priscilla & Jason Gaines Foundation LOBERO SERIES ENRICHMENT SERIES Foundation Dr. Renee Harwick Karin Nelson & Eugene Hibbs/ Irene & Robert Stone/Stone Raye Haskell Melville Maren Henle OPENING NIGHT STRINGS TANGO Family Foundation Ruth & Alan Heeger Anne & Daniel Ovadia OCT 8 / WENDY CHEN NOV 15 Barbara & Sam Toumayan Ronda & Willard Hobbs Carol & Kenneth Pasternack Maxine Prisyon & Milton A BA UE HOLIDAY Joanne C. Holderman Susan Petrovich THE GREATS ROQ Warshaw JAN 24 / PAUL HUANG DEC 13 George & Judy Writer Shirley Ann & Diana & Roger Phillips James H. Hurley, Jr. Minie & Hjalmar Pompe van A WOODWIND AFFAIR ROMANCE AT THE Peter Karoff Meerdervoort A NEW SEASON (Gifts and pledges received from MAR 21 MUSEUM / FEB 14 MaryAnn Lange Dorothy Roberts June 1, 2015 – March 13, 2017) 2016 – 2017 Marion Stewart SCHUMANN SQUARED MUSIC‑DIALOGUE! MAY 16 / ALESSIO BAX Info: 805-966-2441 / sbco.org APR 4 Change. to Artists Subject and Programs

