BARD MUSIC FESTIVAL PRESENTS a Program of French Piano Music

Total Page:16

File Type:pdf, Size:1020Kb

BARD MUSIC FESTIVAL PRESENTS a Program of French Piano Music BARD MUSIC FESTIVAL PRESENTS A Program of French Piano Music Inspired by the World of Nadia Boulanger FRIDAY, FEBRUARY 19 – THURSDAY, FEBRUARY 25, 2021 Bard BARD MUSIC FESTIVAL PRESENTS A Program of French Piano Music Inspired by the World of Nadia Boulanger UPSTREAMING THE VIRTUAL STAGE OF THE FISHER CENTER Performed by Danny Driver and Piers Lane, piano Recorded at The Menuhin Hall, Sussex, England, fall 2020 César Franck (1822–90) Organ Chorale No. 1 in E Major, arranged for two pianos by Henri Duparc (1890) Danny Driver and Piers Lane, piano Gabriel Fauré (1845–1924) Theme and Variations in C-sharp Minor, Op. 73 (1895) Thème L’istesso tempo Più mosso Un poco più mosso L’istesso tempo Un poco più mosso Molto adagio Allegro moderato Andante molto moderato Quasi adagio Allegro vivo Andante molto, moderato espressivo Danny Driver, piano 2 LILI BOULANGER (1893–1918) Theme and Variations in C Minor (1914) Thème Lent (avec grandeur mais sombre, douloureux) Sur la tête du thème (très tenaillé, douloureux) Thème à la partie supérieure (assez lent, plus simple, plus de grandeur) La basse et surtout le chant bien en dehors Très calme Thème modifié Thème totalement modifié, pas très lent, très large Lent (avec grandeur mais sombre, douloureux) Piers Lane, piano Camille Saint-Saëns (1835–1921) Variations on a Theme of Beethoven for Two Pianos, Op. 35 (1874) Thème: Moderato assai Tempo di minuetto Allegro Poco più mosso Tempo del tema Molto allegro Moderato assai Presto leggerissimo Alla marcia funebre (allegro moderato) Allegro Presto Danny Driver and Piers Lane, piano This performance was made possible in part through the generous support of the Boards of the Bard Music Festival, Richard B. Fisher Center for the Performing Arts, as well as Friends of the Fisher Center. 3 FISHER CENTER BOARDS Advisory Board Jeanne Donovan Fisher, Chair Carolyn Marks Blackwood BARD COLLEGE Leon Botstein+ Stefano Ferrari Board of Trustees Alan H. Fishman James C. Chambers ’81, Chair Neil Gaiman Emily H. Fisher, Vice Chair S. Asher Gelman ’06 George F. Hamel Jr., Vice Chair Rebecca Gold Milikowsky Elizabeth Ely ’65, Secretary; Life Trustee Anthony Napoli Stanley A. Reichel ’65, Treasurer; Life Trustee Denise S. Simon Fiona Angelini Martin T. Sosnoff Roland J. Augustine Toni Sosnoff Leonard Benardo Felicitas S. Thorne* Leon Botstein+, President of the College Taun Toay ’05 + Mark E. Brossman Andrew E. Zobler Jinqing Cai Marcelle Clements ’69, Life Trustee The Rt. Rev. Andrew M. L. Dietsche, Honorary BARD MUSIC FESTIVAL Trustee Asher B. Edelman ’61, Life Trustee Board of Directors Robert S. Epstein ’63 Denise S. Simon, Chair Barbara S. Grossman ’73, Alumni/ae Trustee Roger Alcaly Andrew S. Gundlach Kathleen Augustine Matina S. Horner+ Leon Botstein+, Artistic Director Charles S. Johnson III ’70 Michelle R. Clayman Mark N. Kaplan, Life Trustee David Dubin George A. Kellner Robert C. Edmonds ’68 Mark Malloch-Brown Jeanne Donovan Fisher Fredric S. Maxik ’86 Christopher H. Gibbs+, Artistic Director James H. Ottaway Jr., Life Trustee Paula K. Hawkins* Hilary Pennington Thomas Hesse Martin Peretz, Life Trustee Susan Petersen Kennedy Stewart Resnick, Life Trustee Dr. Barbara Kenner David E. Schwab II ’52 Gary Lachmund Roger N. Scotland ’93, Alumni/ae Trustee Thomas O. Maggs Annabelle Selldorf Kenneth L. Miron Mostafiz