Junction Trio / May 23 / Caramoor 2021 Spring Program Book

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Contents 2 3 4 5 7 8 10 19 20

Welcome Letter from Caramoor’s Interim CEO Spring 2021 Concerts Caramoor Conversations Caramoor Goes Virtual! by Kathy Schuman

Concert Program

Become a Member Highlights from Our Fall Special Events Thank You to Our Donors Caramoor Leadership Caramoor Staff

©2021 Caramoor Center for Music & the Arts 149 Girdle Ridge Road PO Box 816 Katonah, NY 10536 Caramoor Grounds & Performance Photos Gabe Palacio Photography, Katonah, NY gabepalacio.com Caramoor Fall Fête Photos Chansoda Roeun chansoda.com

General Information 914.232.5035 Box Office 914.232.1252 caramoor.org Program Magazine Staff Laura Schiller, Publications Editor Adam Neumann, aanstudio.com, Design Tahra Delfin, Vice President & Chief Marketing Officer Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator


Dear Friends, Welcome to our Spring 2021 season. We are thrilled to present this exceptional array of artists, brought to you from our Music Room in The Rosen House. We are overjoyed that, starting April 2, we are able to bring a limited-capacity audience into this venue while we continue livestreaming our concerts as well. Over the past year, Caramoor – like many performing arts organizations everywhere – has focused on streaming concerts in a profound effort to keep the music playing. We are incredibly appreciative of the artists who have joined us on this journey, and we are deeply grateful to you, our dedicated audience members, who have allowed us to transport the music directly into your homes. Our eight concerts this spring include a vocal recital by one of today’s leading bass-baritones, two string quartets from our Ernst Stiefel Quartetin-Residence program, a spirited Baroque band, a legendary jazz singer, and more. We are also pleased to continue a new video series we started this fall, Caramoor Conversations, designed to deepen our audiences’ connection to the musicians and composers that we have presented. I am so excited to share that, in May, Caramoor will welcome Edward J. Lewis III as our new President & CEO. Ed has two decades of experience in performing arts leadership. An accomplished violist, Ed is a demonstrated leader, innovator, and musician with a long roster of accomplishments. He will be coming to us from the University of North Carolina School of the Arts, where he is currently Vice-Chancellor for Advancement. We can’t wait to introduce Ed to the Caramoor community. Most importantly, we look forward to welcoming you back to our grounds more fully this summer. It is our hope that, by then, the world will be ready for us to gather safely to share the many joys of live music together. Warmly,

Nina Curley Interim CEO

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March 21 Dashon Burton, bass-baritone David Fung, piano April 1 Schwab Vocal Rising Stars April 9 Son Little April 11 Thalea String Quartet April 25 Emi Ferguson and Ruckus May 2 Callisto Quartet May 8 Catherine Russell May 23 Junction Trio

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Caramoor Conversations is a free video series that dives deeper into the pieces of music being performed in an upcoming concert. These in-depth discussions with the artists are a way for the audience to have a better understanding, and hopefully, a greater connection to the composers and their work. After their initial broadcast, the Conversations will be available throughout the current season. You can tune in at any time!

Sunday, March 28, 3:00pm

Sunday, April 18, 3:00pm

The Red Book

The Bartók String Quartets (Part Two)

Free Available on demand starting March 28

Free Available on demand starting April 18

with Paola Prestini and Sonu Shamdasani

with Ara Guzelimian and the Callisto Quartet

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Caramoor Goes Virtual!

How Caramoor has adapted to the digital landscape and stayed close to artists and audiences throughout the pandemic. By Kathy Schuman, Artistic Director Wh o ca n f o r g et t h e w e e k o f M a r c h 9, 2 0 2 0 ? It began with us welcoming five Schwab Vocal Rising Stars for our annual mentoring program with Steven Blier, with every intention of having a public concert in the Music Room on Sunday, March 15. Well, as the week progressed, it became clear that this was not to be. By March 14, everything had shut down. But wait….didn’t we just install video cameras in the Music Room the previous year? Should we do a livestreamed concert?? Do we even know how to do that??? Well, here we are, a year and 20 livestreams later, and I’m proud to say — we know how to do that! As we launch our Spring 2021 season of livestreamed concerts, I’d love to share a few thoughts with you on the past year and what it’s been like to bring music to you in this new virtual format. In-person vs Livestream As we transitioned to livestreaming, I felt it was really important to transfer some part of the special Caramoor setting to our virtual concerts. So, we decided early on not to do any remote recordings, but only ones actually filmed at Caramoor. (We did have one exception to this, which was our quartet-in-residence, who were unable to travel from Houston, TX). I introduced each concert from a different room of the Rosen House, or from a spot on the grounds, so our audiences could learn a bit more about our unique site. Added content One of the benefits of the video concerts is our ability to add additional content and features to the programs. 05 / Caramoor

Emily Buffum, our livestream technician, hard at work

Many of our livestreamed concerts are followed by a Q&A on stage with the artists. The audience can send questions in through the chat box during the stream. These talks really help connect audiences to the musicians, and allow them to hear about not just the music, but how they’ve been coping throughout this past year. For many of these artists, our performances were the first time they played with other people, or outside of their homes, for many months. We’ve also added short pre-recorded interviews with alumni of our Rising Stars programs, and segments with or about composers whose works are featured on the programs. We even included a fun video of the Jacobsen brothers playing our theremin!


A post-concert chat with Gloria Chien, Anthony McGill and Kathy Schuman, Caramoor’s Artistic Director

Becoming a media company We discovered that putting on livestreamed concerts is MUCH more work than “normal” live concerts! The programs are shot with three cameras and live-edited from the basement. (Yes, practically all of our streams have really been LIVE.) So, we now have a whole livestream ‘team’ including a director, a livestream technician, an audio engineer, video graphic designer, live- chat monitor, etc. It all comes together on the day of the performance, with the extra nailbiting that comes along with that dreaded phrase “technical difficulties”! Thankfully these have been few and far between, but we will not soon forget when we couldn’t get any audio on Inon Barnatan’s July livestream and had to tell folks to tune in the next day. But that was back in July… Working during a pandemic On top of everything else, there are all the Covid safety protocols. Artists sometimes had to quarantine, there were Covid tests, there were masks, there were gloves, there were Lysol wipes, there were chairs spaced six feet apart (and colleagues with a ruler to check!). And our artist/staff meals were “enjoyed” with each of us sitting alone

at our own table. One of the oddest things for me was the 15 minutes or so leading up to each stream. Usually there’s audience filing in and chatting and the whole Music Room is aflutter with anticipation and conviviality. Now, the moments leading up to the stream are really, really quiet. The few staff members are at their ‘stations’ — the hall is virtually empty, except for a couple of us. The stage manager gives the countdown….5, 4, 3, 2, 1. After each piece, we give the artists a quiet thumbs up; there’s usually no clapping or bows.

