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


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. Risk-taking 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 and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, film, and cabaret; and the Bard Music Festival, which celebrates its 23rd year in August with “Saint-Saëns and His World.” The 2013 festival will be devoted to Igor Stravinsky, with a special weekend focusing on the works of Duke Ellington. 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 Christopher Brubeck (1952– ) Prague Concerto for Bass Trombone and Orchestra (2008) Return of the Prince Song of the Mountains Dance of the Neocons Tamás Markovics, bass trombone Howard Shore (1946– ) Mythic Gardens, Concerto for Cello and Orchestra (world premiere) (2011) Cimbrone Medici Visconti Borromeo Litta Sophie Shao, cello Commissioned for Sophie Shao by the American Symphony Orchestra and funded by a generous gift from Linda and Stuart Nelson.

Witold Lutosławski (1913–94) Concerto for Orchestra (1954) Intrada Capriccio, Notturno e Arioso Passacaglia, Toccata e Corale Intermission Béla Bartók (1881–1945) Concerto for Orchestra (1943) Introduzione Giuoco delle coppie Elegia Intermezzo interrotto Finale

Sosnoff Theater Friday, April 27 and Saturday, April 28 at 8 pm Preconcert talk at 7 pm by Peter Laki Running time for this evening’s concert is approximately 2 hours and 30 minutes, with one 20-minute intermission.

Notes on the Program Christopher Brubeck Born in Los Angeles, California, March 19, 1952 Prague Concerto for Bass Trombone and Orchestra, composed in 2008 A son of jazz legend Dave Brubeck, Christopher “Chris” Brubeck has long been established as a bandleader, bass trombonist, and composer. He composed his first concerto for bass trombone in 2000; the present work came eight years later, commissioned by the Czech National Symphony Orchestra (hence its name). After a few measures of introduction, the first of the concerto’s three movements begins with a marchlike theme, with metric irregularities almost from the very start. In a program note posted on his website, Brubeck writes: My upbringing in a household filled with the playing of odd time signatures always leads me instinctively to throw in some unpredictable measure of odd meters to keep everyone on their toes. In the middle of the first movement a gospel/funk theme is introduced. It eventually transforms into a recapitulation of and variations on the first main theme. The second movement is titled “Song of the Mountains.” It opens with a trio for flute, horn, and bassoon that, according to instructions in the score, has to be played from a balcony. The soloist shares the melodious main theme with the principal cello. As the tempo accelerates, a “Latin groove” section gets under way, followed by a central trio passage for the musicians on the balcony (first con calore, with warmth, then con dolore, with sadness). The movement ends with a return of the first theme. The third movement (“Dance of the Neocons”) is best described in the words of Douglas Yeo, bass trombonist of the Boston Symphony Orchestra, who has performed the work and edited it for publication: “[It is] an ever-changing tour-de-force that shouts, cries, moans, exhorts, pleads, and wails. A cadenza that is alternately marked aggressivo, agitato, energico, barbaro, and bizarro. You get the idea.”

Howard Shore Born in Toronto, Canada, October 18, 1946 Mythic Gardens, Concerto for Cello and Orchestra, composed in 2011 Howard Shore is best known as the composer of the lush soundtrack to The Lord of the Rings (and, more recently, the soundtrack to A Dangerous Method). Yet, like many film composers, Shore has also worked in other genres, such as opera and concerto. His 2010 piano concerto for Lang Lang is now followed by the present cello concerto for Sophie Shao. The work is based on the composer’s feelings upon visiting three sumptuous gardens in Italy—


Cimbrone in Ravello on the Amalfi coast, the Medici gardens in Florence, and the Villa Litta near Milan. This virtual tour of Italy from south to north begins with a comfortable walk, in moderato tempo, with a songlike melody that grows more and more ornamental without ever losing its fundamental sense of calm. In the middle movement, the same songlike melody reappears at a much slower tempo, allowing the composer to discover new avenues of development. The final Presto introduces a vigorous new theme in dance rhythm, with some passages where the orchestra members are free to shape certain aspects of the accompaniment, according to the composer’s instructions.

Witold Lutosławski Born in Warsaw, Poland, January 25, 1913 Died in Warsaw, February 7, 1994 Concerto for Orchestra, composed in 1954 In the 1960s, Witold Lutosławski’s avant-garde works from that decade—Venetian Games, Livre pour orchestre, Three Poems of Henri Michaux—were acclaimed in the greatest music centers of the world; his late compositions (Piano Concerto, Symphonies Nos. 3 and 4) were received everywhere as the culminating accomplishments that they are. Yet the foundations for those accomplishments were laid in the 1940s and ’50s, when Lutosławski was struggling for personal and artistic survival during the war years and subsequently under Poland’s repressive Stalinist system. In the communist regimes, which purported to rule in the name of the people, folk music was held up as the chief model and source of inspiration that all composers were expected to rely on. Lutosławski could not escape those directives, and wrote his share of folk-music arrangements during those years. But in doing so, he had a great master to follow: Béla Bartók (1881–1945), who had begun to incorporate folk music in his style in the early 1900s. Bartók never lived under communism (excepting the 133 days of the Budapest Commune in 1919). His reasons to turn to folk music were entirely artistic: he managed to combine folk-music elements with modernistic elements, with results that were sometimes severely criticized by the communists after they came to power in Hungary in 1948. During the 1940s, Lutosławski composed his First Symphony, his first attempt to reconcile a politically mandated folklorism with his own striving for an artistically convincing largescale structure. After its premiere in 1948, the work was denounced as “formalist”—a most serious charge in those days. (This was the year Shostakovich and Prokofiev were similarly branded in the Soviet Union.) By the time Lutosławski finished his next major orchestral work, Concerto for Orchestra, times had changed: Stalin had died and the political thaw had begun. Of course, the new composition was also far superior to the symphony as a piece of music. In his monograph on Lutosławski, composer Steven Stucky notes: “If the symphony was marked by youthful extravagance, the concerto . . . reveals an artist in complete control of his powers.” The Concerto was enthusiastically received; it established Lutosławski as the foremost Polish composer of his time.


The title Concerto for Orchestra pays tribute to Bartók’s masterpiece of the same name (1943), although other composers had written orchestral concertos, both before and after Bartók. The two works are connected through their shared use of strongly modified folk elements in a compositional framework that is both modern and classical. Unlike Bartók, who did not use any actual folk songs in his Concerto (only original themes modeled on folk sources and isolated melodic and rhythmic fragments derived from folk music), many of Lutosławski’s themes can be traced to a printed collection of Polish songs. The very first melody, Stucky says, is transformed “into a vigorous statement capable of supporting symphonic argument.” Another analyst, Charles Bodman Rae, observes: “Lutosławski . . . places [the folk song] above the constant pulsation of a low F-sharp pedal and makes it grow from within, stretching the second and third phrases by making sequential insertions.” The result is an energetic first movement shaped in a symmetrical way somewhat reminiscent of Bartók’s arch forms. After an alternation of a singing theme (first in the horns) and a more jagged melodic idea, the original folk song returns. Yet it does so with a difference: it is now played softly instead of forte, and the F-sharp pedal, instead of being pounded by the timpani, appears in the high register of the celesta. The second movement, a scherzo-like Capriccio notturno, is built on the contrast between a fast-moving, “murmuring” figure for muted strings and a powerful fanfare melody, Arioso, which serves as the trio section. As in the first movement, the orchestration changes in the recapitulation: instead of the high-pitched instruments (violins, celesta, flute, piccolo), the low-pitched now dominate (lower strings, bass clarinet, tuba, timpani).The movement ends with a fascinating dialogue between the double basses and the percussion. The complex finale, which is longer than the first two movements combined, has a passacaglia (a set of variations over a bass) as its first section, followed by a virtuosic toccata incorporating a chorale and also including a recall of the passacaglia theme. Lutosławski’s passacaglia theme appears in stages: the first time we hear almost nothing but notes falling on the downbeat; only later are the rest of the notes filled in. Over the course of 12 variations, the music gradually grows in intensity. One of the variations involves extensive “flutter-tonguing” in the woodwinds and brass, and fast runs in which each woodwind instrument has its own part. This is a texture anticipating some of Lutosławski’s mature works, although the strings keep the music grounded in tradition by holding on to the passacaglia theme (the “ground”). The set of variations reaches a climax, after which the music quiets down, with the violins remaining alone playing the theme in their highest register before everything stops. A new section, the Toccata, now begins, with a powerful rhythmic ostinato (unchanging pattern) whose melodic aspect is connected to the previous passacaglia. A new development ensues and a new climax is reached, when we suddenly hear a gentle woodwind chorale with harp accompaniment. It is a complete change of mood, and the rest of the movement is spent exploiting the contrast between the toccata and the chorale. In the


