Thursday Evening, November 14, 2019, at 7:00 Isaac Stern Auditorium / Ronald O. Perelman Stage

presents

LEON BOTSTEIN, Conductor

Performance #141: Season 5, 12

ARTHUR HONEGGER Rugby (1928) (1891–1955)

OTHMAR SCHOECK Lebendig begraben (Buried Alive), Op. 40 (1886–1957) (1926) MICHAEL NAGY, Baritone

Intermission

DIMITRI MITROPOULOS Grosso (1929) (1896–1960) Largo Allegro—Largo Chorale: Largo Allegro

IGOR STRAVINSKY Divertimento, Symphonic Suite from the (1882–1971) Ballet The Fairy’s Kiss (1928, 1931, rev. ’32, ’34, ’49) Danses suisses (“Swiss Dances”) Scherzo Pas de deux a. Adagio b. Variation c. Coda

This evening’s concert will run approximately 2 hours and 25 minutes including one 20-minute intermission.

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. Notes ON THE MUSIC

– TON’S KADEN HENDERSON ON ’S RUGBY

MATT DINE Full Contact Music Honegger’s second tone poem, entitled Rugby, which we will be hearing today, was composed in 1928. Although it bears the name Rugby, the composer himself insisted that this work was not programmatic in a traditional sense. Despite what Honegger may have said, it takes little imagination to find oneself in the middle of the pitch dodging tack- les left and right from the very first note. Immediately from the downbeat it is apparent that Honegger is not alluding to two-hand-touch rugby, but rather the sport in its full contact, “hold no pris- oners” variety. The very first notes from The Composer the strings hit the audience like a ton of When thinking about the great orches- bricks as the cascading strings sweep us tral tone poems in our repertoire, the into a musical dogpile. Violent mind immediately drifts to the likes and loud brass proclamations provide of and works like an energetic backdrop for the strings Don Juan, Also sprach Zarathustra, to demonstrate their virtuosic feats of and Don Quixote. Often overlooked, agility and precision. Honegger really however, is Arthur Honegger, a Swiss shines in the way he is able to craft composer who largely composed in dissonant and often grotesque chords France during the early-to-mid 20th into something that is nothing short of century. It was in France that Honegger brilliant and endlessly entertaining. wrote his three tone poems: Pacific 231, Rugby, and Symphonic Movement Lyrical Beauty No. 3. Although not as well-known in Unlike his more dreamy and impression- America due to his untimely death in istic counterparts in Les Six, Honegger 1955 on the eve of a major American seems to thrive in a darker landscape. tour, he is widely known and appreci- This work is loud, brash, and orches- ated in Europe, where his face adorned trated very heavily. The pointillist bass the 20-Franc banknote from 1996– line offers an almost conversational 2017. He was a member of Les Six, a rebuttal against the cascading violins, group of French composers, including much like playful banter on the field Poulenc and Milhaud, that paved the between friends. Although Honegger way for modern French often employs striking dissonance, in the 20th century. there are moments of exceptional lyrical beauty. My favorite moment comes about half way into the work, after a rather heated argument between these are sure to bring smiles to the the bass section and the bassoons. Just faces of Schoenberg and Rossini lovers as it sounds there is about to be a phys- alike. Now put on your helmet, secure ical altercation, listen for the violins to your elbow pads, and get ready for sweep in to calm the growing tension a musical sporting match like you’ve with a melody that sounds straight out never heard before! of a Tchaikovsky ballet. Moments like – TON’S LUKE BAKER ON ’S LEBENDIG BEGRABEN (BURIED ALIVE), Op. 40

MATT DINE The through-composed musical score carries the soloist seamlessly from each scene to the next. The subject matter of these poems are quite dark, depicting thoughts of a man who has been mis- takenly buried alive after falling into a coma and being pronounced dead. The early songs are filled with the erratic, panic-stricken thoughts of the narrator, which eventually give way to recollec- tion and contemplation of fond mem- ories of youth and love. At the close, he accepts his fate and metaphorically casts his soul into eternity.