George Lewis and Jeremy Denk in a mid-concert video chat about the composer “Blind Tom” Wiggins

As I write this, it looks like N.Y. State may be allowing small indoor audiences this spring. Whoopee! Music to my ears. Now we’ll have to figure out how to do in-person concerts simultaneously with livestreams. “Watch out, sir, don’t trip on that wire…!” / 06


More Chamber Music This Summer! Thursday / June 24 / 7:00pm

PUBLIQuartet

WHAT IS AMERICAN? Jessie Montgomery: Voodoo Dolls PUBLIQuartet: Mind | The | Gap Project: Free Radicals Improvisations on “Law Years” and “Street Woman” by Ornette Coleman Vijay Iyer: Dig The Say – for James Brown PUBLIQuartet: Mind | The | Gap Project: What is American? Improvisations on Antonin Dvorak’s “American” Quartet

Friday / July 16 / 8:00pm

Verona Quartet & David Fung, piano Puccini / Bacewicz / Beethoven


Junction Trio

Sunday / May 23 / 3:00pm / Music Room A small, socially-distanced invited audience is present for this concert, in accordance with N.Y. State Covid-19 health and safety guidelines. This explains the clapping you might hear!

Stefan Jackiw, violin Jay Campbell, cello Conrad Tao, piano DMITRYI SHOSTAKOVICH (1906-1975)

Piano Trio No. 2 in E Minor, Op. 67 Andante - moderato - poco piu mosso Allegro con brio Largo Allegretto - adagio

INTERMISSION LUDWIG VAN BEETHOVEN (1770-1827)

Piano Trio in B-flat Major, Op. 97, “Archduke” Allegro moderato Scherzo: Allegro Andante cantabile, ma pero con moto Allegro moderato

This concert is being livestreamed. Viewers watching from home may submit questions for the artists in the chat box next to the video player. This concert is made possible, in part, thanks to the generous support of The Maximilian E. and Marion O. Hoffman Foundation. The Music Room theatrical lighting was a generous gift from Adela and Lawrence Elow. Caramoor thanks Pat and Ian Cook for their generous support of this Livestream. The Music Room piano, a Steinway Concert Grand, was the generous gift of Susan and John Freund. We would like to thank our media partners for their support:

Caramoor


About the Music. At a Glance

The program begins with Shostakovich’s Piano Trio No. 2 in E minor, written in 1944 during WWII. This trio has the character of a ceremonial folk dance and its music has been compared to a war-dance or a grim processional. Shostakovich was not Jewish, but he felt empathy for the Jews, who he knew to be the most persecuted people of Europe. The piano music has even been compared to klezmer music. Ian MacDonald, in The New Shostakovich, comments that “horrified by stories that SS guards had made their victims dance beside their own graves,” Shostakovich created a programmatic image in his music. The piano trio was one of the most popular chamber music ensembles in Beethoven’s time, and although he wrote relatively little music for piano trio, each of his trios is a very important work. Beethoven was revolutionary, taking his music where no other music had gone before. His Op. 1 was made up of a set of three trios that his teacher, Haydn, found so advanced and difficult that he advised young Beethoven not to publish them at the time of their composition. By his middle years, Beethoven had brought the form he had inherited from Mozart and Haydn to its greatest height; he then wrote three more trios: the two of Op. 70 and the B-Flat Trio, Op. 97, the latter dedicated to Archduke Rudolph, completed in 1811 and known as the Archduke Trio.

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DMITRI SHOSTAKOVICH (1906-1975) Piano Trio No. 2, in E minor, Op. 67 (1944) About the Composer The 20th century Russian composer Dmitri Shostakovich (1906-1975) composed 15 symphonies and 15 string quartets, but wrote only two trios for violin, cello, and piano. The first, a student work, dates from 1923, when the composer was 17; it has remained in manuscript. He had a difficult time throughout much of his career due to official Soviet disfavor, although his early music met with approval not only in Russia but internationally. As soon as he composed his opera Lady Macbeth and his next symphonies, Pravda, the official Soviet news agency, condemned his work for its “bourgeois decadence,” describing the symphony as un-Soviet, unwholesome, cheap, eccentric, and lacking in songfulness. Authorities suggested he should attempt to compose music that would have greater appeal for the masses, music that was simpler, more melodic, more optimistic, and heroic in character. About the Work Piano Trio No. 2, in E minor, Op. 67 which Shostakovich composed in 1944, is a tense, tragic work, similar in tone to many he composed during the war years like his Seventh, Eighth, and Ninth Symphonies. The siege of Leningrad, which had ended in January, cost Russia over a million people, and Russia was exhausted from the war. This work is imbued


with Shostakovich’s feelings about the tremendous loss of so many of his countrymen as well as that of the Jews of Europe who were exterminated in the war. Shostakovich dedicated the work to the memory of the Soviet wit, musicologist, music critic, linguist, professor, and artistic director of the Leningrad Philharmonic, Ivan Sollertinsky, one of his close friends and earliest supporters, who died in February 1944 at the age of 41. After Sollertinsky’s death, Shostakovich wrote to his widow: “ I cannot express in words all the grief I felt when I received the news of the death of Ivan Ivanovich. He was my closest friend. I owe him my entire development. You can scant imagine how difficult it will be for me to live without him.” Elegiac sections of the trio seem a fitting tribute to this friend. The work was premiered November 1944, with the composer as pianist. A Deeper Listen The opening movement is an elegiac and lyrical Andante that begins quite strikingly with the cello playing at the top of its range in eerie tones produced by artificial harmonics in canon with a muted violin, playing in its low register. The piano introduces the main theme against the strings’ repeated-note accompaniment. The sentiments are bleak, but the music is not without moments of happiness, muted introspection, and even anger. About halfway through the movement, the music becomes somewhat more animated, but overall, it retains its gravely lyrical character. The second movement, a scherzo, Allegro con brio, is rhythmic and free, with discords that occasionally

give it a menacing air. It is marked by compulsive rhythms and pizzicato that always seem on edge. In the movement’s center, the violin articulates fragments of a folk song. The contrasting trio is a kind of giddy waltz. The speed of this movement, as indicated by the composer’s metronome markings, seems to be so extreme as to make it impossible to perform it as written. The trio reaches its emotional climax in the third movement, a short, simple, but eloquently expressive Largo, an “epitaph” in a form resembling that of a passacaglia or a chaconne, with the violin and cello weaving continuous contrapuntal variations over the sustained and repeated hymn-like chords emanating from the piano. This part of the music seems to have been inspired by the music of Bach. The music reaches a climax and then ends on an unresolved chord. The Largo leads directly into the final Allegretto, whose principal theme seems to recall that of the first movement, and, like the second movement, the music expresses both happiness and sorrow and contains both lyricism and very dense counterpoint. In fact, all the moods of the earlier movements reappear. The character of the music is like a ceremonial folk dance and has been likened to a war-dance or a grim processional. The material the piano plays has even been compared to klezmer music. The music finally rises to a grand climax that is suddenly interrupted by the opening movement’s theme; then, the main theme of the finale returns, followed by a theme from the first movement. At the very end, the piano chords Spring 2021 XI


from the second movement bring the work to its quiet and devastatingly bleak conclusion. Shostakovich’s friendship with many of his Jewish compatriots and his special awareness of the problems that they faced in Soviet society are well known. He gave them their grandest expression in a cycle of eleven songs to texts translated from the Yiddish into Russian in 1948, but had to withhold it from performance until 1955. The incorporation of the sounds of Russian-Jewish dance music in this trio has sometimes been misinterpreted as providing light relief in an otherwise serious and dramatic work. In fact, much of the literature about the composer and his works hardly mentions its presence here, but one Soviet-Jewish biographer of the composer, in a book published in Moscow in 1959, opined that Shostakovich did not intend this to be amusing at all, but wished this composition to be a tragic dance of death of Jews fated to be slaughtered by invading Nazis. Shostakovich meant for this musical dissent to be disguised, and it was often overlooked in the beginning of the composition’s performance history. After his death, when Shostakovich was honored by the public tribute given to his body in the Grand Hall of the Moscow Conservatory, the slow movement of this trio was among the works performed.

