2021 Summer Program Book: July 15-18 by Caramoor Center for Music and the Arts

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Welcome to Caramoor / Letter from the CEO and Chairman Summer 2021 Calendar Eat, Drink, & Listen! Playing to Caramoor’s Strengths by Kathy Schuman Meet Caramoor’s new CEO, Edward J. Lewis III Introducing in“C”, Trimpin’s new sound art sculpture Updating the Rosen House for the 2021 Season by Roanne Wilcox PROGRAM PAGES Highlights from Our Recent Special Events Become a Member Thank You to Our Donors Thank You to Our Volunteers Caramoor Leadership Caramoor Staff

Cover Photo: Gabe Palacio ©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

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 Brittany Laughlin, Director of Marketing & Communications Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator

Dear Friends, It is with great joy and excitement that we welcome you back to Caramoor for our Summer 2021 season. We are so grateful that you have chosen to join us for the return of live concerts as we reopen our Venetian Theater and beautiful grounds to the public. We are thrilled to present a full summer of 35 live in-person performances – seven weeks of the ‘official’ season followed by two post-season concert series. This season we are proud to showcase our commitment to adventurous programming, including two Caramoor-commissioned world premieres, three U.S. premieres, two New York premieres, and two major experiential, site-specific works. Our summer journey also includes solo recitals by world renowned artists; the return of our annual Jazz Festival, American Roots Music Festival, and Pops & Patriots concert; a special 91st birthday celebration of Stephen Sondheim; and performances by a spectacular lineup of artists and ensembles from near and far. Caramoor takes seriously the health and safety of our audiences, artists, and staff, and the 2021 season has been designed in accordance with all the latest state and federal guidelines. In addition to enjoying the music, we invite you to explore our newly renovated grounds and gardens. Bring a picnic or take a socially-distant walk, during which you will likely discover some of our Sonic Innovations sound art installations. Lastly, while the two of us have been part of the Caramoor community for very different lengths of time, we share the thrill and joy of being here at this momentous occasion that will always be remembered – when the magic of live music performance returned and we could finally all enjoy it together again.

Edward J. Lewis III and James Attwood President & CEO / Chairman of the Board Caramoor

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TAP O N A DAT E for PROGRAM DETAILS

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PUBLIQuartet

Richard Goode, piano

Callisto Quartet The Brianna 2020–21 Ernst Thomas Band

Natu Camara

The Forest Performed by The Crossing

Orchestra of St. Luke’s Tai Murray, violin

Pops & Patriots

Stiefel String Quartet-in-Residence

Presented in Collaboration with Jazz at Lincoln Center

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Amjad Ali Khan Douglas J. & Sharon Isbin Cuomo’s Seven Limbs with Nels Cline and Aizuri Quartet

Conrad Tao, piano

Celebrating Stephen Sondheim’s 91st Birthday

Verona Quartet Joan Osborne David Fung, Presented in Collaboration with piano City Winery

Caramoor

John Luther Adams’ Ten Thousand Birds Performed by Alarm Will Sound

Philharmonia Baroque Orchestra

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JIJI, guitar

Guitar in the Garden

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Chanticleer

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Ljova and the Kontraband

Concert on the Lawn

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Presented in Collaboration with City Winery

Pre-concert Conversation

Caramoor

Watkins Family Hour

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American Roots Sō Percussion Music Festival 2:00pm / Pop-up Presented in Collaboration with City Winery

performances throughout Caramoor grounds (FREE)

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Pekka Kuusisto, The Knights Jazz Festival violin Pekka Kuusisto, Presented in Collaboration with Nico Muhly, violin Jazz at Lincoln Center piano

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TAP O N A DAT E for PROGRAM DETAILS

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Nathan & the Zydeco Cha Chas

Concert on the Lawn

Apollo’s Fire

A U G U S T 8 Summer Season Finale

Orchestra of St. Luke’s Leonidas Kavakos, violin

Afternoon Tea

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TAP O N A DAT E for PROGRAM DETAILS

AFTERNOON TEAS

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June 27 July 2 July 9 July 11

T H E

July 16 July 18 July 23 July 25

M U S I C

CONCERTS ON THE LAWN

July 30

August 1 August 8

C O N T I N U E S

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BEGINNER’S EAR

F R I D A Y, A U G U S T 1 3

S U N D A Y, A U G U S T 1 5

F R I D A Y, A U G U S T 2 0

S U N D A Y, A U G U S T 2 9

Flor de Toloache Della Mae

F R I D A Y, A U G U S T 2 7

Shenel Johns

Alexi Kenney, violin Layale Chaker, violin Kinan Azmeh, clarinet S U N D A Y, S E P T E M B E R 1 2

Rubén Rengel, violin Jorge Glem, cuatro

All artists and dates are subject to change and cancellation without notice as we work closely with local health experts and officials. Please note that all performances at Caramoor are in compliance with current New York state regulations. Please check our website for updates. Caramoor

Caramoor

Eat, Drink, & Listen! Complement a perfect trip to Caramoor with culinary delights — whether you come for a performance or to enjoy a tour of the historic house and grounds. Before a performance, choose from picnicking on the lawn with your own food and beverages, visiting our Food + Drink tents, or pre-ordering a picnic box. 2021 Summer Season Food + Drink Availability * Thursday / Open 1 hour prior to performance Friday – Sunday / Open 2 hours prior to performance Since our concerts this year do not have intermissions, everything will close down at the start of the performance. * Times and days subject to change. Food + Drink

Pre-Order Picnic Boxes

Food + Drink offers a variety of organic and locally sourced meals, snacks, and beverages provided by Great Performances. At the Tap Tent, you’ll find a wide range of seasonal sandwiches, salads, desserts, and prepackaged beverages.

Let us pack your picnic for you, prepared by our caterer, Great Performances. View the menu and order online, or call the Box Office at 914.232.1252. Order by Tuesday at 4:00pm for the upcoming week’s performance.

The Call of Caramoor The pre-concert bells were created for us by Brooklyn-based composer/pianist Timo Andres. His piano concerto for Jonathan Biss, The Blind Banister, was cocommissioned by Caramoor and performed here in 2016. “I love being asked to make something with a very specific directive. In the case of the Call of Caramoor, I knew that meant writing a series of short pieces that would be distinctive without being jarring; that would blend into an outdoor setting while remaining distinct from it; and that would incite a mild but purposeful sense of urgency in the listener. The bell sounds are tuned in ‘just intonation’ which is derived from the harmonic series, giving them a pleasantly outdoorsy attitude — landing somewhere between the concert stage and the surrounding forest.”

Caramoor

Playing to Caramoor’s Strengths.

Site-specific programs highlight Caramoor’s unique setting By Kathy Schuman, Artistic Director

hen I started planning my first Caramoor summer season in 2018, I wanted to take advantage of our unique setting and all the possibilities therein. As anyone who has attended a concert at Caramoor knows, hearing music here is very different from the experience of hearing it in a traditional concert hall. Caramoor was already programming day-long festivals of jazz and American Roots music around the grounds, and we had guitar recitals in our Sunken Garden. We’ve also been exhibiting sound art works around the campus (see related article on page 14 ). Programming John Luther Adams’ Inuksuit seemed like a no-brainer – it calls for the audience to wander outside among musicians playing an incredible array of instruments including conch shells, sirens, gongs, bells, drums, Caramoor

The Secret Gardener in 2018

cymbals, and glockenspiels, dispersed throughout the landscape. It was also a perfect opportunity to throw open our gates and invite people in for free, encouraging audiences to try something new. The performance, with more than 60 percussionists (on the hottest day of the summer — approaching 100 degrees), was transcendent and inspiring. That summer we also welcomed On Site Opera, who brought a marvelous early Mozart opera, The Secret Gardener to our Sunken Garden. I read about this inventive company in The New York Times after they performed the work in a community garden in Manhattan, and thought it could be a perfect fit for us. Since then I’ve attended a number of wonderful OSO productions in NYC, and we’re planning a return visit for them in 2022. /9

In 2019, we went all in for birdsong, presenting Caramoor Takes Wing! and bringing French pianist Pierre-Laurent Aimard to perform the complete Messiaen Catalogue d’Oiseaux in three concerts over

Inuksuit in 2018

a weekend — two in the Spanish Courtyard and one in the Venetian Theater (the performances were included in The New York Times’ roundup of their “Best Classical Music of 2019”). Birds have always participated in concerts here at Caramoor, but this took things to the next level! The weekend also included a performance in our Sunken Garden of John Luther Adams’s songbirdsongs by Sandbox Percussion and two piccolo players, two Sunday morning bird walks led by the Bedford Audubon Society, and clarinetist David Rothenberg improvising live with the birds. Caramoor

This summer we’ll present The Forest, performed by The Crossing, a 24-voice choir based in Philadelphia. Created last fall when the choir members couldn’t sing safely indoors, The Forest focuses on the symbiotic relationship between individual trees and the forest – a metaphor for the relationship between each singer and the ensemble. The libretto is made up of the singers’ reflections on their isolation during COVID-Time, overlaid with texts from Scott Russell Sanders’ essay “Mind in the Forest.” Audience members will walk a path through the performance, in which speciallydesigned individual speakers allow the singers to stand 30 feet from each other and the path. I know this is going to be a very powerful experience for performers and audience alike. Like Inuksuit and songbirdsongs, John Luther Adams’ Ten Thousand Birds explores the connections between nature and music. It’s based on the songs of birds that are native to, or migrate through, the area in which the piece is performed. Chamber orchestra Alarm Will Sound, for whom the piece was written, will bring it to Caramoor’s expansive Friends Field, where the performers and audience will move in and around each other during the 70-minute work.

Caramoor Takes Wing! in 2019 / 10

Finally, we’ve recently introduced two new concert formats: Concerts on the Lawn, casual familyfriendly concerts on Friends Field that feature high-energy artists in a variety of genres, and Beginner’s Ear, a Sunday morning series on the East Lawn designed to clear the mind and nourish the spirit through the shared experience of silence and music. I hope to see you in and around the grounds this summer! Beginner’s Ear in 2020 with Anthony McGill, clarinet, & Nancy Allen, harp.

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F O R E S T

Performed by The Crossing Donald Nally, conductor Saturday, July 3 6:00pm Tickets $55

J O H N L U T H E R Ten Thousand Birds

A D A M S ’

Alarm Will Sound Alan Pierson, artistic director Sunday, July 11 FREE 3:00pm / Pre-concert conversation with Alan Pierson 4:00pm / Performance

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Meet Edward J. Lewis III, President & CEO Please join us in welcoming Edward J. Lewis III as Caramoor’s new President & CEO! With nearly two decades of experience in performing arts leadership, Ed comes to Caramoor from the University of North Carolina School of the Arts, where he served as Vice Chancellor for Advancement since 2015. Prior to that, he served as Senior Director of Development at the Clarice Smith Performing Arts Center at the University of Maryland, College Park. Ed’s interest in Caramoor’s mission is personal. He is an accomplished violist, having earned a Bachelor of Music degree from Northwestern University and a Master of Music degree from the University of Michigan. He is also an alumnus of the University of Maryland School of Music, where he studied chamber music with the Guarneri String Quartet. He has performed as a member of the Dallas Opera Orchestra, the Dallas Chamber Orchestra, Santa Fe Pro Musica, and the Toledo Symphony.

Edward J. Lewis III at Caramoor

Caramoor

Because this is Ed’s first season at Caramoor (and in Westchester!), we asked him a few questions so that our audience members could learn a little bit more about him. Should you see him on the Caramoor grounds, please say hello and welcome him to the area!

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1. What excites you most about Caramoor at this moment? I have been told by many that Caramoor’s summer season is magical. I am really looking forward to being spellbound by the magic of the music and the lovely grounds — reveling in the Caramoor experience! And of course, meeting all of those who attend and support this remarkable institution. 2. How is this role different from your prior professional experiences? The majority of my non-performance career as an educator and arts administrator has been in service to building the future of the arts by ensuring institutions had the resources, financial and material, to support the training and education of the next generation of emerging artists. At Caramoor, I will continue my service to the arts, music in particular, by helping to ensure that one of our nation’s treasured music festivals is more reflective of the communities we serve; expands access in-person and in the virtual space to augment the Caramoor experience; builds on its level of excellence; and is a place where creativity thrives for artists and audiences alike. 3. What has surprised or delighted you about Caramoor that you didn’t know before? I was surprised to learn that Mother Nature sometimes plays a supporting role in performances in the form of bats and toads, not to mention the weather. I should have expected this as we’re an outdoor music venue, after all! However, I am delighted to know that our audiences and artists don’t miss a beat and take all of this in stride. 4. What did you do for culture / entertainment during the pandemic? I attended several virtual galas to support the local arts community and to observe what would work in that new format, as I had several upcoming virtual galas that I would have to produce for my institution. In addition to cooking, which I find very relaxing and an opportunity to be creative in a different way, I was able to catch up on my reading list which included Isabel Wilkerson’s Caste: The Origins of our Discontent, Eddie Glaude, Jr.’s James Baldwin’s America and Its Urgent Lessons for our Own, and Thomas Friedman’s Thank you for Being Late: An Optimist’s Guide to Thriving in the Age of Accelerations. I was also able to get caught up on watching Stranger Things, The Crown, and Pose. 5. What else would you like Caramoor audiences to know about you? My partner Scott Palmer and I were fortunate to be able to travel to Thailand, Cambodia, and Mexico in the first quarter of 2020, before the pandemic stopped just about everything. That said, we love Thai food and welcome recommendations for restaurants in Westchester County. We look forward to bringing our pet cat Sandy (named after the hurricane from which we rescued him) to our new home in Chappaqua. And, spending time at our old home (1850) on the Maine coast when our schedules permit. (Which likely will not be during this event-filled Caramoor summer!)

