BEETHOVEN & MOZART 21

DEC 2018

At Hudson Hall THE ORCHESTRA NOW

Friday, December 21, 2018 at 7 PM Hudson Hall Meet the Musicians Performance #110: Season 4, Concert 16 at the historic Hudson Opera House Here’s how our vibrant, young players are sharing James Bagwell, conductor their love of music with you: • They wrote the concert Arcangelo Corelli Concerto Grosso, Op. 6, No. 8, Fatto per (1653–1713) la notte di natale (ca. 1690) notes! Read their thoughts Vivace—Grave starting on page 5. Allegro • Two of them will introduce Adagio—Allegro—Adagio the pieces of music on Vivace Allegro today’s program. Pastorale ad libitum: Largo • They’ll be in the hall during –no pause between final two movements– intermission. Come say hi and have a chat! Sinfonia concertante, K. 364/320d (1779) (1756–91) Allegro maestoso Andante Don’t Miss a Note Presto Julie Rosenfeld, violin Sign up for the TŌN Marka Gustavsson, viola email list by filling out the insert in - Intermission - this program. Symphony No. 2, Op. 36 (1801–02) Inspire Greatness (1770–1827) Adagio molto—Allegro con brio Larghetto con moto Help us continue concerts Scherzo: Allegro like these by making a Allegro molto donation. See page 17 for details.

Get Social Share your photos using #theorchnow and tag us The concert will run approximately 2 hours, @theorchnow. including one 20-minute intermission.

No beeping or buzzing, please! Silence all electronic devices. Photos and videos are encouraged, but only before and after the music.

2 DECEMBER 2018 THE ORCHESTRA NOW PagesPages 1 1 & & 2: 2: Photos Photos by by Matt Matt Dine Dine THEORCHESTRANOW.ORG THE ORCHESTRA NOW DECEMBER 2018 3 THE PROGRAM

THE

TŌN’S CARL GARDNER ON ROMANTIC HERO CORELLI’S CHRISTMAS CONCERTO

The Musician in Rome Arcangelo Corelli moved to Rome from Bologna about fifteen years before writing this composition. He established himself as one of the best violinists in Rome and won the patronage of an important maecena, Cardinal Pamphili. Though this was a comfortable SAT FEB 9 at 8 PM | SUN FEB 10 at 2 PM employment arrangement for Corelli, Pamphili later moved to Bologna, a town to which Corelli likely had little interest in returning. An opportunistic rival of Pamphili, Cardinal at the Fisher Center at Bard College Ottoboni, swooped in to hire Corelli as a prized musician of his own. This concerto is one of the earliest works Corelli composed under the Ottoboni's patronage. We can Heroes and heroines take center stage, from Siegfried’s expect that Corelli put a lot of effort into writing an impressive and virtuosic piece for his new employer. He inscribed the piece “Fatto per la notte di natale” or “Written for morning horn call to Tchaikovsky’s tale of doomed love and the night of Christmas.” Strauss’ sumptuous heroic portrait. A Minor Beginning Corelli immediately strikes a very serious tone with two abrupt G minor and F# Leon Botstein, conductor diminished chords, which one may consider a curious choice for Christmas. After this dramatic introduction and beautiful counterpoint we continue to the Allegro movement two. The running eighths in the solo cello line bring to mind a horse-drawn sleigh passing through wintery hills in the countryside. I picture the third movement as Wagner Siegfried’s Rhine Journey from Götterdämmerung a warm fireside scene on Christmas. The brief interlude of rapid eighth notes could be Tchaikovsky Francesca da Rimini the Christmas party being interrupted by playful children running through the house. R. Strauss Ein Heldenleben (A Hero’s Life) Most people believe the exciting part here to be the top melodic lines, but the bass lines contain most of the harmonic excitement.

