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Home , A Flower, A Year from Monday, Bard Music Festival, Construction (Cage), Credo in Us, Eric Salzman

The Richard B. Fisher Center for the Performing Arts at presents

PROGRAMS IN CELEBRATION OF AT BARD COLLEGE: A SYMPOSIUM The Richard B. Fisher Center for the Performing Arts at Bard College

Chair Jeanne Donovan Fisher President

Presents

Programs in Celebration of John Cage at Bard College: A Symposium

Sosnoff Theater October 30 at 7:30 pm October 31 at 8:00 pm

Presented by The John Cage Trust at Bard College, The Bard College Conservatory of Music, Office of the Dean of Graduate Studies, and the Institute for Writing and Thinking

Additional support for this program has been generously provided by the Advisory Board of The Richard B. Fisher Center for the Performing Arts at Bard College and the Friends of the Fisher Center. October 30 Intermission John Cage: in Four Parts (1950) Performed by students and faculty of The Bard College Conservatory of Music Yuan Ma, violin and the Music Program at Bard College Agnieszka Peszko, violin Lin Wang, viola In the lobby of the Sosnoff Theater, prior to the concert Qizhen Liu, cello Inlets (Improvisation II) for four conch shells and the sound of burning pinecones (1977) Eight Whiskus for solo violin (1985) David Bloom Erica Kiesewetter, violin Benjamin Pesetsky Lukáˇs Olejnik Nocturne for violin and (1947) Conor Brown Erica Kiesewetter, violin Blair McMillen, piano Five Dances for String Quartet (arr. by Eric Salzman, 1996–97) Fangyue He, violin Two (1987) Yue Sun, violin Jo Brand, flute Leah Gastler, viola Blair McMillen, piano Laura Hendrickson, cello The Beatles 1962–1970 (1990) 1950 for Violin and Keyboard ( ) Frank Corliss, live piano Erica Kiesewetter, violin Sungha Lee, live piano Blair McMillen, piano Liang-yu Wang, taped piano Christina Lalog, taped piano Three Songs for Voice and Piano (text by Gertrude Stein) (1933) Michael Bukhman, taped piano “Twenty years after” “If it was to be” “At East and ingredients” Megan Taylor, soprano Special thanks to David Bloom for his assistance in programming Christina Lalog, piano this evening’s concert.

1942 The Wonderful Widow of Eighteen Springs ( ) Running time is approximately 1 hour and 55 minutes, with one intermission. (1950) (1984) Ilana Zarankin, soprano Liang-yu Wang, piano

Radio Music (1956)

2 3 October 31 Notes on the Program: John Cage’s Chamber Music John Cage: Percussion! by Brian Brandt

Performed by Nexus Bob Becker

Bill Cahn These concerts present a wonderful cross section of John Cage’s periods of develop- Russell Hartenberger ment and style. The oldest works in the program, Three Songs for Voice and Piano Garry Kvistad (1933), are set to texts by Gertrude Stein, which were likely chosen for their musical with special guests Frank Corliss quality. The 21-year old Cage clearly was not to follow in the Romantic song tradi- Jason Treuting tion; in their sparseness, these miniatures already look forward toward his more mature style. (Note: all works composed by John Cage unless otherwise noted) The Wonderful Widow of Eighteen Springs (1942), set to a text by from Amores for and three percussion players (1943) Cage’s beloved , incorporates the ’s revolutionary develop- for four performers (1942) ments in percussion. In this mysterious piece, the singer’s non-vibrato, chant-like music is accompanied by a pianist-percussionist who never touches the keyboard Chess Pieces (1944) (arr. for by Brian Nozny, 2009) but rather taps the rhythms on the closed piano lid. Similar techniques are 1940 Dance Music for Elfrid Ide for six percussionists ( ) employed in A Flower (1950), wherein the singer performs a wordless vocalise, fol- lowing Cage’s somewhat mysterious instructions to sing “like a pigeon” and “like a Intermission wild duck.”

The Invisible Proverb for percussion (2002) by Russell Hartenberger Eric Salzman had the idea that some of the works for prepared piano—all of which 1. Okarche were originally written for dance—would sound interesting if played on strings uti- 2. Drumtalker lizing extended techniques in place of the usual prepared sounds. The Five Dances 3. Darkwater for String Quartet (1996–97 ) comprise portions of Our Spring Will Come (1943), 4. Sky Ghost Dream (1948), Totem Ancestor (1943), In a Landscape (1948), and A Room (1943).

Third for percussion quartet (1941) The String Quartet in Four Parts (1950) is a pivotal work in Cage’s oeuvre. During this time, Cage was searching for a new aesthetic and style. Attending D. T. Suzuki’s lectures on Zen Buddhism while delving into the work of such authors as the Indian 1919–2009 This concert is dedicated to the memory of Merce Cunningham ( ). art historian Ananda Coomaraswamy and the medieval German mystic Meister

Running time is approximately 1 hour and 35 minutes, with one intermission. Eckhart, as well as the music of Erik Satie, Cage came to feel that music should serve a spiritual purpose, which might allow his audience to “forget themselves, The use of recording equipment or the taking of photographs during enraptured, and so gain themselves.” Throughout the late 1940s, as his goals became the performances is strictly prohibited. more spiritual, his music became more modest. After completing the first movement

4 5 of the String Quartet, he wrote to his parents: “This piece is like the opening of result. The sounds of the conch shells is at times accompanied by the sound of another door; the possibilities implied are unlimited.” The work’s muted, non-vibrato burning pinecones, and, near the end, a single tone blown from a single conch shell. chords were chosen for their sonorous quality. The four movements represent : opening with summer and proceeding, as the music becomes increasingly Nowth Upon Nacht (1984) is also scored for voice and closed piano, again to a text slower, through fall to winter, the latter indicated as “nearly stationary.” An increase from Finnegans Wake, rapidly declaimed. Cage wrote this piece in memory of Cathy in tempo for the final movement suggests the renewed vigor of spring. Berberian, the avant-garde diva who championed so much of new music’s vocal works, becoming widely known for her premiere performance of Cage’s virtuosic Composed in 1950, shortly after he completed the String Quartet, the Six Melodies Aria (1958). Berberian was, for a time, married to the celebrated Italian composer for Violin and Keyboard follow many of the same compositional techniques. (Cage . actually referred to the Six Melodies as a postscript to the String Quartet.) The vio- linist is to play with a minimum amount of weight on the bow and, as is now the Eight Whiskus for solo violin (1985), the title a conjoining of the words “Whistlin’ is norm for Cage, sans vibrato. One has to wonder what kind of career Cage might did,” was arranged from the original version for voice by Malcolm Goldstein. Cage have achieved had his compositional path progressed along the lines of these idio- collaborated by indicating bow articulation, pressure, and positions on the strings syncratically beautiful and genuinely accessible works. as well as harmonics, vibrato, and other techniques.

