October 2013: American Symphony Orchestra

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

AMERICAN SYMPHONY ORCHESTRA October 25 and 26, 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 & Performance 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 celebrated 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 presents

American Symphony Orchestra Leon Botstein, Music Director Igor Stravinsky (1882–1971) Petrushka (1910–11, rev. 1947) Intermission Avner Dorman (b. 1975) Piccolo Concerto (2001) Allegro Adagio cantabile Presto Fanya Wyrick-Flax ’13, piccolo Felix Mendelssohn (1809– 47) Symphony No. 5, Op. 107 (“Reformation”) (1829–30) Andante–Allegro con fuoco Allegro vivace Andante Andante con moto–Allegro vivace–Allegro maestoso

Sosnoff Theater Friday, October 25 and Saturday, October 26 at 8 pm Preconcert talk at 7 pm by Peter Laki This evening’s concert will run approximately two hours, including one 20-minute intermission.

Notes on the Program

Igor Stravinsky Born in Oranienbaum, near St. Petersburg, June 17, 1882 Died in New York, April 6, 1971

Petrushka (1910–11, rev. 1947) After the resounding success of The Firebird in 1910, Igor Stravinsky became an instant celebrity in Paris. His name was now inseparable from the famous Ballets Russes, whose director, Sergei Diaghilev, was anxious to continue this most promising collaboration. Plans were almost immediately under way for what eventually became The Rite of Spring. But events took a slight detour: in the summer of 1910, Stravinsky began writing a piece for piano and orchestra in which the piano represented for him “a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios.”

The puppet was none other than Petrushka, the popular Russian puppet-theater hero, the equivalent of Punch in “Punch and Judy” shows.

When Diaghilev visited Stravinsky in Lausanne later in the summer, he expected his friend to have made some progress with The Great Sacrifice (the working title of The Rite); instead, he found him engrossed in a completely different composition. Diaghilev immediately saw the dramatic potential of Stravinsky’s concert piece, and persuaded the composer to turn it into a ballet. (The soloistic handling of the piano in the final version is a reminder of the origins of the piece.) Alexandre Benois, a Russian artist and a longtime Diaghilev collaborator, wrote the scenario with Stravinsky, and designed the sets and costumes for the performance.

The original Russian Petrushka has been described as “a devil-may-care oddball, a wisecracker and disturber of the peace.” As Richard Taruskin has pointed out in his magisterial book on Stravinsky, however, the hero of the ballet has little to do with that characterization. He is, rather, a reincarnation of Pierrot, the sad-eyed clown with a white face and wearing a white suit with large black buttons. The plot was not based on the Russian Petrushka plays but rather on the classical love triangle from the commedia dell’arte tradition involving Pierrot, Colombine, and Harlequin. Yet in the first and last scenes, Benois re-created the atmosphere of the old Shrove-Tide fairs in St. Petersburg, a tradition that had already disappeared but one he still remembered from his childhood. The structure of the ballet, then, with two outer scenes depicting a fair in Old Russia and two inner scenes representing a love story that transcends time and place, is more than a neat symmetrical device. It expresses a contrast between things Russian and international, between the public and the private spheres, and between the worlds of humans and puppets. As Taruskin has observed, however,

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[T]he “people” . . . are represented facelessly by the corps de ballet. Only the puppets have “real” personalities and emotions. The people in Petrushka act and move mechanically, like toys. Only the puppets act spontaneously, impulsively—in a word, humanly.

In composing the music of Petrushka, Stravinsky made use of an unusually large number of preexistent melodies, either Russian folk music or popular songs of the time. These came to Stravinsky from a wide variety of sources, ranging from the first scientific collections of folk music, recorded with the then-new phonograph, to urban songs that were “in the air.” His treatment of these sources was far more radical, as far as harmonies are concerned, than it had been in The Firebird; especially in the second scene, “Chez Pétrouchka,” we see significant departures from the 19th-century Russian tradition that Stravinsky had learned from his teacher, Nikolay Rimsky-Korsakov, and that he had been following much more closely in his first ballet.

The first of the four tableaux (“The Shrove-Tide Fair”) is shaped by an alternation between the noise of the crowd and numbers played by street musicians. At first we hear a flute signal accompanied by rapid figurations that evoke the bustle of the fair. Soon the entire orchestra breaks into a boisterous performance of a Russian beggars’ song, followed by the entrance of two competing street musicians, a hurdy-gurdy player and one with a music box. Of the two popular tunes, heard first in succession and then simultaneously, one is a Parisian street tune about the famous actress Sarah Bernhardt who had a wooden leg (“Elle avait un’ jambe en bois”—“She had a wooden leg”). This song, by a certain Mr. Spencer, was protected by copyright, although Stravinsky didn’t realize this at the time of composition. As a result, the author collected a percentage of the royalties from every performance of Petrushka the world over during his lifetime; that percentage has since gone to his heirs. The other song was a well-known Russian melody, sometimes set to bawdy lyrics, that Stravinsky remembered from his youth.

The competition of the street musicians suddenly stops and the beggars’ song returns as a general dance. The signal from the beginning closes the first half of the tableau. Now the puppet theater opens, and the Showman, playing his flute, introduces Petrushka, the Ballerina, and the Moor to the audience. As he touches them with his flute, the three puppets begin the famous “Russian Dance” in which the piano plays a predominant part.

(This was one of the two sections in Stravinsky’s concert piece.) The irresistible force of this passage lies in the varied repetitions of short rhythmic figures and simple melodies harmonized with repeated or parallel-moving chords. These features became important hallmarks of Stravinsky’s style in later years. The dance has a lyrical middle section where the same melody is played more softly by the piano, accompanied by the harp and winds.

Finally, the loud version returns; the dance and the tableau end with a bang.

The second tableau is a reworking of what was originally called “Petrushka’s Cry” in the concert piece for piano and orchestra. It starts with the sonority that has become

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emblematic of the work: two clarinets playing in two different keys at the same time.

After a short piano cadenza, we hear a theme that gives vent to Petrushka’s anger and despair at his failure to win the Ballerina’s heart. His fury suddenly changes into quiet sadness in the following slow pseudo–folk song, played by the duo of the first flute and the piano with only occasional interjections from other instruments. The Ballerina enters, and Petrushka becomes highly agitated. Then she leaves, and the earlier despair motif closes the tableau.