LUDWIG VAN BEETHOVEN (1770-1827) Piano Trio in B-flat Major, Op. 97, “Archduke” (1811) About the Composer Beethoven, one of the most famous of German composers, is, in fact, one of the most revered and most performed composers in all of Western music. His work bridges the Classical period to the beginning of the Romantic period, making him a pivotal figure in the history of what we generally regard as “classical” music. He often rebelled against common composition practices of his day, accelerating the transition to Romantic music. A composer of symphonies, an opera, and music for piano as well as much chamber music, he was also a virtuoso pianist. At the age of 21, when he briefly studied composition with Haydn, he was solidifying his career as a pianist, but he was forced to stop performing around the time he composed the Archduke Trio because he was plagued with failing hearing. Increasingly cut off from the world by his deafness, he forged his own artistic path, more and more unconcerned with what others thought of him. Beethoven’s superlative reputation has been consistent throughout the centuries: Amadeus Wendt wrote, “Beethoven’s music inspires in its listeners awe, fear, horror, pain, and that exquisite nostalgia that is the soul of romanticism.” E.T.A. Hoffmann felt he defined “a concept of genius, executed with profound deliberation, which in a very high degree brings the romantic content of music to expression.” The 21st century British commentator John Suchet has


declared: “Given the relatively small number of compositions by Beethoven – compared to the output of his two great contemporaries Haydn and Mozart – they stand as the greatest body of music ever composed.” About the Work The Archduke of Austria, the youngest son of Emperor Leopold II, was a passionate music lover, who began to take lessons from Beethoven when he was about 18. The two became lifelong friends. In 1809, when Beethoven deliberated taking a post with one of Napoleon’s brothers, Rudolph and two young noblemen joined in guaranteeing him an annual income that allowed him to remain in Vienna. Beethoven, in return, with respect mingled with affection, dedicated fourteen scores to him. Rudolph had hoped for the dedication of the Op. 70 Trios, which went to someone else by mistake, but Beethoven dedicated the next one, Op. 97, to him. Beethoven sketched the Archduke Trio in 1810 and completed the work during three weeks of March 1811, but withheld it for a long time, perhaps for some reason connected with Rudolph. Beethoven’s friends knew of the work’s existence, but none heard the Trio until a charity concert in April 1814 in a hotel in Vienna. This performance was the final one that Beethoven, by then completely deaf, played in public. The composer Louis Spohr, who was there, wrote in his autobiography, “It was not much of a pleasure, for, in the first place, the piano was badly out of tune, which didn’t bother Beethoven much, since he could not hear it. In forte passages the poor deaf man pounded on the keys until the strings jangled, and in

piano passages he played so softly that complete groupings of notes seemed absent. There was almost nothing left of his former great virtuosity, which used to be so admirable. I was moved to deepest sorrow. Since deafness is so great a misfortune for anyone, how can a musician endure it without despair? Beethoven’s continual melancholy was no longer a riddle to me.” In addition to his hearing loss, Beethoven had other problems at that time. The composer believed that he was exhausting the expressive possibilities of the classical musical structures. A period of near-silence was coming, during which he would compose nothing, while he gathered his energies for the outpouring of future works in a new style that would dominate late in his life. A Deeper Listen Perhaps the elevated nobility of the Trio’s genial first movement, Allegro moderato, written in sonata form, has always made the title seem appropriate. The distinctive qualities of the work are all immediately apparent here with each of its musical ideas rich in great new possibilities. The brilliantly colorful writing for the three instruments perfectly matches the shifting moods of the music, by turns relaxed and expansive. After the broad grandeur of the lyrical main theme, the second theme provides a contrast, a cascade of repeated notes in a descending scalar figure, but what follows is nevertheless a charming and playful interlude. Then Beethoven gets down to the serious business of development in which every direction that can be taken is explored with the incomparable fertility of his creative imagination, including piano trills Spring 2021 XIII


and protracted string pizzicatos. In the coda (after the recapitulation), the three join together proclaiming the initial theme triumphantly. The second movement, a long, complex, and rather idiosyncratic Scherzo, Allegro, has as a theme a simple rhythmicized major scale initiated by the cello, answered in a descending scale; the music that follows is playful and lyrical. The movement’s central section consists of a mysterious, chromatic, syncopated canon and a contrasting rhythmic section; at the very end, the first of these comes back as a coda, which includes a fragment of a chromatic fugue.

Next comes an expansive Andante cantabile in a bright major tonality that looks forward to the slow movements of Beethoven’s final works. The movement is built as a calm and beautiful theme, introduced by the piano, with five progressively elaborate variations of constantly increasing intensity. Its coda runs without pause directly into the last movement, Allegro moderato, a big, joyous, witty rondo, in traditional alternating sections with the initial A section returning as a refrain after each contrasting section (ABACAB’A). A coda in which the three instruments seem to chase each other brings the trio to a spirited Presto conclusion.

— Susan Halpern

Thursday / July 15 / 7:00pm

Conrad Tao, piano

J.S. Bach / Jason Eckardt / Schumann

Full Calendar & Tickets: caramoor.org / 914.232.1252


About the Artists.

Junction Trio Three visionary next-generation artists combine internationally recognized talents in the eclectic new ensemble Junction Trio. The Trio has performed at Washington Performing Arts, Portland Ovations, Rockport Music, Chautauqua Institution, and the Royal Conservatory in Toronto. Performances in the 2019-2020 season included debuts with Orange County Philharmonic Society, Chamber Music Albuquerque, BIG ARTS Sanibel, and Valley Classical Concerts in Northampton, Massachusetts.