From Rock & Roll to the Manger The fourth movement is a very brief interlude and transition to the fifth movement, which I enjoy above everything else we’ve heard so far. Corelli virtuosically intertwines the concertino and concerto grosso voices in a conversation. What I love most about this movement is how the contrapuntal conversation emphasizes beats two and four, TICKETS $25–$35 very similar to classic rock & roll. The final movement is a pastoral. Corelli uses one of the most common techniques in a pastoral, a drone. A slow, largo tempo to end a concerto grosso seems like an odd choice. It’s likely he means to remind us of the the Nativity scene. The melodic conversation between our concertino soloists can be seen Tickets & info at as a conversation between shepherds in the field calling to each other. THEORCHESTRANOW.ORG

Photo by Matt Dine THE ORCHESTRA NOW DECEMBER 2018 5 THE PROGRAM THE PROGRAM

TŌN’S TŌN’S YUQIAN ZHANG ON JAMES JIHYUN KIM ON MOZART’S SINFONIA BEETHOVEN’S CONCERTANTE SYMPHONY NO. 2

Composing Under Pressure A Dark Beginning A symphonic concerto, or sinfonia concertante, is a kind of mix between a symphony Beethoven began to sketch his second symphony in 1800 but mostly wrote during and a concerto, replacing the concerto grosso genre that had been popular in the the summer and fall of 1802. Though the piece is generally cheerful and energetic, late Baroque period. In 1777, both Mozart and his father were unemployed, and Beethoven was having one of the worst times of his life. He was deeply frustrated Mozart traveled to Paris with his mother looking for work, making stops in Munich and because of his increasing deafness, and even had suicidal thoughts, writing "I would Mannheim. They visited the musical Weber family in Mannheim, and Mozart became have ended my life. Only my art held me back. It seemed to me impossible to leave captivated with the young soprano Aloysia Weber. But the feelings were not mutual. In the world until I had produced all that I felt was within me.” Thankfully, he managed to July of 1778, in Paris, his mother fell ill and died. It was under this pressure that Mozart channel this awful torment into incredible passion toward music. His doctor ordered wrote his Sinfonia concertante, in 1779. It has a considerably darker color than his other him to move from Vienna to a rural area, Heiligenstadt, where he composed this concertos. symphony. It is difficult to imagine how the history of music would have changed if Beethoven had killed himself in 1802. A Focus on the Viola Although Mozart was an excellent violinist, he was very interested in the viola section Changing Things Up when he played chamber music. He enjoyed the middle register and the viola’s dark At the time, everyone was writing symphonies in the style of Haydn: the first sounds. In this piece, Mozart divided the viola section into two parts, making for a richer movement would start with a slow introduction followed by an allegro, then a slow and darker sound. While the piece is written in E-flat major, Mozart wrote the viola solo second movement with minuet and trio in the third movement, and a fast finale. Even in D with instructions to tune the instrument a semitone higher so that it sounds like Beethoven followed this tradition in his popular first symphony. But in his second, E-flat. This is not a common technique for modern instruments, but it was used so that he puts a scherzo (joke, in Italian) in the third movement instead of the minuet. This the solo viola would sound brighter and more resonant compared to the violin, and was a striking and brave attempt. Contrasting the slow second movement, this third would be distinct from the two viola parts in the orchestra. movement is light and playful. This change made each movement distinctive but colorful as a whole.

High Praise Renowned composer and critic Hector Berlioz described this piece as "smiling throughout.” “Everything is noble, energetic, proud,” he wrote. “The introduction is a masterpiece. . . . The finale is of like genius.“ My personal favorite is the second movement, which depicts the rural nature in Heiligenstadt. It reminds me of his sixth symphony, the Pastoral. Berlioz called it “a ravishing picture of innocent pleasure.”

Going for Gold In his most difficult time as a musician and as a person, Beethoven did not choose to end his distress by killing himself. Instead, he put all his energy and passion into music and created such spiritual masterworks as a result. After overcoming the crisis, Beethoven wrote tremendous works that are great in depth. Perhaps these beautiful works were born from his suffering. Beethoven’s Second Symphony can simply sound happy. However, if you know what he was going through in his life at the time, one can say that this work was purified like gold gone through the furnace to eliminate impurities.

6 DECEMBER 2018 THE ORCHESTRA NOW Photos by Matt Dine THEORCHESTRANOW.ORG THE ORCHESTRA NOW DECEMBER 2018 7 MEET THE CONDUCTOR

