the richard b. fisher center for the performing arts at bard college
AMERICAN SYMPHONY ORCHESTRA April 11 and 12, 2014
About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space, and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater & Performance and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, film, and cabaret; and the Bard Music Festival, which will celebrate its 25th year in August with “Schubert and His World.” The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations.
The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President Leon Botstein presents
American Symphony Orchestra Leon Botstein, Music Director Johann Strauss Jr. (1825–99) Emperor Waltz, Op. 437 (1888) Accelerations, Op. 234 (1860) On the Beautiful Blue Danube, Op. 314 (1867) Jules Conus (1869–1942) Concerto for Violin in E Minor, Op. 1 (1896) Allegro molto— Adagio— Andante espressivo Zhi Ma ’15, violin Intermission Johannes Brahms (1833–97) Symphony No. 2 in D Major, Op. 73 (1877) Allegro non troppo Adagio non troppo Allegretto grazioso Allegro con spirito
Sosnoff Theater Friday, April 11 and Saturday, April 12 at 8 pm Preconcert talk at 7 pm by Alexander Bonus This evening’s concert will run approximately two hours, including one 20-minute intermission.
Notes on the Program Johann Strauss Jr. Born in Vienna, October 25, 1825 Died in Vienna, June 3, 1899 Emperor Waltz, Op. 437 (1888) Accelerations, Op. 234 (1860) On the Beautiful Blue Danube, Op. 314 (1867) When Johann Strauss Jr.’s stepdaughter once approached Brahms requesting that he sign her autograph fan, the illustrious composer proceeded to write out the opening measures of the “Blue Danube” waltz with the comment: “Alas, not by Johannes Brahms.” Later, under a photograph of the two composers standing together, Brahms again wrote out Strauss’s melody, this time in counterpoint with the opening theme of his own Fourth Symphony. One can hear Brahms’s admiration for Strauss in several of his own works, such as his popular Liebeslieder Waltzes. The brilliance, appeal, and spirit of his friend’s music undoubtedly won Brahms’s genuine admiration and provide the frame for the concert this evening. It would be difficult to overstate how popular and influential Strauss became in the second half of the 19th century. He was hailed as “The Waltz King,” the composer who virtually apotheosized the waltz into something more resembling a concept than a dance, in the process becoming the very personification of Vienna. The legendary Strauss dynasty had begun in the 1820s with his father, Johann Senior (1804–49), whose three sons—Johann, Josef, and Eduard—carried on the family business. Junior went on to lead Vienna’s foremost dance orchestras and expanded the franchise with prominent and lucrative appearances abroad, including in Paris, London, Berlin, Boston, and New York. In addition to composing nearly 500 separate dance pieces, he wrote many operettas (notably Die Fledermaus and The Gypsy Baron) in which the waltz, polka, and other dances figure prominently. Just a month before he died in 1897, Brahms made a special effort to attend one of Strauss’s concerts. Mahler, too, was inspired by the wit, irony, and elegance of his music, which clearly left its mark on some of his own symphonies. Even Arnold Schoenberg, whose reputation is tied to altogether more serious, often grim, musical matters, recognized Strauss’s magnificent achievement and made an attractive transcription of the Emperor Waltz for chamber ensemble. Although audiences now best know Strauss’s music in full orchestral regalia, particularly as performed by the Vienna Philharmonic in its annually televised New Year’s Concert, 4
most of it was initially conceived for solo instruments or modestly sized ensembles. Strauss composed the Emperor Waltz, Op. 437, in 1888 and premiered it the next year in Berlin. He wrote Accelerations, Op. 234, in 1860 for the Technical Engineer’s Ball, and the piece lives up to its name: after a brief opening the waltz theme speeds up like a motor on each appearance, an appropriate dance for engineers! Strauss’s best-known work, On the Beautiful Blue Danube, Op. 314, was originally composed for the city’s leading amateur male choral society, which sang a poem praising the famous river that runs through Vienna. Although it was not enthusiastically received, the purely instrumental version Strauss fashioned later that year captivated audiences at the World Exhibition in Paris, as it has ever since.
Jules Conus Born in Moscow, February 1, 1869 Died in Moscow, January 3, 1942 Concerto for Violin in E Minor, Op. 1 (1896) Some composers owe their fame entirely to the advocacy of great virtuosos who champion their music. Jules Conus, a Russian violinist from a family of French extraction, would be forgotten today were it not for the Violin Concerto in E Minor we hear tonight, a work both Fritz Kreisler and Jascha Heifetz performed frequently and that the latter recorded in 1952. Conus (he generally used the French version of his name, but is sometimes referred to by a Russian variant) is not mentioned in the venerable New Grove Dictionary of Music and Musicians, nor in its august German equivalent Musik in Geschichte und Gegenwart (although his brother Georges rates in the latter). He was born in Moscow to a musical family and studied violin at the Conservatory with Jean Hˇrimaly (to whom the Violin Concerto is dedicated), and composition with Anton Arensky and Sergey Taneyev. After winning a gold medal in 1888 he went on to study in Paris and performed in orchestras there, in Cologne, and in New York. He eventually returned to teach at the Moscow Conservatory and split his time between there and Paris. He was a good friend and frequent chamber music collaborator with Serge Rachmaninoff. (His son Boris married Rachmaninoff’s daughter.) Conus composed little, principally pedagogical pieces, but his Violin Concerto proved an effective vehicle for his own use (he gave the Moscow premiere in 1898) and was subsequently championed by others. The brief work is in three continuous movements, the last largely a recapitulation of the first. After a short orchestral introduction that may remind listeners of Tchaikovsky, the violinist enters with a soft and expressive melody marked “recitative,” highlighting its vocal qualities. The orchestra steps back—as it does 5
most of the time when the soloist is center stage. Unlike concertos by Beethoven and Brahms that emphasize partnership and dialogue, this is more in the Chopin vein—some moments featuring orchestra, others the soloist. The brief middle section, an Adagio in triple meter, acts as an interlude before a return of the violin’s initial recitative. The first part of the Concerto is revisited leading to an extended cadenza and concluding coda, fast and flashy.
