The Orchestra Now | Cai Conducts Rachmaninoff by Fisher Center at Bard

nov 19/20 2016

The Richard B. Fisher Center for the Performing Arts at Bard College

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The Richard B. Fisher Center for the Performing Arts at Bard College Sosnoff Theater

Saturday, November 19, 2016 at 8 PM Sunday, November 20, 2016 at 2 PM

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Performances #37 & #38: Season 2, Concerts 8 & 9

Jindong Cai, conductor Guohui Ye (b. 1961)

Drinking Wine by the Stream’s Choice (2012) Manhua Gao, soprano

Xiaogang Ye (b. 1955)

Scent of the Green Mango, Op. 42 (1998) Gwhyneth Chen, piano Intermission

Sergei Rachmaninoff (1873–1943)

Symphonic Dances, Op. 45 (1940) Non allegro Andante con moto (Tempo di valse) Lento assai—Allegro vivace—Lento assai. Come prima—Allegro vivace

OR VISIT

THEORCHESTRANOW.ORG/ SUPPORT The concert will run approximately 1 hour and 40 minutes, including one 20-minute intermission.

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No beeping or buzzing, please! Silence all electronic devices. Photos and videos are encouraged, but only before & after the music. THEORCHESTRANOW.ORG | 3

THE

MEET THE

SYNOPSIS

GUEST CONDUCTOR

The following text describes the story being told in Guohui Ye’s

Drinking Wine by the Stream’s Choice The composer selected and edited the lyrics used for this work from the following sources: -- Preface to the Poems Collected from the Orchid Pavilion by Wang Xizhi (303–361) -- An Illustrated Description of the Orchid Pavilion by Wu Gaozeng (1706–?) -- Textual Research on Preface to the Poems Collected from the Orchid Pavilion by Sang Shichang (1131–?) This is the ninth year of Yonghe (A.D. 353), called “Guichou” in Chinese year cycle. Late spring has just arrived, we gather at the Orchid Pavilion in Shanyin Town, Kuaiji County for the water purification ritual. All the literati have finally come, young and old ones together. This area has high and steep mountains, dense woods and slender bamboos, as well as a limpid and swift stream flowing by, showing reflections around it. We then sit by the stream in order, and let it float the wine goblets to us. Although without the grandeur of various Chinese musical instruments for accompaniment, drinking the wine plus reciting the poems are sufficient for a free and deep exchange of exquisite feelings and thoughts. Forty-two people attend this gathering. They chant or recite, being drunk or sleep, face-up or face-down, stand or sit, all these gestures are vividly depicted. People compose and recite poems one by one. Eleven of them make two, fifteen others make one. And the rest sixteen people fail to make it, punished by drinking three huge goblets of wine. As for this day, the sky is clear, the air is fresh, and the breeze is mild. Hanging high is the immense universe. Around us is the myriad variety. Stretching our sights and freeing our minds will allow us to fully enjoy the sound and vision. This is really delighting.

Jindong Cai guest conductor

Jindong Cai is an orchestra conductor and a professor of performance at Stanford University. Over the 20 years of his career in the United States, he has established himself as an active and dynamic conductor, scholar of Western classical music in China, and leading advocate of music from across Asia. Mr. Cai started his professional conducting career with the Cincinnati Symphony Orchestra. He has served as the Principal Guest Conductor of the China Shenzhen Symphony Orchestra since 2012, and is also the Principal Guest Conductor of the Mongolia State Academic Theater of Opera and Ballet in Ulaan Baatar. He joined the Stanford University faculty in 2004 as Director of Orchestral Studies, conducted the Stanford Symphony Orchestra for 12 years, and is also the founder and artistic director of the Stanford Pan-Asian Music Festival. He made his operatic conducting debut at Lincoln Center’s Mozart Bicentennial Festival, when he appeared as a last-minute substitute for his mentor Gerhard Samuel in the world premiere of a new production of Mozart’s Zaide. Mr. Cai is a three-time recipient of the ASCAP Award for Adventurous Programming of Contemporary Music, and has recorded for the Centaur, Innova, and Vienna Modern Masters labels. He has collaborated with many Chinese composers and has premiered or performed new works by Tan Dun, Zhou Long, Chen Yi, Bright Sheng, Ye Xiaogang,

