Friday Evening, March 17, 2017, at 7:30 Isaac Stern Auditorium/Ronald O. Perelman Stage

presents Susanna’s Secret

LEON BOTSTEIN , Conductor

Performance #49, Season 2, Concert 20

OTTORINO RESPIGHI Vetrate di chiesa (Church Windows ) (1926) (1879–1936) La fuga in Egitto San Michele Arcangelo Il mattutino di Santa Chiara San Gregorio Magno

RESPIGHI , P. 148 (1925) Capri e Taormina (Barcarola a ) Lamento Intermezzo Tarantella “puro sangue”

Intermission

ERMANNO Il segreto di Susanna (Susanna’s Secret ) WOLF-FERRARI (1907–09) (1876–1948) JINWON PARK, Soprano MICHAEL KELLY, Baritone

This evening’s concert will run approximately 2 hours and 15 minutes including one 20-minute intermission.

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. Notes FROM T ŌN MUSICIANS Notes by Sasha Haft,

Ottorino Respighi Vetrate di chiesa (Church Windows )

Ottorino Respighi was born into a fam - ple suggestion from Elsa, after she ily of musicians. After many years of showed him some passages of Grego - study in his hometown, Respighi was rian Chant that she learned during her appointed to a position in the sec - studies. Respighi was immediately tion at the Imperial in St. Peters - spellbound by the religiosity and emo - burg. Here he was also able to continue tional harmony he felt upon hearing the studying composition with the greatly chants, and set out to capture those esteemed Nikolai Rimsky- feelings in his future compositions. In Korsakov, who took a great interest in the summer of that year, Respighi wrote Respighi and convinced him to pursue a Three Preludes on Gregorian career in composition upon returning Melodies as his first attempt to capture to Italy, where Respighi would be able what he had felt. The piece was later to focus the expertise learned from Rus - orchestrated in 1926 and given a fourth sia’s (and arguably, the world’s) best movement to finish out the suite known orchestrator at the time. today as Church Windows .

Immediately upon returning to Italy, Originally, Respighi did not have a spe - Respighi accepted a position first as cific program in mind when writing the professor of composition and then as piece, but upon consulting with Clau - head of the Santa Cecilia Academy in dio Guastalla, an editor and professor Rome. During this time he composed of literature, Respighi and Guastalla the trifecta of Roman tone poems, decided to retroactively add a program which included The Fountains of Rome to his composition. To better match (1917), The (1924), and Respighi’s colorful and picturesque Roman Festivals (1928). The pieces orchestration, Guastalla suggested they were received with international praise match certain scenes depicted in the and launched Respighi into stardom. stained-glass windows from the sur - rounding Italian Cathedrals with the In 1919, Respighi married Elsa different movements of the piece—The Olivieri-Sangiacomo, a mezzo-soprano Flight into Egypt, St. Michael the who also had been his pupil for a few Archangel, The Matins of St. Clare, and years at the Academy. Respighi’s St. Greogry the Great. Church Windows originated as a sim - Notes by Zachary Silberschlag,

Ottorino Respighi Rossiniana , P. 148

Composed just after his symphonic Composed while Rossini was living in tone poems, Ottorino Resphigi’s France, these pieces have a somewhat Rossiniana strikes a slightly different reminiscent Italian feeling, but tone in an homage to a previous Italian undoubtedly are works of great classi - master, . cism. With Respighi’s genius for orches - tration, Rossini’s pieces are infused Respighi’s admiration for his Italian lin - with signature Respighi rhythms such eage permeates all of his compositions. as tarantellas and sicilianas as well as In his great Roman trilogy, Italian his - 20th-century orchestration fitting any torical references can easily be found in of Respighi’s symphonic poems. His use the use of Italian folk and popular of muted brass, a skill mastered while songs. Even more evident are his many studying with Rimsky-Korsakov in St. compositions with explicit reference to Petersburg, is brilliantly used to evoke a the past, such as Trittico Botticelliano feeling of the distant past in the opening and . Perhaps movement. The use of percussion nothing exemplifies Respighi’s nation - enhances the haunting lamenting feel - alism more than his arrangements of ing of the second movement, followed Rossini. As Mahler did for Schumann by his use of bells and winds to evoke and Schoenberg did for Brahms, it can lightness in the intermezzo. Respighi be viewed as the greatest showing of uses the horns and to bring admiration to arrange pieces of past fel - the Finale, Tarantella “puro sangue” , to low countrymen. its feet in this colorful work.

