MUSIC FOR STRING ORCHESTRA
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MUSIC FOR STRING ORCHESTRA Sunday, March 7, 2021 Performance # 163 Season 6, Concert 11 Livestreamed from the Fisher Center at Bard Sosnoff Theater Andrés Rivas conductor
Transcript of MUSIC FOR STRING ORCHESTRA
MUSIC FOR STRING ORCHESTRA
Sunday, March 7, 2021Performance # 163 Season 6, Concert 11
Livestreamed from the Fisher Center at Bard Sosnoff Theater
Andrés Rivas conductor
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Rehearsals and performances adhere to the strict guidelines set by the CDC, with daily health checks, the wearing of masks throughout, and musicians placed at a safe social distance. Musicians sharing a music stand also share a home.
TABLE OF CONTENTS
4 CONCERT QUICK GUIDE
5 THE MUSIC
6 BRUCE MONTGOMERY CONCERTINO FOR STRING ORCHESTRA 7 ANDRÉS GAOS IMPRESIÓN NOCTURNA 8 INGVAR LIDHOLM MUSIC FOR STRINGS 9 VICTOR HERBERT SERENADE FOR STRING ORCHESTRA
10 THE ARTISTS
11 ANDRÉS RIVAS conductor 12 THE ORCHESTRA NOW 14 SARA PAGE cello 15 BRAM MARGOLES violin
16 SUPPORT TŌN
17 THE TŌN FUND DONORS
18 THE ADMINISTRATION
19 ABOUT BARD COLLEGE
CONCERT QUICK GUIDEANDRÉS RIVAS conductor
CONCERT TIMELINE 1 hour and 25 minutes
Concertino 15 min
Impresión nocturna
12 min
Serenade 25 min
Music for Strings 17 min
Brief remarks by Bram Margoles violin
INGVAR LIDHOLMBorn 2/24/1921 in Jönköping, SwedenDied 10/17/2017 at age 96 in Rönninge,
Salem, Sweden
MUSIC FOR STRINGSAllegro (fast) 6 minMolto adagio, espressivo
(very slow and expressive) 8 minCoda: Allegro (fast) 3 minno pause between movements
Written 1952, at age 31
VICTOR HERBERTBorn 2/1/1859 in Dublin, IrelandDied 5/26/1924 at age 65 in New York City
SERENADE FOR STRING ORCHESTRAAufzug Polonaise Liebes-Scene (Love Scene) Canzonetta Finale
Written 1884, at age 25Premiered 12/1/1888 at Steinway Hall in
New York City
All timings are approximate. | Composer artwork by Khoa Doan.
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Brief remarks by Sara Page cello
BRUCE MONTGOMERYBorn 10/2/1921 in Chesham Bois,
Buckinghamshire, EnglandDied 9/15/1978 at age 56 in London
CONCERTINO FOR STRING ORCHESTRAModerato quasi allegro
(at a moderate pace, somewhat fast) 5 minLento espressivo (slow, with expression) 5 minVivace ed energico (lively and energetic) 5 min
Written 1948, at age 26Premiered 12/10/1948 at Wigmore Hall in London;
Riddick String Orchestra; Trevor Harvey conductor
ANDRÉS GAOSBorn 3/31/1874 in A Coruña, SpainDied 3/13/1959 at age 84 in Mar del Plata,
Argentina
IMPRESIÓN NOCTURNAWritten 1937, at age 63Premiered: 9/29/1937 at the Salle Gaveau
in Paris
THE MUSIC
THEORCHESTRANOW.ORG / MAR 2021 / 6
The Writer/ComposerEnglish composer Bruce Montgomery wrote mostly choral and film music, but was also known for his classic crime novels and short stories which he wrote under the pseudonym Edmund Crispin. Born in Buckinghamshire, England in 1921, he went on to study modern languages at Oxford while also an organ scholar and choirmaster. After graduating, he became a teacher at a boarding school, and it was during this time when he began writing his crime novels, as well as his first choral and concert works. It was not until almost a decade later that he would establish himself as a film composer.
The Intersection of Language and MusicMontgomery never strayed far from the intersection of language and music; in addition to scoring nearly 40 films, he was also known for writing novels with many musical references and backdrops. There were common elements between his life and his art; the protagonist of his famous Gervase Fen novels is a professor at an Oxford-like institution, and his novel Frequent Hearses is set in a
film studio. His novel Swan Song is set during a production of a Wagner opera. Montgomery himself wrote a children’s ballad opera called John Barleycorn and two additional dramatic works which were never finished because he was preoccupied “writing filthy film scores and stinking stories for the popular press,” according to his friend and collaborator, Kingsley Amis.
