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. 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 / 2

https://caramoor-my.sharepoint.com/personal/liat_caramoor_org/_layouts/15/Doc.aspx?sourcedoc={5d80fbac-3239-4dfc-a61d-a989d14fcda3}&action… 1/2 T A P ON A DATE for SUMMER 2021 PROGRAM DETAILS

THU FRI SAT SUN

JUNE 24 JUNE 25 JUNE 26 JUNE 27 PUBLIQuartet Richard Natu Camara Orchestra of Goode, piano St. Luke’s Tai Murray, violin

JULY 1 JULY 2 JULY 3 JULY 4 Callisto Quartet The Brianna The Forest Pops & Patriots 2020–21 Ernst Thomas Band Performed by Stiefel String Presented in The Crossing Quartet-in-Residence Collaboration with Jazz at Lincoln Center

JULY 8 JULY 9 JULY 10 JULY 11 Amjad Ali Khan Douglas J. Celebrating John Luther & Sharon Isbin Cuomo’s Stephen Adams’ Seven Limbs Sondheim’s Ten Thousand with Nels Cline 91st Birthday Birds and Performed by Aizuri Quartet Alarm Will Sound

JULY 15 JULY 16 JULY 17 JULY 18 Conrad Tao, Verona Quartet Joan Osborne Philharmonia piano David Fung, Presented in Baroque piano Collaboration with Orchestra City Winery

Caramoor / 3 T A P ON A DATE for SUMMER 2021 PROGRAM DETAILS

THU FRI SAT SUN

JULY 22 JULY 23 JULY 24 JULY 25 JIJI, guitar Chanticleer American Roots Sō Percussion Guitar in the Garden Music Festival 2:00pm / Pop-up Presented in performances Collaboration with throughout Caramoor City Winery grounds (FREE)

JULY 29 JULY 30 JULY 31 AUGUST 1 Pekka Kuusisto, The Knights Jazz Festival Apollo’s Fire violin Pekka Kuusisto, Presented in Nico Muhly, violin Collaboration with Jazz at Lincoln Center piano

AUGUST 5 AUGUST 6 AUGUST 7 AUGUST 8 Ljova and the Watkins Nathan & Summer Season Finale Kontraband Family Hour the Zydeco Orchestra of Concert on the Lawn Presented in Cha Chas St. Luke’s Collaboration with Concert on the Lawn Leonidas Kavakos, City Winery violin

Pre-concert Conversation Concert on the Lawn Afternoon Tea

Caramoor / 4 T A P ON A DATE for SUMMER 2021 PROGRAM DETAILS

AFTERNOON TEAS SUNDAYS AT 1:00PM

June 27 July 16 July 30 July 2 July 18 August 1 July 9 July 23 August 8 July 11 July 25

THE MUSIC CONTINUES ON

CONCERTS ON BEGINNER’S EAR THE LAWN

FRIDAY, AUGUST 13 SUNDAY, AUGUST 15 Flor de Toloache Alexi Kenney, violin

FRIDAY, AUGUST 20 SUNDAY, AUGUST 29 Della Mae Layale Chaker, violin Kinan Azmeh, clarinet FRIDAY, AUGUST 27 Shenel Johns SUNDAY, SEPTEMBER 12 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 / 5 Caramoor / 6 Caramoor / 7 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 Let us pack your picnic for you, organic and locally sourced meals, prepared by our caterer, Great snacks, and beverages provided by Performances. View the menu and Great Performances. At the Tap Tent, order online, or call the Box Office you’ll find a wide range of seasonal at 914.232.1252. Order by Tuesday sandwiches, salads, desserts, and pre- at 4:00pm for the upcoming week’s packaged beverages. 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 co- commissioned 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 / 8 Playing to Caramoor’s Strengths. Site-specific programs highlight Caramoor’s unique setting By Kathy Schuman, Artistic Director

The Secret Gardener in 2018

hen I started planning my cymbals, and glockenspiels, dispersed first Caramoor summer throughout the landscape. It was Wseason in 2018, I wanted to also a perfect opportunity to throw take advantage of our unique setting open our gates and invite people in and all the possibilities therein. As for free, encouraging audiences to try anyone who has attended a concert at something new. The performance, Caramoor knows, hearing music here is with more than 60 percussionists very different from the experience (on the hottest day of the summer of hearing it in a traditional — approaching 100 degrees), was concert hall. Caramoor was already transcendent and inspiring. programming day-long festivals of jazz That summer we also welcomed and American Roots music around the On Site Opera, who brought a grounds, and we had guitar recitals in marvelous early Mozart opera, The our Sunken Garden. We’ve also been Secret Gardener to our Sunken Garden. exhibiting sound art works around the I read about this inventive company campus (see related article on page 14 ). in The New York Times after they Programming John Luther Adams’ performed the work in a community Inuksuit seemed like a no-brainer – it garden in Manhattan, and thought it calls for the audience to wander outside could be a perfect fit for us. Since then among musicians playing an incredible I’ve attended a number of wonderful array of instruments including conch OSO productions in NYC, and we’re shells, sirens, gongs, bells, drums, planning a return visit for them in 2022.

Caramoor / 9 In 2019, we went all in for birdsong, This summer we’ll present The Forest, presenting Caramoor Takes Wing! performed by The Crossing, a and bringing French pianist 24-voice choir based in Philadelphia. Pierre-Laurent Aimard to perform Created last fall when the choir the complete Messiaen Catalogue members couldn’t sing safely indoors, d’Oiseaux in three concerts over 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 specially- designed 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 Inuksuit in 2018 to, or migrate through, the area in which the piece is performed. Chamber orchestra Alarm Will Sound, for whom a weekend — two in the Spanish the piece was written, will bring it to Courtyard and one in the Venetian Caramoor’s expansive Friends Field, Theater (the performances were where the performers and audience included in The New York Times’ will move in and around each other roundup of their “Best Classical during the 70-minute work. 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 Takes Wing! in 2019

Caramoor / 10 Finally, we’ve recently introduced two new concert formats: Concerts on the Lawn, casual family- friendly 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.

THE FOREST

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

JOHN LUTHER ADAMS’ Ten Thousand Birds

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

Caramoor / 11 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. 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! Edward J. Lewis III at Caramoor

Caramoor / 12 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!)

Caramoor / 13 Introducing in“C” New permanent sound artwork by Trimpin anchors Caramoor’s Sonic Innovations collection.

When Caramoor first asked Trimpin to The push-buttons activate the create a permanent sound art sculpture structure’s chimes to play pre-composed in celebration of its 75th Anniversary, short pieces, each 1—2 minutes long. the world-renowned sound artist In addition to Trimpin’s music, thought about Caramoor’s acoustical Caramoor commissioned pieces from environment: the birds singing, the wind four composers: Christopher Cerrone, in the trees, and the blissful absence of Anna Clyne, Missy Mazzoli, and Nico street noise. He then conceived of in“C”, Muhly. As Caramoor continues to work the interactive kinetic sculpture shaped with composers, the chime-piece library as a 16-foot high double letter C now will grow. located in the entry plaza, welcoming guests as they arrive. 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 work first appeared at Caramoor in 2014’s In the Garden of Sonic Delights, Caramoor’s first major sound art exhibition. Curated by Chicago- based 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 Trimpin’s in“C” at Caramoor’s entrance into an integral part of Caramoor’s adventurous programming. From the top of the C’s curve, 24 tuned “That huge infusion of sound art metal bell chimes ranging over two showed everyone that sound art could octaves are suspended. Made out of complement the diverse programming steel and utilizing electromechanical here,” says Moore, who has continued components, in“C” interacts with as the curator of Caramoor’s current visitors through a motion sensor (as sound art program Sonic Innovations. you approach, its melodious chimes “We knew that sound art could add an draw you closer) and through the extra dimension to this place, so you physical activation of a push-button might come to hear the symphony and panel (don’t be shy!). have a picnic, and while exploring the beautiful grounds you would encounter

Caramoor / 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 Trimpin and Stephan Moore installed in an outdoor concert and The son of amateur musicians, the garden setting as a permanent exhibition. young Trimpin learned to play brass This would certainly be a profound instruments but developed a mysterious source of pride for Caramoor’s founder allergy to metal that forced him to give up Lucie Rosen, who was deeply interested playing. He turned to electro-mechanical in all areas of the arts including engineering. Self-taught, he mastered championing composers of her time how the memory works on a pianola and working with sound and technology. For devised a machine that could transcribe Moore, this ongoing exploration of sound and preserve the piano paper rolls art brings a bit of Lucie’s eclectic set of digitally. He became a leading specialist interests into Caramoor every year. in combining musical compositions with computer technology. Who is Trimpin? Throughout his career he has created Gerhard Trimpin — known since the installations that incorporate complex 1960s by the single moniker Trimpin — technological sculptural elements. On is an internationally acclaimed composer, permanent display in his hometown musician, visual artist, and inventor, area are: If VI was IX, a sound sculpture engaged in commissions and exhibitions composed of 600 electric guitars at at venues around the world. Born in MoPOP (Museum of Pop Culture); 1951 and based in Seattle for the past Hydraulis, an elegant interactive water 25 years, he grew up near the German sculpture at the Seattle Center Key Black Forest, an area that has a history Arena; and On: Matter, Monkeys, and the rich in mechanical music machines King, a multimedia kinetic wind-up-toy (think cuckoo clocks and pianolas, or structure next to the rolling walkway player pianos). in Sea-Tac International Airport. Fascinated with sound exploration In his 2014 In the Garden of Sonic in his early childhood, Trimpin often Delights installation, The Pianohouse, experimented with sound and distance Trimpin wanted to create a piece that in the German woods. Using the tools every visitor could feel free to explore. from a well-stocked cabinetry shop in his What he created was a house-like home (his father was a cabinet maker by structure from the frameworks of six trade), he took apart and reassembled upright pianos. old radios and musical instruments. By age 10, he was inventing his own “I try to use other ways to make the eccentric instruments. sculpture look not so much like a musical instrument, so people will actually play,” Trimpin explains. “For instance, why

Caramoor / 15 is there a wheel here and what happens Annea Lockwood and when you turn it?” He hopes Caramoor Bob Bielecki’s Wild Energy visitors will approach in“C” with that (2014) begins with solar kind of curiosity. oscillations recorded by the SOHO spacecraft, sped up “My work is an ongoing exploration 42,000 times, ending with of the concepts of sound, vision, and ultrasound recorded inside a movement,” he says, “experimenting pine tree, slowed down. (Behind picnic area) with combinations that will introduce (sponsored by Angela and William Haines) our senses of perception to a totally Taylor Deupree’s new experience.” t(ch)ime (2017) turns a quiet, wooded passage A MacArthur Foundation “Genius” into a shimmering sonic Award recipient and a Guggenheim environment. Its sounds Fellow, Trimpin has been commissioned are derived from bell by Lincoln Center, San Francisco’s chimes manipulated to Exploratorium, Merce Cunningham create a sense of time slowing down as one Dance Company, and Seattle Symphony, approaches the middle of the path. (Cedar Walk) (sponsored by his family In Memory among others. of Peter Kubicek) In“C” is sponsored by Nancy S. Offit, Stone Song (2014) by Laureen and David Barber, Ranjit Bhatnagar is a Shanbrom Family Foundation, dry stone structure with and Tina and Ian Winchester. 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) The 2021 Sonic is first encountered through traffic signage Innovations Exhibition that anticipates a space for In“C” is one of six sound art pieces at listening. Later, in a wooden Caramoor this summer. Walk around and hut, the listener rests on a explore them all. bench as sounds from nature create a unique sound experience. (Sunken Garden) Undercurrent by Spencer Topol and Hana Kassin Please click here for more information and (2020) creates a feedback here for a map of the grounds. loop between people and their environment. An Through October 10, 2021, Caramoor orchestration is built up will be streaming the 2009 documentary through the movement of Trimpin: The Sound of Invention on visitors via the activation of small pods in the our website. grass and trees, which come alive with sound. (Center Walk by the Venetian Theater) Filmed over two years, this film follows Trimpin as he designs many of the sound art pieces described above. Watch it here!

Caramoor / 16 Updating the Rosen House for the 2021 Season By Roanne Wilcox, Director of the Rosen House

eyond the imposing 16th-century We also wanted to update our tours Italian gates lies a home, filled based on some of our visitor’s most Bwith amazing treasures, collected commonly asked questions: by a couple with a love for music and art • Who were Lucie and Walter Rosen? and a desire to share it with the world. • Why Katonah? Ask any of our talented docents: giving • How did the music festival begin? a tour of the Rosen House to a first- • What happened to the Rosen family? time visitor is great fun; there’s always that moment of wide-eyed awe when And we gave a lot of thought as to what a visitor realizes what’s actually inside the tour experience is like for our those stucco walls. visitors. After observing hundreds of tours over the past few years, we’ve As we were planning to open the noticed a few things. Some visitors want Caramoor grounds in the summer of to linger a little longer or walk through 2021, we gave a great deal of thought as a little faster than others in their group. to how we could welcome visitors back Some people want to know more about inside the Rosen House while providing the Rosen family, while others want a safe experience for all. Our previous to know more about the Renaissance tour model, where one docent shares tapestries or intricate stained glass. stories about Lucie and Walter Rosen Some just want to be able to sit down for and their collection to a larger group a moment before continuing on. standing shoulder to shoulder, needed some rethinking.

Caramoor / 17 And some of our visitors come to the City home, it was the ideal area to Rosen House to see where Lucie, one of introduce, in a visual way, the stories the theremin’s patron saints, lived and our docents tell to our visitors about the to see the September theremin, the last Rosens and their remarkable legacy. 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 The Rosen’s collection of Chinese art is sure Lucie and Walter placed in the displayed for visitors to get a closer look. rooms themselves. 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 Lucie Rosen playing theremin in 1935 to manage the 45-minute walking tour of the entire Rosen House. We also We focused on the New Wing, an area included an overview of the milestones that was added by Anne Bigelow Rosen and great moments of the Caramoor after her mother Lucie passed away in music festival from the past 75 years. 1968. Since this area had historically Theremin lovers will be able to see been a display space for architecture Lucie’s 1938 September Theremin and rooms from the Rosen’s New York and speaker close up, and learn how

Caramoor / 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 Following the custom of the great Theremin and speaker European homes that welcomed the public inside, the Rosens were pleased The Rosen House is open for tours Friday – Sunday, 11–3pm. For the summer of 2021, when people asked to see their house advance reservations are required. Please call and collection, and we are grateful to be our box office or reserve on our website. able to continue on the tradition.