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Introducing in“C”

New permanent sound artwork by Trimpin anchors Caramoor’s Sonic Innovations collection. When Caramoor first asked Trimpin to create a permanent sound art sculpture in celebration of its 75th Anniversary, the world-renowned sound artist thought about Caramoor’s acoustical environment: the birds singing, the wind in the trees, and the blissful absence of street noise. He then conceived of in“C”, the interactive kinetic sculpture shaped as a 16-foot high double letter C now located in the entry plaza, welcoming guests as they arrive.

The push-buttons activate the structure’s chimes to play pre-composed short pieces, each 1—2 minutes long. In addition to Trimpin’s music, Caramoor commissioned pieces from four composers: Christopher Cerrone, Anna Clyne, Missy Mazzoli, and Nico Muhly. As Caramoor continues to work with composers, the chime-piece library will grow. When in“C” is in its education mode, a MIDI (Musical Instrument Digital Interface) keyboard enables visitors of any musical ability (or even none!) to make their own chime music, as the chimes respond to the strikes on the keyboard.

Sound Art at Caramoor

Trimpin’s in“C” at Caramoor’s entrance

From the top of the C’s curve, 24 tuned metal bell chimes ranging over two octaves are suspended. Made out of steel and utilizing electromechanical components, in“C” interacts with visitors through a motion sensor (as you approach, its melodious chimes draw you closer) and through the physical activation of a push-button panel (don’t be shy!).

Caramoor

Trimpin’s work first appeared at Caramoor in 2014’s In the Garden of Sonic Delights, Caramoor’s first major sound art exhibition. Curated by Chicagobased sound artist and Northwestern University professor Stephan Moore, the exhibition included the work of 16 sound artists and launched what has, over the past six years, developed into an integral part of Caramoor’s adventurous programming. “That huge infusion of sound art showed everyone that sound art could complement the diverse programming here,” says Moore, who has continued as the curator of Caramoor’s current sound art program Sonic Innovations. “We knew that sound art could add an extra dimension to this place, so you might come to hear the symphony and have a picnic, and while exploring the beautiful grounds you would encounter / 14

these other forms of art. There’s a lot of room at Caramoor for permanent sound art that brings out the best of the space and the artists, and brings that to the audience.” While sound art has thrived for decades in cultural venues, museums, and public spaces, Caramoor is unique in the U.S. for having multiple works of sound art installed in an outdoor concert and garden setting as a permanent exhibition. This would certainly be a profound source of pride for Caramoor’s founder Lucie Rosen, who was deeply interested in all areas of the arts including championing composers of her time working with sound and technology. For Moore, this ongoing exploration of sound art brings a bit of Lucie’s eclectic set of interests into Caramoor every year.

Who is Trimpin? Gerhard Trimpin — known since the 1960s by the single moniker Trimpin — is an internationally acclaimed composer, musician, visual artist, and inventor, engaged in commissions and exhibitions at venues around the world. Born in 1951 and based in Seattle for the past 25 years, he grew up near the German Black Forest, an area that has a history rich in mechanical music machines (think cuckoo clocks and pianolas, or player pianos). Fascinated with sound exploration in his early childhood, Trimpin often experimented with sound and distance in the German woods. Using the tools from a well-stocked cabinetry shop in his home (his father was a cabinet maker by trade), he took apart and reassembled old radios and musical instruments. By age 10, he was inventing his own eccentric instruments.

Caramoor

Trimpin and Stephan Moore

The son of amateur musicians, the young Trimpin learned to play brass instruments but developed a mysterious allergy to metal that forced him to give up playing. He turned to electro-mechanical engineering. Self-taught, he mastered how the memory works on a pianola and devised a machine that could transcribe and preserve the piano paper rolls digitally. He became a leading specialist in combining musical compositions with computer technology. Throughout his career he has created installations that incorporate complex technological sculptural elements. On permanent display in his hometown area are: If VI was IX, a sound sculpture composed of 600 electric guitars at MoPOP (Museum of Pop Culture); Hydraulis, an elegant interactive water sculpture at the Seattle Center Key Arena; and On: Matter, Monkeys, and the King, a multimedia kinetic wind-up-toy structure next to the rolling walkway in Sea-Tac International Airport. In his 2014 In the Garden of Sonic Delights installation, The Pianohouse, Trimpin wanted to create a piece that every visitor could feel free to explore. What he created was a house-like structure from the frameworks of six upright pianos. “I try to use other ways to make the sculpture look not so much like a musical instrument, so people will actually play,” Trimpin explains. “For instance, why / 15

is there a wheel here and what happens when you turn it?” He hopes Caramoor visitors will approach in“C” with that kind of curiosity. “My work is an ongoing exploration of the concepts of sound, vision, and movement,” he says, “experimenting with combinations that will introduce our senses of perception to a totally new experience.” A MacArthur Foundation “Genius” Award recipient and a Guggenheim Fellow, Trimpin has been commissioned by Lincoln Center, San Francisco’s Exploratorium, Merce Cunningham Dance Company, and Seattle Symphony, among others. In“C” is sponsored by Nancy S. Offit, Laureen and David Barber, Shanbrom Family Foundation, and Tina and Ian Winchester.

The 2021 Sonic Innovations Exhibition In“C” is one of six sound art pieces at Caramoor this summer. Walk around and explore them all. Undercurrent by Spencer Topol and Hana Kassin (2020) creates a feedback loop between people and their environment. An orchestration is built up through the movement of visitors via the activation of small pods in the grass and trees, which come alive with sound. (Center Walk by the Venetian Theater)

Annea Lockwood and Bob Bielecki’s Wild Energy (2014) begins with solar oscillations recorded by the SOHO spacecraft, sped up 42,000 times, ending with ultrasound recorded inside a pine tree, slowed down. (Behind picnic area) (sponsored by Angela and William Haines) Taylor Deupree’s t(ch)ime (2017) turns a quiet, wooded passage into a shimmering sonic environment. Its sounds are derived from bell chimes manipulated to create a sense of time slowing down as one approaches the middle of the path. (Cedar Walk) (sponsored by his family In Memory of Peter Kubicek) Stone Song (2014) by Ranjit Bhatnagar is a dry stone structure with sensors for temperature and barometric pressure laced into it and fed into a drone synthesizer. The tones emanate from the stones, shifting as the weather changes. (Friends Field) (sponsored by Hillary Martin) Listen Ahead by Miya Masaoka (2019) is first encountered through traffic signage that anticipates a space for listening. Later, in a wooden hut, the listener rests on a bench as sounds from nature create a unique sound experience. (Sunken Garden) Please click here for more information and here for a map of the grounds. Through October 10, 2021, Caramoor will be streaming the 2009 documentary Trimpin: The Sound of Invention on our website. Filmed over two years, this film follows Trimpin as he designs many of the sound art pieces described above.

Watch it here! Caramoor

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Updating the Rosen House for the 2021 Season

By Roanne Wilcox, Director of the Rosen House

eyond the imposing 16th-century Italian gates lies a home, filled with amazing treasures, collected by a couple with a love for music and art and a desire to share it with the world. Ask any of our talented docents: giving a tour of the Rosen House to a firsttime visitor is great fun; there’s always that moment of wide-eyed awe when a visitor realizes what’s actually inside those stucco walls. As we were planning to open the Caramoor grounds in the summer of 2021, we gave a great deal of thought as to how we could welcome visitors back inside the Rosen House while providing a safe experience for all. Our previous tour model, where one docent shares stories about Lucie and Walter Rosen and their collection to a larger group standing shoulder to shoulder, needed some rethinking. Caramoor

We also wanted to update our tours based on some of our visitor’s most commonly asked questions: • Who were Lucie and Walter Rosen? • Why Katonah? • How did the music festival begin? • What happened to the Rosen family? And we gave a lot of thought as to what the tour experience is like for our visitors. After observing hundreds of tours over the past few years, we’ve noticed a few things. Some visitors want to linger a little longer or walk through a little faster than others in their group. Some people want to know more about the Rosen family, while others want to know more about the Renaissance tapestries or intricate stained glass. Some just want to be able to sit down for a moment before continuing on.

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And some of our visitors come to the Rosen House to see where Lucie, one of the theremin’s patron saints, lived and to see the September theremin, the last and most powerful instrument Leon Theremin built before he left the U.S. To address these issues and a few more, we’ve made some updates to the Rosen House, while remaining true to the spirit in which Lucie and Walter Rosen created their home, which was to enjoy beautiful things in a beautiful setting. Our overarching guideline was to leave the historic rooms as they were, especially the objects we were sure Lucie and Walter placed in the rooms themselves.

Lucie Rosen playing theremin in 1935

We focused on the New Wing, an area that was added by Anne Bigelow Rosen after her mother Lucie passed away in 1968. Since this area had historically been a display space for architecture and rooms from the Rosen’s New York Caramoor

City home, it was the ideal area to introduce, in a visual way, the stories our docents tell to our visitors about the Rosens and their remarkable legacy.

The Rosen’s collection of Chinese art is displayed for visitors to get a closer look.

We created new areas of Renaissance art and Chinese art, and added a look into our extensive Caramoor archives where we can learn about the Rosen family including the Rosens’ son Walter, a WWII pilot to whom Caramoor is dedicated; Lucie’s brother Johnny Dodge who was WWII’s most famous POW; and Flora Guest, Lucie’s fearless mother who moved to South Dakota in the early 1900’s to divorce her husband. We cleared out a sitting room that had formerly been an office and created a “Welcome to Caramoor” display of how and why Lucie and Walter founded the summer music festival, who they were and how they met, and how they built their dream house in Katonah. On one wall, we’ll show video of the history of Caramoor, along with our vitual House tour videos for guests who are unable to manage the 45-minute walking tour of the entire Rosen House. We also included an overview of the milestones and great moments of the Caramoor music festival from the past 75 years. Theremin lovers will be able to see Lucie’s 1938 September Theremin and speaker close up, and learn how / 18

Visitors can learn about Lucie and Walter Rosen and the history of Caramoor in the Rosen House.

Lucie was responsible for promoting the instrument, advising Professor Theremin to improve its design, and commissioning works from the current composers of the era. And if you always wanted to try to play a theremin yourself, a modern version will be on hand to test your skill. (It’s not easy!) And to help visitors navigate the House, we’ve added more descriptive and directional signage. Tours will be largely self-paced, but we will still have our amazing docents available for in-depth questions about the Rosens, their House, and their collection. Lucie Rosen’s 1938 September Theremin and speaker The Rosen House is open for tours Friday – Sunday, 11–3pm. For the summer of 2021, advance reservations are required. Please call our box office or reserve on our website. Caramoor

Following the custom of the great European homes that welcomed the public inside, the Rosens were pleased when people asked to see their house and collection, and we are grateful to be able to continue on the tradition. / 19

Conrad Tao, piano Thursday / July 15 / 7:00pm / Venetian Theater

CONRAD TAO (b. 1994)

Improvisation

JOHANN SEBASTIAN BACH (1685–1750)

Chromatic Fantasia and Fugue in D Minor, BWV 903 (1720)

JASON ECKARDT (B. 1971)

Echoes’ White Veil (1996)

ROBERT SCHUMANN (1810–1856)

Kreisleriana, Op. 16 (1838) Äußerst bewegt Sehr innig und nicht zu rasch Sehr aufgeregt Sehr langsam Sehr lebhaft Sehr langsam Sehr rasch Schnell und spielend

This concert is made possible, in part, through the generous support of the Susan and John Freund Piano Fund.

Help everyone enjoy the music. Please do not take photos or record any part of the performance, and remember to silence your mobile devices. On behalf of the artist and the rest of the audience, we thank you.

Caramoor

Summer 2021

About the Music. At a Glance

The Program

A master improviser, Bach possessed the ability to transmute his musical thoughts into sound almost at will. After listening to the Baroque master extemporize on the organ, the famous Dutch virtuoso Johann Adam Reincken declared, “I thought that this art was dead, but I see that in you it still lives.” Like many of Bach’s preludes, toccatas, and other free-form works, the Chromatic Fantasia and Fugue is essentially a written-down improvisation. Conrad Tao, who is both a renowned composer and a concert pianist, carries on the tradition by prefacing his performance of Bach’s masterpiece with an improvisation of his own.

JOHANN SEBASTIAN BACH (1685–1750)

Jason Eckhardt, a one-time guitarist in a heavy-metal band, combines the spare, pointillistic textures of the early 20th-century modernist Anton Webern with elements of rock music and free jazz. Echoes’ White Veil was inspired by a prose poem by W. S. Merwin; its complex, multilayered verbal imagery is echoed in Eckhardt’s densely packed and often improvisatory-sounding score. In a similar fantasy-like vein, Schumann’s Kreisleriana reflects the contrasting personalities of the Romantic composer’s fictional alter egos: the impulsive Florestan and the dreamy Eusebius. The work takes its name from Kapellmeister Johannes Kreisler, the half-crazed brainchild of German Romantic writer E.T.A. Hoffmann, Schumann’s literary soulmate.