The Music Retaining Tonal Style Schoeck crafts the music to aptly guide Composition in the first half of the 20th and represent the narrative. He uses century was marked by the innovation many instrumental effects to directly of many new atonal styles by composers depict the poetic action, such as the like and . slamming of a door or the high-pitched During these years, the Swiss composer clarinets imitating his nagging wife. The Othmar Schoeck retained an essentially work is held together by many ositnati tonal compositional style using conven- and repeating baselines to create formal tional formal structures with careful and passacaglias and chaconnes. effective use of dissonance. The vast majority of his compositions are musical What is Man? settings of poetry in the form of lieder, A few years before his death, Schoeck song cycles, and operas. discussed this work in conversation with a friend. He said “Lebendig The Story begraben in my opinion has as its theme: This particular work is a setting of 14 What is man? What is our life? Where poems by Swiss writer . do we come from, where are we going?” – TON’S VIKTOR TÓTH ON DIMITRI MITOPOULOS’

MATT DINE the musical materials between small groups of the ensemble. The is significantly smaller in size than what one would typically expect; there are no flutes, oboes, or low brass. You can also hear nods to Mitropoulos’ interest in Bach’s organ music, which he some- times arranged for orchestra.

A Baroque Beginning The beginning of the first movement follows the structure of the traditional baroque overture, based on Bach’s orchestral suites. The rhythmic patterns of the beginning—long-held notes being interrupted by extremely fast and sharp The Composer short notes between the string and horn Dimitri Mitropolus demonstrated his sections—create two masses of sounds exceptional musical skills at a very early competing with each other, each trying age. While in secondary school, he hosted to outrun the other one. During the informal musical gatherings at his house baroque era, composers used this tech- every Saturday afternoon. After study- nique to express royal grandeur and ing piano, harmony, and counterpoint in majesty. The traditional second part of the Athens and Brussels Conservatories, the baroque overture is represented here he returned to Greece and was well- by the introduction of the fugue theme known for premiering unfamiliar con- in the second movement. First, the trum- temporary works. Mitropoulos estab- pets announce the main theme in a seven- lished his international reputation with eight meter that was not commonly used the Berliner Philharmoniker in 1930 in baroque pieces. This gives some kind when he stepped in at the last minute of uncertainty, but it also helps the dif- to perform Prokofiev’s Piano Concerto ferent orchestral parts to intertwine in a No. 3 while also the piece, very natural way. becoming one of the first modern art- ists to do so. This concert also marked Imitating the Organ the premiere of his Concerto Grosso. Mitropoulos’s admiration of the organ Mitropoulos joined the Minnesota is the most prominent in the third Symphony in 1936 and the movement. He does not use the organ Philharmonic in 1949, where he contin- in this piece at all, but rather the com- ued programming and commissioning positional technique of it. The clari- new contemporary works. nets with their different intervals and then the bassoons imitating the clari- The Instrumentation nets’ materials resemble the sound of Instead of the traditional concerto organ pipes. Later on, these instru- instrumentation, where a solo- ments ornate and develop the strings’ ist is accompanied by the orchestra, slow choral melodies. The last part of Mitropoulos’ Concerto Grosso passes the piece could be called the fast and furious movement. It sounds like pure that the percussive piano and trumpets chaos with the wide slides of the strings attempt to organize. – TON’S SARAH SCHOEFFLER ON ’S DIVERTIMENTO, SYMPHONIC SUITE FROM THE BALLET THE FAIRY’S KISS

MATT DINE Adaptation and Admiration The ballet itself was Stravinsky’s adap- tation of the Hans Christian Andersen fairy tale The Ice Maiden, and was Stravinsky’s chance to pay homage to Tchaikovsky. Despite his derision of romanticism, Stravinsky had long admired Tchaikovsky, treasuring a child- hood memory of when he caught a glimpse of the great composer at a con- cert in St. Petersburg. In The Fairy’s Kiss, Stravinsky combined fragments from Tchaikovsky with his own composition so persuasively that Stravinsky later said he lost track of what belonged to whom.

