2021 Summer Program Book: July 30 - August 1 by Caramoor Center for Music and the Arts

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Welcome to Caramoor / Letter from the CEO and Chairman Summer 2021 Calendar Eat, Drink, & Listen! Playing to Caramoor’s Strengths by Kathy Schuman Meet Caramoor’s new CEO, Edward J. Lewis III Introducing in“C”, Trimpin’s new sound art sculpture Updating the Rosen House for the 2021 Season by Roanne Wilcox PROGRAM PAGES Highlights from Our Recent Special Events Become a Member Thank You to Our Donors Thank You to Our Volunteers Caramoor Leadership Caramoor Staff

Cover Photo: Gabe Palacio ©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

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 Brittany Laughlin, Director of Marketing & Communications Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator

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

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TAP O N A DAT E for PROGRAM DETAILS

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PUBLIQuartet

Richard Goode, piano

Callisto Quartet The Brianna 2020–21 Ernst Thomas Band

Natu Camara

The Forest Performed by The Crossing

Orchestra of St. Luke’s Tai Murray, violin

Pops & Patriots

Stiefel String Quartet-in-Residence

Presented in Collaboration with Jazz at Lincoln Center

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Amjad Ali Khan Douglas J. & Sharon Isbin Cuomo’s Seven Limbs with Nels Cline and Aizuri Quartet

Conrad Tao, piano

Celebrating Stephen Sondheim’s 91st Birthday

Verona Quartet Joan Osborne David Fung, Presented in Collaboration with piano City Winery

Caramoor

John Luther Adams’ Ten Thousand Birds Performed by Alarm Will Sound

Philharmonia Baroque Orchestra

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JIJI, guitar

Guitar in the Garden

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Chanticleer

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American Roots Sō Percussion Music Festival 2:00pm / Pop-up Presented in Collaboration with City Winery

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performances throughout Caramoor grounds (FREE)

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Pekka Kuusisto, The Knights Jazz Festival violin Pekka Kuusisto, Presented in Collaboration with Nico Muhly, violin Jazz at Lincoln Center piano

Apollo’s Fire

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A U G U S T 8 Summer Season Finale

Ljova and the Kontraband

Concert on the Lawn

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Presented in Collaboration with City Winery

Pre-concert Conversation

Caramoor

Watkins Family Hour

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Nathan & the Zydeco Cha Chas

Concert on the Lawn

Orchestra of St. Luke’s Leonidas Kavakos, violin

Afternoon Tea

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TAP O N A DAT E for PROGRAM DETAILS

AFTERNOON TEAS

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June 27 July 2 July 9 July 11

T H E

July 16 July 18 July 23 July 25

M U S I C

CONCERTS ON THE LAWN

July 30

August 1 August 8

C O N T I N U E S

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BEGINNER’S EAR

F R I D A Y, A U G U S T 1 3

S U N D A Y, A U G U S T 1 5

F R I D A Y, A U G U S T 2 0

S U N D A Y, A U G U S T 2 9

Flor de Toloache Della Mae

F R I D A Y, A U G U S T 2 7

Shenel Johns

Alexi Kenney, violin Layale Chaker, violin Kinan Azmeh, clarinet S U N D A Y, S E P T E M B E R 1 2

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

Caramoor

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 organic and locally sourced meals, snacks, and beverages provided by Great Performances. At the Tap Tent, you’ll find a wide range of seasonal sandwiches, salads, desserts, and prepackaged beverages.

Let us pack your picnic for you, prepared by our caterer, Great Performances. View the menu and order online, or call the Box Office at 914.232.1252. Order by Tuesday at 4:00pm for the upcoming week’s 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 cocommissioned 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

Playing to Caramoor’s Strengths.

Site-specific programs highlight Caramoor’s unique setting By Kathy Schuman, Artistic Director

hen I started planning my first Caramoor summer season in 2018, I wanted to take advantage of our unique setting and all the possibilities therein. As anyone who has attended a concert at Caramoor knows, hearing music here is very different from the experience of hearing it in a traditional concert hall. Caramoor was already programming day-long festivals of jazz and American Roots music around the grounds, and we had guitar recitals in our Sunken Garden. We’ve also been exhibiting sound art works around the campus (see related article on page 14 ). Programming John Luther Adams’ Inuksuit seemed like a no-brainer – it calls for the audience to wander outside among musicians playing an incredible array of instruments including conch shells, sirens, gongs, bells, drums, Caramoor

The Secret Gardener in 2018

cymbals, and glockenspiels, dispersed throughout the landscape. It was also a perfect opportunity to throw open our gates and invite people in for free, encouraging audiences to try something new. The performance, with more than 60 percussionists (on the hottest day of the summer — approaching 100 degrees), was transcendent and inspiring. That summer we also welcomed On Site Opera, who brought a marvelous early Mozart opera, The Secret Gardener to our Sunken Garden. I read about this inventive company in The New York Times after they performed the work in a community garden in Manhattan, and thought it could be a perfect fit for us. Since then I’ve attended a number of wonderful OSO productions in NYC, and we’re planning a return visit for them in 2022. /9

In 2019, we went all in for birdsong, presenting Caramoor Takes Wing! and bringing French pianist Pierre-Laurent Aimard to perform the complete Messiaen Catalogue d’Oiseaux in three concerts over

Inuksuit in 2018

a weekend — two in the Spanish Courtyard and one in the Venetian Theater (the performances were included in The New York Times’ roundup of their “Best Classical 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

This summer we’ll present The Forest, performed by The Crossing, a 24-voice choir based in Philadelphia. Created last fall when the choir members couldn’t sing safely indoors, 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 speciallydesigned 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 to, or migrate through, the area in which the piece is performed. Chamber orchestra Alarm Will Sound, for whom the piece was written, will bring it to Caramoor’s expansive Friends Field, where the performers and audience will move in and around each other during the 70-minute work.

Caramoor Takes Wing! in 2019 / 10

Finally, we’ve recently introduced two new concert formats: Concerts on the Lawn, casual familyfriendly 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.

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

J O H N L U T H E R Ten Thousand Birds

A D A M S ’

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

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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.

Edward J. Lewis III at Caramoor

Caramoor

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!

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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!)

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Introducing in“C”

New permanent sound artwork by Trimpin anchors Caramoor’s Sonic Innovations collection. When Caramoor first asked Trimpin to create a permanent sound art sculpture in celebration of its 75th Anniversary, the world-renowned sound artist thought about Caramoor’s acoustical environment: the birds singing, the wind in the trees, and the blissful absence of street noise. He then conceived of in“C”, the interactive kinetic sculpture shaped as a 16-foot high double letter C now located in the entry plaza, welcoming guests as they arrive.

The push-buttons activate the structure’s chimes to play pre-composed short pieces, each 1—2 minutes long. In addition to Trimpin’s music, Caramoor commissioned pieces from four composers: Christopher Cerrone, Anna Clyne, Missy Mazzoli, and Nico Muhly. As Caramoor continues to work with composers, the chime-piece library will grow. 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 in“C” at Caramoor’s entrance

From the top of the C’s curve, 24 tuned metal bell chimes ranging over two octaves are suspended. Made out of steel and utilizing electromechanical components, in“C” interacts with visitors through a motion sensor (as you approach, its melodious chimes draw you closer) and through the physical activation of a push-button panel (don’t be shy!).

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 Chicagobased 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 into an integral part of Caramoor’s adventurous programming. “That huge infusion of sound art showed everyone that sound art could complement the diverse programming here,” says Moore, who has continued as the curator of Caramoor’s current sound art program Sonic Innovations. “We knew that sound art could add an extra dimension to this place, so you might come to hear the symphony and have a picnic, and while exploring the beautiful grounds you would encounter / 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 installed in an outdoor concert and garden setting as a permanent exhibition. This would certainly be a profound source of pride for Caramoor’s founder Lucie Rosen, who was deeply interested in all areas of the arts including championing composers of her time working with sound and technology. For Moore, this ongoing exploration of sound art brings a bit of Lucie’s eclectic set of interests into Caramoor every year.

Who is Trimpin? Gerhard Trimpin — known since the 1960s by the single moniker Trimpin — is an internationally acclaimed composer, musician, visual artist, and inventor, engaged in commissions and exhibitions at venues around the world. Born in 1951 and based in Seattle for the past 25 years, he grew up near the German Black Forest, an area that has a history rich in mechanical music machines (think cuckoo clocks and pianolas, or player pianos). Fascinated with sound exploration in his early childhood, Trimpin often experimented with sound and distance in the German woods. Using the tools from a well-stocked cabinetry shop in his home (his father was a cabinet maker by trade), he took apart and reassembled old radios and musical instruments. By age 10, he was inventing his own eccentric instruments.

Caramoor

Trimpin and Stephan Moore

The son of amateur musicians, the young Trimpin learned to play brass instruments but developed a mysterious allergy to metal that forced him to give up playing. He turned to electro-mechanical engineering. Self-taught, he mastered how the memory works on a pianola and devised a machine that could transcribe and preserve the piano paper rolls digitally. He became a leading specialist in combining musical compositions with computer technology. Throughout his career he has created installations that incorporate complex technological sculptural elements. On permanent display in his hometown area are: If VI was IX, a sound sculpture composed of 600 electric guitars at MoPOP (Museum of Pop Culture); Hydraulis, an elegant interactive water sculpture at the Seattle Center Key Arena; and On: Matter, Monkeys, and the King, a multimedia kinetic wind-up-toy structure next to the rolling walkway in Sea-Tac International Airport. In his 2014 In the Garden of Sonic Delights installation, The Pianohouse, Trimpin wanted to create a piece that every visitor could feel free to explore. What he created was a house-like structure from the frameworks of six upright pianos. “I try to use other ways to make the sculpture look not so much like a musical instrument, so people will actually play,” Trimpin explains. “For instance, why / 15

is there a wheel here and what happens when you turn it?” He hopes Caramoor visitors will approach in“C” with that kind of curiosity. “My work is an ongoing exploration of the concepts of sound, vision, and movement,” he says, “experimenting with combinations that will introduce our senses of perception to a totally new experience.” A MacArthur Foundation “Genius” Award recipient and a Guggenheim Fellow, Trimpin has been commissioned by Lincoln Center, San Francisco’s Exploratorium, Merce Cunningham Dance Company, and Seattle Symphony, among others. In“C” is sponsored by Nancy S. Offit, Laureen and David Barber, Shanbrom Family Foundation, and Tina and Ian Winchester.

The 2021 Sonic Innovations Exhibition In“C” is one of six sound art pieces at Caramoor this summer. Walk around and explore them all. Undercurrent by Spencer Topol and Hana Kassin (2020) creates a feedback loop between people and their environment. An orchestration is built up through the movement of visitors via the activation of small pods in the grass and trees, which come alive with sound. (Center Walk by the Venetian Theater)

Annea Lockwood and Bob Bielecki’s Wild Energy (2014) begins with solar oscillations recorded by the SOHO spacecraft, sped up 42,000 times, ending with ultrasound recorded inside a pine tree, slowed down. (Behind picnic area) (sponsored by Angela and William Haines) Taylor Deupree’s t(ch)ime (2017) turns a quiet, wooded passage into a shimmering sonic environment. Its sounds are derived from bell chimes manipulated to create a sense of time slowing down as one approaches the middle of the path. (Cedar Walk) (sponsored by his family In Memory of Peter Kubicek) Stone Song (2014) by Ranjit Bhatnagar is a dry stone structure with 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) is first encountered through traffic signage that anticipates a space for listening. Later, in a wooden hut, the listener rests on a bench as sounds from nature create a unique sound experience. (Sunken Garden) Please click here for more information and here for a map of the grounds. Through October 10, 2021, Caramoor will be streaming the 2009 documentary Trimpin: The Sound of Invention on our website. Filmed over two years, this film follows Trimpin as he designs many of the sound art pieces described above.

