the richard b. fisher center for the performing arts at bard college
AMERICAN SYMPHONY ORCHESTRA February 21 and 22, 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 Joan Tower (b. 1938) Stroke (2010) Erkki Melartin (1875–1937) Concerto in D Minor, for violin and orchestra, Op. 60 (1913) Allegro moderato Andante assai tranquillo Allegro molto vivace Dongfang Ouyang ’15, violin Intermission Robert Schumann (1810–56) Symphony No. 2 in C Major, Op. 61 (1845–46) Sostenuto assai Scherzo Adagio espressivo Allegro molto vivace
Sosnoff Theater Friday, February 21 and Saturday, February 22 at 8 pm Preconcert talk at 7 pm by Christopher H. Gibbs This evening’s concert will run approximately two hours, including one 20-minute intermission.
Notes on the Program
Joan Tower Born in New Rochelle, New York, September 6, 1938
Stroke (2010) Even as she celebrated her 75th birthday this past September, Joan Tower continues to look forward as much as she does back on a distinguished career that has spanned well over five decades. She began as a pianist and was a founding member of the Da Capo Chamber Players, but decided to devote herself full time to composition in the mid-1980s, although she still occasionally performs at the piano and conducts. Among many other prestigious prizes and honors, Tower was the first woman to receive the Grawemeyer Award in Composition, in 1990; she was inducted into the American Academy of Arts and Letters in 1998 and the Academy of Arts and Sciences at Harvard University in 2004. Her music has been performed by some of the world’s leading soloists, including Carol Wincenc, David Shifrin, John Browning, Evelyn Glennie, and Cho-Liang Lin, and such eminent ensembles as the Emerson and Tokyo quartets; the Chicago, St. Louis, and Pittsburgh symphonies; the New York Philharmonic; and the Orpheus Chamber Orchestra. She was composer in residence with the Pittsburgh and St. Louis symphonies and with the Orchestra of St. Luke’s. Her orchestral work Made in America won three Grammy awards in 2008. Since 1972, Joan Tower has taught at Bard College, where she is Asher B. Edelman Professor in the Arts. She has provided the following note about the deeply personal composition performed tonight: Stroke was commissioned and premiered by the Pittsburgh Symphony Orchestra (Manfred Honeck, conductor) and is dedicated to my younger brother George, who suffered a major stroke in 2008 at the age of 60 that left his body paralyzed on his entire left side. The horrific journey of the aftermath of a serious stroke consists of many different emotional stages: anger, anxiety, depression, and love. The huge adjustment of the mind and the DNA of the body require a strong resilience of emotion and a large amount of mental discipline to adapt to a body that can no longer do the things it did before. The positive side of this experience (and alternate meaning of the
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word “stroke”) is one of occasional but welcome rests of peace and deep love that become more pronounced as the stroke victim adjusts to his new reality. I tried to depict these extreme emotions through the musical journey of my 17minute piece. Inside a dramatic and often loud steady beat (of the heart) which shifts to faster beats (which veer between “anxious” and “joyful”), there are five slower (and “softer”) solos for horn, bassoon, violin, clarinet, and trumpet where more peaceful and lyrical surroundings come forward. Stroke is a piece concerned with many emotions, one that hopefully offers a quiet “hope” at the end. With a stroke, it is hard to tell which way it will go.
Erkki Melartin Born in Käkisalmi, Finland, February 7, 1875 Died in Pukinmäki, Finland, February 14, 1937
Concerto in D Minor, for violin and orchestra, Op. 60 (1913) Until recently, at least when it came to classical music, popular associations with Finland meant Jean Sibelius for most American audiences. In the past few decades, however, the phenomenally active musical life of this small nation has made itself felt far beyond its borders. Conductors, singers, and instrumentalists crowd the world stage, while prominent composers such as Einojuhani Rautavaara, Magnus Lindberg, Kaija Saariaho, and EsaPekka Salonen attract ever-greater acclaim. An added benefit of all this vitality has been the exploration and revival of earlier Finnish composers, such as Erkki Melartin, one of Sibelius’s preeminent contemporaries. As a key figure in Finnish music education, the prominent teacher of many leading composers in the first half of the 20th century, Melartin should be credited as one who helped elevate the musical stature of the country. Although Melartin was nine years younger (and died 20 years earlier) than the long-lived Sibelius, the two initially charted similar trajectories. Both were students at the Helsinki Music Institute (later the Helsinki Conservatory and now the Sibelius Academy), working with Martin Wegelius, and then both studied abroad, including with Robert Fuchs in Vienna. Melartin returned to teach at the institute, of which he ultimately became director (1911–36). His large output is rather similar to that of Sibelius, with symphonies, the violin concerto we hear tonight, and chamber and keyboard music. (He finished an opera, which Sibelius never did.)