Respighi’s Rossiniana is a four-move - Often misrepresented as a composer of ment orchestral suite derived from a fascist grandeur, Respighi regarded collection of Rossini’s piano works. himself as apolitical. It was not until The collection is titled Perches De Viei - after his death that his music became lesse , or literally “Old Age Sins.” The more anthemic for the Italian fascist music which Respighi arranges can be regime: in particular the symphonic tril - found in a subcategory titled Quelques ogy The Fountains of Rome , The Pines Riens , or “Some Things.” The history of Rome , and Roman Festivals . During behind these piano pieces gives us little his lifetime it was in fact his Rossini insight into why Respighi chose to arrangements— La Boutique Fantas - arrange them. The piano collection is tique (1919) written for the famous bal - known to be an abandoned attempt by let impresario Sergei Diaghilev and his Rossini to compose 24 preludes in all orchestral suite Rossiniana —which keys in the tradition of Bach and were most popular internationally. A Chopin. They were composed hastily largely forgotten relic, Rossiniana is a for a friend in need of money and later delightful work which will be surely categorized and titled by the publisher. enjoyed by performers and audiences alike. Notes by Emmanuel Koh, viola

Ermanno Wolf-Ferrari Il segreto di Susanna (Susanna’s Secret )

Ermanno Wolf-Ferrari’s life and career being a mute servant. The plot focuses were split between Italy and Germany. upon a simple, drawn out misapprehen - His mother was a Venetian noble - sion. Count Gil smells tobacco smoke woman and his father was a Bavarian around his house and begins to suspect painter. He added his mother’s maiden that his wife, Susanna, is having an name, Ferrari, to his surname around affair, because everyone in his house - 1895. Although Wolf-Ferrari showed a hold is a non-smoker. In the end, the great instinct for music from a young truth is disclosed—it is Susanna who is age, his father insisted on young the smoker. Count Gil is ultimately Ermanno following in his footsteps by relieved by Susanna’s admission and attending an art school in Rome. Music celebrates their reconciliation by relin - was merely an activity he pursued in his quishing his own non-smoker status to spare time. His interest in music, how - smoke with his wife. ever, came to overshadow that in paint - ing. He entered the Munich Akademie The opera begins with a sparkling over - der Tonkunst, where he studied under ture, establishing the nostalgically the great composer and pedagogue, familiar atmosphere in the manner and Joseph Rheinberger. spirit of 18th-century opera buffa (comic opera). The success and popu - Susanna’s Secret was composed as a larity of Susanna’s Secret , like many one-act “intermezzo” to a libretto by other comic of Wolf-Ferrari’s, is Enrico Golisciani, an Italian librettist owed to some extent to its charming and poet. The opera involves only two simplicity and Mozartian melodic singing characters (a soprano and a appeal. baritone), with the third character THE Artists LEON BOTSTEIN, Conductor E N

I Now. He has been music director of the D

T American Symphony since T A 1992, artistic codirector of Bard Sum - M merScape and the Bard Music Festival since their creation, and president of Bard College since 1975. He was the music director of the Jerusalem Sym - phony Orchestra from 2003–11, and is now conductor laureate. In 2018 he will assume artistic directorship at Grafenegg, Austria. Mr. Botstein is also a frequent guest conductor with around the globe, has made numerous recordings, and is a prolific author and music historian. He is the Leon Botstein brings a renowned career editor of the prestigious The Musical as both a conductor and educator to his Quarterly , and has received many hon - role as music director of The Orchestra ors for his contributions to music.

MICHAEL KELLY, Baritone I H

S Orchestra, the Houston, Pacific, and

Y Kansas City Symphonies, Chamber H T

O Music Society of Lincoln Center, Cathe - R

O dral Choral Society, Mostly Mozart D Festival, Chicago Opera Theater, Ars Lyrica, and Mercury Orchestra

