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MUSIC DIRECTOR DONALD RUNNICLES JACKSON HOLE, WYOMING WINTER FESTIVAL FEBRUARY 68 SUMMER FESTIVAL JULY 3AUGUST 22 BERNADETTE PETERS ERIN WALL ANGELA JONES-REUS GARRICK OHLSSON ANNOUNCING THE 2020 SUMMER FESTIVAL JULY 3 JULY 10 & 11 JULY 17 & 18 JULY 24 & 25 BERNADETTE BEETHOVEN’S BRAHMS’ FIRST OHLSSON PETERS EROICA SYMPHONY PERFORMS $95 $30 - $65 $30 - $65 BEETHOVEN $30 - $65 The award-winning Broadway star Erin Wall, soprano Angela Jones-Reus, flute appears in a powerful solo concert. Donald Runnicles, conductor Elisabeth Remy Johnson, harp Garrick Ohlsson, piano JULY 4 Donald Runnicles, conductor Beethoven: Symphony No. 3 “Eroica” Donald Runnicles, conductor Strauss: Four Last Songs Melody Eötvös: World Premiere Pianist Garrick Ohlsson performs PATRIOTIC POPS Strauss: Death and Transfiguration Mozart: Concerto for Flute, Harp, STUDENTS FREE; ADULTS $25 all five Beethoven Concerti over two and Orchestra days. Note: Friday and Saturday Brahms: Symphony No. 1 Donald Runnicles, conductor programs are different. Celebrate July 4th with patriotic tunes. JOHANNES MOSER KARINA CANELLAKIS TAMARA MUMFORD MIDORI SUBSCRIPTIONS AVAILABLE FEBRUARY 3 / SINGLE TICKETS ON SALE MARCH 2 JULY 31 & AUGUST 1 AUGUST 7 & 8 AUGUST 14 & 15 AUGUST 21 & 22 MOSER PERFORMS SIBELIUS’ FIFTH MAHLER’S SECOND MIDORI PERFORMS DVOŘÁK SYMPHONY SYMPHONY SIBELIUS $30 - $65 $30 - $65 $30 - $65 $30 - $65 Johannes Moser, cello St. Lawrence String Quartet TBD, soprano Midori, violin Eun Sun Kim, conductor Karina Canellakis, conductor Tamara Mumford, mezzo-soprano James Conlon, conductor Donald Runnicles, conductor Clarice Assad: Bonecos de Olinda Beethoven: Leonore Overture No. 3 Beethoven: Coriolan Overture Utah Symphony Chorus Dvořák: Cello Concerto John Adams: Absolute Jest Beethoven: Egmont Overture Tchaikovsky: Symphony No. 4 Sibelius: Symphony No. 5 Mahler: Symphony No. 2 “Resurrection” Sibelius: Violin Concerto Mussorgsky: Pictures at an Exhibition Grand Teton Music Festival 175 S. King St., Suite 200, PO Box 9117 Jackson, WY 83002 VIANO STRING QUARTET 2020WINTER WINTEREVENTS ARE FREE, FESTIVAL BUT TICKETED FEBRUARY 6 MUSIC OF BEETHOVEN & DEBUSSY Timothy Jones, bass-baritone, & Kimi Kawashima, piano FEBRUARY 7 MUSIC OF MASLANKA & FRANÇAIX Blake McGee, clarinet FEBRUARY 8 MUSIC OF BEETHOVEN & DVOŘÁK Viano String Quartet RESERVE TICKETS NOW gtmf.org 307.733.1128.

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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.
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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.
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THE CLEVELAN ORCHESTRA California Masterwor S
�� Welcome to the Cleveland Museum of Art The Cleveland Orchestra’s performances in the museum California Masterworks – Program 1 in May 2011 were a milestone event and, according to the Gartner Auditorium, The Cleveland Museum of Art Plain Dealer, among the year’s “high notes” in classical Wednesday evening, May 1, 2013, at 7:30 p.m. music. We are delighted to once again welcome The James Feddeck, conductor Cleveland Orchestra to the Cleveland Museum of Art as this groundbreaking collaboration between two of HENRY COWELL Sinfonietta
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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.
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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.