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Chromatic Fantasia and Fugue in D Minor, BWV 903 About the Composer To Carl Philipp Emanuel Bach, the most famous of Johann Sebastian’s musical sons, his father was “the most prodigious organist and keyboard player that there has ever been.” By the time of his death in 1750, the elder Bach’s towering stature as a virtuoso was universally acknowledged. Yet his only formal instruction on keyboard instruments came from his older brother Johann Christoph, who served as organist in the small central German town of Ohrdruf. Young Johann Sebastian proved a quick study, and by age 18 he was established in his first professional post at Arnstadt. Thereafter his reputation grew by leaps and bounds. So, it seems, did his self-assurance. In 1717 he traveled to Dresden and challenged the renowned virtuoso Louis Marchand to a contest, which the Frenchman famously forfeited by skipping town. Thirty years later, on a visit to the court of the musicloving Frederick the Great in Potsdam, the aging composer improvised a dazzling set of fugal variations on a theme supplied by the king, which he later used as the basis of his musical offering.

About the Work Bach wrote the Chromatic Fantasia and Fugue sometime before his final move to Leipzig in 1723. The musicologist Christoph Wolff dates this perennially popular masterpiece to the end of his tenure in Weimar and hypothesizes that Bach premiered it in Dresden in 1717, on a recital celebrating his default “victory” over the absent Louis Marchand. If so, BWV 903 may have been one of the pieces Johann Mattheson had in mind that year when he referred to Bach for the first time in print as “the famous organist of Weimar” whose works “are certainly such as must make one esteem the man highly.” On the other hand, another Bach expert, Martin Geck, dates the D-Minor Fantasia and Fugue as late as 1720 and speculates that its dolorous chromaticism was an expression of the composer’s grief over the death of his first wife, Maria Barbara. A Deeper Listen Whatever “meaning” the notes may convey, the Chromatic Fantasia and Fugue definitely exemplifies the improvisatory prowess that Bach’s first biographer, Johann Nikolaus Forkel, associated with his “unpremeditated fantasies.” The music modulates freely, unpredictably, and often daringly, illustrating Forkel’s observation that Bach “linked the remotest keys together as easily and naturally as the nearest; it was almost as if he were modulating in the inner circle of a single key.” The work’s opening section wends from one tonal center and scalar pattern to another by way of a dazzling variety of figurations and passagework. The Fantasia abounds in unexpected twists and turns; at times it sounds as if Bach himself is not quite sure

where his fancy is leading him. The theme of the companion Fugue is a rising chromatic melody that returns throughout the piece, ingeniously embedded at different levels in the contrapuntal fabric and combined with music of contrasting character. JASON ECKHARDT (b. 1971) Echoes’ White Veil About the Composer As a guitarist playing in a heavy-metal band in the 1980s, Jason Eckhardt says he spent most of his teenage years “trying to be a rock star.” The pursuit of that elusive dream eventually took him to Boston’s Berklee College of Music, where he discovered the spare, radically compressed music of the early 20th-century modernist Anton Webern. By his own account, it was Webern’s Five Movements for String Quartet — with its haunting quietude, pointillistic textures, and kaleidoscopic colors — that inspired him to become a composer. Yet that unexpected epiphany didn’t diminish Eckhardt’s youthful enthusiasm for rock music and free jazz. Instead, he set out to combine elements of all three styles in a hybrid language that marks what he considers his “core musical identity.” About the Work Composed in 1996, Echoes’ White Veil exemplifies this stylistic synthesis in its engaging blend of high-powered virtuosity, extended instrumental techniques, innovative sonorities, and improvisatory-sounding gestures. In reality, the score is meticulously notated, leaving nothing to chance Summer 2021

and little (other than pedal effects) to the discretion of the performer. In its sheer density, of both sound and ideas, Eckhardt’s 11-minute composition relates to the so-called New Complexity movement that arose in the 1980s, partly in reaction to the reductive language of minimalism. Its legacy is a body of works characterized by multilayered textures, dissonant harmonies, fiercely complicated rhythms, and ultrafine gradations of timbres and dynamics. Eckhardt acknowledges the influence of movement-oriented composers like Brian Ferneyhough and Karlheinz Stockhausen, but his music is equally beholden to the likes of John Coltrane and Led Zeppelin. A Deeper Listen Eckhardt has likened the genesis of his music to “being in a landscape during an evening thunderstorm. There is darkness, then a flash of lightning that illuminates the surroundings. For that fraction of a second I can ‘see’ everything I need to begin the piece. What follows is a painstaking reconstruction of that moment.” One such lightning flash came in the form of a prose poem titled Echoes by the late W. S. Merwin. A meditation on the interpenetration of past, present, and future — on “the echoes pouring through us out of the past” and the “sounds that rush away from us: echoes of future words”—Merwin’s poem culminates in the image of a child sitting beside a lake at nightfall, calling out into the silence and watching the sound of his embodied voice “running away from me over the water in her white veil.” Echoes’ White Veil captures that multilayered poetic imagery in an analogous complex of sound and silence, movement and stasis. Caramoor

Eckhardt’s sound world recalls Jay Parini’s description of Merwin’s poetry as a “kind of free verse” in which “he layered image upon bright image, allowing the lines to hang in space, largely without punctuation, without rhymes.” Notated without barlines, Echoes’ White Veil might be called the musical equivalent of free verse. Sonic images pile on top of one another in tightly packed, asynchronous layers, and spare, spectral sonorities are left hanging in space. ROBERT SCHUMANN (1810–1856) Kreisleriana, Op. 16 About the Composer Schumann embodied the spirit of the Romantic era in his affinity for small-scale musical forms and lyrical utterances, his reliance on literary and other extramusical sources of inspiration, and the supreme value he placed on emotional freedom and spontaneity. Although he wrote four symphonies, several concertos, and even a single opera, his impulsive genius found its most characteristic expression in art songs and piano music, including a small body of chamber pieces for keyboard and strings. Schumann was an inveterate improviser at the keyboard, as one might suppose from the rhapsodic fluidity that characterizes his piano writing. In fact, only a chronic hand injury prevented him from realizing his youthful ambition to be a concert pianist. Instead, he dedicated himself to creating a new kind of music for the piano, compounded of heroic virtuosity and poetic intimacy.

About the Work In the seven years before his marriage to the pianist Clara Wieck in 1840, Schumann wrote some of his greatest piano works, including Kreisleriana, Carnaval, the First and Second Sonatas, and the C-Major Fantasy. Schumann was infatuated with Clara, a budding pianist and composer ten years his junior; her father’s implacable opposition to the match only made their hearts grow fonder. The eight fantasy-like pieces that constitute Kreisleriana take their cue from a fictional musician created by the great Romantic writer E.T.A. Hoffmann. Like the emotionally unstable Schumann, Hoffmann’s Kapellmeister Johannes Kreisler “was drawn constantly to and fro by his inner visions and dreams as if floating on an eternally undulating sea, searching in vain for the haven which would grant him the peace and serenity needed for his work.” Apart from its literary associations, Schumann’s work was a love letter in disguise. “Play my Kreisleriana sometimes!” he counseled Clara. “There’s a very wild love in a few movements, and your life and mine and many of your looks.”

key scheme, which alternates more or less regularly between minor and major keys. But Kreisleriana is permeated with an ambiguity, rhythmic as well as tonal, that highlights the music’s phantasmagorical atmosphere. Particularly in the first and last pieces, the underlying pulse is upset or obscured by changing metrical patterns and displacements of the downbeat. In the closing bars of the work, the music’s driving, frenetic energy dissipates and Kreisleriana ends with a subterranean whisper.

– Harry Haskell

A Deeper Listen Of the two fictitious alter egos that Schumann invented for himself, the impulsive Florestan takes center stage in the first piece, marked “extremely animated,” with its fierce, almost violent torrent of racing triplets in looping patterns, while the more reflective Eusebius comes to the fore in the lyrical, placidly undulating theme of the second piece (to be played “very inwardly and not too quickly”). The contrast in character is accentuated by Schumann’s Summer 2021

About the Artist.

Conrad Tao, piano Conrad Tao has appeared worldwide as a pianist and composer and has been dubbed a musician of “probing intellect and open-hearted vision” by The New York Times. He is the recipient of the prestigious Avery Fisher Career Grant and was named a Gilmore Young Artist — an honor awarded every two years highlighting the most promising American pianists of the new generation. As a composer, he was also the recipient of a 2019 New York Dance and Performance “Bessie” Award, for Outstanding Sound Design / Music Composition, for his work on More Forever, his collaboration with dancer and choreographer Caleb Teicher. Conrad Tao has recently appeared with the Los Angeles Philharmonic, Cleveland Orchestra, New York Philharmonic, and Boston Symphony. In 2020–21, he was the focus of a series of concerts and interviews with the Finnish Radio Symphony, performing Beethoven’s Piano Concerto No. 4 with Hannu Lintu and Andrew Norman’s Suspend with Sakari Oramo, live on television. While most performances in the 2020–21 season were canceled Caramoor

due to the COVID pandemic, he appeared with the Cincinnati Symphony and Louis Langrée, and returned to the Seattle Symphony to perform Beethoven Concerto No. 4. Further invitations included the National Symphony Orchestra, the San Francisco Symphony, New Jersey Symphony, and St. Paul Chamber Orchestra. His creation with Caleb Teicher, More Forever, commissioned by Works & Process at the Guggenheim, was planned for tours across the U.S., including Dance Cleveland and Fall for Dance, Toronto. Tao and Teicher’s latest collaboration for Works & Process, Rhapsody in Blue, kicked off the Guggenheim’s return to in-person performances and was lauded by The New York Times as “monumental.” The duo also gave the inaugural virtual recital of the season for Concerts from the Library of Congress. In the 2019–20 season, Tao was presented in recital by Carnegie Hall, performing works by David Lang, Bach, Julia Wolfe, Jason Eckhardt, Carter, Rachmaninoff, and Schumann. He also made his debut in recital at Walt Disney Concert Hall, where the L.A. Philharmonic presented him in works by Copland and Frederic Rzewski. Following his debut at Blossom Music Center, the Cleveland Orchestra invited Tao to perform at Severance Hall in a special program featuring music by Mary Lou Williams and Ligeti, and improvisation alongside pianist Aaron Diehl. After his debut with the Boston Symphony at Tanglewood,

his return date was canceled due to COVID; instead he was invited to give a streamed recital in their Great Performers series, where he played works by Felipe Lara, Crawford Seeger, Tania León, David Lang, and Beethoven. In the 2018–19 season, the New York Philharmonic and Jaap van Zweden gave the world premiere of Tao’s work, Everything Must Go. The European premiere will take place in 2021–22 with the Antwerp Symphony. Other recent performances of his compositions include his own performance of The Oneiroi in New York with the Seattle Symphony, and Spoonfuls with the IRIS Orchestra. His violin concerto for Stefan Jackiw will be premiered in the 2021–22 season.

artist and dynamic performer … played with enormous imagination, color and command.” His third album, American Rage, featuring works by Julia Wolfe, Frederic Rzewski, and Aaron Copland, was released in the fall of 2019. Tao was born in Urbana, Illinois, in 1994. He has studied piano with Emilio del Rosario in Chicago and Yoheved Kaplinsky in New York, and composition with Christopher Theofanidis.

Other recent highlights include Tao’s L.A. Opera debut in the West Coast premiere of David Lang’s adaptation of Thomas Bernhard’s the loser. In Europe, he has been presented by the Swedish Radio Symphony in recital and in Andrew Norman’s Suspend alongside Susanna Mälkki; he also recently returned to the Orchestra dell’Accademia Nazionale di Santa Cecilia, performing with Antonio Pappano. A Warner Classics recording artist, Tao’s debut disc Voyages was declared a “spiky debut” by The New Yorker’s Alex Ross. Of the album, NPR wrote: “Tao proves himself to be a musician of deep intellectual and emotional means – as the thoughtful programming on this album … proclaims.” His next album, Pictures, with works by David Lang, Toru Takemitsu, Elliott Carter, Mussorgsky, and Tao himself, was hailed by The New York Times as “a fascinating album [by] a thoughtful Summer 2021

Verona Quartet

David Fung, piano

Friday / July 16 / 8:00pm / Venetian Theater

Verona Quartet: Jonathan Ong, violin Dorothy Ro, violin Abigail Rojansky, viola Jonathan Dormand, cello David Fung, piano GIACOMO PUCCINI (1858–1924)

Crisantemi (Chrysanthmums) (1890)

GRAZYNA BACEWICZ (1909–1969)

Quintet for Piano and Strings No. 1 (1952) Moderato molto espressivo Presto Grave Con passione David Fung, piano

LUDWIG VAN BEETHOVEN (1770–1827)

String Quartet No. 14 in C-sharp Minor, Op. 131 (1826) Adagio, ma non troppo e molto espressivo Allegro molto vivace Allegro moderato Andante, ma non troppo e molto cantabile Presto Adagio quasi un poco andante Allegro

This concert was made possible, in part, by the Westchester Community Foundation, a division of The New York Community Foundation.

