The Bard College Conservatory of Music
GRADUATE CONDUCTING PROGRAM ORCHESTRAL AND CHORAL
Students in the conducting program
To lead “To lead the the orchestra orchestra and and realize realize its its promise, promise, the the conductor of the future, apart from having impressive technical and musical achievements, must possess the necessary general education and the will to reconnect our vital tradition of musical expression to the culture, society, and politics of our time. time.”
—LEON —LEON BOTSTEIN BOTSTEIN “The Future of Conducting” in The Cambridge Companion “The future ofed. conducting” The Cambridge to Conducting, José Antonioin Bowen (Cambridge,Companion 2003) to Conducting (Cambridge, 2003)
The Bard College Conservatory of Music
GRADUATE CONDUCTING PROGRAM ORCHESTRAL AND CHORAL
OVERVIEW The Graduate Conducting Program, Orchestral and Choral, of The Bard College Conservatory of Music is a two-year graduate curriculum that culminates in the Master of Music (M.M.) degree. The program equips its graduates with the broad-based skills and experience necessary to meet the special opportunities and challenges of a conducting or conducting-related career in the 21st century. The program’s two tracks (concentrations)—orchestral conducting and choral conducting—have significant overlap. The program is designed and directed by Harold Farberman, founder and director of the Conductors Institute at Bard; James Bagwell, director of Bard’s undergraduate Music Program, music director of the Collegiate Chorale, and principal guest conductor of the American Symphony Orchestra; and Leon Botstein, president of Bard College, music director of the American Symphony Orchestra, and conductor laureate of the Jerusalem Symphony Orchestra. The program balances a respect for established traditions with the flexibility and curiosity needed to keep abreast of evolving musical ideas. In addition to instruction in conducting, the curriculum includes an innovative, four-semester music history sequence (shared by the two tracks), voice lessons and diction for choral conductors, instrument lessons for orchestral conductors, and foreign language study, ear training, and composition for all students. Unique to the program is its access to the resources of the Collegiate Chorale and to the Bard Music Festival and other Bard-related musical institutions. The program is built on years of experience. It admits relatively few students each year— approximately 12—to ensure individual attention. Applications are welcome from all who wish to place their love of music at the service of those they conduct, the works they perform, and their audiences.
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James Bagwell
THE DIRECTORS james bagwell James Bagwell maintains an active international schedule as a conductor of choral, operatic, and orchestral music. In 2009 he was appointed music director of the Collegiate Chorale and principal guest conductor of the American Symphony Orchestra, which he has led in concerts at Carnegie Hall and Lincoln Center’s Alice Tully Hall. Highlights of past seasons include Rossini’s rarely performed opera Moïse et Pharaon, Sir Michael Tippett’s A Child of Our Time, and Brahms’s Ein deutsches Requiem, all at Carnegie Hall. His performance of Kurt Weill’s Knickerbocker Holiday at Alice Tully Hall was recorded live for Gaslight Records and is the only complete recording of the musical. He conducted the Collegiate Chorale at the Park Avenue Armory in February 2012 for the Tune-in Music Festival’s celebration of Philip Glass’s 75th birthday. Bagwell prepared the Collegiate Chorale for three concerts at the Verbier Festival in Switzerland in 2011, and in 2012 they performed with the Israel Philharmonic in Israel and at the Salzburg Festival in Austria, marking the first appearance since 1989 of an American choir at the festival. He has prepared the Concert Chorale of New York for numerous performances with the American Symphony Orchestra, Los Angeles Philharmonic, and Mostly Mozart Festival (broadcast nationally in 2006 on Live from Lincoln Center)—all in Avery Fisher Hall at Lincoln Center. Since 2003 he has been director of choruses for the Bard Music Festival, conducting and preparing choral works during the summer festival at The Richard B. Fisher Center for the Performing Arts at Bard College. At Bard’s SummerScape festival he has led a number of critically acclaimed performances of opera, operetta, and musical theater. 2 GRADUATE CONDUCTING PROGRAM
Since 2009 he has served as chorus master for the opera productions at SummerScape, including Der ferne Klang, Les Huguenots, and Le roi malgré lui. For 16 seasons he has served as music director of the May Festival Youth Chorus in Cincinnati. Active as a guest conductor across the United States and abroad, Bagwell has led choral and orchestral works with the Cincinnati Symphony, Jerusalem Symphony, and Indianapolis Chamber Orchestra. He has guest conducted the Amici New York Orchestra at the OK Mozart Festival and collaborated with singer Natalie Merchant, appearing with her at the Chautauqua Festival as well as with orchestras across the country. Bagwell has trained choruses for a number of major American and international orchestras, including the New York Philharmonic, San Francisco Symphony, Los Angeles Philharmonic, Israel Philharmonic, NHK Symphony (Japan), St. Petersburg Symphony, Budapest Festival Orchestra, American Symphony Orchestra, Cincinnati Symphony Orchestra, Cincinnati Pops Orchestra, and Indianapolis Symphony Orchestra. He has collaborated with such noted conductors as Riccardo Muti, Zubin Mehta, Lorin Maazel, Esa-Pekka Salonen, Yannick Nézet-Séguin, Michael Tilson Thomas, Louis Langrée, Leon Botstein, Iván Fischer, Vladimir Ashkenazy, Raymond Leppard, James Conlon, Jesús López-Cobos, Erich Kunzel, Leon Fleisher, and Robert Shaw. He is professor of music and director of the undergraduate Music Program at Bard College.
