Sep 24 & 25 2016 The Richard B. Fisher Center for the Performing Arts at Bard College
The Richard B. Fisher Center for the Performing Arts at Bard College Sosnoff Theater
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Saturday, September 24, 2016 at 8 PM Sunday, September 25, 2016 at 2 PM Performances #30 & #31: Season 2, Concerts 1 & 2
Leon Botstein, conductor Aaron Copland (1900–1990)
Concerto for Clarinet and String Orchestra, with Harp and Piano (1947–48) Slowly and expressively—Cadenza (freely) Rather fast -no pause between movementsViktor Toth ’16, clarinet Intermission
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Anton Bruckner (1824–1896)
Symphony No. 5 in B-flat major, WAB 105 (1875–76, revised 1878) Introduction: Adagio—Allegro Adagio: Sehr langsam Scherzo: Molto vivace (Schnell)—Trio: Im gleichen Tempo Finale: Adagio—Allegro moderato
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The concert will run approximately 2 hours and 15 minutes, including one 20-minute intermission. Please silence your electronic devices. Photography and video recording are only permitted during applause. 2|
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THE ARTISTS
THE ARTISTS
Appearances: Bard College Conservatory Orchestra, 2012–16, with performances in Warsaw, Saint Petersburg, Moscow, Budapest, Bratislava, Wien, Prague, Berlin, and Cuba, and at Alice Tully Hall and Brown University; Zoltán Kodály World Youth Orchestra, 2009–10; Woodwind Orchestra of Kiskunmajsa, 2001–08 Performances: Side-by-side concerts with the American Symphony Orchestra, world premiere of the opera Payne Hollow by Shawn Jaeger, and a performance with Natalie Merchant, all with the Bard College Conservatory Orchestra Festivals: Bard Music Festival, 2016; International Music Festival of Balassagyarmat, Hungary, 2008 Photo by Matt Dine
Leon Botstein conductor
Leon Botstein brings a renowned career as both a conductor and educator to his role as music director of The Orchestra Now. He has been music director of the American Symphony Orchestra since 1992, artistic codirector of Bard SummerScape and the Bard Music Festival since their creation, and president of Bard College since 1975. He was the music director of the Jerusalem Symphony Orchestra from 2003–2011, and is now conductor laureate. In 2018 he will assume artistic directorship of the institute of Grafenegg, Austria. Mr. Botstein is also a frequent guest conductor with orchestras around the globe, has made numerous recordings, and is a prolific author and music historian. He is the editor of the prestigious The Musical Quarterly, and has received many honors for his contributions to music. More info online at LeonBotsteinMusicRoom.com
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Awards and Scholarships: Winner, Bard Conservatory Concerto Competition, 2016; Bitó Scholarship for studies at Bard College Conservatory of Music, 2012–16; Vántus Award, István Vántus Conservatory of Music, 2010
Photo by Janos Sutyak
Viktor Toth ’16 clarinet
Education: Bard College Conservatory of Music, where he studied with Laura Flax, David Krakauer, and Anthony McGill; Participated in master classes by Yehuda Gilad, Peter Kolkay, Janis Vakarelis, and David Gould; Young Musicians’ International Summer Academy, Debrecen, Hungary, 2009–10, where he studied with Zsolt Szatmári and Béla Kovács of the Franz Liszt Music Academy; also studied with János Maczák, Éva Poljak, and Béla Bódi
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MEET THE MUSICIANS
Alma mater: University of Michigan Awards/Competitions: 2nd place, Vandoren Emerging Artist Competition
Founded in 2015, The Orchestra Now (TŌN) is an innovative pre-professional orchestra and master’s degree program at Bard College that is preparing a new generation of musicians to break down barriers between modern audiences and great orchestral music of the past and present. Under the leadership of conductor, educator, and music historian Leon Botstein, TŌN mines the wealth of underperformed repertoire, reimagines traditional concert formats, and strives to make the experience of the performers a part of the listeners’ experience. At a TŌN concert, musicians and audience inspire one another, each following their curiosity with a shared sense of adventure.
Appearances: Erie Philharmonic, New York String Orchestra Seminar Favorite piece to play: Franz Krommer’s Double Clarinet Concerto Favorite composer fact: In WWII, Shostakovich wanted to participate in the war by joining the military, but he did not qualify due to poor eyesight. So he became a firefighter instead.
