Music for String Orchestra

MUSIC FOR STRING ORCHESTRA Andrés Rivas conductor Sunday, March 7, 2021 Performance # 163 Season 6, Concert 11 Livestreamed from the Fisher Center at Bard Sosnoff Theater SIGN UP FOR TŌN EMAIL by clicking here

INSPIRE GREATNESS by making a donation at theorchestranow.org/support TABLE OF CONTENTS

4 CONCERT QUICK GUIDE 5 THE MUSIC

6 BRUCE MONTGOMERY CONCERTINO FOR STRING ORCHESTRA 7 ANDRÉS GAOS IMPRESIÓN NOCTURNA 8 INGVAR LIDHOLM MUSIC FOR STRINGS 9 VICTOR HERBERT SERENADE FOR STRING ORCHESTRA 10 THE ARTISTS

11 ANDRÉS RIVAS conductor 12 THE ORCHESTRA NOW 14 SARA PAGE cello 15 BRAM MARGOLES violin 16 SUPPORT TŌN 17 THE TŌN FUND DONORS 18 THE ADMINISTRATION 19 ABOUT BARD COLLEGE Rehearsals and performances adhere to the strict guidelines set by the CDC, with daily health checks, the wearing of masks throughout, and musicians placed at a safe social distance. Musicians sharing a music stand also share a home. Concert Quick Guide The Music The Artists ™ Support TŌN CONCERT QUICK GUIDE The TŌN Fund Donors The Administration About Bard College ANDRÉS RIVAS conductor

CONCERT TIMELINE 1 hour and 25 minutes

Impresión Concertino nocturna Music for Strings Serenade 15 min 12 min 17 min 25 min

Brief remarks by Sara Page cello

BRUCE MONTGOMERY Born 10/2/1921 in Chesham Bois, Buckinghamshire, England Died 9/15/1978 at age 56 in London

CONCERTINO FOR STRING ORCHESTRA Moderato quasi allegro (at a moderate pace, somewhat fast) 5 min Lento espressivo (slow, with expression) 5 min Vivace ed energico (lively and energetic) 5 min

Written 1948, at age 26 Premiered 12/10/1948 at Wigmore Hall in London; Riddick String Orchestra; Trevor Harvey conductor

ANDRÉS GAOS Born 3/31/1874 in A Coruña, Spain Died 3/13/1959 at age 84 in Mar del Plata, Argentina

IMPRESIÓN NOCTURNA Written 1937, at age 63 Premiered: 9/29/1937 at the Salle Gaveau in Paris

Brief remarks by Bram Margoles violin

INGVAR LIDHOLM Born 2/24/1921 in Jönköping, Sweden Died 10/17/2017 at age 96 in Rönninge, Salem, Sweden

MUSIC FOR STRINGS Allegro (fast) 6 min Molto adagio, espressivo (very slow and expressive) 8 min Coda: Allegro (fast) 3 min no pause between movements

Written 1952, at age 31

VICTOR HERBERT Born 2/1/1859 in Dublin, Ireland Died 5/26/1924 at age 65 in New York City

SERENADE FOR STRING ORCHESTRA Aufzug Polonaise Liebes-Scene (Love Scene) Canzonetta Finale

Written 1884, at age 25 Premiered 12/1/1888 at Steinway Hall in New York City

All timings are approximate. | Composer artwork by Khoa Doan. THE MUSIC Concert Quick Guide The Music The Artists Support TŌN The TŌN Fund Donors The Administration About Bard College

BRUCE MONTGOMERY’S CONCERTINO FOR STRING ORCHESTRA Notes by TŌN violinist Shaina Pan

The Writer/Composer film studio. His novel Swan Song is set during a production of a English composer Bruce Montgomery wrote mostly choral and Wagner opera. Montgomery himself wrote a children’s ballad opera film music, but was also known for his classic crime novels and called John Barleycorn and two additional dramatic works which short stories which he wrote under the pseudonym Edmund were never finished because he was preoccupied “writing filthy Crispin. Born in Buckinghamshire, England in 1921, he went on to film scores and stinking stories for the popular press,” according study modern languages at Oxford while also an organ scholar and to his friend and collaborator, Kingsley Amis. choirmaster. After graduating, he became a teacher at a boarding school, and it was during this time when he began writing his crime His Sole Instrumental Work novels, as well as his first choral and concert works. It was not until Concertino for String Orchestra, completed in 1948, is almost a decade later that he would establish himself as a film Montgomery’s sole instrumental work. After its first performance, a composer. review described the piece as “a graceful, flowing, three-movement work, well written, economical in notes and notable for a lyrical The Intersection of Language and Music lento espressivo of imaginative warmth.” In particular, the second Montgomery never strayed far from the intersection of language movement “moves the listener with its thoroughly English mixture and music; in addition to scoring nearly 40 films, he was also known of pensive nostalgia,” according to biographer David Whittle. Of for writing novels with many musical references and backdrops. Montgomery’s choral and concert works, the Concertino for String There were common elements between his life and his art; the Orchestra is the only one that is widely available as a recording. protagonist of his famous Gervase Fen novels is a professor at an Oxford-like institution, and his novel Frequent Hearses is set in a