But this was not to be. In the early 1950s, Cage met and Morton Two (1987), the first of Cage’s so-called “,” marks the beginning of Feldman, and he received a copy of the I Ching (the Chinese book of changes) from Cage’s late style, wherein his works were almost exclusively composed using time his student Christian Wolff. Using the I Ching, Cage sought to free the sounds from brackets. The work has a fixed duration; each player is given a score with a timeline, his will. A period of radical experimentation with chance was to begin. with the notes/chords placed within brackets of time. The performer can choose to play the notes at any point within the specified time bracket. The result is a work Radio Music (1956), for one to eight radios, represents an extreme liberation. Each that, while identifiable from one performance to another, can never be the same player’s parts indicate specific AM-band frequencies to tune to, along with silences twice. Two also began Cage’s system of titling his later works based on the number and amplitudes. Dependent entirely on what is on the radio when each player lands of instruments specified (here, two). In the case of a subsequent work written for on the specified frequency—it could in fact be static or even silence—the performer the same number of instruments, a superscript would be added, i.e Two2 (1989). (and the audience) must accept what is there. This clearly comes from a simpler time, when the composer had no reason to be concerned about either the dangers The Beatles 1962–1970 was written in 1990 for pianist Aki Takahashi’s “Hyper- of lawsuits due to copyright infringement or the now prevailing rules regarding of Beatles” CD collection, for which she invited numerous to interpret “fair use.” Beatles songs. It consists of six layered piano parts in time brackets derived from various Beatles tunes, which may be played by one to six pianists, live and recorded. In Inlets (1977), the performers use amplified conch shells that are partially filled The tempos throughout are left to the performers. with water, tipping them to produce somewhat uncontrolled gurgling sounds. Cage enjoyed the idea of “contingency” here—the players were necessary in their move- Brian Brandt is the director of Mode Records in City. His company is in the ment of the shells, but had no control over what, if anything, might be heard as a process of recording all of John Cage’s works.

6 7 Notes on the Program: John Cage’s Percussion Music station. This piece was intended as a kind of satire on Americans’ belief that recorded music is culture (“credo” is that belief, and “in US” signifies both the U.S. and “us”). Cage wrote a “cowboy” tune, a blues number, and a boogie-woogie riff, Amores and included extended vamps that feature Cunningham reciting various texts. Of Composed by John Cage, 1943 all his early works for percussion instruments, Cage said his favorites were Credo in US and Third Construction, and indeed both live happily on in concert halls around John Cage studied with and was influenced by the American composer Henry the world. 1897–1965 1930 Cowell ( ). During the late s, it was Cage’s recollection of Cowell —Robin Engelman pounding his fist on the piano strings in his own The Banshee (1925) that led him to compose his first piece for prepared piano—for Syvilla Fort’s dance Bacchanale—in 1938 1943 . In , as World War II raged on, Cage, who found the conflict both huge and Chess Pieces hideous, wrote, “Logically I thought that anything that is small and intimate, and Composed by John Cage, 1944 has some love in it, is beautiful. Therefore I wrote a piece for prepared piano, which is very quiet. It is called Amores, and it is about my conviction that love is something Chess Pieces is the name Cage gave to a painting he created in 1944 for an exhibi- that we can consider beautiful. But then shortly I discovered that I was being tion called The Images of Chess organized by and at the divorced . . . So what is beautiful? So what’s art?” Amores premiered on February 7, Gallery in . When the exhibition closed, a private collector 1943, at the Museum of Modern Art in New York City. After attending a perform- purchased Chess Pieces, and, over time, the work was either considered lost or ance of Amores in 1944, wrote, “Cage’s music strikes perhaps the last largely overlooked by Cage scholars. Chess Pieces is a 19-by-19-inch square painting note in the romantic era; it reaches a maximum of personalization in every one of in ink and gouache on Masonite, its 64 squares filled with music written in Cage’s its elements. He has mastered a curious and convincing form of rhapsodic rhythm, hand in black and white ink. Its 22 systems read from left to right, as do Cage’s pre- intimate and free; what might be called baroque rhythm.” Movements I and IV are pared piano scores from the same period. No documentation exists of this music scored for prepared piano, in which the performer places objects in the strings, ever having been played, nor are instrumentation, tempi, or dynamics indicated. In resulting in a sound similar to a percussion ensemble of , woodblocks, and rat- 2005, Chess Pieces went on public display for the first time in more than 60 years tles. Movement II calls for nine tom-toms and a pod rattle, while movement III is for when the Noguchi Museum in City, New York, mounted an exhibition seven blocks of wood. entitled The Image of Chess Revisited. The pianist Margaret Leng Tan transcribed the —Garry Kvistad music and recorded it (for Mode Records) to be played during this show. As Tan said: “. . . for the first time the public could experience Chess Pieces as art and music simultaneously.” At Nexus’s request, percussionist Brian Nozny has transcribed and Credo in US arranged Tan’s piano transcription for percussion quintet. Composed by John Cage, 1942 Cage’s interest in chess began when he met Marcel Duchamp in New York City in Credo in US is music for a dance made by Merce Cunningham and Jean Erdman. It is 1944. Duchamp introduced Cage to the game and became his teacher, and the two scored for piano and two percussionists playing muted gongs, tin cans, an electric played off and on until Duchamp’s death in 1968. Cage once wrote: “I began using buzzer, and tom-toms. Another performer plays a radio tuned to a classical music chess and the hunting of mushrooms as a balance to my involvement with chance.

8 9 They are both situations in which chance cannot be used. They are both life-and- The Invisible Proverb death matters of winning and losing. One prefers to live.” Composed by Russell Hartenberger, 2002 —Robin Engelman The Invisible Proverb uses elements of talking-drum styles and the rhythm patterns of West African drumming ensembles. Movements 1 and 3, “Okarche” and

