John Cage: On & Off the Air!

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

JOHN CAGE ON & OFF THE AIR! November 17, 2012

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 Dance Program and Theater and Performance Program, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which celebrated its 23rd year in August with “Saint-Saëns and His World.” The 2013 festival will be devoted to Igor Stravinsky, with a special weekend focusing on the works of Duke Ellington.

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

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

The 2012 fall season at the Richard B. Fisher Center for the Performing Arts is made possible in part through grants from the National Endowment for the Arts and the New York State Council on the Arts, as well as 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.

The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President Leon Botstein and the John Cage Trust

present

John Cage: On & Off the Air! Radio Music (1956) 27’10.554” for a Percussionist (1956) Water Walk (1959) 4’33” (1952) Credo in US (1942) Intermission

The City Wears a Slouch Hat (1942)

Sosnoff Theater November 17 at 8 pm

Running time for this performance is one-and-a-half hours, with one intermission.

The use of recording equipment or the taking of photographs during the performance is strictly prohibited.

Program Notes John Cage: On & Off the Air! celebrates John Cage’s centennial year under the auspices of the John Cage Trust at Bard College, bringing into the spotlight Cage’s prescient work with technology. Cage’s interest in radio as both a medium of transmission and as a musical instrument was lifelong, beginning in childhood with original broadcasts created on behalf of his Boy Scouts of America troop and culminating, the year before his death, with his Europera 5 (1991), one of three mixed-media works created for the operatic stage. This evening’s program celebrates this engagement with a number of classic works by Cage, culminating in a newly staged revival of his peripatetic The City Wears a Slouch Hat (CBS Radio, 1942), based on a play by Kenneth Patchen and featuring a newly commissioned film of light and shadows by the New York composer Mikel Rouse.

Radio Music (1956) Performers: Leila Bordreuil, Conrad Brittenham, John Garlid, Sonya Palkina, Nathan Smallwood, Jake Sokolov-Gonzalez, Will Tesdell, Rebecca Wagner One to eight performers, each at one radio Radio Music was composed using chance operations. It may be performed by one to eight radio operators, the eight parts of the score calling for between 26 and 64 different frequencies between 55 and 156 kHz, notated in numbers. Each part is in four sections, with or without silences (indicated by lines, expressing maximum amplitude), which are programmed by the players. It was first performed on May 30, 1956, Carl Fisher Hall, New York, with musicians Maro Ajemian, David Tudor, Grete Sultan, and the Juilliard String Quartet.

27’10.554” for a Percussionist (1956) Performer: Amy Garapic Solo percussionist utilizing metal, wood, skin, and electronic instruments (radios) This is the last work in Cage’s “10,000 Things” series, a virtuosic work for solo percussionist. The instruments are divided into four groups—metal (M), wood (W), skin (S), and all else (A), i.e., electronics, radios, whistles, etc.—and the choice of specific instruments to be used is determined by the performer. The notation includes notes in vertical positions, which indicate volume, and a centerline representing a dynamic of mf. The notation overall is spatial, wherein a single page equates to one minute. The work may be performed as a recording or with the use of a recording. Cage’s compositional means included chance operations as well as the use of imperfections in the paper upon which the work was written.

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Water Walk (1959) Performer: Amy Garapic For solo performer making use of 34 specified stage properties John Cage composed Water Walk for the Italian TV quiz show Lascia O Raddoppia (Double or Nothing), using his Fontana Mix as composing means. In it, he included 34 distinct materials or stage properties, as well as a single-track tape, 7 IPS, 3 minutes in length. The materials required mostly relate in one way or another to water, and include a bathtub, toy fish, pressure cooker, ice cubes, blender, rubber duck, goose whistle, and, of course, five radios. The score consists of a list of properties, a floor plan showing their placement, three pages with a timeline (of one minute each) with descriptions and pictographic notations of events, and a list of notes “regarding some of the actions to be made in their order of occurrence.” Timings are not accurate: “Start watch and then time actions as closely as possible to their appearance in the score.”

4’33” (1952) Performer: George Quasha Solo performer, at one radio This is John Cage’s most notorious composition, his famous “silent piece,” which isn’t silent at all. In this work, no intentional sounds are made, but rather the sounds of the environment take center stage. It was first performed by David Tudor on August 29, 1952, at Maverick Concert Hall, Woodstock, New York. In this first version of the work, Cage divided the work into three chance-determined movements, lasting 33”, 2’40”, and 1’20”.

While the first version of the work was fully notated (with many, many rests), Cage would later create two different published versions, one in proportionate notation, wherein space equals time, and one with the simplest of instructions for its three movements: I Tacet, II Tacet, and III Tacet.

Credo in US (1942) Performers: NEXUS, with Amy Garapic, percussion, and Frank Corliss, piano For one pianist, two percussionists, and one performer on radio This work is scored for one pianist, two percussionists, and one performer on radio, and lasts 12 minutes. It was composed in accord with the phraseology of the dance by Merce Cunningham and Jean Erdman, and is the first instance of Cage’s using radios or sound recordings as musical instruments. It is also Cage’s first incorporation of the music of other composers: if recordings are used, Cage suggests Dvoˇrák, Beethoven, and Sibelius and/or Shostakovich. Cage himself describes the work as a suite with a “satirical” character. Erdman recalled that for the first performance, which took place on August 1, 1942, at Bennington College, Vermont, a “tack piano” was used, i.e., a piano with thumbtacks inserted into the felt of the hammers. The pianist mutes the strings at times, and sometimes also plays upon the body of the piano (as a percussionist).