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Photo by Matt Dine

ANDRÉS GAOS’ IMPRESIÓN NOCTURNA Notes by TŌN violinist Nicole Oswald

The Composer holds a place in time representing Galician composers through Andrés Gaos was a violinist, composer, and conductor born into his compositions. His catalog of work includes a myriad of violin a family of Galician music merchants. He made his debut playing pieces written for himself and his first wife, as well as an opera, the violin at a young age and was recognized with a scholarship symphony, symphonic poem, four symphonic paintings, and two to take private lessons in Brussels with Eugene Yasÿe. In 1893, he works for string orchestra. traveled internationally to perform in Cuba, settled for a short period in Mexico City a year later, and landed in Buenos Aires in The Music 1895. There, he met his wife, had five children, and worked at the Similar to Samuel Barber’s famous Adagio for Strings and Mahler’s Alberto Williams Conservatory and later the Public Administration Adagietto from the 5th Symphony, Impresión nocturna is not of Argentina. Gaos and his wife, America Montenegro, formed shy by comparison with its lush string orchestration. One would the Gaos quartet alongside the string faculty of the Williams wonder if Gaos was inspired by the rich harmonic texture and Conservatory. After they divorced in 1917, Gaos remarried a endless melodic material in Mahler’s Adagietto, while keeping student with whom he had three children. He mostly taught music the sincere sentiment of the Adagio for Strings. By comparison, and worked for the government until retirement. His fourth son, Gaos’ orchestration has a dense harmonic texture at times with Andrés Gaos Montenegro, was a cabaret singer and composer who overlapping suspensions almost reminiscent of the old Hollywood had success recording several albums in the 1920s. His eighth son, sound we expect to hear from Erich Wolfgang Korngold. The Andrés Gaos Guillochon (1932–2018) published unlikely stories sonorous quality of string orchestra coupled with the mild tempo about his father’s life. Notably, Gaos gave the Latin American and rich harmony creates a beautiful palate for any listener. The premiere of Camille Saint-Saëns’ famous Violin Concerto No. work begins in D major and, to end the 12-minute journey, Gaos 3 under the baton of Saint-Saëns himself in 1904. Even though concludes in a somber D minor. Gaos never became an internationally recognized violinist, he

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Photo by Matt Dine

INGVAR LIDHOLM’S MUSIC FOR STRINGS Notes by TŌN violinist Yinglin Zhou

The Composer The Music Music for Strings is one of the most famous pieces composed by Lidholm began working on this piece in 1945, the same year Ingvar Lidholm, who was a Swedish composer born in 1921. He Shostakovich released his Symphony No. 9. It is interesting to hear started his music journey at an early age. By the time he was 19, almost opposite characters in these two pieces. Shostakovich’s in 1940, he went to a musical school in Stockholm to continue his Symphony No. 9, different than his other symphonies, sounds advanced musical studies. There, he would gather with his friends more transparent and bright, whereas Lidholm’s Music for Strings Sven-Erik Bäck and Karl-Birger Blomdahl, who later also become sounds more tragic and intense. When I listen to the piece for the important Swedish composers, to discuss and critique music. first time, the repetitive accented eighth-note patterns at the end This activity drew a lot of attention from students and instructors. of the last movement reminds me a lot of Stravinsky’s The Rite of Lidholm’s composing teacher, Hilding Rosenberg, was also part of Spring. Even though Lidholm never traveled nor studied in Hungary this gathering, and he would often lead the discussion into modern or Russia, based on what he discussed with the Monday Group, it is composers, such as Stravinsky and Hindemith. Because they not hard to understand and to assume that modern composers of always gathered on Mondays, people later came to know them as the time like Stravinsky and Bartók had a huge impact on Lidholm. the Måndagsgrupp (the Monday Group).

THEORCHESTRANOW.ORG / MAR 2021 / 8 Concert Quick Guide The Music The Artists Support TŌN The TŌN Fund Donors VICTOR HERBERT’S SERENADE FOR STRING ORCHESTRA The Administration Notes by Steve V. Sinclair About Bard College

The Composer The Music Irish-born American composer and cellist Victor Herbert, a founder The Romantic five-movement Serenade for String Orchestra was well of ASCAP, is primarily known for his many successful Broadway received at its debut at Steinway Hall in New York City in December operettas, including Naughty Marietta, The Red Mill, and Babes of 1888, where it shared a program with works by Vincent d’Indy in Toyland. But he was a prolific composer of many types of and Peter Cornelius. The piece was published in the following year music, having completed two operas, a cantata, and numerous and was performed to great acclaim in concerts throughout the compositions for orchestra, chorus, piano, violin, and cello, among U.S. Of particular note is the passionate “Love Scene” movement, others. Composer Antonín Dvořák was so wowed at the premiere of which was praised by The New York Times as “a particularly good Herbert’s Cello Concerto No. 2 that he was inspired to write his own piece of writing, being warm in theme and forceful in expression, now-famous concerto for the instrument. Herbert and his wife, the and showing the results of careful study of Wagner’s wonderful soprano Therese Herbert-Förster, moved to New York City in 1886, treatment of strings.” where she sang with The Metropolitan Opera and he performed as a cellist in the company’s orchestra. He quickly became very active in the New York music scene and taught at the National Conservatory of Music.

