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COPLAND & STRAUSS CONCERT DEEP DIVE

Saturday, September 14 & Sunday, September 15, 2019 Performances #130 & #131 Season 5, Concerts 1 & 2 Fisher Center at Bard Sosnoff Theater

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scarcely premiered outside of Russia until THE MUSIC she was nearly 50 years old. Ustvolskaya, perhaps boldly, claimed that her musical GALINA USTVOLSKAYA’S catalogue of fewer than 30 published works SYMPHONIC POEM NO. 1 did not resemble any musical style of her predecessors or contemporaries, saying Notes by TŌN bassoonist Matthew “there is no link whatsoever between my Gregoire music and that of any composer, living or dead." Her style is characterized by surprising instrumental combinations (such as her Symphony No. 1 for orchestra and two boys’ voices, or her Benedictus, Qui Venet for four flutes, four bassoons, and piano), use of tone clusters, transparent texture, and excessively repeated “blocks” of sound, a technique that prompted Dutch music critic Elmer Shonberger to name her “the

Matt Dine Matt lady with the hammer.”

The Composer The Separation Galina Ustvolskaya was once hailed by her Ustvolskaya’s relationship with her teacher teacher, , as a unique was about as complicated as her music. talent, one that would “achieve world fame” Shostakovich respected Ustvolskaya’s with her unprecedented compositional works and often sought her criticisms style. However, that sentiment would for his own unfinished compositions. never reach fruition during Shostakovich’s Shostakovich also harbored romantic lifetime. In fact, Ustvolskaya’s works were feelings for his student, affections that

THEORCHESTRANOW.ORG THE ORCHESTRA NOW CONCERT DEEP DIVE

were ultimately rejected. Shostakovich’s life. Today, her compositions have achieved Heimliche Aufforderung ’S Fifth String Quartet even reflects his increasing appreciation, especially in the Third in the set, “Heimliche Aufforderung” SYMPHONY NO. 3 heartache, quoting Ustvolskaya’s Trio West, as they represent a composer that (“Secret invitation”) is set to the text of Notes by TŌN trumpet player Guillermo from 1949. Following their separation in struggled against all odds and influences to a love poem by Scottish-German poet García Cuesta 1947, Ustvolskaya rejected any musical foster an inimitable artistic vision. John Henry Mackay. This is an ardent love or personal connection she had with her song about a secret tryst amidst a joyous mentor of eight years, even stating later ’ FOUR feast of merrymakers. Rippling figurations in life that she dismissed Shostakovich’s SONGS, OP. 27 accompany the yearning vocal line and perceived genius as a composer, and Notes by TŌN violinist Gaia Mariani a peaceful postlude follows the voice’s considered his works too “depressing” and Ramsdell rapturous plea for night to fall so the lovers lacking innovation. In 1995, she said, “At no can meet. time, not even when I was still a student, did I feel any affinity whatsoever with either his Morgen! music or his personality. This supposedly The fourth song, “Morgen!” (“Tomorrow!”), is exceptional man is far from exceptional to one of Strauss’ most well-known works. Set Matt Dine Matt me. On the contrary, he has ruined my life to another text by John Henry Mackay, this and has utterly destroyed my most heartfelt rapturous love song paints the inner elation The Work feelings.” of a lover staring into the eyes of his beloved. Aaron Copland's 3rd Symphony is probably The voice waits a considerable amount of the biggest American symphony ever The Music time before entering with “and tomorrow written. Copland began working on it in 1944 The pieces she wrote in the decade the sun will shine again,” as if caught mid- and finished it in 1946, which means the following her tutelage with Shostakovich Ruhe, meine Seele! thought in dreamy revery. Strauss uses compositional process started during World are described as meeting the Russian Completed in 1894, Richard Strauss the solo violin to emphasize the theme, War II and finished once the war was over. aesthetic standards, but perhaps do not composed his set of Four Songs as a creating a sense of sweet nostalgia, and It was premiered in Boston by the Boston reflect her unique style, which at the time wedding present for his wife, the eminent a succession of chords that never resolve Symphony Orchestra conducted by Serge had not earned a place in the concert hall. soprano Pauline de Ahna. The first song, Dine Matt perfectly depicts the lover’s yearning for Koussevitzky in October of 1946. If we count Her Symphonic Poem No. 1 is considered “Ruhe, meine Seele!” (“Rest, my soul!”), is his beloved. Copland's 1930 Dance Symphony, the 3rd among these less radical works, and shows set to the text of a poem by the German Symphony would be his fourth work under significant evidence that Ustvolskaya was poet Karl Henckell. Of the four songs, this this form. indeed capable of appealing to a wider one is perhaps the most somber. The poem audience with more comprehensible scores. urges the listener to rest their spirit and try The Sound The Poem even sported a programmatic to forget all sufferings, reassuring them that Copland is a great icon of the orchestral title, The Light of the Steppes, before being their troubles will soon be over. sound that we identify as American. His renamed by the composer in its addition music always sounds to me like open to the official catalogue. Ustvolskaya, Cäcilie fields, the far West, and a quest for land however, largely rejected the aesthetics The second song, “Cäcilie,” is one of Strauss’ and freedom. When I was first discovering of the USSR and chose to remain true to her most impassioned love songs. Composed his music back in the day, as a teenager in own unique artistic voice, a decision that the day before his wedding, it uses the text a small town in Spain, I could easily imagine ultimately would prove to be a detriment of a love poem by German writer Heinrich Copland wearing a big cowboy hat like John to her financial success as an artist. Hart, who fittingly wrote the poem for Wayne did in the movies, riding a horse out Despite its relative accessibility, the First his own wife, Cäcilie Hart. Strauss uses a on the prairie. Well, it wasn't like that. Aaron Symphonic Poem was declared a failure at passionately churning accompaniment and Copland was born into a family of Lithuanian its premiere in Leningrad, an event at which soaring vocal line to express what the love immigrants. He was a gay, Jewish New Yorker Shostakovich only half-heartedly defended of his wife means to this ecstatically happy . . . and he never rode a horse. her, possibly fueling Ustvolskaya’s hostile husband. feelings toward him in the later half of her

