The Romantic Hero
ROMANTIC for the Performing atArts Bard College At the Richard B.Fisher Center HERO THE
FEB09 10 THE ORCHESTRA NOW
SAT 2/9/19 at 8 PM & SUN 2/10/19 at 2 PM The Richard B. Fisher Center for the MEET THE MUSICIANS Performances #112 & #113: Performing Arts at Bard College Here’s how our vibrant, Season 4, Concerts 18 & 19 Sosnoff Theater young players are sharing Leon Botstein, conductor their love of music with you: • They wrote the concert Richard Wagner Siegfried’s Rhine Journey from (1813–83) Götterdämmerung (1869–74) notes! Read their thoughts starting on page 4. Pyotr Il'yich Tchaikovsky Francesca da Rimini, Op. 32 • Three of them will (1840–93) (1876) introduce the pieces of music on today’s program. - Intermission - • They’ll be in the lobby during intermission. Richard Strauss Ein Heldenleben (A Hero’s Life), Op. 40 Come say hi and have (1864–1949) (1897–98) The Hero a chat! The Hero's Adversaries The Hero's Companion The Hero's Deeds of War DON’T MISS A NOTE The Hero's Works of Peace Sign up for the TŌN The Hero's Retirement email list by filling –no pause between movements– out the insert in this program.
INSPIRE GREATNESS Help us continue concerts like these by making a donation. See page 14 for details.
GET SOCIAL Share your photos using The concert will run approximately 2 hours and 5 minutes, including one 20-minute intermission. #theorchnow and tag us @theorchnow. No beeping or buzzing, please! Silence all electronic devices. Photos and videos are encouraged, but only before and after the music.
2 February 2019 THE ORCHESTRA NOW PagesPages 1 1 & & 2: 2: Photos Photos by by Matt Matt Dine Dine THEORCHESTRANOW.ORG THE ORCHESTRA NOW FEBRUARY 2019 3 THE PROGRAM THE PROGRAM
The Ring The Background They say that a river cuts through Francesca da Rimini is a symphonic rock not because of its power, but its fantasia written in 1876. It musically persistence. Such a virtue is exemplary depicts the tragic story of the title of Richard Wagner, the composer of the character, as told in the Inferno cantica titanic tetralogy of operas (who actually of Dante’s Divine Comedy. Tchaikovsky used the term music dramas) known as was initially drawn to this tale due to its TŌN’S Der Ring des Nibelungen or “The Ring operatic possibilities, and although an LEONARDO VÁSQUEZ CHACÓN ON of the Nibelung.” The fourth in the saga, TŌN’S SARAH SCHOEFFLER ON opera never came to fruition, the idea WAGNER’S SIEGFRIED’S Götterdämmerung or “Twilight of the TCHAIKOVSKY’S resulted in a work that was successful RHINE JOURNEY Gods,” was completed in 1874 and is FRANCESCA DA RIMINI from its initial premiere and has the opera from which Siegfried’s Rhine become a beloved part of the Journey comes. symphonic repertory.
The Themes The Second Circle of Hell The music starts with a somber line in the cellos, depicting Siegfried and Brünnhilde In the fifth canto of Inferno Dante meets Francesca, who narrates the story of how waking up after their first intimate encounter. As the fog dissipates, we hear four French she was forced into a marriage with a cruel warlord husband but instead falls in love horns proudly announcing the hero Siegfried’s theme. This is answered by the clarinet, with his brother. The lovers are discovered after reading the romance of Lancelot which brings a different and much more tender musical idea: Brünnhilde’s theme. and Guinevere together, and in a jealous rage her husband kills them both. The two Wagner keeps developing these two themes throughout the piece by changing their lovers are condemned to the Second Circle of Hell, where their punishment consists character, instrumentation, and the harmony around them, almost like the two lovers of being trapped together and hurled relentlessly about in a violent storm, never to dancing or having a discussion. At some point we also hear the sinuous and ever-flowing walk on firm soil again. This tragic tale was especially popular with the Romantics of music that represents the Rhine river in Das Rheingold, the very first opera of the cycle. this time period, and Franz Liszt used it as inspiration for the Inferno movement of his “Dante” Symphony. One can hear strong influences of both Liszt and Wagner within From Darkness to Heroism Tchaikovsky’s Francesca da Rimini. The composer’s mastery in orchestration and use of drama always impacts me. The piece depicts an epic journey filled with contrasts between darkness and heroism, while The Music other parts remind me of the most innocent and tender moments in Debussy or Ravel, Tchaikovsky’s symphonic poem has three parts, with a short introduction. The piece composers of a later generation. Wagner’s music is something that even musicians in opens with a dark, somber effect by the basses and winds, which portrays Dante a professional