THEORCHESTRANOW.ORG / MAR 2021 / 9 THE ARTISTS Concert Quick Guide The Music The Artists Support TŌN The TŌN Fund Donors The Administration About Bard College

ANDRÉS RIVAS conductor

Born in Caracas in 1990, Andrés Rivas began his musical education at the age of 3 at the ‘Centro Académico Montalbán,’ part of the El Sistema de Orquestas Juveniles e Infantiles de Venezuela.

In October of 2010, he made his international debut at the auditorium of the EWA University in Seoul, South Korea. In 2011, he was given the baton by Maestro Gustavo Dudamel at the inauguration of the National Center for Social Action for Music and the 36th anniversary of El Sistema in Venezuela. Months later, he shared the podium with Maestro Dudamel at a tribute concert for Venezuelan composer Juan Vicente Torrealba, where he conducted two of his works: Concierto a Caracas and Suite Torrealbera. He culminated the year by conducting this same orchestra at the Casa da Música theater in Oporto, Portugal.

As a violinist, Mr. Rivas has worked with soloists from around the world, such as Martha Argerich, Gautier and Renaud Capuçon, Ilya Gringolts, Maurice Hasson, Natalia Gutman, Gabriela Montero, Alexander Romanovsky, Andreas Ottensamer, and Albert Markov; and performed under the baton of many conductors, including the late Claudio Abbado, Giuseppe Sinopoli, Sir Simon Rattle, Gustavo Dudamel, Esa Pekka Salonen, Joann Faletta, James Bagwell, Leon Botstein, and John Williams.

Since 2008, Mr. Rivas has performed on numerous international tours with the Orquesta Sinfónica Simón Bolívar de Venezuela, performing in countries including Austria, Japan, South Korea, Portugal, Italy, Germany, Russia, the Czech Republic, Sweden, Switzerland, Croatia, Argentina, Chile, Uruguay, Mexico, Norway, Belgium, Trinidad and Tobago, France, London, Scotland, and Spain. In 2009 Mr. Rivas was invited by Maestro Dudamel to perform as Assistant Director during a national tour throughout Venezuela, conducting works by Tchaikovsky, Wagner, and others. In 2012 he was invited by Dr. Jose Antonio Abreu to participate in a concert-style Proms at the Vienna Konzerthaus. In 2013 he was part of the creation of the bi-national orchestra South Korea–Venezuela, where he was invited to conduct the orchestra by Dr. Abreu.

In 2014, upon invitation from Leon Botstein, Mr. Rivas participated in Bard College’s prestigious Conductor’s Institute. In 2015, he began a Graduate Degree in Orchestral Conducting at Bard under Harold Farberman. In the same year, he undertook an Assistant Conductor role at the annual Bard Music Festival. In 2017, he finished his studies at Bard College, and then secured the only offered place at The Royal Conservatoire of Scotland in their MMus/MA Orchestra Conducting program. The next year, he won the Miami Symphony Orchestra’s Conducting Fellowship and Apprenticeship under Eduardo Marturet. He has also led The Orchestra Now as concertmaster at venues such as Carnegie Hall and The Metropolitan Museum of Art with conductor Leon Botstein.

He is presently the Assistant Conductor for The Orchestra Now and the Bard College Conservatory Orchestra.

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THE ORCHESTRA NOW

The Orchestra Now (TŌN) is a group of vibrant young musicians from across the globe who are making orchestral music relevant to 21st-century audiences by sharing their unique personal insights in a welcoming environment. Hand-picked from the world’s leading conservatories—including the Yale School of Music, Shanghai Conservatory of Photo by David DeNee Music, Royal Academy of Music, and the Eastman School of Music—the members of TŌN are enlightening curious minds by giving on-stage introductions and demonstrations, writing concert notes from the musicians’ perspective, and having one-on-one discussions with patrons during intermissions.

Conductor, educator, and music historian Leon Botstein, whom The New York Times said “draws rich, expressive playing from the orchestra,” founded TŌN in 2015 as a graduate program at Bard College, where he is also president. TŌN offers both a three- year master’s degree in Curatorial, Critical, and Performance Studies and a two-year advanced certificate in Orchestra Studies. The orchestra’s home base is the Frank Gehry-designed Fisher Center at Bard, where it performs multiple concerts each season and takes part in the annual Bard Music Festival. It also performs regularly at the finest venues in New York, including Carnegie Hall, Lincoln Center, The Metropolitan Museum of Art, and others across NYC and beyond. HuffPost, who has called TŌN’s performances “dramatic and intense,” praises these concerts as “an opportunity to see talented musicians early in their careers.” Photo by David DeNee