Performances: Parisian debut in Stephen Sondheim’s Passion , Théâtre du Châtelet; European debut in Han - del’s Rinaldo with Opernhaus Zürich; Soldier in Matthew Aucion’s The Cross - ing at the A.R.T. Schubert Theatre; Coridon in Acis and Galatea and Myr - til/Tantale in Le Descente D’Orphée/La Appearances: Recitals at Carnegie Hall, Couronne de Fleurs for the Boston the Kennedy Center, Symphony Space, Early Music Festival; The Narrator in Il and at the National Opera Center; Combattimento di e Clorinda world premieres by Matthew Aucoin, with Gotham Chamber Opera; St. , Mohammed Fairouz, Ignatius in Four Saints in Three Acts Ben Moore; performances with the with the Mark Morris Dance Group; Cleveland Orchestra, Detroit Sym - Aeneas in Dido and Aeneas for Festival phony Orchestra, Saint Paul Chamber San Miguel de Allende; Almaviva in The Ghosts of Versailles for the Aspen Discography: Del Tredici’s A Field Man - Music Festival; Aeneas in La Didone ual ; live recording of Fairouz’s Zabur with Opernhaus Zürich; Figaro in Il for Naxos Records Barbiere di Siviglia with Indianapolis Opera; the 20th-anniversary production Honors: First-prize winner, 2013 of Kimper’s Patience and Sarah ; the Poulenc Competition; first-prize winner, New York premiere of Zabur at 2011 Joy in Singing; third-prize winner, Carnegie Hall with Indianapolis Sym - 2015 Naumburg Competition phonic Choir; Edward Kynaston in Carlisle Floyd’s The Prince of Players Education: Eastman School of Music, with the Little Opera Theatre of New The Juilliard School York

JINWON PARK, Soprano Appearances: Performances in Austria, Germany, South Korea, China, and America

Performances: American debut in the title role of Madama Butterfly with the Knoxville Opera, 2010; Performed in concerts celebrating the tenth anniver - sary of diplomatic relations between South Korea and China

Repertoire: Beethoven’s Ninth Sym - phony; Handel’s Messiah ; Haydn’s Creation

Awards: Audience Award at the New Education: Mozarteum in Salzburg, York Lyric Opera Vocal Competition; where she earned a Bachelor of Music Fourth Prize, Ferruccio Tagliavini Inter - in Voice, a Master of Music in Opera, national Competition (Graz, Austria); and further graduate qualifications in finalist, International Mozart Competi - Lied and Oratorio tion in Salzburg; the Austrian Government’s Ministry of Culture music scholarship THE ORCHESTRA NOW E N I D

T T A M

Founded in 2015, The Orchestra Now tion to a concert series at their home (T ŌN) is an innovative pre-professional base—the Richard B. Fisher Center for orchestra and master’s degree program the Performing Arts at Bard College— at Bard College that is preparing a new they perform multiple concerts each generation of musicians to break down season at Carnegie Hall and Lincoln barriers between modern audiences and Center, and offer complimentary con - great orchestral music of the past and certs at venues across the boroughs of present. Under the leadership of con - New York City in the Around Town ductor, educator, and music historian series. At The Metropolitan Museum Leon Botstein, T ŌN mines the wealth of Art they join Leon Botstein in the of underperformed repertoire, reimag - series Sight & Sound as he explores the ines traditional concert formats, and places where musical and visual expres - strives to make the experience of the sion meet, pairing orchestral works performers a part of the listeners’ expe - with masterpieces from the museum’s rience. At a T ŌN concert, musicians collection. and audience inspire one another, each following their curiosity with a shared In addition to Mr. Botstein and T ŌN’s sense of adventure. Associate Conductor and Academic Director, James Bagwell, guest conduc - The musicians of T ŌN hail from across tors in the first two seasons include the U.S. and eleven other countries: Fabio Luisi, Gerard Schwarz, and Australia, Canada, China, France, JoAnn Falletta. Hungary, Japan, Korea, Malaysia, Spain, Taiwan, and Venezuela. In addi - More info online at theorchestranow.org. THE ORCHESTRA NOW Leon Botstein, Music Director

