Apr 14/15 2018 The Richard B. Fisher Center for the Performing Arts at Bard College SAT 4/14/18 at 8 PM & SUN 4/15/18 at 2 PM Performances #87 & #88: Season 3, Concerts 24 & 25 The Richard B. Fisher Center for the Performing Arts at Bard College Hello! Sosnoff Theater We’re so glad you’ve joined us today. In TŌN, Leon Botstein, conductor our goal is to make orchestral music relevant to today’s audiences. Here’s how we’re doing Igor Stravinsky Funeral Song (Pogrebal’naya Pesnya), Op. 5 (1908) things a little differently: (1882–1971) Requiem Canticles (1965–66) Prelude Exaudi Let’s Chat Dies irae Tuba mirum Some of us will be introducing the Interlude music, and even more will in the lobby Rex tremendae during intermission. Come say hi, grab Lacrimosa Libera me a selfie, ask some questions, and let us Postlude know your thoughts. Katherine Pracht, mezzo-soprano Jonathan Beyer, baritone Bard College Chamber Singers We Live for the Applause Bard Festival Chorale We love your energy! There’s no need Symphony of Psalms (Symphonie de Psaumes) (1930, rev. 1948) to wait till the end—if the music moves Psalm 38: 13–14 you, feel free to applaud any time the Psalm 39: 2–4 Psalm 150 conductor’s baton goes down. (no pause between movements) Bard College Chamber Singers Be a Social Butterfly Bard Festival Chorale If you have a great time, let your Intermission friends know: share a photo or video The Rite of Spring (Le Sacre du Printemps) (1911–13) (without disturbing anyone else), and First Part: The Adoration of the Earth use #theorchnow and tag us Introduction The Augurs of Spring (Dances of the Young Girls) @theorchnow. Ritual of Abduction Spring Rounds Ritual of the Rival Tribes Procession of the Sage To find out more about usand what we think The Sage about the music, look through this program and Dance of the Earth visit theorchestranow.org. To stay up to date with Second Part: The Sacrifice Introduction TŌN emails, see the insert in this program. And Mystic Circles of the Young Girls to find out how you can support the orchestra, Glorification of the Chosen One Evocation of the Ancestors turn to page 22. Ritual Action of the Ancestors Sacrificial Dance (The Chosen One)

But above all else, we invite you to sit back and The concert will run approximately 2 hours and 5 minutes, ENJOY! 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.

THEORCHESTRANOW.ORG 3 ABOUT ABOUT THE PROGRAM THE PROGRAM

Funeral Song Stravinsky composed this piece in the memory of his mentor and fellow composer, Nikolai Rimsky-Korsakov, who passed away in 1908. It was premiered at a concert in St. Petersburg shortly after Rimsky’s death. In the 1960 book Memories and Commentaries, Stravinsky said:

“. . . I remember the piece as the best of my works before The Firebird, and the most advanced in chromatic harmony. The orchestral parts must have been preserved in one of the St.

Photo by Shaun Mader Petersburg orchestra libraries; I wish someone in Leningrad would look for the parts, for I would be curious myself to see what I was composing just before The Firebird.” TŌN’S ADAM ROMEY ON THE RITE OF SPRING The parts, which were considered lost and thought to have been destroyed in a fire, were finally recovered in 2015 by Natalia Braginskaya, dean of the musicology department at the St. Petersburg Rimsky-Korsakov State The Rite of Spring was written for the 1913 Paris season of Sergei Diaghilev’s Conservatory. The piece received its second-ever performance on Ballets Russes ballet company, which was associated with the cutting edge of December 2, 2016 in St. Petersburg, with Valery Gergiev leading the the European arts scene. Diaghilev’s productions often used Russian themes Mariinsky Orchestra, and was premiered in New York by the New York and culture for stylish exoticism, and as a Russian composer, Stravinsky had Philharmonic on April 27, 2017. been previously recruited by Diaghilev for The Firebird in 1910 and Petrushka in 1911. Stravinsky was somewhat famous before The Rite of Spring, but the –Steve V. Sinclair premiere and ensuing riot catapulted Stravinsky and modern music into the spotlight and became the stuff of legend.

The plot of the ballet purportedly came to Stravinsky in a dream. It depicts a primitive ritual celebrating the advent of spring in which a young girl is selected to be a sacrifice and dances herself to death. The music is rhythmic, primal, and incredibly dissonant in ways that still challenge audiences today. However, The Rite of Spring was so strange at the time primarily because the choreography was contorted and involved a lot of stamping and jumping, which was quite different from the beautiful and elegant motions that were the prevailing style. There has been debate that the riot at the premiere was a lie propagated by the composer to promote sensationalism around his work, but that being said, the performance was still very jarring to the audience. While it wasn’t performed again until the 1920s, it is now one of the most recorded pieces in the classical repertoire.

For me, The Rite of Spring is an extremely exciting piece to perform because parts of it are so rhythmically complex that everyone playing has to be totally focused. It basically requires that everyone is all in. When everyone on the stage is so completely engaged, there is a certain kind of electricity that you feel as a performer and as an audience member, because you are so concentrated on that moment and there is really no room for anything else.