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St. Lawrence String Quartet Geoff Nuttall, Violin Owen Dalby, Violin Lesley Robertson, Viola Christopher Costanza, Cello
Sunday, February 18, 2018, 3pm Hertz Hall St. Lawrence String Quartet Geoff Nuttall, violin Owen Dalby, violin Lesley Robertson, viola Christopher Costanza, cello PROGRAM John ADAMS (b. 1947) First Quartet (2008) Movement I Movement II Second Quartet (2014) Allegro molto Andantino – Energico INTERMISSION Samuel Carl ADAMS (b. 1985) String Quartet in Five Movements (2013) I. fluid II. quiet, rocking III. quiet, austere IV. fluid V. metronomic, brittle St. Lawrence String Quartet recordings can be heard on EMI Classics and ArtistShare (www.artistshare.com). The St. Lawrence String Quartet is Ensemble-in-Residence at Stanford University. Cal Performances’ 2017 –18 season is sponsored by Wells Fargo. 8 PROGRAM NOTES John Adams first movement starts in a very ticking, ener - First Quartet (2008) gized way and then lyrical shapes start filtering “String quartet writing is one of the most in and out. That basic sense of pulsation— difficult challenges a composer can take on,” a regular ticking—is present throughout the American composer John Adams once said. piece.” The opening movement is essentially Adams is not a string player and views the three movements in one, played without a medium of quartet writing “a matter of very break. In the central slow section, recitative-like long-term ‘work in progress. ’” His ongoing declamations from solo instruments are juxta - collaboration with the SLSQ has resulted in posed with more reflective ensemble passages. three substantial, half-hour works that occupy This leads to a spiky scherzo (“a crazy little a significant corner of a large catalog. The two scherzo”) that soon fades away into wisps of most recent were both completed in 2014 after sound and a tranquil close.
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Reich 80Th Birthday Celebrations
October 2016 Reich 80th birthday celebrations Events around the world honouring Steve Reich’s 80th include New York first performances of two new works, Pulse and Runner. San Francisco Steve Reich’s 80th is celebrated with over 400 of the all-Reich concert at Carnegie Hall on Los Angeles performances in more than 20 countries this year. 1 November with the united forces of ICE, Toronto With the birthday itself falling on 3 October, this Soˉ Percussion and Synergy Vocals conducted Photo: © Newspix/Alan Pryke autumn brings major series in New York, London by David Robertson. London and Paris as well as first performances of his latest Reich describes Pulse as “a calmer more Paris works. One of the leading composers of the past contemplative piece” than his recent Quartet, half century, Reich lays genuine claim to directing Amsterdam employing a fixed pulse and steady harmonies musical history onto an alternative path, opening with varied accentuation coming from hand Cologne composition to influences beyond the central alternation patterns on the piano. Following Frankfurt classical canon. New York, the European premiere is at the Hannover Reich combined his early experiments on tape Barbican’s Steve Reich at 80 series on loops and phasing patterns with his researches 5 November, followed by an Ensemble Modern Leipzig into African drumming and Balinese gamelan to tour to Paris and Cologne, with further Munich create a radical new style, simple in materials yet performances in Amsterdam’s ZaterdagMatinee complex in its intricate rhythmic patterning. The series and in a Los Angeles Philharmonic Green Budapest scope of his works grew through the 1970s to Umbrella concert in January.
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St. Lawrence String Quartet and Sarah Rothenberg Zilkha Hall, 7:00 Pm Zilkha Hall, Hobby Center for the Performing Arts Friday, October 28, 2016; 7:30 Pm St
Da Camera Sarah Rothenberg Pre-concert conversation with members of the artistic and general director St. Lawrence String Quartet and Sarah Rothenberg Zilkha Hall, 7:00 PM Zilkha Hall, Hobby Center for the Performing Arts Friday, October 28, 2016; 7:30 PM St. Lawrence String Quartet: Fractals St. Lawrence String Quartet (Geoff Nuttall, violin; Owen Dalby, violin; Lesley Robertson, viola; Christopher Costanza, cello) Joseph Haydn String Quartet in F Minor Op. 20, No. 5 (Hob.III:35) (1772) (1732-1809) Allegro moderato Menuetto Adagio Finale: Fuga a due soggetti John Adams Second Quartet (2014) (Houston Premiere) (b. 1947) Allegro molto Andantino-Energico INTERMISSION Ludwig van Beethoven Quartet in C-sharp Minor, Op. 131 (1825-26) (1770-1827) Adagio, ma non troppo e molto espressivo Allegro molto vivace Allegro moderato Andante, ma non troppo e molto cantabile Presto Adagio, quasi un poco andante Allegro This program is sponsored by Claudia and David Hatcher. This program is supported by a grant from the National Endowment for the Arts. 16 Haydn: String Quartet in F Minor the criticism of some Berlin commen- musical style places the propulsive Joseph Haydn left his home in rural tators in the early 1770s who found gestures and rhythms associated with Austria at a young age to train as a Haydn’s music lacking in contrapun- such so-called minimalists as Terry musician, and spent his early years as tal interest. Riley, Philip Glass, and Steve Reich a choirboy at St. Stephens Cathedral The F Minor Quartet, op. 20, no. at the service of a soaring lyricism in Vienna, where he acquired a wide 5, one of the three quartets in this set and more traditional structures, all of range of musical skills.
