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

AMERICAN SYMPHONY ORCHESTRA February 22 and 23, 2013

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 24th year in August with “Stravinsky and His World.” The 2014 festival will be devoted to Franz Schubert. 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


American Symphony Orchestra Leon Botstein, Music Director Harold Farberman (1929– ) TRIPLE PLAY, Concerto for Clarinet (world premiere) Renata Rakova ’12, clarinet


Anton Bruckner (1824–96) Symphony No. 8 (1887 version) Allegro moderato Scherzo: Allegro moderato Adagio: Feierlich langsam; doch nicht schleppend Finale: Feierlich, nicht schnell

Sosnoff Theater Friday, February 22 and Saturday, February 23 at 8 pm Preconcert talk at 7 pm by Peter Laki Running time for this evening’s concert is approximately 2 hours, with one 20-minute intermission.

Notes on the Program

Harold Farberman Born in New York City on November 2, 1929 TRIPLE PLAY, Concerto for Clarinet (2011) Composer and conductor Harold Farberman graduated from The Juilliard School in 1951 and joined the Boston Symphony Orchestra as a percussionist and timpanist. He was the orchestra’s youngest member and simultaneously pursued his master’s degree at the New England Conservatory of Music. He left the orchestra in 1963 to launch a conducting career, serving as music director of the Colorado Springs and Oakland symphonies and principal guest conductor of the Denver Symphony and Bournemouth Sinfonietta. He has conducted major orchestras around the world and extensively recorded works by Mahler, Michael Haydn, and others. His recordings of Charles Ives’s four symphonies received the Ives Medal. A dedicated teacher, he founded the Conductors Guild in 1975 and created the Conductors Institute at Bard College, the leading training program for young conductors internationally. His book The Art of Conducting Technique: A New Perspective was published in 1997. Farberman’s wide range of compositions includes many percussion pieces, orchestral and chamber works, and four operas—Medea, The Losers (commissioned by Juilliard and premiered at Lincoln Center), Song of Eddie (nominated for a Pulitzer Prize), and, most recently, Diamond Street. TRIPLE PLAY, Concerto for Clarinet, receives its premiere at these concerts. The composer has provided the following notes on the piece: The clarinet is an instrument with extraordinary character. Mozart gave the clarinet a symphonic voice through his friend Anton Stadler, the virtuoso for whom he wrote a variety of works, including in 1791 the Clarinet Concerto (K. 622). In the 20th century Benny Goodman made the clarinet a popular solo jazz instrument. And for many long years, and in countless shtetls throughout Eastern Europe, the timbre of the clarinet, wrapped in soul, became the instantly identifiable sound of Jewish klezmer music. The three movements of TRIPLE PLAY pay homage to three very different performing styles. The first movement—In Symphonic Style—begins using circular breathing for the soloist and has an overall form that is A-B-C-(3/4)-D, followed by a cadenza that leads into a call-and-response conclusion using the opening materials. The second movement—In Jazz Style—opens with an on-stage, up-front trio consisting of solo clarinet, bass, and drum set in a slow quadruple meter that leads to a faster duplemeter section with a Latin swing. After an episode with a “Big Band” character


there is a slow coda with the trio. The third and final movement is In Klezmer Style. In 2004 I was commissioned by The Jewish Museum in New York City to create a short work to commemorate its centennial. The result was Re/ Collections, and the instrumentation included a klezmer-style clarinet player. As I began writing the final movement of TRIPLE PLAY in 2011, it became clear to me that Re/Collections was an incomplete work. Music closely allied to that piece came spilling onto the staves of the final movement of TRIPLE PLAY, which seemed to write itself. Re/Collections opens with two notes a fifth apart, played by a shofar, a ram’s horn mentioned in the Bible and connected to Jewish religious practices. The klezmer clarinet opens this last movement with the same two notes and then continues to paint the tragic 20th-century history of a people in pain. The concluding half of the movement is built on a buoyant Bulgar dance rhythm, infused with energy and joy, often a survivor’s dance.

Anton Bruckner Born in Ansfelden, Austria, on September 4, 1824 Died in Vienna on October 11, 1896 Symphony No. 8 (1887 version) The celebrated violinist Fritz Kreisler, who at a young age briefly studied with Anton Bruckner in Vienna, remarked that his teacher was a “combination of genius and simpleton. He had two coordinates—music and religion. Beyond that he knew almost nothing.” Such a familiar image of Bruckner has proved difficult to move beyond, because this most unglamorous of Romantic composers did indeed lead an unassuming life devoted principally to God and music, passions that he combined in astounding ways in his towering Masses and magnificent symphonies. Bruckner dedicated many years to learning his craft. In the 1850s, already in his 30s, he meticulously studied counterpoint with the noted Viennese theorist Simon Sechter (with whom Schubert had sought counsel in the last weeks of his life). Sechter forbade free composition and for years Bruckner ceased his original work to hone his contrapuntal technique. In 1868 he finally moved to Vienna, where he remained for the rest of his life. He spent most of the year teaching at the Conservatory and the University of Vienna, as well as privately, and he also played the organ at the Court Chapel. Although respected as a professor, continuing Sechter’s tradition of training, Bruckner’s compositional achievement took longer to be recognized. This was due in part to the musical politics of the time and to the perception of some, notably the powerful critic Eduard Hanslick, that Bruckner was moving music in the wrong direction. Hanslick, a fervent