Johannes Brahms Born in Hamburg, May 7, 1833 Died in Vienna, April 3, 1897 Symphony No. 2 in D Major, Op. 73 (1877) Robert Schumann wrote a prophetic review in 1853 hailing the 20-year-old Johannes Brahms as the savior of Western music. His effusive praise, however richly deserved, may have had the unintended consequence of delaying a first symphony from the young composer. Schumann (and everyone else) wondered when Brahms would write a symphony, what it would be like, and how he would answer one of the most pressing musical questions of the day: the best way to write a symphony after Beethoven’s towering achievements. Berlioz, Liszt, Schumann, Mendelssohn, and other composers from differing aesthetic camps had come up with their answers. Brahms’s was eagerly awaited. But he kept delaying. Soon after receiving Schumann’s benediction, Brahms started to write a symphony, which he ultimately decided to divert to other pieces. Two orchestral serenades, Opp. 11 and 16, came fairly close to being full-fledged symphonies, and comparable aspirations are evident in his unusually symphonic Piano Concerto No. 1 and the “Haydn” Variations. In the end it took some 23 years before he finished his Symphony No. 1 in C minor, a work the celebrated conductor Hans von Bülow immediately hailed as “Beethoven’s Tenth.” After all the troubles producing that landmark work, his Second Symphony experienced no such protracted birth pangs; its labor was relatively quick and easy. Brahms may have felt to some degree liberated from the burden of expectations Schumann had set up so long before and wrote a quite different kind of symphony this time around. Throughout his career he frequently produced works in contrasting pairs. The First and Second symphonies may be considered such an instance of unidentical twins as they present an intriguing juxtaposition of gravity and cheer, which some have interpreted as a glimpse of the two sides of the composer’s personality. As he had said of another pair of works, the Academic Festival Overture and the Tragic Overture: “One laughs, the other weeps.”
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Brahms composed the Second Symphony between June and October 1877, while also correcting the proofs of the First Symphony and making a four-hand piano arrangement of that work. His physical surroundings evidently inspired him, as he began writing amidst the breathtaking beauty of the Wörthersee, a lake nestled in the Carinthian Alps of southern Austria (Mahler would later find inspiration there as well) and completed it in Lichtental near Baden-Baden. He informed the powerful Viennese music critic Eduard Hanslick that the symphony was “so cheerful and lovely that you will think it especially for you or even your young lady! That’s no great feat, you will say, Brahms is a smart fellow and the Wörthersee virgin soil, with so many melodies flying around that you must be careful not to tread on any.” The composer sent the work to another friend, Theodor Billroth, a prominent physician, who responded: “I have already completely immersed myself in this piece, and it has given me many a happy hour. I cannot tell which movement is my favorite; I find each one magnificent in its own way. A cheerful, carefree mood pervades the whole, and everything bears the stamp of perfection and of the untroubled outpouring of serene thoughts and warm sentiments.” Descriptions of the Second as sunny, warm, even pastoral, have been attached to it from the beginning, casting it as similar to Beethoven’s Sixth Symphony (which contrasted so much with his famous Fifth) or to Dvoˇrák’s Sixth Symphony (also in D major). But the piece also has somber moments, especially in the first two movements. A conductor later wrote to Brahms to inquire about the dark tone that intrudes in the first movement with the trombones and timpani. The composer explained, “I would have to confess that I am, by the by, a severely melancholic person, that black wings are constantly flapping above us, that in my works—possibly not entirely without intent—this Symphony is followed by a small essay on the great ‘Why.’ If you do not know it [the motet “Why is the Light of Day Given to the Hard-pressed”] I will send it to you. It throws the necessary sharp shadows across the light-hearted symphony and perhaps explains those trombones and drums.” Musicologist Reinhold Brinkmann has explored what he calls the “Late Idyll” represented in this not-so-straightforward work. After the popular and critical success Brahms enjoyed with his First Symphony, which had premiered in the relatively provincial Karlsruhe, he was emboldened to present his Second in Vienna. He enlisted the eminent conductor Hans Richter to unveil the work with the Vienna Philharmonic. The performance was scheduled for early December 1877, but, as Walter Frisch has noted, “in one of those little ironies of music history, it had to be postponed until December 30 because the players were so preoccupied with learning Wagner’s Rheingold.” The ear may be drawn, at the beginning of the first movement (Allegro non troppo), to the musical ideas presented by the woodwinds and brass, but the primary building block
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of the entire Symphony comes even before that, with the first four notes intoned in the lower strings: D, C-sharp, D, A. The movement is rich in melodic ideas, including a brief allusion to Brahms’s song from the same time (and in same key) “Es liebt sich so lieblich im Lenze!” (Love is So Lovely in Spring!). The second movement (Adagio non troppo) exhibits the “Brahmsian fog” about which some critics commented during the composer’s time, with the dark sonorities of its instrumental palette and the thickness of the orchestration. The third movements of Brahms’s symphonies typically serve as a kind of intermezzo; that of the Second Symphony merges elements of a minuet (Allegretto grazioso) and scherzo (Presto, ma non assai). The final movement (Allegro con spirito) begins with a soft and mysterious theme that suddenly bursts into a fortissimo statement of great energy and forward drive. —Christopher H. Gibbs, James H. Ottaway Jr. Professor of Music, Bard College
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Who’s Who
Leon Botstein Conductor Recognized as much for his visionary zeal as his performances, championing masterpieces unfairly ignored by history and creating concert programs that engage the head as well as the heart, Leon Botstein recently celebrated his 20th year as music director and principal conductor of the American Symphony Orchestra. He is also artistic codirector of the SummerScape and Bard Music festivals, which take place at the Richard B. Fisher Center for the ©ric kallaher Performing Arts, designed by Frank Gehry. He is also conductor laureate of the Jerusalem Symphony Orchestra, where he served as music director from 2003–11. He has been president of Bard College since 1975. Botstein leads an active schedule as a guest conductor all over the world, and can be heard on many recordings with the London Symphony (their recording of Popov’s First Symphony was nominated for a Grammy), the London Philharmonic, NDR-Hamburg, and the Jerusalem Symphony Orchestra. Many of his live performances with the American Symphony Orchestra are available for download online. The Los Angeles Times called 2013’s Los Angeles Philharmonic performance under Botstein “the all-around most compelling performance of anything I’ve heard all summer at the Bowl.” In fall 2013, he also conducted the Sinfónica Juvenil de Caracas in Venezuela and Japan, making him the first non-Venezuelan conductor invited by El Sistema to conduct on a tour. Highly regarded as a music historian, Leon Botstein’s most recent book is Von Beethoven zu Berg: Das Gedächtnis der Moderne (2013). He is the editor of The Musical Quarterly and the author of numerous articles and books. He is currently working on a book based on his talks given at the prestigious Tanner Lectures in Berkeley, California. For his contributions to music he has received the award of the American Academy of Arts and Letters and Harvard University’s Centennial Award, as well as the Cross of Honor, First Class, from the government of Austria. In 2009 he received Carnegie Foundation’s Academic Leadership Award, and in 2011 was inducted into the American Philosophical Society. He is also the 2012 recipient of the Leonard Bernstein Award for the Elevation of Music in Society. In 2013, following in the footsteps of Sir John Barbirolli, Otto Klemperer, and others, Botstein received the Bruckner Society’s Julio Kilenyi Medal of Honor for his interpretations of that composer’s music.