48 49 LIFETIME GIVING

diamond circle emerald circle Wyman Foundation in memory The Godric Foundation of Otto Korntheuer $500,000 and above $50,000 - $99,999 Corinna & Larry Gordon Mr. Chris Lancashire Mr. & Mrs. Freeman Gosden, Jr. Suzanne & Russell Bock Anonymous Mrs. Jon B. Lovelace Mr. & Mrs. Bruce Hanna Linda Brown * Mr. & Mrs. David H. Anderson Leatrice Luria Mr. & Mrs. Robert Hanrahan Andrew H. Burnett Ms. Joan C. Benson Mrs. Frank Magid Lorraine Hansen Foundation Mr. & Mrs. Peter Beuret Ruth McEwen Mr. & Mrs. Stanley Hatch Esperia Foundation Louise & Michael Caccese Frank R. Miller, Jr. Dr. & Mrs. Richard Hawley Judith Hopkinson Dr. & Mrs. Jack Catlett Bob & Val Montgomery Dr. & Mrs. Alan Heeger Herbert J. Kendall Mr. & Mrs. Robert M. Colleary James & Mary Morouse Mr. Preston Hotchkis Sage Publications Mrs. Maurice E. Faulkner Patricia Hitchcock O’Connell Ellen & Peter Johnson Michael Towbes/The Towbes Mr. Daniel H. Gainey Foundation Efrem Ostrow Living Trust Elizabeth & Gary Johnston Mr. Arthur R. Gaudi Mr. Ernest J. Panosian Mahri Kerley Mr. & Mrs. Robert B. Gilson Mr. & Mrs. Roger A. Phillips KDB Radio Mr. Richard Hellman Kathryn H. Phillips Linda & Michael Keston sapphire circle Joanne Holderman $250,000 - $499,999 Mrs. Kenneth Riley Mrs. Robert J. Kuhn Michael & Natalia Howe Judith F. Smith Catherine Lloyd/Actief-cm, Inc. Anonymous The Hutton Parker Foundation Marion Stewart Leatrice Luria Bitsy & Denny Bacon Mr. & Mrs. Palmer Jackson Ina Tournallyay Nancy & Jim Lynn CAMA Women’s Board Shirley & Seymour Lehrer Mrs. Edward Valentine Keith J. Mautino The Stephen & Carla Hahn Judith Little Foundation The Outhwaite Foundation Mr. & Mrs. Frank McGinity John & Lucy Lundegard The Samuel B. & Margaret C. The Elizabeth Firth Wade Jayne Menkemeller Mrs. Max E. Meyer Mosher Foundation Endowment Fund Spencer Nadler The Stepanek Foundation Mr. & Mrs. Frank R. Miller, Jr./ Maxine Prisyon & Milton The Henry E. & Lola Monroe Warshaw Karin Nelson & Eugene Hibbs, Jr. The Wood-Claeyssens Foundation Joanne & Alden Orpet Foundation Mrs. Roderick Webster Montecito Bank & Trust Westmont College Mr. & Mrs. Charles Patridge Mr. & Mrs. Craig A. Parton Judy & George Writer Patricia & Carl Perry Performing Arts Scholarship John Perry ruby circle Foundation Mrs. Ray K. Person $100,000 - $249,999 Marjorie S. Petersen/ amethyst Ellen & John Pillsbury The Adams Foundation La Arcada Investment Corp. circle Anne & Wesley Poulson Deborah & Peter Bertling Mr. Ted Plute & Mr. Larry Falxa $10,000 - $24,999 Susannah Rake Lady Ridley-Tree Virginia C. Hunter/ Anonymous Mr. & Mrs. Frank Reed Castagnola Family Barbara & Sam Toumayan Jack Revoyr Foundation Mr. & Mrs. Peter Adams Betty & Don Richardson Robert & Christine Emmons Mrs. David Allison The Grace Jones Leni Fe Bland topaz circle Dr. & Mrs. Mortimer Andron Often imitated, Mr. & Mrs. Robert Arthur Richardson Trust Mary & Ray Freeman $25,000 - $49,999 The Roberts Bros. Foundation Dr. & Mrs. Melville Haskell Mr. & Mrs. J.W. Bailey Anonymous Mrs. Archie Bard John F. Saladino Dolores Hsu Edward Bakewell Jack & Anitra Sheen Mr. & Mrs. James H. Hurley, Jr. Leslie & Philip Bernstein Helene & Jerry Beaver Mr. Frank Blue & Sally & Jan Smit seldom equaled. Mrs. Thomas A. Kelly Deborah & Peter Bertling Betty Stephens & Lida Light Blue Sara Miller McCune Dr. & Mrs. Edward E. Birch Mrs. Erno Bonebakker Lindsay Fisher John & Kathleen Moselely/ Mr. & Mrs. Andrew Burnett Selby & Diane Sullivan The Nichols Foundation Elizabeth & Andrew Butcher Linda Stafford Burrows Joseph M. Thomas Nancy & William G. Myers CAMA Fellows Roger & Sarah Chrisman Milan E. Timm Michele & Andre Saltoun Mrs. Margo Chapman Ms. Huguette Clark Mark E. Trueblood The Santa Barbara Foundation Chubb-Sovereign Life Mrs. Leonard Dalsemer Insurance Co. Steven D. Trueblood Jan & John G. Severson Mr. & Mrs. Larry Durham Carnzu A. Clark Kenneth W. & Shirley C. Tucker Mr. & Mrs. Edward Stepanek Dr. Robert M. & Nancyann NancyBell Coe & Mr. & Mrs. Hubert D. Vos Jeanne C. Thayer Failing William Burke Barbara & Gary Waer OVER 650 PRODUCTS ON DISPLAY / VISIT OUR SHOWROOM / WE SHIP ANYWHERE Mrs. Walter J. Thomson The George H. Griffiths & Dr. Gregory Dahlen & Mr. &Mrs. David Russell Wolf Union Bank Olive J. Griffiths Charitable Nan Burns Dick & Ann Zylstra Dr. & Mrs. H. Wallace Vandever Foundation Karen Davidson M.D. The Wallis Foundation The George Frederick Jewett Julia Dawson * promised gift Nancy & Kent Wood Foundation Edward S. De Loreto Mr. & Mrs. Joseph Yzurdiaga Patricia Kaplan Mr. & Mrs. William Esrey (List reflects gifts and pledges 716 N. Milpas Elizabeth Karlsberg & Audrey Hillman Fisher received as of March 13, 2017) Jeff Young Foundation Santa Barbara, CA 93103 Lynn P. Kirst & Lynn R. Dave Fritzen/DWF Magazines 805.962.5119 Matteson Catherine H. Gainey Otto Korntheuer/ The Harold L. Kay & Richard Glenn stevenhandelmanstudios.com