supporter of Brahms and Dvoˇrák, opposed what he perceived as the Wagnerian agenda at work in Bruckner’s symphonies. He wrote of the Eighth we hear tonight: I found this newest one, as I have found the other Bruckner symphonies, interesting in detail, but strange as a whole, indeed repellent. The peculiarity of this work consists, to put it briefly, of importing Wagner’s dramatic style into the symphony. . . . It is not impossible that the future belongs to this nightmarish hangover style—a future we therefore do not envy! Of course, exactly these qualities were applauded by others, such as by the brilliant young composer Hugo Wolf, who believed “this symphony is the work of a giant and surpasses the other symphonies of the master in intellectual scope, awesomeness, and greatness. Its success . . . was a complete victory of light over darkness.” It is something of a paradox that the provincial, unfashionable, devout, and politically reactionary Bruckner was supported by the musical avant-garde and perceived as a more musically progressive figure than Brahms, who was cosmopolitan, unreligious, and liberal. Bruckner’s compositional legacy consists primarily of sacred vocal works and symphonies, although he wrote a variety of smaller pieces, including a fine string quintet. His three great Masses came relatively early, and when he turned to writing symphonies many of their spiritual aspects were transferred to the orchestral realm. A flowing cello line in a symphonic slow movement may seem as if it set words from the Mass—a Benedictus, for example—and Bruckner did on occasions quote his sacred music within symphonies. When we consider as well that he was a master organist, another crucial element of his musical style can be identified in his deployment of the instrumental choirs of the orchestra. His symphonies are often likened to “gothic cathedrals of sound.” Bruckner wrote his Symphony No. 1 at age 41, although it was surrounded by two unnumbered ones never performed during his lifetime. The Seventh Symphony was the first one to score a great critical and popular success. Crucial to this period of his life was Bruckner’s ever deepening engagement with Wagner’s music, the transforming influence on him since the early 1860s. (He dedicated his Third Symphony to Wagner.) In July 1882 Bruckner traveled to Bayreuth to attend the premiere of Parsifal, Wagner’s last opera, conducted by Hermann Levi. Wagner died on February 13, 1883, and when Bruckner learned of this he added a moving coda to the slow movement, using four so-called Wagner tubas in a mournful chorale. Arthur Nikisch conducted the first performance of the symphony with the Leipzig Gewandhaus Orchestra on December 30, 1884, and its success was only surpassed 10 weeks later when Levi conducted the work in Munich. Bruckner had already begun the previous summer to write his next symphony, which he finished in August 1887. He sent the score to Levi with a letter saying: “Hallelujah! The Eighth is finally finished and ‘my artistic father’ must be the first to know about it. . . . I would like to ask you, noble sir, for the [first] performance of the Eighth.” The great conductor (who was in fact 15 years younger than the composer) wished to support Bruckner, 6

but found the work incomprehensible. Rather than contact the composer, he initially reached out to one of Bruckner’s associates, Josef Schalk, telling him: “Simply put: I cannot find myself in the Eighth Symphony and do not have the courage to perform it. . . . I am terribly disappointed!” Levi went on to say he found the “instrumentation impossible” and that what especially disturbed him “is the great similarity with the Seventh; it virtually copies the form.” He worried terribly about how Bruckner would react to the news and feared “the worse, that this disappointment will completely crush him.” Schalk advised him to write directly to Bruckner, which he did, thus prompting revisions not only of the symphony but of earlier ones as well. Bruckner began an extensive revision of the Eighth in March 1889, which was completed in January 1890 and published in March 1892. Felix Weingartner was scheduled to conduct the premiere in Mannheim, but found the work too difficult and in need of too many rehearsals. Hans Richter ultimately led the first performance in December 1892 with the Vienna Philharmonic in the popularly successful concert that elicited Hanslick’s scorn and Wolf’s praise. (Brahms was reportedly in attendance as well.) Tonight we have the unusual opportunity to hear Bruckner’s original 1887 version of the Symphony, which is rarely performed or recorded. The changes Bruckner later made are far more extensive and significant than for any of his works (he revised his Masses as well as most of his symphonies) and were done right after the original composition, rather than many years later as in the other cases. In addition to numerous large and small alternations in orchestration, tempi, phrasing, dynamics, and other expressive details, there are long sections that he completely rewrote and shortened. In the version performed tonight the opening movement ends with a loud and thrilling coda, which Bruckner perhaps felt was too conclusive because in the 1890 revision the movement ends softly. The Trio of the third-movement Scherzo as well is completely different music. Many of Bruckner’s symphonies, including his last three, open using the same effective compositional strategy, with a striking melody that unfolds over a hushed tremolo string passage. The precedent is Beethoven’s Ninth, the symphony that most influenced Bruckner. The Ninth was also the model for the order of the movements in Bruckner’s last two symphonies, with the Scherzo now following. It is in the ABA form of the Classical era but greatly expanded in length—an urgent opening leads to a relaxed Trio before a repeat of the first section. Bruckner’s slow movements are the spiritual core of his symphonies, again using the comparable section of Beethoven’s Ninth as inspiration. The grand final movement conveys a sense of triumph and brilliantly combines themes from the earlier movements. —Christopher H. Gibbs, James H. Ottaway Jr. Professor of Music, Bard College


