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Amjad Ali Khan & Sharon Isbin
SUMMER 2 0 2 1 Contents 2 Welcome to Caramoor / Letter from the CEO and Chairman 3 Summer 2021 Calendar 8 Eat, Drink, & Listen! 9 Playing to Caramoor’s Strengths by Kathy Schuman 12 Meet Caramoor’s new CEO, Edward J. Lewis III 14 Introducing in“C”, Trimpin’s new sound art sculpture 17 Updating the Rosen House for the 2021 Season by Roanne Wilcox PROGRAM PAGES 20 Highlights from Our Recent Special Events 22 Become a Member 24 Thank You to Our Donors 32 Thank You to Our Volunteers 33 Caramoor Leadership 34 Caramoor Staff Cover Photo: Gabe Palacio ©2021 Caramoor Center for Music & the Arts General Information 914.232.5035 149 Girdle Ridge Road Box Office 914.232.1252 PO Box 816 caramoor.org Katonah, NY 10536 Program Magazine Staff Caramoor Grounds & Performance Photos Laura Schiller, Publications Editor Gabe Palacio Photography, Katonah, NY Adam Neumann, aanstudio.com, Design gabepalacio.com Tahra Delfin,Vice President & Chief Marketing Officer Brittany Laughlin, Director of Marketing & Communications Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator Caramoor / 1 Dear Friends, It is with great joy and excitement that we welcome you back to Caramoor for our Summer 2021 season. We are so grateful that you have chosen to join us for the return of live concerts as we reopen our Venetian Theater and beautiful grounds to the public. We are thrilled to present a full summer of 35 live in-person performances – seven weeks of the ‘official’ season followed by two post-season concert series. This season we are proud to showcase our commitment to adventurous programming, including two Caramoor-commissioned world premieres, three U.S. -
Program Notes: Inspiration & Impact
CABRILLO FESTIVAL Program Notes: Inspiration & Impact Lola Montez Does the and she glides from the stage of sensory and expressive overload. Spider Dance (2016) overwhelmed with applause, At its premiere in March of 2012, the first third and smashed spiders, John Adams of the piece was largely a trope on the Opus (b. 1947) and radiant with parti-colored skirts, [World Premiere] 131 C# minor quartet’s scherzo and suffered smiles, graces, cobwebs and glory. from just this problem. After a moody opening of tremolo strings and fragments of the Ninth Commissioned by the musicians of the Cabrillo Lola Montez Does the Spider Dance was Symphony signal octave-dropping motive, Festival Orchestra in honor of Marin Alsop commissioned by members of the Cabrillo Festival Orchestra in celebration of Marin the solo quartet emerged as if out of a haze, The Irish-born actress and dancer Eliza Gilbert Alsop’s twenty five seasons as music director, playing the driving foursquare figures of that (1821—1861) achieved international fame and it is dedicated to her. scherzo material that almost immediately went under the name “Lola Montez, the Spanish through a series of strange permutations. Dancer.” After a controversial career on the —John Adams continent, including a sojourn in Bavaria This original opening never satisfied me. The where she become both the lover as well as clarity of the solo quartet’s role was often political advisor to King Ludwig, she returned Absolute Jest (2011) buried beneath the orchestral activity resulting in what sounded to me too much like “chatter.” to London, where she eloped with and married John Adams (b. -
THE CLEVELAN ORCHESTRA California Masterwor S
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Mcallister Interview Transcription
Interview with Timothy McAllister: Gershwin, Adams, and the Orchestral Saxophone with Lisa Keeney Extended Interview In September 2016, the University of Michigan’s University Symphony Orchestra (USO) performed a concert program with the works of two major American composers: John Adams and George Gershwin. The USO premiered both the new edition of Concerto in F and the Unabridged Edition of An American in Paris created by the UM Gershwin Initiative. This program also featured Adams’ The Chairman Dances and his Saxophone Concerto with soloist Timothy McAllister, for whom the concerto was written. This interview took place in August 2016 as a promotion for the concert and was published on the Gershwin Initiative’s YouTube channel with the help of Novus New Music, Inc. The following is a full transcription of the extended interview, now available on the Gershwin channel on YouTube. Dr. Timothy McAllister is the