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American Brass Tanglewood Music Center Orchestra; advanced certificate in Orchestra Studies. The last movement of this symphony American way of playing those instruments, recently recorded Anthony Cheung’s All The orchestra’s home base is the Frank features Copland's most famous creation, and for a European who grew up listening thorn, but cousin to your rose with the Gehry-designed Fisher Center at Bard, which also works as a piece on its own, to Hollywood soundtracks (even though International Contemporary Ensemble’s where they perform multiple concerts orchestrated only for brass and percussion: many of them were recorded by English Jacob Greenberg, premiered in 2017 at each season and take part in the annual the Fanfare for the Common Man. Copland’s orchestras), playing this symphony, here the Tanglewood Music Center Festival of . They also perform way of writing for brass, no doubt, helped to in New York, is a dream come true. Contemporary Music regularly at the finest venues in New York, create the characteristic including , , The This season debuts with Broad Street Metropolitan Museum of Art, and others Orchestra and Penn Sound Collective across NYC and beyond. HuffPost, who has called TŌN’s performances “dramatic Musical Quarterly, and has received many Education Eastman School of Music, and intense,” praises these concerts as “an THE ARTISTS honors for his contributions to music. studied with Anthony Dean Griffey and Rita opportunity to see talented musicians early Shane; Conservatory of Music in their careers.” LEON BOTSTEIN conductor More info online at leonbotstein.com. Graduate Vocal Arts Program, studied with Sanford Sylvan PAULINA SWIERCZEK soprano The orchestra has performed with many THE ORCHESTRA NOW distinguished guest conductors and soloists, including Neeme Järvi, Vadim Repin, Fabio Luisi, Peter Serkin, Gerard Schwarz, , The Orchestra Now (TŌN) is a group of Zuill Bailey, and JoAnn Falletta. In the 2019– vibrant young musicians from across the 20 season, conductors Leonard Slatkin and globe who are making orchestral music Hans Graf will also lead TŌN performances. relevant to 21st-century audiences Recordings featuring The Orchestra Now by sharing their unique personal include Ferdinand Ries piano insights in a welcoming environment. with on Hyperion Records, and

