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

Gustav Mahler’s Symphony No. 2 Featuring members of The American Symphony Orchestra Bard College Conservatory Orchestra Longy Conservatory Orchestra April 26 and 27, 2013


About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space, and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater & Performance and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, film, and cabaret; and the Bard Music Festival, which celebrates its 24th year in August with “Stravinsky and His World.” The 2014 festival will be devoted to Franz Schubert. The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations.

©2013 Bard College. All rights reserved. Cover Gustav Mahler. ©Boosey and Hawkes Collection/ArenaPal/The Image Works Page 22 The Bard College Conservatory Orchestra in concert at Alice Tully Hall ©Cory Weaver Inside back cover ©Peter Aaron ’68/Esto


The Richard B. Fisher Center for the Performing Arts at Bard College

Chair Jeanne Donovan Fisher President Leon Botstein

presents Members of The American Symphony Orchestra Bard College Conservatory Orchestra Longy Conservatory Orchestra Leon Botstein, Music Director

Gustav Mahler (1860–1911)

Symphony No. 2 in C Minor (“Resurrection”) Allegro maestoso Andante moderato In ruhig fließender Bewegung Urlicht. Sehr feierlich, aber schlicht Im Tempo des Scherzo Heather Buck, soprano Jamie Van Eyck, mezzo-soprano Bard College Chamber Singers, Bard Festival Chorale, and Cappella Festiva James Bagwell, chorus master

Sosnoff Theater Friday, April 26, and Saturday, April 27 at 8 pm Preconcert talk at 7 pm by Christopher H. Gibbs Running time for this concert is approximately 80 minutes. It will be performed without intermission.


A Letter from Leon Botstein

Ten years ago, Bard was proud to open the Richard B. Fisher Center for the Performing Arts. The events celebrating this opening included a performance of Gustav Mahler’s Third Symphony. The work had been chosen as a symbolic continuation of the 2002 Bard Music Festival, which focused on the work and world of Mahler. Many of the leading donors to the Center, including one of the finest individuals I have ever known, the late Richard B. Fisher, were enthusiasts for the music of Mahler. We thought, therefore, that it would be fitting to include a work by the composer in the 10th anniversary celebration of the Center, as a tribute to all who have supported the Center, to the artists and students who have studied and performed here, and to our loyal audiences. But we did not want to mark the anniversary with a repeat. Rather, we have chosen the other great choral symphony of Mahler, his Second Symphony, an extremely beloved work by audiences worldwide. This performance also pays tribute to the teaching of music at Bard and its accomplishments over the past decade. The performers you see on stage consist of members of the American Symphony Orchestra, some of whom teach at Bard; students of The Bard College Conservatory of Music; and students from the Longy School of Music of Bard College. Such side-by-side performances are extremely gratifying experiences for all participants and exemplify teaching and learning at its best. Let this concert be a glorious harbinger for the next 10 years. —Leon Botstein, President, Bard College; Music Director, American Symphony Orchestra

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Notes on the Program

Gustav Mahler Born in Kalischt (Kaliˇsté), Bohemia, on July 7, 1860 Died in Vienna on May 18, 1911 Symphony No. 2 in C Minor (“Resurrection”) (1888–94)

List-making figures among the amusing games that many music lovers enjoy playing: lists of great performances one has heard; great recordings collected; favorite composers, pieces, performers, and so forth. Mahler’s Second Symphony often looms high in such accounts, especially when musicians and audiences recount particularly memorable experiences of the work. Testimonials to the power of this symphony began with its premiere in Berlin under the composer’s direction in December 1895. Mahler’s sister Justine recalled: “The triumph grew after every movement. Such enthusiasm is seen only once in a lifetime! Afterward I saw grown men weeping and youths falling all over one another.” The Swiss composer Ernest Bloch heard a performance a few years later and wrote: “For me the impression will never be effaced, nor will it be for anyone fortunate enough to have shared in it. The excited audience, transported and oblivious to its surroundings, gave the composer an enthusiastic ovation; it sensed the presence of an independent work, a work coming from the heart which spoke directly to their hearts.” The effect on younger Viennese composers, Mahler’s greatest admirers, was profound. Arnold Schoenberg stated that he was “overwhelmed, completely overwhelmed” by the piece: “I remember distinctly that the first time I heard Mahler’s Second Symphony I was seized, especially in certain passages, with an excitement which expressed itself even physically in the violent throbbing of my heart.” Alban Berg said that his first encounter with it was so intimate he felt the need to confess “infidelity” to his fiancée. The Second Symphony apparently held a special place for Mahler himself as well. He chose it as the first of his symphonies to conduct in Vienna and also as his farewell to the city in 1907. It was likewise the first that he presented in Munich, New York, and Paris. He told his confidant Natalie Bauer-Lechner: “Never again will I attain such depths and heights, as Ulysses only once in his life returned from Tartarus. One can create only once or twice in a lifetime works on such a great subject. Beethoven in his C minor [Fifth Symphony] and his Ninth, Goethe with Faust, Dante with the Divine Comedy, etc. Without putting myself on their level, or comparing myself to them, I am amazed that I