professor of saxophone at the University of Michigan. In addition to being the featured soloist of John Adams’ Saxophone Concerto, he has been a frequent guest with ensembles such as the Chicago Symphony Orchestra and the Los Angeles Philharmonic. Lisa Keeney is a saxophonist and researcher; an alumna of the University of Michigan, she works as an editing assistant for the UM Gershwin Initiative and also independently researches Gershwin’s relationship with the saxophone. ORCHESTRAL SAXOPHONE LK: Let’s begin with a general question: what is the orchestral saxophone, and why is it considered an anomaly or specialty instrument in orchestral music? TM: It’s such a complicated past that we have with the saxophone. -
Form in the Music of John Adams
Graduate Theses, Dissertations, and Problem Reports 2018 Form in the Music of John Adams Michael Ridderbusch Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Ridderbusch, Michael, "Form in the Music of John Adams" (2018). Graduate Theses, Dissertations, and Problem Reports. 6503. https://researchrepository.wvu.edu/etd/6503 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Form in the Music of John Adams Michael Ridderbusch DMA Research Paper submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music Theory and Composition Andrew Kohn, Ph.D., Chair Travis D. Stimeling, Ph.D. Melissa Bingmann, Ph.D. Cynthia Anderson, MM Matthew Heap, Ph.D. School of Music Morgantown, West Virginia 2017 Keywords: John Adams, Minimalism, Phrygian Gates, Century Rolls, Son of Chamber Symphony, Formalism, Disunity, Moment Form, Block Form Copyright ©2017 by Michael Ridderbusch ABSTRACT Form in the Music of John Adams Michael Ridderbusch The American composer John Adams, born in 1947, has composed a large body of work that has attracted the attention of many performers and legions of listeners. -
Full Orchestra
John Adams City Noir 2009 34 min for orchestra picc.3(III=picc).3.corA.3(III=bcl).bcl.asax.dbn--6.4.3.1--timp.perc(5):vib/lg sus.cym/SD/bongos; tuned gongs/sus.cym/glsp/mar/tam-t/BD/chimes/vib/low tom-toms/tgl/castanets/cowbell/clave/temple bl; chimes/glsp/tamb/med tam-t/2 timbales/sus.cym/crotales/xyl; BD/tuned gongs/med tam-t/2 sus.cym/mar/crotales/castanet/tgl/glsp; 2 tam-t/BD/sus.cym/tgl/temple block/SD/2 tom-t/timbale/bongo/conga/tuned gongs.trap set--pft--cel--2harps--strings 9790051097791 Orchestra (full score) John Adams photo © Christine Alicino World Premiere: 08 Oct 2009 Walt Disney Concert Hall, Los Angeles, CA, United States Los Angeles Philharmonic FULL ORCHESTRA Conductor: Gustavo Dudamel Availability: This work is available from Boosey & Hawkes for the world Absolute Jest 2011 25 min Doctor Atomic Symphony 25 min for string quartet and orchestra 2007 2.picc.2.corA.2.bcl.2.dbn-4.2.2.0-timp.perc(2):cowbell/xyl/BD/chimes/glsp/vib-harp-pft.c for orchestra el-strings 2.picc.3(III=corA).3(II=Ebcl, III=bcl).3(III=dbn) -4.4(IV=picc.tpt).3.1-harp-cel-timp-perc(4):crotales/chimes/SD/thunder sheet/glsp/BD/2 This work requires additional technological components and/or amplification. tam-t/2 susp.cym/tuned gongs-strings 9790051097326 (Full score) <u>NOTE</u>: Due to certain balance issues in the orchestration, it is strongly recommended that very light amplification of the solo quartet be used with the sound controlled through a mixing board located at the rear, behind the audience. -
Ludwig Van Beethoven: the Heard and the Unhearing. a Medical-Musical
Chapter 11 “The best productQ that we can boast of” – Beethoven in the USA Gregor Herzfeld Introduction In a somewhat exaggeratedly pithy form, the history of Eur- opean concert music (“western concert music”) since the first third of the 19th century could be described as a history of en- gagement with the music of Beethoven. Like every platitude, this is for sure too sweeping and in its scope does not reach every area equally; for some genres (symphonies, string quar- tets, piano music), it is more applicable, while for others (opera, operetta, church music) less so. Beethoven’s music had an effect, however, that reached far beyond its achievements in composi- tional technique, into the realms of how we perceive and assess music in general, so that Beethoven was able to become the benchmark of aesthetic attributions of meaning with a status verging on the iconic.1, 2 What holds true for Europe can also be observed on the other side of the Atlantic, to the extent that the USA began to build up, or at least