middle of it all, the trombones proclaim the chorale theme in full force, before a fast and brilliant coda brings the work to its close. Within a few short years, Lutosławski was to move light-years beyond the folk-inspired classicism of the Concerto for Orchestra. In an interview given in 1973, he admitted, “I do not like this work of mine very much”—though he immediately added, “but apparently it has preserved some freshness,” acknowledging the work as “the only serious piece among the folk-inspired works.” As such, the Concerto, which quickly entered the standard symphonic repertoire, represented the acme of Lutosławski’s first creative period, and brought him to the threshold of a new era.

Béla Bartók Born in Nagyszentmiklós, Hungary (now Sînnicolau Mare, Romania), March 25, 1881 Died in New York City, September 26, 1945 Concerto for Orchestra, composed in 1943 Bartók was 59 years old when he immigrated to the United States with his second wife and former pupil, Ditta Pásztory-Bartók. His adjustment to the new environment was made difficult, even traumatic, by several factors. Bartók, who had been the foremost musical celebrity in his native Hungary, became an émigré composer who, although not entirely unknown in the Western Hemisphere, was far from being a household name and had to struggle to relaunch his career. Bartók was ill-equipped for such a struggle. He was not prepared to make any compromises. He was not interested in university positions because he did not believe in teaching composition. He did concertize a little as a pianist, mainly in a two-piano duo with his wife and, a few times as soloist in his Second Piano Concerto, yet his main ambition throughout this period was to continue his research in ethnomusicology. Having learned about Milman Parry’s collection of recordings from Yugoslavia, preserved at Columbia University, he devoted many hours to transcribing these recordings. He received a grant to do this work, but the grant ran out before Bartók could finish the project. It was also at this time—late in 1942—that Bartók’s health first began to deteriorate, with fevers, pain, and weakness, but with no immediate diagnosis (the first signs of the leukemia that would claim his life in 1945). The situation was grave indeed when one day Bartók, lying in a New York hospital, received an unexpected visit from Serge Koussevitzky, the conductor of the Boston Symphony Orchestra. Koussevitzky commissioned a new orchestral work in memory of his wife and left a check for half the amount of the commission on the composer’s bedside table. (He and everybody else took great pains to conceal from Bartók the fact that the idea for the commission had come from two of the composer’s friends, violinist Joseph Szigeti and conductor Fritz Reiner; had Bartók known this, the commission would have seemed to him a form of charity that he might have turned down.)


The commission quite literally gave Bartók, who had composed virtually nothing for the last two years, a new lease on life. Work on the score proceeded rapidly, thanks in part to the American Society of Composers, Authors, and Publishers (ASCAP), which arranged for Bartók to spend the summer months of 1943 at a private sanatorium in Lake Saranac, New York. Bartók’s health improved, he gained some weight, and the full score of the Concerto for Orchestra was completed by October 8. In opting for a five-movement form with a central slow movement and two quasi-scherzos (in second and fourth place, respectively), Bartók returned to a compositional design he had first discovered in his Suite No. 1 for Orchestra, written 40 years earlier, and used again in his String Quartet No. 4 (1928). It was one of several symmetrical structures he favored in his large-scale works, one that afforded a great deal of diversity in character organized around a single governing principle. The first movement opens with a slow introduction whose chains of ascending fourths, played by cellos and basses, create the impression of a world being born out of primeval chaos. The first concertante solo, for flute, still has something indecisive to it, but the second, for three trumpets, is a fully formed idea that borrows its formal structure (though not its actual melody) from Hungarian folk songs. The tempo gradually increases and reaches Allegro vivace; the fast section is dominated by two themes, both of which, like the theme of the introduction, are built on ascending fourths. This energetic music is only temporarily interrupted by a lyrical interlude in which the oboe and the harp seem to carry on an intimate conversation. The second movement, Giuoco delle coppie (“Game of Pairs”), opens and closes with a brief snare drum solo. Five pairs of wind instruments play their themes in parallel intervals; we hear, in turn, two bassoons in sixths, two oboes in thirds, two clarinets in sevenths, two flutes in fifths, and finally, two muted trumpets in major seconds. A short brass chorale functions as middle section before a full (varied) recapitulation. The third-movement Elegia opens with some ascending fourths that clearly allude to the first movement’s slow introduction. The glissandos on the harp and the soft woodwind figuration recall a moment in Bartók’s opera Bluebeard’s Castle, when the opera’s heroine, Judith, sees the Lake of Tears behind the sixth door of the castle. The middle section of the Elegia is based on the same quasi–folk song we heard in the introduction to the first movement. Played this time by the full orchestra, it sounds much more tragic than before. The movement ends with a haunting piccolo solo, after which the boisterous string unisons of the fourth movement come as quite a jolt. Bartók told his pupil György Sándor a little story he had associated with the fourth movement, Intermezzo interrotto (Interrupted Intermezzo). A young man serenades his sweetheart but is attacked by a gang of drunkards. Despite the pain he feels, he continues his serenade. (This story was evidently influenced by Debussy’s piano prelude La sérénade interrompue.)


There are some clues in the movement, however, that reveal a meaning running deeper than the story would suggest. Many people think that the beautiful cantabile melody played by the violas is a rhythmically modified version of a popular Hungarian melody, “Hungary, you are beautiful.” It is quite obvious that the real subject of the movement is Bartók’s nostalgia for his native land. And since the time was 1943, it is equally obvious what caused the disruption of the idyll. This disruption has caused a great deal of commentary because Bartók appeared to be parodying a prominent passage from Shostakovich’s Seventh (“Leningrad”) Symphony, which had recently created a major sensation in the United States. In his recent book My Father, Bartók’s younger son, Peter, tells how Bartók listened to the radio broadcast of Shostakovich’s Seventh and objected to what seemed endless repetitions of the same theme. (The similarity to the song “Da geh ich zu Maxim,” from Lehár’s operetta The Merry Widow, does not seem to have been intended by either Bartók or Shostakovich.) It should be noted that the Shostakovich melody, variously referred to as the theme of war or fascism, had its own sarcastic overtones that Bartók either missed or ignored. Moreover, its function in the symphony was to “interrupt” peaceful life, just as its Bartókian parody interrupted a peaceful serenade. The finale belongs to the type of last movements inspired by the spirit of folk dance Bartók used at the end of many of his major works. After the opening horn fanfare, the violins start a perpetual motion in rapid 16th-notes that runs through almost the entire movement. In the central section, a large-scale fugato (a section based on imitative counterpoint) unfolds. After a recapitulation that includes a brief lyrical episode in a slower tempo, the final crescendo begins, leading to a powerful climax at the end of the composition. —Peter Laki, Visiting Associate Professor of Music, Bard College


