Merce Cunningham Dance Company Legacy Tour

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

Merce Cunningham Dance Company legacy tour September 9–11, 2011

About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space, and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which celebrated its 22nd year in August, with “Sibelius and His World.”

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 2011 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

Merce Cunningham Dance Company Legacy Tour Suite for Five (1956–58) Choreography Merce Cunningham Music John Cage, from Music for Piano Costumes Robert Rauschenberg Antic Meet (1958) Choreography Merce Cunningham Music John Cage, Concert for Piano and Orchestra Décor and Costumes Robert Rauschenberg Sounddance (1975) Choreography Merce Cunningham Music David Tudor, Untitled (1975/1994) Décor and Costumes Mark Lancaster

Sosnoff Theater September 9 at 8 pm September 10 at 8 pm September 11 at 2 pm The revival and preservation of Antic Meet are made possible through the generous support of Jeanne Donovan Fisher and the National Endowment for the Arts, and cocommissioned by the University of Notre Dame’s DeBartolo Performing Arts Center and the John F. Kennedy Center for the Performing Arts. Special thanks to the Thendara Foundation for its support of these performances.

September 9–11, 2011 Bard College Annandale-on-Hudson, N.Y. Suite for Five, Antic Meet, Sounddance MERCE CUNNINGHAM DANCE COMPANY LEGACY TOUR Dancers Brandon Collwes, Dylan Crossman, Emma Desjardins, Jennifer Goggans, John Hinrichs, Daniel Madoff, Rashaun Mitchell, Marcie Munnerlyn, Krista Nelson, Silas Riener, Jamie Scott, Robert Swinston, Melissa Toogood, Andrea Weber Choreography Merce Cunningham (1919–2009) Founding Music Director John Cage (1912–1992) Music Director Takehisa Kosugi Director of Choreography Robert Swinston Executive Director Trevor Carlson Chief Financial Officer Lynn Wichern Director of Institutional Advancement Tambra Dillon Director of Production Davison Scandrett Company Manager Kevin Taylor Sound Engineer and Music Coordinator Jesse Stiles Lighting Director Christine Shallenberg Wardrobe Supervisor Anna Finke Production Assistant and Carpenter Pepper Fajans Archivist David Vaughan Assistant to the Director of Choreography Jennifer Goggans Music Committee David Behrman, John King, Takehisa Kosugi, Christian Wolff The use of any recording device is strictly prohibited.

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Lead support for the Cunningham Dance Foundation’s Legacy Plan and the Legacy Tour provided by Leading for the Future, a program of Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation, The Andrew W. Mellon Foundation, and an anonymous donor.

Major support provided by American Express; Candace and Frederick Beinecke; Bloomberg; Jill F. & Sheldon M. Bonovitz; Centre des Développement Chorégraphique; Robert Sterling Clark Foundation; Cleary Gottlieb Steen & Hamilton LLP; Sage & John Cowles; Anthony & Mary Creamer; Molly Davies; The Gladys Krieble Delmas Foundation; Jeanne Donovan Fisher; Judith R. & Alan H. Fishman; the Marshall Franklin Foundation; Fund for the City of New York–Open Society Foundations; Agnes Gund; the Hayes Fund of HRK Foundation; Pamela & Richard Kramlich; Mid Atlantic Arts Foundation; Jacqueline Mattise Monnier; The New York Community Trust; The Prospect Hill Foundation; Liz Gerring Radke and Kirk Radke; The Robert Rauschenberg Foundation; Rockefeller Brothers Fund; Mark Rudkin; The Fan Fox & Leslie R. Samuels Foundation; The Peter Jay Sharp Foundation; The SHS Foundation; The Shubert Foundation; Allan G. & Ferne Goldberg Sperling; Sutton & Christian Stracke; Miralles Tagliabue EMBT; Trust for Mutual Understanding; Paul L. Wattis Foundation; and Friends of MCDC. Public funds provided by National Endowment for the Arts, New York State Council on the Arts, New York City Department of Cultural Affairs, U.S. Department of State’s Bureau of Educational and Cultural Affairs, and U.S. Embassy in Moscow.

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Suite for Five (1956–58) Choreography Merce Cunningham Music John Cage, from Music for Piano Costumes Robert Rauschenberg Lighting Beverly Emmons Dancers Daniel Madoff, Rashaun Mitchell, Marcie Munnerlyn, Jamie Scott, Andrea Weber Musician Joseph Kubera Solo .........................At Random Solo .........................A Meander Trio .........................Transition Solo .........................Stillness Duet .........................Extended Movement Quintet .........................Meetings The events and sounds of this dance revolve around a quiet center, which, though silent and unmoving, is the source from which they happen.

First performance: University of Notre Dame, South Bend, Indiana, May 18, 1956; revised version, Ball State Teachers College, Muncie, Indiana, July 1, 1958.

Restaged by Carolyn Brown, Merce Cunningham, Robert Swinston (2002).

Music for Piano by John Cage. Published by Henmar Press Inc. Used by kind permission of C. F. Peters Corporation.

Intermission

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Antic Meet (1958) Choreography Merce Cunningham Music John Cage, Concert for Piano and Orchestra Décor and Costumes Robert Rauschenberg Dancers Friday and Sunday Emma Desjardins, Rashaun Mitchell, Marcie Munnerlyn, Silas Riener, Jamie Scott, Andrea Weber Saturday Dylan Crossman, Emma Desjardins, Jennifer Goggans, Daniel Madoff, Krista Nelson, Melissa Toogood Musicians Joseph Kubera, piano; David Behrman, violin; John King, viola; Christopher McIntyre, trombone

“Let me tell you that the absurd is only too necessary on earth.”

—Ivan Karamazov Opener Room For Two Mockgame Sports and Diversions #1 Sports and Diversions #2 Social Bacchus and Cohorts Sports and Diversions #3 A Single Exodus First performance: American Dance Festival, Connecticut College, New London, Connecticut, August 14, 1958.

Reconstruction and staging by Sandra Neels with the assistance of Robert Swinston (2010).

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Artistic Consultant: Carolyn Brown (2010).

Lighting design by Christine Shallenberg (2010).

The revival and preservation of Antic Meet are made possible through the generous support of Jeanne Donovan Fisher and the National Endowment for the Arts and co-commissioned by the University of Notre Dame’s DeBartolo Performing Arts Center and the Kennedy Center.

Special thanks to the Robert Rauschenberg Foundation.

Reconstruction of costume and scenic elements realized with the generous assistance of Lawrence Voytek for the Robert Rauschenberg Studio.

Reconstruction of the four-armed sweater generously realized by Judith R. Fishman.

Intermission

Sounddance (1975) Choreography Merce Cunningham Music David Tudor, Untitled (1975/1994) DĂŠcor and Costumes Mark Lancaster Dancers Brandon Collwes, Jennifer Goggans, Daniel Madoff, Rashaun Mitchell, Marcie Munnerlyn, Silas Riener, Jamie Scott, Robert Swinston, Melissa Toogood, Andrea Weber Musician John King

The title is from Finnegans Wake.

