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BELATED BEETHOVEN

BIRTHDAY CELEBRATION

Saturday, May 1, 2021Performance # 167 Season 6, Concert 15

Livestreamed from the Fisher Center at Bard Sosnoff Theater

Leon Botstein conductor

THEORCHESTRANOW.ORG / 32 / MAY 2021

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TABLE OF CONTENTS

4 CONCERT QUICK GUIDE™

6 DEDICATION TO SUART STRITZLER-LEVINE

8 THE MUSIC

LUDWIG VAN BEETHOVEN

8 Symphony No. 5

9 Triple Concerto

10 Symphony No. 7

12 THE ARTISTS

12 LEON BOTSTEIN conductor

13 ADELE ANTHONY violin

14 PETER WILEY cello

15 SHAI WOSNER piano

16 THE ORCHESTRA NOW

18 OUR GRADUATES

21 IAN STRIEDTER trombone

22 SAMUEL EXLINE trumpet

23 LEANNA GINSBURG flute

24 SUPPORT TŌN

25 THE TŌN FUND DONORS

28 THE ADMINISTRATION

30 ABOUT BARD COLLEGE

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CONCERT QUICK GUIDELEON BOTSTEIN conductor

CONCERT TIMELINE 2 hours

Symphony No. 5 33 min

Triple Concerto 35 min

Symphony No. 7 38 min

™

Brief remarks by Ian Striedter trombone

SYMPHONY NO. 5Allegro con brio (fast, with spirit) 8 min

Andante con moto (moderately slow, with motion) 10 minAllegro (fast) 5 min

Allegro (fast) 10 minno pause between third and fourth movements

Written 1804–08, in Beethoven’s mid 30s

Premiered 12/22/1808 at Theater an der Wien in Vienna;

Beethoven conductor

First TŌN Performance 1/29/2016 at Carnegie Hall in NYC; Leon Botstein conductor

Brief remarks by Samuel Exline trumpet

TRIPLE CONCERTOAllegro (fast) 17 min

Largo (slow & dignified) 5 minRondo alla Polacca (in the rhythm of a polonaise) 13 min

no pause between second and third movements

ADELE ANTHONY violinPETER WILEY cello

SHAI WOSNER piano

Written 1804, at age 33

Premiered 4/1808 in Leipzig

Brief remarks by Leanna Ginsburg flute

SYMPHONY NO. 7Poco sostenuto—Vivace

(a little sustained, then lively) 13 minAllegretto (moderately fast) 9 min

Presto (quickly) 9 minAllegro con brio (fast, with spirit) 7 min

Written 1811–12, at age 41

Premiered 12/8/1813 at the University of Vienna; Beethoven

conductor

First TŌN Performance 4/13/2019 at Olin Hall at Bard College;

Zachary Schwartzman conductor

All timings are approximate. | Composer artwork by Khoa Doan.

LUDWIG VAN BEETHOVEN Born c. 12/16/1770 in Bonn, GermanyDied 3/26/1827 at age 56 in Vienna


This concert is dedicated to the memory of STUART STRITZLER-LEVINE1932–2020

A MAN OF STATURE, AND LOFTY IDEALSby James Rodewald ’82originally appeared in the Fall 2020 issue of the Bardian

Stuart Stritzler-Levine, 87, professor emeritus of psychology and dean emeritus, died May 1, 2020. Stritzler-Levine, who joined the Bard faculty in 1964 and devoted 56 years of continuous service to the College, received his B.A. from New York University, M.A. from New School University, and Ph.D. from SUNY Albany. Before coming to Bard he was a clinical research psychologist at Philadelphia State Hospital, where he worked in a National Institute of

Mental Health project designed to rehabilitate patients with chronic mental illness. He also served as a clinical psychologist at Bordentown Reformatory in New Jersey. His teaching and research interests at Bard included social psychology, specifically obedience to authority, conformity, attitude measurement, and change; moral development; and experimental design. He was fascinated by the social psychologist Stanley Milgram, on whose work and legacy he was teaching a seminar in the Spring 2020 semester.“No one has worked as tirelessly and generously for Bard as Stuart did,” writes President Leon Botstein. “He loved the College, its mission, its people, its history, and its landscape. He was fastidious and disciplined, yet he made the time not only to work unstintingly but also to sit and talk with everyone, anytime.”

Stritzler-Levine was dean of the College from 1980 to 2001. In those 21 years he oversaw innovations in the admission process, particularly the Immediate Decision Plan; the rapid growth of Bard’s enrollment and curriculum; and the College’s expansion into graduate education. He served as Dean of Studies at Bard High School Early College Manhattan from 2003 to 2009, then returned to teaching at Bard and at Simon’s Rock. Botstein writes, “He died in active service, not retired, as was his dream.”

Even while fully occupied by his duties at the College, Stritzler-Levine worked to extend liberal arts and sciences education to underserved communities. In 1999, he proposed a “bridge course” to expand the original

Clemente Course, which was entering its fifth year of offering rigorous, university-level humanities instruction to low-income students. His recognition that some who had completed the course but not been able to go on to college would benefit from additional study led him to offer to design and teach this bridge course once a week. He did so without pay. His devotion to learning and to Bard students had no limits. He was legendary as a Senior Project adviser. Tom Maiello ’82, a former advisee, shares that Stritzler-Levine, knowing Maiello could not afford to continue his education after Bard, paid for his first post-graduate program. Maiello retired in 2013 after nearly 33 years as a director of admissions, Holocaust educator, adjunct professor of philosophy, and dean of admissions. Last year he went back to work. “I am in social services as part of a skilled health care team,” writes Maiello. “I dedicate it all to him and his being there at the right time.”