Who’s Who Leon Botstein Conductor Leon Botstein has been music director and principal conductor of the American Symphony Orchestra since 1992, and is conductor laureate of the Jerusalem Symphony Orchestra, where he served as music director from 2003–11. He is also the founder and artistic codirector of the SummerScape Festival and the Bard Music Festival, now in its 23rd year. He has been president of Bard College since 1975. ©joanne savio

Botstein maintains an active schedule as a guest conductor throughout the world. Recent engagements include the Russian National Philharmonic and the Melos-Ethos Contemporary Music Festival in the Slovak Republic. Upcoming engagements include the Los Angeles Philharmonic, Hawaii Symphony, and Taipei Symphony, among others. He may also be heard on numerous recordings, including operas by Strauss, Dukas, and Chausson, as well as works of Shostakovich, Dohnányi, Liszt, Bruckner, Bartók, Hartmann, Reger, Glière, Szymanowski, Brahms, Copland, Sessions, Perle, and Rands. Many live recordings with the American Symphony Orchestra are now available for download on the Internet. Leon Botstein is the editor of The Musical Quarterly and the author of numerous articles and books. In 2011 he gave the prestigious Tanner Lectures in Berkeley, California. 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. He is a 2009 recipient of the Carnegie Foundation’s Academic Leadership Award, and was recently inducted into the American Philosophical Society.

Tamás Markovics Bass trombone Tamás Markovics was born in Budapest, Hungary. He started playing the trombone at age 9. In 2006 he enrolled at St. Stephen Conservatory in Budapest, where he was awarded first prize in the Conservatory’s Annual Solo Competition. He became the bass trombonist of the St. Stephen Symphony Orchestra and regularly performed at the Budapest Palace of Arts with such noted conductors as Yuri Simonov and Zoltan Kocsis. Markovics is a third-year student in the dual-degree program of The Bard College Conservatory of Music, where he studies trombone with John Rojak and Demian Austin. His second major is Chinese studies. He has participated in master classes with trombonists of leading orchestras, and was one of the winners of the Conservatory’s Concerto Competition in 2010. Markovics has a keen interest in languages, cultures, and the business world.


Sophie Shao Cello At the age of 19, cellist Sophie Shao received the prestigious Avery Fisher Career Grant. She has since performed throughout the United States, Europe, and Asia. She has won top prizes at the Rostropovich and Tchaikovsky competitions, and her “eloquent, powerful” interpretations of repertoire ranging from Bach and Beethoven to Crumb have been praised by the New York Times. Howard Shore’s Mythic Gardens on this program was commissioned for her. Highlights of this season include recitals for the Philadelphia Chamber Music Society and Middlebury College; a performance of the complete Bach suites at Union College and in New York City; and her popular “Sophie Shao and Friends” tour, including performances from Brattleboro, Vermont, to Sedona, Arizona. In 2012–13, she will appear as soloist with the BBC Concert Orchestra and Keith Lockhart in performances of the Elgar and Shostakovich concerti on a two-week tour of the West Coast. Recent performances include Beethoven’s Triple Concerto with Hans Graf and the Houston Symphony; Tan Dun’s Ghost Opera with Cho-Liang Lin in Indianapolis; the world premiere of Richard Wilson’s Concerto for Cello and Mezzo-soprano with the American Symphony Orchestra; and recital and chamber music appearances at the Chamber Music Society of Lincoln Center, Chamber Music Northwest, and Music Mountain (with the Shanghai Quartet). She is also a frequent guest at many leading festivals around the country. Sophie Shao can be heard on EMI Classics, Bridge Records (for the Marlboro Music Festival’s 50th Anniversary recording), and on Albany Records. Recent recordings include Richard Wilson’s Brash Attacks on Albany Records and Howard Shore’s original score for the movie The Betrayal on Howe Records. She is featured on a forthcoming Koch Records release of the music of George Tsontakis. A native of Houston, Texas, Shao studied cello with Shirley Trepel, former principal cellist of the Houston Symphony; David Soyer, at the Curtis Institute of Music; and Aldo Parisot, at Yale University. She has a B.A. in religious studies from Yale College and an M.M. from the Yale School of Music, where she was enrolled as a Paul and Daisy Soros Fellow. She is on the faculty of Vassar College and The Bard College Conservatory of Music, and plays a cello made by Honore Derazey (1860) and once owned by Pablo Casals.

The American Symphony Orchestra Founded in 1962 by legendary conductor Leopold Stokowski, the American Symphony Orchestra continues its mission to demystify orchestral music, and make it accessible and affordable to everyone. Under music director Leon Botstein, the ASO has pioneered what the Wall Street Journal called “a new concept in orchestras,” presenting concerts curated around various themes drawn from the visual arts, literature, politics, and history, and unearthing rarely performed masterworks for well-deserved revival. These concerts are performed in the Vanguard Series at Carnegie Hall. The orchestra also performs in the celebrated concert series Classics Declassified at Peter Norton Symphony Space, and is the resident orchestra of The Richard B. Fisher Center for 11

the Performing Arts at Bard College, where it appears in a winter subscription series as well as Bard’s annual SummerScape Festival and the Bard Music Festival. In 2010, the American Symphony became the resident orchestra of The Collegiate Chorale, performing regularly in the Chorale’s New York concert series. The orchestra has made several tours of Asia and Europe, and has performed in countless benefits for organizations including the Jerusalem Foundation and PBS. ASO’s award-winning music education program, Music Notes, integrates symphonic music into core humanities classes in high schools across the tristate area. In addition to many albums released on the Telarc, New World, Bridge, Koch, and Vanguard labels, live performances by the American Symphony are now available for digital download. In several cases, these are the only existing recordings of some of the rare works that have been rediscovered in ASO performances.


The American Symphony Orchestra Leon Botstein, Music Director VIOLIN I Erica Kiesewetter, Concertmaster Suzanne Gilman Diane Bruce Ragga Petursdottir Elizabeth Nielsen Ashley Horne John Connelly Wende Namkung Sophia Kessinger Ann Labin Mara Milkis Pauline Kim Katherine Hannauer Ann Gillette VIOLIN II Richard Rood, Principal Yukie Handa Patricia Davis Dorothy Strahl Robert Zubrycki Lucy Morganstern Katherine Livolsi-Landau Elizabeth Kleinman Yana Goichman Alexander Vselensky David Steinberg Lisa Steinberg VIOLA Ah Ling Neu, Principal Sally Shumway John Dexter Shelley Holland-Moritz Adria Benjamin Martha Brody Crystal Garner Alyssa Hardie Louis Day Emily Basner

CELLO Eugene Moye, Principal Roberta Cooper Annabelle Hoffman Sarah Carter Maureen Hynes Tatyana Margulis Lanny Paykin Elina Lang Anik Oulianine Amy Ralske BASS John Beal, Principal Jack Wenger Louise Koby Richard Ostrovsky William Sloat Tony Flynt Jeffrey Carney Jeffrey Levine FLUTE Laura Conwesser, Principal Rie Schmidt Diva Goodfriend-Koven, Piccolo OBOE Randall Ellis, Principal Erin Gustafson Melanie Feld, English horn CLARINET Laura Flax, Principal Sarah Sommer Igor Begelman BASSOON Charles McCracken, Principal Maureen Strenge Gilbert Dejean, Contrabassoon

HORN Lawrence DiBello, Principal Sarah Cyrus Chad Yarbrough Kyle Hoyt Ronald Sell, Assistant TRUMPET Carl Albach, Principal John Dent Thomas Hoyt Nathan Botts TROMBONE Richard Clark, Principal Kenneth Finn David Read Jeffrey Caswell TUBA Kyle Turner, Principal TIMPANI Benjamin Herman, Principal PERCUSSION Jonathan Haas, Principal Charles Descarfino Javier Diaz HARP Sara Cutler, Principal Victoria Drake KEYBOARD Elizabeth Wright, Principal Elizabeth DiFelice