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The City Wears a Slouch Hat (1942) Performers: Percussion: NEXUS Speakers: Veanne Cox, John Kelly, Laura Kuhn, Larry Larson, Katie O’Donnell, Foster Reed Film: Mikel Rouse Five speakers, four percussionists, Foley sound effects, and film This is John Cage’s first-ever radio play, subtitled “Incidental Music for a Radio Play by Kenneth Patchen,” which was composed on commission from CBS Radio. Cage initially responded by writing a score that consisted entirely of sound effects that would be created in the CBS Studios. Learning just a week before that what he’d envisioned wasn’t at all possible, he scrambled to rescore the piece for percussion ensemble (six players, which could be realized by four) and readers (four, covering a great many parts, including male and female passersby, a bum, a woman customer and a green grocer, a thug, three gangsters, two kidnappers, an usher, a hermit on a rock in the ocean, two barflies, etc.). Instruments called for in the percussion score include tin cans, muted gongs, woodblocks, alarm bells, cowbells, maracas, claves, ratchet, pod rattles, foghorn, thunder sheet, and sound-effects recordings. The script sketches a surreal tale of a man (“The Voice”) who wanders about the big city, encountering various characters in sometimes extremely mystifying circumstances.

It was first broadcast via WBBM (Columbia Broadcasting System, Chicago), as part of the Columbia Workshop series, on May 31, 1942. Performers were Xenia Cage, Cilia Amidon, Stuart Lloyd, Ruth Hartman, and Claire Oppenheim, with John Cage conducting.

Tonight’s performance includes Mikel Rouse’s newly created Film for “The City Wears a Slouch Hat” for live performance, installation, and multiple screens, which incorporates the use of shadows to simulate characters of a live performance. This “shadow film” was shot in various locations around New York City, including Coney Island.

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Who’s Who John Cage (1912–92) was a singularly inventive and much beloved American composer, writer, philosopher, and visual artist. Beginning around 1950, he departed from the pragmatism of precise musical notation and circumscribed ways of performance. His principal contribution to the history of music is his systematic establishment of the principle of indeterminacy: by adapting Zen Buddhist practices to composition and performance, Cage succeeded in bringing both authentic spiritual ideas and a liberating attitude of place to the enterprise of Western art. His aesthetic of chance produced a unique body of what he called “once-only” works, any two performances of which can never be quite the same. In an effort to reduce the subjective element in composition, he developed methods of selecting the components of his pieces by chance—early on through the tossing of coins or dice, and later through the use of random number generators on the computer, and especially IC (1984), designed and written in the C language by Cage’s programmer-assistant, Andrew Culver, to simulate the coin oracle of the I Ching.

Cage’s use of the computer resulted in a system of what can easily be seen as total serialism, in which all elements pertaining to pitch, noise, duration, amplitude, tempi, harmony, etc., could be determined by referring to previously drawn correlated charts.

Thus, Cage’s mature works did not originate in psychology, motive, drama, or literature, but, rather, were just sounds, free of judgments about whether they are musical or not, free of fixed relations, and free of memory and taste.

His most enduring, indeed notorious, composition, influenced by Robert Rauschenberg’s all-black and all-white paintings, is the radically tacet 4’33” (1952). Encouraging the ultimate freedom in musical expression, the three movements of 4’33” are indicated by the pianist’s closing and reopening of the piano key cover, during which no sounds are intentionally produced.

The piece was first performed by Cage’s longtime associate, David Tudor, at the Maverick Concert Hall in Woodstock, New York, on August 29, 1952. A decade later, Cage would create a second “silent” piece, 0’00”, “to be played in any way by anyone,” which he dedicated to his friend Yoko Ono and presented for the first time in Tokyo on October 24, 1962.

Frank Corliss Before coming to The Bard College Conservatory of Music, Frank Corliss was for many years the director of music at the Walnut Hill School and a staff pianist for the Boston Symphony Orchestra (BSO) and the Tanglewood Festival Chorus. A frequent performer on the Boston Symphony Prelude Concert series, he also performs throughout the United States as a chamber musician and collaborative pianist. In addition to his duties at the BSO and Walnut Hill, Corliss has worked as a musical assistant for Yo-Yo Ma and has assisted Ma in the preparation of many new works for performance and recording, including concertos by Elliott Carter, Richard Danielpour, Tan Dun, John Harbison, Leon Kirchner, Peter Lieberson, Christopher Rouse, and John Williams. Corliss may be heard on Yo-Yo Ma’s Grammy-winning Sony disc Soul of the Tango, as well as the Koch International disc of music by Elliott Carter for chorus and piano with the John Oliver Chorale.

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Veanne Cox is an American stage and screen actress and former ballet dancer. Born in Norfolk, Virginia, she studied ballet at the Washington School of Ballet, acting at the Studio Theatre’s Conservatory (Washington, D.C.), and voice at Catholic University.

Her Broadway debut was in the Marvin Hamlisch musical Smile.

