2021 Summer Program Book: July 1 - 4 by Caramoor Center for Music and the Arts

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

Cover Photo: Gabe Palacio ©2021 Caramoor Center for Music & the Arts 149 Girdle Ridge Road PO Box 816 Katonah, NY 10536 Caramoor Grounds & Performance Photos Gabe Palacio Photography, Katonah, NY gabepalacio.com

Caramoor

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

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

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

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

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performances throughout Caramoor grounds (FREE)

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

Apollo’s Fire

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A U G U S T 8 Summer Season Finale

Ljova and the Kontraband

Concert on the Lawn

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Presented in Collaboration with City Winery

Pre-concert Conversation

Caramoor

Watkins Family Hour

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Nathan & the Zydeco Cha Chas

Concert on the Lawn

Orchestra of St. Luke’s Leonidas Kavakos, violin

Afternoon Tea

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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

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CONCERTS ON THE LAWN

July 30

August 1 August 8

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BEGINNER’S EAR

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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. Caramoor

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

Pre-Order Picnic Boxes

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

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

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

Caramoor

Playing to Caramoor’s Strengths.

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

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

The Secret Gardener in 2018

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

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

Inuksuit in 2018

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

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

Caramoor Takes Wing! in 2019 / 10

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

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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

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

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

Edward J. Lewis III at Caramoor

Caramoor

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

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

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Introducing in“C”

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

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

Sound Art at Caramoor

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

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

Caramoor

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

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

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

Caramoor

Trimpin and Stephan Moore

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

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

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

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

Watch it here! Caramoor

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Updating the Rosen House for the 2021 Season

By Roanne Wilcox, Director of the Rosen House

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

Caramoor

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

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

Lucie Rosen playing theremin in 1935

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

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

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

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

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

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

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

Callisto Quartet

2020-21 Ernst Stiefel String Quartet-in-Residence Thursday / July 1 / 7:00pm / Venetian Theater Paul Aguilar, violin Rachel Stenzel, violin Eva Kennedy, viola Hannah Moses, cello FRANZ JOSEPH HAYDN (1732–1809)

String Quartet in E-flat Major, Op. 20, No. 1

SAAD HADDAD (b. 1992)

String Quartet No. 2 (2021) (World premiere, Commissioned by Caramoor)

LUDWIG VAN BEETHOVEN (1770–1827)

String Quartet No. 9 in C Major, Op. 59, No. 3, “Razumovsky”

Allegro moderato Menuetto: Allegretto Affetuoso e sostenuto Finale: Presto

Introduction (Andante con moto)-Allegro vivace Andante con moto quasi Allegretto Menuetto (Grazioso) Allegro Molto

The Ernst Stiefel String Quartet-in-Residence mentoring program is supported, in part, by major endowment gifts from the Ernst C. Stiefel Foundation. Help everyone enjoy the music. Please do not take photos or record any part of the performance, and remember to silence your mobile devices. On behalf of the artists and the rest of the audience, we thank you.

Caramoor

Summer 2021

About the Music. At a Glance

The Program

The centerpiece of today’s program is a freshly minted string quartet by Saad Haddad, a young Arab American composer known for his imaginative hybridizing of Western and Middle Eastern musical traditions. Haddad’s String Quartet No. 2 is sandwiched between two masterpieces of the socalled First Viennese School: the first of Haydn’s six Op. 20 Quartets, which bedazzled audiences in the 1770s with their prodigal display of formal and melodic invention, and Beethoven’s Third “Razumovsky” Quartet of 1806.

JOSEPH HAYDN (1732–1809)

Known as the “father” of the string quartet, Haydn occupied a pivotal place in music history. In 1732, the year of his birth, the Baroque masters Bach and Vivaldi were still in their primes. By the time he died, 77 years later, his erstwhile pupil Beethoven was ushering in the Romantic era. Haydn’s music reflects the “classical” virtues of equilibrium, clarity, and seriousness of purpose, tempered with a playfulness and often earthy humor that have delighted audiences ever since. Beethoven’s Romanticism posed greater challenges for his contemporaries. The three great quartets that he composed for the Russian count Andreas Razumovsky marked a turning point in his stylistic development. From its somberly mysterious choral introduction to its sparkling fugal finale, the C-Major Quartet holds listeners on the edges of their seats.

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String Quartet in E-flat Major, Op. 20, No. 1 About the Composer One of Haydn’s early biographers, Georg August Griesinger, relates how the composer first tried his hand at writing string quartets in the early 1750s. The future “father” of the string quartet was then teaching music lessons to the children of Baron Carl Joseph Fürnberg in Vienna. According to Griesinger, the baron “had an estate in Weinzierl, several stages from Vienna; from time to time he invited his parish priest, his estate manager, and Albrechtsberger (a brother of the well-known contrapuntist) in order to have a little music. Fürnberg asked Haydn to compose something that could be played by these four friends of the art. Haydn, who was then 18, accepted the proposal, and so originated his first quartet, which, immediately upon its appearance, received such uncommon applause as to encourage him to continue in this genre. About the Work The 68 quartets that Haydn went on to compose over the next halfcentury offer a capsule overview of his artistic development. The earliest quartets, such as the one that beguiled Baron Fürnberg and his guests, were closely related to the string sonatas, sinfonias, and lightweight divertimenti that were popular with European Summer 2021

audiences in the Rococo period. In these works the cello was still largely confined to continuo-style harmonic accompaniment, but in Haydn’s hands both the bass line and the quartet’s two inner voices became increasingly independent. By the time he wrote the six Op. 20 Quartets in 1772, the year of his 40th birthday, he was working out a style in which all four instruments were more or less equal partners, thereby laying the foundation for the quartets of Mozart and Beethoven. A Deeper Listen Although the E-flat-Major Quartet is less conspicuously innovative than its five companions, there is plenty of evidence that Haydn was determined to loosen the bonds of convention. In the opening Allegro moderato, for instance, the cello quickly sheds its traditional supporting role: listen for its rambunctious dialogue with the first violin in the movement’s minor-key midsection, as the two instruments volley ricocheting 16th-note figures back and forth against a static backdrop of slowly shifting harmonies. The Menuetto’s jovial bounciness contrasts with the suave, hymnlike solemnity of the slow movement (marked “with feeling and sustained”), though both movements are in lilting triple meters. The zesty Finale is notable for its light, transparent texture; the music’s rhythmic buoyancy is accentuated by chains of syncopations that pit the two violins against the lower strings.