ShahMohammed ’97 Christina Mohr Jonathan Slone ’84 James H. Ottaway Jr. Alexander Soros Felicitas S. Thorne Jeannette H. Taylor+ Siri von Reis James A. von Klemperer Brandon Weber ’97, Alumni/ae Trustee Susan Weber Patricia Ross Weis ’52 + ex officio * emeritus 4 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 Civic Sarah Jick, Associate Production Manager Engagement Stephen Dean, Associate Production Manager Deirdre d’Albertis, Dean of the College Andrea Sofia Sala,Production Administrator Malia K. Du Mont ’95, Vice President for Strategy Rick Reiser, Technical Director and Policy; Chief of Staff Josh Foreman, Lighting Supervisor Peter Gadsby, Vice President for Enrollment Moe Schell, Costume Supervisor Management; Registrar Danny Carr, Video Supervisor Mark D. Halsey, Vice President for Institutional Lex Morton, Audio Supervisor Research and Assessment Max Kenner ’01, Vice President for Institutional Communications Initiatives; Executive Director, Bard Prison Mark Primoff,Associate Vice President of Initiative Communications Debra Pemstein, Vice President for Development Darren O’Sullivan, Senior Public Relations Associate and Alumni/ae Affairs Amy Murray, Videographer Taun Toay ’05, Senior Vice President; Chief Financial Officer Marketing and Audience Services Stephen Tremaine ’07, Vice President for Early David Steffen, Director of Marketing and Colleges Audience Services Dumaine Williams ’03, Vice President for Student Nicholas Reilingh, Database and Systems Manager Affairs; Dean of Early Colleges Maia Kaufman, Audience and Member Services Manager Brittany Brouker, Marketing Manager FISHER CENTER Garrett Sager, Digital Marketing Assistant Jesika Berry, Senior House Manager Administration Samuel Furr ’20, Assistant House Manager Liza Parker, Executive Director Collin Lewis APS ’21, Audience & Member Services Catherine Teixeira, General Manager Coordinator Brynn Gilchrist '17, Executive Assistant Erik Long, Box Office Supervisor Paulina Swierczek VAP ’19, Box Office Supervisor Artistic Direction David Bánóczi-Ruof ’22, Assistant House Manager Leon Botstein, President, Bard College Hazaiah Tompkins ’19, Community Space Manager Gideon Lester, Artistic Director Caleb Hammons, Director of Artistic Planning Facilities and Producing Mark Crittenden, Facilities Manager Catherine Teixeira, General Manager Ray Stegner, Building Operations Manager Nunally Kersh, SummerScape Opera Producer Doug Pitcher, Building Operations Coordinator Hannah Gosling-Goldsmith, Artist Services and Chris Lyons, Building Operations Assistant Programs Manager Robyn Charter, Fire Panel Monitor Thai Harris Singer ’20, Post-Baccalaureate Fellow, Bill Cavanaugh, Environmental Specialist Producing Assistant Drita Gjokaj, Environmental Specialist Oksana Ryabinkina, Environmental Specialist 5 BARD MUSIC FESTIVAL Artistic Directors Leon Botstein Christopher H. Gibbs Executive Director Irene Zedlacher Associate Director Raissa St. Pierre ’87 Program Committee Byron Adams Leon Botstein Christopher H. Gibbs Richard Wilson Irene Zedlacher Director of Choruses James Bagwell Vocal Casting Joshua Winograde Producer, Staged Concerts Nunally Kersh Development Debra Pemstein, Vice President of Development and Alumni/ae Affairs Alessandra Larson, Director of Development, Fisher Center Kieley Michasiow-Levy, Individual Giving Manager 6 Founded in 1860, Bard College in Annandale-on-Hudson, New York, is an independent, 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 MMus as