The History The Music and Story Le Baiser de la fée (The Fairy’s Kiss) is The Divertimento is comprised of four a one-act ballet composed in 1928 by movements: Sinfonia, Danses suisses, the Russian pianist, composer, and con- Scherzo, and Pas de deux. Sinfonia is ductor Igor Stravinsky. Over the years, taken from the introductory scene of the ballet underwent several prominent the ballet, and portrays a disoriented revisions and adaptations. One of the mother lost with her child in a storm. most lasting results from such efforts As in the Hans Christian Anderson is the Divertimento, an orchestral suite tale, the fairy’s sprites steal the baby comprised of music taken from the away from the mother. You can hear ballet. It is the result of a collabora- Stravinsky’s characteristic rhythmic tion between Stravinsky and violinist brilliance in this movement. The next Samuel Dushkin. In 1932, for Dushkin, movement, Danses suisses, depicts the Stravinsky created an arrangement of engagement party for the child, now a The Fairy’s Kiss for violin and piano grown man. In the Scherzo movement, alone entitled Divertimento, and two the fairy leads the young man to a mill years later he orchestrated the same where his betrothed is with her friends. music into the concert suite which you In the last movement, Pas de deux, the will hear today. The concert suite con- lovers dance, we enjoy some of the tains approximately half of the music most exquisitely beautiful writing of the from the original ballet. entire work. THE Artists

LEON BOTSTEIN, Conductor

MATT DINE Now. He has been music director of the American Symphony Orchestra since 1992, artistic codirector of Bard SummerScape and the Bard Music Fes- tival since their creation, and president of since 1975. He was the music director of the Jerusalem Symphony Orchestra from 2003–11, and is now conductor laureate. In 2018 he assumed artistic directorship of the Grafenegg Academy in Austria. Mr. Botstein is also a frequent guest con- ductor with around the globe, has made numerous recordings, and is a prolific author and music historian. He is the editor of the prestigious The Musical Leon Botstein brings a renowned career Quarterly, and has received many hon- as both a conductor and educator to his ors for his contributions to music. More role as music director of The Orchestra info online at leonbotstein.com

MICHAEL NAGY, Baritone

MONIKA HÖFLER Recent: Don Alfonso in Così fan tutte at Zurich Opera House, Amfortas in Parsifal at the under Kirill Petrenko

Performances: , Frankfurt Opera; major stages in Vienna, Munich, Hamburg, Berlin, Geneva and Zurich

Appearances: ; Royal Concertgebouw Orchestra; Bavarian Radio Symphony Orchestra; Symphony Orchestra; NHK Symphony Orchestra in Tokyo; Orchestre de Paris; Gewandhaus Upcoming: three revivals at Zurich Opera Orchestra; Konzerthausorchester House and Bavarian State Opera; recitals Berlin; New Japan Philharmonic; in Barcelona, London, and Zurich Sydney Symphony Orchestra; recitals in Munich, Cologne, Bonn, and Essen; Education: studied singing, lied interpre- Stuttgart Hymnus Boys’ Choir tation, conducting with Rudolf Piernay, Irwin Gage, and Klaus Arp; attended Festivals: Bayreuth, Schleswig-Holstein, master classes with Charles Spencer, Rheingau, Salzburg, Tanglewood, Cornelius Reid, and Rudolf Piernay Grafenegg, San Sebastián