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was able to write this that summer in Steinbach! It was only thanks to the long interruption that had been forced on me, after which the waters gushed forth, as they do from any obstructed pipe.” Despite many distinguished recordings, including ones by Mahler’s protégés Bruno Walter and Otto Klemperer, a work of this size and ambition must be experienced live to do it justice. The Second Symphony embodies the Wagnerian ideal, manifested at the Bayreuth Festival, of a community coming together for what amounts to a kind of secular religion. This attitude may be one reason that Mahler stipulated a five-minute pause after the first movement, a time not for late seating or feet shuffling, but rather for introspection. In many ways the overwhelming impact of the Second Symphony is hardly surprising. It projects a powerful narrative of life over death that resonates with philosophical issues Mahler explored throughout his career. It is a monumental piece written for an enormous orchestra and capped off by a magnificent chorus that is reserved until the end of the final movement. Indeed, after completing the work Mahler remarked: “What effect I could have achieved if I had used the chorus and organ earlier, but I wanted to save them for the climax and would rather relinquish its effect in other places.” As a great conductor, especially of opera, Mahler certainly knew how to gauge effects; he was well aware of what was dramatically compelling. He knew how to build to a shattering conclusion. Mahler came to expect the success of his Second with audiences. After performing the work in Paris the year before his death in 1911, he stated: “My Second Symphony occupies a special place among my works: If it is successful anywhere, this means nothing for my other works!” And yet the effect, power, and success of the symphony might not have been predicted given its unusually protracted genesis. The work gave Mahler great trouble over the course of the nearly seven years he took to write it, a longer period than for any of his other symphonies. Moreover, when he began composing the symphony early in 1888 he had no central vision of its content or structure and, most crucially, did not know how it would all end. In November 1889 he had premiered a “Symphonic Poem in Two Parts” in Budapest, where he served at the time as director of the Royal Hungarian Opera. This five-movement work would later lose its second movement and be retitled “Symphony in D Major,” his “First.” The year before Mahler had already begun composing a “Symphony in C Minor,” of which he drafted an enormous opening movement, as well as two themes for a second one. At some later point he decided to rename this movement Todtenfeier (Funeral Rites). It was based, at least in part, on a ballad entitled Dziady (Forefathers’ Eve), by the celebrated Polish poet Adam Mickiewicz, which had recently been translated into German by Mahler’s close friend Siegfried Lipiner and published as Todtenfeier. Mahler later said that in this massive funeral march “it is the hero of my D-major [First] Symphony whom I bear to the grave there, and whose life I catch up, from a higher standpoint, in a pure mirror.”

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Mahler was extraordinarily busy as a rising young conductor and he set aside the new symphony for five years. During the hiatus, in 1891, he played the Todtenfeier movement on the piano for the great conductor Hans von Bülow, who had led the premieres of Wagner’s Tristan und Isolde and Die Meistersinger, and who had become an important supporter of the young composer. But when Mahler looked up from the keyboard, he saw von Bülow covering his ears; afterwards his mentor stated that the work made Tristan sound like a Haydn symphony. The “long interruption” Mahler mentioned to Bauer-Lechner ended in 1893, when Mahler took up the symphony again, composing the second movement, which makes use of the opening dance melody and lush cello theme he had sketched years earlier. He also orchestrated two songs that would become the next two movements in the symphony. Once again, Mahler called upon poetry from the early-19th-century folk collection Des Knaben Wunderhorn (The Youth’s Magic Horn). The composer was obsessed with these poems for more than a decade, and in addition to his many vocal settings with piano or orchestra, he also placed them in his early symphonies. The songs employed in the Second Symphony were originally written for piano and voice, but joined with the Andante to provide a three-movement intermezzo leading to the finale with organ, two vocal soloists, and chorus. The third movement is a purely instrumental version, much expanded, of the ironic song “St. Anthony of Padua’s Sermon to the Fishes.” The fourth movement, “Urlicht,” retains the vocal part, sung by a mezzosoprano. Yet Mahler was baffled about how to end the symphony. The breakthrough came in March 1894 when he attended a memorial service in the same Hamburg church where he would himself be baptized three years later. The occasion—a “Todtenfeier,” in fact—honored von Bülow, who had died in Cairo the previous month. “The way in which I received inspiration for the Finale is deeply indicative of the essence of musical creation,” Mahler would later explain, saying: I had long considered the idea of employing a chorus for the last movement, and only the fear that this might be seen as a superficial imitation of Beethoven made me hesitate time and again. Then von Bülow died, and I went to his funeral. My mood as I sat there thinking of the man who had died was wholly in tune with the work that was growing in my mind. Suddenly the choir chanted from the organ-loft the Klopstock chorale Auferstehn! It was as if I had been struck by lightning—the whole work now stood clearly before me! Such is the flash for which the creator waits, such is sacred inspiration! After that I had to create in sound what I had just experienced. Nonetheless, if I had not already been carrying the work within me, how could I have experienced this moment? Weren’t thousands of other people with me in the church? That’s how it always is with me. I only compose when I truly experience something, and I only experience it when I create! 7


And so Mahler crafted the finale of the Second Symphony using a poem by the 18thcentury German writer Friedrich Gottlieb Klopstock, which he heavily edited and vastly expanded with his own words. This final movement begins with a cataclysmic dischord, comparable to the famous “terror fanfare” (as Wagner called it) with which Beethoven opened the finale of his Ninth Symphony. And indeed it was Beethoven’s final symphony that served as a model in various other respects. As in the Ninth, Mahler brings back themes from the earlier movements at the opening of the finale, thus lending unity to the disparate work composed over so many years. He worked on this last movement in the summer of 1894 at Steinbach, in Austria’s majestic Salzkammergut region. The symphony was completed in December 1894 and Mahler conducted the first three movements (reversing the order of the second and third) with the Berlin Philharmonic in March 1895. On this occasion the music was received poorly. He presented the premiere of the complete Symphony with the same orchestra in December and although the critical response was not much better, the general audience response was apparently enthusiastic. If the preceding narrative gives something of the story behind the lengthy creation of the symphony, there is also a story, or several of them, within the symphony itself. Mahler vacillated about creating “programs” for his works (usually doing so after they were composed), or divulging them once he had. (“Down with programs!” became his mantra.) As he grew increasingly reluctant to say much of anything about his music, perhaps partly to distance himself from the music of his friend and rival Richard Strauss, he withdrew those he had devised for his first three symphonies. About the Second Mahler gave various accounts, some in private as well as one for public consumption. All sketch a fairly similar scheme for the piece. Not long after finishing the symphony, he wrote to the journalist Max Marschalk that the work grapples with the question: “‘Why did you live? Why did you suffer? Is it all nothing but a huge, frightful joke?’ We must answer these questions in some way, if we want to go on living—indeed, if we are to go on dying! He into whose life this call has once sounded must give an answer; and it is his answer I give in the final movement.” The explanation Mahler gave for public consumption in 1900 was originally intended for a Munich performance but was suppressed in the end. It was printed, however, for a presentation the next year in Dresden. Somewhat less well known than his earlier private accounts, it is excerpted here: First Movement: We are standing near the grave of a beloved man. His whole life, his struggles, his sufferings and accomplishments on earth pass before us. And now, in this solemn and deeply stirring moment, when the confusion and distractions of everyday life are lifted like a hood from our eyes, a voice of aweinspiring solemnity chills our heart, a voice that, blinded by the mirage of everyday life, we usually ignore: “What next?” it says. “What is life and what is death? Will we live on eternally? Is it all an empty dream or do our life and death have a meaning?” And we must answer this question, if we are to go on living. The next three movements are conceived as intermezzi. 8