The musicians of TŌN hail from across the U.S. and eleven other countries: Australia, Canada, China, France, Hungary, Japan, Korea, Malaysia, Spain, Taiwan, and Venezuela. In addition to a concert series at their home base—the Richard B. Fisher Center for the Performing Arts at Bard College—they perform multiple concerts each season at Carnegie Hall and Lincoln Center, and offer complimentary concerts at venues across the boroughs of New York City in the Around Town series. At The Metropolitan Museum of Art they join Leon Botstein in the series Sight & Sound as he explores the places where musical and visual expression meet, pairing orchestral works with masterpieces from the museum’s collection.
Favorite fact about your instrument: Compared to the other woodwind instruments, the clarinet is a relative newcomer to the orchestra. It didn’t see regular use until the end of the 18th century. Favorite non-classical musician or band: Paul Desmond
Sangwon will talk briefly about Copland’s Clarinet Concerto on stage before the performance
Best song to play on repeat: “I Will” by The Beatles Last book read: The Tao of Pooh by Benjamin Hoff
More info online at
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Sangwon Lee clarinet
Musical guilty pleasure: K-pop
In addition to Mr. Botstein and TŌN’s Associate Conductor and Academic Director, James Bagwell, guest conductors in the first two seasons include Fabio Luisi, Gerard Schwarz, and JoAnn Falletta.
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Photo by Jito Lee
Piece of advice for a young classical musician: Don’t take things too seriously.
Photo by Matt Dine
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MEET THE MUSICIANS
CONCERT NOTES
Hometown: Colorado Springs, CO Alma mater: University of Colorado, Boulder Musical origins: I began playing horn in sixth grade. I always admired the horn, but never dreamed I would actually play it! I guess you could say that the horn chose me. Favorite TŌN performance: Playing Stravinsky’s Pulcinella ballet with Maestro Gerard Schwarz at The Town Hall in Manhattan Favorite piece to play: Anything Brahms
Photo by Jito Lee
Shannon Hagan horn Read Shannon’s notes on Copland’s Clarinet Concerto on the next page
Favorite obscure piece: Anders Hillborg’s Six Pieces for Wind Quintet Favorite composer fact: Charles Ives was an insurance agent, and his music was largely ignored in his lifetime. Favorite fact about your instrument: Though it is often called the “French horn,” the typical horn played in the United States is actually German in origin. Favorite non-classical musician or band: Ben Howard Musical guilty pleasure: Drum Corps! I marched one summer with the Blue Knights in 2012. Last book read: Perelandra by C. S. Lewis Piece of advice for a young classical musician: Have fun playing music! If you have fun, your audience will have fun and enjoy what you are doing.
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Aaron Copland
Clarinet Concerto Notes by Shannon Hagan, TŌN horn player Aaron Copland, one of the most prolific American composers of the twentieth century, in many ways defined the American style of classical music. While his most well-known music was written for the ballet, Copland also wrote symphonies, chamber music, keyboard music, songs, operas, and even film scores. Though it’s not a common theme in all of his works, Copland’s music often depicts scenes in nature or in every day human life. Like a painter who uses color and brush strokes to create a magical image, Copland uses sound to paint images of cities at night, quiet country lanes, or bustling Latin American towns, just to name a few. His ability to capture listeners’ imaginations and transport them to a different reality makes his music especially appealing and remarkably beautiful. The Clarinet Concerto is a two-movement work commissioned by jazz clarinetist Benny Goodman. Copland began work on this piece in 1947 during his four-month trip to Latin America. One can hear the influences of Latin American music, particularly in the last movement. As a nod to Goodman, Copland also incorporates jazz elements into the concerto. Copland completed the work in 1948, and two years later Goodman premiered the piece. He would be the sole performer of this concerto for two years, a term agreed upon by both parties.