The third tableau takes place in the Moor’s room. His slow dance is accompanied by bass drum, cymbals, and plucked strings, whose off-beat accents impart a distinctly Oriental flavor to the music. The melody itself is played by a clarinet and a bass clarinet pitched two octaves apart. Soon the Ballerina comes in (“with cornet in hand,” according to the instructions), and dances for the Moor as the trumpet (which in the 1947 version replaces the cornet of the original) plays a rather simple tune accompanied only by the snare drum. She then starts waltzing to two melodies by Viennese composer Joseph Lanner (1801–43, a forerunner of the great Strauss dynasty), while the Moor continues his own clumsy movements (for a while, the two melodies are heard simultaneously). The waltz is abruptly interrupted as Petrushka enters to motifs familiar from the second tableau.

His fight with the Moor is expressed by excited runs that, like Petrushka’s earlier music, are “bitonal” in the sense that the same melodic lines are played in two keys at the same time. The orchestra plays some violent, repeated fortissimo chords as the Moor pushes Petrushka out the door.

The fourth and last tableau brings us back to the fair, where, as the evening draws closer, more and more people gather for the festivities. A succession of numbers is performed by various groups taking turns at center stage. A group of nursemaids dances to the accompaniment of two Russian folk songs which, according to a technique already seen several times, are heard first in succession and then simultaneously. Next, a peasant enters with a bear that dances to the peasant’s pipe (the pipe is represented by the shrill sounds of two clarinets playing in their highest register). After this, a drunken merchant comes in: his tune is played in unison by the entire string section, with frequent glissandos, against a motley succession of ascending and descending runs in the woodwinds and brass. Two Gypsy girls perform a quick dance whose melody is given to the oboes and the English horn, with harps and plucked strings in the background, and then both the merchant’s tune and the Gypsy dance are repeated.

The Russian folk song of the coachmen and stable boys comes next, scored mainly for brass; that of the nursemaids, which began the whole scene, returns on clarinets and bassoons. The coachmen’s dance is taken over by the full orchestra, only to be suddenly displaced by the mummers, who, in their funny masks, jest and dance with the crowd to some loud and highly rhythmic music in which the brass predominates.

Suddenly the celebration is disrupted by a scream coming from the side of the theater.

Petrushka rushes in, pursued by the Moor who soon overtakes him and strikes him 6

down. The two clarinets, whose dissonant intervals have followed Petrushka throughout the piece, emit a final piercing shriek that fades away in a pianissimo as the hero expires.

Some soft woodwind solos, accompanied by high-pitched violin tremolos, lament Petrushka’s death. But as the Showman arrives to pick up the puppet and take him back to the theater, Petrushkas’s ghost appears overhead as a piccolo trumpet intones his melody in a tone that is aggressive, mocking, and menacing at the same time. There are only a few string pizzicatos as the curtain falls; the last event in the piece is the resurgence of Petrushka the invincible, thumbing his nose at the magician and at the entire world, which has been so hostile to his pure and sincere feelings.

Avner Dorman Born in Tel Aviv, April 14, 1975

Piccolo Concerto (2001) The world of musical instruments is becoming more and more democratic, and in recent decades, players who had been relegated to the back of the orchestra have increasingly claimed their spot in the limelight. Not that the piccolo flute can easily hide; its piercing high notes easily cut through the most complex orchestral texture. But players have long felt that the instrument can do a lot more than it is called upon to do in the average symphony and, more recently, have actively encouraged composers to write concertos for them. (A distant precedent may be found in the three piccolo concertos by Vivaldi, but these were actually written for a different instrument, the sopranino recorder.)

Among the most successful recent concertos for piccolo is the present work by Israeliborn Avner Dorman, who studied at Juilliard and has long been a resident of the United States. The work, which has been released as part of an all-Dorman CD in Naxos’s American Classics series, was originally commissioned by Israeli piccoloist Lior Eitan as a duet for piccolo and harp, but, as the composer noted, the material turned out to be more fitting for piccolo and orchestra. Dorman has discussed the various influences on the concerto in some program notes found on his website: The musical material is drawn from diverse musical genres and styles: Baroque and Classical music, ethnic music, jazz, and popular music.

Baroque and Classical — The first movement is based on the Classical sonata form. Throughout the piece, there are several fugues and canons. I also use many sequential patterns and other clichés of 18th-century music in this piece.

Ethnic — To my ears, the piccolo’s bottom octave sounds very similar to Middle Eastern shepherd’s flutes. In the second movement, especially, I emphasize this similarity by using characteristic modes of Middle Eastern music, as well as 7

common styles of ornamentation from the region. Another reference to my home region is the imitation of the sounds of desert winds and of the Mediterranean Sea in the second part of the movement.

Jazz and popular music — From the very first notes of the concerto, the juxtaposition of a steady beat in the bass with syncopations in the upper parts serves as a key compositional technique in this piece. Frequently, the classical and ethnic motives are accompanied by short repetitive patterns. In vast sections of the piece, the soloist’s part is supposed to sound as if it is an improvisation. In certain sections of the piece, these repetitive rhythms together with the basso-continuo lines emulate modern drum machines.

Felix Mendelssohn Born in Hamburg, November 14, 1809 Died in Leipzig, May 14, 1847

Symphony No. 5, Op. 107 (“Reformation”) (1829–30) In the year 1830, the Lutheran Church was marking the 300th anniversary of the Augsburg Confession, a fundamental document of the Protestant faith. Felix Mendelssohn decided to participate in the celebration by writing a grand symphony incorporating Martin Luther’s chorale Ein’ feste Burg ist unser Gott (“A Mighty Fortress Is Our God”). He was apparently eager to follow in the footsteps of J. S. Bach, whose St. Matthew Passion he had revived at the Berlin Singakademie in 1829: Bach had written his cantata Ein’ feste Burg (Cantata No. 80) exactly 100 years earlier for the bicentennial of the Lutheran Church.