American Symphony Orchestra Patrons The American Symphony Orchestra Board of Directors, staff, and artists gratefully acknowledge the following individuals, foundations, corporations, and government agencies for their generosity and vital support. Stokowski Society Fund for the City of New York and the Open Society Foundations The Frank and Lydia Bergen Foundation Leon Botstein Michael Dorf The Fan Fox and Leslie R. Samuels Foundation, Inc. Robert A. Fippinger and Ann F. Kaplan Jeanne Donovan Fisher The Ann and Gordon Getty Foundation Danny Goldberg and Rosemary Carroll The Faith Golding Foundation Home Box Office, Inc. Christian A. Johnson Endeavor Foundation, Inc. Rachel and Shalom Kalnicki Mr. and Mrs. Jan Krukowski The Lanie and Ethel Foundation Mary and Sam Miller Linda and Stuart Nelson New York State Council on the Arts Open Society Institute Dimitri B. Papadimitriou Thurmond Smithgall Felicitas S. Thorne The Vidda Foundation Mrs. James P. Warburg Mr. and Mrs. Richard Wilson The Winston Foundation, Inc. Sustaining Supporter Joel and Ann Berson Connie Chen The Jarvis and Constance Doctorow Family Foundation The Donner Canadian Foundation Gideon Gartner Gary Giardina IBM Corporation Arthur S. Leonard Mimi Levitt Pamela F. Mazur JoAnne Meloccaro Lynne Meloccaro Shirley Mueller Martin Peretz Bruce Slovin Joseph and Jean Sullivan David and Sylvia Teitelbaum Fund Leszek Wojcik Benefactor Level II Miriam Berger Karen and Mark Finkbeiner Irwin and Maya Hoffman Erica Kiesewetter Marcia H. Moor 14

James and Andrea Nelkin Mr. and Mrs. David E. Schwab II David and Martha Schwartz Wayne and Dagmar Yaddow Irene Zedlacher Benefactor Level I Anonymous Carol K. Baron Bette R. Collom and Anthony Menninger Rhea Graffman-Cohen, in honor of Miriam Berger Jeanne Malter The New School (Institute for Retired Professionals) Lawrence Nylen James H. and Mary Ottaway Roberta Tarshis Orchestra Club Harold Allen Carol H. Ash Ruth Baron Matthew and Debra Beatrice David C. Beek Yvette and Maurice Bendahan Adria Benjamin Sidney Bresler Thomas Cassilly Isabelle Cazeaux Barbara Clapman Barton Cohen Michele Cone Wendell Craig Elisabeth Derow Paul Ehrlich The Exxon Mobil Foundation Richard Farris W. J. Fenza Martha Ferry Veronica Frankenstein Mr. and Mrs. Joseph Lawrence Gilman Irene Goldman Nathan Gross Hudson Guild Max Hahn Thomas Hayden Dr. and Mrs. Gerald Herskowitz Sara Hunsicker George Hutzler Donald Juliano Elliot and Adrienne Katz Richard P. Kelisky David Kernahan Michael Kishbauch Irving Kleiman Caral G. Klein Seymour Koenig Peter Kroll Gerald Laskey

Nancy Leonard and Lawrence Kramer Steve Leventis Judd Levy Peter A. Q. Locker Alan Mallach Stephen McAteer Sally McCracken Alan McDougall Louis S. Miano Clifford Miller Phyllis Mishkin Richard and Joanne Mrstik Elisabeth Mueller Kenneth Nassau The Maury Newburger Foundation David Pozorski Anthony Richter Mary Riebold Kenneth Rock Judith Samuelson Georgi Shimanovsky Bruce Smith Harriet Solomon-Schon Peter Sourian Stanley Stangren Hazel and Bernard Strauss Margo Talenti Jon P. Tilley James Wagner Kenneth Wald Larry A. Wehr Barbara Westergaard Janet Whalen Kurt Wissbrun Alfred Zoller Karen Zorn, Longy School of Music of Bard College Myra Zuckerbraun Music plays a special part in the lives of many New York residents. The American Symphony Orchestra gratefully acknowledges the support of the following government agencies that have made a difference in the culture of New York: The National Endowment for the Arts Mr. Rocco Landesman, Chairman New York State Council on the Arts The Honorable Andrew M. Cuomo, Governor The New York City Department of Cultural Affairs The Honorable Michael R. Bloomberg, Mayor The Honorable Kate D. Levin, Commissioner

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. 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 Emily H. Fisher and John Alexander Jeanne Donovan Fisher Martin and Toni Sosnoff Foundation Richard B. Fisher Endowment Fund Martin T. and Toni Sosnoff Robert W. Wilson Golden Circle Anonymous The Barbro Osher Pro Suecia Foundation Falconwood Foundation, Inc. FMH Foundation Linda Hirshman and David Forkosh** Jane and Aatos Erkko Foundation Millbrook Tribute Garden, Inc. Thendara Foundation In honor of Oakleigh B. Thorne from Felicitas S. Thorne True Love Productions

Friends of the Fisher Center Producer Fiona Angelini and Jamie Welch Artek Arthur F. and Alice E. Adams Foundation Association of Performing Arts Presenters Bioseutica USA, Inc. Carolyn Marks Blackwood Chartwells School and University Dining Services Consulate General of Finland in New York Barbara Ettinger and Sven Huseby The Ettinger Foundation, Inc. Stefano Ferrari and Lilo Zinglersen Alexander Fisher MFA ’96 Catherine C. Fisher and Gregory A. Murphy R. Britton and Melina Fisher Key Bank Foundation Harvey and Phyllis Lichtenstein Chris Lipscomb and Monique Segarra Mansakenning LLC The Marks Family Foundation The Maurer Family Foundation, Inc. Mid Atlantic Arts Foundation

Millbrook Vineyards and Winery Ministry for Foreign Affairs of Finland National Endowment for the Arts (NEA) New York State Council on the Arts (NYSCA) Mr. and Mrs. James H. Ottaway Jr. Drs. M. Susan and Irwin Richman Ingrid Rockefeller David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Bethany B. Winham Patron Helen and Roger Alcaly American-Scandinavian Foundation Kathleen and Roland Augustine Mary I. Backlund and Virginia Corsi Sandra and A. John Blair III Anne Donovan Bodnar and James L. Bodnar Stuart Breslow and Anne Miller Anne and Harvey Brown Barbara and Richard Debs Mr. and Mrs. Gonzalo de las Heras Elizabeth de Lima Tambra Dillon Dirt Road Realty, LLC Ines Elskop and Christopher Scholz Elizabeth W. Ely ’65 and Jonathan K. Greenburg Finlandia Foundation Alan and Judith Fishman Susan Fowler-Gallagher GE Foundation Gideon and Sarah Gartner Foundation of the Fidelity Charitable Gift Fund Bryanne and Thomas Hamill The Harkness Foundation for Dance, Inc. HSBC Philanthropic Programs John Cage Trust Dr. Harriette Kaley ’06 Mr. and Mrs. George A. Kellner Dr. Barbara Kenner Ruth Ketay and Rene Schnetzler Laura Kuhn Jane and Daniel Lindau Low Road Foundation Stephen Mazoh and Martin Kline Elizabeth I. McCann W. Patrick McMullan and Rachel McPherson