“Copland . . . in many ways defined the American style of classical music”
The first movement, marked “Slowly and expressively,” shows the lyrical capabilities of the clarinet. The slow tempo and darker colors gives a somber, contemplative, almost haunting mood to the opening movement. It invites listeners to sit back and close their eyes, to turn inward, to reflect. The mood of the piece suddenly changes with the introduction of the cadenza, which links the two movements together. One can sense that something more outward facing, more joyful, is coming. The contrast between the two movements is obvious right away. Now in the second movement, the listener hears something more upbeat, music that is faster and notes that are shorter. Here Copland shows off the technical side of the clarinet. The mood is also definitely different. A sense of joy and exhilaration may be felt. Finally, the piece ends with a triumphant and jazzy glissando. THEORCHESTRANOW.ORG | 9
MEET THE MUSICIANS
CONCERT NOTES
Hometown: Leonardtown, Maryland Alma maters: St. Mary’s College of Maryland, Manhattan School of Music, SUNY Stony Brook Awards/Competition prizes: “Mattie Key” Award for Distinguished Achievement in Music; finalist, Chieri Italy Trumpet Competition Appearances: Chesapeake Orchestra, principal trumpet; National Orchestral Institute; Eastern Music Festival
Photo by Jito Lee
Zachary Silberschlag trumpet Zachary will talk briefly about Bruckner’s Symphony No. 5 on stage before the performance
Musical origins: I’ve been playing trumpet since before I can remember because it’s the family business. Favorite obscure piece: Alfredo Casella’s Serenata The thing most people don’t know about classical music: It’s the last blood sport Favorite non-classical musician or band: Simon and Garfunkel Musical guilty pleasure: Ed Sheeren’s Thinking out Loud Last book read: The Great Gatsby by F. Scott Fitzgerald Time travel destination: The 1960s
Anton Bruckner
Symphony No. 5 Notes by Peter Laki, Visiting Associate Professor of Music at Bard College Anton Bruckner’s symphonies have often been likened to cathedrals because of their immense proportions and their solemn and majestic bearing. The composer, a devout Catholic all his life, was educated at the monastery of St. Florian outside Linz, whose imposing basilica is a wonder of Baroque architecture. Bruckner started there as a choirboy, and later served as organist for the church. He eventually moved to Linz and later lived in Vienna for many years, yet it was at St. Florian that he was buried in 1896. Bruckner’s religious background and early training as an organist was a major inspiration for all of the symphonies, but it may perhaps be felt in the Fifth to an even greater extent than usual. The work is sometimes known as the “Glaubenssinfonie” (“Symphony of Faith”); Bruckner himself referred to it as the “Fantastic,” mainly on account of its finale, clearly an extraordinary achievement, which Bruckner himself called his “contrapuntal masterpiece.” The work had to wait long for its premiere; its only performance during the composer’s lifetime took place in the city of Graz in 1894, many years after it was written. Bruckner, prevented from attending by illness, never heard his “Fantastic” performed. The Fifth is the only Bruckner symphony to formally open with a slow introduction. I say “formally” because at first hearing the effect is not strikingly different from the openings of other symphonies, consisting of what the great Bruckner authority Robert Simpson once described as “tempo-less tremolandi, spanning the space between silence and Bruckner.” The bass pizzicati (plucked notes) of the Fifth, above which a slow string melody unfolds in imitation, have a similar effect of sound emerging from silence. The contrast between a slower and a faster tempo will become important only later, when the slow tempo returns during the development section, and then at the beginning of the finale, which begins in exactly the same way as the first movement. The Adagio introduction presents the germs of two of the work’s most important melodic types: a fanfare and a chorale. Both will be extensively developed in the course of the symphony. The first movement follows the classical outlines of sonata form, with a three-theme exposition, development, and recapitulation, but each of these components are worked out on an unusually broad scale, with pauses between the sections, and mighty crescendos drawn out over many measures. Extremely soft, whispered passages alternate abruptly with powerful outbursts, the last one of which—the most grandiose of all—ends the movement in a monumental blaze of sound. The second-movement Adagio is based on two melodies that we may call “A” and “B”; the form of the movement can, then, be described as A-B-A-B-A. Melody “A,” a theme in duple meter, has an accompaniment in triple time, resulting in a metric ambivalence Continued on page 12
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CONCERT NOTES
made even more conspicuous by the slow tempo. All ambivalence disappears in the gentle “B” theme, played by the violins and developed in contrapuntal imitation. The “A” melody returns with figurations added, followed by a variation of “B.” Finally, “A” comes back with even more elaborate embellishments, and the movement dies away as, on the last pianissimo repeat, the melody suddenly switches from minor to major. (Bruckner’s model was evidently the third movement of Beethoven’s Ninth Symphony, which follows the same formal outline.) The Scherzo is linked to the second movement by a shared motif: the triplet accompaniment from the Adagio becomes the background for both of the Scherzo’s themes. The first theme, rhythmical and energetic, is played by the woodwinds; the second—slower, gentler, and reminiscent of the traditional Austrian Ländler dance—is given to the violins. The two themes alternate as Bruckner weaves them into a sonatalike structure with exposition, development, and recapitulation. The Trio, or middle section, has a simple and gentle melody that remains delightfully unsophisticated despite some interesting harmonic and contrapuntal manipulations. After the Trio, the Scherzo is repeated in its entirety, as tradition demands.