Help everyone enjoy the music. Please do not take photos or record any part of the performance, and remember to silence your mobile devices. On behalf of the artists and the rest of the audience, we thank you.

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About the Music. At a Glance

Giacomo Puccini, known for his operas La Bohème, Madama Butterfly, and Tosca, is definitely not typically associated with the genre of the string quartet, but his early one-movement work, Crisantemi, (“The Chrysanthmums”) composed in 1890, is both melancholy and moving. Presumably completed in only one night, he dedicated it to the memory of Prince Amadeo di Savoia, Duca d’Aosta and King of Spain, who died in mid- January of that year. Next, we are introduced to the work of a relatively rarely performed 20th century woman composer, Grazyna Bacewicz. Bacewicz became one of the most prominent Polish composers of the mid-20th century and was one of the most prolific female composers ever, producing over 200 compositions. The work to be performed in this concert, the eclectic Quintet No. 1 for piano and strings, encompasses widely disparate emotions and influences ranging from the folkloric to the Classical. The third and final work on the program, Beethoven’s String Quartet Op. 131, is one of his last works. Complex and demanding, this magnificent and moving work displays how Beethoven developed the string quartet genre in an experimental and dynamic fashion.

GIACOMO PUCCINI (1858–1924) Crisantemi About the Composer Italian composer Giacomo Puccini achieved worldwide fame and acclaim for his operas (among them La Bohème, Madama Butterfly, and Tosca) which are still among the most popular operas today. His work initiated the operatic trend toward realism. Puccini came from a family of church musicians who, for four generations, had composed religious music and were organists at the Cathedral of San Martino, Lucca’s religious heart. By 14, the young Puccini had taken up the family mantle and become the church organist of San Martino and was beginning to compose. When he was 18, Puccini had his epiphany moment when he and one of his brothers walked almost 20 miles to Pisa to attend a production of Verdi’s Aida and the world of opera opened to him. Two years later, in 1880, he moved to Milan and entered the Reale Conservatorio di Musica. At that time, Milan was the most important musical center of Italy; there the young Puccini could begin to satisfy his burgeoning interest in opera. Also at that period of time, German Romantic symphonic music was being performed in concert halls and also excerpts from Wagner’s operas were receiving a lot of attention. Academics and the younger generation were very interested in Wagner’s music and ideas Summer 2021

and were discarding the traditional Italian composers in favor of the new “symphonism” and “instrumental polyphonism.” Puccini’s work developed the realistic verismo style, of which he became one of the leading exponents; from vero, which means “true,” verismo was a post-Romantic operatic tradition that incorporated realistic plots and settings often with characters from the contemporary lower class. Like most composers of opera, Puccini experimented with other kinds of composition before he attained the maturity and expertise in which he could express himself in the operatic medium. Opera allowed him to demonstrate the depth of his talent and the great mastery of orchestral scoring that he had already achieved. Puccini never worked quickly, always searching for the right subject matter, one that would “make people weep.” Fame and fortune came with his successes; Puccini spent the next few years traveling internationally to attend productions of his operas and to ensure that the productions met his high standards. After 1904, his compositions appeared less frequently, and his personal life was often troubled: in 1909, a major scandal ensued after Elvira, his wife, falsely accused their maid, Doria Manfredi, of having an affair with Puccini. Puccini, a chain smoker, began to complain of chronic sore throats in 1923. Diagnosed with throat cancer, he was sent to Brussels for a new and experimental radiation treatment but died from posttreatment complications.

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About the Work One does not usually associate Puccini with chamber music, yet this work for string quartet is memorable. The elegiac work Crisantemi and the three Minuets that followed it are early Puccini and are the only chamber music he ever wrote. The very moving, melancholy elegy Crisantemi was published in March of 1890. According to a letter of Puccini to his brother, Michele, on February 6, 1890, it was first performed by the Campanari Quartet at the Milan Conservatory and in Brescia and was well received on both those occasions. Although Puccini never returned to writing for string quartet, he returned to this music in a different form: some of the most poignant moments in Manon, Acts III (the prison scene with Manon and Des Grieux) and IV (the death scene) are based on themes from Crisantemi. It is noteworthy that Puccini entitled this work Crisantemi as chrysanthemums are the flowers used for mourning in Italy. A Deeper Listen Crisantemi, Andante mesto, actually does retain the contours of a serious operatic interlude while also doubling as a successful string quartet. Throughout its one continuous movement, it is darkly colored and rhapsodic in structure. Principally, there are two quiet themes; one, emotional with sighing elements and with dramatic pauses, is highly chromatic; the second, contrasting with the first, is more flowing, yet darker in tone. In this work, Puccini uses melodies doubled at the octave as well as counterpoint and dynamic changes, to great effect.

GRAZYNA BACEWICZ (1909–1969) Quintet for Piano and Strings No. 1 About the Composer Initially regarded as an outstanding violinist who wrote music on the side, Grazyna Bacewicz came to be regarded not only as a gifted woman composer, but also as one of the most prominent Polish composers of the mid-20th century as well as an integral member of the underground music scene during World War II. Although her work is little performed today, she was admired and respected as an equal by her colleagues and adored by her public. She was an integral part of the mid-century Polish cultural world and helped to make the music of her country known throughout Europe. She, together with her musical compatriots, bridged the gap between the Neo-Romanticism of Szymanowski and the modernism of Lutosławski. As a child, Bacewicz studied violin, piano, and theory at a small conservatory in her native Lódz and gave her first public performances at the age of seven. At 19, she began to study philosophy at the University of Warsaw, but after a year decided to focus on music and enrolled in the Warsaw Conservatoire, where in 1932, she received diplomas in violin and composition. Karol Szymanowski recommended that she study at the École Normale de Musique with Nadia Boulanger in Paris, possibly because of a scholarship from composer Paderewski, who funded her trip to Paris and her study of violin with André Touret and composition with Nadia Boulanger. As a violinist,

she took first place in the 1935 Wieniawski Competition in Warsaw; simultaneously, she won prizes for her compositions. As a pianist, she presented the premiere of her Piano Sonata No. 2. By 1955, she stopped playing violin to devote more time to composing, but she also wrote fiction as well as music. She composed four symphonies, many string quartets and other chamber music, as well as a striking series of seven violin concertos mostly written for herself. One of the most prolific female composers that we know of, “the first lady of music” (as Bacewicz was labeled by one English critic) produced over 200 compositions including four symphonies, seven violin concertos, seven string quartets, five sonatas for violin and piano, concertos for piano, two pianos, viola, and cello, plus numerous works for chamber orchestra and for full orchestra. About the Work Piano Quintet No. 1, composed and premiered in 1952, is a tantalizing introduction to Bacewicz’s music as it encompasses widely disparate emotions. The Quintet followed immediately after her outstanding String Quartet No. 4 and shares with the quartet a sound world that embraces both folkloric impulses and classical principles. This quintet was hailed as a work of exceptional maturity in terms of its musical ideas and the ways in which those ideas were implemented; the work sounds like Bacewicz intentionally eschewed the latest academic trends of her time because she was more intent on giving voice to her innermost personal emotions in Summer 2021

neoclassical form. Without sacrificing her own strong sense of individual style, Bacewicz embraces the lateRomantic tradition with its gloriously lyrical themes and its inclusion of elements of folk songs and dances. The passion implicit in this work is evident throughout the piece. The commanding musical language which Bacewicz used for the quintet reflects the work’s classical form. In this complex work, Bacewicz’s technical skills and her utilization of the range of the instruments’ sonorities are evident. She tried to avoid classification of her style, even though it is largely neo-classical. She also attempted to appease the censors, who were always on the lookout to root out “formalistic” music after World War II, by following the recommended integration of Polish folk elements into her music. Bacewicz begins the impassioned first movement Moderato molto espressivo, in sonata form framed by a haunting introduction and ending with a coda. The movement is spirited and sometimes even playful, with a forward drive. The outer parts express pathos, which intermittently explodes with dramatic exclamations. The principal idea of the main body, Allegro, is expressed by the unison strings whose brilliance and virtuosity articulate the fragment-like figures, which reappear in each movement of the work. A controlled line in the unison strings serves as a background for the more driving energetic piano motif, as the music wavers between extroverted and introspective power. The piano motif returns for the second subject, heard first in the viola against a piano line of arpeggios. The central section is a rhapsodic development of earlier ideas, while the coda brings back the Caramoor

terse introduction in a varied guise. Magnificent contrasts are highlighted throughout. A second movement, Presto, a high-spirited vigorous scherzo-like movement with a fast tempo, is based on the stylized Polish round dance, the oberek, a dance that Bacewicz was particularly fond of and used in several of her other works. The oberek follows an ABA pattern as the piano sounds a declamatory statement and the strings answer with good spirits. As danced, the oberek includes short, quick steps (faster steps than the waltz) accents, lifts, and jumps. Here it appears with its characteristic syncopation and the persistent ostinato. The slow movement, Grave, begins with a heavy, elegiac, wistful introduction. This movement is lyrical in a neo-Romantic expressionistic kind of way. The heart of the quintet features what sounds like a funeral march. Uniform chorale sounds from the strings and oscillating semi-tonal chords in the piano may have roots in Polish hymnody. As the piano texture increasingly thickens, the music builds to a passionate climax, after which the opening material returns as the funeral march sounds slowly fade. The finale, Con passione, is, like the first movement, written in sonata form. Infused with the sounds of folk music, it is full of nervous energy. This movement’s life-affirming exhilarating music introduces the main theme fugally. Lyrical and introspective sections contrast with fast, energetic ones. The original string unison and a version of the initial piano motif from the first movement are reintroduced. The piece ends with a flourish, Grandioso.

LUDWIG VAN BEETHOVEN (1770–1827) String Quartet No. 14, in C# minor, Op. 131 About the Composer Beethoven is considered one of the most important figures in the history of music. His innovations are credited with widening the scope of the sonata, symphony, concerto, and quartet. He was the most important transitional composer connecting the Classical and Romantic periods. A prolific composer, he composed nine symphonies, choral music, piano music, string quartets and other chamber music, and one opera, Fidelio. In an almost superhuman achievement of creative genius, he created some of his greatest works after becoming totally deaf. His father, a musician at the Bonn court, taught his gifted and interested young son to play piano and violin. With a weakness for alcohol, his father, who thought he was creating a new Mozart-like child prodigy, often pulled the young Ludwig out of bed in the middle of the night, to suffer beatings if he did not comply when ordered to perform for his father’s drinking companions. When he was 13, Beethoven published his first set of piano pieces. In 1787, he journeyed to Vienna, apparently with the expectation of having lessons from Mozart, but he was forced to return home to care for his ill mother, who died a few months later. In 1792, he returned to Vienna, (where he would live the rest of his life) to study with Haydn, but the two did not get along; nevertheless, Beethoven quickly became recognized as a

brilliant keyboard performer and a gifted young composer. In 1795, he published his first mature works. Although publishers frequently sought out Beethoven, publishing practices of his time were corrupt; even though publishers paid composers for rights to their works, there were no copyrights or royalties, so Beethoven only received one initial payment for any work even though his works were often published in various editions. The biggest problem Beethoven encountered in his adult life was his failing hearing, which began to falter in his early years in Vienna. It became so severe that in 1802 he considered suicide, and a little more than a decade later, he gave up hope of performing publicly as a pianist. By 1818, he was no longer able to have conversations and was forced to communicate with visitors in writing. His deafness and his temper combined to give him a reputation as an unpleasant and difficult man, yet his deafness must have greatly affected his social intercourse. His musical output and his letters do confirm that he was not only self-conscious, but also completely immersed in his work. By the time he wrote his late works, no one had ever heard anything like them: they challenged the understanding of both audiences and professional musicians. He understood that reaction to them and remarked: “They are not for you, but for a later age.” About the work Between 1816 and 1826, Beethoven composed a series of extraordinary masterpieces: the Ninth Symphony and Missa Solemnis, five piano sonatas, and five string quartets, Ops. 127-135. Just prior to the appearance of these Summer 2021

works, his output had been slim, as the compositions of his middle years had exhausted the possibilities of the classical forms he had inherited from Haydn and Mozart. His final works required new subjects, new forms, and new powers of creation. Beethoven’s last quartets have such great density, combining concentration and tension with substance, that they puzzled musicians for generations. The technical and interpretative difficulties they presented were usually blamed on the composer’s deafness. Early critics thought that Beethoven had lost touch with musical reality, yet we now believe his deafness liberated him from concern with practicality and freed his imagination for greater invention. While unable to hear, he composed music characterized by its intellectual depth, formal innovation, and intense, highly personal expression. He composed Op. 131 as part of a group of three quartets dedicated to his faithful supporter, Prince Nikolas Galitzin, who organized the first performance of the Missa Solemnis, Op. 123, in St. Petersburg in 1824. His earliest sketch for the quartet dates from the last few days of 1825; Beethoven completed the quartet during July 1826. While he was composing it, he considered writing other types of compositions, specifically large choral works, (an oratorio, a requiem, or an opera) but string quartets were his final works. Writing the quartet required a supreme effort at a time when he was not only deaf but troubled by his general failing health as well as by the misadventures of his nephew, for whom he was responsible, and who was then threatening to commit Caramoor

suicide. Beethoven’s concern for his nephew was so great that he changed the dedication of this quartet, which he had intended for a personal friend, and inscribed it instead to Lieutenant Field Marshal Baron Joseph von Stutterheim, who took his problematic nephew into one of his regiments as an officer cadet. When he gave the completed score of this quartet to his publisher, he said that it was “stolen and assembled from various bits of this and that.” The publisher, in alarm, wrote him demanding assurance that the quartet was, in fact, new and original. He had apparently not looked closely at the music, for if he had, he would have understood Beethoven’s ironic jest. There could not have been anything as new as this quartet, which was totally without precedent. Huge in size and cast in entirely original shapes invented in the course of the writing, it exemplified how far Beethoven had outgrown the forms he had inherited from Haydn and Mozart. To invent and assemble this composition in six or seven months had been an astonishing creative feat: Beethoven’s notes and sketches for the work occupy three times as much paper as the finished work. This quartet seems somehow to be a great leap forward into the expressive world of the early 20th century as it creates much of the same kind of grandeur and profundity that Strauss and Mahler strove for in their huge orchestral scores. This quartet was Beethoven’s favorite; he rated it as his most perfect single work.