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Ye Guohui, and Wang Xilin, among others. Together with his wife, Sheila Melvin, he co-authored Rhapsody in Red: How Western Classical Music Became Chinese and Beethoven in China, How the Great Composer Became an Icon in the People’s Republic. Born in Beijing, Mr. Cai received his early musical training in China and came to the United States for his graduate studies at the New England Conservatory and the College-Conservatory of Music in Cincinnati. In 1989, he was selected to study with famed conductor Leonard Bernstein at the Tanglewood Music Center, and won the Conducting Fellowship Award at the Aspen Music Festival in 1990 and 1992. THEORCHESTRANOW.ORG | 5

MEET THE

GUEST SOLOISTS

Gwhyneth Chen piano soloist

Performances: Los Angeles, Hong Kong, Bergen, Moscow State, Russian, and Zagreb Philharmonics; Moscow Radio, Shanghai, Greenville, Pasadena, Pacific, Taipei City, Miami, Colorado, and Fort Worth Symphonies; Taiwan National, Russian National, and Aspen Music Festival Orchestras; Kyushu Symphony of Japan; Lake Placid Sinfonietta; and the Taipei Symphony Orchestra in the opening concert of the National Grand Theatre in Beijing to celebrate the 2008 Olympics 6|

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GUEST SOLOISTS Appearances: The Kennedy Center; Davies Hall, San Francisco; the Los Angeles Music Center; Royal Theater, Vancouver; Victoria’s Orpheum Theatre; the National Concert Hall, Taiwan; Great Hall of the Moscow Conservatory; McNichols Stadium, Denver; Herkulessaal, Munich; Alice Tully Hall; Instituto Nacional de Bellas Artes, Mexico City; Tchaikovsky Concert Hall, Moscow; Théâtre Claude Debussy, Cannes

Performances: Lucia in Lucia di Lammermoor; Violetta in La traviata; Butterfly in Madama Butterfly; Liù in Turandot; Adina in L’elisir d’amore; Ginevra in Ariodante; Madame Herz in Der Schauspieldirektor; Queen of the Night in Die Zauberflöte; Micaëla in Carmen; Elvira in I puritani; Marianne in Der Rosenkavalier; Leonora in Il trovatore; Beethoven’s Ninth Symphony; Mozart’s Exsultate, jubilate; Britten’s War Requiem; and Rossini’s Stabat Mater

Festivals: Aspen, Montreal, Bowdoin, Eduard Tubin, and Lake Placid Music Festivals; Pogorelich Festival; the Chopin festivals in Majorca, Poland, Hanover, Vienna, and Taiwan commemorating Chopin’s 200th anniversary

Appearances: San Francisco Opera, Houston Grand Opera, Hawaii Opera Theater, Hong Kong Opera, Shanghai Opera House, Oriental Song and Dance Ensemble, San Francisco Symphony Orchestra, Boston Symphony Orchestra, The China National Symphony Orchestra, Shanghai Symphony Orchestra, Tianjin Symphony Orchestra, Tanglewood Music Festival, International Arts Festival in Shanghai, and other opera houses and orchestras across the world in Italy, Hungary, Germany, Austria, Japan, Singapore, and Canada

Awards/Competitions: Grand prize, 1999 International Web Concert Audition Competition; Grand Prize, 1993 Ivo Pogorelich International Piano Competition; Laureate, 1992 Prokofiev International Piano Competition; Laureate, 1990 Tchaikovsky International Piano Competition Recordings: Gwhyneth Chen: Chopin Favorites on the Chimei label, Stravinsky and Scriabin on the Pro Piano label