symphony orchestra do not always get to perform because it is mostly as he strays from the right path. The influence of Wagner is clearly felt in the tonally in the field of opera companies, so being able to perform it today is really a great ambiguous harmonies of the introduction. As Dante proceeds deeper into the circles of opportunity. Hell, the music continues into the first main section of the piece. In the second section, the tempo accelerates into a syncopated Allegro as Dante watches the violently Thank You, Wagner spinning storm of souls in the second circle of Hell. In the last section, the music calms Like the Rhine river that knows no rest, Richard Wagner’s relentlessness gave us a work as Dante requests to speak to the condemned lovers. This section is introduced by a comprised of four operas that needs four days to be performed—almost 17 hours of heartrending clarinet solo, which depicts Francesca’s point of view. The piece ends with music. His use of Norse mythology, along with plots that involve romance, murder, a large orchestral tutti as we are drawn, along with Dante, through the terrifying tempest magic, etc. are what inspired much of our modern epic sagas like The Lord of the Rings of souls once more. and Game of Thrones. Next time you find yourself awestruck by the latest episode of your favorite show, remember you have Wagner to thank.
4 FEBRUARY 2019 THE ORCHESTRA NOW Photos by Matt Dine THEORCHESTRANOW.ORG THE ORCHESTRA NOW FEBRUARY 2019 5 THE PROGRAM THE PROGRAM MEET THE CONDUCTOR
The Inspiration Written in the summer of 1898 while staying in a Bavarian mountain resort, Ein Heldenleben depicts a hero conquering his enemies. Strauss was convinced that Beethoven’s great “Eroica” (Heroic) Symphony was underperformed, and that it was his job to eradicate this injustice with his own homage to “Eroica.” “Thus to fulfill a pressing need I am TŌN’S SOPHIA BERNITZ ON composing a largish tone poem entitled R. STRAUSS’ EIN HELDENLEBEN Ein Heldenleben, admittedly without a (A HERO’S LIFE) funeral march, but nonetheless in E-flat major, with lots of horns—which is always a measure of heroism,” he wrote.
The Music The work is made up of six movements played without interruption. In “The Hero” the E-flat major theme ranges upwards of five octaves. “The Hero’s Adversaries” are signaled by a very sarcastic flute melody. “The Hero’s Companion” is a substantial portrait between solo violin and the orchestra. I will be playing the solo violin part, which is a portrayal of Strauss’ wife, Pauline Maria de Ahna. She is a complex woman with many sides to her—“never twice the same,” as Strauss said. “The Hero’s Deeds of War” is the climax of the work. It uses eight horns, three offstage trumpets, and a significant amount of percussion. “The Hero’s Works of Peace” is where the hero shows off his “accomplishments” by presenting themes from eight of his other great works, most famously Don Juan, Also Sprach Zarathustra, Till Eulenspeigel’s Merry Pranks, Don Quixote, and Death and Transfiguration. If you are familiar with any of these works, it is fun to try to find them! And finally, in “The Hero’s Retirement,” the motive from the second section returns with a ferocious episode, followed by a calming theme in the English Horn. This leads into the peaceful ending, where the violin solo and the home Leon Botstein key of E-flat major return, signifying the Hero’s completion and fulfillment. conductor The Reception After its premiere, some called Ein Heldenleben “revolutionary in every sense of the Leon Botstein brings a renowned career as both a conductor and educator to his role word,” while others thought it was far too egotistical. In later years, Strauss denied as music director of The Orchestra Now. He has been music director of the American that he was the hero depicted in this work. However, it is fairly obvious that that is a Symphony Orchestra since 1992, artistic codirector of Bard SummerScape and the falsehood. Nonetheless, it is one of the most challenging and fulfilling pieces in the Bard Music Festival since their creation, and president of Bard College since 1975. He orchestral repertoire to this day. This is my first time playing it, and I am so fortunate to was the music director of the Jerusalem Symphony Orchestra from 2003–11, and is now be able to portray Pauline’s wild personality for all of you, along with the rest of this great conductor laureate. In 2018 he assumed artistic directorship of the Grafenegg Academy work with my colleagues. in Austria. Mr. Botstein is also a frequent guest conductor with orchestras around the globe, has made numerous recordings, and is a prolific author and music historian. He is the editor of the prestigious The Musical Quarterly, and has received many honors for his contributions to music.