Caramoor / 19 Conrad Tao, piano

Thursday / July 15 / 7:00pm / Venetian Theater

CONRAD TAO Improvisation (b. 1994)

JOHANN SEBASTIAN BACH Chromatic Fantasia and Fugue in D Minor, (1685–1750) BWV 903 (1720)

JASON ECKARDT Echoes’ White Veil (1996) (B. 1971)

ROBERT SCHUMANN Kreisleriana, Op. 16 (1838) (1810–1856) Äußerst bewegt Sehr innig und nicht zu rasch Sehr aufgeregt Sehr langsam Sehr lebhaft Sehr langsam Sehr rasch Schnell und spielend

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

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

Caramoor Summer 2021 About the Music.

At a Glance The Program

A master improviser, Bach possessed JOHANN SEBASTIAN BACH the ability to transmute his musical (1685–1750) thoughts into sound almost at will. After listening to the Baroque master Chromatic Fantasia and Fugue extemporize on the organ, the famous in D Minor, BWV 903 Dutch virtuoso Johann Adam Reincken declared, “I thought that About the Composer this art was dead, but I see that in you it still lives.” Like many of Bach’s To Carl Philipp Emanuel Bach, the preludes, toccatas, and other free-form most famous of Johann Sebastian’s works, the Chromatic Fantasia and musical sons, his father was “the most Fugue is essentially a written-down prodigious organist and keyboard improvisation. Conrad Tao, who is player that there has ever been.” By the both a renowned composer and a time of his death in 1750, the elder concert pianist, carries on the tradition Bach’s towering stature as a virtuoso by prefacing his performance of Bach’s was universally acknowledged. Yet his masterpiece with an improvisation of only formal instruction on keyboard his own. instruments came from his older brother Johann Christoph, who served Jason Eckhardt, a one-time guitarist as organist in the small central German in a heavy-metal band, combines the town of Ohrdruf. spare, pointillistic textures of the early 20th-century modernist Anton Webern Young Johann Sebastian proved a with elements of rock music and free quick study, and by age 18 he was jazz. Echoes’ White Veil was inspired established in his first professional by a prose poem by W. S. Merwin; its post at Arnstadt. Thereafter his complex, multilayered verbal imagery reputation grew by leaps and bounds. is echoed in Eckhardt’s densely packed So, it seems, did his self-assurance. and often improvisatory-sounding In 1717 he traveled to Dresden and score. In a similar fantasy-like vein, challenged the renowned virtuoso Schumann’s Kreisleriana reflects Louis Marchand to a contest, which the contrasting personalities of the the Frenchman famously forfeited Romantic composer’s fictional alter by skipping town. Thirty years later, egos: the impulsive Florestan and on a visit to the court of the music- the dreamy Eusebius. The work loving Frederick the Great in Potsdam, takes its name from Kapellmeister the aging composer improvised a Johannes Kreisler, the half-crazed dazzling set of fugal variations on a brainchild of German Romantic theme supplied by the king, which writer E.T.A. Hoffmann, Schumann’s he later used as the basis of his literary soulmate. musical offering.

Caramoor About the Work where his fancy is leading him. The theme of the companion Fugue is a Bach wrote the Chromatic Fantasia rising chromatic melody that returns and Fugue sometime before his throughout the piece, ingeniously final move to Leipzig in 1723. The embedded at different levels in the musicologist Christoph Wolff dates contrapuntal fabric and combined with this perennially popular masterpiece music of contrasting character. to the end of his tenure in Weimar and hypothesizes that Bach premiered it in Dresden in 1717, on a recital JASON ECKHARDT celebrating his default “victory” over (b. 1971) the absent Louis Marchand. If so, BWV 903 may have been one of the pieces Echoes’ White Veil Johann Mattheson had in mind that year when he referred to Bach for the About the Composer first time in print as “the famous organist of Weimar” whose works As a guitarist playing in a heavy-metal “are certainly such as must make one band in the 1980s, Jason Eckhardt esteem the man highly.” On the other says he spent most of his teenage years hand, another Bach expert, Martin “trying to be a rock star.” The pursuit Geck, dates the D-Minor Fantasia and of that elusive dream eventually Fugue as late as 1720 and speculates took him to Boston’s Berklee College that its dolorous chromaticism of Music, where he discovered the was an expression of the composer’s spare, radically compressed music grief over the death of his first wife, of the early 20th-century modernist Maria Barbara. Anton Webern. By his own account, it was Webern’s Five Movements for A Deeper Listen String Quartet — with its haunting quietude, pointillistic textures, and Whatever “meaning” the notes may kaleidoscopic colors — that inspired convey, the Chromatic Fantasia and him to become a composer. Yet that Fugue definitely exemplifies the unexpected epiphany didn’t diminish improvisatory prowess that Bach’s first Eckhardt’s youthful enthusiasm for biographer, Johann Nikolaus Forkel, rock music and free jazz. Instead, he associated with his “unpremeditated set out to combine elements of all fantasies.” The music modulates freely, three styles in a hybrid language that unpredictably, and often daringly, marks what he considers his “core illustrating Forkel’s observation musical identity.” that Bach “linked the remotest keys together as easily and naturally as the About the Work nearest; it was almost as if he were modulating in the inner circle of a Composed in 1996, Echoes’ White Veil single key.” The work’s opening section exemplifies this stylistic synthesis in wends from one tonal center and scalar its engaging blend of high-powered pattern to another by way of a dazzling virtuosity, extended instrumental variety of figurations and passagework. techniques, innovative sonorities, and The Fantasia abounds in unexpected improvisatory-sounding gestures. twists and turns; at times it sounds In reality, the score is meticulously as if Bach himself is not quite sure notated, leaving nothing to chance

Summer 2021 and little (other than pedal effects) Eckhardt’s sound world recalls Jay to the discretion of the performer. Parini’s description of Merwin’s poetry In its sheer density, of both sound as a “kind of free verse” in which “he and ideas, Eckhardt’s 11-minute layered image upon bright image, composition relates to the so-called allowing the lines to hang in space, New Complexity movement that arose largely without punctuation, without in the 1980s, partly in reaction to the rhymes.” Notated without barlines, reductive language of minimalism. Its Echoes’ White Veil might be called the legacy is a body of works characterized musical equivalent of free verse. Sonic by multilayered textures, dissonant images pile on top of one another in harmonies, fiercely complicated tightly packed, asynchronous layers, rhythms, and ultrafine gradations of and spare, spectral sonorities are left timbres and dynamics. hanging in space.

Eckhardt acknowledges the influence of movement-oriented composers like ROBERT SCHUMANN Brian Ferneyhough and Karlheinz (1810–1856) Stockhausen, but his music is equally beholden to the likes of John Coltrane Kreisleriana, Op. 16 and Led Zeppelin. About the Composer A Deeper Listen Schumann embodied the spirit of Eckhardt has likened the genesis of his the Romantic era in his affinity for music to “being in a landscape during small-scale musical forms and lyrical an evening thunderstorm. There is utterances, his reliance on literary darkness, then a flash of lightning that and other extramusical sources of illuminates the surroundings. For inspiration, and the supreme value that fraction of a second I can ‘see’ he placed on emotional freedom and everything I need to begin the spontaneity. Although he wrote four piece. What follows is a painstaking symphonies, several concertos, and reconstruction of that moment.” One even a single opera, his impulsive such lightning flash came in the form genius found its most characteristic of a prose poem titled Echoes by the expression in art songs and piano late W. S. Merwin. A meditation on music, including a small body of the interpenetration of past, present, chamber pieces for keyboard and and future — on “the echoes pouring strings. Schumann was an inveterate through us out of the past” and the improviser at the keyboard, as one “sounds that rush away from us: echoes might suppose from the rhapsodic of future words”—Merwin’s poem fluidity that characterizes his culminates in the image of a child piano writing. sitting beside a lake at nightfall, calling out into the silence and watching the In fact, only a chronic hand injury sound of his embodied voice “running prevented him from realizing his away from me over the water in her youthful ambition to be a concert white veil.” Echoes’ White Veil captures pianist. Instead, he dedicated himself that multilayered poetic imagery to creating a new kind of music for in an analogous complex of sound the piano, compounded of heroic and silence, movement and stasis. virtuosity and poetic intimacy.

Caramoor About the Work key scheme, which alternates more or less regularly between In the seven years before his marriage minor and major keys. But to the pianist Clara Wieck in 1840, Kreisleriana is permeated with Schumann wrote some of his greatest an ambiguity, rhythmic as well as piano works, including Kreisleriana, tonal, that highlights the music’s Carnaval, the First and Second phantasmagorical atmosphere. Sonatas, and the C-Major Fantasy. Particularly in the first and last Schumann was infatuated with Clara, pieces, the underlying pulse is upset a budding pianist and composer or obscured by changing metrical ten years his junior; her father’s patterns and displacements of the implacable opposition to the match downbeat. In the closing bars of the only made their hearts grow fonder. work, the music’s driving, frenetic The eight fantasy-like pieces that energy dissipates and Kreisleriana constitute Kreisleriana take their ends with a subterranean whisper. cue from a fictional musician created by the great Romantic writer E.T.A. – Harry Haskell Hoffmann. Like the emotionally unstable Schumann, Hoffmann’s Kapellmeister Johannes Kreisler “was drawn constantly to and fro by his inner visions and dreams as if floating on an eternally undulating sea, searching in vain for the haven which would grant him the peace and serenity needed for his work.” Apart from its literary associations, Schumann’s work was a love letter in disguise. “Play my Kreisleriana sometimes!” he counseled Clara. “There’s a very wild love in a few movements, and your life and mine and many of your looks.”

A Deeper Listen

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

Summer 2021 About the Artist.

due to the COVID pandemic, he appeared with the Cincinnati Symphony and Louis Langrée, and returned to the Seattle Symphony to perform Beethoven Concerto No. 4. Further invitations included the National Symphony Orchestra, the San Francisco Symphony, New Jersey Symphony, and St. Paul Chamber Orchestra. His creation with Caleb Teicher, More Forever, Conrad Tao, piano commissioned by Works & Process at the Guggenheim, was planned Conrad Tao has appeared worldwide for tours across the U.S., including as a pianist and composer and has Dance Cleveland and Fall for been dubbed a musician of “probing Dance, Toronto. Tao and Teicher’s intellect and open-hearted vision” latest collaboration for Works & by The New York Times. He is the Process, Rhapsody in Blue, kicked recipient of the prestigious Avery off the Guggenheim’s return to Fisher Career Grant and was named in-person performances and was a Gilmore Young Artist — an honor lauded by The New York Times as awarded every two years highlighting “monumental.” The duo also gave the most promising American the inaugural virtual recital of the pianists of the new generation. As a season for Concerts from the Library composer, he was also the recipient of Congress. of a 2019 New York Dance and Performance “Bessie” Award, for In the 2019–20 season, Tao was Outstanding Sound Design / Music presented in recital by Carnegie Composition, for his work on More Hall, performing works by David Forever, his collaboration with dancer Lang, Bach, Julia Wolfe, Jason and choreographer Caleb Teicher. Eckhardt, Carter, Rachmaninoff, and Schumann. He also made his debut Conrad Tao has recently appeared in recital at Walt Disney Concert with the Los Angeles Philharmonic, Hall, where the L.A. Philharmonic Cleveland Orchestra, New York presented him in works by Copland Philharmonic, and Boston Symphony. and Frederic Rzewski. Following In 2020–21, he was the focus of a his debut at Blossom Music Center, series of concerts and interviews the Cleveland Orchestra invited with the Finnish Radio Symphony, Tao to perform at Severance Hall in performing Beethoven’s Piano a special program featuring music Concerto No. 4 with Hannu Lintu by Mary Lou Williams and Ligeti, and Andrew Norman’s Suspend with and improvisation alongside pianist Sakari Oramo, live on television. Aaron Diehl. After his debut with the While most performances in the Boston Symphony at Tanglewood, 2020–21 season were canceled

Caramoor his return date was canceled due to artist and dynamic performer … played COVID; instead he was invited to with enormous imagination, color and give a streamed recital in their Great command.” His third album, American Performers series, where he played Rage, featuring works by Julia Wolfe, works by Felipe Lara, Crawford Frederic Rzewski, and Aaron Copland, Seeger, Tania León, David Lang, was released in the fall of 2019. and Beethoven. Tao was born in Urbana, Illinois, In the 2018–19 season, the New in 1994. He has studied piano with York Philharmonic and Jaap van Emilio del Rosario in Chicago Zweden gave the world premiere and Yoheved Kaplinsky in New of Tao’s work, Everything Must Go. York, and composition with The European premiere will take Christopher Theofanidis. place in 2021–22 with the Antwerp Symphony. Other recent performances of his compositions include his own performance of The Oneiroi in New York with the Seattle Symphony, and Spoonfuls with the IRIS Orchestra. His violin concerto for Stefan Jackiw will be premiered in the 2021–22 season.

Other recent highlights include Tao’s L.A. Opera debut in the West Coast premiere of David Lang’s adaptation of Thomas Bernhard’s the loser. In Europe, he has been presented by the Swedish Radio Symphony in recital and in Andrew Norman’s Suspend alongside Susanna Mälkki; he also recently returned to the Orchestra dell’Accademia Nazionale di Santa Cecilia, performing with Antonio Pappano.