FREE CONCERT! SCHUBERT’S FIFTH SYMPHONY

SUN APR 14 at 3 PM at Hudson Hall in Hudson, NY James Bagwell conductor

A springtime delight! Don’t miss Schubert’s sunny, exuberant Fifth James Bagwell maintains an active international schedule as a conductor of choral, Symphony, performed with a rousing Mozart overture and Arriaga’s operatic, and orchestral music. In 2015 he was named associate conductor of The compelling Symphony in D. Orchestra Now while continuing his role as principal guest conductor of the American Symphony Orchestra. From 2009–15 he was music director of The Collegiate Chorale; some of the highlights of his tenure there include conducting a number of rarely performed operas-in-concert, including Bellini’s Beatrice di Tenda, Rossini’s Moise et James Bagwell, conductor Pharaon, and, most recently, Boito’s . He conducted the New York premiere of ’ Toltec Symphony and Osvaldo Golijov’s Oceana, both at Carnegie Hall. His performance of Kurt Weill’s Knickerbocker Holiday at Alice Tully Hall was recorded Mozart The Abduction from the Seraglio Overture live for Gaslight Records and is the only complete recording of this musical. Since 2011 he has collaborated with singer and composer Natalie Merchant, conducting a number Juan Crisóstomo de Arriaga Symphony in D of major orchestras across the country, including the San Francisco and Seattle Schubert Symphony No. 5 Symphonies. Other recent performances in New York include conducting Philip Glass’ Another Look at Harmony at the Park Avenue Armory, and leading The Little Opera Theatre of New York’s production of Rossini’s Opportunity Makes the Thief. He has been guest conductor of The Cincinnati Symphony Orchestra, Jerusalem Symphony, Amici New York, Indianapolis Chamber Orchestra, and Tulsa Symphony Orchestra, among others.

ADVANCE RSVP SUGGESTED Mr. Bagwell has trained choruses for a number of major American and international orchestras, including the Boston Symphony, Mostly Mozart Orchestra, Israel Philharmonic, San Francisco Symphony, Los Angeles Philharmonic, NHK Symphony (Japan), St. Petersburg Symphony, Budapest Festival Orchestra, American Symphony Orchestra, Cincinnati Symphony Orchestra, Cincinnati Pops Orchestra, More info at and Indianapolis Symphony Orchestra. He is professor of music and director of THEORCHESTRANOW.ORG performance studies at Bard College and Bard College Conservatory of Music.

Photo by Erin Baiano MEET THE GUEST ARTISTS MEET THE GUEST ARTISTS

Marka Gustavsson Julia Rosenfeld viola violin

Performances: in major halls across Europe, Canada, and the U.S., as well as Japan Performances: Marlboro, Santa Fe, Newport, and La Jolla Chamber Music Festivals; and Israel; appeared as guest of the Chamber Music Society of Lincoln Center, WQXR’s guest artist with the Chamber Music Society of Lincoln Center Young Artists Showcase, ABC Sports’ “A Passion to Play”, and the Symphony Space All-Stars; worked closely with many composers, including John Halle, Joan Tower, Kyle The Colorado Quartet: first violinist for 32 years, more than 1,200 concerts in over 20 Gann, George Tsontakis, Katherine Hoover, Martin Bresnick, and Tan Dun countries; winners, 1983 Banff International String Quartet Competition and Naumburg Chamber Music Award; recordings of the complete quartets of Beethoven as well as The Colorado Quartet: found her “dream job” in January 2000 playing viola in the works of living composers; residencies at Bard, Oberlin, Swarthmore, and Amherst Colorado Quartet, an active commissioning organization performing new works each Colleges; master classes at the Cleveland Institute of Music, the Eastman School, and season; highlights included premieres by Keith Fitch, Laura Kaminsky, and Rob Maggio, , among others and recording works by American composers like Irving Fine, Henry Cowell, Richard Wernick, and Katherine Hoover; entire Beethoven cycle on Parnassus Records; faculty Positions: faculty of the University of Missouri School of Music; member of the and artistic directors at Soundfest Chamber Music Festival and Quartet Institute on Esterhazy String Quartet; assistant professor of Violin-in-Residence at the University Cape Cod of Connecticut, 2009–13; visiting professor of music at Bard College, 2000–09; taught at the European Mozart Academy in Poland; served on juries for the Astral Foundation, Festivals: Wall to Wall at Symphony Space; Skaneateles; Portland; Bennington; and the Juilliard School, the Mu Phi Epsilon Foundation, Concert Artists Guild, Banff Newport International String Quartet Competition, and the Fischoff and Coleman Chamber Music Competitions Positions: oversees the chamber music program at Bard College and the Bard College Conservatory; performances and master classes at Yale, Eastman, Indiana University, Education: The Curtis Institute; University of Southern California, B.M.; Yale University, Northwestern, the Banff Centre, and Cleveland Institute M.M., with Szymon Goldberg, Robert Mann, Nathan Milstein, Jascha Brodsky, Yukiko Kamei, and Israel Baker Education: Indiana University, Mannes College, and CUNY with Felix Galimir, Daniel Phillips, and Julius Levine Recordings: collaborated with André Previn on the West Coast premiere of his Violin Sonata and on two CDs of French chamber music for BMG Classics; collaborated with Awards: Steans Institute at Ravinia, Starling Foundation, Matinee Musicale, NFAA, MU colleague Peter Miyamoto on New Music for Violin and Piano for Albany Records Stulberg Auditions, and Seventeen Magazine/General Motors Competition; two-time recipient of the CD Jackson Prize for exceptional merit and contribution at Tanglewood