Watch it here! Caramoor

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Updating the Rosen House for the 2021 Season

By Roanne Wilcox, Director of the Rosen House

eyond the imposing 16th-century Italian gates lies a home, filled with amazing treasures, collected by a couple with a love for music and art and a desire to share it with the world. Ask any of our talented docents: giving a tour of the Rosen House to a firsttime visitor is great fun; there’s always that moment of wide-eyed awe when a visitor realizes what’s actually inside those stucco walls. As we were planning to open the Caramoor grounds in the summer of 2021, we gave a great deal of thought as to how we could welcome visitors back inside the Rosen House while providing a safe experience for all. Our previous tour model, where one docent shares stories about Lucie and Walter Rosen and their collection to a larger group standing shoulder to shoulder, needed some rethinking.

Caramoor

We also wanted to update our tours based on some of our visitor’s most commonly asked questions: • Who were Lucie and Walter Rosen? • Why Katonah? • How did the music festival begin? • What happened to the Rosen family? And we gave a lot of thought as to what the tour experience is like for our visitors. After observing hundreds of tours over the past few years, we’ve noticed a few things. Some visitors want to linger a little longer or walk through a little faster than others in their group. Some people want to know more about the Rosen family, while others want to know more about the Renaissance tapestries or intricate stained glass. Some just want to be able to sit down for a moment before continuing on.

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And some of our visitors come to the Rosen House to see where Lucie, one of the theremin’s patron saints, lived and to see the September theremin, the last 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 sure Lucie and Walter placed in the rooms themselves.

Lucie Rosen playing theremin in 1935

We focused on the New Wing, an area that was added by Anne Bigelow Rosen after her mother Lucie passed away in 1968. Since this area had historically been a display space for architecture and rooms from the Rosen’s New York Caramoor

City home, it was the ideal area to introduce, in a visual way, the stories our docents tell to our visitors about the Rosens and their remarkable legacy.

The Rosen’s collection of Chinese art is displayed for visitors to get a closer look.

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 to manage the 45-minute walking tour of the entire Rosen House. We also included an overview of the milestones and great moments of the Caramoor music festival from the past 75 years. Theremin lovers will be able to see Lucie’s 1938 September Theremin and speaker close up, and learn how / 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 Theremin and speaker The Rosen House is open for tours Friday – Sunday, 11–3pm. For the summer of 2021, advance reservations are required. Please call our box office or reserve on our website. Caramoor

Following the custom of the great European homes that welcomed the public inside, the Rosens were pleased when people asked to see their house and collection, and we are grateful to be able to continue on the tradition. / 19

The Knights Friday / July 30 / 8:00pm / Venetian Theater Eric and Colin Jacobsen, Artistic Directors Eric Jacobsen, conductor Colin Jacobsen, violin Alex Gonzalez, violin JOHANN SEBASTIAN BACH (1685–1750)

Brandenburg Concerto No. 3 in G Major, BWV 1048 (1713) I. Allegro II. Adagio III. Allegro

ANNA CLYNE (b. 1980)

Prince of Clouds (2012)

JESSIE MONTGOMERY (b. 1981)

Starburst (2012)

LUDWIG VAN BEETHOVEN (1770–1827)

String Quartet No. 11 in F Minor, Op. 95, “Serioso” (1810)

Colin Jacobsen, violin Alex Gonzalez, violin

Allegretto ma non troppo Allegro assai vivace ma serioso Larghetto Allegretto agitato

Tonight’s concert is being recorded for future broadcast on WQXR. This recording was generously underwritten by Katherine & Peter Kend. 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. A Note from Colin Jacobsen As I write this, hope is blooming along with spring in New York: hope that life is returning to a semblance of normal; hope that we will indeed be back in our favorite garden of musical and horticultural delights with you in person! We were grateful that several months before the pandemic, we were able to record audio and video of J.S. Bach’s beloved Brandenburg Concerto No. 3 in the Music Room at Caramoor. Our version features an arrangement of Paul Simon’s American Tune as the second movement (instead of the two cadential chords that hint at an improvised cadenza at the very least, if not a full movement that Bach himself might have inserted). Coming at perhaps “the age’s most uncertain hour” (lyric from American Tune), we were thankful that it was possible to share it last year in the dark spring of 2020. Bach’s music, long lauded for its balance of head, heart, and spirit, gives a sense that joy, suffering, life, and death all have their place in the universe. It is these themes that may have drawn Paul Simon to borrow from Bach’s setting of a Lutheran hymn, O Sacred Head, Now Wounded for his meditation on the American experience. Simon’s American Tune was written in 1973, in a deeply divided nation, in the midst of the tail end of the Vietnam War and the Nixon impeachment proceedings. American Tune is sung by the multitalented and courageous Knights’ violinist Christina Courtin — in this performance you’ll see her Caramoor

holding down one of the virtuoso violin parts, and then stepping forth to the front of the group and singing Simon’s song before retreating back into the circle for the joyous conclusion of Bach’s concerto. Encoded in the song itself (born as a Lutheran hymn, to Bach chorale, to American folk/pop song) is a typical American story of inspiration, assimilation, and transformation. Simon sensed the power of the melody to console; its sense of resignation mixed with hope, and his lyrics reflect those themes. It’s wonderful to finally be able to play this live at Caramoor for you today! One of the more memorable moments of the last year for The Knights was our livestream from the Music Room at Caramoor, where we were able to give the world premiere of composer Anna Clyne’s Shorthand. That piece, written for and performed by the wonderful Knights cellist Karen Ouzounian last summer, continues a longstanding relationship between The Knights and Anna. Today we bring you her double concerto for two violins and strings, Prince of Clouds, featuring Alex Gonzalez and myself on the solo parts. Another fruit of The Knights’ work during the pandemic was a virtual audio and video recording of Jessie Montgomery’s Starburst. Jessie is a long-time friend of many Knights musicians and has played with the group herself numerous times (she’s a wonderful violinist as well as Summer 2021 III composer). Our recording of a new version of Starburst for winds, piano, and strings was originally

conceived as a video project but we were happily surprised by the audio results (of circa 20 people all recorded remotely), so much so that Starburst was recently released on an album of Jessie’s works. Today we’ll be performing the original piece for string orchestra.

— Colin Jacobsen

JOHANN SEBASTIAN BACH (1685–1750) Brandenburg Concerto No. 3 in G Major, BWV 1048 About the Composer Although Bach was best known as a virtuoso on the organ and harpsichord, he was also a highly proficient violinist. He learned to play the string instrument as a child— probably under the tutelage of his father, a town piper in Eisenach — and, according to his composer-son Carl Philipp Emanuel, he developed a “clear and penetrating” technique. This dual ability was surely a factor in Bach’s first major appointment as capellmeister, or director of music, to Prince Leopold of Anhalt-Cöthen in 1717. The young composer felt lucky to be in the employ of a “a gracious Prince who both loved and knew music.” Thanks to Leopold’s interest and generosity, he had at his disposal a group of some 16 expert instrumentalists who inspired not only the Brandenburg Concertos but also his great unaccompanied works for violin and cello. Years later, when Bach became director of the Leipzig Collegium Musicum, the Brandenburgs were among the repertoire featured on the public subscription concerts

he organized at Zimmermann’s coffeehouse. Patrons of the popular watering hole regularly saw him leading the resident orchestra from the concertmaster’s stand. About the Work The six concerti grossi that Bach dedicated to Margrave Christian Ludwig of Brandenburg in 1721 range widely in both style and instrumentation. On the title page of the presentation copy, the composer identified them (in French) as “six concerts avec plusieurs instruments,” or “six concertos for several instruments.” Scholars have long debated whether he was referring to the varied instrumentation of the collection as a whole (each work calls for a differently constituted ensemble) or indicating that the concertos were to be performed with one player to a part. Even today, when reduced forces are the norm, it is not uncommon to hear the Brandenburgs played by larger orchestras. The basic requirement is that the contrast between soloists and full ensemble — the defining feature of the Baroque concerto grosso — be clearly maintained. A Deeper Listen Brandenburg Concerto No. 3 is scored for strings and continuo, with the threesomes of violins, violas, and cellos treated as three separate choirs. Bach ingeniously mixes and matches these solisti groups to generate an astonishing variety of textures and sonorities. The concerto is laid out in the conventional three movements, fast-slow-fast, the outer sections characterized by exhilarating motor rhythms and captivating harmonic twists and

turns. The central slow movement, however, is a conundrum: in Bach’s manuscript, the Adagio consists in its entirety of two unadorned chords. Some musicologists contend that he intended another slow movement to be inserted here, while others interpret the freestanding chords as an invitation to some sort of collective improvisation. In a similar spirit of free-wheeling creativity, the Knights have chosen to interpolate their take on Paul Simon’s wistfully affecting American Tune, itself based on a plaintive chorale from Bach’s St. Matthew Passion.

— Harry Haskell

ANNA CLYNE (b. 1980) Prince of Clouds About the Composer London-born Anna Clyne is a Grammy-nominated composer of acoustic and electro-acoustic music. Described as a “composer of uncommon gifts and unusual methods” in a New York Times profile and as “fearless” by NPR, Clyne’s work often includes collaborations with cutting-edge choreographers, visual artists, filmmakers, and musicians. In October 2020, AVIE Records released Mythologies, a portrait album featuring Clyne’s works recorded live by the BBC Symphony Orchestra. Several upcoming projects explore Clyne’s fascination with visual arts, including Color Field for the Baltimore Symphony Orchestra, inspired by the artwork of Mark Rothko; Between Caramoor

the Rooms, a film with choreographer Kim Brandstrup and LA Opera, as well as Woman Holding a Balance, a film collaboration with Orchestra of St. Luke’s and artist Jyll Bradley (whom Clyne also teamed up with for the film Pardes, commissioned by the Scottish Ensemble). Clyne composed a trilogy of Beethoven-inspired works, which premiered in 2020 for Beethoven’s 250th anniversary: Stride for string orchestra, inspired by Beethoven’s Sonata Pathétique, premiered by the Australian Composers Orchestra; Breathing Statues, premiered by the Calidore String Quartet; and Shorthand for solo cello and string quintet, premiered by The Knights in 2020 at Caramoor. Clyne is currently the Scottish Chamber Orchestra’s Associate Composer through the 2021-2022 season and a mentor composer for Orchestra of St Luke’s DeGaetano Composer Institute. Clyne’s music is represented on the AVIE Records, Cantaloupe Music, Cedille, MajorWho Media, New Amsterdam, Resound, Tzadik, and VIA labels. Both Prince of Clouds and Night Ferry were nominated for 2015 GRAMMY Awards. Her music is published exclusively by Boosey & Hawkes. boosey.com/clyne About the Work When writing Prince of Clouds I was contemplating the presence of musical lineage — a family-tree of sorts that passes from generation to generation. This transfer of knowledge and inspiration between generations is a beautiful gift. Composed specifically

for Jennifer Koh and her mentor at the Curtis Institute of Music, Jaime Laredo, this thread was in the foreground of my imagination as a dialogue between the soloists and ensemble. As a composer, working with such virtuosic, passionate and unique musicians is also another branch of this musical chain. Prince of Clouds was co-commissioned by the Chicago Symphony Orchestra, IRIS Orchestra, Los Angeles Chamber Orchestra and the Curtis Institute of Music. It premiered in November 2012 at the Germantown Performing Arts Center, TN with conductor Michael Stern, and subsequent performances at Orchestra Hall at Symphony Center, IL with conductor Harry Bicket; Royce Hall, Los Angeles with conductor Jeffrey Kahane; and the New York Premiere at Miller Theater. Prince of Clouds was composed at the Hermitage Artist Retreat in Summer 2012.