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Zhi Ma Zhi Ma ’15, violin, is a fourth-year student at The Bard College Conservatory of Music, where she studies violin in the studio of Laurie Smukler. She was born in Jilin, China, in 1991, and began to study the violin at the age of 7. In 2002 she entered the music school attached to the Central Conservatory of Music in Beijing, where she was awarded first place in the entrance examination. She was designated as “outstanding major” multiple times during her ©xiaobo su studies in Beijing. Ma participated in the Kneisel Hall chamber music festival in Maine in 2013; that same year she was one of the winners of the Bard Conservatory’s Concerto Competition. She is also pursuing a B.A. degree and majoring in German studies.
The American Symphony Orchestra The American Symphony Orchestra was founded 50 years ago by Leopold Stokowski, with the avowed intention of making orchestral music accessible and affordable for everyone. Under Music Director Leon Botstein, Stokowski’s mission is not only intact, but also thriving. Beyond that, the ASO has become a pioneer in what the Wall Street Journal called “a new concept in orchestras,” presenting concerts curated around various themes drawn from the visual arts, literature, politics, and history, and unearthing rarely performed masterworks for well-deserved revival. These concerts are performed in the Vanguard Series at Carnegie Hall. The orchestra also gives the celebrated concert series Classics Declassified at Peter Norton Symphony Space, and regularly performs at The Richard B. Fisher Center for the Performing Arts at Bard College, where it appears in a winter subscription series as well as Bard’s annual SummerScape festival and the Bard Music Festival. In 2010, the ASO became the resident orchestra of The Collegiate Chorale, performing regularly in the Chorale’s New York concert series. The orchestra has made several tours of Asia and Europe, and has performed in countless benefits for organizations including the Jerusalem Foundation and PBS. Many of the world’s most accomplished soloists have performed with the ASO, among them Yo-Yo Ma, Deborah Voigt, and Sarah Chang. In addition to CDs released by the Telarc, New World, Bridge, Koch, and Vanguard labels, many live performances by the American Symphony are now available for digital download. In many cases, these are the only existing recordings of some of the rare works that have been rediscovered in ASO performances.
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The American Symphony Orchestra Leon Botstein, Music Director Violin I
Cello
Horn
Erica Kiesewetter,
Eugene Moye, Principal
Zohar Schondorf, Principal
Roberta Cooper
Lawrence DiBello
Yukie Handa
Annabelle Hoffman
David Smith
Ragga Petursdottir
Sarah Carter
Kyle Hoyt
Robert Zubrycki
Alberto Parrini
Sara Cyrus, Assistant
John Connelly
Maureen Hynes
Yana Goichman
Tatyana Margulis
Trumpet
Ashley Horne
Anik Oulianine
Carl Albach, Principal
Concertmaster
Patricia Davis
John Dent
Ellen Payne
Bass
Sander Strenger
John Beal, Principal
Trombone
Laura Frautschi
Jordan Frazier
Richard Clark, Principal
Katherine Hannauer
Jack Wenger
Kenneth Finn
Louis Bruno
Jeffrey Caswell
Violin II
Peter Donovan
Richard Rood, Principal
Richard Ostrovsky
Elizabeth Nielsen
Tuba Kyle Turner, Principal
Diane Bruce
Flute
Wende Namkung
Laura Conwesser, Principal
Timpani
Ann Labin
Rie Schmidt
Benjamin Herman, Principal
Alexander Vselensky
Diva Goodfriend-Koven,
Lucy Morganstern
Piccolo
Mara Milkis Nazig Tchakarian Lisa Tipton
Percussion Jonathan Haas, Principal
Oboe
Kory Grossman
Alexandra Knoll, Principal
Javier Diaz
Melanie Feld Viola
Harp
William Frampton, Principal
Clarinet
Shelley Holland-Moritz
Laura Flax, Principal
Rachel Riggs
Shari Hoffman
Crystal Garner
Sara Cutler, Principal Personnel Manager Ann Yarbrough Guttman
Adria Benjamin
Bassoon
Louis Day
Charles McCracken, Principal
Orchestra Librarian
Arthur Dibble
Maureen Strenge
Marc Cerri
Alyssa Hardie
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American Symphony Orchestra Patrons Ticket sales cover only a small percentage of the expenses for our full-size orchestral concerts. The American Symphony Orchestra Board of Directors, staff, and artists gratefully acknowledge the following individuals, foundations, corporations, and government agencies who help us to fulfill Leopold Stokowski’s avowed intention of making orchestral music accessible and affordable for everyone. While space permits us only to list gifts made at the Friends level and above, we value the generosity and vital support of all donors. Maestro’s Circle The Booth Ferris Foundation Michael Dorf The Fan Fox & Leslie R. Samuels Foundation, Inc. Jeanne Donovan Fisher The Frank & Lydia Bergen Foundation Rachel and Shalom Kalnicki New York City Department of Cultural Affairs New York State Council on the Arts (NYSCA) Open Society Foundations Dimitri B. and Rania Papadimitriou Thurmond Smithgall Felicitas S. Thorne The Winston Foundation
Erica Kiesewetter Michael and Anne Marie Kishbauch Jack Kliger and Amy Griggs Jay L. Kriegel and Kathryn McAuliffe, in honor of Leon Botstein Arthur S. Leonard William McCracken and Cynthia Leghorn Susan and Graham McDonald Marcia H. Moor Joanne and Richard Mrstik Shirley A. Mueller David E. Schwab II and Ruth Schwartz Schwab Ronnie Streichler Tart-Wald Foundation
Stokowski Circle Anonymous The Ann & Gordon Getty Foundation Microsoft Mary and Sam Miller The Spektor Family Foundation Mrs. James P. Warburg