4 @TheOrchNow THEORCHESTRANOW.ORG 5 ABOUT ABOUT THE PROGRAM THE PROGRAM

Requiem Canticles Symphony of Psalms Inspired by a Roman Catholic requiem mass, Stravinsky dedicated This piece was quite interestingly orchestrated, calling for four wind this piece to the memory of Helen Buchanan Seeger, a benefactor of instruments per part (but no clarinets), a string section with only cello Princeton University, where it was first performed in 1966. The conductor was and double bass, and a four-part mixed chorus comprised entirely of Stravinsky’s friend and artistic collaborator, Robert Craft. The last major work children. While Stravinsky wrote in the score that “the choir should contain written in his life, the piece is full of echoes of earlier works by Stravinsky. children’s voices,” he also added that they “may be replaced by female voices (soprano and alto).” As a result, most performances of this piece In an interview with the composer which took place shortly after this work’s usually include an adult chorus. He also insisted that the piece always be completion, Stravinsky said, performed in Latin, never in translation.

“The idea of the triangular instrumental frame—string prelude, It was commissioned by Serge Koussevitzky to celebrate the 50th anniversary wind-instrumental interlude, percussion postlude—came quickly, of the Boston Symphony Orchestra in 1930, alongside new works by Sergei and then I began to compose the . . . formal lament. The prelude Prokofiev, Arthur Honneger, Albert Roussel, and Aaron Copland. Two puzzled its first audience. Some thought it too light, while others said factors were responsible for the form of this piece; first, Stravinsky had long it was like Bartók and even the beginning of Mozart’s ‘Dissonant’ contemplated composing “a work of considerable scope,” and second, he Quartet. I think, nevertheless that its ‘preluding’ manner is precisely had recently returned to the Russian Orthodox faith of his youth. Koussevitzky suited to the musical matter to be expounded. But some people had suggested that he write something “popular,” but Stravinsky was set on professed to hear curious echoes in other sections of the work his Symphony of Psalms, responding only by choosing Psalm 150 because as well, of Oedipus Rex in the ‘Tuba mirum,’ The Wedding in the of its popularity. ‘Postlude,’ . . . Still, most listeners seemed to find it the easiest to take home of my last period—or last-ditch period—music, and though I For the commission, Stravinsky wrote a clause into his contract, mandating know of no universal decision as to whether it is to be thought of as that if Koussevitzky and the Boston Symphony didn’t give the premiere of compressed or merely brief, I think the opus may safely be called Symphony of Psalms by late November of 1930, an orchestra in Europe the first mini- or pocket-Requiem.” could give the premiere instead. So while the piece premiered in Brussels, the Boston Symphony played it for the first time six days later. The critics It was played at his funeral in Venice in 1971 with, again, Craft conducting. were reserved but positive about Stravinsky’s new piece. One wrote, “Its According to his wife, Vera, “He and we knew he was writing it for himself.” originality is too great for it to have instant popular appeal.” Another critic Craft described the closing Postlude as “the chord of Death, followed by liked only the ending and the beginning, writing “at the outset Stravinsky’s silence, the tolling of bells, and again silence, all thrice repeated, then the so-called symphony arrested and gripped the listener. There was a semi- three final chords of Death alone.” barbaric wildness in the opening measures.”

–Steve V. Sinclair –Steve V. Sinclair

6 Text TON to 33233 for email updates THEORCHESTRANOW.ORG 7 MEET THE MEET THE CONDUCTOR GUEST ARTISTS

Jonathan Beyer baritone Leon Botstein This season: Debut at Vancouver Opera as Ping in Turandot; I Vespri Siciliani conductor with Frankfurt Opera Leon Botstein brings a renowned career Performances: Figaro in Rossini’s Il Barbiere di Siviglia with Opera Company as both a conductor and educator of Philadelphia, Opera Theatre of St. Louis, and Pittsburgh Opera; Guglielmo to his role as music director of The in Così fan tutte with the Florida Grand Opera; Marcello in La bohème with Orchestra Now. He has been music Dallas Opera, Boston Lyric Opera, and in Frankfurt; Ping in Turandot with director of the American Symphony Cincinnati Opera; Danilo in The Merry Widow with Lyric Opera of Chicago Orchestra since 1992, artistic codirector (cover); Dr. Falke in Die Fledermaus with Florentine Opera; Malatesta in Don of Bard SummerScape and the Bard Pasquale in Naples Music Festival since their creation, and president of Bard College since 1975. He Appearances: Carmina Burana with the New Jersey Symphony; concerts in was the music director of the Jerusalem Michigan and North Carolina Symphony Orchestra from 2003–11, and is now conductor laureate. This year he will assume artistic directorship of the Grafenegg Academy in Austria. Mr. Botstein is also a frequent guest conductor with orchestras around the globe, has made numerous recordings, and is a prolific author and music historian. He is the editor of the prestigious Photo by Matt Dine The Musical Quarterly, and has received many honors for his contributions to music.

More info online at leonbotstein.com.

8 @TheOrchNow THEORCHESTRANOW.ORG 9 MEET THE GUEST ARTISTS

The Orchestra Now (TŌN) is a group of vibrant young musicians from across the globe who are making orchestral music relevant to 21st-century audiences. They are lifting the curtain on the musicians’ experience and sharing their unique personal insights in a welcoming environment. Hand-picked from the world’s leading conservatories—including The Juilliard School, Shanghai Conservatory of Music, Royal Conservatory of Brussels, and the Curtis Institute of Music—the members of TŌN are not only thrilling audiences with their critically acclaimed performances, but also enlightening curious minds by giving on-stage introductions and demonstrations, writing concert notes from the musicians’ perspective, and having one-on-one discussions with patrons during intermissions.

