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Out of the Silence: a Celebration of Music

BARD MUSIC FESTIVAL PRESENTS

Out of the Silence: A Celebration of Music

PROGRAM FOUR SATURDAY, SEPTEMBER 26, 2020

Bard PRESENTS

Out of the Silence: A Celebration of Music

PROGRAM FOUR UPSTREAMING 5:30 pm The Orchestra Now, conducted by

DUKE ELLINGTON (1899–1974) “Solitude” (1934; arr. Gould)

“” (1933; arr. Gould)

JOSEPH BOLOGNE, Symphonie Concertante in G Major, CHEVALIER DE SAINT-GEORGES Op. 13 (1782) (1745–99) Allegro Rondeau Cyrus Beroukhim and Philip Payton, violins

BÉLA BARTÓK (1881–1945) Music for Strings, Percussion, and Celesta (1936) Andante tranquillo Allegro Adagio Allegro molto

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 stand also share a home.

This program is made possible in part through the generosity of our donors and the Boards of the Bard Music Festival, The Orchestra Now, and the Fisher Center at Bard.

Programs and performers are subject to change. PROGRAM FOUR NOTES

DUKE ELLINGTON Edward Kennedy Ellington, known as “Duke,” first came to prominence in the late 1920s when his band played at the Cotton Club, a major venue for African American music in the middle of , performing with his band for an exclusively white audience. By the next decade, his band was touring internationally, and Ellington was soon recognized as the greatest musician in America, giving voice to the Black experience in his works. He was a creator who always wanted to do more than simply provide musical entertainment for the dance hall. His music was deeply rooted in the , and he was an indefatigable innovator who was always open to new forms of expression, eventually crossing boundaries of genre and writing longer compositions for symphony orchestra. As jazz historian Ralph J. Gleason wrote, “Ellington has created his own musical world, which has transcended every attempt to impose category upon it and has emerged as a solid body of work unequalled in American music. . . . His songs have become a standard part of the cultural heritage.” Ellington’s career, which took him all over the globe, spanned more than half a century and earned him the nickname “Ambassador of Jazz.”

The two pieces featured at this concert, “Sophisticated Lady” and “Solitude,” quickly became popular jazz standards. They were introduced in 1933 and 1934, respectively, and recorded by Ellington’s band on the Brunswick label. The pieces exude the spirit of the , which brought a veritable explosion of Black creativity in all artistic fields. Ellington was a great arranger, but it wasn’t long before his own music began to be arranged by others. Morton Gould’s arrangements of these two Ellington tunes were made for a collection entitled String Time that was released by Columbia Masterworks in 1946. As a composer, Gould excelled at boundary crossing himself, writing both serious symphonies and lighter “symphonettes,” shows, and the tragic ballet Fall River Legend, which was premiered at the Met. His Ellington arrangements mark the meeting of two great creative minds. The younger musician applied a whole range of 20th- century “classical” techniques to Ellington’s : mysterious string tremolos, sensitive solo passages, and highly effective interjections by the harp and celesta.

—Peter Laki, Visiting Associate Professor of Music,

4 JOSEPH BOLOGNE The illegitimate son of Nanon, a Senegalese slave, and George Bologne, a plantation owner in the South Caribbean, Joseph Bologne benefited from opportunities, experiences, and an elite education that allowed his multiple gifts, not limited to musical ones, to thrive. Among the many gaps in biographical information about him is when he was born, perhaps on Christmas Day in 1745, on a small island in the archipelago of Guadeloupe. After being falsely accused of murder, George fled to France with his family, taking along Nanon and their young son.

The talent that first brought the teenage Joseph attention was in athletics, most notably fencing, which proved an entrée into high society and led King Louis XV to name him the Chevalier de Saint-Georges. While not much is known of his musical training, by his mid-20s he was playing in the newly formed Concert des Amateurs. He soon became concertmaster, eventually music director, and helped elevate the orchestra to one of the continent’s best. In 1772 he was featured soloist with the ensemble performing his technically challenging violin , Op. 2. The pace of his composing increased, primarily instrumental music, including string quartets, sonatas, violin concertos, and ten symphonies concertantes, a new Parisian genre. Pieces dedicated to him by prominent musicians of the time, including Antonio Lolli, François-Joseph Gossec, and Carl Stamitz, suggest the high esteem in which he was held. In a diary entry from May 1779, (the future American president, who had just completed duty as Envoy to France) called him “the most Accomplished man in Europe in riding, running, dancing, music.”