THE ORCHESTRA NOW DAVID DENEE

– – The Orchestra Now (TON) is a group ing from the orchestra,” founded TON of vibrant young musicians from across in 2015 as a graduate program at Bard – the globe who are making orchestral mu- College, where he is also president. TON sic relevant to 21st-century audiences by offers both a three-year master’s degree in sharing their unique personal insights in curatorial, critical, and performance stud- a welcoming environment. Hand-picked ies and a two-year advanced certificate in from the world’s leading conservatories— orchestra studies. The orchestra’s home including The , Shanghai base is the -designed Fish- Conservatory of Music, Royal Conserva- er Center at Bard, where they perform tory of Brussels, and the Curtis Institute of multiple each season and take – Music—the members of TON are enlight- part in the annual . ening curious minds by giving on-stage in- They also perform regularly at the finest troductions and demonstrations, writing venues in New York, including Carnegie concert notes from the musicians’ perspec- Hall, , The Metropolitan tive, and having one-on-one discussions Museum of Art, and others across NYC with patrons during intermissions. and beyond. HuffPost, who has called – TON’s performances “dramatic and in- Conductor, educator, and music histori- tense,” praises these concerts as “an op- an Leon Botstein, whom the New York portunity to see talented musicians early Times said “draws rich, expressive play- in their careers.” The orchestra has performed with many on Hyperion Records in the – distinguished guest conductors and so- spring of 2020. Recordings of TON’s loists, including Neeme Järvi, Vadim live concerts from the Fisher Center can Repin, Fabio Luisi, Peter Serkin, Gerard be heard on Classical WMHT-FM and Schwarz, , Zuill Bailey, and WWFM The Classical Network, and are JoAnn Falletta. In the 2019–20 season, featured regularly on Performance Today, conductors Leonard Slatkin and Hans broadcast nationwide. In 2019, the or- – Graf will also lead TON performances. chestra’s performance with Vadim Repin Recordings featuring The Orchestra Now was live-streamed on The Violin Channel. include Ferdinand Ries piano with Piers Lane on Hyperion Records, Explore upcoming concerts, see what and a Sorel Classics concert record- our musicians have to say, and more at ing of pianist Anna Shelest performing theorchestranow.org. For more infor- – works by Anton Rubinstein with TON mation on the academic program, visit and conductor Neeme Järvi. Upcoming bard.edu/theorchnow. albums include a second release with THE ORCHESTRA NOW Leon Botstein, Music Director

Violin I Bass Horn Guest Musicians Yuqian Zhang Joshua DePoint William Loveless VI Concertmaster Principal Principal 1, 2 Violin I 3, 4 Linda Duan Justin Morgan Assistant Leonardo– Pineda Bram Margoles Kaden Henderson Steven Harmon TON ’19 3, 4 Stuart McDonald Luke Stence Principal , Drew– Youmans Gaia Mariani Mariya-Andoniya Assistant 1, 2 TON ’19 Ramsdell Henderson Luke Baker Kathryn Aldous Weiqiao Wu Amy Nickler Sarah Konvalin Tin Yan Lee Emily Buehler Violin II Flute Allyson Tomsky Violin II Denis Savelyev Trumpet Ragga Petursdottir Dillon Robb Principal 1, 4 Guillermo García Principal Leanna Irene Ginsburg Cuesta Viola Yurie Mitsuhashi Principal 2 Principal 1, 3 Karen Waltuch Tianpei Ai Matthew Ross Samuel Exline Junah Chung Gergo˝ Krisztián Tóth Piccolo 1 Principal 2 Esther Goldy Roestan Anita Tóth Principal 4 Piano/Celeste Jacques Gadway Oboe Jim Lake Shawn Hutchison Trombone Edward Forstman Viola Principal 1, 2 Ian Striedter Lucas Goodman Regina Brady Principal 1, 4 Organ Principal Principal 4 David Kidd Renee Louprette Leonardo Vásquez James Jihyun Kim Principal 2 Chacón English Horn Cameron Owen Bass Sean Flynn Trombone Katelyn Hoag Clarinet 1 Honegger Larissa Mapua Viktor Tóth Tuba 2 Schoeck Batmyagmar Principal 1 Jarrod Briley 3 Mitropoulos Erdenebat Rodrigo Orviz 4 Stravinsky Pevida Principal 2 Timpani Cello Ye Hu Principal 3 Jacob Lipham * not performing in Lucas Button Matthew Griffith this concert Principal Principal 4 Percussion Sara Page Bass Clarinet 1, 2 Wanyuè Yè Kyle Anderson Principal Chiyuan Ma Bassoon Won Suk Lee Kelly Knox Matthew Gregoire Charles Gillette* Sarah Schoeffler Principal 1, 4 Pecos Singer Xiaoxiao Yuan Harp Eva Roebuck Principal 2, 3 Emily Melendes Carl Gardner Contrabassoon 1, 2 – Members of TON can be identified by their distinctive blue attire. – MEET THE TON Musicians

JAMES JIHYUN KIM, Oboe

MATT DINE What is your earliest memory of classi- cal music? Taking violin lessons when I was very young and playing Twinkle, Twinkle, Little Star. When did you realize you wanted to pursue music as a career? When I gave my first public performance on oboe when I was 15.