Second Movement: A blissful moment in the dear departed’s life and a sad recollection of his youth and lost innocence. Third Movement: A spirit of disbelief and negation has seized him. He loses his perception of childhood and the profound strength that love can give. He despairs both of himself and of God. The world and life begin to seem unreal. Utter disgust for every form of existence and evolution seizes him in an iron grasp, torments him until he utters a cry of despair. Fourth Movement: Urlicht (Primeval Light) from the Knaben Wunderhorn. The stirring words of simple faith sound in his ears: “I come from God and I will return to God!” Fifth Movement: Once more we must confront terrifying questions, and the atmosphere is the same as at the end of the third movement. The voice of the Caller is heard. The end of every living thing has come, the last judgment is at hand, and the horror of the day of days has come upon us. The earth trembles, the graves burst open, the dead arise and march forth in endless procession. The great and the small of this earth, the kings and the beggars, the just and the godless, all press forward. . . . The last trumpet sounds. . . . In the eerie silence that follows we can just barely make out a distant nightingale, a last tremulous echo of earthly life. The gentle sound of a chorus of saints and heavenly hosts is then heard: “Rise again, yes, rise again thou wilt!” The God in all His glory comes into sight. A wondrous light strikes us to the heart. All is quiet and blissful. Lo and behold: There is no judgment, no sinners, no just men, no great and small; there is no punishment and no reward. A feeling of overwhelming love fills us with blissful knowledge and illuminates our existence. —Christopher H. Gibbs, James H. Ottaway Jr. Professor of Music, Bard College

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

been president of Bard College in New York since 1975.

Botstein has an active schedule as a guest conductor all over the world, and can be heard on numerous recordings, including operas by Strauss, Dukas, and Chausson, as well as works of Shostakovich, Dohnányi, Liszt, Bruckner, Bartók, Hartmann, Reger, Glière, Szymanowski, Brahms, Copland, Sessions, Perle, and Rands. Many of his live performances with the American Symphony Orchestra are now available for download on the Internet. Leon Botstein is highly regarded as a music historian. He is the editor of The Musical Quarterly and the author of numerous articles and books. In 2011 he gave the prestigious Tanner Lectures in Berkeley, California. For his contributions to music he has received the award of the American Academy of Arts and Letters and Harvard University’s Centennial Award, as well as the Cross of Honor, First Class, from the government of Austria. In 2009 he received the Carnegie Foundation’s Academic Leadership Award, and in 2011 was inducted into the American Philosophical Society. He is also the 2012 recipient of the Leonard Bernstein Award for the Elevation of Music in Society.

James Bagwell Chorus Master James Bagwell maintains an active international schedule as a conductor of choral, operatic, and orchestral music. In 2009 he was appointed music director of the Collegiate Chorale and principal guest conductor of the American Symphony Orchestra, leading the ©mel mittlemiller

ASO in concerts at Carnegie Hall during the 2011–12 season. Some highlights of this past

season included Bellini’s rarely performed opera Beatrice di Tenda at Carnegie Hall, and his conducting of Kurt Weill’s Knickerbocker Holiday at Alice Tully Hall, which was recorded live for Gaslight Records. In July 2011 he prepared the Collegiate Chorale for

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three concerts at the Verbier Festival in Switzerland, and in 2012 they traveled to Israel and the Salzburg Festival for performances with the Israel Philharmonic.

Heather Buck Soprano Heather Buck has established herself internationally as a consummate singing actress, “combining an agile, liquid soprano, a bright, natural stage presence, and the timing of an expert comedienne” (Opera News). She performed as Lulu Baines in Elmer Gantry with Florentine Opera, which was recorded for the Naxos label (2011) and received two Grammy Awards. Her engagements for 2012–13 include a return to Virginia Opera as Leila in Les pêcheurs de perles; to Opera Naples as Tytania in A Midsummer Night’s Dream; reprising the role of Medea in Medeamaterial by Pascal Dusapin with Teatr Wielki, Opera Narodowa (Warsaw, Poland); and singing as soloist in works of Holliger and Schubert with the Riverside Symphony (New York). Other recent engagements include her return to the roster of the Metropolitan Opera for its production of Nixon in China; her reprisal of the role of Angel in Dusapin’s Faustus: The Last Night at the Concertgebouw; her portrayal of Zerbinetta in Ariadne auf Naxos with Toledo Opera; and her performance of the title role in the American premiere of Wolfgang Rihm’s monodrama Proserpina with Spoleto Festival USA. She holds a master of music degree from Yale, where she studied with Doris Yarick-Cross, and a bachelor’s degree in music from Tufts University. She also has a bachelor of fine arts from the School of the Museum of Fine Arts in Boston.

Jamie Van Eyck Mezzo-soprano With polished, elegant vocalism, and committed dramatic portrayals on stage, American mezzo-soprano Jamie Van Eyck appeals to audiences and critics alike as a compelling young artist in opera and concert. Last summer, she debuted with the Princeton Festival and Bar Harbor Music Festival, and returned to Bard SummerScape for concerts of French songs and arias, including Debussy’s Chansons de Bilitis. This season, she performs Handel’s Messiah with the Lexington Philharmonic, and Cherubino in Le nozze di Figaro with Arizona Opera and the Bar Harbor Music Festival. Recent engagements include a return to Madison Opera as Olga in Eugene Onegin, repeat performances at the Dallas Museum of Art and the Wolf Trap Foundation Discovery Series, and a debut with the Five Boroughs Music Festival in New York City in the premiere of the Five Borough Songbook. In concert, Van Eyck sang Beethoven’s Ninth Symphony with the Wisconsin Chamber Orchestra and Messiah with the Phoenix Symphony. In 2011 her second recording with Bridge Records of New York, titled Complete Crumb Edition, Volume 15, was praised as “consistently wonderful” and “not to be missed” by Classics Today, and by The Classical Review as a performance rich with “immense technical skill and musical panache.”