Contributors Anonymous Nancy Banks and Stephen Penman Dr. Miriam Roskin Berger Thomas and Carolyn P. Cassilly Nicole M. de Jesús and Brian P. Walker Jeanne Malter Sally McCracken Martha and David Schwartz Alan Stenzler Robert F. Weis William C. Zifchak
Benefactors Anonymous Mr. and Mrs. Richard E. Wilson Patrons Anonymous Joel and Ann Berson Eric Czervionke The David & Sylvia Teitelbaum Fund, Inc. Karen Finkbeiner Gary M. Giardina Peter L. Kennard Dr. Pamela F. Mazur JoAnne Meloccaro Mark Ptashne and Lucy Gordon Sustainers Anonymous Ellen Chesler and Matthew J. Mallow Irwin and Maya B. Hoffman
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Supporters Anonymous (7) American Express Gift Matching Program John and Joanne Baer Bank of America Reina Barcan Carol Kitzes Baron Ruth Baron Mary Ellin Barrett Dr. Robert Basner David C. Beek and Gayle Christian Stephen M. Brown Marjorie Burns Isabelle A. Cazeaux Richard C. Celler Roger Chatfield
Alice and Theodore Cohn Bette R. Collom and Anthony Menninger Paul Ehrlich Martha Ferry Laura Flax Veronica Frankenstein Christopher H. Gibbs Todd Gordon and Susan Feder Michael and Ilene Gotts Greenwich House, Inc. Nathan Gross Max and Eliane Hahn Eric S. Holtz Sara Hunsicker George H. Hutzler IBM Corporation José Jiménez Ronald S. Kahn Robert Kalish The Kanter Riopelle Family David Kernahan Irving and Rhoda Kleiman Caral G. and Robert A. Klein John D. Knoernschild Adnah G. and Grace W. Kostenbauder Peter Kroll Kurt Rausch LLC Thomas Lambert Dr. Nancy Leonard and Dr. Lawrence Kramer Steve Leventis Peter A. Q. Locker Linda Lopez Alan Mallach Stephen J. McAteer Joan and Alan McDougall Sally and Bruce McMillen Clifford S. Miller Martin L. and Lucy Miller Murray Tatsuji Namba Andrea and James Nelkin Maury Newburger Clarence W. Olmstead Jr. and Kathleen F. Heenan Roger and Lorelle Phillips David R. Pozorski and Anna M. Romanski Phyllis and Leonard Rosen
Henry Saltzman Peter Lars Sandberg and Nancy Whitaker Harriet Schon Gerald and Gloria Scorse Georgi Shimanovsky Gertrude Steinberg Hazel C. and Bernard Strauss Paul Stumpf Mrs. Jon P. Tilley Elisabeth F. Turnauer, M.D. Larry A. Wehr Janet Whalen Michael P. A. Winn Kurt Wissbrun Richard J. Wood Alfred Zoller Myra and Matthew Zuckerbraun Friends Anonymous Karen Bedrosian-Richardson Simone Belda Adria Benjamin Stephen Blum Mrs. A. Peter Brown Lois Conway Barton Dominus Robert Durst ExxonMobil Foundation Richard Farris Jeffrey F. Friedman Robert Gottlieb Mr. and Mrs. Sidney Greenberg John Haggerty John Hall Laura Harris
Andrée Hayum Robert Herbert Gerald and Linda Herskowitz Christopher Hollinger Peter Keil Kaori Kitao Seymour and Harriet Koenig Mr. and Mrs. Robert LaPorte Walter Levi Judd Levy José A. Lopez Sarah Luhby Dr. Karen Manchester Carolyn McColley Richard and Maryanne Mendelsohn Mark G. Miksic Alex Mitchell Michael Nassar Kenneth Nassau Jane and Charles Prussack Bruce Raynor John W. Roane Catherine Roach Sari Scheer Nina C. and Emil Scheller Bruce Smith and Paul Castellano The Honorable Michael D. Stallman Helen Studley Andre Sverdlove Lorne and Avron Taichman Madeline V. Taylor Gretchen Viederman James Wagner and Barry Hoggard Ann and Doug William Leonard and Ellen Zablow
Music plays a special part in the lives of many New York residents. The American Symphony Orchestra gratefully acknowledges the support of the following government agencies that have made a difference in the culture of New York: New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature
Boards and Administration Board of Directors Dimitri B. Papadimitriou, Chair Thurmond Smithgall, Vice Chair Karen Zorn, Treasurer Miriam Berger Michael Dorf Rachel Kalnicki Jack Kliger Shirley A. Mueller, Esq. Debra R. Pemstein Eileen Rhulen Felicitas S. Thorne Honorary Members: Joel I. Berson, Esq. L. Stan Stokowski Administration Lynne Meloccaro, Executive Director Oliver Inteeworn, General Manager Brian J. Heck, Director of Marketing Nicole M. de Jesús, Director of Development Sebastian Danila, Library Manager Marielle Métivier, Operations Manager Katrina Herfort, Ticketing Services Coordinator Marc Cerri, Orchestra Librarian Ann Yarbrough Guttman, Orchestra Personnel Manager Ben Oatmen, Production Assistant Leszek M. Wojcik, Concert Archival Recording James Bagwell, Principal Guest Conductor Geoffrey McDonald, Assistant Conductor Zachary Schwartzman, Assistant Conductor Richard Wilson, Composer-inResidence
The City of New York The Honorable Bill de Blasio, Mayor New York City Council New York City Department of Cultural Affairs List current as of February 24, 2014
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We honor the late Richard B. Fisher for his generosity and leadership in building and supporting this superb center that bears his name by offering outstanding arts experiences. We recognize and thank the following individuals, corporations, and foundations that share Dick’s and our belief in presenting and creating art for the enrichment of society. Ticket sales cover less than 15 percent of our extraordinary programs. Help us sustain the Fisher Center and ensure that the performing arts are a part of our lives. We encourage and need you to join our growing list of donors. Donors to the Fisher Center Leadership Support The Andrew W. Mellon Foundation Carolyn Marks Blackwood Emily H. Fisher and John Alexander Jeanne Donovan Fisher The Marks Family Foundation Martin and Toni Sosnoff Foundation Millbrook Tribute Garden, Inc. National