She appeared in the Roundabout Theatre revival of Stephen Sondheim’s Company as Amy, for which she received a Tony Award nomination, and in both The Public Theater and Broadway productions of Caroline, or Change, as Rose. Cox also played one of the stepsisters in the made-fortelevision movie Cinderella, and has appeared in episodes of many television series, including Boston Legal, CSI: Crime Scene Investigation, Seinfeld, and Judging Amy. Amy Garapic currently serves as percussionist with the emerging new music chamber orchestra Contemporaneous, and is a founding member of the percussion trio TIGUE. She has worked closely with composers Robert Honstein, Jason Treuting, and John Luther Adams, and has performed alongside S¯o Percussion, Signal, The Eastman Broadband, and the Wordless Music Orchestra.

Having an eye for the grandiose and a commitment to community, she has helped produce and participated in some of New York City’s most memorable outdoor percussion events through Make Music New York, including Persephassa on the Lake, Inuksuit in Morningside Park, and Make Music Winter’s Village in Volume. Most recently she brought together more than 100 percussionists from nine countries in a joint 18-hour, live-streamed marathon relay of Erik Satie’s epic Vexations.

Garapic has performed at TriBeCa New Music Festival at Merkin Concert Hall; Cervantino Festival in Guanajuato, Mexico; and at the Al-Hussein Cultural Center in Amman, Jordan, where she helped organize the center’s first Western percussion ensemble concert. Since graduating from Eastman School of Music, where she earned a master’s degree and a performer’s certificate, she is now Percussion Teaching Fellow at The Bard College Conservatory of Music. She also works as production manager for both the S¯o Percussion Summer Institute and the Chosen Vale International Percussion Seminar, alongside Doug Perkins.

John Kelly is a performance and visual artist. With the help of two NEA American Masterpieces: Dance Awards, he recently restaged two works: Pass the Blutwurst, Bitte (based on the Viennese expressionist artist Egon Schiele) at La MaMa, and Find My Way Home (the Orpheus and Eurydice myth set in the Great Depression) at New York Live Arts. Visual art exhibitions include MoMA, Alexander Gray Associates, the M.I.T. List Visual Art Center, and Philadelphia’s Institute for Contemporary Art. As a musician, Kelly collaborated and recorded with composer David Del Tredici (as singer and lyricist), and recorded with Laurie Anderson as well as The Jazz Passengers. His acting credits include the Broadway production of James Joyce’s The Dead (Bartell Darcy); 8

Christopher Marlowe’s Dido, Queen of Carthage at A.R.T. (Cupid); Rinde Eckert’s Orpheus X, also at A.R.T. (Jon/Persephone); and The Clerk’s Tale (Spencer Reese), a film directed by James Franco. His honors include two Bessie Awards, two Obie Awards, an Alpert Award, an Ethyl Eichelberger Award, a Visual Aids Vanguard Award, and an Elliot Norton Award for best actor. Fellowships include the Guggenheim Foundation, Radcliffe Institute for Advanced Study, and the Rome Prize in Visual Art at the American Academy in Rome. He was recently an Armory Artist in Residence at the Park Avenue Armory, and has just begun work on a memoir.

Laura Kuhn enjoys a lively career as writer, performer, scholar, and arts administrator. She worked during her graduate school years in the early 1980s with Nicolas Slonimsky, the Russian-born enfant terrible of musicology, becoming successor editor of his acclaimed reference works Baker’s Biographical Dictionary of Musicians and Music Since 1900. From 1986 she worked with John Cage in New York on a variety of large-scale projects, including his Europeras 1 & 2 for the Frankfurt Opera, for which she designed costumes and created stage actions. This work became the subject of her 1992 doctoral dissertation from the University of California at Los Angeles (John Cage’s Europeras 1 & 2: The Musical Means of Revolution). Upon Cage’s death in 1992, along with Cage’s longtime friends and associates Merce Cunningham, Anne d’Harnoncourt, and David Vaughan, she founded the John Cage Trust, now in residence at Bard College, which she continues to direct, also serving as Bard’s first John Cage Professor of Performance Art. She is currently collaborating with Pulitzer Prize–winning biographer Kenneth Silverman on John Cage: Collected Correspondence, scheduled for publication by Wesleyan University Press in 2013.

Larry Larson, a composer and web application developer, has been part of the new music community for more than 25 years. His résumé includes Laurie Anderson, Carnegie Hall, Minnesota Public Radio, Nonesuch Records, the San Francisco Symphony, and many others. He has had a long relationship with the Merce Cunningham Dance Company and the John Cage Trust, and treasures his (all too brief) contact with John Cage while a music student at the University of Illinois. He was a longtime board member of the Kronos Quartet and has also served on the boards of the American Music Center and the art and technology journal Leonardo. He created, with the John Cage Trust, the official John Cage database, which was released on www.johncage.org in 2012, Cage’s centennial year. He also created, with Melissa Harris of Aperture and the Merce Cunningham Trust, a lavish and interactive online version of Merce Cunningham: Fifty Years, authored by David Vaughan (1997). His appearance as Jonathan Albert in John Cage’s Alphabet in 2011 at Bard College marked his first return to the stage in nearly 40 years, since his performance in a college production of Dido and Aeneas.