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Erin Kogler Director of Communications Milwaukee Symphony Orchestra 414.226.7831
Erin Kogler Director of Communications Milwaukee Symphony Orchestra 414.226.7831 KEN-DAVID MASUR and the MILWAUKEE SYMPHONY ORCHESTRA 2020-21 SEASON WORLD RENOWNED ARTISTS PERFORM 5-time Academy Award, 4-time Golden Globe, and 25-time Grammy Award winner JOHN WILLIAMS returns to the MSO for a one-night-only performance JOYCE DIDONATO to perform a one-night-only concert at the Bradley Symphony Center featuring music from her 2020 Grammy Award-winning album Songplay _______________________ CLASSICS SEASON 20-21 KEN-DAVID MASUR opens the Classics Season at the Bradley Symphony Center with LIVE MILWAUKEE PBS BROADCAST of BEETHOVEN’S NINTH SYMPHONY “ODE TO JOY” The Milwaukee Symphony celebrates the opening of the Bradley Symphony Center with ‘30s FESTIVAL featuring the music of Gershwin, Still, Korngold, Weill, and Florence Price, among others Ken-David Masur leads the MSO in a staged production of PEER GYNT, directed by Bill Barclay _____________________ POPS SEASON 20-21 KEN-DAVID MASUR conducts POPS performance PROHIBITION during ‘30s FESTIVAL POPS SEASON opens with performances by American singer, pianist, and music revivalist MICHAEL FEINSTEIN Season celebrates the music of ASTOR PIAZZOLLA, BARBRA STREISAND, and the MUSIC OF MOTOWN _____________________ HOLIDAYS AT THE MSO HOLIDAYS AT THE MSO include HOLIDAY POPS, HANDEL’S MESSIAH, CANADIAN BRASS, and VIENNA BOYS CHOIR __________________ FILM WITH OCHESTRA The MSO presents FILMS WITH ORCHESTRA, including SINGIN’ IN THE RAIN, GHOSTBUSTERS, and THE PRINCESS BRIDE Milwaukee, Wis. 2/21/2020 - Music Director Ken-David Masur and the Milwaukee Symphony Orchestra announced plans today for the 2020.21 season, the first season in the Bradley Symphony Center.
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The Critical and Artistic Reception of Beethoven's
THE CRITICAL AND ARTISTIC RECEPTION OF BEETHOVEN’S STRING QUARTET IN C♯ MINOR, OP. 131 Megan Ross A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2019 Approved by: Mark Evan Bonds Tim Carter Annegret Fauser Aaron Harcus Mark Katz ©2019 Megan Ross ALL RIGHTS RESERVED ii ABSTRACT Megan Ross: The Critical and Artistic Reception of Beethoven’s String Quartet in C♯-Minor, Op. 131 (Under the direction of Mark Evan Bonds) Long viewed as the unfortunate products of a deaf composer, Ludwig van Beethoven’s “late” works are now widely regarded as the pinnacle of his oeuvre. While the reception of this music is often studied from the perspective of multiple works, my dissertation offers a different perspective by examining in detail the critical and artistic reception of a single late work, the String Quartet in C♯ minor, Op. 131. Critics have generally agreed that the string quartets best exemplify the composer’s late style, and that of these, Op. 131 stands out as the paradigmatic late quartet. I argue that this is because Op. 131 exhibits the greatest concentration of features typically associated with the late style. It is formally unconventional, with seven movements of grotesquely different proportions, to be played continuously, without a pause, as if to insist on the unity of the whole. It conspicuously avoids a sonata-form movement until its finale, opening instead with an extended fugue; the sonata-form finale, in turn, quotes from the fugue, again reinforcing the notion of formal wholeness.