— Anna Clyne

JESSIE MONTGOMERY (b. 1981) Starburst About the Composer Jessie Montgomery is an acclaimed composer, violinist, and educator. She is the recipient of the Leonard Bernstein Award from the ASCAP Foundation, the Sphinx Medal of Excellence, and her works are performed frequently around the world by leading musicians and ensembles. Montgomery’s growing body of work includes solo, chamber, vocal,

and orchestral works. Some recent highlights include Shift, Change, Turn (2019) commissioned by the Orpheus Chamber Orchestra and the Saint Paul Chamber Orchestra; Coincident Dances (2018) for the Chicago Sinfonietta; Caught by the Wind (2016) for the Albany Symphony and the American Music Festival; and Banner (2014) — written to mark the 200th anniversary of The Star-Spangled Banner — for The Sphinx Organization and the Joyce Foundation. Upcoming premieres include I was waiting for the echo of a better day, a full-length dance collaboration with the choreographer Pam Tanowitz for Bard SummerScape 2021, L.E.S. Characters - Concerto for Viola and Orchestra with violist Masumi Per Rostad at Grant Park Music Festival, and Five Freedom Songs, the expansion of a song cycle written for soprano Julia Bullock, at Sun Valley Music Festival. Since 1999, Montgomery has been affiliated with The Sphinx Organization, which supports young African-American and Latinx string players, and she has served as composer-in-residence for the Sphinx Virtuosi, the Organization’s flagship professional touring ensemble. She is currently the Mead Composerin-Residence with the Chicago Symphony Orchestra. About the Work This brief one-movement work originally for string orchestra, and arranged for chamber ensemble by Jannina Norpoth, is a play on imagery of rapidly changing musical colors. Exploding gestures are juxtaposed

with gentle fleeting melodies in an attempt to create a multidimensional soundscape. A common definition of a starburst: “the rapid formation of large numbers of new stars in a galaxy at a rate high enough to alter the structure of the galaxy significantly” lends itself almost literally to the nature of the performing ensemble who premiered the work, The Sphinx Virtuosi, and I wrote the piece with their dynamic in mind. I am delighted that the Knights will be performing Starburst on this program today.

About the Work

String Quartet in F Minor, Op. 95, “Serioso”

In the conventional tripartite division of Beethoven’s life and works, the Quartet in F Minor of 1810–11 falls at the tail end of the middle period, on the heels of the three pathbreaking Razumovsky Quartets, Op. 59, and the Harp Quartet, Op. 74. In some respects, however, Op. 95 belongs in a category by itself. Its radical brevity harks back to Beethoven’s early, Haydn-esque Op. 18 Quartets rather than to its immediate predecessors. At the same time, the work’s emotional intensity and idiosyncratic treatment of form and harmony prefigure the composer’s mold-shattering quartets of the mid1820s. Beethoven himself judged it suitable for only “a small circle of connoisseurs” and even questioned whether it should be performed in public.

About the Composer

A Deeper Listen

Beethoven’s 16 string quartets, written between 1798 and 1826, constitute a towering achievement that has both inspired and intimidated composers ever since. Robert Schumann, whose own quartets are deeply indebted to Beethoven’s, declared that the genre had “come to a standstill” since the latter’s death; the “immortal freshness” of his quartets, along with those of Mozart and Haydn, continued to “gladden the hearts of everyone,” but the younger generation had proven incapable of producing anything of comparable quality. Indeed, with the possible exception of Dmitri Shostakovich in the 20th century, no other composer has so consistently used the string quartet as a vehicle for working out musical ideas in their most concentrated and intensely personal form.

Beethoven’s description of the F-Minor Quartet as “serioso” may or may not reflect his state of mind after the collapse of his marriage plans in 1810. In any case, he gets straight down to serious business in the opening Allegro con brio. A terse, tightly wound motto, played by the four instruments in unison, sets the tone for the entire work; both its structure and its emotional content are highly compressed. A persistent undercurrent of turbulence runs throughout the first movement, roiling its lyrical surface. In music as in life, the composer often struggled to strike a balance between heroic affirmation and near-suicidal depression.

— Jessie Montgomery

LUDWIG VAN BEETHOVEN (1770–1827)

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With a leisurely descending scale, the cello introduces one of Beethoven’s most luminous and beguiling slow

movements. Very soon, however, the mood darkens as the viola launches a quirkily chromatic fugue, interrupted by a ghostly echo of the cello’s opening stepwise theme. The Allegretto ma non troppo wends its way toward an apparently tranquil close. Instead of the expected D-major cadence, however, a jarring diminished-seventh chord heralds a return to the home key of F minor and an abrupt transition to a bracing Allegro in ¾ time, marked assai vivace, ma serioso (quite lively, but serious). These contrasting moods are further explored, if never quite reconciled, in the finale. Within its highly condensed span of 175 bars (including a slow introduction), the Allegretto agitato runs the gamut from wistful tenderness to fierce, almost savage despair. Out of nowhere, it seems, a hushed F-major chord once more disperses the prevailing gloom. Whereupon a lighthearted coda, as incongruous as it is brief, brings this enigmatic but richly satisfying masterpiece to an unexpectedly upbeat conclusion.

— Harry Haskell

About the Artists.

Eric Jacobsen, Artistic Director and conductor Conductor and cellist Eric Jacobsen has built a reputation for engaging audiences with innovative and collaborative projects. As conductor of The Knights, Jacobsen has led the “consistently inventive, infectiously engaged indie ensemble” (The New York Times) at New York venues from Carnegie Hall to Central Park. He has appeared in such renowned international halls as Vienna’s Musikverein, Cologne Philharmonie, and the Hamburg Elbphilharmonie. Now in his fourth season as Music Director of the Orlando Philharmonic, Jacobsen is also much in demand as a guest conductor, having recently led the Camerata Bern, Detroit Symphony Orchestra, Alabama Symphony Orchestra, ProMusica Chamber Orchestra, Deutsche Philharmonie Merck, and the Silkroad Ensemble, founded by Yo-Yo Ma.

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Colin Jacobsen, violin A 2003 Avery Fisher Career Grant recipient, violinist Colin Jacobsen first played to critical acclaim at the age of 14, collaborating with Kurt Masur and the New York Philharmonic in a performance that was hailed by The New York Times: “Jacobsen was the impressively accomplished soloist in Bruch’s Scottish Fantasy, sounding as if he were born to the instrument and its sweet, lyrical possibilities.” He recently returned to the New York Philharmonic in a performance of Brahms’ Double Concerto with cellist Yo-Yo Ma, and David Zinman conducting. Jacobsen’s wide-ranging musical activities are part of a generational wave that is taking classical music into a much broader context. As a soloist, he continues to play with orchestras worldwide, including the YouTube Symphony and those of Albany, Charleston, Chicago, San Francisco, Nashville, and Philharmonia Baroque. He has performed with the Chamber Music Society of Lincoln Center, as a member of the Metropolitan

Museum Artists in Concert, and has collaborated with musicians such as Emanuel Ax, Joshua Bell, Kim Kashkashian, Mark O’Connor, Phillip Glass, Steven Isserlis, Christian Tetzlaff, Mitsuko Uchida, and Jan Vogler. Jacobsen’s summer festival appearances have included Banff, Caramoor, Marlboro, Mostly Mozart, Ravinia’s Steans Institute, Salzburg, and Tanglewood. As a touring member of the Silk Road Ensemble since its conception by Yo-Yo Ma, Jacobsen has been part of a creative cauldron that has continually pushed him to expand his boundaries. Through exposure to musicians like the Persian kemanche virtuoso Kayhan Kalhor, vocalist Alim Qasimov, and pipa player Wu Man, he has been inspired to compose and arrange pieces both for the Ensemble and for other groups. Jacobsen is a co-founder along with his brother, the cellist and conductor Eric Jacobsen, of the string quartet Brooklyn Rider and The Knights. Both ensembles tour worldwide and have issued acclaimed albums featured by NPR as top classical picks for 2008 and 2012, respectively. In December 2012, Jacobsen was selected, with his brother Eric, from among the nation’s top visual, performing, media, and literary artists to receive a prestigious United States Artists Fellowship, which carries an unrestricted grant of $50,000.

Alex Gonzalez, violin Described by the Viborg Folkeblad as a ""true virtuoso...[that] left the audience almost breathless,” violinist Alex Gonzalez has appeared across the United States and abroad as a chamber musician, ensemble leader, and educator. An avid chamber musician, Gonzalez was a recipient of the John Celentano Award for Excellence in Chamber Music upon graduation from the Eastman School of Music. He has enjoyed performances at notable venues including Carnegie Hall, the National Gallery of Art, Queen Elizabeth Hall, and Oxford University. He has also performed for broadcast on programs for BBC Radio 3, Colorado Public Radio, and the SkyArts Television Network. He has made appearances at numerous festivals including the Chatsworth Arts Festival, Sitka Music Festival, Thy Chamber Music Festival, as well as the Thy Festival’s 2019 Autumn Tour. Gonzalez is a member of The Knights and the Sphinx Virtuosi, performing extensively with both ensembles across the United States and abroad. Outside of these ensembles, he has performed with the Saint Paul

Chamber Orchestra, Minnesota Orchestra, and Cabrillo Festival Orchestra, among others. Gonzalez enjoys regular collaborations with the Chineke! Foundation, appearing across the United Kingdom and Europe as both guest concertmaster and chamber musician with various Chineke! ensembles. As a former member of the New World Symphony, he regularly served as concertmaster to Michael Tilson Thomas and other distinguished guests. In addition, he was honored to perform as part of a celebration to MTT at the 2019 Kennedy Center Honors. As an educator, Gonzalez has served on the faculty of Carnegie Hall's National Youth Orchestra Program, the Sphinx Performance Academy, and as guest faculty for the Iberacademy in Medellín, Colombia. He has also enjoyed giving masterclasses at North Carolina School of the Arts, Montclair State University, and Skidmore College, among others. Gonzalez completed his formal studies at the Eastman School of Music, Rice University, and Carnegie Mellon University. His principal mentors include Shakeh Ghoukasian, Oleh Krysa, Paul Kantor, and Cyrus Forough. Formal chamber music studies were under Carol Rodland,Mimi Hwang, Norman Fischer, James Dunham, and the Ying Quartet. He performs on a violin made for him by Mario Miralles in 2017.