SAAD HADDAD (b. 1992) String Quartet No. 2 World Premiere, Vol. 22 of Caramoor’s commissioning project: A String Quartet Library for the 21st Century About the Composer Born in Georgia to a Lebanese mother and a Jordanian father, Saad Haddad embodies the fertile fusion of cultures that has enriched America’s classical and popular music scenes in recent decades. The 29-year-old composer grew up in the musical melting pot of southern California, in a household where Michael Jackson figuratively rubbed shoulders with Mozart and the traditional musicians of the Arab world. Now based in New York, where he is a Dean’s Fellow at Columbia University and a Young Concert Artists Composer-in-Residence, Haddad has long made a specialty of grafting Arabic compositional and performance idioms onto Western instruments. A case in point is the String Quartet he wrote in 2017 for the Lydian String Quartet, which incorporates elements as diverse as Middle Eastern drumming technique, a fugue from Bach’s WellTempered Clavier, and the microtonal scale patterns associated with the traditional Arabic melodic modes. In the Composer’s Words In writing my second string quartet, I looked back to a movement of my first string quartet, Fugha, which superimposed the Arab maqamat (modes) over the harmonic motion of a fugue from The Well-Tempered Clavier by J. S. Bach. As I composed, I quite enjoyed this process of ruminating

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on what Bach might have done if presented with the rich tapestry of possibility from the microtonally inflected Arab modes coupled with his ingenious sense of counterpoint and harmony. For this work, I went further back in time for inspiration, turning to the often-overlooked Nicola Vicentino, an Italian composer and theorist from the Renaissance period. In his 16th century treatise, “L’antica musica ridotta alla prattica moderna,” he devised a 31- tone system (our “standard” Western system has only 12 tones!) which includes his four-part madrigal, “Musica prisca caput,” where he put his ideas into practice. I used this work as a harmonic template for my own musical exploration. This madrigal is organized into three parts that are distinguished by their pitch content: (1) diatonic (7 possible tones), (2) chromatic (12 possible tones), and (3) microtonal (31 possible tones(!)). In my work, every chord in “Musica prisca caput” is chronologically represented: almost all of them with their original voice leading, many of which are solely in root position! They vary from the original by the extension of range (beyond what is possible with human singers), expansion of timbral possibilities (i.e. glissandi, tremolandi, harmonics, etc.), and the implementation of the maqamat to establish a new melodic context for Vicentino’s contrapuntal writing. By focusing on this distinctly Western point of departure, I hope to provoke a renewed awareness of the richness of Arab traditions and how their facets can coexist within our global cultural landscape. – Saad Haddad Caramoor

LUDWIG VAN BEETHOVEN (1770–1827) String Quartet No. 9 in C Major, Op. 59, No. 3, “Razumovsky” About the Composer Beethoven’s biographer Lewis Lockwood describes the three “Razumovsky” Quartets of 1806 as a “continental divide” in the history of the string quartet. Behind them stood the towering peaks of the Viennese Classical school, epitomized by Haydn and Mozart; ahead lay the as-yetuncharted territory of Schubert, Mendelssohn, Schumann, and Brahms. The Op. 59 set marked a watershed in Beethoven’s own artistic development as well. Like the “Eroica” Symphony, the “Appassionata” Piano Sonata, and the opera Fidelio, the “Razumovskys” exemplify the “heroic” and boldly unconventional style that Beethoven forged in his so-called middle period, under the incubus of his steadily worsening loss of hearing. The Mozartean Classicism of his six Op. 18 Quartets, composed between 1798 and 1800, already belonged to a different world, while the introspective, convoluted language of his late quartets lay just around the corner. About the Work The Op. 59 Quartets were commissioned by Count Andreas Razumovsky, Russia’s ambassador to the court of Vienna. An enthusiastic amateur violinist, the count was an ardent champion of both Beethoven and Haydn. Beethoven set to work on May 26, 1806, and completed the three quartets by the end of the year. Predictably, contemporary reactions to the “Razumovskys” ranged from Summer 2021

bemusement to outright hostility. When the violinist Ignaz Schuppanzigh’s celebrated ensemble read through the first piece in the set, the players reportedly “laughed and were convinced that Beethoven was playing a joke and that it was not the quartet which had been promised.” The great Russian cellist Bernhard Romberg, upon discovering that he had nothing to play at the beginning of a certain movement but repeated B-flats, flung the music on the floor and trampled on it. Beethoven was not unduly perturbed by such displays of incomprehension. The Op. 59 Quartets, he coolly informed one of his critics, “are not for you, but for a later age.”

surprise ending. On a sketch for the last movement, the composer wrote defiantly, “Let your deafness be no more a secret — even in art.”

— Harry Haskell

A Deeper Listen The C-Major Quartet’s darkly mysterious chordal introduction advertises the seriousness of Beethoven’s intentions, but the tone of the ensuing Allegro vivace, with its skipping dotted theme, is incongruously lighthearted. Not until the slow movement does darkness descend again, in the dirgelike tolling of the cello’s subterranean pizzicato (plucked) notes. Although the upper strings’ mournful plaint is twice interrupted by a dancing countermelody, the movement ends in somber A minor. The genial Menuetto and its strutting Trio midsection both make ample use of the flowing 16th-note roulades we’ve encountered earlier in the Quartet. A brief coda serves as a bridge to the Allegro molto: the viola bursts out of the gate, leading the foursome on a merry fugal chase that’s charged with electric energy, and Beethoven’s inexhaustible ingenuity keeps us on the edge of our seats all the way to the Caramoor

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About the Artists.