Dance Music for Elfrid Ide “Darkwater,” use Atenteben flute melodies from Ghana and elements of the horn Composed by John Cage, 1940 ensembles of Central Africa. The fourth movement, “Sky Ghost,” is based on material from the song “Small Sky” by Toru Takemitsu. The music represents the drummer Cage’s numerous compositions for percussion composed between 1939 and 1942 Okarche’s mythical search for the meaning of a drum proverb that supposedly holds are now standard repertoire and include his three Constructions, the third of which magical powers. has been frequently performed by Nexus. But fans of Cage’s music were pleasantly —Russell Hartenberger surprised to learn of the recent discovery of a 15-minute work, largely unknown even to Cage scholars, entitled Dance Music for Elfrid Ide (composed in 1940, the same year as the Second Construction). The discovery was made by Laura Kuhn, exec- Third Construction utive director of the John Cage Trust at Bard College, while conducting research at Composed by John Cage, 1941 Mills College. Written for dancer Elfrid Ide (1917–93), daughter of New England 68 composer Chester Ide (1878–1944), the work was probably performed at her thesis Although this piece was written years ago, it is as fresh and popular as the day it dance concert given on May 20, 1941, at Mills. She called her choreography Wheel was first performed at the California Club Auditorium in San Francisco by an ensem- of Circumstance, and titled her three movements “Quest,” “The Rift Between,” and ble conducted by Cage himself, including Xenia Cage (then Cage’s wife, to whom the “Song in Counterpoint.” Cage served on the dance faculty at Mills during the sum- work is dedicated, “for our anniversary”), Doris Dennison, Lou Harrison, and mers of 1940 and 1941. While in that position, he had ample latitude to experiment Margaret Jansen. Some of its features that are common to many compositions of with compositional forms and whimsical instrumentation. The use of toy piano in the “classical” era of percussion chamber music include complex polyrhythms and this work, for example, predates Cage’s now classic Suite for Toy Piano (1948). Other an eclectic instrumentation, here including Indonesian angklung rattle, Latin instruments used include squawkers, whistles, ratchet, handclaps, a whisk, cow- American cowbells, claves, , African log drum, Chinese and tom-toms, bells, slitblocks, drums, , gongs, claves, and a slapstick. One can only imagine Hawaiian pouweili sticks, Caribbean pod rattle, conch shell, , thumbtack 20 what Chester Ide, a composer of American art song, would have thought of his rattle, ratchet, tin cans, and lion’s roars! daughter’s thesis recital, assuming he attended. —Garry Kvistad —Garry Kvistad

10 11 Who’s Who l’Ordre des Arts et des Lettres by the French Legion d’Honneur (1982) and laureate of the Kyoto Prize given by the Inamori Foundation (1989); and recipient of an hon- orary doctorate in performing arts at the California Institute of the Arts (1986). John Cage (1919–92) Cage was the Charles Eliot Norton Professor of Poetry at Harvard University for the John Cage was born in , where he studied composition with Richard 1988–89 academic year. The 1991 Zurich June Festival was devoted to his work, Buhlig, Henry Cowell, Adolph Weiss, and . In 1938 he began alongside that of his collaborator in spirit, James Joyce. working as a dance accompanist and a teacher at the Cornish School of the Arts in Seattle, Washington. It was there that he met the dancer Merce Cunningham Cage authored many books, among them Silence, , , Empty (1919–2009), with whom he would have a lifelong working relationship. Together Words, and (all published by Wesleyan University Press). His I-VI (Charles Eliot Norton they were responsible for a number of radical innovations in music and dance com- Lectures, published by both Harvard and Wesleyan University Presses), includes tran- position, such as the use of chance operations and the independence of dance scripts of the question-and-answer sessions with students that followed each lecture, and music. Cage served as music adviser for the Merce Cunningham Dance and a recording of Cage reading one of his six lectures. Conversing with Cage, a book- Company from its inception in 1953 until shortly before his death in New York City length composition of excerpts from interviews compiled by Richard Kostelanetz, was on August 12, 1992. published in 1988 by Limelight Editions. Cage’s music is published by the Henmar Press of C. F. Peters Corporation and has been recorded on numerous labels. Since 1958, In the 1940s, Cage moved to New York and joined a group of avant-garde artists, many of Cage’s scores have been exhibited in galleries and museums. He was also including painters Robert Rauschenberg and . During this period, Cage active later in his life as a visual artist. A series of 52 watercolors, the New River became interested in Eastern religions, particularly Zen Buddhism, and while his Watercolors, executed by Cage at the Mountain Lake Workshop at the Miles C. Horton compositions continued his use of carefully segmented time, he also began to fill Center at the Virginia Polytechnic Institute and State University, was shown at the them with materials derived by chance processes (the rolling of dice, the use of the Phillips Collection in Washington, D.C., in 1990. Cage/Cunningham, a feature-length I Ching, et al). In perhaps the ultimate statement of this aesthetic, he wrote 4’33”, a documentary film directed by Elliot Caplan, was produced in 1991 by the Cunningham piece of total silence on the part of the performer into which the random sounds of Dance Foundation, partly funded by PBS. the world are invited to enter. In 1952, at Black Mountain College, Cage presented a theatrical event considered by many to have been the first “happening.” In 1958, The John Cage Trust Johns, Rauschenberg, and Emile de Antonio organized a 25-year retrospective con- Laura Kuhn, Executive Director cert of his music at New York’s Town Hall. Emily Martin, Office Manager Rebecca Johnson, Administrator Cage was the recipient of many awards and honors during his lifetime, beginning When John Cage died, in August of 1992, his significant holdings passed to the dancer in 1949 with a Guggenheim Fellowship and an award from the National Academy and choreographer Merce Cunningham, his longtime friend and collaborator. The John of Arts and Letters for having extended the boundaries of music through his work Cage Trust was legally formed shortly thereafter, with a board of directors consisting with percussion orchestra and his systematic elaboration of the prepared piano. He of Cunningham; Anne d’Harnoncourt, director of the Philadelphia Museum of Art; was awarded membership in the American Academy of Arts and Sciences (1978) David Vaughan, archivist at the Cunningham Dance Foundation; and Laura Kuhn, and the American Academy of Arts and Letters (1989); named Commandeur de who had been Cage’s assistant since 1986, and who continues to serve as the Trust’s

