Troy Savings Bank Music Hall Sunday, October 11, 2015 3 PM BARD COLLEGE BOARD OF TRUSTEES

The Orchestra Now

The Orchestra Now, a unique training orchestra and Master’s degree Troy Savings Bank Music Hall program founded by Bard College in Sunday, October 11, 2015 at 3 PM 2015, is preparing a new generation of musicians to break down barriers James Bagwell, between modern audiences and Conductor great orchestral music of the past and present. Bringing together extraordinary musicians from around the world, TŌN Gioacchino Overture from Il signor Bruschino mines the wealth of underperformed (1813) repertoire, reimagines traditional Rossini concert formats, and strives to make (1792–1869) the experience of the performers a part of the listeners’ experience. At a TŌN concert, musicians and audience inspire one other, each following their curiosity Symphony No. 3 with a shared sense of adventure. (1874–1954) (“The Camp Meeting”) (1908–10) Andante: Old Folks Gatherin’ Allegro: Children’s Day Largo: Communion

Ludwig Symphony No. 8 in F major, van Beethoven Op. 93 (1812) (1770–1827) Allegro vivace e con brio Allegretto scherzando Tempo di Menuetto Allegro vivace

@TheOrchNow #TheOrchNow THEORCHESTRANOW.ORG The concert will run approximately one hour and ten minutes page 2 page 3 CONCERT Did you know? When the Troy Savings Bank Music Hall was built in 1870, the QUICK GUIDE acoustics were not so great. But the addition of a large organ in 1890 changed the room enough to make it into the acoustic marvel that it is today.

Gioacchino Rossini Overture from Il signor Bruschino Ludwig van Beethoven Written at age 41, in 1812. • Approx. 5 mins Symphony No. 8 Cheerful and good- humored, filled with a Written at This overture is from Rossini’s Watch and MOVEMENTS musical playfulness. age 20, in one-act comic opera, The listen for the • Allegro vivace e con brio 1813. Accidental Son. violins tapping This symphony has

The opera is not often performed, their stands! (lively and quick, with vigor) no slow movement. but the overture is a staple of Approx. 9 mins Beethoven started one, orchestral repertoire. • Allegretto scherzando but abandoned it. (moderately fast, playful) Approx. 4 mins • Tempo di Menuetto Charles Ives (at the tempo of a minuet) Written in his mid-30s, Approx. 5 mins Symphony No. 3 from 1908–11. • Allegro vivace (“The Camp Meeting”) (lively and brisk) This started as 3 pieces Approx. 7 mins for organ, was then MOVEMENTS orchestrated after a • Andante: Old Folks Gatherin’ couple of years, and revised completely over (moderately slow) Approx. 8 mins 5 years later. visit us at • Allegro: Children’s Day (brisk) It wasn’t heard in public THEORCHESTRANOW.ORG Approx. 7 mins until 35 years after it was written. It won the • Largo: Communion (slow & Pulitzer Prize for music dignified) Approx. 8 mins the following year. Ives gave away the prize money. “Prizes are for boys and I’m all grown up.” get social @TheOrchNow Text TON to 33233 for email updates page 4 page 5 THE PROGRAM THE PROGRAM

Gioacchino Rossini Charles Ives MOVEMENTS Born February 29, 1792, in Pesaro, Italy Born October 20, 1874, in Danbury, CT • Andante: Old Died November 13, 1869, in Paris Died May 19, 1954, in Folks Gatherin’

Overture from Il signor Bruschino Symphony No. 3 (“The Camp Meeting”) (moderately slow) Premiered on January 27, 1813, at the Premiered on April 5, 1946, in New York City Approx. 8 mins Teatro San Moisè in Venice conducted by LouHarrison • Allegro: Children’s Day On stage: On stage: (brisk) Approx. 7 mins 1 flute, 2 oboes, 2 clarinets, 1 bassoon, 1 flute, 1 oboe, 1 clarinet, 1 bassoon, • Largo: Communion 2 French horns, 12 violins, 4 violas, 4 cellos, and 2 French horns, 1 trombone, percussion