More info online at leonbotstein.com. 6 FEBRUARY 2019 THE ORCHESTRA NOW Photos by Matt Dine 7 DECEMBER 2018 THE ORCHESTRA NOW THE ORCHESTRA NOW THE PROGRAM THE ORCHESTRA NOW
Leon Botstein, Music Director
Violin I Clarinet Viola Sophia Bernitz, Concertmaster Ye Hu, Principal 1; E-flat Clarinet 3 Karen Waltuch Dillon Robb Micah Candiotti-Pacheco, Gregory K. Williams Linda Duan Principal 2, 3; Bass Clarinet 1 Coline Berland Rodrigo Orviz Pevida, Bass Yurie Mitsuhashi Bass Clarinet 3 Justin Morgan Stuart McDonald Viktor Tóth Weiqiao Wu Piccolo Clara Engen Bassoon Adrienn Kantor Jacques Gadway Carl Gardner, Principal 1, 3 Adam Romey, Principal 2 Oboe Violin II Matthew Gregoire Natalie Wren Diego Gabete-Rodriguez, Principal Horn Contrabassoon Gaia Mariani Ramsdell Luke Baker, Principal 1, 2 Gili Sharett Jiayu Sun William Loveless VI, Principal 3 Drew Youmans Ethan Brozka Horn Leonardo Pineda Emily Buehler Daniel Salera Gergő Tóth Erin A. Paul Yuqian Zhang* Trumpet Aleks Ozolins Anita Tóth, Principal 1, 2 Amanda Ray Viola Guillermo García Cuesta, Paul Celentano, Assistant Emmanuel Koh, Principal Principal 3; Coronet 2 Leonardo Vásquez Chacón Trumpet Lucas Goodman Trombone Samuel Exline Larissa Mapua Matt Walley, Bass Trumpet 1; Angela Gosse The Orchestra Now (TŌN) is a group of vibrant young musicians from across the globe Batmyagmar Erdenebat Tenor Tuba 3 Ricardo Chinchilla who are making orchestral music relevant to 21st-century audiences. They are lifting Federico Ramos, Bass Trombone* the curtain on the musicians’ experience and sharing their unique personal insights Cello Trombone Lucas Button, Principal Tuba Hitomi Yakata, Principal in a welcoming environment. Hand-picked from the world’s leading conservatories— Kyle Anderson Dan Honaker Hsiao-Fang Lin including The Juilliard School, Shanghai Conservatory of Music, Royal Conservatory of Kelly Knox Simon Wood, Bass Trombone 1, 2 Brussels, and the Curtis Institute of Music—the members of TŌN are not only thrilling Cameron Collins Timpani Erik Saras, audiences with their critically acclaimed performances, but also enlightening curious Sarah Schoeffler Miles Salerni Contrabass Trombone 1, Zhilin Wang Bass Trombone 3 minds by giving on-stage introductions and demonstrations, writing concert notes from Alana Shannon Percussion the musicians’ perspective, and having one-on-one discussions with patrons during Lauren Peacock William Kaufman, Principal Percussion intermissions. Wanyue Ye* Luis Herrera Albertazzi Bass Charles Kiger Luke Stence, Principal Harp Yuri Yamashita Conductor, educator, and music historian Leon Botstein founded TŌN in 2015 as Kaden Henderson Emily Melendes, Principal a master’s degree program at Bard College, where he also serves as president. The Mariya-Andoniya Andonova- Harp orchestra is in residence at Bard’s Richard B. Fisher Center for the Performing Arts, Henderson Guest Musicians Mélanie Genin Joshua Depoint performing multiple concerts there each season as well as taking part in the annual Bard Zhenyuan Yao* Violin I Music Festival. They also perform regularly at the finest venues in New York, including Andrés Rivas Carnegie Hall, Lincoln Center, The Metropolitan Museum of Art, and others across Flute Emily Uematsu Matthew Ross, Principal Kathryn Aldous NYC and beyond. The orchestra has performed with many distinguished conductors, Denis Savelyev including Fabio Luisi, Neeme Järvi, Gerard Schwarz, and JoAnn Falletta. Leah Stevens Violin II Allyson Tomsky We invite you to get to know TŌN and discover music in the making! Explore upcoming Oboe Ragga Petursdottir * On leave Regina Brady, Principal 1, 2 Gökçe Erem 1 Wagner concerts, see what our musicians have to say, and more at theorchestranow.org. James Jihyun Kim, Principal 3 Wei Tan 2 Tchaikovsky Kelly Mozeik, English Horn 1, 2 3 Strauss
Members of TŌN can be identified by their distinctive blue attire.