12 13 founding executive director. The primary functions of the Trust are to control, monitor, many years the director of music at the Walnut Hill School and a staff pianist for the and administer rights and licenses to Cage’s published and unpublished work, and to Boston Symphony Orchestra (BSO) and the Tanglewood Festival Chorus. A frequent create and encourage educational experiences, enhance public access, and enliven performer in the Boston Symphony Prelude Concert series, he also performs global awareness of Cage’s work through new recordings, performances, workshops, throughout the United States as a chamber musician and collaborative pianist. In festivals, and more. addition to his duties at the BSO and Walnut Hill, Corliss has worked as a musical assistant for Yo-Yo Ma and has assisted Ma in the musical preparation of many new The John Cage Trust at Bard College is now a resident organization at Bard College, works for performance and recording, including concertos by Elliot Carter, Richard where all of its materials are housed and maintained. The John Cage Trust at Bard Danielpour, Tan Dun, John Harbison, Leon Kirchner, Peter Lieberson, Christopher College provides access to these holdings through courses, workshops, and con- Rouse, and John Williams. Corliss can be heard on Yo-Yo Ma’s Grammy-winning Sony certs, and develops new programs around this extraordinary resource. Dr. Laura disc Soul of the Tango, as well as the Koch International disc of music by Elliot Carter Kuhn, in addition to maintaining and operating The John Cage Trust at Bard College, for chorus and piano with the John Oliver Chorale. holds the position of John Cage Professor of Performance Arts at Bard College and teaches courses at the undergraduate and graduate levels. Jason Treuting In addition to his work with So Percussion, Jason Treuting performs in the duo Nexus Alligator Eats Fish with guitarist Grey McMurray. He also improvises with com- The first, entirely improvised NEXUS concert in 1971 marked the formation of a group poser/performer Cenk Ergun and in a duo setting with composer/guitarist Steve that would touch and entertain people of all levels of musical learning, and in all gen- Mackey. His compositions are featured on So’s album Amid the Noise from res of percussion music. Bob Becker, Bill Cahn, Robin Engelman, Russell Hartenberger, Cantaloupe Music. Treuting received a bachelor of music degree at the Eastman and Garry Kvistad, each a virtuoso in his own right, bring elements of their knowledge School of Music, where he studied percussion with John Beck and drum set and and character to a distinct and powerful whole. Together they stand out in the con- improvisation with Ralph Alessi, Michael Cain, and Steve Gadd. He received a mas- temporary music scene for the innovation and diversity of their programs, their ter’s degree in music, along with an Artist Diploma, from , where he impressive history of collaborations and commissions, their revival of 1920s novelty studied percussion with Robert Van Sice. He has also traveled to Japan to study ragtime xylophone music, and their influential improvisatory ideas. Nexus’s firm com- marimba with Keiko Abe, and to Bali to study gamelan with Pac I Nyoman Suadin. mitment to music education and a steady output of quality CD recordings and com- positions continues to enhance the role of percussion in the 21st century. The Bard College Conservatory of Music Robert Martin, Director Nexus wishes to thank the Ontario Arts Council and the Canada Council for their Melvin Chen, Associate Director generous support. Nexus also thanks Pearl Corporation and Adams Musical Building on its distinguished history in the arts and education, Bard College Instruments for their support worldwide. launched The Bard College Conservatory of Music in 2005. The Conservatory’s undergraduate program is guided by the principle that musicians should be broadly Frank Corliss educated in the liberal arts and sciences to achieve their greatest potential. While Before coming to The Bard College Conservatory of Music, where he is on the piano training and studying for the bachelor of music degree, Conservatory students also faculty and also directs the Postgraduate Piano Fellowship, Frank Corliss was for pursue a bachelor of arts degree. The Graduate Vocal Arts Program is a two-year

14 15 master of music degree conceived by artistic director Dawn Upshaw and head of 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, program Kayo Iwama. The course work extends from standard repertory to new corporations, and foundations that share Dick’s and our belief in presenting and creating art for the enrichment of music, alongside training in acting, core seminars that provide historical and cul- society. 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. (The list reflects donations received in the last 12 months.) tural perspectives, analytical tools, and performance skills for vocal and operatic performance at the highest levels. Donors to the Fisher Center

Leadership Support Golden Circle National Endowment for the Arts The Educational Foundation of Anonymous American Masterpieces: Dance Institute for Writing and Thinking America Carolyn Marks Blackwood New England Foundation for the Arts Emily H. Fisher and John Alexander Stefano Ferrari and Lilo Zinglersen Senator Stephen M. Saland The Institute for Writing and Thinking (IWT) offers professional development in Jeanne Donovan Fisher FMH Foundation Thaw Charitable Trust Martin and Toni Sosnoff Foundation Linda Hirshman and David Forkosh Thendara Foundation writing to secondary and college teachers in all academic discipline. IWT’s mission Mr. and Mrs. James H. Ottaway Jr. The Marks Family Foundation Felicitas S. Thorne Richard B. Fisher Endowment Fund Millbrook Tribute Garden, Inc. Tiffany and Co. is to improve the teaching of writing and to enliven and enrich teaching and learn- Martin T. and Toni Sosnoff Ministry of Culture and National True Love Productions Heritage of Poland ing across the curriculum through writing. Through experiential, intellectually engaging, and collaborative workshops (one-day, two-day, and weeklong), teachers Friends of the Fisher Center learn how to make writing central to their classrooms. Producer Anne Donovan Bodnar and Sponsor Fiona Angelini and Jamie Welch James L. Bodnar Frank and Mary Ann Arisman Arthur F. and Alice E. Adams Anne and Harvey Brown John and Sandra Blair Foundation Mr. and Mrs. Gonzalo de las Heras Harriet Bloch and Evan Sakellarios Chartwells School and University Barbara and Richard Debs Sarah Botstein and Bryan Doerries Dining Services Tambra Dillon James S. Brodsky and Barbara Ettinger and Sven Huseby Dirt Road Realty, LLC Philip E. McCarthy II The Ettinger Foundation, Inc. Gordon Douglas Richard D. Cohen Alexander Fisher MFA ’96 Elizabeth W. Ely ’65 and Patricia Falk Catherine C. Fisher and Jonathan K. Greenburg R. Mardel Fehrenbach Gregory A. Murphy Alan and Judith Fishman Mary Freeman R. Britton and Melina Fisher Peter C. Frank Carson Glover and Stephen Millikin The Jerome Robbins Foundation GE Foundation Carlos Gonzalez and Key Bank Foundation Gideon and Sarah Gartner Foundation Katherine Stewart Michael J. Del Giudice and of the Fidelity Charitable Gift Fund Dr. Eva Griepp Jaynne Keyes Andrew Goffe and Jeffrey Levin Bryanne and Thomas Hamill The Kosciuszko Foundation Sally and William Hambrecht Helene L. and Mark N. Kaplan Annie Leibovitz The Harkness Foundation Demetrios and Susan Karayannides Harvey and Phyllis Lichtenstein for Dance, Inc. Kassell Family Foundation of the The Maurer Family Foundation, Inc. Eliot D. and Paula K. Hawkins Jewish Communal Fund Mid Atlantic Arts Foundation HSBC Philanthropic Programs Martin Kline Millbrook Vineyards and Winery Mr. and Mrs. George A. Kellner Bryce Klontz National Dance Project of the New Peter ’66 and Barbara Kenner John Knott England Foundation for the Arts Jane and Daniel Lindau Laura Kuhn National Endowment for Chris Lipscomb and Monique Segarra Geraldine and Lawrence Laybourne the Arts (NEA) John McNally Cynthia Hirsch Levy ’65 New England Foundation for the Arts W. Patrick McMullan and Stephen Mazoh New York State Council on Rachel McPherson Barbara L. and Arthur Michaels the Arts (NYSCA) Stanley and Jane Moss Andrea and Kenneth L. Miron Dimitri B. and Rania Papadimitriou Kathleen O’Grady Samuel and Ellen Phelan Polish Cultural Institute Quality Printing Company Chris Pomeroy and Frank Frattaroli Drs. M. Susan and Irwin Richman Drs. M. Susan and Irwin Richman Melanie and Philippe Radley Rudolf Nureyev Dance Foundation Don and Natalie Robohm William Ross and John Longman David E. Schwab II ’52 and Ruth Ruth Ketay and Rene Schnetzler Catherine Smith Schwartz Schwab ’52 David A. Schulz Carlos Gonzalez and Matthew Patrick Smyth Karen and Robert G. Scott Katherine Stewart Allan and Ronnie Streichler Denise S. Simon and Carol York and Gerard Conn Paulo Vieira da Cunha Patron Michele Sodi Supporter Helen and Roger E. Alcaly Andrew Solomon and John Habich Lucy and Murray Adams Kathleen and Roland Augustine Sarah and Howard Solomon Marina Arfwidson and David Weiss Mary I. Backlund Barbara and Donald Tober Charles Blyth Margo and Anthony Viscusi Phyllis Braziel