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The ensemble evolved out of friendly late-night chamber music sessions at the home of violinist Colin Jacobsen and cellist Eric Jacobsen. Since the orchestra’s incorporation in 2007, the brothers have both served as its artistic directors. The Knights The Knights The Knights are a Grammynominated collection of adventurous musicians, dedicated to transforming the orchestral experience and eliminating barriers between audiences and music. The Knights have performed and recorded with such renowned soloists as Yo-Yo Ma, Dawn Upshaw, Béla Fleck, and Gil Shaham, and appeared in venues including Vienna’s Musikverein and New York’s Carnegie Hall. Recent highlights include a thrilling performance as part of the opening season of the new Hamburg Elbphilharmonie and an appearance as the first American orchestra-in-residence at the Festival de Pâques in Aixen-Provence, performing multiple concerts throughout the city, including programs with pianist Jean-Yves Thibaudet and violinist Renaud Capuçon. The Knights recently presented a fully-staged version of Leonard Bernstein’s Candide in honor of his 100th birthday at both the Tanglewood Music Festival and the Ravinia Festival. They gave the premiere of The Head and the Load with international artist William Kentridge at London’s Tate Modern and New York’s Park Avenue Armory.

Violin Colin Jacobsen Alex Gonzalez Alex Fortes Guillaume Pirard Christina Courtin Michelle Ross Emily Daggett Smith Ben Russell Deborah Wong Viola Mario Gotoh Kyle Armbrust Miranda Sielaff Cello Karen Ouzounian Caitlin Sullivan Laura Metcalf Bass Shawn Conley Harpsicord Steven Beck Conductor Eric Jacobsen

Jazz Festival

Presented in Collaboration with Jazz at Lincoln Center Saturday / July 31 / 1:00pm Closing set at 7:30pm

/ Venetian Theater

Sean Jones’ Dizzy Spellz featuring Brinae Ali, tap dancer, vocalist 1:00pm / Endea Owens & The Cookout / Friends Field 1:15pm / Christina Carminucci, tap dancer & Leonid Morozov-Vintskevich, guitar / Sunken Garden 2:00pm / Alexa Tarantino Quartet / Venetian Theater 2:00pm / Family Set: Endea Owens / East Lawn 3:00pm / Brandon Goldberg Trio / Friends Field 3:15pm / Godwin Louis & Jonathan Barber / Sunken Garden 4:00pm / Charles Turner & Uptown Swing / Venetian Theater 4:00pm / Nicole Glover & Daniel Duke / East Lawn 5:00pm / Jeremy Bosch & Friends: Salsa Meets Jazz / Friends Field 5:30pm / Larry Grenadier / Sunken Garden 6:15pm / Summer Camargo Trio / Roving on Friends Field The Jazz Festival is made possible by generous support from Peter & Katherine Kend.

Friends Field sponsored by Caramoor would like to thank our cultural partners:

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Summer 2021

About the Artists.

Sean Jones, trumpet Music and spirituality have always been fully intertwined in the artistic vision of trumpeter, bandleader, composer, educator, and activist Sean Jones. Singing and performing as a child with the church choir in his hometown of Warren, Ohio, Jones switched from the drums to the trumpet at the age of 10. Jones is a musical chameleon and is comfortable in any musical setting, no matter what the role or the genre. He is equally adept in being a member of an ensemble as he is at being a bandleader. He turned a six-month stint with the Jazz at Lincoln Center Orchestra into an offer from Wynton Marsalis for a permanent position as lead trumpeter, a post he held from 2004 to 2010. In 2015, Jones was tapped to become a member of the SFJAZZ Collective, in which he was a member until 2018. During this time, he managed to keep a core group of talented musicians together under his leadership, forming the foundation for his groups that have produced and released eight recordings on Mack Avenue Records. The latest is his 2017 release Sean Jones: Live from the Jazz Bistro.

Jones has been prominently featured with a number of artists, recording and/or performing with many major figures in jazz, including Illinois Jacquet, Jimmy Heath, Frank Foster, Nancy Wilson, Dianne Reeves, Gerald Wilson, and Marcus Miller. Jones was selected by Miller, Herbie Hancock, and Wayne Shorter for their Tribute to Miles tour in 2011. Jones has also performed with the Cleveland, Pittsburgh, and Youngstown Symphony Orchestras, as well as Soulful Symphony in Baltimore and in a chamber group at the Salt Bay Chamber Festival. An internationally recognized educator, Jones was recently named the Richard and Elizabeth Case Chair of Jazz at John Hopkins University’s Peabody Institute in Baltimore. Before coming to Peabody, he served as the Chair of the Brass Department at the Berklee College of Music in Boston. Brinae Ali, tap dancer / vocalist Alexandria “Brinae Ali” Bradley, born and raised in Flint, Michigan, is a interdiscplinary artist who believes in using the power of the arts to transform the conditions of the human spirit. When not traveling and performing, she is giving back to young people and grassroots organizing. Currently, Bradley is the Artistic Director of Tapology, Inc., a youth based outreach program in Flint, that seeks to preserve the art of tap and jazz culture through education and performance. As an educator, she has collaborated with many other organizations as well. Ali has traveled and performed around the world

including with the U.S. Embassy for its cultural exchange program in Russia celebrating National Tap Dance Day. Her Broadway and off-Broadway experiences include serving as assistant dance captain for Shuﬄe Along: the 1921 Sensation And All That Followed, choreographed by Savion Glover and directed by George C.Wolfe; company member of NY and Touring cast of STOMP; special feature in the Cotton Club Parade, which later became After Midnight, under the musical direction of Wynton Marsalis; and much more.

Grenadier’s trademark upright bass work has been a longstanding fixture in the bands of pianist Brad Mehldau and guitarist Pat Metheny, and has graced albums by a broad array of prestigious artists, including Paul Motian, Charles Lloyd, Enrico Rava, Danilo Perez, Chris Potter, Joshua Redman, and Kurt Rosenwinkel. He’s also found time to make three albums with his own acclaimed trio, Fly, and to record five more with his wife, noted singer-songwriter Rebecca Martin.

Larry Grenadier, bass

“Even after all these years, playing music is still a learning experience for me,” he concludes. “I’m always working on the technical aspects of my playing, but at the same time, I know that what happens on stage between musicians isn’t about that. The level of telepathy and intuition that exists in music, especially in jazz, is a constant reminder of what we’re capable of, both inside and outside of music.”

As one of contemporary jazz’s most respected and accomplished bassists, Larry Grenadier has built an expansive body of work that encompasses a variety of significant projects with many of the genre’s most inventive and influential musicians. Over the course of a performing and recording career that spans three decades, he’s earned a far-reaching reputation, for his instrumental talent, instantly recognizable tone, and the sensitivity, imagination, and creative curiosity that have established him as an in-demand sideman and valued collaborator.

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“I’m hyper-aware of the balance between a studied approach to music and a more primal, instinctual understanding of the way music works,” Grenadier states. “Having access to technique is useful in being able to communicate and express yourself musically. But music is about intuition and emotion. Compassion, strength, flexibility, and stamina are all important qualities in playing music, but the most important thing is the ability to listen.”

was featured in The Wallstreet Journal and Billboard Magazine.

Endea Owens, bass Lincoln Center’s Emerging Artist of 2019 and Detroit native Endea Owens is a vibrant up-and-coming bassist. She has been mentored by the likes of Marcus Belgrave, Rodney Whitaker, and Ron Carter. She has toured and performed with Wynton Marsalis, Jennifer Holliday, Diana and Rhonda Ross, Jazzmeia Horn, Dee Dee Bridgewater, Steve Turre, and Lea DeLaria from the Netflix Original Series Orange is The New Black. Owens has taught and performed in Cuba, Trinidad and Tobago, London, and numerous other countries. Owens is the bassist for Jon Batiste’s Stay Human and the house bassist for The Late Show with Stephen Colbert. Recently, she recorded bass for the film Judas and The Black Messiah as well as recording with the artist H.E.R for her widely acclaimed Super Bowl LV performance. She has been featured and performed on ABC7 News (New York) with Sandy Kenyon, ABC7 “Here and Now:” Live with Kelly and Ryan, The Late Late Show with James Corden, Spotify Music Sessions, Pix 11 News, and The Indie Beat with the Manhattan Neighborhood Network. In addition to graduating from The Juilliard School in 2018, Owens graced the cover of Japan’s The Walker’s Magazine and

In June of 2020, during the midst of the pandemic, she founded The Community Cookout, an organization dedicated to distributing hundreds of hot meals and free music concerts to neighborhoods in NYC. The Community Cookout was featured in The New York Times as well as Pix11 News. To date, her organization has helped feed close to 1,500 New Yorkers and has hosted over a dozen free music concerts. Recently, Owens composed an original piece about the life of Ida B. Wells entitled Ida’s Crusade for the Jazz at Lincoln Center Orchestra. In addition, she has also written for the makeup company Glossier, and she has been commissioned to write works for Poland and Italy. Her debut album Feel Good Music is set for release in June of 2021.

Alexa Tarantino, saxophone Alexa Tarantino is an award-winning, vibrant, young jazz saxophonist, woodwind doubler, composer, and educator. Alexa’s “lovely, ardent way of improvising,” and “sharply

plotted but gracefully unencumbered straight-ahead jazz [compositions]” (The New York Times) establish her individual voice which shines through as a dynamic performer and educator. Tarantino was recently named one of the “Top 5 Alto Saxophonists of 2019” by the JazzTimes Critics’ Poll and nominated as a “Rising Star - Alto Saxophone” by Downbeat Magazine’s 2020 Critics’ Poll. She has performed regularly as a leader and sidewoman in a wide variety of ensembles and genres including the Cecile McLorin Salvant Quintet, Cecile McLorin Salvant’s OGRESSE Ensemble, Ulysses Owens Jr.’s Generation Y, LSAT (quintet coled with baritone saxophonist Lauren Sevian), Arturo O’Farrill and The Afro-Latin Jazz Orchestra, Sherrie Maricle and the DIVA Jazz Orchestra, the Alexa Tarantino Quartet. Firefly, Tarantino’s third record for Posi-Tone Records, was released on April 30, 2021. Her previous album, Clarity, peaked at #9 on the JazzWeek Charts and landed at #54 for JazzWeek’s Top 100 records of 2019. Tarantino is currently on faculty for Jazz at Lincoln Center’s Youth Programs (High School Jazz Academy, Let Freedom Swing/Jazz for Young People) and represents the organization as a Clinician and Educator for various schools, festivals, and workshops. She holds a Master’s degree in Jazz Studies from The Juilliard School and Bachelor’s degrees in Jazz Saxophone Performance and Music Education from the Eastman School of Music. Tarantino is Founder and Director of the Rockport Jazz Workshop in Caramoor

Rockport, Massachusetts and CoFounder of A Step Ahead Jazz with pianist Steven Feifke. In February 2021, she launched her new virtual community-style jazz education platform, The Alexa Approach. Tarantino is a Vandoren Artist and Yamaha Performing Artist.