A Deeper Listen The quartet has seven distinct parts knit together into a continuous whole. Some scholars have claimed to reveal a nearly traditional four-movement structure as its base, but it seems more reasonable to accept Beethoven’s demarcations and consider the seven separately. The first movement is a mournful but majestic slow fugue, Adagio, ma non troppo e molto espressivo, which Wagner said, “shows the most melancholy sentiment ever expressed in music.” The second movement, Allegro molto vivace, begins with a key shift that was astonishing at that time; its form still puzzles music analysts today looking for the mold in which it was cast. It has been variously identified as a truncated sonata form or even a dance comparable to those in Baroque suites. All that remains important, however, is that it exists as a form of Beethoven’s own devising, which contains lyrical, wistful music of great appeal.

the quartet’s only more-or-less regular sonata form movement. The finale, a wild, dancing movement, has as its ancestor the finale of Beethoven’s Symphony No. 7. Some of the material also sounds distantly derived from this quartet’s own opening fugue. Here, as elsewhere in the work, there are tempo changes within phrases that are labeled rubato (meaning with expressive and rhythmic freedom), but instead of leaving them to the performers’ inclinations, Beethoven has actually written them into the music. Great themes simply flash by. The music races on until just before the end, when it slows, then speeds up again, closing with a few slashing chords.

– Susan Halpern

The third movement begins energetically, Allegro moderato, with two rapping chords, but it soon becomes an Adagio recitative introducing the glorious theme-andvariation fourth movement. The fourth movement begins with a new, flowing theme, Andante, ma non troppo e molto cantabile, which goes through seven variations. Only some of them are elaborations; others concentrate and reduce the theme to its very essence. The fifth, an expanded scherzo, Presto, has savage force; following the Presto, a brief slow song, Adagio quasi un poco andante, runs into the finale, Allegro, Summer 2021

About the Artists.

Verona Quartet Acclaimed for its “bold interpretive strength, robust characterization and commanding resonance” (Calgary Herald), the Verona Quartet has spellbound audiences worldwide, unlocking the secrets of the music through the “intimate way they communicate with each other and the audience.” (Boston Arts Fuse) Delicate craftsmanship, luminous sound, and a dramatic poise are all hallmarks of the virtuosity that fuses together violinists Jonathan Ong, Dorothy Ro, violist Abigail Rojansky, and cellist Jonathan Dormand to create the Verona Quartet. The group’s singular sense of purpose earned them Chamber Music America’s coveted Cleveland Quartet Award 2020, and a reputation as an “outstanding ensemble ... cohesive yet full of temperament.” (The New York Times) Deeply committed educators, the Verona Quartet serves as Quartet-inResidence at the Oberlin College and Conservatory in Oberlin, Ohio. A string quartet for the 21st century, the Verona Quartet champions the storied history of the string quartet alongside Caramoor

music that reflects the current world in which we live, including those commissioned and written for them by composers Julia Adolphe, Sebastian Currier, Corey Dundee, Texu Kim and Michael Gilbertson. The Verona Quartet has cultivated a dynamic approach to collaboration and programming that includes cross-cultural and interdisciplinary enterprises. Recent projects feature performances with dancers from Brooklyn’s Dance Heginbotham, artistic exchanges with traditional Emirati poets in the UAE, and collaborations with Grammy-winning folk supergroup I’m With Her. The Verona Quartet has appeared across four continents enchanting audiences at venues such as Carnegie Hall, Lincoln Center, Kennedy Center, Wigmore Hall, and Melbourne Recital Hall, in addition to appearing at festivals including Caramoor, La Jolla Summerfest, Chamber Music Northwest, Bravo! Vail, and the Chamber Music Society of Lincoln Center. As Ensemble-in-Residence with the Chamber Orchestra of the Triangle in North Carolina, the Verona Quartet curates the UpClose Chamber Music Series, bringing the visceral energy of classical music to diverse audiences in venues ranging from concert halls to craft breweries. The Verona Quartet was Caramoor’s 2017–18 Ernst Stiefel String Quartetin-Residence. In addition to their current Oberlin residency, the Verona Quartet holds residency positions at the Lunenburg Academy of Music Performance (Lunenburg, NS) as well as Indiana University Summer String Academy (Bloomington, IN). Each

year, reaching thousands of people, the Verona Quartet’s community and educational workshops inspire new listeners and performers through the joys of chamber music. The Verona Quartet rose to international prominence after rapidly sweeping top prizes at the Wigmore Hall, Melbourne, Osaka, M-Prize International Chamber Music Competitions, and the Concert Artists Guild Competition.

The ensemble’s “thoughtful, impressive” performances (Cleveland Classical) emanate from the spirit of storytelling; the Quartet believes that the essence of storytelling transcends genre and therefore the name “Verona” pays tribute to William Shakespeare, one of the greatest storytellers of all time.

Nico Muhly

Pekka Kuusisto

P E K K A KU U S I S T O, V I O L I N N I C O M U H LY, P I A N O Thursday, July 29 / 7:00pm / Venetian Theater Tickets start at $30 Finnish violinist Pekka Kuusisto and celebrated American composer Nico Muhly team up for an evening of musical exploration, ranging from traditional Finnish music to works by Muhly, Glass, and Pärt, and contemporary works. Kuusisto brings a fresh approach to the concert experience with “the most personal sound of any classical violinist now alive” (The Telegraph, London). Muhly has written over 100 works for the concert stage. T I C K E T S / caramoor.org / 914.232.1252 Summer 2021

and Waterloo; and his debut with the Tucson Winter Chamber Music Festival. He will also collaborate with Nico Muhly on a program of his music at Saint Thomas Church Fifth Avenue in New York City.

David Fung, piano Praised for his “ravishing and simply gorgeous” performances in The Washington Post, pianist David Fung is widely recognized for interpretations that are elegant and refined, yet intensely poetic and uncommonly expressive. Declared a Rising Star in BBC Music Magazine, Fung regularly appears with the world’s premier ensembles including the Cleveland Orchestra, Detroit Symphony, Israel Philharmonic, Los Angeles Philharmonic, National Orchestra of Belgium, San Diego Symphony, and San Francisco Symphony, as well as the major orchestras in his native country of Australia, including the Melbourne Symphony, Queensland Symphony, and Sydney Symphony. In the 2020–21 season, Fung made his Los Angeles Philharmonic debut alongside Yuja Wang and conductor Gustavo Dudamel in the Sound/Stage series at the Hollywood Bowl, returned to Caramoor with bass-baritone Dashon Burton, and headlined the 2020 WQXR Pride Celebrations in New York City. Highlights for the 202122 season include appearances with Tessa Lark and Joshua Roman with the Charleston and Niagara Symphony Orchestras as well as the Las Vegas Philharmonic; recitals in New York Caramoor

Fung’s highly acclaimed debut with the Cleveland Orchestra at the Blossom Music Festival was “everything you could wish for” (Cleveland Classical), and he was further praised as an “agile and alert interpreter of Mozart’s crystalline note-spinning” (The Plain Dealer). In the following week, he performed Rachmaninoff’s Rhapsody on a Theme of Paganini at the Beijing National Stadium for the Olympic Summer Festival. Festival highlights include performances at the Aspen Music Festival, Blossom Music Festival, Brussels Piano Festival, Edinburgh International Festival, Hong Kong Arts Festival, the Ravinia Festival, Tippet Rise, and Yeosu International Music Festival. In recent seasons, he has been presented in recital by Washington Performing Arts at the Kennedy Center, Lincoln Center’s Great Performers, the Louvre Museum, the Palais des Beaux-Arts in Brussels, the National Concert Hall in Taiwan, and the Zürich Tonhalle. Fung garnered international attention as laureate of the Queen Elisabeth International Music Competition in Brussels and the Arthur Rubinstein Piano International Masters Competition in Tel Aviv. In Tel Aviv, he was further distinguished by the Chamber Music and Mozart Prizes, awarded in areas in which Fung has a passionate interest. Fung is the first piano graduate of the Colburn Conservatory in Los Angeles and is a Steinway Artist.

Joan Osborne

Presented in collaboration with City Winery Friday, July 17 / 8:00pm / Venetian Theater

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About the Artists. first album of originals since 2014’s confessional Love and Hate. Osborne also produced Trouble and Strife, primarily recorded in her basement studio in Brooklyn and released on the label she founded in 1991, Womanly Hips.

Joan Osborne On her 10th studio album, the masterful Trouble and Strife, Joan Osborne has issued a clarion call. With stunning vocals, a diverse range of sonics, and incisive lyrics, this deeply engaging collection of new original songs is her response to “the crazy, chaotic times we’re living in,” she says, and “a recognition of the important role music has to play in this moment. Music has a unique ability to reenergize people and allow us to continue to hang on to that sense of joy of being alive.” Since she broke through 25 years ago with the multi-platinum Relish and its touchstone mega-smash One of Us, the seven-time Grammy nominee has never played it safe. Osborne has followed her restless musical heart, exploring a diverse range of genres: pop rock, soul, R&B, blues, roots rock, gospel, funk, and country — all of which can be heard on Trouble and Strife, along with the Western side of C&W and a touch of glam and disco. “For a lot of the record, we were going for a ‘70s AM radio vibe,” says Osborne. As for the lyrics, the songs “are the most political I’ve ever written,” she conveys of her Caramoor

Tackling serious subject matter in her writing while crafting music to “uplift,” Osborne assembled “a great live band” (including several musicians who played on her acclaimed last album, Songs of Bob Dylan): guitarists Jack Petruzzelli, Nels Cline, and Andrew Carillo, keyboardist Keith Cotton, bassist Richard Hammond, and drummer Aaron Comess. For vocal harmonies, she enlisted exquisite vocalists Catherine Russell, Ada Dyer, Martha Redbone, and Audrey Martells, whom she’s “had the great privilege to work with over many years.” The result is a Trojan horse of a record — music that is energizing, melodic, and hummable, with lyrics that call out the corrupt, the despicable and the destructive. Roots-rockin’ opener “Take It Any Way I Can Get It” inspires with the mandate “I’m still survivin’/ I got to be dancin,” propelled by a joyous gospel-tinged vocal attack backed by Wurlitzer and Southern-style intertwined guitars that dare you to sit still. She co-wrote the funky “Never Get Tired (of Loving You)” with Richard Hammond and her partner Keith Cotton, propelled by Cotton’s Prophet 6 synth, for her teenaged daughter: a message of stability in an uncertain world. “That song has a serious subtext,” says Osborne, but

its “cool, retro flavor hopefully makes it a joyful thing.” The gorgeous ballad “Whole Wide World” finds Osborne hitting impossibly high notes, its sound inspired by the Chi-Lites; its message “is about hanging on to hope and envisioning something better for the future.” Another early ‘70’s sound infuses the super-catchy “Boy Dontcha Know”: Osborne’s purring vocals are surrounded by a Spiders from Mars-era piano and Big Staresque Mando-guitar; its singalong lyrics look at gender nonconformity and the obstacles one faces when born female. Abuse of power is the subject of two of the angriest songs on Trouble and Strife, with their infectious sound imbuing the songs a la a wolf in sheep’s clothing: the bluesy stomp “Hands Off,” punctuated by distinctive guitar riffs, denounces corrupt exploiters of people and the planet. “That Was A Lie,” with scornful lyrics buffeted by buoyant pop rock, castigates “those camera-ready mouthpieces for corrupt officials,” according to Osborne. Texan Ana Maria Rea, whose family emigrated to America when she was a child, contributed spoken passages in her native tongue to the rhythmic “What’s That You Say.” “She tells the story of her family coming from Mexico City, where her father had been kidnapped, to the U.S. and how difficult that was,” says Osborne. “Her message is ‘I’m not afraid,’ and her mission is to help other people who are in the same position she was in. Ana Maria is a shining light of a person.” Escape from a place where “there’s nothin’ left alive” drives Osborne to “Panama,” a showcase of her vocal range expressing gut-punch lyrics

reminiscent of Dylan at his most vitriolic. But it is the Western-flavored title track that Osborne points to as the song most inspired by her “Dylanology” concerts that began in 2016 and led to her 2018 covers album, “If you spend that intensive time living with his songs, I think it just rubs off on you,” Osborne admits. “Trouble and Strife betrays the Dylan influence the most because of the odd characters coming in and out of these absurd situations (much like the ones we find ourselves in today).” Osborne’s years of experience as a seasoned road warrior are reflected throughout Trouble and Strife, the album. Her tenure with what she calls a “meat and potatoes rock ‘n roll band,” Trigger Hippy, shows up in “Meat and Potatoes,” a farewell collaboration with her former bandmates, cut in a Nashville studio: Written with Trigger Hippy bassist Nick Govrik, it features that group’s Southern-boogie groove. It’s a feelgood song extolling the virtue of downhome cookin’ — and lovin’. “It’s been quite the journey since the woman AllMusic.com declared “the most gifted vocalist of her generation” moved from small-town Kentucky to attend NYU film school in the 1980s. Osborne’s astounding voice drew attention when she joined the fun at open mic nights in downtown clubs, which eventually led to 1995’s Relish, “that rare breed of album where critical consensus, popular approval and enduring appeal unite,” according to American Songwriter. Since then, she’s performed with Motown’s revered rhythm section the Funk Brothers and toured with the Dead (where she first met and sang with Dylan). She’s harmonized with Summer 2021

Stevie Wonder at the Rock and Roll Hall of Fame, duetted with Luciano Pavarotti, and co-headlined a tour with the legendary Mavis Staples. She has amassed a loyal fan base as she’s continuously traveled the country. Through it all, she sees more clearly now than ever the essential role our troubadours play.