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NEXUS The first entirely improvised NEXUS concert, in 1971, marked the formation of a group that would touch and entertain people of all levels of musical learning, in all genres of percussion music. Bob Becker, Bill Cahn, Russell Hartenberger, and Garry Kvistad are all virtuosos, and bring elements of their knowledge and character to a distinct and powerful whole. They stand out in the contemporary music scene for the innovation and diversity of their programs, their impressive history of collaborations and commissions, their revival of 1920s novelty ragtime xylophone music, and their influential improvisatory ideas. After more than three decades of continuous collaboration, the four master percussionists of NEXUS are internationally revered, and lauded for their ability to create extraordinary music out of just about anything: Swiss cowbells, Chinese drums, Tibetan prayer bowls, Middle Eastern hand drums, and Southeast Asian water buffalo bells, to name just a few. They create a staggering array of sounds and tones out of the broadest array of percussion instruments imaginable. With a repertoire ranging from military music to the haunting rhythms of Africa to the groundbreaking compositions of Japanese master Toru Takemitsu, John Cage, and Steve Reich, NEXUS delivers a stunningly virtuosic spectacle of sound, rhythm, and movement.

George Quasha, an artist, poet, and sound artist, explores a principle (axiality/liminality/configuration) in language, sculpture, drawing, video, sound, installation, and performance. Most recent of his 17 books are Axial Stones: An Art of Precarious Balance (2006); An Art of Limina: Gary Hill's Works and Writings (2009); and two collections of "preverbs": Verbal Paradise (2011) and Scorned Beauty Comes Up From Behind (2012). A 2006 Guggenheim Fellow in video art, his art is: Speaking Portraits, recording more than 1,000 artists/poets/composers in 11 countries, appears online at www.quasha.com.

Foster Reed was born in 1951 in Cincinnati, Ohio. He was part of a band that released an album in 1968 with Vanguard Records in New York City. He received a B.A. from Goddard College in 1974, and crossed the Atlantic Ocean in 1978 in a 44’ sailboat. He founded New Albion Records in 1984 in San Francisco, and moved to the Hudson Valley in 2004. He is married and has five children.

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Mikel Rouse is a New York–based composer, director, performer, and recording artist hailed as “a composer many believe to be the best of his generation” by the New York Times. His works include 25 records, seven films, and a trilogy of media operas: Failing Kansas, Dennis Cleveland, and The End of Cinematics. In 1995, Rouse premiered and directed Failing Kansas, inspired by Truman Capote’s In Cold Blood. This led to an emerging art form he calls “counterpoetry,” which involves the use of multiple unpitched voices in counterpoint. In 1996 Rouse premiered and directed his modern talk show opera, Dennis Cleveland, hailed by the Village Voice as “the most exciting and innovative new opera since Einstein on the Beach.” The third opera in his trilogy, The End of Cinematics, premiered at Krannert Center for the Performing Arts in fall 2005. Rouse also tours on a more intimate scale as a solo live performer, traversing the globe like a 21st-century Mark Twain with a surreally beautiful song-and-video storytelling piece titled Music for Minorities. His piece for the Merce Cunningham Dance Company, International Cloud Atlas, was scored for multiple iPods set to “shuffle” so that each audience member heard a different realization of the score (with 3,628,800 possible permutations). Rouse has received commissions from the Brooklyn Academy of Music, Mary Flagler Cary Charitable Trust, and Meet the Composer/ Reader’s Digest Commissioning Program.

The John Cage Trust Laura Kuhn, Executive Director Emily Martin, Office Manager When John Cage died, in August 1992, his significant holdings passed to the dancer and choreographer Merce Cunningham, his longtime friend and collaborator. The John Cage Trust was legally formed shortly thereafter, with a board of directors consisting of Cunningham; Anne d’Harnoncourt, director of the Philadelphia Museum of Art; David Vaughan, archivist at the Cunningham Dance Foundation; and Laura Kuhn, who had been Cage’s assistant since 1986, and who continues to serve as the Trust’s founding executive director. The primary functions of the Trust are to control, monitor, and administer rights and licenses to Cage’s published and unpublished work, and to create and encourage educational experiences, enhance public access, and enliven global awareness of Cage’s work through new recordings, performances, workshops, festivals, and more.

The John Cage Trust is now a resident organization at Bard College, where all of its materials are housed and maintained. The Trust provides access to these holdings through courses, workshops, and concerts, and develops new programs around this extraordinary resource. Kuhn, in addition to maintaining and operating the John Cage Trust at Bard College, holds the position of John Cage Professor of Performance Art at Bard College and teaches courses at the undergraduate and graduate levels.

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

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The Maurer Family Foundation, Inc. National Endowment for the Arts (NEA) New York State Council on the Arts (NYSCA) Mr. and Mrs. James H. Ottaway Jr. Drs. M. Susan and Irwin Richman Ingrid Rockefeller David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 Bethany B. Winham Patron Helen and Roger Alcaly Mary I. Backlund and Virginia Corsi Sandra and A. John Blair III Anne Donovan Bodnar and James L. Bodnar Stuart Breslow and Anne Miller Anne and Harvey Brown Barbara and Richard Debs Elizabeth de Lima Tambra Dillon Dirt Road Realty, LLC Ines Elskop and Christopher Scholz Elizabeth W. Ely ’65 and Jonathan K. Greenburg Alan and Judith Fishman Susan Fowler-Gallagher GE Foundation Thomas and Bryanne Hamill The Harkness Foundation for Dance, Inc. John Cage Trust Dr. Harriette Kaley ’06 Mr. and Mrs. George A. Kellner Ruth Ketay and Rene Schnetzler Laura Kuhn Jane and Daniel Lindau Chris Lipscomb and Monique Segarra Low Road Foundation Stephen Mazoh and Martin Kline Nancy A. Marks Elizabeth I. McCann W. Patrick McMullan and Rachel McPherson Millbrook Vineyards and Winery Alexandra Ottaway David A. Schulz Denise S. Simon and Paolo Vieiradacunha Andrew Solomon and John Habich

