October 2014: American Symphony Orchestra

the richard b. fisher center for the performing arts at bard college

AMERICAN SYMPHONY ORCHESTRA October 24 and 25, 2014

About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risktaking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space, and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater & Performance and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which celebrated its 25th year in August with “Schubert and His World.” The 2015 festival will be devoted to Carlos Chávez and the music of Mexico and Latin America.

The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership.

The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations.

The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President Leon Botstein presents

American Symphony Orchestra Leon Botstein, Music Director Fryderyk Chopin (1810–1849) Piano Concerto No. 1 in E Minor, Op. 11 (1830) Allegro maestoso Romanze. Larghetto Rondo. Vivace Maryna Kysla ’15, piano Intermission Franz Schubert (1797–1828) Symphony No. 9 in C Major, D944 (“Great”) (1825) Andante–Allegro ma non troppo–Pi`u mosso Andante con moto Scherzo. Allegro vivace Finale. Allegro vivace

Sosnoff Theater Friday, October 24 and Saturday, October 25 at 8 pm Preconcert talk at 7 pm by Christopher H. Gibbs This evening’s concert will run approximately two hours, including one 20-minute intermission.

Notes on the Program

Fryderyk Chopin Born in ˙ Zelazowa Wola (near Warsaw), March 1, 1810 Died in Paris, October 17, 1849 Piano Concerto No. 1 in E Minor, Op. 11 Composed in 1830 In what turned out to be a successful bid to jump-start his professional career in his native Poland, the 19-year-old Chopin did what had worked for Mozart, Beethoven, and others before him: he decided to write pieces for piano and orchestra to perform at public concerts. In this way he would display his gifts both as instrumentalist and composer, and prove that he was more than just a pianist.

By this time Chopin had already written dozens of solo keyboard pieces, but they were generally designed for domestic consumption, not concerts where people expected grander orchestral and vocal fare, usually presented in a pleasing mixed variety. (In fact, at the premiere of the Concerto we hear tonight, an aria and chorus were performed in between the first and second of the three movements, a not-uncommon practice at the time.) In addition to the two famous concertos Chopin wrote in 1829–30, he produced other somewhat less familiar works for piano with orchestra: Variations on Mozart’s “Là ci darem la mano,” a “Grand Fantasy on Polish Airs,” and “Krakowiak.” The Mozart Variations won Robert Schumann’s enthusiastic support in a review that began: “Hats off, Gentlemen, a genius!”

Due to the order of their eventual publication, the chronology of Chopin’s E-minor and Fminor concertos is actually reversed, although both were, in any case, written in the space of less than a year. (The numbering of Beethoven’s first two piano concertos is similarly switched.) Chopin began composing the “Second” Concerto in F minor, Op. 21, in the fall of 1829, upon returning from triumphant appearances in Vienna, and gave its premiere at the National Theatre in Warsaw on March 17, 1830. The immediate success the work enjoyed—as well as acclaim for Chopin’s playing—led to a repeat performance five days later and prompted the composer to start the Concerto in E minor, Op. 11.

By the end of the summer, the new work was finished and ready for its premiere at the same venue in October. The concert proved Chopin’s farewell to his native Poland; he never played there again, although he had no way of knowing that at the time. He again triumphed, as he described in a letter the next day: “I did not have the slightest trace of stage fright and I played as if I were alone. Everything went well. The hall was full. The first piece was the symphony by [Karol] Görner. Then came yours truly with the Allegro in E minor [the first movement]; on the Streicher grand piano it seemed to play itself. Ear-

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splitting ‘Bravos.’” After the aria with chorus sung by Anna Wolków, Chopin played the last two movements of the Concerto.

Three weeks later Chopin left Poland en route to Vienna, where he performed the E-minor Concerto, before eventually settling in Paris, the city in which he would spend the rest of his life. While he played the E-minor Concerto in Breslau, Vienna, Munich, and on various occasions in France in the 1830s, he apparently never performed the F-minor after its first performances, which would indicate a clear preference for his true second concerto.

Beloved by pianists and audiences, both of Chopin’s concertos have suffered some at the hands of critics who charge that these are early works by a composer not yet fully comfortable handling large-scale forms or orchestration. Hector Berlioz’s reaction was typical: “In Chopin all the interest is concentrated on the piano part; the orchestra in his piano concertos is merely a cold, almost superfluous accompaniment.”

While there is some justice to this criticism (the orchestra tends to do rather little when the piano is present and otherwise asserts itself mainly in loud tutti passages), it may not be entirely appropriate to judge Chopin either by the standards of Beethoven’s earlier symphonic concertos, or by the later Romantic essays of his great contemporaries, such as Schumann and Liszt. Orchestral parts had to be fairly simple to accommodate traveling virtuosos who often had little (or even no) rehearsal with local orchestras.

Chopin’s models and competition in 1829–30 would have been the virtuoso fare of pianist/composers like Friedrich Kalkbrenner (to whom Chopin dedicated the E-minor Concerto), Ignaz Moscheles, and Johann Nepomuk Hummel, figures who are barely remembered today and whose concertos, which Chopin himself played, have been assigned to oblivion. We still cherish, however, what the teenage Chopin wrote.

The opening Allegro maestoso uses the so-called double exposition typical of Classical concertos in which the orchestra first presents the core thematic material and the soloist waits some time before presenting it again. In fact, Chopin has the soloist wait such a long time that conductors occasionally abridge the orchestral section. (This rarely happens any longer, but if you listen to the 1937 recording by Arthur Rubinstein, for example, the opening tutti is cut from about four minutes to just one.) Chopin’s coloratura keyboard writing, reminiscent in some respects to the vocal style of Bellini’s operas, is already apparent in this movement.

Of the second movement (Larghetto), Chopin wrote to his friend Tytus Woyciechowski that “it was not meant to create a powerful effect; it is rather a Romance, calm and melancholy, giving the impression of someone looking gently toward a spot that calls to mind a thousand happy memories. It is a kind of reverie in the moonlight on a beautiful spring evening. Hence the accompaniment is muted; that is, the violins are muffled by a sort of comb that sits over the strings and gives them a nasal and silvery tone. I wonder if that will have a good effect. Well, time will tell.” The final Rondo (Vivace) is a Polish dance, in this case the Krakowiak. During rehearsals, Chopin remarked, “The Rondo, I think, will go down well with everyone.” And so it does.

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Franz Schubert Born in Vienna, January 31, 1797 Died in Vienna, November 19, 1828 Symphony No. 9 in C Major, D944 (“Great”) Composed in 1825 The popular image of Schubert as a shy, neglected genius, beloved by his friends but largely unknown otherwise, has rightly been questioned of late. Given the rather limited professional opportunities available to a young composer in Vienna during the 1820s, Schubert’s career flourished and was clearly heading to new heights when he died at age 31, just 20 months after Beethoven. The first of the great Viennese composers actually born in the city, Schubert benefited from a superb musical education, was a member of the Vienna Boys’ Choir, studied with Antonio Salieri, and gradually found his music being championed by leading performers of the time.