His Sole Instrumental WorkConcertino for String Orchestra, completed in 1948, is Montgomery’s sole instrumental work. After its first performance, a review described the piece as “a graceful, flowing, three-movement work, well written, economical in notes and notable for a lyrical lento espressivo of imaginative warmth.” In particular, the second movement “moves the listener with its thoroughly English mixture of pensive nostalgia,” according to biographer David Whittle. Of Montgomery’s choral and concert works, the Concertino for String Orchestra is the only one that is widely available as a recording.
BRUCE MONTGOMERY’S CONCERTINO FOR STRING ORCHESTRANotes by TŌN violinist Shaina Pan
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The ComposerAndrés Gaos was a violinist, composer, and conductor born into a family of Galician music merchants. He made his debut playing the violin at a young age and was recognized with a scholarship to take private lessons in Brussels with Eugene Yasÿe. In 1893, he traveled internationally to perform in Cuba, settled for a short period in Mexico City a year later, and landed in Buenos Aires in 1895. There, he met his wife, had five children, and worked at the Alberto Williams Conservatory and later the Public Administration of Argentina. Gaos and his wife, America Montenegro, formed the Gaos quartet alongside the string faculty of the Williams Conservatory. After they divorced in 1917, Gaos remarried a student with whom he had three children. He mostly taught music and worked for the government until retirement. His fourth son, Andrés Gaos Montenegro, was a cabaret singer and composer who had success recording several albums in the 1920s. His eighth son, Andrés Gaos Guillochon (1932–2018) published unlikely stories about his father’s life. Notably, Gaos gave the Latin American premiere of Camille Saint-Saëns’ famous Violin Concerto No. 3 under the baton of Saint-Saëns himself in 1904. Even though Gaos never became an internationally recognized violinist, he
holds a place in time representing Galician composers through his compositions. His catalog of work includes a myriad of violin pieces written for himself and his first wife, as well as an opera, symphony, symphonic poem, four symphonic paintings, and two works for string orchestra. The MusicSimilar to Samuel Barber’s famous Adagio for Strings and Mahler’s Adagietto from the 5th Symphony, Impresión nocturna is not shy by comparison with its lush string orchestration. One would wonder if Gaos was inspired by the rich harmonic texture and endless melodic material in Mahler’s Adagietto, while keeping the sincere sentiment of the Adagio for Strings. By comparison, Gaos’ orchestration has a dense harmonic texture at times with overlapping suspensions almost reminiscent of the old Hollywood sound we expect to hear from Erich Wolfgang Korngold. The sonorous quality of string orchestra coupled with the mild tempo and rich harmony creates a beautiful palate for any listener. The work begins in D major and, to end the 12-minute journey, Gaos concludes in a somber D minor.
ANDRÉS GAOS’ IMPRESIÓN NOCTURNA Notes by TŌN violinist Nicole Oswald
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THEORCHESTRANOW.ORG / MAR 2021 / 8
The ComposerMusic for Strings is one of the most famous pieces composed by Ingvar Lidholm, who was a Swedish composer born in 1921. He started his music journey at an early age. By the time he was 19, in 1940, he went to a musical school in Stockholm to continue his advanced musical studies. There, he would gather with his friends Sven-Erik Bäck and Karl-Birger Blomdahl, who later also become important Swedish composers, to discuss and critique music. This activity drew a lot of attention from students and instructors. Lidholm’s composing teacher, Hilding Rosenberg, was also part of this gathering, and he would often lead the discussion into modern composers, such as Stravinsky and Hindemith. Because they always gathered on Mondays, people later came to know them as the Måndagsgrupp (the Monday Group).
The MusicLidholm began working on this piece in 1945, the same year Shostakovich released his Symphony No. 9. It is interesting to hear almost opposite characters in these two pieces. Shostakovich’s Symphony No. 9, different than his other symphonies, sounds more transparent and bright, whereas Lidholm’s Music for Strings sounds more tragic and intense. When I listen to the piece for the first time, the repetitive accented eighth-note patterns at the end of the last movement reminds me a lot of Stravinsky’s The Rite of Spring. Even though Lidholm never traveled nor studied in Hungary or Russia, based on what he discussed with the Monday Group, it is not hard to understand and to assume that modern composers of the time like Stravinsky and Bartók had a huge impact on Lidholm.
INGVAR LIDHOLM’S MUSIC FOR STRINGS Notes by TŌN violinist Yinglin Zhou
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The ComposerIrish-born American composer and cellist Victor Herbert, a founder of ASCAP, is primarily known for his many successful Broadway operettas, including Naughty Marietta, The Red Mill, and Babes in Toyland. But he was a prolific composer of many types of music, having completed two operas, a cantata, and numerous compositions for orchestra, chorus, piano, violin, and cello, among others. Composer Antonín Dvořák was so wowed at the premiere of Herbert’s Cello Concerto No. 2 that he was inspired to write his own now-famous concerto for the instrument. Herbert and his wife, the soprano Therese Herbert-Förster, moved to New York City in 1886, where she sang with The Metropolitan Opera and he performed as a cellist in the company’s orchestra. He quickly became very active in the New York music scene and taught at the National Conservatory of Music.