What inspired you to audition for – TON? My teacher and friends intro- – duced me to TON. I heard about the program from them and I loved the idea that it is designed to educate excep- tional orchestral musicians. Performing with great conductors and colleagues is James will talk briefly about Arthur always inspiring. Honegger’s Rugby on stage before the performance. Who is your biggest inspiration? Albrecht Mayer, Principal oboist of Hometown: Seoul, Korea Berlin Philharmonic

Alma maters: The Juilliard School, What has been your favorite experience B.M.; Stony Brook University, M.M.; as a musician? It is always great to feel Yale School of Music, A.D. emotionally bonded with the audience on stage. Oboe parts usually have some Awards/Competitions: Finalist (One of beautiful solo lines which are always a Five), Honorable Mention, 2013 IDRS pleasure to play for other people. Fernand Gillet-Hugo Fox International Oboe Competition What is some advice you would give to your younger self? Do not quit playing Appearances: Pablo Casals Music piano even if you don’t want to prac- Festival, France; Norfolk Chamber tice. There will be times when you want Music Festival; Aspen Music Festival to play more than one note at a time. LUKE STENCE, Bass

MATT DINE Festival, 2014; National Repertory Orchestra, 2012–13; Round Top Music Festival, 2011.

Website: lukestence.com

What is your earliest memory of classi- cal music? Growing up I had an audio- book of Beethoven Lives Upstairs by Barbara Nichol, which inspired me to take piano lessons. For a second grade presentation I dressed up as Beethoven and played the right hand part of Für Elise on the piano. Playing up the com- poser’s deafness, I had a makeshift ear trumpet and would yell “HUH?!” every Luke will talk briefly about Othmar time a classmate asked me a question. Schoeck’s Lebendig begraben (Buried Alive), Op. 40 on stage before the per- Which composer or genre of music do formance. you feel you connect with the most? I enjoy playing music written by living Hometown: Austin, TX composers, especially in collaborative environments. It is exciting to bring Alma maters: School of new music to life! Music, Yale University Favorite non-classical musician or Instagram: @lukestencil band: The Talking Heads

Awards: Homer Mensch Award, If you could play another instrument, Manhattan School of Music, 2014 what would it be? Believe it or not, I would want to play the viola. Appearances: Teatro Nuovo Orchestra, 2019; New Haven Symphony; Talea If you weren’t a musician, what would Ensemble; Bard Music Festival, 2018; you be doing? I would be an archaeol- Chelsea Music Festival, NYC, 2014, ogist. 2018; Next Festival of Emerging Artists, NYC, 2017–18; Britten–Pears Tell us something about yourself that Young Artist Programme, Aldeburgh, might surprise us: In my free time I UK, 2016; Music Academy of the West, enjoy drawing with charcoal. 2015–16; Norfolk Chamber Music LARISSA MAPUA, Viola

MATT DINE first piano books. She used to give me candy after lessons and I was into that, too. Some of the songs in my books had lyrics. One of the first right-hand songs I learned had lyrics from an old saying about the days of the month. It went, “Thirty days has September, April, June and November—All the rest have thirty- one—February has twenty-eight.” To this day, I still sing it in my head some- times towards the end of the month to figure out my life, in the labored of the piano songbook.

What has been your favorite experience as a musician? Playing Strauss’ An Larissa will talk briefly about Dimitri Alpine Symphony at Indiana University Mitopoulos’ Concerto Grosso on stage under the baton of Carl St. Clair. It’s before the performance. one of my favorite pieces!

