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Welcome Letter from Caramoor’s Interim CEO Spring 2021 Concerts Caramoor Conversations Caramoor Goes Virtual! by Kathy Schuman
Concert Program
Become a Member Highlights from Our Fall Special Events Thank You to Our Donors Caramoor Leadership Caramoor Staff
©2021 Caramoor Center for Music & the Arts 149 Girdle Ridge Road PO Box 816 Katonah, NY 10536 Caramoor Grounds & Performance Photos Gabe Palacio Photography, Katonah, NY gabepalacio.com Caramoor Fall Fête Photos Chansoda Roeun chansoda.com
General Information 914.232.5035 Box Office 914.232.1252 caramoor.org Program Magazine Staff Laura Schiller, Publications Editor Adam Neumann, aanstudio.com, Design Tahra Delfin, Vice President & Chief Marketing Officer Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator
Dear Friends, Welcome to our Spring 2021 season. We are thrilled to present this exceptional array of artists, brought to you from our Music Room in The Rosen House. We are overjoyed that, starting April 2, we are able to bring a limited-capacity audience into this venue while we continue livestreaming our concerts as well. Over the past year, Caramoor – like many performing arts organizations everywhere – has focused on streaming concerts in a profound effort to keep the music playing. We are incredibly appreciative of the artists who have joined us on this journey, and we are deeply grateful to you, our dedicated audience members, who have allowed us to transport the music directly into your homes. Our eight concerts this spring include a vocal recital by one of today’s leading bass-baritones, two string quartets from our Ernst Stiefel Quartetin-Residence program, a spirited Baroque band, a legendary jazz singer, and more. We are also pleased to continue a new video series we started this fall, Caramoor Conversations, designed to deepen our audiences’ connection to the musicians and composers that we have presented. I am so excited to share that, in May, Caramoor will welcome Edward J. Lewis III as our new President & CEO. Ed has two decades of experience in performing arts leadership. An accomplished violist, Ed is a demonstrated leader, innovator, and musician with a long roster of accomplishments. He will be coming to us from the University of North Carolina School of the Arts, where he is currently Vice-Chancellor for Advancement. We can’t wait to introduce Ed to the Caramoor community. Most importantly, we look forward to welcoming you back to our grounds more fully this summer. It is our hope that, by then, the world will be ready for us to gather safely to share the many joys of live music together. Warmly,
Nina Curley Interim CEO
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March 21 Dashon Burton, bass-baritone David Fung, piano April 1 Schwab Vocal Rising Stars April 9 Son Little April 11 Thalea String Quartet April 25 Emi Ferguson and Ruckus May 2 Callisto Quartet May 8 Catherine Russell May 23 Junction Trio
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Caramoor Conversations is a free video series that dives deeper into the pieces of music being performed in an upcoming concert. These in-depth discussions with the artists are a way for the audience to have a better understanding, and hopefully, a greater connection to the composers and their work. After their initial broadcast, the Conversations will be available throughout the current season. You can tune in at any time!
Sunday, March 28, 3:00pm
Sunday, April 18, 3:00pm
The Red Book
The Bartók String Quartets (Part Two)
Free Available on demand starting March 28
Free Available on demand starting April 18
with Paola Prestini and Sonu Shamdasani
with Ara Guzelimian and the Callisto Quartet
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Caramoor Goes Virtual!
How Caramoor has adapted to the digital landscape and stayed close to artists and audiences throughout the pandemic. By Kathy Schuman, Artistic Director Wh o ca n f o r g et t h e w e e k o f M a r c h 9, 2 0 2 0 ? It began with us welcoming five Schwab Vocal Rising Stars for our annual mentoring program with Steven Blier, with every intention of having a public concert in the Music Room on Sunday, March 15. Well, as the week progressed, it became clear that this was not to be. By March 14, everything had shut down. But wait….didn’t we just install video cameras in the Music Room the previous year? Should we do a livestreamed concert?? Do we even know how to do that??? Well, here we are, a year and 20 livestreams later, and I’m proud to say — we know how to do that! As we launch our Spring 2021 season of livestreamed concerts, I’d love to share a few thoughts with you on the past year and what it’s been like to bring music to you in this new virtual format. In-person vs Livestream As we transitioned to livestreaming, I felt it was really important to transfer some part of the special Caramoor setting to our virtual concerts. So, we decided early on not to do any remote recordings, but only ones actually filmed at Caramoor. (We did have one exception to this, which was our quartet-in-residence, who were unable to travel from Houston, TX). I introduced each concert from a different room of the Rosen House, or from a spot on the grounds, so our audiences could learn a bit more about our unique site. Added content One of the benefits of the video concerts is our ability to add additional content and features to the programs. 05 / Caramoor
Emily Buffum, our livestream technician, hard at work
Many of our livestreamed concerts are followed by a Q&A on stage with the artists. The audience can send questions in through the chat box during the stream. These talks really help connect audiences to the musicians, and allow them to hear about not just the music, but how they’ve been coping throughout this past year. For many of these artists, our performances were the first time they played with other people, or outside of their homes, for many months. We’ve also added short pre-recorded interviews with alumni of our Rising Stars programs, and segments with or about composers whose works are featured on the programs. We even included a fun video of the Jacobsen brothers playing our theremin!
A post-concert chat with Gloria Chien, Anthony McGill and Kathy Schuman, Caramoor’s Artistic Director
Becoming a media company We discovered that putting on livestreamed concerts is MUCH more work than “normal” live concerts! The programs are shot with three cameras and live-edited from the basement. (Yes, practically all of our streams have really been LIVE.) So, we now have a whole livestream ‘team’ including a director, a livestream technician, an audio engineer, video graphic designer, live- chat monitor, etc. It all comes together on the day of the performance, with the extra nailbiting that comes along with that dreaded phrase “technical difficulties”! Thankfully these have been few and far between, but we will not soon forget when we couldn’t get any audio on Inon Barnatan’s July livestream and had to tell folks to tune in the next day. But that was back in July… Working during a pandemic On top of everything else, there are all the Covid safety protocols. Artists sometimes had to quarantine, there were Covid tests, there were masks, there were gloves, there were Lysol wipes, there were chairs spaced six feet apart (and colleagues with a ruler to check!). And our artist/staff meals were “enjoyed” with each of us sitting alone
at our own table. One of the oddest things for me was the 15 minutes or so leading up to each stream. Usually there’s audience filing in and chatting and the whole Music Room is aflutter with anticipation and conviviality. Now, the moments leading up to the stream are really, really quiet. The few staff members are at their ‘stations’ — the hall is virtually empty, except for a couple of us. The stage manager gives the countdown….5, 4, 3, 2, 1. After each piece, we give the artists a quiet thumbs up; there’s usually no clapping or bows.
George Lewis and Jeremy Denk in a mid-concert video chat about the composer “Blind Tom” Wiggins
As I write this, it looks like N.Y. State may be allowing small indoor audiences this spring. Whoopee! Music to my ears. Now we’ll have to figure out how to do in-person concerts simultaneously with livestreams. “Watch out, sir, don’t trip on that wire…!” / 06
Dashon Burton, bass-baritone David Fung, piano Sunday / March 21 / 3:00pm / Livestream from the Music Room JOHN DOWLAND (1563-1626)
In This Trembling Shadow
ROBERT SCHUMANN (1810-1856)
Dichterliebe, Op. 48 Im wunderschönen Monat Mai Aus meinen Tränen spriessen Die Rose, die Lilie, die Taube, die Sonne Wenn ich in deine Augen seh’ Ich will meine Seele tauchen Im Rhein, im heiligen Strome Ich grolle nicht Und wüßten's die Blumen Das ist ein Flöten und Geigen Hör' ich das Liedchen klingen Ein Jüngling liebt ein Mädchen Am leuchtenden Sommermorgen Ich hab' im Traum geweinet Allnächtlich im Traume Aus alten Märchen winkt es Die alten, bösen Lieder
INTERMISSION During the break, please join us for a conversation with scholars Lucy Caplan and A. Kori Hill about composers Florence Price and Margaret Bonds.
CHARLES F. BROWN (1940-) BLIND WILLIE JOHNSON (1897-1945)
Song Without Words
FLORENCE PRICE (1887-1953)
Night
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MARGARET BONDS (1913-1972)
Three Dream Portraits Minstrel Man Dream Variation I, Too
TRADITIONAL
Sometimes I Feel Like a Motherless Child
HENRY T. BURLEIGH (1866-1949)
I’ve Been in the Storm
TRADITIONAL
Crucifixion My Lord What a Mornin’
WILLIAM BOLCOM (b. 1938)
Blue
ERNEST CHARLES (1895-1984)
When I have sung my songs
Post-concert chat with Dashon Burton, David Fung, and Kathy Schuman, Artistic Director. Please submit questions during the livestream in the chat box next to the video player.