The MusicThe Romantic five-movement Serenade for String Orchestra was well received at its debut at Steinway Hall in New York City in December of 1888, where it shared a program with works by Vincent d’Indy and Peter Cornelius. The piece was published in the following year and was performed to great acclaim in concerts throughout the U.S. Of particular note is the passionate “Love Scene” movement, which was praised by The New York Times as “a particularly good piece of writing, being warm in theme and forceful in expression, and showing the results of careful study of Wagner’s wonderful treatment of strings.”
VICTOR HERBERT’S SERENADE FOR STRING ORCHESTRA Notes by Steve V. Sinclair
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THE ARTISTS
Born in Caracas in 1990, Andrés Rivas began his musical education at the age of 3 at the ‘Centro Académico Montalbán,’ part of the El Sistema de Orquestas Juveniles e Infantiles de Venezuela.
In October of 2010, he made his international debut at the auditorium of the EWA University in Seoul, South Korea. In 2011, he was given the baton by Maestro Gustavo Dudamel at the inauguration of the National Center for Social Action for Music and the 36th anniversary of El Sistema in Venezuela. Months later, he shared the podium with Maestro Dudamel at a tribute concert for Venezuelan composer Juan Vicente Torrealba, where he conducted two of his works: Concierto a Caracas and Suite Torrealbera. He culminated the year by conducting this same orchestra at the Casa da Música theater in Oporto, Portugal.
As a violinist, Mr. Rivas has worked with soloists from around the world, such as Martha Argerich, Gautier and Renaud Capuçon, Ilya Gringolts, Maurice Hasson, Natalia Gutman, Gabriela Montero, Alexander Romanovsky, Andreas Ottensamer, and Albert Markov; and performed under the baton of many conductors, including the late Claudio Abbado, Giuseppe Sinopoli, Sir Simon Rattle, Gustavo Dudamel, Esa Pekka Salonen, Joann Faletta, James Bagwell, Leon Botstein, and John Williams.
Since 2008, Mr. Rivas has performed on numerous international tours with the Orquesta Sinfónica Simón Bolívar de Venezuela, performing in countries including Austria, Japan, South Korea, Portugal, Italy, Germany, Russia, the Czech Republic, Sweden, Switzerland, Croatia, Argentina, Chile, Uruguay, Mexico, Norway, Belgium, Trinidad and Tobago, France, London, Scotland, and Spain. In 2009 Mr. Rivas was invited by Maestro Dudamel to perform as Assistant Director during a national tour throughout Venezuela, conducting works by Tchaikovsky, Wagner, and others. In 2012 he was invited by Dr. Jose Antonio Abreu to participate in a concert-style Proms at the Vienna Konzerthaus. In 2013 he was part of the creation of the bi-national orchestra South Korea–Venezuela, where he was invited to conduct the orchestra by Dr. Abreu.
In 2014, upon invitation from Leon Botstein, Mr. Rivas participated in Bard College’s prestigious Conductor’s Institute. In 2015, he began a Graduate Degree in Orchestral Conducting at Bard under Harold Farberman. In the same year, he undertook an Assistant Conductor role at the annual Bard Music Festival. In 2017, he finished his studies at Bard College, and then secured the only offered place at The Royal Conservatoire of Scotland in their MMus/MA Orchestra Conducting program. The next year, he won the Miami Symphony Orchestra’s Conducting Fellowship and Apprenticeship under Eduardo Marturet. He has also led The Orchestra Now as concertmaster at venues such as Carnegie Hall and The Metropolitan Museum of Art with conductor Leon Botstein.
He is presently the Assistant Conductor for The Orchestra Now and the Bard College Conservatory Orchestra.
ANDRÉS RIVAS conductor
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The Orchestra Now (TŌN) is a group of vibrant young musicians from across the globe who are making orchestral music relevant to 21st-century audiences by sharing their unique personal insights in a welcoming environment. Hand-picked from the world’s leading conservatories—including the Yale School of Music, Shanghai Conservatory of Music, Royal Academy of Music, and the Eastman School of Music—the members of TŌN are enlightening curious minds by giving on-stage introductions and demonstrations, writing concert notes from the musicians’ perspective, and having one-on-one discussions with patrons during intermissions.
Conductor, educator, and music historian Leon Botstein, whom The New York Times said “draws rich, expressive playing from the orchestra,” founded TŌN in 2015 as a graduate program at Bard College, where he is also president. TŌN offers both a three-year master’s degree in Curatorial, Critical, and Performance Studies and a two-year advanced certificate in Orchestra Studies. The orchestra’s home base is the Frank Gehry-designed Fisher Center at Bard, where it performs multiple concerts each season and takes part in the annual Bard Music Festival. It also performs regularly at the finest venues in New York, including Carnegie Hall, Lincoln Center, The Metropolitan Museum of Art, and others across NYC and beyond. HuffPost, who has called TŌN’s performances “dramatic and intense,” praises these concerts as “an opportunity to see talented musicians early in their careers.”
