BELATED BEETHOVEN BIRTHDAY CELEBRATION conductor

Saturday, May 1, 2021 Performance # 167 Season 6, Concert 15 Livestreamed from the Fisher Center at Bard Sosnoff Theater

THEORCHESTRANOW.ORG / 1 TABLE OF CONTENTS

4 CONCERT QUICK GUIDE™ 6 DEDICATION TO SUART STRITZLER-LEVINE 8 THE MUSIC 8 Symphony No. 5 9 Triple 10 Symphony No. 7 12 THE ARTISTS SIGN UP FOR TŌN EMAIL 12 LEON BOTSTEIN conductor at bit.ly/TONemail 13 ADELE ANTHONY 14 PETER WILEY INSPIRE GREATNESS by making a donation at 15 SHAI WOSNER theorchestranow.org/support 16 THE NOW 18 OUR GRADUATES 21 IAN STRIEDTER trombone 22 SAMUEL EXLINE 23 LEANNA GINSBURG flute 24 SUPPORT TŌN 25 THE TŌN FUND DONORS 28 THE ADMINISTRATION 30 ABOUT

2 / MAY 2021 THEORCHESTRANOW.ORG / 3 CONCERT QUICK GUIDE™ Brief remarks by Samuel Exline trumpet TRIPLE CONCERTO LEON BOTSTEIN conductor Allegro (fast) 17 min Largo (slow & dignified) 5 min CONCERT TIMELINE Rondo alla Polacca (in the rhythm of a polonaise) 13 min 2 hours no pause between second and third movements Symphony No. 5 Triple Concerto Symphony No. 7 ADELE ANTHONY violin 33 min 35 min 38 min PETER WILEY cello SHAI WOSNER piano

Written 1804, at age 33 Premiered 4/1808 in

Brief remarks by Leanna Ginsburg flute

SYMPHONY NO. 7 LUDWIG VAN BEETHOVEN Poco sostenuto—Vivace Born c. 12/16/1770 in Bonn, Germany (a little sustained, then lively) 13 min Died 3/26/1827 at age 56 in Vienna Allegretto (moderately fast) 9 min Presto (quickly) 9 min Brief remarks by Ian Striedter trombone Allegro con brio (fast, with spirit) 7 min

SYMPHONY NO. 5 Written Allegro con brio (fast, with spirit) 8 min 1811–12, at age 41 Andante con moto (moderately slow, with motion) 10 min Premiered Allegro (fast) 5 min 12/8/1813 at the University of Vienna; Beethoven Allegro (fast) 10 min conductor no pause between third and fourth movements First TŌN Performance Written 4/13/2019 at Olin Hall at Bard College; 1804–08, in Beethoven’s mid 30s Zachary Schwartzman conductor Premiered 12/22/1808 at Theater an der Wien in Vienna; Beethoven conductor

First TŌN Performance 1/29/2016 at in NYC; Leon Botstein conductor All timings are approximate. | Composer artwork by Khoa Doan.

4 / MAY 2021 THEORCHESTRANOW.ORG / 5 Mental Health project designed to Clemente Course, which was entering undergraduate days. “I moderated rehabilitate patients with chronic its fifth year of offering rigorous, in the early ’70s,” recalls Stern. “My mental illness. He also served as a university-level humanities instruction board insisted that I take a statistics clinical psychologist at Bordentown to low-income students. His recognition class, which I did, with Stuart. It was Reformatory in New Jersey. His that some who had completed the not my favorite subject, but I loved teaching and research interests at Bard course but not been able to go on to the data set—Stuart’s summer catch included social psychology, specifically college would benefit from additional of lake trout, which made me jealous obedience to authority, conformity, study led him to offer to design and of the quantity, length, width, weight, attitude measurement, and change; teach this bridge course once a week. and every other measure of Stuart’s moral development; and experimental He did so without pay. His devotion to success.” design. He was fascinated by the social learning and to Bard students had no psychologist Stanley Milgram, on whose limits. He was legendary as a Senior Stritzler-Levine’s other passions work and legacy he was teaching a Project adviser. Tom Maiello ’82, a included operas by Richard Wagner, seminar in the Spring 2020 semester. former advisee, shares that Stritzler- the photography of Berenice Abbott, “No one has worked as tirelessly and Levine, knowing Maiello could not afford and sports, particularly basketball. In generously for Bard as Stuart did,” to continue his education after Bard, the mid 1970s, Charlie Patrick, Bard’s writes President Leon Botstein. “He paid for his first post-graduate program. athletic director, asked if he would loved the College, its mission, its people, Maiello retired in 2013 after nearly 33 coach the varsity basketball team. its history, and its landscape. He was years as a director of admissions, Stritzler-Levine accepted and went Photo by Don Hamerman by Photo fastidious and disciplined, yet he made Holocaust educator, adjunct professor about putting together a team. Before This concert is dedicated to the memory of the time not only to work unstintingly of philosophy, and dean of admissions. long, spurred on by “bus loads” of but also to sit and talk with everyone, Last year he went back to work. “I am in students, as Stritzler-Levine recalled STUART anytime.” social services as part of a skilled health at the 2014 Athletics Awards Banquet, STRITZLER-LEVINE care team,” writes Maiello. “I dedicate who drove up to Columbia Greene 1932–2020 Stritzler-Levine was dean of the College it all to him and his being there at the Community College to cheer for Bard from 1980 to 2001. In those 21 years he right time.” against Albany College of Pharmacy, A MAN OF STATURE, oversaw innovations in the admission the 1976–77 team came within seconds AND LOFTY IDEALS process, particularly the Immediate Kenneth Stern ’75, director of Bard’s of a conference title game. “It was a by James Rodewald ’82 Decision Plan; the rapid growth of Center for Hate Studies, has had a splendid group of guys,” Stritzler-Levine originally appeared in the Fall 2020 Bard’s enrollment and curriculum; long relationship with Stritzler-Levine, said in 2014. “For a couple of years, or issue of the Bardian and the College’s expansion into starting as a student and more recently even three, we took ourselves seriously graduate education. He served as Dean as a colleague. “Stuart and I spoke and practiced and learned and had a Stuart Stritzler-Levine, 87, professor of Studies at Bard High School Early frequently over the years, often about dress code and all that good stuff that emeritus of psychology and dean College from 2003 to 2009, hate, especially given his expertise being a team could be. The truth is I emeritus, died May 1, 2020. Stritzler- then returned to teaching at Bard and about Stanley Milgram,” writes Stern. loved my squad.” For 56 years and Levine, who joined the Bard faculty at Simon’s Rock. Botstein writes, “He “Stuart was always fascinated with the counting, the Bard community has felt in 1964 and devoted 56 years of died in active service, not retired, as world around him, and how to think the same way about him. continuous service to the College, was his dream.” about it. He was an eager supporter received his B.A. from New York of the Center for Hate Studies (he and Stuart Stritzler-Levine is survived by University, M.A. from New School Even while fully occupied by his I had brainstormed about this idea his wife, Nina Stritzler-Levine, and their University, and Ph.D. from SUNY duties at the College, Stritzler-Levine for years) and a regular participant daughter, Ali SR ’15. He is also survived Albany. Before coming to Bard he worked to extend liberal arts and in the faculty reading group on hate.” by his daughter Jennifer, and was was a clinical research psychologist sciences education to underserved Stern also shared a passion for fishing, predeceased by his daughter Jessica at Philadelphia State Hospital, where communities. In 1999, he proposed a and the two traded strategies, fish ’84, who died in 2010. he worked in a National Institute of “bridge course” to expand the original tales, and lures, beginning in Stern’s

