Summer 2018

4 Caramoor

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Contents11 Welcome to Caramoor / Letter from the Chairman and CEO13 Inspire: A Campaign for Caramoor’s Future18 Music Made to Share / Caramoor’s Origin Story20 Summer 2018 / Calendar26 There’s More to Discover / Map29 A Feast for the Ears / Caramoor’s New Artistic VP Aims to Cultivate a Curious Audience33 Support Caramoor34 Sonic Innovations / 2018 Sound Art37 Our Mission at Work38 Thank You to Our Donors55 Thank You to Our Volunteers58 Highlights of the Social Scene65 Caramoor Leadership72 Looking Forward / Fall 2018 - Spring 2019 Season Announce Dates

Program begins after page 36.

©2018 Caramoor Center for Music & the Arts149 Girdle Ridge RoadPO Box 816Katonah, NY 10536

Caramoor Grounds & Performance PhotosGabe Palacio Photography, Katonah, NYgabepalacio.com

Publisher & Advertising SalesOnstage Publicationsonstagepublications.com

General Information 914.232.5035Box Office 914.232.1252caramoor.org

Program Magazine StaffRoanne Wilcox, Publications EditorAdam Neumann, aanstudio.com, DesignTahra Millan, Vice President &

Chief Marketing OfficerMorgan Boecher, Director of

Marketing & CommunicationsEmily Buffum, Digital Media CoordinatorRoslyn Wertheimer, Marketing Coordinator

Cover Photo: Dana Kelley of the Argus Quartet, Caramoor's Ernst Stiefel String Quartet-in-Residence, 2016-17.

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Welcome to our 2018 Summer Season! As we enter our 73rd year of presenting music to our community, it is an incredibly exciting time at Caramoor!

In the last five years, the number of programs offered has increased by 83%, our Membership base has increased by 61%, and ticket sales are at record highs. We have also completed a number of important improvement and restoration projects around the campus, benefiting the Rosen House and the Caramoor grounds overall.

We are excited to have publicly launched the Inspire Campaign this spring. During the past four years, we have quietly raised over $32 million to support this renaissance at Caramoor. Importantly, most of these funds have been added to Caramoor’s endowment to provide greater financial stability for the future. Please see page 13 to learn more about the exciting Inspire projects planned for completion by 2020.

Finally, we are thrilled to have you experience our 2018 Summer Festival. This is the first summer completely planned by our new Vice President of Artistic Programming, Kathy Schuman. In addition to our core programming, Kathy has increased the number of programs for families and the community, as well as expanded the variety of musical offerings. Please see page 29 to learn more about Kathy’s vision and strategy for programming at Caramoor. We hope you are inspired this summer by all that is Caramoor — the amazing music, our beautiful gardens, new sound art with Sonic Innovations, and the iconic Rosen House!

Warmly,

Dear Friends,

Jeff HaydonCEO

Jim AttwoodChairman

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Dear Caramoor Community,

Welcome! We are so pleased that you are visiting us this summer. This is an inspiring moment in the history of Caramoor and we hope you will share in our excitement of all that has been accomplished and in our optimism about Caramoor’s bright future.

Four years ago, Caramoor’s Board of Trustees, inspired by the generosity and steady leadership of Jim Attwood, our Board Chair, began the quiet phase of a capital campaign. What started with modest ambitions has today become a resounding success. Our momentum continues this summer and will carry through to our 75th anniversary in 2020. Inspire: A Campaign for Caramoor’s Future has been generously supported by forward-looking trustees and lead donors, who have invested more than $32 million in our music programs, as well as the historic Rosen House and, soon, our beautiful gardens and grounds.

Our final phase will involve a comprehensive campus revitalization plan, building on our sense of shared discovery and artistic innovation throughout our grounds. Our plans include:

– A fresh sense of arrival, with reconfigured parking, a welcome plaza, a new box office, and a new, more convenient entrance into the Venetian Theater

– A reimagined Friends Field, with shade trees, picnic furniture, gathering areas, a covered stage, and no cars!

– An enhanced Center Walk, with areas to sit, attractive plantings and paving, a new dining area, and a convenient gathering point closer to the Rosen House

In the next two pages you will see an illustration of some of our plans to enhance your Caramoor visit and revitalize the way you experience our beautiful grounds, gardens, and events.

With your help and support, we look forward to continuing to share this Inspiring journey with all of you.

Judy Evnin Peter Kend

Trustee & Co-Chair Trustee & Co-Chair/ 13

Campaign Co-Chairs:

Judy Evnin Peter Kend

Donors:

Mimi and Barry Alperin Jim and Aundrea Amine Anonymous (2) Leslie Williams & Jim Attwood Nancy and Jon Bauer Gail A. Binderman / The Norman E. Alexander Family G Foundation Amy Parsons and Paul Bird Mr. and Mrs. Jonathan M. Clark William and Sandra Cordiano Melissa Eisenstat and Jonathan Blau Adela and Lawrence Elow Judy and Tony Evnin Susan and John Freund Michael and Mary Gellert Barbara and E. Robert Goodkind Mr. and Mrs. Eugene M. Grant Angela and William Haines Mr. and Mrs. Joseph W. Handelman Mrs. Robert D. Hodes David and Sandra Joys

Floy and Amos Kaminski Cecilia Tay Kellie-Smith and Sam Kellie-Smith Katherine and Peter Kend Mr. and Mrs. Lester S. Morse, Jr. Martha Nierenberg Nancy and Morris W. Offit Susan and Richard O’Leary Phyllis and David Oxman Elaine and Larry Rothenberg Mr. and Mrs. Andrew Saul Elaine and Edmund Schroeder Sara Lee and Axel Schupf Eileen Caulfield Schwab Estate of William Kelly Simpson Nina and Michael Stanton The Ernst C. Stiefel Foundation Judi Wolf and Alden L. Toevs Lucille Werlinich Mr. and Mrs. Ian Winchester Audrey and Richard ZinmanAs of May 17, 2018

Center Walk Reimagined: our central route to the Rosen House becomes a pedestrian-only haven.

Innovating on Friends Field: this open space becomes a gathering spot for visitors (not cars)!

A Fresh Sense of Arrival: a garden plaza will serve as a meeting spot and gateway to the Box Office, Venetian Theater, and Rosen House.

A Gathering Place at the Rosen House: a new plaza will provide a place to spend time before and after concerts or tours.

We built a home my husband and I, not to be old or new, just to be beautiful. And we built it for music.” —Lucie Rosen, Founder

“

The Rosens purchase the 100-acre estate and build the Rosen House.

Caramoor Center for Music and the Arts will celebrate its 75th Anniversary.

1929–1939

2020

Music Made to Share

The Venetian Theater opens.

1958Orchestra of St. Luke’s begins its residence at Caramoor.

1979

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Caramoor Center for Music and the Arts inspires a lifelong love of music through our mission to support innovative and diverse

work of the highest quality. It is a destination for outstanding music, mentorship for young professional musicians, educational programs for school children, spectacular gardens and grounds, and for making memories with friends and family.

The Caramoor experience was born in the Rosen House and continues to this day. For Caramoor’s founders, Walter and Lucie Rosen, music and art were meant to be shared. The Rosen House, a Mediterranean-style mansion inspired by Old World Europe and listed in the National Register of Historic Places, is the home they curated and cultivated for that purpose.

The Rosens filled their home with friends and neighbors for intimate musical performances, lavish parties, and musical soirées. Walter personally designed the Music Room of the Rosen House to be the heart and soul of their country home. Bringing excellent acoustics and beautiful artwork to an intimate space, the Music Room weaves art and music together for a unique and transforming experience. This vision became the foundation for an international music festival and for the future of Caramoor.

Explore Caramoor’s lush 90 acres, tour the Rosen House, enjoy an Afternoon Tea, and discover beautiful music in the relaxed settings of the Music Room and Spanish Courtyard. Sign up for our e-newsletter at caramoor.org to be among the first to receive event updates.

caramoor.org / 914.232.1252

Caramoor’s founders, Lucie Bigelow Dodge and Walter Tower Rosen marry.

Caramoor Center for Music and the Arts is founded in memory of Walter Bigelow Rosen, son of Lucie and Walter Rosen, who perished in WWII.

1914

1945

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Wednesday Thursday

19 / Derek Gripper, guitar Guitar in the Garden

18 / Dancing at Dusk: Chinese Dance with Ling Tang

25 / Dancing at Dusk: Grupo Ribeiro

26 / Chanticleer

12 / Michael Brown, piano

4 / Pops, Patriots, and Fireworks

27 / Dancing at Dusk: Reena Shah

28 / Isabel Leonard, mezzo-soprano Sharon Isbin, guitar

21 / Verona Quartet

2018 Caramoor Summer At-a-Glance

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Join our family as a Caramoor Member and feel good about supporting art, music, and education. See page 47 for more. Become a Member and gain access to pre-sale tickets and much more! Visit caramoor.org/Membership

Order online at caramoor.org or call 914.232.1252

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19 / Derek Gripper, guitar Guitar in the Garden

12 / Michael Brown, piano

June 16 / Opening Night Gala

Opening Night Concert: Audra McDonald

17 / Family Concert: The Knights

The Knights

Friday Saturday Sunday

20 / Brentano QuartetTodd Palmer, clarinet

21 / Jazz Festival Dianne Reeves, and more!

22 / Handel’s Atalanta

27 / Joey Alexander Trio 28 / Angélique Kidjo 29 / Summer Season Finale Orchestra of St. Luke's Bernard Labadie, conductor Susan Graham, mezzo-soprano

13 / Mozart’s The Secret Gardener

14 / Family Concert: Bridge to Broadway

Bernstein’s Broadway

15 / Caramoor’s 2nd Annual Chamber Feast

6 / Jasper String Quartet 7 / I’m With Her 8 / Marc-André Hamelin, piano

29 / Kronos Quartet July 1 / Inuksuit FREE Special Event Sound art / Artist talks / Family fun

30 / Orchestra of St. Luke’s, Ludovic Morlot, conductor Benjamin Beilman, violin

22 / Sō Percussion 23 / American Roots Music Festival: Aimee Mann, Valerie June, and more!

24 / Apollo’s Fire

Afternoon Tea

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22 / Caramoor

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There’s More to DiscoverWith a 90-acre estate, multiple performance venues, 30+ concerts, and beautiful gardens to explore, we want to provide you with a quick breakdown of the top ways to enhance your Caramoor experience.

The historic Rosen House is an explorer’s paradise filled with fine art, period rooms, and stunning details. See page 18-19 for more.

Sonic Innovations brings new site-specific sound art each year to warm up your ears and welcome you to wander the gardens and grounds. New this year are works by Walter Kitundu and Paula Matthusen. Please ask about our Sound Art tours for kids! See page 34 for more.

Picnic Plus Dining lets you enjoy the same delicious picnic menu but saves you a seat under the Pavilion. Other options include pre-ordered picnics, Symphony Court dining, Afternoon Teas, and Food + Drink’s Tap Tent. Members receive 10% off at Food+Drink! See caramoor.org/food for more!

Take a Tour and be inspired! Please ask about "I Spy" tours for kids. On your way out, stop by the Gift Shop for the perfect memento.

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The Call of CaramoorThe pre-concert bells you will hear this summer were created for us by Brooklyn-based composer/pianist Timo Andres. His piano concerto for Jonathan Biss, The Blind Banister, was co-commissioned by Caramoor and performed here in 2016.

“I love being asked to make something with a very specific directive. In the case of the Call of Caramoor, I knew that meant writing a series of short pieces that would be distinctive without being jarring; that would blend into an outdoor setting while remaining distinct from it, and that would incite a mild but purposeful sense of urgency in the listener. The bell sounds are tuned in ‘just

intonation’ which is derived from the harmonic series, giving them a pleasantly outdoorsy attitude — landing somewhere between the concert stage and the surrounding forest.”

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WiFi Access: select the Caramoor-Free-Wifi network and go to google.com on your device’s browser. Follow the prompt to enter your email and sign in to connect. If you need help, please ask!

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Afresh breeze blowing through stately trees and elegant gardens has always been

a special highlight of any visit to Caramoor, and with the arrival this year of the 73rd summer season, that breeze will be especially refreshing, bearing all manner of new sounds to complement its unparalleled ambience. One of New York’s most cherished destinations for music, Caramoor is expanding its purview this year, embracing a broader spectrum of sounds and styles than ever before, while maintaining the high standards founders Lucie and Walter Rosen established in 1946.

This season, it’s impossible to miss a scintillating buzz of transformation at hand. Alongside mainstays like Orchestra of St. Luke’s, Audra McDonald, and Susan Graham are newcomers with boldface names and global reputations: the Kronos Quartet, Sō Percussion, Marc-Andre Hamelin, Isabel Leonard, Angélique Kidjo, and more. Also evident is a radiant constellation of living composers: both iconic creators such as Steve Reich, Terry Riley, and John Luther Adams, and a gifted younger generation represented by Matthew Aucoin, Julia Adolphe, Missy Mazzoli, Judd Greenstein, and Andy Akiho — all prominent names with burgeoning careers.

The guiding hand behind these bold initiatives belongs to one of the musical world’s most respected executives, Kathy Schuman, who began in December 2016 as Caramoor’s first Vice President, Artistic Programming and Executive Producer — a new position,

one meant to redefine the Caramoor experience by broadening and diversifying its musical offerings.

“Hearing a concert at Caramoor is something very special,” Schuman says. “When you’re sitting in this incredible setting, with greenery all around and birds chirping; those things combine to elevate the whole experience.”

She comes to her new role with a wealth of experience, including a 15-year term as artistic administrator of Carnegie Hall, during which time she helped program its three venues and oversaw the commissioning of some 200 new works. More recently, Schuman served as VP and Artistic Director of G. Schirmer/AMP, where she worked with an unrivaled roster of distinguished composers and promising newcomers.

“With the creation of this new role, we were looking for someone to imagine new programming as distinctive and

A Feast for the Ears. Caramoor’s New Artistic VP Aims to Cultivate a Curious Audience

Kathy Schuman

by Steve Smith

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new quartet by Julia Adolphe, whose music has been played by the New York Philharmonic in recent seasons.

Schuman was also eager to include a new work on an orchestral program. Upon engaging celebrated maestro Ludovic Morlot — another persuasive advocate for the music of our time — to conduct the Orchestra of St. Luke’s, she suggested he include Evidence by Matthew Aucoin. A polymath composer and performer, Aucoin has been likened by some to a young Leonard Bernstein. Having heard the world premiere in Los Angeles in 2016, she feels this work, Aucoin’s only purely orchestral piece to date, will go over well at Caramoor.

“Presenting a new work that I think will resonate with our audience, such as Matt’s piece, is very important to me,” she says. “They may not love everything I choose, but I think people are curious and will be open to trying something new.” With that in mind,

Schuman arranged for a performance of Inuksuit, an otherworldly, ritualistic piece

by the Pulitzer Prize-winning composer John Luther Adams.

Scored for 9 to 99 percussionists and designed

to be performed outdoors, Inuksuit has been entrusted to the sure hands of Doug Perkins, who has guided site-

specific accounts of the work across the United States and abroad.

At Caramoor, Perkins will lead an ensemble of 60-plus

musicians scattered throughout the estate,

part of a day of discovery that will

appealing as the unique setting,” says Jeff Haydon, Caramoor CEO. “Kathy’s wide-ranging tastes are well-suited to the task, and we are excited about the creative and bold ways she has tackled this challenge.”

Assessing the historic strengths of Caramoor’s programming as well as the gaps, Schuman identified three musical strands she wanted to develop straightaway: new music, early music, and world music. “Those happen to be things that I’m extremely passionate about.”

Acknowledging a cautious reserve toward contemporary music among some audience members, Schuman enlisted artists and composers who not only are among the most gifted and successful in their fields, but also are some of new music’s most charismatic and persuasive advocates. The Kronos Quartet and Sō Percussion, to name just two examples, are ensembles with diverse repertoires and a proven knack for audience building.

To further integrate contemporary music into Caramoor’s Summer Season, Schuman encouraged the Jasper String Quartet, Caramoor’s Ernst Stiefel String Quartet-in-Residence from 2009 to 2011, to feature recent works by Missy Mazzoli and Ted Hearne heard on the group’s critically acclaimed 2017 album, Unbound. The Verona Quartet, the current Stiefel Quartet-in-Residence, will give the world premiere of a

Angélique Kidjo

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include panel discussions, sound art, and family activities, all free of charge. “I want to take full advantage of our beautiful gardens by including more site-specific outdoor work,” Schuman explains, “and on this day I hope to encourage those who haven’t been to Caramoor to come and explore.”

Long an enthusiast of Baroque and early music, Schuman chose Nicholas McGegan and his Philharmonia Baroque Orchestra, one of America’s most cherished period-instrument ensembles, to present Handel’s Atalanta as Caramoor’s mainstage opera this summer.

Caramoor audiences are already familiar with McGegan’s infectious energy from previous visits with the Orchestra of St. Luke’s, and this will be an opportunity to experience that joyful spirit with his own ensemble. (In another tantalizing offering, the vivacious young company On-Site Opera transplants Mozart’s delightful and seldom-heard The Secret Gardener directly into Caramoor’s lush gardens themselves.) Apollo’s Fire, another highly regarded and engaging American period-instrument ensemble, will also make their Caramoor debut this summer in a program of Bach, Handel, Vivaldi, and Uccellini.

To kick off a new focus on world music, Schuman could not have chosen a more effective ambassador than Angélique Kidjo, the extraordinary Beninese singer-songwriter, actress, and activist who Schuman heard first in London during the 1990s.

This compelling artist is equally at home singing Philip Glass’s music with an orchestra or collaborating with artists as varied as Bono, Josh Groban, and Dianne Reeves.

What Schuman hopes to cultivate with these new strands of programming is an audience eager to embrace the new and unexpected.

“I’ve encountered hundreds and hundreds of artists over the years, and am at concerts several nights a week. If I hear something really special, I’m going to try to bring it to Caramoor, even if it’s new and different and we’ve never done anything like it before,” she continues. “And I’ll try to let everyone know why it’s special, so they’ll get excited too. As a programmer, I aim to be a little bit ahead of the audience, rather than a half step behind. It’s riskier … but it’s a lot more fun.”

Steve Smith is Director of Publications for National Sawdust, a performing-arts space in Brooklyn. He has written for The New York Times, and served as an editor for The Boston Globe and Time Out New York.

“I aim to be a little bit ahead of the audience, rather than a half step behind. It’s riskier … but it’s a lot more fun.”