When Saint-Georges began to switch his energies to composing operas he faced obstacles in that arena due to racist singers who objected to having to “submit to the orders of a mulatto.” After the Concert des Amateurs folded for financial reasons, Saint-Georges joined the Concert de la Loge Olympique, the orchestra that commissioned Haydn’s six so-called Paris symphonies, of which he helped arrange the premieres. His career continued to mix athletics and music, and added military service amidst the French Revolution, joining the National Guard and for some 18 months being a prisoner during the Reign of Terror.

The designation symphonie concertante (or sinfonia concertante in Italian) gives a good idea of its form: a combination of symphony and . The genre was popular in the late-18th and early-19th centuries and to some extent derived from the earlier Baroque concerto grosso. Part symphony, part concerto (more the latter), such pieces prominently offer two, three, four, or more soloists who relate to one

5 another to a greater degree than to the full ensemble. The prominence and inde- pendence of the soloists are central. In Saint-Georges’ two-movement Symphonie Concertante in G Major, Op. 13, there are two violin soloists. Mozart wrote several such pieces, the most famous being in E-flat major (K. 364) featuring violin and viola, which biographer Gabriel Banat believes owes a debt to Saint-Georges. The two composers lived in the same house in Paris in 1778 and must have known each other’s music.

—Christopher H. Gibbs, Artistic Codirector, Bard Music Festival

BÉLA BARTÓK In the summer of 1936, the 55-year-old Béla Bartók, having by then achieved con- siderable international fame as a performer, composer, and ethnomusicologist, tack- led a formidable array of compositional challenges in his Music for Strings, Percussion, and Celesta, a work of astonishing synthesis, organicism, and technical brilliance. The synthesis is to be found in Bartók’s ability to integrate his profound knowledge of Western musical tradition, immediately evident in the fugue that opens the piece, with his pathbreaking research of folk music, not limited to the region of his native Hungary but extending farther afield to North Africa. The organ- icism of Music for Strings comes from the way in which a four-movement piece grows out of, and is also unified by, the that begins the work.

The Swiss conductor and music patron Paul Sacher commissioned the piece for the 10th anniversary of the Basel Chamber Orchestra, which premiered it in January 1937. Unlike Bartók’s other most famous orchestral work, the Concerto for Orchestra (1943), which gives many instrumentalists a chance to shine, the orchestral means are much more limited in this instance. Aside from the full string orchestra, which is divided into two equal groups on either side of the conductor with the basses in the back, there is a battery of percussion instruments as well as , harp, and celesta. The celesta is a keyboard instrument—it looks like a miniature upright piano— invented in the mid-19th century. (Tchaikovsky was the first famous composer to use it, in his ballet The Nutcracker.) Its hammers hit not tightly wound strings, as they do in a piano, but rather metal plates, producing a bright, tinkling sound.

Bartók began his First String Quartet (1908–09) with a slow fugue—successive entries of each of the string instruments in complex imitation. This was a clear hom- age to Beethoven, who started his late String Quartet in C-sharp Minor, Op. 131, the

6 same way. Bartók returned to the idea in Music for Strings, but took it to a greater extreme by making the entire first movement (Andante tranquillo) a slowly unfolding exploration of the opening theme; he recycles elements of the same melody in the following three movements as well. Muted violas begin by stating the fugal “subject,” a serpentine melody that slithers up and then back down. The range from highest note to lowest is extremely limited, with most pitches next to one another. The melody is chromatic, not diatonic, meaning that if it were played on the piano in C major it would use both white and black keys, not just the white ones. “Chromatic” derives from the Greek word for color, and this movement, even though primarily for strings, is nonetheless particularly colorful because of the inflections of the melodies.