harold farberman Harold Farberman has conducted many of the world’s leading orchestras, including the London Symphony, Royal Philharmonic, Philharmonia, BBC Symphony, English Chamber Orchestra, Bournemouth Symphony, Stockholm Philharmonic, Danish Radio Orchestra, Swedish Radio Orchestra, Hessischer Rundfunk, BRT Orchestra (Brussels), Orchestre National de Lille, RAI in Rome, Mozarteum Orchestra, Hong Kong Philharmonic, KBS (Korea), Sydney and Melbourne symphonies in Australia, and the Puerto Rico Symphony. Upon graduating from the Juilliard School of Music, Farberman was invited to join the Boston Symphony Orchestra as a percussionist/timpanist. At the time, he was the youngest player ever to become a full-time member of the orchestra. He resigned in 1963 to devote his energy to conducting and composing. In 1966 he was appointed principal guest conductor of the Denver Symphony Orchestra; subsequently, he became music director and conductor of the Colorado Springs Symphony and Oakland Symphony Orchestra, and principal guest conductor of the Bournemouth Sinfonietta in Great Britain. Farberman has recorded more of Charles Ives’s works than any other conductor, including all four of the composer’s symphonies. As a result, he was honored with the Ives Award from the Charles Ives Society.
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Harold Farberman
The December 1993 issue of the American Record Guide listed his London Symphony Orchestra recordings of Mahler’s Symphonies Nos. 2, 5, and 6 as among the best ever recorded. His recordings of the complete symphonies of Michael Haydn, with the Bournemouth Sinfonietta for MMG Records, received acclaim from the New York Times and High Fidelity magazine. His recording of Glière’s Ilya Murometz with the Royal Philharmonic, on the Unicorn label, received the Saint Cecilia Award, Belgium’s highest recording award. A prolific composer, Farberman counts orchestral works, chamber music, concertos, ballet music, film scores, song cycles, and three operas among his compositions. His opera The Losers was commissioned by the Juilliard School of Music and premiered at Lincoln Center. His chamber opera Diamond Street premiered at the Hudson Opera House in 2009; it was commissioned by the city of Hudson, New York, for the Hudson-Fulton-Champlain Quadricentennial. Farberman is a tireless advocate on behalf of conductors. In the 1970s, while serving as a board member of the American Symphony Orchestra League, he established countrywide workshops for young conductors. At the 1975 American Symphony Orchestra League conference, he proposed the creation of an association of conductors; the following year the Conductors Guild became a reality, and Farberman served two terms as its first president. He is founder and director of the acclaimed Conductors Institute, a summer conducting program at Bard College.