The orchestra has performed with many distinguished guest conductors and soloists, including Neeme Järvi, Vadim Repin, Fabio Luisi, Peter Serkin, Hans Graf, Gerard Schwarz, Tan Dun, Zuill Bailey, and JoAnn Falletta. Recordings featuring The Orchestra Now include two albums of piano concertos with Piers Lane on Hyperion Records, and a Sorel Classics concert recording of pianist Anna Shelest performing works by Anton Rubinstein with TŌN and conductor Neeme Järvi. Buried Alive with baritone Michael Nagy, released on Bridge Records in August 2020, includes the first recording in almost 60 years—and only the second recording ever—of Othmar Schoeck’s song-cycle Lebendig begraben. Upcoming releases include an album of piano concertos with Orion Weiss on Bridge Records. Recordings of TŌN’s live concerts from the Fisher Center can be heard on Classical WMHT-FM and WWFM The Classical Network, and are featured regularly on Performance Today, broadcast nationwide. In 2019, the orchestra’s performance with Vadim Repin was live-streamed on The Violin Channel.
Explore upcoming concerts, see what our musicians have to say, and more at theorchestranow.org. For more information on the academic program, visit bard.edu/theorchnow.
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Photo by David DeNee
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Violin IStuart McDonald
ConcertmasterNicole OswaldGaia Mariani RamsdellShaina PanYinglin ZhouJacques GadwayMisty DrakeYada Lee
Violin IIAdam Jeffreys
PrincipalDillon RobbYurie MitsuhashiXinran LiZhen LiuGergő Krisztián TóthTin Yan LeeEsther Goldy RoestanBram Margoles*Sabrina Parry*
ViolaSean Flynn
Principal
Celia DaggyLucas GoodmanHyunjung SongBatmyagmar ErdenebatLeonardo Vásquez ChacónKatelyn Hoag*Larissa Mapua*
CelloCameron Collins
PrincipalSara PageJordan GunnKelly KnoxEva RoebuckLucas ButtonSarah Schoeffler*Pecos Singer* BassKaden Henderson
PrincipalMariya-Andoniya HendersonLuke StenceTristen JarvisJoshua DePoint*
FluteBrendan Dooley*Leanna Ginsburg*Rebecca Tutunick*
OboeShawn Hutchison*Jasper Igusa*JJ Silvey* ClarinetMatthew Griffith*Ye Hu* Rodrigo Orviz Pevida*Viktor Tóth*
BassoonCheryl Fries*Philip McNaughton*Xiaoxiao Yuan* HornEmily Buehler*Steven Harmon*Ser Konvalin*Kwong Ho Hin*Zachary Travis*
TrumpetSamuel Exline*Guillermo García Cuesta*Anita Tóth*Maggie Tsan-Jung Wei*
TromboneDavid Kidd*Ian Striedter*Jack E. Noble*
Bass Trombone TubaJarrod Briley*
TimpaniKeith Hammer III*
PercussionCharles Gillette*Luis Herrera Albertazzi*
HarpTaylor Ann Fleshman*
* not performing in this concert
Leon Botstein Music Director
Members of TŌN can be identified by their distinctive blue attire.THEORCHESTRANOW.ORG / MAR 2021 / 13
Sara will talk briefly about Bruce Montgomery’s Concertino for String Orchestra and Andrés Gaos’ Impresión nocturna before the performances.
Hometown: Tucson, AZ
Alma maters: New England Conservatory, Indiana University Jacobs School of Music
Appearances: Indianapolis Symphony Orchestra, substitute; New World Symphony, substitute; Boston Philharmonic Orchestra, substitute; Atlantic Symphony Orchestra, substitute; Richmond (Indiana) Symphony Orchestra, substitute, 2015–17; Evansville Philharmonic Orchestra, substitute, 2015–17; Tucson Repertory Orchestra, 2011–12; National Repertory Orchestra, 2018; Colorado College Summer Music Festival Orchestra, 2017; Music Masters Course Festival Orchestra, Japan, 2015; Aspen Festival Orchestra, 2014
When did you realize you wanted to pursue music as a career? I realized I wanted to pursue music as a career during one of my summers at Interlochen. At that point, my life was being enriched immensely by what music was bringing to it—mainly the people I was meeting and the level of connection we could share through music, and the impact of everything we were learning to share with our audiences. I remember feeling so happy and lucky to be there and performing, and I decided I never wanted to let go of that passion.