Callisto Quartet Praised for their “intensity and bravado” and the “cohesion and intonation one might expect from an ensemble twice their age” (Third Coast Review), the Callisto Quartet brings together four dedicated and passionate musicians who share a love for chamber music and a true desire for excellence. Since their formation in 2016 at the Cleveland Institute of Music, the quartet has quickly garnered top prizes in nearly every major international chamber music competition and has been hailed by audiences across North America and Europe. Grand prize winners of the 2018 Fischoff National Chamber Music Competition and Second Prize Winners of the 2019 Banff International String Quartet Competition, the Callisto Quartet has also taken home prizes from the Bordeaux (2019), Melbourne (2018), and Wigmore Hall (2018) competitions. Currently serving as the Graduate String Quartet in Residence at the Shepherd School of Music at Rice University, they also study with Günter Pichler of the Alban Berg Quartet at Caramoor

the prestigious Escuela Superior de Música Reina Sofía in Madrid, Spain. The quartet has participated and performed in many renowned chamber music festivals such as the La Jolla Music Society Summerfest, the Great Lakes Chamber Music Festival, the Emilia Romagna Festival, the Norfolk Chamber Music Festival, the McGill International String Quartet Academy, the Juilliard String Quartet Seminar, and the Robert Mann String Quartet Seminar. In 2018, at the invitation of Gerhard Schulz, they attended the Prussia Cove International Musicians Seminar where they also worked with Gidon Kremer and Thomas Adès. As part of their prize from the Wigmore Hall Competition, the Quartet received an invitation to the Jeunesses Musicales International Chamber Music Campus in Weikersheim, Germany where they worked with Heime Müller, Donald Weilerstein, and the Cuarteto Casals. Highlights of their recent performances include debuts in New York City and Chicago on the Schneider Concert Series and at Ravinia Festival, respectively, as well as at the Heidelberg String Quartet Festival. They were also featured in Carnegie’s Weill Recital Hall in July 2019 as Grand Prize winners of the 4th Manhattan International Music Competition Chamber Music Division. Notable collaborations include appearances with cellist David Geringas at the Cleveland Cello Society’s 20th anniversary concert as well as a collaboration with clarinetist Frank Cohen on the ChamberFest Cleveland Series. Over the past two seasons at the Great Lakes Chamber Summer 2021

Music Festival they have collaborated with Paul Watkins, Lawrence Power, Gilles Vonsattel, and John Novacek. The Callisto Quartet is committed to continually broadening their musical horizons by drawing inspiration from a plethora of mentors and musical approaches. They also believe strongly in passing along their musical insights to younger students and sharing their music in their communities. To this end they have served as faculty and given masterclasses at numerous

schools and festivals including the Bravo International Chamber Music Workshop, University of Central Florida, Midwest Young Artists Conservatory, the Greenville Fine Arts Center, and the CIM Preparatory Division. They frequently perform in schools, retirement homes, and other community centers, and are featured as ensemble in residence at the Carolina Music Museum in Greenville, South Carolina.

D O UG L A S J. C UO M O ’ S SEVEN LIMBS Featuring Nels Cline and the Aizuri Quartet

Friday, July 9 / 8:00pm 7:00pm / Pre-concert conversation with Douglas J. Cuomo and Nels Cline Based on a Buddhist practice of purification, Seven Limbs juxtaposes Nels Cline’s inventive guitar playing with the Grammy-nominated Aizuri Quartet’s classically-based, yet progressive approach. T I C K E T S / caramoor.org / 914.232.1252 Caramoor

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Ernst Stiefel String Quartet-in-Residence. Since 1999, one extremely promising string quartet is chosen for this year-long residency, during which they perform at Caramoor throughout the season and lend their time and talents to Caramoor’s Student Strings, a classroom-based program of concerts and conversations in secondary schools. These burgeoning quartets often return in the years following their residencies to perform at Caramoor among its roster of distinguished musicians. During each residency, Caramoor offers the quartet the opportunity to commission a new work from a composer of their choice, resulting in fruitful artistic relationships with the composers. Through this aspect of the program, Caramoor is proud to have helped bring into existence an exciting new library of 21st-century string quartet repertoire. The Ernst Stiefel String Quartet-in-Residence is supported, in part, by major endowment gifts from the Ernst C. Stiefel Foundation. The success of this mentoring program relies on the generosity of donors interested in furthering the careers of promising chamber quartets. Below is a full list of our past resident quartets and commissioned composers: 1999-00: Avalon String Quartet/ Augusta Read Thomas

2012-13: The Amphion Quartet/ Yevgeniy Sharlat

2000-01: Miró Quartet/ Brent Michael Davids

2013-14: Dover Quartet/David Ludwig

2001-02: Pacifica Quartet/ Marta Ptaszynska 2002-03: Rossetti String Quartet/ John Harbison 2003-04: Daedalus Quartet/David Horne 2004-05: Amernet String Quartet/ Joel Hoffman

2014-15: The Calidore Quartet/ Patrick Harlin 2015-16: Aizuri Quartet/Paul Wiancko 2016-17: Argus Quartet/Donald Crockett 2017-18: Verona Quartet/Julia Adolphe 2018-19: Omer Quartet/Gabriella Smith 2019-20: Thalea Quartet/Paola Prestini

2005-06: Jupiter String Quartet/ John Musto 2006-07: Parker Quartet/Lera Auerbach 2007-08: Escher String Quartet/ Pierre Jalbert 2008-09: Ariel String Quartet/ Yohanan Chendler 2009-11: Jasper String Quartet/ Andrew Norman 2011-12: Linden String Quartet/ Gabriel Kahane

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The Brianna Thomas Band Presented in Collaboration with Jazz at Lincoln Center Friday / July 2 / 8:00pm / Venetian Theater

With Ella in Mind

Brianna Thomas, vocals Conun Pappas, piano Marvin Sewell, guitar Ryan Berg, bass Jeremy “Bean” Clemons, drums Fernando Saci, percussion

This concert is made possible by generous support from Peter & Katherine Kend.

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

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About the Artist.

Brianna Thomas Born and raised in Peoria, Illinois, Brianna Thomas grew up surrounded by music. Her father, Charlie Thomas, not only influenced her with his own unique talents as a vocalist and percussionist, he created an exceptionally well-rounded musical environment that fostered her emerging abilities. At the tender age of six, Thomas made her singing debut performing a duet rendition of the jazz classic, What A Wonderful World with her father. At the age of eight she won her first of 13 trophies, all first place and overall, from various district and regional talent shows. Between the ages of eight and 10, she had her first gigs performing for a variety of banquets, black tie affairs, and on local radio stations. It didn’t take long for people to notice her talent and potential. Just shy of her teens, her talents were discovered by distinguished jazz educator Mary Jo Papich. Soon after, Thomas toured Europe with the Peoria Jazz All-Stars, a big band under Papich’s direction. This was the beginning of Thomas’ career as jazz vocalist.