Photo by Lisa Kohler

Manhua Gao soprano soloist

Education: Boston University, Shanghai Conservatory of Music

Faculty/jury positions: Jury member, 1999 and 2005 Taiwan Chopin Piano Competition, 2003 First Taiwan International Piano Competition, 2003 Asian Division of the 6th Monopoli International Piano Competition, 1998 Taiwan Young Artists International Competition; Faculty, 2010 Perugia Music Festival in Italy

THEORCHESTRANOW.ORG | 7

HEADER

Leon Botstein, Music Director Violin I Kurt Munstedt, Concertmaster (1st half ) Youyang Qu, Concertmaster (2nd half ) Adina Mu-Ying Tsai Lili Sarayrah Akiko Kamigawara Andrés Rivas Amos C. Fayette Jiayu Sun Michael Rau Holly Nelson Diego Gabete Haemi Lee

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.

Violin II Grace Choi, Principal (1st half ) Jiyoung Moon, Principal (2nd half ) Hao Xing Lara Baker-Finch Clara Engen Drew Youmans Coline Berland Leonardo Pineda Fangxi Liu Erin David

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.

Viola Omar Shelly, Principal (1st half ) Chi Lee, Principal (2nd half ) Scot Moore Marie-Elyse Badeau David Riker Caleb Wong Bonnie Heung Emmanuel Koh

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.

Cello Zhilin Wang, Principal (1st half ) Lauren Peacock, Principal (2nd half ) Hui Zhang Alana Shannon Andrew Borkowski (on leave) Eleanor Lee (on leave) Jinn Shin (on leave)

More info online at

theorchestranow.org

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THEORCHESTRANOW.ORG 8 Photo by Matt |Dine

Bass Paul Nemeth, Principal (1st half ) William McPeters, Principal (2nd half ) Milad Daniari Zhenyuan Yao Michael Franz Julian Lampert Flute Thomas J. Wible, Principal (Stream) Sasha Haft, Principal (Mango) Moonyoung Yoon, Principal (Dances) Oboe Aleh Remezau, Principal Kelly Mozeik Zachary Boeding Clarinet Micah Candiotti-Pacheco, Principal (Stream, Dances) Elias Rodriguez, Principal (Mango) Sangwon Lee Bassoon Dávid A. Nagy, Principal (1st half ) Cathryn Gaylord, Principal (2nd half ) Horn Philip Brindise, Principal (1st half ) Shannon Hagan, Principal (2nd half ) Colin Bianchi Rachel Boehl Tim Skelly, Assistant

Trumpet Zachary Silberschlag, Principal (1st half ) Szabolcs Koczur, Principal (2nd half ) Chris Moran Trombone Matt Walley, Principal (Stream) Gabe Cruz, Principal (Mango, Dances) Federico Ramos, Bass Trombone Tuba Dan Honaker Timpani Jonathan Wisner Percussion Tyson J. Voigt Guest Musicians Cello Jeremy Lamb Hikaru Tamaki Contrabassoon Billy Beecher Percussion Charles Kiger Yuri Yamashita David Stevens Benny Koonyevsky Celeste/Piano Chris Oldfather Harp Jane Yoon

THEORCHESTRANOW.ORG | 9

MEET THE

TŌN MUSICIANS

TŌN MUSICIANS Hometown: Needham, MA

Hometown: Changchun, Jilin, China

Alma maters: Cleveland Institute of Music, BM; Carnegie Mellon University, MM

Alma maters: Mannes College the New School for Music, Western Michigan University

Appearances: National Repertory Orchestra, 2015; Schleswig-Holstein Orchestra Academy, 2016

Awards/Competitions: Winner, Concerto Competition at Western Michigan University, 2009 & 2013

Favorite pieces to play: Haydn String Quartets and Strauss Tone Poems

Appearances: New York String Orchestra Seminar at Carnegie Hall, Aspen Music Festival and School

Favorite composer fact: After J.S. Bach called one of his church musicians a “nanny-goat bassoonist,” the two engaged in a wrestling match in the market square. The thing most people don’t know about classical music is: In the classical period, the audience would applaud in the middle of a movement if they felt particularly excited, similar to a jazz concert today. Musical guilty pleasure: If listening to Justin Bieber is wrong, I don’t want to be right.