The other strings imitate the viola’s lead, first violins then cellos, with these higher and lower instruments alternating back and forth around the anchoring violas in the middle. Because Bartók has divided the string orchestra into two groups, twice as many entrances are possible, which produces some striking antiphonal effects. The strings build in volume and density before percussion instruments enter to mark the movement’s climax; here the strings also take off the mutes and produce a fuller, more resonant tone. Bartók now inverts the fugal subject—what previously had crept up now creeps down, and vice versa. Indeed, at one moment Bartók has the two versions happening simultaneously, both the original contour of the theme and its inversion. At this same point the celesta makes its first appearance with glittering arpeggiated chords. What Bartók slowly built up from the unaccompanied violas beginning on the pitch A, winds down eventually to the violins playing that same note to conclude.

The following Allegro is a lively contrast, prepared by the slow opening movement. (The entire four-movement piece might be considered two slow-fast pairs, each one of roughly equal length.) The rhythmic profile may remind one of Stravinsky’s music and the percussion instruments, piano, harp, and celesta all become more promi- nent. A single pitch, F, repeated on the xylophone begins the Adagio, an atmospheric movement that many commentators describe as nocturnal. Bartók uses his beloved arch form (ABCBA) with a cascading harp, piano, and celesta passage in the middle. The xylophone also closes the movement. The final Allegro molto is a dance-like movement that most obviously projects a folk character. Unlike the chromaticism of the first movement, this one has simple diatonic tunes that build to a mighty conclusion.

—C. H. G.

7 BIOGRAPHIES

Violinist Cyrus Beroukhim was appointed concertmaster of the American Symphony Orchestra in 2019 and has appeared as guest concertmaster with the American Ballet Theatre, Orpheus Chamber Orchestra, and Gotham Chamber Opera. He is also a member of the City Ballet Orchestra, where he has served as both principal second violin and principal viola and has been featured as soloist in the productions of Stravinsky’s Violin Concerto and Balanchine’s Concerto Barocco. His performances of Bach and Vivaldi concerti with the Academy of St. Martin in the Fields were heralded as “flawless and sensitive” byZeitung im Espace Mittelland () and his live recording of Saint-Saëns’s Introduction and Rondo Capriccioso earned him the distinction of “crème de la crème” on National Public Radio’s Performance Today. As a founding member of the Zukofsky Quartet, he presented Milton Babbitt’s quartet cycle numerous times around the country. Beroukhim joined the faculty of New York University as associate professor of string studies in 2013 and also teaches at Columbia University.

Leon Botstein is music director and principal conductor of the American Symphony Orchestra (ASO), founder and music director of The Orchestra Now (TŌN), artistic codirector of Bard SummerScape and the Bard Music Festival, and conductor laure- ate of the Jerusalem Symphony Orchestra, where he served as music director from 2003 to 2011. He has been guest conductor with the , Royal Philharmonic Orchestra, Aspen Music Festival, Buffalo Philharmonic Orchestra, Mariinsky Theatre, Russian National Orchestra in Moscow, Hessisches Staatstheater Wiesbaden, Taipei Symphony, Simón Bolivar Symphony Orchestra, and Sinfónica Juvenil de Caracas in Venezuela, among others. Recordings include a Grammy-nomi- nated recording of Popov’s First Symphony with the London Symphony Orchestra, an acclaimed recording of Hindemith’s The Long Christmas Dinner with ASO, and recordings with the London Philharmonic, NDR Orchestra Hamburg, Jerusalem Symphony Orchestra, and TŌN, among others. Many of his live performances with the ASO are available online. He is editor of The Musical Quarterly and the author of numerous articles and books, including The Compleat Brahms (Norton), Jefferson’s Children (Doubleday), Judentum und Modernität (Böhlau), and Von Beethoven zu Berg (Zsolnay). Honors include ’s prestigious Centennial Award, the American Academy of Arts and Letters award, and Cross of Honor, First Class,

8 from the government of Austria, for his contributions to music. Other distinc tions include the Bruckner Society’s Julio Kilenyi Medal of Honor for his interpretations of that composer’s music, Leonard Bernstein Award for the Elevation of Music in Society, and Carnegie Foundation’s Academic Leadership Award. In 2011, he was inducted into the American Philosophical Society.