Who’s Who Leon Botstein Conductor This season, Leon Botstein celebrates his 20th anniversary as music director and principal conductor of the American Symphony Orchestra. He is artistic codirector of the acclaimed SummerScape and Bard Music festivals, which take place at Bard College’s Richard B. Fisher Center for the Performing Arts, designed by Frank Gehry. Botstein is also conductor laureate of the Jerusalem Symphony Orchestra, where he served as music director from 2003–11. He has ©joanne savio

been president of Bard College in New York since 1975.

Botstein has an active schedule as a guest conductor all over the world, and can 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 of his live performances with the American Symphony Orchestra are now available for download on the Internet. Leon Botstein is highly regarded as a music historian. He 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. In 2009 he received Carnegie Foundation’s Academic Leadership Award, and in 2011 was inducted into the American Philosophical Society. He is also the 2012 recipient of the Leonard Bernstein Award for the Elevation of Music in Society.

Renata Rakova ’12 Clarinet Renata Rakova, from the Czech Republic, began playing clarinet when she was 8 years old. At 14, she entered the music program at the Gymnasium of Jan Neruda in Prague, where she studied with Milan Polak. She won the school’s concerto competition three times, and performed as a soloist with the Prague Chamber Philharmonic. In 2012, Renata earned a bachelor of arts degree in German studies and a bachelor of music degree at The Bard College Conservatory of Music, where she studied clarinet with David Krakauer, Laura Flax, and Anthony McGill. While a student at Bard, she participated in the New York String Orchestra Seminar at Carnegie Hall. As winner of the Conservatory’s concerto competition in 2011, she premieres Harold Farberman’s clarinet concerto, TRIPLE PLAY, with the American Symphony Orchestra in these concerts. She now lives in Lugano, Switzerland, where she studies with François Benda and is working on her master of music degree.


The American Symphony Orchestra The American Symphony Orchestra (ASO) was founded 50 years ago by Leopold Stokowski, with the specific intention of making orchestral music accessible and affordable for everyone. Under music director Leon Botstein, the ASO has kept Stokowski’s mission intact, and has also become a pioneer in 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. In addition, the orchestra 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 the Performing Arts at Bard College, where it appears in a winter subscription series as well as Bard’s annual SummerScape 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, many live performances by the American Symphony are now 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.


The American Symphony Orchestra Leon Botstein, Music Director Violin I Erica Kiesewetter, Concertmaster Suzanne Gilman Yukie Handa Diane Bruce Ragga Petursdottir Wende Namkung Elizabeth Nielsen James Tsao Yana Goichman Ann Labin Ann Gillette Anna Elashvili Violin II Richard Rood, Principal Sophia Kessinger John Connelly Robert Zubrycki Patricia Davis Katherine Livolsi-Landau Lucy Morganstern Elizabeth Kleinman Dorothy Strahl Alexander Vselensky Kathryn Aldous Viola Mark Holloway, Principal Sally Shumway John Dexter Crystal Garner Martha Brody Shelley Holland-Moritz Adria Benjamin Louis Day


Cello Eugene Moye, Principal Roberta Cooper Annabelle Hoffman Sarah Carter Maureen Hynes Tatyana Margulis Elina Lang Anik Oulianine Bass John Beal, Principal Jack Wenger Tony Flynt Richard Ostrovsky William Sloat Jeffrey Levine Flute Laura Conwesser, Principal Rie Schmidt Karla Moe Oboe Nick Masterson, Principal Erin Gustafson Melanie Feld Clarinet Marina Sturm, Principal Shari Hoffman Liam Burke

Wagner Tuba Chad Yarbrough Theo Primis David Peel William DeVos Trumpet Carl Albach, Principal John Dent John Sheppard Trombone Richard Clark, Principal Kenneth Finn Jeffrey Caswell Tuba Kyle Turner, Principal Timpani Benjamin Herman, Principal Percussion Jonathan Haas, Principal Kory Grossman Harp Victoria Drake, Principal Megan Levin Accordion William Holshouser

Bassoon Charles McCracken, Principal Maureen Strenge Gilbert Dejean, Contrabassoon

Personnel Manager Ann Yarbrough Guttman

Horn Zohar Schondorf, Principal Lawrence DiBello Shelagh Abate Rachel Drehmann Kyle Hoyt, Assistant