3 double-basses (bells), 12 violins, 4 violas, 4 cellos, and (slow & dignified) 3 double-basses Approx. 8 mins The Do-Re-Mi’s Rossini finished composing his opera Il signor The Do-Re-Mi’s Bruschino in 1813, when he was 20 years old. Charles Ives wrote this symphony between The overture is approximately five minutes 1908 and 1911, completing it when he long. was 37 years old. The symphony consists of three movements and lasts approximately Setting the Stage 23 minutes. The young composer wrote Il signor Bruschino at a time when he was working within the style Setting the Stage of Italian farce. These pieces always had a The music found in Ives’ third symphony small cast of about five to eight singers that originated in works for organ that Ives had consisted of a pair of lovers, comedic roles, composed for Central Presbyterian Church and a minor role or two. This genre relied more in New York City that were later scored for heavily on visual, improvised gags than it did orchestra, and later still, heavily revised. on the ability of the singers, creating a light- Though the symphony was finished in 1911, hearted, comedic, and ultimately sentimental it was not until 1946 that the piece would be Easter Eggs entertainment experience. premiered under Lou Harrison’s conducting. This work is filled to The next year, the piece won Ives the Pulitzer the brim with quotes The OMG Moment Prize for music, though he gave away at and references to Despite the rest of the opera relying more on least half of the $25,000 prize to Harrison. hymns, war songs, singers’ comedic expertise than vocal talent, and dances which Rossini pushed the musical envelope in his The OMG Moment weave in and out overture, calling for the second violins to tap The third movement, though more somber to create new their bows on their stands! in tone than the first two, returns to and harmonic textures expands upon content and themes and paint a picture introduced in the first movement and gives of reminiscence the work a satisfying, yet nostalgic feeling for a traditional of conclusion. American past. page 6 page 7 BARDPROGRAM COLLEGE BOARD OF TRUSTEES BARDTHE ARTISTS COLLEGE BOARD OF TRUSTEES

Ludwig van Beethoven MOVEMENTS Baptized December 17, 1770, in Bonn • Allegro vivace Died March 26, 1827, in Vienna e con brio (lively and quick, with Symphony No. 8 Premiered on February 27, 1814, in Vienna at vigor) Approx. 9 mins the Redoutensaal conducted by Beethoven • Allegretto scherzando On stage: (moderately fast, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, playful) Approx. 4 mins 2 French horns, 2 trumpets, timpani, 12 violins, • Tempo di 4 violas, 4 cellos, and 3 double-basses James Bagwell Menuetto (at the The Do-Re-Mi’s tempo of a minuet) conductor Beethoven composed his eighth symphony Approx. 5 mins in 1812 when he was 41 years old. The • Allegro vivace James Bagwell maintains an active Mr. Bagwell has trained choruses for symphony consists of four movements and is (lively and brisk) international schedule as a conductor a number of major American and approximately 25 minutes long. of choral, operatic, and orchestral international orchestras, including the Approx. 7 mins music. He was most recently named ; Los Angeles Setting the Stage associate conductor of The Orchestra Philharmonic; San Francisco, NHK Beethoven began work on this symphony Now (TŌN) and in 2009 was appointed (Japan), and St. Petersburg Symphonies; in the summer of 1812. The work itself has a principal guest conductor of the and the Budapest Festival, Mostly cheerful demeanor despite the fact that American Symphony Orchestra, Mozart Festival, American Symphony, Beethoven’s life was quite tumultuous at the leading them in concerts at both Cincinnati Symphony, Cincinnati Pops, and Lincoln Center. and Indianapolis Symphony Orchestras. time—he attempted to thwart his brother’s From 2009–15 he served as music Since 2003 he has been director of marriage as he deemed it inappropriate, director of The Collegiate Chorale, with choruses for the Bard Music Festival, and he was coming to terms with his ever- whom he conducted a number of conducting and preparing choral worsening deafness. Regardless of these rarely-performed operas-in-concert at works during the summer festival at external circumstances, Beethoven finished Carnegie Hall, including Bellini’s Beatrice The Richard B. Fisher Center for the the piece in four months and led the premiere di Tenda, Rossini’s Möise et Pharaon, Performing Arts at Bard College. and Boito’s Mefistofele. He conducted himself, though it is said the orchestra ignored Easter Eggs the New York premiere of Philip Glass’s He conducted some twenty-five his fierce gesturing and opted to follow the Toltec Symphony and Golijov’s Oceana, productions as music director of principal violinist instead. The third movement both at Carnegie Hall. His performance Light Opera Oklahoma. At Bard is believed to be a of ’s Knickerbocker Holiday SummerScape he has lead various The OMG Moment playful reference at Alice Tully Hall was recorded live theatrical works, most notably The The fourth movement contains one of to the metronome, for Gaslight Records and is the only Tender Land, which received glowing complete recording of this musical. praise from The New York Times, The the most elaborate codas found in all of which had recently Since 2011 he has collaborated New Yorker, and Opera News. From Beethoven’s works. Tchaikovsky was an been invented by a with singer and composer Natalie 2005–10 he was music director of admirer of this movement and is quoted friend of Beethoven, Merchant, conducting a number of The Dessoff Choirs in New York, who as having called it, “one of the greatest Johann Maelzel. major orchestras across the country, under his leadership made numerous symphonic masterpieces of Beethoven.” including the San Francisco and Seattle appearances at Carnegie Hall in Symphonies. addition to their regular season. page 8 page 9 BARDMEET THECOLLEGE TŌNers BOARD OF TRUSTEES MEET THE TŌNers

