Caramoor is delighted to announce a full range of virtual and live fall programming. Dashon Burton, Jeremy Denk, Amy Helm, Anthony McGill, the Aaron Diehl Trio, Callisto Quartet and TENET Vocal Artists will all perform without an audience in the Rosen House, continuing the series of livestreams from the Music Room that the New York Times calls “adventurous and excellent.” Also presented as a livestream, Broadway stars Laura Osnes and Tony Yazbeck give a special performance for this year’s Cabaret Benefit. In addition, in-person visitors to the 90-acre Westchester estate will be able to explore the site-specific sound art installations of Sonic Innovations and attend two Beginner’s Earconcerts, in a continuation of the series pairing guided meditations with live music that was introduced last month. With its idyllic woodlands, gardens and indoor and outdoor spaces, Caramoor is ideally placed to participate responsibly in New York’s re-opening process and inspire audiences safely this fall. Livestreams from the Music Room (Sep 25–Dec 12) Known for its historic furnishings and superior acoustics, the “intimate, elegant Music Room” (New York Times) of the Rosen House makes an ideal setting for Caramoor’s livestream series.
Amy Helm (Sep 25)
The series launches with a performance by American singer-songwriter Amy Helm, a founding member of the alt-country collective Ollabelle and former member of the Midnight Ramble Band, who “takes you to transcendent moments built from a lifetime of singing” (American Highways). Her performance is presented in collaboration with City Winery.
Anthony McGill & Gloria Chien (Oct 2)
New York Philharmonic principal clarinetist Anthony McGill is known for his “trademark brilliance, penetrating sound and rich character” (New York Times). He and pianist Gloria Chien, Director of Music@Menlo’s Chamber Music Institute, perform a program combining works by Brahms and Weber with Peace by Bernstein Award-winner Jessie Montgomery, whose music is “turbulent, wildly colorful and exploding with life” (Washington Post).
Aaron Diehl Trio (Oct 16)
Classically trained pianist Aaron Diehl is “a rising star of jazz piano [with] an individual talent so huge that one day he may extend the jazz tradition” (New York Daily News). Presented in collaboration with Jazz at Lincoln Center, he appears as part of the Aaron Diehl Trio, with Aaron Kimmel on drums and Paul Sikivie on bass.
Callisto Quartet (Oct 18)
The Ernst Stiefel String Quartet-in-Residence is one of three mentoring programs through which Caramoor supports emerging young artists. Newly appointed for the 2020-21 season, the Callisto Quartet already boasts a string of honors including grand prize at the Fischoff National Chamber Music Competition and top prizes at the Banff, Bordeaux, Melbourne and Wigmore Hall competitions. The group begins its season-long survey of Bartók’s complete string quartets with accounts of the composer’s First, Fourth and Sixth quartets.
Jeremy Denk (Oct 25)
The recipient of a MacArthur Fellowship and the Avery Fisher Prize, Jeremy Denk is “a pianist you want to hear no matter what he performs” (New York Times). For his Music Room livestream, Denk gives a recital of music by Thomas “Blind Tom” Wiggins, Scott Joplin, Tania León and Frederic Rzewski, bookended by Mozart’s Sonata in C minor and Beethoven’s final piano sonata, Op. 111.
Dashon Burton & Lindsay Garritson (Nov 8)
An original member of the innovative Grammy-winning vocal ensemble Roomful of Teeth, bass-baritone Dashon Burton is known for his “enormous, thrilling voice” (Wall Street Journal). Showcasing his versatility, Burton’s recital with pianist Lindsay Garritson combines Schumann’s complete Dichterliebe with works by John Dowland, Charles Brown, Florence Price, Margaret Bonds, Ernest Charles and William Bolcom, and a set of spirituals.
TENET Vocal Artists (Dec 12)
Continuing Caramoor’s holiday concert tradition, TENET Vocal Artists, the early music ensemble that the New York Times calls “quite simply terrific,” sings “Love Enfolds Thee Round,” a seasonal program of traditional carols and music by English composers Peter Warlock, Herbert Howells, Hubert Parry and Ralph Vaughan Williams under the leadership of Artistic Director Jolle Greenleaf. Cabaret in the Music Room Benefit with Laura Osnes and Tony Yazbeck (Nov 20) Caramoor presents a special livestream, when Tony-nominees Laura Osnes and Tony Yazbeck reunite for “An Evening of Gershwin Greats and Other Favorites” in this year’s Cabaret in the Music Room Benefit. Their program celebrates the music of George Gershwin, in whose Crazy For You the two recently wowed audiences together at Lincoln Center. In-person offerings outside at Caramoor: live music, sound art and more Beginner’s Ear (Sep 13 & 27)
Visitors to Caramoor will have the opportunity to hear live music in the new Beginner’s Ear series, which launched in August with a performance by Anthony McGill and Nancy Allen in the Sunken Garden. Conceived by New York Times music critic Corinna da Fonseca-Wollheim, these experiences open with a guided meditation, designed to help listeners feel the music more deeply. Moderated by Amadi Azikiwe, the first features live music from violinist Elena Kawazu, concertmaster of the Yale Philharmonia, and Jamaican-American violist Jordan Bak, whom Seattle Pi calls “a star in the making” (Sep 13), while the second, moderated by da Fonseca-Wollheim herself, includes a performance by PUBLIQuartet, winner of Chamber Music America’s prestigious Visionary Award (Sep 27).
Sonic Innovations and more (Sep 4–Oct 11)
Also on offer to in-person visitors is the chance to discover the unique collection of sound art nestled in Caramoor’s landscaped Italianate and woodland gardens. Collectively titled Sonic Innovations, this rotating annual exhibition is curated by Chicago-based sound artist Stephan Moore. Four works, all representing artists working beyond the realm of concert music, are currently on display. A collaboration between sound sculptor Spencer Topeland Hana Kassem, Undercurrent creates a feedback loop between the environment and its visitors, whose movements activate small pods among the trees and grasses. Annea Lockwood and Bob Bielecki’s Wild Energy takes visitors on a fantastical tour of sounds occurring outside the range of human hearing, from sped-up solar oscillations to slowed-down ultrasound from within a Scots pine tree. In the drystone structure of Ranjit Bhatnagar’s Stone Song, strain gauges and sensors for humidity, temperature and barometric pressure are fed into a drone synthesizer whose fundamental tones shift slowly over the months, as the weather changes and the stones settle. Finally, Taylor Deupree’s t(ch)imeturns a quiet, wooded passage into a shimmering sonic environment; familiar yet otherworldly, its sounds derive from a collection of bell chimes, manipulated to create a sense of time’s slowing down as visitors approach the middle of the path. (Previously announced as part of this year’s exhibition, Trimpin’s in“C” has yet to be completed because of the pandemic, and will debut at Caramoor next summer instead.)