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Annual Report 2015–2016
ANNUAL REPORT 2015–2016 NEW YORK PHILHARMONIC 2015–16 ANNUAL REPORT 1 CONTENTS Reflections on the 2015–16 Season 2 Oscar S. Schafer, Chairman 4 Matthew VanBesien, President 6 Alan Gilbert, Music Director 8 Year at a Glance 10 Our Audiences 12 The Orchestra 14 The Board of Directors 20 The Administration 22 Conductors, Soloists, and Ensembles 24 Serving the Community 26 Education 28 Expanding Access 32 Global Immersion 36 Innovation and Preservation 40 At Home and Online 42 Social Media 44 The Archives 47 The Year in Pictures 48 The Benefactors 84 Lifetime Gifts 86 Leonard Bernstein Circle 88 Annual Fund 90 Education Donors 104 Heritage Society 106 Volunteer Council 108 Independent Auditor’s Report 110 2 NEW YORK PHILHARMONIC 2015–16 ANNUAL REPORT THE SEASON AT A GLANCE Second Line Title Case Reflections on the 2015–16 Season 2 NEW YORK PHILHARMONIC 2015–16 ANNUAL REPORT NEW YORK PHILHARMONIC 2015–16 ANNUAL REPORT 3 REFLECTIONS ON THE 2015–16 SEASON From the New York Philharmonic’s Leadership I look back on the Philharmonic’s 2015–16 season and remember countless marvelous concerts that our audiences loved, with repertoire ranging from the glory of the Baroque to the excitement of the second NY PHIL BIENNIAL. As our Music Director, Alan Gilbert has once again brought excitement and inspiration to music lovers across New York City and the world. I also look back on the crucial, impactful developments that took place offstage. Throughout the season our collaboration with Lincoln Center laid a strong foundation for the renovation of our home. -
Amjad Ali Khan & Sharon Isbin
SUMMER 2 0 2 1 Contents 2 Welcome to Caramoor / Letter from the CEO and Chairman 3 Summer 2021 Calendar 8 Eat, Drink, & Listen! 9 Playing to Caramoor’s Strengths by Kathy Schuman 12 Meet Caramoor’s new CEO, Edward J. Lewis III 14 Introducing in“C”, Trimpin’s new sound art sculpture 17 Updating the Rosen House for the 2021 Season by Roanne Wilcox PROGRAM PAGES 20 Highlights from Our Recent Special Events 22 Become a Member 24 Thank You to Our Donors 32 Thank You to Our Volunteers 33 Caramoor Leadership 34 Caramoor Staff Cover Photo: Gabe Palacio ©2021 Caramoor Center for Music & the Arts General Information 914.232.5035 149 Girdle Ridge Road Box Office 914.232.1252 PO Box 816 caramoor.org Katonah, NY 10536 Program Magazine Staff Caramoor Grounds & Performance Photos Laura Schiller, Publications Editor Gabe Palacio Photography, Katonah, NY Adam Neumann, aanstudio.com, Design gabepalacio.com Tahra Delfin,Vice President & Chief Marketing Officer Brittany Laughlin, Director of Marketing & Communications Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator Caramoor / 1 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. -
Program Notes: Inspiration & Impact
CABRILLO FESTIVAL Program Notes: Inspiration & Impact Lola Montez Does the and she glides from the stage of sensory and expressive overload. Spider Dance (2016) overwhelmed with applause, At its premiere in March of 2012, the first third and smashed spiders, John Adams of the piece was largely a trope on the Opus (b. 1947) and radiant with parti-colored skirts, [World Premiere] 131 C# minor quartet’s scherzo and suffered smiles, graces, cobwebs and glory. from just this problem. After a moody opening of tremolo strings and fragments of the Ninth Commissioned by the musicians of the Cabrillo Lola Montez Does the Spider Dance was Symphony signal octave-dropping motive, Festival Orchestra in honor of Marin Alsop commissioned by members of the Cabrillo Festival Orchestra in celebration of Marin the solo quartet emerged as if out of a haze, The Irish-born actress and dancer Eliza Gilbert Alsop’s twenty five seasons as music director, playing the driving foursquare figures of that (1821—1861) achieved international fame and it is dedicated to her. scherzo material that almost immediately went under the name “Lola Montez, the Spanish through a series of strange permutations. Dancer.” After a controversial career on the —John Adams continent, including a sojourn in Bavaria This original opening never satisfied me. The where she become both the lover as well as clarity of the solo quartet’s role was often political advisor to King Ludwig, she returned Absolute Jest (2011) buried beneath the orchestral activity resulting in what sounded to me too much like “chatter.” to London, where she eloped with and married John Adams (b. -
Atlanta Chamber Players, "Music of Norway"