The Music Room theatrical lighting was a generous gift from Adela and Lawrence Elow. The Music Room piano, a Steinway Concert Grand, was the generous gift of Susan and John Freund. We would like to thank our media partners for their support:
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About the Music. At a Glance
A potpourri of art songs and spirituals, the program that Dashon Burton and Lindsay Garritson have chosen is nicely balanced between the Old World and the New. It opens with a piece by John Dowland, a peerless songwriter and virtuoso lutenist who transformed the conventional themes of Elizabethan poetry into miniature lyrical masterpieces. Schumann similarly epitomized the spirit of the Romantic era in his affinity for small-scale musical forms and lyrical utterances; his impulsive genius found its most distinctive expression in short character pieces for the piano and art songs, such as the 16 ruminations on unrequited love that comprise his song cycle Dichterliebe. The middle section of the program highlights the diverse musical heritage of Black Americans. In addition to a group of traditional “spiritual songs,” Burton and Garritson will perform a wordless vocalise inspired by the artistry of the gospel-blues singer and guitarist Blind Willie Johnson, as well as four songs in the European concert-hall tradition written by two singularly gifted women, Florence Price and Margaret Bonds. Like other marginalized African-American composers, until recently both were largely written out of the history of 20th-century classical music: the dual impact of sexism and racism helped ensure that most of Price’s music remained unpublished for decades after her death.
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Rounding out the recital are a pair of songs by (white, male, American) composers who deftly straddled the none-too-clear line between classical and popular music. The Program JOHN DOWLAND (1563-1626) In This Trembling Shadow Dowland was the greatest songwriter of the Elizabethan age. A master lutenist, he served the Danish crown in that capacity but failed to win a position at the English court until he was nearly 50. The repeated rejections embittered the composer and may be one source of his famously melancholy disposition. Many of Dowland’s songs deal with conventional themes — love, the joys of springtime, and so on — but a significant number are much darker, even morbid, in tone. The tortured chromaticism of In This Trembling Shadow is emblematic of the song’s spiritual intensity, culminating in praise of God’s “boundless power.” ROBERT SCHUMANN (1810-1856) Dichterliebe, Op. 48 Schumann’s prolific output of lieder — he wrote more than 400 songs in the course of his career — was concentrated in two prodigious bursts of productivity at the beginning and end of the 1840s. In the 17 months between May 1840 and September 1841 alone — the period he called his Liederjahr, or “song year” — he
published no fewer than eight sets of songs and composed dozens more, including the 16 short lyrics to texts by Heinrich Heine that are collectively titled Dichterliebe (Poet’s Love). Like virtually all the music Schumann composed in the 1830s and early 1840s, Dichterliebe was in part a cryptic love letter to Clara Wieck, even if the cycle’s overarching theme of unrequited love scarcely applied to them. Although the young lovers were forbidden to see each other by Clara’s domineering father, who remained obdurately opposed to his underaged daughter’s marriage, they had long since plighted their troths in secret and would become husband and wife a few weeks later, in September 1840. Dichterliebe was part of Schumann’s long-term plan to achieve financial independence — and perhaps a measure of legitimacy in the eyes of his future father-in-law — by achieving recognition in a popular genre for which there was a brisk demand among both amateur and professional musicians. Much like Schumann himself, one supposes, the nameless titular poet of Dichterliebe careens wildly between moonstruck rapture, steely defiance, and selfpitying despondency. The cycle’s subliminal dramatic narrative — which necessarily involves a good deal of reading between the lines of Heine’s deceptively simple verses — guides protagonist and listener along a winding path from infatuation to disillusionment. Schumann presents the poems in more or less the same sequence as they first appeared in Heine’s Lyrisches Intermezzo (Lyrical Intermezzo) of 1823, opening with the budding springtime romance of Im wunderschönen Monat Mai and closing with Die alten, bösen Lieder, in which
the long-suffering poet sternly resolves to bury his dreams along with his “old, evil songs.” In keeping with his stated goal as a lieder composer of “produc[ing] a resonant echo of the poem and its smallest features,” Schumann garbs Heine’s no-frills poetic designs in equally unpretentious musical dress — mostly simple strophic or symmetrical ABA song forms, with contrasting midsections. Several songs end with ruminative piano solos that hint at a world of feeling where the poet’s words leave off. Schumann’s accompaniments, with their imaginatively varied figurations and harmonic twists, deftly capture the mood of each song and highlight the dramatic contrasts between them. Thus, the breathless ecstasy of Die Rose, die Lilie, a sunny catalogue of garden delights, gives way to tender languor in Wenn ich in deine Augen seh, as the lovesick poet rests his head on his sweetheart’s breast. The driving, grimly determined eighth-note pulse of Ich grolle nicht — deservedly the most popular song in the cycle — dissolve into fluttery palpitations in Und wüßten’s die Blumen, while the giddily dancing rhythms of Das ist ein Flöten und Geigen are juxtaposed with the trudging, grief-laden phrases of Hör’ ich das Liedchen klingen. Before bitterly forswearing his dream of happiness in the final song, the poet passes from stark despair (Ich hab’ im Traum geweinet) through transient mirages of hope (Allnächtlich im Traume) and fairy-tale bliss (Aus alten Märchen winkt es). Yet Schumann closes the cycle on an uplifting note, with a long, rhapsodic piano postlude whose gently cascading arpeggios echo the consolatory gestures of the 12th song, Am leuchtenden Sommermorgen. Spring 2021 IV
CHARLES F. BROWN (1940-) BLIND WILLIE JOHNSON (1897-1945) Song Without Words “Dark was the night, cold was the ground on which my Lord was laid”: so begins a popular 19th-century hymn, originally alluding to the crucifixion. In the early 20th century, the Texas bluesman and gospel singer Blind Willie Johnson transformed Dark Was the Night into a wordless AfricanAmerican lament, accompanying himself on bottleneck guitar in a style known as “unison moaning.” Charles F. Brown, another Texas-born gospel songwriter, captured the essence of Johnson’s hummed wailings in this soulful vocalise for voice and piano, replete with swooning blue notes and soft, shimmering, delicately evocative harmonies. FLORENCE PRICE (1887-1953) Night As an African-American woman in the field of classical music, Florence Price was doubly challenged. “I have two handicaps — those of sex and race,” she wrote matter-of-factly to the conductor Serge Koussevitsky in 1943. Although the Chicago Symphony had premiered the first of her four symphonies 10 years earlier, and her music was championed by Marian Anderson and other singers, Price was forced to eke out a living by composing popular songs, teaching piano, and making arrangements for a Chicago radio station. Night, among her best and most frequently performed songs, is characterized by its polychromatic Caramoor
harmonies and French-flavored vocal line, set against a rocking accompaniment. MARGARET BONDS (1913-1972) Three Dream Portraits A pupil and ally of Florence Price in Chicago, Margaret Bonds cultivated a long and fruitful partnership with Langston Hughes. Over some four decades, they collaborated on a wide variety of musical projects, including a Christmas cantata titled The Ballad of the Brown King and a theatrical version of the poet’s Shakespeare in Harlem. In the late 1950s, at the height of the civil rights movement, Bonds set three poems from Hughes’s 1932 collection The Dream Keeper, in which he wrote movingly of black Americans’ need to protect their “heart melodies” from the “too-rough fingers of the world.” By turns raging and resigned in mood, the Three Dream Portraits capture the pain and pride that commingle in Hughes’s poetry, ending in his Whitmanesque declaration that “I, too, am America.” TRADITIONAL Sometimes I Feel Like a Motherless Child The roots of the African-American spiritual run deeper than the arrival of the first enslaved Africans in North America in 1619. As Hall Johnson wrote in his classic study of the spiritual, while the early European settlers “thought of music only for church worship and other special occasions,” the African slaves “came from a long tradition of functional music in daily use in lieu of the written word.” One of the most eloquent and powerful specimens of the genre, Sometimes I
Feel Like a Motherless Child highlights what the late Moses Hogan called the “intertwined strands of sorrow and hope” that course throughout the songs of slaves and their descendants. HENRY T. BURLEIGH (1866-1949) I’ve Been in the Storm No one did more to bring the vernacular spiritual into the mainstream of classical music than Henry T. Burleigh. One of more than 150 African Americans who studied at New York’s National Conservatory of Music during the brief and enlightened directorship of Antonín Dvořák in the early 1890s, he is credited with introducing the Czech composer to the indigenous American music that Dvořák incorporated into his “New World” Symphony. Burleigh went on to become a distinguished composer in own right. Typical of his sensitive concert arrangements is I’ve Been in the Storm, with its stoical minor-key refrain pierced by faint flickerings of hope. TRADITIONAL Crucifixion My Lord, What a Mornin’ This pair of classic spirituals exemplify what the sociologist W. E. B. DuBois called “sorrow songs.” Lamentation is central to Crucifixion, with its dolorous, lightly syncopated refrain “And he never said a mumbalin’ word.” But the apocalyptic imagery of My Lord, What a Mornin’ is equally sorrowful, as suggested by the alternative spelling “mournin’.” For DuBois, the spiritual was fundamentally an expression of faith: “Through all the sorrow of the Sorrow
Songs there breathes a hope — a faith in the ultimate justice of things. The minor cadences of despair change often to triumph and calm confidence. Sometimes it is faith in life, sometimes a faith in death, sometimes assurance of boundless justice in some fair world beyond.” WILLIAM BOLCOM (b. 1938) Cabaret Songs, Vol. IV: Blue William Bolcom was in the vanguard of younger American composers who parted ways with the Europeandominated new-music mainstream in the 1960s and 1970s. A card-carrying serialist in his early years, he parlayed his love of popular songs, ragtime, and other vernacular musics into a productive career as both composer and pianist. Blue is the last of two dozen Cabaret Songs that Bolcom wrote over more than 30 years with his long-time wordsmith, Arnold Weinstein. Smart and sophisticated, yet at the same time artless and unabashedly sentimental, the music and lyrics are perfectly matched. ERNEST CHARLES (1895-1984) When I have sung my songs Many people discovered — or rediscovered — this evergreen ballad when Meryl Streep sang it at the close of her recent cinematic salute to the inimitable Florence Foster Jenkins. But generations of singers have made Ernest Charles’s affecting love song their own, from Jussi Björling and Rosa Ponselle to Elizabeth Connell and Renée Fleming. A native of Minnesota, Charles briefly pursued a performing Spring 2021 VI
career on Broadway before enjoying a longer run as a composer of popular art songs in a crowd-pleasingly traditional vein. Short and uncloyingly sweet, When I have sung my songs has long been popular as an encore piece. — Harry Haskell
Stay Up-To-Date With Caramoor! With the ever-changing state health and safety guidelines, we suggest you stay up-to-date with us as we share our plans regarding our upcoming concerts. Here are the ways to keep up!