16 17 Kay Brover and Arthur Bennett William Siegfried James Kraft Donors to the Gary Capetta and Nick Jones Mish Tworkowski Robert J. Kurilla Eileen and Michael Cohen Barbara Jean Weyant Michael and Ruth Lamm Events in this year’s Bard Music Joanna M. Migdal Leadership Support Virginia Corsi Arthur Weyhe Jeffrey Lang Festival are underwritten in part by Panel Discussions Mimi Levitt Anne Cotton Earnest Wurzbach Gerald F. Lewis special gifts from The Mortimer Levitt Foundation Dr. Robert Crowell Desi and Ben Zalman Hermes Mallea and Carey Maloney Margo and Anthony Viscusi Mr. and Mrs. James H. Ottaway Jr. Emily M. Darrow and Florence Mayne Bettina Baruch Foundation Preconcert Talks Brendon P. McCrane Friend Marcus de Albuquerque Mello ’04 Jeanne Donovan Fisher Golden Circle George and Marsha Davis Anonymous Dr. Naomi Mendelsohn Mimi Levitt Furthermore Foundation Bettina Baruch Foundation John J. Austrian ’91 and Abby H. and John B. Dux Edie Michelson and Sumner Milender James H. Ottaway Jr. Festival Book Jeanne Donovan Fisher Laura M. Austrian K. F. Etzold and Carline Dure-Etzold Milly Sugarman Interiors, Ltd. Felicitas S. Thorne Jane W. Nuhn Charitable Trust Sybil Baldwin Martha J. Fleischmann Janet C. Mills Festival Underwriters Roger and Helen Alcaly Denise S. Simon and Alvin Becker Len Floren and Susan Regis Arvia Morris Festival Program Paulo Vieira da Cunha Richard L. Benson Helena and Christopher Gibbs Joanne and Richard Mrstik James H. Ottaway Jr. Felicitas S. Thorne Dr. Marge and Edward Blaine Gilberte Vansintejan Glaser and Martha Nickels Opening Concert Homeland Foundation Millie and Robert Wise Timothy Bonticou William A. Glaser Robert M. Osborne Bard Music Festival Preview at Walter Brighton Adrien Glover and Michael Kelly David Pozorski and Anna Romanski Mimi Levitt Wethersfield Stanley L. Gordon Alfred M. Buff and Lenore Nemeth Leopold Quarles van Ufford Opening Night Dinner Jeanne and Homer Byington Nan and David Greenwood Serena Rattazzi Guest Artists New York State Council on the Arts MaryAnn and Thomas Case Alexander Grey and David Cabrera Yael Ravin and Howard Sachar National Endowment for the Arts Rosemary and Graham Hanson Daniel Chu and Lenore Schiff George and Gail Hunt Reeke Janet and William Hart Mr. and Mrs. John Cioffi Harry Reingold Sue Hartshorn Irwin and Susan Cohen Barbara B. Reis Lars Hedstrom and Barry Judd Evelyn and James Constantino Edward and Marion Scott Friends of the Bard Music Festival Hedstrom and Judd, Inc. Jean T. Cook James E. Scott Mel and Phyllis Heiko David Ebony and Bruce Mundt Susan Seidel Dorothy and Leo Hellerman Christine Fasano Frank Self Benefactor Edwin L. Artzt and Marieluise Hessel Alexandra Ottaway Dr. Joan Hoffman and Syd Silverman Mary and Harvey Freeman William Shum Helen and Roger E. Alcaly Mr. and Mrs. Ronald Atkins Dr. Gabrielle H. Reem and Rachel and Dr. Shalom Kalnicki Edward Friedman Elisabeth A. Simon The Ann and Gordon Getty Kathleen and Roland Augustine Dr. Herbert J. Kayden Susan and Roger Kennedy Catherine Fukushima Joel Stein Foundation Gale and Sheldon Baim Drs. Morton and Shirley Rosenberg Harold Klein Frances A. and Rao Gaddipati Dr. Sanford B. Sternlieb Leonie F. Batkin Elizabeth Phillips Bellin and Blanche and Bruce Rubin Seymour and Harriet Koenig Ann Marie Gardner LuRaye Tate Joan K. Davidson Marco M. S. Bellin Ines Elskop and Christopher Scholz Danielle Korwin and Joseph W. and Joyce Gelb Janeth L. Thoron Mr. and Mrs. Gonzalo de las Heras Dr. Miriam Roskin Berger ’56 Sarah and Howard Solomon Anthony DiGuiseppe Marvin Gilbert Linda Steinitz Vehlow John A. Dierdorff Helen ’48 and Robert Bernstein Martin T. and Toni Sosnoff Ramone Lascano Esther Glick Dr. and Mrs. Stanley Weinstock Elizabeth W. Ely ’65 and Helen and Robert Bernstein Edwin Steinberg Helena Lee Mr. and Mrs. Floyd Glinert Barbara K. and Roger H. Wesby Jonathan K. Greenburg Philanthropic Fund of the Jewish Stewart’s Shops Fred and Jean Leventhal Judy R. and Arthur Gold Naomi J. Miller and FMH Foundation Communal Fund Allan and Ronnie Streichler Mimi Levitt Rosalind Golembe Thomas M. Williams Eliot D. and Paula K. Hawkins Sarah Botstein and Bryan Doerries Elizabeth Farran Tozer and William Li and James Oates Sheryl Griffith Robert and Lynda Youmans Linda Hirshman and David Forkosh Constance and David C. Clapp W. James Tozer Jr. Charles S. Maier Elise and Carl Hartman Mike and Kathy Zdeb Homeland Foundation, Inc. Michelle Clayman Tozer Family Fund of the New York Mark McDonald James Hayden Rena Zurofsky HSBC Philanthropic Programs J. T. Compton Community Trust Bibhu Mohapatra Delmar D. Hendricks The J. M. Kaplan Fund, Inc. Arnold J. ’44 and Seena Davis Aida and Albert Wilder Sybil Nadel Neil Isabelle Current as of September 1, 2009 Peter ’66 and Barbara Kenner Michael Del Guidice and Jaynne Keyes William C. Zifchak Elizabeth J. and Sevgin Oktay Ryland Jordan Amy and Thomas O. Maggs Rt. Rev. Herbert A. and Mary Donovan Margrit and Albrecht Pichler John Kalish Marstrand Foundation Robert C. Edmonds ’68 Sponsor Mark Podlaseck Eleanor C. Kane Joanna M. Migdal Carlos Gonzalez and Anonymous Arlene Richards Nathan M. Kaplan National Endowment Katherine Stewart Beth and Jerry Bierbaum Nicole Ringenberg Linda L. Kaumeyer for the Arts (NEA) David and Nancy Hathaway David C. Brown Ted Ruthizer and Jane Denkensohn Rose and Josh Koplovitz New York State Council Barbara K. Hogan Melva Bucksbaum and on the Arts (NYSCA) Frederic K. and Elena Howard Raymond J. Learsy Dimitri B. and Rania Papadimitriou Anne E. Impellizzeri Lydia Chapin Peter Kenner Family Fund of the Rachel and Dr. Shalom Kalnicki Craig and Gloria Callen Jewish Communal Fund Belinda and Stephen Kaye Everett and Karen Cook Ralph E. Ogden Foundation, Inc Mr. and Mrs. George A. Kellner Phillip S. Cooke Drs. M. Susan and Irwin Richman Susan and Roger Kennedy Dasein Foundation Santander Central Hispano Seymour and Harriet Koenig Willem F. De Vogel David E. Schwab II ’52 and Edna and Gary Lachmund Cornelia Z. and Timothy Eland Ruth Schwartz Schwab ’52 Barbara and S Jay Levy Shepard and Jane Ellenberg H. Peter Stern and Helen Drutt English Cynthia Hirsch Levy ’65 Ellenberg Asset Management Corp. Margo and Anthony Viscusi Patti and Murry Liebowitz Field-Bay Foundation Dr. Siri von Reis Martin S. Lippman Deborah and Thomas Flexner The Wise Family Charitable Martin and Toni Sosnoff Foundation Donald C. Fresne Foundation W. Patrick McMullan and Francis Finlay and Olivia J. Fussell Betsey and E. Lisk Wyckoff, Jr. Rachel McPherson Samuel L. Gordon Jr. Metropolitan Life Foundation Mr. and Mrs. Jay M. Gwynne Patron Matching Gift Program Martin Holub and Karen Kidder ABC Foundation Martin L. Murray and Elizabeth D. and Robert Hottensen Constance Abrams and Ann Verber Lucy Miller Murray Pamela Howard