Kronos Quartet

Publications in italics? / 31

As a nonprofit, we depend on the generous support of donors — like you — to make our music performance, young artist mentoring, and arts-in-education programs possible.

A Gift to the Annual FundCaramoor’s donor contributions account for over 70% of our annual operating budget. Gifts of $100 and more qualify for a Caramoor Membership. Members enjoy special benefits year-round. Please see page 47 to learn more.

Give the Gift of MembershipA perfect gift for any occasion! Give a Gift of Membership and your recipient will experience the best Caramoor has to offer all year long.

A Gift to Caramoor’s FuturePlanned giving is a wonderful way to establish a legacy at Caramoor and make a lasting impact on the organization. The Encore Society recognizes individuals who have indicated their intent to include Caramoor in their estate planning. Please see page 51 to learn more.

For more information, please see caramoor.org, or call Jennifer Pace at 914.232.5035 ext. 412.

Students participate in Middle Ages and Renaissance Day, one of Caramoor’s most popular Arts-in-Education programs.

Arts-in-Education at Caramoor: Chinese Culture Day

Support Caramoor!

Here are the ways you can help:

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Nafasi Yako Ni Ya Kijani consists of a handmade white oak rocking chair. The empty chair is a symbol of absence when the work is unoccupied. A rocking chair has a particular cadence and rhythm, and when in use, the rocker sends very brief radio signals to the trees via a piezoelectric

Walter Kitundu / Nafasi Yako Ni Ya Kijani (Your Place is Green) (2017)

Sonic Innovations, conceived and curated by sound artist Stephan Moore, continues to expand Caramoor’s programming with an annual exhibition of sound art from artists working with sonic materials outside the

traditions of concert music. Since the groundbreaking exhibition In the Garden of Sonic Delights in 2014 (winner of ArtsWestchester’s Innovation Award),

switch in the base. Hidden in the trees are sound vessels made from old conga drums that emit carefully composed and curated sounds contributing to the existing soundscape.

Walter Kitundu creates kinetic sculptures and sonic installations, develops public works, builds (and performs on) extraordinary musical instruments, while studying and documenting the natural world. He is the inventor of a family of Phonoharps, multi-stringed instruments made from record players that rely on the turntable’s sensitivity to vibration.

Paula Matthusen / woven by air (2018)

woven by air seeks to create an intimate and reflective listening space, blending hidden sounds specific to Caramoor. Electromagnetic recordings of infrastructure (generators in the boiler room, switches in the guest rooms, etc.) create a sonic texture within the gazebo at the end of the Cedar Walk that support an hour-long floating musical line derived from recordings of Lucie Rosen playing the theremin, an instrument that depends on the intersection of electromagnetic fields. Using the structure of the gazebo and objects within it as points for sound emanation, the installation allows these normally hidden sounds and fields to become airborne and to intermingle

with the sonic life of Caramoor, if only for a moment. The title refers to a poem in Naomi Shihab Nye’s collection Voices in the Air.

Paula Matthusen is a composer who writes both electroacoustic and acoustic music and realizes sound installations. Her work often considers discrepancies in musical space — real, imagined, and remembered.

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Ranjit Bhatnagar / Stone Song (2014)

Taylor Deupree / t(ch)ime (2017)

Created for 2014’s In the Garden of Sonic Delights, Stone Song was brought to Caramoor in 2015. “When I look at an old stone wall, I think about how the seemingly solid form has shifted and settled over time, through weathering and the erosion and compression of the soil,” says Bhatnagar. “In order to explore this process through sound, Stone Song is laced with pressure sensors and strain gauges, and sensors for humidity, temperature, and barometric pressure. This information feeds into a drone synthesizer, whose fundamental tones shift slowly over the months as the stones settle.”

t(ch)ime is a site-specific sound installation that utilizes a quiet hideaway on the grounds of Caramoor to create an environment that is both familiar and otherworldly. The sole sound source of the piece is a collection of bell chimes that have been manipulated through increasing layers of digital processing. As the listener approaches the center of the trees, the sound of the installation begins to stand still while the sounds of nature and the outside world continue. The effect is a temporal oasis of fragile and reflective sound, in which hearing becomes the listener’s most heightened sense.

Ranjit Bhatnagar discovered sound art around age 14, listening to weird late night programs on KPFA. He now works with interactive and sound installations, with scanner photography, and with internet-based collaborative art.

Taylor Deupree is an accomplished sound artist whose recordings, rich with abstract atmospherics, have appeared on numerous record labels, and well as in site-specific installations at such institutions as the ICC (Tokyo, Japan) and the Yamaguchi Center for Arts and Media (Yamaguchi, Japan).

For more information, please see caramoor.org/visit/sonic-innovations.

Caramoor has included sound art as part of its world-class programming, taking advantage of the historic grounds as a site for multiple works. Each artist draws inspiration from their chosen location, creating work that is mindful of each site’s unique characteristics — acoustic, historic, architectural, or natural. Their work encourages us to hear and see Caramoor differently, bringing a listener’s awareness to the unique surroundings and the change of seasons.

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Caramoor Summer 2018

Thursday / July 19 / 7:00pm / Sunken Garden

Derek Gripper, guitar

Tonight’s program will be announced from the stage.

Help everyone enjoy the music.Please be sure to silence all mobile devices.The use of cameras and other recording equipment is prohibited.Thank you and enjoy the performance.

This evening’s performance will end at approximately 8:00pm.

Please join us for an Afterglow Reception for all audience members (weather dependent.)

This concert is made possible, in part, through funding from the Rudyard and Emanuella Reimss Memorial Fund of the Westchester Community Foundation.

Caramoor

About the Music.In the western classical tradition, the idea of the composer has changed over time, but it has usually involved some or other form of written score which is then interpreted by the performer. Today there are many composers whose works are never committed to paper: songwriters, electronic musicians, “world” musicians, jazz musicians. We sometimes speak about these musicians using different terms, saying they improvise or they play traditional music, but when it comes to assigning performing rights we talk about them as having composed the music they perform and record. The realm of composition is one which has greatly enlarged, and this recital seeks to do this too, to enlarge the ideas of what comprises a composition and a composer. Classical musicians are primarily interpreters. They take a given text and find a way to bring it to life in sound. There are many different approaches, academic or personal. But this art of interpretation, which is the core of classical music, has not always taken into account today’s enlarged realm of the composer. There have been many successful collaborations across the musical divides, for example Kronos Quartet’s recent collaboration with Malian Trio da Kali, a recent recording of works composed by griots (West African storyteller/musicians) living an aural/oral tradition, collaborating with a classically trained string arranger and a string quartet reading scores. It is rare that a work from a composer outside of the classical discipline of written composition is interpreted by a classically trained musician. There is usually some sort

of intermediary or arranger involved. The barriers are many, from both sides, but it is mostly a problem of translation.   

In 2011 I started writing down the kora compositions of Toumani Diabate, famed virtuoso of the twenty-one stringed harp called the kora. I managed to find a way to play these scores on the guitar, creating a means to begin interpreting his works on an entirely different instrument. When I began to play and record Toumani’s music I was a non-griot playing the music usually learned and played by griots. I was also a guitarist playing music originally for the kora, a guitarist suddenly stumbling upon an entirely new repertoire, an African repertoire which had not been available to classical guitarists before. To have done this inside of the aural/oral tradition I would have needed to lengthy apprenticeship with a griot, in person. But as a classical musician and a guitarist I was able to use my skills if I changed my idea of Toumani and his role in the music. I had to see him as a composer, and his recordings as “scores.” When I had made this conceptual shift my musical world expanded and it was just a simple problem of translation from one medium to another. In the beginning I was treating the recordings as compositions and this is

This recital seeks to ... enlarge the ideas of what comprises a composition and a composer.

Summer 2018 III

how I first recorded them in One Night on Earth in 2012. But as time went on I started understanding the language, perhaps you could say more as a first language speaker, or a more fluent second language speaker. As time went on things began to develop further. The first thing I learned when actually visiting Mali was that their interpretations of traditional pieces are somewhere in the middle of improvisation and interpretation. On one hand the original is very much present, on the other hand the reading is very loose and creative. So that was the first change I made in my performances, straying further from the “text” and creating interpretations which were somewhat different to the originals even beyond the fact that the instrument had changed. These more improvisatory readings can be heard on Libraries On Fire from 2016. More recently the idea of composition has undergone a further change in my kora interpretations, a further change of the word and its meaning, especially as it relates to African music.

The act of composition is very different in African music. A new song by Salif Keita, or a new bow piece by South African musician Madosini, is often based on something older, a piece from a repertoire handed down from previous generations. The changes made in the act of composition are sometimes incremental, small and subtle, yet the new work is still considered to be an original composition. This reflects a sociological difference: the musician does not stand alone, he or she is

part of a wider social and musical context, and this is reflected in the music. This differs from the Western notion, or even myth, of a composer being a lone creator, a myth which is very much prevalent into the idea of improvisation which has grown out of jazz. It is also very much a factor in popular music and has been the cornerstone of music from at least the 19th century.

Musicians like John Cage challenged this notion by including the audience (and spontaneity and chance) in the process. Within this context of the single creator, the influences on a particular work are very closely scrutinized and something that is too close to the original is considered to be plagiarism. A very good example is the band Led Zeppelin’s very close quotations or appropriations of older American blues.

While this may or may not be plagiarism, cultural appropriation, or downright copyright infringement, this type of creative music marketing is not frowned upon in the African context. A good example among many is the song “Lam Tooro” by Baaba Maal which uses the melody note for note from an older griot song called “Massane Cisse” recorded by many musicians. (Sory Kandia Kouyate, for example,

The musician does not stand alone, he or she is part of a wider social and musical context, and this is reflected in the music.

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in the early seventies, a decade before Maal’s composition.) Maal’s version changes the accompaniment and the words but the melody is intact. Even though the original is well known by many West Africans, to my knowledge Maal has yet to endure a court case similar to Led Zeppelin’s “Stairway to Heaven” episode. This is because the premise is different though the process is identical. Looking more deeply into these factors of composition and improvisation within the context of performing kora music (and other music) has resulted in my more recent music including more elements of my own composition and improvisation than were evident in the recordings mentioned above.

These new compositions are often based on something in my repertoire, a piece by Egberto Gismonti or Bach, for example, or a traditional kora piece, or a kora piece by a contemporary player like Toumani. This seed could be completely altered or hidden, or just have been a starting point which is then discarded in the final piece. This is consistent with the approach to performance in African music, the only change being that the application of this approach is to a wider repertoire outside of the griots music.

— Derek Gripper

Summer 2018 V

About the Artist.

Derek Gripper, guitar

Derek Gripper is a classical guitarist who has taken

a unique path. As a South African classical musician, he found himself limited by the music of the traditional classical guitar and so went on a journey through different musical styles, returning always to the guitar to find ways of bringing what he learned onto the instrument. 

His studies took him to India where he learned the rudiments of the Carnatic percussion language, and then to the farms of the Western Cape where he created an “avant-ghoema” string quartet language (Sagtevlei, 2001) with South African composer and trumpeter Alex van Heerden. He then began to explore the limits of the classical guitar’s sonority, first on eight string guitar evocations of Cape Town folk music (Blomdoorns, 2003), then in compositions on a guitar by legendary luthier Hermann Hauser (Ayo, 2008, and Kai Kai 2009) and then in transcriptions by Brazilian composer Egberto Gismonti (The Sound of Water, 2012). The album combines Gismonti’s music with Gripper’s own compositions. 

In 2012 he completed a ten-year project to understand and translate the music of the West African kora (a 21- string harp) virtuoso Toumani Diabate to solo guitar, resulting in two

critically acclaimed albums, One Night on Earth: Music from the Strings of Mali and Libraries on Fire, the latter receiving a Songlines award for Best Album Africa and Middle East in 2017. The recognition from these albums resulted in concert tours the world over, performances at venues such as Carnegie Hall, and collaborations with classical guitar legend John Williams, Indian guitar master Debashish Battacharya, and West African musicians such as Trio da Kali and Toumani Diabate himself. 

In 2017 Gripper recorded an album of the solo violin works of Bach, arranged on solo guitar and delivered with the phraseology and fire of a musician who has steeped himself in music outside of the classical canon. That album is due for release in 2018. 

His 2018-2019 concerts explore the dialogue between the disparate styles that have informed his work to date: Kora, Bach, South African jazz, contemporary classical, and large-scale improvisations. In these solo concerts, the guitar is explored in all its possibilities, even the tuning and retuning becomes part of the instrument’s musical resources. This kind of extended improvisation and recomposition of such diverse repertoire is rarely seen in the world of classical guitar and presents as new possibility for African Guitar and a new expression of the music of great African composers.

Management for Derek GripperMel Puljicmel@awesomecompany.net

Announced: July 10Members’ Pre-Sale: July 17General Public Sale: July 24

For the full calendar and to purchase: caramoor.org / 914.232.1252Want to become a member? Call 914.232.5035 ext. 412 for more information.

Want More Music? Visit us during our Fall/Spring Seasonin the Rosen House!

Quatour Ebene

Christine EbersoleEdmar Castañeda Quartet

and many more!

Julia Bullock

Layla McCalla

Caramoor Summer 2018

Christine EbersoleCARLO GESUALDO1566-1613

Three madrigals from Book V

LUDWIG VAN BEETHOVEN1770-1827

JOHANNES BRAHMS1833-1897

Quintet for Clarinet and Strings in B Minor, Op. 115

AllegroAdagio-Piu lento-AdagioAndantino-Presto non assai, ma con sentimentoCon moto (Variations)

INTERMISSION

arr. by Mark Steinberg

Friday / July 20 / 8:00pm / Spanish Courtyard

Brentano String Quartetwith Todd Palmer, clarinet

Help everyone enjoy the music. Please be sure to silence all mobile devices. The use of cameras and other recording equipment is prohibited. Thank you and enjoy the performance.

Mark Steinberg, violinSerena Canin, violinMisha Amory, violaNina Lee, celloTodd Palmer, clarinet

Tonight’s concert will end at approximately 9:45pm.

O voi, troppo feliciTu m’uccidio crudeleAsciagate i beglio occhi

Allegro ma non tantoScherzo: Andante scherzoso quasi allegrettoMenuetto: AllegrettoAllegro-Prestissimo

Theatrical lighting in the Spanish Courtyard was a generous gift from Adela and Lawrence Elow.

String Quartet C Minor, Op. 18, No. 4

This concert is made possible, in part, through funding from the Rudyard and Emanuella Reimss Memorial Fund of the Westchester Community Foundation.

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In Honor of Eva Petschek Newman.Hans and Eva Petschek immigrated to Westchester County from Czechoslovakia in 1938. As amateur musicians (a violinist and a pianist), they both loved music and strongly believed in supporting promising young musicians. Their family remembers their musician friends and the recitals in their home. Eva particularly enjoyed attending the concerts at Caramoor and did so until her last year. To her delight, in honor of Eva’s 90th birthday in 1991, the Eva Petschek Newman Fund for Young Artists was established by family and friends to further her support for young musicians. The Caramoor community honored Eva when Daniel Gaisford, the young artist featured at the second Eva Petschek Newman concert, performed at her funeral in 1993.

- The Family of Eva Petschek Newman

The Eva Petschek Newman Fund for Young Artists.The Eva Petschek Newman Fund for Young Artists was inspired by Eva’s strength, elegance, perpetual youthfulness and decades of generous support for the arts.

A Westchester resident for over five decades, she was a frequent attendee and patron of Caramoor, Westchester Conservatory of Music, Lincoln Center and Carnegie Hall.

Born Eva Epler in Moravia, 1901, Eva’s appreciation of music started at an early age with piano lessons. With her characteristic sense of humor, Eva remarked that “I loved to play … but I’m not sure my audience loved to listen.”

In the tradition of strong family ties, marked by frequent family reunions, group skits and family productions, all of her children, grandchildren and great grandchildren gathered together on the occasion of her 90th birthday to create the Eva Petschek Newman Fund for Young Artists, to honor her.

The Eva Petschek Newman Fund for Young Artists ensures that Caramoor will continue to be a place where young and talented musicians can be heard and enjoyed for generations to come.

Summer 2018 IX

2017Sarah Rommel, celloXiaohui Yang, piano

2016Beethoven in Song:The Caramoor Bel CantoYoung Artists and Apprentices:Claire Kuttler,Courtney Ruckman, sopranosElena Snow, mezzo sopranoBenjamin Robinson,Cameron Schutza, tenorsThomas Lynch, baritoneAndrew Robert Mann, basswithRachelle Jonck, pianoSarah Rommel, celloDanbi Um, violin

2015Alexi Kenney, violinRenana Gutman, piano

2014Alisa Weilerstein, cello

2013Karen Ouzounian, cello

2012Pacifica Quartet:Simin Ganatra, violinSibbi Bernhardsson, violinMasumi Per Rastad, violaBrandon Vamos, cellowithAnthony McGill, clarinet

2011Arnaud Sussmann, violinMichael Brown, piano

2010Jasper String Quartet:J. Freivogel, violinSae Chonabayashi, violinSam Quintal, violaRachel Henderson Freivogel,cello

2009Caramoor Virtuosi:Jeewon Park, pianoMax Mandel, violaYura Lee, viola, violinArnaud Sussmann,Jesse Mills, violinsEdward Arron,Priscilla Lee, cello

2008Daedalus Quartet:Kyu-Young Kim, violinAyano Ninomiya, violinJessica Thompson, violaRaman Ramakrishnan, cello

2007Caramoor Virtuosi:Jennifer Frautschi,Karen Gomyo,Ayano Ninomiya, violinsNicholas Cords,Max Mandel, violasAlexis Pia Gerlach,Edward Arron, cellosLeigh Mesh, bassGilles Vonsattel, piano

2006Jupiter String Quartet:Meg Freivogel,Nelson Lee, violinsLiz Freivogel, violaDaniel McDonough, cello

2005Worlds Beyond:Daniel Schnyder, saxophoneDavid Taylor, bass tromboneKenny Drew, Jr., piano

2004The Amelia Trio:Anthea Kreston, violinJason Duckles, celloReiko Aizawa, piano

2003Yura Lee, violin

2002Erika Raum, violin

2001Mei-Ting Sun, piano

2000Sara Bitlloch, violin

1999Jonathan Biss, piano

1998Lera Auerbach, piano/composer

1997Soovin Kim, violin

1996Orli Shaham, piano

1995Stella Simakova, piano

1994Andrew Armstrong, piano

1993Daniel Gaisford, cello

1992Faith Esham, soprano

Eva Petschek Newman Young Artists.