Matt Dine Matt Hand-picked from the world’s leading a Sorel Classics concert recording of pianist conservatories—including The Juilliard Anna Shelest performing works by Anton Leon Botstein brings a renowned career as School, Shanghai Conservatory of Music, Rubinstein with TŌN and conductor Neeme both a conductor and educator to his role Royal Conservatory of Brussels, and the Järvi. Upcoming albums include a second

as music director of The Orchestra Now. He Os Van Elizabeth Curtis Institute of Music—the members release with Piers Lane on Hyperion Records has been music director of the American of TŌN are enlightening curious minds in the spring of 2020. Recordings of TŌN’s Symphony Orchestra since 1992, artistic by giving on-stage introductions and Performances favorite roles include live concerts from the Fisher Center can be codirector of Bard SummerScape and the demonstrations, writing concert notes the New Prioress, Countess Almaviva, heard on Classical WMHT-FM and WWFM Bard Music Festival since their creation, from the musicians’ perspective, and having Donna Anna, and Madame Herz; recently The Classical Network, and are featured and president of Bard College since one-on-one discussions with patrons during performed the Queen in John Harbison’s regularly on Performance Today, broadcast 1975. He was the music director of the intermissions. Full Moon in March with conductor James nationwide. In 2019, the orchestra’s Jerusalem Symphony Orchestra from Bagwell and director Alison Moritz performance with Vadim Repin was live- 2003–11, and is now conductor laureate. Conductor, educator, and music historian streamed on The Violin Channel. In 2018 he assumed artistic directorship Appearances Bach’s B-Minor Mass; Leon Botstein, whom said “draws rich, expressive playing from of the Grafenegg Academy in Austria. Poulenc’s Gloria; Haydn’s Lord Nelson Explore upcoming concerts, see what the orchestra," founded TŌN in 2015 as a Mr. Botstein is also a frequent guest Mass; Villa-Lobos’ Bachianas Brasileiras our musicians have to say, and more at graduate program at Bard College, where he conductor with orchestras around the No. 5; Schoenberg’s Pierrot Lunaire; theorchestranow.org. For more information is also president. TŌN offers both a three- globe, has made numerous recordings, Berg’s Sieben frühe Lieder; Lutoslawski’s on the academic program, visit bard.edu/ year master’s degree in Curatorial, Critical, and is a prolific author and music historian. Chantefleurs et chantefables with the theorchnow. He is the editor of the prestigious The and Performance Studies and a two-year