“Bruckner’s symphonies have often been likened to cathedrals because of their immense proportions and their solemn and majestic bearing” The grandiose finale fuses two different forms: it is part sonata, with its succession of contrasting themes, and part fugue, with a single theme developed in contrapuntal imitation. The movement starts with an introduction that once again harkens back to Beethoven’s Ninth: like in that work, quotes from earlier movements appear. But according to Simpson, the interruptions of this quote shouldn’t be read as rejections; the striking motif with which the first clarinet cuts off the quotes is much more ambiguous than Beethoven’s angry cellos and basses. In some interpretations, the clarinet theme takes on a definitely humorous, irreverent character. This motif subsequently becomes the subject of a splendid fugue. Later, a second theme appears; it, too, employs contrapuntal techniques. Eventually, a chorale-like theme appears and comes to dominate proceedings more and more as the symphony progresses; it is combined with the fugal first theme, which is also presented in inversion (with the ascending intervals transformed into descending ones and vice versa). At the climactic point, the first theme of the first movement returns to unify the entire symphony; but the last word belongs to the chorale, finally presented by the full orchestra. The final measures are an expanded version of the first movement’s conclusion, reaching what some scholars have called a “plateau of intensity,” a prolonged stay on the emotional high point whose emotional effect lingers on long after the symphony has ended.
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Leon Botstein, Music Director Violin I Michael Rau, Concertmaster Erin David Amos C. Fayette Lara Baker-Finch Coline Berland Jiayu Sun Diego Gabete Clara Engen Akiko Kamigawara Haemi Lee Adina Mu-Ying Tsai Grace Choi Violin II Lili Sarayrah, Principal Fangxi Liu Jiyoung Moon Kurt Munstedt Holly Nelson Hao Xing Youyang Qu Drew Youmans Andrés Rivas Leonardo Pineda Viola Omar Shelly, Principal David Riker Bonnie Heung Caleb Wong Scot Moore Chi Lee Marie-Elyse Badeau Emmanuel Koh Cello Eleanor Lee, Principal Lauren Peacock Hui Zhang Alana Shannon Jinn Shin Andrew Borkowski Zhilin Wang
Bass Milad Daniari, Principal Julian Lampert Paul Nemeth Zhenyuan Yao William McPeters Michael Franz (on leave) Flute Thomas J. Wible, Principal Sasha Haft Moonyoung Yoon, Assistant Oboe Kelly Mozeik, Principal Zachary Boeding Aleh Remezau (on leave) Clarinet Sangwon Lee, Principal Micah CandiottiPacheco Elias Rodriguez (on leave)
Trumpet Szabolcs Koczur, Principal Zachary Silberschlag Chris Moran Trombone Matt Walley, Principal Gabe Cruz Federico Luis Ramos Espejo, Bass Trombone Tuba Dan Honaker Timpani Jonathan Wisner, Principal Tyson J. Voigt, Assistant Guest Musicians Piano Yumi Nomoto Harp Jane Yoon
Bassoon Dávid A. Nagy, Principal Cathryn Gaylord Horn Philip Brindise, Principal Rachel Boehl Tim Skelly Colin Bianchi Shannon Hagan, Assistant
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ADMINISTRATION
Photo by Matt Dine
BARD COLLEGE
YOU MAKE IT POSSIBLE! Donor support helps guarantee the future and continued artistry of this innovative program, while providing vital funding for TŌN performances and community engagement programs. Tax-deductible contributions to The TŌN Fund help to inspire and support TŌN graduate students and their education, providing stipends and health benefits. Your gifts will support free concerts and music education programs in libraries, schools, and community centers in the Hudson Valley and New York City; and make performances at Bard College, Carnegie Hall, The Metropolitan Museum of Art, and Jazz at Lincoln Center’s Rose Theater a reality. Donations from music lovers like you will also keep TŌN’s Around Town concerts, in venues across the boroughs of New York City, free to the general public, so families and communities can share the love of great concert music. Please make an important investment in a new generation of musicians who are redefining what it means to be an orchestra. Make your gift to The Orchestra Now today! To donate online, or for more information, visit
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There are many ways to support TŌN. To learn more about designating your gift or to get more involved, please contact Nicole M. de Jesús, Director of Development, at (646) 237-5022 or nicole@theorchestanow.org.