expand, a music and con- cert scene based on the European model. By Europe becoming the model, Beethoven as an essential point of reference shifted to the center of musical attention, too. In the following, I would like to provide a short overview of the developments that the American relationship with Beet- hoven underwent from the 19th through to the 21st century. In this, I follow one narrative (among possible others) that de- scribes a process of making a hero out of Beethoven in the 19th century, which, with the gradual repudiation of the “European model” in the 20th century is turned into the opposite, so to speak, into a kind of “demonization” of the one-time hero, 162 “The best product that we can boast of” – Beethoven in the USA and is then guided towards a state of balance under the banner of postmodern cool-headedness. -
Aspects of Closure in the Music of John Adams by Catherine Pellegrino
Aspects of Closure in the Music of John Adams Author(s): Catherine Pellegrino Source: Perspectives of New Music, Vol. 40, No. 1 (Winter, 2002), pp. 147-175 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833551 Accessed: 06-07-2017 19:51 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/833551?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music This content downloaded from 198.199.32.254 on Thu, 06 Jul 2017 19:51:20 UTC All use subject to http://about.jstor.org/terms ASPECTS OF CLOSURE IN THE MUSIC OF JOHN ADAMS CATHERINE PELLEGRINO NE OF THE MOST IMMEDIATE impressions I get of the works of John Adams from the early- to mid-1980s is the sense of closure-or the lack thereof-that comes at the end of a work. The last bars of Grand Pianola Music (1981-2), for instance, sound crashingly final, even though the very end itself is abrupt and unprepared. -
St. Lawrence String Quartet Geoff Nuttall, Violin Owen Dalby, Violin Lesley Robertson, Viola Christopher Costanza, Cello
Sunday, February 18, 2018, 3pm Hertz Hall St. Lawrence String Quartet Geoff Nuttall, violin Owen Dalby, violin Lesley Robertson, viola Christopher Costanza, cello PROGRAM John ADAMS (b. 1947) First Quartet (2008) Movement I Movement II Second Quartet (2014) Allegro molto Andantino – Energico INTERMISSION Samuel Carl ADAMS (b. 1985) String Quartet in Five Movements (2013) I. fluid II. quiet, rocking III. quiet, austere IV. fluid V. metronomic, brittle St. Lawrence String Quartet recordings can be heard on EMI Classics and ArtistShare (www.artistshare.com). The St. Lawrence String Quartet is Ensemble-in-Residence at Stanford University. Cal Performances’ 2017 –18 season is sponsored by Wells Fargo. 8 PROGRAM NOTES John Adams first movement starts in a very ticking, ener - First Quartet (2008) gized way and then lyrical shapes start filtering “String quartet writing is one of the most in and out. That basic sense of pulsation— difficult challenges a composer can take on,” a regular ticking—is present throughout the American composer John Adams once said. piece.” The opening movement is essentially Adams is not a string player and views the three movements in one, played without a medium of quartet writing “a matter of very break. In the central slow section, recitative-like long-term ‘work in progress. ’” His ongoing declamations from solo instruments are juxta - collaboration with the SLSQ has resulted in posed with more reflective ensemble passages. three substantial, half-hour works that occupy This leads to a spiky scherzo (“a crazy little a significant corner of a large catalog. The two scherzo”) that soon fades away into wisps of most recent were both completed in 2014 after sound and a tranquil close. -
John Adams Leila Josefowicz
VIOLINJOHN CONCERTO ADAMS LEILA JOSEFOWICZ ST. LOUIS SYMPHONY David Robertson John Adams Violin Concerto (1993) 1. = 78 2. Chaconne: Body throughq which the dream flows 3. Toccare Leila Josefowicz, violin St. Louis Symphony David Robertson, conductor John Adams Violin Concerto The sloped wooden walls of the modern concert hall more often resemble Adams devoted the early 1990s to a group of instrumental works, El Dorado abstract curves of the human body than a work of acoustical science. Subtle (1991), Chamber Symphony (1992), and the Violin Concerto (1993), each more geometrical details enhance sound amplification by reverberation, ushering chromatic and contrapuntally complex than the last. He began composing vibrations to the feet, legs, arms, and chests of listeners. Architects of such the