well as MMus in music education 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, Baltimore, Cleveland, Newark, New Jersey, New Orleans, and Washington, D.C.; AA and BA at Bard College at Simon’s Rock: The Early College, in Great Barrington, Massachusetts, and through the Bard Prison Initiative at six correctional institutions in New York State; MA in curatorial studies, MS and MA in economic theory and policy, MEd in environmental education, and MS in environmental policy and in climate science and policy at the Annandale campus; MFA and MAT at multiple campuses; MBA in sustainability in New York City; and MA, MPhil, and PhD in the decorative arts, design history, and material culture at the Bard Graduate Center in Manhattan. Internationally, Bard confers BA and MAT degrees at Al-Quds University in East Jerusalem and American University of Central Asia in Kyrgyzstan; BA degrees at Bard College Berlin: 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 and interdivisional disciplines. Total enrollment for Bard College and its affiliates is approximately 6,000 students. The undergraduate College has an enrollment of about 1,800 and a student-to-faculty ratio of 10:1. Bard’s acquisition of the Montgomery Place estate brings the size of the campus to nearly 1,000 acres. The Fisher Center develops, produces, and presents performing
Recommended publications
  • Noel Lateef: in This the Foreign Policy Association's Centennial Year We're Very Fortunate to Have with Us This Evening a Distinguished Leader of Higher Education
    Noel Lateef: In this the Foreign Policy Association's centennial year we're very fortunate to have with us this evening a distinguished leader of higher education. President Leon Botstein will speak to the important topic of elites, higher education and the future. You may have seen in the current issue of the New Yorker a review of a book published by the Foreign Policy Association 50 years ago. A 1968 book tried to predict the world of 2018. The book successfully predicted pocket computers and the jacket cover asked the question, "Will our children in 2018 still be wrestling with racial problems, economic depressions and other Vietnams?" I am pleased that president Botstein's remarks this evening will be included in a new book that we are publishing this year, that will predict the world of 2068. I should note that president Botstein chaired a blue ribbon commission that looked into the relevance of the mission of the Foreign Policy Association 25 years ago. It was underwritten by the Ford foundation, and as I recall the leadership of the FP at the time waited with some trepidation for the conclusion of this important report. We are grateful to president Botstein for concluding that our mission was never more important. Ladies and gentlemen, to formally introduce president Botstein I'm going to turn to an FPA fellow of long standing, who happens to be the dean of international studies at Bard college, and director of the Bard globalization and international studies program, Jim Ketterer. Jim? Jim Ketterer: Good evening. It's a pleasure to see so many Bard alumni, faculty and students here this evening, who come not only from our campus in Annandale, but as Noel mentioned, the Bard globalization international affairs program here in New York city that draws in students, not only from the Bard institutions, but from colleges and universities across the country, and in fact across the world, and many of them are here.