Violinist and violist Philip Payton enjoys a diverse career in and around the country. He is a member of the American Symphony Orchestra, American Modern Ensemble, and is a core member of the Walla Walla Chamber Music Festival. He frequently performs with the New Jersey Symphony, American Ballet Theatre, Charleston Symphony, Harrisburg Symphony, Sarasota Orchestra, and Harlem Chamber Players, among others. He is principal viola and on the faculty at the Mostly Modern Festival (MMF) and performed Ralph Vaughan Williams’s Flos Campi with the MMF Orchestra in the festival’s inaugural year. Broadway credits include Frozen, Hello Dolly, Kinky Boots, The Gershwins’ Porgy and Bess, Harry Connick, Jr. in Concert on Broadway, and West Side Story. He teaches at the Gray Charter School in Newark, New Jersey, and coaches at the New World Symphony in Miami Beach, Florida, and has recently been faculty at the Sphinx Organization’s National Alliance for Audition Support. He graduated from the University of Michigan and the Institute of Music, and spent four years at the New World Symphony as a co-concertmaster and co-principal second violin under the direction of Michael Tilson Thomas.

Ashley Tata makes multimedia works of theater, contemporary opera, performance, cyberformance, live music, and immersive experiences. These have been presented in venues and festivals throughout the US and internationally, including Theater for a New Audience, LA Opera, Austin Opera, Miller Theater, National Sawdust, EMPAC, BPAC, Crossing the Line Festival, Holland Festival, Prelude Festival, National Centre for the Performing Arts in Beijing, and the Fisher Center at Bard.

Since the pandemic-induced theatrical shut down, she has continued to make art, directing a live cyberformance of Caryl Churchill’s Mad Forest, which transferred from Bard College’s Fisher Center to Theater for a New Audience; a Zoom-accessed virtual and dance party called The Boot with Beth Morrison Projects; a music video for rock band Sylvan Esso, which aired on Stephen Colbert’s YouTube channel, and a physically distanced, landscape-integrating adaptation of John Luther Adams’s Ten Thousand Birds with Alarm Will Sound at PS21 in Chatham, New York.

9 Founded in 1990, the Bard Music Festival has established its unique identity in the classical concert field by presenting programs that, through performance and discussion, place selected works in the cultural and social context of the composer’s world. Programs of the Bard Music Festival offer a point of view.

The intimate of recital and chamber music and the excitement of full orchestral and choral works are complemented by informative preconcert talks, panel discussions by renowned musicians and scholars, and special events. In addition, the University of Press publishes a book of essays, translations, and correspondence relating to the festival’s central figure.

By providing an illuminating context, the festival encourages listeners and musicians alike to rediscover the powerful, expressive nature of familiar compositions and to become acquainted with less well-known works. Since its inaugural season, the Bard Music Festival has entered the worlds of Brahms, Mendelssohn, , Dvořák, Schumann, Bartók, Ives, Haydn, Tchaikovsky, Schoenberg, Beethoven, Debussy, Mahler, Janáček, Shostakovich, Copland, Liszt, Elgar, Prokofiev, Wagner, Berg, Sibelius, Saint-Saëns, Stravinsky, Schubert, Carlos Chávez, Puccini, Chopin, Rimsky-Korsakov, and Korngold. The 31st festival, in 2021, will be devoted to the life and work of Nadia Boulanger.

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. Handpicked from the world’s leading conservatories—including The Juilliard School, Shanghai Conservatory of Music, Royal Conservatory of Brussels, and Curtis Institute of Music—the members of TŌN are enlightening curious minds by giving on-stage introductions and demonstrations, writing concert notes from the musicians’ perspectives, and having one-on-one discussions with patrons during intermissions.

The orchestra’s home base is the –designed Fisher Center at Bard, where they perform multiple concerts each season and take part in the annual Bard Music Festival. They also perform regularly at the finest venues in New York City, including , , Metropolitan Museum of Art, and others across New York and beyond. The orchestra has performed with many distinguished guest conductors and soloists, including Neeme Järvi, Vadim Repin, Fabio Luisi, Peter Serkin, Hans Graf, Gerard Schwarz, , Zuill Bailey, and JoAnn Falletta. Recordings featuring The Orchestra Now include two albums of piano concertos with on Hyperion Records, and a Sorel Classics concert recording

10 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 ’s song cycle Lebendig begraben. Upcoming releases include an album of piano concertos with 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 livestreamed on the Violin Channel.