Which composer do you feel like you connect with the most? I connect with Mahler as a composer because of the depth of the emotional spectrum that I believe exists in his music. The journey for musician and listener alike through a Mahler symphony can be exhausting and extremely demanding. I feel like I’ve really gone through something every time I perform or listen to his symphonies—in my opinion, this parallels a lot of life. The struggle allows us to appreciate the moments that are uplifting and “high” just that much more.
Tell us something about yourself that might surprise us: I’m a triplet.
Piece of advice for a young classical musician: Many of us have a lack of nerves and a general sense of fearlessness, confidence, and almost invincibility on stage when we first begin performing. Try to bottle that up and hold on to that sensation or whatever contributes to creating it. It will be very valuable down the road. If you can recreate that later in your career as needed, you won’t get in the way of yourself in auditions or performances, and your ability to share will be much greater.
SARA PAGE cello
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Bram will talk briefly about Ingvar Lidholm’s Music for Strings and Victor Herbert’s Serenade for String Orchestra before the performances.
Hometown: Boulder, CO
Alma maters: University of Michigan, Ann Arbor. B.M. 2016, M.M. 2018
Appearances: Schleswig-Holstein Music Festival Orchestra, 2019; Pacific Music Festival Orchestra, 2018; Ann Arbor Symphony Orchestra, 2015–19; Lansing Symphony Orchestra, 2015–19
What is your earliest memory of classical music? My parents took me to an orchestra concert when I was seven years old. The program was Scheherezade and Shostakovich’s Fifth Symphony.
What is your favorite piece of music, and why do you love it? Mahler’s Fifth Symphony is one of my favorite pieces of music because, for me, listening to it is an experience of emotional catharsis and cleansing.
Do you have any embarrassing performance stories? Some embarrassing things I have done in performance are: leaving my music offstage before the performance starts, having my glasses fall off in the middle of a performance, and accidentally starting to play a piece before the rest of the orchestra had started.
If you weren’t a musician, what would you be doing? Forestry or Zoology or some other sort of natural science.
Piece of advice for a young classical musician: Be understanding to yourself and other people, and never lose that energy that drives you to become a musician.
BRAM MARGOLES violin
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The Orchestra Now gratefully acknowledges the generosity of each and every donor who makes our work possible. Ticket sales cover less than a quarter of the expenses for our concerts and educational initiatives. Thank you for making this important investment in the future of classical music!
*Includes gifts to the Bard Music Festival and The Orchestra Now Gala.
This list represents gifts made to The Orchestra Now from January 1, 2020 to Febuary 28, 2021.
For information on contributing to TŌN, or to update your listing, please contact Nicole M. de Jesús at [email protected]. Thank you for your partnership.
LEADERSHIP GIFTSRockefeller Brothers Fund
THE YVONNE NADAUD MAICONCERTMASTER CHAIRMade possible by The Mai
Family Foundation
CONCERTMASTER’S CIRCLEMichael Dorf and Sarah Connors*Estate of Clyde Talmadge GatlinEmily SacharFelicitas S. Thorne*
CONDUCTOR’S BOXAnonymousKoren C. Lowenthal, in memory of
Larry LowenthalChristine Munson*Michael L. PriviteraThe Vaughan Williams Charitable
Trust
ALLEGROGary and Martha GiardinaNorthwestern Mutual Foundation*
FORTEAnonymous (2)Bridget Kibbey*Tyler J. Lory and
Michael RauschenbergRobert LosadaJen Shykula ‘96 and Tom Ochs*Thom and Valerie Styron, in honor
of Jarrod Briley TŌN ’22Vivian SukenikIrene Vincent*
TRUMPETERAnonymous (3)Joseph Baxer and Barbara
BacewiczHospitality Committee for United
Nations Delegations (HCUND)Erica KiesewetterRobert LonerganMaury Newburger FoundationThe Merrill G. and Emita E. Hastings
FoundationSuzanne NeunhoefferPaul W. OakleyInez Parker, in honor of David Kidd
TŌN ’22Shirley Ripullone and Kenneth StahlLinda Schwab-EdmundsonAnne-Katrin Spiess and
Gerlinde SpiessAlice Stroup, in memory of