Orchestra Librarian Marc Cerri

Assistant Conductor Geoffrey McDonald

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 The Frank & Lydia Bergen Foundation Michael Dorf The Fan Fox and Leslie R. Samuels Foundation, Inc. Jeanne Donovan Fisher The Booth Ferris Foundation Danny Goldberg and Rosemary Carroll Faith Golding Foundation, Inc. Peter Linden Stuart K. Nelson New York City Department of Cultural Affairs New York State Council on the Arts Open Society Institute Robert Rauschenberg Foundation Thurmond Smithgall Felicitas Thorne The Winston Foundation Sustaining Supporter Dr. Leon Botstein The Ann and Gordon Getty Foundation Rachel and Shalom Kalnicki Mary and Sam Miller Dimitri B. Papadimitriou Mrs. James P. Warburg Mr. and Mrs. Richard E. Wilson Distinguished Patron The Jarvis & Constance Doctorow Family Foundation The Elroy and Terry Krumholz Foundation Gary M. Giardina Lynne Meloccaro Shirley A. Mueller The David and Sylvia Teitelbaum Fund, Inc. Golden Circle Miriam R. Berger IBM Corporation Peter L. Kennard Arthur S. Leonard Mimi Levitt Dr. Pamela F. Mazur JoAnne Meloccaro Bruce Slovin Joseph and Jean Sullivan Benefactor Anonymous Karen and Mark Finkbeiner Irwin and Maya Hoffman Jack Kliger

Marcia H. Moor Richard and Joanne Mrstik James and Andrea Nelkin Mr. and Mrs. David E. Schwab II David and Martha Schwartz Peter Sourian Ronnie Streichler, in honor of Leon Botstein Irene Zedlacher Contributor Tania Ahuja Harold P. Allen Gary M. Arthur Thomas Cassilly Isabelle A. Cazeaux Richard C. Celler Bette R. Collom Mary S. Donovan Mr. and Mrs. Joseph Lawrence Gilman Rhea Graffman-Cohen, in honor of Miriam Berger Eva Botstein Griepp Max Hahn Sara Hunsicker Michael Kishbauch Peter Kroll Alan Mallach Jeanne Malter Stephen McAteer Maury Newburger Lawrence Nylen Kurt Rausch LLC Harriet Schon Jon P. Tilley Larry Wehr Robert Weis Wayne and Dagmar Yaddow Orchestra Club American Express Gift Matching Program Ellis Arnstein Carol H. Ash Ronald Baranowski Carol K. Baron Ruth Baron Matthew and Debra Beatrice Yvette and Maurice J. Bendahan Adria Benjamin John Brautigam Mona Yuter Brokaw Patricia R. Brophy Roger Chatfield Connie Chen Barbara Clapman Michele Cone

Mary M. Cope Diana Davis Elisabeth Derow Thomas J. DeStefano Antonio Diez Ruth Dodziuk-Justitz Robert Durst Paul Ehrlich Exxon Mobil Foundation W. J. Fenza Martha Ferry Donald W. Fowle Deborah Franco Christopher H. Gibbs MacEllis K. Glass June Goldberg Nathan Gross John Haggerty Laura Harris James Hayden Roberta Hershenson Dr. and Mrs. Gerald Herskowitz Deb Hoffman George H. Hutzler Jose Jimenez Donald Juliano Ronald S. Kahn Robert Kalish David Kernahan Irving Kleiman Caral G. Klein Robert LaPorte Gerald Laskey Steve Leventis Walter Levi Juddy Levy Peter A. Locker Harvey Marek Ellen Marshall, in honor of Louis Marshall Alan B. McDougall June Meyer Clifford S. Miller Phyllis Mishkin Elisabeth J. Mueller Marin L. and Lucy Miller Murray, in honor of Leon Botstein Tatsuji Namba Kenneth Nassau Jacob and Suzanne Neusner James North Sandra Novick Jill Obrig James Ottaway Roger Phillips Bruce Raynor Anthony Richter


The Kanter Riopelle Family Kenneth Rock Leonard Rosen Peri Rosenfeld Henry Saltzman Leslie Salzman Emil Scheller Gloria Scorse Janet Z. Segal Georgi Shimanovsky Bruce Smith

John Sowle Stanley Stangren Gertrude Steinberg Alan Stenzler Hazel and Bernard Strauss Paul Stumpf Andre Sverdlove Madeline V. Taylor William Ulrich James Wagner Kenneth Wald

Renata Weinstein Barbara Westergaard Janet Whalen Ann William Kurt Wissbrun Leonard Zablow Mark Zarick Alfred Zoller Karen Zorn, Longy School of Music of Bard College List current as of January 31, 2013