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The American Symphony Orchestra The American Symphony Orchestra (ASO) was founded 50 years ago by Leopold Stokowski, with the specific intention of making orchestral music accessible and affordable for everyone. Under music director Leon Botstein, the ASO has kept Stokowski’s mission intact, and has also become a pioneer in what the Wall Street Journal called “a new concept in orchestras,” presenting concerts curated around various themes drawn from the visual arts, literature, politics, and history, and unearthing rarely performed masterworks for well-deserved revival. These concerts are performed in the Vanguard Series at Carnegie Hall. In addition, the orchestra performs in the celebrated concert series Classics Declassified at Peter Norton Symphony Space, and is the resident orchestra of The Richard B. Fisher Center for the Performing Arts at Bard College, where it appears in a winter subscription series as well as Bard’s annual SummerScape and the Bard Music Festival. In 2010, the American Symphony became the resident orchestra of the Collegiate Chorale, performing regularly in the Chorale’s New York concert series. The orchestra has made several tours of Asia and Europe, and has performed in countless benefits for organizations including the Jerusalem Foundation and PBS. ASO’s award-winning music education program, Music Notes, integrates symphonic music into core humanities classes in high schools across the tristate area. In addition to many albums released on the Telarc, New World, Bridge, Koch, and Vanguard labels, many live performances by the American Symphony are now available for digital download. In many cases, these are the only existing recordings of some of the rare works that have been rediscovered in ASO performances.

Longy School of Music of Bard College Longy School of Music of Bard College, founded as Longy School of Music in 1915 by renowned oboist Georges Longy, is a degree-granting conservatory and school of preparatory and continuing studies located in Harvard Square in Cambridge, Massachusetts. The school serves 225 undergraduate and graduate students from 37 states and 21 countries, and nearly 1,000 children and adults from the Greater Boston area. For all students, Longy provides a distinguished faculty that promotes profound musical understanding and technical mastery, encourages growth of imagination, and fosters inquiry about the role of music and the musician in the larger world. With a curriculum rooted in the traditions of Western music, Longy’s mission is to prepare musicians to make a difference in the world.

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The Bard College Conservatory of Music Robert Martin, Director Recognized as one of the finest conservatories in the United States, The Bard College Conservatory of Music, founded in 2005, is guided by the principle that musicians should be broadly educated in the liberal arts and sciences to achieve their greatest potential. All undergraduates complete two degrees over a five-year period, a bachelor of music and a bachelor of arts in a field other than music. The Graduate Vocal Arts Program is a two-year master of music degree conceived by soprano Dawn Upshaw. The course work is designed to support a broad-based approach to a singing career that extends from standard repertory to new music. Alongside weekly voice lessons and diction and repertory courses is training in acting, as well as core seminars that introduce and tie together the historical/cultural perspective, analytical tools, and performance skills that distinguish vocal and operatic performance at the highest level. The Gradute Conducting Program is a new two-year curriculum that culminates in the master of music degree. The program is designed and directed by Harold Farberman, founder and director of the Conductors Institute at Bard; James Bagwell, director of Bard’s undergraduate Music Program and music director of the Collegiate Chorale; and Leon Botstein, president of Bard College, music director and principal conductor of the American Symphony Orchestra, and conductor laureate of the Jerusalem Symphony Orchestra. Bard College Conservatory Orchestra, Leon Botstein, music director, performs at least four times each year in The Richard B. Fisher Center for the Performing Arts at Bard College as part of the Conservatory Sundays concert series. In May the orchestra will make a return appearance at Alice Tully Hall in a concert of works by Prokofiev, Shostakovich, and Stravinsky, conducted by Leon Botstein. The orchestra also performs annually at the Eastern NY Correctional Facility as part of the Bard Prison Initiative. In June 2012 the orchestra, conducted by Botstein, toured Asia for three weeks, performing in Hong Kong, Taipei, Shanghai, Beijing, Guangzhou, Wuhan, and Tianjin.

Bard College Chamber Singers Formed in 2002 by music director James Bagwell, Bard College Chamber Singers is an auditioned choir of Bard students and alumni/ae from all programs of the College. In the past few seasons, the Chamber Singers have performed Arvo Pärt’s Magnificat, Maurice Durufle’s Requiem, and Mozart’s Requiem in concert at the Fisher Center’s Sosnoff Theater. During the spring of 2010, the group filled the role of the chorus in Bard College’s Graduate Vocal Arts Program’s performances of two original operas, Vinkensport by David Little and Song from the Uproar: The Lives and Deaths of Isabelle Eberhardt by Missy Mazzoli, as well as in a production of Maurice Ravel’s L’enfant et les

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sortilèges. In October 2012, the Chamber Singers performed Mahler’s Eighth Symphony at Carnegie Hall with the American Symphony Orchestra, and in December joined the Bard College Symphonic Chorus performing Beethoven’s Mass in C.

Bard Festival Chorale The Bard Festival Chorale was formed in 2003 as the resident choir of the Bard Music Festival. It consists of the finest ensemble singers from New York City and surrounding areas. Many of its members have distinguished careers as soloists and as performers in a variety of choral groups; all possess a shared enthusiasm for the exploration of new and unfamiliar music.

Cappella Festiva Chamber Choir Cappella Festiva Chamber Choir is in its 38th year of offering beautiful performances in the Hudson Valley. The ensemble was founded by Jameson Marvin, and was later directed by Luis Garcia-Renart and James Bagwell. Christine R. Howlett was appointed artistic director in 2006. An auditioned chorus, Cappella Festiva performs regularly in Poughkeepsie and Millbrook and is often invited to perform with professional orchestras. The ensemble has been invited many times to Carnegie Hall, most recently under the baton of John Rutter. The choir has performed Beethoven’s Ninth Symphony, Mozart’s Requiem, Prokofiev’s Alexander Nevsky, and many other works with the Hudson Valley Philharmonic, Randall Fleischer, conductor. Cappella Festiva has been honored to sing with the American Symphony Orchestra and the Bard choruses, recently performing Mendelssohn’s Elijah and Brahms’s Requiem. The ensemble also supports the Summer Choral Festival and the Cappella Festiva Treble Choir for treble singers ages 10 to 16, codirected by Christine R. Howlett and Susan Bialek. Ronald Bemrich is the choir’s guest conductor this spring.

