2021 Summer Program Book: June 24 - 27

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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

General Information 914.232.5035

Caramoor Grounds & Performance Photos Gabe Palacio Photography, Katonah, NY gabepalacio.com

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

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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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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

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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

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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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Nathan & the Zydeco Cha Chas

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Concert on the Lawn

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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

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July 16 July 18 July 23 July 25

M U S I C

CONCERTS ON THE LAWN

July 30

August 1 August 8

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Flor de Toloache Della Mae

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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.

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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.”

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Playing to Caramoor’s Strengths.

Site-specific programs highlight Caramoor’s unique setting

By Kathy Schuman, Artistic Director

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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.

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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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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!).

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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.

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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!

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Updating the Rosen House for the 2021 Season

By Roanne Wilcox, Director of the Rosen House

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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.

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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.

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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

PUBLIQuartet Thursday / June 24 / 7:00pm / Venetian Theater Curtis Stewart, violin Jannina Norpoth, violin Nick Revel, viola Hamilton Berry, cello WHAT IS AMERICAN? JESSIE MONTGOMERY (b. 1981)

Voodoo Dolls (2008)

PUBLIQUARTET

Mind | The | Gap: Free Radicals (2021) Improvisations on “Law Years” and “Street Woman” by Ornette Coleman

VIJAY IYER (b. 1971)

Dig The Say ­— for James Brown, 1933–2012 (2012) I. carry the ball IIa. this thing together IIb. up from the ground III. to live tomorrow

PUBLIQUARTET

Mind | The | Gap: What is American (2016) Improvisations on Antonin Dvorak’s “American” Quartet (Op. 96) Allegro ma non troppo Lento Molto Vivace Finale. Vivace ma non troppo

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.

Caramoor

Summer 2021

About the Music.

WHAT IS AMERICAN? JESSIE MONTGOMERY (b. 1981) Voodoo Dolls (2008) Written by PUBLIQuartet’s founding violinist Jessie Montgomery for Rhode Island’s JUMP! Dance Company, Voodoo Dolls presents an ever-shifting texture of propulsive rhythms and percussive sounds, which serves as a backdrop for improvised solos by each violinist.

Montgomery says of the piece, “The choreography was a suite of dances, each one representing a different traditional children’s doll: Russian dolls, marionettes, rag dolls, Barbie, voodoo dolls… The piece is influenced

by West African drumming patterns and lyrical chant motives, all of which feature highlights of improvisation within the ensemble.”

The frenetic opening and closing sections bookend a somewhat calmer middle, in which the players pass around a melody that evokes the blues tradition.

MIND | THE | GAP: Free Radicals (2021) Improvisations on “Law Years” and “Street Woman” by Ornette Coleman This work marks the latest iteration of PUBLIQuartet’s MIND | THE | GAP project, in which they use improvisation and group composition Caramoor

to make connections across genres and among musical voices. Here, they drew inspiration from two tracks from Ornette Coleman’s 1971 album Science Fiction: “Law Years” and “Street Woman.” In the process of putting together these improvisations, they sought to collage Coleman’s motives in a way that balances structure and freedom, and which recalls the joyfully chaotic energy of the original recordings.

This reflection on Coleman’s music also finds resonance between his philosophy of Harmolodics – in which “harmony, melody, speed, rhythm, time, and phrases all have equal position in the results that come from the placing and spacing of ideas” – and the contrapuntal style of J.S. Bach.

VIJAY IYER (b. 1971) Dig The Say (2012) Commissioned by Brooklyn Rider in 2012, Vijay Iyer’s Dig The Say is an homage to the “Godfather of Soul,” James Brown.

Describing his inspiration by Brown’s music, Iyer says: “[…] of course it’s best to enjoy it with your body and soul, but there is also much to learn from analyzing his music’s interlocking bass, drums, guitar, horn, and vocal parts. As a composer and bandleader I have strived for years to put some of his tactics into practice. He brought a lot of ideas to the table about groove, communication, form, and space.

Each song has its own vivid and

distinct identity, beginning with the intricacies in the rhythm section.”

Much of the excitement, and challenge, of Iyer’s quartet lies in his distribution of such intricate, driving rhythmic textures among multiple players; there are even moments where the score asks a single player stomp or tap one rhythm while playing another. The titles of the work’s four continuous movements refer to lyrics delivered emphatically by Brown in his 1969 song, “I Don’t Want Nobody to Give Me Nothing (Open Up the Door I’ll Get It Myself ).”

This MIND | THE | GAP project weaves together excerpts of Dvorak's original score with improvisation in various styles, with the aim of connecting the Black and Indigenous musics that inspired Dvorak to the blues, jazz, rock, and hip hop styles that these traditions would ultimately inform.

Incorporating various extended techniques, the work’s opening also evokes the prairie soundscape that might have surrounded Dvorak as he composed.

– PUBLIQuartet

MIND | THE | GAP: What is American? (2016) Improvisations on Antonin Dvorak’s “American” Quartet (Op. 96) Allegro ma non troppo Lento Molto Vivace Finale. Vivace ma non troppo Antonin Dvorak wrote his “American” Quartet during the summer of 1893 in the Czech enclave of Spillville, Iowa, following his first year directing the National Conservatory of Music of America in New York City.

One of Dvorak’s students at the Conservatory was the baritone and composer Harry T. Burleigh, who introduced him to Black spirituals, leading Dvorak to conclude: "The future of this country must be founded upon what are called the Negro melodies. This must be the real foundation of any serious and original school of composition to be developed in the United States."

Summer 2021 XXII

About the Artists.

PUBLIQuartet Applauded by The Washington Post as “a perfect encapsulation of today’s trends in chamber music,” and by The New Yorker as “independentminded,” PUBLIQuartet’s modern interpretation of chamber music makes them one of the most dynamic artists of their generation.

Dedicated to presenting new works for string quartet, PUBLIQuartet rose on the music scene as winner of the 2013 Concert Artists Guild’s New Music/New Places award, and in 2019 garnered Chamber Music America’s prestigious Visionary Award for outstanding and innovative approaches to contemporary classical, jazz, and world chamber music.

PUBLIQuartet’s genre-bending programs range from 20th century masterworks to newly commissioned pieces, alongside re-imaginations of classical works featuring openform improvisations that expand the techniques and aesthetic of the traditional string quartet.

PUBLIQuartet has served as artist-inresidence at top institutions including the Metropolitan Museum of Art and National Sawdust and has appeared at Caramoor

a wide variety of venues and festivals, from Carnegie Hall and the Newport Jazz Festival to The Late Show with Stephen Colbert. Their latest album, Freedom and Faith, debuted atop the Billboard Classical Charts in May 2019. The 2019-2020 season brought a diverse array of programs to venues across the United States, including a special collaborative project with jazz violinist Diane Monroe.