Yet the older picture of a neglected Schubert did register some realities. He composed many works, especially smaller ones, at amazing speed, and, as a teenager, might write two, three, or more songs in a single day. And although his music was widely published, performed, and praised, this considerable exposure was generally limited to domestic genres, such as songs, dances, and keyboard music. Only near the end of his life did his piano sonatas and substantial chamber compositions begin to reach a larger public and audiences beyond Vienna. With some justification on either account, therefore, one can tell a happy story or a sad one about Schubert’s career. One can speak of a brilliant young composer whose fortunes were clearly ever on the rise, or of a pathetic genius who never received the full recognition he deserved before his untimely death.

So, too, one can tell quite different tales about his symphonies. None of them was performed in public during his lifetime. Very sad indeed. On the other hand, Schubert heard most of them played—it was not left for his inner ear simply to imagine what they would sound like in real time and space. If this situation seems paradoxical, it is because he wrote most of them as part of a learning process, specifically to be played by small private orchestras at school or by what we would consider community orchestras.

His First Symphony dates from 1813, when he was 16, and the next five followed at the rate of about one a year. Schubert later discounted these initial efforts, as he did many early compositions. Around 1823 he was asked to supply a work for performance, but responded that he had “nothing for full orchestra that [he] could send out into the world with a clear conscience.” Yet by this point he had written all but his final symphony, the one we hear tonight. Five years later, in a letter to a publisher, Schubert mentioned “three operas, a Mass, and a symphony,” as if all his earlier pieces in those genres did not exist or matter. And in many ways, they did not.

And so the Ninth, one might say, is Schubert’s only acknowledged symphony, the only one he felt was fully mature and ready for the public. It was meant to be judged in com-

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parison with Beethoven, the lone living symphonist of real consequence and the figure who dominated Viennese musical life. Schubert revered him above all other composers.

Schubert prepared a long time to write his last and longest symphony, and not just by producing six earlier ones (as well as various unfinished symphonies, including the “Unfinished” of 1822). In 1824, after more than a year of serious illness, Schubert wrote an anguished letter to one of his closest friends in which he lamented his personal and professional state. Near the end, however, the tone turned more optimistic as he disclosed his career plans. Having failed in the world of opera, completely dominated by Rossini at the time, he had decided to concentrate with new determination on the Beethovenian realm of instrumental music—chamber, keyboard, and orchestral: Of songs I have not written many new ones, but I have tried my hand at several instrumental works, for I wrote two string quartets and an octet, and I want to write another quartet; in fact, I intend to pave the way toward a grand symphony in that manner. The latest in Vienna is that Beethoven is to give a concert at which he is to produce his new symphony, three movements from the new Mass, and a new overture. God willing, I, too, am thinking of giving a similar concert next year.

The symphony he was paving the way for, we hear tonight. The symphony of Beethoven’s that was about to be premiered in Vienna was the Ninth, a work that would leave its mark on Schubert’s own.

During the next year Schubert continued to write chamber and keyboard music, and he began to enjoy real professional success at the highest level in Vienna. Beethoven’s own chamber musicians, most importantly the violinist Ignaz Schuppanzigh, took up his cause, performing Schubert’s works alongside the master’s in high-profile concerts. Then, in the summer of 1825, Schubert made the lengthiest and happiest excursion of his life.

Together with Johann Michael Vogl, a famous opera singer who was the foremost interpreter of his songs, he went to Steyr, Linz, Gmunden, Salzburg, and Gastein. While away, he informed friends that he was writing a symphony, the grand project for which he had been preparing. One of the most famous of Schubert legends is that this symphony is lost. Yet the so-called “Gastein” Symphony is none other than the “Great” C-major Symphony. Not only is there considerable stylistic and circumstantial evidence, but also more objective confirmation from the handwriting and watermarks of the manuscript.

Friends report that Schubert had a “very special predilection” for his “Grand Symphony” written at Gastein. Certainly the scene of its composition was ideal. In letters, Schubert described the inspiring beauty of his surroundings, particularly those near the mountains and lakes of Gmunden, a vast expanse and majesty that is heard in the symphony.

Only Beethoven had written a longer and more ambitious symphony before this one, the mighty Ninth, whose “Ode to Joy” theme Schubert briefly alludes to in his own last movement. Although never performed in public during his lifetime, Schubert most likely heard the piece in a reading rehearsal by the conservatory orchestra. The symphony was

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not premiered until 10 years after Schubert’s death, when Robert Schumann recovered the work from the composer’s older brother and gave it to his friend Felix Mendelssohn to present in Leipzig.

The sights Schubert devoured during his extended summer trip to the Austrian lakes and mountains resonate with the majestic horn call that opens the first movement’s introduction (Andante). Schumann stated that “it leads us into regions which, to our best recollections, we had never before explored.” Lush string writing follows and leads seamlessly into the movement proper (Allegro ma non troppo), which has more than a touch of Rossinian lightness. The opening horn theme majestically returns in the coda, presented by the full orchestra.

The magnificent slow movement (Andante con moto), in the somber key of A minor, opens with a lovely wind melody—first heard from the solo oboe—over one of Schubert’s characteristic “wandering” accompaniments. The theme is contrasted with a more lyrical one in F major. As in many of his mature compositions, Schubert eventually interrupts the movement with a violent outburst of loud, dissonant, agonizing pain, what musicologist Hugh Macdonald has called “Schubert’s volcanic temper.” Such moments, usually placed within contexts of extraordinary lyric beauty, are suggestive of the broken health that intruded so fatefully on Schubert’s life and led to his premature death.

The Scherzo (Allegro vivace) reminds us that, in addition to his songs, Schubert was one of the great dance composers of his day. (He wrote hundreds of them.) The vigorous opening contrasts with a middle-section waltz before the opening is repeated. The Finale (Allegro vivace) has perpetual-motion energy that only builds in intensity near the end, concluding what Schumann famously remarked is a piece of “heavenly length.”

—Christopher H. Gibbs, James H. Ottaway Jr. Professor of Music, Bard College

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Who’s Who

Leon Botstein Conductor Leon Botstein is now in his 23rd year as music director and principal conductor of the American Symphony Orchestra.

He has been hailed for his visionary zeal, often creating concert programs that give audiences a once-in-a-lifetime chance to hear live performances of works that are ignored in the standard repertory, and inviting music lovers to listen in their own way to create a personal experience. At the same time he brings distinctive style ©ric kallaher to core repertory works. He is artistic codirector of Bard SummerScape and the Bard Music Festival, which take place at The Richard B. Fisher Center for the Performing Arts at Bard College, where he has been president since 1975. He is also conductor laureate of the Jerusalem Symphony Orchestra, where he served as music director from 2003–2011.