Mendelssohn started work on the symphony while in England in the autumn of 1829, and finished it in Berlin the following spring. As his friend Eduard Devrient related, Mendelssohn made an effort to work out every detail of the instrumentation (at least in the first movement) in his head before committing a single note to paper.

Felix undertook to write down the entire score, the whole of the instrumentation, bar by bar. It is true that he never wrote out a composition until it was quite completed in his head, and he had played it over to those nearest to him; but nevertheless this was a gigantic effort of memory, to fit in each detail, each doubling of parts, each solo effect barwise, like an immense mosaic. It was wonderful to watch the black column slowly advance upon the blank music paper.

If writing the symphony was a great effort, naming it was not easy either. In a letter to his sister Fanny, Mendelssohn asked her advice on a suitable title: Try to collect opinions as to the title I ought to select: Reformation Symphony, Confession Symphony, Symphony for a Church Festival, Juvenile Symphony, or 8

whatever you like. Write to me about it, and instead of all the stupid suggestions, send me one clever one; but I also want to hear the nonsensical ones sure to be produced on the occasion.

In the wake of the revolutionary events of the year 1830, the church festivities were cancelled. Mendelssohn’s symphony was again scheduled for performance by FrançoisAntoine Habeneck in Paris in 1832, while Mendelssohn was in town. This time it was the musicians who protested against the work, which had too much dense counterpoint to their taste. Mendelssohn led a single performance in Berlin later that year, but then withdrew the work and did not allow it to be performed or published during his lifetime.

What is more, he left instructions for the manuscript to be burned. The symphony was not published until 21 years after the composer’s death, which explains why it is numbered last among Mendelssohn’s symphonies.

The symphony contains an unusually large number of allusions to earlier works. The four-note opening motif of the Andante introduction, played by the violas, is known to most of us from the last movement of Mozart’s “Jupiter” Symphony, but it has a long history going back all the way to Gregorian chant. Mendelssohn elaborates the motif contrapuntally, setting the stage for the next quote, the so-called Dresden Amen—a harmonization of the word “amen” as sung in churches in Dresden since the 18th century. (Fifty years later, Wagner would use the Dresden Amen as the Grail motif in Parsifal.)

The Dresden Amen is followed by the main part of the movement, in a stormy D minor that recalls the “storm and stress” tone of many minor-mode works by Haydn and Mozart.

(The first four notes are identical to the beginning of Haydn’s Symphony No. 104; the same opening was also to be adopted by Schumann in his Second Symphony of 1845–46).

According to classical expectations, the second theme introduces a more peaceful, lyrical mood; however, it does so only gradually here, as it begins in the minor mode and modulates to major only in the third measure. At the end of the tempestuous development section, the Dresden Amen reappears, ushering in a rather unusual recapitulation. The tempo is slower here than it was at the beginning, and the forte dynamics are replaced by piano, with the strings often playing pizzicato (with the strings plucked). Mendelssohn may have been inspired here by the third movement of Beethoven’s Fifth Symphony, where a similar “toning down” occurs. Eventually, however, the music finds its way back to its initial exuberance.

The second movement is a light-hearted and simple minuet in B-flat major, with a Gmajor trio remarkable for its ingratiating melody and innovative orchestration. The minuet is repeated with the addition of a substantial coda.

The short third-movement Andante (G minor) is an aria whose theme is presented by the first violins. Commentators have cited Pamina’s G-minor aria from Mozart’s Magic Flute and the Arioso dolente from Beethoven’s Piano Sonata in A-flat Major, Op. 110, as possible influences. The spirit of the latter is certainly present when the violins suddenly interrupt their melody with a recitative-like cadence.

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The last movement opens with a flute solo in G major, intoning the chorale Ein’ feste Burg. More and more instruments join in, and the chorale is treated in a Bach-like contrapuntal style. The home key of D major is reached at the end of an excited Allegro vivace section, followed by an Allegro maestoso tempo. The chorale theme returns, and becomes the basis of an extended fugato. Later we hear a more lyrical variation, in which parts of the melody are taken up by the cellos and bassoons with accompaniment in short staccato notes from violins, violas, and double basses. After the chorale is joined by a new, folklike dance melody, the jubilant movement ends with a solemn proclamation of Ein’ feste Burg. —Peter Laki, Visiting Associate Professor of Music, Bard College

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Who’s Who

Leon Botstein Conductor Widely recognized for his performances but also for his visionary zeal, championing masterpieces unfairly ignored by history and putting together concert programs that engage the head as well as the heart, Leon Botstein recently celebrated his 20th year as music director and principal conductor of the American Symphony Orchestra.

He is also artistic codirector of the SummerScape and Bard Music festivals, which take place at the Richard B. Fisher ©ric kallaher

Center for the Performing Arts, designed by Frank Gehry for Bard College, where Botstein has been president since

1975. He is conductor laureate of the Jerusalem Symphony Orchestra, where he served as music director from 2003–11.

Botstein leads an active schedule as a guest conductor all over the world, and can be heard on numerous recordings with the London Symphony (their recording of Popov’s First Symphony was nominated for a Grammy), the London Philharmonic, NDR-Hamburg, and the Jerusalem Symphony Orchestra. Many of his live performances with the American Symphony Orchestra are available for download online. The Los Angeles Times called this summer’s Los Angeles Philharmonic performance under Leon Botstein “the allaround most compelling performance of anything I’ve heard all summer at the Bowl.”

Highly regarded as a music historian, Botstein is the editor of The Musical Quarterly and the author of numerous articles and books. In 2011 he was invited to give 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 esteemed 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. In 2013, following in the footsteps of Sir John Barbirolli, Otto Klemperer, and many other of his musical heroes, Leon Botstein received the Bruckner Society’s Julio Kilenyi Medal of Honor for his interpretations of that composer’s music.