“I feel like music has this important job to do right now,” Osborne says. “Part of that job is to help imagine a better future — and to hang on to hope. I want to play for people and get them up on their feet and dancing. To let music do that thing it does — bring joy and energy because we really need that right now.” With Trouble and Strife, she intends to do just that.

The RT’s

Upstate

The War and Treaty

AMERICAN ROOTS MUSIC FESTIVAL Presented in Collaboration with City Winery

Saturday, July 24 / 1:30pm–8:00pm / Caramoor Grounds Tickets start at $45 and include the entire Festival Closing Set: The War and Treaty / Upstate / Kat Wright / The Martha Redbone Roots Project / Hubby Jenkins / The RT’s / Family Set: Reggie Harris T I C K E T S / caramoor.org / 914.232.1252

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Philharmonia Baroque Orchestra Sunday / July 18 / 4:00pm / Venetian Theater Richard Egarr, conductor and harpsichord Rowan Pierce, soprano CHRISTOPHER GIBBONS (1615–1676)

Fantasy in A Minor

JOHN BLOW (1649–1708)

“Welcome, Welcome Every Guest” from Amphion Angelicus “Peaceful is he and most secure” “Lovely Selina” Rowan Pierce, soprano

MATTHEW LOCKE (1621–1677)

Curtain Tune from The Tempest

HENRY PURCELL (1659–1695)

“Tell me, some pitying angel” (The Blessed Virgin’s Expostulation) “Music for a While” “Bess of Bedlam” Chaconne from King Arthur Rowan Pierce, soprano

(Program continued on following page)

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HENRY PURCELL (1659–1695)

Selections from The Fairy Queen Second Music: Aire Rondeau “If Love’s a sweet Passion” Dance for the Fairies Dance of the Haymakers Monkey’s Dance The Plaint: “O let me weep!” Third Act Tune: Hornpipe A Dance of the Followers of Night “See, even Night herself” Prelude “Hark! The Echoing Air!” Chaconne Rowan Pierce, soprano

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About the Music. At a Glance

This concert revels in the superb music of the English Restoration period during the second half of the 17th century. After Oliver Cromwell’s austerities were defeated, the pleasure-loving King Charles II ushered in a brilliant period of artistic creativity in theater and music, with the two art forms frequently joined together in English operas and masques. And musicians flourished to meet the opportunities. Though the lives of Christopher Gibbons, John Blow, Matthew Locke, and Henry Purcell spanned more than a generation, they all knew and influenced each other. The second half of this concert will be devoted to the youngest and greatest of them, Purcell, and to his finest musical/theatrical creation, The Fairy Queen of 1692. CHRISTOPHER GIBBONS (1615–1676) Fantasy in A minor The oldest surviving son of one of England’s greatest Renaissance composers Orlando Gibbons, Christopher Gibbons had to wait until after the end of Cromwell’s Protectorate to be able to fully reap the rewards of his talents as composer and organist. Trained by his illustrious father, he was appointed organist at Winchester Cathedral in 1638. But the English Civil War erupting in 1641 brought his career almost to a halt as the Puritans sacked the churches and his organ was destroyed by Cromwell’s soldiers.

During a hand-to-mouth existence as a Royalist musician in London, Gibbons collaborated with his fellow Royalist Matthew Locke to write one of England’s first theatrical masques, Cupid and Death, in 1653. Rewarding his loyalty, Charles II in 1660 favored Gibbons by appointing him as organist and chorus master at the Chapel Royal and Westminster Abbey, where he shone more as a performer than a composer. Among his students at the Chapel Royal was Henry Purcell. Although his music is rarely heard today, Gibbons wrote significant organ and sacred choral music, as well as some attractive consort music for small ensembles, including the Fantasy in A minor that opens today’s concert. JOHN BLOW (1649–1708) Three Songs Born just ten years before him, John Blow pursued a career in tandem with Purcell’s. As a boy, he like Purcell was selected as a chorister of the Royal Chapel and demonstrated his precocious composing skills with several sacred anthems. Taught there by Christopher Gibbons, he in turn trained Purcell when he arrived in the choir. In 1668, he was appointed organist at Westminster Abbey and would be succeeded in that post a decade later by Purcell. Though Blow was most admired for his sacred music, he wrote a short opera, Venus and Adonis, for King Charles II that was extremely popular at the court and was a significant inspiration Summer 2021

for Purcell’s later opera Dido and Aeneas. Blow also wrote quantities of secular and sacred songs of which we will hear three. Probably written for the feast of St. Cecilia, patron saint of music, “Welcome, Every Guest” is a spirited song contrasting English musical style with foreign influences (“your dainties from abroad”). In its middle section, Blow is happy to provide an animated Spanish dance with guitar and recorders, but gives the final prize to the soprano’s English virtuosity at the end. Telling the old story of innocence betrayed, “Lovely Selina” uses a lilting repeating bass melody to ground the soprano’s free-flowing lines. A sacred song “Peaceful is he and most secure” reflects the earlier style of the English lute song, in which words are beautifully painted and the instrumentalist and singer merge as equal expressive partners. MATTHEW LOCKE (1621–1677) Curtain Tune from The Tempest A fervent Royalist, Matthew Locke trained as a chorister at Exeter Cathedral under Edward Gibbons, Christopher Gibbons’ uncle, and there was drawn into the final struggle of Charles I to keep his throne (and his head) against Oliver Cromwell. In the early 1640s, Charles and Queen Henrietta chose Exeter as their sanctuary, and their son, later to restore the monarchy as Charles II, lived for several years close to Locke. At some point, Locke left with Prince Charles for The Netherlands, where he converted to Catholicism. In 1660 when he returned to the English Caramoor

throne, Charles II unsurprisingly chose him as a court composer for his 24 Violins and his wind ensemble. Locke also wrote the processional march for Charles’ coronation. Locke was a daring and original composer whose music deeply impressed the young Henry Purcell, who was later to write an ode mourning Locke’s death. Locke’s remarkable music for Dryden’s revision of Shakespeare’s The Tempest in 1674 was one of Purcell’s favorites and an inspiration for his own theater music. The “Curtain Tune” opens The Tempest, with a vivid musical portrait of the storm that sets the play in motion. It begins with an ominous calm before the storm, featuring foreboding dissonances as the chords rub against each other. Then a gradual accelerando and crescendo set the winds blowing with slashing fast scales imitating lightning. In this score, Locke used some of the earliest detailed dynamic markings indicating exactly the effects he wanted to produce. HENRY PURCELL (1659–1995) Selected works Though in his own day Henry Purcell was already considered the most gifted of the English composers, strangely as little is known about his life as is about Shakespeare’s. Even his birthdate is unknown as well as the exact identity of his father, although we do know he was born into a family of musicians associated with the English court. At about nine or 10, he became a boy chorister in the Chapel Royal. After his voice broke, he held a series of

increasingly important positions in the royal music establishments. In 1677, he was appointed a composer for the King’s 24 Violins and two years later at age 20 became the organist at Westminster Abbey. After 1685 when James II came to the throne and turned out to be an indifferent patron of the arts, Purcell began concentrating on writing incidental music for the thriving London theatre as well as creating several of the stunning British masques, a Baroque form that combined music, theatre, and dance with extravagant stage effects. When he died — of causes we do not know — at the premature age of 36 on November 21, 1695, he was mourned by London’s musical and theatrical establishment and buried with much ceremony at the foot of Westminster Abbey’s organ. Though he also wrote significant instrumental works, Purcell especially excelled in vocal music both for chorus and solo voice. In addition to writing independent songs, he included quantities of songs in his incidental music for the theatre. In publishing the posthumous collection of his songs, Orpheus Britannicus, in 1698, Henry Playford extolled Purcell’s “peculiar Genius to express the Energy of English words, whereby he mov’d the Passions of all his Auditors.” Purcell created a new standard for setting the English language — notorious for its bewildering variety of syllabic stresses and its over-abundance of consonants — with clarity and beauty. He was a master of “word illustration”: the art of conveying both the meaning of words and their emotional connotations through the imaginative use of melodic shapes, harmonic

colors, and rhythm. Fascinated with the florid vocal writing of the Italian composers of the 17th century, Purcell artfully used coloratura not merely for vocal display but to give stress and emotional color to significant words. Two of the Purcell songs Rowan Pierce will perform demonstrate the composer’s daring musical techniques for expressing extreme emotions. Setting a text by Nahum Tate, the librettist for Dido and Aeneas, “The Blessed Virgin’s Expostulation” dramatizes a scene found in the Gospel of Luke, in which the 12-yearold Jesus wanders away from his parents during a visit to the Temple at Jerusalem. Their frantic search for him finds him calmly discoursing with the priests of the Temple. Tate builds this short passage into a harrowing scene in which Mary is tormented by all the worst fears a mother of a lost child might experience, immensely amplified by the divine identity of this particular child. Purcell sets Mary’s fast-changing moods of hope and despair in the form of an Italianate solo cantata mixing passages of recitative and aria. Using jagged recitative, the song opens impatiently with Mary’s cries imploring some angel to tell her where Jesus has gone. Memories of the Holy Family’s perilous journey into Sinai to escape King Herod’s wrath culminate in furious coloratura on the word “tyrant’s” as she condemns Herod’s wicked court. The most powerful moments come with Mary’s repeated cries to Gabriel, the angel who told her she was bearing God’s Son, set on high G’s above a clashing instrumental series of chords. As her mood lightens twice to reminiscences of happier moments, the music shifts Summer 2021

into flowing arias in courtly dance style. The final recitative sums up her fear in a poignant melisma prolonging the syllable “O” — a heartbreaking summation of her anguish. Another celebrated song of a mind in extremis is “From Silent Shades,” subtitled “Bess of Bedlam,” from 1683, set to anonymous verse. Purcell captures the disordered mind of this woman driven insane by unrequited love through violent shifts in tempo, meter, melodic style, and mood. Purcell biographer Jonathan Keates writes: “Madness was invariably fascinating to the men and women of the 17th century, partly because it was so little understood and also because it seemed to present a glimpse of another world …” Quite different is the mesmerizing “Music for a While,” composed in 1692 for a revival of John Dryden’s play Oedipus, a retelling of Sophocles’ classic story. It is sung by one of the priests trying to summon the spirit of King Laius to name the person who murdered him. Purcell was a master of creating songs on a ground, or repeating bass pattern, over which the vocal line operates independently. Here the bass pattern relentlessly ascends while the vocal line droops soothingly downward. Before the we turn to music from Purcell’s The Fairy Queen, we will hear the regal Chaconne Henry Purcell created for the 1691 play King Arthur, also written by Dryden. Bearing little resemblance to the Arthurian tales we know, this allegorical play focused on an evil wizard representing a rival king who tries to destroy Arthur with alluring temptations, which, of course, make extravagant use of the Caramoor

spectacular scenic effects Restoration audiences loved. After Arthur subdues his enemies, the play closes with the Chaconne in F Major, a serene dance of peace achieved. Originating in the late 16th-century in Spain and Italy, this three-beat dance consists of variations built over a repeating harmonic pattern. Purcell was a great admirer of Jean-Baptiste Lully, Louis XIV’s court composer, and this piece is filled with French touches that pay tribute to him. HENRY PURCELL Excerpts from The Fairy Queen Premiered on May 2, 1692 at the Queen’s Theatre, Dorset Garden in London, The Fairy Queen contains the finest music Purcell wrote for the theater. It was a hybrid work built around a shortened version of Shakespeare’s comedy A Midsummer Night’s Dream, which largely omits the human figures lost by night in an Athenian forest while concentrating on the play’s fairy subplot starring the rulers of the Fairies, Titania and Oberon. Purcell did not write any music for the Shakespearean text; instead, he created the music for the dazzling masques — a mixture of music and dance enhanced by gorgeous costumes and scenery — that were inserted between the acts and were only loosely connected with the play’s events. These masques were designed to appeal equally to the eye as to the ear. As with many theatrical works in Purcell’s day, The Fairy Queen had an contemporary allegorical aspect: it paid tribute to England’s late 17thcentury rulers King William and Queen Mary with Titania and Oberon

meant to loosely represent them. Specifically, it was written to celebrate William and Mary’s 15th anniversary. The lavish scenery of Act IV’s masque includes a beautiful garden with fountains spouting water high in the air; this salutes William’s fascination with designing fountains. In a bit of a stretch, Act V’s masque is set in an exotic Chinese garden, honoring Mary’s love of Chinese porcelain and lacquered screens, as well as the new English mania for tea drinking.