Botstein leads an active schedule as a guest conductor all over the world, and can be heard on numerous recordings with the London Symphony Orchestra (including its Grammy Award–nominated recording of Popov’s First Symphony), the London Philharmonic Orchestra, NDR-Hamburg, and the Jerusalem Symphony Orchestra. Many of his live performances with the American Symphony Orchestra are available online; they have been downloaded more than a quarter of a million times. Upcoming engagements include the Royal Philharmonic Orchestra, the Russian National Orchestra, and the Taipei Symphony Orchestra. Last season he conducted the Los Angeles Philharmonic at the Hollywood Bowl, and the Sinfónica Juvenil de Caracas in Venezuela and Japan, the first non-Venezuelan conductor invited by El Sistema to conduct on a tour.

Highly regarded as a music historian, Botstein’s most recent book is Von Beethoven zu Berg: Das Gedächtnis der Moderne (2013). He is the editor of The Musical Quarterly, the author of numerous articles and books, and he is currently working on a sequel to Jefferson’s Children, about the American education system. For his contributions to music he has received the award of the American Academy of Arts and Letters and Harvard University’s prestigious Centennial Award, as well as the Cross of Honor, First Class, from the government of Austria. Other recent awards include the Caroline P. and Charles W. Ireland Prize, the highest award given by the University of Alabama; the Bruckner Society’s Julio Kilenyi Medal of Honor for his interpretations of that composer’s music; the Leonard Bernstein Award for the Elevation of Music in Society; and Carnegie Foundation’s Academic Leadership Award. In 2011, he was inducted into the American Philosophical Society.

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Maryna Kysla Piano Pianist Maryna Kysla ’15, from Kharkov, Ukraine, is one of the 2014 winners of The Bard College Conservatory of Music Concerto Competition. She started piano lessons at the age of five and graduated from the music high school in Kharkov in 2010. At the age of nine, she won the first of 10 awards at international piano competitions for young pianists in Moscow, Uzhgorod, Feodosiya, Donetsk, and Dnepropetrovsk from 2002 through 2008. In 2002, as win©robert hoven ner of the Ludmila Knezkova-Hussey International Competition, she performed with the WKO Symphony Orchestra in New Brunswick, Canada. She has also performed in Germany, Spain, Japan, and Belgium, and frequently appeared as a soloist with the Kharkov Philharmonic Orchestra. She has participated in numerous summer music festivals, including in Kiev and the Musica Mundi in Belgium. In 2010, she entered the Bard Conservatory where she has been studying with Peter Serkin and Matti Raekallio. Her second major is Russian and Eurasian studies.

The American Symphony Orchestra Now in its 53rd season, the American Symphony Orchestra (ASO) was founded in 1962 by Leopold Stokowski, with a mission of making orchestral music accessible and affordable for everyone. Music Director Leon Botstein expanded that mission when he joined the ASO in 1992, creating thematic concerts that explore music from the perspective of the visual arts, literature, religion, and history, and reviving rarely performed works that audiences would otherwise never have a chance to hear performed live.

The orchestra’s Vanguard Series, which includes these themed programs as well as an opera-in-concert and a celebration of an American composer, consists of six concerts annually at Carnegie Hall. ASO goes in-depth with three familiar symphonies each season in the popular series Classics Declassified at Peter Norton Symphony Space, and has an upstate home at The Richard B. Fisher Center for the Performing Arts at Bard College, where it performs in an annual subscription series as well as Bard’s SummerScape festival and the Bard Music Festival. The orchestra has made several tours of Asia and Europe, and has performed in countless benefits for organizations including the Jerusalem Foundation and PBS. Many of the world’s most accomplished soloists have performed with the ASO, including Yo-Yo Ma, Deborah Voigt, and Sarah Chang. The orchestra has released several recordings on the Telarc, New World, Bridge, Koch, and Vanguard labels, and many live performances are also available for digital download. In many cases, these are the only existing recordings of some of the rare works that have been rediscovered in ASO performances.

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The American Symphony Orchestra Leon Botstein, Music Director Violin I Erica Kiesewetter, Concertmaster Yukie Handa Diane Bruce Ashley Horne Ann Labin Katherine Livolsi-Landau Nazig Tchakarian Mara Milkis Katherine Hannauer Akiko Hosoi Violin II Robert Zubrycki, Principal Patricia Davis Wende Namkung Suzanne Gilman Yana Goichman Lisa Tipton Sebu Sirinian Lisa Steinberg Viola William Frampton, Principal Sally Shumway John Dexter Crystal Garner Adria Benjamin Shelley Holland-Moritz Cello Eugene Moye, Principal Roberta Cooper Annabelle Hoffman Sarah Carter Maureen Hynes Alberto Parrini

Bass John Beal, Principal Jordan Frazier Louis Bruno Richard Ostrovsky Flute Laura Conwesser, Principal Rie Schmidt

Timpani Benjamin Herman, Principal Personnel Manager Ann Yarbrough Guttman Orchestra Librarian Marc Cerri

Oboe Rita Mitsel, Principal Erin Gustafson Clarinet Laura Flax, Principal Alucia Scalzo Bassoon Charles McCracken, Principal Mark Timmerman Horn Zohar Schondorf, Principal Lawrence DiBello Rachel Drehmann Adam Krauthamer Trumpet Thomas Hoyt, Principal John Dent Trombone Richard Clark, Principal Kenneth Finn Jonathan Greenberg

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We honor the late Richard B. Fisher for his generosity and leadership in building and supporting this superb center that bears his name by offering outstanding arts experiences. We recognize and thank the following individuals, corporations, and foundations that share Dick’s and our belief in presenting and creating art for the enrichment of society. Ticket sales cover less than 15 percent of our programming. Help us sustain the Fisher Center and ensure that the performing arts are a part of our lives. We encourage and need you to join our growing list of donors.