The orchestra has performed with many distinguished guest conductors and soloists, including Neeme Järvi, Vadim Repin, Fabio Luisi, Peter Serkin, Hans Graf, Gerard Schwarz, Tan Dun, Zuill Bailey, and JoAnn Falletta. Recordings featuring The Orchestra Now include two albums of piano concertos with Piers Lane on Hyperion Records, and a Sorel Classics concert recording of pianist Anna Shelest performing works by Anton Rubinstein with TŌN and conductor Neeme Järvi. Buried Alive with baritone Michael Nagy, released on Bridge Records in August 2020, includes the first recording in almost 60 years—and only the second recording ever—of Othmar Schoeck’s song- cycle Lebendig begraben. Upcoming releases include an album of piano concertos with Orion Weiss on Bridge Records. Recordings of TŌN’s live concerts from the Fisher Center can be heard on Classical WMHT-FM and WWFM The Classical Network, and are featured regularly on Performance Today, broadcast nationwide. In 2019, the orchestra’s performance with Vadim Repin was live-streamed on The Violin Channel.

Explore upcoming concerts, see what our musicians have to say, and more at theorchestranow.org. For more information on the academic program, visit bard.edu/theorchnow.

THEORCHESTRANOW.ORG / MAR 2021 / 12 Photo by David DeNee Concert Quick Guide The Music The Artists Support TŌN The TŌN Fund Donors The Administration About Bard College Leon Botstein Music Director

Violin I Celia Daggy Flute Trumpet Stuart McDonald Lucas Goodman Brendan Dooley* Samuel Exline* Concertmaster Hyunjung Song Leanna Ginsburg* Guillermo García Cuesta* Nicole Oswald Batmyagmar Erdenebat Rebecca Tutunick* Anita Tóth* Gaia Mariani Ramsdell Leonardo Vásquez Chacón Maggie Tsan-Jung Wei* Shaina Pan Katelyn Hoag* Oboe Yinglin Zhou Larissa Mapua* Shawn Hutchison* Trombone Jacques Gadway Jasper Igusa* David Kidd* Misty Drake Cello JJ Silvey* Ian Striedter* Yada Lee Cameron Collins Jack E. Noble* Principal Clarinet Bass Trombone Violin II Sara Page Matthew Griffith* Adam Jeffreys Jordan Gunn Ye Hu* Tuba Principal Kelly Knox Rodrigo Orviz Pevida* Jarrod Briley* Dillon Robb Eva Roebuck Viktor Tóth* Yurie Mitsuhashi Lucas Button Timpani Xinran Li Sarah Schoeffler* Bassoon Keith Hammer III* Zhen Liu Pecos Singer* Cheryl Fries* Gergő Krisztián Tóth Philip McNaughton* Percussion Tin Yan Lee Bass Xiaoxiao Yuan* Charles Gillette* Esther Goldy Roestan Kaden Henderson Luis Herrera Albertazzi* Bram Margoles* Principal Horn Sabrina Parry* Mariya-Andoniya Henderson Emily Buehler* Harp Luke Stence Steven Harmon* Taylor Ann Fleshman* Viola Tristen Jarvis Ser Konvalin* Sean Flynn Joshua DePoint* Kwong Ho Hin* * not performing in this concert Principal Zachary Travis*

Members of TŌN can be identified by their distinctive blue attire. THEORCHESTRANOW.ORG / MAR 2021 / 13 Concert Quick Guide The Music The Artists Support TŌN The TŌN Fund Donors The Administration About Bard College SARA PAGE cello

Sara will talk briefly about Bruce Montgomery’s Concertino for String Orchestra and Andrés Gaos’ Impresión nocturna before the performances.

Hometown: Tucson, AZ

Alma maters: New England Conservatory, Indiana University Jacobs School of Music

Appearances: Indianapolis Symphony Orchestra, substitute; New World Symphony, substitute; Boston Philharmonic Orchestra, substitute; Atlantic Symphony Orchestra, substitute; Richmond (Indiana) Symphony Orchestra, substitute, 2015–17; Evansville Philharmonic Orchestra, substitute, 2015–17; Tucson Repertory Orchestra, 2011–12; National Repertory Orchestra, 2018; Colorado College Summer Music Festival Orchestra, 2017; Music Masters Course Festival Orchestra, Japan, 2015; Aspen Festival Orchestra, 2014

When did you realize you wanted to pursue music as a career? I realized I wanted to pursue music as a career during one of my summers at Interlochen. At that point, my life was being enriched immensely by what music was bringing to it—mainly the people I was meeting and the level of connection we could share through music, and the impact of everything we were learning to share with our audiences. I remember feeling so happy and lucky to be there and performing, and I decided I never wanted to let go of that passion.

Which composer do you feel like you connect with the most? I connect with Mahler as a composer because of the depth of the emotional spectrum that I believe exists in his music. The journey for musician and listener alike through a Mahler symphony can be exhausting and extremely demanding. I feel like I’ve really gone through something every time I perform or listen to his symphonies—in my opinion, this parallels a lot of life. The struggle allows us to appreciate the moments that are uplifting and “high” just that much more.