A Warner Classics recording artist, Tao’s debut disc Voyages was declared a “spiky debut” by The New Yorker’s Alex Ross. Of the album, NPR wrote: “Tao proves himself to be a musician of deep intellectual and emotional means – as the thoughtful programming on this album … proclaims.” His next album, Pictures, with works by David Lang, Toru Takemitsu, Elliott Carter, Mussorgsky, and Tao himself, was hailed by The New York Times as “a fascinating album [by] a thoughtful

Summer 2021 Verona Quartet David Fung, piano Friday / July 16 / 8:00pm / Venetian Theater

Verona Quartet: Jonathan Ong, violin Dorothy Ro, violin Abigail Rojansky, viola Jonathan Dormand, cello

David Fung, piano

GIACOMO PUCCINI Crisantemi (Chrysanthmums) (1890) (1858–1924)

GRAZYNA BACEWICZ Quintet for Piano and Strings No. 1 (1952) (1909–1969) Moderato molto espressivo Presto Grave Con passione

David Fung, piano

LUDWIG VAN BEETHOVEN String Quartet No. 14 in C-sharp Minor, (1770–1827) Op. 131 (1826) Adagio, ma non troppo e molto espressivo Allegro molto vivace Allegro moderato Andante, ma non troppo e molto cantabile Presto Adagio quasi un poco andante Allegro

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

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

Caramoor Summer 2021 About the Music. At a Glance GIACOMO PUCCINI (1858–1924) Giacomo Puccini, known for his operas La Bohème, Madama Crisantemi Butterfly, and Tosca, is definitely not typically associated with the genre About the Composer of the string quartet, but his early one-movement work, Crisantemi, Italian composer Giacomo Puccini (“The Chrysanthmums”) composed in achieved worldwide fame and 1890, is both melancholy and moving. acclaim for his operas (among them Presumably completed in only one La Bohème, Madama Butterfly,and night, he dedicated it to the memory Tosca) which are still among the of Prince Amadeo di Savoia, Duca most popular operas today. His d’Aosta and King of Spain, who died in work initiated the operatic trend mid- January of that year. Next, we are toward realism. introduced to the work of a relatively rarely performed 20th century Puccini came from a family of church woman composer, Grazyna Bacewicz. musicians who, for four generations, Bacewicz became one of the most had composed religious music and prominent Polish composers of the were organists at the Cathedral of San mid-20th century and was one of the Martino, Lucca’s religious heart. By most prolific female composers ever, 14, the young Puccini had taken up the producing over 200 compositions. The family mantle and become the church work to be performed in this concert, organist of San Martino and was the eclectic Quintet No. 1 for piano and beginning to compose. When he was strings, encompasses widely disparate 18, Puccini had his epiphany moment emotions and influences ranging from when he and one of his brothers the folkloric to the Classical. The walked almost 20 miles to Pisa to third and final work on the program, attend a production of Verdi’s Aida Beethoven’s String Quartet Op. 131, and the world of opera opened to him. is one of his last works. Complex and demanding, this magnificent and Two years later, in 1880, he moved moving work displays how Beethoven to Milan and entered the Reale developed the string quartet genre in Conservatorio di Musica. At that an experimental and dynamic fashion. time, Milan was the most important musical center of Italy; there the young Puccini could begin to satisfy This concert was made possible, in part, by the Westchester Community Foundation, his burgeoning interest in opera. a division of The New York Community Foundation. Also at that period of time, German Romantic symphonic music was being performed in concert halls and also excerpts from Wagner’s operas were receiving a lot of attention. Academics and the younger generation were very interested in Wagner’s music and ideas

Summer 2021 and were discarding the traditional About the Work Italian composers in favor of the new “symphonism” and “instrumental One does not usually associate Puccini polyphonism.” Puccini’s work with chamber music, yet this work developed the realistic verismo style, for string quartet is memorable. The of which he became one of the leading elegiac work Crisantemi and the three exponents; from vero, which means Minuets that followed it are early “true,” verismo was a post-Romantic Puccini and are the only chamber operatic tradition that incorporated music he ever wrote. realistic plots and settings often with characters from the contemporary The very moving, melancholy elegy lower class. Crisantemi was published in March of 1890. According to a letter of Puccini Like most composers of opera, Puccini to his brother, Michele, on February experimented with other kinds of 6, 1890, it was first performed by composition before he attained the the Campanari Quartet at the Milan maturity and expertise in which he Conservatory and in Brescia and was could express himself in the operatic well received on both those occasions. medium. Opera allowed him to Although Puccini never returned to demonstrate the depth of his talent writing for string quartet, he returned and the great mastery of orchestral to this music in a different form: scoring that he had already achieved. some of the most poignant moments Puccini never worked quickly, always in Manon, Acts III (the prison scene searching for the right subject matter, with Manon and Des Grieux) and IV one that would “make people weep.” (the death scene) are based on themes from Crisantemi. It is noteworthy that Fame and fortune came with his Puccini entitled this work Crisantemi successes; Puccini spent the next as chrysanthemums are the flowers few years traveling internationally used for mourning in Italy. to attend productions of his operas and to ensure that the productions A Deeper Listen met his high standards. After 1904, his compositions appeared less Crisantemi, Andante mesto, actually frequently, and his personal life was does retain the contours of a serious often troubled: in 1909, a major scandal operatic interlude while also doubling ensued after Elvira, his wife, falsely as a successful string quartet. accused their maid, Doria Manfredi, of Throughout its one continuous having an affair with Puccini. movement, it is darkly colored and rhapsodic in structure. Principally, Puccini, a chain smoker, began to there are two quiet themes; one, complain of chronic sore throats emotional with sighing elements in 1923. Diagnosed with throat and with dramatic pauses, is highly cancer, he was sent to Brussels for chromatic; the second, contrasting a new and experimental radiation with the first, is more flowing, yet treatment but died from post- darker in tone. In this work, Puccini treatment complications. uses melodies doubled at the octave as well as counterpoint and dynamic changes, to great effect.

Caramoor GRAZYNA BACEWICZ she took first place in the 1935 (1909–1969) Wieniawski Competition in Warsaw; simultaneously, she won prizes for Quintet for Piano and Strings No. 1 her compositions. As a pianist, she presented the premiere of her Piano About the Composer Sonata No. 2. By 1955, she stopped playing violin to devote more time to Initially regarded as an outstanding composing, but she also wrote fiction violinist who wrote music on the as well as music. She composed four side, Grazyna Bacewicz came to be symphonies, many string quartets regarded not only as a gifted woman and other chamber music, as well as a composer, but also as one of the most striking series of seven violin concertos prominent Polish composers of the mostly written for herself. mid-20th century as well as an integral member of the underground music One of the most prolific female scene during World War II. Although composers that we know of, “the her work is little performed today, first lady of music” (as Bacewicz was she was admired and respected as an labeled by one English critic) produced equal by her colleagues and adored by over 200 compositions including four her public. She was an integral part of symphonies, seven violin concertos, the mid-century Polish cultural world seven string quartets, five sonatas and helped to make the music of her for violin and piano, concertos for country known throughout Europe. piano, two pianos, viola, and cello, plus numerous works for chamber She, together with her musical orchestra and for full orchestra. compatriots, bridged the gap between the Neo-Romanticism of Szymanowski About the Work and the modernism of Lutosławski. Piano Quintet No. 1, composed and As a child, Bacewicz studied premiered in 1952, is a tantalizing violin, piano, and theory at a small introduction to Bacewicz’s music conservatory in her native Lódz and as it encompasses widely disparate gave her first public performances at emotions. The Quintet followed the age of seven. At 19, she began to immediately after her outstanding study philosophy at the University String Quartet No. 4 and shares of Warsaw, but after a year decided with the quartet a sound world that to focus on music and enrolled in the embraces both folkloric impulses and Warsaw Conservatoire, where in 1932, classical principles. she received diplomas in violin and composition. Karol Szymanowski This quintet was hailed as a work of recommended that she study at the exceptional maturity in terms of its École Normale de Musique with Nadia musical ideas and the ways in which Boulanger in Paris, possibly because those ideas were implemented; of a scholarship from composer the work sounds like Bacewicz Paderewski, who funded her trip to intentionally eschewed the latest Paris and her study of violin with academic trends of her time because André Touret and composition with she was more intent on giving voice to Nadia Boulanger. As a violinist, her innermost personal emotions in

Summer 2021 neoclassical form. Without sacrificing terse introduction in a varied guise. her own strong sense of individual Magnificent contrasts are highlighted style, Bacewicz embraces the late- throughout. Romantic tradition with its gloriously lyrical themes and its inclusion of A second movement, Presto, a elements of folk songs and dances. high-spirited vigorous scherzo-like The passion implicit in this work movement with a fast tempo, is based is evident throughout the piece. on the stylized Polish round dance, The commanding musical language the oberek, a dance that Bacewicz was which Bacewicz used for the quintet particularly fond of and used in several reflects the work’s classical form. of her other works. The oberek follows In this complex work, Bacewicz’s an ABA pattern as the piano sounds a technical skills and her utilization declamatory statement and the strings of the range of the instruments’ answer with good spirits. As danced, sonorities are evident. She tried to the oberek includes short, quick steps avoid classification of her style, even (faster steps than the waltz) accents, though it is largely neo-classical. She lifts, and jumps. Here it appears with also attempted to appease the censors, its characteristic syncopation and the who were always on the lookout to root persistent ostinato. out “formalistic” music after World War II, by following the recommended The slow movement, Grave, begins integration of Polish folk elements into with a heavy, elegiac, wistful her music. introduction. This movement is lyrical in a neo-Romantic expressionistic Bacewicz begins the impassioned kind of way. The heart of the quintet first movement Moderato molto features what sounds like a funeral espressivo, in sonata form framed by a march. Uniform chorale sounds from haunting introduction and ending with the strings and oscillating semi-tonal a coda. The movement is spirited and chords in the piano may have roots in sometimes even playful, with a forward Polish hymnody. As the piano texture drive. The outer parts express pathos, increasingly thickens, the music builds which intermittently explodes with to a passionate climax, after which the dramatic exclamations. The principal opening material returns as the funeral idea of the main body, Allegro, is march sounds slowly fade. expressed by the unison strings whose brilliance and virtuosity articulate the The finale, Con passione, is, like the fragment-like figures, which reappear first movement, written in sonata in each movement of the work. A form. Infused with the sounds of folk controlled line in the unison strings music, it is full of nervous energy. This serves as a background for the more movement’s life-affirming exhilarating driving energetic piano motif, as the music introduces the main theme music wavers between extroverted fugally. Lyrical and introspective and introspective power. The piano sections contrast with fast, energetic motif returns for the second subject, ones. The original string unison heard first in the viola against a piano and a version of the initial piano line of arpeggios. The central section motif from the first movement are is a rhapsodic development of earlier reintroduced. The piece ends with a ideas, while the coda brings back the flourish, Grandioso.

Caramoor LUDWIG VAN BEETHOVEN brilliant keyboard performer and a (1770–1827) gifted young composer. In 1795, he published his first mature works. String Quartet No. 14, in C# minor, Although publishers frequently sought Op. 131 out Beethoven, publishing practices of his time were corrupt; even though About the Composer publishers paid composers for rights to their works, there were no copyrights Beethoven is considered one of the or royalties, so Beethoven only most important figures in the history received one initial payment for any of music. His innovations are credited work even though his works were often with widening the scope of the sonata, published in various editions. symphony, concerto, and quartet. He was the most important transitional The biggest problem Beethoven composer connecting the Classical and encountered in his adult life was his Romantic periods. A prolific composer, failing hearing, which began to falter he composed nine symphonies, choral in his early years in Vienna. It became music, piano music, string quartets and so severe that in 1802 he considered other chamber music, and one opera, suicide, and a little more than a decade Fidelio. In an almost superhuman later, he gave up hope of performing achievement of creative genius, he publicly as a pianist. By 1818, he was created some of his greatest works no longer able to have conversations after becoming totally deaf. and was forced to communicate with visitors in writing. His deafness His father, a musician at the Bonn and his temper combined to give court, taught his gifted and interested him a reputation as an unpleasant young son to play piano and violin. and difficult man, yet his deafness With a weakness for alcohol, his must have greatly affected his social father, who thought he was creating a intercourse. His musical output and new Mozart-like child prodigy, often his letters do confirm that he was pulled the young Ludwig out of bed not only self-conscious, but also in the middle of the night, to suffer completely immersed in his work. By beatings if he did not comply when the time he wrote his late works, no ordered to perform for his father’s one had ever heard anything like them: drinking companions. When he was they challenged the understanding 13, Beethoven published his first set of both audiences and professional of piano pieces. In 1787, he journeyed musicians. He understood that to Vienna, apparently with the reaction to them and remarked: “They expectation of having lessons from are not for you, but for a later age.” Mozart, but he was forced to return home to care for his ill mother, who About the work died a few months later. Between 1816 and 1826, Beethoven In 1792, he returned to Vienna, (where composed a series of extraordinary he would live the rest of his life) to masterpieces: the Ninth Symphony study with Haydn, but the two did not and Missa Solemnis, five piano sonatas, get along; nevertheless, Beethoven and five string quartets, Ops. 127-135. quickly became recognized as a Just prior to the appearance of these

Summer 2021 works, his output had been slim, as suicide. Beethoven’s concern for his the compositions of his middle years nephew was so great that he changed had exhausted the possibilities of the the dedication of this quartet, which classical forms he had inherited from he had intended for a personal friend, Haydn and Mozart. His final works and inscribed it instead to Lieutenant required new subjects, new forms, and Field Marshal Baron Joseph von new powers of creation. Stutterheim, who took his problematic nephew into one of his regiments as an Beethoven’s last quartets have such officer cadet. great density, combining concentration and tension with substance, that they When he gave the completed score of puzzled musicians for generations. The this quartet to his publisher, he said technical and interpretative difficulties that it was “stolen and assembled they presented were usually blamed from various bits of this and that.” on the composer’s deafness. Early The publisher, in alarm, wrote him critics thought that Beethoven had lost demanding assurance that the quartet touch with musical reality, yet we now was, in fact, new and original. He had believe his deafness liberated him from apparently not looked closely at the concern with practicality and freed music, for if he had, he would have his imagination for greater invention. understood Beethoven’s ironic jest. While unable to hear, he composed There could not have been anything music characterized by its intellectual as new as this quartet, which was depth, formal innovation, and intense, totally without precedent. Huge in size highly personal expression. and cast in entirely original shapes invented in the course of the writing, He composed Op. 131 as part of a it exemplified how far Beethoven had group of three quartets dedicated outgrown the forms he had inherited to his faithful supporter, Prince from Haydn and Mozart. To invent Nikolas Galitzin, who organized and assemble this composition in the first performance of theMissa six or seven months had been an Solemnis, Op. 123, in St. Petersburg astonishing creative feat: Beethoven’s in 1824. His earliest sketch for the notes and sketches for the work occupy quartet dates from the last few days three times as much paper as the of 1825; Beethoven completed the finished work. quartet during July 1826. While he was composing it, he considered This quartet seems somehow to be a writing other types of compositions, great leap forward into the expressive specifically large choral works, (an world of the early 20th century as it oratorio, a requiem, or an opera) but creates much of the same kind of string quartets were his final works. grandeur and profundity that Strauss and Mahler strove for in their huge Writing the quartet required a orchestral scores. This quartet was supreme effort at a time when he Beethoven’s favorite; he rated it as his was not only deaf but troubled by most perfect single work. his general failing health as well as by the misadventures of his nephew, for whom he was responsible, and who was then threatening to commit

Caramoor A Deeper Listen the quartet’s only more-or-less regular sonata form movement. The finale, The quartet has seven distinct parts a wild, dancing movement, has as its knit together into a continuous whole. ancestor the finale of Beethoven’s Some scholars have claimed to reveal Symphony No. 7. Some of the material a nearly traditional four-movement also sounds distantly derived from structure as its base, but it seems more this quartet’s own opening fugue. reasonable to accept Beethoven’s Here, as elsewhere in the work, there demarcations and consider the are tempo changes within phrases seven separately. that are labeled rubato (meaning with expressive and rhythmic freedom), The first movement is a mournful but instead of leaving them to the but majestic slow fugue, Adagio, performers’ inclinations, Beethoven ma non troppo e molto espressivo, has actually written them into the which Wagner said, “shows the most music. Great themes simply flash melancholy sentiment ever expressed by. The music races on until just in music.” The second movement, before the end, when it slows, then Allegro molto vivace, begins with a speeds up again, closing with a few key shift that was astonishing at that slashing chords. time; its form still puzzles music analysts today looking for the mold in – Susan Halpern which it was cast. It has been variously identified as a truncated sonata form or even a dance comparable to those in Baroque suites. All that remains important, however, is that it exists as a form of Beethoven’s own devising, which contains lyrical, wistful music of great appeal.