Donors to the Fisher Center Leadership Support The Andrew W. Mellon Foundation Carolyn Marks Blackwood Emily H. Fisher and John Alexander Jeanne Donovan Fisher Murray Liebowitz The Marks Family Foundation Martin and Toni Sosnoff Foundation Millbrook Tribute Garden, Inc. National Endowment for the Arts (NEA) Martin T. and Toni Sosnoff Felicitas S. Thorne True Love Productions Golden Circle Anonymous Estate of Richard B. Fisher Live Arts Bard Creative Council Steven M. Dawson Jeanne Donovan Fisher Dr. Terry S. Gotthelf Richard Katzman King’s Fountain Doris J. Lockhart Coram Williams and Juliane Fuerst Director Fiona Angelini and Jamie Welch Anna-Maria and Stephen Kellen Foundation, Inc. Mr. and Mrs. Lewis W. Bernard Kay Brover and Arthur Bennett Michael J. Del Giudice and Jaynne Keyes Stefano Ferrari and Lilo Zinglersen Britton Fisher Florence and Robert A. Rosen Family Foundation The Maurer Family Foundation, Inc. New York State Council on the Arts (NYSCA) Mr. and Mrs. James H. Ottaway Jr. Dimitri B. Papadimitriou and Rania Antonopoulos Florence and Robert A. Rosen David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Terra Nova Foundation Thendara Foundation Producer Goethe-Institut New York Ronald Guttman New Music USA, Inc. Ted Ruthizer and Jane Denkensohn Karen and Robert G. Scott Aida and Albert Wilder Wilder Consolidated Enterprises, Inc. Patron Dr. Leon Botstein and Barbara Haskell 12

Stuart Breslow and Anne Miller Sylvie and Leon Bressler Bob Bursey and Leah Cox Catskill Mountain Foundation, Inc. Thomas and Bryanne Hamill The Harkness Foundation for Dance, Inc. Susan Hendrickson Frederic K. and Elena Howard Dr. Harriette Kaley ’06 Alfred J. Law and Glenda A. Fowler Law Amala and Eric Levine Bonnie Loopesko and Daniel Shapiro David J. Marshall Steven Mazoh and Martin Kline Ted Ruthizer and Jane Denkensohn Barbara and Dick Schreiber David A. Schulz Ted Snowdon Illiana van Meeteren Peter van Schaick Benefactor Helen and Roger Alcaly Dr. Miriam Roskin Berger ’56 Sandra and Dr. A. John Blair III Anne Donovan Bodnar and James L. Bodnar Harlan Bratcher and William L. Usnik Jr. Alexandre and Lori Chemla Michael F. Dupree Elizabeth W. Ely ’65 and Jonathan K. Greenburg Beverly Fanger and Dr. Herbert S. Chase Jr. Carlos Gonzalez and Katherine Stewart Eliot D. and Paula K. Hawkins Susan and Roger Kennedy Richard Kortright Roy and Amy Kulick Geraldine and Kit Laybourne Alexandra Ottaway Margrit and Albrecht Pichler Quality Printing Company, Inc. Drs. M. Susan and Irwin Richman Denise S. Simon and Paulo Vieiradacunha Sarah and Howard Solomon Darcy Stephens Allan and Ronnie Streichler Mr. Jann S. Wenner Sustainer Roland Augustine Mary I. Backlund and Virginia Corsi Prof. Jonathan and Jessica K. Becker Ward C. Belcher Marshall S. Berland and John E. Johnson Elizabeth A. R. Brown and Ralph S. Brown, Jr. Alfred Buff and Lenore Nemeth Ms. Joan Costa Mr. Claude Dal Farra C. Douglas and Leslie Dienel Tambra Lee Dillon

Amy K. and David Dubin Katharine Eltz-Aulitzky Martha J. Fleischman Frederic Harwood James Hayden Hyman J. & Florence Hammerman Family Foundation Mr. and Mrs. George A. Kellner Michael Kelly Dr. Barbara Kenner Kevin Klose Prof. Laura Kuhn Cesar Ramon Lascano Patricia Duane Lichtenberg Susan Lorence Barbara L. and Arthur Michaels Andrea and Kenneth L. Miron Joanne and Richard Mrstik Sky Pape and Alan Houghton Mr. and Mrs. Frederick P. Payton Samuel and Ellen Phelan Craig and Renee Snyder Mark Sutton Taconic Farms, Inc. Amy Tanner Russell Willis Irene Zedlacher Sponsor Rev. Winston L. Bath Harriet Bloch and Evan Sakellarios Richard Cheek Jonathan A. Clark Jennifer and Jonathan H. Cohen Richard D. Cohen Gordon Douglas The Eve Propp Family Foundation, Inc. Nancy Felcetto Harvey and Mary Freeman Dr. Judy Gold I. Bruce Gordon Nan and David Greenwood Rosemary and Graham Hanson Najm Haq Kenneth P. Hodges John and Mary Kelly Charles S. Maier Andrew McCabe John and Claire Reid Ann Stack Mr. Randy J. Tryon Margo and Anthony Viscusi Mrs. Beverly D. Zabriskie Supporter Kathryn M. Adorney Jamie Albright Ms. Nina Aronzon John J. Austrian ’91 and Laura M. Austrian Marge and Ed Blaine Gisa Botbol Harold Bush Michael Caola

James C. and Pauline G. Carafotes Douglas A. Charney Neil and Kathleen Chrisman Daniel Chu and Lenore Schiff Eileen and Michael Cohen Ellen K. Coleman Jane R. Cottrell Margaret Coughlin Mr. Kevin Curley Mr. and Mrs. Timothy Delaney Pat Doudna Abby H. and John B. Dux Arthur and Janet Eschenlauer K. F. Etzold and Carline Dure-Etzold Arnold and Milly Feinsilber Bridget L. Fraser Edward Friedman and Arline Lederman Thomas F. Froese Frances A. and Rao Gaddipati Marvin and Maxine Gilbert Laurie Gilmore Jeffrey L. Glatzer Arthur and Judy Gold Mims and Burton Gold Dorothy and Leo Hellerman Martin Holub and Sandra Sanders Jan Hopkins and Richard Trachtman Daniel Idzik Neil Isabelle Timur Kanaatov Kassell Family Foundation of the JCF Harold and Raquel Kleinfeld Rose and Josh Koplovitz Edward Nicholas Krapels Robert F. Kurilla Kirk N. Lawson Dr. Nancy Leonard and Dr. Lawrence Kramer Leon and Fern Lerner Joe Lombardi Melissa R. Marrero Mr. Dan Meyer Janet C. Mills Dr. David T. Mintz Karen Moeller and Charles Talleur Roy Moses Vernon Mosheim and C. Robert Friedman Mechelle Nobiletti Debra R. Pemstein and Dean Vallas Susan Price Joan Quigley George and Gail Hunt Reeke Christopher Nelson Rowley Blanche and Bruce Joel Rubin Franz Safford Ms. Myrna B. Sameth Michael W. Scheringer Ronald Sencer Nevin Shalit Mr. Ian Shrank Larry Simmons Clare L. Smith Dr. Sanford B. Sternlieb Campbell Steward Mia Unson James Warnes Mr. Stanley Wiegand Dr. Lawrence A. Wills and D. J. Martin Mike and Kathy Zdeb Friend Dr. and Mrs. Morton Alterman Sybil Baldwin