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Despite all the inevitable comparisons, Melartin’s music sounds quite different from that of his formidable countryman, usually looking more to the late Romantic mainstream of Europe (as well as to St. Petersburg). He composed the Violin Concerto in D minor in 1913 and revised it later. The work was not published until after its rediscovery in the late 1990s. The piece is in three movements: the lengthy first one (Allegro moderato) opens softly with a haunting theme, the soloist taking center stage from the outset. The second movement (Andante assai tranquillo) offers a lyrical interlude before the rousing finale (Allegro molto vivace), which revisits the noble principal theme of the first movement.
Robert Schumann Born in Zwickau, Saxony, Germany, June 8, 1810 Died in Enderich, near Bonn, Germany, July 29, 1856
Symphony No. 2 in C Major, Op. 61 (1845–46) As for most composers of his generation and the next, Robert Schumann confronted a vexing musical challenge in the realm of the symphony: how to write one in the wake of Beethoven’s Ninth. Schubert allegedly once remarked to a friend, “Secretly, in my heart of hearts, I still hope to be able to make something out of myself, but who can do anything after Beethoven?” In a similar vein, Brahms later confessed to conductor Hermann Levi: “You don’t know what it is like to walk in the footsteps of a giant.” Some composers shunned the genre of the symphony entirely or retreated to simpler, less imposing forms offering little that was new, such as the orchestral serenade. With a few exceptions, Schumann the composer and critic despaired about the state of the symphony. The exceptions, however, are revealing. He felt Schubert offered a remarkable model in his “Great” C-Major Symphony, written in 1825, less than a year after Beethoven’s Ninth. This work was unknown for more than a decade after Schubert’s death in 1828 at age 31, languishing unperformed in the house of his older brother. Schumann was amazed when he learned of its existence during a visit to Vienna in the winter of 1838–39, and he promptly arranged for the premiere in Leipzig, with Felix Mendelssohn conducting the Gewandhaus Orchestra. If Beethoven inspired Schumann through the force of intimidation, Schubert, “my one and only Schubert,” apparently did so through the power of love. Other composers, self-styled progressives such as Hector Berlioz and Franz Liszt, opted for programmatic solutions to the symphonic problem. They no longer wrote a
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Symphony No. 1, but rather a Symphonie fantastique or a Faust Symphony. In the longest review Schumann ever wrote, he praised Berlioz’s imaginative first symphony highly, but chose not to follow such a path in his own career. Only the title of Schumann’s First Symphony, “Spring,” has his authority (and then only at an early stage—it was not included on the title page). Rather than pursuing overt musical narratives, Schumann inclined toward the aesthetic Beethoven famously proclaimed in his “Pastoral” Symphony: “More an expression of feeling than painting.” Throughout his career Schumann became intensely preoccupied with writing certain kinds of music and he would concentrate, sometimes for years at a time, on little else. Piano compositions dominated the 1830s and account for all of his first 23 published opuses. The year he married the young pianist and composer Clara Wieck, 1840, was his “Year of Song”; 1841 was his symphonic year; 1842 he devoted to chamber works; and 1848–49 primarily to dramatic music. Although Schumann had tentatively tried his hand at symphonies well before 1841, he increasingly felt the need, as he approached age 30, to expand the scope of his musical palette. He wrote to a friend: “I often feel tempted to crush my piano; it is too narrow for my thoughts. I really have very little practice in orchestral music now; still I hope to master it.” And so Schumann set about acquiring those skills he felt he lacked, both in orchestration and in constructing large-scale forms—gifts, it should be said, that his friend Mendelssohn possessed in abundance. Years earlier Schumann had planned to recast an incomplete Piano Quartet in C minor (1829) into a symphony, and in 1832–33 had sketched three movements of a Symphony in G minor, sometimes called the “Zwickau” after his hometown, where the first movement was performed in 1832. Schumann’s discovery of Schubert’s C-Major Symphony was perhaps the principal impetus for him to focus more diligently on orchestral projects. After hearing Mendelssohn conduct the work, he wrote to Clara, “I was totally happy and wished only that you should be my wife and that I also could write such symphonies.” Both wishes soon became a related reality: Clara heartily encouraged her new husband’s symphonic aspirations, telling him, “Your imagination and your spirit are too great for the weak piano.” Schumann began his symphonic year in January 1841 by sketching his First Symphony, which he completed the next month. He then turned to a work that he at various times called a “Symphonette,” “Suite,” and Second Symphony, but which was eventually published as Overture, Scherzo, and Finale, Op. 52. In May he started composing his Symphony in D minor, Op. 120, best known in its revised version as the Fourth Symphony. Schumann presented the score of that work to Clara on her 22nd birthday in September.