concerto in 1992, inspired by a rising figure that unfolds in seemingly spaces seek to maximize how surfaces disperse sound waves into and through endless succession. “I had an image of a very regular, slowly repeating wave the body. The idea of shepherding physical energy through sound has long form, a staircase wave that goes up and down,” he said. “There’s a certain attracted John Adams, whose 1993 Violin Concerto confronts the very sonic predictability to it. Over that the solo melodic line floats in a very free, conundrum faced by the concert hall architect: how to make a single violin line rhapsodic way. That largely is the ‘topos,’ not only of the first movement, but resonate above a mass of instruments. Adams’s solution involved the headlong also the entire concerto, with the violin a free spirit that moves above this embrace of the instrument’s visceral intensity. -
Reich 80Th Birthday Celebrations
October 2016 Reich 80th birthday celebrations Events around the world honouring Steve Reich’s 80th include New York first performances of two new works, Pulse and Runner. San Francisco Steve Reich’s 80th is celebrated with over 400 of the all-Reich concert at Carnegie Hall on Los Angeles performances in more than 20 countries this year. 1 November with the united forces of ICE, Toronto With the birthday itself falling on 3 October, this Soˉ Percussion and Synergy Vocals conducted Photo: © Newspix/Alan Pryke autumn brings major series in New York, London by David Robertson. London and Paris as well as first performances of his latest Reich describes Pulse as “a calmer more Paris works. One of the leading composers of the past contemplative piece” than his recent Quartet, half century, Reich lays genuine claim to directing Amsterdam employing a fixed pulse and steady harmonies musical history onto an alternative path, opening with varied accentuation coming from hand Cologne composition to influences beyond the central alternation patterns on the piano. Following Frankfurt classical canon. New York, the European premiere is at the Hannover Reich combined his early experiments on tape Barbican’s Steve Reich at 80 series on loops and phasing patterns with his researches 5 November, followed by an Ensemble Modern Leipzig into African drumming and Balinese gamelan to tour to Paris and Cologne, with further Munich create a radical new style, simple in materials yet performances in Amsterdam’s ZaterdagMatinee complex in its intricate rhythmic patterning. The series and in a Los Angeles Philharmonic Green Budapest scope of his works grew through the 1970s to Umbrella concert in January. -
February 6 8 July 3 August 22
MUSIC DIRECTOR DONALD RUNNICLES JACKSON HOLE, WYOMING WINTER FESTIVAL FEBRUARY 68 SUMMER FESTIVAL JULY 3AUGUST 22 BERNADETTE PETERS ERIN WALL ANGELA JONES-REUS GARRICK OHLSSON ANNOUNCING THE 2020 SUMMER FESTIVAL JULY 3 JULY 10 & 11 JULY 17 & 18 JULY 24 & 25 BERNADETTE BEETHOVEN’S BRAHMS’ FIRST OHLSSON PETERS EROICA SYMPHONY PERFORMS $95 $30 - $65 $30 - $65 BEETHOVEN $30 - $65 The award-winning Broadway star Erin Wall, soprano Angela Jones-Reus, flute appears in a powerful solo concert. Donald Runnicles, conductor Elisabeth Remy Johnson, harp Garrick Ohlsson, piano JULY 4 Donald Runnicles, conductor Beethoven: Symphony No. 3 “Eroica” Donald Runnicles, conductor Strauss: Four Last Songs Melody Eötvös: World Premiere Pianist Garrick Ohlsson performs PATRIOTIC POPS Strauss: Death and Transfiguration Mozart: Concerto for Flute, Harp, STUDENTS FREE; ADULTS $25 all five Beethoven Concerti over two and Orchestra days. Note: Friday and Saturday Brahms: Symphony No. 1 Donald Runnicles, conductor programs are different. Celebrate July 4th with patriotic tunes. JOHANNES MOSER KARINA CANELLAKIS TAMARA MUMFORD MIDORI SUBSCRIPTIONS AVAILABLE FEBRUARY 3 / SINGLE TICKETS ON SALE MARCH 2 JULY 31 & AUGUST 1 AUGUST 7 & 8 AUGUST 14 & 15 AUGUST 21 & 22 MOSER PERFORMS SIBELIUS’ FIFTH MAHLER’S SECOND MIDORI PERFORMS DVOŘÁK SYMPHONY SYMPHONY SIBELIUS $30 - $65 $30 - $65 $30 - $65 $30 - $65 Johannes Moser, cello St. Lawrence String Quartet TBD, soprano Midori, violin Eun Sun Kim, conductor Karina Canellakis, conductor Tamara Mumford, mezzo-soprano James Conlon, conductor Donald Runnicles, conductor Clarice Assad: Bonecos de Olinda Beethoven: Leonore Overture No. 3 Beethoven: Coriolan Overture Utah Symphony Chorus Dvořák: Cello Concerto John Adams: Absolute Jest Beethoven: Egmont Overture Tchaikovsky: Symphony No.