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About the Music.CARLO GESUALDO1566-1613

Three madrigals from Book V (1611)Arranged by Mark Steinberg

1. The panic-strickenkink in the neck to be seenin all of Grünewald’s subjects,exposing the throat and often turningthe face towards a blinding light,is the extreme response of our bodiesto the absence of balance in nature

2. the event of the century,awaited with great terror, the eclipse of the sun,…the secret sickening away of the world,in which a phantasmal encroachment of duskin the midst of daytime like a fainting fitpoured through the vault of the sky…a fiery red arose, and colorssuch as his eyes had not knownradiantly wandered about, never again to bedriven out of the painter’s memory.

— W.G. Sebald, from After Nature

One could choose among so many passages from this great book, or so many potent and piercing images from Grünewald’s paintings, to find signposts toward the expressionistic dungeon that is Gesualdo’s province. All chill the soul with the exquisite vibrations of pain; all pulsate with the wretchedness wrung from delicious hypersensitivity to abandonment and the specter of death. In his arresting and abiding juxtapositions, Gesualdo conjures enveloping, luminous onyx, then again oppressive light

against which no eyelid dare close. Gesualdo, infamous Prince of Venosa, murderer of his wife and her lover, darts and shifts. Alchemical harmonic transformations ensure the listener remains unbalanced, any hint of rootedness a chimera. The Madrigals of Books V and VI may very well have autobiographical significance; this is a soul that fascinates, that resonates with elements of ours, yet which we can feel fortunate not to inhabit. The texts speak of death, of joy never to be regained, of the cruelty inherent in love. Even with the texts suppressed in instrumental arrangement their shadows allow for ice to have carved their likeness deep into the music left behind. The present string quartet arrangement hews extremely closely to the original, albeit with five voices compressed within the confines of four instrumental parts. So may we feel compressed and confined in the prison of Gesualdo’s icy castle, glad for the chance to peer down into the moat and experience the frisson that attends the contemplation of doubt and doom.

— Mark Steinberg

LUDWIG VAN BEETHOVEN1770-1827

String Quartet in C Minor, Op. 18, No. 4 (1798-1800)

What is it in theatrical masks, those frozen faces, that so captivates us and draws us in? Ossified and yet vibrant, masks, reaching outward from their still essence, draw forth our emotional heritage. Despite their immobility they become potent and resonant

Summer 2018 XI

symbols that pierce us to the core. Certain tropes of theatricality are like that as well. Dramatic clichés catch us unawares and render us vulnerable to their charge.

Paradoxically, from within the string quartet’s arena of intimacy Beethoven, in his C Minor quartet, Op. 18, No. 4, creates a work of the theater, an exploration of symbol and clever caricature, emblematic more than evocative. Keys have flavors, and C minor had already been associated with sturm und drang in the works of Haydn and Mozart, as well as in those of Beethoven himself in the Piano Trio, Op. 1 No. 3, the String Trio, Op. 9 No. 3, and the “Pathétique” piano sonata, Op. 13. However, works that more deeply and darkly explore the philosophical underpinnings of C minor, such as the Fifth Symphony or the last piano sonata, still lay in the future. In this quartet Beethoven, unusually, stays in C (minor or major) for all four movements, and in various ways keeps exploring masks, disguises and dramatic device. He opens the piece with an unrelenting elemental pulsation in the cello and an unstable theme, with displaced sighs and jabs, atop. This is angst made audible and palpable, rhythmically restless, replete with distortion and suppression, eminently operatic. These are volcanic rumblings that lead, inevitably, to eruption and a simple caricature of conflict, the one against the many, an Olympian hurling of thunderbolts as a competition between the gods. Again, all is consciously primitive theatrical trope. After this idea is punctuated by an exclamation point of sorts, a single unison note changes the

scene, one that in a symphony would be a horn’s proclamation. It is a sort of deus ex machina that announces the major mode come to save us, heroism personified in a single pitch. The phrase is followed, however, by the tragic mask replacing the comic one, the same figure drawing us back into minor, albeit only momentarily, reminding us that Beethoven, the distributor of masks, is a conjurer.

When we arrive at the second theme, in major as expected, we might recognize it as the barely refashioned first theme, the spell reversed so the old witch is restored to her youthful beauty as a princess. And so it goes throughout the movement. We are held in doubleness, under the power of a clever Sophist. (And in fact this second theme that would most usually be drawn into the minor mode later in the movement steadfastly refuses to do so and remains a foil to the first theme, undermining the expected tragic or serious cast of the movement.) The first theme is Caliban, the second, Ariel; both are emanations from a single enchanted island. Beethoven is Prospero, puppet-master of the theater of our emotions, and he wields his magic staff with aplomb.

The quartet is without a slow movement, as if to go there the composer would have to relinquish his thespian’s costumes and speak more confessionally. The second movement replaces the missing slow movement with a playful one, clocklike in its mesmeric regularity. It begins with the character of innocence and the veneer of the scholarly, aping the start of a fugue, children playing at

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serious discourse. Even the opening, a couldn’t-be-simpler thrice repeated pitch, dons several masks during this clever movement, borrowing disguises rather than growing or transforming, from teasing to chuckling to pompous to mysterious to tender. The movement also opens with the selfsame two pitches as the first movement, a flirtation in the villain’s eyes.

Again these pitches are used to catapult us into the third movement, a Punch and Judy show of a minuet. Belying his fairly moderate marking of “Allegretto,” Beethoven indicates a speed for the movement that is certainly too quick to be danced to with any decorum, and, as if that weren’t enough to discourage any attempt at elegant dancing, he throws in jagged offbeat accents with abandon. Although Haydn and Mozart have quartets with minuets in minor that are defiant or strong, this minuet that deals in mock anger is an innovation. The trio section is more acquiescent and attempts to take wing and leave behind the shackles of the minuet proper. But somehow it can’t help looking back over its shoulder at the last moment and, after three hesitant, whispered chords, it gets pulled back into the room and, devilishly, is forced to try to dance at fever pitch, even faster than before. It is a sort of parody of a dance of death and it whirls by in a flash.

A new character enters the scene in the final movement, an itinerant gypsy, fiddling with virtuosity and pride and stamping his foot for emphasis. (The stomping may be another version of the repeated notes underpinning the opening of the piece, of the theme of the second movement, or the trio of the minuet.) His music alternates with

visits with other characters. In the first a suave and elegant suitor appears. It shouldn’t surprise us at this point that a closer inspection reveals him to be the gypsy himself in borrowed garb, as evidenced by echoes of the contours and figuration of the opening tune. A third music starts with four taps of a magic wand traveling up the quartet from lowest instrument to highest, and each tap is nothing but the quick, ornamental filling in of the rising interval announcing the suitor. All is shapeshifting, Prospero’s magic. Some demoniac fiddling sets us up, after a theatrically suspenseful pause that echoes the moment waiting to collapse back into the minuet in the previous movement, for a wild, breathless “Prestissimo” romp, all swagger and panache. And then, a last moment reprieve as the major mode arrives and evaporates up into the stratosphere, having vanquished the evil minor for good. Or has it?

The piece ends with three repetitions of the same two pitches that started all the movements but this one, now filled in with the notes in between. This is also the material that formed the four magic wand taps earlier in the movement, but now they are rooted in place, defiant. (They are possibly also a gruff answer to the elfin start of the second movement.) Beethoven places them only on pitches that belong, equally and enigmatically, both to C minor and C major, adding nothing else. He thus refuses to tip his hand toward one or the other, relishing this ambiguity, surely with an impish grin, as the curtain snaps shut.

— Mark Steinberg

Summer 2018 XIII

JOHANNES BRAHMS1833-1897

Quintet for Clarinet and Strings in B Minor, Op. 115 (1891)

Late in 1890, Brahms sent to his publisher a revision for the ending of the String Quintet No. 2, Opus 111, and added as a casual afterthought the comment, “With this note you can take leave of my music, because it is high time to stop.” Yet just three months after this intimation that he was through composing for good, and that no new works were to be expected from him, Brahms heard a clarinetist named Richard Mühlfeld, whose technique and expressive musicianship so inspired the aging and ailing composer that he created four chamber music masterpieces with him in mind: the Trio for clarinet, cello, and piano, Opus 114, the present quintet, Opus 115, and the two clarinet sonatas, Opus 120.

Brahms wrote to a friend on July 12, 1891, that the trio was ready for the copyist. The quintet must have poured out of him after that, since, already on July 24, he told the same friend that the trio was “twin to a much bigger lot of foolishness.” The following day Brahms wrote to the Baroness Hedburg, wife of the Duke of Meiningen, for whom Mühlfeld was the royal chamber musician and music director, an amusing letter, filled with a coy suggestiveness, announcing the new work:

I would like ... in a most unobtrusive manner, to invite myself to Meiningen! This time it is not out of pure egoism. I am taking the liberty of telling you very confidentially how I have thought and worked

for you. Your fondness (this is only between you and me) for the royal chamber musician and music director Mühlfeld has not escaped my eye; it pained me to see how very few opportunities there were for you to watch him pla y... but now I am bringing him to your chamber. He shall sit on your chair, you may turn the pages of his music, and fill in the rests, which I have granted him, with fond discourse. The rest doesn’t matter, but, just for the sake of making the story complete, I would like to add for this purpose that I have written a trio and a quintet in which he has a part, and which I am placing at your disposal — offering for your use. Besides, your Mühlfeld is the greatest artist there is on the clarinet, and for that reason I find that Meiningen is the only place they could be played.

Both of the new compositions were performed privately in the home of Countess Hedburg on November 24. Joseph Joachim, who was the violinist in the quintet, was so enthusiastic that he programmed both works for a concert in Berlin on December 1, 1891. The quintet in particular was received with a storm of applause.

The only comparable masterwork to precede Brahms’s Clarinet Quintet is the one by Mozart. Both compositions were written late in their composers’ lives, and both have a certain air of retrospection. The Brahms quintet, in particular, is singularly elegiac in character, marked from the very opening with sustained, lyrical, downward-tending melodies.

The slow movement begins with another descending melody in the clarinet, echoed off the beat by the

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first violin over a subdued but uneasy accompaniment; clarinet and violin exchange parts as the phrase repeats and extends itself. The middle section of the movement is a wonderful evocation of gypsy music, which had fascinated Brahms from the earliest phase of his career. Here the swirling turns on the clarinet elaborate the strings as they hint at the main theme.

The last two movements both employ thematic transfiguration. The Andantino’s rocking melody

becomes a lively Presto non assai. In the finale, the main theme appears in four different guises in a process of continuous development. At the very end of the work, Brahms brings back the opening of the first movement, once again emphasizing the autumnal mood of the entire piece.

— Steven Ledbetter

*Intermission begins*

“Do you want me to get you something from concessions?”“Sure... but what do they have?”

DrinkLocally Crafted Beer Draft $8 Bridge Lane Wine Glass $10Caramoor Cup Refill $7 Caramoor Cup Refill $9 Carafe $30

City Winery Cabernet Sauvignon | North Coast 2015Full-bodied & jammy, with flavors of crushed berriesCity Winery “SoHovignon Blanc” | Lake County 2016Aromas of grass & melon, with flavors of green apple & citrusCity Winery Organic Rooftop Rosé | Mendocino 2016Smooth & soft, with pomegranate & wild strawberry flavors

Cold Brewed Kobrick’s Coffee $4 Freshly-Squeezed Lemonade $4Hot Kobrick’s Coffee $3 Assorted Pepsi Sodas $3Unsweetend Assam Iced Tea $4 Saratoga Still or Sparkling Water $3Harney & Son’s Black Teas & Tisanes $3

FoodDeep River Kettle Chips $3 Pretzel Nuggets with JalapeñoChocolate Chip Cookie $3 Cheddar Dip $6Raspberry Rice Krispie $3 Slice of Seasonal Pie $6

Summer 2018 XV

About the Artists.

Brentano String Quartet

Since its inception in 1992, the Brentano

String Quartet has appeared throughout the world to popular and critical acclaim. “Passionate, uninhibited and spellbinding,” raves The London Independent; The New York Times extols its “luxuriously warm sound [and] yearning lyricism.”

Since 2014, the Brentano String Quartet has served as Artists in Residence at Yale University. The Quartet also currently serves as the collaborative ensemble for the Van Cliburn International Piano Competition. Formerly, they were Artists in Residence at Princeton University for many years.

The Quartet has performed in the world’s most prestigious venues, including Carnegie Hall and Alice Tully Hall in New York; the Library of Congress in Washington; the Concertgebouw in Amsterdam; the Konzerthaus in Vienna; Suntory Hall in Tokyo; and the Sydney Opera House. The Quartet had its first European tour in 1997, and was honored in the U.K. with the Royal Philharmonic Award for Most Outstanding Debut.

In addition to their interest in performing very old music, the Brentano Quartet frequently collaborates with contemporary composers. Recent commissions include a piano quintet by Vijay Iyer, a work by Eric Moe (with Christine Brandes, soprano), and a viola quintet by Felipe Lara (performed with violist Hsin-Yun Huang). In 2012, the Quartet provided the central music (Beethoven’s Opus 131) for the critically-acclaimed independent film A Late Quartet.

The quartet has worked closely with other important composers of our time, among them Elliott Carter, Charles Wuorinen, Chou Wen-chung, Bruce Adolphe, and György Kurtág. The Quartet has also been privileged to collaborate with such artists as soprano Jessye Norman and pianists Richard Goode, Jonathan Biss, and Mitsuko Uchida.

The Quartet is named for Antonie Brentano, whom many scholars consider to be Beethoven’s “Immortal Beloved,” the intended recipient of his famous love confession.

The Brentano String Quartet appears by arrangement with David Rowe Artists www.davidroweartists.com.

www.brentanoquartet.com

Caramoor

Todd Palmer, clarinet

Having been involved in an array of creative

and diverse artistic presentations throughout his career, clarinetist Todd Palmer has appeared as performance artist, concerto soloist, recitalist, chamber music collaborator, educator, arranger, and presenter in a variety of musical endeavors around the world. He has appeared as soloist with many symphony and chamber orchestras including those of Houston, Atlanta, St. Paul, Cincinnati, Montréal, BBC Scotland, and has shared the stage with a variety of the world’s most renowned artists and ensembles such as sopranos Kathleen Battle, Renée Fleming, Elizabeth Futral, Heidi Grant Murphy, Dawn Upshaw; and the St. Lawrence, Brentano, Borromeo, Chiara, Daedelus, Lark, Pacifica and Ying string quartets.

Palmer has collaborated with numerous composers including Thomas Adès, David Bruce, Ricky Ian Gordon, Christopher Rouse, Mason Bates, Ned Rorem, George Tsontakis, and Osvaldo Golijov. He commissioned Ricky Ian Gordon’s theatre work Orpheus and Euridice, which has been presented by Great Performers at Lincoln Center, Chicago Opera Theater, Long Beach Opera, Roanoke Opera, Long Leaf Opera and Urban Arias of Washington, D.C. He was the first wind player to be awarded the grand prize in the Ima Hogg Young Artist Auditions and later went on to win the Young Concert Artist International Auditions in NYC.

His appearances abroad have included concerto, recital and chamber music performances throughout the world. He has been a participant for 20 years at Spoleto Festival USA in Charleston, SC, and was a member of the highly popular touring group Spoleto Chamber Music USA.

He has attended many other summer music festivals in the U.S. and Canada including Ravinia, Music@Menlo, Banff, La Jolla SummerFest, Bravo!, and Caramoor. He also participated for five summers at the Marlboro Music Festival in Vermont, as well as at Tanglewood where he received the Leonard Bernstein Fellowship.

Palmer has held principal clarinet positions in the Minnesota Orchestra, Orpheus Chamber Orchestra, the Gotham Opera of NYC, the Grand Teton Festival, and in Lincoln Center’s revivals of South Pacific, The King & I, and My Fair Lady. Palmer has also collaborated with director Robert La Page in The Nightingale and Other Fables at BAM, and choreographers Doug Varone, Lar Lubovitch and Mark Morris, for whom he gave the world premiere of Crosswalk, a new work for clarinet and dance especially created for him in 2013.

An arranger for a variety of mixed ensembles, Palmer has had many of his works performed at various festivals and on many annual broadcasts on NPR’s Performance Today, most notably his Première Rhapsodie of Debussy (published by Boosey & Hawkes); chamber nonets of Weber’s Invitation to the Dance, and a suite from André Messager’s ballet The Two Pigeons.

Caramoor Summer 2018

Evening Performance in the Venetian Theater at 8:00pm

Dianne ReevesRomero Lubambo, guitarReginald Veal, bassTerri Lyne Carrington, drumsPeter Martin, piano

Daytime Performers begin at 12:00pmBenny Green Trio with special guest Veronica SwiftStephane WrembelJane Bunnett and MaquequeShenel Johns and Vuyo Sotashe: Music of Miriam Makeba and Nina SimoneUlysses Owens, Jr. THREEMelissa Aldana and Lage LundLeonardo Sandoval and Eduardo BeloPaul Nedzela QuartetSam Reider and the Human HandsPatrick Bartley Presents The Mighty Cannonball AdderleyMariel Bildsten SeptetJeffery Miller’s New Orleans KreweJoel Ross and Immanuel WilkinsAnthony Hervey TrioAndrew Renfroe DuoJazz at Lincoln Center Youth Orchestra Ensembles

Jazz Chat with Ben Young: Jazz Vocals Throughout History

Historic House Tours / Scavenger Hunt / Free Raffles / Sound Art

Saturday / July 21

Jazz FestivalPresented in Collaboration with Jazz at Lincoln Center

Caramoor Summer 2018

Full Festival ticket holders have access to all performances, day and evening. Have a day only ticket but want to see Dianne Reeves? Upgrade to a Full Festival ticket at the box office (subject to availability).

This concert is made possible by generous support from Peter & Katherine Kend.

Theatrical lighting in the Spanish Courtyard was a generous gift from Adela and Lawrence Elow.

Pianos by Steinway & Sons, the Artistic Choice of Caramoor.

Help everyone enjoy the music. Please be sure to silence all mobile devices. The use of cameras and other recording equipment is prohibited. Thank you and enjoy the performance.

For a detailed schedule of performance times and locations, and a list of Cultural Partners supporting the Jazz Festival, please see the day’s handout or check caramoor.org

Summer 2018 XIX

About the Artists.