Violin I Michael Rau, Andrew Borkowski, Adam Romey, Jonathan Wisner Concertmaster Principal Principal (Church Erin David Zhilin Wang Windows) Percussion Diego Gabete Hui Zhang Dávid A. Nagy, Tyson J. Voigt Haemi Lee Eleanor Lee Principal Fangxi Liu Lauren Peacock (Rossiniana, Guest Musicians Clara Engen Alana Shannon Susanna’s Secret) Kurt Munstedt Jinn Shin II Jiayu Sun Horn Wei Tan Andrés Rivas Bass Shannon Hagan, Youyang Qu Julian Lampert, Principal (Church Flute Hao Xing Principal Windows) Karla Moe Coline Berland Zhenyuan Yao Philip Brindise, Katherine Lee Althen Milad Daniari Principal Violin II William McPeters (Rossiniana) Grace Choi, Michael Franz Tim Skelly, Principal William Beecher Principal Paul Nemeth (Susanna’s Secret) Holly Nelson Horn Amos C. Fayette Flute Trumpet Michael Lombardi Jiyoung Moon Thomas J. Wible, Chris Moran, William Loveless Akiko Kamigawara Principal Principal (Church Leonardo Pineda Sasha Haft ( on leave ) Windows) Percussion Lili Sarayrah Zachary Silberschlag, Andrew Beall Drew Youmans Principal David Degge Mu-Ying Tsai Zachary Boeding, (Rossiniana, Charles Kiger Lara Baker-Finch Principal (1st half) Susanna's Secret) Yuri Yamashita Aleh Remezau, Szabolcs Koczur Viola Principal (2nd half) Piano Omar Shelly, Kelly Mozeik, Trombone Christopher Principal English Horn Matt Walley, Oldfather Marie-Elyse Badeau Principal (Church David Sytkowski David Riker Windows) Caleb Wong Sangwon Lee, Gabe Cruz, Principal Organ Scot Moore Principal (Church (Rossiniana, Christopher Chi Lee Windows) Susanna’s Secret) Creaghan Emmanuel Koh Micah Candiotti- Federico Ramos, Bonnie Heung Pacheco, Principal Bass Trombone Harp (Rossiniana, Tomina Parvanova Susanna’s Secret) Elias Rodriguez Dan Honaker – MEET THE T ON Musicians LEONARDO PINEDA, Violin E

E the annual Bard College Concerto com - N E

D petition

D I Appearances : San Antonio Chamber V A

D Orchestra; Simón Bolivar Orchestra (Táchira); New World Music Festival ; Morgues Academy; Philharmonic Orches - tra of Jamaica Instagram : @lpineda23 Favorite non-classical musicians : Stevie Wonder, The Beatles, Jamiroquai Favorite : Beethoven, Strauss, Brahms, Wagner, Berlioz Most fun piece to play : Anything from the romantic period—Bach’s Partitas and Sonatas Leonardo will talk briefly about Favorite obscure piece : Verklärte Nacht Respighi’s Church Windows on stage by Arnold Schoenberg before the performance Favorite painting : La Vie by Pablo Picasso Hometown : San Juan de Colón, Venezuela Piece of advice for a young classical Alma maters : Bard College Conserva - musician : Get involved with all the arts, tory not just music. Awards/Competitions : Distinguished Last book read : The Stranger by Camus artist in Táchira Venezuela; winner of

CLARA ENGEN, Violin E

E Sasha will talk briefly about Respighi’s L

O Rossiniana on stage before the perfor - T I J mance

Hometown: Minneapolis, MN Alma mater: Oberlin College and Con - servatory Appearances: Oberlin Orchestra, 2011–16; Oberlin Orchestra tours— Carnegie Hall, 2013, Chicago, 2016; Instructor at Work - shop with Cuarteto Girasol , Panama, 2015; Instructor with Oberlin in the Panama Project, 2014–15; Teaching Fellow with MusAid, Belize, 2014; Bre - vard Music Festival, 2013; Madeline 400+ musicians filling up the space Island Music Festival, 2012 from the stage, the aisles, and the bal - Musical origins: I started violin at the conies—it was the loudest and defi - age of 8 after I found my mom’s old nitely the most emotional experience of violin underneath her bed and begged my music education as a kid. to learn how to play it. Which composer would have had the Favorite piece to play: Prokofiev String best social media: I’d love to see Quartet op. 92 is really fun to per - Dvo řák snapchatting his way through form—I love the expansiveness, the Midwestern Americana in 1893. Plus, lonely tragedy, and the biting sarcasm he’d probably have some passionate of the piece. social media posts on racism and musi - Favorite obscure piece: Carlos cal culture in the U.S. Chávez’s Tres Espirales Favorite non-musical hobby: I make Favorite musical memory: When I was jewelry! eleven, my youth orchestra did a mass Piece of advice for a young classical performance of the slow theme musician: Embrace your talent with the from Jupiter by Gustav Holst. I remem - knowledge that your musical character ber standing in the center of the hall, is not determined by your technical totally overwhelmed by the power of mistakes.