The third movement begins energetically, Allegro moderato, with two rapping chords, but it soon becomes an Adagio recitative introducing the glorious theme-and- variation fourth movement. The fourth movement begins with a new, flowing theme, Andante, ma non troppo e molto cantabile, which goes through seven variations. Only some of them are elaborations; others concentrate and reduce the theme to its very essence.

The fifth, an expanded scherzo, Presto, has savage force; following the Presto, a brief slow song, Adagio quasi un poco andante, runs into the finale, Allegro,

Summer 2021 About the Artists. music that reflects the current world in which we live, including those commissioned and written for them by composers Julia Adolphe, Sebastian Currier, Corey Dundee, Texu Kim and Michael Gilbertson. The Verona Quartet has cultivated a dynamic approach to collaboration and programming that includes cross-cultural and interdisciplinary enterprises. Recent projects feature Verona Quartet performances with dancers from Brooklyn’s Dance Heginbotham, Acclaimed for its “bold interpretive artistic exchanges with traditional strength, robust characterization and Emirati poets in the UAE, and commanding resonance” (Calgary collaborations with Grammy-winning Herald), the Verona Quartet has folk supergroup I’m With Her. spellbound audiences worldwide, unlocking the secrets of the music The Verona Quartet has appeared through the “intimate way they across four continents enchanting communicate with each other and the audiences at venues such as Carnegie audience.” (Boston Arts Fuse) Hall, Lincoln Center, Kennedy Center, Wigmore Hall, and Melbourne Delicate craftsmanship, luminous Recital Hall, in addition to appearing sound, and a dramatic poise are all at festivals including Caramoor, La hallmarks of the virtuosity that fuses Jolla Summerfest, Chamber Music together violinists Jonathan Ong, Northwest, Bravo! Vail, and the Dorothy Ro, violist Abigail Rojansky, Chamber Music Society of Lincoln and cellist Jonathan Dormand to Center. As Ensemble-in-Residence create the Verona Quartet. The group’s with the Chamber Orchestra of the singular sense of purpose earned them Triangle in North Carolina, the Verona Chamber Music America’s coveted Quartet curates the UpClose Chamber Cleveland Quartet Award 2020, Music Series, bringing the visceral and a reputation as an “outstanding energy of classical music to diverse ensemble ... cohesive yet full of audiences in venues ranging from temperament.” (The New York Times) concert halls to craft breweries.

Deeply committed educators, the The Verona Quartet was Caramoor’s Verona Quartet serves as Quartet-in- 2017–18 Ernst Stiefel String Quartet- Residence at the Oberlin College and in-Residence. In addition to their Conservatory in Oberlin, Ohio. current Oberlin residency, the Verona Quartet holds residency positions at A string quartet for the 21st century, the the Lunenburg Academy of Music Verona Quartet champions the storied Performance (Lunenburg, NS) as well history of the string quartet alongside as Indiana University Summer String Academy (Bloomington, IN). Each

Caramoor year, reaching thousands of people, The ensemble’s “thoughtful, the Verona Quartet’s community and impressive” performances (Cleveland educational workshops inspire new Classical) emanate from the spirit listeners and performers through the of storytelling; the Quartet believes joys of chamber music. that the essence of storytelling transcends genre and therefore the The Verona Quartet rose to name “Verona” pays tribute to William international prominence after Shakespeare, one of the greatest rapidly sweeping top prizes at the storytellers of all time. Wigmore Hall, Melbourne, Osaka, M-Prize International Chamber Music Competitions, and the Concert Artists Guild Competition.

Nico Muhly

Pekka Kuusisto

PEKKA KUUSISTO, VIOLIN NICO MUHLY, PIANO Thursday, July 29 / 7:00pm / Venetian Theater Tickets start at $30 Finnish violinist Pekka Kuusisto and celebrated American composer Nico Muhly team up for an evening of musical exploration, ranging from traditional Finnish music to works by Muhly, Glass, and Pärt, and contemporary works. Kuusisto brings a fresh approach to the concert experience with “the most personal sound of any classical violinist now alive” (The Telegraph, London). Muhly has written over 100 works for the concert stage.

TICKETS / caramoor.org / 914.232.1252

Summer 2021 and Waterloo; and his debut with the Tucson Winter Chamber Music Festival. He will also collaborate with Nico Muhly on a program of his music at Saint Thomas Church Fifth Avenue in New York City.

Fung’s highly acclaimed debut with the Cleveland Orchestra at the Blossom Music Festival was “everything you could wish for” (Cleveland Classical), David Fung, piano and he was further praised as an “agile and alert interpreter of Mozart’s Praised for his “ravishing and crystalline note-spinning” (The Plain simply gorgeous” performances Dealer). In the following week, he in The Washington Post, pianist performed Rachmaninoff’sRhapsody David Fung is widely recognized on a Theme of Paganini at the Beijing for interpretations that are elegant National Stadium for the Olympic and refined, yet intensely poetic and Summer Festival. Festival highlights uncommonly expressive. Declared a include performances at the Aspen Rising Star in BBC Music Magazine, Music Festival, Blossom Music Fung regularly appears with the Festival, Brussels Piano Festival, world’s premier ensembles including Edinburgh International Festival, the Cleveland Orchestra, Detroit Hong Kong Arts Festival, the Ravinia Symphony, Israel Philharmonic, Festival, Tippet Rise, and Yeosu Los Angeles Philharmonic, National International Music Festival. Orchestra of Belgium, San Diego Symphony, and San Francisco In recent seasons, he has been Symphony, as well as the major presented in recital by Washington orchestras in his native country of Performing Arts at the Kennedy Australia, including the Melbourne Center, Lincoln Center’s Great Symphony, Queensland Symphony, and Performers, the Louvre Museum, the Sydney Symphony. Palais des Beaux-Arts in Brussels, the National Concert Hall in Taiwan, and In the 2020–21 season, Fung made the Zürich Tonhalle. his Los Angeles Philharmonic debut alongside Yuja Wang and conductor Fung garnered international attention Gustavo Dudamel in the Sound/Stage as laureate of the Queen Elisabeth series at the Hollywood Bowl, returned International Music Competition in to Caramoor with bass-baritone Brussels and the Arthur Rubinstein Dashon Burton, and headlined the Piano International Masters 2020 WQXR Pride Celebrations in Competition in Tel Aviv. In Tel Aviv, New York City. Highlights for the 2021- he was further distinguished by the 22 season include appearances with Chamber Music and Mozart Prizes, Tessa Lark and Joshua Roman with awarded in areas in which Fung has the Charleston and Niagara Symphony a passionate interest. Fung is the Orchestras as well as the Las Vegas first piano graduate of the Colburn Philharmonic; recitals in New York Conservatory in Los Angeles and is a Steinway Artist.

Caramoor Joan Osborne Presented in collaboration with City Winery

Friday, July 17 / 8:00pm / Venetian Theater

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

Caramoor Summer 2021 About the Artists.

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

Tackling serious subject matter in her writing while crafting music Joan Osborne to “uplift,” Osborne assembled “a great live band” (including several On her 10th studio album, the masterful musicians who played on her Trouble and Strife, Joan Osborne has acclaimed last album, Songs of Bob issued a clarion call. With stunning Dylan): guitarists Jack Petruzzelli, vocals, a diverse range of sonics, and Nels Cline, and Andrew Carillo, incisive lyrics, this deeply engaging keyboardist Keith Cotton, bassist collection of new original songs is Richard Hammond, and drummer her response to “the crazy, chaotic Aaron Comess. For vocal harmonies, times we’re living in,” she says, and she enlisted exquisite vocalists “a recognition of the important role Catherine Russell, Ada Dyer, Martha music has to play in this moment. Redbone, and Audrey Martells, whom Music has a unique ability to re- she’s “had the great privilege to work energize people and allow us to with over many years.” The result is a continue to hang on to that sense of Trojan horse of a record — music that joy of being alive.” is energizing, melodic, and hummable, with lyrics that call out the corrupt, Since she broke through 25 years the despicable and the destructive. ago with the multi-platinum Relish and its touchstone mega-smash Roots-rockin’ opener “Take It Any One of Us, the seven-time Grammy Way I Can Get It” inspires with the nominee has never played it safe. mandate “I’m still survivin’/ I got Osborne has followed her restless to be dancin,” propelled by a joyous musical heart, exploring a diverse gospel-tinged vocal attack backed range of genres: pop rock, soul, R&B, by Wurlitzer and Southern-style blues, roots rock, gospel, funk, and intertwined guitars that dare you to country — all of which can be heard sit still. She co-wrote the funky “Never on Trouble and Strife, along with the Get Tired (of Loving You)” with Western side of C&W and a touch Richard Hammond and her partner of glam and disco. “For a lot of the Keith Cotton, propelled by Cotton’s record, we were going for a ‘70s AM Prophet 6 synth, for her teenaged radio vibe,” says Osborne. As for the daughter: a message of stability in lyrics, the songs “are the most political an uncertain world. “That song has I’ve ever written,” she conveys of her a serious subtext,” says Osborne, but

Caramoor its “cool, retro flavor hopefully makes reminiscent of Dylan at his most it a joyful thing.” The gorgeous ballad vitriolic. But it is the Western-flavored “Whole Wide World” finds Osborne title track that Osborne points to hitting impossibly high notes, its as the song most inspired by her sound inspired by the Chi-Lites; its “Dylanology” concerts that began in message “is about hanging on to hope 2016 and led to her 2018 covers album, and envisioning something better “If you spend that intensive time living for the future.” Another early ‘70’s with his songs, I think it just rubs off sound infuses the super-catchy “Boy on you,” Osborne admits. “Trouble and Dontcha Know”: Osborne’s purring Strife betrays the Dylan influence the vocals are surrounded by a Spiders most because of the odd characters from Mars-era piano and Big Star- coming in and out of these absurd esque Mando-guitar; its singalong situations (much like the ones we find lyrics look at gender nonconformity ourselves in today).” and the obstacles one faces when born female. Osborne’s years of experience as a seasoned road warrior are reflected Abuse of power is the subject of two throughout Trouble and Strife, the of the angriest songs on Trouble and album. Her tenure with what she Strife, with their infectious sound calls a “meat and potatoes rock ‘n imbuing the songs a la a wolf in roll band,” Trigger Hippy, shows up sheep’s clothing: the bluesy stomp in “Meat and Potatoes,” a farewell “Hands Off,” punctuated by distinctive collaboration with her former guitar riffs, denounces corrupt bandmates, cut in a Nashville studio: exploiters of people and the planet. Written with Trigger Hippy bassist “That Was A Lie,” with scornful Nick Govrik, it features that group’s lyrics buffeted by buoyant pop rock, Southern-boogie groove. It’s a feel- castigates “those camera-ready good song extolling the virtue of mouthpieces for corrupt officials,” downhome cookin’ — and lovin’. according to Osborne. “It’s been quite the journey since the Texan Ana Maria Rea, whose family woman AllMusic.com declared “the emigrated to America when she was most gifted vocalist of her generation” a child, contributed spoken passages moved from small-town Kentucky in her native tongue to the rhythmic to attend NYU film school in the “What’s That You Say.” “She tells 1980s. Osborne’s astounding voice the story of her family coming from drew attention when she joined the Mexico City, where her father had fun at open mic nights in downtown been kidnapped, to the U.S. and how clubs, which eventually led to 1995’s difficult that was,” says Osborne. “Her Relish, “that rare breed of album message is ‘I’m not afraid,’ and her where critical consensus, popular mission is to help other people who are approval and enduring appeal unite,” in the same position she was in. Ana according to American Songwriter. Maria is a shining light of a person.” Since then, she’s performed with Escape from a place where “there’s Motown’s revered rhythm section the nothin’ left alive” drives Osborne to Funk Brothers and toured with the “Panama,” a showcase of her vocal Dead (where she first met and sang range expressing gut-punch lyrics with Dylan). She’s harmonized with

Summer 2021 Stevie Wonder at the Rock and Roll “I feel like music has this important Hall of Fame, duetted with Luciano job to do right now,” Osborne says. Pavarotti, and co-headlined a tour “Part of that job is to help imagine a with the legendary Mavis Staples. She better future — and to hang on to hope. has amassed a loyal fan base as she’s I want to play for people and get them continuously traveled the country. up on their feet and dancing. To let Through it all, she sees more clearly music do that thing it does — bring joy now than ever the essential role our and energy because we really need that troubadours play. right now.” With Trouble and Strife, she intends to do just that.