Mr. Derek J. Balling Matthew Beatrice Dr. Alvin and Arlene Becker Howard and Mary Bell Frederick and Lauranne Berliner Lewis J. Bernstein Khurshed Bhumgara Susan Bienkowski Roselee Blooston Gary Boyd Mr. Bert Boyson Madge Briggs Jerry and Brenda Brockett David and Jeannette T. Brown Jeffrey and Ellyn Burstein Mr. Timothy Butts Joe and Meg Cairo Prof. Mary Ellen Caponegro ’78 Ellen and Mac Caputo Paula T. Ciferni Robert and Isobel Clark Ms. Darrah L. Cloud Marshall J. Cohen Marianthe Colakis Dr. Edward Conrad Richard A. Costello Ms. Heather Croner Ellen C. Curtis Frank J. Cutolo Dr. Bruce Cuttler and Joanne E. Cuttler ’99 Estate of James Deguire Richard A. Donovan Joan and Wolcott Dunham David Ebony and Bruce Mundt Susan Ezrati Christian Fekete Ms. Sydney Heller Finkel Floyd and Phyllis Glinert Foundation of the FCGF Ann and Robert Freedman David Gable James J. Gebhard Joseph W. and Joyce Gelb Gregory F. Gilmartin Mr. and Mrs. Floyd Glinert Debby and Fred Glynn Michel Goldberg Susan and David Goldin Steven Goldstein Stanley and Anne Gordon Sheryl Griffith Matthew M. Guerreiro and Christina Mohr Dr. Arthur A. Guffanti Ms. Julio Guillen Richard E. Hahn Gilbert and Mary Hales Johanna Hecht and Raymond Sokolov Delmar D. Hendricks HSBC Philanthropic Programs Mark R. Joelson Dr. Eleanor C. Kane Linda L. Kaumeyer Belinda and Stephen Kaye Martin Kenner and Camilla Smith Marilyn Kirchner Dr. Seymour and Harriet Koenig Prof. Marina Kostalevsky Daniel Labar Myron Ledbetter Mr. Maurice Dupont Lee Ronald Leibler Peter J. and Susan B. Levangia Joan Mack

Barbara Mansell Ms. Phyllis Marsteller Denise Maynard James McLafferty Joy McManigal Dr. Naomi Mendelsohn Ray Michaels Monsanto Fund Edmund M. Murphy Dr. Abraham and Gail Nussbaum Lucille H. Orzach Marilyn and Peter Oswald Steven Pollak and Robin Tanenbaum Melanie B. Powers and Frederic B. Presbrey Tony and Karen Porcelli Neila Beth Radin Yael Ravin and Howard Sachar Sandra Ray Mr. Douglas Reeser Catherine K. Reinis Mr. Michael Roomberg Ms. Esther Rosenfeld Amanda J. Rubin Fred Sagarin Barbara A. Schoenberg Joseph Schoenberg Marc Sferrazza Elisabeth A. Simon Marcia Sprules David and Sarah Stack Mary and Stephen Stinson Alice and Tim Stroup Katrina Thomas Taun N. Toay ’05 Ms. Paula van der Geest Alison M. and James A. von Klemperer Gerald and Grace Wapner Monica Sarah Wieboldt David and Meliza E. Woolner Dr. Herbert M. and Audrey S. Wyman

Donors to the Bard Music Festival Events in this year’s Bard Music Festival were underwritten in part by special gifts from: Helen and Roger Alcaly The Andrew W. Mellon Foundation Bettina Baruch Foundation Michelle R. Clayman Jeanne Donovan Fisher Mr. and Mrs. James H. Ottaway Jr. Denise S. Simon and Paulo Vieiradacunha Felicitas S. Thorne Festival Underwriters Furthermore: A Program of the J. M. Kaplan Fund, Inc Festival Book Helen and Roger Alcaly Festival Book Festival Program Margo and Anthony Viscusi Guest Artists Paula and Eliot Hawkins Christina A. Mohr and Matthew Guerreiro Between the Concerts Supper 13

National Endowment for the Arts (NEA) New York State Council on the Arts (NYSCA)

Friends of the Bard Music Festival Leadership Support Helen and Roger Alcaly The Andrew W. Mellon Foundation Bettina Baruch Foundation Michelle R. Clayman Estate of John A. Dierdorff Robert C. Edmonds ’68 Jeanne Donovan Fisher HSBC Philanthropic Programs Susan and Roger Kennedy Dr. Barbara Kenner Mrs. Mortimer Levitt The Mortimer Levitt Foundation Inc. Mr. and Mrs. James H. Ottaway Jr. Denise S. Simon and Paulo Vieiradacunha Felicitas S. Thorne Golden Circle Jane W. Nuhn Charitable Trust Edna and Gary Lachmund National Endowment for the Arts (NEA) Millie and Robert Wise The Wise Family Charitable Foundation Director The Ann and Gordon Getty Foundation Joan K. Davidson Elizabeth W. Ely ’65 and Jonathan K. Greenburg Matthew M. Guerreiro and Christina Mohr Eliot D. and Paula K. Hawkins Alan Hilliker and Vivien Liu The J. M. Kaplan Fund, Inc. Amy and Thomas O. Maggs Marstrand Foundation Martin L. and Lucy Miller Murray New York State Council on the Arts (NYSCA) Jim and Talila O’Higgins Peter Kenner Family Fund of the JCF David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Dr. Sanford B. Sternlieb Charles P. Stevenson Jr. and Alexandra Kuczynski Stewart’s Shops Margo and Anthony Viscusi Dr. Siri von Reis Merida Welles and Chip Holman Producer Helen ’48 and Robert L. Bernstein Amy K. and David Dubin Anne E. Impellizzeri Dimitri B. Papadimitriou and Rania Antonopoulos Allan and Ronnie Streichler Dr. Elisabeth F. Turnauer-Derow Rosemary and Noel Werrett Irene Zedlacher Patron Joshua J. Aronson Mary I. Backlund and Virginia Corsi