Restoration audiences loved these numbers of anarchic comic relief.

The excerpts will not be played in sequential order as they occur in the play. Before the play began and while the audience was still taking their seats and chatting with each other, the First and Second Music was played. From the second of these preludes, we’ll hear the graceful, melodious “Air” scored for strings and a prominent solo oboe. It is followed by livelier “Rondeau,” a French court dance in three beats.

From Act V, “The Plaint” is one of Purcell’s most beloved arias, a song of love lost built over a downwarddrooping repeating ground-bass theme. However, scholars increasingly believe that it was likely composed by a different Purcell, Henry’s younger brother Daniel, and was added into The Fairy Queen’s score for the play’s revival in 1693.

Jumping to Act III, the next selection is “If Love’s a Sweet Passion,” a beautiful, subtly ornamented aria for soprano and chorus in minuet rhythm setting oxymoronic verse about the conflicting emotions of pain and pleasure love brings. Also from Act III’s masque, we hear two highly contrasting dances: “A Dance of Fairies,” an elegant, light-footed gavotte for these ethereal creatures, followed by the charmingly bumptious “Dance of the Haymakers,” with trumpets and drums stressing the rustics’ stumbling gait. Even clumsier is the following “Monkeys’ Dance” from Act V, with its grotesquely low bass part accompanying clownish gymnastic feats from the dancers. To balance the emphasis on courtly elegance in these masques,

Representing the reconciliation of Titania and Oberon after their quarrel, Act IV displayed spectacular scenery: fountains, cypress trees, and statues surrounding a grand staircase. This visual feast was echoed by the opening Symphony with its majestic music for trumpet and drums interspersed with slower and very beautiful music for the other instruments.

Returning to Act II and Titania’s bower in the forest, we hear some of this work’s most unusual music: the arrival of Night and her followers Mystery, Secrecy, and Sleep come to lull Titania into dream-filled slumber. Night sings a slow aria of enchantment over eerie music in C minor for muted strings. This is followed by the beautiful “Dance of the Followers of Night”: a grave, slowly circling dance set as a double canon. This is Purcell’s salute to Matthew Locke, who in his music for The Tempest created a similar double-canon piece. Despite an interlude of anguish in “The Plaint,” Act V is a scene of triumphant love as the three pairs of lovers, freed from their nocturnal struggles, are wed at the close of Shakespeare’s comedy — and simultaneously a salute to William and Summer 2021

Mary’s wedding anniversary. It contains one of Purcell’s most brilliant arias, “Hark! The Echoing Air,” with the soprano’s exuberant coloratura mimicking the fanfares of a trumpet. The gorgeous Chaconne for dancing couples that closes The Fairy Queen mirrors the Chaconne from King Arthur that opened this program’s second half. Its regal main

theme is poised against fascinating episodes of softer viol music and epitomizes the musical splendor that Henry Purcell could summon for his enraptured audiences.

A P O L L O ’ S

– Janet E. Bedell

F I R E

Sunday, August 1 / 3:00pm / Venetian Theater Tickets start at $40 Apollo’s Fire, Cleveland’s Baroque Orchestra, and Jeannette Sorrell return with a program of Venetian treats, including fiery concertos by Vivaldi, as well as gorgeous songs by Monteverdi. Vivaldi’s stormy “Summer Concerto” from The Four Seasons sets sparks flying. Barbara Strozzi’s haunting lament “Che si può fare” (“What can you do?”) sheds light on the feminist soul of the 17th century. T I C K E T S / caramoor.org / 914.232.1252

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About the Artists.

Richard Egarr, conductor Richard Egarr brings a joyful sense of adventure and a keen, enquiring mind to all his music-making, whether conducting, directing from the keyboard, giving recitals, playing chamber-music, and indeed talking about music at every opportunity. Music Director of the Academy of Ancient Music (AAM), Principal Guest of the Residentie Orkest in The Hague, and Artistic Partner of the Saint Paul Chamber Orchestra, Egarr begins as Music Director of the Philharmonia Baroque Orchestra and Chorale in the 2020-21 season, finishing with AAM in Summer 2021 after 15 years at the helm. He was Associate Artist with the Scottish Chamber 2011–17, and has conducted many symphony orchestras such as the London Symphony, Royal Concertgebouw, and Philadelphia Orchestra. This season Egarr conducts repertoire ranging from Bach through Mozart, Dussek, Beethoven, and Brahms to Rossini and Elgar, guesting with orchestras such as the St. Louis Symphony, Luxembourg Philharmonic, and City of Birmingham Symphony.

Early in his tenure with AAM, Egarr established the Choir of the AAM; operas and particularly Handel’s oratorios lie at the heart of his repertoire. He made his Glyndebourne debut in 2007 conducting a staged version of St Matthew Passion. With AAM at the Barbican, he has conducted Monteverdi and Purcell cycles, La Finta Giardiniera and (in 2019) Nozze di Figaro – the latter also at the Grange Festival. He regularly gives solo harpsichord recitals at the Wigmore Hall and Carnegie Hall, and his extensive discography on Harmonia Mundi includes solo keyboard works by Bach, Handel, Mozart, and Couperin, and latterly discs for Linn Records of Byrd and Sweelinck. His long list of recordings with the Academy of Ancient Music includes seven Handel discs (which have won a 2017 Gramophone Award, a 2009 MIDEM Award, as well as an Edison Award), and J.S. Bach’s St. John and St. Matthew Passions. In 2019 AAM Records released a new edition under Egarr’s supervision of Handel’s rarely performed Brockes Passion, to widespread praise. Egarr trained as a choirboy at York Minster, at Chetham’s School of Music in Manchester, and as organ scholar at Clare College Cambridge. He taught for many years at the Amsterdam Conservatoire and is currently Visiting Professor at the Juilliard School.

Summer 2021

Rowan Pierce, soprano Yorkshire born soprano Rowan Pierce was awarded the President’s Award by HRH Prince of Wales at the Royal College of Music in 2017. She won both the Song Prize and First Prize at the inaugural Grange Festival International Singing Competition in 2017, the first Schubert Society Singer Prize in 2014, and the Van Someren Godfery Prize at the Royal Conservatory of Music. She was a Britten Pears young artist, a Rising Star of the Orchestra of the Age of Enlightenment, and a Harewood Artist at English National Opera. Pierce has appeared in concert throughout Europe and South America. She performs regularly with ensembles including the Academy of Ancient Music, Gabrieli Consort, Scottish Chamber Orchestra, BBC Scottish Symphony Orchestra, City of Birmingham Symphony Orchestra, Orchestra of the Age of Enlightenment, and Royal Northern Sinfonia. Pierce made her BBC Proms debut at the Royal Albert Hall in 2017 with the OAE and returned in 2019 for Handel Jephtha with the Scottish Chamber Orchestra. She made her Wigmore Hall debut with the London Handel Players and returned with Florilegium in the 2019–20 season. Caramoor

Other recent highlights include performances with the Rotterdam Philharmonic, the Royal Liverpool Philharmonic Orchestra, Freiburg Baroque, Gabrieli Consort, La Nuova Musica, Polyphony, Royal Scottish National Orchestra, Early Opera Company, and the Bournemouth Symphony Orchestra. Visits to the U.S. in 2019 included appearances at Lincoln Center, and the Kennedy Center. On the opera stage, Pierce has performed Drusilla in Monteverdi’s L’incoronazione di Poppea, Susanna in Mozart’s The Marriage of Figaro, Miss Wordsworth in Britten’s Albert Herring, and Princess in Ravel’s L'enfant et les sortilèges, among many other major roles. In 2019 Pierce made her debut at the Buxton Festival in the role of Papiria in Lucio Papirio Dittatore by Caldara with La Serenissima; she also performed the roles of Quivera and Orazia in The Indian Queen with Opéra de Lille under Emmanuelle Haïm. Also in 2019, she appeared in the Edinburgh International Festival with the English Concert as Amore in Gluck’s Orfeo. Her future engagements include performances with the Gabrieli Consort, Herrenhausen Barock, Ensemble Alia Mens in France as well as concerts with Philharmonia Baroque, further performances of the Indian Queen with Emmanuelle Haïm for the Théâtre de Caen, Antwerp Opera and the Opéra de Luxembourg, and her Glyndebourne debut performing Oberto in Alcina. Although Pierce has been much acclaimed for her interpretation of Baroque and Early Music, she has also been applauded for her performances of a wider repertoire including English

song and Lieder by composers such as Mahler, Richard Strauss, Vaughan Williams, and Britten. She has also premiered works by composers including Iain Bell, Julian Philps, and Alex Woolf. Her discography includes Purcell’s The Cares of Lovers with Richard Egarr and William Carter (Linn Records), 2019 BBC Music Magazine Opera Award winner Acis and Galatea with the Early Opera Company / Christian Curnyn (Chandos), An English Coronation and King Arthur (BBC Music Magazine Opera Award nominee 2020) with the Gabrieli Consort / McCreesh (Signum), Vaughan Williams Symphony No. 7 ‘Antartica’ with the RLPO / Manze (Onyx). Future plans include a disc of Schubert songs with Roderick Williams and Christopher Glynn.

Summer 2021

Philharmonia Baroque Orchestra & Chorale Under the musical direction of Richard Egarr in his second season as Music Director, Philharmonia Baroque Orchestra & Chorale (PBO) is recognized as “America’s leading historically informed ensemble” (The New York Times). Considered the most versatile ensemble of its kind, and performing on period instruments, PBO presents repertoire ranging from early Baroque to late Romantic, as well as new works and major operatic productions. The ensemble engages audiences through its signature Bay Area series, national and international tours, recordings, commissions, and education programs. Having celebrated its 40th anniversary last year, PBO was founded by Laurette Goldberg and led by Music Director Laureate Nicholas McGegan for the past 35 years. Philharmonia is the largest ensemble of its kind in the United States. PBO’s musicians are leaders in historical performance and serve on the faculties of The Juilliard School, San Francisco Conservatory of Music, Harvard, and Stanford. It welcomes eminent guest artists including mezzo-sopranos Susan Graham and Anne Sofie von Otter, countertenors Anthony Roth Costanzo and Aryeh Caramoor

Nussbaum Cohen, violoncellist Steven Isserlis, and maestros Jonathan Cohen and Jeannette Sorrell. PBO enjoys longstanding artistic collaborations with The Juilliard School, the Mark Morris Dance Group, and the American Modern Opera Company (AMOC), and appears regularly at Disney Hall, Lincoln Center, Norfolk Chamber Festival, and Tanglewood. In collaboration with Cal Performances in 2017, PBO produced a fully-staged period opera, Rameau’s Le Temple de la Gloire, and produced a fully-staged, reimagined production of Handel’s Aci, Galatea e Polifemo directed by Christopher Alden and featuring countertenor Anthony Roth Costanzo, bass-baritone Davóne Tines, and soprano Lauren Snouffer in eight sold-out performances in January 2020. Aci was named Best Operatic Performance in the Bay Area by San Francisco Classical Voice in 2020. PBO also co-produced Aci with National Sawdust in Brooklyn, Cath Brittan, and Anthony Roth Costanzo in 2017. Among the most recorded orchestras in the world, PBO boasts a discography of nearly 50 recordings, including a coveted archival performance of mezzo-soprano Lorraine Hunt Lieberson in Berlioz’s Les Nuits D’été, and a Grammy-nominated recording of Haydn symphonies. The orchestra released the world premiere recording of the original version of Rameau’s Le Temple de la Gloire with the unedited libretto by Voltaire in 2018. In 2020, PBO released three groundbreaking recordings: a full collection of commissioned works by Pulitzer Prize winner Caroline Shaw, a selection of arias sung by rising star contralto Avery Amereau, and Handel’s Saul with countertenor Aryeh Nussbaum Cohen.

Philharmonia Baroque was the first orchestra in the San Francisco Bay Area to commission Caroline Shaw. Shaw wrote four works for Anne Sofie von Otter and the orchestra, including a major choral work. The first work premiered at LA’s Disney Hall; the last at Lincoln Center.

The Players And Their Instruments

The award-winning Philharmonia Chorale is critically acclaimed for its brilliant sound, robust energy, and sensitive delivery of the text. Formed in 1995, the Chorale provides a vocal complement whose fluency in the stylistic language of the baroque period matched that of Philharmonia Baroque Orchestra. Founded by John Butt, a baroque keyboardist and one of the world’s leading Bach scholars, the Chorale was led by Lamott from 1997 to 2020. In 2019, Handel’s Saul was named Best of the Bay’s “Best Choral Performance” by San Francisco Classical Voice.