Conrad Tao, piano A musician of “probing intellect and open-hearted vision” (The New York Times), Conrad Tao has appeared worldwide as a pianist and composer. Named “one of five classical music faces to watch” (The New York Times) last season, Tao is a recipient of the prestigious Avery Fisher Career Grant and a Gilmore Young Artist—an honor awarded every two years to the most promising American pianists of the new generation. In the 2019-2020 season, Tao made his recital debut with the Los Angeles Philharmonic at Walt Disney Hall, and was presented in recital by Carnegie Hall and by the Cleveland Orchestra at Severance Hall. Tao’s debut disc, Voyages, was declared a “spiky debut” by The New Yorker’s Alex Ross, and his second album, Pictures, was hailed by The New York Times as “a fascinating album [by] a thoughtful artist and dynamic performer…played with enormous imagination, color and command.” Tao’s third album, Compassion, was released in fall of 2019. Tao was born in Urbana, IL in 1994. He has studied piano with Emilio del Rosario in Chicago Spring 2021 XV


and Yoheved Kaplinsky in New York, and composition with Christopher Theofanidis.

Born to physicist parents of Korean and German descent, Jackiw began playing the violin at the age of four. His teachers have included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. He holds a Bachelor of Arts from Harvard University and an Artist Diploma from the New England Conservatory, and he lives in New York City.

Stefan Jackiw, violin One of America’s foremost violinists, Stefan Jackiw captivates audiences by combining poetry and purity with impeccable technique. Praised for playing of "uncommon musical substance" that is “striking for its intelligence and sensitivity” (Boston Globe), Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others. Fecently, Jackiw returned to the Bournemouth Symphony, the Helsinki Philharmonic, and the RTÉ National Symphony in Dublin. Past recital highlights include performances of the complete Ives violin Sonatas with Jeremy Denk at Tanglewood and Boston’s Jordan Hall, and performance of the complete Brahms violin sonatas, which Jackiw has recorded for Sony. With the Deutsche Kammerphilharmonie under Matthias Pintscher, Jackiw gave the world premiere of American composer David Fulmer’s Violin Concerto No. 2, “Jubilant Arcs,” commissioned for Jackiw by the Heidelberg Festival.

Jackiw participated in Caramoor’s Evnin Rising Stars chamber music mentoring program in 2007.

Jay Campbell, cello Cellist Jay Campbell brings his eclectic creative interests to bear in performances that The New York Times calls “electrifying” and The Washington Post calls “gentle, poignant, and deeply moving.” The only musician ever to receive two Avery Fisher Career Grants — in 2016 as a soloist, and again in 2019 as a member of the JACK Quartet — he approaches old and new music with the same curiosity and commitment. Campbell made his debut with the New York Philharmonic in 2013 and worked with Alan Gilbert in 2016 as Artistic Director for Ligeti Forward, a series


featured at the New York Philharmonic Biennale at the Metropolitan Museum of Art. In 2017, Campbell served as Artist- in-Residence at the Lucerne Festival alongside violinist Patricia Kopatchinskaja, with whom he later appeared in recital at New York’s Park Avenue Armory and the Ojai Music Festival. Campbell made his Berlin debut in 2018 at the Berlin Philharmonie with Deutsches Symphonie-Orchester Berlin. Dedicated to introducing audiences to important contemporary music,

Campbell has worked with some of the most creative musicians of our time, including Pierre Boulez, Elliott Carter, Matthias Pintscher, John Adams, Kaija Saariaho, Chaya Czernowin, Georg Friedrich Haas, and many others. His close association with John Zorn led to the 2015 release of Hen to Pan (Tzadik), which featured all works written for Campbell, and was listed in The New York Times year-end Best Recordings of 2015. A committed chamber musician, Campbell is also a member of the JACK Quartet.

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June 11–October 10 Fridays, Saturdays, Sundays / 11:00am–3:00pm

Self-Paced Rosen House Tours Encounter the history and treasures of the home that Caramoor founders Lucie and Walter Rosen built for music. Inside you’ll find art and furnishings from the renaissance, Chinese art, and entire rooms from the great houses of Western Europe. Tours are self-paced, and docents are available for questions and conversation. Advanced registration required. Full Calendar & Tickets: caramoor.org / 914.232.1252 / 00


Your generosity helps to keep the music playing at Caramoor! Become a Member and support Music Performance, Education, and Mentoring at Caramoor. In return for making a charitable contribution, Membership level donors ($100 and above) receive a collection of “thank you” perks— including complimentary access to all spring livestreams. Support our music community and elevate your Caramoor experience all year long. caramoor.org/support

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Highlights of Our Fall Special Events.

For our annual Cabaret benefit, Laura Osnes and Tony Yazbeck celebrated Gershwin and the American Songbook in a Livestream from the Music Room.

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aramoor’s special events play a vital role in raising funds for our core programming and are a great opportunity to thank our donors who help foster musical inspiration. We appreciate the support of our event donors, especially in this strange past season as they withstood reschedules and modifications aplenty. Our Opening Night Gala was cancelled though received generous support from ticket and table reservations converted to donations. Our Cabaret in the Music Room instead became live on screen from your own living room and even included some fancy-footed dance numbers. And we were able to host a small, outdoor, socially distant, and compliant fundraising dinner – the Fall Fête – in the careful hands of our friends at Blue Hill at Stone Barns. Caramoor is grateful to the event committees and patrons that helped guide us in making sure these occasions were memorable and successful.

Laura Osnes serenaded audiences in thier homes with a favorite Gershwin song. 09 / Caramoor

Cabaret supporters Larry and Adela Elow shared their passion for cabaret in a lively mid-concert video recording.


Caramoor held its Fall Fête in a safe and lovely setting at Blue Hill at Stone Barns.

The Fall Fête tables, distanced for safety, were decorated with seasonal flowers.

Fall Fête guests enjoyed a socially distanced outdoor dinner.

An Auction Table enabled guests to bid on unique items and support Caramoor.

SAVE THE DATES! October 23, 2021 Cabaret in the Music Room Eugene Linden, Olga and Michael Kagan

December 4, 2021 Benefit Dinner in the Rosen House

Events@caramoor.org / 914.232.1492

Susan Morgenthau and Cecilia Kellie-Smith / 10


Caramoor / Support. Caramoor is appreciative of all donors and their support of our mission to create inspiring artistic experiences. Space limitations do not allow us to publicly acknowledge the many individuals and organizations who have made gifts in the past year; however, we are grateful to all contributors as every dollar contributed positively impacts Caramoor. We have made every effort to ensure the accuracy of this listing. If you think you have found an inaccuracy, please accept our apology and alert us by calling 914.232.5035 ext. 409. The following is a list of individuals, households, and organizations who donated to the Annual Fund (general contributions) during the period January 1, 2020 through December 31, 2020. Dollar-level listings reflect cumulative gifts to the Annual Fund (general contributions) totaling $250+ during that 12-month period. Special Events ticket-buyers are included in this list, as are the individuals who may have donated their tickets back to Caramoor in exchange for a charitable contribution. Please note that Special Events ticket purchases or contributions do not count towards Membership but are reflected in these cumulative totals. $100,000+ Nancy & Jon Bauer Pat & Ian Cook Mr. & Mrs. Anthony B. Evnin Susan§ & Peter Gottsegen Katherine & Peter Kend Leslie Williams & Jim Attwood $50,000 to $99,999 Mimi & Barry J. Alperin Laureen & David Barber Gail A. Binderman - The Norman E. Alexander Family G Foundation, Inc. Sandra & William Cordiano Jackie Dzaluk & Francis Goldwyn Mr. & Mrs. John H. Freund Mrs. Robert D. Hodes Mr. & Mrs. David S. Joys 11 / Caramoor