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Fanya Wyrick-Flax Fanya Wyrick-Flax ’13 received degrees in mathematics and flute performance from Bard College, where she studied with Tara O’Connor in The Bard College Conservatory of Music. A graduate of Bard High School Early College in Manhattan, she was a pupil of Bart Feller in The Juilliard School Pre-College Division, and also studied with Harrie Starreveld for one semester at the Conservatorium van ©kristan toczko

Amsterdam. She recently participated in the Banff Festival and was praised by the Calgary Herald for her “lyrical sensitivity.” Other performances include the Eastern,

Kent/Blossom, and Bard Music festivals, and side-by-side concerts with the Cleveland and American Symphony orchestras. She was selected for master classes with Paula Robison, Ransom Wilson, Tara O’Connor, Kersten McCall, and Niccola Mazzanti. An ardent proponent of contemporary music, she appears regularly with the New York–based new music ensemble Contemporaneous, and can be heard on their album, Stream of Stars— Music of Dylan Mattingly.

The American Symphony Orchestra The American Symphony Orchestra was founded 50 years ago by Leopold Stokowski, with the avowed intention of making orchestral music accessible and affordable for everyone. Under music director Leon Botstein, Stokowski’s mission is not only intact but thrives. And beyond that, the ASO has 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.

The orchestra also gives the celebrated concert series Classics Declassified at Peter Norton Symphony Space, and regularly performs at 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 ASO 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. Many of the world’s most accomplished soloists have performed with the ASO, among them Yo-Yo Ma, Deborah Voigt, and Sarah Chang. In addition to CDs released by the Telarc, New World, Bridge, Koch, and Vanguard labels, 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.

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The American Symphony Orchestra Leon Botstein, Music Director Violin I

Cello

Horn

Erica Kiesewetter,

Alexander Scheirle, Principal

Zohar Schondorf, Principal

Roberta Cooper

David Smith

Suzanne Gilman

Annabelle Hoffman

Lawrence DiBello

Yukie Handa

Sarah Carter

Kyle Hoyt

Robert Zubrycki

Maureen Hynes

Sara Cyrus, Assistant

Diane Bruce

Rubin Kodheli

Wende Namkung

Tatyana Margulis

Ragga Petursdottir

Elina Lang

Concertmaster

Katherine Livolsi-Landau Ann Labin Sander Strenger Mara Milkis Ann Gillette

Bass John Beal, Principal Jack Wenger Louis Bruno Peter Donovan

Violin II

Richard Ostrovsky

Richard Rood, Principal

William Sloat

Elizabeth Nielsen Patricia Davis Yana Goichman Ashley Horne Alexander Vselensky Lucy Morganstern

Flute

Trumpet Carl Albach, Principal John Dent John Sheppard Trombone Richard Clark, Principal Kenneth Finn Jeffrey Caswell Tuba Kyle Turner, Principal

Karla Moe, Principal

Timpani

Rie Schmidt

Jonathan Haas, Principal

Diva Goodfriend-Koven, Piccolo

Percussion Kory Grossman, Principal

Katherine Hannauer

Oboe

Matthew Beaumont

Nazig Tchakarian

Alexandra Knoll, Principal

Sean Statser

Kathryn Aldous

Erin Gustafson

Viola

Laura Covey, English horn

William Frampton, Principal

Clarinet

Sally Shumway

Laura Flax, Principal

Shelley Holland-Moritz

Marina Sturm

Crystal Garner

David Gould, Bass clarinet

Debra Shufelt-Dine Adria Benjamin Rachel Riggs Louis Day

Bassoon Charles McCracken, Principal

Harp Sara Cutler, Principal Keyboard Peggy Kampmeier, Principal Isabelle O’Connell Personnel Manager Ann Yarbrough Guttman

Maureen Strenge

Assistant Conductor

Damian Primis,

Geoffrey McDonald

Contrabassoon

Orchestra Librarian Marc Cerri

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The American Symphony Orchestra Board of Directors, staff, and artists gratefully acknowledge the following individuals, foundations, corporations, and government agencies for their vital support. While space permits us only to list gifts made at the Orchestra Club level and above, we value the generosity of all donors. Thank you for your support of our 50th anniversary season. We look forward to our next 50.

American Symphony Orchestra Annual Contributors Stokowski Society The Booth Ferris Foundation Michael Dorf Faith Golding Foundation, Inc. The Fan Fox & Leslie R. Samuels Foundation, Inc. Jeanne Donovan Fisher The Frank & Lydia Bergen Foundation Danny Goldberg and Rosemary Carroll Rachel and Shalom Kalnicki Peter Linden New York City Department of Cultural Affairs New York State Council on the Arts Open Society Foundations Dimitri B. and Rania Papadimitriou Robert Rauschenberg Foundation Thurmond Smithgall Felicitas S. Thorne The Winston Foundation Sustaining Supporter Anonymous The Ann & Gordon Getty Foundation Mary and Sam Miller Mrs. James P. Warburg Mr. and Mrs. Richard E. Wilson Distinguished Patron Anonymous The Elroy & Terry Krumholz Foundation Golden Circle Anonymous Joel and Ann Berson Eric Czervionke The David & Sylvia Teitelbaum Fund, Inc. Gary M. Giardina Peter L. Kennard Arthur S. Leonard Dr. Pamela F. Mazur JoAnne Meloccaro Shirley A. Mueller, Esq. Mark Ptashne and Lucy Gordon Joseph and Jean Sullivan Irene Zedlacher

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Benefactor Anonymous Miriam R. Berger Ellen Chesler and Matthew J. Mallow Patricia K. Faber and Edward Faber Karen Finkbeiner Irwin and Maya Hoffman IBM Corporation Michael Kishbauch Jack Kliger and Amy Griggs William McCracken and Cynthia Leghorn Marcia H. Moor Richard and Joanne Mrstik James and Andrea Nelkin David E. Schwab II and Ruth Schwartz Schwab Peter Sourian Ronnie Streichler, in honor of Leon Botstein Tart-Wald Foundation Contributor Anonymous Tania Ahuja Gary M. Arthur David Beek and Gayle Christian Thomas and Carolyn P. Cassilly Richard C. Celler Bette R. Collom Mary S. Donovan Mr. and Mrs. Joseph Lawrence Gilman Rhea Graffman-Cohen, in honor of Miriam R. Berger Eva Botstein Griepp Max and Eliane Hahn Sara Hunsicker The Kanter Riopelle Family Erica Kiesewetter Irving and Rhoda Kleiman John D. Knoernschild Peter Kroll Peter A. Q. Locker Alan Mallach Jeanne Malter Karen Manchester Stephen McAteer Sally McCracken Lisa Mueller and Gara LaMarche Tatsuji Namba Kurt Rausch LLC Harriet Schon Martha and David Schwartz Jon P. Tilley