Andrés Rivas Szabolcs Koczur violin trumpet Photo by Jito Lee by Jito Photo Lee by Jito Photo

I began playing violin at the age of 3 because I was too bad at baseball, but my dad realized Listening to classical music is good for your brain: it activates the genes responsible for I had a good ear and bought me a violin. dopamine secretion and transport, synaptic function, learning and memory.

Hometown: Caracas, Venezuela Hometown: Tatabánya, Hungary Alma maters: Universidad Nacional Experimental de las Artes Alma maters: Liszt Academy of Music in Budapest (UNEARTE) Awards & competitions: Third prize in the 9th International Awards & competitions: Second place in the 2002 violin Interpretative Competition for Wind Instruments in Brno, third competition “Maurice Hasson” in Venezuela prize in the 10th National Trumpet and Percussion Competition in Budapest, special prize in the National Trumpet Competition in Appearances: Youth Orchestra of Caracas, Simón Bolívar Budapest Symphony Orchestra of Venezuela, Festival de Música de Santa Catarina in Brazil, Salzburg Festival, Beethovenfest Bonn, Bergen Appearances: Chosen Vale (Center of Advanced Musical Studies), Festival Stellenbosch International Chamber Music Festival in South Africa Favorite fact about your instrument: Maestro Maurice Hasson gave Favorite composer fact: Domenico Scarlatti composed his ‘cat it to me as a gift when I was 6 years old fugue’ after his cat, Pulcinella, walked across his keyboard. Dreamiest conductor: Sir Simon Rattle Favorite movie: Airplane Which composer would have the best Twitter account: Last book read: David Mitchell’s Cloud Atlas Krzysztof Penderecki Favorite thing the internet is obsessed with: Live streaming concerts and sporting events