VIOLIN

Philharmonia is the only major orchestra in the United States with a permanent initiative dedicated to exploring the relationship between Jews and music from the 17th to the 21st centuries. The organization launched one of the most successful alternative concert series in the country, SESSIONS, in 2015 with fully sold out performances, and launched In the Office in 2019 in partnership with the advertising agency Goodby, Silverstein & Partners. During the pandemic, the organization has presented more than 100 virtual programs, including the popular Live from Amsterdam with Music Director Richard Egarr, and What’s New and HIP with Tarik O’Regan and Richard Egarr, focused on notions surrounding new music.

Philharmonia’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin.

Carla Moore, concertmaster Johann Georg Thir, Vienna, Austria, 1754 Egon & Joan von Kaschnitz Concertmaster Chair Jolianne von Einem † Rowland Ross, Guildford, England, 1979; after A. Stradivari Lisa Grodin Paulo Antonio Testore, Contrada, Larga di Milano, Italy, 1736 Toma Iliev Anonymous, Germany, 18th century Katherine Kyme Carlo Antonio Testore, Milan, Italy, 1720 Tyler Lewis Anonymous, Italy, c. 1800 Anthony Martin Thomas Oliver Croen, Walnut Creek, California, 2005; after F. Gobetti, Venice, Italy, 1717 Maxine Nemerovski David Tecchler, Rome, Italy, 1733 Noah Strick Celia Bridges, Cologne, Germany, 1988

Summer 2021

VIOLA Jessica Troy * Timothy Johnson, Hewitt, Texas, 2006; after Andrea Guarneri, Cremona, Italy c. 1676 Maria Ionia Caswell Anonymous, Mittenwald, Germany, c. 1800 Ellie Nishi Anonymous, Germany, 18th Century VIOLONCELLO William Skeen bc Anonymous, Northern Italy, ca. 1680 Phoebe Carrai Anonymous, Italy, c. 1690 Osher Cello Chair Endowment DOUBLE BASS Kristin Zoernig bc Joseph Wrent, Rotterdam, Holland, 1648 THEORBO Adam Cockerham bc Klaus Jacobsen, London/Turin, 2017; after Sellas HARPSICHORD Richard Egarr bc 1993 Way Franco Flemish Double provided by Baroque Keyboards * Principal † Principal 2nd Violin bc Continuo

Caramoor

Highlights of Our Recent Special Events.

An Evening of Wine performance on Pavilion Plaza.

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 year. The Evening of Wine in May 2021 was our first event at Caramoor since December 2019, and it was a colorful and energetic success! Guests celebrated on our new Pavilion Plaza and celebrated the great vintages of the 1960s and 1970s, all while raising funds for our education and community programs. We were thankful to kick off our Summer Season with our Opening Night Gala and we look forward to the return of a live Cabaret in the (actual) Music Room in the fall. Caramoor is grateful to the event committees and patrons that helped guide us in making sure these occasions were memorable and successful.

For our Cabaret benefit, Laura Osnes and Tony Yazbeck celebrated Gershwin in a livestream from the Music Room. Caramoor

Laura Osnes serenaded audiences in their homes with a favorite Gershwin song during our livestream Cabaret. / 20

Keeley Peckham & Mykola Ianchenko and Hillary Peckham & Maren Hall-Wieckert enjoying cocktails at the Wine Dinner.

Amy Parsons and Paul Bird in their finest hint of hippie attire.

Bob Wyckoff receives the first pour of the champagne.

Grooving the night away.

SAVE THE DATES!

Jim Attwood and Leslie Williams with their guests at the WIne Dinner.

October 23, 2021 Cabaret in the Music Room December 4, 2021 Benefit Dinner in the Rosen House Events@caramoor.org / 914.232.1492

Pat and Ian Cook perusing items at the auction table.

Caramoor

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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 access to the best seats first during our Members’ pre-sales. Support our music community and elevate your Caramoor experience all year long. caramoor.org/support

Caramoor

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Leave a Legacy.

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.

Caramoor

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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 Floy & Amos Kaminski Caramoor

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 / 24

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 Caramoor

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 / 25

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 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 / 26

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 Caramoor

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 / 27

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.

Caramoor

The 2021 Summer and 2021 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.

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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 Caramoor

Those of our Caramoor Community lost to Covid19 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 / 29

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 Ilse L. Schweizer§ 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 Jonathan and Priscilla Clark Fund for Classical Music 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. Hoffman Foundation 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 Education and Community Outreach Fund Gardens & Estates Innovation Fund Piano Performance Renaissance Days Rosen House Concert Fund 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. Caramoor

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Thank You to Our Caramoor Volunteers. Our volunteer docents lead tours telling the story of the historic Rosen House, the furnishings and architecture, and the family that lived here. Thank you to our wonderful docents. Sandy Adelman Andrea Becker Marie Bosch Miriam Messing Curtin Tess Dennis Joyce Dupee

Mary Farley Grethe Griffin Randy Hans Lois Intravio Barbara Jacobi Antoinette Kish Heidrun Kreuziger

Oliver Lednicer Matthew Mattoon Sylvia Mills Anne Modugno Esther Natter Eleanor Raheem Jehan Raheem

Judy Rath Clifford Ray Elizabeth Ross Judy Rubin Dale Schlein Jackie Silkowitz Lanette Spalding

We wish to thank all of the wonderful volunteers who have offered their time to Caramoor. Mickey Amdur David Amerling Galina Bakhtiarova Jane Banza Patricia Bartlett Andrea Becker Virginia Bender Judith Benjamin Gail Blumenfeld Nucene Blumenthal Gretchen Bock Arlyne Boxenhorn Lynne Brennan Diane Brizer Florence Brodley Vicci Buchman Carolyn Chiarieri Carol Christian Deborah Cohen Kathleen Cook Dorothy Cooper Marion Coughlin Tom Curley Elaine Desimone Walter Dietrich Frances DiMase Dorothy Dinhofer Jane Dorian Judy Edison Sally Factor Grace Falco Barbara Feibelmann Lois Fermann Luis Fernandez Marilyn Fisher Paul Fisher Marlene Frank Robert Fried

Donald Fried-Tanzer Nancy Fried-Tanzer Thea Fry Suchitra Ganesh Sheila Garelik Zane Garfein Michele Garrison Roger Garrison Anneliese Gastrich Paul Gherson Patricia Giacalone Kate Glynn Marie Goldberg Laurence Goodwin Susan Gould Allen Gutkin Marianne Haggerty Carol Harrigan Nancy Harrison Ursula Heinrich Elaine Hennessey Mindy Hermann-Zaidins Elfi Herrmann Patricia Higgins Audrey Hoffnung Lois Intravio Bhavani Iyer Patricia January Marjie Kern Veronica Kimball Harriette Kindle Shirley Kipnis Charlie Koenig Helen Kozupsky Marilyn Krantz Jacob Krasikov Sophia Krasikov Mark Lang

Charlotte Lang Frances Lang Genevieve Larkin Scott Lichtman Tamra Lichtman Wendy Loveless Anne Macrae William Macrae Lois Mallin Meryl Marcus Elaine Markfield Matthew Mattoon Andrea Maurizio Ann McIntyre Eve Mencher Susan Miles Jane Miller Marc Miller Marjorie Miller Richard Mills Jennifer Millman Andrea Minoff Stella Mitchell Barbara Mitchell Andrea Moffett John Morris Loretta Neuhaus Elinor Parsont Amy Passman Lewis Levi Pearson Rhoda Perkis Jeff Platt Lynn Platt Lucille Plesco Ramaa Purushothaman Judy Rath Beatrice Rieser Sal Rosati

Marion Rosley Elizabeth Ross Bert Rothman Ellen Saltzman Susan Sarch Alfreda Savarese Joan Schildwachter Robert Schloss Stephanie Schwartz Rosalyn Segner Anna Sheridan David Shields Karin Shields Marilyn Short Susan Siegel Jacqueline Silkowitz Brenda Snyder Carol Sofia Judith Spar Martin Spar Joetta Stanley John Stanley Peter Steiner Marianne Sternkopf Lisa Tabs Mark Tabs Lindley Thomasset Marilyn Tinter Bernard Tolpin Diane Tully Gennaro Stephen Ucko Cigdem Usekes Rosemary Uzzo Judy Voss Esther Weiss Harriet Zeller

We honor the following volunteers no longer with us who have graciously given their time and talents to Caramoor: John Baker Norma Gray Susan Taylor

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Caramoor’s Leadership As of January 5, 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 Debbie Stiles Alden L. Toevs Lucille Werlinich

Barry J. Alperin* James L. Amine* David Barber Jon Bauer* Gail A. Binderman Ian Cook* William Cordiano* Jane Donaldson 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 Edward J. Lewis, III, President and Chief Executive Officer Liat Greif, Executive Assistant & Board Liaison Artistic Programming Kathy Schuman, Vice President and Artistic Director Ellie Gisler Murphy, Senior Artistic Planning Manager Tim Coffey, Artistic Planning Manager Artistic Partners Jazz at Lincoln Center City Winery Orchestra of St. Luke’s, Orchestra-in-Residence Stephan Moore, Sonic Innovations Steven Blier, Terrance W. Schwab Vocal Rising Stars Pamela Frank, Evnin Rising Stars Development Nina Curley, Vice President & Chief Development Officer Christina Horzepa, Grants Manager Brittany Knapp, Membership Assistant and Donor Concierge Junetta Maxfield, Director of Development Operations Jennifer Pace, Director of Individual Gifts Gayle Schmidt 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 Brittany Laughlin, Director of Marketing & Communications 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 Erin Hurley, Event Operations Assistant

Caramoor

Gardens & Grounds Milton Alvarez, Facilities Superintendent Rosa Alvarez, Facilities Housekeeping Assistant Lucio Alvarez, Facilities Crew Jose Cardenas, Facilities Crew Saul Jarrin, Housekeeping Assistant & Facilities Crew Agencies/Consultants 21C Media Group, Public Relations AAN Studio, Graphic Designer Blenderbox, Website Management Capacity Interactive, Digital Marketing Gabe Palacio, Principal Photographer Barbara Prisament, Media Relations & Outreach Consultant Progressive Computing, IT Consultant Spektrix, Ticketing Service & Support Technical Direction & Production Ed Greer, Technical Director Pete F. Petrino, Lighting Designer DJ Grant, Chief Audio Engineer Pete Weigand, Lighting Programmer Michael Campbell, Master Electrician Jesse Jardon, Stage Manager Sue Hoferichter, Hospitality Manager Technical Crew Mike Alvarez, Jesse Barone, Kaitlyn Chen, Matthew Ficinus, Lorin Francis, Caroline Jannace, Samuel Johnson, Phil Manzi, Jay McCarthy, Carleigh Meyer, Erik Oliva, Christina Payson, Matthew Rodriguez, Adam Romano, Jason Spoor Summer Parking Coordinators Jack Bouffard, Corey Travis Summer Box Office Staff Jools Dembo, Lexi Dembo Summer Assistant House Managers Eamon Fernandez, Marianna Ceccatti Summer Guest Relations Staff Stuart Betheil, Lucas Colleluori, Leah Cunningham, Jonah Da Silva, Nina Foster, Tristan Galler, Katie Gebbia, Luc Giner, Riley Henshaw, Alexander Hooper, Tyra Kushner, Jack Loeffler, Caroline Malley, Sasha Medile, Carmen Mickelson, Sarah Morea, John Myers, Lily Oyen, Troy Panek, Owen Rabii, Willa Roberts, Robin Rockwell, Joelle Sacks, Dayanara Salinas, Holly Solomon, Bennett Tropiano, Maya Van Rosendaal, Casey Wilcox, Harrison Wyckoff, Daniel Zitomer

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ENTER FOR A CHANCE TO WIN DINNER FOR TWO AT BLUE HILL AT STONE BARNS COMPLIMENTS OF T-MOBILE T-Mobile is a proud sponsor of Caramoor’s Friends Field Concerts— Concerts on the Lawn and Festival days.

SCAN TO ENTER OR VISIT https://bit.ly/3gPYteN

T-Mobile, the T logo, Magenta and the magenta color are registered trademarks of Deutsche Telekom AG. ©2021 T-Mobile USA, Inc. NO PURCHASE NECESSARY. A PURCHASE WILL NOT INCREASE YOUR CHANCES OF WINNING. VOID WHERE PROHIBITED. Legal residents of US/DC/PR, age 18+. Entry Period: Multiple, between 12:01 a.m. ET on 6/26/21-11:59 a.m. ET on 8/30/21. Limit one entry per person per Entry Period. Odds of winning depend on number of eligible entries received. See complete Official Rules available at https://www.tmoevents.com/participants/public/register/ FINAL. Sponsor: T-Mobile USA, Inc., 12920 SE 38th St., Bellevue, WA 98006.

Caramoor

More to Come! Fall-Spring 2021-2022 Announced July 20 / Members Pre-sale* July 27 / General public August 3 Call the Box Office at 914.232.1252 or order online at caramoor.org *Become a Member and gain access to the best seats available first! Visit caramoor.org/membership

2021 Summer Program Book: July 15-18

Articles inside

Thank You to Our Volunteers

Caramoor Leadership

Become a Member

Meet Caramoor’s new CEO, Edward J. Lewis III

Introducing in“C”, Trimpin’s new sound art sculpture

Thank You to Our Donors

Playing to Caramoor’s Strengths by Kathy Schuman

Updating the Rosen House for the 2021 Season by Roanne Wilcox