Social Media / @caramoor
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About the Artists.
Dashon Burton, bass-baritone Bass-baritone Dashon Burton has established a vibrant career in opera, recital, and with orchestra. In key elements of his repertoire — Bach’s Passions and the B minor Mass, Mendelssohn’s Elijah, Beethoven’s Ninth Symphony, the Brahms’ Requiem, Handel’s Messiah, and Mozart’s Requiem – Burton is a frequent guest with the major orchestras of the United States, Europe, and Japan.
Pollux with Les Talens Lyriques; Strauss’ Salome at the Salzburg Festival (led by Franz Welser-Möst in a production by Romeo Castellucci), and Peter Sellars’s production of Claude Vivier’s Kopernikus, un ritual de mort at Paris’ Théatre de la Ville. Burton continued as a Resident Artist this season with San Francisco Performances, and sang recitals throughout the U.S., including a program based on works from his album Songs and Struggles of Redemption; We Shall Overcome, singled out by The New York Times as “profoundly moving…a beautiful and lovable disc.” Burton is an original member of the groundbreaking vocal ensemble, Roomful of Teeth, with whom he won a Grammy for their recording of Caroline Shaw’s PulitzerPrize winning Partita for 8 Voices.
In the 2019-20 season, he performed these works and others with the Minnesota and National Arts Centre Orchestras, and the St. Louis Symphony, the New York Philharmonic, and the St. Paul Chamber Orchestra. A frequent guest of the Cleveland Orchestra, Burton sang Michael Tilson Thomas’ Rilke Songs with the orchestra, led by the composer. In the fall of 2019, he sang the world premiere of Caroline Shaw’s The Listeners (a part written by Shaw specifically for Burton), with the Philharmonia Baroque and Nicholas McgGegan. Opera engagements include Sarastro in Die Zauberflöte in Dijon and Paris, and Jupiter in Rameau’s Castor et Spring 2021 VIII
with the Brentano Quartet at Yale University and Carnegie Hall. In 202021, Fung headlines the 2020 WQXR Pride Celebrations in New York City.
David Fung, piano Praised for his “ravishing and simply gorgeous” performances in The Washington Post, pianist David Fung is widely recognized for interpretations that are elegant and refined, yet intensely poetic and uncommonly expressive. Declared a Rising Star in BBC Music Magazine, Fung regularly appears with the world’s premier ensembles including the Cleveland Orchestra, Detroit Symphony, Israel Philharmonic , Los Angeles Philharmonic, National Orchestra of Belgium, San Diego Symphony, and San Francisco Symphony, as well as the major orchestras in his native country of Australia, including the Melbourne Symphony, Queensland Symphony, and Sydney Symphony. In 2019-20, Fung was a featured soloist with the Detroit Symphony Orchestra in its opening subscription weekend celebrating the Orchestra Hall Centennial and received an invitation to replace Andre Watts with the Atlanta Symphony Orchestra performing Ravel’s Left-Hand Concerto. Other highlights of the season included performances at the Seattle Town Hall, Eastman Presents, Ottawa Chamberfest, L’Auditori (Barcelona), and a collaboration
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Fung’s highly acclaimed debut with the Cleveland Orchestra at the Blossom Music Festival was “everything you could wish for” (Cleveland Classical), and he was further praised as an “agile and alert interpreter of Mozart’s crystalline note-spinning” (The Plain Dealer). In the following week, he performed Rachmaninoff’s Rhapsody on a Theme of Paganini at the Beijing National Stadium for the Olympic Summer Festival. Festival highlights include performances at the Aspen Music Festival, Blossom Music Festival, Brussels Piano Festival, Edinburgh International Festival, Hong Kong Arts Festival, the Ravinia Festival, Tippet Rise, and Yeosu International Music Festival. In recent seasons, he has been presented in recital by Washington Performing Arts at the Kennedy Center, Lincoln Center’s Great Performers, the Louvre Museum, the Palais des Beaux-Arts in Brussels, the National Concert Hall in Taiwan, and the Zürich Tonhalle. Fung garnered international attention as laureate of the Queen Elisabeth International Music Competition in Brussels and the Arthur Rubinstein Piano International Masters Competition in Tel Aviv. In Tel Aviv, he was further distinguished by the Chamber Music and Mozart Prizes, awarded in areas in which Fung has a passionate interest. Fung is the first piano graduate of the Colburn Conservatory in Los Angeles and is a Steinway Artist.
About the Scholars. Lucy Caplan
A. Kori Hill
Lucy Caplan is an interdisciplinary historian of music and culture in the United States. She holds a Ph.D. in American Studies and African American Studies from Yale University, where she wrote a dissertation about how early-20thcentury African Americans redefined the genre of opera as a wellspring of antiracist activism, collective sociality, and aesthetic innovation.
A. Kori Hill is a PhD Candidate from Cincinnati, Ohio. Her dissertation, A Creation of Tradition: New Negro Modernism in the Concertos of Florence B. Price, studies Price’s three concertos as examples of Black/New Negro music modernism to further contextualize Price’s style within American classical and Black cultural aesthetics.
Her writing has appeared widely in scholarly journals as well as in The New Yorker and The Log Journal. Currently, Caplan teaches in the History and Literature program at Harvard University.
Hill has presented widely at acdemic conferences, including the keynote address for the Cincinnati Symphony Orchestra’s Celebrating Florence Price event. In addition to her work on Price, Hill also studies modernist aesthetics, networks of Black classical musicians, and music as method for cultural theorizing. She holds a M.A. in musicology from the University of North Carolina at Chapel Hill, a M.M. in music history and violin performance from West Virginia University, and a B.M. in violin performance from Miami University (of Ohio!).
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Texts and Translations. Dichterliebe, Op. 48
ROBERT SCHUMANN (1810-1856) Im wunderschönen Monat Mai
In the wonderfully fair month of May
Im wunderschönen Monat Mai, als alle Knospen sprangen, da ist in meinem Herzen die Liebe aufgegangen.
In the wonderfully fair month of May, as all the flower-buds burst, then in my heart love arose.
Im wunderschönen Monat Mai, als alle Vögel sangen, da hab' ich ihr gestanden mein Sehnen und Verlangen.
In the wonderfully fair month of May, as all the birds were singing, then I confessed to her my yearning and longing.