Dianne Reeves

Five-time Grammy winner Dianne Reeves is

the preeminent jazz vocalist in the world. As a result of her breathtaking virtuosity, improvisational prowess, and unique jazz and R&B stylings, Reeves received the Grammy for Best Jazz Vocal Performance for three consecutive recordings – a Grammy first in any vocal category.

Featured in George Clooney’s six-time Academy Award nominated Good Night and Good Luck, Reeves won the Best Jazz Vocal Grammy for the film’s soundtrack. Reeves has recorded and performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She has also recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. Reeves was the first Creative Chair for Jazz for the Los Angeles Philharmonic and the first singer to ever perform at the famed Walt Disney Concert Hall.

Reeves worked with legendary producer Arif Mardin (Norah Jones, Aretha Franklin) on the Grammy-

winning A Little Moonlight, an intimate collection of standards featuring her touring trio. When Reeves’ holiday collection Christmas Time is Here was released, Ben Ratliff of The New York Times raved, “Ms. Reeves, a jazz singer of frequently astonishing skill, takes the assignment seriously; this is one of the best jazz Christmas CDs I’ve heard.”

In recent years Reeves has toured the world in a variety of contexts including Sing the Truth, a musical celebration of Nina Simone which also featured Liz Wright and Angélique Kidjo. She performed at the White House on multiple occasions including President Obama’s State Dinner for the President of China as well as the Governors’ Ball.

Reeves’ most recent release Beautiful Life, features Gregory Porter, Robert Glasper, Lalah Hathaway, and Esperanza Spalding. Produced by Terri Lyne Carrington, Beautiful Life won the 2015 Grammy for Best Jazz Vocal Performance. Reeves is the recipient of honorary doctorates from the Berklee College of Music and The Juilliard School. In 2018 the National Endowment for the Arts will designate Reeves a Jazz Master — the highest honor the United States bestows on jazz artists.

diannereeves.comimnworld.com/diannereeves

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Benny Green Trio with special guest Veronica Swift

Benny Green possesses the history of jazz at his fingertips. Combine mastery of keyboard technique with decades of real world experience playing with no one less than the most celebrated artists of the last half century, and it’s no wonder Green has been hailed as perhaps the most exciting hard-swinging, hard-bop pianist to ever emerge from Art Blakey’s Jazz Messengers.

Green is the bearer of the torch and guardian of a legacy handed down to him, personally, by his musical mentors. His most recent recordings, Live in Santa Cruz (2015) and Magic Beans (2012) (Sunnyside) are shining examples of his brilliance. Since emerging under the tutelage of Betty Carter, Art Blakey, Freddie Hubbard, and Ray Brown in the early 1980s, Green has become a highly regarded pianist and bandleader. His efforts to expand upon the language of the classical jazz canon have placed him among the vanguard of musicians keeping jazz’s evolution going.

Veronica Swift is now being recognized as one of the top young jazz singers on the scene and a regular performer at Birdland Jazz Club. In 2015, she released Lonely Woman, and will record her next album with Benny Green and his trio.

Stephane Wrembel

Stephane Wrembel is quite simply one of the finest guitar

players in the world. The breadth and range of his playing and compositions are unmatched. To say that Wrembel — who learned his craft among the Gypsies at campsites in the French countryside— has already had a remarkable career would be an under-statement. This prolific, virtuoso guitarist from France has been releasing a steady stream of music since 2006 and has truly made his mark as one of the most original guitar voices in contemporary music.

David Frick at Rolling Stone Magazine called him “a revelation.” Oscar-winning director Woody Allen recruited him to score the theme song for the smash 2011 film, Midnight in Paris. Wrembel performed the irresistibly catchy “Bistro Fada” live during the 2012 Academy Awards ceremony.

He has headlined Lincoln Center, played major festivals, recorded with mandolin legend David Grisman, toured with master violinist Mark O’Connor and shared stages with everyone from Elvis Costello to Patti Smith to The Roots. The Gitane guitar company has even named a model after him.

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Jane Bunnett and Maqueque

Multiple Juno Award winner, Jane

Bunnett has turned her bands and recordings into showcases for the finest musical talent from Canada, the U.S. and Cuba. She has been nominated for Grammy Awards, numerous Juno Awards, received an Order of Canada, The Queen’s Diamond Jubilee medal, and most recently Ontario’s Premiers Award for Excellence.

An internationally acclaimed musician, Jane Bunnett is known for her creative integrity, improvisational daring and courageous artistry. Her exploration of Afro-Cuban melodies expresses the universality of music and her ability to embrace and showcase the rhythms and culture of Cuba has been groundbreaking. She has toured the world bringing her own special sound to numerous jazz festivals, displaying her versatility as a tourist, saxophone player and pianist. As an educator, spokesperson, and social activist, she remains unafraid to explore uncharted territory in her quest for excellence.

Shenel Johns

With a voice that embodies grace and passion and a personal

style that sways effortlessly from jazz to R&B to gospel, Shenel Johns has emerged as one of the shining stars of her generation. A native of Hartford, CT, Johns has been performing since she was fourteen years of age, and has developed a distinctive, eclectic style that has increasingly caught the attention of her peers and some of the industry’s top performers.

Vuyo Sotashe

Young South African jazz vocalist, Vuyo (Vuyolwethu) Sotashe, is

gradually making his mark in the New York jazz scene. Sotashe moved to the NYC in 2013 after being awarded the prestigious Fulbright Scholarship. Since then, he has gone to win first prize at the very first Mid-Atlantic Jazz Festival Vocal Competition in 2014 and performed on the festival’s main stage in 2015. That same year, he won the Audience Prize award and placed second overall at the Shure Montreux Jazz Voice Competition in Switzerland and placed third in the Thelonious Monk Institute International Jazz Vocal competition, where he was the very first male vocalist ever to place in the competition’s finals.

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Ulysses Owens, Jr. THREE

Heralded as a “ legitimate jazz triple threat”

(Critical Jazz) who “take[s] a back seat to no one” (The New York Times), performer, producer and educator Ulysses Owens, Jr. goes the limit in the jazz world and beyond.

One of the most sought-after drummers of his generation, Owens sets the mark. From Grammy award-winning performances with Christian McBride’s acclaimed Trio and Big Band to world tours with Kurt Elling and Joey Alexander, Owens’s artistic command of percussion has earned him positions in some of the most successful jazz ensembles of the 21st century. Owens’s reverence for tradition distinctly manifests in his straight-away playing style, but it is the versatility of his talent— his unique ability to manipulate texture and create penetrating musical shapes— that attracts the attention of jazz’s heavy hitters. His performance catalog includes collaborations with Nicholas Payton, Wynton Marsalis, Monty Alexander, Dianne Schurr, Renee Fleming and Mulgrew Miller, just to name a few.

Owens has been named a Rising Star by DownBeat’s Critics Poll for five years straight. He is a recipient of the 2013 ASCAP Plus Award, a Gold Medal winner of the 2014 Global Music Awards and a 2015 Jazz at Lincoln Center Swing! Awards Honoree.

Leonardo Sandoval

Brazilian tap dancer Leonardo Sandoval, described by

The Chicago Sun-Times as “strong, yet fine-boned, capable of authority and nuance,” and praised by The New York Times for his “rousing” choreography, has established a reputation in the tap world and beyond for his musicality and for adding his own Brazilian flavor to the American art of tap dancing. He helped bring tap to a wider audience in Brazil via numerous TV appearances, and by co-founding the Cia Carioca de Sapateado in Rio de Janeiro. He is also a member of Michelle Dorrance’s acclaimed company, Dorrance Dance, performing across the U.S. and abroad.

Eduardo Belo

Eduardo Belo is a young bass player and composer from Brazil

with a unique sound and musical taste. Fluent in both jazz and Brazilian music, Eduardo plays on a regular basis with great artists/ musicians in New York, where he is now living, and also internationally. Artists he has worked with include Duduka da Fonseca, Helio Alves, Claudio Roditi, Kevin Hays, Gabriel Grossi, Koran Agan, Ari Hoenig, Cyro Batista and many others.

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Paul Nedzela Quartet

Paul Nedzela was born and raised in New York City. He

is currently a member of the Jazz at Lincoln Center Orchestra and has also played with many renowned artists and ensembles, including (in alphabetical order) Ruben Blades, Bill Charlap, Chick Corea, Paquito D’Rivera, Kenny Garrett, Benny Golson, Branford Marsalis, Wynton Marsalis, Christian McBride, Eric Reed, Diane Reeves, Kurt Rosenwinkel, Wayne Shorter, Frank Sinatra Jr., and The Vanguard Jazz Orchestra.

Nedzela has performed in Twyla Tharp’s Broadway show, Come Fly Away, as well as in major festivals around the world, including The Monterey Jazz Festival, The Newport Jazz Festival, The Detroit Jazz Festival, The Banff Music Festival, The International Montreal Jazz Festival, The iLoveJazz Festival in Brazil, The Valencia Jazz Festival in Spain, The Umbria Jazz Festival in Italy, and The American Festival of the Arts in Doha, Qatar. 

He has studied with some of the foremost baritone saxophonists in the world, including, Joe Temperely, Gary Smulyan, and Roger Rosenberg. Nedzela graduated with honors in 2006 from McGill University in Montreal with a Bachelor of Arts degree in mathematics and continued his musical studies at The Juilliard School and graduated with a Master of Music degree in 2008.

Sam Reider and the Human Hands

Jazz pianist turned roots musician, Sam

Reider is redefining American music on the accordion. He’s performed alongside pop stars, jazz and folk musicians around the world ranging from Jon Batiste and Stay Human, to viral YouTube sensation CDZA and T-Pain, Bluegrass mandolin prodigy Sierra Hull to Venezuelan cuatro virtuoso Jorge Glem.

Reider’s debut record Too Hot To Sleep presents his unique compositional voice alongside an ensemble of top-drawer musical collaborators and compadres called The Human Hands.

Reider grew up in San Francisco, the son of a musical theatre composer and klezmer musician. He began performing at a young age, and was interviewed on Marian McPartland’s Piano Jazz on NPR when he graduated high school. At Columbia University, he fell in love with American folk music. While writing his senior thesis comparing the songwriting of Woody Guthrie and Ira Gershwin, he began studying bluegrass and old-time music.

This set him off on a journey that has taken him from back porches and dive bars to concert halls and major festivals in practically every state in the country. Representing the U.S. Department of State as a musical ambassador, he has travelled to China, Laos, Cambodia, Myanmar, Vietnam, Turkey and Azerbaijan.

July 28 / 8:00pm Angélique Kidjo“The power of Kidjo’s unflappable voice, the range of her emotional expression, the stellar, genre-bending musicians who back her and the infectious, activist energy that courses through her songs all transcend any native tongue.” — NPR Music

Full Calendar& Tickets:914.232.1252 / caramoor.org

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July 28 / 8:00pm Angélique Kidjo

Patrick Bartley

Patrick Bartley, Jr. is a Grammy-nominated and

award-winning saxophonist, multi-instrumentalist, and composer/arranger, and is known most notably for his extreme versatility, powerful sound, and sincere expression.

Originally from Fort Lauderdale, Florida, Bartley is now gaining recognition as a professional artist in New York City, and has most notably been featured with world-renowned artists such as Louis Hayes, Steve Miller, The Chainsmokers, Jon Batiste and Stay Human, Dave Matthews Band, Josh Groban, and Wynton Marsalis. Bartley’s television and other media appearances include Good Morning America (ABC), The Talk (CBS), The Late Show with Stephen Colbert (CBS), as well as being featured on the soundtrack to Cafe Society (2016), a film by Woody Allen.

While Bartley’s main work and musical language is in jazz, he also enjoys performing in a wide range of musical styles, including classical, Afro-Cuban, Japanese, and various types of electronic music. In addition to building his career as a performer and composer, Bartley is currently pursuing his passion for Japanese music with his original project, the J-MUSIC Ensemble, a horn-driven, acoustic-electric unit that focuses on bringing new perspectives to Japanese pop, indie, and art music.

Mariel Bildsten Septet

Mariel Bildsten is a trombonist, based in New

York City. She currently works as a bandleader and side-woman in New York, playing mostly in jazz big bands and small groups, as well as world and Caribbean music, classical, funk, R&B, and Latin music bands. She has performed at Jazz at Lincoln Center, Carnegie Hall, the Apollo Theater, the Chicago Jazz Festival, Perth International Arts Festival, Caramoor Jazz Festival, Smalls Jazz Club, and Smoke Jazz Club, among other venues.

Bildsten has also performed alongside Dee Dee Bridgewater, Roy Hargrove, Wycliffe Gordon, Brian Lynch, Cyrus Chestnut, Lew Soloff, and Frank Lacy. Her own groups (ranging from duo to septet) have headlined jazz festivals, played around the country, and gig regularly in New York City. She graduated from the New School for Jazz and Contemporary Music in December 2015. During her time there, Bildsten had the opportunity to study with fantastic teachers and mentors, such as Elliot Mason, Steve Turre, Vincent Gardner, Sam Burtis, Jimmy Owens, Mike LeDonne, Reginald Workman, and Jane Ira Bloom.

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Jeffery Miller

At the age of 19, Miller stepped onto the stage of the famed

Apollo Theatre, and he brought the house down. He was introduced by Irvin Mayfield of the New Orleans Jazz Orchestra (NOJO) who proudly announced that Miller was a recently admitted student on a full scholarship at The Juilliard School. Not his first performance on a great New York stage, when he was just 15, Miller performed at Carnegie Hall at the celebration of the Preservation Hall Jazz Band’s 50th anniversary. He also performed with the Preservation Hall Jazz Band for their sold-out show at Madison Square Garden, while on tour with Arcade Fire. The now-22-year-old’s resume already reads like the resume of an old jazz cat.

There are gigs with seasoned veterans including studio sessions with Donald Harrison Jr., Leo Nocentelli (The Meters), Delfeayo Marsalis, and Herlin Riley. He played trombone in the 2014 Grammy Band. Miller has performed with Delfeayo Marsalis and the Uptown Jazz Orchestra since he was 14, and he even went on their 2013 New York Tour. He can be heard on the big band’s debut album Make America Great Again! Miller has been featured with the Louisiana Philharmonic Orchestra (2017 Opus Ball) and the Wynton Marsalis Septet (Abu Dhabi Festival 2017). He was also selected to be a part of the 2016 Disneyland Resort All American College Band.

Joel Ross

Chicago native Joel Ross has performed with historic and seasoned

artists such as Herbie Hancock, Louis Hayes, Christian McBride, and Stefon Harris, as well as with cutting-edge contemporaries like Ambrose Akinmusire, Gerald Clayton, Jon Batiste. Twice selected as a Thelonious Monk Institute National All-Star and a 2013 YoungArts Jazz Finalist, he’s also had the opportunity to perform at the Brubeck, Monterey, Seattle, and Chicago Jazz Festivals. Ross has just recorded his own debut album Good Vibes, to be released in 2018.

Immanuel Wilkins

American Saxophonist, Composer, Arranger, and Band

Leader Immanuel Wilkins grew up in the Philadelphia area and played in his church and programs dedicated to teaching jazz music such as the Clef Club of Jazz and Performing Arts. He has had the opportunity to work and/or record with Jason Moran, the Count Basie Orchestra, Delfeayo Marsalis, Aaron Parks, Gerald Clayton, Gretchen Parlato, Lalah Hathaway, Solange Knowles, Bob Dylan, and Wynton Marsalis. He currently attends The Juilliard School.

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Melissa Aldana

Still in her 20s, Chilean saxophonist and composer Melissa

Aldana has had a remarkably rapid evolution from 6-year-old sax prodigy to, “bold new talent,” (NPR) widely considered one of the most compelling tenor saxophonists on the scene. As a child, Aldana studied with her renowned saxophonist father Marcos Aldana. In 2007 she enrolled at Berklee, coming under the mentorship of George Garzone. In 2013 she becamethe first female instrumentalist and the first South American ever to winthe Thelonious Monk Competition. She has released four recordings as a leader, most recently, Back Home.

Lage Lund

Acclaimed as one of the finest guitarists of his generation,

Lage Lund is a regular in the “Rising star – Guitar” category in the Downbeat Critic’s Poll. Armed with a mastery of the standard repertoire and a growing and impressive body of original compositions, Lund swings with great authority. He has become a sought-after sideman with the David Sanchez Quartet, the Maria Schneider Orchestra, Mark Turner, Seamus Blake and many more.

Anthony Hervey Trio

Trumpeter Anthony Hervey is a student at The Julliard

School of Music, majoring in Jazz Studies. A graduate of Dillard High School Center for the Arts in Fort Lauderdale, FL, Hervey was a member of the school’s nationally renowned jazz ensemble.

Hervey received the Outstanding Soloist recognition award four consecutive years (2012-2015) at the prestigious Essentially Ellington High School Jazz Band Competition and Festival in New York. At the 2015 competition, he was awarded the Ella Fitzgerald Award representing the Outstanding Soloist for the entire competition. Hervey has participated in the 2014 Vail Jazz Workshop, the 2015 Grammy Jazz Band, 2014-2015 Next Generation Jazz Orchestra, and was invited to participate in the 2015 inaugural Summer Jazz Academy in Castleton by Wynton Marsalis.

Hervey performed as Louis Armstrong in 2017 with “Who Is Louis Armstrong” with Catherine Russell. In 2016, performances included: Young Arts Jazz Competition Finalist; Count Basie Jazz Orchestra; Jazz at Lincoln Center Orchestra featuring Chick Corea; Ravinia Festival, as a substitute for Wynton Marsalis; Marciac Jazz Festival, Marciac, France, with Wynton Marsalis & The Young Jazz All Stars; Future of Jazz Festival, Moscow, Russia where he was featured soloist with the Igor Butman Jazz Orchestra.

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Andrew Renfroe Duo

From Jupiter, Florida, and with a Master of

Music from Juilliard (2016), Andrew Renfroe credits much of his sound to his development at The Jackie McLean Institute of Jazz in Hartford, CT, where he earned his Bachelor of Music in 2013. He has performed in the bands of Steve Davis, Nat Reeves, Javon Jackson, Terrace Martin, Mike LeDonne, and J.D.  Allen.  Currently, he is a member of many working groups including those led by veterans Carmen Lundy, David Weiss and Ned Goold, as well as

groups led by his peers Braxton Cook, Jonathan Barber, Jonathon Pinson, Luke Sellick, Arnold Lee, and others.  Renfroe’s own projects reflect his diverse influences and have included a re-imagining of Delta Blues legend and originator Son House’s music through the aesthetic of the John Coltrane Quartet, as well as a project which takes traditional music from Burkina Faso and Mali, West Africa and places it in a modern jazz quartet setting.  Both of these projects were presented at Jazz at Lincoln Center.  He is currently working on arrangements of French composer Olivier Messiaen’s Organ Works.  An accomplished composer, he attended the Betty Carter Jazz Ahead program in 2013, and is a co-writer in the group BONOMO,  led by his long-time collaborator Adam Bonomo.