Floy & Amos Kaminski Cecilia Tay Kellie-Smith & Sam Kellie-Smith National Endowment for the Arts Sarah & Howard Solomon Nina & Michael Stanton Audrey & Richard Zinman $25,000 to $49,999 Aundrea & James Amine Anonymous (1) ArtsWestchester Mr. & Mrs. Jonathan M. Clark Jane & William Donaldson Angela & William Haines / The Haines Family Foundation The Marc Haas Foundation The Maximilian E. & Marion O. Hoffman Foundation Tracy & Stephen Limpe New York State Council on the Arts Nancy & Morris W. Offit The Ohnell Family Foundation Phyllis & David Oxman Amy Parsons & Paul Bird Amy & John Peckham / Peckham Family Foundation Mr. & Mrs. Andrew Saul Ms. Lucille Werlinich Mr. & Mrs. Ian Winchester Judi Wolf & Alden L. Toevs $10,000 to $24,999 Andree Wildenstein Dormeuil & Roger Dormeuil Foundation Adela & Lawrence Elow Charles A. Frueauff Foundation Maggie Grise & Adam Silver Olga & Michael Kagan Sylvia & Leonard Marx, Jr. Tracy & Ted McCourtney Susan & Robert Morgenthau Mr. Raj K. Nooyi & Ms. Indra K. Nooyi Susan & Richard O’Leary Yvonne Pollack, Pollack Family Foundation Faith Rosenfeld & Jaime Castro Elaine & Larry Rothenberg Mr. Stephen Ucko Elaine & Alan G. Weiler Lisa & Paul Welch $5,000 to $9,999 Nancy Adelson & Lewis R. Clayton Anonymous (1) Judy & Gordon Aydelott Janet Benton & David Schunter


Bloomberg L.P. Corporate Giving Program Patricia Butter & Ted Sabety Mr. & Mrs. Woodson Duncan Nancy & Edmund Dunst Edmée & Nicholas Firth Penny & Ray Foote Mr. & Mrs. William G. Foulke Fribourg Family Ms. Joan S. Gilbert Virginia Gold Isabelle Harnoncourt Feigen Mrs. Betty Himmel Dr. & Mrs. Henry Kaufman Georgia & David Keidan Mr. § & Mrs. Donald M. Kendall Stanley Kogelman & Lucy Huang Drs. Melissa & Lewis Kohl Mrs. Barbara Kushnick Nita & Stephen Lowey Mr. & Mrs. Lester S. Morse, Jr. Diane & Robert Moss New Music USA Rebecca Patterson & Robert Frank Christine E. Petschek Laura & Edward Pla Varner & John Redmon Mr. & Mrs. Frank E. Richardson Mr. Lawrence Rogow Susan & Elihu Rose Rebecca & Arthur§ Samberg Sara Lee & Axel Schupf Sara & Joshua Slocum Westchester Community Foundation Alicia & Bob Wyckoff $2,500 to $4,999 Photo Anagnostopoulos & Jim Stynes Anonymous (3) Ms. Christina Briccetti Susan & David Brownwood Anne & Joe Citrin Alexandra H. Coburn & Christopher Schroeder Mr. & Mrs. James B. Cowperthwait Mr. & Mrs. Michael Danziger Mr. Thomas A. Dieterich Ms. Kathryn E. Dysart & Mr. Jeffrey L. Schwartz Mr. & Mrs. Robert H. Eder Melissa Eisenstat & Jonathan Blau Kelly & Matthew Fairweather Naomi & Joel Freedman Ashley Garrett & Alan Jones Mary & Michael Gellert Laureine and David Greenbaum Family Foundation

Mr. David C. Hochberg Anda & John Hutchins Alexia & Jerry Jurschak Mr. & Mrs. W. Wallace McDowell The New York Community Trust The Pasculano Foundation The Perlmutter Family Foundation Mary Prehn & John Scacchia Sheila & David Reichman Christie C. Salomon Mr. & Mrs. Norman Slonaker Deborah F. Stiles Mr. & Mrs. James E. Thomas The Watt Family Foundation Kate & Seymour Weingarten Mr. & Mrs. Herbert S. Winokur / The Winokur Family Foundation, Inc. Judy Francis Zankel $1,500 to $2,499 Karen Adler & Laurence Greenwald Anonymous (2) Mr. G. Thomas Aydelotte Gini & Randy Barbato Wendy Belzberg & Strauss Zelnick Mr. & Mrs. Jeff Bijur Mr. & Mrs. Thomas A. Cohn Mr. & Mrs. James K. Coleman Margaret Downs & Henry Zachary Rebecca & Marty Eisenberg Nancy Eppler-Wolff & John Wolff Rosa & Robert Gellert Barbara & E. Robert Goodkind Carmela & Paul Haklisch Maureen Hanagan & Victor Marrow§ Angela & Richard Kessel Eduard & Rayanne Kleiner Foundation Mrs. Patricia D. Klingenstein Laura & Lewis Kruger Mrs. Edith Kubicek Nancy Maruyama & Chuck Cahn Nicole & Gerard Mayer Mr. Bruce Mekul Ms. Linda Merrill & Dr. William B. Nolan Ms. Petra Mohrer Vivian & David Moreinis Melissa H. Mulrooney Dr. Richard Fischer Olson Carol & Steven Parker The Perakis Family Margaret & Dan Petri Mrs. Sascha M. Rockefeller Vicki Roosevelt & Rob Jorgensen Ms. Elizabeth A. Sarnoff & Mr. Andrew S. Cohen Manita & Scoci§ Scocimara / 12


Sylvia Smolensky Betty & Frank Stern Mr. & Mrs. Thomas W. Strauss Mr. & Mrs. William R. Ziegler $500 to $1,499 Marie Pantuosco Alpert Anonymous (9) Adrienne & Bernard Ascher Dr. Lisa R. Barr Mr. & Mrs. John D. Barrett II Sally & David Beckett Froma & Andrew Benerofe Mr. & Mrs. Roger S. Berlind Nadia & Robert Bernstein Helena & Peter Bienstock Laura Blau & Michael Citro Allison M. Blinken Margot & Jerry Bogert Ms. Christine Bosco Ms. Susan Brenner & Mr. Teed Welch Grace & Vincent Briccetti Sonia & Miguel Calderon Mr. & Mrs. Matthew Carpenter Ms. Leslie Cecil & Mr. Creighton Michael Nina & Tom Curley Catherine & George Daubek Roberta & Steven Denning Ms. Victoria de Toledo & Mr. Stewart Casper Mr. Kevin Durkin Mrs. Anita M. Dye Julie & Todd Eagle Pamela & Ray Endreny Olivia & John Farr Jeanne Donovan Fisher Mrs. Virginia M. Flood Karen & Gerry Fox Nina Freedman & Michael Rosenbaum Mr. & Mrs. Joseph C. Gallo Marguerite & Peter Gelfman Sandriel & Kevin Gentzel Ms. Marilyn Glass Carol & Ward Glassmeyer Kate & Martin Glynn Dr. & Mrs. Lawrence Goettisheim Carol & Jesse Goldberg Mr. & Mrs. Alfred H. Green Ellen & Robert Grimes Jennifer & Bud Gruenberg Mr. & Mrs. Peter O. Hanson Peggy & Ed Harding Ms. Callistheni S. Hayes Ms. Ursula Heinrich Mrs. Gisela R. Hobman Ms. Karen K. Hoyt-Stewart & Mr. William J. Stewart 13 / Caramoor