First performance: Music Hall, Detroit, Michigan, March 8, 1975.

Restaging by Meg Harper (2003).

Lighting reconstruction by Megan Byrne (2004).

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Notes on the Dances

Suite for Five (1956–58) Noted for its classicism and tranquility, Suite for Five adds a trio, a duet, and a quintet to two solos from Cunningham’s earlier Solo Suite in Space and Time (1956). The solos are remarkable for the virtuosity of their slow, sustained movements, while ensemble sections demonstrate a serene, sculptural quality. Speaking of Cunningham’s choreography for Suite for Five, John Cage remarked, “The dancers are often alone or independent, even when several are on the stage at the same time. Out of this solitude, meetings take place between them, brief or extended.” The isolated sounds of Cage’s score—struck on the woodwork of the piano, or plucked on its strings—make for a calm, pellucid atmosphere in which the movements can be seen with perfect clarity. Rauschenberg designed the dancers’ bold-toned leotards.

“Suite for Five is one of [Cunningham’s] most beautiful works, a complex, fluid distillation of time and space.”—Jennifer Dunning, New York Times “One sees each action, unfolding like brush strokes on a scroll. It is spare, clean movement, exposing Cunningham’s detailed exploration of the body’s architecture and its movement capabilities.”—Hilary Crampton, The Age

Antic Meet (1958) Antic Meet captures the exuberant and collaborative spirit that existed between Merce Cunningham and Robert Rauschenberg for nearly 60 years. Rauschenberg referred to the Merce Cunningham Dance Company as his “largest canvas,” and described his relationship with Cunningham as a “compulsive desire to make and share. . . . All of us worked totally committed, shared every intense emotion and, I think, performed miracles, for love only.” Structured like a series of vaudeville scenes, Antic Meet consists of ten playful and comedic numbers. John Cage provided the music, using a version of Concert for Piano and Orchestra, and Rauschenberg’s witty costumes include fur coats, parachute dresses and, famously, a chair strapped to Cunningham’s back. Prior to its revival for the Legacy Tour, Antic Meet was last performed at the Brooklyn Academy of Music in 1969.

“Funny, touching, and mad.”—Clive Barnes, New York Times

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Sounddance (1975) In the fall of 1973, Cunningham spent nine weeks working with the Ballet of the Paris Opéra, for which he choreographed Un jour ou deux. When he returned to his own company, he “felt like doing something vigorous, fast, complex.” The piece he made, Sounddance, takes its title from James Joyce’s Finnegans Wake: "In the buginning is the woid, in the muddle is the sound-dance, and thereinofter you're in the unbewised again, vund vulsyvolsy." Dancers emerge one after the other from a tent-like structure, and remain onstage until they are swept back in, as though in a wind tunnel. In the words of Anna Kisselgoff, “Dawn to dusk, even the entire cycle of mortality, is evoked by the furious agitation that begins with [the first dancer’s] eruption from a curtained structure and ends with the entire cast’s disappearance into the same draped folds.” Tudor’s powerful score provides a charged environment for Cunningham’s fast-paced choreography.

“An exhilarating rush—like bobbing in the ocean, being swept by wave after wave, getting sucked under and tumbled around from all directions.”—Sarah Kaufman, Washington Post

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The Legacy Plan The first of its kind in the dance world, the Cunningham Dance Foundation’s precedentsetting Legacy Plan delineates the future of Merce Cunningham Dance Company (MCDC) and ensures the preservation of Merce Cunningham’s artistic legacy. The multifaceted plan includes the celebratory two-year Legacy Tour, which offers audiences a final opportunity to see the company Cunningham personally trained before it disbands at the end of 2011. The plan also supports career transition for the dancers, musicians, and staff who have invested their time and creative efforts into the realization of Cunningham’s vision, and provides for the creation of digital “Dance Capsules” to preserve his work and bring it to life for future generations.

The Legacy Plan is supported by an $8-million capital campaign. For more information or to learn how you can help, go to www.merce.org.

Merce Cunningham Dance Company has had a profound impact on American art and the avant-garde since its founding in 1953. Guided by Merce Cunningham’s radical approach to space, time, and technology, the Company has forged a distinctive style, reflecting Cunningham’s technique and illuminating the near-limitless possibility for human movement. For more than 50 years, MCDC’s collaborations with groundbreaking artists from all disciplines have redefined the way audiences experience the visual and performing arts.

MCDC was formed at Black Mountain College, and included dancers Carolyn Brown, Viola Farber, Paul Taylor, and Remy Charlip, and musicians John Cage and David Tudor. In its early years, the Company famously toured in a Volkswagen bus driven by Cage with just enough room for six dancers, the two musicians, and a stage manager, who was often Robert Rauschenberg. MCDC’s first international tour in 1964—which included performances in Western and Eastern Europe, India, Thailand, and Japan—marked a turning point for the Company and initiated a constant stream of national and international engagements. In the years since, MCDC has inspired artists and audiences with innovative performances, serving as an ambassador for contemporary American culture around the world.

In addition to its influence in the world of dance, MCDC has cultivated a body of new music, commissioning more work from contemporary composers than any other dance company. Its repertory includes works by musicians ranging from Cage and Christian Wolff to Gavin Bryars and Radiohead. Cage’s association with the Company as musical advisor since its inception continued until his death in 1992, when he was succeeded by David Tudor. Since 1995, MCDC has been under the music direction of Takehisa Kosugi.

The Company has also collaborated with an array of visual artists and designers.

Rauschenberg, whose famous “Combines” reflect the approach he used to create décor for a number of MCDC’s early works, served as the Company’s resident designer from

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1954 through 1964. Jasper Johns followed as artistic advisor from 1967 until 1980, and Mark Lancaster from 1980 through 1984. The last advisors to be appointed were William Anastasi and Dove Bradshaw in 1984. Other artists who have collaborated with MCDC include Daniel Arsham, Tacita Dean, Rei Kawakubo, Roy Lichtenstein, Bruce Nauman, Ernesto Neto, Frank Stella, Benedetta Tagliabue, and Andy Warhol.

MCDC has been featured extensively in film and video choreographed by Cunningham, first with Charles Atlas and later in collaboration with Elliot Caplan. With support from The Andrew W. Mellon Foundation, Atlas filmed Cunningham’s epic work Ocean (1994) in the fall of 2008 at Minnesota’s Rainbow Quarry, 100 feet below the surface of the earth, surrounded by the 150-member St. Cloud Orchestra. Atlas’s film of Split Sides, which premiered on the 50th anniversary of the Company at the Brooklyn Academy of Music (BAM) in 2003, was released on DVD by ARTPIX. More recently, ARTPIX has released a boxed set of Atlas films highlighting three of Cunningham’s significant collaborations with Robert Rauschenberg: Suite for Five (1956–58), Summerspace (1958), and Interscape (2000).