The RT’s

Upstate The War and Treaty

AMERICAN ROOTS MUSIC FESTIVAL Presented in Collaboration with City Winery Saturday, July 24 / 1:30pm–8:00pm / Caramoor Grounds Tickets start at $45 and include the entire Festival

Closing Set: The War and Treaty / Upstate / Kat Wright / The Martha Redbone Roots Project / Hubby Jenkins / The RT’s / Family Set: Reggie Harris

TICKETS / caramoor.org / 914.232.1252

Caramoor Philharmonia Baroque Orchestra Sunday / July 18 / 4:00pm / Venetian Theater

Richard Egarr, conductor and harpsichord Rowan Pierce, soprano

CHRISTOPHER GIBBONS Fantasy in A Minor (1615–1676)

JOHN BLOW “Welcome, Welcome Every Guest” (1649–1708) from Amphion Angelicus “Peaceful is he and most secure”

“Lovely Selina” Rowan Pierce, soprano

MATTHEW LOCKE Curtain Tune from The Tempest (1621–1677)

HENRY PURCELL “Tell me, some pitying angel” (1659–1695) (The Blessed Virgin’s Expostulation)

“Music for a While”

“Bess of Bedlam”

Chaconne from King Arthur

Rowan Pierce, soprano

(Program continued on following page)

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 HENRY PURCELL Selections from The Fairy Queen (1659–1695) Second Music: Aire Rondeau “If Love’s a sweet Passion” Dance for the Fairies Dance of the Haymakers Monkey’s Dance The Plaint: “O let me weep!” Third Act Tune: Hornpipe A Dance of the Followers of Night “See, even Night herself” Prelude “Hark! The Echoing Air!” Chaconne

Rowan Pierce, soprano

Caramoor Selections from The Fairy Queen About the Music. At a Glance During a hand-to-mouth existence as a Royalist musician in London, This concert revels in the superb Gibbons collaborated with his fellow music of the English Restoration Royalist Matthew Locke to write one period during the second half of the of England’s first theatrical masques, 17th century. After Oliver Cromwell’s Cupid and Death, in 1653. Rewarding austerities were defeated, the his loyalty, Charles II in 1660 favored pleasure-loving King Charles II Gibbons by appointing him as organist ushered in a brilliant period of artistic and chorus master at the Chapel creativity in theater and music, with Royal and Westminster Abbey, where the two art forms frequently joined he shone more as a performer than together in English operas and a composer. Among his students at masques. And musicians flourished the Chapel Royal was Henry Purcell. Rowan Pierce, soprano to meet the opportunities. Though Although his music is rarely heard the lives of Christopher Gibbons, today, Gibbons wrote significant John Blow, Matthew Locke, and organ and sacred choral music, Henry Purcell spanned more than as well as some attractive consort a generation, they all knew and music for small ensembles, including influenced each other. The second half the Fantasy in A minor that opens of this concert will be devoted to the today’s concert. youngest and greatest of them, Purcell, and to his finest musical/theatrical JOHN BLOW creation, The Fairy Queen of 1692. (1649–1708)

Three Songs CHRISTOPHER GIBBONS (1615–1676) Born just ten years before him, John Blow pursued a career in tandem Fantasy in A minor with Purcell’s. As a boy, he like Purcell was selected as a chorister of the The oldest surviving son of one of Royal Chapel and demonstrated his England’s greatest Renaissance precocious composing skills with composers Orlando Gibbons, several sacred anthems. Taught there Christopher Gibbons had to wait by Christopher Gibbons, he in turn until after the end of Cromwell’s trained Purcell when he arrived in Protectorate to be able to fully reap the choir. In 1668, he was appointed the rewards of his talents as composer organist at Westminster Abbey and and organist. Trained by his illustrious would be succeeded in that post a father, he was appointed organist at decade later by Purcell. Winchester Cathedral in 1638. But the English Civil War erupting in 1641 Though Blow was most admired for his brought his career almost to a halt sacred music, he wrote a short opera, as the Puritans sacked the churches Venus and Adonis, for King Charles and his organ was destroyed by II that was extremely popular at the Cromwell’s soldiers. court and was a significant inspiration

Summer 2021 for Purcell’s later opera Dido and throne, Charles II unsurprisingly Aeneas. Blow also wrote quantities of chose him as a court composer for secular and sacred songs of which we his 24 Violins and his wind ensemble. will hear three. Locke also wrote the processional march for Charles’ coronation. Probably written for the feast of St. Cecilia, patron saint of music, Locke was a daring and original “Welcome, Every Guest” is a spirited composer whose music deeply song contrasting English musical impressed the young Henry Purcell, style with foreign influences (“your who was later to write an ode dainties from abroad”). In its middle mourning Locke’s death. section, Blow is happy to provide an animated Spanish dance with guitar Locke’s remarkable music for Dryden’s and recorders, but gives the final prize revision of Shakespeare’s The Tempest to the soprano’s English virtuosity in 1674 was one of Purcell’s favorites at the end. Telling the old story of and an inspiration for his own theater innocence betrayed, “Lovely Selina” music. The “Curtain Tune” opens uses a lilting repeating bass melody The Tempest, with a vivid musical to ground the soprano’s free-flowing portrait of the storm that sets the play lines. A sacred song “Peaceful is he in motion. It begins with an ominous and most secure” reflects the earlier calm before the storm, featuring style of the English lute song, in which foreboding dissonances as the chords words are beautifully painted and the rub against each other. Then a gradual instrumentalist and singer merge as accelerando and crescendo set the equal expressive partners. winds blowing with slashing fast scales imitating lightning. In this score, Locke used some of the earliest MATTHEW LOCKE detailed dynamic markings indicating (1621–1677) exactly the effects he wanted to produce. Curtain Tune from The Tempest HENRY PURCELL A fervent Royalist, Matthew Locke (1659–1995) trained as a chorister at Exeter Cathedral under Edward Gibbons, Selected works Christopher Gibbons’ uncle, and there was drawn into the final struggle of Though in his own day Henry Purcell Charles I to keep his throne (and his was already considered the most gifted head) against Oliver Cromwell. In of the English composers, strangely as the early 1640s, Charles and Queen little is known about his life as is about Henrietta chose Exeter as their Shakespeare’s. Even his birthdate is sanctuary, and their son, later to unknown as well as the exact identity restore the monarchy as Charles II, of his father, although we do know he lived for several years close to Locke. was born into a family of musicians At some point, Locke left with Prince associated with the English court. Charles for The Netherlands, where At about nine or 10, he became a boy he converted to Catholicism. In 1660 chorister in the Chapel Royal. After when he returned to the English his voice broke, he held a series of

Caramoor increasingly important positions in colors, and rhythm. Fascinated with the royal music establishments. In the florid vocal writing of the Italian 1677, he was appointed a composer for composers of the 17th century, Purcell the King’s 24 Violins and two years artfully used coloratura not merely later at age 20 became the organist for vocal display but to give stress and at Westminster Abbey. After 1685 emotional color to significant words. when James II came to the throne and turned out to be an indifferent Two of the Purcell songs Rowan patron of the arts, Purcell began Pierce will perform demonstrate the concentrating on writing incidental composer’s daring musical techniques music for the thriving London theatre for expressing extreme emotions. as well as creating several of the Setting a text by Nahum Tate, the stunning British masques, a Baroque librettist for Dido and Aeneas, “The form that combined music, theatre, Blessed Virgin’s Expostulation” and dance with extravagant stage dramatizes a scene found in the effects. When he died — of causes we Gospel of Luke, in which the 12-year- do not know — at the premature age old Jesus wanders away from his of 36 on November 21, 1695, he was parents during a visit to the Temple mourned by London’s musical and at Jerusalem. Their frantic search for theatrical establishment and buried him finds him calmly discoursing with with much ceremony at the foot of the priests of the Temple. Tate builds Westminster Abbey’s organ. this short passage into a harrowing scene in which Mary is tormented by Though he also wrote significant all the worst fears a mother of a lost instrumental works, Purcell especially child might experience, immensely excelled in vocal music both for chorus amplified by the divine identity of this and solo voice. In addition to writing particular child. independent songs, he included quantities of songs in his incidental Purcell sets Mary’s fast-changing music for the theatre. moods of hope and despair in the form of an Italianate solo cantata In publishing the posthumous mixing passages of recitative and collection of his songs, Orpheus aria. Using jagged recitative, the song Britannicus, in 1698, Henry Playford opens impatiently with Mary’s cries extolled Purcell’s “peculiar Genius to imploring some angel to tell her where express the Energy of English words, Jesus has gone. Memories of the whereby he mov’d the Passions of Holy Family’s perilous journey into all his Auditors.” Purcell created Sinai to escape King Herod’s wrath a new standard for setting the culminate in furious coloratura on English language — notorious for its the word “tyrant’s” as she condemns bewildering variety of syllabic stresses Herod’s wicked court. The most and its over-abundance of consonants powerful moments come with Mary’s — with clarity and beauty. He was repeated cries to Gabriel, the angel a master of “word illustration”: the who told her she was bearing God’s art of conveying both the meaning Son, set on high G’s above a clashing of words and their emotional instrumental series of chords. As her connotations through the imaginative mood lightens twice to reminiscences use of melodic shapes, harmonic of happier moments, the music shifts

Summer 2021 into flowing arias in courtly dance spectacular scenic effects Restoration style. The final recitative sums up her audiences loved. After Arthur subdues fear in a poignant melisma prolonging his enemies, the play closes with the syllable “O” — a heartbreaking the Chaconne in F Major, a serene summation of her anguish. dance of peace achieved. Originating in the late 16th-century in Spain and Another celebrated song of a mind Italy, this three-beat dance consists in extremis is “From Silent Shades,” of variations built over a repeating subtitled “Bess of Bedlam,” from harmonic pattern. Purcell was a great 1683, set to anonymous verse. Purcell admirer of Jean-Baptiste Lully, Louis captures the disordered mind of this XIV’s court composer, and this piece woman driven insane by unrequited is filled with French touches that pay love through violent shifts in tempo, tribute to him. meter, melodic style, and mood. Purcell biographer Jonathan Keates HENRY PURCELL writes: “Madness was invariably fascinating to the men and women of Excerpts from The Fairy Queen the 17th century, partly because it was so little understood and also because Premiered on May 2, 1692 at the it seemed to present a glimpse of Queen’s Theatre, Dorset Garden in another world …” London, The Fairy Queen contains the finest music Purcell wrote for Quite different is the mesmerizing the theater. It was a hybrid work “Music for a While,” composed in built around a shortened version of 1692 for a revival of John Dryden’s Shakespeare’s comedy A Midsummer play Oedipus, a retelling of Sophocles’ Night’s Dream, which largely omits classic story. It is sung by one of the the human figures lost by night in an priests trying to summon the spirit of Athenian forest while concentrating King Laius to name the person who on the play’s fairy subplot starring murdered him. Purcell was a master the rulers of the Fairies, Titania and of creating songs on a ground, or Oberon. Purcell did not write any repeating bass pattern, over which music for the Shakespearean text; the vocal line operates independently. instead, he created the music for Here the bass pattern relentlessly the dazzling masques — a mixture ascends while the vocal line droops of music and dance enhanced by soothingly downward. gorgeous costumes and scenery — that were inserted between the acts and Before the we turn to music from were only loosely connected with the Purcell’s The Fairy Queen, we will hear play’s events. These masques were the regal Chaconne Henry Purcell designed to appeal equally to the eye created for the 1691 play King Arthur, as to the ear. also written by Dryden. Bearing little resemblance to the Arthurian tales As with many theatrical works in we know, this allegorical play focused Purcell’s day, The Fairy Queen had an on an evil wizard representing a rival contemporary allegorical aspect: it king who tries to destroy Arthur paid tribute to England’s late 17th- with alluring temptations, which, of century rulers King William and course, make extravagant use of the Queen Mary with Titania and Oberon

Caramoor meant to loosely represent them. Restoration audiences loved these Specifically, it was written to celebrate numbers of anarchic comic relief. William and Mary’s 15th anniversary. The lavish scenery of Act IV’s masque Representing the reconciliation of includes a beautiful garden with Titania and Oberon after their quarrel, fountains spouting water high in the Act IV displayed spectacular scenery: air; this salutes William’s fascination fountains, cypress trees, and statues with designing fountains. In a bit surrounding a grand staircase. This of a stretch, Act V’s masque is set in visual feast was echoed by the opening an exotic Chinese garden, honoring Symphony with its majestic music for Mary’s love of Chinese porcelain and trumpet and drums interspersed with lacquered screens, as well as the new slower and very beautiful music for the English mania for tea drinking. other instruments.

The excerpts will not be played in From Act V, “The Plaint” is one of sequential order as they occur in Purcell’s most beloved arias, a song the play. Before the play began and of love lost built over a downward- while the audience was still taking drooping repeating ground-bass their seats and chatting with each theme. However, scholars increasingly other, the First and Second Music believe that it was likely composed by was played. From the second of these a different Purcell, Henry’s younger preludes, we’ll hear the graceful, brother Daniel, and was added into melodious “Air” scored for strings and The Fairy Queen’s score for the play’s a prominent solo oboe. It is followed revival in 1693. by livelier “Rondeau,” a French court dance in three beats. Returning to Act II and Titania’s bower in the forest, we hear some of Jumping to Act III, the next selection this work’s most unusual music: the is “If Love’s a Sweet Passion,” a arrival of Night and her followers beautiful, subtly ornamented aria Mystery, Secrecy, and Sleep come to for soprano and chorus in minuet lull Titania into dream-filled slumber. rhythm setting oxymoronic verse Night sings a slow aria of enchantment about the conflicting emotions of over eerie music in C minor for pain and pleasure love brings. Also muted strings. This is followed by the from Act III’s masque, we hear two beautiful “Dance of the Followers of highly contrasting dances: “A Dance Night”: a grave, slowly circling dance of Fairies,” an elegant, light-footed set as a double canon. This is Purcell’s gavotte for these ethereal creatures, salute to Matthew Locke, who in followed by the charmingly bumptious his music for The Tempest created a “Dance of the Haymakers,” with similar double-canon piece. trumpets and drums stressing the rustics’ stumbling gait. Even clumsier Despite an interlude of anguish is the following “Monkeys’ Dance” in “The Plaint,” Act V is a scene of from Act V, with its grotesquely low triumphant love as the three pairs bass part accompanying clownish of lovers, freed from their nocturnal gymnastic feats from the dancers. struggles, are wed at the close To balance the emphasis on of Shakespeare’s comedy — and courtly elegance in these masques, simultaneously a salute to William and

Summer 2021 Mary’s wedding anniversary. theme is poised against fascinating It contains one of Purcell’s most episodes of softer viol music and brilliant arias, “Hark! The Echoing epitomizes the musical splendor that Air,” with the soprano’s exuberant Henry Purcell could summon for his coloratura mimicking the fanfares of enraptured audiences. a trumpet. The gorgeous Chaconne for dancing couples that closes The – Janet E. Bedell Fairy Queen mirrors the Chaconne from King Arthur that opened this program’s second half. Its regal main

APOLLO’S FIRE

Sunday, August 1 / 3:00pm / Venetian Theater Tickets start at $40

Apollo’s Fire, Cleveland’s Baroque Orchestra, and Jeannette Sorrell return with a program of Venetian treats, including fiery concertos by Vivaldi, as well as gorgeous songs by Monteverdi. Vivaldi’s stormy “Summer Concerto” from The Four Seasons sets sparks flying. Barbara Strozzi’s haunting lament “Che si può fare” (“What can you do?”) sheds light on the feminist soul of the 17th century.

TICKETS / caramoor.org / 914.232.1252

Caramoor About the Artists. Early in his tenure with AAM, Egarr established the Choir of the AAM; operas and particularly Handel’s oratorios lie at the heart of his repertoire. He made his Glyndebourne debut in 2007 conducting a staged version of St Matthew Passion. With AAM at the Barbican, he has conducted Monteverdi and Purcell cycles, La Finta Giardiniera and (in 2019) Nozze di Figaro – the latter also at the Richard Egarr, conductor Grange Festival.