@rivas_musico @andriurivas @koczurszabi page 10 page 11 THE PROGRAM THE PROGRAM

Gioacchino Rossini Charles Ives of an old-time gospel meeting. First the repercussions of the disappointing is “Old Folks Gatherin’,” featuring a termination of his relationship with Overture from Symphony No. 3 lilting fugue on the gospel hymn “O, the mystery woman. Despite what Il signor Bruschino (“The Camp Meeting”) for a Thousand Tongues;” the second appear to be trying circumstances, movement is the playful “Children’s this symphony is one of the composer’s Notes by Steve V. Sinclair Adapted from notes by Ian Swafford Day;” the finale is an intense and most delightful and humorous works. It meditative movement called premiered in Vienna on February 27, Il signor Bruschino is a fine example By the first years of the century Ives “Communion” that ends, like so many 1814, at a concert that also included of Gioachino Rossini’s farce (farse) had at his command much of the Ives’ works, with a simple and heartfelt the Seventh Symphony and the operas. Despite the marvelously later modernist musical vocabulary: presentation of a hymn tune: “Just popular Wellington’s Victory. complex plot, Rossini manages to polytonality, free dissonance, complex As I Am,” which still concludes many concentrate comic wit and some rhythms and shifts of meter, collage-like church services. The first movement is dominated by a sentimentality into its tightly woven juxtapositions of ideas that might have buoyant opening theme from which a single act. “Farse” opera relies heavily been called Cubist, if Cubism had related second theme emerges. One on visual improvisation. Characters been invented yet, and if the public Ludwig van Beethoven of Beethoven’s witty touches here is often had a catch-phrase that had ever heard the pieces. Ives was that the first and last measures of the identified and endeared them to the a private composer by 1902, when Symphony No. 8 movement are the same—the sort of detail that his teacher Haydn did; audience; in Il signor Bruschino, the title he resigned his last church-organist Adapted from notes by Christopher H. character incessantly complains, “Oh, job, and for a long time after. His living indeed the older master’s spirit is often it’s so hot!” Today such humor is not came from the insurance business, a Gibbs, James H. Ottaway Jr. Professor evident in this work. The symphony has the fashion in opera, but for Rossini’s job that, unlike his compositions, paid of Music, Bard College no slow movement—in fact, there is audiences, it fulfilled the same function the rent. little heaviness anywhere in the work. as television sitcoms do for many Beethoven composed his Seventh and In the second movement, Beethoven modern audiences. In other words, In that period Ives was writing Eighth symphonies during an eventful delights in the recent invention of the opera was once both high art and remarkable music, but he had not period in his life, and concentrated “chronometer” (an early version of the very popular entertainment. yet reached his maturity. In essence on the latter during the summer of metronome) made available to him he was composing in two streams: 1812. He found it advisable for health by his colleague Johann Nepomuk Today, Il signor Bruschino’s overture is the experimental works, often with reasons to leave Vienna during the Maelzel, who also fashioned various performed more often than the opera an American flavor that had begun hot summers, which had the added hearing aids for his use. The incessant itself. Rossini immediately establishes in his teens; and more traditional and benefit of getting him closer to ticking of wind instruments sets the the tone of the opera through a European-related works, including the nature that he loved so much. pace. surprising effect in the overture. Just the first three symphonies. His maturity Meeting Goethe was not the only after the slow introduction, the strings would come when he found ways of significant event in his life that summer. Beethoven must have felt it would be solemnly tap their bows on their music uniting those two streams. It was at this time that Beethoven unwise to follow the already humorous stands (the score actually indicates The folksy and intimate Third penned his famous “Immortal second movement with a scherzo that they should tap the candle Symphony, the last of his symphonies Beloved” letter, in which he reveals (literally, joke) and therefore reverted holders attached to their stands). to be laid out in more or less traditional a reciprocated love, but one whose to the more Classical minuet and form and tonal language, was future course was in serious doubt. trio. Yet the amusing touches do not assembled around 1904 from three Beethoven probably never sent the entirely disappear. Just try dancing hymn-based organ pieces (now lost) letter and nowhere indicated the to this minuet—you may find yourself that he had written for his church identity of the woman to whom it was tripping over the false downbeats. jobs. A common thread uniting most written. In the finale, Beethoven once again of Ives’ instrumental music, whatever seems more intent on playful display its style, is story-telling: he was at Beethoven completed the Eighth than on the weighty issues he explores heart a late-Romantic composer of Symphony in October while in Linz, in his neighboring symphonies. In this program music. The Third Symphony where he had gone to visit his younger extended rondo, he experiments with is subtitled “The Camp Meeting” and brother, Johann. His health was poor, dynamics and instrumentation, and its movements follow the progress and one can only speculate about concludes with a long, spirited coda. page 12 page 13 BARDTHE ORCHESTRA COLLEGE BOARD NOW OF TRUSTEES BARD COLLEGE BOARD OF TRUSTEES