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Trumpet Guest Musicians Horn Anita Tóth Principal 1 Ron Wold Guillermo García Cuesta Violin I Audrey Flores Principal 2 Emily Uematsu Corinne Judd Assistant Samuel Exline Principal 3 Drew Youmans TŌN ‘19 Simon Bilyk Trumpet Trombone Kathryn Aldous Angela Gosse David Kidd Principal 1, 2 Gökçe Erem Ian Striedter Principal 3 Trombone Cameron Owen Bass Violin II Matt Walley TŌN ‘19 Trombone Emanouil Manolov Allyson Tomsky Percussion Tuba Peta Elek Jarrod Briley Viola Luis Herrera Albertazzi Christiana Reader Timpani Emmanuel Koh TŌN ‘19 Harp David DeNee Jacob Lipham Mélanie Genin Principal Flute Kathryn Sloat Leon Botstein, Music Director Percussion David Ordovsky Violin I Cello Oboe Won Suk Lee Principal Sulina Baek Piano Yurie Mitsuhashi Kelly Knox Principal Shawn Hutchison Charles Gillette Christopher Oldfather Concertmaster Lucas Button Principal Wanyuè Yè* Oboe Tianpei Ai Eva Roebuck Regina Brady* Kira Shiner Celeste Dillon Robb Pecos Singer James Jihyun Kim* Harp Boris Baev Jim Lake Bram Margoles Sarah Schoeffler Emily Melendes* Gergő Krisztián Tóth Sara Page Clarinet Clarinet * not performing in this Chiyuan Ma Ye Hu Principal 1, 2 Sangwon Lee TŌN ‘18 concert 1 Violin II Kyle Anderson* Viktor Tóth Principal 3 E-flat Clarinet Ustvolskaya 2 Gaia Mariani Ramsdell Matthew Griffith Strauss 3 Principal Bass Bass Clarinet 2, 3 Copland Esther Goldy Roestan Joshua DePoint Principal Rodrigo Orviz Pevida* Tin Yan Lee Kaden Henderson Jacques Gadway Justin Morgan Bassoon Weiqiao Wu Mariya-Andoniya Xiaoxiao Yuan Principal 1, 2 Linda Duan* Henderson Adam Romey Principal 3 Stuart McDonald* Amy Nickler Matthew Gregoire Yuqian Zhang* Luke Stence* Contrabassoon Carl Gardner* Viola Flute Batmyagmar Erdenebat Leanna Ginsburg Horn Principal Principal 1, 2 William Loveless VI Leonardo Vásquez Denis Savelyev Principal 3 Principal 1, 2 Chacón Matthew Ross* Luke Baker Principal 3 Larissa Mapua Steven Harmon Sean Flynn Sarah Konvalin Katelyn Hoag Emily Buehler* Lucas Goodman* Members of TŌN can be identified by their distinctive blue attire.

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JOSHUA DEPOINT bass Musical guilty pleasure: Car Karaoke to When did you realize you wanted to ANITA TÓTH trumpet songs on the radio! pursue music as a career? I took a break from playing violin after the end of the Piece of advice for a young classical school year when I was in 5th grade. Then, musician: Study all forms of art and culture, and learn to draw inspiration for your music I realized that it was not fun without playing from both. the violin. I think that was the moment when I decided to be a musician. BATMYAGMAR ERDENEBAT What inspired you to audition for TŌN? I viola was graduating from Yale School of Music in the same year the TŌN program launched. I was interested in the program after hearing about it from my friends, but I wanted to teach violin and viola. After teaching for 3 years in Mongolia, I was inspired by my

Matt Dine Matt friends who were in the program, who were Dine Matt Joshua will talk briefly about Galina getting to perform in outstanding halls like @atina_htot Ustvolskaya’s Symphonic Poem No. 1 on Carnegie and landing positions in major orchestras. Anita will talk briefly about Copland’s stage before the performance. Symphony No. 3 on stage before the Hometown: Amherst, NY If you could play another instrument, performance. what would it be? An accordion Alma maters: Eastman School of Music, Hometown: Oroszlány, Hungary B.M.; Yale School of Music, M.M. Tell us something about yourself that Alma maters: Faculty of Art, Győr