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Thomas’ singing is deeply enriched by an understanding of the masterful voices of jazz past. Beyond a healthy serving of sass, Sarah Vaughan’s influence contributes to Thomas’ style the artistic savvy needed to communicate myriad moods and feelings as well as a keen instrumental perspective. Add to that a coyness reminiscent of Nancy Wilson, an Ellaesque skill and enthusiasm for scatting, and the stylistic breadth and vocal grandeur evocative of Dianne Reeves. Perhaps Thomas’ greatest asset is the soulfulness of her sound. Captivatingly unique, her sound moves in tones ranging from sweet invitations to assured convictions, establishing a personal and classic quality that leaves listeners swooning after her performances. Thomas’ talents have propelled her to many successes including performances at the Montreux, North Sea, and Umbria Jazz Festivals, and in venues ranging from the Bahamas to Geneva, Switzerland. Thomas was a resident in both the 2001 and 2002 Betty Carter Jazz Ahead Programs — an international artist-in-residence program that assembles a select group of jazz musicians to perform their original compositions at the Kennedy Center. At Jazz Ahead she worked with a host of premier jazz educators and performers including renowned vocalist Carmen Lundy, Winard Harper, and Nathan Davis. Thomas’ extensive list of stateside performances includes appearances with Fred Anderson, Von Freeman, Houston Person, and the Barber Summer 2021

Brothers. She has performed across the country, from New Orleans to Washington, D.C.’s Kennedy Center. In 2001, Thomas was dubbed High School Jazz Vocalist of the Year by Downbeat magazine. Notably, Thomas is the youngest person ever to be inducted into Peoria’s African-American Hall of Fame at the age of 13 in 1996. She has also received a certificate of excellence from the state of Illinois in recognition of her musical accomplishments.

Thomas has blazed a path in the world of jazz and continues a stellar ascent. With dedication, hard work, and a sparkling personality, she is sure to become one of jazz’s most prominent voices. The words of legendary trombonist Curtis Fuller best illustrate Brianna Thomas’ abilities, hailing her as a “marvelous new artist who has all it takes to reach the top of the jazz profession and music in general.”

JAZZ FESTIVAL Presented in Collaboration with Jazz at Lincoln Center

Alexa Tarantino

Sean Jones

Jeremy Bosch

Saturday, July 31 / 1:30pm–8:00pm Sean Jones’ Dizzy Spellz featuring Brinae Ali / Larry Grenadier / Endea Owens and The Cookout / Alexa Tarantino Quartet / Brandon Goldberg Trio / Godwin Louis Duo featuring Jonathan Barber / Jeremy Bosch & Friends: Salsa Meets Jazz / and more! T I C K E T S / caramoor.org / 914.232.1252

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The Forest Saturday / July 3 / 6:00pm / Caramoor Grounds

The Crossing Donald Nally, conductor

DONALD NALLY (b. 1960) & KEVIN VONDRAK (b.1993)

The Forest (2020)

Please enjoy The Forest texts following the performance at crossingchoir.org/forest.

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About the Music.

The Forest is The Crossing’s response to the pandemic of 2020. We could not sing safely indoors, so we rethought what we do, why, and how, moving outdoors to sing, listen, and connect. We designed an amplification system we call Echoes Amplification Kits that allows singers to stand 30’ from each other and from the audience. Listeners ‘walk through’ the performance as the speakers of Echoes, positioned close to the path, create an intimate experience, reestablishing the broken relationships between singers and audience members while telling our story — the story of a planet in crisis, its people and its forests in peril. Yet, in that curiously human way, the story is one of hope and of a way forward. The Forest focuses on the symbiotic relationship between individual trees and the forest — a metaphor for the relationship between each singer and our ensemble. The libretto is formed of our singers’ reflections on their isolation during COVID-Time, overlaid with texts from Scott Russell Sanders’ essay Mind in the Forest.The music was developed (perhaps it is more accurate to say, “found within the words of the singers") by Donald and Kevin. The Crossing is grateful to Thomas Kasdorf, who supported the process and technology to bring The Forest to life. Tom passed on just four weeks after the premiere. The Forest exists as just one of a number of legacies left by this generous, inspiring artist.

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Echoes Amplification Kits This is The Crossing’s response to the time in which we live — a time when singing together in conventional formats (inside, gathered closely, depending on our ears to commune, audiences within a few feet) has been proven unsafe. So, we have rethought how we do what we do: sing, listen, and connect. One product of this reimagining is Echoes*, a conduit for intimate, expressive vocal art. Developed by The Crossing’s sound designer, Paul Vazquez, each Echoes amplification kit features an individual six-foot pillar speaker and headset microphone that allow singers to sing together, outside, and safely socially distant. In-ear headphones allow for listening, and a loop pedal lets one voice transform to many; the 24 voices of The Crossing can, through looping, become a choir of over a hundred voices. Yet, Echoes is not meant to replace what we normally do; it is an extension of our collective singing, rooted in the need to adapt to new ways of gathering. The isolation of singing during the pandemic is ever-present, while the joy of finding this way to do so is equally clear. * Ex-Covid Haptotropic Optimistic Electrophonic Sound

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About the Artists.

The Crossing The Crossing is a Grammy-winning professional chamber choir conducted by Donald Nally and dedicated to new music. It is committed to working with creative teams to make and record new, substantial works for choir that explore and expand ways of writing for choir, singing in choir, and listening to music for choir. Many of its over 110 commissioned premieres address social, environmental, and political issues. The Crossing collaborates with some of the world’s most accomplished ensembles and artists, including the New York Philharmonic, Los Angeles Philharmonic, American Composers Orchestra, Network for New Music, Lyric Fest, Piffaro, Beth Morrison Projects, Allora & Calzadilla, Bang on a Can, Klockriketeatern, and the International Contemporary Ensemble (ICE). Similarly, The Crossing often collaborates with some of world’s most prestigious venues and presenters, such as the Park Avenue Armory, Annenberg Center for the Performing Arts at the University of Pennsylvania, National Sawdust, David Geffen Hall at Lincoln Center, Disney Hall in Los Angeles, the Caramoor