10 DECEMBER 2018 THE ORCHESTRA NOW THEORCHESTRANOW.ORG THE ORCHESTRA NOW DECEMBER 2018 11 THE ORCHESTRA NOW THE PROGRAM THE ORCHESTRA NOW

Leon Botstein, Music Director

Violin I Flute Harp Stuart McDonald, Matthew Ross, Principal Emily Melendes* Concertmaster Denis Savelyev* Clara Engen Leah Stevens* Guest Musicians Coline Berland Dillon Robb Oboe Violin I Kelly Mozeik, Principal 2 Ragga Petursdottir Violin II Brady, Principal 3 Emily Uematsu Sophia Bernitz, Principal James Jihyun Kim* Weiqiao Wu Violin II Linda Duan* Clarinet Kathryn Aldous Diego Gabete-Rodriguez Rodrigo Orviz Pevida, Gökçe Erem (on leave) Principal Brendan Speltz Jacques Gadway* Viktor Tóth Yurie Mitsuhashi* Micah Candiotti-Pacheco* Viola Gaia Mariani Ramsdell* Ye Hu* William Hakim Leonardo Pineda (on leave) Junah Chung Jiayu Sun (on leave) Bassoon Gergő Tóth* Adam Romey, Principal Flute Drew Youmans* Matthew Gregoire Adrienn Kantor Yuqian Zhang* Carl Gardner* Trumpet The Orchestra Now (TŌN) is a group of vibrant young musicians from across the globe Viola Horn Angela Gosse Leonardo Vásquez Chacón, 2 who are making orchestral music relevant to 21st-century audiences. They are lifting Luke Baker, Principal Principal Organ William Loveless VI, Principal 3 the curtain on the musicians’ experience and sharing their unique personal insights Lucas Goodman 1 Ethan Brozka* Renee Louprette in a welcoming environment. Hand-picked from the world’s leading conservatories— Batmyagmar Erdenebat* Emily Buehler* including The Juilliard School, Shanghai Conservatory of Music, Royal Conservatory of Emmanuel Koh* Jamie Sanborn* Brussels, and the Curtis Institute of Music—the members of TŌN are not only thrilling Cello audiences with their critically acclaimed performances, but also enlightening curious Trumpet Lauren Peacock, Principal minds by giving on-stage introductions and demonstrations, writing concert notes from Anita Tóth, Principal Cameron Collins the musicians’ perspective, and having one-on-one discussions with patrons during Guillermo García Cuesta* Lucas Button intermissions. Alana Shannon Trombone Kyle Anderson* Federico Ramos* Conductor, educator, and music historian Leon Botstein founded TŌN in 2015 as Kelly Knox* Matt Walley* a master’s degree program at Bard College, where he also serves as president. The Sarah Schoeffler* orchestra is in residence at Bard’s Richard B. Fisher Center for the Performing Arts, Zhilin Wang* Tuba performing multiple concerts there each season as well as taking part in the annual Bard Dan Honaker* Music Festival. They also perform regularly at the finest venues in New York, including Bass Mariya-Andoniya Andonova- Carnegie Hall, Lincoln Center, The Metropolitan Museum of Art, and others across Timpani Henderson, Principal NYC and beyond. The orchestra has performed with many distinguished conductors, Tomasz Kowalczyk * not performing in Zhenyuan Yao including Fabio Luisi, Neeme Järvi, Gerard Schwarz, and JoAnn Falletta. this concert Joshua Depoint* 1 Percussion Corelli Luke Stence* 2 We invite you to get to know TŌN and discover music in the making! Explore upcoming William Kaufman* Mozart Miles Salerni* 3 concerts, see what our musicians have to say, and more at theorchestranow.org. Beethoven

Members of TŌN can be identified by their distinctive blue attire.