Kenneth Wald Larry Wehr Robert Weis Wayne and Dagmar Yaddow Orchestra Club Anonymous (4) American Express Gift Matching Program Ellis Arnstein Carol H. Ash Ronald Baranowski Carol K. Baron Ruth Baron Mary Ellin Barrett Robert Basner Matthew and Debra Beatrice Karen Bedrosian-Richardson Yvette and Maurice J. Bendahan Adria Benjamin Stephen Blum John Brautigam Mona Yuter Brokaw Patricia R. Brophy Stephen M. Brown Marjorie L. Burns, in memory of Marden Bate Isabelle A. Cazeaux Roger Chatfield Barbara Clapman Michele Cone Mary M. Cope Diana Davis Nicole M. de JesĂşs and Brian P. Walker Elisabeth Derow Antonio Diez Ruth Dodziuk-Justitz Barton Dominus Robert Durst Paul Ehrlich Exxon Mobil Foundation Richard Farris W. J. Fenza Martha Ferry Donald W. Fowle Deborah Franco Lyudmila German Christopher H. Gibbs MacEllis K. Glass June Goldberg Michael Gotts Greenwich House, Inc. Nathan Gross John Haggerty Laura Harris

James Hayden Robert Herbert Roberta Hershenson Dr. and Mrs. Gerald Herskowitz Deb Hoffman Eric S. Holtz George H. Hutzler Jose Jimenez Donald Juliano Ronald S. Kahn Robert Kalish Peter Keil David Kernahan Caral G. and Robert A. Klein Adnah G. and Grace M. Kostenbauder Thomas Lambert Robert LaPorte Gerald Laskey Steve Leventis Walter Levi Judd Levy JosÊ A. Lopez Linda Lopez Harvey Marek Ellen Marshall, in honor of Louis Marshall Carolyn McColley Joan and Allan McDougall Richard and Maryanne Mendelsohn June Meyer Clifford S. Miller Phyllis Mishkin Alex Mitchell Judith Monson Elisabeth J. Mueller Marin L. and Lucy Miller Murray, in honor of Leon Botstein Michael Nassar Kenneth Nassau Maury Newburger Jacob and Susan Neusner James North Sandra Novick Jill Obrig Clarence W. Olmstead Jr. and Kathleen F. Heenan Thomas O’Malley Jim and Mary Ottaway Roger Phillips Jane and Charles Prussack Bruce Raynor Anthony Richter Kenneth Rock Leonard Rosen Peri Rosenfeld Henry Saltzman Leslie Salzman Nina C. and Emil Scheller Harriet Schon Gerald and Gloria Scorse Janet Z. Segal G. Shimanovsky Bruce Smith

John Sowle Stanley Stangren Gertrude Steinberg Alan Stenzler Hazel and Bernard Strauss Helen Studley Paul Stumpf Andre Sverdlove Lorne and Avron Taichman Madeline V. Taylor William Ulrich James Wagner Renata and Burt Weinstein Barbara Westergaard Janet Whalen Ann William Michael P. A. Winn Kurt Wissbrun Richard J. Wood Leonard and Ellen Zablow Mark Zarick Alfred Zoller Karen Zorn, Longy School of Music of Bard College Myra and Matthew 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: New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature The New York City Department of Cultural Affairs The Honorable Michael R. Bloomberg, Mayor The Honorable Kate D. Levin, Commissioner List current as of September 27, 2013

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We honor the late Richard B. Fisher for his generosity and leadership in building and supporting this superb center that bears his name by offering outstanding arts experiences. We recognize and thank the following individuals, corporations, and foundations that share Dick’s and our belief in presenting and creating art for the enrichment of society. Ticket sales cover less than 15 percent of our 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 and New Albion Records, Inc. True Love Productions Golden Circle Estate of Richard B. Fisher Felicitas S. Thorne In honor of Oakleigh B. Thorne from Felicitas S. Thorne Producer Artek Mr. and Mrs. Lewis W. Bernard Chartwells School and University Dining Services Steven M. Dawson Michael J. Del Giudice and Jaynne Keyes Stefano Ferrari and Lilo Zinglersen Britton Fisher Catherine C. Fisher and Gregory A. Murphy Florence & Robert Rosen Family Foundation The Howard Gilman Foundation Doris J. Lockhart The Maurer Family Foundation, Inc. Stephen Mazoh and Martin Kline Mr. and Mrs. James H. Ottaway Jr. Tricia and Foster Reed David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Live Arts Bard Creative Council Harvey Berman Steven M. Dawson Jeanne Donovan Fisher Barbara Grant

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Patron Fiona Angelini and Jamie Welch Mary I. Backlund and Virginia Corsi Dr. Leon Botstein and Barbara Haskell Stuart Breslow and Anne Miller Kay Brover and Arthur Bennett Anne and Harvey Brown Cultural Services of the French Embassy Ear Trumpet Labs, Inc. Elizabeth W. Ely ’65 and Jonathan K. Greenburg The Ettinger Foundation, Inc. Barbara Lemperly Grant Thomas and Bryanne Hamill The Harkness Foundation for Dance, Inc. Rachel and Dr. Shalom Kalnicki Amala and Eric Levine Bonnie Loopesko and Daniel Shapiro Millbrook Winery, Inc. David J. Marshall Quality Printing Company, Inc. David A. Schulz Karen and Robert G. Scott Denise S. Simon and Paulo Vieiradacunha Allan and Ronnie Streichler Teo Creative, Inc. Illiana van Meeteren Aida and Albert Wilder Wilder Consolidated Enterprises Inc. Sponsor Helen and Roger Alcaly Prof. Jonathan and Jessica K. Becker Dr. Miriam Roskin Berger ’56 Sandra and Dr. A. John Blair III Anne Donovan Bodnar and James L. Bodnar Harlan Bratcher and William L. Usnik Jr. Alexandre and Lori Chemla Michelle R. Clayman Mr. and Mrs. Gonzalo de Las Heras Michael F. Dupree Beverly Fanger and Dr. Herbert S. Chase, Jr. Alberta Gilbridge-Wonderlin Eliot D. and Paula K. Hawkins