Cleveland Museum of Art, the Menil Collection in Houston, the Isabella Stewart Gardner Museum in Boston, Haarlem Choral Biennale in The Netherlands, The Finnish National Opera in Helsinki, The Kennedy Center in Washington, Philadelphia Museum of Art, Metropolitan Museum of Art, Zankel Hall at Carnegie Hall, Symphony Space in New York, Winter Garden with WNYC, and Duke, Northwestern, Colgate, and Notre Dame Universities. The Crossing holds an annual residency at the Warren Miller Performing Arts Center in Big Sky, Montana. With a commitment to recording its commissions, The Crossing has issued 24 releases, receiving two Grammy Awards for Best Choral Performance (2018, 2019), and six Grammy nominations. The Crossing, with Donald Nally, was the American Composers Forum’s 2017 Champion of New Music. They were the recipients of the 2015 Margaret Hillis Award for Choral Excellence, three ASCAP Awards for Adventurous Programming, and the Dale Warland Singers Commission Award from Chorus America. Recently, The Crossing has expanded its choral presentation to film, working with Four/Ten Media, in-house sound designer Paul Vazquez of Digital Mission Audio Services, visual artists Brett Snodgrass and Steven Bradshaw, and composers David Lang, Michael Gordon, and Paul Fowler on live and animated versions of new and existing works. Lang’s protect yourself from infection and in nature as well as Paul Fowler’s Obligations, based on a poem of Layli Long Soldier, were specifically Summer 2021

created to be within the restrictions imposed by the COVID-19 pandemic. The Crossing’s pandemic response daily series, Rising w/ The Crossing, a series of 72 past live performances with notes by Donald Nally, has been archived by the Library of Congress as “an important part of the collection and the historical record.” The Crossing is represented by Alliance Artist Management. All of its concerts are broadcast on WRTI, Philadelphia’s Classical and Jazz public radio station. More at crossingchoir.org. #ComeHearNow

THE CROSSING Katy Avery Nathaniel Barnett Jessica Beebe Karen Blanchard Steven Bradshaw Colin Dill Micah Dingler Ryan Fleming Joanna Gates Dimitri German Steven Hyder Michael Jones Lauren Kelly Anika Kildegaard Heidi Kurtz Maren Montalbano Rebecca Myers James Reese Daniel Schwartz Rebecca Siler Tiana Sorenson Elisa Sutherland Jackson Williams Donald Nally, conductor Kevin Vondrak, assistant conductor John Grecia, keyboards Paul Vazquez, sound Jonathan Bradley, executive director Shannon McMahon, operations manager Kate Nelson, stage manager Jack Feivou, line producer

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Pops & Patriots Sunday / July 4 / 4:00pm / Venetian Theater Westchester Symphonic Winds Curt Ebersole, Conductor / Music Director Candice Hoyes, soprano Jorell Williams, baritone JOHN STAFFORD SMITH (1750–1836) arr. by Jack Stamp

The Star Spangled Banner

PHILIP SPARKE (b. 1951)

Jubilee Overture

JERRY HERMAN (b. 1931) arr. by Barton Green

Overture to Mame

KARL L. KING (1891–1971)

Barnum and Bailey’s Favorite

ERIKA SVANHOE (b .1976) DUKE ELLINGTON (1899–1974) arr. by Floyd Werle

Barnum and Bailey’s Tandem Bicycle from Steampunk Suite An Ellington Portrait

(Program continued on following page)

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GEORGE GERSHWIN (1898–1937) arr. by Matt Podd

I Got Gershwin

PYOTR ILYICH TCHAIKOVSKY (1840–1893) arr. by Mayhew L. Lake

Overture “1812”, Op. 49

JOHN PHILIP SOUSA (1854–1932) arr. by Keith Brion & Loras Schissel

The Stars and Stripes Forever

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Candice Hoyes, soprano Jorell Williams, baritone

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About the Music. A Note from the Director

It’s our seventh year at Caramoor! But more importantly, this is our first performance after more than a year’s shutdown due to COVID-19. The pandemic caused trauma for us all on many levels, but losing our weekly connection of making music together was truly unsettling. Returning to this stage today signifies triumph over adversity on more levels than we can describe. It seemed inappropriate to begin today’s program with a traditional, military-style version of the national anthem. Not only is this our first performance since February 2020, this is likely the first live performance in a very long time for most of our audience members attending today. Because of this, I chose the arrangement of The Star Spangled Banner by Jack Stamp (b. 1954). In his score, Stamp noted that a national anthem should be a citizens’ “love song to their country.” In this spirit, Stamp took a sketch from his earlier arrangement of the anthem and updated it in the days following September 11, 2001. I feel its tone — beginning reverently and ending triumphantly — is especially relevant to open today’s program. Jubilee Overture, by Philip Sparke (b.1951), sparkles with radiant joy. From its opening brass fanfare, through its quirky and jaunty principal theme, to its buoyant and joyful lyrical theme, this overture is a jewel in the wind band repertoire. Sparke is a British composer with many brass band and wind band works to his credit. His association with the Tokyo Kosei Wind Orchestra and US Air Caramoor

Force Band have earned him praise and respect worldwide. Mame, with music and lyrics by Jerry Herman (1931–2019) followed Hello, Dolly! as his second mega-hit on Broadway when it was originally produced in 1966, with Angela Lansbury in the title role. A third box office smash, La Cage aux Folles, followed in 1983, breaking more attendance records and culminating in Herman’s third Tony Award, for Lifetime Achievement, in 2009. Mame was the first Broadway show I ever played, in a community production in 1974, and that experience forever defined my perspective of pit orchestra performance. When Barton Green approached me with his offer of an arrangement of the Mame overture, I jumped at the chance. This overture celebrates the joie de vivre that the pandemic stole from our lives, and helps us reclaim that joy today. The magic of American “Big Top” circuses is woven into our American cultural heritage. For the Westchester Symphonic Winds, this is especially important in 2021, as we had our first re-entry rehearsals in May and June in a circus tent on the grounds of The Masters School, in Dobbs Ferry. Without that tent and the opportunity to rehearse safely outdoors, we would not be performing today. And so it’s very important to feature one of the greatest circus marches ever written, Barnum and Bailey’s Favorite, by Karl L. King (1891–1971). King wrote more circus marches than any other composer, and his aerial waltzes and gallops also provided the musical backdrop for America’s finest circus performances. Summer 2021

“Steampunk” refers to a genre of science fiction and fantasy that incorporates technology designs inspired by 19th century industrial steam-powered machinery. Twenty Thousand Leagues Under the Sea by Jules Verne and The Time Machine by H.G. Wells are just two literary examples of this world. Musically, the Victorian era sounds of clockworks, bicycle bells and horns, and steam technology have found their way into the works of Ives, Sousa, Satie, King, Stravinsky, Weill, Khachaturian, and even Danny Elfman. Erika Svanoe (b.1976) harnessed this musical energy in her Steampunk Suite, and its fourth movement, “Barnum & Bailey’s Tandem Bicycle,” pays clear tribute to the Karl King march we just played, along with “Daisy Bell (Bicycle Built for Two).” I invite you to close your eyes and be transported to a wholly different time and place, with tonguein-cheek planted firmly in place. It was originally our intent to partner with Caramoor’s celebration of the Harlem Renaissance centennial anniversary last year. So instead, we’ll celebrate 101 years today with the music of Duke Ellington (1899–1974) in this dynamic arrangement by US Air Force Chief Master Sgt. Floyd E. Werle (1929–2010). This musical journey of Ellington favorites includes Azure, I Let a Song Go Out of My Heart, Solitude, It Don’t Mean a Thing If It Ain’t Got That Swing, Sophisticated Lady, Mood Indigo, Caravan, and In a Sentimental Mood. Join us as we celebrate the centennial with this extraordinary array of toe-tapping tunes! For the seventh time, Matt Podd has arranged beautiful music for the Westchester Symphonic Winds and our vocal soloists here at Caramoor. Caramoor