    [Show full text]
  • LEON BOTSTEIN, Conductor
    Thursday Evening, November 14, 2019, at 7:00 Isaac Stern Auditorium / Ronald O. Perelman Stage presents LEON BOTSTEIN, Conductor Performance #141: Season 5, Concert 12 ARTHUR HONEGGER Rugby (1928) (1891–1955) OTHMAR SCHOECK Lebendig begraben (Buried Alive), Op. 40 (1886–1957) (1926) MICHAEL NAGY, Baritone Intermission DIMITRI MITROPOULOS Concerto Grosso (1929) (1896–1960) Largo Allegro—Largo Chorale: Largo Allegro IGOR STRAVINSKY Divertimento, Symphonic Suite from the (1882–1971) Ballet The Fairy’s Kiss (1928, 1931, rev. ’32, ’34, ’49) Danses suisses (“Swiss Dances”) Scherzo Pas de deux a. Adagio b. Variation c. Coda This evening’s concert will run approximately 2 hours and 25 minutes including one 20-minute intermission. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. Notes ON THE MUSIC – TON’S KADEN HENDERSON ON ARTHUR HONEGGER’S RUGBY MATT DINE MATT Full Contact Music Honegger’s second tone poem, entitled Rugby, which we will be hearing today, was composed in 1928. Although it bears the name Rugby, the composer himself insisted that this work was not programmatic in a traditional sense. Despite what Honegger may have said, it takes little imagination to find oneself in the middle of the pitch dodging tack- les left and right from the very first note. Immediately from the downbeat it is apparent that Honegger is not alluding to two-hand-touch rugby, but rather the sport in its full contact, “hold no pris- oners” variety. The very first notes from The Composer the strings hit the audience like a ton of When thinking about the great orches- bricks as the cascading strings sweep us tral tone poems in our repertoire, the into a musical dogpile.
    [Show full text]
  • Leon Botstein
    binternationalrockprize in education 2012 Brock International Prize in Education Nominee Leon Botstein Nominated by Jeanne Butler 2012 B R OC K I NT E R NAT I ONAL PRIZE IN EDUCATION NOMINEE: L EON B OTSTEIN NOMI NATED BY : J EANNE B UTLER 1 CONTENTS Nomination 1 Brief Biography 2 Contributions to Education: 3 International Education 3 Kindergarten Through Twelfth Grade 4 Curricular Innovations 5 Curriculum Vitae 7 Letters of Support 26 Article: “High Education and Public Schooling in Twenty-First Century America.” In NE A Higher J ournal; Fall, 2008 33 Links to PBS Features 42 Charlie Rose Show excerpt, with Sari Nusseibeh PBS Newshour feature: “From Ball and Chain to Cap and Gown: Getting a B.A. Behind Bars” 2 NOMINATION Anyone who saw the National Geographic/BBC film “The First Grader” this summer witnessed a victorious testimony to the transformative force of education. The lessons of Kimani Ng’ang’a Maruge, an aging illiterate Kenyan and Mau Mau veteran, are undeniably powerful and his message is clear, ”We have to learn from our past because we must not forget and because we must get better… the power is in the pen.” The other event of the summer that has helped to re-vitalize and focus thinking globally about education is a remarkably fine series of interviews, The Global Search for Education, by C.M. Rubin for Educational News. The interviews with individuals renowned for their international leadership (including some of the Brock Prize nominees and laureates) are being conducted according to Rubin, “with the intention of raising the awareness of policy makers, the media, and the public of the global facts.” The film and the interviews have helped crystallize my thinking about the individual I had nominated in the spring; they have served to re-affirm my choice of Leon Botstein as the next Brock International Laureate.