Mrs. Judith T. Hunt Ms. Deborah Innes Rory & David Jones Mr. & Mrs. Edward W. Kelly JoAnne Kennedy & Bill Bowers Mr. & Mrs. Arthur Klausner Ms. Lisa Kolba / JMC LLC Mrs. Birgit Kovacs Dr. Lois F. Kral Joann Lang Dr. Morton Linder Mr. & Mrs. Robert D. Long Dr. Darrell Lund Barbara & J. Robert Mann, Jr. Ms. Beth Ann Manners Harriet Mazer Ms. Deborah McCarthy Dr. Jennifer McQuaid & Dr. Jorge Pedraza Janis & Alan Menken Charity Fund Miriam Messing & John Curtin Ms. Betsy Mitchell Mr. Ben Nathanson Hannah & Frank Neubauer Mina & Lawrence Nokes Ms. Anita M. Nordal & Mr. Kevin J. Conroy Mary Lou & Mike Pappas Michelle & Clark Petschek Betty & Carl Pforzheimer Libbie & David Poppick Charmaine & Brian Portis Virginia & Jonathan Powers Lolly H. Prince Brenda & Gerry Prothro Kathy L. & Marc F. Pucci Vivian Pyle & Tony Anemone Vicki & Charles Raeburn Dr. Monique Regard & Rick Duffy Ms. Denise A. Rempe & Mr. Mark L. Wilson Angela & Gary Retelny Mr. Jason Rockland Ms. Ellen Sargent & Dr. Stephen Nicholas Merryl Schechtman, M.D. Kathy Schuman Jill Schwab & Peter Albert Jill & Robert Serling Mrs. Joan M. Sharp Madeline & George Shepherd Ms. Eve Silver Dr. Richard Slutsky Vivian Song & Ricardo Pou Mr. & Mrs. Louis S. Sorell Beth & Jason Spector Traci & Joseph Stark Catherine & Keith Stevenson Stephanie Stiefel & Robert S. Cohen


Dr. & Mrs. Paul Striker Sybil & Adam Strum Ms. Marcy Syms Melissa Vail & Norman Selby Mr. & Mrs. Polyvios Vintiadis Mrs. John L. Weinberg Margot & Gary Weinstein Roanne & Charles C. Wilcox $250 to $499 Ms. Nancy Albertson Anonymous (11) Nancy & Jim Barton Ms. Emily Bestler Mrs. Debbie Buffum Cammie & John Cannella Ms. Theresa Carroll Ms. Beatrice Chastka Nancy & Edward Clifford Mr. & Mrs. Daniel H. Cohen Mr. Alan G. Cole Ms. Susan Courtney-Sinha Barbara & Christopher Dee Mr. & Mrs. Gary Dienst Mr. & Mrs. John Doran Ms. Elizabeth Einstein & Mr. Chris Cormier Audrey & Jeffrey Elliott Mr. Mark Epstein Ms. Fleur Eshghi & Mr. Nathan C. Dickmeyer Mrs. Arlene Fischer Susan H. Fisher Mr. Mark Franzoso Nancy & Donald Fried-Tanzer Mr. Bruce D. Garrison Cathy & Tom Giegerich Ms. Vicki Gillespie Susan & Galen Gisler Mrs. Jeanne Gnuse Enid & Marv Goldsmith Helen & Bill Gore The Goyal Family Ms. Jane Gross Mr. George B. Hardman Nicole & Larry Heath Judy & Flemming Heilmann Ms. Eileen Herbert Mr. Peter Herbert Anne Hess & Craig Kaplan Libby & Tom Hollahan Mr. Paul H. Hondorf Ms. Christina M. Horzepa & Mr. Gary Dearborn Gail & Mark Imowitz Patricia & Robert Ivry Ms. Diane P. Jane Mr. & Mrs. Erik P. Jensen

Ms. Patricia Johansmeyer Mr. David Johnson Mr. & Mrs. Frederick Jones Ms. Kathryn Jones Connie & Jack Kamerman Ms. Joanna Kang Renée & Daniel Kaplan Beth Kaufman & Charles Updike Ms. Ellen King Mr. & Mrs. Robert W. Knorr Alison M. Koppelman Sandra & Eric Krasnoff Esme & Paul Laubscher Mr. Bruce Levy Ms. Carolyn Liebling Robin Liebowitz & Philippe Sandmeier Angelina & Monte Lipman Ms. Anne R. Lowy & Mr. Thomas R. Glum Laura & Gary Lynch Mrs. Deanna B. MacLean Mr. Robert Magni Mrs. Francesca Maltese & Dr. Sandy Blount Dr. Pamela Marron Mr. & Mrs. Paul J. Mas Virginia & Joe Maybank Mary & Paul McConville Ms. Christina McGann Mr. & Mrs. Douglas M. McGraime Anne & Victor Modugno Mr. & Mrs. Jeffrey Moriber Abigail & Sundip Murthy Margot & James Mustich Leslie & Mitchell Nelson Mr. Erik Nicolaysen Ms. Patricia O’Connor The O’Keefe Family Ruth & Harold Ossher Linda & Glenn Ostrander Anna & Frederick Ostrofsky Lorie Paulson & Maurice Krasnow Anita & Neal Pilzer Dr. & Mrs. Donald J. Pinals Dr. & Mrs. Joseph Plummer Andrea & Andy Potash Betty Robbins & Moses Silverman Elissa & Brian Robinson Virginia & Michael Robinson Patty & Tom Roesch Suzanne & Victor Rosenzweig Mr. & Mrs. Ray Scanlan Mr. Jonathan Schaffzin Roberta & Arthur§ Schmidt Mr. Eric Schwartz Ms. Betsy Seeley Susan & William Shine / 14


Amy Siebert & Markel Elortegui Ms. Janet Sikirica Ms. Nancy K. Simpkins Sabina & Walter Slavin Lynn & Eric Sobel Ms. Alison Stabile Mr. Arthur H. Stampleman Maureen & Charles Steele Katie & James Stewart Ms. Margaret Swinger Ms. Merry Thornton & Mr. Brian V. Murphy Ms. Linda Thung-Ryan Antoinette & Carl Van Demark Mr. Jacobus Van Heerden Jane & James D. Waugh Ms. Roberta Weiner & Mr. Ronald Arron Maureen Whelan & John Bast Ms. Laurice H. Whitfield Victoria Wooters & Matthew Mattoon Seung & Yi Yoo § deceased Thank you again for your generosity.