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Alexander and Margaret Bancroft Dr. Miriam Roskin Berger ’56 Lydia Chapin and David Soeiro Blythe Danner ’65 Emily H. Fisher and John Alexander Helena and Christopher Gibbs Marieluise Hessel and Edwin L. Artzt Martin Holub Rachel and Dr. Shalom Kalnicki Belinda and Stephen Kaye James Klosty Alison L. and John C. Lankenau Alfred J. Law and Glenda A. Fowler Law Amala and Eric Levine The McGraw-Hill Companies Matching Gift Program MetLife Foundation Andrea and Kenneth L. Miron Barbara B. Reis Sarah and Howard Solomon Edwin Steinberg Bill Zifchak and Maggie Evans Benefactor Roland Augustine Jane R. Cottrell David G. Whitcomb Foundation Mr. and Mrs. Gonzalo de Las Heras Rt. Rev. Herbert A. and Mary Donovan Laurel Durst John Geller David and Nancy Hathaway Helene L. and Mark N. Kaplan Richard Kortright Murray Liebowitz Dr. and Mrs. Arthur Menken Elizabeth R. and Gary J. Munch Ms. Anna Neverova ’07 Mr. and Mrs. Frederick P. Payton Barbara and Donald Tober Elizabeth Farran Tozer and W. James Tozer Jr. UBS Matching Gift Program Maureen A. Whiteman and Lawrence J. Zlatkin Sustainer Jamie Albright Kathleen Augustine Mr. and Mrs. Jack Auspitz Barbara and Donald Tober Foundation Prof. Jonathan and Jessica K. Becker Sandra Bendfeldt Sarah Botstein and Bryan Doerries Kay Brover and Arthur Bennett Melva Bucksbaum and Raymond J. Learsy Ms. Katherine Burstein ’09 Frederick and Jan Cohen Ms. Joan Costa Ana and J. Roberto De Azevedo Willem F. De Vogel Ines Elskop and Christopher Scholz Mr. Donald C. Fresne Diana Hirsch Friedman ’68 Laura Genero Eric Warren Goldman ’98 Diva Goodfriend-Koven Dr. Eva Griepp and Dr. Randall Griepp Dr. Barbara K. Hogan Jack & Marion’s Fund of the JCF Edith and Hamilton F. Kean Mr. and Mrs. Thomas W. Keesee III

Fernanda Kellogg and Kirk Henckels John R. and Karen Klopp Cynthia Hirsch Levy ’65 Lynn Favrot Nolan Family Fund Mr. and Mrs. William T. Nolan David B. and Jane L. Parshall Lucas Pipes ’08 and Sarah Elizabeth Coe Paden ’09 John and Claire Reid Drs. M. Susan and Irwin Richman Blanche and Bruce Joel Rubin Art and Jeannette Taylor Chris and Mila Tewell Illiana van Meeteren Olivia van Melle Kamp Alison M. and James A. von Klemperer Mr. Michael P. A. Winn ’59 Sponsor Anonymous Linda Baldwin Saida and Sherwood Baxt Elizabeth Phillips Bellin ’00 and Marco M. S. Bellin Marshall S. Berland and John E. Johnson Clara Botstein John C. D. and Nancy Bruno Philip and Mimi Carroll Robert and Isobel Clark Mr. David Cuming Patricia Falk Dr. Judy Gold Carlos Gonzalez and Katherine Stewart Alison Granucci Richard Hahn Fritz and Nancy Henze Martin Holub and Sandra Sanders Elizabeth D. and Robert Hottensen I.B.M. Matching Grants Program John and Mary Kelly Erica Kiesewetter Soohyung Kim and Anna Carolina Gunnarson Dr. Seymour and Harriet Koenig Debra I. and Jonathan Lanman Catherine and Jacques Luiggi Mr. Noel Melhado Gary S. Patrik Emma Richter ’09 and Alex Gaudio ’10 Dagni and Martin Senzel Jessica and Peter Tcherepnine Prof. Marina van Zuylen Supporter Barbara J. Algren Dr. Howard Bellin Shirley Benson Khurshed Bhumgara Beth and Jerry Bierbaum Harriet Bloch and Evan Sakellarios Phyllis Busell and James M. Kostell Constance and David C. Clapp Jennifer and Jonathan H. Cohen Ellen C. Curtis James R. Devanney Gordon Douglas Seth Dubin Patricia Ellis Jim and Laurie Niles Erwin Harold Farberman June and Peter Felix Francis Finlay and Olivia J. Fussell David and Tracy Finn

Anne Stewart Fitzroy Laura Flax Karl Fleischmann Deborah and Thomas Flexner Luisa E. Flynn John and Patricia A. Forelle Samantha R. J. Free Emily Rutgers Fuller Joseph W. and Joyce Gelb Mr. and Mrs. Harrison J. Goldin Maxwell H. and Victoria Goodwin Samuel L. Gordon Jr. Lawrence and Lorna Graev Sandy Graznow and Jim Kearns Ms. Maureen W. Gregory Sally S. Hamilton James Hayden Susan Hendrickson Emilie and William Henry Mr. Derek B. Hernandez ’10 Juliet Heyer Frederic K. and Elena Howard Denise Kahn Demetrios and Susan Karayannides Robert E. Kaus Mr. and Mrs. George A. Kellner Prof. Camille C. King Charles and Katherine King Diana Niles King Elissa Kramer and Jay H. Newman Wayne Lawson Beth Ledy E. Deane and Judith S. Leonard Linda Lopez Claire and Chris Mann Don and Evelyn McLean Mr. and Mrs. Seth Melhado Joanna M. Migdal Maury Newburger Fernando and Marta E. Nottebohm Elizabeth J. and Sevgin Oktay Encarnita and Robert Quinlan Joseph M. Rinaldi and Elizabeth McClintock Alfred J. and Deirdre Ross Ms. Phyllis Ross John Royall Irving L. Sablosky Barbara A. Schoenberg Peter Schwalbe and Jody Soltanoff Eric and Karin Shrubsole Mr. Theodore Somerville Edward Stillman John Tancock Timothy and Cornelia Eland Fund of the Fidelity CGF Robert E. Tully Arete B. S. Warren Miranda Wei ’12 Jack and Jill Wertheim Barbara Jean Weyant Robert and Melanie Whaley Serena H. Whitridge Serita Winthrop Ms. Chanel M. Wood ’08 Friend Richard Armstrong and Dorsey Waxter Antonia Bakker-Salvato Howard and Mary Bell Christina Bevilacqua ’81 Madge Briggs Mr. George Carrothers

Mr. and Mrs. Timothy Delaney Joan and Wolcott Dunham Mr. and Mrs. Arthur Fenaroli Floyd and Phyllis Glinert Foundation of the FCGF John Foreman Mary Ann Free Leslie Gershon Alysha Glenn ’09 Danielle Greenberg Andrea E. Gross David Grundy Frederick Fisher Hammond Ms. Boriana Handjiyska ’02 Tameka L. Harvey Susan Heath and Rodney Paterson Susan Hoehn John Cage Trust Linda L. Kaumeyer Harold and Raquel Kleinfeld Chloe A. Kramer Ms. Carol Lee Mr. Maurice Dupont Lee Mr. and Mrs. Michael Levin Alexandra R. Marshall John Robert Massie Steven Mazoh and Martin Kline Caroline Mecartney Ms. Deborah Mintz Roy Moses Vernon Mosheim and C. Robert Friedman Dr. Vanessa Neumann Michael Nishball Barbara B. Peelor David Pozorski and Anna Romanski D. Miles Price Molly Schaefer Mr. Robert Schweich Frederick W. Schwerin Jr. Elizabeth K. and James Shequine Susan Shine Mr. and Mrs. Charles Stukenborg Alexandra Tuller and Dean Temple Arnold S. Warwick ’58 Dr. Lawrence A. Wills and D. J. Martin Peter and Maria Wirth