With Merce Cunningham’s passing in 2009, MCDC embarked on its final, two-year world tour. Launched in February 2010 at the Wexner Center in Columbus, Ohio, the Legacy Tour is a celebration of Cunningham’s lifetime of artistic achievement, showcasing 18 seminal works from throughout his career—including the revival of seven historic dances. The Tour offers audiences around the world a final opportunity to see Cunningham’s choreography performed by the company he personally trained. Currently encompassing over 50 destinations, the Tour will culminate in New York City—MCDC’s home since it was founded in 1953—in December 2011, with tickets priced at $10 as Cunningham requested.

Please go to www.merce.org for a complete Legacy Tour performance schedule.

Directors Merce Cunningham (Artistic Director) was a leader of the American avant-garde throughout his 70-year career and is considered one of the most important choreographers of our time. During his career, he was also one of the greatest American dancers.

With an artistic career distinguished by constant innovation, Cunningham expanded the frontiers not only of dance, but also of contemporary visual and performing arts. His collaborations with artistic innovators from every creative discipline have yielded an unparalleled body of American dance, music, and visual art.

Of all his collaborations, Cunningham’s work with John Cage, his life partner from the 1940s until Cage’s death in 1992, had the greatest influence on his practice. Together, Cunningham and Cage proposed a number of radical innovations. The most famous and controversial of these concerned the relationship between dance and music, which they concluded may occur in the same time and space, but should be created independently 12

of one another. The two also made extensive use of chance procedures, abandoning not only musical forms, but narrative and other conventional elements of dance composition—such as cause and effect, and climax and anticlimax. For Cunningham the subject of his dances was always dance itself.

Born in Centralia, Washington, on April 16, 1919, Cunningham attended the Cornish School in Seattle, where he met John Cage. After leaving Washington for New York, he began his professional modern dance career at 20 with a six-year tenure as a soloist in the Martha Graham Dance Company. In 1944 he presented his first solo show and in 1953 formed Merce Cunningham Dance Company as a forum to explore his groundbreaking ideas. Over the course of his career, Cunningham choreographed more than 150 dances and over 800 “Events.” Dancers who trained with Cunningham and have gone on to form their own companies include Paul Taylor, Trisha Brown, Lucinda Childs, Karole Armitage, Foofwa d’Imobilité, and Jonah Bokaer.

Cunningham’s lifelong passion for exploration and innovation made him a leader in applying new technologies to the arts. He began investigating dance on film in the 1970s, and choreographed using the computer program DanceForms during the latter part of his career. He explored motion capture technology to create décor for BIPED (1999), and his interest in new media led to the creation of the pioneering web series Mondays with Merce: www.merce.org/mondayswithmerce.html.

Cunningham passed away in his New York City home on July 26, 2009. An active choreographer and mentor to the arts world until his death, he earned some of the highest honors bestowed in the arts. Among his many awards are the National Medal of Arts (1990) and the MacArthur Fellowship (1985). He also received the Jacob’s Pillow Dance Award in 2009, Japan’s Praemium Imperiale in 2005, the British Laurence Olivier Award in 1985, and he was named Officier of the Legion d’Honneur in France in 2004.

Cunningham’s life and artistic vision have been the subject of four books and three major exhibitions, and his works have been presented by groups including the Ballet of the Paris Opéra, Ballet de Lorraine, New York City Ballet, American Ballet Theatre, White Oak Dance Project, and London’s Rambert Dance Company.

John Cage (Founding Music Director) was born in Los Angeles in 1912. He studied with Richard Buhlig, Henry Cowell, Adolph Weiss, and Arnold Schoenberg. In 1952, at Black Mountain College, he presented a theatrical event considered by many to be the first “Happening.” He was associated with Merce Cunningham from the early 1940s, and was Music Director of Merce Cunningham Dance Company until his death in 1992. Cage and Cunningham were responsible for a number of radical innovations in musical and choreographic composition, such as the use of chance operations and the independence of dance and music. His last work for MCDC was FOUR3, the score for Beach Birds (1991), presented at the James Joyce/John Cage Festival in Zürich in 1991, though Cunningham continued to use existing scores by Cage as accompaniment for his choreographies until his 13

penultimate work, XOVER, in 2007. Cage’s radical compositions, from the Sonatas and Interludes for Prepared Piano through Water Music, Fontana Mix, Cartridge Music, Atlas Eclipticalis, to 4’33”, are milestones in the history of contemporary music. He was the author of many books, among them Silence (1961), A Year from Monday (1968), M (1973), Empty Words (1979), and X (1983), all published by Wesleyan University Press. I–VI (the Charles Eliot Norton Lectures delivered at Harvard University in 1988–89) was published

by Harvard University Press in 1990. Cage’s music is published by the Henmar Press of C. F. Peters Corporation and has been recorded on many labels. He died in New York City on August 12, 1992.

Robert Swinston (Director of Choreography) was born in Pittsburgh, Pennsylvania, and attended Middlebury College and The Juilliard School, where he received a B.F.A. in dance.

He danced with the Martha Graham Apprentice Group, the José Limón Dance Company, and with Kazuko Hirabayashi Dance Theatre. He joined MCDC in August 1980 and became assistant to the choreographer in July 1992. Since Merce Cunningham’s death in July 2009, Swinston has been the director of choreography, overseeing Merce Cunningham Dance Company, the Cunningham Repertory Understudy Group, and the Company’s work with the Cunningham Educational Outreach Program. Since 1998, Swinston has assisted in various Cunningham archival reconstructions, including Suite for Five (1956–58); Summerspace (1958); How to Pass, Kick, Fall, and Run (1965); RainForest (1968); CRWDSPCR (1993); and Ocean (1994); and the recent revivals of Squaregame (1976), Duets (1980), and Roaratorio (1983) for the Legacy Tour. He has assisted in the staging of Cunningham works on other companies, including Boston Ballet, White Oak Dance Project, Rambert Dance Company, and New York City Ballet. In 2003, Swinston received a “Bessie” Award for his performance in the revival of Cunningham’s How to Pass, Kick, Fall, and Run. In 2009 Swinston was named a trustee for the Merce Cunningham Trust.

Takehisa Kosugi (Music Director) was born in Tokyo in 1938. He studied musicology at Tokyo National University of Fine Arts and Music. In 1960 he cofounded the Group Ongaku, the first collective improvisation group in Tokyo. During this period his event pieces were introduced by Fluxus in Europe and the United States. From 1965 to 1967 he lived in New York, creating mixed-media performance works and performing with Nam June Paik and other Fluxus members. In 1967 he cofounded the Taj Mahal Travelers in Tokyo, a collective improvisational group. As a composer he participated in Expo ’70 in Osaka. He has been a composer/performer with MCDC since 1977 and was appointed music director of the Company in 1995. He received grants from the JDR 3rd Fund in 1966 and 1977, a DAAD fellowship grant to reside in Berlin in 1981, and the John Cage Award for Music from the Foundation for Contemporary Art in 1994. He has performed in many international festivals, including the Festival d’Automne à Paris, the Almeida International Festival of Contemporary Music in London, and the Sound and Nature in

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Krems, Austria. His sound installations have been presented in various exhibitions, including FürAugen und Ohren, Berlin; Ecouter par les yeux, Paris; and Kunst als Grenzbeschreitung: John Cage und die Moderne, Munich.