OMAR SHELLY, Viola J I T

Omar will talk briefly about Wolf-Fer - O

L rari’s Susanna’s Secret on stage before E E the performance

Hometown : Las Vegas, NV Alma maters : San Francisco Conserva - tory of Music, University of Michigan Awards/competitions : 1st prize, Inau - gural Dale and Nancy Briggs Chamber Music Competition, 2014; 1st prize, American Fine Arts Festival Golden Era of Competition, 2012 Appearances : Youth Orchestra of the Americas, Eastern Canada, 2015; Orchestre Francophonie, Quebec, 2015; Orford Arts Centre, Orford, Canada, when I was 11 years old because my 2015; Sphinx Virtuosi, Fall US Tour, grandma played the viola in high 2014; Castleton Festival, Virginia, school. 2014; New York Sem - Favorite piece to play : Beethoven’s inar, 2013; Aspen Summer Music String Quartet No.1 Festival and School, 2013; Britten-Pears Favorite obscure piece : Copland’s Clar - Young Artists Programme, England, inet Concerto 2012; San Francisco Symphony Youth Last book read : Candide by Voltaire Orchestra, 2009–12 Favorite painting : Anything Rothko Instagram : @jemus20 Piece of advice for a young classical Musical origins : I started playing viola musician : Practice slower. THE T O¯ N FUND DONORS

The Orchestra Now gratefully acknowledges the generous support of each and every donor who makes our work a reality. Thank you for making this important investment in a new generation of musicians. The Andrew W. Mellon Foundation Ernest Lieber Anonymous (6) Bonnie Loopesko and Daniel Shapiro Tamarah and Carley Balazs Andrea Louie Joseph J. Baxer and Barbara Anne Bacewicz Warren R. Mikulka Pamela Berlinghof Karen E. Moeller and Charles H. Talleur Maria J. Chiu Roy Moses Lisa Cohen Joanne and Richard Mrstik Elaine Dale John D. Murphy Nicole M. de Jesús Marcia Neeley Thomas De Stefano Maury Newburger Vincent M. Dicks Mr. and Mrs. Robert Renbeck Michael Dorf Ellen Reynolds The Elgar Society Susan and D. Richard Rowland Denise and Scott Engen Roberta Sandeman Barbara Ewert Barbara A. and Joseph Schoenberg Arnold and Milly Feinsilber Stephen Shafer Elaine Frank Frances Sharpless The Gallego and Maliner Families, in memory Jo Shute and Allan Wieman of Chester (Chet) J. Borkowski III Jen Shykula and Tom Ochs GE Foundation Peter Sipperley Hans R. Gunderud Felicitas S. Thorne Stan Harrison Howard Wallick Erica Kiesewetter Ann and Douglas William, in honor of the Marilyn and William L. Kirchner weddings of Chelsea & Eric Gottlieb and The Kurt Weill Foundation for Music Stephanie & Fred Peters Joy Lee and Richard Packert Shelley and Vic Wisner, in honor of Jonathan Arthur S. Leonard Wisner Peter J. and Susan B. LeVangia Wendy Wolfenson Elinor Wallach Levin Marlene Zaslavsky Amala and Eric Levine Leila Zogby

We also gratefully acknowledge the following donors who generously supported T ŌN’s first anniversary celebration at City Winery on October 13, 2016. Thank you for joining the festivities! SET THE T O¯ N: A CELEBRATION OF THE ORCHESTRA NOW

Rebecca Ackerman James and Andrea Nelkin Paul L. Audet Maury Newburger Tamarah Balazs Hoang-Oanh Nguyen Susan Beckerman Douglas Okerson and William Williams Miriam R. Berger Mr. and Mrs. James H. Ottaway Jr. Dr. László Z. Bitó and Olivia Cariño Arthur S. Reynolds José M. de Jesús, Jr. Brigitte R. Roepke, Hospitality Committee for Khoa Doan United Nations Delegations Michael Dorf Charles Roth Elizabeth Duby Jen Shykula and Tom Ochs Lauren Effron Felicitas S. Thorne Scott Huang Brian P. Walker Laura Kaminsky Clint White Caroline Kelch Philip and Martha White Bridget Kibbey Ingrid Yen Sylvia and Nelson Kier Carrie E. Yotter Lise Laurent Ian Zimmerman Todd D. Marcus Lisa Marshall Lists current as of March 9, 2017 Christine Munson THE ORCHESTRA NOW ADMINISTRATION