Richard Egarr brings a joyful sense He regularly gives solo harpsichord of adventure and a keen, enquiring recitals at the Wigmore Hall and mind to all his music-making, Carnegie Hall, and his extensive whether conducting, directing from discography on Harmonia Mundi the keyboard, giving recitals, playing includes solo keyboard works by chamber-music, and indeed talking Bach, Handel, Mozart, and Couperin, about music at every opportunity. and latterly discs for Linn Records Music Director of the Academy of of Byrd and Sweelinck. His long list Ancient Music (AAM), Principal of recordings with the Academy Guest of the Residentie Orkest in of Ancient Music includes seven The Hague, and Artistic Partner of Handel discs (which have won a the Saint Paul Chamber Orchestra, 2017 Gramophone Award, a 2009 Egarr begins as Music Director of the MIDEM Award, as well as an Edison Philharmonia Baroque Orchestra Award), and J.S. Bach’s St. John and and Chorale in the 2020-21 season, St. Matthew Passions. In 2019 AAM finishing with AAM in Summer 2021 Records released a new edition under after 15 years at the helm. He was Egarr’s supervision of Handel’s Associate Artist with the Scottish rarely performed Brockes Passion, to Chamber 2011–17, and has conducted widespread praise. many symphony orchestras such as the London Symphony, Royal Egarr trained as a choirboy at York Concertgebouw, and Philadelphia Minster, at Chetham’s School of Orchestra. This season Egarr Music in Manchester, and as organ conducts repertoire ranging from scholar at Clare College Cambridge. Bach through Mozart, Dussek, He taught for many years at the Beethoven, and Brahms to Rossini Amsterdam Conservatoire and is and Elgar, guesting with orchestras currently Visiting Professor at the such as the St. Louis Symphony, Juilliard School. Luxembourg Philharmonic, and City of Birmingham Symphony.

Summer 2021 Other recent highlights include performances with the Rotterdam Philharmonic, the Royal Liverpool Philharmonic Orchestra, Freiburg Baroque, Gabrieli Consort, La Nuova Musica, Polyphony, Royal Scottish National Orchestra, Early Opera Company, and the Bournemouth Symphony Orchestra. Visits to the U.S. in 2019 included appearances at Lincoln Center, and the Rowan Pierce, soprano Kennedy Center.

Yorkshire born soprano Rowan Pierce On the opera stage, Pierce has was awarded the President’s Award by performed Drusilla in Monteverdi’s HRH Prince of Wales at the Royal L’incoronazione di Poppea, Susanna College of Music in 2017. She won in Mozart’s The Marriage of Figaro, both the Song Prize and First Prize Miss Wordsworth in Britten’s Albert at the inaugural Grange Festival Herring, and Princess in Ravel’s International Singing Competition L'enfant et les sortilèges, among in 2017, the first Schubert Society many other major roles. In 2019 Singer Prize in 2014, and the Van Pierce made her debut at the Buxton Someren Godfery Prize at the Royal Festival in the role of Papiria in Lucio Conservatory of Music. She was a Papirio Dittatore by Caldara with Britten Pears young artist, a Rising La Serenissima; she also performed Star of the Orchestra of the Age of the roles of Quivera and Orazia in Enlightenment, and a Harewood Artist The Indian Queen with Opéra de Lille at English National Opera. under Emmanuelle Haïm. Also in 2019, she appeared in the Edinburgh Pierce has appeared in concert International Festival with the English throughout Europe and South Concert as Amore in Gluck’s Orfeo. America. She performs regularly with ensembles including the Academy of Her future engagements include Ancient Music, Gabrieli Consort, performances with the Gabrieli Scottish Chamber Orchestra, BBC Consort, Herrenhausen Barock, Scottish Symphony Orchestra, City of Ensemble Alia Mens in France as Birmingham Symphony Orchestra, well as concerts with Philharmonia Orchestra of the Age of Baroque, further performances of the Enlightenment, and Royal Indian Queen with Emmanuelle Haïm Northern Sinfonia. for the Théâtre de Caen, Antwerp Opera and the Opéra de Luxembourg, Pierce made her BBC Proms debut at and her Glyndebourne debut the Royal Albert Hall in 2017 with the performing Oberto in Alcina. OAE and returned in 2019 for Handel Jephtha with the Scottish Chamber Although Pierce has been much Orchestra. She made her Wigmore acclaimed for her interpretation of Hall debut with the London Handel Baroque and Early Music, she has also Players and returned with Florilegium been applauded for her performances in the 2019–20 season. of a wider repertoire including English

Caramoor song and Lieder by composers such as Mahler, Richard Strauss, Vaughan Williams, and Britten. She has also premiered works by composers including Iain Bell, Julian Philps, and Alex Woolf.

Her discography includes Purcell’s The Cares of Lovers with Richard Egarr and William Carter (Linn Records), 2019 BBC Music Magazine Opera Award winner Acis and Galatea with the Early Opera Company / Christian Curnyn (Chandos), An English Coronation and King Arthur (BBC Music Magazine Opera Award nominee 2020) with the Gabrieli Consort / McCreesh (Signum), Vaughan Williams Symphony No. 7 ‘Antartica’ with the RLPO / Manze (Onyx). Future plans include a disc of Schubert songs with Roderick Williams and Christopher Glynn.

Summer 2021 Nussbaum Cohen, violoncellist Steven Isserlis, and maestros Jonathan Cohen and Jeannette Sorrell. PBO enjoys longstanding artistic collaborations with The Juilliard School, the Mark Morris Dance Group, and the American Modern Opera Company (AMOC), and appears regularly at Disney Hall, Lincoln Center, Norfolk Chamber Festival, and Tanglewood. In collaboration with Cal Performances Philharmonia Baroque Orchestra in 2017, PBO produced a fully-staged & Chorale period opera, Rameau’s Le Temple de la Gloire, and produced a fully-staged, Under the musical direction of reimagined production of Handel’s Richard Egarr in his second season Aci, Galatea e Polifemo directed by as Music Director, Philharmonia Christopher Alden and featuring Baroque Orchestra & Chorale (PBO) countertenor Anthony Roth Costanzo, is recognized as “America’s leading bass-baritone Davóne Tines, and historically informed ensemble” soprano Lauren Snouffer in eight (The New York Times). Considered sold-out performances in January the most versatile ensemble of its 2020. Aci was named Best Operatic kind, and performing on period Performance in the Bay Area by San instruments, PBO presents repertoire Francisco Classical Voice in 2020. PBO ranging from early Baroque to late also co-produced Aci with National Romantic, as well as new works and Sawdust in Brooklyn, Cath Brittan, major operatic productions. The and Anthony Roth Costanzo in 2017. ensemble engages audiences through its signature Bay Area series, national Among the most recorded orchestras and international tours, recordings, in the world, PBO boasts a discography commissions, and education of nearly 50 recordings, including programs. Having celebrated its a coveted archival performance 40th anniversary last year, PBO was of mezzo-soprano Lorraine Hunt founded by Laurette Goldberg and led Lieberson in Berlioz’s Les Nuits by Music Director Laureate Nicholas D’été, and a Grammy-nominated McGegan for the past 35 years. recording of Haydn symphonies. The Philharmonia is the largest ensemble orchestra released the world premiere of its kind in the United States. recording of the original version of Rameau’s Le Temple de la Gloire with PBO’s musicians are leaders in the unedited libretto by Voltaire in historical performance and serve on 2018. In 2020, PBO released three the faculties of The Juilliard School, groundbreaking recordings: a full San Francisco Conservatory of Music, collection of commissioned works Harvard, and Stanford. It welcomes by Pulitzer Prize winner Caroline eminent guest artists including Shaw, a selection of arias sung by mezzo-sopranos Susan Graham and rising star contralto Avery Amereau, Anne Sofie von Otter, countertenors and Handel’s Saul with countertenor Anthony Roth Costanzo and Aryeh Aryeh Nussbaum Cohen.

Caramoor Philharmonia Baroque was the first The Players And Their orchestra in the San Francisco Bay Instruments Area to commission Caroline Shaw. Shaw wrote four works for Anne Sofie Philharmonia’s musicians von Otter and the orchestra, including perform on historically accurate a major choral work. The first work instruments. Below each player’s premiered at LA’s Disney Hall; the last name is information about his or her at Lincoln Center. instrument’s maker and origin.

The award-winning Philharmonia VIOLIN Chorale is critically acclaimed for its brilliant sound, robust energy, and Carla Moore, concertmaster sensitive delivery of the text. Formed Johann Georg Thir, Vienna, Austria, in 1995, the Chorale provides a vocal 1754 complement whose fluency in the Egon & Joan von Kaschnitz stylistic language of the baroque Concertmaster Chair period matched that of Philharmonia Baroque Orchestra. Founded by John Jolianne von Einem † Butt, a baroque keyboardist and one Rowland Ross, Guildford, England, of the world’s leading Bach scholars, 1979; after A. Stradivari the Chorale was led by Lamott from 1997 to 2020. In 2019, Handel’s Saul Lisa Grodin was named Best of the Bay’s “Best Paulo Antonio Testore, Contrada, Choral Performance” by San Francisco Larga di Milano, Italy, 1736 Classical Voice. Toma Iliev Philharmonia is the only major Anonymous, Germany, 18th century orchestra in the United States with a permanent initiative dedicated to Katherine Kyme exploring the relationship between Carlo Antonio Testore, Milan, Italy, Jews and music from the 17th to the 21st 1720 centuries. The organization launched one of the most successful alternative Tyler Lewis concert series in the country, Anonymous, Italy, c. 1800 SESSIONS, in 2015 with fully sold out performances, and launched In the Anthony Martin Office in 2019 in partnership with the Thomas Oliver Croen, Walnut Creek, advertising agency Goodby, Silverstein California, 2005; after F. Gobetti, & Partners. Venice, Italy, 1717

During the pandemic, the organization Maxine Nemerovski has presented more than 100 virtual David Tecchler, Rome, Italy, 1733 programs, including the popular Live from Amsterdam with Music Director Noah Strick Richard Egarr, and What’s New and Celia Bridges, Cologne, Germany, HIP with Tarik O’Regan and Richard 1988 Egarr, focused on notions surrounding new music.

Summer 2021 VIOLA

Jessica Troy * Timothy Johnson, Hewitt, Texas, 2006; after Andrea Guarneri, Cremona, Italy c. 1676

Maria Ionia Caswell Anonymous, Mittenwald, Germany, c. 1800

Ellie Nishi Anonymous, Germany, 18th Century

VIOLONCELLO

William Skeen bc Anonymous, Northern Italy, ca. 1680

Phoebe Carrai Anonymous, Italy, c. 1690 Osher Cello Chair Endowment

DOUBLE BASS

Kristin Zoernig bc Joseph Wrent, Rotterdam, Holland, 1648

THEORBO

Adam Cockerham bc Klaus Jacobsen, London/Turin, 2017; after Sellas

HARPSICHORD

Richard Egarr bc 1993 Way Franco Flemish Double provided by Baroque Keyboards

* Principal † Principal 2nd Violin bc Continuo

Caramoor Highlights of Our Recent Special Events.

An Evening of Wine performance on Pavilion Plaza.

aramoor’s special events play a vital role in raising funds for our core programming and are a great opportunity to thank our donors who help Cfoster 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 Laura Osnes serenaded audiences in their Tony Yazbeck celebrated Gershwin in a homes with a favorite Gershwin song livestream from the Music Room. during our livestream Cabaret.

Caramoor / 20 Keeley Peckham & Mykola Ianchenko and Amy Parsons and Paul Bird in their Hillary Peckham & Maren Hall-Wieckert finest hint of hippie attire. enjoying cocktails at the Wine Dinner.

Bob Wyckoff receives the first pour of Grooving the night away. the champagne.

SAVE THE DATES!

October 23, 2021 Cabaret in the Music Room Jim Attwood and Leslie Williams with their guests at the WIne Dinner.

December 4, 2021 Benefit Dinner in the Rosen House

[email protected] / 914.232.1492

Pat and Ian Cook perusing items at the auction table.

Caramoor / 21 Your generosity helps to keep the music playing at Caramoor!

Become a Member and support Music Performance, Education, and Mentoring at Caramoor. In return for making a charitable contribution, Membership level donors ($100 and above) receive a collection of “thank you” perks— including access to the best seats first during our Members’ pre-sales. Support our music community and elevate your Caramoor experience all year long. caramoor.org/support

Caramoor / 22 Leave a Legacy.

aramoor Center for Music and joining with the Rosens in growing and the Arts was established your legacy. You can help ensure a by Walter and Lucie Rosen bright future for Caramoor. to operate their estate in Generosity comes in many forms, Cperpetuity as a home for art, music, and and it is often the best way for you to inspiration. The Rosens were touched support causes that matter the most by the pleasure their friends took while to you. When you give to Caramoor, visiting Caramoor, and they decided to you help us to make a difference. One leave their home as a legacy for all to long-term way is to Leave a Gift in enjoy. It is thanks to the vision, energy, Your Will. If this is appealing, please and estate planning of this inspirational contact us for suggested language couple that we enjoy Caramoor today. to review with your attorney and/or The Rosens had the forethought to financial planners. When you have make plans for Caramoor’s future, and made these arrangements, please let we hope you will think of Caramoor us know you have done so. We will be when considering your future. We happy to welcome you to our Encore would be so honored if you would Society with other like-minded consider adding us to your estate plans 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, atnina@ caramoor.org or call 914.232.3681.