Caramoor Summer 2018

Sunday / July 22 / 4:00pm / Venetian Theater

Philharmonia Baroque OrchestraNicholas McGegan, conductor

Sherezade Panthaki, AtalantaAmy Freston, MeleagroCécile van de Sant, Irene Isaiah Bell, AmintaPhilip Cutlip, NicandroDavóne Tines, MercurioTENETJolle Greenleaf, Artistic DirectorCeleste Montemarano, supertitles

GEORGE FRIDERIC HANDEL1685-1759

Handel’s Atalanta

This opera is made possible, in part, thanks to the generous support of Mr. and Mrs. Jay Langner, Enid and Lester Morse, and Nancy and Morris Offit.

3:00pm Pre-concert lecture with Ellen T. Harris, MIT professor emeritus and Handel scholar.

Help everyone enjoy the music.Please be sure to silence all mobile devices.The use of cameras and other recording equipment is prohibited.Thank you and enjoy the performance.

This afternoon’s performance will end at approximately 7:00pm.

This concert is made possible, in part, through funding from the Rudyard and Emanuella Reimss Memorial Fund of the Westchester Community Foundation.

Atalanta, An Opera in Three Acts, HWV 35 (1736)

Act I INTERMISSION Act II brief pause Act III

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About the Music.GEORGE FRIDERIC HANDEL1685-1759

Atalanta, An Opera in Three Acts, HWV 35 (1736)

About the Composer

Handel’s career in England is roughly divided into two parts — the “opera years” and the “oratorio years.” When he first arrived in the country, having been living in Italy where he had absorbed and personalized the expressive and dramatic traditions of Italian opera, it was by means of his stage works that he achieved his principal fame.

Italian music was the most sought after, especially among the English aristocrats who paid many of the bills. The first Italian opera was produced in London in 1705; for several years, the works performed in London were arrangements of older works or pastiches. But they still won out over attempts to create opera in English because of the foreign singers.

Audiences demanded real Italian singers — of whom the highest paid were the castratos (males who retained the small voice box of a youth but had the lungs of an adult). They displayed such breath control, such virtuosity of ornamentation, such vocal wizardry that many were willing to overlook the barbarous operation that produced them. Every opera needed one or more of the castratos, usually in the principal heroic roles. It is hard for us to imagine hearing Julius Caesar, for example, as a soprano; but a soprano castrato could be distinguished from a female singer

by the sheer vocal power of the voice, a heroic, trumpet-like sonority that was, at the same time, incredibly flexible. That sound captivated audiences all over Europe — except among the sensible French, who felt that some things should not be lost merely for a spectacular voice and possible fortune!

Handel arrived in the autumn of 1710 and premiered his new opera Rinaldo the follwing February. The combination of passionate arias, great Italian singers, and spectacular scenic effects (for which the libretto had been specifically shaped), made it the sensation of the season. For the next quarter-century, Handel was, perforce, an opera composer, though he sought to prove himself as a composer of choral music, and he wrote some of his most famous instrumental music, the three suites of the Water Music, during this time.

During these years Handel was an entrepreneur as well as a composer, planning seasons, hiring singers, directing opera companies (often enough with competition from a rival company trying to win greater audience approval or the support of the most important aristocratic backers). Though the artistic quality of his operas remained high, his popularity went through periods of slump and recovery, and the income he earned from his opera productions sometimes faltered, if only because the most popular Italian singers demanded ever greater fees.

In the early 1730s, Handel realized that, almost unwittingly, he had created a genre that attracted a wider

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popular audience and allowed him to avoid hiring most Italian singers. This was the English oratorio. The realization came at first with public performances of two older works composed about fifteen years earlier for a largely private hearing, Acis and Galatea and Esther. The success of these works encouraged him to try more of the same, so from 1733 to the end of the decade, he wrote both English oratorios and Italian operas.

Thus, Atalanta, composed in 1736, is one of the works that falls into this period of alternating oratorio seasons (brief, and not yet regularized) with his long-standing opera season that was gradually losing popularity.

But Atalanta had a special reason for existence, and for its unusual character. It is not an opera composed specifically for the audience at Covent Garden , a recently-built theater in which Handel was offered space in alternation with spoken plays. Atalanta was composed with the specific aim of entertaining Frederick, the Prince of Wales, oldest son of King George II, on the occasion of his marriage to Princess Augusta of Sachsen-Coburg-Gotha. The wedding took place on April 27, 1736. Handel produced the score of Atalanta at his usual breakneck speed, completing the three acts on April 9, 14, and 22. The opera was to be mounted two weeks later, on May 5, but the splendid sets and elaborate stage machinery were not yet ready, so the performance was postponed a week.

It was important to Handel that Atalanta should be pleasing to the

prince, since he had previously been a partisan of Handel’s rival Porpora, who directed a rival opera company at the Haymarket. Of course, a work intended for a royal wedding celebration should not be too serious, and it must absolutely end happily, with a celebration of true love, implying that similar happiness lies in store for the newlyweds. The idea for the plot was an old one, derived from a libretto by Belisario Valeriani, but the identity of the poet who recast it for Handel’s use is not known.

About the Work

The character of the work is pastoral, a literary tradition going back to the ancient Greeks and to the Roman poet Virgil, but taken up with enthusiasm by Italian opera composers in the 17th and early 18th centuries. Handel himself had adapted one of the most popular of late Renaissance pastoral dramas, Guarini’s Il Pastor fido (The Faithful Shepherd) for one of his earliest operas, and with Acis and Galatea he had composed one of the most perfect of all pastoral narratives in music, though it was an early contribution to the English tradition rather than an Italian opera. Moreover many of his Italian cantatas drew their poetic imagery from the pastoral tradition as well. So Handel was treading familiar ground as he composed music for the royal festival.

Pastoral stories take place in a kind of gentle Neverland (usually called Arcadia) where the most serious fate that can befall someone is to fall in love and not have that love returned. Of course pastoral stories are replete

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with mismatched couples who are straightened out at the end or love relationships that seem threatened by some mutual misunderstanding that is finally cleared away.

From beginning to end, the music of Atalanta is fresh and charming, mostly cast in the typical pattern of the Italian opera, with a series of Da capo arias that allow the individual performers each to express the emotional joys or torments of the given moment while also — especially during the reprise of the opening section — displaying their abilities at vocal fioritura. For this opera, Handel imported a brilliant young castrato for the crucial role of Meleagro. Gioacchino Conti, just nineteen years old, had an unusually high range and brilliant vocal control; Handel showed it off in all of Meleagro’s arias, and took the part up to the high C, the highest note that he ever wrote for a male soprano.

One of the unusual features of the piece is the fact that the principal lovers have two major duets. It is rare to hear anything but solo arias in the Italian opera of the day, but these two duets evoke with particular warmth the theme of the event for which the opera was composed. Certainly it pleased Prince Frederick and his bride greatly. The opera was performed eight times in the spring and again the following November, and it earned for Handel the Prince’s lasting affection and support.

Synopsis

The two principal characters of Atalanta are the Princess Atalanta of Arcadia (soprano) and King Meleagro of Aetolia (soprano, a castrato role). Atalanta is devoted to the hunt, and

she has previously refused marriage because it would require her to give up such active pastimes. She pretends to be a shepherdess named Amarilli so that she can enjoy herself without the trappings of royalty. Meleagro is also pretending to be a shepherd, using the name Thyrsis. Naturally “Thyrsis” and “Amarilli” begin to feel a tenderness toward one another, but each believes the other to be a commoner and therefore an inappropriate spouse.

There is another couple in Arcadia as well: the shepherd Aminta (tenor) who is in love with the shepherdess Irene (contralto). In fact, Aminta has asked for her hand and been granted it by Irene’s father Nicandro (bass), but Irene is worried that he is more interested in the lands that will come with her in marriage, so she is determined to test the sincerity of his love, which she does by pretending instead to love Thyrsis.

The first act ends with a boar hunt. Atalanta spurns Meleagro’s offer to stay by her side during the hunt for her protection (though she admits to herself that she loves him). Aminta, feeling spurned by Irene, tries to throw himself in front of the beast to meet his doom, but his friends restrain him. Meleagro is left to his doubts and his hopes of winning Atalanta’s love.

At the beginning of Act II, Meleagro overhears Atalanta’s brooding over a seemingly hopeless love (because the object of her affection is, she thinks, a commoner). Meleagro tries to explain who he is, but they are both very shy and neither one speaks directly to the point. (Of course, if they did, the opera would have to end here!) Irene, attempting to arouse Aminta’s jealousy, tells Meleagro that she loves

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him, but he merely asks her to take a ribbon as a gift to Atalanta and to plead his case with her. When Aminta sees Irene with the ribbon, she teases him by pretending that it was a gift to her. After Irene has left, Atalanta appears with an arrow that she asks Aminta to deliver as her gift to Meleagro without saying who it is from. After he leaves, Meleagro encounters Atalanta and again urges his love, but she spurns him. He is aware of the true situation, however, and he sings a playful aria looking to a happy outcome, while Atalanta grieves that she must pretend coldness toward the man whom her heart desires.

In Act III, Irene presents Meleagro’s ribbon to Atalanta. She, in turn, sends him a mysterious message that he can learn all about her from Aminta. But Aminta, carrying Atalanta’s arrow, decides to make Irene jealous by telling her that he loves Atalanta and that the arrow is her gift to him. Meleagro attempts to clear up the confusion, but he is convinced that Atalanta loves Aminta. In true Baroque opera fashion,

he promptly lies down and falls asleep. Atalanta enters musing that the ribbon she has received resembles that of Meleagro. When she sees him tossing fitfully in his sleep, she prays for his torments to be calmed. When he wakes up, she is unable to avoid confessing her love, though still believing him to be a shepherd. Nicandro, arriving with his daughter and her sweetheart Aminta, reveals the true identities of “Thyrsis” and “Amarilli,” and the royal lovers sing a happy duet.

This would normally be the end of the opera — but Handel adds a little extra supplement for the festive audience — a final leave-taking scene (called a licenza in Italian) in which the god Mercury suddenly descends from the clouds (spectacular change of scenery here!) to bring Jupiter’s blessing to the earthly royal couple. The chorus joins in the festive close to the evening.

— Steven Ledbetter

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About the Artists.

Nicholas McGegan, conductor

As he embarks on his fifth decade on the podium,

Nicholas McGegan — long hailed as “one of the finest baroque conductors of his generation” (The Independent) and “an expert in 18th-century style” (The New Yorker) — is recognized for his probing and revelatory explorations of music of all periods. The 2017-18 season marks his 33rd year as music director of Philharmonia Baroque Orchestra and Chorale and he is also Principal Guest Conductor of the Pasadena Symphony.

Best known as a baroque and classical specialist, McGegan’s approach — intelligent, infused with joy and never dogmatic — has led to appearances with many of the world’s major orchestras. At home in opera houses, McGegan shone new light on close to twenty Handel operas as the Artistic Director and conductor at the Göttingen Handel Festival for 20 years (1991-2001) and the Mozart canon as Principal Guest Conductor at Scottish Opera in the 1990s. At the same time, he was principal conductor of the Drottningholm Opera in Sweden.

McGegan has established the San Francisco-based Philharmonia as one of the world’s leading period-performance ensembles, with notable appearances at Carnegie Hall, Lincoln Center, the London Proms, the Amsterdam Concertgebouw, and

the International Handel Festival, Göttingen. One of their greatest successes was the recent fully-staged modern-day premiere of Jean-Philippe Rameau’s 1745 opera-ballet Le Temple de la Gloire.

McGegan’s prolific discography includes more than 100 releases spanning five decades. Having recorded over 50 albums of Handel, McGegan has explored the depths of the composer’s output with a dozen oratorios and close to twenty of his operas. Under its own label, Philharmonia Baroque Productions (PBP), Philharmonia has recently released almost a dozen acclaimed albums of Handel, Scarlatti, Vivaldi, Brahms, Haydn, Beethoven, Alessandro Scarlatti, and the modern-day premiere of the original version of Rameau’s Le Temple de la Gloire. Since the 1980s, McGegan has released more than 20 recordings with Hungary’s Capella Savaria on the Hungaroton label, including groundbreaking opera and oratorio recordings of repertoire by Handel, Monteverdi, Scarlatti, Telemann, Vivaldi, and a 2-CD set of the complete Mozart violin concerti.

Born in England, McGegan was educated at Cambridge and Oxford and taught at the Royal College of Music, London. He was made an Officer of the Most Excellent Order of the British Empire (OBE) in the Queen’s Birthday Honours for 2010 “for services to music overseas.” In 2016 he was the Christoph Wolff Distinguished Visiting Scholar at Harvard and is a frequent visitor to Yale.

Visit Nicholas McGegan on the web at nicholasmcgegan.com 

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Sherezade Panthaki, soprano

Soprano Sherezade Panthaki’s international

success has been fueled by superbly honed musicianship; “shimmering sensitivity” (Cleveland Plain Dealer); “radiant” voice (The Washington Post); and vividly passionate interpretations, “mining deep emotion from the subtle shaping of the lines” (The New York Times). An acknowledged star in the early-music field, Panthaki has ongoing collaborations with leading early music interpreters including Nicholas McGegan, Simon Carrington, Matthew Halls, and Masaaki Suzuki, with whom she made her New York Philharmonic debut.

Panthaki’s recent performance with Philharmonia Baroque Orchestra and conductor Nicholas McGegan was named one of the “Top 10 Classical Music Events of 2015” and described as “a breathtaking combination of expressive ardor, tonal clarity, technical mastery and dramatic vividness” by The San Francisco Chronicle.

Panthaki’s 2017-18 season featured performances of Vivaldi’s Gloria with the Los Angeles Philharmonic at the Hollywood Bowl and the St. Louis Symphony (Nicholas McGegan conducting), the Milwaukee Symphony, Philharmonia Baroque Orchestra, Music of the Baroque, her return to Ars Lyrica, Pasadena

Symphony Orchestra, Orlando Philharmonic, and a United States Christmas Oratorio tour with Bach Collegium Japan.

Panthaki’s repertoire extends well beyond the music of the Renaissance and Baroque to works such as Carl Orff’s Carmina Burana with the Houston Symphony, John Tavener’s The Last Discourse with Orchestra of St. Luke’s, Beethoven’s Symphony No. 9 with American Classical Orchestra, Rachmaninoff’s Vocalise, and Strauss lieder at the Bari International Music Festival.

Panthaki holds an Artist Diploma from the Yale School of Music and a master’s degree from the University of Illinois.

Amy Freston, soprano

Amy Freston was born in London and trained

as a classical dancer before studying singing at the Royal Northern College of Music with Sandra Dugdale. She went on to the National Opera Studio where she was sponsored by Glyndebourne and became one of the most compelling performers of the younger generation of British singers‚ in constant demand on the operatic stage and concert platform.

Recent engagements included Ilia Idomeneo (Grange Park Opera)‚

Caramoor

Agilea Teseo for the Gottingen International Handel Festival‚ Belinda Dido and Aeneas and Rose Maybud Ruddigore (Opera North) The Owl and the Pussycat for ROH2 as part of the London 2012 Festival‚ Teseo for the Philharmonia Baroque Orchestra with Nicholas McGegan in San Francisco‚ and Raymond Gubbay’s Strauss Gala tour (Soprano Soloist).

A frequent guest at Opera North and Glyndebourne‚ roles include Cherubino Le nozze di Figaro‚ Miss Wordsworth Albert Herring‚ Valencienne Merry Widow‚ Amore L’incoronazione di Poppea‚ Sandman Hänsel und Gretel‚ Despina Così fan Tutte‚ First Niece Peter Grimes, Elsa in the world première of David Sawer’s Skin Deep‚ Belinda Dido and Aeneas‚ and La Musica Orfeo.

In concert she has performed Bach with the Orchestra of Age Enlightenment and Vladimir Jurowski‚ Carmina Burana with City of Birmingham Symphony Orchestra‚ Handel L’Allegro‚ il penseroso ed il moderato with Nicholas McGegan and Northern Sinfonia‚ St. Matthew Passion with the Orchestra of the Age of Enlightenment and Mark Padmore‚ Mozart C Minor Mass with Manchester Camerata. Freston recently made a recording of Birtwistle’s Nine Settings of Lorine Niedecker with Adrian Brendel.

Amy Freston was a winner of the prestigious Joaninha Trust Award‚ and was generously supported in her studies by the Countess of Munster Musical trust and the Peter Moores Foundation. She was also winner of the Glyndebourne on Tour Promise Award 2005.

Cécile van de Sant, mezzo-soprano

Cécile van de Sant studied with

Cora Canne Meijer at the Sweelinck Conservatorium Amsterdam where she graduated Cum Laude and continued her studies in New York with Marlena Kleinmann Malas.

Recent engagements include among others the title role in Vivaldi’s Juditha Triumphans with Philharmonia Baroque Orchestra and Nicholas McGegan; Civil Wars by Glass at the Holland Festival; Matthäus Passion with the Residentie Orchestra under Jaap van Zweden; Gluck/Berlioz Orphée with Orchestre des Pays de Savoie on tour in France; Verdi Requiem in Vredenburg Utrecht; Le Marteau sans Maître with Nieuw Ensemble for the 90th Birthday of Pierre Boulez; Alt-Rhapsodie with the Dutch Radio Philharmonic Orchestra in the Concertgebouw; Berg Sieben frühe Lieder and Der Wein with Göttingen Symphonie Orchester; Wozzeck in the Matinee Series of the Concertgebouw Amsterdam; baroque arias with the Kölner Akademie in Istanbul and the title role in Falco’s oratorio Santo Antonio with Europa Galante under Fabio Biondi; Dutch premiere of Rihm Deus Passus, and Mahler Symphony No. 3 with Göttingen Symphony Orchestra.