Photo by Jito Lee

Favorite non-musical activity: Riding my bicycle

Kurt Munstedt violin

Last book read: Death in Venice by Thomas Mann Favorite painting: Almond Blossom by Van Gogh

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Musical origins: I began playing violin at the age of 4 because my first violin teacher came to choose students in my Kindergarten and I was one of only two students chosen. Most fun piece to play: Dvořák’s Symphony No. 9 (“New World”) Favorite composer fact: My birthday is the same as Mozart’s! Favorite fact about your instrument: His name is Dragon Favorite non-classical musician or band: Bruno Mars, Jason Mraz Last book read: The Glass Castle by Jeannette Walls Favorite painting: Monet’s Waterlilies

Photo by Jito Lee

Youyang Qu violin

Piece of advice for a young classical musician: It all starts with an idea and you grow into it.

Youyang will talk briefly about Guohui Ye’s Drinking Wine by the Stream’s Choice on stage before the performance

Time travel destination: The Tang dynasty

@yoyo127

THEORCHESTRANOW.ORG | 11

MEET THE

TŌN MUSICIANS

TŌN MUSICIANS Hometown: Lawrenceville, New Jersey

Hometown: Tokyo, Japan

Alma mater: Rutgers University

Alma maters: Royal Conservatory of Brussels, Toho Music High School

Favorite obscure piece: Elgar’s Sea Pictures Favorite composer fact: Charles Mingus trained his pet cat, Nightlife, to use the toilet, and authored the immensely informative Charles Mingus CAT-alog for Toilet Training Your Cat. Take note: “The main thing to remember is not to rush or confuse him.” Favorite non-classical musician or band: Grupo Folkorico y Experimental Nuevayorquino, a collective of New York based Latin musicians who recorded two legendary records in the ’70s Musical guilty pleasure: Playing percussion instruments Last book read: Dune by Frank Herbert Photo by Jito Lee

Julian Lampert bass Julian will talk briefly about Xiaogang Ye’s Scent of the Green Mango on stage before the performance

Favorite painting: Any painting by Pieter Bruegel the Elder Piece of advice for a young classical musician: Don’t stress Time travel destination: Cuba from 1920 to the 1950s to catch performances by legends such as Arsenio Rodríguez, Beny Moré, Trío Matamoros, and La Sonora Matancera

Awards/competitions: 2nd place, 2007 All Japan Student Competition; 4th place, 2013 Andrea Postacchini International Violin Competition; 4th place, 2013 Henri Koch International Violin Competition Appearances: Festival Young Talent, Schiermonnikoog, Holland, 2013; 53rd Weimar Master Class, Germany, 2012; Quartet Osaqua, Japan, 2009; Festival MusicAlp, France, 2009 Musical origins: I began playing violin at the age of 3 after a piano professor suggested that I should wait to play piano until I had big enough hands. Favorite piece to play: Beethoven’s Violin Concerto; I would love to play it as a soloist with an orchestra once in my lifetime! Favorite composer fact: Prokofiev was very strict with time—he made people wait outside the door of his home, in the Russian cold, until it was the exact time of the meeting. Which composer would have had the best social media: Mozart. I know this from reading his entertaining letters to his family. Favorite non-classical musician: Edith Piaf Best music to have on repeat: Main theme song from My Neighbor Totoro, or Harnoncourt’s recording of Handel’s Water Music

Akiko Kamigawara violin Akiko will talk briefly about Rachmaninoff’s Symphonic Dances on stage before the performance @coquillage2127

Favorite painting: Jazz by Henri Matisse Piece of advice for a young classical musician: Have a life and listen to a lot of music performances by great musicians from different genres. Time travel destination: Early 19th-century Japan. I’d like to meet the Japanese painter Hokusai and possibly help clean up his house. 12| Text TON to 33233 for email updates

THEORCHESTRANOW.ORG | 13

NOTES FROM

THE COMPOSER

TŌN MUSICIANS

Guohui Ye

Xiaogang Ye

In the spring of 2012, when I visited the National Palace Museum in Taipei, I was shocked at a painting: Water Festival at Orchid Pavilion by Li Zongmo (Ming Dynasty). So I decided to postpone the work I had started in order to compose Drinking Wine by the Stream’s Choice for soprano and orchestra.