Aus meinen Tränen spriessen
From my tears spring
Aus meinen Tränen sprießen viel blühende Blumen hervor, und meine Seufzer werden ein Nachtigallenchor,
From my tears spring many blooming flowers forth, and my sighs become a nightingale choir,
und wenn du mich lieb hast, Kindchen, schenk' ich dir die Blumen all', und vor deinem Fenster soll klingen das Lied der Nachtigall.
and if you have love for me, child, I'll give you all the flowers, and before your window shall sound the song of the nightingale.
Die Rose, die Lilie, die Taube, die Sonne Die Rose, die Lilie, die Taube, die Sonne, die liebt' ich einst alle in Liebeswonne. Ich lieb' sie nicht mehr, ich liebe alleine die Kleine, die Feine, die Reine, die Eine; sie selber, aller Liebe Bronne, ist Rose und Lilie und Taube und Sonne.
The rose, the lily, the dove, the sun
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The rose, the lily, the dove, the sun, I once loved them all in love's bliss. I love them no more, I love only the small, the fine, the pure, the one; she herself, source of all love, is rose and lily and dove and sun.
Wenn ich in deine Augen seh’
When I look into your eyes
Wenn ich in deine Augen seh', so schwindet all' mein Leid und Weh! Doch wenn ich küsse deinen Mund, so werd' ich ganz und gar gesund.
When I look into your eyes, then vanish all my sorrow and pain! Ah, but when I kiss your mouth, then I will be wholly and completely healthy.
Wenn ich mich lehn' an deine Brust, kommt's über mich wie Himmelslust, doch wenn du sprichst: Ich liebe dich! so muß ich weinen bitterlich.
When I lean on your breast, I am overcome with heavenly delight, ah, but when you say, "I love you!" then I must weep bitterly.
Ich will meine Seele tauchen
I want to plunge my soul
Ich will meine Seele tauchen in den Kelch der Lilie hinein; die Lilie soll klingend hauchen ein Lied von der Liebsten mein.
I want to plunge my soul into the chalice of the lily; the lily shall resoundingly exhale a song of my beloved.
Das Lied soll schauern und beben, wie der Kuß von ihrem Mund', den sie mir einst gegeben in wunderbar süßer Stund'!
The song shall quiver and tremble, like the kiss from her mouth, that she once gave me in a wonderfully sweet hour!
Im Rhein, im heiligen Strome
In the Rhine, in the holy stream
Im Rhein, im heiligen Strome, da spiegelt sich in den Well'n mit seinem großen Dome das große, heilige Köln.
In the Rhine, in the holy stream, there is mirrored in the waves, with its great cathedral, great holy Cologne.
Im Dom da steht ein Bildniß auf goldenem Leder gemalt. In meines Lebens Wildniß hat's freundlich hineingestrahlt.
In the cathedral, there stands an image on golden leather painted. Into my life's wilderness it has shined in amicably.
Es schweben Blumen und Eng’lein um unsre liebe Frau; die Augen, die Lippen, die Wänglein, die gleichen der Liebsten genau.
There hover flowers and little angels around our beloved Lady, the eyes, the lips, the little cheeks, they match my beloved’s exactly.
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Ich grolle nicht
I bear no grudge
Ich grolle nicht, und wenn das Herz auch bricht, ewig verlor'nes Lieb! Ich grolle nicht. Wie du auch strahlst in Diamantenpracht, es fällt kein Strahl in deines Herzens Nacht,
I bear no grudge, even as my heart is breaking, eternally lost love! I bear no grudge. Even though you shine in diamond splendor, there falls no light into your heart's night,
das weiß ich längst. Ich grolle nicht, und wenn das Herz auch bricht. Ich sah dich ja im Traume, und sah die Nacht in deines Herzens Raume, und sah die Schlang', die dir am Herzen frißt, ich sah, mein Lieb, wie sehr du elend bist. Ich grolle nicht.
that I've known for a long time. I bear no grudge, even as my heart is breaking. I saw you, truly, in my dreams, and saw the night in your heart's cavity, and saw the serpent that feeds on your heart, I saw, my love, how very miserable you are. I bear no grudge.
Und wüßten's die Blumen
And if they knew it, the blooms, the little ones
Und wüßten's die Blumen, die kleinen, wie tief verwundet mein Herz, sie würden mit mir weinen zu heilen meinen Schmerz.
And if they knew it, the blooms, the little ones, how deeply wounded my heart is, they would weep with me to heal my pain.
Und wüßten's die Nachtigallen, wie ich so traurig und krank, sie ließen fröhlich erschallen erquickenden Gesang.
And if they knew it, the nightingales, how I am so sad and sick, they would merrily unleash refreshing song.
Und wüßten sie mein Wehe, die goldenen Sternelein, sie kämen aus ihrer Höhe, und sprächen Trost mir ein.
And if they knew my pain, the golden little stars, they would descend from their heights and would comfort me.
Die alle können's nicht wissen, nur Eine kennt meinen Schmerz; sie hat ja selbst zerrissen, zerrissen mir das Herz.
All of them cannot know it, only one knows my pain, she herself has indeed torn, torn up my heart.
Caramoor
Das ist ein Flöten und Geigen
There is a fluting and fiddling
Das ist ein Flöten und Geigen, Trompeten schmettern darein. Da tanzt wohl den Hochzeitreigen die Herzallerliebste mein.
There is a fluting and fiddling, and trumpets blasting in. Surely, there dancing the wedding dance is my dearest beloved.
Das ist ein Klingen und Dröhnen, ein Pauken und ein Schalmei'n; dazwischen schluchzen und stöhnen die lieblichen Engelein.
There is a ringing and roaring of drums and shawms, amidst it sobbing and moaning are dear little angels.
Hör' ich das Liedchen klingen
I hear the little song sounding
Hör' ich das Liedchen klingen, das einst die Liebste sang, so will mir die Brust zerspringen von wildem Schmerzendrang.
I hear the little song sounding that my beloved once sang, and my heart wants to shatter from savage pain's pressure.
Es treibt mich ein dunkles Sehnen hinauf zur Waldeshöh', dort lös't sich auf in Tränen mein übergroßes Weh'.
I am driven by a dark longing up to the wooded heights, there is dissolved in tears my supremely great pain.
Spring 2021 XIV
Ein Jüngling liebt ein Mädchen
A young man loves a girl
Ein Jüngling liebt ein Mädchen, die hat einen Andern erwählt; der Andre liebt' eine Andre, und hat sich mit dieser vermählt.
A young man loves a girl, who has chosen another man, the other loves yet another and has gotten married to her.
Das Mädchen nimmt aus Ärger den ersten besten Mann der ihr in den Weg gelaufen; der Jüngling ist übel dran.
The girl takes out of resentment the first, best man who crosses her path; the young man is badly off.
Es ist eine alte Geschichte doch bleibt sie immer neu; und wem sie just passieret, dem bricht das Herz entzwei.
It is an old story but remains eternally new, and for him to whom it has just happened it breaks his heart in two.
Am leuchtenden Sommermorgen
On a shining summer morning
Am leuchtenden Sommermorgen geh' ich im Garten herum. Es flüstern und sprechen die Blumen, ich aber wandle stumm.
On a shining summer morning I go about in the garden. The flowers are whispering and speaking, I however wander silently.
Es flüstern und sprechen die Blumen, und schau'n mitleidig mich an: Sei uns'rer Schwester nicht böse, du trauriger, blasser Mann.
The flowers are whispering and speaking, and look sympathetically at me: "Do not be angry with our sister, you sad, pale man."
Caramoor
Ich hab' im Traum geweinet
I have in my dreams wept
Ich hab' im Traum geweinet, mir träumte du lägest im Grab. Ich wachte auf, und die Träne floß noch von der Wange herab.
I have in my dreams wept, I dreamed you lay in your grave. I woke up and the tears still flowed down from my cheeks.
Ich hab' im Traum geweinet, mir träumt' du verließest mich. Ich wachte auf, und ich weinte noch lange bitterlich.
I have in my dreams wept, I dreamed you forsook me. I woke up and I wept for a long time and bitterly.
Ich hab' im Traum geweinet, mir träumte du wär'st mir noch gut. Ich wachte auf, und noch immer strömt meine Tränenflut.
I have in my dreams wept, I dreamed you still were good to me. I woke up, and still now streams my flood of tears.
Allnächtlich im Traume
Every night in my dreams I see you
Allnächtlich im Traume seh' ich dich, und sehe dich freundlich grüßen, und lautaufweinend stürz' ich mich zu deinen süßen Füßen.
Every night in my dreams I see you, and see your friendly greeting, and loudly crying out, I throw myself at your sweet feet.