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Donors to the Bard Music Festival Events in this year’s Bard Music Festival were underwritten in part by special gifts from Helen and Roger Alcaly Bettina Baruch Foundation Michelle R. Clayman 13

Jeanne Donovan Fisher Mimi Levitt The Mrs. Mortimer Levitt Endowment Fund for the Performing Arts James H. Ottaway Jr. Denise S. Simon and Paulo Vieiradacunha Felicitas S. Thorne Festival Underwriters James H. Ottaway Jr. Opening Concert Mimi Levitt Preconcert Talks Guest Artists Films Furthermore: A Program of the J. M. Kaplan Fund, Inc. Festival Book Helen and Roger Alcaly Festival Book Festival Program Margo and Anthony Viscusi Guest Artists Joanna M. Migdal Panel Discussions Paula and Eliot Hawkins Christina A. Mohr and Matthew Guerreiro Between the Concerts Supper National Endowment for the Arts (NEA) New York State Council on the Arts (NYSCA)

Friends of the Bard Music Festival Leadership Support Bettina Baruch Foundation Mimi Levitt The Mortimer Levitt Foundation Mr. and Mrs. James H. Ottaway Jr. Denise S. Simon and Paulo Vieiradacunha Golden Circle Michelle R. Clayman Jeanne Donovan Fisher Jane W. Nuhn Charitable Trust Felicitas S. Thorne Millie and Robert Wise Benefactor Helen and Roger Alcaly The Ann and Gordon Getty Foundation Artek Banco Santander S.A. Barclays Bank

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Leonie F. Batkin Joan K. Davidson Mr. and Mrs. Gonzalo de las Heras Elizabeth W. Ely ’65 and Jonathan K. Greenburg FMH Foundation Eliot D. and Paula K. Hawkins Linda Hirshman and David Forkosh** Anne E. Impellizzeri The J. M. Kaplan Fund, Inc. Susan and Roger Kennedy Barbara Kenner Edna and Gary Lachmund Amy and Thomas O. Maggs Marstrand Foundation Ministry for Foreign Affairs of Finland The Mrs. Mortimer Levitt Endowment Fund for the Performing Arts National Endowment for the Arts (NEA) New York State Council on the Arts (NYSCA) Jim and Talila O’Higgins Dimitri B. and Rania Papadimitriou Peter Kenner Family Fund of the Jewish Communal Fund Ralph E. Ogden Foundation, Inc. Dr. Gabrielle Reem** and Dr. Herbert J. Kayden Drs. M. Susan and Irwin Richman David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 H. Peter Stern and Helen Drutt English Dr. Sanford Sternlieb Allan and Ronnie Streichler Merida Welles and William “Chip” Holman The Wise Family Charitable Foundation Elaine and James Wolfensohn Patron ABC Foundation Constance Abrams and Ann Verber Edwin L. Artzt and Marieluise Hessel Mr. and Mrs. Ronald Atkins Kathleen and Roland Augustine Elizabeth Phillips Bellin ’00 and Marco M. S. Bellin Dr. Miriam Roskin Berger ’56 Helen ’48 and Robert Bernstein Helen and Robert Bernstein Philanthropic Fund of the Jewish Communal Fund Anne Donovan Bodnar and James L. Bodnar Sarah Botstein and Bryan Doerries Lydia Chapin Constance and David C. Clapp

J. T. Compton Jane Cottrell and Richard Kortright Arnold J. ’44 and Seena** Davis Barbara and Richard Debs Michael Del Giudice and Jaynne Keyes Rt. Rev. Herbert A. and Mary Donovan Amy Knoblauch Dubin and David Dubin Robert C. Edmonds ’68 Ines Elskop and Christopher Scholz John Geller Helena and Christopher Gibbs Kim Z. Golden Alison Grannucci Alan Hilliker and Vivien W. Liu Jane and Robert Hottensen Frederic K. and Elena Howard Joan and Julius Jacobson Jasper Johns Drs. Harriette and Gabor** Kaley Rachel and Dr. Shalom Kalnicki Helene and Mark N. Kaplan Belinda and Stephen Kaye Mr. and Mrs. Thomas W. Keesee III Mr. and Mrs. George A. Kellner Klavierhaus, Inc. Seymour and Harriet Koenig Alison and John Lankenau Glenda Fowler Law and Alfred Law Eric and Amala Levine Barbara** and S Jay Levy Cynthia Hirsch Levy ’65 Patti and Murray Liebowitz Martin and Toni Sosnoff Foundation Stephen Mazoh and Martin Kline W. Patrick McMullan and Rachel McPherson Dr. and Mrs. Arthur Menken Metropolitan Life Foundation Matching Gift Program Andrea and Kenneth L. Miron Christina A. Mohr and Matthew Guerreiro Ken Mortenson Martin L. Murray and Lucy Miller Murray Alexandra Ottaway Eve Propp Barbara B. Reis Blanche and Bruce Rubin Andrew Solomon and John Habich Solomon Sarah and Howard Solomon Martin T. and Toni Sosnoff Edwin A. Steinberg Stewart’s Shops Allan and Ronnie Streichler Elizabeth Farran Tozer and W. James Tozer Jr. Tozer Family Fund of the New York Community Trust