Trevor Carlson (Executive Director) began working at the Cunningham Dance Foundation in 1998 and later assumed the position of executive director in 2005 after serving as general manager, director of communications, and company manager of MCDC. During his tenure, Trevor’s collaborative vision has fortified MCDC’s broad-reaching residency programs for which he, in collaboration with Merce, developed a workshop for students based on Cunningham’s use of DanceForms. He helped to increase the number of visual artist collaborations by developing the possibility for Merce to create Events in repertory theater houses using different décors each evening. A total of 25 additional collaborations have been staged in this manner. He also helped to forge new ventures such as the webcast series Mondays with Merce, for which he serves as executive producer. With Lynn Wichern, CFO, and members of the Board, Trevor developed the Legacy Plan, including the Legacy Tour, Dance Capsules, and career transition. Prior to joining CDF, Trevor worked as company manager at The Joyce Theater, tour manager for P.S. 122 Field Trips, managing director of the Stephen Petronio Company, and fiscal associate for Pentacle/Dance Works.

He has given lectures at numerous institutions including The Juilliard School, Stanford University, multiple University of California campuses, and in various locations throughout South America, North America, Europe and the Middle East, and has served as a panelist for the Jerome Foundation and The Pew Center for Arts & Heritage. In 2001, Trevor performed in John Cage’s theater piece, James Joyce, Marcel Duchamp, Erik Satie: An Alphabet, and in 2007 was featured in Tacita Dean’s first collaboration with Merce Cunningham. A graduate of The Juilliard School with a B.F.A. in dance, Trevor cofounded and has performed with the Stanley Love Performance Group.

Dancers Brandon Collwes received his early dance training at the Pittsburgh CLO, Pittsburgh Ballet Theater, and the Creative and Performing Arts High School in Pittsburgh. He attended The Juilliard School and SUNY Purchase. Collwes studied as a scholarship student at the Martha Graham Center for Contemporary Dance and twice at American Dance Festival. He became a member of the Cunningham Repertory Understudy Group in October 2003 and joined MCDC in January 2006.

Dylan Crossman grew up in the south of France, where he started training at the Conservatory of Montpellier in contemporary dance. Crossman has trained at Epsedanse in Montpellier, France, and Burklyn Ballet Theatre in Vermont, and graduated from the

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Laban Center in London. In New York, he has worked with Sean Curran, Peter Kyle, Pam Tanowitz, and Christopher Williams. Dylan joined the Cunningham Repertory Understudy Group in June 2007 and MCDC in June 2009.

Emma Desjardins grew up and began her dance training in Providence, Rhode Island. She graduated from Barnard College/Columbia University in 2003, where she trained and performed with its Dance Department. Desjardins began dancing at the Merce Cunningham Studio in 2002, became a member of the Cunningham Repertory Understudy Group in 2004, and joined MCDC in January 2006. She is currently on faculty at the Merce Cunningham Studio.

Jennifer Goggans (Assistant to the Director of Choreography) began dancing in her hometown of Owensboro, Kentucky, and continued her studies at the Nutmeg Ballet in Connecticut. She received her B.F.A. in dance from SUNY Purchase in 2000, and joined MCDC that same year. Goggans has been a faculty member of the Merce Cunningham Studio since 2005 and has taught master classes in the United States and across Europe.

In addition, she has staged Cunningham’s Cross Currents (1964) for both the Augusta Ballet and the Verb Ballet. Goggans has performed with the Louisville Ballet, MOMIX, Chantal Yzermans, Christopher Williams, and has created costumes for Daniel Squire’s [sic], Tere O’Connor’s Wrought Iron Fog, and RoseAnne Spradlin’s Survive Cycle and The Beginning of Something.

John Hinrichs was raised in Rochester, Illinois. He graduated with a B.S. in mathematics from the University of Illinois at Urbana-Champaign, where he also studied dance. He has danced for Randy James Dance Works and Kazuko Hirabayashi Dance Theatre. He joined the Cunningham Repertory Understudy Group in September 2007 and MCDC in October 2009.

Daniel Madoff received his B.F.A. in dance from Purchase College in June 2006. He has danced for Kazuko Hirabayashi Dance Theatre, Nelly van Bommel, and Pam Tanowitz. He became a member of the Cunningham Repertory Understudy Group in November 2005 and joined MCDC in August 2007.

Rashaun Mitchell was born in Stamford, Connecticut, and raised in Atlanta, Georgia. He started dancing at Concord Academy in Massachusetts and graduated from Sarah Lawrence College in 2000. He received the Viola Farber-Slayton Memorial Grant from the Foundation for Contemporary Performance Arts in 2000. Since then he has danced with Pam Tanowitz, Chantal Yzermans, Donna Uchizono, Risa Jaroslow, Sara Rudner, and Richard Colton. He joined MCDC in January 2004 and is currently on faculty at the Merce Cunningham Studio. In 2007 he was the recipient of a Princess Grace Award: Dance Fellowship. His own choreography has been presented in New York at the Skirball Center, the La Mama Theater, Mt. Tremper Arts, and The Institute for Contemporary Art in Boston.

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Marcie Munnerlyn is from Portland, Oregon. She trained at Jefferson High School, Oregon Ballet Theater, and the Cornish College of the Arts. She became a member of Cunningham Repertory Understudy Group in June 2002 and joined MCDC in January 2004.

Krista Nelson is from Champaign, Illinois. She received a B.F.A. in dance with high honors from the University of Illinois at Urbana-Champaign in 2005. Krista completed the 92nd St. Y’s Dance Education Laboratory (DEL) program and later joined the dance faculty at the Y. She also worked at the 92nd St. Y as production manager and cocurator of Fridays at Noon. She joined the Cunningham Repertory Understudy Group in May 2008, and MCDC in 2010. She has also danced with Catherine Tharin since 2006.

Silas Riener grew up in Washington, D.C. He graduated from Princeton University with a degree in comparative literature and creative writing. He has worked with Chantal Yzermans, Takehiro Ueyama, Christopher Williams, Jonah Bokaer, and Rebecca Lazier’s TERRAIN. He premiered NOX, a collaboration with writer Anne Carson and choreographer Rashaun Mitchell, in 2010, and continues to develop new projects with them. He joined Merce Cunningham Dance Company in November 2007. While performing with MCDC, Riener completed his M.F.A. in dance at NYU’s Tisch School of the Arts.