Susan Hendrickson Alan Hilliker and Vivian W. Liu Jane’s Ice Cream Mr. and Mrs. George A. Kellner Susan and Roger Kennedy Dr. and Mrs. Roy G. Kulick Geraldine and Kit Laybourne Nancy A. Marks Peter Kenner Family Fund of the Jewish Communal Fund Margrit and Albrecht Pichler Melanie and Philippe Radley Drs. M. Susan and Irwin Richman Florence and Robert A. Rosen Ted Ruthizer and Jane Denkensohn Barbara and Dick Schreiber Sarah and Howard Solomon Darcy Stephens Dr. Elisabeth F. Turnauer-Derow Jerry Weisskohl Mr. Jann S. Wenner Robert and Melanie Whaley Supporter Joshua J. Aronson Kathleen Augustine Roland Augustine Ward C. Belcher Marshall S. Berland and John E. Johnson Alfred M. Buff and Lenore Nemeth Michael Bywater Jennifer and Jonathan Cohen Mr. Claude Dal Farra Lyell Dampeer and Valerie Belli John Dierdorff Gordon Douglas Martha J. Fleischman Alysha Forster-Westlake Marvin and Maxine Gilbert Nan and David Greenwood Rosemary and Graham Hanson Frederic Harwood James Hayden Martin Holub Bonnie Johnson Dr. Barbara Kenner Kevin Klose Prof. Laura Kuhn Cesar Ramon Lascano Patricia Duane Lichtenberg Charles S. Maier Marilyn J. Marinaccio

Barbara L. and Arthur Michaels Andrea and Kenneth L. Miron James and Purcell Palmer Mr. and Mrs. Frederick P. Payton Rhinebeck Department Store Ted Snowden Craig and Renee Snyder Mr. H. Peter Stern and Helen Drutt English Peter Sullivan Mark Sutton Mr. Randy J. Tryon Cornelius R. Verhoest Rosemary and Noel Werrett Irene Zedlacher Friend Jamie Albright Sybil Baldwin Theodore Bartwink Matthew Beatrice Al and Arlene Becker Richard L. Benson Drs. Daniel Berkenblit and Philippine Meister-Berkenblit Khurshed Bhumgara Gisa Botbol Gary Boyd David and Jeannette T. Brown Jeffrey and Ellyn Burstein Prof. Mary Ellen Caponegro ’78 Ellen and Mac Caputo Mrs. Pauline G. Carafotes Richard Cheek Neil and Kathleen Chrisman Daniel Chu and Lenore Schiff Mr. and Mrs. Jonathan M. Clark Robert and Isobel Clark Ms. Darrah L. Cloud Marshall J. Cohen Richard D. Cohen Marianthe Colakis Ellen K. Coleman Colgate-Palmolive Company Dr. Edward Conrad Jane R. Cottrell Ms. Heather Croner Dr. Bruce Cuttler and Joanne E. Cuttler ’99 C. Douglas and Leslie Dienel Amy K. and David Dubin Abby H. and John B. Dux David Ebony and Bruce Mundt Mr. and Mrs. Arthur C. Eschenlauer Estate of James Deguire Patricia Falk Milly and Arnold Feinsilber Ann and Robert Freedman David Gable Frances and Rao Gaddipati James J. Gebhard Joseph Geld Marvin and Maxine Gilbert Laurie Gilmore

Debby and Fred Glynn Arthur and Judy Gold Mims and Burton Gold Naomi and Roger Gordon Stanley and Anne Gordon Sheryl Griffith Matthew M. Guerreiro and Christina Mohr Ms. Julio Guillen Ronald Guttman Gilbert and Mary Hales Rosemary and Graham Hanson David A. Harris Johanna Hecht and Raymond Sokolov Dorothy and Leo Hellerman Delmar D. Hendricks Kenneth P. Hodges Martin Holub Daniel Idzik Neil Isabelle Timur Kanaatov Dr. Eleanor C. Kane Linda L. Kaumeyer John and Mary Kelly Marilyn Kirchner Dr. Seymour and Harriet Koenig Prof. Marina Kostalevsky Rose and Josh Koplovitz Robert J. Kurilla Daniel Labar Myron Ledbetter Mr. Maurice Dupont Lee Dr. Nancy Leonard and Dr. Lawrence Kramer Amala and Eric Levine Gerald F. Lewis Susan Lorence Joy McManigal Janet C. Mills Dr. David T. Mintz 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 Susan Price Sandra Ray George and Gail Hunt Reeke John and Claire Reid Mr. Douglas Reeser Mr. Irwin Rosenthal Blanche and Bruce Joel Rubin Ms. Myrna B. Sameth Michael W. Scheringer Barbara A. Schoenberg

Marc Sferrazza Nevin Shalit Mr. Ian Shrank Elizabeth A. Simon Clare L. Smith Dr. Sanford B. Sternlieb Mr. and Mrs. Charles Stukenborg Margo and Anthony Viscusi Mike and Kathy Zdeb List current as of September 12, 2013

Donors to the Bard Music Festival Leadership Support The Andrew W. Mellon Foundation Bettina Baruch Foundation Michelle R. Clayman Jeanne Donovan Fisher Susan and Roger Kennedy Mrs. Mortimer Levitt The Mortimer Levitt Foundation Inc. Mr. and Mrs. James H. Ottaway Jr. Denise S. Simon and Paulo Vieiradacunha Felicitas S. Thorne Golden Circle Helen and Roger Alcaly Jane W. Nuhn Charitable Trust Dr. Barbara Kenner National Endowment for the Arts (NEA) Charles P. Stevenson Jr. and Alexandra Kuczynski Millie and Robert Wise The Wise Family Charitable Foundation Producer 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. 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 David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Bruce and Francesca Slovin The Slovin Foundation Dr. Sanford Sternlieb