Her operatic roles include the Messagiera and Proserpina in L’Orfeo (Monteverdi) with the Bayerische Staatsoper in Munich and Speranza

Summer 2018 XXXVII

at the Teatro Liceu, Barcelona; Orfeo in Orfeo ed Euridice (Gluck) with the Scottish Opera; Iphigénie en Tauride at the Royal Opera House, Covent Garden and the Liceu, Barcelona, Third Lady in Die Zauberflöte for Opéra National de Paris, Rossweisse in Die Walküre at the Dutch National Opera. Sesto in La Clemenza di Tito (Mozart) with the Orquestra Sinfónica de Balears in Palma, the title role of La Cenerentola in Kaiserslautern and Rosina in Il Barbiere di Siviglia (Rossini) Opera Holland Park in London; Die Zauberflöte and Dido and Aeneas at Opéra de Lausanne. Scipio in Glanert’s Caligula in the Concertgebouw Amsterdam, Hänsel in Hänsel und Gretel (Humperdink) in Vredenburg Utrecht and with the Royal Concertgebouw Orchestra in the Concertgebouw, Olga in Eugen Onegin at the Nationale Reisopera and with Opera North; Kate in Owen Wingrave (Britten) at the Concertgebouw, Amsterdam.

Highlights of the 2017–18 season are Mahler Das Lied von der Erde with Göttingen Symphony Orchestra; Bach’s St Matthew Passion with Reinhard Goebel; Frank Martin Die Weise von Liebe und Tod, Residentie Orkest The Hague led by Reinbert de Leeuw; Concertgebouw Matinee 1e Magd in Strauss’ Elektra (led by Markus Stenz) and Mussorgsky’s Boris Godunov (led by Pablo Heras-Casado).

Isaiah Bell, tenor

Hailed in The New York Times for “a performance of haunting

beauty, ideally depicting emotional distraction with ultimate economy and glowing vocal skill,” Canadian-American tenor Isaiah Bell looks forward to a season highlighted by the works of Handel, Britten, and Kurt Weill.

His current season includes Messiah with the Toronto Symphony and Calgary Philharmonic (both conducted by Nicholas McGegan), Bernstein’s Mass with Bethlehem Bach, Britten’s Curlew River at the Brooklyn Academy of Music with the Mark Morris Dance Group, and Weill’s intriguing Sieben Todsünden for the Toronto Symphony’s Decades series, conducted by Peter Oundjian. Isaiah looks forward to Haydn’s Die Schöpfung with the Nashville Symphony, Messiah with the St Paul Chamber Orchestra, National Arts Centre Orchestra, and Vancouver Bach Choir and Beethoven’s Symphony No. 9 with the Seattle Symphony.

In 2018, appeared as Urimeco/Sailor in Opera Atelier’s production of Monteverdi’s The Return of Ulysses as well as a return to Opéra Théâtre de Metz Métropole singing the male lead in the premiere of Pierre Bartholomée’s Nous Sommes Eternels.

On the opera and concert stage Bell continues to be recognized for his “beautiful tenor, command of the style, and natural stage presence,” his

Caramoor

“willingness to invest himself wholly into the character,” the “fervency and clarity” and “overwhelming emotional force” of his performances and his “uncommonly warm light tenor, smooth musical line, and sound artistic choices.”

Isaiah Bell received his formal training at the University of Victoria, from which he holds a Bachelor of Music in Performance. Subsequently he was an ensemble member in the Young Artist Program of Pacific Opera Victoria, Calgary Opera’s Emerging Artist Program, and l’Atelier lyrique de l’Opéra de Montréal, with supplementary training gained at the Tanglewood Music Centre, Salzburg’s Universität Mozarteum, Edmonton’s Opera NUOVA, and the Victoria Conservatory of Music’s Baroque Oratorio Academy. He is also the composer of four operas and a number of song cycles.

Philip Cutlip, baritone

The American baritone, Philip Cutlip, has garnered

consistent critical acclaim for his performances in both North America and Europe. Established on both concert and opera stages, he has performed with a distinguished list of conductors that includes Nicholas McGegan, Yves Abel, Miguel Harth-Bedoya, Gerard Schwarz, and Donald Runnicles.

Among Cutlip’s recent successes on the operatic stage are his critically acclaimed Glimmerglass Opera debut as the title role in Philip Glass’s Orphée, his return to Seattle Opera to sing Marcello in La bohème, and his return to the Gran Teatre del Liceu in Barcelona to sing Mattieux in Andrea Chénier. He also recently appeared as Rodrigo in Don Carlo with Hawaii Opera Theatre, Sharpless in Madama Butterfly with both Austin Lyric Opera and Arizona Opera, and made his debut with Houston Grand Opera as Donald in Billy Budd.

Throughout his career Cutlip has portrayed many of opera’s most well-known baritone roles including Papageno in Die Zauberflöte with New York City Opera and Opera Theatre of Saint Louis, Harlequin in Ariadne auf Naxos with Seattle Opera, the title roles in both Don Giovanni and Il barbiere di Siviglia with Opera Birmingham, Malatesta in Don Pasquale with Fort Worth Opera, and Guglielmo in Così fan tutte with Arizona Opera.

Cutlip has also appeared as soloist with nearly every major North American orchestra. His extensive list of concert credits include performances with the New York Philharmonic Orchestra, National Symphony Orchestra, Houston Symphony Orchestra, Oratorio Society of New York at Carnegie Hall, Atlanta Symphony Orchestra, North Carolina Symphony Orchestra, and Minnesota Orchestra.

Summer 2018 XXXIX

Davóne Tines, bass-baritone

“In a just world, one in which fame was

proportionate to talent, Davóne Tines would be as big a name as Kanye West” proclaimed KQED following recent concerts given with the San Francisco Symphony. Breakout performances were given on both sides of the Atlantic in 2015–16 when Davóne Tines made a Dutch National Opera debut starring opposite French countertenor Philippe Jaroussky in the premiere of Kaija Saariaho’s Only the Sound Remains directed by Peter Sellars; the bass-baritone was exalted by The Los Angeles Times as “the find of the season,” for performances of works by Caroline Shaw and Kaija Saariaho with the Calder Quartet and with members of ICE at the Ojai Music Festival.

Performances of 2017–18 included a San Francisco Opera debut in the world premiere of Girls of the Golden West by John Adams and Peter Sellars, a debut at the Opéra national de Paris in Kaija Saariaho’s Only the Sound Remains directed by Peter Sellars, and a debut at the Brooklyn Academy of Music in the role he originated in a production of Matthew Aucoin’s Crossing directed by multi Tony Award-winning director Diane Paulus. Davóne Tines also appeared in Handel’s rarely staged serenata, Aci, Galatea, e Polifemo at National Sawdust in a new production by Christopher Alden that examines parallels between an 18th century telling of Ovid’s mythological tale

and our own contemporary aesthetic driven by power, class, race, and the cruelty of thwarted desire. Other appearances of the season include a debut at the Baltic Sea Festival in Stravinsky’s Oedipus Rex conducted by Esa-Pekka Salonen, Schumann’s Das Paradies und die Peri under the baton of Gustavo Dudamel with the Los Angeles Philharmonic in a fully-staged production by Peter Sellars, and Beethoven’s Ninth Symphony with Gustavo Dudamel with the Los Angeles Philharmonic with performances in Los Angeles and on tour in New York, Washington, D.C., Paris, and London.

He graduated from Harvard University and received a Master of Music degree from The Juilliard School.

TENETJolle Greenleaf, Artistic Director

Preeminent New York City-based early music ensemble TENET celebrates its ninth season in 2017-18. Under Artistic Director Jolle Greenleaf, TENET has won acclaim for its innovative programming, virtuosic singing and command of repertoire that spans the Middle Ages to the present day. Highlights of recent seasons include performances of J.S. Bach’s motets, a three-year cycle of Carlo Gesualdo’s Tenebrae Responsories, a medieval survey series called The Sounds of Time led by Robert Mealy, and original theatrical performances highlighting works composed by, for, and about women in 17th century Italy. Renowned for their interpretations of Renaissance and Baroque repertoire, TENET’s distinguished soloists have been praised for their pristine one-voice-to-a-part singing “to an uncanny degree of precision” (The Boston

Caramoor

Globe). TENET sponsors the highly praised Green Mountain Project, giving annual performances of Claudio Monteverdi’s Vespers of 1610, as well as other Vespers that have been newly reconstructed by the project’s musical director, Scott Metcalfe, including music by Monteverdi, Giovanni Gabrieli, Antoine Charpentier, and their contemporaries.

Philharmonia Baroque Orchestra & Chorale

Under the musical direction of Nicholas McGegan, O.B.E., for 33 years, Philharmonia Baroque Orchestra & Chorale (PBO) is recognized as America’s leading historically informed ensemble. Using authentic instruments and stylistic conventions of the Baroque, Classical, and early Romantic periods, PBO engages audiences through performance, tours, recordings, new works, and education of the highest caliber.

Founded 38 years ago, the ensemble is the largest of its kind in the United States. PBO’s musicians are leaders in period performance and serve on the faculties of The Juilliard School, San Francisco Conservatory of Music, Harvard, and Stanford, among others. It welcomes eminent guest artists including mezzo-sopranos Susan Graham and Anne Sofie von

Otter, countertenor David Daniels, fortepianist Kristian Bezuidenhout, violoncellist Steven Isserlis, and maestro Richard Egarr.

The Orchestra enjoys numerous collaborations, including a regular partnership with the Mark Morris Dance Group and Cal Performances. PBO gave the U.S. premieres of Morris’ highly-acclaimed productions of Rameau’s ballet-opera Platée and Handel’s Acis and Galatea and L’Allegro, il Penseroso ed il Moderato. In 2017, PBO produced its first fully staged opera, Rameau’s Le Temple de la Gloire, in collaboration with Cal Performances, Centre de musique de Versailles, and New York Baroque Dance Company and won an Isadora Duncan Dance Award for the production a year later. Ellen T. Harris

Ellen T. Harris is Professor Emeritus at MIT in Music and Theater Arts. Her research has focused largely on the music of Handel. Her work includes the award-winning books George Frideric Handel: A Life with Friends (Norton, 2014) and Handel as Orpheus: Voice and Desire in the Chamber Cantatas (Harvard, 2001). December 2017 saw the release of the revised edition of her book Henry Purcell: Dido and Aeneas. Harris was elected a Fellow of the American Philosophical Society (2016), American Academy of Arts and Sciences (1998) and made an Honorary Member of the American Musicological Society (2011). For the 2013-14 academic year she was a Phi Beta Kappa Visiting Scholar, and in 2016, a Visiting Professor at The Juilliard School. In 2015-2016, she was President of the American Musicological Society.

Summer 2018 XLI

Philharmonia Baroque Orchestra.THE PLAYERS AND THEIR INSTRUMENTS

Philharmonia’s musicians perform on historically accurate instruments. Below each player’s name is information about his or her instrument’s maker and origin.

VIOLIN

Lisa Weiss, concertmasterAnonymous, London, England; after TestoreEgon & Joan von Kaschnitz Concertmaster Chair

Jolianne von EinemRowland Ross, Guildford, England, 1979; after A. Stradivari

Toma IlievAnonymous, Germany, 18th century

Katherine Kyme Carlo Antonio Testore, Milan, Italy, 1720

Tyler LewisAnonymous, Italy, c. 1800

Anthony MartinThomas Oliver Croen, Walnut Creek, California, 2005; after F. Gobetti, Venice, Italy, 1717

Carla Moore †Johann Georg Thir, Vienna, Austria, 1754

Maxine NemerovskiDavid Tecchler, Rome, Italy, 1733

Linda QuanJacob Stainer, Absam, Tyrol, 1655

David SegoColin Nicholls, London, 1980; after Amati

Noah Strick Celia Bridges, Cologne, Germany, 1988

Anna WashburnAnonymous, Tyrol, Italy, c. 1760

VIOLA

Lisa Grodin *Mathias Eberl (attrib.), Salzburg, Austria, 1680

Maria Ionia CaswellAnonymous, Mittenwald, Germany, c. 1800

Daria D’AndreaGregori Ferdinand Wenger, Germany, 1752

Ellie Nishi Anonymous, Germany, 18th century

VIOLONCELLO

William Skeen bcAnonymous, Northern Italy, ca. 1680

Paul HaleJoseph Grubaugh & Sigrun Seifert, Petaluma, 1988; after A. StradivariOsher Cello Chair Endowment

Robert HowardAnonymous, Venice, Italy, 1750Zheng Cao Memorial Cello Chair

Farley PearceAntonio Garcias Rosius, Mendocino, California, 1988; after A. Stradivari

DOUBLE BASS

Kristin Zoernig bcJoseph Wrent, Rotterdam, Holland, 1648

Anthony ManzoTom Wolf, 2007; after Carlo Fernando Landolfi, Tanegia, 1766

Caramoor

OBOE

Marc Schachman *H.A. Vas Dias, Decatur, Georgia, 2001; after T. Stanesby, England, c. 1710Principal Oboe Chair in Memory of Clare Frieman Kivelson and Irene Valente Angstadt

Priscilla HerreidJoel Robinson, New York, 1985; after Saxon models

BASSOON

Danny Bond *Peter de Koningh, Hall, Hollond, 1978; after Prudent, Paris, France, c. 1760

HORN

R. J. Kelley *Richard Seraphinoff, Bloomington, Indiana, 2006; after Hoffmaster, England, c. 1740

Alexandra CookRichard Seraphinoff, Bloomington, Indiana, 2000; after L. Uhlmann

TRUMPET

John Thiessen * Rainer Egger, Basel, Switzerland, 2003; after Ehe, 1746

Fred HolmgrenFred Holmgren, Massachusetts, 2005; after Johann Leonhard Ehe III

Maximilian MorelRainer Egger, Basel, Switzerland

TIMPANI

Jonathan Hess *Drums by Harry Bower, Boston, Massachusetts, 1900-1915; kettles reused from 19th century drums; hand-tunedRestored by Michael Ambroszewski, 2012

THEORBO

David Tayler bcAndreas von Holst, Munich, Germany, 2004; after Magno Tieffenbrucker, Venice, Italy, 1610

HARPSICHORD

Jory Vinikour bcZuckermann German Double Harpsichord provided by Baroque Keyboards, LLC

Nicholas McGegan bcDudash German Single Harpsichord provided by Baroque Keyboards, LLC

* Principal† Principal 2nd Violinbc Continuo

PBO TOURING STAFF

Courtney Beck, Executive DirectorPaolo Brooks, Stage ManagerMyles K. Glancy, Director of Concert ProductionBruce Lamott, Chorale Director and Scholar-in-ResidenceJeff Phillips, Artistic Administrator

TOUR SPONSORS

Estate of Dr. Ross E. Armstrong

The Waverley FundDidier LeGallDavid Low &

Dominique Lahaussois

Tickets & Info:caramoor.org or call 914.232.1252

Music Gifts to Inspire

For the music lover who likes to explore: Gift CertificatesCertificates are available for any value.Contact boxoffice@caramoor.org

For the music lover who wants to make an impact: Gift MembershipsDo good, feel good, and enjoy great music.Visit caramoor.org/membership

For the music lover who needs a nudge: Bring a FriendView the full calendar at caramoor.org

July 29 / 4:00pm Summer Season FinaleOrchestra of St. Luke’sBernard Labadie, Principal Conductor DesignateSusan Graham, mezzo-soprano

Full Calendar& Tickets:914.232.1252 / caramoor.org

Our Mission at Work.Dear Friends,

Welcome to Caramoor! We are so glad you could join us this summer, and hope that your experience is truly magical. Caramoor is a very special place, and the two of us have the opportunity to see the different elements of our mission at work all year long. We never cease to be awed by the generosity of our supporters, whose gifts make up over 70% of our annual operating budget. In the pages that follow, you will see their names. We offer them our sincerest gratitude, for they allow the music to keep playing for all of us to enjoy. Have a wonderful time while you’re here, and come back often to visit!  

With gratitude,

Richard Zinman Board Development Committee Chair

Nina Curley VP/Chief Development Officer

2017 Revenue by Source

Contributions: Thank You!Ticket SalesEndowmentOther

71%

17%

10%

2%

2017 Caramoor Program Expenses

ConcertsRosen house & GardensYoung Artist MentoringArts-in-Education for School Children

63%19%

12%6%

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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 under $250; 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 find an error, please accept our apology and alert us by calling 914.232.5035 ext. 409.

The following are individuals and organizations who donated during the period January 1, 2017 through December 31, 2017. Dollar-level listings reflect cumulative gifts to the Annual Fund during that 12-month period.

Please note that Special Events tickets do not count toward Membership but are reflected in these totals.

$100,000+Mr. & Mrs. Anthony B. EvninKatherine & Peter KendSarah & Howard SolomonLeslie Williams & Jim Attwood

$50,000 to $99,999Mimi & Barry J. AlperinNancy & Jon BauerGail A. Binderman - The Norman E. Alexander

Family G Foundation, Inc.Mr. & Mrs. John H. FreundMr. & Mrs. David S. JoysFloy & Amos KaminskiTracy & Stephen LimpeNancy & Morris W. OffitOrchestra of St. Luke’sAudrey & Richard Zinman

$25,000 to $49,999Aundrea & James AmineAnonymous (1)ArtsWestchesterMr. & Mrs. Jonathan M. ClarkMr. & Mrs. William CordianoJane & William DonaldsonJackie Dzaluk & Francis GoldwynAdela & Lawrence ElowMark Gude & Paul J. SekhriThe Marc Haas FoundationAngela & William Haines /

The Haines Family FoundationThe Maximilian E. & Marion O. Hoffman FoundationOlga & Michael KaganCecilia Tay Kellie-Smith & Sam Kellie-Smith

Mr. & Mrs. Donald M. KendallMr. & Mrs. Jay B. LangnerTracy & Ted McCourtneyAbigail & Sundip MurthySusan & Richard O’LearyPhyllis & David OxmanAmy Parsons & Paul BirdAmy & John Peckham / Peckham Family FoundationMr. & Mrs. Andrew SaulNina & Michael StantonMr. & Mrs. Ian WinchesterJudi Wolf & Alden L. Toevs

$10,000 to $24,999Anonymous (1)Mr. & Mrs. David BarberJanet Benton & David SchunterMr. Norman S. BenzaquenMargot & Jerry BogertPat & Ian CookJean C. & James W. CrystalChristie & Anthony de NicolaAndree Wildenstein Dormeuil &

Roger Dormeuil FoundationAlbert & Constance§ EisenstatMelissa Eisenstat & Jonathan BlauMr. & Mrs. Edward FalkenbergCharles A. Frueauff FoundationEdythe & Mike§ GladsteinBarbara & E. Robert GoodkindMaureen Hanagan & Victor MarrowMrs. Robert D. HodesMr. & Mrs. Jackson HsiehSylvia & Leonard Marx, Jr.Mr. & Mrs. Raj NooyiYvonne & Leslie§ PollackLawrence RogowFaith Rosenfeld & Jaime CastroElaine & Larry RothenbergMr. & Mrs. Edmund R. SchroederMr. Stephen UckoElaine & Alan G. WeilerAlicia & Bob Wyckoff

$5,000 to $9,999Anonymous (4) Judy & Gordon AydelottSeema Boesky Charitable TrustMr. & Mrs. Patrick de Saint-AignanNancy & Edmund M. DunstMr. & Mrs. Douglas DurstMajid & Ladan FatehPenny & Ray FooteMr. & Mrs. William G. FoulkeMary & Michael GellertRosa & Robert GellertMs. Marilyn GlassCarol & Ward GlassmeyerVirginia GoldEmily & Eugene§ GrantEllen & Robert GrimesAndrea Herron & Harvey P. EisenMrs. Betty HimmelAlexia & Jerry JurschakGeorgia & David KeidanMr. & Mrs. John KlingensteinDrs. Melissa & Lewis KohlCarol & Ed Lehrman

Caramoor / Support.