Conductor, educator, and music historian Leon Botstein founded TŌN in 2015 as a master’s degree program at Bard College, where he also serves Photo by Lott Rex as president. The orchestra is in residence at Bard’s Richard B. Fisher Center Katherine Pracht for the Performing Arts, performing multiple concerts there each season as well as taking part in the annual Bard Music Festival. They also perform mezzo-soprano regularly at the finest venues in New York, including Carnegie Hall, Lincoln Center, The Metropolitan Museum of Art, and others across NYC and beyond. The orchestra has performed with many distinguished conductors, including This season: Lady Wang in Bright Sheng’s epic opera Dream of the Red Fabio Luisi, Neeme Järvi, Gerard Schwarz, and JoAnn Falletta. Chamber in a 4-city tour of China; the title role in Elizabeth Cree with Chicago Opera Theater; Prokofiev’s Alexander Nevsky with the York Symphony We invite you to get to know TŌN and discover music in the making! Explore Appearances: Philip Glass’ Symphony No. 5 with Trinity Wall Street and with the upcoming concerts, see what our musicians have to say, and more at Washington Chorus in her Kennedy Center debut; the U.S. premiere of Richard theorchestranow.org. Wernick’s “. . . and a Time for Peace” at Carnegie Hall and Schumann’s Scenes from Goethe’s Faust at David Geffen Hall, both with the American Symphony Orchestra; Mahler’s Das Lied von der Erde with the York Symphony; Lieberson’s Neruda Songs with Grand Rapids Symphony; Verdi’s Requiem in Florence, South Carolina, and in her Carnegie Hall debut; two concerts with the Georgia Symphony Orchestra and Chorus singing John Corigliano’s Fern Hill and Prokofiev’sAlexander Nevsky Performances: Bernstein’s Arias and Barcarolles accompanied by Bright Sheng and Michael Barrett for The Intimacy of Creativity 2017 Festival in Hong Kong; workshops of new operas, including Florence Williams in Susan Kander’s The News From Poems, Hester Prynne in Eric Sawyer’s The Scarlet Professor, and Eve in Julian Wachner and Cerise Jacobs’ Rev 23 for the Prototype Festival; Sharon Falconer in Elmer Gantry with Florentine Opera; Ariel in the world premiere of Joseph Summer’s The Tempest for The Shakespeare Concerts in Boston; Flora Bervoix in Opera Philadelphia’s La Traviata; covered the role of Baroness Nica in Daniel Schnyder’s Charlie Parker’s Yardbird commissioned for Opera Philadelphia; Der Trommler in Der Kaiser von Atlantis for Central City Opera with the Colorado Symphony; her international/Radio France debut singing Dorabella in Così fan tutte with Lyrique-en-mer Festival in Belle-Île Photo by Matt Dine

10 Text TON to 41444 to donate THEORCHESTRANOW.ORG 11 ABOUT THE MEET THE PERFORMERS CHORAL DIRECTOR

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

Bard College Chamber Singers Formed in 2002 by music director James Bagwell, Bard College Chamber Singers is an auditioned choir of Bard students and alumni/ae from all James Bagwell programs of the College. In the past few seasons they have performed conductor Arvo Pärt’s Magnificat, Maurice Duruflé’s Requiem, and Mozart’s Requiem James Bagwell maintains an active international schedule as a conductor in concert at the Fisher Center’s Sosnoff Theater. During the spring of of choral, operatic, and orchestral music. He was most recently named 2010, the group filled the role of the chorus in the Bard College Graduate associate conductor of The Orchestra Now (TŌN) and in 2009 was appointed Vocal Arts Program’s performances of two original operas, David Little’s principal guest conductor of the American Symphony Orchestra. From Vinkensport and Missy Mazzoli’s Song from the Uproar: The Lives and Deaths 2009–15 he served as music director of The Collegiate Chorale. Some of the of Isabelle Eberhardt, as well as Ravel’s L’enfant et les sortilèges. In October highlights of his tenure with them include conducting a number of operas-in- 2012 they performed Mahler’s Symphony No. 8 at Carnegie Hall with the concert at Carnegie Hall, including Bellini’s Beatrice di Tenda, Rossini’s Möise American Symphony Orchestra, and in December joined the Bard College et Pharaon, and Boito’s Mefistofele. He conducted the New York premiere Symphonic Chorus in Beethoven’s Mass in C. of Philip Glass’ Toltec Symphony and Golijov’s Oceana, both at Carnegie Hall. Since 2011 he has collaborated with singer and composer Natalie Bard Festival Chorale Merchant, conducting a number of major orchestras across the country, including the San Francisco and Seattle Symphonies. The Bard Festival Chorale was formed in 2003 as the resident choir of the Bard Music Festival. It consists of the finest ensemble singers from New York Mr. Bagwell has trained choruses for numerous American and international City and surrounding areas. Many of its members have distinguished careers orchestras, including the Mostly Mozart Festival Orchestra, New York as soloists and as performers in a variety of choral groups; all possess a Philharmonic, Boston Symphony Orchestra, Los Angeles Philharmonic, shared enthusiasm for the exploration of new and unfamiliar music. Budapest Festival Orchestra, and American Symphony Orchestra. He prepared The Collegiate Chorale for concerts at the Verbier Festival in Switzerland; in 2012 the Chorale traveled to Israel and the Salzburg Festival for four programs with The Israel Philharmonic. Since 2003 he has been director of choruses for the Bard Music Festival, conducting and preparing choral works during the summer festival at The Richard B. Fisher Photo by Hoeberman Kristin Center for the Performing Arts. He frequently appears as guest conductor for orchestras around the country and abroad, including the Cincinnati Symphony, Jerusalem Symphony, and the Interlochen Music Festival. He is Professor of Music at Bard College, and Director of Performance Studies and the Graduate Conducting Program at the Bard College Conservatory.