Illiana van Meeteren Olivia van Melle Camp Rosemary and Noel Werrett Aida and Albert Wilder Irene Zedlacher William C. Zifchak and Margaret Evans Sponsor Anonymous Roland Augustine Ana Azevedo Margaret and Alec Bancroft Eva Thal Belefont ’49 Everett and Karen Cook Phillip S. Cooke Blythe Danner ’65 Dasein Foundation David G. Whitcomb Foundation Willem F. De Vogel and Marion Davidson Roberto De Azevedo John A. Dierdorff Cornelia Z. and Timothy Eland Timothy and Cornelia Eland Fund of the Fidelity Charitable Gift Fund Shepard and Jane Ellenberg Ellenberg Asset Management Corp.

Phyllis Feder Field-Bay Foundation Francis Finlay and Olivia J. Fussell Laura Flax Martha Jane Fleischman Deborah and Thomas Flexner Donald C. Fresne Laura Genero Carlos Gonzalez and Katherine Stewart Samuel L. Gordon Jr. and Marylou Tapalla Mr. and Mrs. Jay M. Gwynne Marjorie Hart Nancy and David Hathaway Martin Holub and Karen Kidder** Lucas Hoogduin and Adriana Onstwedder Elizabeth D. and Robert Hottensen Pamela Howard John R. and Joyce Hupper I.B.M. Matching Grants Program Susan Jonas Edith Hamilton Kean Fernanda Kellogg and Kirk Henckels Clara F. and David J. Londoner Marstrand Foundation Elizabeth I. McCann James and Purcell Palmer Mr. and Mrs. Frederick P. Payton Ellen and Eric Petersen John and Claire Reid Dr. Siri von Reis Alfred J. and Deirdre Ross

Dr. Paul H. Schwartz and Lisa Barnes-Schwartz James and Sara Sheldon David and Sarah Stack Edwin Steinberg Art and Jeannette Taylor Barbara and Donald Tober Richard C. Strain and Eva Van Rijn Arete and William** Warren Jack and Jill Wertheim Robert and Melanie Whaley Maureen A. Whiteman and Lawrence J. Zlatkin Serena H. Whitridge Julia and Nigel Widdowson Peter and Maria Wirth Marina van Zuylen Supporter Munir and Susan Abu-Haidar Barbara J. Agren James Akerberg and Larry Simmons Saga M. Ambegaokar Leora and Peter Armstrong Irene and Jack Banning Didi and David Barrett Karen H. Bechtel Dr. Susan Krysiewicz and Thomas Bell Carole and Gary Beller Mr. and Mrs. Andy Bellin Beth and Jerry Bierbaum Mr. and Mrs. David Bova Mr. and Mrs. William B. Brannan Kay Brover and Arthur Bennett Madge Briggs Dan F. and Nancy Brown Kate Buckley and Tony Pell Phyllis Busell and James Kostell Peter Caldwell and Jane Waters Miriam and Philip Carroll Hugo M. J. Cassier and Sarah Buttrick David Clain Frederick and Jan Cohen Mr. and Mrs. Kevin Concagh Seth Dubin and Barbara Field Ema Dunch Joan and Wolcott Dunham Ruth Eng Gail and John Eyler Harold Farberman Ingrid and Gerald Fields Emily Rutgers Fuller Michael H. Garrety Joseph W. and Joyce Geeb John Geller Donald Gellert and Elaine Koss Mims and Burton Gold Victoria and Max Goodwin Janine M. Gordon Richard Gottlieb Mary and Kingdon Gould Jr. Nan and David Greenwood

Mortimer and Penelope C. Hall Sally S. Hamilton Juliet Heyer Susan Hoehn and Allan Bahrs William Holman Dalya Inhaber Jay Jolly Karen Bechtel Foundation of the Advisor Charitable Gift Fund Robert E. Kaus Erica Kiesewetter Charles and Katharine King Karen Klopp Dr. and Mrs. Vincent Koh Robert J. Kurilla Lowell H. and Sandra A. Lamb Debra I. and Jonathan Lanman Wayne Lawson E. Deane and Judith S. Leonard Brent Lewis ’09 Walter Lippincott Lynn Favrot Nolan Family Fund Jeanette MacDonald and Charles Morgan John P. Mackenzie Philip and Tracey Mactaggart Charles S. Maier Claire and Chris Mann Marilyn Marinaccio Elizabeth B. Mavroleon Mia McCully ’07 Charles Melcher Arthur and Barbara L. Michaels Samuel C. Miller John E. Morrison IV Mr. and Mrs. Alfred Mudge Bernadette Murray and Randy Fertel Kamilla and Donald Najdek Anna Neverova ’07 Jay H. Newman and Elissa Kramer Mr. and Mrs. William T. Nolan Marta E. Nottebohm Elizabeth J. and Sergin Oktay Dr. Bernhard Fabricius and Sylvia Owen Louis Parker David B. and Jane L. Parshall Susan Heath and Rodney Paterson Ruth Plager John and Claire Reid Barbara Reis Emma Richter ’09 Susan F. Rogers Rosalie Rossi, Ph.D. John Royall Andrew and Ellen Santandra Dr. Gloria Schafer Dagni and Martin Senzel Denise and Lawrence Shapiro Dr. Scott and Alexis Small Nadine Bertin Stearns Mim and Leonard Stein Mary and Stephen Stinson