6 / MAY 2021 THEORCHESTRANOW.ORG / 7 Symphony V for Victory The Music The nickname of the symphony, “Fate,” I certainly cannot choose my favorite which was not given by Beethoven movement in this concerto. The three himself, comes from the four note movements have their own unique opening of the piece. The most texture and musical language. The first recognizable portion, “short-short- movement is in form, which is short-long,” was thought to resemble one of the most common forms for fate knocking at a subject’s door, and first movements in symphonies or is used as a motif throughout each . It can be separated into BEETHOVEN’S movement of the work. Because of BEETHOVEN’S three parts based on the motive. SYMPHONY NO. 5 the symphony’s popularity, the theme TRIPLE CONCERTO In this movement I really enjoy the Notes by TŌN bassoonist was commonly used during the second Notes by TŌN trumpet player beginning, when the piece opens with Philip McNaughton World War as a way to mark a victory Maggie Tsan-Jung Wei the lower , and the rest

Photo by Matt Dine Matt by Photo over the radio systems. In Morse code, Dine Matt by Photo of the orchestra slowly builds up and “short-short-short-long” spelled out introduces the three soloists. The An Icon The Background Beethoven’s Fifth Symphony, also the letter “V” for victory. The theme Beethoven’s Triple Concerto in C major, second movement instills a sacred and known as the “Fate Symphony,” is would be played whenever the Allied Op. 56, is more similar to a than peaceful feeling in me, almost as if I was arguably one of the most iconic pieces forces found success in their endeavors. a concerto, with the whole orchestra standing by myself in the middle of an of in the canon. Its It became a powerful symbol of hope. acting as an accompanist to build empty cathedral. The last movement, four-note opening motif evokes an up texture and add different colors. just like other traditional concertos, immediate reaction from not only the A Gateway Work Most of the time, it is a competition is a fast movement. It is joyful and most avid classical music appreciator, Whether or not Beethoven himself or cooperation among three soloists. delightful, and also brings back the but also from someone who has never thought of this opening motif as fate The three of them may play against tension and the cooperation between stepped foot into a concert hall before. knocking on the door remains unclear. each other, or support each other in the three soloists. It has been played by world-class What does ring true is that it was fate for different phrases. What makes this in almost every city around this piece to live on forever. I think of this piece unique is the instrumentation. the world, and has even been heard work as a gateway to classical music Beethoven was successful not only at in McDonald’s commercials. The work for the average person. The opening putting these three solo instruments was composed from 1804 to 1808 and four notes are recognized by practically together in front of a whole orchestra, was based off of three of Beethoven’s everyone around the world, but it’s but also at keeping them balanced. original sketches. The piece premiered what follows those notes that makes Acting more as partners, the three in Vienna in 1808 at a momentous all- the symphony magical. The opening instruments do not dominate over Beethoven program that is said to hooks the audience, but the rest of the each other. Even now, it is probably the have lasted four hours, at which the piece keeps listeners planted in their only well-known triple sonata for these composer himself conducted and seats, amazed at what contemporary three instruments. However, the work performed on the piano. The work and rich stories classical music can was not as successful as it is now when paint. The “Fate Symphony” has held was one of several premieres on the Beethoven first composed it around program, including Beethoven’s Sixth the fate of classical music in its hands the year 1804. It was not officially Symphony. for centuries, and I believe the piece performed until about four years will continue to be a riveting gateway after it was published. Surprisingly, it work for many more centuries to come. did not receive great critiques during the nineteenth century. However, the fact that people are still performing the concerto nowadays proves the value of this piece. 8 / MAY 2021 THEORCHESTRANOW.ORG / 9 dissociate it from Beethoven’s resolute idealism. Even at a time in his career plagued by worsening deafness and dire financial hardship, Beethoven was able to suffuse the work with a palpable sense of revolutionary zeal. As a whole, the symphony is exuberant, grand, and unbridled in its dual capacities for jubilance and sincerity. The first movement begins with a gracefully BEETHOVEN’S unfolding solo punctuated by SYMPHONY NO. 7 chordal “hits” from the full orchestra. The Notes by TŌN oboist JJ Silvey rest of the poco sostenuto introduction

Photo by Matt Dine Matt by Photo alternates between poised, lilting wind “As a sforzando occurred, he tore his passages and stentorian iterations from arms with great vehemence asunder . the orchestra which, before long, give . . at the entrance of a forte he jumped way to a cheerful vivace permeated by into the air.” lively dotted rhythms.