12 DECEMBER 2018 THE ORCHESTRA NOW Photo by David DeNee THEORCHESTRANOW.ORG THE ORCHESTRA NOW DECEMBER 2018 13 MEET THE TŌN MUSICIANS MEET THE TŌN MUSICIANS

Sophia Bernitz Alana Shannon violin cello

Hometown: Lexington, MA Alana will talk briefly about Mozart’s Sinfonia concertante on stage before the performance. Alma maters: Oberlin Conservatory, B.M.; New England Conservatory, M.M. Appearances: National Repertory Orchestra, 2018; Spoleto Festival USA, 2017; Madeline Island Chamber Music, 2016; Kinhaven Music School, Weston, VT, 2005–10, Hometown: San Francisco, CA staff in 2015; Boston Philharmonic 2016–18; Substitute with Charleston Symphony, Alma maters: Indiana University, B.M., P.D.; Purchase College, SUNY, M.M. 2017–present Appearances: Purchase Symphony Orchestra, 2014–16; National Orchestral Institute, What is your earliest memory of classical music? Growing up, I was a Suzuki kid— 2014; Round Top Festival Institute, 2011–13; Columbus Indiana Philharmonic, 2013–14; starting from age 5 until I was about 12. At the end of each Suzuki book (well, the first Terre Haute Symphony, 2013–14 few), I’d have a party at our local Chinese restaurant and play through the book for my friends and family and eat lots of yummy food. The pictures from this are still at my Who is your biggest inspiration? I have been inspired by so many people over the house. years, but the one that stands out is my former teacher, Larry Granger. He played in the San Francisco Symphony for many years, and he largely inspired me to start playing Which three people, dead or alive, would you like to have dinner with and why? cello. He passed away suddenly two days after I graduated high school, and I now play Broad City Elizabeth Warren, Beyoncé, and Ilana Glazer from —lots of strong women. on his cello. He was a wonderfully kind person and a great musician, so if I can continue Tell us something about yourself that might surprise us: I was a nationally-ranked his legacy then I'll have done my job in this world. figure skater! Growing up, I was insanely serious about skating, and much less Which composer or genre of music do you feel you connect with the most? interested in violin. It wasn’t until the middle of high school that I truly realized I wanted Shostakovich. Something about his introverted way of standing up for what he believes to pursue music! in has always resonated with me. Practice scales and technique, even Piece of advice for a young classical musician: What has been your favorite experience as a musician? Playing Brahms’ Symphony if you don’t want to! It saves so much time later! Also, talk to people in the audience at No. 2 side-by-side with the Cleveland Orchestra. I could do that every day for the rest of concerts—you never know who you will meet! my life. If you weren’t a musician, what would you be doing? Something that involves working with animals Tell us something about yourself that might surprise us: I can solve every kind of Rubik's cube

14 DECEMBER 2018 THE ORCHESTRA NOW Photos by Matt Dine THEORCHESTRANOW.ORG THE ORCHESTRA NOW DECEMBER 2018 15 MEET THE TŌN MUSICIANS THE TŌN FUND WE’VE BROUGHT MUSIC TO MORE THAN 35,000 NEW YORKERS IN ALMOST 100 CONCERTS THANKS TO SUPPORT FROM DONORS LIKE YOU!