38 / Caramoor

Nita & Stephen LoweyMarshall Field Susan & Robert MorgenthauMr. & Mrs. Lester S. Morse, Jr.Leslie & Mitchell NelsonChristine E. PetschekMr. & Mrs. John A. PirovanoMr. & Mrs. W. Reid Pitts, Jr.Laura & Edward PlaVarner & John RedmonRudyard and Emanuella Reimss Memorial FundRochelle & Mark RosenbergZita RosenthalRebecca & Arthur SambergKajsa & Philip SheibleyAnn ScheuerSara Lee & Axel SchupfMr. Gary TaratunioSusan & Ken WallachLisa & Paul WelchMs. Lucille WerlinichBarbara & Bruce Winston

$2,500 to $4,999Karen Adler & Laurence GreenwaldAnonymous (2)Cissy & George AschMr. Michael BakwinBloomberg L.P. Corporate Giving ProgramMrs. Frances M. BriffaThe Daniel & Myrna Clyman Family Revocable TrustMr. & Mrs. James B. CowperthwaitMr. & Mrs. Jak CukajCatherine & George DaubekLillian Butler Davey FoundationThomas A. DieterichMr. Robert C. DinersteinKelly & Matthew FairweatherAnita Feldman / The Louis Feinberg FoundationMr. & Mrs. Nicholas L. D. FirthMrs. Jeanne D. FisherMr. & Mrs. James J. FloodNaomi & Joel FreedmanMr. & Mrs. Edward L. GardnerMs. Joan S. GilbertMr. & Mrs. Peter M. GottsegenLaureine & David GreenbaumMr. & Mrs. William GronerMr. & Mrs. Paul HaklischPeggy & Ed HardingNicole & Larry HeathBill HelmanMr. Stanley KogelmanEdith & Peter§ KubicekMr. & Mrs. Marvin KushnickMs. Marie LacerraKatherine & Marc LazarDavid LiebowitzMr. & Mrs. W. Wallace McDowellMr. Bruce MekulMs. Linda Merrill & Dr. William B. NolanVivian & David MoreinisCarol & Steven ParkerThe Perlmutter Family FoundationSheila & David ReichmanSusan A. & Frederic A. RubinsteinJill Schwab & Peter AlbertBetsy & Jay Sharma

Vivian Song & Ricardo PouMr. & Mrs. William G. SpearsMr. & Mrs. Thomas W. StraussMr. & Mrs. James E. ThomasMr. & Mrs. Petr ThorsonStacy Truppner / The Louis Feinberg FoundationSue & Edgar Wachenheim, IIIMr. & Mrs. Herbert S. Winokur /

The Winokur Family Foundation, Inc.Mr. & Mrs. William R. Ziegler

$1,500 to $2,499Anonymous (5)Mr. & Mrs. Richard AronMr. & Mrs. Seymour AskinMr. G. Thomas AydelotteMarilyn & Ira BirnbaumAllison M. BlinkenMr. & Mrs. David O. BrownwoodJane Bryant Quinn & Carll TuckerPatricia Butter & Ted SabetyMr. & Mrs. George CaseMr. Donald CecilAlexandra H. Coburn & Christopher SchroederMr. & Mrs. James R. CohenMrs. Betsy CohnMr. & Mrs. Harold B. FinnJoan & William FurthMr. & Mrs. John L. FurthMarguerite & Peter GelfmanMrs. Sally Knott GibbonsMs. Maggie Grise & Mr. Adam SilverMr. & Mrs. Dominic HabsburgKathryn & Jeffrey HaydonMr. & Mrs. Larry P. HaydonBarbara & Paul JenkelStephen J. Jones, Esq.Ms. Amy Kaprelian & Mr. Patrick KelleherKaren & Omar KariukiGail P. KirhofferRayanne & Eduard KleinerLaura & Lewis KrugerMr. & Mrs. Robert D. LongNicole & Gerard MayerMs. Kristina McCormack & Mr. Mitchell B. NewmanMr. Michael MinihanMs. Melissa H. MulrooneyHannah & Frank NeubauerMaryam R. Newman & Howard H. NewmanLisa Nierenberg & David BunevichMartha NierenbergMelinda Papp DurhamMary Prehn & John ScacchiaSascha RockefellerMr. Ed ScheetzManita & Scoci ScocimaraNorman & Rona Senior / The Goldie Anna

Charitable TrustMs. Susan Seo & Mr. Dennis J. FriedmanAnna Marie & Robert F. ShapiroMs. Jamie Shenkman & Mr. Christopher MagadiniMr. & Mrs. Walter ShmerlerMrs. Constantine Sidamon-EristoffSylvia Smolensky & Steven SilberstangMs. Eve SilverPatricia & Howard SilversteinShirley & Sid SingerMr. & Mrs. Ken Skovron

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Ms. Ruth SteinBetty & Frank SternStephanie Stiefel & Robert S. CohenDeborah F. StilesNicki & Harold TannerDiane Tarbell & Steven LittmanMelissa Vail & Norman SelbyMr. & Mrs. Polyvios VintiadisThe Watt Family FoundationWhite Plains Housing Authority &

WP Housing Co. Inc.Judy Francis Zankel

$500 to $1,499Anonymous (7)Marie Pantuosco AlpertNicole & Leo ArnaboldiMr. & Mrs. Paul BaccellieriMr. & Mrs. David BenderAnita & Russell BermanFroma & Andrew BenerofeMs. Christine BoscoLaura Blau & Michael CitroMs. Susan Brenner & Mr. Teed WelchGrace & Vincent BriccettiNancy & Edward CliffordJoan & Edward CohenMs. Jane CroesNina & Tom CurleyMr. & Mrs. Michael DanzigerMr. Stephen E. DarnellMr. & Mrs. Mark DavisRoberta & Steven DenningMargaret Downs & Henry ZacharySusan & James DubinDina & Giora DublonMs. Kathryn E. Dysart & Mr. Jeffrey L. SchwartzDr. Janet I. FarnhamMs. Susan Feinberg-Greene & Mr. William GreeneDr. Eileen Fitzgerald & Mr. Paul RosenblumMr. & Mrs. Roy FurmanMr. & Mrs. Joseph C. GalloDr. & Mrs. Lawrence GoettisheimMrs. Carol S. GoldMr. & Mrs. Carl A. GoldmanMr. & Mrs. Alfred H. GreenSascha & Evan GreenbergJohn GreenwoodMs. Augusta GrossJennifer & Bud GruenbergMrs. Eileen GuitanoMr. Dion GunsonMs. Cathy M. HarringtonMr. Peter HarrarMr. Michael HausmanMs. Ursula HeinrichAnne Hess & Craig KaplanMr. David C. HochbergMs. Karen K. Hoyt-Stewart & Mr. William J. StewartMs. Judith T. HuntMs. Patricia IsazaPatricia & Robert IvryMs. Laurie A. JohnsonRenée & Daniel KaplanMr. & Mrs. Edward W. KellyMr. Robert KissaneMr. & Mrs. Arthur KlausnerMs. Lucinda Knuth

Ms. Birgit KovacsMr. Mark LachsDebbie LandauJoanne Landau & Fred SchwabMs. Maggi LandauJanice & Robert LangCaroline & Craig LazzaraMs. Martha LeightonMr. Steven LenkowskyDr. Morton LinderJane & Michael LockshinShelley & Rich LounsburyBarbara & J. Robert Mann, Jr.Dr. Pamela MarronJoanne & Norman MatthewsMr. & Mrs. James P. McCarthyJoan & Alan McDougallMr. & Mrs. Douglas M. McGraimeMs. Jennifer H. McQuaid & Mr. Jorge PedrazaJanis & Alan Menken FoundationTahra L. Millan & George SermierEileen M. Milloy Murphy & Francis MurphyAlice & Alan ModelDr. Sol MoraVictoria MorrisMr. & Mrs. John NeedhamDr. & Mrs. Arnold D. NewmanNew York State Electric & Gas, Corp.Erik NicolaysenMr. & Mrs. Lawrence J. NokesDr. Richard Fischer OlsonMr. Vincent PagesMary Lou & Mike PappasSusie & Jim PerakisMr. & Mrs. Eric K. PetschekBetty & Carl PforzheimerMr. & Mrs. Oscar S. PollockLibbie & David PoppickAndrea & Andy PotashVirginia & Jonathan PowersMr. & Mrs. Gerald D. ProthroKathy L. & Marc F. PucciVicki & Charles RaeburnMr. Jonathan RaiolaMs. Denise A. Rempe & Mr. Mark L. WilsonAngela & Gary RetelnyJane & H. Richard RobertsRoberta & Al RomanoMs. Vicki RooseveltSusan & Elihu RoseMs. Leslie RosenbergMr. Andrew G. RussellChristie C. SalomonMs. Elizabeth A. Sarnoff & Mr. Andrew S. CohenMr. & Mrs. Ray ScanlanMs. Cathie A. SchafferMerryl Schechtman, M.D.Ms. Laura SchroederKathy SchumanDoris & Richard SeidlitzMrs. Joan M. SharpVivien & Michael ShelanskiMadeline & George ShepherdAmy Siebert & Markel ElorteguiMs. Janet SikiricaSara & Joshua SlocumDr. Richard SlutskyTraci & Joseph Stark

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Ellen & Bob SternErika & Zachary SternCatherine & Keith StevensonSusan & Michael StillmanDr. & Mrs. Paul StrikerMs. Maureen SullivanEmily & Stewart TabinNaomi G. Tamerin, M.D.Mrs. Lee L. TraubGillian & James Van SchaickMr. & Mrs. E. Waide Warner, Jr.Mr. Morton WeberMrs. John L. WeinbergAndrea & Bernard WeinsteinRoanne & Charles C. WilcoxMr. C. Webb W. WilliamsMrs. George WilliamsonMs. Elisabeth Winterkorn & Mr. David A. LyczkowskiMr. & Mrs. Paul R. Wysocki

$250 to $499Stacy Albanese & Todd NoonanMr. & Mrs. Richard AllenAnonymous (8)Sandra & Richard AuerbachMr. Hilton M. Bailey, Jr.Maureen & John BastSally & David BeckettMr. & Mrs. Joseph BilottiMr. & Mrs. Richard BirnbaumMs. Gail BlumenfeldMr. & Mrs. Bruce BondEileen M. BrownMs. Jacqueline BruskinMs. Carolyn Campbell-GouldMr. Charles CastellanoMichael R. CaveMaryann & Jay ChaiSusan ChaproMr. & Mrs. Thomas ChildsMr. & Mrs. Daniel H. CohenBarbara & Bertram§ J. CohnMr. Alan G. ColeMr. & Mrs. James K. ColemanMr. & Mrs. Tom CramerMs. Jane DasherTrish & Raymond DayanThe Del Priore FamilyMichele & Gary DienstMr. Carl DilaMs. Michaele DrayerMr. Stellario D’UrsoAnita & Richard DyeJulie & Todd EagleMr. & Mrs. Paul S. EfronMs. Elizabeth Einstein & Mr. Chris CormierAudrey & Jeffrey ElliottMaxine & Jonathan FerenczMr. Arthur FergusonMr. & Mrs. Anthony Barzilay FreundC. R. Friedman & V. MosheimMs. Deborah Frishman & Mr. Richard SiegelAshley Garrett & Alan JonesCathy & Tom GeigerichSusan & Galen GislerKate & Martin GlynnCarol & Jesse GoldbergMs. Jane Goldman

Mr. Marvin F. GoldsmithRoberta Goodman & David EllenhornDr. & Mrs. Kenneth GottesmanMr. Michael J. GormanRuth & Darwin GreenMr. Wesley HarrisDr. & Mrs. Harvey L. HechtMr. Peter HerbertMr. & Mrs. Brian HerrMs. Pia Hiekkaranta & Mr. Hannu LaaksoMr. Geoff HiltonMs. Fariba Houman & Mr. Bruce PetschekMr. & Mrs. Craig HupperMr. & Mrs. Brian InglisMr. Gary JaskulaMr. & Mrs. Frederick JonesConnie & Jack KamermanDeborah Kempe & Andre HurniMr. & Mrs. Robert D. KenneyMr. & Mrs. Richard KesselMr. William J. KnauerPhyllis & Paul KnollmeyerMs. Lisa KolbaMs. Alison M. KoppelmanRhonda Kost & Alfred SpectorThomas R. Lalla, Jr.Joann & Todd§ LangSusan & Andrew LawrenceMr. & Mrs.§ Peter LeavyMs. Rebekah LeeMr. Bruce LevyMr. Jonathan LewisMrs. Barbara LiebermanDr. Gina Lodolini & Dr. Neil CapolongoMr. & Mrs. Ralph C. LoomisMs. Fern Lox & Mr. Jon LiebermanMr. Robert MagniMs. Beth Ann MannersCynthia & Jeffrey ManocherianShelley & Laurence MarkowitzMs. Lizbeth MarocMary & Paul McConvilleMr. David McGirrMr. & Mrs. Desmond McGowanChris McManusMs. Miriam Messing-Curtin & Mr. John CurtinMrs. Lindsay MiserandinoAnne & Victor ModugnoMs. Deborah Mullin & Mr. John ChatzkyJean & Michael NewtonMr. Carl OrdemannKathleen§ & Herbert OrrRuth & Harold OssherAnna & Frederick OstrofskyJennifer & Jonathan PaceDonald J. Perkins, Esq.Ms. Elin PetersonMr. & Mrs. Daniel C. PetriMr. & Mrs. Laurence PolanskyVivian Pyle & Tony AnemoneDr. & Mrs. Raj K. RahejaIra M. Resnick Foundation, Inc.Dedee & Jerry RiggMs. Margaret Rogers & Mr. Richard A. SamuelMs. Marie C. RollaJim RosenfieldMs. Elizabeth Ross & Mr. Bernard TolpinMelanie & Michael L. Rothenberg

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Mr. Eric SchwartzMr. Michael SellmanMr. Michael H. SingerMr. & Mrs. Peter SkaperdasMr. & Mrs. Aaron SpitalMr. & Mrs. James M. StewartMary Lou Sunderwrith-ConnerMs. Margaret SwingleMr. David Swope§Ms. Linda Thung-RyanMarian & Robert TorreMs. Lisa ValentiMr. & Mrs. Carl D. Van Demark

Nancy & Roger VincentMs. Susan L. WagnerJane & James D. WaughMs. Billur WeigellRoberta Weiner & Ronald ArronMrs. Karen WeisbergMs. Lisaminh WoodruffMr. & Mrs. James WrightSeung & Yi YooMs. Priscilla Young

§ Deceased

Gifts of MembershipAs a Caramoor Member, you join a community of people dedicated to keeping music, culture, and the arts a vital part of daily life. Membership starts at $100 and includes a variety of benefits.The following is a list of individuals who received the Gift of Membership in 2017 and thus may not be included in the previous list(s).

Eleanor & Michael BadurskiMr. & Mrs. Thomas BakerMr. & Mrs. Patrick L. DaigleMs. Lynne A. EckardtMs. Mia EckhausMrs. Polly GoodwinMs. Jane H. MinnisMs. Bärli NugentCarol & Mel SiegelMs. Katharine C. TrongoneTeddy Whitehead RockasMs. Angie Yuan Ms. Abigail Mack Zuckert

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 914.232.5035 ext. 412.

Honor / MemoryFrom January 1, 2017 to December 31, 2017, generous contributions to Caramoor were made in honor or in memory of the following individuals, organizations, programs, causes, and/or Caramoor departments:

In Honor ofMimi & Barry AlperinAmerican Roots Music ProgramEdward ArronArtsWestchesterJim AttwoodWith thanks to the wonderful Cara-FamThe Amazing Caramoor StaffThe Caramoor Staff, [for] your love and devotionThe Wonderful C/. StaffSandra & William CordianoJean C. & James W. CrystalMelissa EisenstatWynne Epstein

Judy & Tony EvninPatricia & Edward FalkenbergPamela FrankSusan FreundFurthering Culture in America!Rhodes Robert GubisehAngela HainesJeffrey P. HaydonGerry H. HodesKatherine & Peter Kend and FamilyMaggi LandauTracy & Ted McCourtneyNancy & Morris W. OffitSusan & Richard O’LearyPhyllis & David OxmanJohn A. PirovanoThe Rosen House StaffPaul RosenblumTo the great Paul Rosenblum, for all that he has

taught me and his dedication to mentoring othersZita RosenthalMerceds Santos-MillerElaine SchroederMaud SikiricaLisa & Paul WelchAudrey & Richard Zinman

In Memory ofJosephine AmmermanJohn T. BakerEmanuela Briccetti Gabrielle & Joseph GreensteinEleanor & James InnesJay W. KaufmanAssunta MarrellaOur ParentsHarry PetschekTerrance W. SchwabJohn Eugene SharpElizabeth SylvestriJoan & Jerry UdolfBob Wietrak

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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 way 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.

AnonymousAnonymous (2) §Anonymous Couple (3)Laura B. BlauCatherine & George DaubekMr. Robert C. DinersteinRalph P. & Barbara J. DuPontJudy & Tony EvninAnnette & Len GilmanDr. Susan Harris & Mr. Thomas MolnarMs. Deborah A. Kempe & Mr. Andre M. HurniNancy S. OffitMarie C. RollaDr. Susan Harris & Mr. Thomas MolnarLucille WerlinichLeslie 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/Chief Development Officer, at nina@caramoor.org or 914.232.3681.