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Margo and Anthony Viscusi Patron Mary I. Backlund and Virginia Corsi Helen ’48 and Robert L. Bernstein Lydia Chapin and David Soeiro David G. Whitcomb Foundation Amy K. and David Dubin Helena and Christopher Gibbs Matthew M. Guerreiro and Christina Mohr Alan Hilliker and Vivien W. Liu Frederic K. and Elena Howard Belinda and Stephen Kaye James Klosty Alison L. and John C. Lankenau Alfred J. Law and Glenda A. Fowler Law Amala and Eric Levine Marstrand Foundation Stephen Mazoh and Martin Kline The McGraw-Hill Companies Matching Gift Program MetLife Foundation Martin L. and Lucy Miller Murray Andrea and Kenneth L. Miron Blanche and Bruce Joel Rubin Sarah and Howard Solomon Edwin Steinberg Stewart’s Shops Allan and Ronnie Streichler Dr. Elisabeth F. Turnauer-Derow Dr. Siri von Reis Merida Welles and Chip Holman Bill Zifchak and Maggie Evans Irene Zedlacher Sponsor Joshua J. Aronson Edwin L. Artzt and Marieluise Hessel Kathleen Augustine Roland Augustine Alexander and Margaret Bancroft Eva Thal Belefont ’49 Dr. Miriam Roskin Berger ’56 Sarah Botstein and Bryan Doerries Jane R. Cottrell Blythe Danner ’65 Mr. and Mrs. Gonzalo de Las Heras Emily H. Fisher and John Alexander Frederick Wiseman and Sons, Ltd. John Geller Laura Genero Alison Granucci Martin Holub Anne E. Impellizzeri Rachel and Dr. Shalom Kalnicki Helene L. and Mark N. Kaplan Dr. Seymour and Harriet Koenig Richard Kortright Cynthia Hirsch Levy ’65 Dr. and Mrs. Arthur Menken Martin L. and Lucy Miller Murray Mr. and Mrs. Frederick P. Payton

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Barbara B. Reis Elizabeth Farran Tozer and W. James Tozer Jr. Mark Trujillo UBS Matching Gift Program Rosemary and Noel Werrett Maureen A. Whiteman and Lawrence J. Zlatkin Supporter Anonymous James Akerberg and Larry Simmons Alexander and Margaret Bancroft Prof. Jonathan and Jessica K. Becker Sandra Bendfeldt Marshall S. Berland and John E. Johnson Sarah Botstein and Bryan Doerries Kay Brover and Arthur Bennett Frederick and Jan Cohen Mr. J. Roberto De Azevedo Willem F. De Vogel John A. Dierdorff Patricia Falk Mr. Donald C. Fresne Katherine Gould-Martin and Robert L. Martin David and Nancy Hathaway Dr. Barbara K. Hogan Elizabeth D. and Robert Hottensen I.B.M. Matching Grants Program Jack & Marion’s Fund of the JCF Edith and Hamilton F. Kean Mr. and Mrs. Thomas W. Keesee III John and Mary Kelly John R. and Karen Klopp Elizabeth I. McCann Ms. Anna Neverova ’07 Mr. and Mrs. Frederick P. Payton Lucas Pipes ’08 and Sarah Elizabeth Coe Paden ’09 John and Claire Reid Barbara and Donald Tober Illiana van Meeteren Olivia van Melle Kamp Mr. Michael P. A. Winn ’59 Friend Barbara J. Agren Jamie Albright Richard Armstrong and Dorsey Waxter Linda Baldwin Leigh Beery and Jonathan Tunick ’58 Howard and Mary Bell Elizabeth Phillips Bellin ’00 and Marco M. S. Bellin Khurshed Bhumgara Elisabeth Boada Clara Botstein Madge Briggs

John C. D. and Nancy Bruno Melva Bucksbaum and Raymond J. Learsy Ms. Katherine Burstein ’09 Michael Caola Philip and Mimi Carroll Mr. George Carrothers Pamela Chow and Ted Smith Constance and David C. Clapp Robert and Isobel Clark Jennifer Paul Cohen Ms. Joan Costa Mary E. Davis Mr. and Mrs. Timothy Delaney Angela O. B. de Mello Keesee Rt. Rev. Herbert A. and Mary Donovan Seth Dubin Abby H. and John B. Dux Patricia Falk June and Peter Felix Francis Finlay and Olivia J. Fussell David and Tracy Finn Anne Stewart Fitzroy Laura Flax Deborah and Thomas Flexner Floyd and Phyllis Glinert Foundation of the FCGF Luisa E. Flynn John Foreman Samantha R. J. Free Emily Rutgers Fuller Joseph W. and Joyce Gelb Alysha Glenn ’09 Maxwell H. and Victoria Goodwin Mr. and Mrs. Harrison J. Goldin Samuel L. Gordon Jr. Lawrence and Lorna Graev Sandra Graznow and Jim Kearns Thurston Greene Andrea E. Gross Sally S. Hamilton Frederick Fisher Hammond Tameka L. Harvey James Hayden Susan Heath and Rodney Patterson Emilie and William Henry Fritz and Nancy Henze Mr. Derek B. Hernandez ’10 Juliet Heyer Linda Hirshman and David Forkosh* Susan Hoehn Rocco G. Ilardi John Cage Trust Demetrios and Susan Karayannides Linda L. Kaumeyer Robert E. Kaus Rod and Caroline Keating Mr. and Mrs. George A. Kellner

Fernanda Kellogg and Kirk Henckels Erica Kiesewetter Charles and Katherine King Irving and Rhonda E. Kleiman Harold and Raquel Kleinfeld Phyllis Busell and James M. Kostell Chloe A. Kramer Robert J. Kurilla Debra I. and Jonathan Lanman Wayne Lawson Beth Ledy Ms. Carol Lee E. Deane and Judith S. Leonard Leon and Fern Lerner Martin S. Lippman Longy School of Music of Bard College Ms. Linda Lopez Catherine Anne Luiggi Lynn Favrot Nolan Family Fund John P. MacKenzie Claire and Chris Mann Herbert Mayo Don and Evelyn McLean Mr. and Mrs. Seth Melhado Joanna M. Migdal Dr. David T. Mintz Roy Moses Ramy Nagy ’05 and Mia McCully ’07 Dr. Vanessa Neumann Mr. and Mrs. William T. Nolan Elizabeth J. and Sevgin Oktay Marilyn and Peter Oswald David B. and Jane L. Parshall Eilene Peeling Eleanor Pollak D. Miles Price Encarnita and Robert Quinlan Emma Richter ’09 and Alex Gaudio ’10 Joseph M. Rinaldi and Elizabeth McClintock Mr. and Mrs. Sidney Rose Ms. Phyllis Ross Alfred J. and Deirdre Ross Dr. Gloria Schafer Barbara A. Schoenberg Mr. Robert Schweich John and Aija Sedlak Dagni and Martin Senzel Susan Shine Muriel Simmons Betsy Covington Smith Edwin Steinberg John Tancock Art and Jeannette Taylor Jessica and Peter Tcherepnine Mila Tewell Alexandra Tuller and Dean Temple Robert E. Tully John Waldes Arete B. S. Warren