Jamie Scott began studying dance in her hometown of Great Falls, Virginia. She continued training in the preprofessional division of the Washington School of Ballet and moved to New York in 2001 to attend Barnard College. After graduating cum laude from Barnard in May of 2005, she began her studies at the Merce Cunningham Studio. She joined the Cunningham Repertory Understudy Group in January 2007 and MCDC in July 2009. Jamie is currently on faculty at Merce Cunningham Dance Studio. She also dances with the Daniel Gwirtzman Dance Company.

Robert Swinston (See Directors) Melissa Toogood joined MCDC in June 2008. She began working with Merce as a member of the Cunningham Repertory Understudy Group in November 2005. A faculty member at the Merce Cunningham Studio since 2007, she has taught repertory workshops in her native city of Sydney, Australia, and at the Cunningham studio in New York. Melissa has worked with Pam Tanowitz Dance and Miro Dance Theatre, was a founding member of the Michael Uthoff Dance Theatre, and performed with writer Anne Carson. Melissa earned a B.F.A. in dance performance from New World School of the Arts, Miami, under Dean Daniel Lewis.

Andrea Weber graduated with a B.F.A. from The Juilliard School, under the direction of Benjamin Harkarvy. She has danced and taught for Canadian-based Coleman Lemieux & Compagnie, participating in the Manitoba and Gros Mourne Project. She has assisted and

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staged Lila York’s works on ballet companies throughout the United States and in Denmark. She was a collaborator in Anne Carson’s Possessive Used As Drink (Me) and has also worked with Jessica Lang Dance, Jonah Bokaer, Charlotte Griffin, Sue Bernhard, and Ellen Cornfield. Andrea appears as the Dancer in The Dancer Films, a series of very short films based on the cartoons of Jules Feiffer, directed by Judy Dennis and produced by Ellen Dennis, with choreography by Susan Marshall and Larry Keigwin. Andrea joined MCDC in January 2004 and is currently a faculty member of the Merce Cunningham Studio.

Collaborators David Behrman has been active as a composer and artist since the 1960s. Over the years he has made sound and multimedia installations for gallery spaces as well as compositions for performance in concerts. My Dear Siegfried, Leapday Night, On the Other Ocean, Interspecies Smalltalk, and Long Throw are among his works for soloists and small ensembles. Among his sound and multimedia installations are Cloud Music (1977, a collaboration with Robert Watts and Bob Diamond); Pen Light (2002); and View Finder (2005.) He was also music director for Terri Hanlon’s video Meringue Diplomacy (2010.) Together with Robert Ashley, Alvin Lucier, and Gordon Mumma, Behrman founded the Sonic Arts Union in 1966. He has had a long association with the Merce Cunningham Dance Company as composer and performer and has created music for several of the Company’s repertory pieces. He has been a member of the faculty at the Milton Avery Graduate School of the Arts at Bard College since 1998. Audio recordings of his works are on the XI, Pogus, and Lovely Music labels.

John Cage (See Directors) Beverly Emmons has designed for Broadway, Off-Broadway, regional theater, dance, and opera in the United States and abroad. Off-Broadway, she has worked with director artists including Joseph Chaikin, Meredith Monk, and Robert Wilson in such works as Quarry and Einstein on the Beach. In regional theater, she lit productions of Tartuffe, The Wild Duck, The Cherry Orchard, and The Broken Jug at the Guthrie and Arena Stage with directors Lucian Pintilie and Liviu Ciulei. She worked with MCDC from 1965 to 1968, and lit the works of Jawole Willa Jo Zollar, Trisha Brown, and Martha Graham, among others.

Her Broadway credits include Annie Get Your Gun, Jekyll & Hyde, The Heiress, Stephen Sondheim’s Passion, The Elephant Man, and Amadeus. She has received seven Tony nominations, the 1976 Lumen Award, 1984 and 1986 “Bessies,” a 1986 Obie Award for Distinguished Lighting, and 31 Maharam Foundation/American Theater Wing Awards.

John King is a composer, guitarist, and violist. He has received commissions from the Kronos Quartet, Ethel, the Bang on a Can All-Stars, Mannheim Ballet, New York City Ballet/Diamond 18

Project, Stuttgart Ballet, and Ballets de Monte Carlo, as well as three commissions from Merce Cunningham Dance Company (Native Green, CRWSPCR, and Fluid Canvas). He was music curator at The Kitchen in New York City from 1999 to 2003 and is currently a member of the Music Committee at MCDC. He has written three operas: Dice Thrown, based on the Stéphane Mallarmé poem, premiered at CalArts in Los Angeles in April 2010; la belle captive, based on texts by Alain Robbe-Grillet, premiered at Teatro Colon/CETC in Buenos Aires in 2003 and toured to London’s ICA (Fronteras Festival) in 2004 and The Kitchen in 2005; and Herzstuck/heartpiece, based on the text of Heiner Müller, premiered at the 1999 Warsaw Autumn Festival and presented at The Kitchen in 2000. In 2009 he received the Alpert Award for music composition. He has three CD releases of music for string quartet: 10 Mysteries and AllSteel (Tzadik) and Ethel (Cantaloupe).

Joseph Kubera has been a leading interpreter of contemporary music for the past three decades. He recently performed at Monday Evening Concerts in L.A. and The Stone in New York, and has been a soloist at such festivals as the Warsaw Autumn, Berlin Inventionen and Prague Spring. He has worked closely with composers John Cage, Morton Feldman, La Monte Young, Robert Ashley, and others. Among the composers who have written works for him are Michael Byron, Anthony Coleman, David First, Alvin Lucier, Roscoe Mitchell, and “Blue” Gene Tyranny. He has recorded Cage’s Music of Changes and Concert for Piano and Orchestra, and toured widely with the Cunningham Dance Company in the 1970s and 1980s. Kubera has been awarded grants through the National Endowment for the Arts and the Foundation for Contemporary Performance Arts. He is a core member of S.E.M. Ensemble, the DownTown Ensemble, and Ostravska Banda, and has performed with a wide range of New York ensembles and orchestras ranging from Steve Reich and Musicians to the Brooklyn Philharmonic. He tours with new-music baritone Thomas Buckner, and luminaries such as Terry Riley and Ingram Marshall have written for his duo-piano team with Sarah Cahill. His playing may be heard on the Wergo, Albany, New Albion, New World, Lovely Music, O.O. Discs, Mutable Music, Cold Blue, and Opus One labels.