PUBLIQuartet’s commitment to supporting emerging composers inspired their innovative program, PUBLIQ Access, which promotes emerging composers and presents a wide variety of under-represented music for string quartet­, from classical, jazz, and electronic, to non-notated, world, and improvised music. Other unique projects include MIND|THE|GAP, a series of groupcomposed works developed by PQ to generate interest in new music while also engaging traditional classical music audiences. These unique creations range from Bird in Paris (Claude Debussy meets Charlie Parker) to more recent extended works including What Is American? (an exploration of Dvorak’s beloved “American” String Quartet) and Sancta Femina (based on themes by three medieval and baroque female composers).

Founded in 2010, PUBLIQuartet is currently based in New York City.

Richard Goode, piano Friday / June 25 / 8:00pm / Venetian Theater JOHANN SEBASTIAN BACH (1685–1750)

Partita No. 4 in D Major, BWV 828 (1726–1731)

LUDWIG VAN BEETHOVEN (1770–1827)

Piano Sonata No. 28 in A Major, Op. 101 (1816)

ROBERT SCHUMANN (1810–1856)

Papillons, Op. 2 (1830–1831)

CLAUDE DEBUSSY (1862–1918)

Five Préludes from Book 1 and 2 (1910–1913)

Overture Allemande Courante Aria Sarabande Menuet Gigue

Etwas lebhaft und mit der innigsten Empfindung Lebhaft. Marschmäßig Langsam und sehnsuchtvoll Geschwinde, doch nich zu sehr, und mit Entschlossenheit

Brouillards (Mists) La puerta del Vino (Wine Gate) Ondine Des pas sur la neige (Footprints in the snow) La danse de Puck (Dance of Puck)

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 artists and the rest of the audience, we thank you.

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Summer 2021

About the Music.

At a Glance

Notwithstanding their technical difficulty, Bach’s six keyboard Partitas, or suites, were an immediate commercial as well as artistic success.

According to his first biographer, “This work made in its time a great noise in the musical world. Such excellent compositions for the clavier had never been seen and heard before.”

Although Beethoven was born a mere 20 years after Bach’s death, his deeply unconventional Sonata in A Major belongs to a different world. Many of the work’s features — from the tonal and metrical ambiguity of the first movement, which Wagner considered a prime specimen of “endless melody,” to the profusion of canonic and fugal writing — anticipate the dense, knotty idiom of Beethoven’s late period.

A similar stylistic and generational shift is evident in the programmatic works by Schumann and Debussy on tonight’s program. Both composers frequently drew inspiration from extramusical sources. But whereas Schumann’s sources were primarily literary — in the case of Papillons, a novel by the German Romantic author Jean Paul — Debussy responded to a wide range of stimuli from art, architecture, and nature. The miniature tone poems that comprise his two sets of Préludes illustrate his revolutionary approach to the keyboard; some of the pieces are so texturally luxuriant that Debussy notated the music on three staves.

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The Program JOHANN SEBASTIAN BACH (1685–1750) Partita No. 4 in D Major, BWV 828 About the Composer Bach showed a serious and sustained interest in the suite throughout his life.

It was characteristic of his methodical approach to composition that he used the form both as an organizational device and as a pedagogical tool. This systematic mindset is most clearly shown in his four-part Clavier-Übung (Keyboard Practice). The first volume, which Bach self-published in 1731 as his opus 1, consisted of six Partitas – sometimes called German Suites – for single manual harpsichord. In the Baroque era, the word partita commonly referred to a suite of stylized instrumental dances, typically including a stately allemande, a vivacious courante, a broadly lyrical sarabande, and a bouncy gigue, often supplemented by movements of a less dance-like character.

About the Work Among Bach’s greatest works in suite form, the Partitas were an instant commercial as well as artistic success.

His early biographer Johann Nikolaus Forkel described them as “brilliant, well-sounding, expressive, and always new.” The virtuosic character of the music was not lost on Bach’s contemporaries: the composer and critic Johann Mattheson cautioned that “anyone who ventured to read them off at sight would be undertaking

something very foolhardy, thinking that with his juggler’s tricks he could impose on his listeners’ credulity.”

Nevertheless, Bach disarmingly advertised the Partitas on the title page as “galanteries, composed for music lovers, to refresh their spirits.”

A Deeper Listen Clocking in at nearly half an hour, the D-Major Partita is a substantial work by any measure. Of the seven movements, only the Aria and Menuet stand out for their economy and lightness of touch, helping leaven what is otherwise a fairly dense, though by no means indigestible, loaf. BWV 828 begins with a traditional French overture, characterized by a slow, spacious prelude followed by a more animated section — in this case, a zestful fugue. Bach follows this lengthy introduction with a similarly weighty Allemande, whose rhapsodic languor is accentuated by searching harmonies and supple rhythmic patterns. The Courante’s snappy arpeggiated figures contrast with the skipping syncopated theme of the Aria, while the sun-kissed melodic garlands of the Sarabande recall those of the Allemande. In the concluding Gigue, the pearly, meandering triplets of the Menuet are transformed into a raging torrent.

LUDWIG VAN BEETHOVEN (1770–1827) Piano Sonata No. 28 in A Major, Op. 101 About the Composer Beethoven the pianist, no less than the composer, was a force of nature who seemed incapable of abiding by the

rules of polite society. His unbridled energy at the keyboard and his formidable powers as an improviser are the stuff of legend. Like most of his contemporaries, Beethoven was weaned partly on a diet of Bach. When, at age 11, he received his first favorable review, it was for a performance of the Well-Tempered Clavier in his native Bonn. After moving to Vienna, he took lessons in counterpoint from the eminent teacher Johann Georg Albrechtsberger. Decades later, those early studies bore fruit in the intricate canons and fugues of such works as the A-Major Sonata.

About the Work Beethoven composed his 28th piano sonata in the summer of 1816. Like other works of the time — including his last two cello sonatas, Op. 102, and the song cycle An die ferne Geliebte — it signaled a transition from the “heroic” style of his so-called middle period to the more introspective language of his later years. In what seems to have been a burst of patriotic feeling, Beethoven designated both Op. 101 and its sequel, the Sonata in B-flat Major of 1817, for the “Hammerklavier,” the German word for pianoforte. The A-Major Sonata is dedicated to his pupil Dorothea von Ertmann, whose formidable technique was undoubtedly put to the test by the work, which Beethoven himself characterized as “difficult to execute.”