In-Kind DonationsCaramoor gratefully acknowledges the following individuals and organizations that made in-kind contributions (gifts other than cash or stock) from January 1, 2017 to December 31, 2017. 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 AmineMr. & Mrs. David BarberGail Binderman

Blue Hill at Stone BarnsSandra & William CordianoDarien Cheese & Fine FoodsMr. & Mrs. Anthony B. EvninGreat PerformancesKathryn & Jeffrey HaydonOlga & Michael KaganFloy & Amos KaminskiKatherine & Peter KendKatherine & Marc LazarLaura Marks of Fine Lines of KatonahSusan & Robert MorgenthauMr. & Mrs. Michael PappasPeckham Industries, Inc.Pepsi-Cola Bottling Company of New YorkMr. Jonathan RaiolaSabety + Associates PLLCMr. Gary TaratunioLeslie Williams & Jim AttwoodAudrey & Richard Zinman

Matching GiftsCaramoor 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.

Bank of AmericaBank of America Charitable Gift FundBloomberg L.P. Corporate Giving ProgramBroadridgeChevron Humankind Matching Gift ProgramCredit Suisse Americas FoundationExxonMobil Foundation, Inc. Fidelity Charitable Gift FundGoldman Sachs GivesGoldman Sachs Philanthropy FundGreenlight CapitalThe Humana Foundation, Inc.IBM Corporation Matching Gifts ProgramMarshall FieldPitney Bowes Matching Gift Program S & P Global Foundation

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EndowmentsPhilanthropic 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 FundsMarjorie Carr Adams Fund for Young Vocal ArtistsMarjorie Carr Adams Sense Circle FundMimi & Barry Alperin Rising Stars FundAlbert Berol Rising Stars FundThe Adela and Lawrence Elow Fund for

The Great American Songbook: 1900 to 1960Susan and John Freund Piano FundCarmela S. Haklisch Rising Stars FundSusan & Joseph Handelman Rising Stars FundRobert D. Hodes Rising Stars FundMaximilian E. & Marion O. Hoffman Foundation

Rising Stars FundTondra & Jeffrey Lynford Rising Stars FundEnid & Lester Morse Fund for Opera at CaramoorEva Petschek Newman Fund for Young ArtistsAnne S. Nichols Rising Stars Fund

Nancy S. Offit Fund for the Performance of Classical Music and Opera*

Edna B. Salomon Rising Stars FundTerrance W. Schwab Fund for Young Vocal ArtistsMarilyn M. Simpson Opera FundWilliam Kelly Simpson FundThe Ernst C. Stiefel String Quartet-in-Residence FundTexaco Rising Stars FundThe Lucille Werlinich Fund for Caramoor’s Gardens*

*future bequest

Other Endowment FundsBel Canto at CaramoorCaramoor General FundCaramoor VirtuosiChamber Music FundChildren’s PerformancesGardens & EstatesInnovation FundPiano PerformanceRenaissance DaysRosen House StewardshipSense Circle

If you are interested in discussing a gift to Caramoor’s permanent endowment, or establishing a dedicated endowment like the ones listed above, please contact Nina Curley, VP/Chief Development Officer, at nina@caramoor.org or 914.232.3681.

Thank you.

All concerts made possible, in part, by ArtsWestchester with

funds from the Westchester County Government.

All concerts made possible by the New York State Council on

the Arts with the support of Governor Andrew Cuomo

and the New York State Legislature.

The 2018 Summer Music Festival is supported in part by an award from the National Endowment for the Arts.

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Advance Ticket Sales (all Members)

Access to Members-only Events (all Members)

Use of Caramoor’s grounds for a wedding/family photo session (all Members)

... and much more!

Complimentary tours of the historic Rosen House (all Members)

Learn more about Membership by visiting caramoor.org/support/membership or by calling Jennifer Pace, Director of Individual Gifts at 914.232.5035 ext. 412.

Caramoor’s Members are vital to sustaining our programming and mission. Our Members are a devoted part of the Caramoor family. Membership starts at the $100 Friend level.

Here are a few of the many thank you perks you will receive as a Member:

Become a Part of Our Membership Family!

Rosen Society Dinner ($2,500 level and above)

Concierge Seating ($1,500 level and above)

Caramoor Branded Merchandise ($250 level and above)

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Caramoor 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.

Leave a Legacy.

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Giving to Caramoor. Rosen Society

Lucie and Walter Rosen bequeathed their beloved Caramoor estate to the public as a center for music and art in 1946. The Rosen Society, composed of Caramoor donors of $2,500 and above, enables Caramoor to provide world-class musical experiences each year. Members enjoy a number of benefits including an invitation to the annual Rosen Society Dinner hosted by Caramoor’s Chairman and CEO, and access

to select private rehearsals and concert receptions.

For more information, please call Jennifer Pace, Director of Individual Gifts, at 914.232.5035 ext. 412.

THE ANNUALNUMBER OF

HEART ATTACKSCOULD TAKE YOUR

BREATH AWAY.

SO COULDJUST ONE

HEART ATTACK.

Shortness of breath and difficulty breathing are just two warning signsof a heart attack. Call 911 if you experience any warning sign. Learn the other signs at americanheart.org or call us at 1-800-AHA-USA1.

© 2002, American Heart Association.

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Thank You to Our Caramoor Volunteers.Last year, over 200 volunteers contributed more than 7,000 hours of their time and service to Caramoor, serving as ushers, audience greeters, and docents for the Rosen House and education programs.

Sandra AdelmanCyril & Sandra

AlbergaCaroline AlongiKaren AmannMildred AmdurDavid & Phyllis

AmerlingCarol AprileNatalie AxtonPatty Lou BakerGalina BakhtiarovaJane BanzaPatricia BartlettAndrea BeckerValentina Belyanko-

MorganVirginia BenderJudith BenjaminGail BlumenfeldNucene BlumenthalGretchen BockMarie BoschLynn BotsfordAnne BoundasLynne BrennanFlorence BrodleyVicci BuchmanMarcelle CarpentieriCarol ChristianJoan CitronLynn CohenDeborah CohenKathleen CookDorothy CooperSandy CordianoMarion CoughlinBuddy & Shalyn

CourtenayDonna CurranMary CurleyGabrielle Da SilvaJonah Da SilvaRobert DereneElaine DesimoneFrances DiMaseDorothy DinhoferJane DorianJoyce DupeeJudy EdisonSally FactorAkiko FasoloCarmen FauvellBarbara FeibelmannLois FermannLuis Fernandez

Cheryl FerraraMelinda FiegoliPaul FisherMarilyn FisherDiana FolkRobert FriedDonald & Nancy

Fried-TanzerThea FryCarolyn FullerSuchitra GaneshZane GarfeinRoger & Michele

GarrisonAnneliese GastrichPaul GhersonPat GiacaloneKate GlynnMarie GoldbergNorma GrayDarwin & Ruth

GreenGrethe GriffinJoanna GustinSusan GutmanMarianne HaggertyNancy & Daniel

HarrisonStephanie Hartwell-

MandellaPatricia HeadenChristopher HaydonUrsula HeinrichMarsha HendersonMindy Hermann-

ZaidinsPatricia HigginsDeborah HilfmanAudrey HoffnungGeorgia Hooper-PeekJanet HuberUrsula HuelshoffJenny HuotMillie IgnelziLois IntravioBhavani IyerBarbara JacobiConnie JakolaPatricia JanuaryCarol JensenGalina KanevskyMimi & Michael

KatesMarjie KernVeronica KimballShirley KipnisAntoinette KishRhoda KleimanCharlie KoenigClaire KohSophia KrasikovHeidi Kreuziger

HoltzmannPolly KuhnMartha KuppersmithMarie LacerraFrances LangGenevieve Larkin

Oliver LednicerScott & Tamra

LichtmanShelley LounsburyWendy LovelessRichard LynchBill & Anne MacraeLois MallinMeryl MarcusElaine MarkfieldMatthew MattoonAndrea MaurizioAnn McIntyreEve MencherSusan MilesMarc and Jane MillerMarjorie MillerRichard & Eloise

MillsSylvia MillsAndrea MinoffBarbara MitchellStella MitchellAnne ModugnoAndrea MoffettAlison MonicoNancy MorganBarbara MorrisEsther NatterLoretta NeuhausKaren OffenbacherFlorence OlsenRhoda PerkisJeff and Lynn PlattLucille PlescoLinda PohlmannRamaa

PurushothamanGale QuatannensEleanor & Jehan

RaheemJustin RandolphKaren RansomCliff RayEllen ReissMartin RemnitzDamian RichardsonBeatrice RieserMarie RollaJim Rome

Dana Rosenberg§Elizabeth RossBert RothmanJudy RubinEllen SaltzmanAlfreda SavareseJoan SchildwachterSharon SchipperDale SchleinRoberta SchmidtStephanie SchwartzValerie SeligChristine SellecchiaAnna SheridanDavid & Karin

ShieldsMarilyn ShortPaul SilbermanJacqueline SilkowitzBrenda SnyderPhyllis Snyder§Alice SobelJohn SoriceLannie SpaldingMartin & Judith SparJohn & Joetta

StanleyRalph SteinMarianne SternkopfIrma StrumpfPatricia SwordsSusan TaylorPatricia TaylorLindley ThomassetLora TuckerDiane TullyStephen UckoRosemary UzzoGilda VogelIlona VrbaLionel WeinsteinEsther WeissCasey WilcoxBarbara WytonDina YashchinEric ZaidinsHarriet ZellerSusan ZellerCharlotte Zuckerman

Interested in volunteering? Please contact james@caramoor.org or apply at caramoor.org/volunteer. / 55

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Plan your next event at Caramoor.

A range of beautiful venues at Caramoor are available to rent for weddings, life events, family celebrations, meetings and retreats, photo shoots, and corporate appreciation functions.

Attentive service Idyllic settingDelicious, sustainable food

Contact the Special Events Department:914.232.5035 ext. 416

facilityrental@caramoor.orgcaramoor.org/wedding-rentals

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Highlights of the Social Scene.

Caramoor’s special events are a vital part in raising necessary funds for our core programming, as well

as a great opportunity to thank our donors who help foster musical inspiration. Events from the past year included a decadent Evening of Wine supporting education programs and featuring wines from Spain, Cabaret in the Music Room with Emily Skinner, a Roots Benefit Concert with Richard Thompson, and a sparkling Opening Night Gala. Caramoor is grateful to the event committees and patrons for making these occasions so successful and memorable.

Morris & Nancy Offit with Jean & Jim Crystal at the Opening Night Gala, 2017

®

Opening Night Gala, 2017

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Francis & Susan Corcoran with Emily Skinner at Cabaret, 2018

Adela & Lawrence Elow with Emily Skinner at Cabaret, 2018

Jon Bauer, Jim Attwood, Bill Cordiano, and Peter Kend at The American Roots Benefit Evening in 2017

Paul Bird, Amy Parsons, Abigail & Sundip Murthy at the Opening Night Gala, 2017

Jyoti & Larry Rogow with Stephen & Tracy Limpe at an Evening of Wine, 2017 Majid & Laden Fateh, An Evening of Wine, 2017

Join Us in the Rosen House for a Benefit Dinner and Concert

Jazz vocalist and Grammy winnerCécile McLorin Salvant,

with Sullivan Fortner, pianist, graces our Music Room stage

for a concert on December 1, 2018. This Benefit Evening celebrates and supports Caramoor’s programming

throughout the year.

Call the Box Office at 914.232.1252.

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Caramoor’s Orchestra-in-Residence since 1979

Formed at Caramoor, Orchestra of St. Luke’s (OSL) evolved from a chamber ensemble that began performing concerts at the Church of St. Luke in the Fields in Greenwich Village in 1974. Today, OSL is a vibrant arts organization that performs over 80 concerts a year, brings classical music to New York City kids through it's education programs, and owns and operates the DiMenna Center for Classical Music in Manhattan.

Orchestra of St. Luke’s can be heard this summer at Caramoor on June 16, June 30, and July 29.

OSLmusic.org

Bernard Labadie, Principal Conductor Designate

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EXECUTIVE OFFICEJeffrey P. Haydon, Chief Executive OfficerLiat Tretin, Executive Assistant & Board Liaison

ARTISTIC PROGRAMMINGKathy Schuman, Vice President,

Artistic Programming & Executive ProducerEllie Gisler Murphy, Manager of Artistic PlanningTimothy Coffey, Artistic Coordinator &

Mentoring Programs

ARTISTIC PARTNERSMaggi Landau, American Roots MusicJazz at Lincoln CenterOrchestra of St. Luke’s, Orchestra-in-ResidenceStephan Moore, Sonic InnovationsSteven Blier, Terrance W. Schwab Vocal Rising StarsPamela Frank, Evnin Rising StarsKatie Kresek, Family Programs

DEVELOPMENTNina Curley, Vice President &

Chief Development OfficerAlithia Dutschke, Director of Institutional GiftsChrystal Gulbin, Development AnalystKristina Jahaly, Special Events AssistantJunetta Maxfield, Director of

Development OperationsJennifer Pace, Director of Individual GiftsGayle Schmidt, Director of Special EventsKarla Stewart, Concierge Program Manager

FINANCETammy Belanger, Vice President &

Chief Financial OfficerTina Salierno, BookkeeperEthan Wilson, Assistant Bookkeeper

MARKETINGTahra Millan, Vice President &

Chief Marketing OfficerMorgan Boecher, Director of

Marketing & CommunicationsEmily Buffum, Digital Media CoordinatorAlex Cutrone, Audience Services ManagerLindsey Partelow, Box Office ManagerJames Scarantino, Front of House and

Volunteer CoordinatorRoslyn Wertheimer, Marketing CoordinatorRoanne Wilcox, Publications Editor

ROSEN HOUSEMerceds Santos-Miller, Director of The Rosen HouseGina Cassetta-Westenberg, Rosen House AssistantTess Dennis, Rosen House AssistantMiriam Messing-Curtin, Rosen House Assistant

EDUCATIONScott Ellison, Education Program Coordinator

GARDENS & GROUNDSDan Rader, Facility ManagerMilton Alvarez, Assistant Facility ManagerGermania Alvarez, Building AssistantLucio Alvarez, Grounds AssistantRosa Alvarez, Building AssistantJose Cardenas, Grounds Assistant

AGENCIES / CONSULTANTS21C Media Group, Max Lefer, Public RelationsAAN Studio, Graphic DesignerBlenderbox, Website ManagementCapacity Interactive, Digital Marketing AgencyOnStage Publications, Program Book PublisherGabe Palacio, Principal PhotographerBarbara Prisament, Media Relations,

Group Services, & Outreach ConsultantProgressive Computing, IT ConsultantSpektrix, Ticketing Service & Support

PIANO TECHNICIANSRussell GordonSteinway & SonsSal Talio

TECHNICAL DIRECTION &PRODUCTION MANAGEMENTGo Production Services, Inc.Warren Hammer, Technical Director &

Production ManagerPeter F. Petrino, Lighting Designer

TECHNICAL PRODUCTIONJessie Jardon, Stage ManagerSue Travis, Hospitality ManagerDJ Grant, Chief Audio Engineer/DesignerPeter Wiegand, Lighting ProgrammerMike Campbell, Master ElectricialAniessa Sencen/Crew Chief, A-2Chris Greco, Audio Engineer

PRODUCTION CREWJesse Allen , Jesse Barone, Jon Martinez Cabral,Eric Ficinus, Matt Ficinus, Lorin Francis, Jack Lynch, Phil Manzi, Jay McCarthy, TW Pierce, Ali Robeson, Matt Rodriguez, Jason Spoor, Nolan Vernon, Evan Vollweiler, Abba Wilson

SUMMER BOX OFFICE SUPERVISORSCaroline AndrewsOlivia OttingerHannah Ziegler

SUMMER ASSISTANT HOUSE MANAGERS Juan Altamirano HefferanRay LounsberryErnie O'ConnellHayden Ticehurst

SUMMER MERCHANDISE COORDINATORMills Reed

SUMMER AUDIENCE SERVICES STAFFAlex Arlotta, Olivia Cree, Lexi Dembo, Isabella Gibaldi, Brandon Hilfer, Elena Kubicek, Jessica Li, Sona Minasian, Athena Ohnemus, Lizzy Parry, Ruby Potash, Lindsay Stahlkrantz, Samantha Sunderwirth, Hannah Weiss, Faith Willett, Amelia Wyckoff, Harrison Wyckoff

Staff and Contractors

®

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Staff and Contractors

Board of TrusteesJames A. Attwood, Jr., Chairman*Peter Kend, Vice Chairman*Paul S. Bird, Treasurer*Angela Haines, Secretary*Judy Evnin, Chairman Emerita*

Barry J. Alperin*James L. Amine*David BarberJon BauerGail A. BindermanJonathan M. Clark*William Cordiano*Jane Phillips Donaldson*Melissa EisenstatLawrence ElowSusan W. Freund*Michael E. Gellert* Francis GoldwynSandra S. Joys*Floy B. Kaminski*Cecilia Tay Kellie-SmithStephen LimpeAbigail Murthy Nancy Offit*Richard H. O’Leary*Lawrence RothenbergMrs. Andrew SaulElaine Schroeder*Paul SekhriIan WinchesterNina StantonLisa WelchRichard Zinman*

* Executive Committee Member

Advisory CouncilJudy AydelottEffie FribourgJoan S. GilbertMarilyn GlassVirginia L. GoldHélène GrimaudEllen GrimesSusan G. GronerMaureen HanaganBetty HimmelFrederick JonesOlga KaganBim Kendall Dr. Lewis Kohl Susan MorgenthauDavid C. OxmanEdward PlaYvonne PollackRochelle RosenbergFaith RosenfeldZita G. RosenthalAnn ScheuerAlden L. Toevs

Caramoor’s LeadershipAs of May, 2018

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Did You Know?Young people who participate in the arts for

at least three hours on three days each week

through at least one full year are:

• 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance • 4 times more likely to win an award for writing an essay or poem

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Be among the first to hear artist announcements by subscribing to our e-newsletter, and following us on Facebook, Instagram, and Twitter.

More to Come! Fall-Spring 2018-2019

Announcement / July 10 Members Pre-Sale* / July 17 General Public on Sale / July 24

Order online at caramoor.org or call the box office at 914.232.1252.

*Become a Member and gain access to pre-sale tickets and much more! Visit caramoor.org/support/membership.

72 / Caramoor