Brandon Goldberg, piano Dezron Douglas, bass Mark Whitfield, Jr., drums Brandon Goldberg, now 15 years old, has been playing piano and making music since he was three years old. He found his passion for jazz by listening to his favorite artists including Herbie Hancock, Bill Evans, Oscar Peterson, Charlie Parker, Miles Davis, and John Coltrane. Goldberg has performed at the Newport Jazz Festival, Litchfield Jazz Festival, Bravo Niagara Festival of the Arts, as well as some of the most prestigious jazz venues including Jazz at Lincoln Center, Dizzy’s Club, Birdland Theatre, The Blue Note, Mezzrow, The Apollo Theater, The Side Door in Old Lyme, Keystone Korner in Baltimore, and the FAENA Theater in Miami,Florida.

He recently finished recording his second album with legendary drummer Ralph Peterson, Jr., saxophonist Stacy Dillard, trumpet player Josh Evans, and the great Luques Curtis on bass. This album, featuring mostly original music by Brandon, will be released later this year. Goldberg’s debut album, LET’S PLAY!, was released in April 2019 to rave reviews garnering four stars from Downbeat Magazine and reaching number seven on the Jazz Week charts. LET’S PLAY! features veteran musicians Ben Wolfe on bass, Donald Edwards on drums, and special guest Marcus Strickland on tenor saxophone. The album has three original compositions and six standards and is imbued with a pure love and joy for the music. Downbeat Magazine recognized Goldberg as the Student Music Awards winner in the Jazz Soloist and Original Composition categories in 2018, 2019, and 2020. In 2020, he also won the Jazz Arrangement category for his arrangement of Blackbird and most recently, in 2021, he received Outstanding Performance in the Jazz Soloist and Original Composition categories.

He has been part of the Fine Arts Concert Series at WDNA Radio and has performed at the WDNA Miami Downtown Jazz Festival and the FAENA Summer Jazz Series. Goldberg works closely with the Jazz Foundation of America (JFA) and performed at the JFA annual Gala – A Great Night in Harlem at the famous Apollo Theater in New York, where he presented McCoy Tyner with his Lifetime Achievement Award in 2016.

Godwin Louis, alto saxophone

Goldberg had some breakthrough moments at a young age when he appeared on National television in Season 1 and Season 2 of NBC’s Little Big Shots, The Steve Harvey Show, and The Harry Connick, Jr. Show.

Godwin Louis, alto saxophonist, was born in Harlem, NY and began playing saxophone at age nine. Louis grew up in Bridgeport, CT and Port au Prince, Haiti. He was a finalist in the Thelonious Monk Institute of Jazz Saxophone Competition. He has performed around the world, including: Mali, Senegal, Togo, France, Finland, Spain, United Kingdom, Italy, Russia, Azerbaijan, United Arab Emirates, Qatar, Venezuela, Colombia, South Korea, Indonesia, and Australia.

In his hometown Miami, FL, he has been a featured performer with The Miami Symphony Orchestra and the Jazz Roots Series at the Adrienne Arsht Center for Performing Arts under the direction of Shelly Berg.

Louis is a graduate of Berklee College of Music and the prestigious Thelonious Monk Institute for Jazz Performance. He has studied and performed with Herbie Hancock, Clark Terry, Roger Dickerson, Ron Carter,

Al Foster, Jack Dejohnette, Jimmy Heath, Billy Preston, Patti Labelle, Toni Braxton, Babyface, Madonna, Gloria Estefan, Barry Harris, Howard Shore, David Baker, Mulatu Astakte, Mahmoud Ahmed, Wynton Marsalis, and Terence Blanchard, to name just a few. In addition, Louis has performed as a sideman, guest soloist, and has conducted clinics and master classes worldwide. As a composer, he has received the Jerome Foundation Emerging Artist Grant, and the Jazz Gallery’s New Works Commission. As an educator, humanitarian, and ambassador, Louis has traveled from Benin to China to help promote crosscultural understanding and introduce thousands to America’s indigenous art form, through public concerts, master classes, and jam sessions. He is the founder of Experience Ayiti, a nonprofit educational, multidisciplinary arts organization. His debut album as a leader, entitled Global, was released in February 2019.

It was during his formative years that Bosch had his first professional experience as an artist, playing alongside Puerto Rican percussionist legend Giovanni Hidalgo and his AllStar Band. Suddenly, Bosch knew he was destined for a career in music. It’s been a long and transformative road since Bosch’s summers at Berklee. He has performed across the globe at concerts and festivals in Europe, Asia, Africa, South America, North America, and the Caribbean. Most recently, Bosch had the honor of performing as a bandleader at the European Parliament in Brussels, Belgium. He is currently the lead singer and flutist of the two-time Grammy Award-winning Spanish Harlem Orchestra. He has also performed numerous times with salsa icon Eddie Palmieri. As an artist, Bosch has grown to find inspiration not just in fellow musicians, but also in luminaries from a wide range of artistic paths and disciplines. From actors and actresses to writers and athletes, Bosch maintains that a powerful work ethic and dedication to one’s passion is the true source of his artistic influence. After all , the title Bosch holds goes far beyond that of ‘musician’. A classically trained composer and forwardthinking visionary, he strives to produce music that can be experienced by all the senses.

Jeremy Bosch, vocalist It didn’t take long for Jeremy Bosch’s musical talent to manifest: at the young age of 17, the prodigy received a full scholarship to attend Berklee College of Music.

Charles Turner

Nicole Glover

Charles Turner, Brooklyn-based jazz vocalist and songwriter, has taken the New York City scene by storm. Turner has performed at such venues as Dizzy’s Club Coca Cola at Jazz at Lincoln Center, Birdland, Smoke Jazz Club, and thehistoric Minton’s Playhouse in Harlem. International performances include venues in London, Paris, Madrid, Seoul, South Korea, and New Zealand.

New York-based Saxophonist Nicole Glover has been described by the press as a “precocious talent.” Recently, she has been in bands led by Reggie Workman, Kenny Washington, Renee Rosnes, Billy Hart, Gene Perla, Rodney Green, and Jason Brown, among others. In 2019, she appeared with Latin Grammy-winning Buika, Blue Note supergroup ARTEMIS, and Rodney Green’s “Jackson Miller.” Additionally, the Nicole Glover Trio was featured in a weekly residency at SMOKE Jazz Club, as well as local venues such as Smalls Jazz Club and Fat Cat. Glover also appeared at Minton’s Playhouse in Harlem and the Staten Island Jazz Festival with 2020 NEA Jazz Master and 2020 Guggenheim Fellowship recipient Reggie Workman.

Turner’s Sophomore Album, Single & In Love, produced by Grammy Award -winning drummer Ulysses Owens Jr., has received critical acclaim. A Berklee College of Music Graduate, Turner has taught at The American School of Modern Music in Paris and in the Jazz for Young People program at Jazz at Lincoln Center, and he has conducted masterclasses in various high schools and universities including N.Y.U. Through Charles Turner & Uptown Swing, Turner continues to bring the swing and spirit of Harlem to music lovers around the world.

Glover has performed at a multitude of venues in NYC, ranging from clubs such as Smalls, Mezzrow, Smoke, Fat Cat, Birdland, Blue Note, Dizzy’s, Minton’s, Nublu, 55 bar, Zinc, The Django, and Le Poisson Rouge, to larger performance venues and festivals such as SummerStage, Staten Island Jazz Festival, and Winter Jazzfest. Glover is an experienced educator and clinician. She was involved with

Jazz at Lincoln Center’s Jazz For Young People educational outreach program in various NYC schools. Currently on faculty with the New York Jazz Workshop, Glover is a teacher for multiple charter schools through the Jazz Empowers program. Daniel Duke Daniel Duke is a jazz bassist and composer who performs regularly in New York City and the surrounding area. He has appeared at Smalls, Mezzrow, Birdland, Smoke, Dizzy’s, Minton’s, and other major jazz venues. He has worked with some of the most renowned jazz bandleaders locally and internationally, including Vincent Herring, JD Allen, Ray Gallon, and Michael Kanan, and played in the bands of up-and-coming pianist Davis Whitfield and saxophonist Nicole Glover. He has accompanied the acclaimed vocalist Jane Monheit, and recorded albums with rising star singers Lucy Yeghiazaryan and Cait Jones. Duke has performed alongside legendary drummer Louis Hayes, and has worked in the rhythm section with Bill Goodwin, Dave Kikoski, Gerry Gibbs, Jason Brown, and many others. Born in Baton Rouge, Louisiana, he grew up in St. Paul, Minnesota and currently resides in Harlem.

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Christina Carminucci, tap dancer Christina Carminucci, born and raised in New Jersey, is a New York City based tap dancer. In her youth, she trained as a multidisciplinary dancer at a local studio seeking out further tap dance training at Broadway Dance Center, Steps on Broadway, and the American Tap Dance Foundation (Tap City Youth Ensemble). While earning her BBA in Arts and Entertainment Management at Pace University, Carminucci was fortunate enough to study extensively under the mentorship of Derick K Grant. She can now be found performing, choreographing, producing and teaching. This proud Jacob’s Pillow Tap Program alumna has appeared in works by many of today’s greats, including Dormeshia, Derick K Grant, Brenda Bufalino, and Michelle Dorrance (Dorrance Dance). Over the past few years, she has performed throughout the NYC area both in acclaimed venues, including The Joyce Theater, Duke on 42nd, Jazz at Lincoln Center, New Victory Theater, and Brooklyn Academy of Music (BAM), and on reputable award show stages, including the New York City Capezio A.C.E Awards and the 2016 Bessie Awards.

“Nucci” has worked internationally as an ensemble member of Christopher Erk’s Tap Factor, performing two original shows on board the #1 rated cruise ship in the world, the MS Europa 2 of Hapag-Lloyd Cruises. Interested in creating her own work, Carminucci co-produced On That Note, a full-length evening of tap dance and live jazz performance in New York City at Feinstein's/54 Below (2018), Teatro Sea (2017), and Don’t Tell Mama cabaret club (2016).

The Mare Nostrum Elements 2019 Emerging Choreographer debuted her first self-produced, one-woman show When the Smoke Clears at the Triad Theater in NYC (2019). Most recently, she launched The Solidarity Series, a virtual and in-person livestreamed performance experience geared toward connecting tap dance and jazz music with the world. Passionate about sharing her love and knowledge of the art form, she teaches regularly at Steps on Broadway in NYC and at various workshops around the country and world.

LJOVA and the

KONTRABAND Concert on the Lawn

Thursday, August 5 / 7:00pm / Friends Field Tickets start at $55 Drawing influences from seemingly every type of music — Western classical, klezmer, tango, jazz, and Gypsy music — Ljova and the Kontraband defy musical boundaries. The musicians of this ensemble hail from Russia, Lithuania, the U.S., and Switzerland, each bringing their own unique energy and joy to the performance. With family backgrounds steeped in traditional folk music, Ljova and the Kontraband embrace the music of their ancestors while ushering these traditions into the future.