Timothy Stroup
Sally Sumner, in honor of Sara Page TŌN ’22
Shining Sung
CRESCENDOAnonymous (2)Mr. and Mrs. Ronald AtkinsNicole M. de Jesús and
Brian P. WalkerCurtis DeVito and Dennis WedlickStan J. HarrisonGeorge Jahn and Karen KaczmarKassell Family Foundation of the
Jewish Communal FundPeter and Susan J. LeVangiaAmala and Eric LevineJanet C. MillsTatsuji NambaAnthony NapoliJames and Andrea Nelkin*Jan and Jim SmythGeorge Striedter, in honor of Ian
Striedter TŌN ’22Meyer J. Wolin
TŌNorAnonymousJesika BerryDiane and Ronald BlumRichard BoppLisa Aber CohenJames Costello and
Laura CannamelaMargaret M. CoughlinVera A. FarrellRenate L. FriedrichsenHoward and Caroline Goodman, in
honor of Lucas Goodman TŌN ’21Susanna GrannisJan M. GuifarroJames Gavin HoustonElena and Frederic HowardScott HuangJudith and Ron Goodman
Charitable Trust of FidelityCharlotte Mandell Kelly ’90 and
Robert KellyMiodrag KukrikaArthur S. LeonardNancy S. Leonard and
Lawrence KramerFulvia Masi and William TanksleyJames McLaffertyKaren E. Moeller and
Charles H. TalleurGary E. MorganSuzanne NeusnerAlbrecht PichlerCatherine K. and Fred ReinisRobert Renbeck
Ann and Thomas Robb, in honor of Dillon Robb TŌN ’21
James RosenfieldArlene and Gil SeligmanJoseph M. SweeneyJudith and Michael ThoyerHoward WallickWayne and Dagmar Yaddow
DOWNBEATAnonymousJulia AneshansleyNaja B. ArmstrongMelissa Auf der MaurSheila R. BeallDavid BehlJeffrey BernsMatthew C. BernsteinStephanie G. BeroesMarvin BielawskiKent Brown and Nat ThomasKaren and Mark Collins, in honor of
Cameron Collins TŌN ’22Jefferson CottonThomas De StefanoVincent M. DicksPriscilla DuskinMark L. Feinsod ’94Tamara Judith GruzkoLee HaringMichaela HarnickJuliet HeyerTerrell K. HolmesJames Gavin HoustonIBM Matching Grants ProgramJeffrey KellerDavid Kraskow and Liz HessCarol E. LachmanErika LieberGuenther and Virginia MayWarren R. MikulkaMarin and Lucy MurrayStan and Bette NitzkyPat ParsonsNeila Beth RadinKurt RauschJing L. Roebuck, in honor of Eva
Roebuck TŌN ’22Ted Ruthizer and Jane DenkensohnEdward SandfortDaniel E. ScherrerMark Peter ScherzerDan and Rosie SchiavoneThomas J. ShykulaFran D. SmythJohn StaugaitisJerl O. SurrattJonathan WechslerMichael and Leslie WeinstockHenry Westmoreland
Ann and Douglas William
PRELUDEAnonymous (2)Fred Allen and Erica De ManeKyra Assaad and Warren TappeLeslie and Louis BakerLaurence Blau and Karen JohnsenGeraldine BrodskyDeloss BrownAnne B. BruecknerLael BurnsHarriet D. CausbieJudith ChaifetzJill CohenMaria V. CollinsElizabeth DavisJosé M. de Jesús, Jr.Andrea N. DriscollWendy FarisClaudia ForestRenate L. FriedrichsenMiriam FrischerCarol and Peter GossAlbert GottliebAudrey HackelAmy HebardKaren Hoag, in honor of Bram
Margoles TŌN ’22 and Katelyn Hoag TŌN ’22
Maung HtooAl JacobsenSteven Jonas, M.D.Brenda KleinBarbara KomanskyRalph B. LawrenceDavid H. LeveyAnn and Robert LibbeyEve MayerMaryanne MendelsohnRikki MichaelsFred Justin MorganRoss ParrinoShirley PerleJoan W. RothSheldon RudolphRichard ScherrDiane J. ScrimaAnna ShusterShari SiegelJohn SimpsonTija Spitsberg and David J. WeinerLloyd TargerJ. WaldhornLynda Youmans, in honor of
Drew Youmans TŌN ’19Elizabeth Zubroff, in honor of
John D. Murphy
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THE ORCHESTRA NOWARTISTIC STAFFLeon Botstein Music DirectorJames Bagwell Associate
Conductor and Academic Director
Jindong Cai Associate ConductorZachary Schwartzman Resident
ConductorAndrés Rivas Assistant ConductorErica Kiesewetter Professor of
Orchestral Practice
Bridget Kibbey Director of Chamber Music and Arts Advocacy
ADMINISTRATIVE STAFFKristin Roca Executive DirectorBrian J. Heck Director of MarketingNicole M. de Jesús ’94 Director of
Development
Sebastian Danila Music Preparer and Researcher
Marielle Metivier Orchestra Manager
Benjamin Oatmen LibrarianViktor Tóth Production
CoordinatorLeonardo Pineda TŌN ’19
Director of Youth Educational Performance and South American Music Curator
Matt Walley TŌN ’19 Program Coordinator, Admissions Counselor, and Guest Artist Relations
CONCERT CREWMarlan Barry Audio Producer and
Recording EngineerEmily Beck Stage ManagerNora Rubenstone Stage Manager
BARD COLLEGEBOARD OF TRUSTEESJames C. Chambers ’81 ChairGeorge F. Hamel Jr. Vice ChairEmily H. Fisher Vice ChairElizabeth Ely ’65 Secretary;