Hometown: Acworth, Georgia Favorite non-classical musician or band: These days, my favorite band is Alma maters: DePaul University, Beach House. I also perpetually listen 2014–16, B.M.; Indiana University, to Ella Fitzgerald. But more specifically, 2016–18; M. M. the best song of all time is definitely “Dancing Queen” by ABBA. I heard Awards/Competitions: 2011 Rose it on karaoke at Filipino parties in the Thomas Smith Award, National ’90s a lot, so it makes me nostalgic. Federation of Music Clubs If you could play another instrument, Appearances: National Music Festival what would it be? Organ at Washington College, 2016; National Symphony Orchestra Summer Music If you weren’t a musician, what would Institute Festival, 2015; Madeline Island you be doing? I always thought it Chamber Music Festival, 2014; Green would be cool to be a pilot. Or maybe Mountain Chamber Music Festival, a vegetable farmer. The piano teacher 2013; Brevard Music Center, 2011 I mentioned earlier, Virginia Baccay, and my high school orchestra director, What is your earliest memory of classi- Paula Krupiczewicz, both convinced my cal music? My earliest memory of clas- parents to let me major in music and sical music is my first piano lesson with attend schools out-of-state. So I have my late teacher Virginia Baccay. I was those two amazing people to thank that six years old and very excited to get my I am a musician today! DENIS SAVELYEV, Flute

MATT DINE 2015; Primorsky stage of the Mariinsky Theatre, Vladivostok, , 2013–14; The Galina Vishnevskaya Opera Center, Moscow, 2013; Kremlin Orchestra in Moscow, Russia, 2013; International Regional Orchestra, Germany, 2010–13

Musical origins: I was 5 years old when I started playing the flute. I had good music skills when I was in kindergar- ten, so the music teacher recommended me to play on the instrument. When I started playing the flute, I felt so special by being able to produce the sound and make music. With a lot of practice, I was able to get better every day and perform Denis will talk briefly about Igor on the stage. Stravinsky’s Divertimento, Symphonic Suite from the Ballet The Fairy’s Kiss Favorite composer fact: Tchaikovsky on stage before the performance. and Saint-Saens used to enjoy imitating ballet dances when they were at The Hometown: , Moscow Conservatory together.

Alma maters: Lviv Special Music School Favorite fact about your instrument: named after Solomia Krushelnytksa, Flutes are the earliest extant musical Gnesin Academy of Music in Moscow, instruments. Mannes School of Music The thing most people don’t know Instagram: @denis.save about classical music is: Live music sounds better than any recording. Awards/Competitions: 1st Prize, 2019 New Jersey Flute Club Young Favorite painting: The Starry Night Artist Competition; 2nd Prize, 2019 by Vincent van Gogh. Painted in June National Flute Association Young Artist 1889, it depicts the view from the Competition; 1st Prize, 2017 New York east-facing window of his asylum room Flute Club Young Artist Competition; at Saint-Rémy-de-Provence, just before 2nd Prize, 2016 Bida Competition in Lviv; sunrise, with the addition of an ideal- 1st Prize, 2008 Uzhgorod Competition ized village.

Appearances: Galway Flute Festival, Piece of advice for a young classical 2019; Eurasia Festival, 2019; New York musician: Practice every day, just the Symphonic Ensemble, Japan tour, 2016; same as you dream every night. Manhattan Symphony, China tour, – SUPPORT TON