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Leon Botstein conducts the American Symphony Orchestra, featuring Sophie Shao, who teaches at the Conservatory.
leon botstein Leon Botstein has been music director and principal conductor of the American Symphony Orchestra since 1992, and is conductor laureate of the Jerusalem Symphony Orchestra, where he served as music director from 2003 to 2011. He is also the founder and artistic codirector of the SummerScape festival and Bard Music Festival. He has been president of Bard College, where he is also Leon Levy Professor in the Arts and Humanities, since 1975. Botstein maintains an active schedule as a guest conductor throughout the world. Recent engagements included the Russian National Philharmonic and Melos-Ethos Contemporary Music Festival in the Slovak Republic. Upcoming engagements include the Los Angeles Philharmonic, Hawaii Symphony, and Taipei Symphony. He may also be heard on numerous recordings, including operas by Strauss, Dukas, and Chausson, as well as works by Shostakovich, Dohnányi, Liszt, Bruckner, Bartók, Hartmann, Reger, Glière, Szymanowski, Brahms, Copland, Sessions, Perle, and Rands. Many recordings of his live performances with the American Symphony Orchestra are now available for download on the Internet. Botstein is the editor of The Musical Quarterly and author of numerous articles and books. In 2011 he gave the prestigious Tanner Lectures on Human Values—on the subject of music—in Berkeley, California. For his contributions to music he received the Award for Distinguished Service to the Arts from the American Academy of Arts and Letters, Harvard University’s prestigious Centennial Medal, and the Cross of Honor, First Class, from the government of Austria. He is a 2009 recipient of the Carnegie Corporation’s Academic Leadership Award and was recently inducted into the American Philosophical Society. bard.edu/conservatory/gcp 5
THE PROGRAM
ORCHESTRAL CONDUCTING core seminar The first semester in orchestral conducting is devoted to the physical movement of the baton. Symphonies of Haydn and Beethoven are the primary tool for analyzing problems and formulating technical solutions to meet the needs of the music. Regularly scheduled chamber ensemble sessions are used to test and refine classroom solutions. All students conduct the Bard Conservatory Orchestra in a special reading session, as well as in rehearsals. The second semester is devoted to a closer examination of the composer’s intent, along with further development of baton technique. Harmonic and melodic analysis and consideration of phrase structure, orchestration, and tone color are brought to bear on works such as the string serenades of Dvorˇák, Elgar, and Tchaikovsky. Podium time with the chamber ensemble and Bard Conservatory Orchestra continues, along with the possibility of guest conducting the Woodstock (New York) Chamber Orchestra. The third semester moves to works of the late 19th and 20th centuries, and the study of new baton movements to serve new compositional concepts. Selected works of Bartók, Boulez, Britten, Debussy, Elgar, Messiaen, Prokofiev, Ravel, Schoenberg, Shostakovich, Strauss, Stravinsky, and Varèse are studied and performed. Chamber ensemble sessions and podium time with the Bard Conservatory Orchestra continue. The fourth semester emphasizes the musical heritage of the United States, with attention to works of the early American school (Paine, Gottschalk, Chadwick, and Parker) and icons of later American music, including Ives, Ornstein, Cage, Feldman, Carter, Copland, Schumann, Barber, Joplin, Ellington, Gershwin, and Bernstein. Podium time with the chamber ensemble and Bard Conservatory Orchestra continues.
the conductors institute The Conductors Institute at Bard, a summer program, is integral to the track in orchestral conducting. For more than three decades, the Conductors Institute, now part of The Bard College Conservatory of Music, has continued its mission to: • promote technical clarity and precision in baton movement; • disarm the competitive learning process so that conductors assist and support one another; • encourage American conductors to be advocates of American composers. The Conductors Institute is led by Harold Farberman, its founder and artistic director. Participation in the four-week institute is mandatory for two summers for the M.M. degree; a third summer is optional, but not covered by tuition.