ATLANTA CHAMBER PLAYERS Music of Norway featuring Efe Baltacigil, cello David Coucheron and Helen Hwaya Kim, violins Julie Coucheron and Elizabeth Pridgen, piano Monday, March 6, 2017 at 8 pm Dr. Bobbie Bailey & Family Performance Center, Morgan Hall Eighty-ninth Concert of the 2016-17 Concert Season program JOHAN HALVORSEN (1864-1935) Concert Caprice on Norwegian Melodies David Coucheron and Helen Hwaya Kim, violins EDVARD GRIEG (1843-1907) Andante con moto in C minor for Piano Trio David Coucheron, violin Efe Baltacigil, cello Julie Coucheron, piano EDVARD GRIEG Violin Sonata No. 3 in C minor, Op. 45 Allegro molto ed appassionato Allegretto espressivo alla Romanza Allegro animato - Prestissimo David Coucheron, violin Julie Coucheron, piano INTERMISSION JOHAN HALVORSEN Passacaglia for Violin and Cello (after Handel) David Coucheron, violin Efe Baltacigil, cello EDVARD GRIEG Cello Sonata in A minor, Op. 36 Allegro agitato Andante molto tranquillo Allegro Efe Baltacigil, cello Elizabeth Pridgen, piano featured musician FE BALTACIGIL, Principal Cello of the Seattle Symphony since 2011, was previously Associate Principal Cello of The Philadelphia Orchestra. EThis season highlights include Brahms' Double Concerto with the Oslo Radio Symphony and Vivaldi's Double Concerto with the Seattle Symphony. Recent highlights include his Berlin Philharmonic debut under Sir Simon Rattle, performing Bottesini’s Duo Concertante with his brother Fora; performances of Tchaikovsky’s Variations on a Rococo Theme with the Bilkent & Seattle Symphonies; and Brahms’ Double Concerto with violinist Juliette Kang and the Curtis Symphony Orchestra. Baltacıgil performed a Brahms' Sextet with Itzhak Perlman, Midori, Yo-Yo Ma, Pinchas Zukerman and Jessica Thompson at Carnegie Hall, and has participated in Yo-Yo Ma’s Silk Road Project. -
January 07, 2018
January 07, 2018: (Full-page version) Close Window “Bores can be divided into two classes; those who have their own particular subject, and those who do not need a subject.” — A. A. Milne Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online Sleepers, 00:01 Buy Now! Poulenc Sextet for piano and winds Roge/Gallois/Bourgue/Portal/Wallez/Cazalet London 421 581 028942158122 Awake! 00:20 Buy Now! Tchaikovsky Elegie ~ Serenade for Strings in C, Op. 48 Moscow Virtuosi/Spivakov RCA 61964 090266196425 00:31 Buy Now! Borodin String Quartet No. 2 in D Emerson String Quartet DG 445 551 028944555127 01:00 Buy Now! Fauré Pavane, Op. 50 Philadelphia Orchestra/Ormandy Sony Classical 62644 074646264423 01:08 Buy Now! Schubert Symphony No. 6 in C, D. 589 Cologne Radio Symphony/Wand EMI 47875 077774787529 01:42 Buy Now! Wagner Prelude to Act 1 & Love-Death ~ Tristan & Isolde NY Philhamonic/Boulez Sony 64108 074646410820 Andante and Rondo for 2 Flutes and Piano, Op. 01:59 Buy Now! Doppler Rampal/Arimany/Ritter Delos 3212 013491321226 25 02:09 Buy Now! Bach I call to Thee, Lord Jesus Christ, BWV 639 Ma/Amsterdam Baroque Orchestra/Koopman Sony 60680 074646068021 02:13 Buy Now! Beethoven Symphony No. 6 in F, Op. 68 "Pastoral" Philharmonia Orchestra/Ashkenazy Decca 410 003 028941000323 03:01 Buy Now! Haydn Horn Concerto No. 1 in D Baumann/Academy SMF/Brown Philips 422 346 028942234628 03:18 Buy Now! Rossini Overture ~ William Tell Vienna Philharmonic/Sargent Seraphim/EMI 69137 724356913721 03:32 Buy Now! Mendelssohn String Quartet in A minor, Op. -
THE CLEVELAN ORCHESTRA California Masterwor S
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Full Orchestra
John Adams City Noir 2009 34 min for orchestra picc.3(III=picc).3.corA.3(III=bcl).bcl.asax.dbn--6.4.3.1--timp.perc(5):vib/lg sus.cym/SD/bongos; tuned gongs/sus.cym/glsp/mar/tam-t/BD/chimes/vib/low tom-toms/tgl/castanets/cowbell/clave/temple bl; chimes/glsp/tamb/med tam-t/2 timbales/sus.cym/crotales/xyl; BD/tuned gongs/med tam-t/2 sus.cym/mar/crotales/castanet/tgl/glsp; 2 tam-t/BD/sus.cym/tgl/temple block/SD/2 tom-t/timbale/bongo/conga/tuned gongs.trap set--pft--cel--2harps--strings 9790051097791 Orchestra (full score) John Adams photo © Christine Alicino World Premiere: 08 Oct 2009 Walt Disney Concert Hall, Los Angeles, CA, United States Los Angeles Philharmonic FULL ORCHESTRA Conductor: Gustavo Dudamel Availability: This work is available from Boosey & Hawkes for the world Absolute Jest 2011 25 min Doctor Atomic Symphony 25 min for string quartet and orchestra 2007 2.picc.2.corA.2.bcl.2.dbn-4.2.2.0-timp.perc(2):cowbell/xyl/BD/chimes/glsp/vib-harp-pft.c for orchestra el-strings 2.picc.3(III=corA).3(II=Ebcl, III=bcl).3(III=dbn) -4.4(IV=picc.tpt).3.1-harp-cel-timp-perc(4):crotales/chimes/SD/thunder sheet/glsp/BD/2 This work requires additional technological components and/or amplification. tam-t/2 susp.cym/tuned gongs-strings 9790051097326 (Full score) <u>NOTE</u>: Due to certain balance issues in the orchestration, it is strongly recommended that very light amplification of the solo quartet be used with the sound controlled through a mixing board located at the rear, behind the audience. -