51 MOZART SOCIETY | CAMA ENDOWMENT conductor’s circle Dolores M. Hsu Frank Blue & Lida Light Blue Mr. & Mrs. Max Meyer ($500,000 and above) The Samuel B. & Margaret C. The CAMA Women’s Board Bob & Val Montgomery Mr. & Mrs. Russell S. Bock Mosher Foundation (Sally Lee Remembrance Mary & James Morouse Santa Barbara Bank & Trust Fund and Marilyn Roe Linda Brown* Remembrance Fund) Dr. & Mrs. Spencer Nadler Mr. & Mrs. Byron K. Wood Esperia Foundation Dr. Robert Boghosian & Patricia Hitchcock O’Connell SAGE Publications Ms. Mary E. Gates-Warren Performing Arts Scholarship concerto patrons Mr. & Mrs. Andrew Butcher Foundation crescendo circle ($25,000-$49,999) Virginia Castagnola-Hunter John Perry ($250,000-$499,999) Linda Stafford Burrows, Dr. & Mrs. Charles Chapman Mrs. Hugh Petersen in memory of Frederika Mr. & Mrs. Roger A. Phillips Andrew H. Burnett Foundation Voogd Burrows Dr. Karen Davidson Ellen & John Pillsbury Judith L. Hopkinson Dr. & Mrs. Jack Catlett Mr. & Mrs. Larry Durham Miss Susannah E. Rake Herbert & Elaine Kendall Bridget & Robert Colleary Dr. Robert & Nancyann Failing Mrs. Kenneth W. Riley Mrs. Maurice E. Faulkner Dr. & Mrs. Jason Gaines Michele & Andre Saltoun cadenza patrons Léni Fé Bland Mr. & Mrs. Daniel Gainey/ Daniel C. Gainey Fund Dr. & Mrs. Jack Sheen/Peebles ($100,000-$249,999) Dr. & Mrs. Melville H. Haskell, Jr. Arthur R. Gaudi Sheen Foundation Anonymous Sara Miller McCune Sherry & Robert B. Gilson Sally & Jan E.G. Smit Anonymous Mr. & Mrs. Frank R. Miller, Jr. Mr. & Mrs. Bruce Hanna Mr. & Mrs. Edward Stepanek Bitsy Becton Bacon The Hutton Foundation Ms. Lorraine Hansen Betty J. Stephens, in Mary & Ray Freeman Efrem Ostrow Living Trust recognition of my friend Joanne C. Holderman Mr. & Mrs. James H. Hurley Jr. Craig & Ellen Parton Judy Hopkinson Patricia Kaplan William & Nancy Myers Walter J. Thomson/ Dr. & Mrs. William A. Stewart Jan & John Severson The Thomson Trust Elizabeth Karlsberg & Mark E. Trueblood Jeff Young Judith & Julian Smith Mr. & Mrs. Sam Toumayan Dr. & Mrs. H. Wallace Vandever Mrs. Thomas A. Kelly Michael Towbes The Elizabeth Firth Wade sonata patrons Mahri Kerley Endowment Fund Lynn P. Kirst & Lynn R. Mr. & Mrs. Gary Waer rondo patrons ($10,000-$24,999) Matteson Mr. & Mrs. David Russell Wolf ($50,000-$99,999) Anonymous Dr. & Mrs. Robert J. Kuhn Peter & Deborah Bertling The Adams Foundation Mr. John Lundegard/ * promised gift Linda & Peter Beuret Mr. & Mrs. Peter Adams Lundegard Family Fund Robert & Christine Emmons Else Schilling Bard Keith J. Mautino (List reflects gifts and pledges Stephen R. & Carla Hahn Dr. & Mrs. Edward E. Birch Jayne Menkemeller received as of March 13, 2017)

In Celebration of Music

THE FUTURE The CAMA Endowment ensures that great music and world-class artists continue to grace Santa Barbara stages for decades to come, and guarantees that children and adults alike will benefit from music education programs. CAMA’S NEED Gone are the days when CAMA can survive season to season on ticket sales alone. Today, endowment reserves are needed to bridge the gap between ticket sales and steadily rising production costs and artist fees. Funds are also needed to sustain CAMA’s outstanding music education programs. JOIN THE MOZART SOCIETY Membership in The Mozart Society is reserved for CAMA patrons who pledge an endowment gift of $10,000 or more. Benefits include lifetime Mozart Society membership, listing in con- cert programs, recognition of cumulative giving to CAMA, and a personal memento expressing CAMA’s appreciation. Naming opportunities are avail- In addition to our Local French handmade truffles and bonbons, we are now serving Artisanal gelato, Hot chocolate and espresso. able for concert sponsorships and for CAMA’s music education programs. Come in and check out our new location at the corner of State Street and Figueroa in Santa Barbara.