Endowment for the Arts (NEA) Martin T. and Toni Sosnoff Felicitas S. Thorne True Love Productions Golden Circle Estate of Richard B. Fisher Tricia and Foster Reed Director Mr. and Mrs. Lewis W. Bernard Steven M. Dawson Michael J. Del Giudice and Jaynne Keyes Stefano Ferrari and Lilo Zinglersen Britton Fisher Florence & Robert Rosen Family Foundation Dr. Terry S. Gotthelf Doris J. Lockhart The Maurer Family Foundation, Inc. Stephen Mazoh and Martin Kline New York State Council on the Arts (NYSCA) Mr. and Mrs. James H. Ottaway Jr. Florence and Robert A. Rosen David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Thendara Foundation Coram Williams and Juliane Fuerst Producer Kay Brover and Arthur Bennett Goethe Institute New York Barbara Lemperly Grant Ronald Guttman Karen and Robert G. Scott Aida and Albert Wilder
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Wilder Consolidated Enterprises Inc. Patron Fiona Angelini and Jamie Welch Dr. Leon Botstein and Barbara Haskell Stuart Breslow and Anne Miller Bob Bursey and Leah Cox Catskill Mountain Foundation, Inc. Thomas and Bryanne Hamill The Harkness Foundation for Dance, Inc. Frederic K. and Elena Howard Alfred J. Law and Glenda A. Fowler Law Amala and Eric Levine Bonnie Loopesko and Daniel Shapiro David J. Marshall Ted Ruthizer and Jane Denkensohn Barbara and Dick Schreiber David A. Schulz Illiana van Meeteren Benefactor Helen and Roger Alcaly Dr. Miriam Roskin Berger ’56 Sandra and Dr. A. John Blair III Anne Donovan Bodnar and James L. Bodnar Harlan Bratcher and William L. Usnik Jr. Alexandre and Lori Chemla Michael F. Dupree Elizabeth W. Ely ’65 and Jonathan K. Greenburg Beverly Fanger and Dr. Herbert S. Chase Jr. Eliot D. and Paula K. Hawkins Susan Hendrickson Susan and Roger Kennedy Roy and Amy Kulick Geraldine and Kit Laybourne Margrit and Albrecht Pichler Quality Printing Company, Inc. Drs. M. Susan and Irwin Richman Sarah and Howard Solomon Darcy Stephens Allan and Ronnie Streichler Mr. Jann S. Wenner
Sustainer Roland Augustine Mary I. Backlund and Virginia Corsi Ward C. Belcher Alfred Buff and Lenore Nemeth Mr. Claude Dal Farra C. Douglas and Leslie Dienel Tambra Lee Dillon Martha J. Fleischman Frederic Harwood James Hayden Hyman J. & Florence Hammerman Family Foundation Mr. and Mrs. George A. Kellner Dr. Barbara Kenner Cesar Ramon Lascano Patricia Duane Lichtenberg Susan Lorence Barbara L. and Arthur Michaels Joanne and Richard Mrstik Sky Pape and Alan Houghton Mr. and Mrs. Frederick P. Payton Samuel and Ellen Phelan Craig & Renee Snyder Mark Sutton Taconic Farms, Inc. Irene Zedlacher Sponsor Marshall S. Berland and John E. Johnson Harriet Bloch and Evan Sakellarios Richard Cheek Jonathan A. Clark Jennifer and Jonathan H. Cohen Richard D. Cohen Gordon Douglas The Eve Propp Family Foundation, Inc. Harvey and Mary Freeman I. Bruce Gordon Nan and David Greenwood Rosemary and Graham Hanson Bonnie Johnson Charles S. Maier John and Claire Reid Mr. Randy J. Tryon Margo and Anthony Viscusi Supporter Rev. Winston L. Bath Marge and Ed Blaine
Gisa Botbol James C. and Pauline G. Carafotes Neil and Kathleen Chrisman Ellen K. Coleman Amy K. and David Dubin Arthur and Janet Eschenlauer K.F. Etzold and Carline Dure-Etzold Thomas F. Froese Frances A. and Rao Gaddipati Marvin and Maxine Gilbert Laurie Gilmore Arthur and Judy Gold Mims and Burton Gold Dorothy and Leo Hellerman Kenneth P. Hodges Martin Holub Jan Hopkins and Richard Trachtman Daniel Idzik Neil Isabelle Timur Kanaatov Kassell Family Foundation of the JCF Harold and Raquel Kleinfeld Rose and Josh Koplovitz Dr. Nancy Leonard and Dr. Lawrence Kramer Robert F. Kurilla Leon and Fern Lerner Joe Lombardi Janet C. Mills Dr. David T. Mintz Debra R. Pemstein and Dean Vallas Susan Price George and Gail Hunt Reeke Blanche and Bruce Joel Rubin Ms. Myrna B. Sameth Michael W. Scheringer Nevin Shalit Mr. Ian Shrank Larry Simmons Elisabeth A. Simon Clare L. Smith Dr. Sanford B. Sternlieb Mia Unson Mike and Kathy Zdeb Friend Dr. and Mrs. Morton Alterman Sybil Baldwin Matthew Beatrice Dr. Alvin and Arlene Becker Frederick Berliner Lewis J. Bernstein Khurshed Bhumgara Roselee Blooston Gary Boyd Jerry and Brenda Brockett David and Jeannette T. Brown Jeffrey and Ellyn Burstein Prof. Mary Ellen Caponegro ’78 Ellen and Mac Caputo Daniel Chu and Lenore Schiff Paula T. Ciferni
Robert and Isobel Clark Ms. Darrah L. Cloud Marshall J. Cohen Marianthe Colakis Dr. Edward Conrad Ms. Heather Croner Ellen C. Curtis Frank J. Cutolo Dr. Bruce Cuttler and Joanne E. Cuttler ’99 Estate of James Deguire Joan and Wolcott Dunham Abby H. and John B. Dux David Ebony and Bruce Mundt Floyd and Phyllis Glinert Foundation of the FCGF Ann and Robert Freedman David Gable James J. Gebhard Joseph W. and Joyce Gelb Gregory F. Gilmartin Mr. and Mrs. Floyd Glinert Debby and Fred Glynn Susan and David Goldin Steven Goldstein Stanley and Anne Gordon Sheryl Griffith Matthew M. Guerreiro and Christina Mohr Dr. Arthur A. Guffanti Ms. Julio Guillen Gilbert and Mary Hales Johanna Hecht and Raymond Sokolov Delmar D. Hendricks HSBC Philanthropic Programs Mark R. Joelson Dr. Eleanor C. Kane Brenda and Stephen Kaye Linda L. Kaumeyer Martin Kenner and Camilla Smith Marilyn Kirchner Dr. Seymour and Harriet Koenig Prof. Marina Kostalevsky Daniel Labar Myron Ledbetter Mr. Maurice Dupont Lee Ronald Leibler Joan Mack Barbara Mansell Ms. Phyllis Marsteller Denise Maynard Joy McManigal Dr. Naomi Mendelsohn Monsanto Fund Roy Moses Vernon Mosheim Edmund M. Murphy Dr. Abraham and Gail Nussbaum Lucille H. Orzach Marilyn and Peter Oswald Steven Pollak and Robin Tanenbaum Neila Beth Radin