So Louis Spohr, the renowned German Triumph Over Tyranny composer and violinist, described The second movement, though marked allegretto Beethoven’s tempestuous at , is the work’s dramatic zenith. the premiere of the Seventh Symphony. A simple, serious rhythmic theme is The occasion was a patriotic one. On introduced by low strings and is soon December 8, 1813, Spohr, along with interwoven with a grave countermelody. THE BEETHOVEN a starry group of musicians including These two ideas compete in increasing Johann Nepomuk Hummel, Antonio force as more instruments take them CELEBRATION Salieri, and Giacomo Meyerbeer, up, building steadily to an intense, gathered to play in an orchestra led by climactic scene. This gives way to a CONTINUES NEXT Beethoven as part of a charity concert dreamlike, yearning middle section, soon for soldiers wounded in the Battle of interrupted by a re-introduction of the SATURDAY! theme. Another climax results, this time Hanau. For this event the composer, Saturday, May 8 at 8 PM by then an emphatic critic of the texturally enriched by deeper layers of megalomaniacal Napoleon, debuted his Beethoven’s characteristically masterful Bard College Conservatory Orchestra Seventh Symphony alongside another counterpoint. In the third movement, presto new work, Wellington’s Victory, written to a rollicking , fleet, playful wind solos are heard among bombastic, high- Leon Botstein conductor commemorate the Duke of Wellington’s defeat of Joseph Bonaparte’s forces in spirited dance episodes. The spectacle is Ludwig van Beethoven the Battle of Vitoria. occasionally curtailed by the emergence Symphony No. 4 of an unhurried, stately theme. Finally, the fourth movement arrives to declare Wellington’s Victory Revolutionary Zeal Symphony No. 3, Eroica Though the Seventh Symphony does not victory. Beethoven, the revolutionary, Drei Equali (Three Equals) for four trombones share the explicit political immediacy of has had an ecstatic vision of mankind’s Wellington’s Victory, it is impossible to final triumph over tyranny. RSVP at FISHERCENTER.BARD.EDU 10 / MAY 2021 THEORCHESTRANOW.ORG / 11 LEON BOTSTEIN ADELE ANTHONY conductor violin Photo by Matt Dine Matt by Photo Ciriello Marcia by Photo

Leon Botstein brings a renowned career as both a conductor and educator to Since her triumph at Denmark’s SummerFest and Aspen Music Festival. his role as music director of The Orchestra Now. He has been music director 1996 Carl Nielsen International Violin Her wide-ranging repertoire extends of the American Symphony Orchestra since 1992, artistic codirector of Bard Competition, Adele Anthony has from the Baroque of Bach and Vivaldi to SummerScape and the since their creation, and president enjoyed an acclaimed and expanding contemporary works of Ross Edwards, of Bard College since 1975. He was the music director of the Jerusalem international career. Performing as a Arvo Pärt and Phillip Glass. Symphony Orchestra from 2003–11, and is now conductor laureate. In 2018 he soloist with orchestra and in recital, as assumed artistic directorship of Campus Grafenegg and Grafenegg Academy well as being active in , An active recording artist, Ms. Anthony’s in Austria. Mr. Botstein is also a frequent guest conductor with orchestras her career spans the continents of work includes releases with Sejong around the globe, has made numerous recordings, and is a prolific author and North America, Europe, Australia, India Soloists’ “Vivaldi: The Four Seasons” music historian. He is the editor of the prestigious The Musical Quarterly, and and Asia. on Naxos, a recording of the Philip Glass has received many honors for his contributions to music. Violin Concerto with Takuo Yuasa and In addition to appearances with all the Ulster Orchestra on Naxos, Arvo More info online at leonbotstein.com. six symphonies of the Australian Pärt’s Tabula rasa with , Broadcasting Corporation, Ms. Neeme Järvi and the Gothenburg Anthony’s highlights from recent Symphony Orchestra on Deutsche seasons have included performances Grammophon, and her latest recording with the symphony orchestras of of the Sibelius Violin Concerto and Ross Houston, San Diego, Seattle, Ft. Worth, Edwards’ Maninyas with the Adelaide and Indianapolis, as well as the Leipzig Symphony Orchestra on Canary Gewandhaus Orchestra and the Classics/ABC Classics. Orchestre Philharmonique de Radio France. Being an avid chamber music Ms. Anthony performs on an Antonio player, she appears regularly at La Jolla Stradivarius violin, crafted in 1728.