    [Show full text]
  • View Program
    02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 1 Sunday Afternoon, February 10, 2013, at 2:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 1:00 presents Truth or Truffles LEON BOTSTEIN, Conductor KARL AMADEUS Gesangsszene (“Sodom and Gomorrah”) HARTMANN (U.S. Premiere) LESTER LYNCH, Baritone Intermission RICHARD STRAUSS Schlagobers, Op. 70 (“Whipped Cream”) This evening’s concert will run approximately two and a half hours, inlcuding one 20-minute intermission. American Symphony Orchestra welcomes students and teachers from ASO’s arts education program, Music Notes. For information on how you can support Music Notes, visit AmericanSymphony.org. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 02-10 ASO_Carnegie Hall Rental 1/29/13 12:54 PM Page 2 THE Program KARL AMADEUS HARTMANN Gesangsszene Born August 2, 1905, in Munich Died December 5, 1963, in Munich Composed in 1962–63 Premiered on November 12, 1964, in Frankfurt, by the orchestra of the Hessischer Rundfunk under Dean Dixon with soloist Dietrich Fischer-Dieskau, for whom it was written Performance Time: Approximately 27 minutes Instruments: 3 flutes, 2 piccolos, alto flute, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 3 French horns, 3 trumpets, piccolo trumpet, 3 trombones, tuba, timpani, percussion (triangle, gong, chimes, cymbals, tamtam, tambourine, tomtoms, timbales, field drum, snare drum, bass drum, glockenspiel, xylophone, vibraphone, marimba), harp, celesta, piano, strings,
    [Show full text]
  • The Levy Institute Generates Effective Public Policy Responses to Economic Problems That Profoundly Affect the Quality of Life in the United States and Abroad
    Biennial Report 2004–2005 The Levy Economics Institute of Bard College was founded in 1986, through the generous support of Bard College Trustee Leon Levy, as a nonprofit, nonpartisan, public policy research organization. It is independent of any political or other affiliation and encourages diversity of opinion in the examination of economic issues. The purpose of all Levy Institute research and activities is to enable scholars and leaders in business, labor, and government to work together on problems of common interest. Levy Institute findings are disseminated—via publications, conferences, workshops, seminars, congressional testimony, and other activities—to an international audience of public officials, private sector executives, academics, and the general public. Through this process of scholarship, analysis, and informed debate, the Levy Institute generates effective public policy responses to economic problems that profoundly affect the quality of life in the United States and abroad. The Levy Institute’s main conference and research facility is Blithewood Manor, on the campus of Bard College, located 90 miles north of New York City. The Levy Institute is housed in Blithewood Manor at Bard College. 2 MESSAGE FROM THE PRESIDENT 4 NEW INITIATIVE 6 RESEARCH AND PUBLICATIONS : .. , : , - () : : : , , 26 CONFERENCES 36 THE LEVY INSTITUTE BOOK SERIES 37 BIOGRAPHIES OF INSTITUTE SCHOLARS 44 BOARD, ADMINISTRATION, AND RESEARCH STAFF MESSAGE FROM THE PRESIDENT In the biennial reports of previous years, I described how the Levy Institute draws inspiration and guid- ance not only from its founders and scholars but from a world facing many new and daunting chal- lenges. Our efforts to redefine economics and public policy continue to attract notice and exert influ- ence, nationally and internationally.
    [Show full text]
  • Where No Wall Remains ﺣﯾث ﻻ ﺟدار ﯾﺑﻘﯽ Donde No Queda Ningún Muro
    LIVE ARTS BARD 2019 BIENNIAL Where No Wall Remains حيث ﻻ جدار يبقى Donde No Queda Ningún Muro an international festival about borders NOVEMBER 21–24, 2019 About the Fisher Center at Bard Fisher Center at Bard The Fisher Center develops, produces, and presents performing arts across disciplines Chair Jeanne Donovan through new productions and context-rich programs that challenge and inspire. As President Leon Botstein a premier professional performing arts center and a hub for research and education, Executive Director Bob Bursey the Fisher Center supports artists, students, and audiences in the development and Artistic Director Gideon Lester examination of artistic ideas, offering perspectives from the past and present, as well present as visions of the future. The Fisher Center demonstrates Bard’s commitment to the performing arts as a cultural and educational necessity. Home is the Fisher Center LIVE ARTS BARD 2019 BIENNIAL for the Performing Arts, designed by Frank Gehry and located on the campus of Bard College in New York’s Hudson Valley. The Fisher Center offers outstanding programs Where No Wall to many communities, including the students and faculty of Bard College, and audi- Remains لحيث ﻻ جدار يبقى .ences in the Hudson Valley, New York City, across the country, and around the world Building on a 159-year history as a competitive and innovative undergraduate institu- Donde No tion, Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders. Queda Ningún Muro an international festival about borders Land Acknowledgment Statement Cocurated by Tania El Khoury and Gideon Lester In the spirit of truth and equity, it is with gratitude and humility that we acknowl- edge that we are gathered on the sacred homelands of the Muheaconneok or Thursday, November 21, through Sunday, November 24, 2019 Mohican people, who are the stewards of this land.