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2020 Absolute Beethoven (Pdf 4.6 MB )
M1_A5_ProgramCover_v2.indd 1 4/2/20 10:28 am WE ARE READY TO CONNECT MORE MINDS WITH THE POWER OF MUSIC. PROUD SUPPORTERS OF MUSIC & WELLBEING WITH WASO MSWA.ORG.AU MSWA0941 MSWA0941-A5 WASO Partnership_ColPress.indd 1 13/2/20 3:56 pm The West Australian Symphony Orchestra respectfully acknowledges the Traditional Owners, Custodians and Elders of the Indigenous Nations across Western Australia and on whose Lands we work. MORNING SYMPHONY SERIES Absolute Beethoven BEETHOVEN Consecration of the House Overture (10 mins) BEETHOVEN Coriolan Overture (8 mins) BEETHOVEN Symphony No.7 (36 mins) Poco sostenuto – Vivace Allegretto Presto – Trio – Presto – Trio – Presto Allegro con brio Ludovic Morlot conductor Wesfarmers Arts Pre-concert Talk Find out more about the music in the concert with this week’s speaker Cecilia Sun (see page 16 for her biography). The Pre-concert Talk will take place at 9.40am in the Main Auditorium. 3 MSWA MASTERS SERIES Absolute Beethoven BEETHOVEN Coriolan Overture (8 mins) ADAMS Absolute Jest (25 mins) Interval (25 mins) BEETHOVEN Symphony No.7 (36 mins) Poco sostenuto – Vivace Allegretto Presto – Trio – Presto – Trio – Presto Allegro con brio Ludovic Morlot conductor Australian String Quartet Wesfarmers Arts Pre-concert Talk Find out more about the music in the concert with this week’s speaker, Cecilia Sun (see page 16 for her biography). The Pre-concert Talk will take place at 6.45pm in the Terrace Level Foyer. Wesfarmers Arts Meet the Artist Enjoy a conversation with Ludovic Morlot post-concert Saturday night in the Terrace Level Foyer. Listen to WASO This performance is recorded for broadcast on ABC Classic on Monday, 23 March 2020 at 1pm AWST (or 10am online).
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FILM WEEK at the PHILHARMONIC Alec Baldwin, the ART of the SCORE Artistic Advisor
UPDATED May 24, 2017 CHRONOLOGICAL LISTING 2016–17 SEASON THE ART OF THE SCORE: FILM WEEK AT THE PHILHARMONIC Alec Baldwin, THE ART OF THE SCORE Artistic Advisor WEST SIDE STORY David Geffen Hall at Lincoln Center Tuesday, September 13, 2016, 7:30 p.m. Wednesday, September 14, 2016, 7:30 p.m. Thursday, September 15, 2016, 7:30 p.m. David Newman, conductor BERNSTEIN West Side Story (score performed live to complete film) THE ART OF THE SCORE: FILM WEEK AT THE PHILHARMONIC Alec Baldwin, THE ART OF THE SCORE Artistic Advisor MANHATTAN David Geffen Hall at Lincoln Center Friday, September 16, 2016, 8:00 p.m. Saturday, September 17, 2016, 8:00 p.m. Alan Gilbert, conductor GERSHWIN Manhattan (World Premiere–score performed live to complete film) ALAN GILBERT CONDUCTS: 175TH ANNIVERSARY SEASON OPENING GALA CONCERT David Geffen Hall at Lincoln Center Wednesday, September 21, 2016, 7:30 p.m. Alan Gilbert, conductor Aaron Diehl*, piano John CORIGLIANO STOMP for Orchestra (New York Premiere) GERSHWIN Concerto in F DVOŘÁK Symphony No. 9, From the New World ALAN GILBERT CONDUCTS: DVOŘÁK’S SYMPHONY NO. 9, FROM THE NEW WORLD David Geffen Hall at Lincoln Center Thursday, September 22, 2016, 7:30 p.m. Friday, September 23, 2016, 2:00 p.m. Saturday, September 24, 2016, 8:00 p.m. Alan Gilbert, conductor Lisa Batiashvili, violin TCHAIKOVSKY Violin Concerto DVOŘÁK Symphony No. 9, From the New World ALAN GILBERT CONDUCTS: JOHN CORIGLIANO’S STOMP AND MOZART WITH ANTHONY MCGILL David Geffen Hall at Lincoln Center Tuesday, September 27, 2016, 7:30 p.m.
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