Mark Lancaster was born in Yorkshire, England, and educated at Bootham School, York, and the University of Newcastle-upon-Tyne. He was artist-in-residence at King’s College, Cambridge, from 1968 to 1970. He moved to New York in 1974, when he first designed for MCDC, having been Jasper Johns’s assistant for Un jour ou deux at the Paris Opéra in 1973. He designed for the videodance Westbeth (1974), Sounddance (1975), Rebus (1975), Torse (1976), Squaregame (1976), Fractions (both video and stage versions, 1977), Tango (1978), Locale (1979), and Roadrunners (1979). In 1980 he was appointed artistic advisor to MCDC. From that point forward he designed Duets (1980) for American Ballet Theatre (1982); 10’s with Shoes (1981); Gallopade (1981); Trails (1982); Quartet (1982); and a new production of Rune (1982; originally designed by Robert Rauschenberg, 1959). He collaborated on Coast Zone (1983); Inlets 2 (1983); Roaratorio (1983); Pictures (1984); Doubles

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(1984); Five Stone Wind (1988), for which he received a “Bessie” Award; Neighbors (1991); Touchbase (1992); and CRWDSPCR (1993). His paintings have been exhibited widely and are in numerous public and private collections.

Christopher McIntyre has a multifaceted career as composer, performer, and curatororganizer. He interprets works and improvises on trombone and synthesizer, and composes for his own ensembles TILT Brass, 7X7 Trombone Band, and Ne(x)tworks, in addition to creating works that have been specifically commissioned. He has recorded for Tzadik, New World, and Mode Records. Curatorial experience includes projects at The Kitchen, Issue Project Room, and The Stone, and he has acted as artistic director of the MATA Festival.

Robert Rauschenberg (1925–2008) was resident designer (décor, costumes, lighting) for Merce Cunningham Dance Company from 1954 to 1964. His first work for the company was the décor for Minutiae (1954), a free-standing object that became known as the first of the artist’s “Combines” and was shown in the exhibition of those works at the Metropolitan Museum of Art from December 2005 to April 2006 (also at the Museum of Contemporary Art, Los Angeles; the Musée national d’art moderne, Centre Georges Pompidou, Paris; and the Moderna Museet, Stockholm). He also designed Suite for Five (1956), Labyrinthian Dances (1957), Antic Meet (1958), Summerspace (1958), Rune (1959), Crises (1960), Æon (1961), Winterbranch (1964), and Story (1963), for which he famously constructed a new set for each performance from materials he found in and around the theater. In later years he returned to collaborate with Merce Cunningham on Travelogue (1977) and Interscape (2000), both with music by John Cage. The painting Immerse (1994) was made to be used as a backdrop for Events. Rauschenberg’s costumes for Cunningham are illustrated in Volume 9, No. 1 of the publication 2wice, 2006. For XOVER (2007), Rauschenberg created both the costumes and backdrop from his work Plank (2003).

David Tudor (1926–96) was born in Philadelphia; his first professional activity was as an organist. Later he became known as a leading avant-garde pianist, with his highly acclaimed first performances of compositions by contemporary composers. From the early fifties, he became John Cage’s closest musical associate, both with MCDC and with Cage’s Project for Music for Electronic Tape. He gradually ended his active career as a pianist, as he and Cage initiated a trend toward “live,” as distinct from taped, electronic music. His first score for Merce Cunningham was for RainForest in 1968, and was followed by those for Sounddance, Exchange, Channels/Inserts, Quartet, Phrases, Shards, Five Stone Wind (with Cage and Takehisa Kosugi), Polarity, and Enter. On the death of Cage in August 1992, Tudor succeeded him as musical director of MCDC. In the fall of that year, he returned to the acoustic piano again in concert performances of Cage’s Winter Music with Atlas Eclipticalis and (in 1993) Solo for Piano from Concert for Piano and Orchestra.

His last work for Cunningham was Soundings: Ocean Diary (1994), the electronic component of the score for Ocean.

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CUNNINGHAM DANCE FOUNDATION STAFF Nancy Bright Financial Aid Administrator Trevor Carlson Executive Director Kevin Carr Mondays with Merce Production Supervisor/Archival Assistant Emmy Carter Development and Marketing Coordinator Tambra Dillon Director of Institutional Advancement Jeff Donaldson-Forbes Contracts and Touring Manager Pepper Fajans Production Assistant and Carpenter Anna Finke Wardrobe Supervisor Jean Freebury Studio Program Manager Rafael Gallegos Studio Registrar Rachel Gibbs Studio Registrar Jennifer Goggans Assistant to the Director of Choreography Alice Helpern International Program Coordinator Layton Hower Office Manager/Bookkeeper Shanna Kudowitz Archival and Dance Capsules Associate Patricia Lent Director of Repertory Licensing Davison Scandrett Director of Production Christine Shallenberg Lighting Director Jesse Stiles Sound Engineer and Music Coordinator Robert Swinston Director of Choreography Kevin Taylor Company Manager Carol Teitelbaum Faculty Chair David Vaughan Archivist Lynn Wichern Chief Financial Officer Carrie Wood Assistant Production Manager Mondays with Merce, a pioneering web-cast series, provides a never-before-seen look at MCDC, with footage of MCDC in rehearsal and performance, exclusive interviews with Merce and artistic collaborators, and video from the Merce Cunningham Archives.

Go behind the scenes and on the road with MCDC throughout the Legacy Tour, www.merce.org. Trevor Carlson: Executive Producer; Nancy Dalva: Producer/Writer; Kevin Carr, Production Supervisor.

European Administration for MCDC provided by Julie George, Paris, France.

TEL: 33-1-4588-9020, 33-1-4588-0441; FAX: 33-1-4589-1393; julie-george@wanadoo.fr North and South American Booking and Asian Booking provided by David Lieberman Artists Representative, TEL: 714-979-4700, FAX: 714-979-4740. Cell phone: 213-792-0600; contact David Lieberman, david@dlartists.com

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Legal Counsel: Cleary Gottlieb Steen & Hamilton, LLP Accounting Services: Lutz and Carr Certified Public Accountants, LLP Insurance Broker: DeWitt Stern Group The Media Repertory of MCDC includes programs from the Merce Cunningham Archives, videotapes and films choreographed specifically for the camera, documentaries, and educational materials, which are distributed by ARTPIX, and the Cunningham Dance Foundation, Inc. TEL: 212-255-8240, FAX: 212-633-2453, ext: 26 Merce Cunningham Studio holds regular classes in technique, elementary to advanced, which are supplemented at periodic intervals by workshops in composition, repertory, and film/video dance. Contact Rafael Gallegos TEL: 212-255-8240 x 32.

Rafael@merce.org Merce Cunningham Studio offers a rental program for emerging choreographers and performance open to any company or individual artist on a self-producing basis. The program features low rates, complete facilities, and a flexible performance space.

Bookings will be accepted through January 2012.

Contact Layton Hower TEL: 212-255-8240 x11. Layton@merce.org Physical Therapy for Merce Cunningham Dance Company provided by Susan Blankensop & Christine Bratton. Orthopedist to Merce Cunningham Dance Company is David S. Weiss, M.D., NYU-HJD; Department of Orthopedic Surgery.

Public Relations and Strategic Communications provided by Resnicow Schroeder Associates.