A Deeper Listen The German markings that Beethoven attached to the score — mit der innigsten Empfindung (with deepest feeling), sehnsuchstvoll (yearningly), mit Entschlossenheit (with determination) — reflect the music’s Summer 2021 XXVI

wide range of affect and expression.

The Op. 101 Sonata is markedly unconventional from the start, with the A-major tonality not firmly established in the listener’s ear until the first movement is well under way.

The placidly flowing 6/8 pulse is repeatedly interrupted by metrical displacements that convey a sense of free-floating timelessness. All traces of metrical ambiguity are erased in the second movement, a jaunty march in F major with a teasingly canonic middle section. The short but hauntingly intense thirdmovement Adagio is marked to be played una corda, with the damper pedal gradually released to create a fuller sound – an effect more easily realized on pianos of Beethoven’s day than on modern concert grands.

A fleeting reminiscence of the firstmovement theme leads to a fugal finale of transcendent drama and complexity.

ROBERT SCHUMANN (1810–1856) Papillons, Op. 2 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 piano music and art songs. Schumann was an inveterate improviser at the keyboard, as one might suppose from the rhapsodic fluidity that characterizes his piano Caramoor

writing. When a chronic hand injury prevented him from realizing his youthful ambition to be a concert pianist, he dedicated himself to creating a new kind of music for the instrument, compounded of heroic virtuosity and poetic intimacy.

About the Work Schumann wrote much of his greatest keyboard music in the decade leading up to his marriage to the pianist Clara Wieck in 1840. Papillons (Butterflies) gradually emerged from its chrysalis between 1829 and 1831, while he was still a student in Heidelberg vaguely contemplating a legal career. The inspiration for the work — only the second that Schumann deemed worthy of an opus number – was a novel by his favorite writer, Jean Paul, about twin brothers who fall in love with the same woman. To test Wina’s affections, Walt and Vult attend a masked ball disguised as each other — a harbinger of the more elaborate musical masquerade that Schumann would depict in Carnaval a few years later. The composer made no secret of his programmatic scheme, telling his mother that Papillons was “meant to transform this masked ball into notes” and annotating his copy of Paul’s novel with references to the score.

A Deeper Listen Papillons is a suite of dances framed by a brief Introduction and a more substantial Finale. Just as butterfly imagery suffuses its literary progenitor, so Schumann’s music flits airily from one emotional perch to another, seldom alighting long enough to leave a lasting impression.

In a letter to a contemporary music critic, the composer captured the

work’s capricious character and breathlessly episodic structure: “Walt—Vult—masks—Wina—Vult’s dancing—the exchange of masks— confessions—anger—revelation—the hurrying away—the closing dream and then the departing brother.” The twins’ contrasting personalities foreshadow the fictitious alter egos that Schumann invented for himself – the stormy, impulsive Florestan and the dreamy, ruminative Eusebius. All but one of the 12 short movements is in triple meter, accentuating the giddy, waltzlike atmosphere. The billowing strains of the opening dance return in the Finale, only to dissolve in a dream.

CLAUDE DEBUSSY (1862–1918) Five Préludes About the Composer As much as Debussy relished being a thorn in the side of France’s hidebound musical establishment, there was a strong streak of traditionalism in his artistic temperament. The composer who in later years proudly signed himself “musicien français” advocated for a revival of the “pure French tradition” as exemplified by the Baroque master JeanPhilippe Rameau.

Debussy made his mark in the early 1890s with a series of boldly unconventional yet quintessentially gallic works, including the String Quartet, La damoiselle élue, and Prélude à l’après-midi d’un faune.

The term impressionist eventually became attached to him through his association in the popular mind with painters like Manet. Debussy,

however, categorically rejected the label, maintaining that his music depicted not superficial impressions but underlying “realities.”

About the Work It was partly to counteract the impressionist moniker that Debussy called his later piano works “preludes” and “etudes,” eschewing titles like Estampes and Images that evoked the visual arts. In a further effort to discourage such associations, he insisted on relegating programmatic titles to the end of the pieces – to no discernible effect, as the public remained stubbornly wedded to them.

In any case, his two books of Préludes are programmatic only in the most general sense of arising in response to extramusical stimuli, and those stimuli were as likely to be literary or even theatrical as visual. The composer Alfredo Casella wrote that, as a pianist, Debussy’s “sensibility of touch was incomparable; he made the impression of playing directly on the strings of the instrument with no intermediate mechanism; the effect was a miracle of poetry.”

A Deeper Listen Debussy’s sound world, as illustrated by the five Préludes on tonight’s program, is an enchanted fantasyland of shimmering harmonies, sinuous roulades, and richly embroidered melodies. Brouillards (Mists) encapsulates the essence of his pianism, with its rippling arpeggios, bell-like octaves, and luminous overlay of tonal and chromatic harmonies.

Debussy’s interest in exoticism is reflected in the sultry habanera pulse of La puerta del vino (the title refers to the Moorish Wine Gate in Granada’s Summer 2021 XXVIII

Alhambra palace), while Ondine (a water nymph) is notable for its swirling, harplike figurations and resonances. Nature imagery comes to the fore in the trudging ostinato rhythm of Des pas sur la neige (Footsteps in the Snow), and Richard Goode’s selection ends on a whimsical note with the skittishly playful Danse de Puck (Puck’s Dance).

— Harry Haskell

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About the Artist.

Richard Goode, piano Richard Goode has been hailed for music-making of tremendous emotional power, depth and expressiveness, and has been acknowledged worldwide as one of today’s leading interpreters of Classical and Romantic music. In regular performances with the major orchestras, recitals in the world’s music capitals, and through his extensive and acclaimed Nonesuch recordings, he has won a large and devoted following.

Gramophone magazine recently captured the essence of what makes Richard Goode such an original and compelling artist: ‘‘Every time we hear him, he impresses us as better than we remembered, surprising us, surpassing our expectations and communicating perceptions that stay in the mind.”

One of today’s most revered recitalists, Richard Goode is a favorite of audiences in Boston, San Francisco, Philadelphia, New York, Houston, Portland, and Chicago and numerous colleges and universities around the country. In Europe, appearances at Wigmore Hall, the Edinburgh Festival, Berlin, and throughout Germany, Italy, Switzerland, and the UK are

always highlights. His masterclasses, in person or online, continue to be hailed as truly memorable events.

In recent seasons, Goode appeared as soloist with Louis Langrée and the Mostly Mozart Festival Orchestra in a program filmed as part of a documentary celebrating the 50th anniversary of one of the country’s most popular summer musical events.