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 presentation of outstanding art experiences. 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 Carolyn Marks Blackwood Emily H. Fisher and John Alexander Jeanne Donovan Fisher Martin and Toni Sosnoff Foundation The Marks Family Foundation Millbrook Tribute Garden, Inc. National Endowment for the Arts (NEA) Richard B. Fisher Endowment Fund Martin T. and Toni Sosnoff Thendara Foundation Golden Circle Estate of Richard B. Fisher Felicitas S. Thorne In honor of Oakleigh B. Thorne from Felicitas S. Thorne Producer Artek Harvey Berman Chartwells School and University Dining Services Stefano Ferrari and Lilo Zinglersen Britton Fisher Catherine C. Fisher and Gregory A. Murphy The Howard Gilman Foundation New York State Council on the Arts (NYSCA) Patron Mary I. Backlund


Stuart Breslow and Anne Miller Anne and Harvey Brown Cultural Services of the French Embassy Elizabeth W. Ely ’65 and Jonathan K. Greenburg The Ettinger Foundation, Inc. The Harkness Foundation for Dance, Inc. Rachel and Dr. Shalom Kalnicki Mr. and Mrs. George A. Kellner Susan and Roger Kennedy Millbrook Winery, Inc. Mr. and Mrs. James H. Ottaway Jr. Quality Printing Company, Inc. David A. Schulz Denise S. Simon and Paolo Vieiradacunha Teo Creative, Inc. Sponsor Helen and Roger Alcaly Prof. Jonathan and Jessica K. Becker Anne Donovan Bodnar and James L. Bodnar Michelle R. Clayman Mr. and Mrs. Gonzalo de las Heras Michael F. Dupree Alberta Gilbridge-Wonderlin Alan Hilliker and Vivian W. Liu Dr. Barbara Kenner Geraldine and Kit Laybourne Nancy A. Marks Peter Kenner Family Fund of the JCF

Margrit and Albrecht Pichler Melanie and Philippe Radley Drs. M. Susan and Irwin Richman Ted Ruthizer and Jane Denkensohn David E. Schwab II ‘52 and Ruth Schwartz Schwab ‘52 Sarah and Howard Solomon Darcy Stephens Allan and Ronnie Streichler Dr. Elisabeth F. Turnauer-Derow Illiana van Meeteren Margo and Anthony Viscusi Jerry Weisskohl Robert and Melanie Whaley Aida and Albert Wilder Wilder Consolidated Enterprises Inc. Supporter Joshua J. Aronson Kathleen Augustine Lyell Dampeer and Valerie Belli Marshall S. Berland and John E. Johnson Michael Bywater John Dierdorff Mr. H. Peter Stern and Helen Drutt English Alysha Forster-Westlake Mims and Burton Gold Nan and David Greenwood Rosemary and Graham Hanson Eliot D. and Paula K. Hawkins James Hayden Martin Holub

Kevin Klose Dr. Seymour and Harriet Koenig Prof. Laura Kuhn Marilyn J. Marinaccio Barbara L. and Arthur Michaels Andrea and Kenneth L. Miron James and Purcell Palmer Rhinebeck Department Store Barbara and Dick Schreiber Ted Snowden Peter Sullivan Mr. Randy J. Tryon Cornelius R. Verhoest Rosemary and Noel Werrett Irene Zedlacher Friend Jamie Albright Sybil Baldwin Theodore Bartwink Al and Arlene Becker Richard L. Benson Drs. Daniel Berkenblit and Phillipine Meister-Berkenblit Kurshed Bhumgara Jeffrey and Ellyn Burstein Prof. Mary Ellen Caponegro ’78 Daniel Chu and Lenore Schiff Colgate-Palmolive Company Dr. Edward Conrad Dr. Bruce Cuttler and Joanne E. Cuttler ’99 C. Douglas and Leslie Dienel Abby H. and John B. Dux David Ebony and Bruce Mundt Mr. and Mrs. Arthur C. Eschenlauer Patricia Falk Milly and Arnold Feinsilber Frances and Rao Gaddipati Joseph Geld Marvin and Maxine Gilbert Laurie Gilmore Debby and Fred Glynn Naomi and Roger Gordon Stanley and Anne Gordon Sheryl Griffith Gilbert and Mary Hales David A. Harris Dorothy and Leo Hellerman Delmar D. Hendricks Neil Isabelle Marshall S. Berland and John E. Johnson Dr. Eleanor C. Kane John and Mary Kelly Rose and Josh Koplovitz Robert J. Kurilla Amala and Eric Levine Gerald F. Lewis Susan Lorence Charles S. Maier Janet C. Mills Roy Moses Joanne and Richard Mrstik Edmund M. Murphy

Dr. Abraham and Gail Nussbaum Jill Obrig Douglas Okerson and William Williams Sky Pape and Alan Houghton Gary S. Patrik Debra Pemstein and Dean Vallas Steven Pollak and Robin S. Tanenbaum David Pozorski and Anna Romanski George and Gail Hunt Reeke John and Claire Reid Mr. Irwin Rosenthal Ms. Myrna B. Sameth Barbara A. Schoenberg Elizabeth A. Simon Mr. and Mrs. Charles Stukenborg Mike and Kathy Zdeb