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Members of Bard College Chamber Singers Bard Festival Chorale Cappella Festiva James Bagwell, chorus master; music director, Bard College Chamber Singers and Bard Festival Chorale; Christine R. Howlett, artistic director, Cappella Festiva; and Ron Bemrich, guest conductor, Cappella Festiva Soprano Wendy Baker* Jennifer Bates* Aja Brady-Saalfeld+ Samantha Burke** Alyssa Caplan+ Eileen Clark* Lauren D’Ottavio** Elizabeth Darnell** Susie Deane+ Emily Donato** Allison Emanuel** Lori Engle* Natasha Friedman** Jennifer Gliere* Eileen Goodrich** Laura Green* Tina Hastings+ Kristen Jemiolo+ Marta Knapp+ Ann Lawson+ Tanya Leibman** Rosemary Limburg** Kathleen McNutt+ Janice Meltzer+ Heather Meyer* Susan Phillips+ Amy Pickering+ Rachel Rosales* Liz Sherman** Elisa Singer* Ellen Taylor Sisson* Bernice Slater+ Megan Snyder** Christine Sperry*

Ariana Stultz** Rebecca Swanberg** Alice Thornburgh+ Annie Trowbridge** Katherine Wessinger* Liz Wilmerding+ Alto Charlotte Ames** Jane Ann Askins* Teresa Buchholz* Theodora Budnik+ Amanda Burdine+ Misty Decker+ Dani Dobkin** Katherine Emory* Chelsea Frankel** B. J. Fredricks* John Garlid** Yonah Gershator* Viola Hathaway+ Audrey Helffrich+ Molly Hickman** Keiko Kai* Katherine Korsak* Rachele Levy+ Sarah Longstreth** Mary Marathe* Ali Overing** Guadalupe Peraza* Jeanette Peterson+ Page Redding** Carolyn Reid+ Hannah Rommer++ Laura Russell+ Heidi Schnarr++

Anastasia Serdsev** Jo Shute+ Lois Skelly+ Lily Smith** Irene Snyder* Raina Sokolov-Gonzalez** Joanne Stretton+ Polina Vulakh** Ruadhan Ward** Nancy Wertsch* Margaret Yap+ Tenor John Bassler+ Bruce Beard+ Brendan Beecher** Josh Bruce+ Daniel Cucura* Michael Denos* Ben DiFabbio** Sean Fallen* Ethan Fran* Jack Harrell** Frederic Heringes* Nicholas Houhoulis* John Cleveland Howell* Ben Kellner+ Theo Lowrey** Zach Malavolti++ John McCleary+ Marc Molomot* Timothy O’Connor* Douglas Purcell* Kevin Rose* Scott Silipino+ Jack Spyker-Oles+

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Andrew Wack+ Michael Wood+ Zach Whalen** Austin Wilmerding+ Matthew Woolever++ Bass Paul An* August Bair** Frank Barr* Otto Berkes** Donald Boos* Joe Curry-Stodder** Wayne Delia+ Andrew Feyer** James Fitzwilliam** Paul Frazer+ James Gregory* Kenneth Griffith++ Eric Hepp+ Gilbert High* Matt Hughes** Hance Huston+ Enrico Lagasca* Noah Lundgren** Andrew Martens* Jose Pietri-Coimbre* Gregory Purnhagen* Rob Renbeck+ Michael Riley* Christopher Roselli* Ethan Solomon** Steve Taylor+ Forrest Walker+ Jeff Walker+ Patrick Walker+ Allan Weiman+ *Bard Festival Chorale **Bard College Chamber Singers +Cappella Festiva ++Masters in Choral Conducting student at Bard College All Bard Festival Chorale singers contracted by Nancy Wertsch

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Members of The American Symphony Orchestra Bard College Conservatory Orchestra Longy Conservatory Orchestra Leon Botstein, Music Director Violin I Erica Kiesewetter+, Concertmaster Jiamin Wang* Yukie Handa Kate Goldstein** Isabella Reyes** Diane Bruce Jessica Beberaggi** Patricia Davis Ashley Horne Reina Murooka* Kathryn Aldous Caitlin Majewski* Violin II Suzanne Gilman, Principal Agnieska Pezsko* John Connelly Rebecca Phillips** Elizabeth Nielson Cassandra McBride** Consuelo Lepauw** Matthew Woodard* Ann Labin Francesco Composto** Alexander Vselensky David Steinberg

Viola William Frampton, Principal Wenlong Huang* Jeremy Chiew** Jiawei Yan* Shelley Holland-Moritz Emily Lane** Wei Peng* Melissa Knorr** Adria Benjamin Rosemary Nelis* Leah Gastler* Cello Sophie Shao+, Principal Jennie Brent* Miguel Vasquez Lopez** Emma Schmiedecke* Elina Lang Rastislav Huba* Sarah Ghandour* Pia Bourne Haug** Diana Flores ** Danial Zlatkin* Bass Jack Wenger, Principal Bence Botar* James Robinson** Zhen-Yuan Yao* John Stajduhar* Claudia Garcia** Louis Bruno Damon Korf*


Flute Laura Conwesser, Principal Eszter Ficsor* Weronika Balewski** Bridget Bertoldi* Oboe Melanie Feld, Principal Alessandro Cirifaci* Greg Drilling* Yo Shionoya** Clarinet Laura Flax+, Principal Viktor Toth* Noemi Sallai* Ivan Javier Valbuena Paez** Amalie Flax-Wyrick* Bassoon Charles McCracken, Principal Josh Hodges* Anna Opatka* David Nagy* Horn Zohar Schondorf, Principal Kyle Hoyt Szilard Molnar * Andras Ferencz * Cameron West * James Haber * Julie Landsman+ Jessie Mersinger ** Krysta Harmon ** Dan Severson * Susan Williams **

Trombone Kenneth Finn, Principal Hsiao-Fang Lin* Jรกnos Sutyรกk* Vaclav Kalivoda* Tamas Marcovics* Tuba Peter Blaga*

American Symphony Orchestra Personnel Manager: Ann Yarbrough Guttman Bard College Conservatory of Music Director of Orchestral Studies: Erica Kiesewetter