Sandra Ray Mr. Douglas Reeser Ms. Esther Rosenfeld Fred Sagarin Barbara A. Schoenberg Marc Sferrazza Denise S. Simon and Paulo Vieiradacunha Marcia Sprules Alice and Tim Stroup Katrina Thomas Taun N. Toay ’05 Gerald and Grace Wapner David and Meliza E. Woolner Dr. Herbert M. and Audrey S. Wyman
Friends of the Bard Music Festival Leadership Support Helen and Roger Alcaly The Andrew W. Mellon Foundation Bettina Baruch Foundation Michelle R. Clayman Estate of John A. Dierdorff Jeanne Donovan Fisher HSBC Philanthropic Programs Susan and Roger Kennedy Mrs. Mortimer Levitt The Mortimer Levitt Foundation Inc. Mr. and Mrs. James H. Ottaway Jr. Denise S. Simon and Paulo Vieiradacunha Felicitas S. Thorne Golden Circle Jane W. Nuhn Charitable Trust Dr. Barbara Kenner National Endowment for the Arts (NEA) The Wise Family Charitable Foundation Millie and Robert Wise Director The Ann and Gordon Getty Foundation Joan K. Davidson Elizabeth W. Ely ’65 and Jonathan K. Greenburg Matthew M. Guerreiro and Christina Mohr Eliot D. and Paula K. Hawkins The J. M. Kaplan Fund, Inc. Edna and Gary Lachmund Amy and Thomas O. Maggs Marstrand Foundation New York State Council on the Arts (NYSCA) Jim and Talila O’Higgins Peter Kenner Family Fund of the JCF
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Drs. M. Susan and Irwin Richman David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Dr. Sanford B. Sternlieb Charles P. Stevenson Jr. and Alexandra Kuczynski Stewart’s Shops Margo and Anthony Viscusi Dr. Siri von Reis Producer Helen ’48 and Robert L. Bernstein Alison L. and John C. Lankenau Allan and Ronnie Streichler Dr. Elisabeth F. Turnauer-Derow Merida Welles and Chip Holman Irene Zedlacher Patron Joshua J. Aronson Mary I. Backlund and Virginia Corsi Lydia Chapin and David Soeiro Blythe Danner ’65 Amy K. and David Dubin Helena and Christopher Gibbs Alan Hilliker and Vivien Liu Anne E. Impellizzeri Belinda and Stephen Kaye James Klosty Alfred J. Law and Glenda A. Fowler Law The McGraw-Hill Companies Matching Gift Program MetLife Foundation Sarah and Howard Solomon Edwin Steinberg Rosemary and Noel Werrett Benefactor Roland Augustine Dr. Miriam Roskin Berger ’56 Jane R. Cottrell David G. Whitcomb Foundation Mr. and Mrs. Gonzalo de Las Heras Laurel Durst Emily H. Fisher and John Alexander John Geller Marieluise Hessel and Edwin L. Artzt Martin Holub Rachel and Dr. Shalom Kalnicki Helene L. and Mark N. Kaplan Richard Kortright Murray Liebowitz Andrea and Kenneth L. Miron Elizabeth R. and Gary J. Munch Ms. Anna Neverova ’07 Barbara B. Reis Elizabeth Farran Tozer and W. James Tozer Jr. UBS Matching Gift Program Maureen A. Whiteman and Lawrence J. Zlatkin
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Sustainer Kathleen Augustine Alexander and Margaret Bancroft Barbara and Donald Tober Foundation Prof. Jonathan and Jessica K. Becker Sandra Bendfeldt Sarah Botstein and Bryan Doerries Rt. Rev. Herbert A. and Mary Donovan Kay Brover and Arthur Bennett Frederick and Jan Cohen Willem F. De Vogel Laura Genero Eric Goldman David and Nancy Hathaway Dr. Barbara K. Hogan Jack & Marion’s Fund of the JCF Edith and Hamilton F. Kean Mr. and Mrs. Thomas W. Keesee III John R. and Karen Klopp Dr. Seymour and Harriet Koenig Dr. and Mrs. Arthur Menken Mr. and Mrs. Frederick P. Payton John and Claire Reid Blanche and Bruce Joel Rubin Barbara and Donald Tober Illiana van Meeteren Mr. Michael P. A. Winn ’59 Sponsor Anonymous Linda Baldwin Marshall S. Berland and John E. Johnson Ms. Joan Costa Ana and J. Roberto De Azevedo Patricia Falk Mr. Donald C. Fresne Elizabeth D. and Robert Hottensen I.B.M. Matching Grants Program John and Mary Kelly Erica Kiesewetter Lucas Pipes ’08 and Sarah Elizabeth Coe Paden ’09 Art and Jeannette Taylor Olivia van Melle Kamp Prof. Marina van Zuylen Supporter Jamie Albright Melva Bucksbaum and Raymond J. Learsy Ms. Katherine Burstein ’09 Phyllis Busell and James M. Kostell Philip and Mimi Carroll Constance and David C. Clapp Jennifer and Jonathan H. Cohen Seth Dubin June and Peter Felix Anne Stewart Fitzroy Laura Flax
Deborah and Thomas Flexner Luisa E. Flynn Francis Finlay and Olivia J. Fussell Joseph W. and Joyce Gelb Mr. and Mrs. Harrison J. Goldin Samuel L. Gordon Jr. Lawrence and Lorna Graev Alison Granucci Sandy Graznow and Jim Kearns Sally S. Hamilton James Hayden Emilie and William Henry Fritz and Nancy Henze Demetrios and Susan Karayannides Mr. and Mrs. George A. Kellner Fernanda Kellogg and Kirk Henckels Charles and Katherine King Debra I. and Jonathan Lanman Wayne Lawson Beth Ledy Cynthia Hirsch Levy ’65 Catherine Anne Luiggi Lynn Favrot Nolan Family Fund Claire and Chris Mann Don and Evelyn McLean Mr. and Mrs. Seth Melhado Joanna M. Migdal Maury Newburger Mr. and Mrs. William T. Nolan David B. and Jane L. Parshall Gary S. Patrik Encarnita and Robert Quinlan Emma Richter ’09 and Alex Gaudio ’10 Joseph M. Rinaldi and Elizabeth McClintock Alfred J. and Deirdre Ross Ms. Phyllis Ross Barbara A. Schoenberg Peter Schwalbe and Jody Soltanoff Dagni and Martin Senzel John Tancock Jessica and Peter Tcherepnine Mila Tewell Robert E. Tully Jack and Jill Wertheim Barbara Jean Weyant Serena H. Whitridge Ms. Chanel M. Wood ’08 Friend Barbara J. Agren Mr. and Mrs. Jack Auspitz Howard and Mary Bell Elizabeth Phillips Bellin ’00 and Marco M. S. Bellin Khurshed Bhumgara Madge Briggs John C. D. and Nancy Bruno Mr. George Carrothers Mr. & Mrs. Timothy Delaney