Life TrusteeStanley A. Reichel ’65 Treasurer;
Life TrusteeFiona AngeliniRoland J. AugustineLeonard BenardoLeon Botstein+
President of the CollegeMark E. BrossmanJinqing CaiMarcelle Clements ’69 Life TrusteeThe Rt. Rev. Andrew M. L. Dietsche
Honorary TrusteeAsher B. Edelman ’61 Life TrusteeRobert S. Epstein ’63Barbara S. Grossman ’73
Alumni/ae TrusteeAndrew S. GundlachMatina S. Horner+Charles S. Johnson III ’70
Mark N. Kaplan Life TrusteeGeorge A. KellnerMark Malloch-BrownFredric S. Maxik ’86Juliet Morrison ‘03James H. Ottaway Jr. Life TrusteeHilary PenningtonMartin Peretz Life TrusteeStewart Resnick Life TrusteeDavid E. Schwab II ’52Roger N. Scotland ’93 Alumni/ae
TrusteeAnnabelle SelldorfMostafiz ShahMohammed ’97Jonathan Slone ’84Alexander SorosJeannette H. Taylor+James A. von KlempererBrandon Weber ’97 Alumni/ae
TrusteeSusan WeberPatricia Ross Weis ’52
+ ex officio
SENIOR ADMINISTRATIONLeon Botstein PresidentColeen Murphy Alexander ’00
Vice President for AdministrationMyra Young Armstead
Vice President for Academic Inclusive Excellence
Jonathan Becker Executive Vice President; Vice President for Academic Affairs; Director, Center for Civic Engagement
Erin Cannan Vice President for Civic Engagement
Deirdre d’Albertis Dean of the College
Malia K. Du Mont ’95 Vice President for Strategy and Policy; Chief of Staff
Peter Gadsby Vice President for Enrollment Management; Registrar
Mark D. Halsey Vice President for Institutional Research and Assessment
Max Kenner ’01 Vice President for Institutional Initiatives; Executive Director, Bard Prison Initiative
Debra Pemstein Vice President for Development and Alumni/ae Affairs
Taun Toay ’05 Senior Vice President; Chief Financial Officer
Stephen Tremaine ’07 Vice President for Early Colleges
Dumaine Williams ’03 Vice President for Student Affairs; Dean of Early Colleges
THE RICHARD B. FISHER CENTER FOR THE PERFORMING ARTSADVISORY BOARDJeanne Donovan Fisher ChairCarolyn Marks BlackwoodLeon Botstein+Stefano FerrariAlan FishmanNeil GaimanS. Asher Gelman ’06Rebecca Gold MilikowskyAnthony NapoliDenise S. SimonMartin T. SosnoffToni SosnoffFelicitas S. Thorne EmeritaTaun Toay ’05+Andrew E. Zobler
BARD MUSIC FESTIVAL BOARD OF DIRECTORSDenise S. Simon ChairRoger AlcalyLeon Botstein+Michelle R. ClaymanDavid DubinRobert C. Edmonds ‘68Jeanne Donovan FisherChristopher H. Gibbs+Paula K. HawkinsThomas HesseSusan Petersen KennedyBarbara KennerGary LachmundThomas O. MaggsKenneth L. MironChristina A. MohrJames H. Ottaway Jr.Felicitas S. ThorneSiri von ReisKathleen Vuillet Augustine
+ ex officio
ADMINISTRATIONLiza Parker Executive DirectorCatherine Teixeira General
ManagerBrynn Gilchrist ‘17 Executive
Assistant
ARTISTIC DIRECTIONLeon Botstein President,
Bard CollegeGideon Lester Artistic DirectorCaleb Hammons Director of
Artistic Planning and ProducingCatherine Teixeira General
ManagerNunally Kersh SummerScape
Opera ProducerHannah Gosling-Goldsmith Artist
Services and Programs ManagerThai Harris Singer ‘20
Post-Baccalaureate Fellow, Producing Assistant
DEVELOPMENTDebra Pemstein Vice President
for Development and Alumni/ae Affairs
Alessandra Larson Director of Development
Kieley Michasiow-Levy Individual Giving Manager
Michael Hofmann VAP ‘15 Development Operations Manager
Elise Alexander ‘19 Development Assistant
BARD MUSIC FESTIVALIrene Zedlacher Executive DirectorRaissa St. Pierre ’87 Associate
Director
THEATER & PERFORMANCEAND DANCE PROGRAMSJennifer Lown Program
Administrator
PRODUCTIONJason Wells Director of ProductionSarah Jick Associate Production
ManagerStephen Dean Associate
Production ManagerRick Reiser Technical DirectorJosh Foreman Lighting SupervisorMoe Schell Costume SupervisorDanny Carr Video SupervisorLex Morton Audio Supervisor
COMMUNICATIONSMark Primoff Associate Vice
President of CommunicationsDarren O’Sullivan Senior Public
Relations AssociateAmy Murray Videographer
PUBLICATIONSMary Smith Director of
PublicationsCynthia Werthamer Editorial
Director
MARKETING AND AUDIENCE SERVICESDavid Steffen Director of
Marketing and Audience ServicesNicholas Reilingh Database and
Systems ManagerMaia Kaufman Audience and
Member Services ManagerCollin Lewis APS ‘21 Audience and
Member Services CoordinatorBrittany Brouker Marketing
Manager
Garrett Sager Digital Marketing Assistant
Jesika Berry Senior House Manager