Harp Sara Cutler+, Principal Anna Bikales* Xing Gao* Tamzin Elliot*

Orchestra Manager: Fu-chen Chan

Timpani Jonathan Haas+, Principal Petra Elek*

Longy School of Music of Bard College Music Director: Julian Pellicano

Percussion Kory Grossman, Principal Matthew Lau*** Brett Luipi*** Luis Jacome*** Karina Yau*** Organ Joseph Bartolozzi

Assistant Orchestra Manager: Emily Cuk

Orchestra Manager: Eve Boltax *Indicates member of the Bard College Conservatory Orchestra or alumni/ae **Indicates member of the Longy Conservatory Orchestra +Indicates faculty of The Bard College Conservatory of Music ***Indicates students of the NYU Steinhardt Percussion Program, Jonathan Haas, Director

Trumpet John Sheppard, Principal Phillip Brunet* Joseph Klause** Isidro Suarez Avila** Trygve Butler* Christopher Carroll* Hannah O'Connor** Tyler Hauer**

17


American Symphony Orchestra Patrons The American Symphony Orchestra Board of Directors, staff, and artists gratefully acknowledge the following individuals, foundations, corporations, and government agencies for their vital support. While space permits us only to list gifts made at the Orchestra Club level and above, we value the generosity of all donors. Stokowski Society The Frank & Lydia Bergen Foundation Michael Dorf The Fan Fox & Leslie R. Samuels Foundation, Inc. Jeanne Donovan Fisher The Booth Ferris Foundation Danny Goldberg and Rosemary Carroll Faith Golding Foundation, Inc. Rachel and Shalom Kalnicki Peter Linden New York City Department of Cultural Affairs New York State Council on the Arts Open Society Institute Robert Rauschenberg Foundation Thurmond Smithgall Felicitas S. Thorne The Winston Foundation Sustaining Supporter Dr. Leon Botstein The Ann & Gordon Getty Foundation Mary and Sam Miller Dimitri B. Papadimitriou Mrs. James P. Warburg Mr. and Mrs. Richard E. Wilson Distinguished Patron The Elroy & Terry Krumholz Foundation Lynne Meloccaro Golden Circle Joel and Ann Berson Eric Czervionke Gary M. Giardina Peter L. Kennard Arthur S. Leonard Dr. Pamela F. Mazur JoAnne Meloccaro Shirley A. Mueller Joseph and Jean Sullivan The David & Sylvia Teitelbaum Fund, Inc. Irene Zedlacher Benefactor Anonymous Miriam R. Berger Patricia K. Faber Karen and Mark Finkbeiner Irwin and Maya Hoffman IBM Corporation Jack Kliger William McCracken and Cynthia Leghorn 18

Marcia H. Moor Richard and Joanne Mrstik Mr. and Mrs. David E. Schwab II David and Martha Schwartz Peter Sourian Allan and Ronnie Streichler, in honor of Leon Botstein Contributor Tania Ahuja Gary M. Arthur David Beek and Gayle Christian Thomas Cassilly Isabelle A. Cazeaux Richard C. Celler Bette R. Collom Mary S. Donovan Mr. and Mrs. Joseph Lawrence Gilman Rhea Graffman-Cohen, in honor of Miriam Berger Eva Botstein Griepp Max Hahn Sara Hunsicker Erica Kiesewetter Michael Kishbauch Irving Kleiman John D. Knoernschild Peter Kroll Alan Mallach Jeanne Malter Karen Manchester Stephen McAteer Sally McCracken Lisa Mueller and Gara LaMarche Tatsuji Namba James and Andrea Nelkin Lawrence Nylen Kurt Rausch LLC Harriet Schon Jon P. Tilley Kenneth Wald Larry Wehr Robert Weis Wayne and Dagmar Yaddow Orchestra Club Harold P. Allen American Express Gift Matching Program Ellis Arnstein Carol H. Ash Ronald Baranowski Carol K. Baron Ruth Baron Matthew and Debra Beatrice Yvette and Maurice J. Bendahan Adria Benjamin

John Brautigam Mona Yuter Brokaw Patricia R. Brophy Marjorie L. Burns, in memory of Marden Bate Roger Chatfield Barbara Clapman Michele Cone Mary M. Cope Diana Davis Elisabeth Derow Antonio Diez Ruth Dodziuk-Justitz Robert Durst Paul Ehrlich Exxon Mobil Foundation Richard Farris W. J. Fenza Martha Ferry Donald W. Fowle Deborah Franco Lyudmila German Christopher H. Gibbs MacEllis K. Glass June Goldberg Greenwich House, Inc. Nathan Gross John Haggerty Laura Harris James Hayden Roberta Hershenson Dr. and Mrs. Gerald Herskowitz Deb Hoffman Eric S. Holtz George H. Hutzler Jose Jimenez Donald Juliano Ronald S. Kahn Robert Kalish David Kernahan Caral G. Klein Adnah Kostenbauder Robert LaPorte Gerald Laskey Steve Leventis Walter Levi Judd Levy Peter A. Locker Harvey Marek Ellen Marshall, in honor of Louis Marshall Alan B. McDougall Richard and Maryanne Mendelsohn June Meyer Clifford S. Miller Phyllis Mishkin


Alex Mitchell Judith Monson Elisabeth J. Mueller Marin L. and Lucy Miller Murray, in honor of Leon Botstein Kenneth Nassau Maury Newburger Jacob and Suzanne Neusner James North Sandra Novick Jill Obrig Thomas O’Malley James Ottaway Roger Phillips Bruce Raynor Anthony Richter The Kauter Riopelle Family Kenneth Rock Leonard Rosen Peri Rosenfeld Henry Saltzman Leslie Salzman Emil and Nina C. Scheller Harriet Schon

Janet Z. Segal Georgi Shimanovsky Bruce Smith John Sowle Stanley Stangren Gertrude Steinberg Alan Stenzler Hazel and Bernard Strauss Paul Stumpf Andre Sverdlove Lorne Taichman Madeline V. Taylor William Ulrich James Wagner Renata Weinstein Barbara Westergaard Janet Whalen Ann William Kurt Wissbrun Leonard Zablow Mark Zarick Alfred Zoller Karen Zorn, Longy School of Music of Bard College