Du siehest mich an wehmütiglich, und schüttelst das blonde Köpfchen; aus deinen Augen schleichen sich die Perlentränentröpfchen.
You look at me wistfully and shake your blond little head; from your eyes steal forth little pearly teardrops.
Du sagst mir heimlich ein leises Wort, und gibst mir den Strauß von Zypressen. Ich wache auf, und der Strauß ist fort, und's Wort hab' ich vergessen.
You say to me secretly a soft word, and give me a garland of cypress. I wake up, and the garland is gone, and the word I have forgotten.
Spring 2021 XVI
Aus alten Märchen winkt es
From old fairy-tales it beckons
Aus alten Märchen winkt es hervor mit weißer Hand, da singt es und da klingt es von einem Zauberland';
From old fairy-tales it beckons to me with a white hand, there it sings and there it resounds of a magic land,
wo bunte Blumen blühen im gold'nen Abendlicht, und lieblich duftend glühen mit bräutlichem Gesicht;
where colorful flowers bloom in the golden twilight, and sweetly, fragrantly glow with a bride-like face.
Und grüne Bäume singen uralte Melodei'n, die Lüfte heimlich klingen, und Vögel schmettern drein;
And green trees sing primeval melodies, the breezes secretly sound and birds warble in them.
Und Nebelbilder steigen wohl aus der Erd' hervor, und tanzen luft'gen Reigen im wunderlichen Chor;
And misty images rise indeed forth from the earth, and dance airy reels in fantastic chorus.
Und blaue Funken brennen an jedem Blatt und Reis, und rote Lichter rennen im irren, wirren Kreis;
And blue sparks burn on every leaf and twig, and red lights run in crazy, hazy rings.
Und laute Quellen brechen aus wildem Marmorstein, und seltsam in den Bächen strahlt fort der Widerschein.
And loud springs burst out of wild marble stone, and oddly in the brooks shine forth the reflections.
Ach! könnt' ich dorthin kommen, und dort mein Herz erfreu'n, und aller Qual entnommen, und frei und selig sein!
Ah! If I could enter there and there gladden my heart, and have all anguish taken away, and be free and blessed!
Ach! jenes Land der Wonne, das seh' ich oft im Traum, doch kommt die Morgensonne, zerfließt's wie eitel Schaum.
Oh, that land of bliss, I see it often in dreams, but come the morning sun, and it melts away like mere froth.
Caramoor
Die alten, bösen Lieder
The old, angry songs
Die alten, bösen Lieder, die Träume bös' und arg, die laßt uns jetzt begraben, holt einen großen Sarg.
The old, angry songs, the dreams angry and nasty, let us now bury them, fetch a great coffin.
Hinein leg' ich gar manches, doch sag' ich noch nicht was. Der Sarg muß sein noch größer wie's Heidelberger Faß.
In it I will lay very many things, though I shall not yet say what. The coffin must be even larger than the Heidelberg Tun.
Und holt eine Totenbahre, von Bretter fest und dick; auch muß sie sein noch länger als wie zu Mainz die Brück'.
And fetch a death-bier, of boards firm and thick, they also must be even longer than Mainz's great bridge.
Und holt mir auch zwölf Riesen, die müssen noch stärker sein als wie der starke Christoph im Dom zu Köln am Rhein.
And fetch me also twelve giants, who must be yet mightier than mighty St. Christopher in the Cathedral of Cologne on the Rhine.
Die sollen den Sarg forttragen, und senken in's Meer hinab; denn solchem großen Sarge gebührt ein großes Grab. Wißt ihr warum der Sarg wohl so groß und schwer mag sein? Ich senkt' auch meine Liebe Und meinen Schmerz hinein.
They shall carry the coffin away, and sink it down into the sea, for such a great coffin deserves a great grave. How could the coffin be so large and heavy? I also sank my love with my pain in it.
Spring 2021 XVIII
Coming up next this spring...
Aaron Crouch, tenor
Erin Wagner, mezzo-soprano
Samuel Kidd, baritone
Grace Francis, piano
Nicoletta Berry, soprano
Thursday / April 1 / 7:00pm
Schwab Vocal Rising Stars NYFOS’s Tour de France takes us on a musical voyage to the four corners of France before a deluxe stay in Paris, the city of light. The music of Claude Debussy, Joseph Canteloube, Francis Poulenc, Michel Legrand, and Charles Trénet provide the fuel for a superb quintet of young artists selected by NYFOS’ Artistic Director Steven Blier, who devised the program with the peerless coach and pianist Bénédicte Jourdois. After an intensive week of rehearsal, all seven musicians will livestream this ravishing exploration of French music from Caramoor’s Music Room. Livestream Tickets: $15, $30, $45 / Free for Caramoor Members More Information & To Purchase: caramoor.org / 914.232.1252
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 complimentary access to all spring livestreams. Support our music community and elevate your Caramoor experience all year long. caramoor.org/support
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Highlights of Our Fall Special Events.
For our annual Cabaret benefit, Laura Osnes and Tony Yazbeck celebrated Gershwin and the American Songbook in a Livestream from the Music Room.
C
aramoor’s special events play a vital role in raising funds for our core programming and are a great opportunity to thank our donors who help foster musical inspiration. We appreciate the support of our event donors, especially in this strange past season as they withstood reschedules and modifications aplenty. Our Opening Night Gala was cancelled though received generous support from ticket and table reservations converted to donations. Our Cabaret in the Music Room instead became live on screen from your own living room and even included some fancy-footed dance numbers. And we were able to host a small, outdoor, socially distant, and compliant fundraising dinner – the Fall Fête – in the careful hands of our friends at Blue Hill at Stone Barns. Caramoor is grateful to the event committees and patrons that helped guide us in making sure these occasions were memorable and successful.
Laura Osnes serenaded audiences in thier homes with a favorite Gershwin song. 09 / Caramoor
Cabaret supporters Larry and Adela Elow shared their passion for cabaret in a lively mid-concert video recording.
Caramoor held its Fall Fête in a safe and lovely setting at Blue Hill at Stone Barns.
The Fall Fête tables, distanced for safety, were decorated with seasonal flowers.
Fall Fête guests enjoyed a socially distanced outdoor dinner.
An Auction Table enabled guests to bid on unique items and support Caramoor.