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Mila Tewell Carole Tindall John Tuke and Leslie Farhangi Dr. Elisabeth F. Turnauer-Derow Alan and Christine Vickery ’75 Monica Wambold Taki and Donald Wise John and Mary Young Friend Rev. Albert R. Ahlstrom Lorraine D. Alexander Arthur A. Anderson Anonymous Zelda Aronstein and Norman Eisner Artscope, Inc. John K. Ayling Phebe and George Banta James M. Barton Mr. and Mrs. Francis D. Barton Saida Baxt Regina and David Beckman Dr. Howard Bellin Richard L. Benson Dr. Marge and Edward Blaine Clara Botstein Eric and Irene Brocks David and Jeannette T. Brown Mr. and Mrs. John C. D. Bruno Alfred M. Buff and Lenore Nemeth Michael Caola Pamela Chow and Ted Smith Robert and Isobel Clark Donald Cooney Joan Costa Millicent O. McKinley Cox Linda and Richard Daines Mary E. Davis Dana and Brian Dunn Abby and John Dux Peter Edelman Peter Elebash and Jane Robinson Jim and Laurie Niles Erwin Patricia Falk Arthur L. Fenaroli David and Tracy Finn Luisa E. Flynn Patricia and John Forelle Mary Ann Free Samantha Free Stephen and Jane Garmey Anne C. Gillis Alysha Glenn ’09 Dr. Joel and Ellen Goldin Stanley L. Gordon Sandra Graznow and Jim Kearns Thurston Greene Andrea E. Gross Ben-Ali and Mimi Haggin David A. Harris Sy Helderman Sharon and David Hendler Carol Henken Nancy H. Henze 16

Gary Herman Martin Holub David Hurvitz and Martha Klein Rocco G. Ilardi Dr. and Mrs. Gerald Imber Rod and Caroline Keating Patricia H. Keesee Mr. and Mrs. John W. Kelly Joan Kend Diana Niles King Irving and Rhonda E. Kleiman Thea Kliros Sharon Daniel Kroeger Jeffrey Lang Prof. Edward C. Laufer Wayne Lawson Beth Ledy Leon and Fern Lerner Laurence and Michael Levin Gerald F. Lewis Ruthie and Lincoln Lyman M Group, LLC John P. MacKenzie Hermes Mallea and Carey Maloney Annette S. and Paul N. Marcus Harvey Marek The McGraw-Hill Companies Matching Gift Program Marcus Mello ’04 Dr. Naomi Mendelsohn Philip Messing Millbrook Real Estate, LLC Deborah D. Montgomery Kelly Morgan Doris Moss Debbie Ann and Christopher Morley Susan and Robert Murphy Nancy R. Newhouse Hugh and Marilyn Nissenson Harold J. and Helen C. Noah Douglas Okerson and William Williams James Olander Marilyn and Peter Oswald Gary S. Patrik Sarah Payden ’09 Peter and Sally V. Pettus Lucas Pipes ’08 Dr. Alice R. Pisciotto Eleanor Pollak David Pozorski and Anna Romanski D. Miles Price Stanley A. Reichel ’65 and Elaine Reichel Dr. Naomi F. Rothfield ’50 and Lawrence Rothfield Harriet and Bernard Sadow Antonia Salvato Sheila Sanders Dr. Thomas B. Sanders Heinz and Klara Sauer Molly Schaefer Frederick W. Schwerin Jr.

Mary Scott Danny P. Shanahan and Janet E. Stetson ’81 Muriel Simmons Betsy Covington Smith J. Kevin Smith Polly and LeRoy Swindell Jessica and Peter Tcherepnine Gladys R. Thomas Janeth L. Thoron Cynthia M. Tripp ’01 Leigh Beery and Jonathan Tunick ’58 Laurie Tuzo UBS Matching Gift Program Ronald VanVoorhies Andrea A. Walton John Waldes Jacqueline E. Warren Peter Warwick Renee K. Weiss ’51 Barbara Jean Weyant Anne Whitehead Victoria and Conrad Wicher Mr. and Mrs. John Winkler Amy Woods Robert and Lynda Youmans Marvin Zelman

Major support for the Fisher Center’s programs has been provided by: Arthur F. and Alice E. Adams Foundation Helen and Roger Alcaly The Andrew W. Mellon Foundation Fiona Angelini and Jamie Welch The Ann & Gordon Getty Foundation Anonymous Artek Bettina Baruch Foundation Bioseutica USA, Inc. Carolyn Marks Blackwood and Gregory Quinn Chartwells School and University Dining Services Michelle R. Clayman The Cultural Services of the French Embassy of the United States Joan K. Davidson Mr. and Mrs. Gonzalo de las Heras John A. Dierdorff Elizabeth W. Ely ’65 and Jonathan K. Greenburg Estate of Richard B. Fisher Barbara Ettinger and Sven Huseby The Ettinger Foundation, Inc. Stefano Ferrari and Lilo Zinglersen Alexander D. Fisher MFA ’96 Catherine C. Fisher and Gregory A. Murphy Emily H. Fisher and John Alexander