INSPIRE GREATNESS! Support the next generation of great Matthew Ross performers—over 60 players from 14 flute @matt_ross93 countries around the globe—as they learn to communicate the transformative power of music to 21st-century audiences. Matthew will talk briefly about Beethoven’s Symphony No. 2 on stage before the performance. Your gift allows us to share music with the communities who need it most: Hometown: Nesconset, NY • Live concerts at Coxsackie, Fishkill, and Alma mater: University of Cincinnati College-Conservatory of Music, B.M., M.M. Woodbourne correctional facilities Awards/Competitions: 2nd Prize, 2018 Flute Society of Greater Philadelphia Young • One-on-one mentoring for low-income Artist Competition; 1st Prize, 2015 Raleigh Area Flute Association Young Artist Competition; 1st Prize, 2014 Mid-South Flute Society Young Artist Competition; 1st students in NYC Prize, 2014 Houston Flute Club (Byron Hester Memorial) Competition; 2nd Prize, • Outreach to public schools, senior 2013 Texas Flute Society (Myrna Brown Memorial) Competition; 2nd Prize, 2013 homes, and community service agencies South Carolina Flute Society Young Artist Competition; Winner, 2012 Yamaha Young Performing Artist Competition • Free concerts for children and families in Appearances: Queen City Chamber Opera, Cincinnati, OH, 2012–16; National Music NYC, the Hudson Valley, and beyond Festival, Chestertown, MD, 2013, 2014 What is some advice you would give to your younger self? I would tell my younger self There’s simply no other music degree to remember to have fun. Music doesn’t always have to be so serious, and a balance in program like TŌN. Help us to inspire life is more important than almost anything else. greatness by making a contribution today! Favorite non-classical musician or band: Bombay Bicycle Club If you weren’t a musician, what would you be doing? I’d probably be in A&R (artists & repertoire) for a record label. I really love pop and alternative music, especially artists who really blur the lines between the two, so I think it would be very interesting to try and spot new talent and new trends in popular music. TO DONATE: Text TON to 41444 Visit THEORCHESTRANOW ORG/SUPPORT Call 845.758.7988

16 DECEMBER 2018 THE ORCHESTRA NOW Photos by Matt Dine THE TŌN FUND DONORS THE ADMINISTRATION

The Orchestra Now gratefully acknowledges the generosity of each and every donor THE ORCHESTRA NOW who makes our work possible. Thank you for making an investment in the future of music! Artistic Staff Leon Botstein, Music Director Erica Kiesewetter, Professor of Orchestral THE YVONNE NADAUD MAI CONCERTMASTER CHAIR James Bagwell, Associate Conductor Practice Made possible by The Mai Family Foundation Jindong Cai, Academic Director and Bridget Kibbey, Director of Chamber LEADERSHIP GIFTS Associate Conductor Music and Arts Advocacy Anonymous (2) Rockefeller Brothers Fund Felicitas S. Thorne Zachary Schwartzman, Resident Conductor Andrés Rivas, Assistant Conductor