THE ORCHESTRA NOW Artistic Staff Leon Botstein, Music Director James Bagwell, Associate Conductor and Academic Director Zachary Schwartzman, Resident Conductor Erica Kiesewetter, Director of Audition Preparation and Principal String Coach Bridget Kibbey, Director of Chamber Music and Arts Advocacy
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Administrative Staff Lynne Meloccaro, Executive Director Oliver Inteeworn, Managing Director Brian J. Heck, Director of Marketing Nicole M. de Jesús, Director of Development Sebastian Danila, Music Preparation and Researcher Marielle Metivier, Orchestra Manager Carley Gooley, Marketing Assistant Benjamin Oatmen, Librarian Hsiao-Fang Lin, Assistant Orchestra Manager Kristin Roca, Administrative Assistant
Board of Trustees David E. Schwab II ’52, Chair Emeritus Charles P. Stevenson Jr., Chair James C. Chambers ’81, Chair Elect Emily H. Fisher, Vice Chair George F. Hamel Jr., Vice Chair Elizabeth Ely ’65, Secretary, Life Trustee Stanley A. Reichel ’65, Treasurer, Life Trustee Fiona Angelini Roland J. Augustine Leon Botstein+, President of the College Stuart Breslow+ Mark E. Brossman Thomas M. Burger+ Marcelle Clements ’69, Life Trustee Craig Cogut 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, Alumni/ae Trustee Andrew S. Gundlach Sally Hambrecht Marieluise Hessel Maja Hoffmann Matina S. Horner+ Charles S. Johnson III ’70 Mark N. Kaplan, Life Trustee George A. Kellner Paul S. Levy Fredric S. Maxik ’86 James H. Ottaway Jr., Life Trustee Martin Peretz, Life Trustee Stewart Resnick, Life Trustee Roger N. Scotland ’93, Alumni/ae Trustee Jonathan Slone ’84 James A. von Klemperer Brandon Weber ’97, Alumni/ae Trustee Susan Weber Patricia Ross Weis ’52
Senior Administration Leon Botstein, President Dimitri B. Papadimitriou, Executive Vice President; President, Levy Economics Institute Coleen Murphy Alexander ’00, Vice President for Administration Mary Backlund, Vice President for Student Affairs; Director of Admission Norton Batkin, Vice President; Dean of Graduate Studies Jonathan Becker, Vice President for Academic Affairs; Director, Center for Civic Engagement James Brudvig, Vice President for Finance and Administration; Chief Financial Officer Erin Cannan, Vice President for Student Affairs; Dean of Civic Engagement Susan H. Gillespie, Vice President for Special Global Initiatives Mark Halsey, Vice President for Institutional Research and Assessment Max Kenner ’01, Vice President for Institutional Initiatives; Executive Director, Bard Prison Initiative Robert Martin, Vice President for Policy and Planning; Director, Bard College Conservatory of Music Debra Pemstein, Vice President for Development and Alumni/ae Affairs S. Rebecca Thomas, Dean of the College Taun Toay ’05, Vice President for Strategic Initiatives; Chief of Staff Stephen Tremaine ’07, Vice President of Early Colleges
+ ex officio
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ADMINISTRATION
THE RICHARD B. FISHER CENTER
THE RICHARD B. FISHER CENTER FOR THE PERFORMING ARTS Advisory Board Jeanne Donovan Fisher, Chair Carolyn Marks Blackwood Leon Botstein Stefano Ferrari Rebecca Gold Milikowsky Robert Martin Dimitri B. Papadimitriou Denise S. Simon Thurmond Smithgall Martin T. Sosnoff Toni Sosnoff Felicitas S. Thorne Andrew E. Zobler Live Arts Bard Creative Council Alicia Davis Steven M. Dawson Jeanne Donovan Fisher Dr. Terry S. Gotthelf Richard and Jane Katzman Doris J. Lockhart Stephen Simcock Sarah and David Stack Administration and Programming Debra Pemstein, Vice President for Development and Alumni/ae Affairs Bob Bursey, Executive Director Gideon Lester, Director of Theater and Dance Caleb Hammons, Producer, Theater and Dance Zia Affronti Morter ’12, Associate Producer Jeannie Schneider, Business Manager Kieley Michasiow-Levy, Development Manager Lizabeth Malanga ’16, Executive Assistant Production Vincent Roca, Production Manager Hellena Schiavo, Assistant Production Manager Stephen Dean, Production Coordinator, Concerts and Lectures