18 19 John R. and Joyce Hupper Robert E. Kaus Patricia and John Forelle Major support for the Fisher Center’s programs has been provided by: I.B.M. Matching Grants Program Erica Kiesewetter Samantha Free Edith and Hamilton F. Kean Charles and Katherine King Stephen and Jane Garmey Anonymous Jane’s Ice Cream Mr. and Mrs. James H. Ottaway Jr. Fernanda Kellogg and Kirk Henckels Dr. and Mrs. Vincent Koh Anne C. Gillis Arthur F. and Alice E. Adams Jane W. Nuhn Charitable Trust The Overbrook Foundation John and Karen Klopp Lowell H. and Sandra A. Lamb Miriam and Burton Gold Foundation The Jerome Robbins Foundation Dimitri B. and Rania Papadimitriou Nancy and Robert Lindsay Debra I. and Jonathan Lanman Mr. and Mrs. Harrison J. Goldin Helen and Roger E. Alcaly The J. M. Kaplan Fund, Inc. Polish Cultural Institute Clara F. and David J. Londoner E. Deane and Judith S. Leonard Dr. Joel and Ellen Goldin Fiona Angelini and Jamie Welch Peter ’66 and Barbara Kenner Dr. Gabrielle H. Reem and Renee Petrofes and Gerry McNamara Walter Lippincott Stanley L. Gordon The Ann & Gordon Getty Foundation Key Bank Dr. Herbert J. Kayden Andrea and Kenneth Miron Lynn Favrot Nolan Family Fund Thurston Greene Ms. Leonie F. Batkin The Kosciuszko Foundation, Inc. Richard B. Fisher Endowment Fund James and Purcell Palmer Jeanette MacDonald and Ben-Ali and Mimi Haggin Bettina Baruch Foundation Annie Leibovitz Drs. M. Susan and Irwin Richman Mr. and Mrs. Frederick P. Payton Charles Morgan David A. Harris Carolyn Marks Blackwood Harvey and Phyllis Lichtenstein Rudolf Nureyev Dance Foundation Ellen and Eric Petersen Philip and Tracey Mactaggart Sy Helderman Chartwells School and University Lucy Pang Yoa Chang Foundation Senator Stephen M. Saland John and Claire Reid Charles S. Maier Carol Henken Dining Services Mimi Levitt David E. Schwab II ’52 and Ruth Alfred J. and Deirdre Ross Claire and Chris Mann Nancy H. Henze The Christian A. Johnson Amy and Thomas O. Maggs Schwartz Schwab ’52 Dr. Paul H. Schwartz and Elizabeth B. Mavroleon Gary Herman Endeavor Foundation Magic Hat Brewing Company Denise S. Simon and Lisa Barne-Schwartz Samuel C. Miller Juliet Heyer Joan K. Davidson The Marks Family Foundation Paulo Vieira da Cunha James and Sara Sheldon Mr. and Mrs. Alfred Mudge Dr. and Mrs. Gerald Imber John A. Dierdorff Marstrand Foundation Matthew Patrick Smyth Andrew Solomon and John Habich Bernadette Murray and Randy Fertel Patricia H. Keesee Robert C. Edmonds ’68 Martin & Toni Sosnoff Foundation Martin T. and Toni Sosnoff David and Sarah Stack Jay H. Newman Diana Niles King Educational Foundation of America Mid Atlantic Arts Foundation H. Peter Stern Richard C. Strain Mr. and Mrs. William T. Nolan Thea Kliros Elizabeth W. Ely ’65 and Joanna M. Migdal Ronnie and Allan Streichler Timothy and Cornelia Eland Fund of Marta E. Nottebohm Sharon Daniel Kroeger Jonathan K. Greenburg The Millbrook Tribute Garden Thorne and Tucker Taylor the Fidelity Charitable Gift Fund Elizabeth J. and Sergin Oktay Beth Ledy Barbara Ettinger and Sven Huseby Millbrook Vineyards & Winery Thaw Charitable Trust Helen and Michiel van der Voort Dr. Bernhard Fabricius and M Group, LLC Stefano Ferrari and Lilo Zinglersen Andrea and Kenneth Miron Thendara Foundation Caroline A. Wamsler Sylvia Owen John P. MacKenzie Alexander D. Fisher MFA ’96 The Mortimer Levitt Foundation Inc. Felicitas S. Thorne Arete and William Warren David B. and Jane L. Parshall Hermes Mallea and Carey Maloney Catherine C. Fisher and National Dance Project of the New Tiffany & Co. Jack and Jill Wertheim Susan Heath and Rodney Paterson Annette S. and Paul N. Marcus Gregory A. Murphy England Foundation for the Arts True Love Productions Serena H. Whitridge Eve Propp Harvey Marek Emily H. Fisher and John Alexander National Endowment for the Arts Margo and Anthony Viscusi Julia and Nigel Widdowson Eve Propp Family Foundation, Inc. The McGraw-Hill Companies Jeanne Donovan Fisher American Masterpieces: Dance Dr. Siri von Reis Peter and Maria Wirth John and Claire Reid Matching Gift Program R. Britton and Melina Fisher National Endowment Rosalind C. Whitehead John Royall Marcus Mello ’04 FMH Foundation for the Arts (NEA) Millie and Robert Wise Supporter Dagni and Martin Senzel Philip Messing Eliot D. and Paula