This year, we are featuring soprano Candice Hoyes and baritone Jorell Williams in an arrangement of George Gershwin classics, appropriately titled I Got Gershwin. The melodies include an amazing bouquet of tunes we know and love, including Rhapsody in Blue, I Got Rhythm, Fascinating Rhythm, ‘S Wonderful, They Can’t Take That Away From Me, Strike Up the Band, Our Love is Here to Stay, Embraceable You, and themes from An American in Paris. We hope you’ll enjoy this ingenious new medley, written especially for today’s performance. Although its origins have nothing to do with the birth of America, Overture “1812” (subtitled “Ouverture Solennelle”) has become synonymous with the battle for which it was named, in which Russia defended itself against the Napoleonic armies of France. Connect battles to cannons, cannons to fireworks, and fireworks to Fourth of July – thus, a musical tradition was born. Arthur Fiedler initiated this tradition with the Boston Pops on the Esplanade in 1974, complete with cannons, church bells, and fireworks. We hope you enjoy our special take on this battle hymn of freedom, which is especially apropos this year as we celebrate our emerging freedom from this pandemic. We are closing our program tonight with a traditional Fourth of July encore, The Stars and Stripes Forever, by John Philip Sousa. Since an act of Congress in 1987, it is the official National March of the United States of America. What better way is there to end our Fourth of July celebration? I’d like to thank Laura Danforth, Head of School, and the campus community at The Masters School, Dobbs Ferry, Summer 2021

New York, for allowing us to rehearse on their campus to prepare this program. I’m also grateful to Ed Lewis, Kathy Schuman, Ellie Gisler, Tim Coffey, and Ed Greer at Caramoor; and Matt Podd, Candice Hoyes, Jorell Williams, and the Board of Trustees and members of the Westchester Symphonic Winds for their support for our performance this evening!

Curt Ebersole Conductor/Music Director Westchester Symphonic Winds

Free!

J O H N L U T H E R A D A M S’ Ten Thousand Birds

Sunday, July 11 / 4:00pm / Caramoor Grounds 3:00pm / Pre-concert conversation with Alan Pierson Alarm Will Sound performs John Luther Adams’ Ten Thousand Birds throughout Caramoor’s grounds with musicians and audiences moving freely about. The piece is based on the songs of birds that are native to the area in which it is performed. R E S E R V E / caramoor.org / 914.232.1252 Caramoor

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About the Artists he studied conducting with John P. Paynter and clarinet with Larry Combs, and a Master of Fine Arts in Clarinet Performance from SUNYPurchase, where he studied with Ben Armato.

Curt Ebersole, Conductor / Music Director Curt Ebersole has served as the Conductor and Music Director (John P. Paynter Memorial Chair) of the Westchester Symphonic Winds since 2008, fostering its exponential growth over the past thirteen years. He led the Westchester Symphonic Winds in its Lincoln Center debut in March 2010 at Avery Fisher Hall, and at convention and exchange performances in Chicago, Poughkeepsie, Stamford, and Syracuse, as well as six soldout summer festival performances at Caramoor. He retired from Northern Valley Regional High School (Old Tappan, NJ) in 2013 after serving as Director of Instrumental Music for 31 years. His ensembles were honored with consistently critical accolades, and his instrumental Prism Concerts became a local rite of spring. He now serves on the faculty at The Masters School, in Dobbs Ferry, New York, where he teaches String Ensemble, Chamber Music, and Public Speaking. He earned a Bachelor of Music Education degree and a Master of Music in Conducting degree from Northwestern University, where Caramoor

Maestro Ebersole has served as a guest conductor and clinician for numerous county, regional, all-state, and adult community ensembles around the world, including performances at Carnegie Hall, Avery Fisher Hall, Symphony Space, University of Georgia, Syracuse University, Hartwick College, Georgia State University, with the US Army Field Band, as well as performances in Las Vegas, South Korea, and Australia. He is the founding coordinator of the Music Educators of Bergen County Wind Conducting Symposium. He has served as a clinician at the Midwest Clinic, Temple University Wind Conducting and Teaching Workshops, Florida Music Educators Association Convention, and presented his TED Talk “Framing Failure” at TEDxOneonta in 2017. He is a practitioner of Positive Psychology and the Harkness Method. His performance achievements include solo and ensemble performances as both a clarinetist and basset hornist, including principal clarinet of this ensemble in 1989-1990. Ebersole was selected as the Northern Valley District Teacher of the Year in 1994 and the Bergen County Teacher of the Year in 1995. The Mayor and Council of Old Tappan honored him for 20 years of service to the community in 2002. The New Jersey Music Educators Association chose him as the recipient of the 2003 Master Music Summer 2021

Teacher Award, and he received a Governor’s Award in Arts Education later that year. In 2009 he was the Northern Valley-Old Tappan recipient of the New Jersey Governor’s Teacher Recognition Award. Yale University honored him with their Distinguished Music Educator Award in 2011. Ebersole led the Westchester Symphonic Winds to earn a triple play in The American Prize competition, earning first place for community wind ensemble, second place as conductor, and third place for American music performance. His professional memberships include NAfME, CBDNA, and Pi Kappa Lambda. Ebersole is a native of Lancaster County, PA, and a current resident of White Plains, NY. In addition to his busy musical life, he enjoys riding America’s fastest and tallest roller coasters.