He also toured in the U.S. with one of the world’s most admired orchestras and his recording partner, the Budapest Festival Orchestra and Iván Fischer. Their recording of the five Beethoven Piano Concertos has won worldwide acclaim; Goode performed Concertos No. 2 and No. 4 on the tour, which included performances at the New Jersey Performing Arts Center, Lincoln Center, and for the Chicago Symphony, the University Musical Society in Ann Arbor, and Celebrity Series of Boston. Other orchestral appearances include the New York Philharmonic, Cleveland Orchestra, Los Angeles Philharmonic, New York String Orchestra at Carnegie Hall, and in Europe with the London Philharmonic, Oslo Philharmonic, and BBC Philharmonic.

Among other highlights of recent seasons have been the recitals in which, for the first time in his career, Goode performed the last three Beethoven Sonatas in one program, drawing capacity audiences and raves in such cities as New York, London, and Berlin.

The New York Times, in reviewing his Carnegie Hall performance, hailed his interpretations as “majestic, profound readings... Mr. Goode’s playing throughout was organic and Summer 2021 XXX

inspired, the noble, introspective themes unfolding with a simplicity that rendered them all the more moving.” He was also heard as soloist with Andris Nelsons in his first season as Music Director of the Boston Symphony Orchestra and at Carnegie Hall, where Goode was featured in two chamber music concerts with young artists from the Marlboro Music Festival, in a master class on Debussy and in a Main Hall recital. To mark the 25th anniversary in 2018-19 of the release of his historic recordings of the complete Beethoven sonatas, Nonesuch Records re-released the acclaimed recordings.

An exclusive Nonesuch recording artist, Goode has made more than two dozen recordings over the years, ranging from solo and chamber works to lieder and concertos. His recording of the five Beethoven concertos with the Budapest Festival Orchestra and Iván Fischer was released in 2009 to exceptional critical acclaim, described as “a landmark recording” by the Financial Times and nominated for a Grammy award. His 10-CD set of the complete Beethoven sonatas cycle, the first-ever by an American-born pianist, was nominated for a Grammy and has been ranked among the most distinguished recordings of this repertoire. Other recording highlights include a series of Bach Partitas, a duo recording with Dawn Upshaw, and Mozart piano concertos with the Orpheus Chamber Orchestra.

A native of New York, Goode studied with Elvira Szigeti and Claude Frank, with Nadia Reisenberg at the Mannes College of Music, and with Rudolf Serkin at the Curtis Institute.

His numerous prizes over the years include the Young Concert Artists Caramoor

Award, First Prize in the Clara Haskil Competition, the Avery Fisher Prize, and a Grammy award for his recording of the Brahms Sonatas with clarinetist Richard Stoltzman. His first public performances of the complete cycle of Beethoven sonatas at Kansas City’s Folly Theater and New York’s 92Y in 1987-88 brought him to international attention being hailed by The New York Times as “among the season’s most important and memorable events.” It was later performed with great success at London’s Queen Elizabeth Hall in 1994 and 1995.

Goode served, together with Mitsuko Uchida, as co-Artistic Director of the Marlboro Music School and Festival in Marlboro, Vermont from 1999 through 2013. Participating initially at the age of 14, at what The New Yorker magazine recently described as “the classical world’s most coveted retreat,” he has made a notable contribution to this unique community over the 28 summers he has spent there. He is married to the violinist Marcia Weinfeld, and, when the Goodes are not on tour, they and their collection of some 5,000 volumes live in New York City.

Natu Camara Saturday / June 26 / 8:00pm / Venetian Theater

Natu Camara, Vocals Lindsey Wilson, Backing Vocals Oscar (Amos) Debe, Drums John Adams, Keys Kayode Kuti, Bass Gianni Mano, Percussion Matthew Albeck, Guitar Natalie Pinto, Manager Jamie Ambler, Creative Director

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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Summer 2021

About the Artist.

Natu Camara Hailing from Guinea, Natu Camara is one of its brightest musical stars and a committed activist for the empowerment and education of girls and women in West Africa. Along with her multinational band in N.Y., she brings a fresh new sound to us with Dimedi (which means child in her native language, Sousous).

In the early 2000s, Camara led West Africa’s first all-female hip-hop group, the Ideal Black Girls (IBG). Years after releasing Guinèya Moumonèra (It’s Not a Shame to Be a Woman) — a multiplatinum opus advocating for women’s rights — as a member of IBG, the dynamism of Camara’s musical evolution is revealed. Singing in five languages, Dimedi showcases Camara’s unique blend of afro-rock, pop, and soul that speaks to the range of heroes influencing her individual sound: Miriam Makeba, Nina Simone, Fela Kuti, Baaba Maal, and Tina Turner.

As a builder of bridges socially and culturally, Camara’s musical compositions are powerfully constructed to bridge the global gap and bring people together Caramoor

in a captivating blend weaving a beautiful tapestry of musical stories and visions of her beloved home.

Camara’s foundation supports local organizations to mentor and empower young girls and support education as a tool to reduce poverty in Guinea.

She finds a way to speak to the silent minority through her music.

Camara lives between Conakry (Guinea) and New York and is a music winner of the prestigious 2020 NYC Women’s Fund for Media, Music and Theatre. She is also one of 12 new artists at 2021’s GlobalFEST and she performed this year virtually on NPR’s Tiny Desk platform.

Orchestra of St. Lukes

Sunday / June 27 / 4:00pm / Venetian Theater Tito Muñoz, conductor Tai Murray, violin

VALERIE COLEMAN (b. 1970)

Fanfare for Uncommon Times (World Premiere)

RALPH VAUGHAN WILLIAMS (1872–1958)

The Lark Ascending (1914) Tai Murray, violin

JOAN TOWER (b. 1938)

Fanfare for the Uncommon Woman (To the Uncommon Woman) Fanfare #1

AARON COPLAND (1900–1990)

Appalachian Spring Suite (1945) Fanfare for the Common Man (1942)

This concert is made possible, in part, thanks to the generous support of Susan and Peter Gottsegen.

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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Summer 2021

About the Music.

At a Glance

The fanfare is a short ceremonial tune or flourish played on brass instruments, typically used to introduce something or someone important. In this concert, there are three featured fanfares by American composers of the 20th and 21st centuries. Valerie Coleman has written a new fanfare that will begin the concert; another by Joan Tower will be heard mid-concert; a third, by Aaron Copland, brings the concert to its end. The Lark Ascending by the 20th century British composer Ralph Vaughan Williams is a symphonic poem for violin and orchestra, composed in 1914, but not presented to the public until after the composer returned home following World War I. Aaron Copland’s Appalachian Spring Suite has an iconic stature. His most characteristic work, it has inspired more admiration from critics and listeners than any of his other music.

ingeniously varied instrumental combinations,” and The New York Times found her compositions “skillfully wrought, buoyant music.”