Tell us something about yourself that might surprise us: I’m a triplet.

Piece of advice for a young classical musician: Many of us have a lack of nerves and a general sense of fearlessness, confidence, and almost invincibility on stage when we first begin performing. Try to bottle that up and hold on to that sensation or whatever contributes to creating it. It will be very valuable down the road. If you can recreate that later in your career as needed, you won’t get in the way of yourself in auditions or performances, and your ability to share will be much greater.

Photo by Matt Dine THEORCHESTRANOW.ORG / MAR 2021 / 14 Concert Quick Guide The Music The Artists Support TŌN The TŌN Fund Donors The Administration About Bard College BRAM MARGOLES violin

Bram will talk briefly about Ingvar Lidholm’s Music for Strings and Victor Herbert’s Serenade for String Orchestra before the performances.

Hometown: Boulder, CO

Alma maters: University of Michigan, Ann Arbor. B.M. 2016, M.M. 2018

Appearances: Schleswig-Holstein Music Festival Orchestra, 2019; Pacific Music Festival Orchestra, 2018; Ann Arbor Symphony Orchestra, 2015–19; Lansing Symphony Orchestra, 2015–19

What is your earliest memory of classical music? My parents took me to an orchestra concert when I was seven years old. The program was Scheherezade and Shostakovich’s Fifth Symphony.

What is your favorite piece of music, and why do you love it? Mahler’s Fifth Symphony is one of my favorite pieces of music because, for me, listening to it is an experience of emotional catharsis and cleansing.

Do you have any embarrassing performance stories? Some embarrassing things I have done in performance are: leaving my music offstage before the performance starts, having my glasses fall off in the middle of a performance, and accidentally starting to play a piece before the rest of the orchestra had started.

If you weren’t a musician, what would you be doing? Forestry or Zoology or some other sort of natural science.

Piece of advice for a young classical musician: Be understanding to yourself and other people, and never lose that energy that drives you to become a musician.

Photo by Matt Dine

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Photo by David DeNee

SUPPORT TŌN WE’VE BROUGHT MUSIC TO MORE THAN 55,000 SPONSOR A TŌN MUSICIAN: NAMED FELLOWSHIPS NEW YORKERS IN OVER 150 CONCERTS THANKS Play a defining role in our success by sponsoring a TŌN musician. TO SUPPORT FROM DONORS LIKE YOU! Direct your support to have a lasting impact on the education and training of TŌN’s exceptional young players from around the Inspire Greatness! world. TŌN offers both a three-year master’s degree in Curatorial, Support TŌN’s innovative training program for classical musi- Critical, and Performance Studies and a two-year advanced cer- cians. tificate in Orchestra Studies. Your generosity will help us meet the challenges of educating a new generation of musicians to become THE TŌN FUND creative ambassadors for classical music. Your generosity will sustain the next generation of great perform- ers—more than 70 players from 14 countries around the globe—as For detailed information on the many ways to support TŌN, they learn to communicate the transformative power of music to please contact Nicole M. de Jesús, Director of Development, at 21st-century audiences. 845.758.7988 or [email protected].

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THE TŌN FUND DONORS The Orchestra Now gratefully acknowledges the generosity of each and every donor who makes our work possible. Ticket sales cover less than a quarter of the expenses for our concerts and educational initiatives. Thank you for making this important investment in the future of classical music!