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Rick Reiser, Technical Director Josh Foreman, Lighting Supervisor Moe Schell, Costume Shop Supervisor Seth Chrisman, Audio/Video Supervisor Communications Mark Primoff, Associate Vice President of Communications Eleanor Davis, Director of Public Relations Darren O’Sullivan, Senior Public Relations Associate Amy Murray, Multimedia Web Editor Sara Wintz, Assistant Marketing Manager Publications Mary Smith, Director of Publications Diane Rosasco, Production Manager Cynthia Werthamer, Editorial Director Audience Services David Steffen, Audience Services Manager and Communications Coordinator Nicholas Reilingh, Box Office Manager and Database Administrator Emily Gildea ’11, Assistant Box Office Manager Michael Hofmann ’15, Box Office Coordinator Lizabeth Malanga ’16, House Manager Jessica Dagg ’18, Assistant House Manager Sophie Green ’17, Assistant House Manager Austin Lehn ’17, Assistant House Manager
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 LUMA Theater, 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, operetta, film, and cabaret; and the Bard Music Festival, which celebrated its 25th year in 2014. The 2017 festival is devoted to the life and work of Frédéric Chopin. The Center bears the name of the late Richard B. Fisher, 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.
Facilities Mark Crittenden, Facilities Manager Ray Stegner, Building Operations Manager Doug Pitcher, Building Operations Coordinator Daniel DeFrancis, Building Operations Assistant Robyn Charter, Fire Panel Monitor Bill Cavanaugh, Environmental Specialist Drita Gjokaj, Environmental Specialist Patricia O’Hanlon, Environmental Specialist
Photo by Peter Aaron ’68/Esto
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BARD COLLEGE
BARD COLLEGE Bard College is a four-year residential college of the liberal arts and sciences with a 155-year history of academic excellence. With the addition of the Montgomery Place estate, Bard’s campus consists of nearly 1,000 park-like acres in the Hudson River Valley. The College offers bachelor of arts degrees, with nearly 50 academic programs in four divisions— Arts; Languages and Literature; Science, Mathematics, and Computing; and Social Studies—and Interdivisional Programs and Concentrations. Bard also bestows several dual degrees, including a B.A./B.S. in economics and finance, and at the Bard College Conservatory of Music, where students earn a bachelor’s degree in music and a B.A. in another field in the liberal arts or sciences. Bard’s distinguished faculty includes winners of MacArthur Fellowships, National Science Foundation grants, Guggenheim Fellowships, Grammy Awards, French Legion of Honor awards, and Pulitzer Prizes, among others. Over the past 35 years, Bard has broadened its scope beyond undergraduate academics. The College operates 12 graduate programs and has expanded to encompass a network of regional, national, and global partnerships— including dual-degree programs in four international locations; the Bard Prison Initiative, which grants college degrees to New York State inmates; and Bard High School Early Colleges, where students earn a high school diploma and an A.A. degree in four years. Bard’s philosophy sets a standard for both scholarly achievement and engagement in civic and global affairs on campus, while also taking the College’s mission to the wider world. The undergraduate college in Annandale-on-Hudson, New York, has an enrollment of more than 1,900 and a student-to-faculty ratio of 10:1. For more information about Bard College, visit bard.edu.