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THE YVONNE NADAUD MAI Peter and Susan J. LeVangia Roy Moses CONCERTMASTER CHAIR Tatsuji Namba Douglas Okerson and Made possible by The Mai Family Judith Thoyer William Williams Foundation – Nora Post TONor Catherine K. and Fred Reinis LEADERSHIP GIFTS Anonymous Roland Riopelle Michael Dorf and Sarah Connors* Jinhi Baron Nina Selmayr Rockefeller Brothers Fund Richard Bopp Anna Shuster Felicitas S. Thorne* Kent Brown Peter Sipperley Christine Edwards Frances Smyth CONDUCTOR’S BOX Arnold and Milly Feinsilber Rose Veccia Anonymous Elaine Frankle Michael and Leslie Weinstock Marshall Family Foundation, Inc. Hildegard Frey Edling Judith Winzemer The Vaughan Williams Stan J. Harrison Charitable Trust Scott Huang PRELUDE Charlotte Mandell Kelly and Julia Aneshansley FORTE Robert Kelly Leslie and Louis Baker Anonymous John and Mary Kelly Randi Blom Dr. Miriam Roskin Berger* Lisa S. King-Smith and Deloss Brown Gary and Martha Giardina* Bernard King-Smith Philip Brown Robert Losada Karen E. Moeller and Ms. Joan Cohen Christine Munson* Charles H. Talleur James T. Costello Harold Oaklander Ann and Thomas Robb Thomas De Stefano Denise and Glenn Ross James K. Smyth Julie Hamrah Johnson Fels Jen Shykula and Tom Ochs* Meyer J. Wolin Renate L Friedrichsen Ian Zimmerman and Ralph B. Lawrence TRUMPETER Heather Jane McCormick* Barbara Mansell Anonymous (2) Marilyn Marbrook Joseph Baxer and DOWNBEAT James McLafferty Barbara Bacewicz Anonymous Rikki Michels Hospitality Committee for United Diane and Ronald Blum Millbrook Acupuncture, PLLC Nations Delegations (HCUND) Claudine Brenner John D. Murphy Tyler J. Lory and Maria J. Chiu Margaret Nadramia Michael Rauschenberg Susan Christoffersen Nina Gottlieb Family Fund of Joanne Mrstik Barbara Ewert Fidelity Charitable James and Andrea Nelkin Vera A. Farrell Marc Osterweil Maury Newburger* Helena and Christopher Gibbs Bode Osunsanmi Northwestern Mutual Foundation Carol Goss Anthony Pabon Brigitte R. Roepke Robert and Karen Harvey Ellen and Tom Rocco Bonnie and Daniel Shapiro Jack Homer Allan and Ronnie Streichler* Neil Jacobs Joan W. Roth Vincent Roca* Laura Johnson and Edward Sandfort Paul F. Salerni Gerald Scorse CRESCENDO Elizabeth and Ray Kasevich Diane J. Scrima Anonymous David L. Lewis Gil Seligman Mr. and Mrs. Ronald Atkins Ms. Emma Lewis Margaret Sellers Erika Bernich Koren C. Lowenthal and Frances Sharpless Jesika Berry* Larry Lowenthal Faythe Smith Stan J. Harrison Harvey Marek Kassell Family Foundation of the Emily Michael Robert and Lynda Youmans Jewish Communal Fund Warren R. Mikulka Erica Kiesewetter Gary E. Morgan *Includes gifts to the Bard Music Festival and The Orchestra Now 2019 Gala. This list represents gifts made to The Orchestra Now between September 23, 2018 and September 23, 2019. – For information on contributing to TON, or to update your listing, please contact Nicole M. de Jesús at [email protected] or 845.758.7988. Thank you for your partnership. THE ORCHESTRA NOW

Artistic Staff Administrative Staff Leon Botstein, Music Director Vincent Roca, Managing Director James Bagwell, Associate Conductor and Brian J. Heck, Director of Marketing Academic Director Nicole M. de Jesús, Director of Development – Jindong Cai, Associate Conductor Leonardo Pineda, TON ’19 Director of Zachary Schwartzman, Resident Conductor International Development Andrés Rivas, Assistant Conductor Sebastian Danila, Music Preparer and Erica Kiesewetter, Professor of Orchestral Researcher Practice Marielle Metivier, Orchestra Manager Bridget Kibbey, Director of Chamber Music Alice Terrett, Marketing Manager and Arts Advocacy Benjamin Oatmen Librarian Viktor Tóth, Production Coordinator Kristin Roca, Administrative Assistant