12 @TheOrchNow THEORCHESTRANOW.ORG 13 THE CHORUSES

Leon Botstein, Music Director Bard College Bard Festival Violin I Milad Daniari Trombone Chamber Singers Chorale † Adina Mu-Ying Tsai, Concertmaster Baylor Brown* Gabe Cruz, Principal Weiqiao Wu Zhenyuan Yao Billy Freeman* James Bagwell, Director James Bagwell, Director Leonardo Pineda Michael Franz (on leave) Federico Ramos, Bass Trombone Hyunjae Bae William McPeters ( ) Yu-Tien Chou*, Soprano Soprano on leave Bass Trombone Isabella Argondizza Nonie Donato Grace Choi Paul Nemeth (on leave) Eliot Roske*† Tuba Victoria Haschke Jessica Marsten Emily Hegarty Carrie Quarquesso Fangxi Liu Flute Dan Honaker, Principal Clara Engen Denis Savelyev, Evan Petratos*† Silvie Lundgren Rachel Rosales Principal (Funeral, Kathleen Miller Ellen Taylor Sisson Youyang Qu Requiem) Drew Youmans Matthew Ross, Timpani Rachel Nalecz Christine Sperry Principal (Psalms) Sigi Nielsen Hao Xing Thomas J. Wible, Principal (Rite) William Kaufman Isabela Cruz-Vespa* Jon Collazo*† Bronwyn Simmons Alto Violin II Gabriela Rosada Torres* Cassandra Whitehead Sarah Bleasdale Teresa Buchholz Yuqian Zhang, Principal Percussion Coline Berland Oboe Sam Gohl* Alto Matthew Deming Malia du Mont Erin Kemp Michael Rau Aleh Remezau, Principal (Funeral) Juliana Maitenaz* Diego Gabete Regina Brady, Daniel Matei* Ali Gilman Margaret O’Connell Principal (Psalms) Rachael Gunning AnnMarie Sandy Yurie Mitsuhashi James Jihyun Kim, Principal (Rite) Meilin Wei* † Vivian Yuwei Han Avery Morris* Kelly Mozeik, English Horn Miles Salerni (on leave) Lila Vivas Blanco Cree Vitti* Renée Louprette Tenor Jiayu Sun Harp Teddy McKrell Sean Clark Jiyoung Moon Clarinet Emily Melendes, Madison Owings Mark Donato Principal Hadley Parum Sean Fallen Haemi Lee Sangwon Lee, Principal Bettina Tóth* Lili Sarayreh ( ) Micah Candiotti-Pacheco Anya Petkovich Mukund Marathe on leave Karin Roslund Nathan Siler Elias Rodriguez, Bass Clarinet *Member of the Bard College Viola Karolina Krajewska*† Conservatory Orchestra Kannan Vasudevan Tenor Omar Shelly, Principal Chi Lee Bassoon †Performing in Danny Castellanos Bass Luke Jennings Jonathan Estabrooks Yuan Qi Adam Romey, Principal (Funeral, The Rite of Spring only Bonnie Heung Pavlos Korids Nicholas Hay Requiem, Psalms) Sam Olin-Hitt David Huneryager Emmanuel Koh Carl Gardner, Principal (Rite) Guest Musicians Mercer Greenwald*† Gabby Hartman* Wayne Arthur Paul Caleb Wong Clarinet Bass John Rose Mengshen Li*† Horn Viktor Tóth Sonny Capaccio Matthew Vitti † Tim Halvorsen Matthew Norman* Anna Lenhart, Principal (Funeral, Scot Moore ( ) Bassoon Ethan Hosta Nancy Wertsch, Choral Contractor on leave Requiem) Jackson McKinnon Philip Brindise, Principal (Psalms) William Beecher, Contrabassoon Cello Ethan Brozka, Daniel Hane Jonathan Mildner Principal (Rite) Roman Peña Jinn Shin, Principal Jamie Sanborn Zhilin Wang Shannon Hagan Celeste/Piano Evan Petratos Hui Zhang Zachary McIntyre*† Tomoki Park Jacob Testa Emily Munstedt*† Liri Ronen*† JongSun Woo Lixue Zeng Lauren Peacock Claire Worsey*† Piano Fellows at the Bard Lily Moerschel*† Amanda Ray*† College Conservatory Eleanor Lee of Music Alana Shannon Trumpet Kyle Anderson Anita Tóth, Principal (Funeral, Andrew Borkowski (on leave) Psalms) Danny Poceta (on leave) Zachary Silberschlag, Principal (Requiem) Bass Szabolcs Koczur, Principal (Rite) Luke Stence, Principal Matt Walley, Bass Trumpet Joshua DePoint Shanhui Sun* Casey Karr Viveca Lawrie* Rowan Puig Davis*†

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

14 Text TON to 33233 for email updates THEORCHESTRANOW.ORG 15 CONGRATULATIONS TO OUR THIRD-YEAR MUSICIANS, WHO ARE GRADUATING Scot Moore Youyang Qu WITH A MASTER OF MUSIC DEGREE IN CURATORIAL, Viola Violin CRITICAL, AND PERFORMANCE STUDIES.