Music plays a special part in the lives of many New York residents. The American Symphony Orchestra gratefully acknowledges the support of the following government agencies that have made a difference in the culture of New York: New York State Council on the Arts The Honorable Andrew M. Cuomo, Governor The New York City Department of Cultural Affairs The Honorable Michael R. Bloomberg, Mayor The Honorable Kate D. Levin, Commissioner List current as of March 19, 2013

The Bard College Conservatory of Music The Conservatory gratefully acknowledges the generous support of these recent donors: Robert and Marilyn Adams The Ann & Gordon Getty Foundation Arbor Ridge at Brookmeade Jane Evelyn Atwood ’70 Wayne Baden Dr. R. Etta Baines Banco Santander S.A. Simone Belda Berkshire Taconic Community Foundation, Inc. Marshall S. Berland and John E. Johnson Bettina Baruch Foundation Dr. László Z. Bitó ’60 and Olivia Cariño Blue Ridge Capital Francesca Bray and Alexander Robertson Theodora Budnik Alfred M. Buff and Lenore Nemeth Frederick J. C. and Marie Claude Butler Catherine Cattabiani ’77 Fu-chen Chan Columbia Festival Orchestra George Connerat Ellen Curtis Lyell Dampeer Arnold J. Davis ’44 Georgia and Michael de Havenon Kathy and Gonzalo de Las Heras Barbara Deegan

Lucy Dhegrae Bruce B. Doris Hal and Valery Einhorn Cornelia Z. and Timothy Eland Shane and Odaria Finemore Douglas K. and Faith W. Finnemore The Fred Stein Family Foundation Friends of Beattie-Powers Place Friends of Chamber Music of Reading Amy Furth Charlotte Furth Jane Furth and August Matzdorf Richard and Eileen Furth Luis Garcia-Renart Katherine Gould-Martin and Robert L. Martin Marka Gustavsson and John Halle Louis and Caroline Haber Dorothy and Leo Hellerman Richard Herbert Susan B. Hirschhorn and Arthur Klebanoff Morimi and Midori Iwama Dr. and Mrs. Bertrand R. Jacobs Joe Lewis Jefferson Foundation Inc. John Cage Trust David and Renée Kaplan Belinda and Stephen Kaye Felicia Keesing and Richard Ostfeld David and Janet E. Kettler

Jamie Kibel and Michael DeCola Erica Kiesewetter Martha and Basil King Dr. Lawrence Kramer and Dr. Nancy S. Leonard Kvistad Foundation Gary and Edna Lachmund Alison L. and John C. Lankenau Glenda Fowler Law and Alfred Law The Leonard & Evelyn Lauder Fund of the Lauder Foundation Karen B. Leonard Angela Kiche Leung Annemarie Levitt The Mortimer Levitt Foundation Inc. Richard C. Lewit ’84 and Alison J. Guss Lifetime Learning Institute Vivian Liu and Alan Hilliker Sheila Maloney and John Pruitt Harvey Marek Martin and Toni Sosnoff Foundation Elisabeth and Robert McKeon John and Patricia McNulty Herbert Morris Elizabeth and Gary Munch Martin L. and Lucy Murray New Albion Records Sakiko Ohashi Marilyn and Peter Oswald Mr. and Mrs. James H. Ottaway Jr. Pepsico Foundation 19


Marina L. Preussner D. Miles Price Puffin Foundation, Ltd. Susan Rabinowitz and Joel Longenecker Resnick Family Foundation, Inc. Andrea L. Reynolds Rhinebeck Chamber Music Society Peter Richman Stephen Richman Barbara J. Ritchie Roaring Brook Group Felice Ross Rishin Roy and Laura Martin

Stephen H. and Sheila Sachs Saugerties Pro Musica, Inc. Pam B. Schafler David L. and Rebecca Y. Schroedel Dagni and Martin Senzel Lizbeth and Stephen Shafer Tara Shafer and Gavin Curran Paul D. Sheats Denise S. Simon and Paulo Vieiradacunha Carol Furth Sontag Martin and Toni Sosnoff Gabriella and Harvey Sperry Terra Nova Foundation

Felicitas S. Thorne Dr. Jan and Marica Vilcek Margo and Anthony Viscusi Marla and Brian Walker David Wetherill Barbara Jean Weyant Maureen A. Whiteman and Lawrence J. Zlatkin Gray and Marian Williams Eric Wong List current as of February 8, 2013

Longy School of Music of Bard College 2013 Supporters Longy gratefully acknowledges the following donors for their recent support of the Georges Longy Circle, student scholarships, and special projects for the school. Impresario Harriet and David Griesinger Virtuoso Ms. Ruth M. McKay and Mr. Don Campbell Jane and Neil Pappalardo Bravo Estate of Ruth Gessner-Schocken Grandioso Mr. and Mrs. Peter C. Aldrich Sandra and David Bakalar Dr. and Mrs. Joshua Boger Emily H. Fisher Ms. Charlotte Hall Mr. George F. Hamel Jr. Lincoln and Therese Filene Foundation, Inc. Paul and Virginia Cabot Charitable Trust Dr. Robert B. Straus Fortissimo Dr. John A. Carey Dr. David Cohen Gene and Lloyd Dahmen Melinda Donovan Bruce and Margaret Gelin Hagerty Family Dr. Matina S. Horner Mr. Timothy Jacoby Mary Jane Kornacki and Jack Silversin Ms. Virginia Meany NSTAR Electric and Gas Corporation Mrs. Patricia Ostrander Ms. Marilyn Ray Smith and Mr. Charles Freifeld Tufts Health Plan Foundation

20

Crescendo Mr. and Mrs. Edwin Camp Mr. and Mrs. Jan Loeber Northern Trust Company Louise Ambler Osborn and Pell Osborn The Richard and Natalie Jacoff Foundation, Inc. Mr. David E. Schwab II Jeannette and Arthur Taylor The William and Lia Poorvu Family Foundation Mr. Gary Wolf and Ms. Bonnie Grad

Mr. John Pratt Mr. Warren Pyle and Ms. Lisl Urban Mr. Dan Raizen Kalen Ratzlaff and Wilbur Herrington Mr. and Mrs. Andres and Isabel Rodriguez Mr. Edgar Schein Mr. and Mrs. Gary Seligson The Spencer Foundation Alexandra and Charles Stevenson Ms. Sandra Uyterhoeven David and Mary Ann Wark