8 FEBRUARY 2019 THE ORCHESTRA NOW Photo by David DeNee THEORCHESTRANOW.ORG THE ORCHESTRA NOW FEBRUARY 2019 9 MEET THE TŌN MUSICIANS MEET THE TŌN MUSICIANS
Ethan Brozka Carl Gardner @carl_alamode horn bassoon @carlgardnr
Ethan will talk briefly about Wagner’s Siegfried’s Rhine Journey on stage before the Carl will talk briefly about Tchaikovsky’s Francesca da Rimini on stage before the performance. performance.
Hometown: Ft. Collins, CO Hometown: Fresno, CA Alma maters: University of Denver, Oberlin Conservatory, University of Iowa Alma maters: Oberlin Conservatory, Yale School of Music Awards/Competitions: Winner, 2016 University of Iowa Concerto Competition; Awards/Competitions: Winner, 2014 Oberlin Conservatory Solo Competition; Finalist, 2015 Dannenberg Honors Recital, Oberlin Conservatory 1st Place, 2014 Fresno Philharmonic Young Artist Concerto Competition; Winner, 2010 Fresno Community Concert Band Music Scholarship Appearances: New World Symphony, substitute, 2017; Orchestra Iowa, substitute, 2016–17; Quincy Symphony Orchestra, Guest Principal Horn, 2016; Dubuque Appearances: Grafenegg Academy Orchestra, Austria, 2018; Lucerne Festival Symphony Orchestra, Fourth Horn, 2015–17; Music Academy of the West, 2016; Aspen Academy, 2015; Norfolk Chamber Music Festival, CT, 2015; Aspen Music Festival, CO, Music Festival and School, 2014–15 2014; Round Top Music Festival, TX, 2013 What is your earliest memory of classical music? Listening to the London Symphony What is your earliest memory of classical music? I first remember going to my Orchestra play The Planets on the first CD I ever owned. dad's performances with the Fresno Philharmonic. I remember drawing a picture of the director, Raymond Harvey, and getting his autograph on my drawing when I went Which composer do you feel you connect with the most? Beethoven. I fell in love with the Seventh Symphony early on and it has never faded. It is a complete work of art that backstage for the first time! encompasses an entire human experience in one piece. Who is your biggest inspiration? My wife Yurie Mitsuhashi is my greatest inspiration. Her perspective on life, on music, and her work ethic are an example I strive to meet What is some advice you would give to your younger self? Never underestimate the value of fundamentals. every day. Waking up every day to play Favorite non-classical musician or band: D’Angelo What has been your favorite experience as a musician? music with people I love, respect and admire. Tell us something about yourself that might surprise us: My deadlift PR is 425lbs. Piece of advice for a young classical musician: Find a reason you want to play music Piece of advice for a young classical musician: Luck is when opportunity meets and make it the center of everything you do. preparation.
10 FEBRUARY 2019 THE ORCHESTRA NOW Photos by Matt Dine THEORCHESTRANOW.ORG THE ORCHESTRA NOW FEBRUARY 2019 11 MEET THE TŌN MUSICIANS
VERDI’S REQUIEM
Yurie Mitsuhashi violin
SAT APR 6 at 8 PM SUN APR 7 at 2 PM Yurie will talk briefly about R. Strauss’ Ein Heldenleben (A Hero’s Life) on stage before the performance. at the Fisher Center at Bard College
Hometown: Fort Lee, NJ In this highlight of the season, Bard’s musical forces join The Orchestra Now for a glorious performance of one of Alma maters: The Juilliard School, B.M.; Yale School of Music, M.M. Verdi’s true masterpieces. Awards: Jack Kent Cooke Young Artist Award, 2010, From the Top What is your earliest memory of classical music? I fondly remember my mother’s Leon Botstein, conductor piano playing at nighttime, usually a work by Debussy or Chopin, and it would lull me to Margaret Tigue, soprano sleep. Another vivid memory of mine is crying over practice sessions with my mom at age 3. In the beginning, practicing was frequently a battle! Chloë Schaaf, mezzo-soprano Chad Shelton, tenor What is your favorite piece of music, and why do you love it? I have two favorites recently: Le Tombeau de Couperin by Maurice Ravel and The Planets by Wei Wu, bass Gustav Holst. Listening to these works evokes in me something that is otherworldly and ethereal; I’ve always enjoyed that feeling. performed with members of the Bard Conservatory Orchestra, Piece of advice for a young classical musician: Look to expand the parameters of the Bard College Chamber Singers & the Bard Festival Chorale what you already know and always ask questions. Also, the following quote from Matilda James Bagwell, choral director by Roald Dahl inspired me as a child: “Never do anything by halves if you want to get away with it. Be outrageous. Go the whole hog. Make sure everything you do is so completely crazy it’s unbelievable.” TICKETS START AT JUST $25!