Andrew Philip Brindise Michael Rau Aleh Remezau Borkowski Horn Violin Oboe Cello

Elias Grace Choi Milad Daniari Lili Sarayreh Rodriguez Violin Bass Violin Clarinet

Zachary Michael Franz Bonnie Heung Omar Shelly Silberschlag Bass Viola Viola Trumpet

Szabolcs Adina Thomas Eleanor Lee Koczur Mu-Ying Tsai James Wible Cello Trumpet Violin Flute

Haemi Lee Sangwon Lee Hui Zhang Photos: Borkowski, Daniari, Franz, Heung, H. Lee, S. Lee, Violin Clarinet Cello Moore, Qu, Rau, Sarayreh, Shelly, Tsai, Wible, and Zhang by Jito Lee; Koczur by János Sutyák Photography; E. Lee by Melissa Zgouridi; Remezau and Silberschlag by Matt Dine; Rodriguez by Jake Luttinger

16 @TheOrchNow THEORCHESTRANOW.ORG 17 MEET THE TŌN MUSICIANS season 4 AT THE FISHER CENTER

HIGHLIGHTS INCLUDE: Aaron Copland’s Lincoln Portrait

Selections from Wagner’s Götterdämmerung Photo by Jito Lee Strauss’ A Hero’s Life Caleb Wong Verdi’s Requiem viola And works by Brahms, Elgar, Tchaikovsky, and more!

Caleb will talk briefly about Funeral Song on stage before the performance.

SUBSCRIPTIONS AVAILABLE NOW! Hometown: Hong Kong 5-concert Series Alma maters: Indiana University Jacobs School of Music, The Chinese University of Hong Kong • Choose 5 Sat nights or 5 Sun matinees Musical origins: I started at 5 on the violin, and then I started playing viola in • Seats are renewable from year to year high school in chamber groups. But my official switch didn’t come until my • All locations $120 UP TO 35% OFF! second year of college. My parents support my decision a lot because they think I would never practice those terrible high notes at home again. • Family boxes from $190 Favorite piece to play: Smetana String Quartet No. 1 “From My Life” Choose Your Own Series Favorite obscure piece: Bruckner’s String Quartet Favorite composer fact: Handel and Bach were both blinded by the same • Choose 3 or 4 concerts “surgeon,” John Taylor. • You can mix and match days and seat locations Favorite fact about your instrument: Everyone talks down on the viola, but they • 25% off the full price love it in the bottom of their heart. Favorite non-classical musician: Japanese pop band Mr. Children, Singaporean pop singer Steganie Sun, and a cappella group Pentatonix Musical guilty pleasure: Cantonese Rap Subscribe today at the box office! Time travel destination: Probably back to when I was born so that I can Or explore the concerts and purchase a package at experience my own life the same way again. THEORCHESTRANOW.ORG

18 Text TON to 41444 to donate THEORCHESTRANOW.ORG 19 MEET THE MEET THE TŌN MUSICIANS TŌN MUSICIANS Photo by Shaun Mader Photo by Jito Lee Jiyoung Moon Adam Romey violin bassoon

Jiyoung will talk briefly about Requiem Canticles on stage before the Adam will talk briefly about The Rite of Spring on stage before the performance. performance. Hometown: St. Paul, MN Hometown: Osan, South Korea Alma maters: Wilfrid Laurier University, B.A.; Glenn Gould School, A.D.; Indiana Alma mater: Peabody Conservatory, B.M., M.M. University Jacobs School of Music, M.M. Awards/Competitions: 3rd Prize, 2006 CBS Violin Competition (Korea) Awards/Competitions: Grant recipient, 2014–15 Frank Huntington Beebe Fund for Musicians; Winner, 2009 Ken Murray Concerto Competition Appearances: Aspen Philharmonic Orchestra, 2014; Civic Orchestra of Chicago, 2015–16 Appearances: Windfest, 2009; Centre for Opera Studies in Italy Festival, 2011–13, 2015; Brevard Music Festival, 2014; Weimar Bach Academy, 2016 Musical origins: I started playing violin at the age of 11, mostly because my Musical origins: I began playing when I was 13. It was the summer before eighth mom wanted me to play. grade, and I had to take a music class. As I already had played piano for a few Favorite piece to play: Mozart’s Violin Concerto years and done some singing, I didn’t want to take choir or general music. I had Favorite obscure piece: Bach’s Partitas always thought the sound and personality of the bassoon was really interesting. None of the other students played bassoon, and all of the bassoonists I had met Favorite musical memory: Playing in the Civic Orchestra of Chicago had a sense of humor and distinct quirkiness about them, so I settled on that. Favorite fact about your instrument: It’s small enough to carry, and sounds What inspired you to audition for TŌN?: I saw an announcement about it on a nice! music website and was very excited about the general mission of the group. To Best song to have on repeat: Billy Joel’s New York State of Mind me, questions about the contemporary relevance of music and musicians in society as well as smaller communities are especially important to this generation Proudest accomplishment: Joining TŌN! because societal change is accelerating. The idea of having a community of Favorite non-musical activity: Jogging musicians dedicated to tackling these questions together felt like a natural next step. Favorite composer fact: Not only did Bach master every genre of his time and compose a huge amount of music, often writing it, making parts, rehearsing it, and performing in a span of a couple of weeks or less, but he also had 21 children.