Erik Long Box Office SupervisorPaulina Swierczek VAP ‘19 Box
Office SupervisorDavid Bánóczi-Ruof ‘22 Assistant
House ManagerMaia Weiss Assistant House
Manager
FACILITIESMark Crittenden Facilities
ManagerRay Stegner Building Operations
ManagerDoug Pitcher Building Operations
CoordinatorChris Lyons Building Operations
AssistantRobyn Charter Fire Panel MonitorBill Cavanaugh Environmental
SpecialistDrita Gjokaj Environmental
SpecialistOksana Ryabinkina Environmental
Specialist
THE ADMINISTRATION
Concert Quick Guide
The Music
The Artists
Support TŌN
The TŌN Fund Donors
The Administration
About Bard College
THEORCHESTRANOW.ORG / MAR 2021 / 18
FISHER CENTER AT BARDThe Fisher Center develops, produces, and presents performing arts across disciplines through new productions and context-rich programs that challenge and inspire. As a premier professional performing arts center and a hub for research and education, the Fisher Center sup-ports artists, students, and audiences in the development and exam-ination of artistic ideas, offering perspectives from the past and present as well as visions of the future. The Fisher Center demonstrates Bard’s commitment to the performing arts as a cultural and educational ne-cessity. Home is the Fisher Center for the Performing Arts, designed by Frank Gehry and located on the campus of Bard College in New York’s Hudson Valley. The Fisher Center offers outstanding programs to many communities, including the students and faculty of Bard College, and audiences in the Hudson Valley, New York City, across the country, and around the world. Building on a 160-year history as a competitive and innovative undergraduate institution, Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders.
ABOUT BARD COLLEGE
Concert Quick Guide
The Music
The Artists
Support TŌN
The TŌN Fund Donors
The Administration
About Bard College
THEORCHESTRANOW.ORG / MAR 2021 / 19
ABOUT BARD COLLEGE Founded in 1860, Bard College in Annandale-on-Hudson, New York, is an inde-pendent, residential, coeducational college offering a four-year BA program in the liberal arts and sciences and a five-year BA/BS degree in economics and finance. The Bard College Conservatory of Music offers a five-year pro-gram in which students pursue a dual degree—a BMus and a BA in a field other than music. Bard offers MMus degrees in conjunction with the Conservato-ry and The Orchestra Now, and at Longy School of Music of Bard College in Cambridge, Massachusetts. Bard and its affiliated institutions also grant the following degrees: AA at Bard Early Colleges, public schools with campuses in New York City, Baltimore, Cleveland, Newark, New Jersey, New Orleans, and Washington, D.C.; AA and BA at Bard College at Simon’s Rock: The Early Col-lege, in Great Barrington, Massachusetts, and through the Bard Prison Initia-tive at six correctional institutions in New York State; MA in curatorial studies, MS and MA in economic theory and policy, MEd in environmental education, and MS in environmental policy and in climate science and policy at the An-nandale campus; MFA and MAT at multiple campuses; MBA in sustainability in New York City; and MA, MPhil, and PhD in the decorative arts, design history, and material culture at the Bard Graduate Center in Manhattan. Internation-ally, Bard confers BA and MAT degrees at Al-Quds University in East Jerusa-lem and American University of Central Asia in Kyrgyzstan; BA degrees at Bard College Berlin: A Liberal Arts University; and BA and MA degrees at the Fac-ulty of Liberal Arts and Sciences, St. Petersburg University, Russia (Smolny), which are part of the Open Society University Network. Bard offers nearly 50 academic programs in four divisions. Total enrollment for Bard College and its affiliates is approximately 6,000 students. The undergraduate College has an enrollment of about 1,800 and a student-to-faculty ratio of 9:1. Bard’s acqui-sition of the Montgomery Place estate brings the size of the campus to nearly 1,000 acres.
Photo by Matt Dine
Photo by Matt Dine
Leon Botstein and all of us at The Orchestra Now would like to express our sincere appreciation to
Emily Sachar
for underwriting the TŌN-branded masks.
Thank you for safeguarding the health and vitality of our musicians during this time.
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