Tickets & info at THEORCHESTRANOW.ORG
12 FEBRUARY 2019 THE ORCHESTRA NOW Photo by Matt Dine THE TŌN FUND THE TŌN FUND DONORS WE’VE BROUGHT MUSIC The Orchestra Now gratefully acknowledges the generosity of each and every donor TO MORE THAN 40,000 who makes our work possible. Thank you for making this important investment in the NEW YORKERS IN OVER future of music. THE YVONNE NADAUD MAI CONCERTMASTER CHAIR 100 CONCERTS THANKS TO Made possible by The Mai Family Foundation
SUPPORT FROM DONORS LEADERSHIP GIFTS CONDUCTOR’S BOX Anonymous (2) Marshall Family Foundation, Inc. LIKE YOU! Michael Dorf Rockefeller Brothers Fund Felicitas S. Thorne INSPIRE GREATNESS! Anonymous (14) Gary M. Giardina Catherine and Brigitte R. Roepke Support TŌN’s innovative training program for Joseph J. Baxer and Christopher H. Gibbs Jacques Luiggi Glen and Denise Ross classical musicians. Your generosity will sustain the Barbara Bacewicz Debby and Fred Glynn Todd D. Marcus Patricia Ross Weis Susan Beckerman David Gmuca Harvey Marek Charles Roth next generation of great performers—more than 60 Miriam R. Berger Hans R. Gunderud Lisa Marshall Susan and players from 14 countries around the globe—as they Pamela Berlinghof Robert M. Harvey James M. Mastrangelo D. Richard Rowland learn to communicate the transformative power of Dr. László Z. Bitó and Hastings Digital Ginny and Guenther May Edward Sandfort Olivia Cariño Stephen J. Hoffman James McLafferty Lynda Schwab- music to 21st-century audiences. Randi Blom Martin Holub and Mollie Meikle Edmundson Diane and Ronald Blum Sandra Sanders Maryanne C. Gilbert Seligman Richard Bopp Hospitality Committee Mendelsohn Daniel Shapiro and Your gift will support TŌN Student Living Stipends; Claudine Brenner for United Nations Emily Michael Bonnie Loopesko concerts at the Fisher Center, Carnegie Hall, and Kent Brown Delegations (HCUND) Rikki Michels Mary Sheerin Jeannette Canaday Scott Huang Warren R. Mikulka Jo Shute and Allan Jazz at Lincoln Center; the Sight & Sound series at Rosemary Carroll Malcolm G. Idelson Millbrook Acupuncture, Wieman The Metropolitan Museum of Art; and more. Maria J. Chiu Jill Jackson Pllc Jen Shykula and Susan Christoffersen Elizabeth and Karen E. Moeller and Tom Ochs Lisa Cohen Ray Kasevich Charles H. Talleur Peter Sipperley Your gift also allows us to share music with the Theodore and Burton R. Kassell Roy Moses Frances Smyth communities who need it most: Alice Ginot Cohn Caroline Kelch Joanne and James K. Smyth Ramon Cordies George A. Kellner Richard Mrstik Paul Stoddard • Live concerts at Coxsackie, Fishkill, and Ann Cunningham Tigue John and Mary Kelly Patrick Mucerino Joseph Storch Woodbourne correctional facilities Elaine Dale Steven Kent Christine Munson Allan and José M. de Jesús, Jr. and Bridget Kibbey John D. Murphy Ronnie Streichler • One-on-one mentoring for low-income students Rebecca Shafer-de Erica Kiesewetter Dr. Tatsuji Namba Judith Thoyer in NYC Jesús Younghee Kim-Wait Bonni Nechemias Rose Veccia Nicole M. de Jesús and Marilyn and Marcia Neeley Elinor Wallach Levin • Outreach to public schools, senior homes, and Brian P. Walker William L. Kirchner James and Howard Wallick Thomas De Stefano Lise Laurent Andrea Nelkin Michael Weinstock community service agencies Phyllis DiBianco Ralph B. Lawrence Maury Newburger Philip and Martha White • Free concerts for children and families in NYC, the Marvis Dickinson Joy Lee and Richard Hoang-Oanh Nguyen Ann and Douglas William Vincent M. Dicks Packert Philip and Carol Niles Maria R. Wilson Hudson Valley, and beyond Khoa Doan Arthur S. Leonard Yuka Nishino Wendy Wolfenson Roberta Downs Nancy Leonard and Bette and Stan Nitzky Nelson Yan There’s simply no other