LEADERSHIP GIFTS Sally Sumner, in honor of Sara Page Ann and Thomas Robb, in honor of Ann and Douglas William Rockefeller Brothers Fund TŌN ’22 Dillon Robb TŌN ’21 Shining Sung James Rosenfield PRELUDE THE YVONNE NADAUD MAI Arlene and Gil Seligman Anonymous (2) CONCERTMASTER CHAIR CRESCENDO Joseph M. Sweeney Fred Allen and Erica De Mane Made possible by The Mai Anonymous (2) Judith and Michael Thoyer Kyra Assaad and Warren Tappe Family Foundation Mr. and Mrs. Ronald Atkins Howard Wallick Leslie and Louis Baker Nicole M. de Jesús and Wayne and Dagmar Yaddow Laurence Blau and Karen Johnsen CONCERTMASTER’S CIRCLE Brian P. Walker Geraldine Brodsky Michael Dorf and Sarah Connors* Curtis DeVito and Dennis Wedlick DOWNBEAT Deloss Brown Estate of Clyde Talmadge Gatlin Stan J. Harrison Anonymous Anne B. Brueckner Emily Sachar George Jahn and Karen Kaczmar Julia Aneshansley Lael Burns Felicitas S. Thorne* Kassell Family Foundation of the Naja B. Armstrong Harriet D. Causbie Jewish Communal Fund Melissa Auf der Maur Judith Chaifetz CONDUCTOR’S BOX Peter and Susan J. LeVangia Sheila R. Beall Jill Cohen Anonymous Amala and Eric Levine David Behl Maria V. Collins Koren C. Lowenthal, in memory of Janet C. Mills Jeffrey Berns Elizabeth Davis Larry Lowenthal Tatsuji Namba Matthew C. Bernstein José M. de Jesús, Jr. Christine Munson* Anthony Napoli Stephanie G. Beroes Andrea N. Driscoll Michael L. Privitera James and Andrea Nelkin* Marvin Bielawski Wendy Faris The Vaughan Williams Charitable Jan and Jim Smyth Kent Brown and Nat Thomas Claudia Forest Trust George Striedter, in honor of Ian Karen and Mark Collins, in honor of Renate L. Friedrichsen Striedter TŌN ’22 Cameron Collins TŌN ’22 Miriam Frischer ALLEGRO Meyer J. Wolin Jefferson Cotton Carol and Peter Goss Gary and Martha Giardina Thomas De Stefano Albert Gottlieb Northwestern Mutual Foundation* TŌNor Vincent M. Dicks Audrey Hackel Anonymous Priscilla Duskin Amy Hebard FORTE Jesika Berry Mark L. Feinsod ’94 Karen Hoag, in honor of Bram Anonymous (2) Diane and Ronald Blum Tamara Judith Gruzko Margoles TŌN ’22 and Katelyn Bridget Kibbey* Richard Bopp Lee Haring Hoag TŌN ’22 Tyler J. Lory and Lisa Aber Cohen Michaela Harnick Maung Htoo Michael Rauschenberg James Costello and Juliet Heyer Al Jacobsen Robert Losada Laura Cannamela Terrell K. Holmes Steven Jonas, M.D. Jen Shykula ‘96 and Tom Ochs* Margaret M. Coughlin James Gavin Houston Brenda Klein Thom and Valerie Styron, in honor Vera A. Farrell IBM Matching Grants Program Barbara Komansky of Jarrod Briley TŌN ’22 Renate L. Friedrichsen Jeffrey Keller Ralph B. Lawrence Vivian Sukenik Howard and Caroline Goodman, in David Kraskow and Liz Hess David H. Levey Irene Vincent* honor of Lucas Goodman TŌN ’21 Carol E. Lachman Ann and Robert Libbey Susanna Grannis Erika Lieber Eve Mayer TRUMPETER Jan M. Guifarro Guenther and Virginia May Maryanne Mendelsohn Anonymous (3) James Gavin Houston Warren R. Mikulka Rikki Michaels Joseph Baxer and Barbara Elena and Frederic Howard Marin and Lucy Murray Fred Justin Morgan Bacewicz Scott Huang Stan and Bette Nitzky Ross Parrino Hospitality Committee for United Judith and Ron Goodman Pat Parsons Shirley Perle Nations Delegations (HCUND) Charitable Trust of Fidelity Neila Beth Radin Joan W. Roth Erica Kiesewetter Charlotte Mandell Kelly ’90 and Kurt Rausch Sheldon Rudolph Robert Lonergan Robert Kelly Jing L. Roebuck, in honor of Eva Richard Scherr Maury Newburger Foundation Miodrag Kukrika Roebuck TŌN ’22 Diane J. Scrima The Merrill G. and Emita E. Hastings Arthur S. Leonard Ted Ruthizer and Jane Denkensohn Anna Shuster Foundation Nancy S. Leonard and Edward Sandfort Shari Siegel Suzanne Neunhoeffer Lawrence Kramer Daniel E. Scherrer John Simpson Paul W. Oakley Fulvia Masi and William Tanksley Mark Peter Scherzer Tija Spitsberg and David J. Weiner Inez Parker, in honor of David Kidd James McLafferty Dan and Rosie Schiavone Lloyd Targer TŌN ’22 Karen E. Moeller and Thomas J. Shykula J. Waldhorn Shirley Ripullone and Kenneth Stahl Charles H. Talleur Fran D. Smyth Lynda Youmans, in honor of Linda Schwab-Edmundson Gary E. Morgan John Staugaitis Drew Youmans TŌN ’19 Anne-Katrin Spiess and Suzanne Neusner Jerl O. Surratt Elizabeth Zubroff, in honor of Gerlinde Spiess Albrecht Pichler Jonathan Wechsler John D. Murphy Alice Stroup, in memory of Catherine K. and Fred Reinis Michael and Leslie Weinstock Timothy Stroup Robert Renbeck Henry Westmoreland *Includes gifts to the Bard Music Festival and The Orchestra Now Gala.

This list represents gifts made to The Orchestra Now from January 1, 2020 to Febuary 28, 2021.