Boards and Administration Bard College Board of Trustees David E. Schwab II ’52, Chair Emeritus Charles P. Stevenson Jr., Chair Emily H. Fisher, Vice Chair George F. Hamel Jr., Vice Chair Elizabeth Ely ’65, Secretary; Life Trustee Stanley A. Reichel ’65, Treasurer Fiona Angelini Roland J. Augustine Leon Botstein+, President of the College Stuart Breslow+ Mark E. Brossman Thomas M. Burger+ James C. Chambers ’81 David C. Clapp Marcelle Clements ’69, Alumni/ae Trustee The Rt. Rev. Andrew M. L. Dietsche, Honorary Trustee Asher B. Edelman ’61, Life Trustee Paul S. Efron Robert S. Epstein ’63 Barbara S. Grossman ’73, Alumni/ae Trustee Sally Hambrecht Marieluise Hessel Maja Hoffmann Matina S. Horner+ Charles S. Johnson III ’70 Mark N. Kaplan, Life Trustee George A. Kellner Murray Liebowitz, Life Trustee Marc S. Lipschultz Fredric S. Maxik ’86 James H. Ottaway Jr., Life Trustee Martin Peretz, Life Trustee Stewart Resnick, Life Trustee Roger N. Scotland ’93, Alumni/ae Trustee Jonathan Slone ’84 Martin T. Sosnoff Susan Weber Patricia Ross Weis ’52

List current as of September 22, 2014 Senior Administration Leon Botstein, President Dimitri B. Papadimitriou, Executive Vice President Michèle D. Dominy, Vice President and Dean of the College Mary Backlund, Vice President for Student Affairs and Director of Admission Norton Batkin, Vice President and Dean of Graduate Studies Jonathan Becker, Vice President and Dean for International Affairs and Civic Engagement James Brudvig, Vice President for Administration Susan H. Gillespie, Vice President for Special Global Initiatives Max Kenner ’01, Vice President for Institutional Initiatives Robert Martin, Vice President for Academic Affairs and Director of The Bard College Conservatory of Music Debra Pemstein, Vice President for Development and Alumni/ae Affairs

15

The Richard B. Fisher Center for the Performing Arts Advisory Board Jeanne Donovan Fisher, Chair Carolyn Marks Blackwood Leon Botstein+ Stefano Ferrari Harvey Lichtenstein Robert Martin+ Dimitri B. Papadimitriou+ Martin T. Sosnoff Toni Sosnoff Felicitas S. Thorne Administration and Programming Debra Pemstein, Vice President for Development and Alumni/ae Affairs Bob Bursey, Senior Producer Gideon Lester, Director of Theater Programs Caleb Hammons, Associate Producer Jeannie Schneider, Business Manager Zia Affronti Morter ’12, Executive Assistant Production Vincent Roca, Production Manager Stephen Dean, Production Coordinator, Concerts and Lectures Matthew Waldron ’07, Production Coordinator, Dance and Theater Steven Michalek, Technical Director Josh Foreman, Lighting Supervisor Moe Schell, Costume Shop Supervisor Adam Kushner, Audio/Video Supervisor Communications Mark Primoff, Director of Communications Eleanor Davis, Media and Marketing Manager Joanna Szu, Associate Marketing Manager Publications Mary Smith, Director of Publications Audience Services David Steffen, Audience Services Manager and Communications Coordinator Nicholas Reilingh, Box Office Manager Jenny Ghetti ’13, Assistant Box Office Manager Hellena Schiavo, House Manager Alec Newell ’15, Assistant House Manager Anne Phelps ’15, Assistant House Manager Seth Sobottka ’15, Assistant House Manager Hannah Cantor ’15, Box Office Teller Adrienne Chau ’17, Box Office Teller Natalie Kerby ’15, Box Office Teller Avery Lamb ’15, Box Office Teller Nicholas Levine ’16, Box Office Teller Daniel Meyer-O’Keeffe ’16, Box Office Teller Audrey Rosenblith ’16, Box Office Teller Ani Schroeter ’17, Box Office Teller Yasemin Akturk ’15, Usher Mythili Ananthasayan ’15, Usher Hannah Berger ’16, Usher Eliza Cornwell ’17, Usher Jessica Dagg ’18, Usher Benjamin Dranoff ’16, Usher Martha Fearnley ’15, Usher

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Abigail Finer ’15, Usher Oliver Gabrielson ’15, Usher Sophie Green ’17, Usher Hasani Gunn ’17, Usher Claire Harvey ’17, Usher Jonas Kempf ’16, Usher Kedian Keohan ’15, Usher Marika Krupitsky ’18, Usher Austin Lehn ’17, Usher Bella Mazzetti ’15, Usher Jackson McKinnon ’16, Usher Kai Mote ’16, Usher Sophia Orlow ’16, Usher Rachel Parker ’16, Usher Emma Patsey, Usher Samuel Robotham ’15, Usher Katherine Sopko ’16, Usher Alexandra Steer ’17, Usher Matt Strieder, Usher Ariana Stultz ’15, Usher Mariamawit Tadesse ETP ’16, Usher Laura Thompson ’16, Usher Julia Vunderink ’15, Usher Sage Warner ’17, Usher Bethany Zulick ’16, Usher Kevin Barbosa ’18, Parking Attendant Gideon Berger ’18, Parking Attendant Oliver Bruce ’15, Parking Attendant Madison Emond ’18, Parking Attendant Anina Ivry-Block ’14, Parking Attendant Abrahim Mahallati ’15, Parking Attendant Sean Murphy ’18, Parking Attendant Elizabeth Osborne-Schwartz ’17, Parking Attendant Preston Ossman ’15, Parking Attendant Nigel Washington ’15, Parking Attendant Facilities Mark Crittenden, Facilities Manager Ray Stegner, Building Operations Manager Doug Pitcher, Building Operations Coordinator Daniel DeFrancis, Building Assistant Robyn Charter, Fire Panel Monitor Katie O’Hanlon, Environmental Specialist Patricia O’Hanlon, Environmental Specialist Anna Simmons, Environmental Specialist

The Bard Music Festival Board of Directors Roger Alcaly Joshua J. Aronson Leon Botstein+ Michelle R. Clayman David Dubin Robert C. Edmonds ’68 Jeanne Donovan Fisher Christopher H. Gibbs+ Carlos Gonzalez Paula K. Hawkins Thomas Hesse Susan Petersen Kennedy Barbara Kenner Gary Lachmund Thomas O. Maggs Robert Martin+ Kenneth L. Miron Christina A. Mohr James H. Ottaway Jr. Felicitas S. Thorne Siri von Reis