Jeanne Donovan Fisher R. Britton and Melina Fisher FMH Foundation Eliot D. and Paula K. Hawkins Linda Hirshman and David Forkosh** HSBC Philanthropic Programs Anne E. Impellizzeri Jane and Aatos Erkko Foundation Jane’s Ice Cream Jane W. Nuhn Charitable Trust The J. M. Kaplan Fund, Inc. Belinda and Stephen Kaye Susan and Roger Kennedy Barbara Kenner Mimi Levitt Chris Lipscomb and Monique Segarra Amy and Thomas O. Maggs Mansakenning LLC The Marks Family Foundation Marstrand Foundation Martin and Toni Sosnoff Foundation The Maurer Family Foundation, Inc. Joanna M. Migdal The Millbrook Tribute Garden Millbrook Vineyards & Winery The Mortimer Levitt Foundation Inc. Mrs. Mortimer Levitt Endowment Fund for the Performing Arts National Endowment for the Arts American Masterpieces: Dance National Endowment for the Arts (NEA) New England Foundation for the Arts (NEFA) New York State Council on the Arts (NYSCA) Ralph E. Ogden Foundation, Inc. Mr. and Mrs. James H. Ottaway Jr. Dimitri B. and Rania Papadimitriou Peter Kenner Family Fund of the Jewish Communal Fund Dr. Gabrielle H. Reem** and Dr. Herbert J. Kayden Dr. Siri von Reis Richard B. Fisher Endowment Fund Drs. M. Susan and Irwin Richman Ingrid Rockefeller David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 The Schwab Charitable Fund Denise S. Simon and Paulo Vieiradacunha Martin T. and Toni Sosnoff H. Peter Stern and Helen Drutt English Dr. Sanford Sternlieb Allan and Ronnie Streichler Thendara Foundation Felicitas S. Thorne True Love Productions Margo and Anthony Viscusi

Bethany B. Winham Millie and Robert Wise The Wise Family Charitable Foundation **deceased All lists current as of October 18, 2012

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 Bonnie Kate Anthony, Assistant Production Manager Paul LaBarbera, Sound and Video Engineer Stephen Dean, Stage Operations Manager

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Vincent Roca, Technical Director Mark Crittenden, Facilities Manager Jeannie Schneider, Business Manager Andrea Gross, Community Relations Manager Patrick King ’12, House Manager Carley Gooley ’12, Assistant House Manager Roisin Taylor ’13, Assistant House Manager Nicholas Reilingh, Box Office Manager Caitlyn DeRosa, Assistant Box Office Manager Ray Stegner, Building Operations Manager Doug Pitcher, Building Operations Coordinator Daniel DeFrancis, Staff Assistant Robyn Charter, Staff Assistant

The Bard Music Festival Board of Directors Denise S. Simon, Chair Roger Alcaly Leon Botstein+ Michelle R. Clayman 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 E. Lisk Wyckoff Jr. Artistic Directors Leon Botstein

Christopher H. Gibbs Robert Martin Executive Director Irene Zedlacher Associate Director Raissa St. Pierre ’87 Scholar in Residence 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 + ex officio * alumni/ae trustee

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, 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), and American University of Central Asia in Kyrgyzstan; and dual B.A. and M.A.T. degrees at Al-Quds University in the West Bank.

Bard offers nearly 50 academic programs in four divisions. Total enrollment for Bard College and its affiliates is approximately 5,000 students. The undergraduate college has an enrollment of more than 1,900 and a student-to-faculty ratio of 10:1. For more information about Bard College, visit www.bard.edu. ©2012 Bard College. All rights reserved. Cover Ben Guthrie. Courtesy of the John Cage Trust. Inside back cover ©Peter Aaron ’68/Esto

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Friend ($100–349)

BECOME A FRIEND OF THE FISHER CENTER TODAY! Since opening in 2003, The Richard B. Fisher Center for the Performing Arts at Bard College has transformed cultural life in the Hudson Valley with world-class programming. Our continued success relies heavily on individuals such as you. Become a Friend of the Fisher Center today.

Friends of the Fisher Center membership is designed to give individual donors the opportunity to support their favorite programs through the Fisher Center Council or Bard Music Festival Council. As a Friend of the Fisher Center, you will enjoy a behind-the-scenes look at Fisher Center presentations and receive invitations to special events and services throughout the year.

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

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

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

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

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

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

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 q MasterCard q Visa in the amount of $ Credit card account number

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fishercenter.bard.edu/support

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SAVE THE DATES

The Bard College Conservatory of Music SUNDAY, DECEMBER 9 AT 3 PM Conservatory Sundays Concert performed by the talented students of The Bard College Conservatory of Music, with guest conductor Marcelo Lehninger (MFA ’07) SUNDAY, DECEMBER 16 AT 3 PM Dawn Upshaw and Friends A program of festive songs and ensembles to benefit The Bard College Conservatory of Music FRIDAY, MARCH 1 AND SATURDAY, MARCH 2, 2013 AT 8 PM J. S. Bach's St. John Passion Featuring the Bard College Conservatory Orchestra, Bard Chamber Singers, members of the Graduate Vocal Arts Program, and faculty

American Symphony Orchestra Conducted by Leon Botstein, music director FRIDAY, FEBRUARY 22 AND SATURDAY, FEBRUARY 23, 2013 Works by Harold Farberman and Anton Bruckner FRIDAY, APRIL 19 AND SATURDAY, APRIL 20, 2013 Works by Richard Wagner All concerts are at 8 pm and feature a preconcert talk at 7 pm.

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.