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CHORAL CONDUCTING core seminar Throughout the four semesters, instruction in choral conducting is based on significant podium time with a variety of ensembles and choral repertoire. Students work regularly with the Bard Chamber Singers and Bard Symphonic Chorus. In addition, they work with the Bard Conductors Chorus, a professional ensemble in New York, three times each semester. All first- and secondyear choral conducting students enroll in the same choral conducting seminar. In the first semester, using Josquin’s Missa Pange Lingua, Victoria’s Requiem, and selected Masses of Byrd and Palestrina as anchor works, students examine 15th- and 16th-century vocal music. Topics of discussion include analysis of counterpoint and text setting, performance practice, and liturgical function. At the end of the seminar, students prepare a practical performing edition of a motet or madrigal based on primary source material, and re-create an appropriate liturgical setting using motets and Mass settings from the period. The work of the second semester focuses on Stravinsky’s Symphony of Psalms, Britten’s War Requiem, and choruses from Adams’s Nixon in China and The Death of Klinghoffer. The works are examined in context with those of other composers and with special emphasis on text analysis, preparing a rehearsal schedule, and issues in concert programming. The third semester seminar concentrates in detail, first, on Bach’s St. John Passion, with a special emphasis on musical structure and Baroque performance practices. The work is also studied in cultural, historical, and liturgical context. In the second half of the semester, each student prepares a detailed analysis of one of Haydn’s late Masses. During the fourth semester, students analyze three major 19th-century requiem settings, by Berlioz, Brahms, and Verdi. Specific topics include performance practice, string bowings, and rehearsal plans. Works are studied in the context of the rise of amateur choral singing during this period, with a focus on the cultural and political implications of this development.
diction This two-semester course, offered for students in the choral conducting track together with students in the Graduate Vocal Arts Program, is an introduction to the International Phonetic Alphabet (IPA), including its symbols and practical use in preparing and performing Italian, French, German, and English vocal literature. The fall semester is devoted to Italian and French, the spring to German, English, and Latin. Through study of songs, arias, and choral literature, students gain a basic understanding of pronunciation rules and the rhythm of each language.
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THE COMMON CURRICULUM music history This four-semester sequence concentrates on major works from the 18th and 19th centuries in the first semester and the 20th and 21st centuries in the second semester, with a focus each week on a particular composer within the larger musical, historical, biographical, and cultural context. The third semester is devoted to the history of opera, from Monteverdi to the present. The fourth-semester course, built around American Symphony Orchestra programs in New York City and at Bard, illuminates the relationship of music history to the sociology of music, particularly that of listening. The course examines shifting attitudes toward public performance; the different contexts of performance: spaces, politics, economics, and social status of musicians; the history of the orchestra; and economics of concert life.
ear training, score reading, and composition Ear training and score reading each occupy one semester of instruction, with a focus on solfège and harmonic, melodic, and rhythmic dictation (ear training), and open score and transposition (score reading). Composition is taught in a two-semester course. Topics in the first semester include melodic organization and materials; basic counterpoint; motivic development in small forms; composing for strings, winds, brass, chorus, piano, and percussion; examination of nonstandard pitch materials; and analysis of selected repertory, including 20th-century works. Assignments include melodic composition and melodic expansion, a short invention or study using twopart instrumental texture, a piece in free texture for solo instrument (usually piano), and the development of a work for string ensemble or chorus, to be read under the composer’s baton at the conclusion of the first semester. In the second semester students compose a theme and variation, scored for larger ensembles of mixed winds and strings, compose with nontonal pitch materials (either restricted to threeor four-pitch classes, working with a nontonal motive, or using a tone row), and compose a woodwind quintet or choral work with small ensemble, to be read under the composer’s baton. During the second part of the semester, each student starts sketching and drafting ideas for a work of about four minutes’ duration, to be completed and performed as part of the student’s conducting program thesis concert.
foreign language study Two semesters of German or Italian are required.
studio instruction Orchestral conducting students take weekly private lessons on a string instrument or piano. Choral conducting students take weekly private voice lessons.
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Student practice in conducting class
career workshops A series of workshops with distinguished guest speakers addresses the practical aspects of working as a conductor and/or music director. Topics include creating an ensemble, applying for grants, and developing a board of directors.
recital and graduation review Each orchestral conducting student concludes study in the program with a 45-minute thesis concert at the conclusion of the summer Conductors Institute that follows the end of the second academic year. Concert repertoire is chosen by the student, in consultation with Harold Farberman, and includes a four-minute composition for full orchestra written by the graduate candidate. Choral conducting students prepare and conduct a recital during their second year in residence at Bard. The Graduate Committee, made up of the directors of the program, director of the Conservatory, and one additional faculty member, reviews the work of all second-year students to confirm that they have met the program requirements. These include a research paper (for a course in the history sequence), a high level in the graduation recital, and a cumulative GPA of 3.0 or higher.