Artistic Staff Administrative Staff Leon Botstein, Music Director Lynne Meloccaro, Executive Director James Bagwell, Associate Conductor and Oliver Inteeworn, Managing Director Academic Director Brian J. Heck, Director of Marketing Zachary Schwartzman, Resident Conductor Nicole M. de Jesús, Director of Development Erica Kiesewetter, Director of Audition Sebastian Danila, Music Preparation and Preparation and Principal String Coach Researcher Bridget Kibbey, Director of Chamber Music Marielle Metivier, Orchestra Manager and Arts Advocacy Alice Terrett, Marketing Associate Benjamin Oatmen, Librarian Hsiao-Fang Lin, Assistant Orchestra Manager Kristin Roca, Administrative Assistant

BARD COLLEGE BOARD OF TRUSTEES

Charles P. Stevenson Jr., Chair Emeritus Sally Hambrecht James C. Chambers ’81, Chair Marieluise Hessel Emily H. Fisher, Vice Chair Maja Hoffmann George F. Hamel Jr., Vice Chair Matina S. Horner+ Elizabeth Ely ’65, Secretary, Life Trustee Charles S. Johnson III ’70 Stanley A. Reichel ’65, Treasurer, Life Trustee Mark N. Kaplan, Life Trustee Fiona Angelini George A. Kellner Roland J. Augustine Fredric S. Maxik ’86 Leon Botstein+ James H. Ottaway Jr., Life Trustee Stuart Breslow+ Martin Peretz, Life Trustee Mark E. Brossman Stewart Resnick, Life Trustee Thomas M. Burger+ David E. Schwab II ’52 Marcelle Clements ’69, Life Trustee Roger N. Scotland ’93, Alumni/ae Trustee Craig Cogut Jonathan Slone ’84 The Rt. Rev. Andrew M. L. Dietsche, James A. von Klemperer Honorary Trustee Brandon Weber ’97, Alumni/ae Trustee Asher B. Edelman ’61, Life Trustee Susan Weber Paul S. Efron Patricia Ross Weis ’52 Robert S. Epstein ’63 Barbara S. Grossman ’73, Alumni/ae Trustee + ex officio Andrew S. Gundlach MATT DINE T o t n N r T t i i P m A D s Y T g e D Y p l n e o e c n r r i l i o r o a o r O x o o d a e

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THE ORCHESTRA NOW SPRING 2017 SCHEDULE

GLASS ON BOWIE Works by Herrmann & Harris, plus Philip Glass’ symphony based on David Bowie’s album Low Conducted by James Bagwell Saturday, April 1, at 8 p.m. and Sunday, April 2, at 3 p.m.

THE DREAM OF GERONTIUS Elgar’s choral masterpiece in a side-by-side concert with musicians from the Bard College Con - servatory Orchestra Conducted by Leon Botstein , with mezzo-soprano Sara Murphy , Jonathan Tetelman , bari - tone Christopher Burchett , the Bard College Chamber Singers, Vassar College Choir, and Cappella Festiva Chamber Choir Saturday, April 8, at 8 p.m. and Sunday, April 9, at 2 p.m.

BARTÓK’S THE MIRACULOUS MANDARIN Plus Ligeti’s Violin Concerto and Dohnányi’s Symphony No. 2 Conducted by Leon Botstein , with violinist Matthew Woodard Saturday, April 22, at 8 p.m. and Sunday, April 23, at 2 p.m.

SCHUBERT & SHOSTAKOVICH Three symphonies: Schubert’s 3rd, Shostakovich’s 15th, and Schoenberg’s 1st Chamber Sym - phony Conducted by Oleg Caetani Friday, May 5, at 7:30 p.m.

SIGHT & SOUND Conductor and music historian Leon Botstein draws parallels between music and the visual arts Ives’ Three Places in New England and the artwork of Marsden Hartley Sunday, May 21, at 2 p.m.

FABIO LUISI CONDUCTS BEETHOVEN & BRAHMS The principal conductor of the Metropolitan Opera leads Beethoven’s Violin Concerto and Brahms’ 4th Symphony with violinist David Chan , concertmaster of the MET Orchestra Sunday, May 28, at 1 p.m.

More information available at theorchestranow.org.