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CUNNINGHAM DANCE FOUNDATION BOARD OF DIRECTORS Judith R. Fishman, Chairman Alvin Chereskin, Co-Vice Chair Molly Davies, Co-Vice Chair Anthony B. Creamer III, Treasurer David Vaughan, Secretary Jean Rigg, Associate Secretary Simon Bass Candace Krugman Beinecke Sallie Blumenthal Jill F. Bonovitz Carolyn Brown Frank A. Cordasco, M.D. Sage F. Cowles Gary Garrels Katherine D. R. Hayes Rosalind G. Jacobs Pamela Kramlich Alan M. Kriegsman Harriette Levine Harvey Lichtenstein Timothy J. McClimon Jacqueline Matisse Monnier Bénédicte Pesle Barbara Pine Judith F. Pisar Kirk A. Radke Eileen Rosenau Nicholas Rudenstine Kristy Santimyer Melita Barbara S. Schwartz Allan G. Sperling Sutton Stracke Patricia Tarr Paul L. Wattis III Suzanne Weil

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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. Help us sustain the Fisher Center and ensure that the performing arts are a part of our lives. We encourage and need you to join our growing list of donors.

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

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

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

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

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

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

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

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Friends of the Bard Music Festival Benefactor American-Scandinavian Foundation The Ann and Gordon Getty Foundation Artek Banco Santander S. A. Barclays Bank Leonie F. Batkin Consulate General of Finland in New York Joan K. Davidson Mr. and Mrs. Gonzalo de las Heras John A. Dierdorff Elizabeth W. Ely ’65 and Jonathan K. Greenburg FMH Foundation Furthermore: A Program of the J. M. Kaplan Fund Eliot D. and Paula K. Hawkins Linda Hirshman and David Forkosh Homeland Foundation, Inc. HSBC Philanthropic Programs Anne E. Impellizzeri The J. M. Kaplan Fund, Inc. Susan and Roger Kennedy Barbara Kenner Amy and Thomas O. Maggs Marstrand Foundation Ministry for Foreign Affairs of Finland The Mrs. Mortimer Levitt Endowment Fund for the Performing Arts National Endowment for the Arts (NEA) New York State Council on the Arts (NYSCA) Dimitri B. and Rania Papadimitriou Peter Kenner Family Fund of the Jewish Communal Fund Ralph E. Ogden Foundation, Inc. Dr. Gabrielle Reem** and Dr. Herbert J. Kayden Drs. M. Susan and Irwin Richman David E. Schwab II ’52 and Ruth Schwartz Schwab ’52 H. Peter Stern and Helen Drutt English Dr. Siri von Reis Merida Welles and William Holman The Wise Family Charitable Foundation Elaine and James Wolfensohn Betsey and E. Lisk Wyckoff Jr. Patron ABC Foundation Constance Abrams and Ann Verber Edwin L. Artzt and Marieluise Hessel 26

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

Martin L. Murray and Lucy Miller Murray Alexandra Ottaway Eve Propp Drs. Morton and Shirley Rosenberg Blanche and Bruce Rubin Andrew Solomon and John Habich Solomon Sarah and Howard Solomon Martin T. and Toni Sosnoff Edwin A. Steinberg Dr. S. B. Sternlieb Stewart’s Shops Elizabeth Farran Tozer and W. James Tozer Jr. Tozer Family Fund of the New York Community Trust Illiana van Meeteren Aida and Albert Wilder Irene Zedlacher William C. Zifchak and Margaret Evans Sponsor Anonymous Ana Azevedo Margaret and Alec Bancroft Everett and Karen Cook Phillip S. Cooke Blythe Danner ’65 Dasein Foundation Willem F. De Vogel and Marion Davidson Cornelia Z. and Timothy Eland Timothy and Cornelia Eland Fund of the Fidelity Charitable Gift Fund Shepard and Jane Ellenberg Ellenberg Asset Management Corp.

Field-Bay Foundation Francis Finlay and Olivia J. Fussell Laura Flax Martha Jane Fleischman Deborah and Thomas Flexner Donald C. Fresne Laura Genero Samuel L. Gordon Jr. and Marylou Tapalla Mr. and Mrs. Jay M. Gwynne Marjorie Hart Nancy and David Hathaway Martin Holub and Karen Kidder Lucas Hoogduin and Adriana Onstwedder Pamela Howard John R. and Joyce Hupper I.B.M. Matching Grants Program Susan Jonas Edith Hamilton Kean Fernanda Kellogg and Kirk Henckels Clara F. and David J. Londoner James and Purcell Palmer Mr. and Mrs. Frederick P. Payton

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

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

Donald Cooney Millicent O. McKinley Cox Linda and Richard Daines Dana and Brian Dunn Abby and John Dux Peter Edelman Peter Elebash and Jane Robinson Jim and Laurie Niles Erwin Patricia Falk Harold Farberman Arthur L. Fenaroli David and Tracy Finn Luisa E. Flynn Patricia and John Forelle Mary Ann Free Samantha Free Stephen and Jane Garmey Anne C. Gillis Mr. and Mrs. Harrison J. Goldin Dr. Joel and Ellen Goldin Stanley L. Gordon Thurston Greene Ben-Ali and Mimi Haggin David A. Harris Sy Helderman Sharon and David Hendler Carol Henken Nancy H. Henze Gary Herman David Hurvitz and Martha Klein Dr. and Mrs. Gerald Imber Patricia H. Keesee Mr. and Mrs. John W. Kelly Joan Kend Diana Niles King Thea Kliros Sharon Daniel Kroeger Robert J. Kurilla Jeffrey Lang Prof. Edward C. Laufer Wayne Lawson Beth Ledy Laurence and Michael Levin Longy School of Music Ruthie and Lincoln Lyman M Group, LLC John P. MacKenzie Hermes Mallea and Carey Maloney Annette S. and Paul N. Marcus Harvey Marek The McGraw-Hill Companies Matching Gift Program Marcus Mello ’04 Dr. Naomi Mendelsohn Philip Messing Millbrook Real Estate, LLC Deborah D. Montgomery Kelly Morgan Debbie Ann and Christopher Morley Susan and Robert Murphy Anna Neverova ’07 Nancy R. Newhouse Hugh and Marilyn Nissenson

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

Major support for the Fisher Center’s programs has been provided by: Arthur F. and Alice E. Adams Foundation Helen and Roger Alcaly American-Scandinavian Foundation The Andrew W. Mellon Foundation Fiona Angelini and Jamie Welch The Ann & Gordon Getty Foundation Anonymous Artek The Barbro Osher Pro Suecia Foundation Barclays Bank Leonie F. Batkin