Friends of the Bard Music Festival Leadership Support Bettina Baruch Foundation Jeanne Donovan Fisher Mrs. Mortimer Levitt The Mortimer Levitt Foundation Inc. Denise S. Simon and Paulo Vieiradacunha Golden Circle Helen and Roger Alcaly Michelle R. Clayman Jane W. Nuhn Charitable Trust Dr. Barbara Kenner National Endowment for the Arts (NEA) Felicitas S. Thorne Millie and Robert Wise The Wise Family Charitable Foundation Benefactor The Ann and Gordon Getty Foundation Artek Joan K. Davidson Elizabeth W. Ely ’65 and Jonathan K. Greenburg Eliot D. and Paula K. Hawkins The J. M. Kaplan Fund, Inc. Susan and Roger Kennedy Edna and Gary Lachmund Amy and Thomas O. Maggs New York State Council on the Arts (NYSCA) Jim and Talila O’Higgins Peter Kenner Family Fund of the Jewish Communal Fund Drs. M. Susan and Irwin Richman Bruce and Francesca Slovin The Slovin Foundation Dr. Sanford Sternlieb Margo and Anthony Viscusi

Patron Helen ’48 and Robert L. Bernstein Lydia Chapin David G. Whitcomb Foundation Helena and Christopher Gibbs Alan Hilliker and Vivien W. Liu Merida Welles and William “Chip” Holman Anne E. Impellizzeri Frederic K. and Elena Howard Belinda and Stephen Kaye Dr. Seymour and Harriet Koenig Alison L. and John C. Lankenau Amala and Eric Levine Marstrand Foundation Stephen Mazoh and Martin Kline MetLife Foundation Andrea and Kenneth L. Miron Christina A. Mohr and Matthew Guerreiro Mr. and Mrs. James H. Ottaway Jr. Barbara B. Reis David E. Schwab II ‘52 and Ruth Schwartz Schwab ‘52 Sarah and Howard Solomon Stewart’s Shops Allan and Ronnie Streichler Olivia van Melle Kamp Dr. Siri von Reis Bill Zifchak and Maggie Evans Irene Zedlacher Sponsor Roland Augustine Alexander and Margaret Bancroft Eva Thal Belefont ’49 Dr. Miriam Roskin Berger ‘56 Sarah Botstein and Bryan Doerries Blythe Danner ’65 Mr. and Mrs. Gonzalo de Las Heras Amy K. and David Dubin Alison Granucci Edwin L. Artzt and Marieluise Hessel Martin Holub Helene L. and Mark N. Kaplan Cynthia Hirsch Levy ’65 Martin L. and Lucy Miller Murray Mr. and Mrs. Frederick P. Payton Blanche and Bruce Joel Rubin Rosemary and Noel Werrett Supporter James Akerberg and Larry Simmons Anonymous Mr. J. Roberto De Azevedo John A. Dierdorff Laura Genero Elizabeth D. and Robert Hottensen Elizabeth I. McCann Ms. Anna Neverova ’07 UBS Matching Gift Program Friend Mary I. Backlund


Howard and Mary Bell Sandra Bendfeldt Clara Botstein Michael Caola Pamela Chow and Ted Smith Robert and Isobel Clark Ms. Joan Costa Mary E. Davis Abby H. and John B. Dux Patricia Falk David and Tracy Finn Floyd and Phyliss Glinert Foundation of the FCGF Joseph W. and Joyce Gelb Alysha Glenn ’09 Sandra Graznow and Jim Kearns Thurston Greene Andrea E. Gross Frederick Fisher Hammond Emilie and William Henry Linda Hirshman and David Forkosh* I.B.M. Matching Grants Program Rocco G. Ilardi Rod and Caroline Keating Erica Kiesewetter Irving and Rhonda E. Kleiman Raquel Kleinfeld Linda L. Kaumeyer Robert J. Kurilla Leon and Fern Lerner Martin S. Lippman Longy School of Music of Bard College Ms. Linda Lopez John P. MacKenzie Herbert Mayo Ramy Nagy ’05 and Mia McCully ’07 Joanna M. Migdal Marilyn and Peter Oswald Sarah Elizabeth Coe Paden ’09 Lucas Pipes ’08 Eleanor Pollak Emma Richter ’09 and Alex Gaudio ’10 Mr. and Mrs. Sidney Rose Dr. Gloria Schafer Mr. Robert Schweich John and Aija Sedlak Muriel Simmons Betsy Covington Smith Edwin Steinberg Art and Jeannette Taylor Robert E. Tully Leigh Beery and Jonathan Tunick ’58 Dr. Elisabeth F. Turnauer-Derow John Waldes Marvin Zelman


Major support for the Fisher Center’s programs has been provided by:

Millie and Robert Wise The Wise Family Charitable Foundation

Helen and Roger Alcaly The Andrew W. Mellon Foundation The Ann & Gordon Getty Foundation Artek Harvey Berman Bettina Baruch Foundation Carolyn Marks Blackwood and Gregory Quinn Chartwells School and University Dining Services Michelle R. Clayman Joan K. Davidson Elizabeth W. Ely ’65 and Jonathan K. Greenburg Estate of Richard B. Fisher Stefano Ferrari and Lilo Zinglersen Catherine C. Fisher and Gregory A. Murphy Emily H. Fisher and John Alexander Jeanne Donovan Fisher R. Britton and Melina Fisher Eliot D. and Paula K. Hawkins The Howard Gilman Foundation Jane’s Ice Cream Jane W. Nuhn Charitable Trust The J. M. Kaplan Fund, Inc. Dr. Barbara Kenner Edna and Gary Lachmund Mrs. Mimi Levitt Amy and Thomas O. Maggs The Marks Family Foundation Jim and Talila O’Higgins Martin and Toni Sosnoff Foundation Millbrook Tribute Garden Inc. Millbrook Vineyards & Winery The Mortimer Levitt Foundation Inc. Mrs. Mortimer Levitt Endowment Fund for the Performing Arts National Endowment for the Arts (NEA) New York State Council on the Arts (NYSCA) Peter Kenner Family Fund of the Jewish Communal Fund Drs. M. Susan and Irwin Richman David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Denise S. Simon and Paulo Vieiradacunha The Slovin Foundation Bruce and Francesca Slovin Martin T. and Toni Sosnoff Dr. Sanford B. Sternlieb Thendara Foundation Felicitas S. Thorne Margo and Anthony Viscusi

**deceased All lists current as of February 4, 2013

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 Elizabeth Ely ’65, Secretary; Life Trustee Stanley A. Reichel ’65, Treasurer Fiona Angelini Roland J. Augustine Leon Botstein+ , President of the College James Cox Chambers ’81 David C. Clapp Marcelle Clements ’69* Melinda N. Donovan+ Asher B. Edelman ’61 Paul S. Efron Robert S. Epstein ’63 Barbara S. Grossman ’73* Sally Hambrecht George F. Hamel Jr. Marieluise Hessel Maja Hoffmann Matina S. Horner+ Charles S. Johnson III ’70 Mark N. Kaplan George A. Kellner Murray Liebowitz, Life Trustee Marc S. Lipschultz Peter H. Maguire ’88 James H. Ottaway Jr., Life Trustee Martin Peretz Stewart Resnick, Life Trustee 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 Carolyn Marks Blackwood Leon Botstein+ Stefano Ferrari Harvey Lichtenstein Robert Martin+ Dimitri B. Papadimitriou+ Martin T. Sosnoff Toni Sosnoff Felicitas S. Thorne Administration Debra Pemstein, Vice President for Development and Alumni/ae Affairs Bob Bursey, Senior Producer Gideon Lester, Director, Theater and Dance Programming Mark Primoff, Director of Communications Susana Meyer, Producer, SummerScape Opera Mary Smith, Director of Publications Ginger Shore, Consultant to Publications Eleanor Davis, Media and Marketing Manager Joanna Szu, Marketing Associate Vincent Roca, Production Manager Stephen Dean, Production Coordinator, Concerts & Lectures Matthew Waldron ’07, Production Coordinator, Dance & Theater

Paul LaBarbera, Director of AudioVisual Services Mark Crittenden, Facilities Manager Jeannie Schneider, Business Manager Patrick King ’12, House Manager Sean Rucewicz, Assistant House Manager Kay Schaffer, 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 Robert C. Edmonds ’68 Jeanne Donovan Fisher Christopher H. Gibbs+ 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 Artistic Directors Leon Botstein Christopher H. Gibbs Robert Martin Executive Director Irene Zedlacher Associate Director Raissa St. Pierre ’87 Scholar in Residence 2013 Tamara Levitz

Director of Choruses James Bagwell Vocal Casting Consultant Susana Meyer + ex officio * alumni/ae trustee

The American Symphony Orchestra Board of Directors Danny Goldberg, Chair Thurmond Smithgall, Vice Chair Dimitri B. Papadimitriou, Treasurer Miriam Berger Michael Dorf Rachel Kalnicki Jack Kliger Jan Krukowski Shirley A. Mueller 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 Jesus, Director of Development Sebastian Danila, Library Manager Marielle Métivier, Operations Manager Katrina Herfort, Ticketing Services Coordinator Marc Cerri, Orchestra Librarian Ann Yarbrough Guttman, Orchestra Personnel Manager Ben Oatmen, Production Assistant James Bagwell, Principal Guest Conductor Geoffrey McDonald, Assistant Conductor Zachary Schwartzman, Assistant Conductor Richard Wilson, Composer-inResidence Leszek M. Wojcik, Concert Archival Recording

Program Committee 2013 Byron Adams Leon Botstein Christopher H. Gibbs Tamara Levitz Robert Martin Richard Wilson Irene Zedlacher


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); American University of Central Asia in Kyrgyzstan; and ECLA of Bard: A Liberal Arts University in Berlin; 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 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

©2013 Bard College. All rights reserved. Cover Scott Barrow Inside back cover ©Peter Aaron ’68/Esto


J. S. Bach

Conducted by Leon Botstein Rufus Müller, Evangelist | Jesse Blumberg, Christus With faculty and students of The Bard College Conservatory of Music and singers of the Bard Graduate Vocal Arts Program Bard College Chamber Singers | James Bagwell, Chorus Master

Sosnoff Theater, Richard B. Fisher Center for the Performing Arts Bard College, Annandale-on-Hudson, N.Y.