Leon Botstein, David E. Schwab II ’52, Robert S. Epstein ’63 Music Director Chair Emeritus Barbara S. Grossman ’73, Charles P. Stevenson Jr., Alumni/ae Trustee Flute Haemi Lee Chair Andrew S. Gundlach Victor Wang Youyang Qu Emily H. Fisher, Sally Hambrecht Vice Chair Marieluise Hessel Thomas James Wible Michael Rau George F. Hamel Jr., Maja Hoffmann Andrés Rivas Vice Chair Matina S. Horner+ Oboe Lili Sarayrah Elizabeth Ely ’65, Secretary; Charles S. Johnson III ’70 Mark N. Kaplan, Zachary Boeding Dawon Eileen Suh Life Trustee Stanley A. Reichel ’65, Life Trustee Aleh Remezau Adina Mu-Ying Tsai Treasurer George A. Kellner Fiona Angelini Fredric S. Maxik ’86 Roland J. Augustine James H. Ottaway Jr., Clarinet Viola +, President of the College Life Trustee Sangwon Lee Bonnie Heung Stuart Breslow+ Martin Peretz, Mark E. Brossman Elias Rodriguez David Mason Life Trustee Thomas M. Burger+ Stewart Resnick, Scot Moore James C. Chambers ’81 Life Trustee Bassoon Omar Shelly Marcelle Clements ’69, Roger N. Scotland ’93, Alumni/ae Trustee Alumni/ae Trustee Wade Coufal The Rt. Rev. Andrew M. L. Dietsche, Jonathan Slone ’84 Cathryn Gaylord Cello Honorary Trustee Martin T. Sosnoff Dávid A. Nagy Andrew Borkowski Asher B. Edelman ’61, James A. von Klemperer Life Trustee Susan Weber Eleanor Lee Paul S. Efron Patricia Ross Weis ’52 Horn Taylor Skiff Philip Brindise Hui Zhang + ex officio Jordan Miller The Orchestra Now Administration Bass Trumpet Milad Daniari Leon Botstein, Music Director Szabolcs Koczur Michael Franz James Bagwell, Associate Conductor and Academic Director Zachary Silberschlag Julian Lampert Zachary Schwartzman, Resident Conductor Erica Kiesewetter, Director of Chamber and Audition Preparation Timpani Additional musicians Lynne Meloccaro, Executive Director Jonathan Wisner for this concert Oliver Inteeworn, Managing Director Brian J. Heck, Director of Marketing Violin Trombone Sebastian Danila, Librarian and Researcher Nicole M. de Jesús, Development Manager Grace Choi Chia-Hsien Lin Marielle Metivier, Brenna Hardy-Kavanagh Orchestra Manager Carley Gooley, Marketing Assistant Shushi Hori Benjamin Oatmen, Librarian Holly Jenkins Kristin Roca, Administrative Assistant Mia Laity page 14 page 15 BARDSUPPORT COLLEGE THE ORCHESTRA BOARD OF NOW! TRUSTEES

Join us as we prepare a new generation of musicians to break down barriers between modern audiences and great orchestral music of the past and present. All gifts are an important investment in TŌN’s efforts to shape exceptional musicians who are redefining what it means to be an orchestra.

THE TŌN FUND Through a gift to The TŌN Fund, you will help to inspire and support TŌN graduate students and their education. TŌN students—select musicians who hail from the finest conservatories across the U.S. and abroad—must complete a rigorous, three-year academic program leading to a Masters of Curatorial, Critical and Performance Studies. In addition to interdisciplinary coursework that cultivates a broader understanding of music’s place in culture and history, TŌN candidates will prepare and perform in professional concerts at Bard’s Fisher Center for the Performing Arts, Carnegie Hall, and the Metropolitan Museum of Art, as well as Around Town, a series of five free concerts across New York City. TŌN candidates will create music education programs designed to engage underserved communities of adults and children in the Hudson Valley and its environs. Tax-deductible contributions to the TŌN Fund will support: • TŌN Student Living Stipends: All students receive a full-tuition fellowship along with an annual stipend of $24,000, and health benefits. • TŌN Concerts: TŌN will perform in concerts at Carnegie Hall; the Sight & Sound series at The Metropolitan Museum of Art; and Around Town, a series of FREE concerts from the Bronx to Brooklyn. • TŌN Teaching Artist Program: Provides opportunities for TŌN candidates to design and implement community outreach projects with mid-Hudson schools, regional concert series, and community music education programs. Gifts to the TŌN Fund also enable purchase and care for timpani, pianos and other instruments; scores and library acquisitions.

Ways to Give DONATE BY MAIL Send your check, made payable to Bard College, to Bard College, Office of Development, P.O. 5000, Annandale-on-Hudson, NY 12504-5000. Please make sure to designate your donation to TŌN and include any special instructions on how we can contact you to acknowledge your gift. MATCHING GIFTS Many companies match philanthropic gifts made by employees, their families, or retirees to non-profit organizations. Contact your human resources department to see if your gift can be matched, obtain the appropriate form, and send it to: Bard College Attn: Gift Recorder, P.O. Box 5000, Annandale-on-Hudson, NY 12540-5000. FOR MORE INFORMATION To explore how your gift can support TŌN or to become more involved, please contact Nicole M. de Jesús, Development Manager, at (845) 758-7624 or [email protected]. ©2015 The Orchestra Now | A Program of Bard College page 16