music degree program Sandeman Lawrence Kramer Harold Oaklander Carrie E. Yotter Christine J. Edwards Peter J. and Susan B. Douglas B. Okerson and Shirley Young like TŌN. Help us to inspire greatness by making a Lauren Effron LeVangia William Williams Marlene Zaslavsky contribution today! Barbara Ewert David Levering Lewis James H. Ottaway Jr. Ian Zimmerman Arnold and Milly Amala and Eric Levine Dr. Nora Post and Heather Jane Feinsilber Emma Lewis Kurt and McCormick Mark Feinsod Ernest and Erika Lieber Lorenzo Rausch Leila Zogby Roz Forman Robert Losada Robert Renbeck TO DONATE: Elaine Frankle Andrea Louie Arthur S. Reynolds Text TON to 41444 Hildegard Frey Edling Erika Lowenberg Ellen Reynolds List current as of Visit THEORCHESTRANOW ORG/SUPPORT GE Foundation Paul Lowrey Ann Robb February 1, 2019 Call 845.758.7988 For more detailed information on making a contribution to TŌN, please contact Nicole M. de Jesús at [email protected].
Photo by Matt Dine THEORCHESTRANOW.ORG THE ORCHESTRA NOW FEBRUARY 2019 15 THE ADMINISTRATION THE ADMINISTRATION
THE RICHARD B. FISHER CENTER THE ORCHESTRA NOW FOR THE PERFORMING ARTS Artistic Staff Administrative Staff Advisory Board Production Leon Botstein, Music Director Vincent Roca, General Manager Jeanne Donovan Fisher, Chair Vincent Roca, Director of Production James Bagwell, Associate Conductor Brian J. Heck, Director of Marketing Carolyn Marks Blackwood Sarah Jick, Assistant Production Manager Jindong Cai, Academic Director and Nicole M. de Jesús, Director of Development Leon Botstein+ Stephen Dean, Production Coordinator, Concerts Associate Conductor Sebastian Danila, Music Preparer and Researcher Stefano Ferrari and Lectures Zachary Schwartzman, Resident Conductor Marielle Metivier, Orchestra Manager Alan H. Fishman Rick Reiser, Technical Director Andrés Rivas, Assistant Conductor Alice Terrett, Marketing Manager Neil Gaiman Josh Foreman, Lighting Supervisor Erica Kiesewetter, Professor of Orchestral Practice Benjamin Oatmen, Librarian Asher Gelman ’06 Moe Schell, Costume Shop Supervisor Bridget Kibbey, Director of Chamber Music and Arts Hsiao-Fang Lin, IT Associate Rebecca Gold Milikowsky Seth Chrisman, Audio/Video Supervisor Advocacy Viktor Tóth, Production Coordinator Anthony Napoli Kristin Roca, Administrative Assistant Denise S. Simon Communications Martin T. Sosnoff Mark Primoff, Associate Vice President of Toni Sosnoff Communications BARD COLLEGE Felicitas S. Thorne Eleanor Davis, Director of Public Relations Andrew E. Zobler Board of Trustees Senior Administration Darren O’Sullivan, Senior Public Relations Associate Charles P. Stevenson Jr., Chair Emeritus Leon Botstein, President Amy Murray, Videographer James C. Chambers ’81, Chair Coleen Murphy Alexander ’00, Vice President for Live Arts Bard Creative Council George F. Hamel Jr., Vice Chair Administration Jeanne Donovan Fisher Publications Emily H. Fisher, Vice Chair Myra Young Armstead, Vice President for Academic Dr. Terry S. Gotthelf Mary Smith, Director of Publications Elizabeth Ely ’65, Secretary; Life Trustee Inclusive Excellence Richard and Jane Katzman Diane Rosasco, Production Manager Stanley A. Reichel ’65, Treasurer; Norton Batkin, Vice President; Dean of Graduate Doris J. Lockhart Cynthia Werthamer, Editorial Director Life Trustee Studies Stephen Simcock Fiona Angelini Jonathan Becker, Executive Vice President; Vice Sarah and David Stack Roland J. Augustine President for Academic Affairs; Director, Center for Marketing and Audience Services David Steffen, Director of Marketing and Audience Leon Botstein+, President of the College Civic Engagement + ex officio Stuart Breslow+ James Brudvig, Vice President for Finance and Services Mark