Santa Barbara Carpinteria Please call Elizabeth Alvarez at the CAMA Office (805) 966-4324 1100 State Street 4193 Carpinteria Avenue, Suite 4 for further information about CAMA’s Endowment. (805) 568-1313 (805) 684-6900

52 53 MEMORIAL GIFTS

Presenting the world’s finest classical artists since 1919 In Memory of . . .

Else Schilling Bard Judith F. Smith Joanne C. Holderman Marion Stewart INTERNATIONAL SERIES at THE GRANADA THEATRE John Lundegard Stephen Boyle Bridget Colleary Marjorie Boyle LOS ANGELES Lynn P. Kirst PHILHARMONIC Frederica Voogd Burrows Lynn Robert Matteson, Ph.D. Sunday, May 7, 2017, 4pm and her passion for education and music Helene & Jerry Beaver Linda Stafford Burrows Gustavo Dudamel conductor Mr. & Mrs. Stephen Carlson Michelle DeYoung mezzo-soprano Kenneth Colson & Betty Lo Dr. Gregory Dahlen Mr. Oswald Da Ros Schubert: Symphony No.1 in D Major, D.82 Gregory Dahlen, Jr. Ed De Loreto Mahler: Lieder eines fahrenden Gesellen Cinda & Donelly Erdman (“Songs of a Wayfarer”) (1883-85) Joel Goldberg Natalie Howard Schubert: Symphony No.2 in B-flat Major, D.125 The Connors and Morrison Families Penny & Joe Knowles Mr. & Mrs. Robert Lyons Lynn P. Kirst Dr. Herbert Harwick Melissa Moore COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC Renee Harwick Nancy & Kent Wood

Phil Joanou Sybil Mueller FOR AN AUGMENTED Michelle Joanou Lynn P. Kirst EXPERIENCE OF THIS PAGE: Anne K. Kelley Ray Robins... • Download the Aurasma App. INEX Deborah Branch Geremia Barbara Kelley • Follow “CamerataPacifica”. • Hover your phone over images Jim Ryerson to view special video clips. STING Uncle Otto Korntheur Christine Ryerson Mr. Paul Korntheuer/Harold L. Wyman Foundation UISH Carl B. Swanson Professor Frederick F. Lange Mrs. Betty Meyer ABLE MaryAnn Lange Klaus Thielmann Robert M. Light Heidi Stilwell MUSIC Dr. & Mrs. Edward E. Birch Joseph Yzurdiaga Judith L. Hopkinson Sheila & Frank McGinity Joanne Holderman Dr. & Mrs. Mead Northrop Lynn P. Kirst Michele & Andre Saltoun cameratapacifica.org MaryAnn Lange Betty Meyer Nancy & Kent Wood Mr. & Mrs. Roger A. Phillips (Gifts and pledges received from Joan & Geoffrey Rutkowski June 1, 2015 to March 27, 2017)