Gifts of Membership. The following is a list of individuals, families, and/or households who received the Gift of Membership during the period January 1, 2020 through December 31, 2020 and thus may not be included in the previous list. Dana & Robert Bos Ms. Francheska Calderon Kayce & John Carey David Ellis & Ann Greenawalt Ms. Christie Fitzpatrick Carolyn & David Goodman Ms. Cynthia Haupt Mrs. Cynthia Herbert Jennifer & Julio Herrera Debbie & Manny Hochadel Mr. Timothy Horan Ms. Mary Judge Katherine & Albert Kim Susan & Marks Lachs Mr. Jonathan Larsen Daniella Mini & Cesar Rabellino Ms. Jane Minnis Ms. Bärli Nugent Dawn & Richard Papalian Mrs. Amy Passman Jennifer & John Roach Dillon Smith Maureen & Charles Steele Ms. Brigitte St. John Ms. Amelia D. Wierzbicki Ms. Gwenn S. Winkhaus Ms. Manja Wurschke For more information about Membership benefits, or to give the Gift of Membership, please contact Jennifer Pace, Director of Individual Gifts, at jennifer@caramoor.org or call 914.232.5035 ext. 412.

All concerts made possible, in part, by ArtsWestchester with funds from the Westchester County Government.

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The 2020 Summer and 2020 Fall Seasons were supported in part by an award from the National Endowment for the Arts.

All concerts made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.


Honor / Memory. From January 1, 2020 through December 31, 2020, generous contributions to Caramoor were made in honor of the following individuals, organizations, programs, or Caramoor departments, or to note special celebrations or causes, and/or in memory of special individuals or couples: In Honor of Anonymous Estelle F. Baum Lucienne & Max Bissainthe Michael Brown Caramoor’s amazing staff Caramoor Staff Caramoor’s Staff, with admiration Jonathan Clark Sandy & Bill Cordiano Tahra Delfin Judy Evnin Judy & Tony Evnin Susan W. (Susie) Freund Josh Groban Jeff Haydon Gerry Hodes The Kend Family Kate & Peter Kend’s 30th Anniversary Peter Kend Felix Kleinman Siena Licht Miller Stephen Limpe In thanks for the Livestream [Our] Grandfather Adolph Loewi Zoë Martin-Doike Susan & Richard O’Leary Phyllis & David Oxman C. Pace & R. Pace Dan Rader Tina Salierno Olivia Schectman Laura Schiller Mildred Skolnick The Unicorns! Leslie Williams & James Attwood In Memory of William T. Appling Helen-Mae Askin Hilton Bailey Elaine Barath Steven Bloom Emanuela Briccetti Dr. Solomon & Edith Brizer by their daughter Diane Brizer Those of our Caramoor Community lost to COVID-19

Martha Dinerstein Lauren Finster Susan (Sue) McPherson Gottsegen Robert D. Hodes Peter Kubicek by his family Joan Lynton Victor Marrow Grace Helen McCabe Eva Petschek Newman Terrance W. Schwab John Eugene Sharp Elie Siegmeister Marion & Herbert Sineck In-Kind Donations. Caramoor gratefully acknowledges the following individuals and organizations that made in-kind contributions (gifts other than cash or stock) from January 1, 2019 through December 31, 2020. Certain gifts of products or services that can be used by Caramoor enable us to further our mission of presenting exciting concerts, mentoring young musicians, and providing arts education to school children. Aundrea & James Amine Anonymous (2) Nancy & Jon Bauer Mr. Albert Carbonell Mrs. Marcy Carlson Pat & Ian Cook Mr. & Mrs. William Cordiano Nina & Tom Curley Ms. Kathryn E. Dysart & Mr. Jeffrey L. Schwartz Mr. Tom Eirman Mr. & Mrs. Anthony B. Evnin Ms. Jane Gladstone Great Performances Mr. & Mrs. Matthew Greif Cecilia Tay Kellie-Smith & Sam Kellie-Smith Katherine & Peter Kend Katherine & Marc Lazar Tracy & Stephen Limpe Betsy Mitchell Orchestra of St. Luke’s Mary Lou & Mike Pappas Pepsi-Cola Bottling Company of New York Kathy Schuman Storm King Art Center Mr. Gary Taratunio Leslie Williams & Jim Attwood WineBid Audrey & Richard Zinman / 16


Matching Gifts. Caramoor gratefully recognizes the support of the many companies and foundations that make matching gifts. Employees can maximize their contributions to Caramoor by taking advantage of their employer’s matching gift programs. The following organizations made matching contributions from January 1, 2019 through December 31, 2020. AmazonSmile Foundation Bank of America Bank of America Charitable Gift Fund The Benevity Community Impact Fund The Blackbaud Giving Fund Bloomberg L.P. Corporate Giving Program Broadridge Credit Suisse Americas Foundation Debevoise & Plimpton LLP Fidelity Charitable Gift Fund GE Foundation Goldman Sachs Gives Goldman, Sachs & Co. Greenlight Capital IBM Corporation Matching Grants Program J.P. Morgan Charitable Giving Fund JPMorgan Chase’s Good Works Employee Giving Program Morgan Stanley GIFT Network for Good Pfizer Foundation Sy Syms Foundation Vanguard Charitable YourCause, LLC

Encore Society (Planned Giving). The Encore Society recognizes dedicated individuals and couples who have indicated their intent to include Caramoor in their estate planning. Planned giving is a wonderful to establish a legacy at Caramoor and make a lasting impact on the organization. Caramoor thanks the following thoughtful individuals who have designated Caramoor Center for Music and the Arts in their estate plans. Anonymous An Anonymous Couple § An Anonymous Couple (2) Laura B. Blau Catherine A. M. Cavanaugh Catherine & George Daubek Mr. Robert C. Dinerstein Ralph P. & Barbara J. DuPont Judy & Tony Evnin Annette & Len§ Gilman Dr. Susan Harris & Mr. Thomas Molnar Mrs. Betty Himmel Olga Kagan Ms. Deborah A. Kempe & Mr. Andre M. Hurni Nancy S. Offit Susan & Richard O’Leary Marie C. Rolla§ Eileen Caulfield Schwab Lucille Werlinich Leslie Williams & Jim Attwood § deceased If you would like more information about planned giving at Caramoor, or to notify us of your intention to include Caramoor in your estate planning, please contact Nina Curley, VP/Development Officer, at nina@caramoor.org or 914.232.3681. Additional information may be found at plannedgiving.caramoor.org.