Chinese composer Xiaogang Ye was born in Shanghai in 1955. He witnessed and lived through the aftermath of the 1949 Cultural Revolution in China. After Mao’s revolution, Ye’s father, a noted composer, was persecuted, attempting suicide when Xiaogang Ye was just but 11 years old. Since suicide was considered treason in China, Ye’s father was taken away from their home. Ye was forced to turn away from his piano studies to work in farms and factories in order to support his family. He later resumed studying piano and tried to enter the Shanghai Conservatory. However, since the conservatory didn’t take any piano students that year, Ye was offered a place in the composition class. This proved to be a great trick of fate for Ye, as he later studied composition at Cambridge and the Eastman School of Music. Now an acclaimed composer in China and all over the world, Ye is also a professor and Vice-President of the Central Conservatory of Music in Beijing. He is the first-ever Chinese composer to publish under the renowned Schott Musik International press company. One of his compositions, Starry Night, was premiered at the 2008 Summer Olympics’ opening ceremony in Beijing. Ye’s compositional style combines Western romanticism and elements of Chinese traditional music. He often incorporates the zheng (or guzheng), a 16-stringed instrument resembling a zither, and the pipa, a Chinese instrument similar to the lute. When not used in his composition, one can still clearly hear the allusions to those instruments. In Scent of The Green Mango, the sound of the zheng and the pipa can be heard in the fast up and down runs in the solo piano and wind parts. Another imitation of traditional Chinese instrumentation can be heard in the repeated and alternating fast notes similar to the traditional instrument’s tremolo and ornamentations. Moreover, the zheng is often used to represent romantic subjects such as nature and love; subjects that tie Ye to Romantic-era Western composers. Ye’s writing, especially in his piano works, is inspired by the music of Frédéric Chopin. Written in 1998, Scent of the Green Mango is no exception. The piano’s extreme dynamics and the virtuosic writing honor Chopin and his contemporaries. Allying moments of great passion and stillness, both Ye’s compositional trademarks, the piece reflects Ye’s maturity as a composer.

Drinking Wine by the Stream’s Choice

Many scholars in the history of China were interested in this activity—drinking wine by the stream’s choice. At The Orchid Pavilion by Wang Xizhi, Study of Orchid Pavilion by Sang Shichang, Illustrated Orchid Pavilion by Wu Gaozeng, Water Festival at Orchid Pavilion by Li Zongmo, Water Festival at Orchid Pavilion by Wen Huiming, and Water Festival at Orchid Pavilion by Fu Baoshi all expressed vividly this activity from more than 1700 years ago. In the ninth year of Yungho (A.D. 353), Wang Xizhi and 42 scholars had a party at Orchid Pavilion after the Water Festival (a memorial ceremony which was held in the spring and autumn beside the water). They sat on the bank of the stream and put a Shang (a kind of drinking vessel in ancient China) full of wine into the stream. The Shang would flow downstream, and when it stopped or rotated in front of somebody, that person would poetize and drink. The record shows that 11 scholars made 2 poems, 15 scholars made 1 poem, and 16 could not poetize and had to drink three Gongs (a kind of huge drinking vessel) full of wine.

Scent of the Green Mango Notes by Marie-Elyse Badeau, viola

Drinking Wine by the Stream’s Choice was conceived at first by selecting parts of At The Orchid Pavilion by Wang Xizhi as the beginning and end of the lyric, and using parts of Study of Orchid Pavilion by Sang Shichang and Illustrated Orchid Pavilion by Wu Gaozeng as the middle of the lyric. I aimed to combine the music with the artwork in order to express the story in a Xieyi style (free-hand brushwork in traditional Chinese painting which is characterized by vivid expression and bold outline) and to show how the ancient Chinese scholars indulged in nature and their humane feelings.