Matt Dine Matt might surprise us: Besides playing viola, Awards/Competitions: 2014 Eastman I also made 5 short documentary films University, Hungary Performer’s Certificate Batmyagmar will talk briefly about Strauss’ about classical musicians and their lives Awards/Competitions: 3rd Place, 2013 Four Songs, Op. 27 on stage before the Appearances: Kneisel Hall, 2017; Norfolk in Mongolia. Competition of Győr University, performance. Chamber Music Festival, 2016; Round Top Piece of advice for a young classical Hungary; Special Prize, 2014 National Festival Institute, 2016; National Repertory Hometown: Ulaanbaatar, Mongolia musician: Enjoy exploring your music Trumpet Competition, Debrecen, Hungary; Orchestra, 2013; Buffalo Philharmonic Alma maters: Music and Dance College making. It will leave you with many magical 1st Place, 2014 Concerto Competition of Orchestra of Mongolia, United World College of the moments in your life. Győr University, Hungary; 3rd Place and Special Prize, 2014 National Trumpet Musical origins: I began playing at age 8 Adriatic, Oberlin College and Conservatory, through my public school music program. Yale School of Music Competition, Budapest, Hungary The rest of my family practiced brass Awards/Competitions: 1st and Special Appearances: Grafenegg Academy instruments and sang in choirs; I had to prize, 2008 “La Musica Nella Scoula” Orchestra, 2018 be different! Chamber Music Competition, Italy; 3rd Earliest memory of : My Favorite obscure piece: Waltzes by Fred Prize, 2008 Paulo Spincich International trumpet teacher in music school showed Lerdahl Music Competition, Italy; 2nd Prize, 2013 me the Haydn trumpet concerto. I was American Viola Society Orchestral Excerpts completely impressed. Which composer would have had the Competition best social media: I think Beethoven could When did you realize you wanted to have had one of the more sassy social media Appearances: Litomysl International pursue music as a career? In music camp presences! Strings Masterclasses, Czech Republic, when I was in elementary school I saw that 2012; Round Top International Summer music teachers and people who can play Favorite non-classical musician or band: Music Festival, Texas, 2011 Chet Baker, Chris Thile music are the coolest people in the world. I wanted to be one of them.

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Which composer or genre of music do If you weren’t a musician, what would you feel you connect with the most? you be doing? I’d be a zookeeper! THE TŌN FUND DONORS Playing Mahler’s music with an orchestra What is your favorite place you’ve like The Orchestra Now is one of the best The Orchestra Now gratefully acknowledges the generosity of each and every donor traveled to and why? The biggest things that could happen to a brass player. who makes our work possible. Thank you for making an investment in the future of Hungarian lake, the Balaton. That is the music. What has been your favorite experience most calming place for me. as a musician? I had the opportunity to THE YVONNE NADAUD MAI Stan J. Harrison play Kodály’s Háry János with the company CONCERTMASTER CHAIR Hospitality Committee for United Nations of the National Theatre of Győr in the Made possible by The Mai Family Delegations (HCUND) Hungarian Opera House, where the piece Foundation Kassell Family Foundation of the Jewish was premiered. The piece is very challenging Communal Fund for trumpets. LEADERSHIP GIFTS Tatsuji Namba Anonymous (2) Vincent Roca* Michael Dorf and Sarah Connors* Brigitte R. Roepke Rockefeller Brothers Fund THE TŌN FUND Felicitas S. Thorne* TŌNor Anonymous WE’VE BROUGHT MUSIC TO MORE THAN 50,000 NEW YORKERS IN OVER 100 CONDUCTOR’S BOX Richard Bopp CONCERTS THANKS TO SUPPORT FROM DONORS LIKE YOU! Marshall Family Foundation, Inc. Anastasia Boudanoque* Nicole M. de Jesús and Brian P. Walker* Inspire Greatness! ALLEGRO Phyllis and Joseph DiBianco Support TŌN’s innovative training program for classical musicians. Gary and Martha Giardina* Christine Edwards Barbara Ewert Your generosity will sustain the next generation of great performers—more than FORTE Arnold and Milly Feinsilber 60 players from 14 countries around the globe—as they learn to communicate the Anonymous Mark Feinsod* transformative power of music to 21st-century audiences. Dr. Miriam Roskin Berger* Stephen J. Hoffman Robert Losada Scott Huang Your gift will support TŌN Student Living Stipends; concerts at the Fisher Center, Christine Munson* Charlotte Mandell Kelly and Robert Kelly Carnegie Hall, and Jazz at Lincoln Center; the Sight & Sound series at The Metropolitan Harold Oaklander John and Mary Kelly Museum of Art; and more. Denise and Glenn Ross Bridget Kibbey* Jen Shykula and Tom Ochs* Erica Kiesewetter Your gift also allows us to share music with the communities who need it most: Peter J. and Susan B. LeVangia TRUMPETER Catherine and Jacques Luiggi - Live concerts at Coxsackie, Fishkill, and Woodbourne correctional facilities Anonymous (3) Nora Post - One-on-one mentoring for low-income students in NYC Joseph Baxer and Barbara Bacewicz Ann and Thomas Robb - Outreach to public schools, senior homes, and community service agencies Joanne and Richard Mrstik Linda Schwab-Edmundson - Free concerts for children and families in NYC, the Hudson Valley, and beyond James and Andrea Nelkin Frances Sharpless Maury Newburger* James K. Smyth There’s simply no other music degree program like TŌN. Help us to inspire greatness by Bonnie and Daniel Shapiro Theodore and Alice Ginott Cohn making a contribution today! Allan and Ronnie Streichler* Philanthropic Fund Judith R. Thoyer TO DONATE: CRESCENDO Ian Zimmerman* Visit THEORCHESTRANOW.ORG/SUPPORT Mr. and Mrs. Ronald Atkins Call 845.758.7988 Jesika Berry* Diane and Ronald Blum