SAVE THE DATES! October 23, 2021 Cabaret in the Music Room Eugene Linden, Olga and Michael Kagan
December 4, 2021 Benefit Dinner in the Rosen House
Events@caramoor.org / 914.232.1492
Susan Morgenthau and Cecilia Kellie-Smith / 10
Caramoor / Support. Caramoor is appreciative of all donors and their support of our mission to create inspiring artistic experiences. Space limitations do not allow us to publicly acknowledge the many individuals and organizations who have made gifts in the past year; however, we are grateful to all contributors as every dollar contributed positively impacts Caramoor. We have made every effort to ensure the accuracy of this listing. If you think you have found an inaccuracy, please accept our apology and alert us by calling 914.232.5035 ext. 409. The following is a list of individuals, households, and organizations who donated to the Annual Fund (general contributions) during the period January 1, 2020 through December 31, 2020. Dollar-level listings reflect cumulative gifts to the Annual Fund (general contributions) totaling $250+ during that 12-month period. Special Events ticket-buyers are included in this list, as are the individuals who may have donated their tickets back to Caramoor in exchange for a charitable contribution. Please note that Special Events ticket purchases or contributions do not count towards Membership but are reflected in these cumulative totals. $100,000+ Nancy & Jon Bauer Pat & Ian Cook Mr. & Mrs. Anthony B. Evnin Susan§ & Peter Gottsegen Katherine & Peter Kend Leslie Williams & Jim Attwood $50,000 to $99,999 Mimi & Barry J. Alperin Laureen & David Barber Gail A. Binderman - The Norman E. Alexander Family G Foundation, Inc. Sandra & William Cordiano Jackie Dzaluk & Francis Goldwyn Mr. & Mrs. John H. Freund Mrs. Robert D. Hodes Mr. & Mrs. David S. Joys 11 / Caramoor
Floy & Amos Kaminski Cecilia Tay Kellie-Smith & Sam Kellie-Smith National Endowment for the Arts Sarah & Howard Solomon Nina & Michael Stanton Audrey & Richard Zinman $25,000 to $49,999 Aundrea & James Amine Anonymous (1) ArtsWestchester Mr. & Mrs. Jonathan M. Clark Jane & William Donaldson Angela & William Haines / The Haines Family Foundation The Marc Haas Foundation The Maximilian E. & Marion O. Hoffman Foundation Tracy & Stephen Limpe New York State Council on the Arts Nancy & Morris W. Offit The Ohnell Family Foundation Phyllis & David Oxman Amy Parsons & Paul Bird Amy & John Peckham / Peckham Family Foundation Mr. & Mrs. Andrew Saul Ms. Lucille Werlinich Mr. & Mrs. Ian Winchester Judi Wolf & Alden L. Toevs $10,000 to $24,999 Andree Wildenstein Dormeuil & Roger Dormeuil Foundation Adela & Lawrence Elow Charles A. Frueauff Foundation Maggie Grise & Adam Silver Olga & Michael Kagan Sylvia & Leonard Marx, Jr. Tracy & Ted McCourtney Susan & Robert Morgenthau Mr. Raj K. Nooyi & Ms. Indra K. Nooyi Susan & Richard O’Leary Yvonne Pollack, Pollack Family Foundation Faith Rosenfeld & Jaime Castro Elaine & Larry Rothenberg Mr. Stephen Ucko Elaine & Alan G. Weiler Lisa & Paul Welch $5,000 to $9,999 Nancy Adelson & Lewis R. Clayton Anonymous (1) Judy & Gordon Aydelott Janet Benton & David Schunter
Bloomberg L.P. Corporate Giving Program Patricia Butter & Ted Sabety Mr. & Mrs. Woodson Duncan Nancy & Edmund Dunst Edmée & Nicholas Firth Penny & Ray Foote Mr. & Mrs. William G. Foulke Fribourg Family Ms. Joan S. Gilbert Virginia Gold Isabelle Harnoncourt Feigen Mrs. Betty Himmel Dr. & Mrs. Henry Kaufman Georgia & David Keidan Mr. § & Mrs. Donald M. Kendall Stanley Kogelman & Lucy Huang Drs. Melissa & Lewis Kohl Mrs. Barbara Kushnick Nita & Stephen Lowey Mr. & Mrs. Lester S. Morse, Jr. Diane & Robert Moss New Music USA Rebecca Patterson & Robert Frank Christine E. Petschek Laura & Edward Pla Varner & John Redmon Mr. & Mrs. Frank E. Richardson Mr. Lawrence Rogow Susan & Elihu Rose Rebecca & Arthur§ Samberg Sara Lee & Axel Schupf Sara & Joshua Slocum Westchester Community Foundation Alicia & Bob Wyckoff $2,500 to $4,999 Photo Anagnostopoulos & Jim Stynes Anonymous (3) Ms. Christina Briccetti Susan & David Brownwood Anne & Joe Citrin Alexandra H. Coburn & Christopher Schroeder Mr. & Mrs. James B. Cowperthwait Mr. & Mrs. Michael Danziger Mr. Thomas A. Dieterich Ms. Kathryn E. Dysart & Mr. Jeffrey L. Schwartz Mr. & Mrs. Robert H. Eder Melissa Eisenstat & Jonathan Blau Kelly & Matthew Fairweather Naomi & Joel Freedman Ashley Garrett & Alan Jones Mary & Michael Gellert Laureine and David Greenbaum Family Foundation
Mr. David C. Hochberg Anda & John Hutchins Alexia & Jerry Jurschak Mr. & Mrs. W. Wallace McDowell The New York Community Trust The Pasculano Foundation The Perlmutter Family Foundation Mary Prehn & John Scacchia Sheila & David Reichman Christie C. Salomon Mr. & Mrs. Norman Slonaker Deborah F. Stiles Mr. & Mrs. James E. Thomas The Watt Family Foundation Kate & Seymour Weingarten Mr. & Mrs. Herbert S. Winokur / The Winokur Family Foundation, Inc. Judy Francis Zankel $1,500 to $2,499 Karen Adler & Laurence Greenwald Anonymous (2) Mr. G. Thomas Aydelotte Gini & Randy Barbato Wendy Belzberg & Strauss Zelnick Mr. & Mrs. Jeff Bijur Mr. & Mrs. Thomas A. Cohn Mr. & Mrs. James K. Coleman Margaret Downs & Henry Zachary Rebecca & Marty Eisenberg Nancy Eppler-Wolff & John Wolff Rosa & Robert Gellert Barbara & E. Robert Goodkind Carmela & Paul Haklisch Maureen Hanagan & Victor Marrow§ Angela & Richard Kessel Eduard & Rayanne Kleiner Foundation Mrs. Patricia D. Klingenstein Laura & Lewis Kruger Mrs. Edith Kubicek Nancy Maruyama & Chuck Cahn Nicole & Gerard Mayer Mr. Bruce Mekul Ms. Linda Merrill & Dr. William B. Nolan Ms. Petra Mohrer Vivian & David Moreinis Melissa H. Mulrooney Dr. Richard Fischer Olson Carol & Steven Parker The Perakis Family Margaret & Dan Petri Mrs. Sascha M. Rockefeller Vicki Roosevelt & Rob Jorgensen Ms. Elizabeth A. Sarnoff & Mr. Andrew S. Cohen Manita & Scoci§ Scocimara / 12
Sylvia Smolensky Betty & Frank Stern Mr. & Mrs. Thomas W. Strauss Mr. & Mrs. William R. Ziegler $500 to $1,499 Marie Pantuosco Alpert Anonymous (9) Adrienne & Bernard Ascher Dr. Lisa R. Barr Mr. & Mrs. John D. Barrett II Sally & David Beckett Froma & Andrew Benerofe Mr. & Mrs. Roger S. Berlind Nadia & Robert Bernstein Helena & Peter Bienstock Laura Blau & Michael Citro Allison M. Blinken Margot & Jerry Bogert Ms. Christine Bosco Ms. Susan Brenner & Mr. Teed Welch Grace & Vincent Briccetti Sonia & Miguel Calderon Mr. & Mrs. Matthew Carpenter Ms. Leslie Cecil & Mr. Creighton Michael Nina & Tom Curley Catherine & George Daubek Roberta & Steven Denning Ms. Victoria de Toledo & Mr. Stewart Casper Mr. Kevin Durkin Mrs. Anita M. Dye Julie & Todd Eagle Pamela & Ray Endreny Olivia & John Farr Jeanne Donovan Fisher Mrs. Virginia M. Flood Karen & Gerry Fox Nina Freedman & Michael Rosenbaum Mr. & Mrs. Joseph C. Gallo Marguerite & Peter Gelfman Sandriel & Kevin Gentzel Ms. Marilyn Glass Carol & Ward Glassmeyer Kate & Martin Glynn Dr. & Mrs. Lawrence Goettisheim Carol & Jesse Goldberg Mr. & Mrs. Alfred H. Green Ellen & Robert Grimes Jennifer & Bud Gruenberg Mr. & Mrs. Peter O. Hanson Peggy & Ed Harding Ms. Callistheni S. Hayes Ms. Ursula Heinrich Mrs. Gisela R. Hobman Ms. Karen K. Hoyt-Stewart & Mr. William J. Stewart 13 / Caramoor
Mrs. Judith T. Hunt Ms. Deborah Innes Rory & David Jones Mr. & Mrs. Edward W. Kelly JoAnne Kennedy & Bill Bowers Mr. & Mrs. Arthur Klausner Ms. Lisa Kolba / JMC LLC Mrs. Birgit Kovacs Dr. Lois F. Kral Joann Lang Dr. Morton Linder Mr. & Mrs. Robert D. Long Dr. Darrell Lund Barbara & J. Robert Mann, Jr. Ms. Beth Ann Manners Harriet Mazer Ms. Deborah McCarthy Dr. Jennifer McQuaid & Dr. Jorge Pedraza Janis & Alan Menken Charity Fund Miriam Messing & John Curtin Ms. Betsy Mitchell Mr. Ben Nathanson Hannah & Frank Neubauer Mina & Lawrence Nokes Ms. Anita M. Nordal & Mr. Kevin J. Conroy Mary Lou & Mike Pappas Michelle & Clark Petschek Betty & Carl Pforzheimer Libbie & David Poppick Charmaine & Brian Portis Virginia & Jonathan Powers Lolly H. Prince Brenda & Gerry Prothro Kathy L. & Marc F. Pucci Vivian Pyle & Tony Anemone Vicki & Charles Raeburn Dr. Monique Regard & Rick Duffy Ms. Denise A. Rempe & Mr. Mark L. Wilson Angela & Gary Retelny Mr. Jason Rockland Ms. Ellen Sargent & Dr. Stephen Nicholas Merryl Schechtman, M.D. Kathy Schuman Jill Schwab & Peter Albert Jill & Robert Serling Mrs. Joan M. Sharp Madeline & George Shepherd Ms. Eve Silver Dr. Richard Slutsky Vivian Song & Ricardo Pou Mr. & Mrs. Louis S. Sorell Beth & Jason Spector Traci & Joseph Stark Catherine & Keith Stevenson Stephanie Stiefel & Robert S. Cohen