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THEORCHESTRANOW.ORG | 15

NOTES FROM

THE

TŌN MUSICIANS

TŌN FUND

Sergei Rachmaninoff

Photo by Matt Dine

Symphonic Dances Notes by Gabe Cruz, trombone

The year is 1940. Mr. Sergei Rachmaninoff is sitting at the Honeyman Estate in New York state overlooking the Long Island Sound, when he puts the final touches on his new work, Fantastic Dances. This piece, later to be called Symphonic Dances, has been described as a last summary of his compositional style/career. Many of his life events, whether intentional or not, would make their way into the beloved work we have today. Little did he know, this would be the last piece he’d ever write. He’d come to the New World in 1918. His memories of Russia included a dark past of the compulsive habits of his father, the death of two kid sisters, nearly failing out of the conservatory at St. Petersburg, a deep four-year depression, and a marriage unapproved by both families. As a child, Sergei attended Russian Orthodox Church services with his grandmother, encountering beautiful chants and church bells. Later, at the age of 24, he witnessed the premiere of his first symphony, which was immediately unsuccessful. After a deep depression and years of recovery, he eventually got offers to conduct and perform as a soloist abroad and took advantage of it, taking his family, a few of his own pieces, and a score of The Golden Cockerel by Rimsky-Korsakov—which subtly made its way into Symphonic Dances. The first movement begins thinly orchestrated, with a three note call that is said to be a direct quote from Rimsky-Korsakov’s Golden Cockerel. After a tricky, grotesque intro, we get into a primitive march with the call as the main theme. After this march section, we reach a tender, pure moment. He brings us back into one of the toughest parts of his life and quotes his first symphony. One can only imagine such a vulnerable quotation.

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.

The second movement waltz is a mysterious, almost extraterrestrial tune. It includes a beautiful trumpet choral introduction and beautiful always-changing colors.

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Movement three is the quickest with the most exotic rhythms. It includes music close to his childhood, such as chants, and from his successes such as his Third Symphony. The Dies Irae makes an appearance as well as an Alleluia from his choral work All-Night Vigil.

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@theorchestranow.org.

All in all, this final composition, while not considered one of his masterpieces, shows every talent the composer has for counterpoint, style, texture, instrumentation, and above all, memory. He recalls something special from almost every chapter in his life, from failures in childhood, from his “teachers” to his successes. Symphonic Dances really is a culmination of everything Rachmaninoff could do compositionally and, ultimately, emotionally.

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THEORCHESTRANOW.ORG | 17

THE

ADMINISTRATION

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

BARD COLLEGE 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 18|

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BARD COLLEGE 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

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 + ex officio

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

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 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

continued on next page

THEORCHESTRANOW.ORG | 19

THE

ADMINISTRATION

RICHARD B. FISHER CENTER

THE RICHARD B. FISHER CENTER FOR THE PERFORMING ARTS Administration and Programming (continued from page 19)

Caleb Hammons Producer, Theater and Dance Zia Affronti Morter ’12 Associate Producer Jeannie Schneider Business Manager Kieley Michasiow-Levy Development Manager Lizabeth Malanga VAP ’16 Executive Assistant Production Vincent Roca Production Manager Hellena Schiavo Assistant Production Manager Stephen Dean Production Coordinator, Concerts and Lectures 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

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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 VAP ’16 House Manager Jessica Dagg ’18 Assistant House Manager Sophie Green ’17 Assistant House Manager Austin Lehn ’17 Assistant House Manager Facilities Mark Crittenden Facilities Manager Ray Stegner Building Operations Manager Doug Pitcher Building Operations Coordinator Robyn Charter Fire Panel Monitor William Cavanaugh Environmental Specialist Drita Gjokaj Environmental Specialist Nita Johannesen Environmental Specialist

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.

Photo by Peter Aaron ’68/Esto

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ABOUT

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.