The Bard College Conservatory of Music was founded in 2005 and is guided by the principle that young musicians should be broadly educated in the liberal arts and sciences to achieve their greatest potential. All undergraduates complete two degrees over a five-year period: a bachelor of music and a bachelor of arts in a field other than music. The Conservatory Orchestra has performed twice at Lincoln Center, and has completed three international concert tours: in June 2012 to China, Hong Kong, and Taiwan; in June 2014 to Russia and six cities in Central and Eastern Europe; and in June 2016, to three cities in Cuba.

11 ROSTER

The Orchestra Now Leon Botstein, Music Director

VIOLIN I BASS

Yurie Mitsuhashi, Concertmaster Joshua DePoint, Principal Xinran Li Tristen Jarvis Adam Jeffreys Sabrina Parry Tin Yan Lee TIMPANI

Misty Drake Keith Hammer III Yada Lee

PERCUSSION VIOLIN II

Charles Gillette Esther Goldy Roestan, Principal Luis Herrera Yinglin Zhou

Yi-Ting Kuo

Nicole Oswald HARP Weiqiao Wu Dillon Robb Taylor Fleshman Shaina Pan

Guest Musicians VIOLA

PERCUSSION Batmyagmar Erdenebat, Principal Celia Daggy Matthew Overbay Leonardo Vásquez Chacón Katelyn Hoag Sean Flynn Piano

Hyunjung Song Frank Corliss

CELLO CELESTE

Lucas Button, Principal Renée Louprette Jordan Gunn Pecos Singer Cameron Collins

12 BOARDS Alan H. Fishman Neil Gaiman

S. Asher Gelman ’06

Rebecca Gold Milikowsky

Anthony Napoli BARD COLLEGE Denise S. Simon Board of Trustees Martin T. Sosnoff James C. Chambers ’81, Chair Toni Sosnoff Emily H. Fisher, Vice Chair Felicitas S. Thorne* George F. Hamel Jr., Vice Chair Taun Toay ’05 + Elizabeth Ely ’65, Secretary; Life Trustee Andrew E. Zobler Stanley A. Reichel ’65, Treasurer; Life Trustee Fiona Angelini Roland J. Augustine BARD MUSIC FESTIVAL

Leonard Benardo Board of Directors Leon Botstein+, President of the College Denise S. Simon, Chair Mark E. Brossman Roger Alcaly Jinqing Cai Leon Botstein+, Artistic Director Marcelle Clements ’69, Life Trustee Michelle R. Clayman The Rt. Rev. Andrew M. L. Dietsche, Honorary David Dubin Trustee Robert C. Edmonds ’68 Asher B. Edelman ’61, Life Trustee Jeanne Donovan Fisher Robert S. Epstein ’63 Christopher H. Gibbs+, Artistic Director Barbara S. Grossman ’73, Alumni/ae Trustee Paula K. Hawkins* Andrew S. Gundlach Thomas Hesse Matina S. Horner+ Susan Petersen Kennedy Charles S. Johnson III ’70 Dr. Barbara Kenner Mark N. Kaplan, Life Trustee Gary Lachmund George A. Kellner Thomas O. Maggs Fredric S. Maxik ’86 Kenneth L. Miron James H. Ottaway Jr., Life Trustee Christina Mohr Hilary Pennington James H. Ottaway Jr. Martin Peretz, Life Trustee Felicitas S. Thorne Stewart Resnick, Life Trustee Siri von Reis David E. Schwab II ’52

Roger N. Scotland ’93, Alumni/ae Trustee

Annabelle Selldorf BARD COLLEGE CONSERVATORY Mostafiz ShahMohammed ’97 OF MUSIC Jonathan Slone ’84 Alexander Soros Advisory Board Jeannette H. Taylor+ Belinda Kaye, Chair James von Klemperer Gonzalo de Las Heras Brandon Weber ’97, Alumni/ae Trustee Gregory Drilling ’16 Susan Weber Alan D. Hilliker Patricia Ross Weis ’52 Susan B. Hirschhorn Stephen Kaye Y. S. Liu FISHER CENTER Melissa Wegner ’08