E. Brossman Administration; Chief Financial Officer Nicholas Reilingh, Database and Systems Manager Jinqing Cai Erin Cannan, Vice President for Student Affairs; Dean Administration Maia Kaufman, Audience and Member Marcelle Clements ’69, Life Trustee of Civic Engagement Debra Pemstein, Vice President for Development and Services Manager The Rt. Rev. Andrew M. L. Dietsche, Honorary Trustee Deirdre d’Albertis, Dean of the College Alumni/ae Affairs Brittany Brouker, Marketing Associate Asher B. Edelman ’61, Life Trustee Malia K. Du Mont ’95, Chief of Staff Bob Bursey, Executive Director Triston Tolentino '18, Audience and Member Robert S. Epstein ’63 Mark D. Halsey, Vice President for Institutional Kristy Grimes, Director of Finance Services Assistant Barbara S. Grossman ’73, Research and Assessment Michael Hofmann VAP '15, Executive Assistant Claire Thiemann '11, Senior House Manager Alumni/ae Trustee Max Kenner ’01, Vice President for Institutional Jewel Evans '18, Post-Baccalaureate Fellow Jesika Berry, House Manager Andrew S. Gundlach Initiatives; Executive Director, Bard Prison Initiative Erim Cemre '20, Assistant House Manager Sally Hambrecht Robert Martin, Vice President for Policy and Planning; Artistic Direction Rebecca Rivera, Assistant House Manager Hazaiah Tompkins '18, Assistant House Manager Marieluise Hessel Director, Bard College Conservatory of Music Leon Botstein, President, Bard College Maja Hoffmann Dimitri B. Papadimitriou, President, Levy Economics Gideon Lester, Artistic Director, Theater and Dance Matina S. Horner+ Institute Caleb Hammons, Senior Producer Facilities Charles S. Johnson III ’70 Debra Pemstein, Vice President for Development and Nunally Kersh, SummerScape Opera Producer Mark Crittenden, Facilities Manager Mark N. Kaplan, Life Trustee Alumni/ae Affairs Jesse Heffler, Assistant Producer Ray Stegner, Building Operations Manager George A. Kellner Taun Toay ’05, Vice President for Enrollment and Doug Pitcher, Building Operations Coordinator Fredric S. Maxik ’86 Strategic Initiatives Development Chris Lyons, Building Operations Assistant James H. Ottaway Jr., Life Trustee Stephen Tremaine ’07, Vice President for Early Robyn Charter, Fire Panel Monitor Kieley Michasiow-Levy, Individual Giving Manager Hilary C. Pennington Colleges Bill Cavanaugh, Environmental Specialist Franchesca Chorengel '18, Post-Baccalaureate Martin Peretz, Life Trustee Sarah Dunne, Environmental Specialist Fellow Stewart Resnick, Life Trustee Drita Gjokaj, Environmental Specialist David E. Schwab II ’52 Roger N. Scotland ’93, Alumni/ae Trustee Bard Music Festival Jonathan Slone ’84 Irene Zedlacher, Executive Director Jeannette H. Taylor+ Raissa St. Pierre '81, Associate Director James A. von Klemperer Brandon Weber ’97, Alumni/ae Trustee Theater & Performance and Dance Susan Weber Patricia Ross Weis ’52 Programs Jennifer Lown, Program Administrator + ex officio
16 FEBRUARY 2019 THE ORCHESTRA NOW THEORCHESTRANOW.ORG THE ORCHESTRA NOW FEBRUARY 2019 17 ABOUT BARD COLLEGE Individual supporters are essential to sustaining the RichardTHE PROGRAM B. Fisher Center for the Performing Arts as an extraordinary part of cultural life in the Hudson Valley. Generous gifts from arts supporters like you About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class help make everything at the Fisher Center possible. artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800- Our members support world-class performing arts and enjoy a variety seat Sosnoff Theater, a proscenium-arch space, and in the 220-seat LUMA Theater, of discounts and benefits through our Friends and Patrons programs which features a flexible seating configuration. 