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

bard college conservatory of music

CONSERVATORY ORCHESTRA Gerard Schwarz, Guest Conductor Sunday, December 4 at 3 pm

WINTER SONGFEST

“Winter” from Haydn’s The Seasons, and additional seasonal selections Sunday, December 11 at 3 pm special holiday presentation

THE HOT SARDINES

Holiday Stomp Friday, December 23 at 8 pm

845-758-7900 | fishercenter.bard.edu

CONCERT QUICK GUIDE The Richard B. Fisher Center for the Performing Arts at Bard College Sosnoff Theater Jindong Cai, conductor

SAT 11/19/2016 at 8 PM & SUN 11/20/2016 AT 2 PM

Performances #37 & #38: Season 2, Concerts 8 & 9

Brief remarks by Youyang Qu, violin

Guohui Ye Born: 1961 in Guangdong, China

Drinking Wine by the Stream’s Choice | 10 min Written 2012, at age 51

On Stage 22 violins 8 violas 6 cellos 6 double basses 3 flutes 1 piccolo 3 oboes

3 clarinets 2 bassoons 1 contrabassoon 5 French horns 3 trumpets 3 trombones (1 bass) 1 tuba

Premiered 10/14/2012 at the Shanghai Concert Hall by the Shanghai Philharmonic Orchestra; Jurjen Hempel, conductor timpani 1 bangu 1 bass drum chimes 1 glockenspiel 2 mang luo metal chimes

3 suspended cymbals 1 tam tam 1 triangle 1 vibraphone 1 harp

Manhua Gao, soprano soloist

Brief remarks by Julian Lampert, bass

Xiaogang Ye Born: 9/23/1955 in Shanghai

Scent of the Green Mango | 15 min Written 1998, at age 42

On Stage 22 violins 8 violas 6 cellos 6 double basses 2 flutes 1 piccolo 2 oboes

1 English horn 2 clarinets 1 bass clarinet 2 bassoons 5 French horns 3 trumpets 3 trombones (1 bass)

Premiered 11/6/2014 in Saarbrücken, Germany at the Congresshalle by the German Radio Philharmonic Orchestra Saarbrücken Kaiserslautern; Hansjörg Albrecht, conductor; Amir Katz, piano 1 tuba timpani 1 bass drum chimes crash cymbals 1 glockenspiel 3 gongs

1 marimba 1 tam tam 1 triangle 1 vibraphone 1 whip 1 celeste 1 harp

Gwhyneth Chen, piano soloist

20-Minute Intermission at approx. 8:40 Sat, 2:40 Sun Meet some of the musicians in the lobby! Share a selfie! @TheOrchNow #TheOrchNow WiFi: BardWireless

Refreshments available in the lobby. Restrooms located on either side of the lobby. –over–

Brief remarks by Akiko Kamigawara, violin

Sergei Rachmaninoff Born: 4/1/1873 in Oneg, near Semyonovo, Russia Died: 3/28/1943 at age 69 in Beverly Hills

Symphonic Dances | 34 min

Movements Non allegro not too fast Andante con moto (Tempo di valse) moderately slow, with motion Lento assai—Allegro vivace—Lento assai. Come prima— Allegro vivace very slow, then lively and fast, then very slow again, and finally lively and fast again Written 1940, at age 67

On Stage 22 violins 8 violas 6 cellos 6 double basses 2 flutes 1 piccolo 2 oboes 1 English horn 2 clarinets

12 min 9 min 13 min

Premiered 1/3/1941 in Philadelphia at the Academy of Music by the Philadelphia Orchestra; Eugene Ormandy, conductor

1 bass clarinet 1 alto saxophone 2 bassoons 1 contrabassoon 5 French horns 3 trumpets 3 trombones (1 bass) 1 tuba timpani

1 bass drum 1 xylophone chimes 1 piano crash cymbals 1 harp 1 glockenspiel 1 snare drum 1 suspended cymbal 1 tambourine 1 tam tam 1 triangle

All timings are approximate.

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Artwork by Khoa Doan | Concert Quick Guide design by Nelson Yan