12 / MAY 2021 THEORCHESTRANOW.ORG / 13 Mr. Wosner is a recipient of ’s Martin E. Segal Award, an Avery Fisher Career Grant, and a Borletti-Buitoni Trust Award—a prize he used to commission Michael Hersch’s concerto Along the Ravines, which he performed with the Seattle Symphony and Deutsche Radio Philharmonie in its world and European premieres. He was in residence with the BBC as a New Generation Artist, during which he appeared frequently with the BBC orchestras, including conducting Mozart concertos from the keyboard with the BBC Scottish Symphony Orchestra. He returned to the BBC Scottish Symphony in both subscription concerts and Proms performances with Donald PETER WILEY SHAI WOSNER Runnicles and appeared with the BBC cello piano Philharmonic in a live broadcast from Photo by Marco Borggreve Marco by Photo Manchester’s Bridgewater Hall. As a Cellist Peter Wiley enjoys a prolific career as a performer and teacher. He is Pianist Shai Wosner records for Onyx concerto soloist in North America, a member of the piano quartet Opus One, a group he co-founded in 1998 Classics. Among his recent recordings he has appeared with the major with pianist Anne-Marie McDermott, violinist Ida Kavafian, and violist Steven is 2017’s Impromptu, which features orchestras of Atlanta, , Tenenbom. He attended the Curtis Institute of Music as a student of David an eclectic mix of improvisationally Berkeley, , , Dallas, Soyer and joined the Pittsburgh Symphony in 1974. The following year, he was inspired works by composers from Indianapolis, , Milwaukee, appointed Principal cellist of the Cincinnati Symphony Orchestra, a position he Beethoven and Schubert to Gershwin Philadelphia, Pittsburgh, Ottawa, San held for eight years. From 1987 through 1998, he was cellist of the Beaux Arts and Ives. Additional releases include Francisco, and Toronto, among others. Trio. In 2001, he succeeded his mentor, David Soyer, as cellist of the Guarneri concertos and capriccios by Haydn In addition to the BBC orchestras, he Quartet. The quartet retired from the concert stage in 2009. He has been and Ligeti with the Danish National has performed abroad with the Aurora awarded an Avery Fisher Career Grant, and was nominated for a Grammy Symphony conducted by Nicholas Orchestra, Barcelona Symphony, Award in 1998 with the and again in 2009 with the Guarneri Collon, an all-Schubert solo album Bournemouth Symphony, Frankfurt Quartet. He participates at leading festivals, including Music from Angel Fire, featuring a selection of the composer’s Radio Symphony, Gothenburg Chamber Music Northwest, OK Mozart, Santa Fe, Bravo!, and Bidgehampton. He folk-inspired piano works, solo works Symphony, LSO St. Luke’s, Nieuw continues his long association with the Marlboro Music Festival, dating back to by Brahms and Schoenberg, and Sinfonietta Amsterdam, Orchestre 1971. He teaches at the Curtis Institute of Music and Bard College Conservatory works by Schubert paired with new National de Belgique, Staatskapelle of Music. works by Missy Mazzoli. As a chamber Berlin, and the Vienna Philharmonic, musician, he has recorded Beethoven’s among others. He has also appeared complete and variations for with the Orpheus, St. Paul, and cello and piano with Ralph Kirshbaum Los Angeles Chamber Orchestras, and—for Cedille Records—works by having conducted the latter from the Bartók, Janáček, and Kurtág with his keyboard in a 2010 concert that was duo partner of many years, violinist broadcast on American Public Radio. Jennifer Koh. More info online at shaiwosner.com.

14 / MAY 2021 THEORCHESTRANOW.ORG / 15 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 Leon Botstein Music Director TŌN’s performances “dramatic and Violin I Cello Viktor Tóth Tuba intense,” praises these concerts as “an Nicole Oswald Lucas Button Principal 3 Jarrod Briley* opportunity to see talented musicians Concertmaster Principal Matthew Griffith* early in their careers.” Bram Margoles Eva Roebuck Timpani Yada Lee Jordan Gunn Keith Hammer III

Photo by David DeNee David by Photo The orchestra has performed with Tin Yan Lee Pecos Singer Philip McNaughton The Orchestra Now (TŌN) is a group many distinguished guest conductors Misty Drake Cameron Collins* Principal 1, 2 Percussion of vibrant young musicians from and soloists, including Neeme Järvi, Jacques Gadway Kelly Knox* Cheryl Fries Charles Gillette* 3 across the globe who are making Vadim Repin, Fabio Luisi, , Sara Page* Principal Luis Herrera orchestral music relevant to 21st- Hans Graf, Gerard Schwarz, , Violin II Sarah Schoeffler* Xiaoxiao Yuan* Albertazzi* century audiences by sharing their Zuill Bailey, and JoAnn Falletta. Recent Dillon Robb unique personal insights in a welcoming recordings featuring The Orchestra Now Principal Bass Horn Harp environment. Hand-picked from the include two albums on Bridge Records: Yurie Mitsuhashi Kaden Henderson Ser Konvalin Taylor Ann 1 world’s leading conservatories— Piano Protagonists with pianist Orion Sabrina Parry Principal Principal , Fleshman* 3 including the Yale School of Music, Weiss, a New York Times critic’s pick Stuart McDonald Mariya-Andoniya Assistant Shanghai Conservatory of Music, Royal with an ensemble performance that Gaia Mariani Henderson Zachary Travis Guest Musicians Principal 2 Academy of Music, and the Eastman Fanfare magazine called “perfect;” and Ramsdell Luke Stence Steven Harmon School of Music—the members of Buried Alive with baritone Michael Nagy, Gergő Krisztián Joshua DePoint Bassoon Principal 3 TŌN are enlightening curious minds which includes the first recording in Tóth Tristen Jarvis* Anna Pem Emily Buehler by giving on-stage introductions and almost 60 years of ’s Adam Jeffreys* Kwong Ho Hin demonstrations, writing concert notes song cycle Lebendig begraben. Also Xinran Li* Flute from the musicians’ perspective, and available are two albums of piano Zhen Liu* Rebecca Tutunick * not performing in 1 Trumpet having one-on-one discussions with concertos with on Hyperion Shaina Pan* Principal this concert Esther Goldy Brendan Dooley Maggie Tsan-Jung 1 Symphony No. 5 patrons during intermissions. Records, and a Sorel Classics concert 1 2, 3 Wei Principal 2 Triple Concerto recording with pianist Anna Shelest and Roestan* Principal , Yinglin Zhou* Piccolo 1 Samuel Exline 3 Symphony No. 7 Conductor, educator, and music conductor Neeme Järvi. Recordings 2 Leanna Ginsburg Principal historian Leon Botstein, whom The New of TŌN’s live concerts from the Fisher Guillermo García York Times said “draws rich, expressive Center can be heard on Classical 3 Oboe Cuesta Principal playing from the orchestra,” founded WMHT-FM and WWFM The Classical Batmyagmar Erdenebat JJ Silvey Principal 1 Anita Tóth* TŌN in 2015 as a graduate program at Network, and are featured regularly Principal Jasper Igusa Bard College, where he is also president. on Performance Today, broadcast Sean Flynn Principal 2 Trombone TŌN offers both a three-year master’s nationwide. In 2019, the orchestra’s Katelyn Hoag Shawn Hutchison Ian Striedter degree in Curatorial, Critical, and performance with Vadim Repin was Lucas Goodman Principal 3 Principal Performance Studies and a two-year live-streamed on The Violin Channel. Celia Daggy David Kidd advanced certificate in Orchestra Larissa Mapua* Jack E. Noble Studies. The orchestra’s home base is Explore upcoming concerts, see what 1 Bass Trombone Hyunjung Song* Ye Hu Principal the -designed Fisher Center our musicians have to say, and more Leonardo Vásquez Rodrigo Orviz at Bard, where it performs multiple at theorchestranow.org. For more Chacón* Pevida Principal 2 concerts each season and takes part information on the academic program, in the annual Bard Music Festival. It visit bard.edu/theorchnow Members of TŌN can be identified by their distinctive blue attire.