A native of Kentucky, flutist and composer Coleman began her music studies in the third grade, and by age 14, she had written three symphonies and had won several local and state competitions. The founder of the famed Imani Winds and an active composer and educator, she is best known for the wind quintet work, Umoja, which was listed by Chamber Music America as one of “101 Great American Works.”

The Program

Among the many commissions she has received are those from Carnegie Hall, the American Composers Orchestra, The Library of Congress, the Collegiate Band Directors National Association, Chamber Music Northwest, the National Flute Association, The San Francisco Chamber Orchestra, The Brooklyn Philharmonic, Chamber Music Northwest, and the Interlochen Arts Academy.

VALERIE COLEMAN (b. 1970)

About the Work

Fanfare for Uncommon Times (World Premiere) About the Composer Valerie Coleman, Performance Today’s 2020 Classical Woman Musician of the Year, was named one of the top 25 Women Composers in Classical Music

by Anne Midgette in The Washington Post. The Boston Globe described her as having a “talent for delineating form and emotion with shifts between Caramoor

Today’s concert marks the world premiere for Fanfare for Uncommon Times. Coleman has spoken about the act of composing as “the creative process of stripping yourself bare to create a new entity that impacts the listener’s emotional value.” Coleman says that “Fanfare for Uncommon Times seeks to serve as the opening statement to mankind's journey into a new era. It will represent the courage and guarded jubilation one will feel as they enter uncertain times.”

“As a New Yorker in 2001, past feelings of a lost-innocence resurfaced, as I had to re- enter the streets and airports during an insecure post-9/11 era. We all had to hold onto our own manufactured self-assurance that we would be protected. Fanfare attempts to construct this belief in ourselves.”

RALPH VAUGHAN WILLIAMS (1872–1958) The Lark Ascending About the Composer Vaughan Williams was one of the most influential of a group of British composers, who after a protracted dreary period in the history of English music, flowered as a school of nationalist composers. In the early years of the 20th century, these composers systematically collected and studied their country’s folk music and revived the works that their countrymen had written from the 15th to the 18th centuries. Activists in addition to being musicians, these composers wrote, taught, played and conducted in concert halls, churches, theaters, and schools, giving traditional and historical English music a new place as well as a new life.

As well as collecting and cataloguing 800 folk songs, Vaughan Williams edited the new English Hymnal of 1906, and added several new hymns of his own. Not only one of the most important of the English composers of the 20th century, Vaughan Williams was also one of its most prolific.

During his long career he composed nine symphonies, five operas, and a large number of other works in almost every imaginable musical form. He

had a rigorous classical and musical education and studied in Berlin with Max Bruch; after he had earned his doctorate from Cambridge University, he went to Paris to study with Maurice Ravel.

About the Work Vaughan Williams completed The Lark Ascending, a symphonic poem for violin and orchestra, in 1914, but it was not presented to the public until after he returned home following World War I. It is dedicated to the violinist Marie Hall, who consulted with the composer on revisions and premiered a violinpiano arrangement in December 1920. Hall also performed as soloist at the orchestral premiere in London at Queen’s Hall in June 1921. The composer included this excerpt from Meredith’s (1828-1909) poem from Poems of the Joy of Earth (1883) on the flyleaf of the published work: He rises and begins to round, He drops the silver chain of sound Of many links without a break, In chirrup, whistle, slur and shake. . . .

For singing till his heaven fills, ‘Tis love of earth that he instills, And ever winging up and up, Our valley is his golden cup, And he the wind which overflows To lift us with him as he goes . . . .

Till lost on his aerial rings In light, and then the fancy sings.

A Deeper Listen An orchestral romance, the work’s formal structure has a tripartite (ABA) shape and follows the poem’s language to deliver a portrait of the lark’s song and the countryside, the latter represented by folk melodies.

The piece begins with a calm, Summer 2021 XXXVI

orchestral introduction followed by a soft, sustained chord before the violin, representing the lark, enters, in ascending intervals. Its long solo cadenzas, which can be likened to fluid bird songs, begin at the opening over accompanying harmonies; they also close the score. A shorter violin cadenza introduces the contrasting middle section and separates the two principal parts. The central section for violin and orchestra has the sense of a folk-like, quiet pastorale in which bits of birdsong, sometimes articulated by the winds, mingle with other melodies.

JOAN TOWER (b. 1938) Fanfare for the Uncommon Woman (To the Uncommon Woman) Fanfare No. 1 About the Composer The New Yorker magazine has called Tower (born in New Rochelle, New York) “one of the most successful woman composers of all time.”

Tower spent much of her youth in South America, returning to the United States to study at Bennington College and Columbia University where she earned a doctorate in composition.

A member of the American Academy of Arts and Letters, she was the first woman to receive the Grawemeyer Award in Composition in 1990 and was inducted into the Academy of Arts and Sciences at Harvard in the fall of 2004. Tower was the first composer to be chosen for the “Made in America” commissioning consortium program of the American Symphony Orchestra League and Meet the Composer.

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Tower has frequently been composerin-residence at numerous universities, and orchestras and chamber music ensembles perform her music throughout the country. Tower’s bold and energetic music, with its striking imagery and novel structural forms, has won large, enthusiastic audiences.

More than 400 different ensembles have performed her tremendously popular five Fanfares for the Uncommon Woman.

Since 1972, Tower has taught at Bard College where she is Asher Edelman Professor of Music. She continues as composer-in-residence with the Orchestra of St. Luke’s, a title she also held for eight years at the Yale/Norfolk Chamber Music Festival.

About the work In 1986, Joan Tower was invited to contribute a work to a series of fanfares commissioned by the Houston Symphony Orchestra to commemorate the Texas sesquicentennial. She responded with Fanfare for the Uncommon Woman, which she wrote, “to honor women who are adventurous and who take risks.” Her musical model was Aaron Copland’s Music for the Common Man. (The expression “common man” of course does not exclude women but is meant to be all-inclusive and, as American English usage provided until recent years, free of gender implication.) Tower’s initial work requires the same instruments as Copland used: the basic orchestral brass section of four horns, three trumpets, three trombones and tuba, timpani, and the percussion required by Copland with the addition of marimba, chimes, glockenspiel and drums.

She called Fanfare for the Uncommon Woman No. 1 a “quasi-tribute” to Copland and quoted a “snippet of a theme” (her words) from it.

Sometimes viewed as a sort of feminist counterpoint to Aaron Copland’s Fanfare for the Common Man, Tower’s Fanfare No. 1 was premiered on January 10, 1987, with the Houston Symphony, Hans Vonk conducting.