T I C K E T S / caramoor.org / 914.232.1252

Apollo’s Fire

The Cleveland Baroque Orchestra Sunday/ August 1 / 4:00pm / Venetian Theater Jeannette Sorrell, Artistic Director Erica Schuller, soprano Brian Giebler, tenor

LOVE IN VENICE

I. Party at the Palazzo ANTONIO VIVALDI (1678-1741)

Ciaccona in C, RV 114 (1729)

CLAUDIO MONTEVERDI (1567-1643)

Zefiro torna from the Scherzi Musicali (1632)

ANTONIO VIVALDI

Concerto in A Minor for Two Violins, RV 522 (1720)

Erica Schuller, soprano

AllegroLarghetto e spiritosoAllegro Olivier Brault, violin Susanna Perry Gilmore, violin

II. L'Amore è difficile ANDREA FALCONIERI (1585-1656)

Passacaglia & Ciaccona, from Canzone & Sinfonia, Bk 1 (1650)

BARBARA STROZZI (1619-1677)

Che si può fare? (What Can You Do?)

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Erica Schuller, soprano

Summer 2021

NICOLA PORPORA (1686-1768) Arr. by J. Sorrell

Alto Giove

CLAUDIO MONTEVERDI

Pur ti miro from L’incoronazione di Poppea (1643)

Emi Tanabe, violin Olivier Brault, violin

Damigella tutta bella from the Scherzi Musicali Erica Schuller, soprano Brian Giebler, tenor

III. Summer Madness CLAUDIO MONTEVERDI

Ohimè, ch’io cado (Alas, I tumble down) (1624) Erica Schuller, soprano

ANTONIO VIVALDI

Summer from Le Quattro Stagioni (The Four Seasons), Op. 8 Susanna Perry Gilmore, violin

About the Music. Fire And Love, Italian Style In Venice there is an old saying … “L’Italiano è la lingua della musica, degli angeli, e dell’ Amore.” (“Italian is the language of music, of the angels, and of Love.”) Italians are passionate about art and love. In a piazza in Tuscany on a hot summer night, it is not unusual to see two young men get into a fist fight over a girl. The Italian language is particularly emotional, being full of strong inflections and accents. Did the language develop in this way because of the emotional temperament of its people? Or vice versa? Whichever is the case, it’s clear that composers from Monteverdi to Vivaldi and beyond have always been aware of their language’s particular ability to convey feelings of love — not to mention the jealousy and despair that often goes along with amorous adventures. The beautiful palazzi that line the grand canal of Venice were the scenes of lively music parties for hundreds of years. In the 17th century, Claudio Monteverdi was the Music Director at the great basilica of San Marco, but he also provided the aristocrats of Venice with plenty of love songs and party music. About 100 years later, Antonio Vivaldi walked those same streets, and provided the Venetians with passionate operas as well as lively instrumental concertos for the city’s famous orchestra of young ladies. One of the themes that runs through our program is the use of popular renaissance dance tunes that became

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ground basses, or simple repeating bass lines and chord patterns. During the period around 1590–1630, these ground bass tunes were the pop music of Italy and Spain. But they also inspired great composers such as Monteverdi, Strozzi, Corelli, and later Vivaldi to write virtuoso instrumental and vocal variations over the repeating bass lines. Popular ground basses included the Ciaccona, the Passacaglia, the Romanesca (a dance from Rome), the Bergamasca (a dance from Bergamo), and the Folia (meaning “Madness”). You will hear some of these tonight. Our program opens with two examples of the lively Ciaccona ground bass, with its dance-like and syncopated rhythms. Monteverdi’s Zefiro torna (Spring breezes return) makes delightful use of the Ciaccona as a setting for a poem by the prominent Italian poet Rinuccini. The lyrics celebrate the return of spring and the joys and sorrows of love that tend to come with it. Vivaldi’s Ciaccona in C gives violinists a playful chance to play lively variations over the bass. Monteverdi’s younger colleague, Barbara Strozzi, also provided the Venetian aristocrats with music for their salons. She was a fascinating figure — one of the many illegitimate daughters of Venetian nobility. Her father is thought to have been Giulio Strozzi, an aristocratic poet and librettist who helped Barbara in her career as a singer and composer. As a woman in the 17th century, Barbara had very few rights, no support from the Church, and no consistent patronage

from the nobility. Nevertheless, she became one of the most published composers of her time, with eight volumes of her own music in print. Strozzi’s many solo songs often evoke the anguish of a lover mistreated. The haunting song, Che Si Può Fare (What can one do?) is based on the passacaglia ground bass — a repeating pattern of four descending notes, often used to express angst and despair. Venice was filled with illegitimate children. This led to many orphanages, including one that became very famous: the Ospedale della Pietà. This large home for the illegitimate daughters of the nobility provided an elite artistic and musical education for many bright and talented girls. When the Church leaders decided in 1704 that a certain priest named Antonio Vivaldi was not actually suited for the priesthood, they sent him to become the music teacher at the Ospedale. For the next 30 years, Vivaldi served as music-master to the elite top-level orchestra of the orphanage — the showcase ensemble. In this role, he composed about 500 concertos for his young female protégés. Since Vivaldi’s concertos were written primarily to be played by teenage girls, he infused them with youthful energy and a kind of rhythmic drive that, in my opinion, often resembles rock n’ roll. Vivaldi had a meteoric career, achieving Beatles-level popularity. It is not surprising that his concertos are by far the most popular pieces in the classical repertoire. Vivaldi was the great developer of ritornello form — the form that became the model for concerto-writing by all European composers of the century, including J.S. Bach. The Italian word

“ritornello” means something that returns. The same word is used to mean the refrain in pop music — and indeed, Vivaldi’s ritornellos convey the bold and driving sense of rhythm and melody that is more commonly associated with pop music. After all, he was writing for teenagers. One of Vivaldi’s colleagues at the Pietà was Nicola (Antonio) Porpora, a singing teacher and opera composer. His aria “Alto Giove,” from the opera Polifemo, is so beautiful that I felt compelled to arrange it as an instrumental piece. Polyphemus, the giant son of Poseidon, loved the seanymph Galatea, and wooed her with no success. A sense of love and longing rings through Porpora’s beautiful harmonies. In my arrangement, the vocal line is given to a solo violinist, who is eventually answered by a companion violinist in a possibly flirtatious encounter. In 1725 Vivaldi published a collection of 12 concertos titled Il cimento dell’Armonia e dell’Inventione (The Contest Between Harmony and Invention). With this curious title, he unleashed a revolutionary question: should music simply be about harmony, or could it serve to illustrate inventive ideas, events, moods, natural scenes, etc? Vivaldi set out to prove that it could do both. The first four concertos of the collection, titled Le Quattro Stagioni (The Four Seasons), are virtuoso demonstrations of music in the service of storytelling — in this case, the story of Nature and her various moods. The “Summer” concerto is a brilliant evocation of those hot summer days in Italy, when young men get into fights over a beautiful girl… We hear

the sighing in the heat, the lazy buzzing of flies and wasps, and a stunning depiction of a thunderstorm. Anyone who has been in Italy during a summer storm will appreciate how the torrent of cascading violin scales evokes the onslaught of rain when the clouds burst.

We hope this evening of Italian romance sends you home inspired. — Jeannette Sorrell Cleveland 2021

WATKINS FA M I LY HOUR Presented in Collaboration with City Winery

Friday, August 6 / 8:00pm / Venetian Theater Tickets start at $40 What began in 2002 as a musical variety show produced by siblings Sean and Sara Watkins, Watkins Family Hour has grown into a bluegrass collective embracing the power of shared music. In the duo’s latest project, they delve into the magic that can only come from creating as brother and sister. T I C K E T S / caramoor.org / 914.232.1252

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Texts and Translations. CLAUDIO MONTEVERDI (1567–1643) Zefiro torna from the Scherzi Musicali Poem by Ottavio Rinuccin Zefiro torna e di soavi accenti l'aer fa grato e'il pié discioglie a l'onde e, mormoranda tra le verdi fronde, fa danzar al bel suon su'l prato i fiori.

Zephyr returns and with sweet accents Makes the air pleasant and ruffles the waves, And, murmuring among the green boughs, Makes the flowers on the meadow dance to the sweet sound.

Inghirlandato il crin Fillide e Clori note temprando lor care e gioconde; e da monti e da valli ime e profond raddoppian l'armonia gli antri canori.

With garlanded tresses Phyllis and Cloris Sing sweet and joyful notes of love; And from the high mountains and deep valleys The singing caverns redouble their strains.

Sorge più vaga in ciel l'aurora, e'l sole, sparge più luci d'or; Più puro argento fregia di Teti il bel ceruleo manto.

Yet fairer the dawn rises in the sky, and the sun sheds more golden light; Purer silver adorns Thetis’s fair cerulean cloak.

Sol io, per selve abbandonate e sole, l'ardor di due begli occhi e'l mio tormento, come vuol mia ventura, hor piango hor canto.

Only I, in deserted and lonely woods, Tormented by the ardor of two lovely eyes, By turns, as fortune turns, I cry and sing.

BARBARA STROZZI (1619–1677) Che si può fare? (What Can You Do?) Lyrics by Gaudenzio Brunacci Che si può fare le stelle rubelle non hanno pietà, che s'el cielo non da un influso di pace al mio penare che si può fare. Che si può dire

What can one do if the rebel stars have no pity; what can be done if heaven has no peaceful influence to soothe my sorrows?

da gl'astri disastri mi piovano ogn'or; che si può dire che le perfido amer un respiro di niega al mio martire? Che si può dire.

What can one say? From the stars, disasters rain upon me at all hours; what can be said if perfidious love denies the slightest repose to my martyrdom? What can be said?

CLAUDIO MONTEVERDI Pur ti miro from L’incoronazione di Poppea Pur ti miro, pur ti godo, Pur ti stringo, pur t'annodo, Più non peno, più non moro, O mia vita, o mi tesoro.

I adore you, I embrace you, I desire you, I enchain you, no more grieving, no more sorrow, O my dearest, O my beloved.

Io son tua... tuo son io... Speme mia, dillo, dì, Tu sei pur, speme mia L'idol mio, dillo, dì, Tu sei pur, sì, mio ben, Sì, mio cor, mia vita, sì. Pur ti miro, pur ti godo…

I am yours, O my love, tell me so, You are mine, mine alone, O my love. Feel my heart, yes my love, Yes, my heart, my life, yes. I adore you, I embrace you…

CLAUDIO MONTEVERDI Damigella tutta bella from the Scherzi Musicali Damigella tutta bella Versa versa quel bel vino Fa che cada la rugiada Distillata di rubino. Ho nel seno Rio veneno Che vi sparse Amor profondo, Ma gittarlo e lasciarlo Vo’ sommerso in questo fondo. Damigella tutta bella Di quel vin tu non mi sazi, Fa che cada la rugiada Distillata da Topazi. (Topatij)

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Beautiful damsel, pour that sweet wine. Make fall the dew distilled from rubies. In my breast there is wicked poison that love placed deeply there, but I cast it out and leave it submerged in these depths. Beautiful damsel, with that wine you do not satisfy me. Pour for me instead the rum distilled from topaz!

Nova fiamma più m’infiamma Arde il cor foco novello, Se mia vita non s’aita Ah! ch’io vengo un Mongibello.

The new flame inflames me more. My heart burns with new fire. If my life doesn’t get better, I will erupt like Mt. Etna.

Ma più fresca ogn’hor cresca dentro ne si fatt’arsura, Consumarmi e disfarmi per tal modo ho per ventura.

But every hour, fresh heat grows within me, I am fated in this way to be consumed and undone.