Ludwig Van Beethoven: the Heard and the Unhearing. a Medical-Musical
Chapter 11 “The best productQ that we can boast of” – Beethoven in the USA Gregor Herzfeld Introduction In a somewhat exaggeratedly pithy form, the history of Eur- opean concert music (“western concert music”) since the first third of the 19th century could be described as a history of en- gagement with the music of Beethoven. Like every platitude, this is for sure too sweeping and in its scope does not reach every area equally; for some genres (symphonies, string quar- tets, piano music), it is more applicable, while for others (opera, operetta, church music) less so. Beethoven’s music had an effect, however, that reached far beyond its achievements in composi- tional technique, into the realms of how we perceive and assess music in general, so that Beethoven was able to become the benchmark of aesthetic attributions of meaning with a status verging on the iconic.1, 2 What holds true for Europe can also be observed on the other side of the Atlantic, to the extent that the USA began to build up, or at least expand, a music and con- cert scene based on the European model. By Europe becoming the model, Beethoven as an essential point of reference shifted to the center of musical attention, too. In the following, I would like to provide a short overview of the developments that the American relationship with Beet- hoven underwent from the 19th through to the 21st century. In this, I follow one narrative (among possible others) that de- scribes a process of making a hero out of Beethoven in the 19th century, which, with the gradual repudiation of the “European model” in the 20th century is turned into the opposite, so to speak, into a kind of “demonization” of the one-time hero, 162 “The best product that we can boast of” – Beethoven in the USA and is then guided towards a state of balance under the banner of postmodern cool-headedness. -
Getting Over the Shock of the New
GETTING OVER THE SHOCK OF THE NEW CONTEMPORARY IS SYMPHONIC MUSIC Thomas Dausgaard conducts the Seattle Symphony GETTING OVER THE SHOCK OF THE NEW AGE COMING OF BY GREG CAHILL here is a creepy bloodlust to orchestra will premiere the rest of the it,” he says. “That alertness to what the com- the doom-mongering of clas- works in future seasons. poser actually wrote, rather than what might sical music, as though an Indeed, a look at major orchestras around have become standard practice, is an inspira- “T autopsy were being con- the United States shows that contemporary tion for me when working on music by dead ducted on a still-breathing body,” William symphonic works are slowly, but surely, mak- composers we can no longer ask questions of. Robin wrote in the New Yorker in a 2014 ing inroads into program schedules. For So much of what we perform is written by article about perpetual reports of the example, subscribers to the Chicago Sym- people long gone; it can be frustrating never genre’s death. “What if each commentator phony Orchestra’s 2020–21 season can to be able to ask them, never to see how their decided, instead, to Google ‘young com- expect a generous serving of Brahms, Cho- faces light up when they hear their music poser’ or ‘new chamber ensemble’ and write pin, Schubert, Schumann, Debussy, Ravel, coming to life. a compelling profile of a discovery?” and Scriabin. But the orchestra also will per- “So what a joy it is as performer and audi- That’s good advice, especially since form two world premieres of CSO-commis- ence to be around living composers and young composers are providing an infusion sioned works by American composer Gabriela enrich the experience of hearing and per- of new blood into the modern orchestra. -
Mason Bates Short Bio (SEPT 2011)