Arnold S. Warwick ’58 Jack and Jill Wertheim Barbara Jean Weyant Robert and Melanie Whaley Serena H. Whitridge Dr. Lawrence A. Wills and Dorry Joy Peter and Maria Wirth Ms. Chanel M. Wood ’08 Marvin Zelman Mr. YuGai Zhu ’11 * deceased List current as of September 12, 2013

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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 Stuart Breslow+ Thomas M. Burger+ James C. Chambers ’81 David C. Clapp Marcelle Clements ’69* The Rt. Rev. Andrew M. L. Dietsche, Honorary Trustee 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, Life Trustee 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

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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 and Programming Debra Pemstein, Vice President for Development and Alumni/ae Affairs Bob Bursey, Senior Producer Gideon Lester, Director of Theater Programs Caleb Hammons, Associate Producer Jeannie Schneider, Business Manager Marla Walker, Executive Assistant Production Vincent Roca, Production Manager Stephen Dean, Production Coordinator, Concerts and Lectures Matthew Waldron ’07, Production Coordinator, Dance and Theater Steven Michalek, Technical Director Josh Foreman, Lighting Supervisor Moe Schell, Costume Shop Supervisor Adam Kushner, Audio/Video Supervisor Communications Mark Primoff, Director of Communications Eleanor Davis, Media and Marketing Manager Joanna Szu, Marketing Associate

Publications Mary Smith, Director of Publications Ginger Shore, Consultant to Publications Audience Services David Steffen, Audience Services Manager and Communications Coordinator Nicholas Reilingh, Box Office Manager Caitlyn DeRosa, Assistant Box Office Manager Patrick King ’12, House Manager Alec Newell ’15, Assistant House Manager Kay Schaffer ’14, Assistant House Manager Facilities Mark Crittenden, Facilities Manager Ray Stegner, Building Operations Manager Doug Pitcher, Building Operations Coordinator Daniel DeFrancis, Building Assistant Robyn Charter, Building Assistant Vicki Child, Housekeeping Katie O’Hanlon, Housekeeping Anna Simmons, Housekeeping

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. Felicitas S. Thorne Siri von Reis Artistic Directors Leon Botstein Christopher H. Gibbs Robert Martin

Executive Director Irene Zedlacher

The American Symphony Orchestra

Associate Director Raissa St. Pierre ’87

Board of Directors Dimitri B. Papadimitriou, Chair Thurmond Smithgall, Vice Chair Karen Zorn, Treasurer

Scholar in Residence 2013 Tamara Levitz Program Committee 2013 Byron Adams Leon Botstein Christopher H. Gibbs Tamara Levitz Robert Martin Richard Wilson Irene Zedlacher Director of Choruses James Bagwell Vocal Casting Consultant Susana Meyer * alumni/ae trustee + ex officio

Miriam Berger Michael Dorf Rachel Kalnicki Jack Kliger Shirley A. Mueller, Esq. Debra R. Pemstein Eileen Rhulen Felicitas S. Thorne

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

Honorary Members: Joel I. Berson, Esq. L. Stan Stokowski Administration Lynne Meloccaro, Executive Director Oliver Inteeworn, General Manager Brian J. Heck, Director of Marketing Nicole M. de Jesús, Director of Development Sebastian Danila, Library Manager Marielle Métivier, Operations Manager

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 six correctional institutions in New York State; M.A. in curatorial studies, M.S. in economic theory and policy, and M.S. in environmental policy and in climate science and policy at the Annandale campus; M.F.A. and M.A.T. at multiple campuses; M.B.A. in sustainability in New York City; and M.A., M.Phil., and Ph.D. in the decorative arts, design history, and material culture at the Bard Graduate Center in Manhattan. Internationally, Bard confers dual B.A. degrees at the Faculty of Liberal Arts and Sciences, St. Petersburg State University, Russia (Smolny College); American University of Central Asia in Kyrgyzstan; and 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 5,000 students. The undergraduate college has an enrollment of more than 1,900 and a student-tofaculty ratio of 10:1. For more information about Bard College, visit www.bard.edu. ©2013 Bard College. All rights reserved.

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

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AMERICAN SYMPHONY ORCHESTRA conducted by leon botstein, music director sosnoff theater $25, 30, 35, 40 All concerts are at 8 pm and will feature a preconcert talk at 7 pm.

concert two

Friday, February 21 and Saturday, February 22, 2014 joan tower Stroke erkki melartin Concerto in D Minor for violin and orchestra, Op. 60 (1913) Dongfang Ouyang ’14, violin

robert schumann Symphony No. 2 concert three

Friday, April 11 and Saturday, April 12, 2014 johann strauss Emperor Waltz, Accelerations, The Blue Danube

julius conus Violin Concerto Zhi Ma ’15, violin

johannes brahms Symphony No. 2

Photo: Cory Weaver

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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

Name as it appears on card (please print clearly)

Address

fishercenter.bard.edu/support

City

State

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SAVE THE DATES

theater & performance

Moby Dick—Rehearsed

By Orson Welles October 24–27 dance

Moderation Dance Concert November 8–10 music

Conservatory Sundays Conservatory Orchestra Works by Rossini, Strauss, and Shostakovich November 10 dance

Senior Dance Concert December 5–7 music

Conservatory Sundays Conservatory Orchestra Works by Chausson, Beethoven, and Brahms December 8 theater & performance

Elephant Room December 13–15

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