CLAUDIO MONTEVERDI Ohimè, ch’io cado (Alas, I tumble down) Lyrics by Carlo Milanuzzi Ohimè ch'io cado, ohimè ch'inciampo ancor il piè Pur come pria, E la sfiorita mia caduta speme. Pur di novo rigar Con fresco lagrimar Hor mi conviene.

Alas, I am falling, Alas, my foot trips and stumbles just like before. And my crushed hope withers. Must I now once again water my sorrow with fresh tears?

Lasso, del vecchio ardor Conosco l’orme ancor Dentro nel petto; Ch’ha rotto il vago aspetto E i guardi amati Lo smalto adamantin Ond’armaro il meschin Pensier gelati.

I am weary, yet still feel in my heart the scars of this former passion. For your beautiful face and beloved looks have broken my enamel defense behind which I had armed myself with cold thoughts.

Folle, credev’io pur D’aver schermo sicur Da un nudo arciero; E pur io sí guerriero Hor son codardo Ne vaglio sostener Il colpo lusinghier D ’un solo sguardo.

I foolishly believed I had a solid shield against the naked archer. Yet I, once so warlike, am now a coward and cannot defend myself against the flattering blow of a single glance.

O Campion immortal Sdegno; come sí fral Hor fuggi indietro; A sott’armi di vetro Incanto errante

O immortal champion, – Disdain; you have fled! You ran away. With weapons of glass have you led me,

M’hai condotto infedel Contro spada crudel D’aspro diamante.

faithless one, to face a fierce sword as hard as diamond.

O come sa punir Tirann’amor l’ardir D’alma rubella! Una dolce favella, Un seren volto Un vezzoso mirar, Sogliono rilegar Un cor disciolto.

Oh, tyrannous Love knows how to punish the boldness of a rebellious soul – a soft word, a pretty face, a gentle look… These things know how to bind a melted heart.

Occhi belli, ah se fu Sempre bella virtù Giusta pietate! Deh voi non mi negate Il guardo e’l riso Che mi sa la prigion Per sí bella cagion Il Paradiso.

Eyes, lovely eyes! Ah, if only virtue were justly rewarded. Don’t deny me your gaze and lovely smile! For the sake of those eyes, I am imprisoned – but it is paradise to me.

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About the Artists CDs, including eight bestsellers on the Billboard classical chart and a 2019 Grammy Award-winner. Her recordings include the complete Brandenburg concerti and harpsichord concerti of Bach; Bach’s St John Passion; Handel’s Messiah; and the Monteverdi Vespers, among others.

Jeanette Sorrell, Artistic Director Grammy Award-winning conductor and harpsichordist Jeannette Sorrell is recognized internationally as one of today’s most compelling interpreters of Baroque and Classical repertoire. She studied conducting under Leonard Bernstein and Roger Norrington at the Tanglewood and Aspen music festivals, and harpsichord with Gustav Leonhardt in Amsterdam. She won both First Prize and the Audience Choice Award in the Spivey International Harpsichord Competition, competing against over 70 harpsichordists from Europe, Israel, the U.S., and the Soviet Union. She is the founder and artistic director of Apollo’s Fire, and has led the renowned period ensemble in sold-out concerts at Carnegie Hall, London’s BBC Proms, Madrid’s Royal Theatre, the Tanglewood and Ravinia festivals, Boston’s Early Music Festival, the Library of Congress, and the Metropolitan Museum of Art (New York), among others. She and her ensemble have built one of the largest audiences of any Baroque orchestra in North America. Sorrell and Apollo’s Fire have released 26 commercial

In demand with symphony orchestras and period groups alike, Sorrell has repeatedly conducted the Pittsburgh Symphony, St. Paul Chamber Orchestra, Utah Symphony, and New World Symphony, and has also led the National Symphony at the Kennedy Center, the Los Angeles Chamber Orchestra, Seattle Symphony, Opera St. Louis with the St. Louis Symphony, Philharmonia Baroque (San Francisco), the Florida Orchestra, Calgary Philhamonic, North Carolina Symphony, and the Royal Northern Sinfonia (U.K.), among others. Upcoming debuts include the Royal Liverpool Philharmonic. Sorrell is the subject of the 2019 documentary by Academy awardwinning director Allan Miller, titled Playing With Fire. She has attracted national attention and awards for her creative programming, which has brought many new listeners to early music through the use of contextual and dramatic elements. She received an honorary doctorate from Case Western University and an award from the American Musicological Society.

Recent projects of note include performances with The Boston Early Music Festival, Ars Lyrica Houston, New Trinity Baroque Orchestra, Great Lakes Baroque, and The Lincoln Trio. She also joined Apollo’s Fire on their 2018 tour of Monteverdi’s Orfeo, singing the roles of La Musica and Euridice. Her performances were praised as “powerful” and “radiant.” Erica Schuller, soprano Erica Schuller, soprano, has been praised for her “lively personality, abundant charm, and luscious vocalism” and “crystalline voice,” and is recognized for bringing committed artistry to a broad musical repertory. Her affinity for Baroque repertoire has brought her increasing attention from some of the country’s finest early music ensembles. This past season, Schuller reprised her role as Vespetta in Telemann’s Pimpinone with Haymarket Opera to great acclaim. Her performance was described as “show stealing” by Chicago Classical Review. She joined Odyssey Opera in Boston, performing the role of Erasto/Amore in Gluck’s Paride ed Elena, and was hailed as “brilliant” by The Boston Music Intelligencer and “an absolute delight” by Edge Media Network. She also made her debut performance with Chicago’s Third Coast Baroque Ensemble, presenting the wickedly difficult cantata Lucrezia by G.F. Handel. Future engagements include returning to Haymarket Opera in Chicago, where she will perform the role of Poppea in Monteverdi’s L’incoronazione di Poppea opposite countertenor Kangmin Justin Kim.

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Brian Giebler, tenor Brian Giebler, tenor, praised for his “lovely tone and deep expressivity” by The New York Times, established an impressive career singing virtuosic and eclectic repertoire “with shine and clarity” (Opera News). Whether performing Handel’s Semele with Harry Bicket and The English Concert or Stravinsky’s Threni with Franz Welser-Möst and The Cleveland Orchestra, “Giebler use[s] his high-placed tenor with great skill” (Opera Magazine). He has been heard recently with The Cleveland Orchestra, The English Concert, Boston Baroque, Boston Early Music Festival, Grand Rapids Symphony, Virginia Symphony Orchestra, Syracuse Symphoria, Charlottesville Opera, Boston Modern Orchestra Project, Mark Morris Dance Group, Handel and Haydn

Society, and regularly with the Trinity Baroque Orchestra. This season, he makes debuts with Santa Fe Pro Musica, the National Cathedral Choral Society, and in Handel’s Messiah with both the Naples Philharmonic and the Oratorio Society of New York (Carnegie Hall). Giebler took second-place in the 2018 Lyndon Woodside Oratorio-Solo Competition at Carnegie Hall, and won a People’s Choice Award at the 2018 American Traditions Vocal Competition.

Proms in London (with live broadcast across Europe), the Aldeburgh Festival (U.K.), Madrid’s Royal Theatre, Bordeaux’s Grand Théàtre de l’Opéra, and major venues in Lisbon, Metz (France), and Bregenz (Austria); as well as concerts at the Irish National Concert Hall (Dublin), the Irish National Opera House (Wexford), the Birmingham International Series (UK), the Tuscan Landscapes Festival (Italy), and Belfast Castle with a live broadcast carried by the Associated Press of Europe. Apollo’s Fire’s London 2014 concert was chosen by the Daily Telegraph as one of the Best 5 Classical Concerts of 2014, with their critic writing, “An evening of superlative musicmaking … the group combines European stylishness with American entrepreneurialism.”

Apollo’s Fire Named for the classical god of music, healing and the sun, Apollo’s Fire is a Grammy Award-winning ensemble. The period-instrument orchestra was founded by award-winning harpsichordist and conductor Jeannette Sorrell, and is dedicated to the Baroque ideal that music should evoke the various Affekts or passions in the listeners. Apollo’s Fire is a collection of creative artists who share Sorrell’s passion for drama and rhetoric. Hailed as “one of the pre-eminent period-instrument ensembles” (The Independent, London), Apollo’s Fire has performed five European tours, with sold-out concerts at the BBC

North American tour engagements include sold-out concerts at Carnegie Hall (2018), the Tanglewood Festival (2015 and 2017), the Ravinia Festival (2017 and 2018), the Metropolitan Museum of Art in NY (2013, 2014, and 2015), the Boston Early Music Festival series, and the Library of Congress, as well as concerts at Caramoor, the Aspen Music Festival, and major venues in Toronto, Los Angeles, and San Francisco. The ensemble has performed two major U.S. tours of the Monteverdi Vespers (2010 and 2014) and a nine-concert tour of the Brandenburg concertos in 2013. At home in Cleveland, Apollo’s Fire frequently enjoys sold-out performances at its subscription series, which has drawn national attention for creative programming. With about seven million views (total) of its YouTube videos, Apollo’s Fire

is one of the most popular Baroque orchestras on the worldwide internet. The ensemble also launched a Worldwide Watch-at-Home Series in October 2020, bringing its subscription concerts into the homes of patrons around the world. Apollo’s Fire has released 26 commercial CDs and won a Grammy Award in 2019 for the album Songs of Orpheus with tenor Karim Sulayman. Apollo’s Fire’s recordings have won rave reviews in the London press: “a swaggering version, brilliantly played” (The Times) and “the Midwest’s bestkept musical secret is finally reaching British ears” (The Independent). Eight of the ensemble’s CD releases have become best-sellers on the classical Billboard chart: the Monteverdi Vespers, Bach’s Brandenburg Concertos and Harpsichord Concertos, a disc of Handel arias with soprano Amanda Forsythe titled The Power of Love (Billboard Classical #3, 2015), and Jeannette Sorrell’s four crossover programs — Come to the River — An Early American Gathering (Billboard Classical #9, 2011); Sacrum Mysterium — A Celtic Christmas Vespers (Billboard Classical #11, 2012); Sugarloaf Mountain — An Appalachian Gathering (Billboard Classical #5, 2015); and Sephardic Journey — Wanderings of the Spanish Jews (Billboard World Music Chart #2 and Billboard Classical #5, Feb. 2016); and Songs of Orpheus (Billboard Classical #5, 2018).

30 years. Baroque violin teacher at McGill University, he is the director of Sonate 1704 (Québec) and of the ensemble Les Goûts Réunis (Luxembourg), and principal violin with the Four Nations Ensemble (New York) and Les Boréades de Montréal. In 2007, he completed a doctorate at the Université de Montréal on 18thcentury French music for violin and figured bass, an expertise that leads him to give lectures and masterclasses in prestigious institutions such as the Conservatoire royal de musique de Bruxelles and the Conservatoire de musique et de danse de Paris. He has participated in over 65 recordings, many award-winning. In 2011, he was awarded the medal of the Assemblée Nationale du Québec. In 2016, an article from the Canadian Broadcasting Corporation placed him among the 10 Canadian violinists that “must be known.” Susanna Perry Gilmore, violin

Olivier Brault, violin

Susanna Perry Gilmore enjoys a multifaceted career as solo artist, chamber musician, and orchestral concertmaster. Performing on both modern and period instruments and versatile in diverse styles from classical to fiddling, she is hailed as a player who is both “thrilling and sensitive” by the Memphis Commercial Appeal, “luminous and hypnotic” by the Omaha World-Herald, and “authentic with exquisite good taste” and “rich in tone, bringing musical depth and a human touch” by the Cleveland Plain Dealer.