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DOWNBEAT Jinqing Cai President for Strategy and Policy Anonymous (2) THE ADMINISTRATION Marcelle Clements ’69 Life Trustee Mark D. Halsey Vice President for Kent Brown The Rt. Rev. Andrew M. L. Dietsche Institutional Research and Assessment Dora Jeanette Canaday Honorary Trustee Max Kenner ’01 Vice President for Maria J. Chiu THE ORCHESTRA NOW Asher B. Edelman ’61 Life Trustee Institutional Initiatives; Executive Susan Christoffersen Robert S. Epstein ’63 Director, Ann Cunningham Tigue ARTISTIC STAFF Barbara S. Grossman ’73 Alumni/ae Debra Pemstein Vice President for Leon Botstein Music Director Hildegard Frey Edling Trustee Development and Alumni/ae Affairs James Bagwell Associate Conductor and Christopher H. Gibbs Andrew S. Gundlach Taun Toay ’05 Senior Vice President; Chief Academic Director Robert and Karen Harvey Matina S. Horner+ Financial Officer Jindong Cai Associate Conductor Jack Homer Charles S. Johnson III ’70 Stephen Tremaine ’07 Vice President for Zachary Schwartzman Resident Neil Jacobs Mark N. Kaplan Life Trustee Early Colleges Conductor Elizabeth and Ray Kasevich George A. Kellner Andrés Rivas Assistant Conductor Nancy S. Leonard and Lawrence Kramer Fredric S. Maxik ’86 Erica Kiesewetter Professor of David Lewis James H. Ottaway Jr. Life Trustee Orchestral Practice THE RICHARD B. FISHER Emma Lewis Hilary C. Pennington Bridget Kibbey Director of Chamber Erika Lieber Martin Peretz Life Trustee CENTER FOR THE Music and Arts Advocacy Paul Lowrey Stewart Resnick Life Trustee PERFORMING ARTS Harvey Marek David E. Schwab II ’52 ADMINISTRATIVE STAFF Ms. Emily Michael Roger N. Scotland ’93 Alumni/ae Trustee ADVISORY BOARD Vincent Roca General Manager Warren R. Mikulka Annabelle Selldorf Jeanne Donovan Fisher Chair Brian J. Heck Director of Marketing Millbrook Acupuncture, PLLC Mostafiz ShahMohammed ’97 Carolyn Marks Blackwood Nicole M. de Jesús Director of Karen E. Moeller and Charles H. Talleur Jonathan Slone ’84 Leon Botstein+ Development Gary E. Morgan Jeannette H. Taylor+ Stefano Ferrari Leonardo Pineda Director of International Roy Moses James A. von Klemperer Alan H. Fishman Development Douglas Okerson and William Williams Brandon Weber ’97 Alumni/ae Trustee Neil Gaiman Sebastian Danila Music Preparer and Catherine K. and Fred Reinis Susan Weber S. Asher Gelman ’06 Researcher Nina Selmayr Patricia Ross Weis ’52 Rebecca Gold Milikowsky Marielle Metivier Orchestra Manager Frances Smyth Anthony Napoli Benjamin Oatmen Librarian Joseph Storch + ex officio Denise S. Simon Viktor Tóth Production Coordinator Rose Veccia Martin T. Sosnoff Kristin Roca Academic Assistant Michael and Leslie Weinstock SENIOR ADMINISTRATION Toni Sosnoff