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By the end of 1841 he had also written a Fantasy for piano and orchestra, which four years later would become the first movement of his piano concerto. This is a lot of music for a composer relatively new to deploying orchestral forces and negotiating large formal structures. By December 1845, when Schumann sketched his Second Symphony in C major, Op. 61, he was more seasoned with orchestration and large forms. Once again, his biographer John Daverio speculates, Schubert’s C-Major Symphony may have been the catalyst for symphonic activity, as Schumann heard a Dresden performance early that month. Despite increasing health problems that would eventually lead to madness, the work is often joyous and ebullient, especially in the dazzling second-movement scherzo. Schumann’s new interest in Bach is apparent in the opening slow introduction, which combines a trumpet motto (heard in subsequent movements) with meandering string writing. The third movement is a true and profound slow movement preceding a triumphant conclusion, which reflects Schumann’s relief at his return to health. (“In the finale I first began to feel like myself again.”) The work failed to please, however, when Mendelssohn conducted the premiere at the Leipzig Gewandhaus in November 1846, and Schumann revised it for a performance later that month. Four years later he composed his final essay in the genre, the Third Symphony in E-flat, Op. 97, known as the “Rhenish,” although that is not Schumann’s title. —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 ©ric kallaher
take place at the Richard B. Fisher Center for the 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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Dongfang Ouyang Violin soloist Dongfang Ouyang ’15 is a student at The Bard College Conservatory of Music, where he studies with Weigang Li and Shmuel Ashkenasi. He began playing the violin at age 4 in his hometown of Beijing, China. At age 10 he began violin studies at the Lysenko Music School in Kiev, Ukraine. In 2004, he moved to the Central Music School in Moscow. After meeting Li, who was on tour with ©xi yang
the Shanghai Quartet in Russia, he enrolled at Bard College in 2009. His other major is Russian and Eurasian
studies. In 2013, he was one of the winners of the annual Bard College Conservatory of Music Concerto Competition. He has participated in many summer music festivals, including the Bowdoin International Music Festival in Maine and the Music Masters Course Japan in Yokohama.
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. 10
The American Symphony Orchestra Leon Botstein, Music Director Violin I
Cello
Trumpet
Erica Kiesewetter,
Jonathan Spitz, Principal
Carl Albach, Principal
Annabelle Hoffman
John Dent
Yukie Handa
Sarah Carter
John Sheppard
Diane Bruce
Maureen Hynes
Patricia Davis
Stephen Fang
John Connelly
Tatyana Margulis
Wende Namkung
Anik Oulianine
Ragga Petursdottir
Rubin Kodheli
Concertmaster
Ann Labin Sander Strenger Mara Milkis Ann Gillette Nazig Tchakarian
Bass John Beal, Principal
Trombone Richard Clark, Principal Kenneth Finn Jeffrey Caswell Tuba Kyle Turner, Principal
Jack Wenger
Timpani
Louis Bruno
Benjamin Herman, Principal
Richard Ostrovsky
Violin II
William Sloat
Percussion
Suzanne Gilman, Principal
Lisa Chin
Jonathan Haas, Principal
Robert Zubrycki James Tsao Ashley Horne Lucy Morganstern Ellen Payne Katherine Hannauer
Kory Grossman Flute Rie Schmidt
Harp
Diva Goodfriend-Koven,
Victoria Drake, Principal
Piccolo
Kathryn Aldous
Oboe
Shinwon Kim
Alexandra Knoll, Principal
Lisa Steinberg
Melanie Feld
Viola
Clarinet
William Frampton, Principal
Laura Flax, Principal
Sally Shumway
Maureen Hurd
John Dexter
Liam Burke
Shelley Holland-Moritz Adria Benjamin
Bassoon
Crystal Garner
Charles McCracken, Principal
Debra Shufelt-Dine
Marc Goldberg
Louis Day
Charles Descarfino
Karla Moe, Principal
Keyboard Elizabeth DiFelice, Principal Personnel Manager Ann Yarbrough Guttman Assistant Conductor Zachary Schwartzman Orchestra Librarian Marc Cerri
Horn Zohar Schondorf, Principal Chad Yarbrough Lawrence DiBello Kyle Hoyt 11
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 Stokowski Circle Anonymous The Ann & Gordon Getty Foundation Microsoft Mary and Sam Miller The Spektor Family Foundation Mrs. James P. Warburg 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 Erica Kiesewetter 12
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 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 Kurt Rausch LLC Martha and David Schwartz Robert F. Weis William C. Zifchak Supporters Anonymous (6) 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
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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 Catherine Roach 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 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 The City of New York The Honorable Bill De Blasio, Mayor New York City Council NYC Department of Cultural Affairs
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 James Bagwell, Principal Guest Conductor Geoffrey McDonald, Assistant Conductor Zachary Schwartzman, Assistant Conductor Richard Wilson, Composer-inResidence
List current as of January 2, 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 Producer Kay Brover and Arthur Bennett Goethe Institute New York Barbara Lemperly Grant Ronald Guttman Karen and Robert G. Scott Aida and Albert Wilder Wilder Consolidated Enterprises Inc.