©2016 The Orchestra Now | A Program of Bard College Program Design: Nelson Yan
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! BECOME A FRIEND 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. 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 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
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
Sponsor ($300) All of the above, plus: • Invitations to opening night parties • SummerScape production poster • $250 tax deductible
BECOME A PATRON OF THE FISHER CENTER
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. Patron ($1,500) All of the Benefactors 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
Producer ($2,500) All of the above, plus: • Invitation for two to an exclusive preperformance 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
For more information visit fishercenter.bard.edu/support or call 845-758-7987.
fall events
live arts bard
GOOD DIRT
Storyhorse Documentary Theater Written by Jeremy Davidson Directed by Mary Stuart Masterson Sosnoff Theater Sunday, October 2 at 3 pm conversation
AN EVENING WITH DAVID SEDARIS
Presented in association with Shawn Nightingale Productions Sosnoff Theater Friday, October 7 at 8 pm jazz
TWO AMERICAS: SONGS OF PROTEST AND RECONCILIATION With Jeremy Siskind, Justin Kauflin, and special guests Presented in association with Catskill Jazz Factory Sosnoff Theater Saturday, October 8 at 8 pm live arts bard
BETH GILL: CATACOMB LUMA Theater October 13-15 at 7:30 pm conversation
AN AFTERNOON WITH ALAN CUMMING Presented in association with Oblong Books & Music Sosnoff Theater Sunday, October 16 at 3 pm music
THE ORCHESTRA NOW Elgar’s Enigma Variations Sosnoff Theater Saturday, October 29 at 8 pm Sunday, October 30 at 2 pm
845-758-7900 | fishercenter.bard.edu
CONCERT QUICK GUIDE Sat, Sep 24, 2016 at 8 PM | Sun, Sep 25, 2016 at 2 PM
Performances #30 & #31: Season 2, Concerts 1 & 2
The Richard B. Fisher Center for the Performing Arts at Bard College Sosnoff Theater
Leon Botstein, Conductor Brief remarks by TŌN clarinetist Sangwon Lee
Aaron Copland Born: 11/14/1900 in Brooklyn Died: 12/2/1990 at age 90 in North Tarrytown, NY, now Sleepy Hollow
Clarinet Concerto | 17 min Movements
Written 1947–48, in Copland’s late 40s; commissioned by Benny Goodman
Slowly and expressively—Cadenza (freely) 9 min -no pauseRather fast 8 min
Premiered 11/6/1950 in a radio broadcast by the NBC Symphony of the Air; Fritz Reiner, conductor Benny Goodman, clarinet
1st Public Performance 11/28/1950 in Philadelphia by the Philadelphia Orchestra; Eugene Ormandy, conductor Ralph McLane, clarinet
Copland accepted this commission from Benny Goodman in 1947. He had been impressed by the clarinetist’s 1938 Carnegie Hall concert, which featured an integrated jazz sextet. Copland wrote the first movement while in Rio de Janeiro, writing to a friend, “The pas de deux will make them weep.” Goodman said, “I made no demands on what Copland should write . . . except that I should have a two year exclusivity on playing the work.”
On Stage
22 violins 8 violas 7 cellos 5 double basses 1 piano 1 harp Viktor Toth ’16, clarinet soloist
Intermission 20 minutes
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Meet some of the musicians in the lobby!
WiFi BardWireless
Brief remarks by TŌN trumpet player Zachary Silberschlag
Anton Bruckner Born: 9/4/1824 in Ansfelden, Austria Died: 10/11/1896 at age 72 in Vienna
Symphony No. 5 | 1 hr, 17 min Movements
Introduction: Adagio—Allegro (slow, then fast) 21 min Adagio: Sehr langsam (very slow) 18 min Scherzo: Molto vivace (Schnell)—Trio: Im gleichen Tempo (very lively and fast)13 min Finale: Adagio—Allegro moderato (slow, then moderately fast) 25 min
Written 1875–76, in Bruckner’s early 50s; revised in 1878
Premiered 4/8/1894 in Graz, Austria; Franz Schalk, conductor
This symphony was only performed once in Bruckner’s lifetime, and he was not able to attend. He died having never heard it. It was first published in 1896 with the help of the original conductor, Franz Schalk. Large sections were reorchestrated and the last movement was cut extensively. It is now rarely performed. Leon Botstein is the most recent of only three conductors to record the Schalk version. This concert features the now more standard 1878 version, which was first published in 1935 and again in 1951.
On Stage
2 flutes 2 oboes 2 clarinets 2 bassoons 5 French horns 3 trumpets 3 trombones (1 bass)
1 tuba timpani 22 violins 8 violas 7 cellos 5 double basses
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Artwork by Khoa Doan | Concert Quick Guide design by Nelson Yan