Candice Hoyes, soprano Candice Hoyes is “shap[ing] the artistcum-activist role” (NPR) as soprano, archivist and producer. Candice is set to release her self-penned EP in July 2021, the follow-up to her critically acclaimed 2015 album of rare Duke Ellington songs, On a Turquoise Cloud. A multi-genre artist of “breathtaking range” (Vogue), Hoyes is a recipient of the 2021 NYC Creative Arts grant, and 2020 winner of the inaugural NYC Women’s Fund for Film, Music and Media for breakthrough recording. Hoyes is an honors graduate of Harvard University, where she studied sociology and Black Studies. Of Jamaican parentage, she is the first professional musician in her family. Her recent performances include BAM, Detroit Symphony, Jazz at Lincoln Center, The Public Theater, Portland Ovations, and 2020 NYC Winter Jazzfest. An exponent of contemporary music, she originated the roles of Helen Gibson (The Summer King), Masha (Four Sisters), and First Spirit in Philip Glass’ radio drama Help! Most recently, Hoyes returned to Caramoor, where she trained as a Young Artist, to perform the lead soprano in Shirley Graham Dubois’s rare opera Tom-Tom conducted

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by Kyle Walker. Last season, she performed and produced a recital of Ricky Ian Gordon’s vocal suite Autumn Valentine in collaboration with the composer and baritone Jorell Williams at The Cell. Hoyes has shared the stage and recorded with Wynton Marsalis, Jazz at Lincoln Center, Lin ManuelMiranda, and Phillip Glass. As an activist/producer, she continues her feminist performance lecture series for Jazz at Lincoln Center and CUNY for a fourth season, and is a key collaborator with the Feminist Press, Well Read Black Girl, Lawyers Committee for Civil Rights in Law, National Black Theatre, Women in Music, and numerous grassroots organizations. As a young artist, she trained at Lorin Maazel’s Castleton Festival and Nevada Opera. Her upcoming EP features performances by GRAMMY-award winning producer Sullivan Fortner (Paul Simon, Cecile McLorin Salvant, Dianne Reeves), Casey Benjamin, Joel Ross, Keyon Harrold, and Natasha Diggs. Follow her journey @ candicehoyes on all social platforms.

Jorell Williams, baritone Jorell Williams is an American operatic baritone with a wide variety of experience from standard repertoire to premiere pieces, performing in collaboration with the Metropolitan Opera, Lincoln Center Theater, Seattle Opera, New York City Opera, Atlanta Opera, On-Site Opera, Urban Arias, Opera Columbus, Fort Worth Opera, and Finger Lakes Opera. Williams is widely recognized for his concert work, having performed as soloist with Carnegie Hall, Omaha Symphony, South Dakota Symphony, Orchestra of St. Lukes, Jazz at Lincoln Center Orchestra, Philharmonic of Southern New Jersey, Juneau Symphony, Eugene Symphony, Geneseo Symphony, The Knickerbocker Chamber Orchestra, Caelis Academy Ensemble, Essential Voices USA, The Little Orchestra Society, Hudson Chorale, National Chorale, and the Harlem Chamber Players. His career has brought him on tour with the Mark Morris Dance Company, Jazz at Lincoln Center Orchestra, Chorale Le Chateau, and the Brooklyn Art Song Society. He has also worked alongside some of today’s most versatile artists, including Wynton Marsalis, Lauryn

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Hill, Erykah Badu, Damien Sneed, Jon Batiste, David Lang, and most recently, Jennifer Higdon – for her 2017 Grammy nominated World Premiere Opera Cold Mountain with the Santa Fe Opera. Winner of the 2018 Rochester Classical Idol XII Prize and Audience Choice award, Williams garners top awards from some of the most prestigious competitions in the world, including the American Traditions Competition, Gerda Lissner International Competition, Schuyler Foundation for Career Bridges, Licia Albanese Puccini Foundation, The American Prize, Serge Koussevitzky Foundation, David Adams Art Song Competition, Civic Morning Musicals Foundation, Harlem Opera Competition, National Association of Negro Musicians, and the Liberace Foundation. He in an alumnus of Caramoor’s Bel Canto Young Artist Program, the Composers and the Voice Program at The American Opera Project, Ravinia Steans Music Institute, and Songfest at Colburn in Los Angeles. He also trained at Santa Fe Opera, Chautauqua Opera, Des Moines Metro Opera, and holds degrees from the Manhattan School of Music and SUNY Purchase Conservatory of Music. He is an advocate for artist rights and is a newly appointed artistic council advisor for On-Site Opera and the new music board for the Brooklyn Art Song Society, using his experience to consult with arts organizations on their Diversity, Equity and Inclusion initiatives.

Caramoor

Westchester Symphonic Winds Thirty-three years ago, two New Rochelle High School graduates, Rachel Eckhaus and Robert LaPorta, realized how much they missed the musical and social experience of playing in their high school concert band. They also discovered that there were virtually no local community bands, so they persuaded their former band director, James D. Wayne, to work with them to form a new organization in Westchester, which they named the Hudson Valley Wind Symphony. From its humble beginning of 30 members, the group has grown to 65 wind and percussion players, has found a permanent home at the Tarrytown Music Hall, and has changed its name to the Westchester Symphonic Winds, to better reflect that its members are drawn from Westchester County and the surrounding tri-state metropolitan area. The Westchester Symphonic Winds is an adult community-based wind and percussion ensemble, proud to celebrate its 33rd season. We exist to promote music in our area, instill pride in our nation and heritage, provide opportunities for personal expression and growth within our membership, and nurture the love of music by offering an exceptional musical experience for people of all ages. The ensemble has profited from the leadership of its conductors. James D. Wayne conducted the band from 1988-2005. Dr. Luis Fernando Jimenez was conductor from 2005-2008. Curt Ebersole was invited to conduct the 20th Anniversary Gala Concert in 2008, and was subsequently invited to stay on permanently as Conductor/ Music Director. During Maestro Ebersole’s tenure, the ensemble has Summer 2021

been honored with several highprofile performances, including our Lincoln Center debut at Avery Fisher Hall in 2010, performances at the Association of Concert Bands National Convention in 2012 and 2019, and the New York State Band Directors Winter Symposium in 2017, and six sold-out performances at Caramoor. In addition, guest conductors and clinicians have included the finest wind band conductors from across the nation, and superb soloists, both guests and those from within the ensemble, have headlined our programs. Over the years, we have given concerts on behalf of many service and benefit organizations. Our educational outreach program has included a Sideby-Side Concert with the Mahopac Central School District. Our Exchange Program with the Northshore Concert Band of Evanston, Illinois, provided opportunities to perform at PickStaiger Concert Hall at Northwestern University and the Palace Theatre in Stamford, Connecticut. Our Apprentice Conductor program gives music educators from within the group an opportunity to conduct the ensemble, with coaching and guidance from Maestro Ebersole. The ensemble has been the subject of articles in The New York Times and Teaching Music, the magazine of the National Association for Music Education, and earned Win-Place-Show honors in The American Prize competition in 2018- 2019.

one of the aims of the group is to expose music lovers to its wonderful, vast repertoire. The organization is an Ensemble-in-Residence at the historic Tarrytown Music Hall in Tarrytown, New York, and rehearses there on Monday evenings from September through June. Visit us at www.westchestersymphonicwinds.org for more information and personnel opportunities. We also maintain a presence on Facebook and Twitter (@ WSWinds). Westchester Symphonic Winds, Inc. is a Section 501(c)(3) Not-forProfit organization. Contributions, financial assistance, principal chair underwriting, and volunteers are essential to our success, and always welcomed.