Caramoor / 23 Cecilia Tay Kellie-Smith & Sam Kellie-Smith Caramoor/Support. National Endowment for the Arts Sarah & Howard Solomon Caramoor is appreciative of all donors Nina & Michael Stanton and their support of our mission to create Audrey & Richard Zinman inspiring artistic experiences. Space limitations do not allow us to publicly $25,000 to $49,999 acknowledge the many individuals and Aundrea & James Amine organizations who have made gifts in the Anonymous (1) past year; however, we are grateful to all ArtsWestchester contributors as every dollar contributed Mr. & Mrs. Jonathan M. Clark positively impacts Caramoor. Jane & William Donaldson Angela & William Haines / We have made every effort to ensure the The Haines Family Foundation accuracy of this listing. If you think you The Marc Haas Foundation have found an inaccuracy, please accept our The Maximilian E. & apology and alert us by calling 914.232.5035 Marion O. Hoffman Foundation ext. 409. Tracy & Stephen Limpe New York State Council on the Arts The following is a list of individuals, Nancy & Morris W. Offit households, and organizations who The Ohnell Family Foundation donated to the Annual Fund (general Phyllis & David Oxman contributions) during the period Amy Parsons & Paul Bird January 1, 2020 through December 31, Amy & John Peckham / 2020. Dollar-level listings reflect Peckham Family Foundation cumulative gifts to the Annual Fund Mr. & Mrs. Andrew Saul (general contributions) totaling $250+ Ms. Lucille Werlinich during that 12-month period. Special Mr. & Mrs. Ian Winchester Events ticket-buyers are included in Judi Wolf & Alden L. Toevs this list, as are the individuals who may have donated their tickets back to $10,000 to $24,999 Caramoor in exchange for a charitable Andree Wildenstein Dormeuil & contribution. Please note that Special Roger Dormeuil Foundation Events ticket purchases or contributions Adela & Lawrence Elow do not count towards Membership but Charles A. Frueauff Foundation are reflected in these cumulative totals. Maggie Grise & Adam Silver Olga & Michael Kagan $100,000+ Sylvia & Leonard Marx, Jr. Nancy & Jon Bauer Tracy & Ted McCourtney Pat & Ian Cook Susan & Robert Morgenthau Mr. & Mrs. Anthony B. Evnin Mr. Raj K. Nooyi & Ms. Indra K. Nooyi Susan§ & Peter Gottsegen Susan & Richard O’Leary Katherine & Peter Kend Yvonne Pollack, Pollack Family Foundation Leslie Williams & Jim Attwood Faith Rosenfeld & Jaime Castro Elaine & Larry Rothenberg $50,000 to $99,999 Mr. Stephen Ucko Mimi & Barry J. Alperin Elaine & Alan G. Weiler Laureen & David Barber Lisa & Paul Welch Gail A. Binderman - The Norman E. Alexander Family G Foundation, Inc. $5,000 to $9,999 Sandra & William Cordiano Nancy Adelson & Lewis R. Clayton Jackie Dzaluk & Francis Goldwyn Anonymous (1) Mr. & Mrs. John H. Freund Judy & Gordon Aydelott Mrs. Robert D. Hodes Janet Benton & David Schunter Mr. & Mrs. David S. Joys Bloomberg L.P. Corporate Giving Program Floy & Amos Kaminski

Caramoor / 24 Patricia Butter & Ted Sabety Mr. David C. Hochberg Mr. & Mrs. Woodson Duncan Anda & John Hutchins Nancy & Edmund Dunst Alexia & Jerry Jurschak Edmée & Nicholas Firth Mr. & Mrs. W. Wallace McDowell Penny & Ray Foote The New York Community Trust Mr. & Mrs. William G. Foulke The Pasculano Foundation Fribourg Family The Perlmutter Family Foundation Ms. Joan S. Gilbert Mary Prehn & John Scacchia Virginia Gold Sheila & David Reichman Isabelle Harnoncourt Feigen Christie C. Salomon Mrs. Betty Himmel Mr. & Mrs. Norman Slonaker Dr. & Mrs. Henry Kaufman Deborah F. Stiles Georgia & David Keidan Mr. & Mrs. James E. Thomas Mr. § & Mrs. Donald M. Kendall The Watt Family Foundation Stanley Kogelman & Lucy Huang Kate & Seymour Weingarten Drs. Melissa & Lewis Kohl Mr. & Mrs. Herbert S. Winokur / Mrs. Barbara Kushnick The Winokur Family Foundation, Inc. Nita & Stephen Lowey Judy Francis Zankel Mr. & Mrs. Lester S. Morse, Jr. Diane & Robert Moss $1,500 to $2,499 New Music USA Karen Adler & Laurence Greenwald Rebecca Patterson & Robert Frank Anonymous (2) Christine E. Petschek Mr. G. Thomas Aydelotte Laura & Edward Pla Gini & Randy Barbato Varner & John Redmon Wendy Belzberg & Strauss Zelnick Mr. & Mrs. Frank E. Richardson Mr. & Mrs. Jeff Bijur Mr. Lawrence Rogow Mr. & Mrs. Thomas A. Cohn Susan & Elihu Rose Mr. & Mrs. James K. Coleman Rebecca & Arthur§ Samberg Margaret Downs & Henry Zachary Sara Lee & Axel Schupf Rebecca & Marty Eisenberg Sara & Joshua Slocum Nancy Eppler-Wolff & John Wolff Westchester Community Foundation Rosa & Robert Gellert Alicia & Bob Wyckoff Barbara & E. Robert Goodkind Carmela & Paul Haklisch $2,500 to $4,999 Maureen Hanagan & Victor Marrow§ Photo Anagnostopoulos & Jim Stynes Angela & Richard Kessel Anonymous (3) Eduard & Rayanne Kleiner Foundation Ms. Christina Briccetti Mrs. Patricia D. Klingenstein Susan & David Brownwood Laura & Lewis Kruger Anne & Joe Citrin Mrs. Edith Kubicek Alexandra H. Coburn & Nancy Maruyama & Chuck Cahn Christopher Schroeder Nicole & Gerard Mayer Mr. & Mrs. James B. Cowperthwait Mr. Bruce Mekul Mr. & Mrs. Michael Danziger Ms. Linda Merrill & Dr. William B. Nolan Mr. Thomas A. Dieterich Ms. Petra Mohrer Ms. Kathryn E. Dysart & Vivian & David Moreinis Mr. Jeffrey L. Schwartz Melissa H. Mulrooney Mr. & Mrs. Robert H. Eder Dr. Richard Fischer Olson Melissa Eisenstat & Jonathan Blau Carol & Steven Parker Kelly & Matthew Fairweather The Perakis Family Naomi & Joel Freedman Margaret & Dan Petri Ashley Garrett & Alan Jones Mrs. Sascha M. Rockefeller Mary & Michael Gellert Vicki Roosevelt & Rob Jorgensen Laureine and David Greenbaum Ms. Elizabeth A. Sarnoff & Mr. Andrew S. Cohen Family Foundation Manita & Scoci§ Scocimara

Caramoor / 25 Sylvia Smolensky Mrs. Judith T. Hunt Betty & Frank Stern Ms. Deborah Innes Mr. & Mrs. Thomas W. Strauss Rory & David Jones Mr. & Mrs. William R. Ziegler Mr. & Mrs. Edward W. Kelly JoAnne Kennedy & Bill Bowers $500 to $1,499 Mr. & Mrs. Arthur Klausner Marie Pantuosco Alpert Ms. Lisa Kolba / JMC LLC Anonymous (9) Mrs. Birgit Kovacs Adrienne & Bernard Ascher Dr. Lois F. Kral Dr. Lisa R. Barr Joann Lang Mr. & Mrs. John D. Barrett II Dr. Morton Linder Sally & David Beckett Mr. & Mrs. Robert D. Long Froma & Andrew Benerofe Dr. Darrell Lund Mr. & Mrs. Roger S. Berlind Barbara & J. Robert Mann, Jr. Nadia & Robert Bernstein Ms. Beth Ann Manners Helena & Peter Bienstock Harriet Mazer Laura Blau & Michael Citro Ms. Deborah McCarthy Allison M. Blinken Dr. Jennifer McQuaid & Dr. Jorge Pedraza Margot & Jerry Bogert Janis & Alan Menken Charity Fund Ms. Christine Bosco Miriam Messing & John Curtin Ms. Susan Brenner & Mr. Teed Welch Ms. Betsy Mitchell Grace & Vincent Briccetti Mr. Ben Nathanson Sonia & Miguel Calderon Hannah & Frank Neubauer Mr. & Mrs. Matthew Carpenter Mina & Lawrence Nokes Ms. Leslie Cecil & Mr. Creighton Michael Ms. Anita M. Nordal & Mr. Kevin J. Conroy Nina & Tom Curley Mary Lou & Mike Pappas Catherine & George Daubek Michelle & Clark Petschek Roberta & Steven Denning Betty & Carl Pforzheimer Ms. Victoria de Toledo & Mr. Stewart Casper Libbie & David Poppick Mr. Kevin Durkin Charmaine & Brian Portis Mrs. Anita M. Dye Virginia & Jonathan Powers Julie & Todd Eagle Lolly H. Prince Pamela & Ray Endreny Brenda & Gerry Prothro Olivia & John Farr Kathy L. & Marc F. Pucci Jeanne Donovan Fisher Vivian Pyle & Tony Anemone Mrs. Virginia M. Flood Vicki & Charles Raeburn Karen & Gerry Fox Dr. Monique Regard & Rick Duffy Nina Freedman & Michael Rosenbaum Ms. Denise A. Rempe & Mr. Mark L. Wilson Mr. & Mrs. Joseph C. Gallo Angela & Gary Retelny Marguerite & Peter Gelfman Mr. Jason Rockland Sandriel & Kevin Gentzel Ms. Ellen Sargent & Dr. Stephen Nicholas Ms. Marilyn Glass Merryl Schechtman, M.D. Carol & Ward Glassmeyer Kathy Schuman Kate & Martin Glynn Jill Schwab & Peter Albert Dr. & Mrs. Lawrence Goettisheim Jill & Robert Serling Carol & Jesse Goldberg Mrs. Joan M. Sharp Mr. & Mrs. Alfred H. Green Madeline & George Shepherd Ellen & Robert Grimes Ms. Eve Silver Jennifer & Bud Gruenberg Dr. Richard Slutsky Mr. & Mrs. Peter O. Hanson Vivian Song & Ricardo Pou Peggy & Ed Harding Mr. & Mrs. Louis S. Sorell Ms. Callistheni S. Hayes Beth & Jason Spector Ms. Ursula Heinrich Traci & Joseph Stark Mrs. Gisela R. Hobman Catherine & Keith Stevenson Ms. Karen K. Hoyt-Stewart & Stephanie Stiefel & Robert S. Cohen Mr. William J. Stewart

Caramoor / 26 Dr. & Mrs. Paul Striker Ms. Patricia Johansmeyer Sybil & Adam Strum Mr. David Johnson Ms. Marcy Syms Mr. & Mrs. Frederick Jones Melissa Vail & Norman Selby Ms. Kathryn Jones Mr. & Mrs. Polyvios Vintiadis Connie & Jack Kamerman Mrs. John L. Weinberg Ms. Joanna Kang Margot & Gary Weinstein Renée & Daniel Kaplan Roanne & Charles C. Wilcox Beth Kaufman & Charles Updike Ms. Ellen King $250 to $499 Mr. & Mrs. Robert W. Knorr Ms. Nancy Albertson Alison M. Koppelman Anonymous (11) Sandra & Eric Krasnoff Nancy & Jim Barton Esme & Paul Laubscher Ms. Emily Bestler Mr. Bruce Levy Mrs. Debbie Buffum Ms. Carolyn Liebling Cammie & John Cannella Robin Liebowitz & Philippe Sandmeier Ms. Theresa Carroll Angelina & Monte Lipman Ms. Beatrice Chastka Ms. Anne R. Lowy & Mr. Thomas R. Glum Nancy & Edward Clifford Laura & Gary Lynch Mr. & Mrs. Daniel H. Cohen Mrs. Deanna B. MacLean Mr. Alan G. Cole Mr. Robert Magni Ms. Susan Courtney-Sinha Mrs. Francesca Maltese & Dr. Sandy Blount Barbara & Christopher Dee Dr. Pamela Marron Mr. & Mrs. Gary Dienst Mr. & Mrs. Paul J. Mas Mr. & Mrs. John Doran Virginia & Joe Maybank Ms. Elizabeth Einstein & Mr. Chris Cormier Mary & Paul McConville Audrey & Jeffrey Elliott Ms. Christina McGann Mr. Mark Epstein Mr. & Mrs. Douglas M. McGraime Ms. Fleur Eshghi & Mr. Nathan C. Dickmeyer Anne & Victor Modugno Mrs. Arlene Fischer Mr. & Mrs. Jeffrey Moriber Susan H. Fisher Abigail & Sundip Murthy Mr. Mark Franzoso Margot & James Mustich Nancy & Donald Fried-Tanzer Leslie & Mitchell Nelson Mr. Bruce D. Garrison Mr. Erik Nicolaysen Cathy & Tom Giegerich Ms. Patricia O’Connor Ms. Vicki Gillespie The O’Keefe Family Susan & Galen Gisler Ruth & Harold Ossher Mrs. Jeanne Gnuse Linda & Glenn Ostrander Enid & Marv Goldsmith Anna & Frederick Ostrofsky Helen & Bill Gore Lorie Paulson & Maurice Krasnow The Goyal Family Anita & Neal Pilzer Ms. Jane Gross Dr. & Mrs. Donald J. Pinals Mr. George B. Hardman Dr. & Mrs. Joseph Plummer Nicole & Larry Heath Andrea & Andy Potash Judy & Flemming Heilmann Betty Robbins & Moses Silverman Ms. Eileen Herbert Elissa & Brian Robinson Mr. Peter Herbert Virginia & Michael Robinson Anne Hess & Craig Kaplan Patty & Tom Roesch Libby & Tom Hollahan Suzanne & Victor Rosenzweig Mr. Paul H. Hondorf Mr. & Mrs. Ray Scanlan Ms. Christina M. Horzepa & Mr. Gary Dearborn Mr. Jonathan Schaffzin Gail & Mark Imowitz Roberta & Arthur§ Schmidt Patricia & Robert Ivry Mr. Eric Schwartz Ms. Diane P. Jane Ms. Betsy Seeley Mr. & Mrs. Erik P. Jensen Susan & William Shine

Caramoor / 27 Amy Siebert & Markel Elortegui Gifts of Membership. Ms. Janet Sikirica The following is a list of individuals, families, Ms. Nancy K. Simpkins and/or households who received the Sabina & Walter Slavin Gift of Membership during the period Lynn & Eric Sobel January 1, 2020 through December 31, 2020 and Ms. Alison Stabile thus may not be included in the previous list. Mr. Arthur H. Stampleman Maureen & Charles Steele Dana & Robert Bos Katie & James Stewart Ms. Francheska Calderon Ms. Margaret Swinger Kayce & John Carey Ms. Merry Thornton & Mr. Brian V. Murphy David Ellis & Ann Greenawalt Ms. Linda Thung-Ryan Ms. Christie Fitzpatrick Antoinette & Carl Van Demark Carolyn & David Goodman Mr. Jacobus Van Heerden Ms. Cynthia Haupt Jane & James D. Waugh Mrs. Cynthia Herbert Ms. Roberta Weiner & Mr. Ronald Arron Jennifer & Julio Herrera Maureen Whelan & John Bast Debbie & Manny Hochadel Ms. Laurice H. Whitfield Mr. Timothy Horan Victoria Wooters & Matthew Mattoon Ms. Mary Judge Seung & Yi Yoo Katherine & Albert Kim Susan & Marks Lachs § deceased Mr. Jonathan Larsen Daniella Mini & Cesar Rabellino Thank you again for your generosity. 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 [email protected] or call 914.232.5035 ext. 412.

All concerts made possible, in part, The 2021 Summer and 2021 Fall Seasons All concerts made possible by by ArtsWestchester with funds from were supported in part by an award from the New York State Council on the Arts the Westchester County Government. the National Endowment for the Arts. with the support of Governor Andrew M. Cuomo and the New York State Legislature.