David and Tracy Finn Floyd and Phyllis Glinert Foundation of the FCGF John Foreman Mary Ann Free Samantha R. J. Free Emily Rutgers Fuller Maxwell H. and Victoria Goodwin Ms. Maureen W. Gregory Andrea E. Gross Frederick Fisher Hammond Tameka L. Harvey Juliet Heyer Susan Hoehn John Cage Trust Linda L. Kaumeyer Robert E. Kaus Diana Niles King Harold and Raquel Kleinfeld Chloe A. Kramer Ms. Carol Lee Mr. Maurice Dupont Lee E. Deane and Judith S. Leonard John Robert Massie Caroline Mecartney Roy Moses Dr. Vanessa Neumann Michael Nishball Elizabeth J. and Sevgin Oktay Susan Heath and Rodney Paterson David Pozorski and Anna Romanski D. Miles Price Mr. Robert Schweich Susan Shine Mr. and Mrs. Charles Stukenborg Alexandra Tuller and Dean Temple Arete B. S. Warren List current as of March 25, 2014
Boards and Administration Bard College Board of Trustees David E. Schwab II ’52, Chair Emeritus Charles P. Stevenson Jr., Chair Emily H. Fisher, Vice Chair Elizabeth Ely ’65, Secretary; Life Trustee Stanley A. Reichel ’65, Treasurer Fiona Angelini Roland J. Augustine Leon Botstein+ , President of the College Stuart Breslow+ Mark E. Brossman Thomas M. Burger+ James C. Chambers ’81 David C. Clapp Marcelle Clements ’69* The Rt. Rev. Andrew M. L. Dietsche, Honorary Trustee Asher B. Edelman ’61, Life Trustee Paul S. Efron Robert S. Epstein ’63 Barbara S. Grossman ’73* Sally Hambrecht George F. Hamel Jr. Marieluise Hessel Maja Hoffmann Matina S. Horner+ Charles S. Johnson III ’70 Mark N. Kaplan, Life Trustee George A. Kellner Murray Liebowitz, Life Trustee Marc S. Lipschultz Peter H. Maguire ’88 Fredric S. Maxik ’86 James H. Ottaway Jr., Life Trustee Martin Peretz, Life Trustee Stewart Resnick, Life Trustee Roger N. Scotland ’93* Martin T. Sosnoff Susan Weber Patricia Ross Weis ’52 Senior Administration Leon Botstein, President Dimitri B. Papadimitriou, Executive Vice President Michèle D. Dominy, Vice President and Dean of the College Mary Backlund, Vice President for Student Affairs and Director of Admission Norton Batkin, Vice President and Dean of Graduate Studies Jonathan Becker, Vice President and Dean for International Affairs and Civic Engagement
James Brudvig, Vice President for Administration John Franzino, Vice President for Finance Susan H. Gillespie, Vice President for Special Global Initiatives Max Kenner ’01, Vice President for Institutional Initiatives Robert Martin, Vice President for Academic Affairs and Director of The Bard College Conservatory of Music Debra Pemstein, Vice President for Development and Alumni/ae Affairs
The Richard B. Fisher Center for the Performing Arts Advisory Board Jeanne Donovan Fisher, Chair Carolyn Marks Blackwood Leon Botstein+ Stefano Ferrari Harvey Lichtenstein Robert Martin+ Dimitri B. Papadimitriou+ Martin T. Sosnoff Toni Sosnoff Felicitas S. Thorne Administration and Programming Debra Pemstein, Vice President for Development and Alumni/ae Affairs Bob Bursey, Senior Producer Gideon Lester, Director of Theater Programs Caleb Hammons, Associate Producer Jeannie Schneider, Business Manager Marla Walker, Executive Assistant Production Vincent Roca, Production Manager Stephen Dean, Production Coordinator, Concerts and Lectures Matthew Waldron ’07, Production Coordinator, Dance and Theater Steven Michalek, Technical Director Josh Foreman, Lighting Supervisor Moe Schell, Costume Shop Supervisor Adam Kushner, Audio/Video Supervisor Communications Mark Primoff, Director of Communications Eleanor Davis, Media and Marketing Manager Joanna Szu, Associate Marketing Manager 17
Publications Mary Smith, Director of Publications Ginger Shore, Consultant to Publications
Executive Director Irene Zedlacher
Audience Services David Steffen, Audience Services Manager and Communications Coordinator Nicholas Reilingh, Box Office Manager Caitlyn DeRosa, Assistant Box Office Manager Patrick King ’12, House Manager Alec Newell ’15, Assistant House Manager Anne Phelps ’15, Assistant House Manager Kay Schaffer ’14, Assistant House Manager
Scholars in Residence 2014 Christopher H. Gibbs Morten Solvik
Facilities Mark Crittenden, Facilities Manager Ray Stegner, Building Operations Manager Doug Pitcher, Building Operations Coordinator Daniel DeFrancis, Building Assistant Robyn Charter, Building Assistant Katie O’Hanlon, Housekeeping Patricia O’Hanlon, Housekeeping Anna Simmons, Housekeeping
The Bard Music Festival Board of Directors Denise S. Simon, Chair Roger Alcaly Leon Botstein+ Michelle R. Clayman Robert C. Edmonds ’68 Jeanne Donovan Fisher Christopher H. Gibbs+ Paula K. Hawkins Susan Petersen Kennedy Barbara Kenner Gary Lachmund Thomas O. Maggs Robert Martin+ Kenneth L. Miron Christina A. Mohr James H. Ottaway Jr. Felicitas S. Thorne Siri von Reis Artistic Directors Leon Botstein Christopher H. Gibbs Robert Martin
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Associate Director Raissa St. Pierre ’87
Program Committee 2014 Byron Adams Leon Botstein Christopher H. Gibbs Robert Martin Richard Wilson Irene Zedlacher Director of Choruses James Bagwell Vocal Casting/ Producer, Staged Concerts Susana Meyer * alumni/ae trustee + ex officio
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 six 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); American University of Central Asia in Kyrgyzstan; and Bard College Berlin: A Liberal Arts University; as well as dual B.A. and M.A.T. degrees at Al-Quds University in the West Bank. 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.