    [Show full text]
  • Bard College Conservatory of Music
    BARD COLLEGE CONSERVATORY OF MUSIC Undergraduate Double Degree Graduate Vocal Arts Program Graduate Conducting Program THE BARD CONSERVATORY IS, ABOVE ALL, FEARLESS AND ADVENTUROUS. WE HONOR TRADITION BY LOOKING TO REINVENT IT. WE HONOR OUR STUDENTS BY TREATING THEM AS WHOLE PERSONS, CAPABLE OF MORE THAN THEY IMAGINED. WE BELIEVE IN EXCELLENCE, CURIOSITY, INQUIRY, RISK TAKING, AND COMMUNITY. THE MISSION OF THE BARD COLLEGE CONSERVATORY OF MUSIC IS TO PROVIDE THE BEST POSSIBLE PREPARATION FOR A PERSON DEDICATED TO A LIFE IMMERSED IN THE CREATION AND PERFORMANCE OF MUSIC. Grand Hall, Liszt Academy, Budapest UNDERGRADUATE Overview The unique undergraduate curriculum of the Bard College Conservatory of Music is guided by the principle that musicians DOUBLE DEGREE should be broadly educated in the liberal arts and sciences to achieve their greatest potential. The five-year, double-degree program combines rigorous Conservatory training with a challenging and comprehensive liberal arts program. All Conservatory students pursue a double degree in a thoroughly integrated program and supportive educational community. Graduating students receive a bachelor of music (B.Mus.) and a bachelor of arts in a field other than music (B.A.). At the Bard Conservatory the serious study of music goes hand in hand with the education of the whole person. 2 UNDERGRADUATE DOUBLE DEGREE bard.edu/conservatory/undergraduate 3 Outstanding Faculty The strength of the Conservatory is in its outstanding faculty— renowned performing musicians whose artistry is featured in the world’s great concert halls and in the teaching studio. They are deeply committed to the individual growth of their students through on-campus weekly lessons, chamber music coachings, and studio classes.
    [Show full text]
  • Carnegie Hall Rental 1/8/13 4:35 PM Page 1
    1-25 ASO_Carnegie Hall Rental 1/8/13 4:35 PM Page 1 Friday Evening, January 25, 2013, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents What Makes a Masterpiece LEON BOTSTEIN, Conductor ANTONÍN DVORÁKˇ Symphony No. 4 in D minor, Op. 13 Allegro Andante sostenuto e molto cantabile Allegro feroce Allegro con brio HEINRICH VON Symphony No. 1 in C minor, Op. 50 HERZOGENBERG (U.S. Premiere) Adagio—Allegro Adagio, ma non troppo Allegro agitato Allegro Intermission JOHANNES BRAHMS Symphony No. 4 in E minor, Op. 98 Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato This evening’s concert will run approximately two and a half hours, inlcuding one 20-minute intermission. American Symphony Orchestra welcomes students and teachers from ASO’s arts education program, Music Notes. For information on how you can support Music Notes, visit AmericanSymphony.org. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 1-25 ASO_Carnegie Hall Rental 1/8/13 4:35 PM Page 2 THE Program ANTONÍN DVORÁKˇ Symphony No. 4 Born September 8, 1841, in Nelahozeves, Czechoslovakia Died May 1, 1904, in Prague Composed January 1–March 26, 1874, in Prague, revised in 1887–8, Premiered April 6, 1982, in Prague Performance Time: Approximately 38 minutes Instruments: 2 flutes, 2 piccolos, 2 oboes, 2 clarinets, 2 bassoons, 4 French horns, 2 trumpets, 3 trombones, timpani, percussion (triangle, cymbals, bass drum), harp, and strings HEINRICH VON HERZOGENBERG Symphony No. 1 Born June 2, 1843, in Graz, Austria Died October 9, 1900, in Wiesbaden, Germany Composed in 1885 Performance Time: Approximately 42 minutes Instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 French horns, 2 trumpets, 3 trombones, timpani, and strings JOHANNES BRAHMS Symphony No.