The work is dedicated to the conductor Marin Alsop. Tower has commented that she shaped its main theme to resemble the first theme of the Copland work, although in a more decorative manner.

After the original Fanfare for the Uncommon Woman No. 1, Tower was asked to write “one fanfare after the other” for various events: No. 2 was commissioned by Absolut Vodka in 1989; No. 3 (1991) was commissioned by Carnegie Hall for its 100th anniversary; No. 4 (1992) for the 50th anniversary of the Kansas City Symphony; and No. 5 (1993) by the Aspen Music Festival for the opening of the Joan and Irving Harris Concert Hall. Each is for a different instrumental combination. More than two decades after she completed her fifth fanfare, Tower wrote Fanfare for the Uncommon Woman No. 6 for orchestra. It was given its premiere in 2016. Tower refers to the series of fanfares as her “only political pieces.”

Tamara Bernstein, in her liner notes for a recording of Fanfare No. 1, commented: “It was immediately embraced as an historic feminist statement in music.”

The most popular of the six Fanfares, No. 1 has been performed over 500 times and has earned a secure position in the repertory. In it, the trumpets,

horns, and trombones each introduce thematic ideas during the first half of the work, then repeat, alter, and blend the thematic statements during the second half, in which very special timpani solos are featured.

AARON COPLAND (1900–1990) Appalachian Spring Suite About the Composer Copland’s parents, Sarah and Harris, were Russian-born, Jewish immigrants. His mother’s family, the Mittenthals, were adventurous, settling in Texas, where they operated a dry goods store until Jesse James’ brother, Frank, robbed the store and the family moved north to the Lower East Side in New York City. In Brooklyn, the family owned “a kind of neighborhood Macy’s,” as Copland described it. At some point, the family lived above the store; the five children, including young Aaron, worked in the store.

No one knew or could understand where Copland’s desire to become a musician came from, but his parents willingly paid for piano lessons when he asked for them, and when he realized he needed a professional teacher, they arranged for lessons with the well-known New York musician Rubin Goldmark.

When Copland was 20 and had never traveled further than Manhattan, he applied and was accepted for a fellowship at the Conservatoire Americain at the Palace of Fontainebleau, believing that only in France, “where everything new Summer 2021 XXXVIII

and exciting was happening,” would he thrive. He met the young Nadia Boulanger and became one of her first students. While still in Paris, Copland met the legendary conductor, Serge Koussevitzky, courtesy of Boulanger; after the eminent conductor looked at a score of an early work in progress, he commissioned Copland to compose a concerto that he would conduct with the Boston Symphony and the New York Symphony (an early iteration of the NY Philharmonic), but as it turned out, Walter Damrosch conducted it instead. In France, Copland began to think about creating a distinctively American sound, saying, “There is a French-sounding music, a German sound, why not American? We had done it in ragtime and jazz, but not in the kind of concert music I was interested in.”

He composed a wide range of concert music as well as collaborative works for radio, film, ballet, and opera, all the time promoting American music.

His music embodies optimism, a confidence at once energetic and assertive, while nevertheless, at least inwardly, displaying tenderness and nostalgia that occasionally borders on the sentimental. One of his major achievements was creating an idiom that was original and yet familiar, contemporary yet not incomprehensible, encompassing a wide range of emotion, yet genuine and compelling in its evocation.

About the Work Some of the fame and iconic stature of Appalachian Spring is probably due to its intertwined history with the work of the famous 20th century modern dancer, Martha Graham.

When the Elizabeth Sprague Coolidge Caramoor

Foundation in the Library of Congress commissioned a dance work from Graham in 1942, Graham turned to Aaron Copland for the music for the ballet that she based on the childhood memories of her 90-yearold grandmother, who had spent most of her life on a Pennsylvania farm.

Copland began work on Appalachian Spring in 1943, as a commission by Elizabeth Sprague Coolidge, who paid him $500 “for a dance piece.”

In 1944, Copland delivered his Ballet for Martha to Graham, a name that subsequently became the work’s subtitle. Graham found the title she wanted for the music in the poem “The Dance,” from Hart Crane’s cycle The Bridge. Graham said she chose the title solely because she liked the sound of it, even though it had no connection with either the location or scenario of the ballet. The ballet Appalachian Spring became one of Graham’s most durable works and one of the best loved of allAmerican compositions. “Appalachian Spring would never have existed without her special personality,” Copland said in 1974. “The music was created for her and it reflects the unique quality of a human being.”

The ballet’s story, as described in a note in the score, concerns “a pioneer celebration, in spring, around a newly built farmhouse in the Pennsylvania hills, in the early part of the last [sic.

19th] century. A bride-to-be and a young farmer-husband enact the emotions, joyful and apprehensive, that their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience.

A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate.

At the end, the couple are left, quiet

and strong, in their new house.” In an interview in 1975, Graham added, “It is essentially the coming of new life. It has to do with growing things. Spring is the loveliest and saddest time of year.”

Graham’s scenario originally joined many events of American social history occurring around the time of the Civil War in some generalized place in the American heartland, although finally, the setting became rural western Pennsylvania, where Graham spent her childhood, not far from Pittsburgh.

In Crane’s poem, the Appalachian spring indicates water trickling through the hills, rather than a season, but for Graham idea of the season was paramount: “Spring was celebrated by a man and woman building a house with joy and love and prayer; by a revivalist and his followers in their shouts of exaltation; by a pioneering woman with her dreams of the Promised Land.”

Copland consciously chose a populist style in an attempt to create a musical language that was fundamentally American and that spoke directly to an American audience with immediately accessible music that also allowed him to display his consummate skill and subtlety. Copland emphasized the couple’s humility with the Shaker tune Simple Gifts but later remarked, “My research evidently was not very thorough, since I did not realize that there have never been Shaker settlements in rural Pennsylvania!”

Appalachian Spring was first performed at the Library of Congress in Washington on October 30, 1944, as an 80th birthday tribute to Elizabeth Sprague Coolidge. In May 1945 Copland arranged this colorful orchestral suite from the ballet, cutting pieces here and there and highlighting

the work’s “more idyllic side.” He required a relatively small orchestra but one larger than the one he had used for the original ballet. He commented on his expectations for the piece: “You know, Appalachian Spring took me about a year to finish. . . I remember thinking how crazy it was to spend all that time, because I knew how shortlived most ballets and their scores are.

But the suite for symphony orchestra that I derived from Appalachian Spring was awarded a Pulitzer Prize in 1945 and took on a life of its own. Actually, it had a lot to do with bringing my name before a wider public.”