16 / MAY 2021 THEORCHESTRANOW.ORG / 17

Mariya-Andoniya Emily Kelly Stuart Rodrigo Orviz Henderson Buehler Knox McDonald Pevida bass bass cello violin clarinet

Lucas Batmyagmar Gaia Mariani Dillon Sarah Button Erdenebat Ramsdell Robb Schoeffler cello viola violin violin cello

Jacques Guillermo Anita Gergő Viktor Gadway García Cuesta Tóth Krisztián Tóth Tóth violin trumpet trumpet violin clarinet CONGRATULATIONS CONGRATULATIONS TO OUR MUSICIANS!

2021 graduates receiving a Master of Music Degree in Curatorial, Critical, and Performance Lucas Ye Leonardo Weiqiao Yuqian Studies Goodman Hu Vásquez Chacón Wu Zhang viola clarinet viola violin violin

18 / MAY 2021 Musician photos by Matt Dine THEORCHESTRANOW.ORG / 19 Musicians Appearances: Aspen Music Festival, completing 2014–15; Verbier Festival, 2016–18 their Advanced Certificate in What is your earliest memory of classical music? Mom playing me Orchestral Studies: Smetana’s Moldau on the stereo as a kid

What is your favorite piece of music, and why do you love it? Mahler’s Third Symphony, for the trombone solo Charles Gillette percussion What has been your favorite experience as a musician? Playing the sunrise scene from at sunrise on a mountaintop in the Swiss Alps Musicians who have recently What is some advice you would give won positions in IAN STRIEDTER to your younger self? Do more score orchestras: trombone study with recordings. Photo by Matt Dine Matt by Photo

@istriedter Favorite non-classical musician or band: Shakey Graves, Punch Brothers, Ian will talk briefly about The Head and the Heart Beethoven’s Symphony No. 5 before the performance. If you weren’t a musician, what would you be doing? Working as an Xiaoxiao Yuan Hometown: Irvine, CA architectural acoustician Guiyang Symphony Orchestra, China Alma maters: , B.M. Which three people, dead or alive, Trombone, B.M. Recording Arts, M.A. would you like to have dinner with? Audio Sciences 2012–17; New England Batman, Nikola Tesla, Stanley Kubrick Conservatory, M.M. Trombone, 2017–19 Piece of advice for a young classical Awards/Competitions: Winner, 2012 musician: Don’t sit in front of the Pacific Symphony Youth Orchestra trombones. Concerto Competition; Winner, 2018 American Trombone Workshop National Quartet Competition (with David and Cameron); Winner, 2019 American Trombone Workshop National Quartet Competition (with Yuqian Zhang David and Cameron) Guiyang Symphony Orchestra, China

20 / MAY 2021 Musician photos by Matt Dine THEORCHESTRANOW.ORG / 21 buy me a trumpet, and she finally did 2016–17; National Music Festival, 2016; after seeing how many times I watched Eastern Music Festival, 2015 the episode. When did you realize you wanted to How did you hear about TŌN? pursue music as a career? In eighth What inspired you to apply? I heard grade I was accepted into the New York about TŌN via an alumnus of Bard State Honor Band. That experience College. I immediately set my sights exposed me to so many amazing on the program several years ago, as musicians and opened my mind to it has everything I was looking for in an the possibility of pursuing music as a advanced graduate program. TŌN is career. From that moment on I knew I not only a stellar orchestral program wanted to be a musician. that rehearses and performs more than any college or conservatory What has been your favorite program, but also goes beyond solely experience as a musician? I worked performance and into critical and for a non-profit organization in South curatorial studies. This well-rounded Florida called Mind and Melody. I helped approach is invaluable. lead music sessions in assisted living facilities for people with Alzheimer’s SAMUEL EXLINE What has been your favorite LEANNA GINSBURG and Dementia. There were days when trumpet experience as a musician? Performing flute we would arrive at the facility and the Photo by Matt Dine Matt by Photo as Principal Trumpet on Beethoven’s Dine Matt by Photo participants were sad, quiet, or not Samuel will talk briefly about Fifth Symphony at the John F. Kennedy @leannaginsburg making eye contact. By the end of Beethoven’s Triple Concerto before Center for the Performing Arts as a the session they would be dancing, the performance. senior in high school Leanna will talk briefly about laughing, playing, and singing along! Beethoven’s Symphony No. 7 before It was the most fun and rewarding Hometown: Meridian, ID What is some advice you would give the performance. experience I’ve ever had as a musician. to your younger self? The more you Alma maters: University of Miami, B.M. practice, the more fun it becomes. Hometown: Richmondville, NY What is some advice you would give 2016, M.M. 2018; Bard College Advanced to your younger self? It’s okay to have Performance Studies Program, 2019 If you weren’t a musician, what would Alma maters: Purchase College, and pursue more than one passion! I you be doing? Environmental Science/ Northwestern University, Lynn was always told that I needed to focus Appearances: Atlantic Music Festival, Policy University on one path in order to be successful, 2017–18; Pierre Monteux School and but I love many different art forms, and Music Festival, 2015–16; Banff Brass Tell us something about yourself that Awards/Competitions: Winner, finding a way to weave them all together and Drum Residency, 2014; Kennedy might surprise us: I used to participate 2018 Chicago Women Musicians has been extremely rewarding. Center Summer Music Institute, 2011 in competitive ski racing. Club Competition; 2017–18 Walfrid Kujala Scholarship; Outstanding If you weren’t a musician, what would When did you realize you wanted to Piece of advice for a young classical Senior Award, 2016 Purchase College you be doing? I would probably be pursue music as a career? An episode musician: Get as many recordings of Classical Division; Outstanding Junior working as a photographer full time. of the children’s cartoon Rugrats. great musicians, bands, and orchestras Award, 2015 Purchase College Classical Right now I work as a photographer part- Grandpa Lou loses his dentures and as you can and listen as much as Division time, so if I had to make a change, then must get them back in order to play the possible. that would most likely be my choice. big trumpet solo in a band concert. My Appearances: Chautauqua Music six-year-old self begged my mom to Festival, 2017–18; OrchestraNext