20 @TheOrchNow THEORCHESTRANOW.ORG 21 THE THE TŌN FUND TŌN FUND DONORS

The Orchestra Now gratefully acknowledges the generosity of each and every TŌN DONORS donor who makes our work possible. Thank you for making an investment in the future of music! HELP CLASSICAL Rebecca Ackerman Hospitality Committee Bonni Nechemias The Andrew W. Mellon for United Nations Marcia Neeley Foundation Delegations (HCUND) James and Andrea Nelkin MUSIC THRIVE! Anonymous (11) Scott Huang Maury Newburger Tamarah and Carley Balazs Malcolm G. Idelson Hoang-Oanh Nguyen In TŌN, the next generation of great performers is Joseph J. Baxer and Jill Jackson Philip and Carol Niles learning to communicate the transformative power Barbara Bacewicz Laura Kaminsky Yuka Nishino of music to 21st-century audiences. Susan Beckerman Caroline Kelch Bette and Stan Nitzky Miriam R. Berger John and Mary Kelly Douglas Okerson and Pamela Berlinghof Steven Kent William Williams This innovative master’s degree program, the first of Dr. László Z. Bitó and Olivia Bridget Kibbey James H. Ottaway Jr. its kind in the U.S., combines an academic degree Cariño Sylvia and Nelson Kier Dr. Nora Post with real-world professional experience. Rosemary Carroll Erica Kiesewetter Kurt and Lorenzo Rausch Maria J. Chiu Younghee Kim-Wait Robert Renbeck Your tax-deductible contribution will support: Lisa Cohen Marilyn and William L. Arthur S. Reynolds Theodore and Alice Ginot Kirchner Ellen Reynolds »» Student-led community music programs in Cohn The Kurt Weill Foundation Brigitte R. Roepke schools, libraries, and more! Elaine Dale for Music Glen and Denise Ross Joanna de Jesús-Fenicle S. Lachterman Charles Roth »» Powerful performances at Carnegie Hall, Bard’s José M. de Jesús, Jr. and Lise Laurent Susan and D. Richard Fisher Center, The Metropolitan Museum of Art, Rebecca Shafer-de Jesús Joy Lee and Richard Rowland and Jazz at Lincoln Center. Nicole M. de Jesús and Packert Roberta Downs Sandeman Brian P. Walker Arthur S. Leonard Barbara A. and Joseph »» Around Town concerts, free and open to the Thomas De Stefano Peter J. and Susan B. Schoenberg general public, in which we share great music Marvis Dickinson LeVangia Stephen Shafer with children and families in communities across Vincent M. Dicks Elinor Wallach Levin Frances Sharpless NYC, the Hudson Valley, and beyond! Khoa Doan Amala and Eric Levine Mary Sheerin Michael Dorf David Levering Lewis Jo Shute and Allan Wieman TŌN is shaping a bright future for classical music, Elizabeth Duby Ernest and Erika Lieber Jen Shykula and Tom Ochs Lauren Effron Bonnie Loopesko and Peter Sipperley beginning with the musicians who will sustain this art The Elgar Society Daniel Shapiro Paul Stoddard form for future generations to enjoy. Denise and Scott Engen Andrea Louie Joseph Storch Barbara Ewert Catherine and Felicitas S. Thorne There’s simply no other music degree program like Arnold and Milly Feinsilber Jacques Luiggi Howard Wallick TŌN. Please consider making a contribution and Mark Feinsod Todd D. Marcus Patricia Ross Weis invest in the future of music! Roz Forman Lisa Marshall Philip and Martha White Elaine Frankle James M. Mastrangelo Ann and Douglas William The Gallego and Maliner Ginny and Guenther May Shelley and Vic Wisner Families Mollie Meikle Wendy Wolfenson TO DONATE: GE Foundation Maryanne C. Mendelsohn Nelson Yan Gary M. Giardina Warren R. Mikulka Ingrid Yen Debby and Fred Glynn Karen E. Moeller and Carrie E. Yotter David Gmuca Charles H. Talleur Shirley Young

Photo by Jito Lee Hans R. Gunderud Roy Moses Marlene Zaslavsky or or Hastings Digital Joanne and Richard Mrstik Ian Zimmerman TEXT VISIT CALL Stephen J. Hoffman Patrick Mucerino Leila Zogby TON TO 41444 THEORCHESTRANOW. 646.237.5022 Martin Holub and Christine Munson ORG/SUPPORT Sandra Sanders John D. Murphy List current as of April 6, 2018