Alexandra Ottaway Pleasant Valley Animal Hospital Quality Printing Company David A. Schulz Denise S. Simon and Paulo Vieira da Cunha Andrew Solomon and John Habich Sarah and Howard Solomon Darcy Stephens Allan and Ronnie Streichler Barbara and Donald Tober Illiana van Meeteren and Terence C. Boylan ’70 Margo and Anthony Viscusi Aida and Albert Wilder Sponsor Sarah Botstein and Bryan Doerries Caplan Family Foundation Richard D. Cohen The Eve Propp Family Foundation Carlos Gonzalez and Katherine Stewart Eliot D. and Paula K. Hawkins Rachel and Dr. Shalom Kalnicki Geraldine and Lawrence Laybourne Cynthia Hirsch Levy ’65 Barbara L. and Arthur Michaels Andrea and Kenneth L. Miron Mr. and Mrs. Frederick P. Payton Samuel and Ellen Phelan Catherine M. and Jonathan B. Smith Ted Snowdon John Tancock Beverley D. Zabriskie Supporter Harriet Bloch and Evan Sakellarios Kay Brover and Arthur Bennett Alfred M. Buff and Lenore Nemeth Dr. and Mrs. Bruce Cuttler Leslie and Doug Dienel Amy K. and David Dubin Patricia Falk Martha Jane Fleischman Frances A. and Rao Gaddipati Helena and Christopher Gibbs Gilberte Vansintejan Glaser and William A. Glaser Miriam and Burton Gold Nan and David Greenwood Alexander Grey and David Cabrera Dr. Eva B. Griepp Rosemary and Graham Hanson David S. Hart 15

Janet and William Hart Lars Hedstrom and Barry Judd Hedstrom and Judd, Inc. Mel and Phyllis Heiko Darren Henault Dr. Joan Hoffman and Syd Silverman Susan and Roger Kennedy Harold Klein Seymour and Harriet Koenig Rose and Josh Koplovitz Danielle Korwin and Anthony DiGuiseppe James Kraft Elissa Kramer and Jay H. Newman Ramone Lascano Helena Lee Mimi Levitt Mr. and Mrs. David Londoner Susan Lorence Charles S. Maier Margrit and Albrecht Pichler Ted Ruthizer and Jane Denkensohn William Siegfried Elisabeth F. Turnauer Seymour Weingarten Friend Morton Alterman Anonymous Joshua J. Aronson John J. Austrian ’91 and Laura M. Austrian Sybil Baldwin Jack L. Barnett Alvin and Arlene Becker Howard and Mary Bell Frederick Berliner Kurshed Bhumgara Marge and Ed Blaine Jeanne and Homer Byington MaryAnn and Thomas Case Daniel Chu and Lenore Schiff Mr. and Mrs. John Cioffi Jean T. Cook Abby H. and John B. Dux David Ebony and Bruce Mundt Elizabeth Elliott Milly and Arnold Feinsilber Arthur Fenaroli Dr. Marta P. Flaum Raimond Flynn Edward Forlie Allan Freedman Mary and Harvey Freeman Joseph W. and Joyce Gelb Marvin and Maxine Gilbert Nigel Gillah Laurie Gilmore Mr. and Mrs. Floyd Glinert G. Carson Glover and Stephen Millikin Judy R. and Arthur Gold Fayal Greene and David J. Sharpe Alice and Bob Greenwood 16

Sheryl Griffith David A. Harris Elise and Carl Hartman Sue Hartshorn James Hayden Dorothy and Leo Hellerman Delmar D. Hendricks Jan Hopkins and Richard Trachtman Sky Pape and Alan Houghton Neil Isabelle Mark R. Joelson Eleanor C. Kane Linda L. Kaumeyer Mr. and Mrs. John W. Kelly Martha Klein and David Hurvitz Robert J. Kurilla James Lack Robert la Porte Gerald F. Lewis Sara F. Luther and John J. Neumaier John P. Mackenzie Herbert Mayo Dr. Naomi Mendelsohn Edie Michelson and Sumner Milender Janet C. Mills David T. Mintz Roy Moses Joanne and Richard Mrstik Martha Nickels Douglas Okerson and William Williams Elizabeth J. and Sevgin Oktay Robert M. Osborne Debra R. Pemstein and Dean Vallas David Pozorski and Anna Romanski Susan Price George and Gail Hunt Reeke Susan Regis Dr. Siri von Reis Rhinebeck Department Store Peter and Linda Rubenstein Heinz and Klara Sauer Barbara and Dick Schreiber Mr. and Mrs. Edward T. Scott James E. Scott Dr. Alan M. Silbert Peter Sipperley Dr. Sanford B. Sternlieb Dr. Michael A. Stillman Francis E. Storer Jr. Mark Sutton Taconic Foundation, Inc. Janeth L. Thoron Tiffany & Co. Joan E. Weberman Robert Weiss Wendy and Michael Westerman Williams Lumber and Home Centers Albert L. Yarashus Mike and Kathy Zdeb Rena Zurofsky

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 Bettina Baruch Foundation Michelle R. Clayman Jeanne Donovan Fisher Mimi Levitt The Mrs. Mortimer Levitt Endowment Fund for the Performing Arts James H. Ottaway Jr. Denise S. Simon and Paulo Vieira da Cunha Allan and Ronnie Streichler Felicitas S. Thorne Festival Underwriters James H. Ottaway Jr. Opening Concert Mimi Levitt Preconcert Talks Guest Artists Films Homeland Foundation Bard Music Festival Preview at Wethersfield Helen and Roger Alcaly Festival Book Festival Program Margo and Anthony Viscusi Symposium Joanna M. Migdal Panel Discussions Paula and Eliot Hawkins Christina A. Mohr and Matthew Guerreiro Between the Concerts Supper National Endowment for the Arts (NEA) New York State Council on the Arts (NYSCA) Leadership Support Mimi Levitt The Mortimer Levitt Foundation Mr. and Mrs. James H. Ottaway Jr. Golden Circle Bettina Baruch Foundation Jeanne Donovan Fisher The Andrew W. Mellon Foundation Jane W. Nuhn Charitable Trust Denise S. Simon and Paulo Vieira da Cunha Felicitas S. Thorne Millie and Robert Wise

Friends of the Bard Music Festival Benefactor American-Scandinavian Foundation The Ann and Gordon Getty Foundation Artek Banco Santander S. A. Barclays Bank Leonie F. Batkin Consulate General of Finland in New York Joan K. Davidson Mr. and Mrs. Gonzalo de las Heras John A. Dierdorff Elizabeth W. Ely ’65 and Jonathan K. Greenburg FMH Foundation Furthermore: A Program of the J. M. Kaplan Fund Eliot D. and Paula K. Hawkins Linda Hirshman and David Forkosh** Homeland Foundation, Inc. HSBC Philanthropic Programs Anne E. Impellizzeri The J. M. Kaplan Fund, Inc. Susan and Roger Kennedy Barbara Kenner Amy and Thomas O. Maggs Marstrand Foundation Ministry for Foreign Affairs of Finland The Mrs. Mortimer Levitt Endowment Fund for the Performing Arts National Endowment for the Arts (NEA) New York State Council on the Arts (NYSCA) Dimitri B. and Rania Papadimitriou Peter Kenner Family Fund of the Jewish Communal Fund Ralph E. Ogden Foundation, Inc. Dr. Gabrielle Reem** and Dr. Herbert J. Kayden Dr. Siri von Reis Drs. M. Susan and Irwin Richman David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 H. Peter Stern and Helen Drutt English Dr. Sanford Sternlieb Merida Welles and William Holman The Wise Family Charitable Foundation Elaine and James Wolfensohn Betsey and E. Lisk Wyckoff Jr. Patron ABC Foundation Constance Abrams and Ann Verber Edwin L. Artzt and