Like many avocational groups, WSW members represent many backgrounds and vocations, but the common thread is the love of the concert band experience. Since a broad cross-section of the public has never heard a serious concert band, Caramoor

Summer 2021

Westchester Symphonic Winds Piccolo Rachel Eckhaus †

Flute Debra Dashnaw † The Wharton Green, Jr. Memorial Chair Rachel Eckhaus ‡ Marjorie Hone The Curtis H. Vaughan Chair Marianne Lepre-Nolan Barbara Schulz Oboe Ruth Garcia Gina Serafin † The Ned B. Fleischer Memorial Chair English Horn Ruth Garcia Bassoon Elizabeth Day † Eb Clarinet Gerould McCoy Bb Clarinet Cassandra Buckhout Lauren Delesky Katherine Filatov Barton Green Daniel Harrison C. Ronald MacKenzie Gerould McCoy David Moore Chris Peña † The C. Ronald MacKenzie Chair Daniel Salvi

Caramoor

Bass Clarinet Donna Dixon Rebecca Weissman

Contrabass Clarinet David Church Alto Saxophone Edward J. Herko ‡ The Edward J. Herko Chair Thomas Sweezey † The Bebe and Bob Harrison Memorial Chair Tenor Saxophone Edward D. Herko The Edward D. Herko Chair Baritone Saxophone Daniel Chiplock Trumpet Ben Acrish Patti DiMeglio Mary Eberling David Marchiony Kelly Oram Donna Rossi ‡ Stan Serafin † The Joseph Greco Chair Jessica Stein Horn Amanda Desperito Collette Mather Ian Vlahovic ¶ The Beth Greany Memorial Chair Adam Schommer Tim Takagi

Trombone Robert Bennett Douglas Denniston Michael Lucke Elliot Semel Richard Williams † The Fred Sammel Bass Trombone Chair Euphonium Erin Dawson Marc Tartell † The John Gramm Memorial Chair Tuba Christian Carbone † Aaron Staluppi String Bass/Banjo Richard Dashnaw Percussion Nathan Brewster Mark Dodge§ and Eric Milkie § The Howard Van Hyning Memorial Chair Chris Larsen Ian Rosen Personnel David Church The John & Helen Ebersole Chair Music Director / Conductor Curt Ebersole The John P. Paynter Memorial Chair

† Principal ¶ Acting Principal ‡ Assistant Principal § Section Leader

Summer 2021

Highlights of Our Recent Special Events.

An Evening of Wine performance on Pavilion Plaza.

aramoor’s special events play a vital role in raising funds for our core programming and are a great opportunity to thank our donors who help foster musical inspiration. We appreciate the support of our event donors especially in this strange year. The Evening of Wine in May 2021 was our first event at Caramoor since December 2019, and it was a colorful and energetic success! Guests celebrated on our new Pavilion Plaza and celebrated the great vintages of the 1960s and 1970s, all while raising funds for our education and community programs. We were thankful to kick off our Summer Season with our Opening Night Gala and we look forward to the return of a live Cabaret in the (actual) Music Room in the fall. Caramoor is grateful to the event committees and patrons that helped guide us in making sure these occasions were memorable and successful.

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

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

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

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

Bob Wyckoff receives the first pour of the champagne.

Grooving the night away.

SAVE THE DATES!

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

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

Pat and Ian Cook perusing items at the auction table.

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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.

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

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

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

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

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

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

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

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

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

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

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

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Caramoor’s Leadership As of January 5, 2021

Board of Trustees

Advisory Council

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

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

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

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Staff and Contractors Executive Office Edward J. Lewis, III, President and Chief Executive Officer Liat Greif, Executive Assistant & Board Liaison Artistic Programming Kathy Schuman, Vice President and Artistic Director Ellie Gisler Murphy, Senior Artistic Planning Manager Tim Coffey, Artistic Planning Manager Artistic Partners Jazz at Lincoln Center City Winery Orchestra of St. Luke’s, Orchestra-in-Residence Stephan Moore, Sonic Innovations Steven Blier, Terrance W. Schwab Vocal Rising Stars Pamela Frank, Evnin Rising Stars Development Nina Curley, Vice President & Chief Development Officer Christina Horzepa, Grants Manager Brittany Knapp, Membership Assistant and Donor Concierge Junetta Maxfield, Director of Development Operations Jennifer Pace, Director of Individual Gifts Gayle Schmidt Greves, Director of Special Events Finance and Human Resources Tammy Belanger, Vice President & Chief Financial Officer Tina Salierno, Bookkeeper Andrea Assenzio, Assistant Bookkeeper Karla Stewart, Human Resources Coordinator Marketing Tahra Delfin, Vice President & Chief Marketing Officer Brittany Laughlin, Director of Marketing & Communications Alex Cutrone, Director of Ticketing & Guest Relations Aarti Gilmore, Event Operations Manager Sean Jones, Marketing Coordinator Olivia Ottinger, Box Office Coordinator Laura Schiller, Publications Editor Roslyn Wertheimer, Marketing Manager Roanne Wilcox, Director of the Rosen House Christopher Thomas, Archive Coordinator Marcelle Carpentieri, Rosen House Assistant Germania Alvarez, Housekeeping Manager & Collections Assistant Erin Hurley, Event Operations Assistant

Caramoor

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

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

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

Caramoor

Summer 2021

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

2021 Summer Program Book: July 1 - 4

Articles inside

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

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

Playing to Caramoor’s Strengths by Kathy Schuman

Thank You to Our Donors

Become a Member

Updating the Rosen House for the 2021 Season by Roanne Wilcox

Caramoor Leadership