For information on contributing to TŌN, or to update your listing, please contact Nicole M. de Jesús at [email protected]. Thank you for your partnership. THEORCHESTRANOW.ORG / MAR 2021 / 17 Concert Quick Guide The Music The Artists Support TŌN The TŌN Fund Donors THE ADMINISTRATION The Administration About Bard College THE ORCHESTRA NOW ARTISTIC STAFF Bridget Kibbey Director of Sebastian Danila Music Preparer Matt Walley TŌN ’19 Program Leon Botstein Music Director Chamber Music and Arts and Researcher Coordinator, Admissions James Bagwell Associate Advocacy Marielle Metivier Orchestra Counselor, and Guest Artist Conductor and Academic Manager Relations Director ADMINISTRATIVE STAFF Benjamin Oatmen Librarian Jindong Cai Associate Conductor Kristin Roca Executive Director Viktor Tóth Production CONCERT CREW Zachary Schwartzman Resident Brian J. Heck Director of Marketing Coordinator Marlan Barry Audio Producer and Conductor Nicole M. de Jesús ’94 Director of Leonardo Pineda TŌN ’19 Recording Engineer Andrés Rivas Assistant Conductor Development Director of Youth Educational Emily Beck Stage Manager Erica Kiesewetter Professor of Performance and South Nora Rubenstone Stage Manager Orchestral Practice American Music Curator

BARD COLLEGE BOARD OF TRUSTEES Mark N. Kaplan Life Trustee SENIOR ADMINISTRATION Max Kenner ’01 Vice President James C. Chambers ’81 Chair George A. Kellner Leon Botstein President for Institutional Initiatives; George F. Hamel Jr. Vice Chair Mark Malloch-Brown Coleen Murphy Alexander ’00 Executive Director, Bard Prison Emily H. Fisher Vice Chair Fredric S. Maxik ’86 Vice President for Administration Initiative Elizabeth Ely ’65 Secretary; Juliet Morrison ‘03 Myra Young Armstead Debra Pemstein Vice President Life Trustee James H. Ottaway Jr. Life Trustee Vice President for Academic for Development and Alumni/ae Stanley A. Reichel ’65 Treasurer; Hilary Pennington Inclusive Excellence Affairs Life Trustee Martin Peretz Life Trustee Jonathan Becker Executive Vice Taun Toay ’05 Senior Vice Fiona Angelini Stewart Resnick Life Trustee President; Vice President for President; Chief Financial Officer Roland J. Augustine David E. Schwab II ’52 Academic Affairs; Director, Stephen Tremaine ’07 Vice Leonard Benardo Roger N. Scotland ’93 Alumni/ae Center for Civic Engagement President for Early Colleges Leon Botstein+ Trustee Erin Cannan Vice President for Dumaine Williams ’03 Vice President of the College Annabelle Selldorf Civic Engagement President for Student Affairs; Mark E. Brossman Mostafiz ShahMohammed ’97 Deirdre d’Albertis Dean of the Dean of Early Colleges Jinqing Cai Jonathan Slone ’84 College Marcelle Clements ’69 Life Trustee Alexander Soros Malia K. Du Mont ’95 The Rt. Rev. Andrew M. L. Dietsche Jeannette H. Taylor+ Vice President for Strategy Honorary Trustee James A. von Klemperer and Policy; Chief of Staff Asher B. Edelman ’61 Life Trustee Brandon Weber ’97 Alumni/ae Peter Gadsby Robert S. Epstein ’63 Trustee Vice President for Enrollment Barbara S. Grossman ’73 Susan Weber Management; Registrar Alumni/ae Trustee Patricia Ross Weis ’52 Mark D. Halsey Vice President Andrew S. Gundlach for Institutional Research and Matina S. Horner+ + ex officio Assessment Charles S. Johnson III ’70