Marieluise Hessel Mr. and Mrs. Ronald Atkins Kathleen and Roland Augustine Gale and Sheldon Baim Elizabeth Phillips Bellin ’00 and Marco M. S. Bellin Dr. Miriam Roskin Berger ’56 Helen ’48 and Robert Bernstein Helen and Robert Bernstein Philanthropic Fund of the Jewish Communal Fund Anne Donovan Bodnar and James L. Bodnar Sarah Botstein and Bryan Doerries Lydia Chapin Constance and David C. Clapp J. T. Compton Jane Cottrell and Richard Kortright Arnold J. ’44 and Seena** Davis Barbara and Richard Debs Michael Del Giudice and Jaynne Keyes Rt. Rev. Herbert A. and Mary Donovan Amy Knoblauch Dubin and David Dubin Robert C. Edmonds ’68 Ines Elskop and Christopher Scholz John Geller Helena and Christopher Gibbs Kim Z. Golden Carlos Gonzalez and Katherine Stewart Jane and Robert Hottensen Frederic K. and Elena Howard Joan and Julius Jacobson Jasper Johns Drs. Harriette and Gabor Kaley Rachel and Dr. Shalom Kalnicki Helene and Mark N. Kaplan Belinda and Stephen Kaye Mr. and Mrs. Thomas W. Keesee III Mr. and Mrs. George A. Kellner Klavierhaus, Inc. Seymour and Harriet Koenig Edna and Gary Lachmund Alison and John Lankenau Glenda Fowler Law and Alfred Law Barbara and S Jay Levy Cynthia Hirsch Levy ’65 Patti and Murray Liebowitz Martin and Toni Sosnoff Foundation Stephen Mazoh and Martin Kline W. Patrick McMullan and Rachel McPherson Dr. and Mrs. Arthur Menken Metropolitan Life Foundation Matching Gift Program Andrea and Kenneth L. Miron Christina A. Mohr and Matthew Guerreiro Ken Mortenson Martin L. Murray and Lucy Miller Murray

Alexandra Ottaway Eve Propp Drs. Morton and Shirley Rosenberg Blanche and Bruce Rubin Andrew Solomon and John Habich Solomon Sarah and Howard Solomon Martin T. and Toni Sosnoff Edwin A. Steinberg Dr. S. B. Sternlieb Stewart’s Shops Elizabeth Farran Tozer and W. James Tozer Jr. Tozer Family Fund of the New York Community Trust Illiana van Meeteren Rosemary and Noel Werrett Aida and Albert Wilder Irene Zedlacher William C. Zifchak and Margaret Evans Sponsor Anonymous Ana Azevedo Margaret and Alec Bancroft Everett and Karen Cook Phillip S. Cooke Blythe Danner ’65 Dasein Foundation Willem F. De Vogel and Marion Davidson Cornelia Z. and Timothy Eland Timothy and Cornelia Eland Fund of the Fidelity Charitable Gift Fund Shepard and Jane Ellenberg Ellenberg Asset Management Corp. Field-Bay Foundation Francis Finlay and Olivia J. Fussell Laura Flax Martha Jane Fleischman Deborah and Thomas Flexner Donald C. Fresne Laura Genero Samuel L. Gordon Jr. and Marylou Tapalla Mr. and Mrs. Jay M. Gwynne Marjorie Hart Nancy and David Hathaway Martin Holub and Karen Kidder Lucas Hoogduin and Adriana Onstwedder Pamela Howard John R. and Joyce Hupper I.B.M. Matching Grants Program Susan Jonas Edith Hamilton Kean Fernanda Kellogg and Kirk Henckels Clara F. and David J. Londoner James and Purcell Palmer Mr. and Mrs. Frederick P. Payton Ellen and Eric Petersen 17

John and Claire Reid Alfred J. and Deirdre Ross Dr. Paul H. Schwartz and Lisa Barne-Schwartz James and Sara Sheldon David and Sarah Stack Richard C. Strain and Eva Van Rijn Barbara and Donald Tober Arete and William** Warren Jack and Jill Wertheim Rosalind Whitehead Serena H. Whitridge Julia and Nigel Widdowson Peter and Maria Wirth Supporter Munir and Susan Abu-Haidar Barbara J. Agren James Akerberg and Larry Simmons Leora and Peter Armstrong Irene and Jack Banning Didi and David Barrett Karen H. Bechtel Dr. Susan Krysiewicz and Thomas Bell Carole and Gary Beller Mr. and Mrs. Andy Bellin Beth and Jerry Bierbaum Mr. and Mrs. David Bova Mr. and Mrs. William B. Brannan Kay Brover and Arthur Bennett Dan F. and Nancy Brown Kate Buckley and Tony Pell Phyllis Busell and James Kostell Peter Caldwell and Jane Waters Miriam and Philip Carroll Frederick and Jan Cohen Seth Dubin and Barbara Field Joan and Wolcott Dunham Ruth Eng Ingrid and Gerald Fields Emily Rutgers Fuller Donald Gellert and Elaine Koss Mims and Burton Gold Victoria and Max Goodwin Janine M. Gordon Mary and Kingdon Gould Jr. Nan and David Greenwood Mortimer and Penelope C. Hall Sally S. Hamilton Juliet Heyer Susan Hoehn and Allan Bahrs William Holman Dalya Inhaber Jay Jolly Karen Bechtel Foundation of the Advisor Charitable Gift Fund Robert E. Kaus Erica Kiesewetter Charles and Katharine King Karen Klopp Dr. and Mrs. Vincent Koh Lowell H. and Sandra A. Lamb Debra I. and Jonathan Lanman 18

E. Deane and Judith S. Leonard Walter Lippincott Lynn Favrot Nolan Family Fund Jeanette MacDonald and Charles Morgan Philip and Tracey Mactaggart Charles S. Maier Claire and Chris Mann Marilyn Marinaccio Elizabeth B. Mavroleon Charles Melcher Arthur and Barbara L. Michaels Samuel C. Miller John E. Morrison IV Mr. and Mrs. Alfred Mudge Bernadette Murray and Randy Fertel Kamilla and Donald Najdek Jay H. Newman and Elissa Kramer Mr. and Mrs. William T. Nolan Marta E. Nottebohm Elizabeth J. and Sergin Oktay Dr. Bernhard Fabricius and Sylvia Owen David B. and Jane L. Parshall Susan Heath and Rodney Paterson John and Claire Reid Barbara Reis Susan F. Rogers Rosalie Rossi, Ph.D. John Royall Dagni and Martin Senzel Denise and Lawrence Shapiro Nadine Bertin Stearns Mim and Leonard Stein Carole Tindall John Tuke and Leslie Farhangi Dr. Elisabeth F. Turnauer Marina van Zuylen Monica Wambold Taki and Donald Wise John and Mary Young Friend Rev. Albert R. Ahlstrom Lorraine D. Alexander Arthur A. Anderson Anonymous Zelda Aronstein and Norman Eisner Artscope, Inc. John K. Ayling Phebe and George Banta James M. Barton Mr. and Mrs. Francis D. Barton Saida Baxt Regina and David Beckman Dr. Howard Bellin Richard L. Benson Dr. Marge and Edward Blaine Eric and Irene Brocks David and Jeannette T. Brown Mr. and Mrs. John C. D. Bruno Alfred M. Buff and Lenore Nemeth David Clain

Isobel and Robert Clark Donald Cooney Millicent O. McKinley Cox Linda and Richard Daines Dana and Brian Dunn Abby and John Dux Peter Edelman Peter Elebash and Jane Robinson Jim and Laurie Niles Erwin Patricia Falk Harold Farberman Arthur L. Fenaroli David and Tracy Finn Luisa E. Flynn Patricia and John Forelle Mary Ann Free Samantha Free Stephen and Jane Garmey Michael Garrety Joyce and Joseph W. Gelb Anne C. Gillis Mr. and Mrs. Harrison J. Goldin Dr. Joel and Ellen Goldin Stanley L. Gordon Thurston Greene Andrea Gross Guido Ben-Ali and Mimi Haggin David A. Harris Sy Helderman Sharon and David Hendler Carol Henken Nancy H. Henze Gary Herman David Hurvitz and Martha Klein Dr. and Mrs. Gerald Imber Patricia H. Keesee Mr. and Mrs. John W. Kelly Joan Kend Diana Niles King Thea Kliros Sharon Daniel Kroeger Robert J. Kurilla Jeffrey Lang Prof. Edward C. Laufer Wayne Lawson Beth Ledy Laurence and Michael Levin Gerald Lewis Longy School of Music of Bard College Ruthie and Lincoln Lyman M Group, LLC John P. MacKenzie Hermes Mallea and Carey Maloney Annette S. and Paul N. Marcus Harvey Marek The McGraw-Hill Companies Matching Gift Program Marcus Mello ’04 Dr. Naomi Mendelsohn Philip Messing Millbrook Real Estate, LLC Deborah D. Montgomery Kelly Morgan