Meyer J. Wolin Leon Botstein President Felicitas S. Thorne Emerita Coleen Murphy Alexander ’00 Vice Andrew E. Zobler *Includes gifts to the Bard Music Festival BARD COLLEGE President for Administration and The Orchestra Now 2019 Gala. Myra Young Armstead Vice President for LIVE ARTS BARD CREATIVE COUNCIL BOARD OF TRUSTEES Academic Inclusive Excellence Jeanne Donovan Fisher This list represents gifts made to The James C. Chambers ’81 Chair Norton Batkin Vice President; Dean of Dr. Terry S. Gotthelf Orchestra Now between January 1, 2018 George F. Hamel Jr. Vice Chair Graduate Studies Richard and Jane Katzman and May 1, 2019. Emily H. Fisher Vice Chair Jonathan Becker Executive Vice Stephen Simcock Elizabeth Ely ’65 Secretary; Life Trustee President; Vice President for Academic Sarah and David Stack For more detailed information on making Stanley A. Reichel ’65 Treasurer; Life Affairs; Director, Center for Civic a contribution to TŌN, please contact Trustee Engagement + ex officio Nicole M. de Jesús at [email protected] Fiona Angelini Erin Cannan Vice President for Student or 845.758.7988. Roland J. Augustine Affairs; Dean of Civic Engagement Leon Botstein+ President of the College Deirdre d’Albertis Dean of the College Mark E. Brossman Malia K. Du Mont ’95 Chief of Staff; Vice