THE RICHARD B. FISHER CENTER FOR THE PERFORMING ARTS ADVISORY BOARD ADMINISTRATION THEATER & PERFORMANCE Garrett Sager Digital Marketing Jeanne Donovan Fisher Chair Liza Parker Executive Director AND DANCE PROGRAMS Assistant Carolyn Marks Blackwood Catherine Teixeira General Jennifer Lown Program Jesika Berry Senior House Leon Botstein+ Manager Administrator Manager Stefano Ferrari Brynn Gilchrist ‘17 Executive Erik Long Box Office Supervisor Alan Fishman Assistant PRODUCTION Paulina Swierczek VAP ‘19 Box Neil Gaiman Jason Wells Director of Production Office Supervisor S. Asher Gelman ’06 ARTISTIC DIRECTION Sarah Jick Associate Production David Bánóczi-Ruof ‘22 Assistant Rebecca Gold Milikowsky Leon Botstein President, Manager House Manager Anthony Napoli Bard College Stephen Dean Associate Maia Weiss Assistant House Denise S. Simon Gideon Lester Artistic Director Production Manager Manager Martin T. Sosnoff Caleb Hammons Director of Rick Reiser Technical Director Toni Sosnoff Artistic Planning and Producing Josh Foreman Lighting Supervisor FACILITIES Felicitas S. Thorne Emerita Catherine Teixeira General Moe Schell Costume Supervisor Mark Crittenden Facilities Taun Toay ’05+ Manager Danny Carr Video Supervisor Manager Andrew E. Zobler Nunally Kersh SummerScape Lex Morton Audio Supervisor Ray Stegner Building Operations Opera Producer Manager BARD MUSIC FESTIVAL Hannah Gosling-Goldsmith Artist COMMUNICATIONS Doug Pitcher Building Operations BOARD OF DIRECTORS Services and Programs Manager Mark Primoff Associate Vice Coordinator Denise S. Simon Chair Thai Harris Singer ‘20 President of Communications Chris Lyons Building Operations Roger Alcaly Post-Baccalaureate Fellow, Darren O’Sullivan Senior Public Assistant Leon Botstein+ Producing Assistant Relations Associate Robyn Charter Fire Panel Monitor Michelle R. Clayman Amy Murray Videographer Bill Cavanaugh Environmental David Dubin DEVELOPMENT Specialist Robert C. Edmonds ‘68 Debra Pemstein Vice President PUBLICATIONS Drita Gjokaj Environmental Jeanne Donovan Fisher for Development and Alumni/ae Mary Smith Director of Specialist Christopher H. Gibbs+ Affairs Publications Oksana Ryabinkina Environmental Paula K. Hawkins Alessandra Larson Director of Cynthia Werthamer Editorial Specialist Thomas Hesse Development Director Susan Petersen Kennedy Kieley Michasiow-Levy Individual Barbara Kenner Giving Manager MARKETING AND Gary Lachmund Michael Hofmann VAP ‘15 AUDIENCE SERVICES Thomas O. Maggs Development Operations David Steffen Director of Kenneth L. Miron Manager Marketing and Audience Services Christina A. Mohr Elise Alexander ‘19 Development Nicholas Reilingh Database and James H. Ottaway Jr. Assistant Systems Manager Felicitas S. Thorne Maia Kaufman Audience and Siri von Reis BARD MUSIC FESTIVAL Member Services Manager Kathleen Vuillet Augustine Irene Zedlacher Executive Director Collin Lewis APS ‘21 Audience and Raissa St. Pierre ’87 Associate Member Services Coordinator + ex officio Director Brittany Brouker Marketing Manager THEORCHESTRANOW.ORG / MAR 2021 / 18 Concert Quick Guide The Music The Artists Support TŌN ABOUT BARD COLLEGE The TŌN Fund Donors The Administration FISHER CENTER AT BARD About Bard College The Fisher Center develops, produces, and presents performing arts across disciplines through new productions and context-rich programs that challenge and inspire. As a premier professional performing arts center and a hub for research and education, the Fisher Center sup- ports artists, students, and audiences in the development and exam- ination of artistic ideas, offering perspectives from the past and present as well as visions of the future. The Fisher Center demonstrates Bard’s commitment to the performing arts as a cultural and educational ne- cessity. Home is the Fisher Center for the Performing Arts, designed by Frank Gehry and located on the campus of Bard College in New York’s Hudson Valley. The Fisher Center offers outstanding programs to many communities, including the students and faculty of Bard College, and audiences in the Hudson Valley, New York City, across the country, and around the world. Building on a 160-year history as a competitive and innovative undergraduate institution, Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s Photo by Matt Dine thought leaders.

ABOUT BARD COLLEGE Founded in 1860, Bard College in Annandale-on-Hudson, New York, is an inde- pendent, residential, coeducational college offering a four-year BA program in the liberal arts and sciences and a five-year BA/BS degree in economics and finance. The Bard College Conservatory of Music offers a five-year program in which students pursue a dual degree—a BMus and a BA in a field other than music. Bard offers MMus degrees in conjunction with the Conservato- ry and The Orchestra Now, and at Longy School of Music of Bard College in Cambridge, Massachusetts. Bard and its affiliated institutions also grant the following degrees: AA at Bard Early Colleges, public schools with campuses in New York City, Baltimore, Cleveland, Newark, New Jersey, New Orleans, and Washington, D.C.; AA and BA at Bard College at Simon’s Rock: The Early Col- lege, in Great Barrington, Massachusetts, and through the Bard Prison Initia- tive at six correctional institutions in New York State; MA in curatorial studies, MS and MA in economic theory and policy, MEd in environmental education, and MS in environmental policy and in climate science and policy at the An- nandale campus; MFA and MAT at multiple campuses; MBA in sustainability in New York City; and MA, MPhil, and PhD in the decorative arts, design history, and material culture at the Bard Graduate Center in Manhattan. Internation- ally, Bard confers BA and MAT degrees at Al-Quds University in East Jerusa- lem and American University of Central Asia in Kyrgyzstan; BA degrees at Bard College Berlin: A Liberal Arts University; and BA and MA degrees at the Fac- ulty of Liberal Arts and Sciences, St. Petersburg University, Russia (Smolny), which are part of the Open Society University Network. Bard offers nearly 50 academic programs in four divisions. Total enrollment for Bard College and its affiliates is approximately 6,000 students. The undergraduate College has an enrollment of about 1,800 and a student-to-faculty ratio of 9:1. Bard’s acqui-

Photo by Matt Dine sition of the Montgomery Place estate brings the size of the campus to nearly 1,000 acres.

THEORCHESTRANOW.ORG / MAR 2021 / 19 Leon Botstein and all of us at The Orchestra Now would like to express our sincere appreciation to

Emily Sachar