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The Richard B. Fisher Center for the Performing Arts at Bard College
THE SETTING The rich musical environment of Bard College offers important opportunities for students in the Graduate Conducting Program, orchestral and choral. The Bard Music Festival, established in 1989, brings together the American Symphony Orchestra, outstanding guest performers, and scholars each summer for a probing examination of the work and world of a selected composer. Directed by Leon Botstein, Christopher H. Gibbs, and Robert Martin, the festival has received international acclaim for its performances and for the accompanying publication by Princeton University Press of an important volume of essays on the featured composer. The Bard Music Festival has been augmented each summer since 2003 by a full production of a major opera, most recently Emmanuel Chabrier’s Le roi malgrÊ lui. Since 2005, Bard has been the home of The Bard College Conservatory of Music. Approximately 90 undergraduates study for five years to earn two degrees: the bachelor of music and a bachelor of arts in a field other than music. The Conservatory Orchestra makes itself available each semester to the students in the conducting program. The Graduate Vocal Arts Program of The Bard College Conservatory of Music, directed by soprano Dawn Upshaw, is a two-year M.M. program for an outstanding group of singers. In alternate years, the curriculum includes the presentation of a fully staged opera. Through its diction classes and voice lessons, the Graduate Vocal Arts Program is of particular significance to the choral track of the conducting program. 10 GRADUATE CONDUCTING PROGRAM
Le roi malgrĂŠ lui, Bard SummerScape 2012
The Bard College undergraduate Music Program, which grants a B.A. degree, supports a full curriculum of music performance, music history, theory, composition, jazz, electronic music, and world music. The Bard College Orchestra, Symphonic Chorus, and Chamber Singers present concerts throughout the year, with opportunities for guest conducting appearances by students of the Graduate Conducting Program. The American Symphony Orchestra, whose music director is Leon Botstein, performs on a regular basis at Bard College, in addition to its Carnegie Hall and Peter Norton Symphony Space series in New York City. Students have access to rehearsals; internships with the orchestra are possible. The Collegiate Chorale, whose music director is James Bagwell, performs at Carnegie Hall and Lincoln Center. The chorale, founded by Robert Shaw, is one of the country’s leading arts organizations. Conducting program students have the opportunity to attend rehearsals; internships with the chorus are possible.
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Bard Hall, recital and rehearsal space
ABOUT BARD COLLEGE Founded in 1860, Bard College in Annandale-on-Hudson, New York, is an independent, nonsectarian, residential, coeducational college offering a four-year B.A. program in the liberal arts and sciences and a five-year B.A./B.S. degree in economics and finance. The Bard College Conservatory of Music offers a five-year program in which students pursue a dual degree—a B.Music and a B.A. in a field other than music—and offers an M.Music in vocal arts and in conducting. Bard also bestows an M.Music degree at Longy School of Music of Bard College in Cambridge, Massachusetts. Bard and its affiliated institutions also grant the following degrees: A.A. at Bard High School Early College, a public school with campuses in New York City (Manhattan and Queens) and Newark, New Jersey; A.A. and B.A. at Bard College at Simon’s Rock: The Early College, in Great Barrington, Massachusetts, and through the Bard Prison Initiative at five correctional institutions in New York State; M.A. in curatorial studies, M.S. in economic theory and policy, and M.S. in environmental policy and in climate science and policy at the Annandale campus; M.F.A. and M.A.T. at multiple campuses; M.B.A. in sustainability in New York City; and M.A., M.Phil., and Ph.D. in the decorative arts, design history, and material culture at the Bard Graduate Center in Manhattan. Internationally, Bard confers dual B.A. degrees at the Faculty of Liberal Arts and Sciences, St. Petersburg State University, Russia (Smolny College), and American University of Central Asia in Kyrgyzstan; and dual B.A. and M.A.T. degrees at Al-Quds University in the West Bank.