22 Text TON to 33233 for email updates THEORCHESTRANOW.ORG 23 THE THE ADMINISTRATION ADMINISTRATION

THE ORCHESTRA NOW THE RICHARD B. FISHER CENTER FOR THE PERFORMING ARTS

Artistic Staff Administrative Staff Advisory Board Development Leon Botstein, Music Director Lynne Meloccaro, Executive Director Jeanne Donovan Fisher, Chair Zia Affronti Morter ’12,Assistant Director of James Bagwell, Associate Conductor and Oliver Inteeworn, Managing Director Carolyn Marks Blackwood Development and Partnerships Academic Director Brian J. Heck, Director of Marketing Leon Botstein+ Kieley Michasiow-Levy, Individual Giving Manager Zachary Schwartzman, Resident Conductor Nicole M. de Jesús, Director of Development Stefano Ferrari Andrés Rivas, Assistant Conductor Sebastian Danila, Music Preparer and Researcher Neil Gaiman Communications Erica Kiesewetter, Director of Audition Preparation Marielle Metivier, Orchestra Manager S. Asher Gelman ’06 Mark Primoff,Associate Vice President of and Principal String Coach Alice Terrett, Marketing Associate Rebecca Gold Milikowsky Communications Bridget Kibbey, Director of Chamber Music and Benjamin Oatmen, Librarian Denise S. Simon Eleanor Davis, Director of Public Relations Arts Advocacy Hsiao-Fang Lin, IT Associate Martin T. Sosnoff Darren O’Sullivan, Senior Public Relations Associate Viktor Tóth, Production Coordinator Toni Sosnoff Amy Murray, Multimedia Web Editor Kristin Roca, Administrative Assistant Felicitas S. Thorne Brittany Brouker, Marketing Associate Andrew E. Zobler BARD COLLEGE Publications Live Arts Bard Creative Council Mary Smith, Director of Publications Board of Trustees Senior Administration Alicia Davis Diane Rosasco, Production Manager Jeanne Donovan Fisher Cynthia Werthamer, Charles P. Stevenson Jr., Chair Emeritus Leon Botstein, President Editorial Director Dr. Terry S. Gotthelf James C. Chambers ’81, Chair Jonathan Becker, Executive Vice President; Vice Richard and Jane Katzman Audience and Member Services George F. Hamel Jr., Vice Chair President for Academic Affairs; Director, Center for Civic Doris J. Lockhart David Steffen, Emily H. Fisher, Vice Chair Engagement Director of Audience and Member Stephen Simcock Elizabeth Ely ’65, Secretary, Life Trustee Coleen Murphy Alexander ’00, Vice President for Services Sarah and David Stack Nicholas Reilingh, Stanley A. Reichel ’65, Treasurer, Life Trustee Administration Database and Systems Manager Emily Gildea ’11, Fiona Angelini Myra Young Armstead, Vice President for Academic Audience and Member Services + Roland J. Augustine Inclusive Excellence ex officio Manager Maria Whitcomb, Leon Botstein+ Norton Batkin, Vice President; Dean of Graduate Senior House Manager Administration and Programming Stuart Breslow+ Studies Debra Pemstein, Facilities Mark E. Brossman James Brudvig, Vice President for Finance and Vice President for Development and Mark Crittenden, Thomas M. Burger+ Administration; Chief Financial Officer Alumni/ae Affairs Facilities Manager Bob Bursey, Ray Stegner, Marcelle Clements ’69, Life Trustee Erin Cannan, Vice President for Student Affairs; Dean Executive Director Building Operations Manager Gideon Lester, Doug Pitcher, Craig Cogut of Civic Engagement Artistic Director, Theater and Dance Building Operations Coordinator Caleb Hammons, Chris Lyons, The Rt. Rev. Andrew M. L. Dietsche, Malia K. Du Mont ’95, Chief of Staff Senior Producer Building Operations Assistant Jesse Heffler, Robyn Charter, Honorary Trustee Susan H. Gillespie, Vice President for Special Global Assistant Producer Fire Panel Monitor Jeannie Schneider, Bill Cavanaugh, Asher B. Edelman ’61, Life Trustee Initiatives Business Manager Environmental Specialist Michael Hofmann VAP ’15, Drita Gjokaj, Paul S. Efron Mark D. Halsey, Vice President for Institutional Executive Assistant Environmental Specialist Robert S. Epstein ’63 Research and Assessment Production Theater Performance and Dance Programs Barbara S. Grossman ’73, Alumni/ae Trustee Max Kenner ’01, Vice President for Institutional & Vincent Roca, Jennifer Lown, Andrew S. Gundlach Initiatives; Executive Director, Bard Prison Initiative Production Manager Program Administrator Hellena Schiavo, Sally Hambrecht Robert Martin, Vice President for Policy and Planning; Assistant Production Manager Stephen Dean, Medical Services Marieluise Hessel Director, Bard College Conservatory of Music Production Coordinator, Dr. Michael J. Kortbus, Maja Hoffmann Dimitri B. Papadimitriou, President, Levy Economics Concerts and Lectures Hudson ENT Richard Reiser, Matina S. Horner+ Institute Technical Director Robert Strickstein, Charles S. Johnson III ’70 Debra Pemstein, Vice President for Development and Stage Manager Josh Foreman, Mark N. Kaplan, Life Trustee Alumni/ae Affairs Lighting Supervisor Moe Schell, George A. Kellner S. Rebecca Thomas, Dean of the College Costume Shop Supervisor Seth Chrisman, Fredric S. Maxik ’86 Taun Toay ’05, Vice President for Enrollment and Audio/Video Supervisor James H. Ottaway Jr., Life Trustee Strategic Initiatives Martin Peretz, Life Trustee Stephen Tremaine ’07, Vice President for Early Stewart Resnick, Life Trustee Colleges David E. Schwab II ’52 Roger N. Scotland ’93, Alumni/ae Trustee Jonathan Slone ’84 James A. von Klemperer Brandon Weber ’97, Alumni/ae Trustee Susan Weber Patricia Ross Weis ’52

+ ex officio

24 @TheOrchNow THEORCHESTRANOW.ORG 25 ABOUT Individual supporters are essential to sustaining the Richard B. Fisher BARD COLLEGE Center for the Performing Arts as an extraordinary part of cultural life in the Hudson Valley. Generous gifts from arts supporters like you ABOUT THE RICHARD B. FISHER CENTER FOR ABOUT BARD COLLEGE help make everything at the Fisher Center possible. THE PERFORMING ARTS AT BARD COLLEGE