Debbie Ann and Christopher Morley Susan and Robert Murphy Anna Neverova ’07 Nancy R. Newhouse Hugh and Marilyn Nissenson Harold J. and Helen C. Noah Douglas Okerson and William Williams James Olander Marilyn and Peter Oswald Gary S. Patrik Sarah Payden ’09 Peter and Sally V. Pettus Lucas Pipes ’08 Dr. Alice R. Pisciotto David Pozorski and Anna Romanski D. Miles Price Stanley A. Reichel ’65 and Elaine Reichel Dr. Naomi F. Rothfield ’50 and Lawrence Rothfield Harriet and Bernard Sadow Antonia Salvato Sheila Sanders Dr. Thomas B. Sanders Heinz and Klara Sauer Molly Schaefer Frederick W. Schwerin Jr. Mary Scott Danny P. Shanahan and Janet E. Stetson ’81 J. Kevin Smith Polly and LeRoy Swindell Jessica and Peter Tcherepnine Gladys R. Thomas Janeth L. Thoron Cynthia M. Tripp ’01 Laurie Tuzo Olivia van Melle Kamp Ronald VanVoorhies Andrea A. Walton Jacqueline E. Warren Peter Warwick Renee K. Weiss ’51 Barbara Jean Weyant Anne Whitehead Victoria and Conrad Wicher Mr. and Mrs. John Winkler Amy Woods Robert and Lynda Youmans

Major support for the Fisher Center’s programs has been provided by: Arthur F. and Alice E. Adams Foundation Helen and Roger Alcaly American-Scandinavian Foundation The Andrew W. Mellon Foundation Fiona Angelini and Jamie Welch

The Ann & Gordon Getty Foundation Anonymous Artek The Barbro Osher Pro Suecia Foundation Barclays Bank Leonie F. Batkin Bettina Baruch Foundation Bioseutica USA, Inc. Carolyn Marks Blackwood and Gregory Quinn Chartwells School and University Dining Services Michelle R. Clayman Consulate General of Finland in New York Joan K. Davidson Mr. and Mrs. Gonzalo de las Heras John A. Dierdorff Elizabeth W. Ely ’65 and Jonathan K. Greenburg Barbara Ettinger and Sven Huseby The Ettinger Foundation, Inc. Stefano Ferrari and Lilo Zinglersen Finlandia Foundation Alexander D. Fisher MFA ’96 Catherine C. Fisher and Gregory A. Murphy Emily H. Fisher and John Alexander Jeanne Donovan Fisher R. Britton and Melina Fisher FMH Foundation Eliot D. and Paula K. Hawkins Linda Hirshman and David Forkosh** Homeland Foundation, Inc. HSBC Philanthropic Programs Anne E. Impellizzeri Jane and Aatos Erkko Foundation Jane’s Ice Cream Jane W. Nuhn Charitable Trust The J. M. Kaplan Fund, Inc. Belinda and Stephen Kaye Susan and Roger Kennedy Barbara Kenner Mimi Levitt Chris Lipscomb and Monique Segarra Amy and Thomas O. Maggs Mansakenning LLC The Marks Family Foundation Marstrand Foundation Martin and Toni Sosnoff Foundation The Maurer Family Foundation, Inc. Mid Atlantic Arts Foundation Joanna M. Migdal The Millbrook Tribute Garden Millbrook Vineyards & Winery Ministry for Foreign Affairs in Finland The Mortimer Levitt Foundation Inc.

Mrs. Mortimer Levitt Endowment Fund for the Performing Arts National Dance Project of the New England Foundation for the Arts National Endowment for the Arts American Masterpieces: Dance National Endowment for the Arts (NEA) New England Foundation for the Arts (NEFA) New York State Council on the Arts (NYSCA) Ralph E. Ogden Foundation, Inc. Mr. and Mrs. James H. Ottaway Jr. Dimitri B. and Rania Papadimitriou Peter Kenner Family Fund of the Jewish Communal Fund Dr. Gabrielle H. Reem** and Dr. Herbert J. Kayden Dr. Siri von Reis Richard B. Fisher Endowment Fund Drs. M. Susan and Irwin Richman Ingrid Rockefeller David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 The Schwab Charitable Fund Denise S. Simon and Paulo Vieira da Cunha Martin T. and Toni Sosnoff H. Peter Stern and Helen Drutt English Dr. Sanford Sternlieb Allan and Ronnie Streichler Thendara Foundation Felicitas S. Thorne True Love Productions Margo and Anthony Viscusi Bethany B. Winham Millie and Robert Wise The Wise Family Charitable Foundation Wolfensohn Family Foundation Elizabeth and E. Lisk Wyckoff Jr. **deceased All lists current as of April 1, 2012


Board and Administration Bard College Board of Trustees David E. Schwab II ’52, Chair Emeritus Charles P. Stevenson Jr., Chair Emily H. Fisher, Vice Chair Elizabeth Ely ’65, Secretary Stanley A. Reichel ’65, Treasurer Fiona Angelini Roland J. Augustine + Leon Botstein, President of the College David C. Clapp *Marcelle Clements ’69 Asher B. Edelman ’61 Robert S. Epstein ’63 *Barbara S. Grossman ’73 Sally Hambrecht George F. Hamel Jr. Ernest F. Henderson III, Life Trustee Marieluise Hessel Matina Horner Charles S. Johnson III ’70 Mark N. Kaplan George A. Kellner Cynthia Hirsch Levy ’65 Murray Liebowitz Marc S. Lipschultz Peter H. Maguire ’88 James H. Ottaway Jr., Life Trustee Martin Peretz Stewart Resnick *Roger N. Scotland ’93 The Rt. Rev. Mark S. Sisk, Honorary Trustee Martin T. Sosnoff Susan Weber Patricia Ross Weis ’52 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 John Franzino, Vice President for Finance 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

The Richard B. Fisher Center for the Performing Arts Advisory Board Jeanne Donovan Fisher, Chair Leon Botstein+ Stefano Ferrari Harvey Lichtenstein Robert Martin+ Dimitri B. Papadimitriou+ Martin T. Sosnoff Toni Sosnoff Felicitas S. Thorne Administration Susana Meyer, Associate Director Robert Airhart, Production Manager Debra Pemstein, Vice President for Development and Alumni/ae Affairs Mark Primoff, Director of Communications Mary Smith, Director of Publications Ginger Shore, Consultant to Publications Joanna Szu, Marketing Associate Kimberly Keeley-Henschel, Budget Director Bonnie Kate Anthony, Assistant Production Manager Paul LaBarbera, Sound and Video Engineer Stephen Dean, Stage Operations Manager Vincent Roca, Technical Director Mark Crittenden, Facilities Manager Jeannie Schneider, Business Manager Andrea Gross, Community Relations Manager Patrick King, House Manager Carley Gooley ’12, Assistant House Manager Roisin Taylor ’13, Assistant House Manager Nicholas Reilingh, Box Office Manager Caitlyn DeRosa, Assistant Box Office Manager Ray Stegner, Building Operations Manager Doug Pitcher, Building Operations Coordinator Daniel DeFrancis, Staff Assistant Robyn Charter, Staff Assistant