    [Show full text]
  • Carnegie Hall Rental
    Wednesday Evening, October 15, 2014, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Marriage Actually LEON BOTSTEIN, Conductor RICHARD STRAUSS Four Symphonic Interludes from Intermezzo Reisefieber und Walzerszene (“Travel excitement and waltz scene”) Träumerei am Kamin (“Reverie by the fireplace”) Am Spieltisch (“At the gaming table”) Fröhlicher Beschluß (“Happy conclusion”) Parergon on Symphonia Domestica, Op. 73 MARK BEBBINGTON, Piano Intermission RICHARD STRAUSS Symphonia Domestica, Op. 53 Theme 1: Bewegt/Theme 2: Sehr lebhaft/ Theme 3: Ruhig Scherzo (Munter) Wiegenlied (Mäßig langsam) Adagio (Langsam) Finale (Sehr lebhaft) This evening’s concert will run approximately two hours and 10 minutes, including one 20-minute intermission. ASO’s Vanguard Series at Carnegie Hall is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director Marriage Actually possibilities of music and turned it into by Leon Botstein a cheapened illustrative medium. The musical language of late Romanti- But this division was more ambiguous cism, its rhetoric and vocabulary, were than it appears.
    [Show full text]
  • Jerusalem Symphony Orchestra, IBA Leon Botstein, Musical Director & Conductor
    Cal Performances Presents Sunday, October 26, 2008, 7pm Zellerbach Hall Jerusalem Symphony Orchestra, IBA Leon Botstein, Musical Director & Conductor with Robert McDuffie,violin PROGRAM Ernst Toch (1887–1964) Big Ben, Variation Fantasy on the Westminster Chimes, Op. 62 (1934) Miklós Rózsa (1907–1995) Violin Concerto, Op. 24 (1953–1954) Robert McDuffie, violin Allegro Lento cantabile Allegro vivace INTERMISSION Aaron Copland (1900–1990) Symphony No. 3 (1944–1946) Molto moderato Allegro molto Andantino quasi allegretto Molto deliberator — Allegro risoluto Program subject to change. The 2008 U.S. tour of the Jerusalem Symphony Orchestra is made possible by Stewart and Lynda Resnick, El Al Airlines and Friends of the Jerusalem Symphony Orchestra. Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. CAL PERFORMANCES 19 Orchestra Roster Orchestra Roster Jerusalem Symphony Orchestra, IBA Leon Botstein, Musical Director & Conductor Bass Clarinet Tuba Sigal Hechtlinger Guy Hardan, Principal Violin I Cello Bassoon Timpani Jenny Hunigen, Concertmaster Irit Assayas, Principal Richard Paley, Principal Yoav Lifshitz, Principal Ayuni Anna Paul, Concertmaster Ina-Esther Joost Ben Sassoon, Principal Alexander Fine, Assistant Principal Yuri Glukhovsky, Assistant Concertmaster Oleg Stolpner, Assistant Principal Barbara Schmutzler Percussion Marina Schwartz Boris Mihanovski Merav Askayo, Principal Vitali Remenuik Yaghi Malka Peled Contrabassoon Mitsunori Kambe Olga Fabricant Emilya Kazewman Rivkin Barbara Schmutzler Yonathan Givoni Michael
    [Show full text]
  • The Bard Music Festival: King Arthur Wednesday, July 29