22 / Apr 2021 THEORCHESTRANOW.ORG / 23 Photo by David DeNee David by Photo DeNee David by Photo SUPPORT TŌN SPONSOR A TŌN MUSICIAN: NAMED THE TŌN FUND DONORS FELLOWSHIPS WE’VE BROUGHT MUSIC TO MORE Play a defining role in our success by The Orchestra Now gratefully acknowledges the generosity of each and every THAN 55,000 NEW YORKERS IN sponsoring a TŌN musician. Direct donor who makes our work possible. Ticket sales cover less than a quarter OVER 150 CONCERTS THANKS TO your support to have a lasting impact of the expenses for our concerts and educational initiatives. Thank you for SUPPORT FROM DONORS LIKE YOU! on the education and training of TŌN’s making this important investment in the future of classical music! exceptional young players from around Inspire Greatness! the world. TŌN offers both a three-year LEADERSHIP GIFTS Michael L. Privitera Hospitality Committee Support TŌN’s innovative training master’s degree in Curatorial, Critical, Rockefeller Brothers Fund The Vaughan Williams for United Nations program for classical musicians. and Performance Studies and a two- Charitable Trust Delegations (HCUND) year advanced certificate in Orchestra THE YVONNE NADAUD MAI Erica Kiesewetter THE TŌN FUND Studies. Your generosity will help us CONCERTMASTER CHAIR ALLEGRO Robert Lonergan Your generosity will sustain the next meet the challenges of educating a new Made possible by The Mai Gary and Martha Giardina Maury Newburger generation of great performers—more generation of musicians to become Family Foundation Northwestern Mutual Foundation than 70 players from 14 countries creative ambassadors for classical Foundation* The Merrill G. and Emita E. around the globe—as they learn to music. CONCERTMASTER’S Hastings Foundation communicate the transformative CIRCLE FORTE James and Andrea Nelkin* power of music to 21st-century For detailed information on the Joseph Baxer and Barbara Anonymous (2) Suzanne Neunhoeffer audiences. many ways to support TŌN, please Bacewicz Helen V. Atlas Paul W. Oakley contact Nicole M. de Jesús, Director Michael Dorf and Sarah Bridget Kibbey* Inez Parker, in honor of Your gift will support TŌN Student Living of Development, at 845.758.7988 or Connors* Tyler J. Lory and Michael David Kidd TŌN ’22 Stipends, free chamber performances [email protected]. Estate of Clyde Rauschenberg Shirley Ripullone and around the Hudson Valley, and virtual Talmadge Gatlin Robert Losada Kenneth Stahl events including livestreamed concerts There’s simply no other music Emily Sachar Jen Shykula ’96 and Tom Linda Schwab-Edmundson from the Fisher Center at Bard. Your gift degree program like TŌN. Help us Felicitas S. Thorne* Ochs* Arlene and Gilbert Seligman will also provide vital resources for our to inspire greatness by making a Thom and Valerie Styron, Anne-Katrin Spiess and return to live performance at Carnegie contribution today! CONDUCTOR’S BOX in honor of Jarrod Briley Gerlinde Spiess Hall, Jazz at Lincoln Center, and The Anonymous, in memory of TŌN ’22 Alice Stroup, in memory of Metropolitan Museum of Art when it’s TO DONATE: Stuart Stritzler-Levine Vivian Sukenik Timothy Stroup safe again to do so. Visit THEORCHESTRANOW.ORG/ Koren C. Lowenthal, Irene Vincent* Sally Sumner, in honor of SUPPORT in memory of Larry Sara Page TŌN ’22 Call 845.758.7988 Lowenthal TRUMPETER Shining Sung Christine T. Munson* Anonymous (3)