Caramoor / 28 Honor / Memory. Those of our Caramoor Community From January 1, 2020 through December 31, lost to Covid19 2020, generous contributions to Caramoor were Martha Dinerstein made in honor of the following individuals, Lauren Finster organizations, programs, or Caramoor Susan (Sue) McPherson Gottsegen departments, or to note special celebrations or Robert D. Hodes causes, and/or in memory of special individuals Peter Kubicek by his family or couples: Joan Lynton Victor Marrow In Honor of Grace Helen McCabe Anonymous Eva Petschek Newman Estelle F. Baum Terrance W. Schwab Lucienne & Max Bissainthe John Eugene Sharp Michael Brown Elie Siegmeister Caramoor’s amazing staff Marion & Herbert Sineck Caramoor Staff Caramoor’s Staff, with admiration In-Kind Donations. Jonathan Clark Caramoor gratefully acknowledges the following Sandy & Bill Cordiano individuals and organizations that made in-kind Tahra Delfin contributions (gifts other than cash or stock) Judy Evnin from January 1, 2019 through December 31, Judy & Tony Evnin 2020. Certain gifts of products or services that Susan W. (Susie) Freund can be used by Caramoor enable us to further Josh Groban our mission of presenting exciting concerts, Jeff Haydon mentoring young musicians, and providing arts Gerry Hodes education to school children. The Kend Family Kate & Peter Kend’s 30th Anniversary Aundrea & James Amine Peter Kend Anonymous (2) Felix Kleinman Nancy & Jon Bauer Siena Licht Miller Mr. Albert Carbonell Stephen Limpe Mrs. Marcy Carlson In thanks for the Livestream Pat & Ian Cook [Our] Grandfather Adolph Loewi Mr. & Mrs. William Cordiano Zoë Martin-Doike Nina & Tom Curley Susan & Richard O’Leary Ms. Kathryn E. Dysart & Phyllis & David Oxman Mr. Jeffrey L. Schwartz C. Pace & R. Pace Mr. Tom Eirman Dan Rader Mr. & Mrs. Anthony B. Evnin Tina Salierno Ms. Jane Gladstone Olivia Schectman Great Performances Laura Schiller Mr. & Mrs. Matthew Greif Mildred Skolnick Cecilia Tay Kellie-Smith & Sam Kellie-Smith The Unicorns! Katherine & Peter Kend Leslie Williams & James Attwood Katherine & Marc Lazar Tracy & Stephen Limpe In Memory of Betsy Mitchell William T. Appling Orchestra of St. Luke’s Helen-Mae Askin Mary Lou & Mike Pappas Hilton Bailey Pepsi-Cola Bottling Company of New York Elaine Barath Kathy Schuman Steven Bloom Storm King Art Center Emanuela Briccetti Mr. Gary Taratunio Dr. Solomon & Edith Brizer Leslie Williams & Jim Attwood by their daughter Diane Brizer WineBid Audrey & Richard Zinman

Caramoor / 29 Matching Gifts. Encore Society (Planned Giving). Caramoor gratefully recognizes the support The Encore Society recognizes dedicated of the many companies and foundations that individuals and couples who have indicated make matching gifts. Employees can maximize their intent to include Caramoor in their estate their contributions to Caramoor by taking planning. Planned giving is a wonderful to advantage of their employer’s matching gift establish a legacy at Caramoor and make a programs. The following organizations made lasting impact on the organization. matching contributions from January 1, 2019 through December 31, 2020. Caramoor thanks the following thoughtful individuals who have designated Caramoor AmazonSmile Foundation Center for Music and the Arts in their Bank of America estate plans. Bank of America Charitable Gift Fund The Benevity Community Impact Fund Anonymous The Blackbaud Giving Fund An Anonymous Couple § Bloomberg L.P. Corporate Giving Program An Anonymous Couple (2) Broadridge Laura B. Blau Credit Suisse Americas Foundation Catherine A. M. Cavanaugh Debevoise & Plimpton LLP Catherine & George Daubek Fidelity Charitable Gift Fund Mr. Robert C. Dinerstein GE Foundation Ralph P. & Barbara J. DuPont Goldman Sachs Gives Judy & Tony Evnin Goldman, Sachs & Co. Annette & Len§ Gilman Greenlight Capital Dr. Susan Harris & Mr. Thomas Molnar§ IBM Corporation Matching Grants Program Mrs. Betty Himmel J.P. Morgan Charitable Giving Fund Olga Kagan JPMorgan Chase’s Good Works Employee Ms. Deborah A. Kempe & Mr. Andre M. Hurni Giving Program Nancy S. Offit Morgan Stanley GIFT Susan & Richard O’Leary Network for Good Marie C. Rolla§ Pfizer Foundation Eileen Caulfield Schwab Sy Syms Foundation Ilse L. Schweizer§ Vanguard Charitable Lucille Werlinich YourCause, LLC Leslie Williams & Jim Attwood

§ deceased

If you would like more information about planned giving at Caramoor, or to notify us of your intention to include Caramoor in your estate planning, please contact Nina Curley, VP/Development Officer, at nina@caramoor. org or 914.232.3681. Additional information may be found at: plannedgiving.caramoor.org

Caramoor / 30 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 [email protected] or 914.232.3681.

Caramoor / 31 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 Mary Farley Oliver Lednicer Judy Rath Andrea Becker Grethe Griffin Matthew Mattoon Clifford Ray Marie Bosch Randy Hans Sylvia Mills Elizabeth Ross Miriam Messing Lois Intravio Anne Modugno Judy Rubin Curtin Barbara Jacobi Esther Natter Dale Schlein Tess Dennis Antoinette Kish Eleanor Raheem Jackie Silkowitz Joyce Dupee Heidrun Kreuziger Jehan Raheem Lanette Spalding

We wish to thank all of the wonderful volunteers who have offered their time to Caramoor.

Mickey Amdur Donald Fried-Tanzer Charlotte Lang Marion Rosley David Amerling Nancy Fried-Tanzer Frances Lang Elizabeth Ross Galina Bakhtiarova Thea Fry Genevieve Larkin Bert Rothman Jane Banza Suchitra Ganesh Scott Lichtman Ellen Saltzman Patricia Bartlett Sheila Garelik Tamra Lichtman Susan Sarch Andrea Becker Zane Garfein Wendy Loveless Alfreda Savarese Virginia Bender Michele Garrison Anne Macrae Joan Schildwachter Judith Benjamin Roger Garrison William Macrae Robert Schloss Gail Blumenfeld Anneliese Gastrich Lois Mallin Stephanie Schwartz Nucene Blumenthal Paul Gherson Meryl Marcus Rosalyn Segner Gretchen Bock Patricia Giacalone Elaine Markfield Anna Sheridan Arlyne Boxenhorn Kate Glynn Matthew Mattoon David Shields Lynne Brennan Marie Goldberg Andrea Maurizio Karin Shields Diane Brizer Laurence Goodwin Ann McIntyre Marilyn Short Florence Brodley Susan Gould Eve Mencher Susan Siegel Vicci Buchman Allen Gutkin Susan Miles Jacqueline Silkowitz Carolyn Chiarieri Marianne Haggerty Jane Miller Brenda Snyder Carol Christian Carol Harrigan Marc Miller Carol Sofia Deborah Cohen Nancy Harrison Marjorie Miller Judith Spar Kathleen Cook Ursula Heinrich Richard Mills Martin Spar Dorothy Cooper Elaine Hennessey Jennifer Millman Joetta Stanley Marion Coughlin Mindy Hermann-Zaidins Andrea Minoff John Stanley Tom Curley Elfi Herrmann Stella Mitchell Peter Steiner Elaine Desimone Patricia Higgins Barbara Mitchell Marianne Sternkopf Walter Dietrich Audrey Hoffnung Andrea Moffett Lisa Tabs Frances DiMase Lois Intravio John Morris Mark Tabs Dorothy Dinhofer Bhavani Iyer Loretta Neuhaus Lindley Thomasset Jane Dorian Patricia January Elinor Parsont Marilyn Tinter Judy Edison Marjie Kern Amy Passman Bernard Tolpin Sally Factor Veronica Kimball Lewis Levi Pearson Diane Tully Gennaro Grace Falco Harriette Kindle Rhoda Perkis Stephen Ucko Barbara Feibelmann Shirley Kipnis Jeff Platt Cigdem Usekes Lois Fermann Charlie Koenig Lynn Platt Rosemary Uzzo Luis Fernandez Helen Kozupsky Lucille Plesco Judy Voss Marilyn Fisher Marilyn Krantz Ramaa Purushothaman Esther Weiss Paul Fisher Jacob Krasikov Judy Rath Harriet Zeller Marlene Frank Sophia Krasikov Beatrice Rieser Robert Fried Mark Lang Sal Rosati

We honor the following volunteers no longer with us who have graciously given their time and talents to Caramoor:

John Baker Norma Gray Susan Taylor

Caramoor / 32 Caramoor’s Leadership As of January 5, 2021

Board of Trustees Advisory Council James A. Attwood, Jr., Chairman* Judy Aydelott Peter Kend, Vice Chairman* Laura Blau Paul S. Bird, Treasurer* Jonathan Clark Angela Haines, Secretary* Kevin Conroy Judy Evnin, Chairman Emerita* Effie Fribourg Joan Gilbert Barry J. Alperin* Marilyn Glass James L. Amine* Virginia L. Gold David Barber Hélène Grimaud Jon Bauer* Maureen Hanagan Gail A. Binderman Betty Himmel Ian Cook* Kevin Howat William Cordiano* Frederick Jones Jane Donaldson Olga Kagan Lawrence Elow Bim Kendall Susan W. Freund* Stanley Kogelman Michael E. Gellert* Dr. Lewis Kohl Francis Goldwyn Linda Merrill Sandra S. Joys* Susan Morgenthau Floy B. Kaminski* David C. Oxman Cecilia Tay Kellie-Smith Edward Pla Stephen Limpe* Yvonne Pollack Nancy Offit* Faith Rosenfeld Richard H. O’Leary Debbie Stiles Lawrence Rothenberg Alden L. Toevs Mrs. Andrew Saul Lucille Werlinich Nina Stanton Lisa Welch Ian Winchester Richard Zinman*

*Executive Committee Member

Caramoor / 33 Staff and Contractors

Executive Office Gardens & Grounds Edward J. Lewis, III, President Milton Alvarez, Facilities Superintendent and Chief Executive Officer Rosa Alvarez, Facilities Housekeeping Liat Greif, Executive Assistant & Board Liaison Assistant Lucio Alvarez, Facilities Crew Artistic Programming Jose Cardenas, Facilities Crew Kathy Schuman, Vice President Saul Jarrin, Housekeeping Assistant & and Artistic Director Facilities Crew Ellie Gisler Murphy, Senior Artistic Planning Manager Agencies/Consultants Tim Coffey,Artistic Planning Manager 21C Media Group, Public Relations AAN Studio, Graphic Designer Artistic Partners Blenderbox, Website Management Jazz at Lincoln Center Capacity Interactive, Digital Marketing City Winery Gabe Palacio, Principal Photographer Orchestra of St. Luke’s, Orchestra-in-Residence Barbara Prisament, Media Relations Stephan Moore, Sonic Innovations & Outreach Consultant Steven Blier, Terrance W. Schwab Progressive Computing, IT Consultant Vocal Rising Stars Spektrix, Ticketing Service & Support Pamela Frank, Evnin Rising Stars Technical Direction & Production Development Ed Greer, Technical Director Nina Curley, Vice President & Pete F. Petrino, Lighting Designer Chief Development Officer DJ Grant, Chief Audio Engineer Christina Horzepa, Grants Manager Pete Weigand, Lighting Programmer Brittany Knapp, Membership Assistant Michael Campbell, Master Electrician and Donor Concierge Jesse Jardon, Stage Manager Junetta Maxfield,Director of Sue Hoferichter, Hospitality Manager Development Operations Jennifer Pace, Director of Individual Gifts Technical Crew Gayle Schmidt Greves, Director Mike Alvarez, Jesse Barone, Kaitlyn Chen, of Special Events Matthew Ficinus, Lorin Francis, Caroline Jannace, Samuel Johnson, Phil Manzi, Finance and Human Resources Jay McCarthy, Carleigh Meyer, Erik Oliva, Tammy Belanger, Vice President & Christina Payson, Matthew Rodriguez, Chief Financial Officer Adam Romano, Jason Spoor Tina Salierno, Bookkeeper Andrea Assenzio, Assistant Bookkeeper Summer Parking Coordinators Karla Stewart, Human Resources Coordinator Jack Bouffard, Corey Travis

Marketing Summer Box Office Staff Tahra Delfin, Vice President & Jools Dembo, Lexi Dembo Chief Marketing Officer Brittany Laughlin, Director of Marketing & Summer Assistant House Managers Communications Eamon Fernandez, Marianna Ceccatti Alex Cutrone, Director of Ticketing & Guest Relations Summer Guest Relations Staff Aarti Gilmore, Event Operations Manager Stuart Betheil, Lucas Colleluori, Leah Cunningham, Sean Jones, Marketing Coordinator Jonah Da Silva, Nina Foster, Tristan Galler, Olivia Ottinger, Box Office Coordinator Katie Gebbia, Luc Giner, Riley Henshaw, Laura Schiller, Publications Editor Alexander Hooper, Tyra Kushner, Jack Loeffler, Roslyn Wertheimer, Marketing Manager Caroline Malley, Sasha Medile, Carmen Mickelson, Roanne Wilcox, Director of the Rosen House Sarah Morea, John Myers, Lily Oyen, Troy Panek, Christopher Thomas, Archive Coordinator Owen Rabii, Willa Roberts, Robin Rockwell, Marcelle Carpentieri, Rosen House Assistant Joelle Sacks, Dayanara Salinas, Holly Solomon, Germania Alvarez, Housekeeping Manager & Bennett Tropiano, Maya Van Rosendaal, Casey Collections Assistant Wilcox, Harrison Wyckoff, Daniel Zitomer Erin Hurley, Event Operations Assistant

Caramoor / 34 ENTER FOR A CHANCE TO WIN DINNER FOR TWO AT BLUE HILL AT STONE BARNS COMPLIMENTS OF T-MOBILE

T-Mobile is a proud sponsor of Caramoor’s Friends Field Concerts— Concerts on the Lawn and Festival days.

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

T-Mobile, the T logo, Magenta and the magenta color are registered trademarks of Deutsche Telekom AG. ©2021 T-Mobile USA, Inc.

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

Caramoor

More to Come! Fall-Spring 2021-2022

Announced July 20 / Members Pre-sale* July 27 / General public August 3

Call the Box Office at914.232.1252 or order online at caramoor.org

*Become a Member and gain access to the best seats available first! Visit caramoor.org/membership