A Deeper Listen Appalachian Spring is generally thought to be folk-inspired,” Copland said, “but the Shaker tune Tis the Gift to be Simple is the only folk material actually quoted in the piece.” Rhythms and melodies that suggest a certain ambiance and the use of specific folk themes are, after all, not the same thing; nevertheless, the score displays an absorption in the vernacular, as Pollock, Copland’s biographer says, “suitable to a script so steeped in a wide range of American myth and folklore. It often gives the impression of folk music.”

Appalachian Spring is the work that came to be associated with the archetypal ‘American sound.’ Its distinctive wide-open separated musical intervals were much imitated by many American composers.

Copland was aware of the dangers that his music might be modeling: he feared those who imitated his music might end up with music that was overly sentimental and invoked cloying nostalgia.

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The composer provided the following road map to the piece: 1. Very slowly. Introduction of the characters, one by one, in a suffused light.

2. Fast. Sudden burst of unison strings in A Major arpeggios starts the action.

A sentiment both elated and religious gives the keynote to this scene.

3. Moderate. Duo for the Bride and her Intended — scene of tenderness and passion.

4. Quite fast. The Revivalist and his flock. Folksy feeling — suggestions of square dances and country fiddlers.

5. Still faster. Solo dance of the Bride — presentiment of motherhood.

Extremes of joy and fear and wonder.

6. Very slowly (as at first). Transition scene to music reminiscent of the introduction.

7. Calm and flowing. Scenes of daily activity for the Bride and her Farmer husband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by author Edward D. Andrews, and published under the title The Gift to Be Simple.The melody most borrowed and used almost literally is called Simple Gifts.

8. Moderate. Coda. The Bride takes her place among her neighbors. At the end the couple are left “quiet and strong in their new house.” Muted strings intone a hushed prayerlike chorale passage. The close is reminiscent of the opening music.

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AARON COPLAND Fanfare for the Common Man About the Work Eugene Goosens and the Cincinnati Symphony Orchestra commissioned Copland’s noble Fanfare for the Common Man during World War II. Fanfare for the Common Man premiered on March 14, 1943. The Cincinnati Symphony opened each concert that season with a fanfare, a format Goosens designed as morale boosting project. “It is my idea,” Goosens said, “to make these fanfares stirring and significant contributions to the war effort.”

A Deeper Listen Unlike most fanfares, which derive from the traditional bugle call, Copland’s fanfare is declamatory, resembling his other music. It begins with a short, dramatic introduction for percussion; three trumpets then announce the theme, unaccompanied.

The trumpets and horns restate the theme in two-part harmony, then in three parts, with the addition of two trombones. Finally horns, trumpets, trombones, and tuba, massively spaced, join together.

With this fanfare, completed in 1942, Copland honored ordinary people fighting in the ranks and working on the home front. Years later, he commented, “It was the common man, after all, who was doing all the dirty work in the war and the army.

He deserved a fanfare.” In 1946, he adapted the music for use in the last movement of his Symphony No. 3. ­

– Susan Halpern

About the Artists.

Tito Muñoz, conductor Praised for his versatility, technical clarity, and keen musical insight, Tito Muñoz is internationally recognized as one of the most gifted conductors on the podium today. Now in his seventh season as Music Director of the Phoenix Symphony, Muñoz previously served as Music Director of the Opéra National de Lorraine and the Orchestre symphonique et lyrique de Nancy in France.

Other prior appointments include Assistant Conductor positions with the Cleveland Orchestra, Cincinnati Symphony Orchestra, Cincinnati Chamber Orchestraand theAspen Music Festival. Since his tenure in Cleveland, Muñoz has celebrated critically acclaimed successes with the orchestra, among others stepping in for the late Pierre Boulez in 2012 and leading repeated collaborations with the Joffrey Ballet, including the orchestra’s first staged performances of Stravinsky’s Rite of Spring in the reconstructed original choreography of Vaslav Nijinsky.

Muñoz has appeared with many of the most prominent orchestras in North America, including those of Atlanta, Baltimore, Cincinnati,

Cleveland, Dallas, Detroit, Houston, Indianapolis, and Milwaukee, as well as the Saint Paul Chamber Orchestra, Orchestra of St. Luke’s, the National Symphony Orchestra, and the New York Philharmonic. He also maintains a strong international conducting presence, including recent and forthcoming engagements with the Frankfurt Radio Symphony, SWR Symphonieorchester, Deutsche Radio Philharmonie Saarbrücken, Mahler Chamber Orchestra, a tour with Orchestre National d’Île de France, Lausanne Chamber Orchestra, BBC Symphony Orchestra, Ulster Orchestra, Danish National Chamber Orchestra, Luxembourg Philharmonic, Opéra Orchestre National Montpellier/A Midsummer Night’s Dream, Opéra de Rennes/ The Turn of the Screw, Auckland Philharmonia, Sydney Symphony, and Sao Paolo State Symphony.

As a proponent of new music, Muñoz champions the composers of our time through expanded programming, commissions, premieres, and recordings. He has conducted important premieres of works by Christopher Cerrone, Kenneth Fuchs, Dai Fujikura, Michael Hersch, Adam Schoenberg, and Mauricio Sotelo.

During his tenure as Music Director of the Opéra National de Lorraine, Muñoz conducted the criticallyacclaimed staged premiere of Gerald Barry’s opera The Importance of Being Earnest. A great advocate of the music of Michael Hersch, he led the world premiere of Hersch’s monodrama On the Threshold of Winter at the Brooklyn Academy of Music in 2014, followed by the premiere of his Violin Summer 2021 XLII

Concerto with Patricia Kopatchinskaja and the Saint Paul Chamber Orchestra in 2015, a piece they also recorded with the International Contemporary Ensemble on the New Focus label, released in summer 2018. Most recently he gave the world and European premieres of I hope we get a chance to visit soon at the Ojai and Aldeburgh Festivals.

Muñoz received conducting training at the American Academy of Conducting at Aspen where he studied with David Zinman and Murry Sidlin. He is the winner of the Aspen Music Festival’s 2005 Robert J. Harth Conductor Prize and the 2006 Aspen Conducting Prize, returning to Aspen as the festival’s Assistant Conductor in the summer of 2007, and later as a guest conductor.

A passionate educator, Muñoz regularly visits North America’s top conservatories/universities, summer music festivals, and youth orchestras.

He has led performances at the Aspen Music Festival, Boston University Tanglewood Institute, Cleveland Institute of Music, Indiana University, Kent/Blossom Music Festival, Music Academy of the West, New England Conservatory, New World Symphony, Oberlin Conservatory, Royal Conservatory of Music in Toronto, University of Texas at Austin, and National Repertory Orchestra, as well as a nine-city tour with the St. Olaf College Orchestra. He maintains a close relationship with the Kinhaven Music School, which he attended as a young musician, and now guest conducts there annually. Muñoz also enjoys a regular partnership with Arizona State University where he has held a faculty position and is a frequent guest teacher and conductor.