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Architectural rendering of László Z. Bitó ’60 Conservatory Building
Bard offers nearly 50 academic programs in four divisions. Total enrollment for Bard College and its affiliates is approximately 5,000 students. The undergraduate college has an enrollment of more than 1,900 and a student-to-faculty ratio of 10:1. For more information about Bard College, visit www.bard.edu. Bard’s 540-acre campus is conveniently located to take full advantage of the resources in the Hudson Valley and New York City. With its undergraduate curriculum in the liberal arts and sciences, graduate programs, Richard B. Fisher Center for the Performing Arts, and Levy Economics Institute, Bard also provides endless opportunities for intellectual and cultural enrichment. Students enrolled in the Graduate Conducting Program have access to all facilities on the campus. For information about academic requirements, course of study, faculty, application procedures, tuition, fees, and financial aid, and to download application materials, consult the website: www.bard.edu/conservatory/gcp. Be advised that the provisions of this brochure are not to be regarded as an irrevocable contract between the student and Bard College or its officers and faculty. The College reserves the right to make changes affecting admission procedures, tuition, fees, courses of instruction, programs of study, faculty listings, academic grading policies, and general regulations. The information in this catalogue is current as of publication, but is subject to change without notice. bard.edu/conservatory/gcp 13
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The Gabrielle H. Reem and Herbert J. Kayden Center for Science and Computation (L谩szl贸 Z. Bit贸 '60 Auditorium, and the Lynda and Stewart Resnick Science Laboratories)
CONTACT Graduate Conducting Program The Bard College Conservatory of Music PO Box 5000, Annandale-on-Hudson, NY 12504-5000 Phone: 845-758-7604 | Fax: 845-758-7440 www.bard.edu/conservatory/gcp | E-mail: conservatory@bard.edu For admission inquiries: Phone: 845-758-7604 | E-mail: conservatoryadmission@bard.edu
The Bard College Conservatory of Music Programs Undergraduate Study
Preparatory Division
Graduate Conducting Program
Postgraduate Collaborative Piano Fellowship
Graduate Vocal Arts Program
Hungarian Visiting Fellows Program
Conductors Institute
Notice of Nondiscrimination Bard College does not discriminate in education, employment, admission, or services on the basis of sex, sexual orientation, race, color, age, religion, national origin, or handicapping conditions. This policy is consistent with state mandates and with governmental statutes and regulations, including those pursuant to Title IX of the Federal Education Amendments of 1972, Section 504 of the Federal Rehabilitation Act of 1973, Title VI of the Civil Rights Act of 1964, and the Americans with Disabilities Act of 1990. Questions regarding compliance with the above requirements and requests for assistance should be directed to the Vice President for Administration, Bard College, PO Box 5000, Annandale-on-Hudson, NY 12504-5000. Audio and Image Recording Policy By registering for classes and/or music lessons at Bard College, students grant Bard, and those acting on its behalf, the authorization to: 1) record all students’ participation and appearance on video media, audio media, film, photograph, or any other medium. Along with audio and video recordings, Bard reserves the right to stream via the Web students’ performances in ensemble and class concerts; 2) record all students’ work, including musical compositions, on video media, audio media, film, photograph, or any other medium; and 3) use all students’ names, likenesses, voices, and biographical materials in connection with these recordings. Students who may have commitments to any other person or entity that would conflict with the rights granted above are responsible for informing Bard in writing of these relationships at the time of registration. Accreditation Bard College is accredited by the Commission on Higher Education of the Middle States Association of Colleges and Schools. The programs of study leading to the master of music degree at Bard is registered by the New York State Education Department, Office of Higher Education, Education Building Annex, Room 977, Albany, NY 12234; phone: 518-486-3633; website: www.highered.nysed.gov. Be advised that the provisions of this catalogue are not to be regarded as an irrevocable contract between the student and Bard College or its officers and faculty. The College reserves the right to make changes affecting admission procedures, tuition, fees, courses of instruction, programs of study, faculty listings, academic grading policies, and general regulations. The information in this catalogue is current as of publication, but is subject to change without notice. ©2012 Bard College. All rights reserved. Images ©Peter Aaron ’68/Esto: pp. 10, 12, 14, outside flap; Stephanie Berger: p. 5; Deborah Berke & Partners Architects LLP: p. 13; David Bush ’01: inside front cover, pp. 4, 9; Karl Rabe: cover, back cover; Cory Weaver: pp. 2, 11. Map illustration Mark Hess Printed by Quality Printing, Pittsfield, Massachusetts.