©2014 Bard College. All rights reserved. Cover Scott Barrow Inside back cover ©Peter Aaron ’68/Esto
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carl maria von weber
EURYANTHE Based on a medieval romance and filled with gloriously beautiful music, Euryanthe depicts a story of chivalry, betrayal, innocence, and love, with a touch of the supernatural.
the american symphony orchestra conducted by Leon Botstein, music director directed by Kevin Newbury sosnoff theater July 25 and August 1 at 7 pm July 27, 30, and August 3 at 2 pm Tickets start at $25 Image: Dreiviertelharnisch, Johann Peter Krafft, 1839. ŠBelvedere, Vienna
REDISCOVERIES
Individual supporters are essential to sustaining the Richard B. Fisher Center for the Performing Arts as an extraordinary part of cultural life in the Hudson Valley. Generous gifts from arts supporters like you help make everything at the Fisher Center possible. Our members support world-class performing arts and enjoy a variety of discounts and benefits through our Friends and Patrons programs. Please join us!
For more information visit fishercenter.bard.edu/support or call 845-758-7414.
BECOME A FRIEND OF THE FISHER CENTER
BECOME A PATRON OF THE FISHER CENTER
Friends of the Fisher Center enjoy a behind-the-scenes look at Fisher Center presentations, invitations to exclusive events, and access to special services throughout the year.
Patrons enjoy all of the benefits of Benefactors of the Fisher Center, plus access to the best seats in the house, personalized ticketing, preferred parking, and exclusive events.
Friend ($75) Benefits include: • Access to tickets before the general public • Invitations to season previews and open house events • 10% discount on Spiegeltent dining • 20% discount on Fisher Center merchandise • Fully tax deductible
Patron ($1,500) All of the Friends benefits, plus: • Access to the best seats and personalized ticket handling through the Patron Priority Line • Access to the Bard Music Festival Patron’s Lounge at Olin Hall • Recognition in performance programs • $1,180 tax deductible
Supporter ($150) All of the above, plus: • Waived ticket handling fees (save $4.50 per ticket, $10 per subscription) • Invitation to a behind-the-scenes tour of the Fisher Center • Fully tax deductible
Producer ($2,500) All of the above, plus: • Invitation for two to an exclusive pre-performance dinner at a Hudson Valley home • $2,030 tax deductible Director ($5,000) All of the above, plus: • Reserved VIP parking for all events at the Fisher Center • Invitation for two to an intimate dinner with a world-class performer, creator, or scholar • $4,380 tax deductible
Sponsor ($300) All of the above, plus: • Invitations to opening night parties • SummerScape production poster • $250 tax deductible Sustainer ($500) All of the above, plus: • Bard Music Festival limited edition T-shirt • SummerScape production poster signed by the cast • $415 tax deductible Benefactor ($1,000) All of the above, plus: • Bard Music Festival book (Princeton University Press) • Private, behind-the-scenes tour of the Fisher Center for you and your guests • Invitations to working rehearsals and directors’ presentations • $750 tax deductible
Thank You! Please return your donation to: Bard College PO Box 28592 New York, NY 10087-8592
Enclosed is my check made payable to Bard College in the amount of $ Please designate my gift toward: n All Fisher Center programs n Bard Music Festival only Please charge my: n Amex n Discover n MasterCard n Visa in the amount of $
Credit card account number
Expiration date
Name as it appears on card (please print clearly) Name as it should appear in publications n I would like my gift to be anonymous Address City
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3F13
SAVE THE DATES
FISHER CENTER AT BARD COLLEGE SPRING EVENTS DANCE APRIL 18 AND 19
JOANNA KOTZE it happened it had happened it is happening it will happen MUSIC APRIL 25 AND 26
GIUSEPPE VERDI’S MESSA DA REQUIEM DANCE MAY 17
BILL T. JONES/ARNIE ZANE DANCE COMPANY Free work-in-progress residency showing MUSIC MAY 18
CONSERVATORY SUNDAYS Bard College Conservatory Orchestra with Peter Serkin, piano Conducted by Leon Botstein, music director
BARDSUMMERSCAPE DANCE JUNE 27–28
TRISHA BROWN DANCE COMPANY Proscenium Works: 1979–2011 THEATER JULY 10–20 World Premiere
LOVE IN THE WARS A Version of Heinrich von Kleist’s Penthesilea by John Banville OPERA JULY 25 – AUGUST 3
EURYANTHE By Carl Maria von Weber FILM SERIES JULY 3 – AUGUST 3
SCHUBERT AND THE LONG 19TH CENTURY SPIEGELTENT JULY 3 – AUGUST 16
CABARET, MUSIC, FINE DINING, AND MORE and
25TH ANNIVERSARY SEASON
BARD MUSIC FESTIVAL SCHUBERT AND HIS WORLD AUGUST 8–10 and 15–17 The 2014 SummerScape season and the 25th Bard Music Festival are made possible in part through the generous support of Jeanne Donovan Fisher, the Martin and Toni Sosnoff Foundation, the Board of The Richard B. Fisher Center for the Performing Arts at Bard College, the Board of the Bard Music Festival, and the Friends of the Fisher Center, as well as grants from the National Endowment for the Arts and the New York State Council on the Arts.
845-758-7900 | fishercenter.bard.edu Be the first in line for news of upcoming events, discounts, and special offers. Join the Fisher Center's e-newsletter at fishercenter.bard.edu.