K. Hawkins New England Foundation The Wise Family Charitable Munir and Susan Abu-Haidar Nadine Bertin Stearns Deborah D. Montgomery Linda Hirshman and David Forkosh for the Arts (NEFA) Foundation Barbara J. Agren Mim and Leonard Stein Kelly Morgan Homeland Foundation, Inc. New York State Council on Elizabeth and E. Lisk Wyckoff Jr. Leora and Peter Armstrong Ms. Carole Tindall Debbie Ann and Christopher Morley HSBC Philanthropic Programs the Arts (NYSCA) John K. Ayling John Tuke Susan and Robert Murphy Anne E. Impellizzeri Ralph E. Ogden Foundation, Inc. Irene and Jack Banning Dr. Elisabeth F. Turnauer Hugh and Marilyn Nissenson Didi and David Barrett Monica Wambold Harold J. and Helen C. Noah Karen H. Bechtel Taki and Donald Wise Gary S. Patrik Dr. Susan Krysiewicz and Thomas Bell John and Mary Young Peter and Sally V. Pettus Carole and Gary Beller Dr. Alice R. Pisciotto Board and Administration of Bard College Mr. and Mrs. Andy Bellin Friend David Pozorski and Anna Romanski Mr. and Mrs. David Bova Anonymous Sheila Sanders Board of Trustees James H. Ottaway Jr. Mary Backlund Mr. and Mrs. William B. Brannan Rev. Albert R. Ahlstrom Dr. Thomas B. Sanders David E. Schwab II ’52, Chair Emeritus Martin Peretz Vice President for Student Affairs Kay Brover and Arthur Bennett Lorraine D. Alexander Klara Sauer Bruce C. Ratner and Director of Admission Charles P. Stevenson Jr., Chair Dan F. and Nancy Brown Artscope, Inc. Frederick W. Schwerin Jr. Stanley A. Reichel ’65 Emily H. Fisher, Vice Chair Norton Batkin Kate Buckley and Tony Pell Antonia Bakker-Salvato Harriet and Bernard Sadow Stewart Resnick Elizabeth Ely ’65, Secretary Dean of Graduate Studies Peter Caldwell and Jane Waters Alexander and Margaret Bancroft Danny P. Shanahan and Roger N. Scotland ’93* Miriam and Philip Carroll Phebe and George Banta Janet E. Stetson ’81 Roland J. Augustine, Treasurer Martin T. Sosnoff Erin Cannan Constance and David C. Clapp James M. Barton J. Kevin Smith Susan Weber Dean of Students Frederick and Jan Cohen Mr. and Mrs. Francis D. Barton Polly and LeRoy Swindell Fiona Angelini Patricia Ross Weis ’52 Peter Gadsby Emily M. Darrow and Saida Baxt Jessica and Peter Tcherepnine Leon Botstein, Registrar Brendon P. McCrane Regina and David Beckman Gladys R. Thomas President of the College+ Administration Mary Smith Dorothy and Seth Dubin Richard L. Benson Janeth L. Thoron David C. Clapp Leon Botstein ’01 Director of Publications Ruth Eng Beth and Jerry Bierbaum Cynthia M. Tripp Marcelle Clements ’69* President Ginger Shore Ingrid and Gerald Fields Dr. Marge and Edward Blaine Laurie Tuzo The Rt. Rev. Herbert A. Donovan Jr., Laura Flax Eric and Irene Brocks Illiana van Meeteren Dimitri B. Papadimitriou Consultant to Publications Honorary Trustee Executive Vice President Emily Rutgers Fuller David and Jeannette T. Brown Andrea A. Walton Asher B. Edelman ’61 Mark Primoff Helena and Christopher Gibbs Mr. and Mrs. John C. D. Bruno Jacqueline E. Warren Michèle D. Dominy Robert S. Epstein ’63 Director of Communications Mims and Burton Gold Alfred M. Buff and Lenore Nemeth Victoria and Conrad Wicher Vice President and Dean of the College Barbara S. Grossman ’73* Kevin Parker Mrs. Janine M. Gordon Millicent O. McKinley Cox Mr. and Mrs. John Winkler Ernest F. Henderson III, Life Trustee Robert L. Martin Controller Nan and David Greenwood Linda and Richard Daines Robert and Lynda Youmans Vice President for Academic Affairs; Mortimer and Penelope C. Hall Peter Edelman Marieluise Hessel Jeffrey Katz 39, Director, Bard College Conservatory Sally S. Hamilton Peter Elebach and Jane Robinson Current as of September 1, 2009 John C. Honey ’ Life Trustee Dean of Information Services 70 of Music Juliet Heyes Jim and Laurie Niles Erwin Charles S. Johnson III ’ Judith Samoff James Brudvig Susan Hoehn and Allan Bahrs Patricia Falk Mark N. Kaplan Dean of Programs William Holman Harold Farberman George A. Kellner Vice President for Administration 65 Jay Jolly Arthur L. Fenaroli Cynthia Hirsch Levy ’ Debra Pemstein + Karen Bechtel Foundation of the David and Tracy Finn Murray Liebowitz Vice President for Development and ex officio Advisor Charitable Gift Fund Luisa E. Flynn Marc S. Lipschultz Alumni/ae Affairs * alumni/ae trustee Peter H. Maguire ’88