Dr. & Mrs. Paul Striker Sybil & Adam Strum Ms. Marcy Syms Melissa Vail & Norman Selby Mr. & Mrs. Polyvios Vintiadis Mrs. John L. Weinberg Margot & Gary Weinstein Roanne & Charles C. Wilcox $250 to $499 Ms. Nancy Albertson Anonymous (11) Nancy & Jim Barton Ms. Emily Bestler Mrs. Debbie Buffum Cammie & John Cannella Ms. Theresa Carroll Ms. Beatrice Chastka Nancy & Edward Clifford Mr. & Mrs. Daniel H. Cohen Mr. Alan G. Cole Ms. Susan Courtney-Sinha Barbara & Christopher Dee Mr. & Mrs. Gary Dienst Mr. & Mrs. John Doran Ms. Elizabeth Einstein & Mr. Chris Cormier Audrey & Jeffrey Elliott Mr. Mark Epstein Ms. Fleur Eshghi & Mr. Nathan C. Dickmeyer Mrs. Arlene Fischer Susan H. Fisher Mr. Mark Franzoso Nancy & Donald Fried-Tanzer Mr. Bruce D. Garrison Cathy & Tom Giegerich Ms. Vicki Gillespie Susan & Galen Gisler Mrs. Jeanne Gnuse Enid & Marv Goldsmith Helen & Bill Gore The Goyal Family Ms. Jane Gross Mr. George B. Hardman Nicole & Larry Heath Judy & Flemming Heilmann Ms. Eileen Herbert Mr. Peter Herbert Anne Hess & Craig Kaplan Libby & Tom Hollahan Mr. Paul H. Hondorf Ms. Christina M. Horzepa & Mr. Gary Dearborn Gail & Mark Imowitz Patricia & Robert Ivry Ms. Diane P. Jane Mr. & Mrs. Erik P. Jensen
Ms. Patricia Johansmeyer Mr. David Johnson Mr. & Mrs. Frederick Jones Ms. Kathryn Jones Connie & Jack Kamerman Ms. Joanna Kang Renée & Daniel Kaplan Beth Kaufman & Charles Updike Ms. Ellen King Mr. & Mrs. Robert W. Knorr Alison M. Koppelman Sandra & Eric Krasnoff Esme & Paul Laubscher Mr. Bruce Levy Ms. Carolyn Liebling Robin Liebowitz & Philippe Sandmeier Angelina & Monte Lipman Ms. Anne R. Lowy & Mr. Thomas R. Glum Laura & Gary Lynch Mrs. Deanna B. MacLean Mr. Robert Magni Mrs. Francesca Maltese & Dr. Sandy Blount Dr. Pamela Marron Mr. & Mrs. Paul J. Mas Virginia & Joe Maybank Mary & Paul McConville Ms. Christina McGann Mr. & Mrs. Douglas M. McGraime Anne & Victor Modugno Mr. & Mrs. Jeffrey Moriber Abigail & Sundip Murthy Margot & James Mustich Leslie & Mitchell Nelson Mr. Erik Nicolaysen Ms. Patricia O’Connor The O’Keefe Family Ruth & Harold Ossher Linda & Glenn Ostrander Anna & Frederick Ostrofsky Lorie Paulson & Maurice Krasnow Anita & Neal Pilzer Dr. & Mrs. Donald J. Pinals Dr. & Mrs. Joseph Plummer Andrea & Andy Potash Betty Robbins & Moses Silverman Elissa & Brian Robinson Virginia & Michael Robinson Patty & Tom Roesch Suzanne & Victor Rosenzweig Mr. & Mrs. Ray Scanlan Mr. Jonathan Schaffzin Roberta & Arthur§ Schmidt Mr. Eric Schwartz Ms. Betsy Seeley Susan & William Shine / 14
Amy Siebert & Markel Elortegui Ms. Janet Sikirica Ms. Nancy K. Simpkins Sabina & Walter Slavin Lynn & Eric Sobel Ms. Alison Stabile Mr. Arthur H. Stampleman Maureen & Charles Steele Katie & James Stewart Ms. Margaret Swinger Ms. Merry Thornton & Mr. Brian V. Murphy Ms. Linda Thung-Ryan Antoinette & Carl Van Demark Mr. Jacobus Van Heerden Jane & James D. Waugh Ms. Roberta Weiner & Mr. Ronald Arron Maureen Whelan & John Bast Ms. Laurice H. Whitfield Victoria Wooters & Matthew Mattoon Seung & Yi Yoo § deceased Thank you again for your generosity.
Gifts of Membership. The following is a list of individuals, families, and/or households who received the Gift of Membership during the period January 1, 2020 through December 31, 2020 and thus may not be included in the previous list. Dana & Robert Bos Ms. Francheska Calderon Kayce & John Carey David Ellis & Ann Greenawalt Ms. Christie Fitzpatrick Carolyn & David Goodman Ms. Cynthia Haupt Mrs. Cynthia Herbert Jennifer & Julio Herrera Debbie & Manny Hochadel Mr. Timothy Horan Ms. Mary Judge Katherine & Albert Kim Susan & Marks Lachs Mr. Jonathan Larsen Daniella Mini & Cesar Rabellino Ms. Jane Minnis Ms. Bärli Nugent Dawn & Richard Papalian Mrs. Amy Passman Jennifer & John Roach Dillon Smith Maureen & Charles Steele Ms. Brigitte St. John Ms. Amelia D. Wierzbicki Ms. Gwenn S. Winkhaus Ms. Manja Wurschke For more information about Membership benefits, or to give the Gift of Membership, please contact Jennifer Pace, Director of Individual Gifts, at jennifer@caramoor.org or call 914.232.5035 ext. 412.
All concerts made possible, in part, by ArtsWestchester with funds from the Westchester County Government.
15 / Caramoor
The 2020 Summer and 2020 Fall Seasons were supported in part by an award from the National Endowment for the Arts.
All concerts made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.
Honor / Memory. From January 1, 2020 through December 31, 2020, generous contributions to Caramoor were made in honor of the following individuals, organizations, programs, or Caramoor departments, or to note special celebrations or causes, and/or in memory of special individuals or couples: In Honor of Anonymous Estelle F. Baum Lucienne & Max Bissainthe Michael Brown Caramoor’s amazing staff Caramoor Staff Caramoor’s Staff, with admiration Jonathan Clark Sandy & Bill Cordiano Tahra Delfin Judy Evnin Judy & Tony Evnin Susan W. (Susie) Freund Josh Groban Jeff Haydon Gerry Hodes The Kend Family Kate & Peter Kend’s 30th Anniversary Peter Kend Felix Kleinman Siena Licht Miller Stephen Limpe In thanks for the Livestream [Our] Grandfather Adolph Loewi Zoë Martin-Doike Susan & Richard O’Leary Phyllis & David Oxman C. Pace & R. Pace Dan Rader Tina Salierno Olivia Schectman Laura Schiller Mildred Skolnick The Unicorns! Leslie Williams & James Attwood In Memory of William T. Appling Helen-Mae Askin Hilton Bailey Elaine Barath Steven Bloom Emanuela Briccetti Dr. Solomon & Edith Brizer by their daughter Diane Brizer Those of our Caramoor Community lost to COVID-19
Martha Dinerstein Lauren Finster Susan (Sue) McPherson Gottsegen Robert D. Hodes Peter Kubicek by his family Joan Lynton Victor Marrow Grace Helen McCabe Eva Petschek Newman Terrance W. Schwab John Eugene Sharp Elie Siegmeister Marion & Herbert Sineck In-Kind Donations. Caramoor gratefully acknowledges the following individuals and organizations that made in-kind contributions (gifts other than cash or stock) from January 1, 2019 through December 31, 2020. Certain gifts of products or services that can be used by Caramoor enable us to further our mission of presenting exciting concerts, mentoring young musicians, and providing arts education to school children. Aundrea & James Amine Anonymous (2) Nancy & Jon Bauer Mr. Albert Carbonell Mrs. Marcy Carlson Pat & Ian Cook Mr. & Mrs. William Cordiano Nina & Tom Curley Ms. Kathryn E. Dysart & Mr. Jeffrey L. Schwartz Mr. Tom Eirman Mr. & Mrs. Anthony B. Evnin Ms. Jane Gladstone Great Performances Mr. & Mrs. Matthew Greif Cecilia Tay Kellie-Smith & Sam Kellie-Smith Katherine & Peter Kend Katherine & Marc Lazar Tracy & Stephen Limpe Betsy Mitchell Orchestra of St. Luke’s Mary Lou & Mike Pappas Pepsi-Cola Bottling Company of New York Kathy Schuman Storm King Art Center Mr. Gary Taratunio Leslie Williams & Jim Attwood WineBid Audrey & Richard Zinman / 16
Matching Gifts. Caramoor gratefully recognizes the support of the many companies and foundations that make matching gifts. Employees can maximize their contributions to Caramoor by taking advantage of their employer’s matching gift programs. The following organizations made matching contributions from January 1, 2019 through December 31, 2020. AmazonSmile Foundation Bank of America Bank of America Charitable Gift Fund The Benevity Community Impact Fund The Blackbaud Giving Fund Bloomberg L.P. Corporate Giving Program Broadridge Credit Suisse Americas Foundation Debevoise & Plimpton LLP Fidelity Charitable Gift Fund GE Foundation Goldman Sachs Gives Goldman, Sachs & Co. Greenlight Capital IBM Corporation Matching Grants Program J.P. Morgan Charitable Giving Fund JPMorgan Chase’s Good Works Employee Giving Program Morgan Stanley GIFT Network for Good Pfizer Foundation Sy Syms Foundation Vanguard Charitable YourCause, LLC
Encore Society (Planned Giving). The Encore Society recognizes dedicated individuals and couples who have indicated their intent to include Caramoor in their estate planning. Planned giving is a wonderful to establish a legacy at Caramoor and make a lasting impact on the organization. Caramoor thanks the following thoughtful individuals who have designated Caramoor Center for Music and the Arts in their estate plans. Anonymous An Anonymous Couple § An Anonymous Couple (2) Laura B. Blau Catherine A. M. Cavanaugh Catherine & George Daubek Mr. Robert C. Dinerstein Ralph P. & Barbara J. DuPont Judy & Tony Evnin Annette & Len§ Gilman Dr. Susan Harris & Mr. Thomas Molnar Mrs. Betty Himmel Olga Kagan Ms. Deborah A. Kempe & Mr. Andre M. Hurni Nancy S. Offit Susan & Richard O’Leary Marie C. Rolla§ Eileen Caulfield Schwab Lucille Werlinich Leslie Williams & Jim Attwood § deceased If you would like more information about planned giving at Caramoor, or to notify us of your intention to include Caramoor in your estate planning, please contact Nina Curley, VP/Development Officer, at nina@caramoor.org or 914.232.3681. Additional information may be found at plannedgiving.caramoor.org.