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

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

** deceased All lists current as of July 18, 2011

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 Stanley A. Reichel ’65, Treasurer Fiona Angelini Roland J. Augustine Leon Botstein, President of the College+ David C. Clapp Marcelle Clements ’69* Asher B. Edelman ’61 Robert S. Epstein ’63 Barbara S. Grossman ’73* Sally Hambrecht George F. Hamel Jr. Ernest F. Henderson III, Life Trustee Marieluise Hessel Charles S. Johnson III ’70 Mark N. Kaplan George A. Kellner Cynthia Hirsch Levy ’65 Murray Liebowitz Marc S. Lipschultz Peter H. Maguire ’88 James H. Ottaway Jr., Life Trustee Martin Peretz Stewart Resnick Roger N. Scotland ’93* The Rt. Rev. Mark S. Sisk, Honorary Trustee Martin T. Sosnoff Susan Weber Patricia Ross Weis ’52 Administration Leon Botstein President Dimitri B. Papadimitriou Executive Vice President Michèle D. Dominy Vice President and Dean of the College Robert Martin Vice President for Academic Affairs; Director, The Bard College Conservatory of Music James Brudvig Vice President for Administration Debra Pemstein Vice President for Development and Alumni/ae Affairs Mary Backlund Vice President for Student Affairs; Director of Admission

Norton Batkin Vice President and Dean of Graduate Studies Jonathan Becker Vice President and Dean for International Affairs and Civic Engagement Susan H. Gillespie Vice President for Special Global Initiatives Max Kenner ’01 Vice President for Institutional Initiatives Erin Cannan Dean of Student Affairs Peter Gadsby Associate Vice President for Enrollment; Registrar Mary Smith Director of Publications Ginger Shore Consultant to Publications Mark Primoff Director of Communications Kevin Parker Controller Jeffrey Katz Dean of Information Services; Director of Libraries

The Richard B. Fisher Center for the Performing Arts Advisory Board Jeanne Donovan Fisher, Chair Leon Botstein+ Stefano Ferrari Harvey Lichtenstein Robert Martin+ James H. Ottaway Jr. Dimitri B. Papadimitriou+ Martin T. Sosnoff Toni Sosnoff Felicitas S. Thorne Administration Susana Meyer Associate Director Robert Airhart Production Manager Debra Pemstein Vice President for Development and Alumni/ae Affairs Mark Primoff Director of Communications Mary Smith Director of Publications Ginger Shore Consultant to Publications

Kimberly Keeley-Henschel Budget Director Bonnie Kate Anthony Assistant Production Manager Paul LaBarbera Sound and Video Engineer Stephen Dean Stage Operations Manager Vincent Roca Technical Director Mark Crittenden Facilities Manager Jeannie Schneider Business Manager Austin Miller ’06 Events Manager Lesley DeMartin ’11, House Manager Claire Weber ’08 Box Office Manager Ray Stegner Building Operations Manager Doug Pitcher Building Operations Coordinator Daniel DeFrancis, Staff Assistant Robyn Charter, Staff Assistant

The Bard Music Festival Board of Directors Denise S. Simon, Chair Roger Alcaly Leon Botstein+ Michelle R. Clayman John A. Dierdorff Robert C. Edmonds ’68 Jeanne Donovan Fisher Christopher H. Gibbs+ Jonathan K. Greenburg Paula K. Hawkins Linda Hirshman Barbara Kenner Mimi Levitt Thomas O. Maggs Robert Martin+ Joanna M. Migdal Kenneth L. Miron Christina A. Mohr James H. Ottaway Jr. Allan Streichler Tucker Taylor Felicitas S. Thorne Siri von Reis E. Lisk Wyckoff Jr. Artistic Directors Leon Botstein Christopher H. Gibbs Robert Martin Executive Director Irene Zedlacher 29

Associate Director Raissa St. Pierre ’87 Scholar in Residence 2011 Daniel M. Grimley Program Committee 2011 Byron Adams Leon Botstein Christopher H. Gibbs Daniel M. Grimley Robert Martin Richard Wilson Irene Zedlacher Development Debra Pemstein Andrea Guido Stephen Millikin

Publications Mary Smith Ginger Shore

Supertitles Celeste Montemarano Melissa Wegner (operator)

Public Relations Mark Primoff Eleanor Davis 21C Media

Production Interns Sean Colona '12 Liza Batkin '14 Sydney Menees '12 David Nagy '12 Amalie Wyrick-Flax '14

Director of Choruses James Bagwell Vocal Casting Consultant Susana Meyer Stage Managers Stephen Dean Matthew Waldron

+ ex officio * alumni/ae trustee ** Honorary

About Bard College Founded in 1860, Bard 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.S./B.A. 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—as well as an M.Music in vocal arts and in conducting. Bard and its affiliated institutions also grant the following degrees: A.A. at Bard High School Early College, a New York City public school with two campuses; 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 penal institutions in New York State; M.A. in curatorial studies, and M.S. in environmental policy and in climate science and policy at the Annandale campus; M.F.A. and M.A.T. at multiple campuses; 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 (Smolny College), St. Petersburg State University, Russia, and American University of Central Asia in Kyrgyzstan; and dual B.A. and M.A.T. degrees at Al-Quds University in East Jerusalem.

Bard offers academic programs in four divisions. Total enrollment for Bard College and its affiliates is approximately 3,700 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.

©2011 Bard College. All rights reserved.

Cover Rashaun Mitchell in Antic Meet. Photo by Yi-Chun Wu 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.

• 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 return your donation to: Richard B. Fisher Center for the Performing Arts

Please designate my gift toward: ❑ Fisher Center Council ❑ Bard Music Festival Council ❑ Where it is needed most Please charge my: ❑ VISA ❑ MasterCard ❑ AMEX in the amount of $ Credit card account number

Bard College PO Box 5000 Annandale-on-Hudson, NY 12504

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Conservatory Sundays Concerts performed by the talented students of The Bard College Conservatory of Music, with faculty and special guests

SELECTED SUNDAYS SEPTEMBER–DECEMBER

Works by Lou Harrison Presented by New Albion Records and the Richard B. Fisher Center for the Performing Arts

SATURDAY, OCTOBER 15 AT 8 PM

American Symphony Orchestra Conducted by Leon Botstein, music director, with works by Winham and Mahler

FRIDAY, OCTOBER 28 AND SATURDAY, OCTOBER 29 All concerts are at 8 pm and will feature a preconcert talk at 6:45 pm.

American Ballet Theatre Works by Twlya Tharp, Merce Cunningham, Martha Clarke, Robert Barnett, Felix Blaska, Demís Volpí (world premiere), and Paul Taylor These performances have been underwritten by the Martin and Toni Sosnoff Foundation.

FRIDAY, NOVEMBER 4 AT 8 PM SATURDAY, NOVEMBER 5 AT 2 AND 8 PM SUNDAY, NOVEMBER 6 AT 2 PM

James Joyce, Marcel Duchamp, Erik Satie: An Alphabet

By John Cage Produced by the John Cage Trust and New Albion Records

FRIDAY, NOVEMBER 11 AND SATURDAY, NOVEMBER 12 AT 8 PM

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