Eric Wong Advisory Board Shirley Young Jeanne Donovan Fisher, Chair Carolyn Marks Blackwood Leon Botstein+ + ex officio Stefano Ferrari * emeritus

13 ADMINISTRATION Development Debra Pemstein, Vice President for Development

and Alumni/ae Affairs

Alessandra Larson, Director of Development BARD COLLEGE Kieley Michasiow-Levy, Individual Giving Manager Senior Administration Michael Hofmann VAP '15, Development Leon Botstein, President Operations Manager Coleen Murphy Alexander ’00, Vice President for Elise Alexander '19, Development Assistant Administration Myra Young Armstead, Vice President for Theater & Performance and Dance Programs Academic Inclusive Excellence Jennifer Lown, Program Administrator Jonathan Becker, Executive Vice President; Vice President for Academic Affairs; Director, Production Center for Civic Engagement Jason Wells, Director of Production Erin Cannan, Vice President for Student Affairs; Sarah Jick, Associate Production Manager Dean of Civic Engagement Stephen Dean, Associate Production Manager Deirdre d’Albertis, Dean of the College Rick Reiser, Technical Director Malia K. Du Mont ’95, Chief of Staff; Vice Josh Foreman, Lighting Supervisor President for Strategy and Policy Moe Schell, Costume Supervisor Mark D. Halsey, Vice President for Institutional Research and Assessment Max Kenner ’01, Vice President for Institutional Mark Primoff,Associate Vice President of Initiatives; Executive Director, Bard Prison Communications Initiative Darren O’Sullivan, Senior Public Relations Associate Dimitri B. Papadimitriou, President, Levy Amy Murray, Videographer Economics Institute Debra Pemstein, Vice President for Development Marketing and Audience Services and Alumni/ae Affairs David Steffen, Director of Marketing and Taun Toay ’05, Senior Vice President; Chief Audience Services Financial Officer Nicholas Reilingh, Database and Systems Manager Stephen Tremaine ’07, Vice President for Early Maia Kaufman, Audience and Member Services Colleges Manager Dumaine Williams ’03, Vice President and Dean Brittany Brouker, Marketing Manager of Early Colleges Garrett Sager, Digital Marketing Assistant Claire Thiemann ’11, Senior House Manager Jesika Berry, House Manager FISHER CENTER Collin Lewis APS '21, Box Office Supervisor

Erik Long, Box Office Supervisor Administration Paulina Swierczek VAP '19, Box Office Supervisor Liza Parker, Executive Director David Bánóczi-Ruof '22, Assistant House Manager Catherine Teixeira, General Manager Hazaiah Tompkins '19, Assistant House Manager Brynn Gilchrist '17, Executive Assistant

Facilities Artistic Direction Mark Crittenden, Facilities Manager Leon Botstein, President, Bard College Ray Stegner, Building Operations Manager Gideon Lester, Artistic Director Doug Pitcher, Building Operations Coordinator Caleb Hammons, Director of Artistic Planning Chris Lyons, Building Operations Assistant and Producing Hazaiah Tompkins '19, Community Space Manager Catherine Teixeira, Associate Producer Robyn Charter, Fire Panel Monitor Nunally Kersh, SummerScape Opera Producer Bill Cavanaugh, Environmental Specialist Hannah Gosling-Goldsmith, Artist Services and Drita Gjokaj, Environmental Specialist Programs Manager Oksana Ryabinkina, Environmental Specialist