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Patron Fiona Angelini and Jamie Welch Dr. Leon Botstein and Barbara Haskell Stuart Breslow and Anne Miller Catskill Mountain Foundation, Inc. Thomas and Bryanne Hamill The Harkness Foundation for Dance, Inc. Frederic K. and Elena Howard 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
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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 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 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 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 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
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Allan and Ronnie Streichler Dr. Elisabeth F. Turnauer-Derow Merida Welles and Chip Holman Irene Zedlacher Patron 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 Benefactor Dr. Miriam Roskin Berger ’56 Jane R. Cottrell David G. Whitcomb Foundation Mr. and Mrs. Gonzalo de Las Heras Emily H. Fisher and John Alexander John Geller Marieluise Hessel and Edwin L. Artzt Rachel and Dr. Shalom Kalnicki Helene L. and Mark N. Kaplan Richard Kortright Murray Liebowitz 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 Rosemary and Noel Werrett Maureen A. Whiteman and Lawrence J. Zlatkin Sustainer Joshua J. Aronson Kathleen Augustine Alexander and Margaret Bancroft Barbara and Donald Tober Foundation Prof. Jonathan and Jessica K. Becker Sandra Bendfeldt Sarah Botstein and Bryan Doerries Kay Brover and Arthur Bennett Frederick and Jan Cohen Willem F. De Vogel Laura Genero David and Nancy Hathaway Dr. Barbara K. Hogan Martin Holub
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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 Andrea and Kenneth L. Miron 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 Rt. Rev. Herbert A. and Mary Donovan 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 Roland Augustine 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 Ms. Elisabeth Derow 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 January 2, 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, Marketing Associate
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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 Kay Schaffer ’14, Assistant House Manager
Scholars in Residence 2014 Christoper 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 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 Mimi Levitt 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
The Bard College Conservatory of Music Graduate Vocal Arts Program
An Opera Double Bill World Premiere
PAYNE HOLLOW by Shawn Jaeger
Conducted by Carl Christian Bettendorf
THE TURN OF THE SCREW by Benjamin Britten
Conducted by James Bagwell Featuring the singers of the Graduate Vocal Arts Program with the Bard College Conservatory Orchestra
sosnoff theater
Friday, March 14 at 7 pm and Sunday, March 16 at 2 pm Tickets: $15, 25, 35, 100*
Bard College Conservatory of Music Photo: Janos Sutyak ’13
*The $100 ticket includes premium seating and an invitation to a special champagne reception with the artists on Sunday, March 16 ($75 tax deductible). All ticket sales benefit the Scholarship Fund of the Graduate Vocal Arts Program.
AMERICAN SYMPHONY ORCHESTRA conducted by leon botstein, music director Friday, April 11 and Saturday, April 12, 2014 johann strauss Emperor Waltz, Accelerations, The Blue Danube
julius conus Violin Concerto Zhi Ma ’15, violin
johannes brahms Symphony No. 2
sosnoff theater $25, 30, 35, 40 All concerts are at 8 pm and will feature a preconcert talk at 7 pm.
Photo: Cory Weaver
BARDSUMMERSCAPE JUNE 27 – AUGUST 17, 2014 For a complete list of events and to order tickets:
845-758-7900 | fishercenter.bard.edu Image: Moritz von Schwind, n.d. ©Erich Lessing/Art Resource, NY
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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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
theater
Nature Theater of Oklahoma Romeo & Juliet February 21–23 music
An Opera Double Bill
Payne Hollow by Shawn Jaeger (world premiere)
The Turn of the Screw by Benjamin Britten March 14 and 16 music
Conservatory Sundays Sō Percussion and Bard Percussion April 6 Conservatory Orchestra Works by by Martinů, Bartók, and Copland May 18 dance
Joanna Kotze it happened it had happened it is happening it will happen April 18–19 music
Giuseppe Verdi’s Messa da Requiem April 25–26
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.