Artistic Directors Leon Botstein Christopher H. Gibbs Robert Martin Executive Director Irene Zedlacher Associate Director Raissa St. Pierre ’87 Scholars in Residence 2015 Walter Clark Leonora Saavedra Program Committee 2015 Byron Adams Leon Botstein Walter Clark Christopher H. Gibbs Robert Martin Leonora Saavedra Richard Wilson Irene Zedlacher Director of Choruses James Bagwell Vocal Casting/ Producer, Staged Concerts Susana Meyer

American Symphony Orchestra Board of Directors Dimitri B. Papadimitriou, Chair Thurmond Smithgall, Vice Chair Miriam Berger Michael Dorf Rachel Kalnicki Jack Kliger Shirley A. Mueller, Esq. Debra R. Pemstein Eileen Rhulen Felicitas S. Thorne Honorary Members: Joel I. Berson, Esq. L. Stan Stokowski Administration Lynne Meloccaro, Executive Director Oliver Inteeworn, General Manager Brian J. Heck, Director of Marketing Nicole M. de Jesús, Director of Development Sebastian Danila, Library Manager Marielle Métivier, Operations Manager Carley Gooley, Marketing Assistant Marc Cerri, Orchestra Librarian Ann Yarbrough Guttman, Orchestra Personnel Manager Ben Oatmen, Production Assistant Leszek M. Wojcik, Concert Archival Recording James Bagwell, Principal Guest Conductor Geoffrey McDonald, Assistant Conductor Zachary Schwartzman, Assistant Conductor Richard Wilson, Composer-in-Residence + ex officio

About Bard College Founded in 1860, Bard College in Annandale-on-Hudson, New York, is an independent, nonsectarian, residential, coeducational college offering a four-year B.A. program in the liberal arts and sciences and a five-year B.A./B.S. degree in economics and finance. The Bard College Conservatory of Music offers a five-year program in which students pursue a dual degree—a B.Music and a B.A. in a field other than music—and offers an M.Music in vocal arts and in conducting. Bard also bestows an M.Music degree at Longy School of Music of Bard College in Cambridge, Massachusetts. Bard and its affiliated institutions also grant the following degrees: A.A. at Bard High School Early College, a public school with campuses in New York City, Cleveland, and Newark, New Jersey; A.A. and B.A. 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; M.A. in curatorial studies, M.S. in economic theory and policy, and M.S. in environmental policy and in climate science and policy at the Annandale campus; M.F.A. and M.A.T. at multiple campuses; M.B.A. in sustainability in New York City; and M.A., M.Phil., and Ph.D. in the decorative arts, design history, and material culture at the Bard Graduate Center in Manhattan. Internationally, Bard confers dual B.A. degrees at the Faculty of Liberal Arts and Sciences, St. Petersburg State University, Russia (Smolny College); American University of Central Asia in Kyrgyzstan; and Bard College Berlin: A Liberal Arts University; as well as dual B.A. and M.A.T. degrees at Al-Quds University in the West Bank.

Bard offers nearly 50 academic programs in four divisions. Total enrollment for Bard College and its affiliates is approximately 5,000 students. The undergraduate College has an enrollment of more than 1,900 and a student-to-faculty ratio of 10:1. For more information about Bard College, visit www.bard.edu.

©2014 Bard College. All rights reserved.

Cover Scott Barrow Inside back cover ©Peter Aaron ’68/Esto

17

LEON BOTSTEIN, MUSIC DIRECTOR

12/10/14 WED AT 8 PM Conductor’s Notes Q&A at 7 PM

CARNEGIE HALL Stern Auditorium/Perelman Stage

RALPH VAUGHAN WILLIAMS Symphony No. 6

GYÖRGY LIGETI Requiem

ALFRED SCHNITTKE Nagasaki (U.S. Premiere)

THE LONG CHRISTMAS DINNER 12/19/14 FRI AT 8 PM Holiday Opera at

ALICE TULLY HALL, LINCOLN CENTER

Tickets and info at AmericanSymphony.org or 212.868.9ASO ASOrchestra

ASOrch

Graphic art by Jito Lee

A rare chance to see Thornton Wilder’s one-act play and the Paul Hindemith opera it inspired performed together.

Individual supporters are essential to sustaining the Richard B. Fisher Center for the Performing Arts as an extraordinary part of cultural life in the Hudson Valley. Generous gifts from arts supporters like you help make everything at the Fisher Center possible.

Our members support world-class performing arts and enjoy a variety of discounts and benefits through our Friends and Patrons programs.

Please join us!

For more information visit fishercenter.bard.edu/support or call 845-758-2273.

BECOME A FRIEND OF THE FISHER CENTER

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Friends of the Fisher Center enjoy a behind-the-scenes look at Fisher Center presentations, invitations to exclusive events, and access to special services throughout the year.

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Friend ($75) Benefits include: • Access to tickets before the general public • Invitations to season previews and open house events • 10% discount on Spiegeltent dining • 20% discount on Fisher Center merchandise • Fully tax deductible

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Sponsor ($300) All of the above, plus: • Invitations to opening night parties • SummerScape production poster • $250 tax deductible Sustainer ($500) All of the above, plus: • Bard Music Festival limited edition T-shirt • SummerScape production poster signed by the cast • $415 tax deductible Benefactor ($1,000) All of the above, plus: • Bard Music Festival book (Princeton University Press) • Private, behind-the-scenes tour of the Fisher Center for you and your guests • Invitations to working rehearsals and directors’ presentations • $750 tax deductible

Thank You! Please return your donation to: Bard College PO Box 28592 New York, NY 10087-8592

Enclosed is my check made payable to Bard College in the amount of $ Please designate my gift toward: n All Fisher Center programs n Bard Music Festival only Please charge my: n Amex n Discover n MasterCard n Visa in the amount of $

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SAVE THE DATES

AMERICAN SYMPHONY ORCHESTRA 2014–15 SEASON Conducted by Leon Botstein, music director

FEBRUARY 6 AND 7, 2015 Works by Carl Reinecke, Erich Wolfgang Korngold, and Pyotr Ilyich Tchaikovsky

APRIL 24 AND 25, 2015 Works by Hermann Goetz , Alberto Ginastera, and Leosˇ Janácˇek All concerts begin at 8 pm, following a free preconcert talk at 7 pm.

FISHER CENTER AT BARD COLLEGE FALL EVENTS CONSERVATORY SUNDAYS Concerts performed by the talented students of The Bard College Conservatory of Music, with faculty and special guests.

November 2: Conservatory Orchestra, conducted by Leon Botstein December 7: Winter Songfest with soprano Dawn Upshaw and students of the Graduate Vocal Arts Program December 14: Conservatory Orchestra, conducted by Cristian Măcelaru, guest conductor

THE RED VIOLIN Elizabeth Pitcairn, violin, and Cynthia Elise Tobey, piano November 15

LIVE ARTS BARD AND CCS BARD The House Is Open A pop-up exhibition of installation and performance November 20–23

NUT/CRACKED David Parker and The Bang Group December 20–21

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