14 BARD MUSIC FESTIVAL Marielle Metivier, Orchestra Manager Benjamin Oatmen, Librarian Artistic Directors Viktor Tóth ’16, Production Coordinator Leon Botstein Leonardo Pineda, Director of Youth Educational Christopher H. Gibbs Performance and South American Music Curator Executive Director Irene Zedlacher BARD COLLEGE CONSERVATORY OF MUSIC Associate Director Raissa St. Pierre ’87 Tan Dun, Dean Frank Corliss, Director Program Committee Marka Gustavsson, Associate Director, Chamber Byron Adams Music Coordinator Leon Botstein Eileen Brickner, Dean of Students Christopher H. Gibbs Nick Edwards, Admissions Counselor Richard Wilson Ann Gabler, Concert Office Coordinator Irene Zedlacher Erica Kiesewetter, Director of Orchestral Studies Emmanuel Koh, Lesson Scheduler Director of Choruses Hsiao-Fang Lin, Orchestra Manager James Bagwell Katie Rossiter, Admissions Director

Vocal Casting US-China Music Institute Joshua Winograde Jindong Cai, Director Kathryn Wright, Managing Director Producer, Staged Concerts Hsiao-Fang Lin, Director of Music Programming Nunally Kersh

LIVESTREAM Development Vice President of Development Debra Pemstein, Production Management and Alumni/ae Affairs Jason Wells, Director of Production Director of Development, Alessandra Larson, Steven J. Dean, Production Manager Fisher Center

Individual Giving Manager Kieley Michasiow-Levy, Streaming Ashley Tata, Director Vanessa Hart, Production Stage Manager THE ORCHESTRA NOW Liminal Entertainment Technologies, LLC Leon Botstein, Music Director Andy Carluccio James Bagwell, Academic Director and Associate Jonathan Kokotajilo Conductor John Gasper, Video Technician Jindong Cai, Associate Conductor Zachary Schwartzman, Resident Conductor Audio Andrés Rivas, Assistant Conductor Marlan Barry, Audio Engineer Erica Kiesewetter, Professor of Orchestral Lex Morton, Audio Supervisor Practice Sienna Sherer, Audio Run Crew Bridget Kibbey, Director of Chamber Music and Arts Advocacy Run Crew Emily Beck, Stage Manager Administration Walter Daniels, Lights Kristin Roca, Executive Director Shane Crittenden, Stagehand Brian J. Heck, Director of Marketing Jon Callazo ’20, Stagehand Nicole M. de Jesús ’94, Director of Development Drew Youmanns, Stagehand Sebastian Danila, Music Preparer and Researcher

15 The Fisher Center develops, produces, and presents performing arts across dis- ciplines 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 devel- opment 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 com- mitment 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 out- standing 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 thought leaders.

Founded in 1860, Bard College in Annandale-on-Hudson, New York, is an independ- ent, 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 Conservatory 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, , Cleveland, Newark, New Jersey, , and Washington, D.C.; AA and BA at Bard 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, and MS in environmental policy and in climate science and policy at the Annandale campus; MFA and MAT at multiple cam- puses; MBA in sustainability in New York City; and MA, MPhil, and PhD in the dec- orative arts, design history, and material culture at the in . 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 State 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 enroll- ment of about 1,800 and a student-to-faculty ratio of 9:1. Bard’s acquisition of the estate brings the size of the campus to nearly 1,000 acres.

16 Out of the Silence: A Celebration of Music

PROGRAM ONE UPSTREAMING Saturday, September 5 5:30 pm The Orchestra Now, conducted by Leon Botstein, and James Bagwell Works by Wiliam Grant Still, George Walker, and

composer roundtable UPSTREAMING Saturday, September 12 4:30 pm With Joan Tower, moderator; Adolphus Hailstork; Jessie Montgomery; and Alvin Singleton

PROGRAM TWO UPSTREAMING Saturday, September 12 5:30 pm The Orchestra Now, conducted by Leon Botstein, James Bagwell, Andrés Rivas, and Zachary Schwartzman Works by Jessie Montgomery, Alvin Singleton, Adolphus Hailstork, and Antonín Dvořák

PROGRAM THREE UPSTREAMING Saturday, September 19 5:30 pm The Orchestra Now, conducted by Leon Botstein, Andrés Rivas, and Zachary Schwartzman Works by Roque Cordero, Samuel Coleridge-Taylor, and

PROGRAM FOUR UPSTREAMING Saturday, September 26 5:30 pm The Orchestra Now, conducted by Leon Botstein Works by Duke Ellington, Chevalier de Saint-Georges, and Béla Bartók

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