March 1 and 2 at 8 PM Suggested donation: $20 (orchestra seating), $15 (parterre/first balcony) All ticket sales benefit the Conservatory Scholarship Fund

St. John the Evangelist, Master of St. Francis, ca. 1270. Courtesy National Gallery of Art, Washington, D.C.


10TH ANNIVERSARY CELEBRATION 2013 marks the launch of a second decade of world-class performing arts programs at the Fisher Center. Join us for a packed season of music, theater, dance, and performance from special guest artists and Bard students and faculty. GUSTAV MAHLER’S SYMPHONY NO. 2 Members of the American Symphony Orchestra, Bard College Conservatory Orchestra, and Longy Conservatory Orchestra Conducted by Leon Botstein Heather Buck, soprano Jamie Van Eyck, mezzo-soprano Mahler’s Second Symphony projects a powerful narrative of life triumphant over death. sosnoff theater April 26–27 at 8 pm Tickets: $25, 30, 35, 40

AMERICAN SYMPHONY ORCHESTRA Conducted by Leon Botstein This all-Wagner program includes Lohengrin: Preludes to Acts I and III; Tristan und Isolde: Prelude and Liebestod; and Die Walküre: Act I. sosnoff theater April 19–20 at 8 pm Preconcert Talk at 7 pm Tickets: $25, 30, 35, 40

¯ PERCUSSION AND SO STUDENTS CONCERT S¯ o Percussion and The Bard College Conservatory of Music Percussion Program present their second annual spring concert at the Fisher Center. Works include music by Steve Reich, Lou Harrison, Paul Lansky, and other recent percussion masterworks. sosnoff theater April 12 at 8 pm Tickets: $15 general admission; free to Bard students

AN EVENING WITH NEIL GAIMAN AND AMANDA PALMER An intimate night of spoken word, songs, stories, chats with the audience, and more than a few surprises with author Neil Gaiman (Coraline; The Graveyard Book) and musician/performance artist Amanda Palmer (Dresden Dolls; Amanda Palmer and the Grand Theft Orchestra). sosnoff theater April 6 at 8 pm Tickets: $25, 30, 35, 40

THE BACCHAE by Euripides Directed by Lileana Blain-Cruz Translated by Ned Moore ’13 The god Dionysus returns to Thebes to prove his divinity and punish the city’s unbelievers. This student production is presented in partnership with Bard’s Classical Studies Program. theater two April 11–13 at 7 pm April 14 at 2 and 7 pm Tickets: $15 general admission; free to Bard students

THE 2013 FACULTY DANCE CONCERT A dynamic evening of choreography by the faculty of the Bard College Dance Program, performed by students in the program. theater two April 26–27 at 7:30 pm and April 28 at 2 and 7:30 pm Tickets: $15 general admission; free to Bard students

JACK FERVER AND QWAN COMPANY NOTES!!! and SWAN!!! Live Arts Bard visiting artist Jack Ferver presents his QWAN (Quality Without a Name) Company in the dramatic parodied readings of two well-loved screenplays, Notes from a Scandal and Black Swan. Suitable for mature and immature audiences, 15 years and older. sosnoff theater stage right April 3 at 7 pm Tickets: $20; $5 for the Bard community


Friend ($100–349) • Advance notice of programming

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.

• 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)

Please return your donation to: Richard B. Fisher Center for the Performing Arts Bard College PO Box 5000 Annandale-on-Hudson NY 12504-5000

Enclosed is my check made payable to Bard College in the amount of $ Please designate my gift toward: q Fisher Center Council q Bard Music Festival Council q Where it is needed most Please charge my: q AmEx q Discover Card q MasterCard q Visa in the amount of $ Credit card account number

Expiration date

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Bill T. Jones/Arnie Zane Dance Company and SITI Company A Rite

THEATER JULY 11–21 World Premiere Adaptation

The Master and Margarita A pungent political satire, a magical fantasy, and an unforgettable love story

OPERA JULY 26 – AUGUST 4 Sergey Taneyev’s

Oresteia Aeschylus’ powerful trilogy about the cursed House of Atreus


Stravinsky’s Legacy and Russian Émigré Cinema A retrospective of Russian exile filmmaking in France


Cabaret, music, fine dining, and more and


Stravinsky and His World

AUGUST 9–11 and 16–18

The 2013 SummerScape season and the 24th Bard music Festival are 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 and the New York State Council on the Arts.

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

February 2013: American Symphony Orchestra  
February 2013: American Symphony Orchestra  

February 22 and 23 at 8 pm. Program includes Harold Farberman's TRIPLE PLAY, Concerto for Clarinet, featuring Renata Rakova; and Anton Bruck...