BARD COLLEGE

Board of Trustees Charles S. Johnson III ’70 James C. Chambers ’81, Chair Mark N. Kaplan Life Trustee George F. Hamel Jr., Vice Chair George A. Kellner Emily H. Fisher, Vice Chair Fredric S. Maxik ’86 Elizabeth Ely ’65, Secretary; Life Trustee James H. Ottaway Jr. Life Trustee Stanley A. Reichel ’65, Treasurer; Life Trustee Hilary C. Pennington Martin Peretz Life Trustee Fiona Angelini Stewart Resnick Life Trustee Roland J. Augustine David E. Schwab II ’52 Leon Botstein+, President of the College Roger N. Scotland ’93 Alumni/ae Trustee Mark E. Brossman Annabelle Selldorf Jinqing Cai Mostafiz ShahMohammed ’97 Marcelle Clements ’69 Life Trustee Jonathan Slone ’84 The Rt. Rev. Andrew M. L. Dietsche Jeannette H. Taylor+ Honorary Trustee James A. von Klemperer Asher B. Edelman ’61 Life Trustee Brandon Weber ’97 Alumni/ae Trustee Robert S. Epstein ’63 Susan Weber Barbara S. Grossman ’73 Alumni/ae Trustee Patricia Ross Weis ’52 Andrew S. Gundlach Matina S. Horner+ + ex officio THE ORCHESTRA NOW: UPCOMING EVENTS

Sunday, December 8, 2019, at 2 p.m. HONEGGER, VALLOTTON & THE AVANT-GARDE IN PARIS

Conductor and music historian Leon Botstein explores the parallels between music and art. A discussion is accompanied by musical excerpts and on-screen artworks, then a full perfor- mance and audience Q&A

Leon Botstein, conductor

Arthur Honegger Symphony No. 1 (First NYC performance in 58 years) and the artwork of Félix Vallotton

Sunday, December 15, 2019, at 3 p.m. at Rose Theater at Jazz at Lincoln Center’s Frederick P. Rose Hall TAN DUN CONDUCTS STRAVINSKY, DEBUSSY & BARTÓK – Grammy and Academy Award-winning composer and conductor Tan Dun returns to TON to lead the U.S. premiere of his Violin Concerto: Rhapsody and Fantasia, along with works by Stravinsky, Debussy, and Bartók.

Tan Dun, conductor Eldbjørg Hemsing, violin – TON’s Viktor Tóth, clarinet

Stravinsky Fireworks Tan Dun Violin Concerto: Rhapsody and Fantasia U.S. PREMIERE Debussy Rhapsody for Clarinet Bartók The Miraculous Mandarin Suite

Sunday, February 16, 2020, at 4 p.m. FREE CONCERT ON THE UPPER WEST SIDE: BOLÉRO & PETRUSHKA

Following last January’s sold-out concert, conductor Zachary Schwartzman returns to Symphony Space with more audience favorites by Ravel, Debussy, Messiaen, and Stravinsky.

Zachary Schwartzman, conductor

Debussy Prelude to the Afternoon of a Faun Messiaen The Forgotten Offerings Ravel Boléro Stravinsky Petrushka (1947) Sunday, March 22, 2020, at 3 p.m. at Rose Theater at Jazz at Lincoln Center’s Frederick P. Rose Hall SLATKIN CONDUCTS RACHMANINOFF

Grammy winner Leonard Slatkin, Music Director Laureate of the Detroit Symphony Orchestra, conducts an elegy to his late parents, along with Rachmaninoff’s hauntingly beautiful second symphony.

Leonard Slatkin, conductor

Cindy McTee Double Play NYC PREMIERE Leonard Slatkin Kinah NYC PREMIERE Rachmaninoff Symphony No. 2

Thursday, April 30, 2020, at 7 p.m. Stern Auditorium/Perelman Stage at Carnegie Hall INTO THE WILDERNESS

Join us on a musical expedition featuring Vaughan Williams’ portrait of the mighty Antarctic and two French mountain treks, including the first symphonic poem ever composed.

Leon Botstein conductor Blair McMillen piano members of the Bard Festival Chorale James Bagwell choral director

Franck What You Hear on the Mountain NYC PREMIERE d’Indy Symphony on a French Mountain Air* Vaughan Williams Symphony No. 7, Sinfonia Antartica*

*First NYC performances in over 50 years

More information available at theorchestranow.org.