Olivier Brault hails from Terrebonne in Québec and has brought communicative enthusiasm and scholarship to concerts throughout North America and Europe for almost

As concertmaster of the Omaha Symphony, she frequently appears as a soloist. Her recent performances include the Scottish Fantasy by Max Bruch, Tzigane by Ravel, Berg Violin

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Concerto, Prokofiev Violin Concerto No. 1, Vivaldi’s Four Seasons, Mozart Concerto No. 5, and the Korngold Violin Concerto, as well as major concertmaster solos such as Rimsky Korsakov Scheherazade and Strauss Ein Heldenleben. She holds degrees from Oxford University and the New England Conservatory and is the violinist on Apollo’s Fire’s best-selling CD recordings Sugarloaf Mountain and Sephardic Journey. Emi Tanabe, violin Emi Tanabe enjoys a multi-faceted career as a Baroque violinist and a solo crossover artist. In addition to being a core member of Apollo’s Fire, she performs with the Haymarket Opera Company and Third Coast Baroque in Chicago. With Apollo’s Fire, she has performed on tour across the U.S. and Europe. Her facility with world music styles and improvisation has led to many solo violin performances with Tango, Flamenco, Celtic, and Jazz ensembles across the country. She has appeared with such groups as the renowned Surabhi Ensemble, the Grammy-nominated children’s music band Wendy&DB, and the theater/ dinner production Teatro ZinZanni. Tanabe is a native of Japan, and holds degrees in violin performance from the University of North Texas and Roosevelt University. Apollo’s Fire and Jeannette Sorrell appear by arrangement with: Opus 3 Artists David V. Foster, President & CEO 348 West 57th Street, Suite 282 New York, NY 10016 opus3artists.com

Apollo’s Fire Violin Olivier Brault, concertmaster Susanna Perry Gilmore, asst. concertmaster Emi Tanabe principal Aniela Eddy Chloe Fedor Andrew Fouts Holly Piccoli Chiara Fasani Stauffer Viola Nicole Divall Kristen Linfante Yael Semanaud Cohen Cello René Schiffer, principal Rebecca Landell Reed Sarah Stone Contrabass Sue Yelanjian Lute William Simms Brian Kay Harpsichord Jeannette Sorrell

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 foster 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 Tony Yazbeck celebrated Gershwin in a livestream from the Music Room. Caramoor

Laura Osnes serenaded audiences in their homes with a favorite Gershwin song during our livestream Cabaret. / 20

Keeley Peckham & Mykola Ianchenko and Hillary Peckham & Maren Hall-Wieckert enjoying cocktails at the Wine Dinner.

Amy Parsons and Paul Bird in their finest hint of hippie attire.

Bob Wyckoff receives the first pour of the champagne.

Grooving the night away.

SAVE THE DATES!

Jim Attwood and Leslie Williams with their guests at the WIne Dinner.

October 23, 2021 Cabaret in the Music Room December 4, 2021 Benefit Dinner in the Rosen House Events@caramoor.org / 914.232.1492

Pat and Ian Cook perusing items at the auction table.

Caramoor

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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

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Leave a Legacy.

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.

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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 Floy & Amos Kaminski Caramoor

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 / 24

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 Caramoor

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 / 25

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 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 / 26

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 Caramoor

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 / 27

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.

Caramoor

The 2021 Summer and 2021 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.

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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 Caramoor

Those of our Caramoor Community lost to Covid19 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 / 29

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 Ilse L. Schweizer§ 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 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 nina@caramoor.org or 914.232.3681. Caramoor

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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 Andrea Becker Marie Bosch Miriam Messing Curtin Tess Dennis Joyce Dupee

Mary Farley Grethe Griffin Randy Hans Lois Intravio Barbara Jacobi Antoinette Kish Heidrun Kreuziger

Oliver Lednicer Matthew Mattoon Sylvia Mills Anne Modugno Esther Natter Eleanor Raheem Jehan Raheem

Judy Rath Clifford Ray Elizabeth Ross Judy Rubin Dale Schlein Jackie Silkowitz Lanette Spalding

We wish to thank all of the wonderful volunteers who have offered their time to Caramoor. Mickey Amdur David Amerling Galina Bakhtiarova Jane Banza Patricia Bartlett Andrea Becker Virginia Bender Judith Benjamin Gail Blumenfeld Nucene Blumenthal Gretchen Bock Arlyne Boxenhorn Lynne Brennan Diane Brizer Florence Brodley Vicci Buchman Carolyn Chiarieri Carol Christian Deborah Cohen Kathleen Cook Dorothy Cooper Marion Coughlin Tom Curley Elaine Desimone Walter Dietrich Frances DiMase Dorothy Dinhofer Jane Dorian Judy Edison Sally Factor Grace Falco Barbara Feibelmann Lois Fermann Luis Fernandez Marilyn Fisher Paul Fisher Marlene Frank Robert Fried

Donald Fried-Tanzer Nancy Fried-Tanzer Thea Fry Suchitra Ganesh Sheila Garelik Zane Garfein Michele Garrison Roger Garrison Anneliese Gastrich Paul Gherson Patricia Giacalone Kate Glynn Marie Goldberg Laurence Goodwin Susan Gould Allen Gutkin Marianne Haggerty Carol Harrigan Nancy Harrison Ursula Heinrich Elaine Hennessey Mindy Hermann-Zaidins Elfi Herrmann Patricia Higgins Audrey Hoffnung Lois Intravio Bhavani Iyer Patricia January Marjie Kern Veronica Kimball Harriette Kindle Shirley Kipnis Charlie Koenig Helen Kozupsky Marilyn Krantz Jacob Krasikov Sophia Krasikov Mark Lang

Charlotte Lang Frances Lang Genevieve Larkin Scott Lichtman Tamra Lichtman Wendy Loveless Anne Macrae William Macrae Lois Mallin Meryl Marcus Elaine Markfield Matthew Mattoon Andrea Maurizio Ann McIntyre Eve Mencher Susan Miles Jane Miller Marc Miller Marjorie Miller Richard Mills Jennifer Millman Andrea Minoff Stella Mitchell Barbara Mitchell Andrea Moffett John Morris Loretta Neuhaus Elinor Parsont Amy Passman Lewis Levi Pearson Rhoda Perkis Jeff Platt Lynn Platt Lucille Plesco Ramaa Purushothaman Judy Rath Beatrice Rieser Sal Rosati

Marion Rosley Elizabeth Ross Bert Rothman Ellen Saltzman Susan Sarch Alfreda Savarese Joan Schildwachter Robert Schloss Stephanie Schwartz Rosalyn Segner Anna Sheridan David Shields Karin Shields Marilyn Short Susan Siegel Jacqueline Silkowitz Brenda Snyder Carol Sofia Judith Spar Martin Spar Joetta Stanley John Stanley Peter Steiner Marianne Sternkopf Lisa Tabs Mark Tabs Lindley Thomasset Marilyn Tinter Bernard Tolpin Diane Tully Gennaro Stephen Ucko Cigdem Usekes Rosemary Uzzo Judy Voss Esther Weiss Harriet Zeller

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

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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 Debbie Stiles Alden L. Toevs Lucille Werlinich

Barry J. Alperin* James L. Amine* David Barber Jon Bauer* Gail A. Binderman Ian Cook* William Cordiano* Jane Donaldson 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 Edward J. Lewis, III, President and Chief Executive Officer Liat Greif, Executive Assistant & Board Liaison Artistic Programming Kathy Schuman, Vice President and Artistic Director Ellie Gisler Murphy, Senior Artistic Planning Manager Tim Coffey, Artistic Planning Manager Artistic Partners Jazz at Lincoln Center City Winery Orchestra of St. Luke’s, Orchestra-in-Residence Stephan Moore, Sonic Innovations Steven Blier, Terrance W. Schwab Vocal Rising Stars Pamela Frank, Evnin Rising Stars Development Nina Curley, Vice President & Chief Development Officer Christina Horzepa, Grants Manager Brittany Knapp, Membership Assistant and Donor Concierge Junetta Maxfield, Director of Development Operations Jennifer Pace, Director of Individual Gifts Gayle Schmidt 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 Brittany Laughlin, Director of Marketing & Communications 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 Erin Hurley, Event Operations Assistant

Caramoor

Gardens & Grounds Milton Alvarez, Facilities Superintendent Rosa Alvarez, Facilities Housekeeping Assistant Lucio Alvarez, Facilities Crew Jose Cardenas, Facilities Crew Saul Jarrin, Housekeeping Assistant & Facilities Crew Agencies/Consultants 21C Media Group, Public Relations AAN Studio, Graphic Designer Blenderbox, Website Management Capacity Interactive, Digital Marketing Gabe Palacio, Principal Photographer Barbara Prisament, Media Relations & Outreach Consultant Progressive Computing, IT Consultant Spektrix, Ticketing Service & Support Technical Direction & Production Ed Greer, Technical Director Pete F. Petrino, Lighting Designer DJ Grant, Chief Audio Engineer Pete Weigand, Lighting Programmer Michael Campbell, Master Electrician Jesse Jardon, Stage Manager Sue Hoferichter, Hospitality Manager Technical Crew Mike Alvarez, Jesse Barone, Kaitlyn Chen, Matthew Ficinus, Lorin Francis, Caroline Jannace, Samuel Johnson, Phil Manzi, Jay McCarthy, Carleigh Meyer, Erik Oliva, Christina Payson, Matthew Rodriguez, Adam Romano, Jason Spoor Summer Parking Coordinators Jack Bouffard, Corey Travis Summer Box Office Staff Jools Dembo, Lexi Dembo Summer Assistant House Managers Eamon Fernandez, Marianna Ceccatti Summer Guest Relations Staff Stuart Betheil, Lucas Colleluori, Leah Cunningham, Jonah Da Silva, Nina Foster, Tristan Galler, Katie Gebbia, Luc Giner, Riley Henshaw, Alexander Hooper, Tyra Kushner, Jack Loeffler, Caroline Malley, Sasha Medile, Carmen Mickelson, Sarah Morea, John Myers, Lily Oyen, Troy Panek, Owen Rabii, Willa Roberts, Robin Rockwell, Joelle Sacks, Dayanara Salinas, Holly Solomon, Bennett Tropiano, Maya Van Rosendaal, Casey Wilcox, Harrison Wyckoff, Daniel Zitomer

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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 at 914.232.1252 or order online at caramoor.org *Become a Member and gain access to the best seats available first! Visit caramoor.org/membership

2021 Summer Program Book: July 30 - August 1

Articles inside

Caramoor Leadership

Updating the Rosen House for the 2021 Season by Roanne Wilcox

Introducing in“C”, Trimpin’s new sound art sculpture

Thank You to Our Donors

Become a Member

Highlights from Our Recent Special Events

Meet Caramoor’s new CEO, Edward J. Lewis III

Playing to Caramoor’s Strengths by Kathy Schuman