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The the Fisher Center directors’ presentations College offers bachelor of arts degrees, with nearly 50 academic programs in four • Fully tax deductible • $750 tax deductible divisions—Arts; Languages and Literature; Science, Mathematics, and Computing; and Social Studies—and Interdivisional Programs and Concentrations. Bard also bestows Sponsor ($300) All of the above, plus: several dual degrees, including a BA/BS in economics and finance, and at the Bard • Invitations to opening night parties College Conservatory of Music, where students earn a bachelor’s degree in music and • SummerScape production poster • $250 tax deductible a BA in another field in the liberal arts or sciences. Bard’s distinguished faculty includes winners of MacArthur Fellowships, National Science Foundation grants, Guggenheim Fellowships, Grammy Awards, French Legion of Honor awards, and Pulitzer Prizes, BECOME A PATRON OF THE FISHER CENTER among others. Patrons enjoy all of the benefits of Benefactors of the Fisher Center, plus access to the best seats in the house, personalized ticketing, preferred parking, and exclusive events. Over the past 38 years, Bard has broadened its scope beyond undergraduate academics. The College operates 12 graduate programs and has expanded to Patron ($1,500) All of the Benefactors Producer ($2,500) All of the above, plus: encompass a network of regional, national, and global partnerships—including dual- benefits, plus: • Invitation for two to an exclusive pre- • Access to the best seats and personalized degree programs in four international locations; the Bard Prison Initiative, which grants performance dinner at a Hudson Valley home ticket handling through the Patron • $2,030 tax deductible college degrees to New York State inmates; and Bard High School Early Colleges, where Priority Line students earn a high school diploma and an AA degree in four years. Bard’s philosophy • Access to the Bard Music Festival Patron’s Director ($5,000) All of the above, plus: sets a standard for both scholarly achievement and engagement in civic and global Lounge at Olin Hall • Reserved VIP parking for all events at the affairs on campus, while also taking the College’s mission to the wider world. The • Recognition in performance programs Fisher Center undergraduate college in Annandale-on-Hudson, New York, has an enrollment of more • $1,180 tax deductible • Invitation for two to an intimate dinner with than 1,900 and a student-to-faculty ratio of 9:1. For more information about a world-class performer, creator, or scholar Bard College, visit bard.edu. • $4,380 tax deductible
For more information visit fishercenter.bard.edu/support or call 845-758-7987. 18 FEBRUARY 2019 THE ORCHESTRA NOW THEORCHESTRANOW.ORG THETHE ORCHESTRA ORCHESTRA NOW NOW FEBRUARY DECEMBER 2019 2018 19 Music SCHUBERT’S WINTERREISE Rufus Müller, tenor Kayo Iwama, piano Sosnoff Theater | Feb 16 at 8 PM
Music BARD CONSERVATORY CONCERTO COMPETITION Final Round Sosnoff Theater | Feb 17 at 11 AM
Live Podcast SUSAN ORLEAN AND SARAH THYRE’S CRYBABIES Sosnoff Theater | Mar 2 at 7:30 PM
Music BARD COLLEGE CONSERVATORY ORCHESTRA Works by Barber and Knussen, and Ravel’s arrangement of Mussorgsky’s Pictures at an Exhibition Mark Russell Smith, guest conductor Dawn Upshaw, soprano Sosnoff Theater | Mar 9 at 8 PM
Music and Literature RICHARD STRAUSS AND NIETZSCHE Leon Botstein and The Orchestra Now explore Also sprach Zarathustra Sosnoff Theater | Mar 13 at 5 PM
Jazz SOUND THE TRUMPET! JAMAICAN ROOTS Led by Etienne Charles, featuring Shenel Johns LUMA Theater | Mar 16 at 7:30 PM
845-758-7900 | fishercenter.bard.edu WINTER EVENTS ©2019 THE ORCHESTRA NOW PROGRAM DESIGN: NELSON YAN