54 Montecito MagazineMUSICIANS Proof Approval SOCIETY ANNUAL GIVING (June 1, 2015 – March 13, 2017) o Approved, Benefactors no changes Carol Hawkins & J. Thomas & Eunice Fly Kay & Ted Stern ($500 and above) Larry Pearson Susan Freund Heidi Stilwell OR Antoinette & Shawn Addison Michelle Joanou Dorothy & John Gardner Florence & Donald Stivers o Changes marked Julie Antelman & William Ure Emmy & Fred Keller Deborah Branch Geremia Jerre Sumter DatePhyllis ______Brady & Andy Masters Sir Richard & Anne & David Gersh Laura Tomooka Lady Patricia Latham Lavelda & Lynn R. Clock Susan & Larry Gerstein Dorothy Weinberger We all remember the old Pamela. Approved by Kathryn Lawhun & Nancy & Frederic Golden Judith & Mort Weisman Ruth Ann & Michael Collins Mark Shinbrot She was terrific at buying and ______Elizabeth Goldwater Theresa Weissglass Marcia & Jamie Constance Meredith & Greg & Cynthia Dahlen Marge & Donald Graves Meredith Whittier selling homes for us. UÊ*i>ÃiÊ-ˆ}˜ Al McKittrick-Taylor Ann & David Dwelley Dr. Andrew Mester, Jr. Brynne & Jonathan Gray Carolyn & Carl Williams UÊFax to 966-6103 Doris & Thomas Everhart Myra & Spencer Nadler Marie-Paule Hajdu Deborah Winant UÊi“>ˆÊ̜Dorothy Flaster Carolyn & Dennis Naiman Bill Hanrahan David Yager >ÀÌJ“œ˜ÌiVˆÌœ“>}°Vœ“ Ghita Ginberg Maureen O'Rourke Mary Harris / >˜ŽÃ]Perri Harcourt Judy Pochini & Eric Boehm Cynthia Howard & Friends ($10 – $99) ChrisDavid Flannery F. Hart Julia & Arthur Pizzanat John Knudsen Art Director Anne Ashmore Betsy & Larry Hendrickson Patricia & Robert Reid Penelope & Roger Hoyt 805-966-2445 Kathleen Banks Debbie & Frank Kendrick Sharon & Ralph Rydman Margaret & George Ittner Jeri Beck June & William Kistler Bette & Claude Saks Virginia Stewart Jarvis Carol & Ted Betker OurRobert Color Proofs Kohn are Maurice Singer Brian Johnson Barbara Bonadeo printedChristie on a & color Morgan ink jet Lloyd Karen Spechler Monica & Desmond Jones printer. Wilma & Burton Chortkoff Patricia & William McKinnon Mary H. Walsh Robin Alexandra Kneubuhl UÊ/ ˆÃÊ«ÀœœvʈÃÊ>Ê œœÀÊ Polly Clement Dr. Peter L. Morris Ruth & Richard Weist Anna & Petar Kokotovic Corrected Epson Proof Doris Kuhns Ljiljana Coklin calibratedNatalie Myerson using a Ronald White Linda & Rob Laskin Thomas Craveiro customJustyn ICC Person profile to Donna & Barry Williams Susan Levine & Jack Murray Oswald Da Ros The new Pamela is older, wiser representJames A. offset Rice press Taka Yamashita Margaret & Nicholas Dewey conditions.Jane & Marc Rieffel Cheryl & Peter Ziegler Barbara & Albert Lindemann and better looking. UÊ/ ˆÃÊ«ÀœœvʈÃʘœÌÊ>˜ÊDr. Donald T Rink Robert S. Lyons Patricia Ericson Barbara & Ernest Marx Dolores & Fred Gillmore iÝ>VÌʓ>ÌV °Joyce & Ian Ritchie Associates UÊ œœÀʓ>ÌV ˆ˜}ʈÃÊ Terry McGovern Susan Harbold Lynn & Mark Schiffmacher ($100 – $249) ˜iˆÌ iÀʈ“«ˆi`ʘœÀÊ Christine & James V. Marie Harper & Maureen & Les Shapiro Catherine L. Albanese guaranteed. McNamara Richard Davies Linda Scott Nancy & Jesse Alexander Renée Mendell Sarah Hearon Barbara & Wayne Smith Deb Anders & Hal Altman Lori Kraft Meschler Catherine Leffler Jacqueline Stevens Carol & Gilbert Ashor Marthe Methmann Sarah Mitchell Mark E. Trueblood Betty & Michael Bagdasarian Betty Meyer Noni Patchell Dody Waugh & Eric Small Mary Ellen Barnard Ellicott Million Pamela Perkins-Dwyer & Lorraine & Stephen Ila Bayha Susan Murphy Thomas Dwyer Weatherford Esther & Donald Bennett Betsy & Mead Northrop Jean Perloff Mary & Charles Whiting Jean Blois Marilyn Perry Nettie Peterson Marjorie Boyle Constance & H. Lee Pratt Kitty Ryan Contributors Karen & Richard Brody Luke says ($250 – $499) Dorcas Robson Judith & Frank Salazar Alison Burnett David Ackert Dr. Sonia Rosenbaum Alice & Sheldon Sanov Judith Cadigan “That’s because she is with me. Jyl & Allan Atmore Muriel & Ian Ross Susan Schmidt Lynne Cantlay & Robert Klein I do that for all my girls.” Dr. Howard A Babus Shirley & E. Walton Ross Morris Seidler Margaret & David Carlberg Susan Bowey Joan & Geoffrey Rutkowski Dr. Allan Serviss Janet & Stephen Carlson Edith Clark Joanne Samuelson Richard J. Starr Kenneth M. Colson M.E. & Ronald Dolkart Ada B. Sandburg Julie & Richard Steckel Peggy & Timm Crull Marjorie Dundas Ann Sarkis Cassandra Thomsen Arlene Daly Michael Dunn Doris & Robert Schaffer Bickley Townsend Pamela Taylor Janet Davis Julia Emerson Naomi Schmidt Susan Van Abel & Huguette Desjardins & Eric Oltmann 805 895-6541 [email protected] Patricia Franco Gerda Sekban Spencer Winston Patricia & Edward Wallace CalBRE# 01236656 Lorraine Hansen Nancy & Michael Sheldon Meg Easton Hertha & Fritz Will Mr. & Mrs. Antony Harbour James Poe Shelton Cinda & Donnelley Erdman Barbara Wood Janet & George Sirkin Elizabeth & Newlin Hastings Lindsay Fisher Real Estate Made Modern 57