The Bard Music Festival Board of Directors Denise S. Simon, Chair Roger Alcaly Leon Botstein+ Michelle R. Clayman John A. Dierdorff Robert C. Edmonds ’68 Jeanne Donovan Fisher Christopher H. Gibbs+ Jonathan K. Greenburg Paula K. Hawkins Susan Petersen Kennedy Barbara Kenner Gary Lachmund Mimi Levitt Thomas O. Maggs Robert Martin+ Kenneth L. Miron Christina A. Mohr James H. Ottaway Jr. Siri von Reis Felicitas S. Thorne E. Lisk Wyckoff Jr. Artistic Directors Leon Botstein Christopher H. Gibbs Robert Martin Executive Director Irene Zedlacher Associate Director Raissa St. Pierre ’87 Scholar in Residence 2012 Jann Pasler Program Committee 2012 Byron Adams Leon Botstein Christopher H. Gibbs Robert Martin Jann Pasler Richard Wilson Irene Zedlacher Development Debra Pemstein Publications Mary Smith Ginger Shore Public Relations Mark Primoff Eleanor Davis 21C Media Director of Choruses James Bagwell Vocal Casting Consultant Susana Meyer Stage Managers Stephen Dean Matthew Waldron

The American Symphony Orchestra Board of Directors Danny Goldberg, Chair Thurmond Smithgall, Vice Chair Dimitri B. Papadimitriou, Treasurer Miriam Berger Joel I. Berson** Michael Dorf Rachel Kalnicki Jack Kliger Jan Krukowski Shirley A. Mueller Eileen Rhulen L. Stan Stokowski* Felicitas S. Thorne

Administration Lynne Meloccaro, Executive Director Oliver Inteeworn, General Manager Brian J. Heck, Director of Marketing Sebastian Danila, Library Manager Marielle Métivier, Operations Manager Katrina Herfort, Ticketing Services Coordinator Jennifer Luzzo, Development Manager Marc Cerri, Orchestra Librarian Ronald Sell, Orchestra Personnel Manager Ann Gabler, Manager, Music Education and School Outreach Leszek M. Wojcik, Concert Archival Recording

James Bagwell, Principal Guest Conductor Teresa Cheung, Resident Conductor Geoffrey McDonald, Assistant Conductor Robin Thompson, Artistic Consultant Richard Wilson, Composer-inResidence + ex officio * alumni/ae trustee ** honorary

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 (Manhattan and Queens) 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 five correctional institutions in New York State; M.A. in curatorial studies, 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), and American University of Central Asia in Kyrgyzstan; and 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 3,900 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

©2012 Bard College. All rights reserved. Cover Scott Barrow Inside back cover ©Peter Aaron ’68/Esto


the bard music festival presents

Saint-Saëns and His World august 10–12 and 17–19 The Bard Music Festival presents two extraordinary weeks of concerts, panels, and other special events that will explore the musical world of Camille Saint-Saëns.

Paris and the Culture of Cosmopolitanism

weekend one Friday, August 10

program one

Saint-Saëns and the Cultivation of Taste Chamber works by Saint-Saëns

Saturday, August 11 program two

Performing, Composing, and Arranging for Concert Life Chamber works by Saint-Saëns, Sarasate, Liszt, and others

program three

Saint-Saëns, a French Beethoven? American Symphony Orchestra, Leon Botstein, conductor Orchestral works by Saint-Saëns

Sunday, August 12

program four

The Organ, King of Instruments Works for organ by Saint-Saëns, Adam, Widor, Franck, and others

program five

Ars Gallica and French National Sentiment Chamber works by Saint-Saëns, Lalo, Chausson, Magnard, Duparc, and others

program six

Zoological Fantasies: Carnival of the Animals Revisited Chamber works by Saint-Saëns, Ravel, Fauré, Poulenc, and others

Confronting Modernism

weekend two Friday, August 17

program seven

Proust and Music Chamber works by Saint-Saëns, Franck, Fauré, Debussy, and Hahn

Saturday, August 18 program eight

La musique ancienne et moderne Chamber works by Saint-Saëns, Rameau, d’Indy, Dukas, and others

program nine

The Spiritual Sensibility American Symphony Orchestra, Leon Botstein, conductor Orchestral works by Saint-Saëns, Schmitt, Boulanger, and others

Sunday, August 19

program ten

From Melodrama to Film Chamber works by Saint-Saëns and Berlioz

program eleven Unexpected Correspondences:

Saint-Saëns and the New Generation Chamber works by Saint-Saëns, Debussy, and Stravinsky

program twelve Out of the Shadow of Samson et Dalila:

Saint-Saëns’s Other Grand Opera American Symphony Orchestra, Leon Botstein, conductor Performance of Saint-Saëns’s opera Henry VIII

845-758-7900 PHOTO: Camille Saint-Saëns, c. 1875. Adoc-photos/Art Resouce, NY

Friend ($100–349)

BECOME A FRIEND OF THE FISHER CENTER TODAY! Since opening in 2003, The Richard B. Fisher Center for the Performing Arts at Bard College has transformed cultural life in the Hudson Valley with world-class programming. Our continued success relies heavily on individuals such as you. Become a Friend of the Fisher Center today. Friends of the Fisher Center membership is designed to give individual donors the opportunity to support their favorite programs through the Fisher Center Council or Bard Music Festival Council. As a Friend of the Fisher Center, you will enjoy a behind-the-scenes look at Fisher Center presentations and receive invitations to special events and services throughout the year.

• Advance notice of programming • Free tour of the Fisher Center • Listing in the program ($5 of donation is not tax deductible)

Supporter ($350–749) All of the above, plus: • Invitation for you and a guest to a season preview event • Invitations to opening night receptions with the artists • Invitation for you and a guest to a select dress rehearsal ($5 of donation is not tax deductible)

Sponsor ($750–1,499) All of the above, plus: • Copy of the Bard Music Festival book • Invitation for you and a guest to a backstage technical demonstration ($40 of donation is not tax deductible)

Patron ($1,500–4,999) All of the above, plus: • Opportunity to buy tickets before sales open to the general public • Exclusive telephone line for Patron Priority handling of ticket orders • Invitation for you and a guest to a pre-performance dinner at a Hudson River Valley home ($150 of donation is not tax deductible)

Producer/Benefactor ($5,000+) All of the above, plus: • Seat naming opportunity • Invitations to special events scheduled throughout the year • Opportunity to underwrite events ($230 of donation is not tax deductible)

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Compagnie fêtes galantes Taking Baroque dance into the 21st century



The Imaginary Invalid The last play by a comic master

OPERA JULY 27 – AUGUST 5 Emmanuel Chabrier’s

The King in Spite of Himself A classic comic opera with a brilliant score


France and the Colonial Imagination The legacy of French rule in Africa and Southeast Asia


Cabaret, music, fine dining, and more and


Saint-Saëns and His World

AUGUST 10–12 and 17–19

The 2012 SummerScape season is made possible in part through the generous support of the Board of The Richard B. Fisher Center for the Performing Arts at Bard College, the Board of the Bard Music Festival, and the Friends of the Fisher Center, as well as grants from the National Endowment for the Arts, the New York State Council on the Arts, and the Cultural Services of the French Embassy in the United States.

845-758-7900 | Be the first in line for news of upcoming events, discounts, and special offers. Join the Fisher Center's e-newsletter at

April 2012: American Symphony Orchestra  
April 2012: American Symphony Orchestra  

Conducted by Music Director Leon Botstein Lutosławski's Concerto for Orchestra; Brubeck's Prague Concerto for Bass Trombone and Orchestra, f...