Anonymous (12) Scott Huang Marcia Neeley Leslie and Louis Baker Malcolm G. Idelson James and Andrea Nelkin Administrative Staff Joseph J. Baxer and Barbara Jill Jackson Maury Newburger Vincent Roca, General Manager Alice Terrett, Marketing Manager Bacewicz Burton R. Kassell Hoang-Oanh Nguyen Brian J. Heck, Director of Marketing Benjamin Oatmen, Librarian Susan Beckerman Caroline Kelch Philip and Carol Niles Nicole M. de Jesús, Director Hsiao-Fang Lin, IT Associate Miriam R. Berger George A. Kellner Yuka Nishino Pamela Berlinghof John and Mary Kelly Bette and Stan Nitzky of Development Viktor Tóth, Production Coordinator Diane and Ronald Blum Steven Kent Harold Oaklander Sebastian Danila, Music Preparer Kristin Roca, Administrative Assistant Richard Bopp Bridget Kibbey Douglas Okerson and and Researcher Claudine Brenner Erica Kiesewetter William Williams Jeannette Canaday Younghee Kim-Wait James H. Ottaway Jr. Marielle Metivier, Orchestra Manager Dr. László Z. Bitó and Olivia Cariño Marilyn and William L. Kirchner Dr. Nora Post Rosemary Carroll Lise Laurent Kurt and Lorenzo Rausch Maria J. Chiu Joy Lee and Richard Packert Robert Renbeck Lisa Cohen Arthur S. Leonard Arthur S. Reynolds BARD COLLEGE Theodore and Alice Ginot Cohn Nancy Leonard and Ellen Reynolds Ramon Cordies Lawrence Kramer Brigitte R. Roepke Board of Trustees Ann CunninghamTigue Peter J. and Susan B. LeVangia Glen and Denise Ross Charles P. Stevenson Jr., Chair Emeritus Sally Hambrecht Elaine Dale Elinor Wallach Levin Charles Roth José M. de Jesús, Jr. and Rebecca Amala and Eric Levine Susan and D. Richard Rowland James C. Chambers ’81, Chair Marieluise Hessel Shafer-de Jesús David Levering Lewis Roberta Downs Sandeman George F. Hamel Jr., Vice Chair Maja Hoffmann Nicole M. de Jesús and Ernest and Erika Lieber Edward Sandfort Emily H. Fisher, Vice Chair Matina S. Horner+ Brian P. Walker Bonnie Loopesko and Lynda Schwab-Edmundson Thomas De Stefano Daniel Shapiro Gilbert Seligman Elizabeth Ely ’65, Secretary; Life Trustee Charles S. Johnson III ’70 Phyllis DiBianco Robert Losada Mary Sheerin Stanley A. Reichel ’65, Treasurer; Mark N. Kaplan, Life Trustee Marvis Dickinson Andrea Louie Jo Shute and Allan Wieman Life Trustee George A. Kellner Vincent M. Dicks Erika Lowenberg Jen Shykula and Tom Ochs Fredric S. Maxik ’86 Khoa Doan Paul Lowrey Peter Sipperley Michael Dorf Catherine and Jacques Luiggi Paul Stoddard Fiona Angelini James H. Ottaway Jr., Life Trustee Christine J. Edwards Todd D. Marcus Joseph Storch Roland J. Augustine Hilary C. Pennington Lauren Effron Lisa Marshall Allan and Ronnie Streichler Leon Botstein+, President of the College Martin Peretz, Life Trustee Barbara Ewert James M. Mastrangelo Rose Veccia Arnold and Milly Feinsilber Ginny and Guenther May Howard Wallick Stuart Breslow+ Stewart Resnick, Life Trustee Mark Feinsod James McLafferty Patricia Ross Weis Mark E. Brossman David E. Schwab II ’52 Roz Forman Maryanne C. Mendelsohn Philip and Martha White Jinqing Cai Roger N. Scotland ’93, Alumni/ae Trustee Elaine Frankle Mollie Meikle Ann and Douglas William Marcelle Clements ’69, Jonathan Slone ’84 GE Foundation Rikki Michels Maria R. Wilson Gary M. Giardina Warren R. Mikulka Wendy Wolfenson Life Trustee Jeannette Taylor+ Debby and Fred Glynn Karen E. Moeller and Nelson Yan The Rt. Rev. Andrew M. L. Dietsche, James A. von Klemperer David Gmuca Charles H. Talleur Ingrid Yen Honorary Trustee Brandon Weber ’97, Alumni/ae Trustee Hans R. Gunderud Roy Moses Carrie E. Yotter Hastings Digital Joanne and Richard Mrstik Shirley Young Asher B. Edelman ’61, Life Trustee Susan Weber Stephen J. Hoffman Patrick Mucerino Marlene Zaslavsky Robert S. Epstein ’63 Patricia Ross Weis ’52 Martin Holub and Sandra Sanders Christine Munson Leila Zogby Barbara S. Grossman ’73, Hospitality Committee for United John D. Murphy Ian Zimmerman and Alumni/ae Trustee + ex officio Nations Delegations (HCUND) Bonni Nechemias Heather Jane McCormick Andrew S. Gundlach List current as of December 14, 2018 18 DECEMBER 2018 THE ORCHESTRA NOW THEORCHESTRANOW.ORG THE ORCHESTRA NOW DECEMBER 2018 19 SATURDAY at 8 PM | SUNDAY at 2 PM 09 THE ROMANTIC HERO FEB 10 at the Fisher Center at Bard College Heroes and heroines take center stage, from Wagner’s Siegfried’s Rhine Journey to Tchaikovsky’s tale of doomed love, Francesca da Rimini, and Strauss’ sumptuous Ein Heldenleben (A Hero’s Life). Leon Botstein, conductor

SATURDAY at 8 PM | SUNDAY at 2 PM 06 VERDI’S APR 07 at the Fisher Center at Bard College In this highlight of the season, Bard’s musical forces join The Orchestra Now for a glorious performance of one of Verdi’s true masterpieces.

UPCOMING EVENTS UPCOMING Leon Botstein, conductor Margaret Tigue, soprano Chloë Schaaf, mezzo-soprano Chad Shelton, Wei Wu, bass

performed with members of the Bard Conservatory Orchestra, the Bard College Chamber Singers & the Bard Festival Chorale James Bagwell, choral director

SUNDAY at 3 PM APR SCHUBERT’S FIFTH SYMPHONY 14 at Hudson Hall A springtime delight! Don’t miss Schubert’s sunny, exuberant Fifth Symphony, performed with Mozart’s rousing The Abduction from the Seraglio Overture and Arriaga’s compelling Symphony in D. James Bagwell, conductor

©2018 THE ORCHESTRA NOW PROGRAM DESIGN: NELSON YAN