œ˜ÌiVˆÌœÊ >}>∘iÊ-«Àˆ˜}ÊÓä£È *>“Ê/>ޏœÀÊUÊՏÊ«>}i]ÊLii` £-/Ê*,""ʇÊ"*/" Ê
Brooklyn Rider with Kayhan Kalhor MUSIC EDUCATION PROGRAM ANNUAL GIVING CAMA Education “These musicians’ superbly conceived, organically evolved $25,000 and above The Walter J. & Holly O. Thomson Endowment Fund Income and wonderfully recent collaboration… is proof of both their Foundation $10,000 AND ABOVE

William & Nancy Myers personal dedication and artistic insights.” Gramophone $10,000 - $24,999 $1,000 - $4,999 Ms. Irene Stone/ Linda Stafford Burrows – Stone Family Foundation This opportunity to experience great musicians excelling is given in honor and loving memory $1,000 - $9,999 of Frederika Voogd Burrows to continue her lifelong passion for enlightening young people Sara Miller McCune through music and math. Performing Arts Scholarship Foundation Kathryn H. Phillips, in memory Westmont College of Don R. Phillips Walter J. Thomson/The Thomson Trust $100 - $999 $50 - $999 Lynn P. Kirst Lynn P. Kirst Keith J. Mautino Performing Arts Scholarship Foundation (Gifts and pledges received from June 1, 2015 – March 13, 2017) Marjorie S. Petersen

Montecito Magazine Proof Approval

o Approved, no changes OR o Changes marked

Date ______Approved by In a night of superb musicianship, the innovative young string quartet Brooklyn Rider ______– Johnny Gandelsman on violin, Colin Jacobsen on violin, Nicholas Cords on viola and Michael Nicolas on cello – join three-time Grammy Award-nominee Kayhan• Please Kalhor, Sign the world’s preeminent master of the kamancheh (four-stringed upright Persian• Fax to fiddle) 966-6103 to • email to highlight their repertoire of classic pieces, contemporary compositions [email protected] originals. CCaarre ae at Ht Hoommee Thanks, MMaakkiinng Lg Liiffee’’s Ts Trraansnsiittiioons Ens Eaassiieerr Chris Flannery Thu, May 11 / 7 PM (note special time) / UCSB Campbell HallArt Director We select compassionate and experienced caregivers 805-966-2445 to Fit Your needs for… Tickets start at $25 / $10 all students (with valid ID) Dementia / Personal Care Our Color Proofs are Household Chores / Errands printed on a color ink Call us for a free consultation Medication Supervision / Exercise jet printer. • This proof is a Color 805-962-4646 Licensed • Bonded • insured • Background checks Corrected Epson A CAHSAH Certified and Licensed Home Care Organization #424700003 (805) 893-3535 For services covered by Medicare 805-965-0036 Proof calibrated www.helpunlimited.com Corporate Season Sponsor: www.ArtsAndLectures.UCSB.eduusing a custom ICC profile to represent offset press conditions. Montecito Magazine • Fall 2015 • This proof is not an Help Unlimited • 1/2 page exact match. prooF 2 • Color matching is neither implied nor guaranteed. BUSINESS SUPPORTERS 2016|2017

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