MASON BATES The music of Mason Bates fuses innovative orchestral writing, imaginative narrative forms, the harmonies of jazz and the rhythms of techno. Frequently performed by orchestras large and small, his symphonic music has been the first to receive widespread acceptance for its expanded palette of electronic sounds, and it is championed by leading conductors such as Riccarod Muti, Michael Tilson Thomas, and Leonard Slatkin. He has become a visible advocate for bringing new music to new spaces, whether through institutional partnerships such as his residency with the Chicago Symphony, or through his classical/DJ project Mercury Soul, which has transformed spaces ranging from commercial clubs to Frank Gehry-designed concert halls into exciting, hybrid musical events drawing over a thousand people. Carnegie Hall’s 2012-13 season opens with Riccardo Muti leading the Chicago Symphony in Alternative Energy, an ‘energy symphony’ that spans four movements and hundreds of years. Premiered last season to rave reviews, the work subsequently toured California and receives its Canadian premiere in February by the Toronto Symphony. A new violin concerto for Anne Akiko Meyers and the Pittsburgh Symphony premieres in December under the baton of Leonard Slatkin, and the Pittsburgh Symphony will perform many additional works as he serves as Composer of the Year. Numerous repeat performances of his music occur across the country this season, from Houston Ballet’s new ballet based on The B-Sides to the Phoenix Symphony performing two works this season, including a new song cycle. While Bates often performs the electronica onstage with orchestras, dozens of repeat performances of his symphonic music happen without him. -
SAN DIEGO SYMPHONY ORCHESTRA a JACOBS MASTERWORKS CONCERT Sameer Patel, Conductor
SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CONCERT Sameer Patel, conductor February 10 and 11, 2018 FRANZ LISZT Les Préludes ADAM SCHOENBERG Orchard in Fog (Violin Concerto – World Premiere) Frail Dancing Farewell Song Anne Akiko Meyers, violin INTERMISSION JEAN SIBELIUS Symphony No. 5 in E-flat Major, Op. 82 Tempo molto moderato; Allegro moderato Andante mosso, quasi allegretto Allegro molto Les Préludes FRANZ LISZT Born October 22, 1811, Raiding, Hungary Died July 31, 1886, Bayreuth Les Préludes has always been the most popular of Liszt’s 12 symphonic poems. The composer explained its title by printing in the score a lengthy paraphrase of the Méditations poètiques of the French poet Alphonse de Lamartine (1790-1869). Lamartine’s poem is a rather flowery discourse on the tribulations of life, particularly on the difference between war and the pastoral life. The paraphrase in the score captures some of its flavor: “What else is life but a series of preludes to that unknown hymn, the first and solemn note of which is intoned by Death? Love is the dawn of all existence; but what fate is there whose first delights of happiness are not interrupted by some storm…” Liszt’s music – which seems to depict these many “preludes to that unknown hymn” – was first performed in Weimar on February 23, 1854, and it remains a favorite with audiences. But the problem with the story of the music’s inspiration is that it isn’t true. Liszt originally wrote this music in 1848 as the overture to a work for male chorus called Les Quatre Élémens (The Four Elements) on a text by Joseph Autran. -
NSCMF 2014 Pressreport
josephcorreia A&E COLUMNS Home News Business Sports A&E Life & Style Opinion Real Estate Cars Jobs 2014 North Shore Chamber Music Festival preview Custom Banner - $8.99 vistaprint.com Buy Quality Custom Banners Today. Personalize & Order Online Now. Email Tweet 11 Recommend 68 Pinterest 0 2 1 2 next | single page Violinist Vadim Gluzman and his wife, pianist Angela Yoffe are rehearsing in Chicago on Tuesday, May 27, 2014 for a performance at the North Shore Chamber Music Festival. Gluzman is playing rare violin, the "ex-Auer" 1690 Stradivarius. (Zbigniew Bzdak, Chicago Tribune / May 26, 2014) John von Rhein 1:42 p.m. CDT, June 3, 2014 The North Shore Chamber Music Festival is a mom-and-pop Chicago classical operation that thinks big. Very big. Internationally big. The event's directors, the celebrated violinist Vadim Gluzman and his wife, pianist Angela Yoffe, take time out from their busy solo and duo careers each year at this time to put on the BRAND PUBLISHING This is sponsored content. ? three-day festival at a church near their Northbrook home. WINDY CITY HAIR Every season they invite musician friends from near and far to share their love of the rich After hair-loss chamber repertory with the festival's appreciative audience. battle, resolution for female alopecia This year's roster includes such admired artists as violinist JOHN VON RHEIN sufferer Anne Akiko Meyers, pianist Alessio Bax, cellist Wendy Warner and pianist-conductor Andrew Litton, along with REAL ESTATE INSIDER student musiciansNorth Shore from ChamberChicago's Betty Music Haig Festival Academy • of P.O.