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Endowments. Philanthropic gifts to Caramoor’s permanent endowment(s) allow the use of Annual income to ensure program continuity and organizational strength in perpetuity. Investments in Caramoor’s endowment(s) support concerts of the highest quality, help bring creative and significant projects to our campus, and provide income to our education and mentoring programs. Gifts to Caramoor’s endowment(s) help ensure this organization’s strength and vitality far into the future. The following is a list of all endowments currently established at Caramoor. Named Endowment Funds Marjorie Carr Adams Fund for Young Vocal Artists Marjorie Carr Adams Sense Circle Fund Mimi & Barry Alperin Rising Stars Fund Albert Berol Rising Stars Fund 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. HoffmanFoundation 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 Gardens & Estates Innovation Fund Piano Performance Renaissance Days Rosen House Stewardship Sense Circle If you are interested in discussing a gift to Caramoor’s permanent endowment(s), or establishing a dedicated endowment like the ones listed above, contact Nina Curley, VP/ Chief Development Officer, at nina@caramoor.org or 914.232.3681. / 18
Leave a Legacy.
C
aramoor Center for Music and the Arts was established by Walter and Lucie Rosen to operate their estate in perpetuity as a home for art, music, and inspiration. The Rosens were touched by the pleasure their friends took while visiting Caramoor, and they decided to leave their home as a legacy for all to enjoy. It is thanks to the vision, energy, and estate planning of this inspirational couple that we enjoy Caramoor today. The Rosens had the forethought to make plans for Caramoor’s future, and we hope you will think of Caramoor when considering your future. We would be so honored if you would consider adding us to your estate plans
and joining with the Rosens in growing your legacy. You can help ensure a bright future for Caramoor. Generosity comes in many forms, and it is often the best way for you to support causes that matter the most to you. When you give to Caramoor, you help us to make a difference. One long-term way is to Leave a Gift in Your Will. If this is appealing, please contact us for suggested language to review with your attorney and/or financial planners. When you have made these arrangements, please let us know you have done so. We will be happy to welcome you to our Encore Society with other like-minded Caramoor donors.
If you would like more information about planned giving at Caramoor, or to notify us of your intention to include Caramoor in your estate planning, please contact Nina Curley, VP/ Chief Development Officer, at nina@ caramoor.org or call 914.232.3681. 19 / Caramoor
Caramoor’s Leadership
As of January 5, 2021
Board of Trustees
Advisory Council
James A. Attwood, Jr., Chairman* Peter Kend, Vice Chairman* Paul S. Bird, Treasurer* Angela Haines, Secretary* Judy Evnin, Chairman Emerita*
Judy Aydelott Laura Blau Jonathan Clark Kevin Conroy Effie Fribourg Joan Gilbert Marilyn Glass Virginia L. Gold Hélène Grimaud Maureen Hanagan Betty Himmel Kevin Howat Frederick Jones Olga Kagan Bim Kendall Stanley Kogelman Dr. Lewis Kohl Linda Merrill Susan Morgenthau David C. Oxman Edward Pla Yvonne Pollack Faith Rosenfeld Josh Slocum Deborah Stiles Alden L. Toevs Lucille Werlinich
Barry J. Alperin* James L. Amine* David Barber Jon Bauer* Gail A. Binderman Ian Cook* William Cordiano* Lawrence Elow Susan W. Freund* Michael E. Gellert* Francis Goldwyn Sandra S. Joys* Floy B. Kaminski* Cecilia Tay Kellie-Smith Stephen Limpe* Nancy Offit* Richard H. O’Leary Lawrence Rothenberg Mrs. Andrew Saul Nina Stanton Lisa Welch Ian Winchester Richard Zinman* *Executive Committee Member
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Staff and Contractors Executive Office Gardens & Grounds Nina Curley, Interim Chief Executive Officer Milton Alvarez, Facilities Superintendent Liat Greif, Executive Assistant & Board Liaison Rosa Alvarez, Facilities Housekeeping Assistant Artistic Programming Lucio Alvarez, Facilities Crew Kathy Schuman, Vice President Jose Cardenas, Facilities Crew & Artistic Director Saul Jarrin, Housekeeping Assistant & Ellie Gisler Murphy, Senior Artistic Facilities Crew Planning Manager Tim Coffey, Artistic Planning Manager Agencies/Consultants 21C Media Group, Public Relations Artistic Partners AAN Studio, Graphic Designer Jazz at Lincoln Center Blenderbox, Website Management Orchestra of St. Luke’s, Orchestra-in-Residence Capacity Interactive, Digital Marketing Stephan Moore, Sonic Innovations Agency Steven Blier, Terrance W. Schwab Gabe Palacio, Principal Photographer Vocal Rising Stars Barbara Prisament, Media Relations Pamela Frank, Evnin Rising Stars & Outreach Consultant Progressive Computing, IT Consultant Development Spektrix, Ticketing Service & Support Nina Curley, Vice President & Chief Development Officer Technical Direction & Production Erin Harding, Special Events Assistant Ed Greer, Technical Director Christina Horzepa, Grants Manager Pete F. Petrino, Lighting Designer Brittany Knapp, Membership Assistant DJ Grant, Chief Audio Engineer and Donor Concierge Jeremy Robbins, Video Director Junetta Maxfield, Director of Emily Buffum, Livestream Event Technician Development Operations Jennifer Pace, Director of Individual Gifts Gayle Greves, Director of Special Events Finance and Human Resources Tammy Belanger, Vice President & Chief Financial Officer Tina Salierno, Bookkeeper Andrea Assenzio, Assistant Bookkeeper Karla Stewart, Human Resources Coordinator Marketing Tahra Delfin, Vice President & Chief Marketing Officer Alex Cutrone, Director of Ticketing & Guest Relations Aarti Gilmore, Event Operations Manager Sean Jones, Marketing Coordinator Olivia Ottinger, Box Office Coordinator Laura Schiller, Publications Editor Roslyn Wertheimer, Marketing Manager Roanne Wilcox, Director of the Rosen House Christopher Thomas, Archive Coordinator Marcelle Carpentieri, Rosen House Assistant Germania Alvarez, Housekeeping Manager & Collections Assistant 21 / Caramoor