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ADMINISTRATION COMMUNICATIONS Debra Pemstein Vice President for Mark Primoff Associate Vice President of ABOUT BARD COLLEGE Development and Alumni/ae Affairs Communications Bob Bursey Executive Director Eleanor Davis Director of Public Relations FISHER CENTER AT BARD ABOUT BARD COLLEGE Kristy Grimes Director of Finance Darren O’Sullivan Senior Public Relations The Fisher Center at Bard develops, Founded in 1860, Bard College is a four-year Michael Hofmann VAP ’15 Associate produces, and presents performing arts residential college of the liberal arts and Executive Assistant across a range of disciplines through new sciences located 90 miles north of New York Jewel Evans ‘18 Postbaccalaureate PUBLICATIONS productions and programs that challenge City. With the addition of the Montgomery Fellow Mary Smith Director of Publications and inspire. As a premiere professional Place estate, Bard’s campus consists of Kelly Harper Administrative Intern Diane Rosasco Production Manager performing arts center and hub for research nearly 1,000 parklike acres in the Hudson Cynthia Werthamer Editorial Director and education, the Fisher Center supports Valley. It offers bachelor of arts, bachelor of ARTISTIC DIRECTION artists, students, and audiences in the science, and bachelor of music degrees, with Leon Botstein President, Bard College MARKETING & AUDIENCE SERVICES development and examination of artistic majors in nearly 40 academic programs; Gideon Lester Artistic Director for David Steffen Director of Marketing and ideas, offering perspectives from the past graduate degrees in 11 programs; nine Theater and Dance Audience Services and present, as well as visions of the future. early colleges; and numerous dual-degree Caleb Hammons Senior Producer Nicholas Reilingh Database and Systems Home is the Fisher Center for the Performing programs nationally and internationally. Nunally Kersh SummerScape Opera Manager Arts, designed by and located Building on its 159-year history as a Producer Maia Kaufman Audience and Member on the campus of Bard College in New York’s competitive and innovative undergraduate Cathy Teixeira Associate Producer Services Manager Hudson Valley. The Fisher Center provides institution, Bard College has expanded its Jesse Heffler Artist Services and Brittany Brouker Marketing Associate outstanding programs to many different mission as a private institution acting in Programs Manager Triston Tolentino ’18 Audience and communities, including the students and the public interest across the country and Member Services Assistant faculty of Bard College, and audiences in around the world to meet broader student DEVELOPMENT Garrett Sager Marketing Intern the Hudson Valley, , across the needs and increase access to liberal arts Alessandra Larson Director of Claire Thiemann ’11 Senior House country, and around the world. The Fisher education. The undergraduate program Development Manager Center demonstrates Bard’s commitment at our main campus in upstate New York Kieley Michasiow-Levy Individual Giving Jesika Berry House Manager to the performing arts as a cultural and has a reputation for scholarly excellence, Manager Emily Appenzeller Assistant House educational necessity. a focus on the arts, and civic engagement. Franchesca Chorengel ’18 Development Manager Bard is committed to enriching culture, Assistant David Bánóczi-Ruof ‘22 Assistant House public life, and democratic discourse by Elise Alexander ‘19 Development Intern Manager training tomorrow’s thought leaders. For Cemre Erim Assistant House Manager more information about Bard College, THEATER & PERFORMANCE & Rebecca Rivera Assistant HouseManager visit bard.edu DANCE PROGRAMS Hazaiah Tompkins ’19 Assistant House Jennifer Lown Program Administrator Manager

PRODUCTION FACILITIES Vincent Roca Director of Production Mark Crittenden Facilities Manager Sarah Jick Associate Production Manager Ray Stegner Building Operations Stephen Dean Production Coordinator, Manager Concerts and Lectures Doug Pitcher Building Operations Rick Reiser Technical Director Coordinator Josh Foreman Lighting Supervisor Chris Lyons Building Operations Moe Schell Costume Shop Supervisor Assistant Seth Chrisman Audio/Video Supervisor Robyn Charter Fire Panel Monitor Brynn Gilchrist ‘17 Production Bill Cavanaugh Environmental Specialist Administrator Sarah Dunne Environmental Specialist Drita Gjokaj Environmental Specialist

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UPCOMING TŌN EVENTS

19 SIBELIUS & SHOSTAKOVICH SATURDAY AT 8 PM | SUNDAY AT 3 PM at the Fisher Center at Bard OCT 20

Leon Botstein conductor Xinran Li ‘20 violin

Sibelius Violin Concerto Shostakovich Symphony No. 10

Sight & Sound OCT STRAUSS’ DON QUIXOTE & THE LAST KNIGHT 27 SUNDAY AT 2 PM at The Metropolitan Museum of Art, NYC

Leon Botstein conductor TŌN’s Lucas Button cello TŌN’s Leonardo Vasquez Chacon viola

R. Strauss Don Quixote and artwork about chivalry

02 HANS GRAF CONDUCTS SCHUBERT SATURDAY AT 8 PM | SUNDAY AT 3 PM at the Fisher Center at Bard NOV 03

Hans Graf conductor

Egon Wellesz Prospero’s Incantations U.S. PREMIERE Symphony No. 9, The Great

STRAVINSKY’S THE FAIRY’S KISS 13 WEDNESDAY AT 7 PM at the Fisher Center at Bard | THURSDAY AT 7 PM at Carnegie Hall

NOV 14 Leon Botstein conductor Michael Nagy baritone

Honegger Rugby* Schoeck Buried Alive Mitropoulos Concerto Grosso* Stravinsky Divertimento, The Fairy’s Kiss Suite

*First NY performances in over 50 years

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