    The Bard Music Festival: King Arthur Wednesday, July 29 Please note there will be two pick up locations: the first at the Springfield Museums’ State Street parking, Springfield, MA and at the second at Emanuel Synagogue parking lot, 160 Mohegan Dr, West Hartford, CT. 7:45 am – Arrive at the Springfield Museums’ State Street parking lot located directly across the street from the Springfield City Library. Park in the lot and board the bus at the curbside. Depart at 8 am sharp. Or 8:45 am – Meet and board the bus at the Emanuel Synagogue parking lot. Depart at 9 am sharp. En route, Michael Cascia, opera aficionado and instructor, will provide an informative presentation on the music and artistry of the King Arthur opera by Ernest Chausson. 11:30 am – Terrapin Restaurant, Rhinebeck, NY. Enjoy a lovely group lunch at the Terrapin Restaurant, in Rhinebeck, NY, voted “Best Farm-to-Table Restaurant and Best Bistro” of the Hudson Valley. 1:15 pm – Depart for the Bard Music Festival, Fisher Center at Bard College for the performance of Ernest Chausson’s opera King Arthur. Idealism and treachery, honor and betrayal collide in this rich lyrical opera by French romantic composer Ernest Chausson. First premiered in 1903, this opulently scored work lays bare the tragedy of King Arthur’s betrayal at the hands of his queen Guinevere and his trusted knight Lancelot. Ernest Chausson’s musical style for his only opera was heavily influenced by the works of Richard Wagner, particularly Tristan und Isolde and Parsifal. Leon Botstein, the Bard College President and Conductor, explains that Ernest Chausson's opera, King Arthur, is “Very French in its orchestration and rhetoric, but very indebted to Wagner.” Directed by Mary Birnbaum, this production of King Arthur takes us to a world in the midst of upheaval where longstanding codes of honor and loyalty no longer hold sway.
    [Show full text]
  • Commencement
    BARD COLLEGE ONE HUNDRED FIFTY-EIGHTH COMMENCEMENT The Bard College Awards Ceremony Friday the twenty-fifth of May two thousand eighteen 6:30 p.m. The Richard B. Fisher Center for the Performing Arts at Bard College Annandale-on-Hudson, New York PROGRAM Welcome Brandon Weber ’97 President, Board of Governors, Bard College Alumni/ae Association Remarks James C. Chambers ’81 Chair, Board of Trustees, Bard College The Bard Medal Eric Warren Goldman ’98 David E. Schwab II ’52 Myra Young Armstead Trustee Sponsor Faculty Sponsor U Ba Win Emily H. Fisher Jonathan Becker Trustee Sponsor Faculty Sponsor The John and Samuel Bard Award in Medicine and Science Rebecca L. Smith ’93 Charles S. Johnson III ’70 Michael Tibbetts Trustee Sponsor Faculty Sponsor The Charles Flint Kellogg Award in Arts and Letters Walead Beshty ’99 Elizabeth Ely ’65 Tom Eccles Trustee Sponsor Faculty Sponsor The John Dewey Award for Distinguished Public Service Cynthia H. Conti-Cook ’03 Roland J. Augustine Megan Callaghan Trustee Sponsor Faculty Sponsor The Mary McCarthy Award Lorrie Moore Barbara S. Grossman ’73 Dinaw Mengestu Trustee Sponsor Faculty Sponsor The Bardian Award Mary I. Backlund Brandon Weber ’97 Leon Botstein Trustee Sponsor Faculty Sponsor Jeffrey Katz Brandon Weber ’97 Deirdre d’Albertis Trustee Sponsor Faculty Sponsor Recognition of Reunion Classes 1948, 1953, 1958, 1963, 1968, 1973, 1978, 1983, 1988, 1993, 1998, 2003, 2008, and 2013 Remarks Leon Botstein President, Bard College Closing Brandon Weber ’97 Dinner will be served in Felicitas S. Thorne Dance Studio and Stewart and Lynda Resnick Theater Studio. Ushers will direct you. Everyone is cordially invited to hear Bard College student soloists and composers in concert with The Orchestra Now (TO¯ N), Leon Botstein conducting, in Sosnoff Theater at 9:30 p.m.
    [Show full text]