24 / MAY 2021 THEORCHESTRANOW.ORG / 25 CRESCENDO James Gavin Houston DOWNBEAT Daniel E. Scherrer Harriet D. Causbie David H. Levey Anonymous (2) Elena and Anonymous Mark Peter Scherzer Judith Chaifetz Ann and Robert Libbey Mr. and Mrs. Ronald Atkins Frederic Howard Julia Aneshansley Dan and Rosie Schiavone Jill Cohen Eve Mayer Nicole M. de Jesús and Scott Huang Naja B. Armstrong Fran D. Smyth Maria V. Collins Maryanne Mendelsohn Brian P. Walker IBM Matching Grants Melissa Auf der Maur John Staugaitis Elizabeth Davis Rikki Michaels Curtis DeVito and Dennis Program Sheila R. Beall Jerl O. Surratt José M. de Jesús, Jr. Fred Justin Morgan Wedlick Judith and Ron Goodman David Behl Jonathan Wechsler Andrea N. Driscoll Ross Parrino Stan J. Harrison Charitable Trust of Jeffrey Berns Michael and Leslie Wendy Faris Leslie Pepper George Jahn and Karen Fidelity Matthew C. Bernstein Weinstock Claudia Forest Shirley Perle Kaczmar John and Min Hwyei Stephanie G. Beroes Ann and Douglas William Renate L. Friedrichsen Joan W. Roth Kassell Family Foundation Jeung, in honor of Marvin Bielawski Miriam Frischer Sheldon Rudolph of the Jewish Communal Brendan Dooley TŌN ’22 Karen and Mark Collins, PRELUDE Albert Gottlieb Richard Scherr Fund Charlotte Mandell Kelly in honor of Cameron Anonymous (2) Audrey Hackel Diane J. Scrima Peter and Susan J. ’90 and Robert Kelly Collins TŌN ’22 Fred Allen and Erica De Katka Hammond Anna Shuster LeVangia Rebecca S. Kidd, in honor Jefferson Cotton Mane Amy Hebard Shari Siegel Amala and Eric Levine of David Kidd TŌN ’22 Thomas De Stefano Sharon B. Applegate Karen and Perry Hoag, in John Simpson Janet C. Mills Bernard King-Smith and Vincent M. Dicks Kyra Assaad and Warren honor of Bram Margoles Tija Spitsberg and David J. Tatsuji Namba Lisa S. King-Smith John and Remy Duffy, in Tappe TŌN ’22 and Katelyn Weiner Anthony Napoli Miodrag Kukrika honor of Luis Herrera Leslie and Louis Baker Hoag TŌN ’22 Lloyd Targer Lisa and Albrecht Pichler Arthur S. Leonard Albertazzi TŌN ’23 Laurence Blau and Karen Maung Htoo J. Waldhorn Jan and Jim Smyth Nancy S. Leonard and Priscilla Duskin Johnsen Al Jacobsen Lynda Youmans, in honor George Striedter, in honor Lawrence Kramer Mark L. Feinsod ’94 Geraldine Brodsky Steven Jonas, M.D. of Drew Youmans TŌN ’19 of Ian Striedter TŌN ’22 Fulvia Masi and William Carol and Peter Goss Deloss Brown Brenda Klein Elizabeth Zubroff, in Meyer J. Wolin Tanksley Tamara Judith Gruzko Anne B. Brueckner Barbara Komansky honor of John D. Murphy James McLafferty Lee Haring Lael Burns Ralph B. Lawrence TŌNor Warren R. Mikulka Michaela Harnick Anonymous Karen E. Moeller and Juliet Heyer *Includes gifts to the Bard Music Festival and The Orchestra Now Gala. Jesika Berry Charles H. Talleur Terrell K. Holmes Diane and Ronald Blum Gary E. Morgan James Gavin Houston This list represents gifts made to The Orchestra Now from January 1, 2020 to Richard Bopp Suzanne Neusner Jeffrey Keller April 23, 2021. Kent Brown and Catherine K. and Fred David Kraskow and Liz Nat Thomas Reinis Hess For information on contributing to TŌN, or to update your listing, please Lisa Aber Cohen Robert Renbeck Carol E. Lachman contact Nicole M. de Jesús at [email protected]. Thank you for your James Costello and Laura Ann and Thomas Robb, Erika Lieber partnership. Cannamela in honor of Dillon Robb Guenther and Virginia May Margaret M. Coughlin TŌN ’21 Martin and Lucy Murray Richard and Hildegard ’78 James Rosenfield Stan and Bette Nitzky Edling Thomas J. Shykula Pat Parsons Vera A. Farrell Joseph M. Sweeney Neila Beth Radin Renate L. Friedrichsen Judith and Michael Thoyer Kurt Rausch Howard and Caroline Howard Wallick Jing L. Roebuck, in honor Goodman, in honor of Henry H. Westmoreland of Eva Roebuck TŌN ’22 Lucas Goodman TŌN ’21 and Charles H. Milligan Ted Ruthizer and Jane Susanna Grannis Wayne and Dagmar Denkensohn Jan M. Guifarro Yaddow Edward Sandfort