20 21 Board and Administration for The Richard B. Fisher Center for the Performing Arts at Bard College BECOME A FRIEND OF THE FISHER CENTER TODAY!

Advisory Board Administration Mark Crittenden Since opening in 2003, The Richard B. Fisher Center for the Performing Arts at Bard College has transformed Jeanne Donovan Fisher, Chair Susana Meyer Facilities Manager Leon Botstein+ Associate Director Jeannie Schneider cultural life in the Hudson Valley with world-class programming. Our continued success relies heavily on indi- Stefano Ferrari Robert Airhart Administrative Assistant viduals such as you. Become a Friend of the Fisher Center today. Harvey Lichtenstein Production Manager Elena Batt Peter J. Linden, M.D. Debra Pemstein Box Office Manager James H. Ottaway Jr. Vice President for Development and 06 Friends of the Fisher Center membership is designed to give individual donors the opportunity to support + Austin Miller ’ Dimitri B. Papadimitriou Alumni/ae Affairs Assistant General Manager and their favorite programs through the Fisher Center Council or Bard Music Festival Council. As a Friend of the David E. Schwab II ’52 Mark Primoff House Manager Martin T. Sosnoff Fisher Center, you will enjoy a behind-the-scenes look at Fisher Center presentations and receive invitations Director of Communications Ray Stegner Toni Sosnoff to special events and services throughout the year. Mary Smith Assistant to the General Manager Felicitas S. Thorne Director of Publications Doug Pitcher + Building Operations Coordinator ex officio Ginger Shore Friend ($100–249) Patron ($1,000–4,999) All of the above, plus: Consultant to Publications Kelly Spencer • Advance notice of programming • Opportunity to buy tickets before sales open to Managing Editor Kimberly Keeley-Henschel • Free tour of the Fisher Center the general public Budget Director Bonnie Kate Anthony • Listing in the program • Exclusive telephone line for Patron Priority handling Assistant Production Manager Paul LaBarbera ($5 of donation is not tax deductible) of ticket orders Sound and Video Engineer • Invitation for you and a guest to a pre-performance Stephen Dean Supporter ($250–499) All of the above, plus: dinner at a Hudson River Valley home Stage Operations Manager • Invitation for you and a guest to a season preview event ($150 of donation is not tax deductible) • Invitations to opening night receptions with the artists • Invitation for you and a guest to a select dress rehearsal Producer/Benefactor ($5,000+) All of the above, plus: Board and Administration of the Bard Music Festival ($5 of donation is not tax deductible) • Seat naming opportunity • Invitations to special events scheduled throughout Robert C. Edmonds ‘68, Chair Artistic Directors Development Sponsor ($500–999) All of the above, plus: the year Roger Alcaly Leon Botstein Debra Pemstein Leon Botstein+ Christopher H. Gibbs Andrea Guido • Copy of the Bard Music Festival book • Opportunity to underwrite events 230 Michelle Clayman Robert Martin Stephen Millikin • Invitation for you and a guest to a backstage technical ($ of donation is not tax deductible) John A. Dierdorff demonstration ($40 of donation is not tax deductible) Jeanne Donovan Fisher Executive Director Publications Christopher H. Gibbs+ Irene Zedlacher Mary Smith Jonathan K. Greenburg Please return Paula K. Hawkins Associate Director Consultant to Publications your donation to: Linda Hirshman Raissa St. Pierre ’87 Ginger Shore Anne E. Impellizzeri Stephen Millikin Public Relations Peter Kenner ‘66 Scholar in Residence 2010 Richard B. Fisher Center for Mark Primoff Mimi Levitt Christopher Hailey the Performing Arts Eleanor Davis Thomas O. Maggs 21C Media Group Robert Martin+ Program Committee 2010 Bard College PO Box 5000 Joanna M. Migdal Byron Adams Director of Choruses Annandale-on-Hudson, NY Lucy Miller Murray Leon Botstein James Bagwell 12504 Kenneth L. Miron Christopher H. Gibbs Christina A. Mohr Christopher Hailey Vocal Casting Consultant James H. Ottaway, Jr. Robert Martin Richard Wilson Susana Meyer David E. Schwab II ‘52 Enclosed is my check made payable to Bard College in the amount of $ Denise Simon Irene Zedlacher Stage Manager ❑ ❑ ❑ H. Peter Stern Please designate my gift toward: Fisher Center Council Bard Music Festival Council Where it is needed most Stephen Dean Tucker Taylor Administrative Assistant ❑ ❑ ❑ 08 Cynthia Baker Please charge my: VISA MasterCard AMEX in the amount of $ Felicitas S. Thorne Christina Kaminski ’ Anthony Viscusi Transportation Director Siri von Reis Credit card account number Expiration date Edward W. Schmidt E. Lisk Wyckoff + ex officio Name as it appears on card (please print clearly)

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22 About Bard College

Bard College, in Annandale-on-Hudson, New York, is an independent, nonsectarian, residential, coeduca- AMERICAN SYMPHONY ORCHESTRA tional college that offers a four-year B.A. degree in the liberal arts and sciences and a five-year B.S./B.A. Beethoven's Symphonies 1 through 5 degree in economics and finance. Bard and its affiliated institutions also grant the following degrees: A.A. at Conducted by Leon Botstein, music director Bard High School Early College, a New York City public school with two campuses; A.A. and B.A. at Bard February 5-6 and April 23-24 College at Simon’s Rock: The Early College, in Great Barrington, Massachusetts; M.S. in environmental policy and M.A. in curatorial studies at the Annandale campus; M.F.A. and M.A.T. on multiple campuses; and M.A., M.Phil., and Ph.D. in the history of the decorative arts, design, and culture at The for CONSERVATORY SUNDAYS Studies in the Decorative Arts, Design, and Culture in Manhattan. The Bard College Conservatory of Music Orchestra and chamber music grants a five-year dual degree, a B.Music and a B.A. in a field other than music; and an M.Music degree in Performed by Conservatory vocal arts. Internationally, Bard offers dual B.A. degrees at College of Saint Petersburg State students and faculty University, Russia, and Al-Quds University in Jerusalem. For more information about Bard College, visit www.bard.edu. Sundays at 3 pm, September through April (check website for dates)

TWO ONE-ACT OPERAS Specially commissioned to benefit Bard's Graduate Vocal Arts Program February 26 (Gala) and 28

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TICKETS AND INFORMATION: fishercenter.bard.edu Box Office 845-758-7900 SAVE THE DATES SAVE

Published by the Bard Publications Office ©2009 Bard College. All rights reserved.

Cover ©Christopher Felver Annandale-on-Hudson, New York fishercenter.bard.edu