Muñoz made his professional conducting debut in 2006 with the National Symphony Orchestra at the Kennedy Center, invited by Leonard Slatkin as a participant of the National Conducting Institute.

That same year, he made his Cleveland Orchestra debut at the Blossom Music Festival. He was awarded the 2009 Mendelssohn Scholarship sponsored by Kurt Masur and the Felix Mendelssohn-Bartholdy Foundation in Leipzig, and was a prizewinner in the 2010 Sir Georg Solti International Conducting Competition in Frankfurt.

Born in Queens, New York, Muñoz began his musical training as a violinist in New York City public schools. He attended the LaGuardia High School of the Performing Arts, the Juilliard School’s Music Advancement Program, and the Manhattan School of Music PreCollege Division. He furthered his training at Queens College (CUNY) as a violin student of Daniel Phillips.

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such as the Indianapolis Symphony Orchestra, Royal Liverpool Symphony Orchestra, and all of the BBC Symphony Orchestras. She is also a dedicated advocate of contemporary works (written for the violin). Among others, she performed the world premiere of Malcolm Hayes’ violin concerto at the BBC PROMS, in the Royal Albert Hall.

Tai Murray, violin Described as “superb” by The New York Times, violinist Tai Murray has established herself a musical voice of a generation. “Technically flawless... vivacious and scintillating...

It is without doubt that Murray’s style of playing is more mature than that of many seasoned players...”

(Muso Magazine) Appreciated for her elegance and effortless ability, Murray creates a special bond with listeners through her personal phrasing and subtle sweetness. Her programming reveals musical intelligence. Her sound, sophisticated bowing ,and choice of vibrato, remind us of her musical background and influences, principally, Yuval Yaron (a student of Gingold & Heifetz) and Franco Gulli.

Winner of an Avery Fisher Career Grant in 2004, Murray was named a BBC New Generation Artist (2008 through 2010). As a chamber musician, she was a member of Lincoln Center’s Chamber Music Society II (2004- 2006).

As a recitalist Tai Murray has visited many of the world’s capitals having appeared in Berlin, Chicago, Hamburg, London, Madrid, New York’s Carnegie Hall, Paris and Washington D.C., among many others.

Murray’s critically acclaimed debut recording for Harmonia Mundi of Ysaye’s six sonatas for solo violin was released in February 2012. Her second recording, of works by American Composers of the 20th century, was released by the Berlin-based label eaSonus, and her third disc of the Bernstein Serenade was released on the French label Mirare.

Murray plays a violin by Tomaso Balestrieri fecit Mantua ca.

1765, on generous loan from a private collection.

She has performed as guest soloist on the main stages world-wide, performing with leading ensembles

Summer 2021 XLIV

The Orchestra has participated in 118 recordings, four of which have won Grammy Awards, has commissioned more than 50 new works, and has given more than 175 world, U.S., and New York City premieres.

Orchestra of St. Luke’s Orchestra of St. Luke’s (OSL) grew from a group of virtuoso musicians performing chamber music concerts at Greenwich Village’s Church of St. Luke in the Fields in 1974. Now in its 45th season, the Orchestra performs diverse musical genres at New York’s major concert venues, and has collaborated with artists ranging from Renée Fleming and Joshua Bell to Bono and Metallica. In 2018 internationally celebrated expert in 18th-century music Bernard Labadie became OSL’s Principal Conductor, continuing the Orchestra’s long tradition of working with proponents of historical performance practice.

OSL’s signature programming includes a subscription series presented by Carnegie Hall, now in its 32nd season; the OSL Bach Festival at Carnegie Hall, Manhattan School of Music’s Neidorff-Karpati hall, and at the DiMenna Center for Classical Music each June; a chamber music series featuring appearances at The Morgan Library & Museum, Brooklyn Museum, and Merkin Hall at Kaufman Music Center; and a summer residency at Caramoor Center for Music and the Arts.

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Nearly half of OSL’s performances are presented free of charge through its Education & Community program, which reaches over 11,000 New York City public school students each year with school-time concerts.

Youth Orchestra of St. Luke’s (YOSL) provides free instrumental coaching, the Chamber Music Mentorship Program provides professional development opportunities and workshops for pre-professional musicians.

OSL built and operates The DiMenna Center for Classical Music in Hell’s Kitchen, New York City’s only rehearsal, recording, education, and performance space expressly dedicated to classical music. The DiMenna Center serves more than 500 ensembles and more than 30,000 musicians each year.

Orchestra of St. Luke’s.

Bernard Labadie, Principal Conductor James Roe, President & Executive Director Valerie Broderick, Vice President & General Manager Violins Alex Fortes* Richard Gilder and Lois Chiles Concertmaster Chair Krista Bennion Feeney* Principal Second Mayuki Fukuhara* Eriko Sato* Naoko Tanaka* Conrad Harris Viola Dana Kelley* Principal Kaya Bryla-Weiss* Cello Myron Lutzke* Janet Prindle Seidler Chair Daire FitzGerald* Carol and Charles Grossman Family Chair

Clarinet Jon Manasse* Emme and Jonathan Deland Family Chair

Percussion Barry Centanni Principal John Ostrowski

Bassoon Marc Goldberg* Principal

Horn Joseph Anderer* Principal R.J. Kelley Kevin Newton Patrick Pridemore

Trumpet Carl Albach* Helen and Robert Appel Family Chair Thomas Hoyt Finn Schoch

Piano Margaret Kampmeier Principal

Bass John Feeney* Principal

Trombone Thomas Hutchinson Principal Nicole Abissi Christopher Olness

Flute Elizabeth Mann* Principal

Tuba Kyle Turner Principal

Oboe Stephen Taylor* David Bury and Marianne C. Lockwood Family Chair

Timpani Maya Gunji Principal

Orchestra of St. Luke’s Operations Angela DeGregoria Director of Operations Ricky Dean McWain Artistic Personnel Manager Jules Lai Library Manager Kristen Butcher Library Assistant

Summer 2021 XLVI

Highlights of Our Recent Special Events.

An Evening of Wine performance on Pavilion Plaza.

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aramoor’s special events play a vital role in raising funds for our core programming and are a great opportunity to thank our donors who help foster musical inspiration. We appreciate the support of our event donors especially in this strange 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.

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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.

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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

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Leave a Legacy.

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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.

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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

Caramoor

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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

Caramoor

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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

Caramoor

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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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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