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Endowments. Philanthropic gifts to Caramoor’s permanent endowment(s) allow the use of Annual income to ensure program continuity and organizational strength in perpetuity. Investments in Caramoor’s endowment(s) support concerts of the highest quality, help bring creative and significant projects to our campus, and provide income to our education and mentoring programs. Gifts to Caramoor’s endowment(s) help ensure this organization’s strength and vitality far into the future. The following is a list of all endowments currently established at Caramoor. Named Endowment Funds Marjorie Carr Adams Fund for Young Vocal Artists Marjorie Carr Adams Sense Circle Fund Mimi & Barry Alperin Rising Stars Fund Albert Berol Rising Stars Fund The Adela and Lawrence Elow Fund for The Great American Songbook: 1900 to 1960 Susan and John Freund Piano Fund Carmela S. Haklisch Rising Stars Fund Susan & Joseph Handelman Fund for Evnin Rising Stars Mentors Susan & Joseph Handelman Rising Stars Fund Robert D. Hodes Rising Stars Fund Maximilian E. & Marion O. HoffmanFoundation Rising Stars Fund Tondra & Jeffrey Lynford Rising Stars Fund Enid & Lester Morse Fund for Classical Music Eva Petschek Newman Fund for Young Artists Anne S. Nichols Rising Stars Fund Nancy S. Offit Fund for the Performance of Classical Music and Opera* Edna B. Salomon Rising Stars Fund Terrance W. Schwab Fund for Young Vocal Artists Marilyn M. Simpson Opera Fund William Kelly Simpson Fund The Ernst C. Stiefel String Quartet-in-Residence Fund Texaco Rising Stars Fund The Lucille Werlinich Fund for Caramoor’s Gardens* *future bequest Other Endowment Funds Bel Canto at Caramoor Caramoor General Fund Caramoor Virtuosi Chamber Music Fund Children’s Performances Gardens & Estates Innovation Fund Piano Performance Renaissance Days Rosen House Stewardship Sense Circle If you are interested in discussing a gift to Caramoor’s permanent endowment(s), or establishing a dedicated endowment like the ones listed above, contact Nina Curley, VP/ Chief Development Officer, at nina@caramoor.org or 914.232.3681. / 18


Leave a Legacy.

C

aramoor Center for Music and the Arts was established by Walter and Lucie Rosen to operate their estate in perpetuity as a home for art, music, and inspiration. The Rosens were touched by the pleasure their friends took while visiting Caramoor, and they decided to leave their home as a legacy for all to enjoy. It is thanks to the vision, energy, and estate planning of this inspirational couple that we enjoy Caramoor today. The Rosens had the forethought to make plans for Caramoor’s future, and we hope you will think of Caramoor when considering your future. We would be so honored if you would consider adding us to your estate plans

and joining with the Rosens in growing your legacy. You can help ensure a bright future for Caramoor. Generosity comes in many forms, and it is often the best way for you to support causes that matter the most to you. When you give to Caramoor, you help us to make a difference. One long-term way is to Leave a Gift in Your Will. If this is appealing, please contact us for suggested language to review with your attorney and/or financial planners. When you have made these arrangements, please let us know you have done so. We will be happy to welcome you to our Encore Society with other like-minded Caramoor donors.

If you would like more information about planned giving at Caramoor, or to notify us of your intention to include Caramoor in your estate planning, please contact Nina Curley, VP/ Chief Development Officer, at nina@ caramoor.org or call 914.232.3681. 19 / Caramoor


Caramoor’s Leadership As of March 20, 2021

Board of Trustees

Advisory Council

James A. Attwood, Jr., Chairman* Peter Kend, Vice Chairman* Paul S. Bird, Treasurer* Angela Haines, Secretary* Judy Evnin, Chairman Emerita*

Judy Aydelott Laura Blau Jonathan Clark Kevin Conroy Effie Fribourg Joan Gilbert Marilyn Glass Virginia L. Gold Hélène Grimaud Maureen Hanagan Betty Himmel Kevin Howat Frederick Jones Olga Kagan Bim Kendall Stanley Kogelman Dr. Lewis Kohl Linda Merrill Susan Morgenthau David C. Oxman Edward Pla Yvonne Pollack Faith Rosenfeld Deborah Stiles Alden L. Toevs Lucille Werlinich

Barry J. Alperin* James L. Amine* David Barber Jon Bauer* Gail A. Binderman Ian Cook* William Cordiano* Lawrence Elow Susan W. Freund* Michael E. Gellert* Francis Goldwyn Sandra S. Joys* Floy B. Kaminski* Cecilia Tay Kellie-Smith Stephen Limpe* Nancy Offit* Richard H. O’Leary Lawrence Rothenberg Mrs. Andrew Saul Nina Stanton Lisa Welch Ian Winchester Richard Zinman* *Executive Committee Member

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Staff and Contractors Executive Office Gardens & Grounds Nina Curley, Interim Chief Executive Officer Milton Alvarez, Facilities Superintendent Liat Greif, Executive Assistant & Board Liaison Rosa Alvarez, Facilities Housekeeping Assistant Artistic Programming Lucio Alvarez, Facilities Crew Kathy Schuman, Vice President Jose Cardenas, Facilities Crew & Artistic Director Saul Jarrin, Housekeeping Assistant & Ellie Gisler Murphy, Senior Artistic Facilities Crew Planning Manager Tim Coffey, Artistic Planning Manager Agencies/Consultants 21C Media Group, Public Relations Artistic Partners AAN Studio, Graphic Designer Jazz at Lincoln Center Blenderbox, Website Management Orchestra of St. Luke’s, Orchestra-in-Residence Capacity Interactive, Digital Marketing Stephan Moore, Sonic Innovations Agency Steven Blier, Terrance W. Schwab Gabe Palacio, Principal Photographer Vocal Rising Stars Barbara Prisament, Media Relations Pamela Frank, Evnin Rising Stars & Outreach Consultant Progressive Computing, IT Consultant Development Spektrix, Ticketing Service & Support Nina Curley, Vice President & Chief Development Officer Technical Direction & Production Erin Harding, Special Events Assistant Ed Greer, Technical Director Christina Horzepa, Grants Manager Pete F. Petrino, Lighting Designer Brittany Knapp, Membership Assistant DJ Grant, Chief Audio Engineer and Donor Concierge Jeremy Robbins, Video Director Junetta Maxfield, Director of Emily Buffum, Livestream Event Technician Development Operations Alison Robeson, Technical Crew Jennifer Pace, Director of Individual Gifts Michael Campbell, Technical Crew Gayle Greves, Director of Special Events Finance and Human Resources Tammy Belanger, Vice President & Chief Financial Officer Tina Salierno, Bookkeeper Andrea Assenzio, Assistant Bookkeeper Karla Stewart, Human Resources Coordinator Marketing Tahra Delfin, Vice President & Chief Marketing Officer Alex Cutrone, Director of Ticketing & Guest Relations Aarti Gilmore, Event Operations Manager Sean Jones, Marketing Coordinator Olivia Ottinger, Box Office Coordinator Laura Schiller, Publications Editor Roslyn Wertheimer, Marketing Manager Roanne Wilcox, Director of the Rosen House Christopher Thomas, Archive Coordinator Marcelle Carpentieri, Rosen House Assistant Germania Alvarez, Housekeeping Manager & Collections Assistant 21 / Caramoor