26 / MAY 2021 THEORCHESTRANOW.ORG / 27 THE ADMINISTRATION THE RICHARD B. FISHER CENTER FOR THE PERFORMING ARTS ADVISORY BOARD Gideon Lester Artistic Director Darren O’Sullivan Senior Public THE ORCHESTRA NOW Jeanne Donovan Fisher Chair Caleb Hammons Director of Relations Associate Artistic Staff Administrative Staff Matt Walley TŌN ’19 Carolyn Marks Blackwood Artistic Planning and Producing Amy Murray Videographer Leon Botstein Music Director Kristin Roca Executive Director Program Coordinator, Leon Botstein+ Catherine Teixeira General James Bagwell Associate Brian J. Heck Director of Marketing Admissions Counselor, and Stefano Ferrari Manager PUBLICATIONS Conductor and Academic Nicole M. de Jesús ’94 Director of Guest Artist Relations Alan Fishman Nunally Kersh SummerScape Mary Smith Director of Director Development Neil Gaiman Opera Producer Publications Jindong Cai Associate Conductor Sebastian Danila Music Preparer Concert Crew S. Asher Gelman ’06 Hannah Gosling-Goldsmith Artist Cynthia Werthamer Editorial Zachary Schwartzman Resident and Researcher Marlan Barry Audio Producer and Rebecca Gold Milikowsky Services and Programs Manager Director Conductor Marielle Metivier Orchestra Recording Engineer Anthony Napoli Thai Harris Singer ‘20 Post- Andrés Rivas Assistant Conductor Manager Emily Beck Stage Manager Denise S. Simon Baccalaureate Fellow, MARKETING AND Erica Kiesewetter Professor of Benjamin Oatmen Librarian Nora Rubenstone Stage Manager Martin T. Sosnoff Producing Assistant AUDIENCE SERVICES Orchestral Practice Viktor Tóth Production Coordinator Miles Salerni Rehearsal Toni Sosnoff David Steffen Director of Marketing Bridget Kibbey Director of Leonardo Pineda TŌN ’19 Coordinator Felicitas S. Thorne Emerita DEVELOPMENT and Audience Services Chamber Music and Arts Director of Youth Educational Taun Toay ’05+ Debra Pemstein Nicholas Reilingh Database and Advocacy Performance and South Andrew E. Zobler Vice President for Development Systems Manager American Music Curator and Alumni/ae Affairs Maia Kaufman Audience and BARD MUSIC FESTIVAL Alessandra Larson Director of Member Services Manager BOARD OF DIRECTORS Development Collin Lewis APS ‘21 Audience and BARD COLLEGE Denise S. Simon Chair Kieley Michasiow-Levy Individual Member Services Coordinator Roger Alcaly Giving Manager Brittany Brouker Marketing BOARD OF TRUSTEES Stewart Resnick Life Trustee Malia K. Du Mont ’95 Vice President Leon Botstein+ Michael Hofmann VAP ‘15 Manager James C. Chambers ’81 Chair David E. Schwab II ’52 for Strategy and Policy; Chief Michelle R. Clayman Development Operations Garrett Sager Digital Marketing Emily H. Fisher Vice Chair Roger N. Scotland ’93 Alumni/ae of Staff David Dubin Manager Assistant George F. Hamel Jr. Vice Chair Trustee Peter Gadsby Vice President Robert C. Edmonds ‘68 Elise Alexander ‘19 Development Jesika Berry Senior House Elizabeth Ely ’65 Secretary; Life Annabelle Selldorf for Enrollment Management; Jeanne Donovan Fisher Assistant Manager Trustee Mostafiz ShahMohammed ’97 Registrar Christopher H. Gibbs+ Erik Long Box Office Supervisor Stanley A. Reichel ’65 Treasurer; Jonathan Slone ’84 Mark D. Halsey Vice President Paula K. Hawkins BARD MUSIC FESTIVAL Paulina Swierczek VAP ‘19 Box Life Trustee Alexander Soros for Institutional Research and Thomas Hesse Irene Zedlacher Executive Director Office Supervisor Fiona Angelini Jeannette H. Taylor+ Assessment Susan Petersen Kennedy Raissa St. Pierre ’87 Associate David Bánóczi-Ruof ‘22 Assistant Roland J. Augustine James A. von Klemperer Max Kenner ’01 Vice President Barbara Kenner Director House Manager Leonard Benardo Brandon Weber ’97 Alumni/ae for Institutional Initiatives; Gary Lachmund Maia Weiss Assistant House Leon Botstein+ President of the Trustee Executive Director, Bard Prison Thomas O. Maggs THEATER & Manager College Susan Weber Initiative Kenneth L. Miron PERFORMANCE AND Hazaiah Tompkins ‘19 Community Mark E. Brossman Patricia Ross Weis ’52 Debra Pemstein Christina A. Mohr DANCE PROGRAMS Space Manager Jinqing Cai Vice President for Development James H. Ottaway Jr. Jennifer Lown Program Marcelle Clements ’69 Life Trustee + ex officio and Alumni/ae Affairs Felicitas S. Thorne Administrator FACILITIES The Rt. Rev. Andrew M. L. Dietsche Taun Toay ’05 Senior Vice Siri von Reis Mark Crittenden Facilities Manager Honorary Trustee SENIOR ADMINISTRATION President; Chief Financial Officer Kathleen Vuillet Augustine PRODUCTION Ray Stegner Building Operations Asher B. Edelman ’61 Life Trustee Leon Botstein President Stephen Tremaine ’07 Vice Jason Wells Director of Production Manager Robert S. Epstein ’63 Coleen Murphy Alexander ’00 Vice President for Early Colleges + ex officio Sarah Jick Associate Production Doug Pitcher Building Operations Barbara S. Grossman ’73 President for Administration Dumaine Williams ’03 Vice Manager Coordinator Alumni/ae Trustee Myra Young Armstead Vice President for Student Affairs; ADMINISTRATION Stephen Dean Associate Chris Lyons Building Operations Andrew S. Gundlach President for Academic Inclusive Dean of Early Colleges Liza Parker Executive Director Production Manager Assistant Matina S. Horner+ Excellence Catherine Teixeira General Rick Reiser Technical Director Robyn Charter Fire Panel Monitor Charles S. Johnson III ’70 Jonathan Becker Executive Vice Manager Josh Foreman Lighting Supervisor Bill Cavanaugh Environmental Mark N. Kaplan Life Trustee President; Vice President for Brynn Gilchrist ‘17 Executive Moe Schell Costume Supervisor Specialist George A. Kellner Academic Affairs; Director, Assistant Danny Carr Video Supervisor Drita Gjokaj Environmental Mark Malloch-Brown Center for Civic Engagement Kayla Leacock Summer Hiring Eric Sherman Audio Supervisor Specialist Fredric S. Maxik ’86 Erin Cannan Vice President for Manager Oksana Ryabinkina Environmental Juliet Morrison ‘03 Civic Engagement COMMUNICATIONS Specialist James H. Ottaway Jr. Life Trustee Deirdre d’Albertis Dean of the ARTISTIC DIRECTION Mark Primoff Associate Vice Hilary Pennington College Leon Botstein President, Bard President of Communications Martin Peretz Life Trustee College

28 / MAY 2021 THEORCHESTRANOW.ORG / 29 ABOUT BARD COLLEGE FISHER CENTER AT BARD 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 supports artists, students, and audiences in the development and examination 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 necessity. 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, , across the country, and around the world. Building on a 161-year history as a competitive and innovative undergraduate institution, Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders. ABOUT BARD COLLEGE Leon Botstein and all of us at The Orchestra Now Founded in 1860, Bard College in Annandale-on-Hudson, New York, is an independent, residential, coeducational college offering a four-year BA program would like to express our sincere appreciation to 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 Emily Sachar 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 Conservatory and The Orchestra Now, and at Longy School of Music of Bard College in Cambridge, Massachusetts. for underwriting the TŌN-branded masks. Bard and its affiliated institutions also grant the following degrees: AA at Bard Early Thank you for safeguarding the health and vitality of our Colleges, public schools with campuses in New York City, Baltimore, Cleveland, Newark, New Jersey, , and Washington, D.C.; AA and BA at Bard musicians during this time. College at Simon’s Rock: The Early College, in Great Barrington, Massachusetts, and through the 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 Annandale 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 in Manhattan. Internationally, Bard confers BA and MAT degrees at Al-Quds University in East Jerusalem and American University of Central Asia in Kyrgyzstan; BA degrees at : A Liberal Arts University; and BA and MA degrees at the Faculty of Liberal Arts and Sciences, St. Petersburg University, Russia (Smolny). 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 10:1. Bard’s acquisition of the estate brings the size of the campus to nearly 1,000 acres.

30 / MAY 2021 THEORCHESTRANOW.ORG / 31 THEORCHESTRANOW.ORG ©2021 The Orchestra Now | Program Design Nelson Yan