The Richard B. Fisher Center for the Bard College is a four-year residential Our members support world-class performing arts and enjoy a variety Performing Arts, an environment for world- college of the liberal arts and sciences class artistic presentation in the Hudson with a 158-year history of academic of discounts and benefits through our Friends and Patrons programs Valley, was designed by Frank Gehry and excellence. With the addition of the Please join us! opened in 2003. Risk-taking performances Montgomery Place estate, Bard’s campus and provocative programs take place in consists of nearly 1,000 parklike acres in the 800-seat Sosnoff Theater, a proscenium- the Hudson River Valley. The College offers arch space, and in the 220-seat LUMA bachelor of arts degrees, with nearly 50 BECOME A FRIEND OF THE FISHER CENTER Theater, which features a flexible seating academic programs in four divisions— Friends of the Fisher Center enjoy a behind-the-scenes look at Fisher Center presentations, configuration. The Center is home to Bard Arts; Languages and Literature; Science, invitations to exclusive events, and access to special services throughout the year. College’s Theater & Performance and Mathematics, and Computing; and Social Dance Programs, and host to two annual Studies—and Interdivisional Programs and Friend ($75) Benefits include: Sustainer ($500) All of the above, plus: summer festivals: SummerScape, which Concentrations. Bard also bestows several • Access to tickets before the general public • Bard Music Festival limited edition T-shirt offers opera, dance, theater, operetta, film, dual degrees, including a B.A./B.S. in and cabaret; and the Bard Music Festival, economics and finance, and at the Bard • Invitations to season previews and open • SummerScape production poster signed which celebrated its 25th year in 2014. The College Conservatory of Music, where house events by the cast 2018 festival is devoted to the life and work students earn a bachelor’s degree in music • 10% discount on Spiegeltent dining • $415 tax deductible of Nikolai Rimsky-Korsakov. and a B.A. in another field in the liberal arts • 20% discount on Fisher Center merchandise or sciences. Bard’s distinguished faculty • Fully tax deductible Benefactor ($1,000) All of the above, plus: The Center bears the name of the late includes winners of MacArthur Fellowships, • Bard Music Festival book (Princeton Richard B. Fisher, former chair of Bard National Science Foundation grants, Supporter ($150) All of the above, plus: University Press) College’s Board of Trustees. This magnificent Guggenheim Fellowships, Grammy Awards, • Waived ticket-handling fees (save $4.50 per • Private, behind-the-scenes tour of the Fisher building is a tribute to his vision and French Legion of Honor awards, and Pulitzer leadership. Prizes, among others. ticket, $10 per subscription) Center for you and your guests • Invitation to a behind-the-scenes tour of • Invitations to working rehearsals and The outstanding arts events that take Over the past 36 years, Bard has broadened the Fisher Center directors’ presentations place here would not be possible without its scope beyond undergraduate • Fully tax deductible • $750 tax deductible the contributions made by the Friends of academics. The College operates 11 the Fisher Center. We are grateful for their graduate programs and has expanded Sponsor ($300) All of the above, plus: support and welcome all donations. to encompass a network of regional, • Invitations to opening night parties national, and global partnerships—including dual-degree programs in four international • SummerScape production poster locations; the Bard Prison Initiative, which • $250 tax deductible grants college degrees to New York State inmates; and Bard High School Early Colleges, where students earn a high school BECOME A PATRON OF THE FISHER CENTER diploma and an A.A. degree in four years. Bard’s philosophy sets a standard for both Patrons enjoy all of the benefits of Benefactors of the Fisher Center, plus access to the best seats in scholarly achievement and engagement the house, personalized ticketing, preferred parking, and exclusive events. in civic and global affairs on campus, while also taking the College’s mission to the Patron ($1,500) All of the Benefactors Producer ($2,500) All of the above, plus: wider world. The undergraduate college benefits, plus: • Invitation for two to an exclusive pre- in Annandale-on-Hudson, New York, has • Access to the best seats and personalized performance dinner at a Hudson Valley home an enrollment of more than 1,900 and a ticket handling through the Patron • $2,030 tax deductible student-to-faculty ratio of 10:1. For more Priority Line information about Bard College, visit Director ($5,000) All of the above, plus: bard.edu. • Access to the Bard Music Festival Patron’s Lounge at Olin Hall • Reserved VIP parking for all events at the • Recognition in performance programs Fisher Center • $1,180 tax deductible • Invitation for two to an intimate dinner with a world-class performer, creator, or scholar • $4,380 tax deductible

For more information visit fishercenter.bard.edu/support or call 845-758-7987. 26 Text TON to 41444 to donate Conversation TONY KUSHNER ON LEONARD BERNSTEIN Sosnoff Theater | Apr 20 at 7:30 PM

Conversation SUSAN ORLEAN & SARAH THYRE’S CRYBABIES A live podcast with Malcolm Gladwell Sosnoff Theater | Apr 28 at 7:30 PM

Conversation SUZANNE BOCANEGRA MY LIFE AS AN ARTIST LECTURE with Anne Gridley, Frances McDormand, and Lili Taylor Sosnoff Theater | May 5 at 7 PM

Music BARD COLLEGE COMMUNITY ORCHESTRA Dvořák’s Symphony No. 9

Zachary Schwartzman, conductor Sosnoff Theater | May 7 at 8 PM

Music THE BARD CONSERVATORY ORCHESTRA Strauss’ Don Quixote and Berlioz’s Symphonie fantastique

Leon Botstein, conductor Sosnoff Theater | May 13 at 3 PM

On Sale Now BARD SUMMERSCAPE “Seven Weeks of Cultural Delight” —International Herald Tribune June 28–August 19

845-758-7900 | fishercenter.bard.edu

SPRING EVENTS ©2018 The Orchestra Now | Program Design: Nelson Yan