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1 Achebe House (Bard Prison Initiative)
32 Henderson Technology Laboratories
2 Albee (classrooms, Difference and Media Project/
33 Hirsch Hall (residence hall)
Multicultural Affairs) 3 Alumni Houses (residence halls): Bluecher, Bourne,
✶ Hopson: see Warden’s Hall 34 Hopson Cottage (Admission Office)
Honey, Leonard, Obreshkove, Rovere, Rueger, Shafer,
35 Kline Commons (dining facility, Green Onion Grocer)
Shelov, Steinway, Wolff
36 Libraries (Stevenson, Hoffman, Kellogg)
4 Alumni/ae Center (Development and Alumni/ae Affairs, Institutional Support, Two Boots Bard) 5 Anna Jones Memorial Garden 6 Annandale Hotel (Publications and Public Relations Offices) (not on map)
37 Lorenzo Ferrari Soccer and Lacrosse Complex 38 Ludlow (administrative offices, Institute for Writing and Thinking) 39 McCarthy House (Hannah Arendt Center, Human Rights Project)
7 Aspinwall (classrooms and faculty offices)
40 Music Practice Rooms
8 Avery Arts Center: Jim Ottaway Jr. Film Center,
41 Nursery School (Abigail Lundquist Botstein Nursery
Edith C. Blum Institute (Film and Electronic Arts and Music Programs, Bard College Conservatory of Music offices)
School, Bard Community Children’s Center) 42 Old Gym (Safety and Security Office, student activity spaces)
9 Bard College Farm
43 Olin Humanities Building and Auditorium
10 Bard College Field Station
(Olin Hall)
11 Bard Hall (recital space)
44 Olin Language Center
12 Barringer House (Center for Civic Engagement)
45 Ottaway Gatehouse for International Study (IILE)
13 Bertelsmann Campus Center (bookstore, café, post
46 parliament of reality by Olafur Eliasson
office, Weis Cinema, and Career Development,
47 President’s House
Student Activities, and Trustee Leader Scholar
48 Preston Hall (classrooms, offices)
Program Offices)
49 Reem and Kayden Center for Science and
14 Bitó Conservatory Building 15 Blithewood (Levy Economics Institute) 16 Brook House (Residence Life) 17 Buildings and Grounds, Financial Aid Office, Student Accounts
Computation (Resnick Laboratories, Bitó Auditorium) 50 Robbins House (residence hall, Student Health and Counseling Services, BRAVE) 51 Rose Science Laboratories
18 Carriage House (Central Services)
52 Sands House (residence hall)
19 Catskill and Hudson (residence halls)
✶ Seymour: see Warden’s Hall
20 Center for Curatorial Studies and Hessel Museum
53 Shafer House (Written Arts Program) (not on map)
of Art
54 Sottery Hall (Center for Student Life and Advising)
21 Chapel of the Holy Innocents
55 South Hall (residence hall)
22 Community Garden (not on map)
56 Stevenson Athletic Center
23 Cruger Village (residence halls): Bartlett, Cruger,
57 Stone Row: North Hoffman, South Hoffman,
Keen North, Keen South, Maple, Mulberry, Oberholzer, Sawkill, Spruce, Stephens, Sycamore
McVickar, Potter (residence halls, BEOP, Learning Commons)
✶ Fairbairn: see Warden’s Hall
58 Tewksbury Hall (residence hall)
24 Feitler House (residence hall) (not on map)
59 Tremblay Hall (residence hall)
25 Fisher Annex (MFA Program offices)
60 Village Dormitories
26 Fisher Center for the Performing Arts: Sosnoff
61 Ward Manor (residence hall, Manor House Café,
Theater, Theater Two (Theater and Performance Program, Dance Program) 27 Fisher Studio Arts Building
Bard Music Festival Office) 62 Ward Manor Gatehouse (Conservatory Studies) 63 Warden’s Hall: Fairbairn, Hopson, Seymour (faculty
28 Gahagan (Blind Spot magazine office) (not on map)
and program offices, residences)
29 Grey Stone Cottage (Bill T. Jones/Arnie Zane Dance
64 Woods Studio (Photography Program)
Company) 30 Hegeman (classrooms, faculty offices, Bard Center for Environmental Policy, MBA in Sustainability) 31 Henderson Computer Resources Center
The Richard B. Fisher Center for the Performing Arts at Bard College
Noted conductor Marcelo Lehninger received his master’s degree in conducting from Bard in 2007.
Bard College Conservatory of Music Annandale-on-Hudson, New York