Symphony Dave and Judy Archibald The Adelard A. Roy and Valeda Lea Roy Foundation Mr. Jerry M. Bernhard W. Lincoln and Edith Boyden Katharine Burnett Bruce P. Carr Charles and Sara Goldberg Charitable Lead Trust Mrs. Linda G. Conway Rev. Edward and Patricia Deyton Mr. Robert B. Fraser Mr. Marvin Gilmore Robert Goldsmith and Kathleen McIsaac Hammond Real Estate Mr. Henry B. Hoover Jr. Christopher Jencks Robert Kleinberg Mr. and Mrs. T. K. and Emily McClintock Mr. Clifford B. Moller Robert and Jane Morse Mr. and Mrs. Joseph Mueller Dr. Irene A. Nichols Mr. and Mrs. James W. Perkins

Concerto Mrs. Samuel Ackerman Asseo Griliches Endowment Fund Ms. Anna Gabrieli Freya & Richard Block Family Foundation Sylvia and Roy A. Hammer Drs. Abby Hornstein and Mark Hornstein Muriel E. Kaye Allan G. Rodgers Carl and Anne Rosenberg Ms. Leila Joy Rosenthal Cantata David and Ying Barlow Virginia Brady and William Mann Mr. Matthew A. Berlin Katie and Paul Buttenwieser The Chasin/Gilden Family Fund Ms. Susan Glassman Mr. Garth Greimann Ms. Julianne Lindsay and Richard O’Connor Mr. Robert H. Willoughby List current as of January 15, 2013


The American Symphony Orchestra

The Bard College Conservatory of Music

Longy School of Music of Bard College

Board of Directors Danny Goldberg, Chair Thurmond Smithgall, Vice Chair Dimitri B. Papadimitriou, Treasurer

Advisory Board Gonzalo de Las Heras, Chair Alan D. Hilliker Susan B. Hirschhorn Belinda Kaye Stephen Kaye Gabriella Sperry Eric Wong

Board of Governors Matina S. Horner, Chair Virginia Meany, Vice Chair Melinda N. Donovan, Secretary Peter C. Aldrich Sandra Bakalar + Leon Botstein, Chancellor and Chief Executive Officer, Longy; President, Bard College Thomas M. Burger Gene D. Dahmen Patricia H. Deyton Robert S. Epstein Harriet E. Griesinger Charlotte I. Hall George F. Hamel Jr. Timothy J. Jacoby Ruth M. McKay Louise Ambler Osborn Patricia Ostrander + Dimitri B. Papadimitriou + Kalen Ratzlaff David E. Schwab II Charles P. Stevenson Jr. Marilyn Ray Smith Robert B. Straus Jeannette H. Taylor J. David Wimberly Gary Wolf + Karen Zorn, President, Longy School of Music of Bard College; Vice President, Bard College

Miriam Berger Michael Dorf Rachel Kalnicki Jack Kliger Jan Krukowski Shirley A. Mueller Eileen Rhulen Felicitas S. Thorne Honorary Members: Joel I. Berson, Esq. L. Stan Stokowski Administration Lynne Meloccaro, Executive Director Oliver Inteeworn, General Manager Brian J. Heck, Director of Marketing Nicole M. de Jesús, Director of Development Sebastian Danila, Library Manager Marielle Métivier, Operations Manager Katrina Herfort, Ticketing Services Coordinator Marc Cerri, Orchestra Librarian Ann Yarbrough Guttman, Orchestra Personnel Manager Ben Oatmen, Production Assistant James Bagwell, Principal Guest Conductor Geoffrey McDonald, Assistant Conductor Zachary Schwartzman, Assistant Conductor Richard Wilson, Composer-inResidence Leszek M. Wojcik, Concert Archival Recording

Administration Robert Martin, Director Eileen Brickner, Dean of Students Fu-chen Chan, Dean of Administration Frank Corliss, Admission Director; Director of Postgraduate Collaborative Piano Fellows Ann Gabler, Development Manager Lauren Gerken, Administrative Assistant Tricia Reed, Concert Office Coordinator

Administration Leon Botstein, Chancellor and Chief Executive Officer Karen Zorn, President Wayman Chin, Dean of the Conservatory Miriam Eckelhoefer, Director of Community Programs Katina Leodas, Vice President of Institutional Advancement Howard Levy, Chief Financial Officer Kalen Ratzlaff, Chief of Staff + ex officio

21


The Bard College Conservatory Orchestra Celebrates

STRAVINSKY AND HIS WORLD

Leon Botstein, music director Shmuel Ashkenasi, violin

stravinsky

Wednesday, May 22, at 7 pm Alice Tully Hall, Lincoln Center New York City Bard Music Festival Gala Dinner  immediately following the concert.

Fireworks, Op. 4

prokofiev Violin Concerto No. 1 in D Major, Op. 19

shostakovich Symphony No. 10 in E Minor, Op. 93

For information contact Linda Baldwin at 845-758-7414 or events@bard.edu. All tickets $15 Free admission for students with ID  The Bard College Conservatory of Music

tickets: 212-671-4050 www.lincolncenter.org


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)

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

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

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SAVE THE DATES

BARDSUMMERSCAPE 2013

DANCE/THEATER JULY 6–7

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

THEATER JULY 11–21 World Premiere Adaptation

The Master and Margarita after the novel by Mikhail Bulgakov

OPERA JULY 26 – AUGUST 4

Oresteia by Sergey Taneyev

FILM FESTIVAL JULY 12 – AUGUST 3

Stravinsky’s Legacy and Russian Émigré Cinema

SPIEGELTENT JULY 5 – AUGUST 18

Cabaret, music, fine dining, and more and

THE 24TH ANNUAL BARD MUSIC FESTIVAL AUGUST 9–11 and 16–18

Stravinsky and His World

The 2013 SummerScape season and the 24th Bard Music Festival are made possible in part through the generous support of the Board of The Richard B. Fisher Center for the Performing Arts at Bard College, the Board of the Bard Music Festival, and the Friends of the Fisher Center, as well as grants from the National Endowment for the Arts and the New York State Council on the Arts.

845-758-7900 | 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.


Gustav Mahler's Symphony No. 2