Kenneth Stern ’75, director of Bard’s Center for Hate Studies, has had a long relationship with Stritzler-Levine, starting as a student and more recently as a colleague. “Stuart and I spoke frequently over the years, often about hate, especially given his expertise about Stanley Milgram,” writes Stern. “Stuart was always fascinated with the world around him, and how to think about it. He was an eager supporter of the Center for Hate Studies (he and I had brainstormed about this idea for years) and a regular participant in the faculty reading group on hate.” Stern also shared a passion for fishing, and the two traded strategies, fish tales, and lures, beginning in Stern’s

undergraduate days. “I moderated in the early ’70s,” recalls Stern. “My board insisted that I take a statistics class, which I did, with Stuart. It was not my favorite subject, but I loved the data set—Stuart’s summer catch of lake trout, which made me jealous of the quantity, length, width, weight, and every other measure of Stuart’s success.”

Stritzler-Levine’s other passions included operas by Richard Wagner, the photography of Berenice Abbott, and sports, particularly basketball. In the mid 1970s, Charlie Patrick, Bard’s athletic director, asked if he would coach the varsity basketball team. Stritzler-Levine accepted and went about putting together a team. Before long, spurred on by “bus loads” of students, as Stritzler-Levine recalled at the 2014 Athletics Awards Banquet, who drove up to Columbia Greene Community College to cheer for Bard against Albany College of Pharmacy, the 1976–77 team came within seconds of a conference title game. “It was a splendid group of guys,” Stritzler-Levine said in 2014. “For a couple of years, or even three, we took ourselves seriously and practiced and learned and had a dress code and all that good stuff that being a team could be. The truth is I loved my squad.” For 56 years and counting, the Bard community has felt the same way about him.

Stuart Stritzler-Levine is survived by his wife, Nina Stritzler-Levine, and their daughter, Ali SR ’15. He is also survived by his daughter Jennifer, and was predeceased by his daughter Jessica ’84, who died in 2010.

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BEETHOVEN’S SYMPHONY NO. 5Notes by TŌN bassoonist Philip McNaughton

BEETHOVEN’S TRIPLE CONCERTONotes by TŌN trumpet player Maggie Tsan-Jung Wei

An IconBeethoven’s Fifth Symphony, also known as the “Fate Symphony,” is arguably one of the most iconic pieces of classical music in the canon. Its four-note opening motif evokes an immediate reaction from not only the most avid classical music appreciator, but also from someone who has never stepped foot into a concert hall before. It has been played by world-class orchestras in almost every city around the world, and has even been heard in McDonald’s commercials. The work was composed from 1804 to 1808 and was based off of three of Beethoven’s original sketches. The piece premiered in Vienna in 1808 at a momentous all-Beethoven program that is said to have lasted four hours, at which the composer himself conducted and performed on the piano. The work was one of several premieres on the program, including Beethoven’s Sixth Symphony.

Symphony V for VictoryThe nickname of the symphony, “Fate,” which was not given by Beethoven himself, comes from the four note opening of the piece. The most recognizable portion, “short-short-short-long,” was thought to resemble fate knocking at a subject’s door, and is used as a motif throughout each movement of the work. Because of the symphony’s popularity, the theme was commonly used during the second World War as a way to mark a victory over the radio systems. In Morse code, “short-short-short-long” spelled out the letter “V” for victory. The theme would be played whenever the Allied forces found success in their endeavors. It became a powerful symbol of hope.

A Gateway WorkWhether or not Beethoven himself thought of this opening motif as fate knocking on the door remains unclear. What does ring true is that it was fate for this piece to live on forever. I think of this work as a gateway to classical music for the average person. The opening four notes are recognized by practically everyone around the world, but it’s what follows those notes that makes the symphony magical. The opening hooks the audience, but the rest of the piece keeps listeners planted in their seats, amazed at what contemporary and rich stories classical music can paint. The “Fate Symphony” has held the fate of classical music in its hands for centuries, and I believe the piece will continue to be a riveting gateway work for many more centuries to come.

The BackgroundBeethoven’s Triple Concerto in C major, Op. 56, is more similar to a piano trio than a concerto, with the whole orchestra acting as an accompanist to build up texture and add different colors. Most of the time, it is a competition or cooperation among three soloists. The three of them may play against each other, or support each other in different phrases. What makes this piece unique is the instrumentation. Beethoven was successful not only at putting these three solo instruments together in front of a whole orchestra, but also at keeping them balanced. Acting more as partners, the three instruments do not dominate over each other. Even now, it is probably the only well-known triple sonata for these three instruments. However, the work was not as successful as it is now when Beethoven first composed it around the year 1804. It was not officially performed until about four years after it was published. Surprisingly, it did not receive great critiques during the nineteenth century. However, the fact that people are still performing the concerto nowadays proves the value of this piece.

The MusicI certainly cannot choose my favorite movement in this concerto. The three movements have their own unique texture and musical language. The first movement is in sonata form, which is one of the most common forms for first movements in symphonies or concertos. It can be separated into three parts based on the motive. In this movement I really enjoy the beginning, when the piece opens with the lower string section, and the rest of the orchestra slowly builds up and introduces the three soloists. The second movement instills a sacred and peaceful feeling in me, almost as if I was standing by myself in the middle of an empty cathedral. The last movement, just like other traditional concertos, is a fast movement. It is joyful and delightful, and also brings back the tension and the cooperation between the three soloists.


“As a sforzando occurred, he tore his arms with great vehemence asunder . . . at the entrance of a forte he jumped into the air.” So Louis Spohr, the renowned German composer and violinist, described Beethoven’s tempestuous conducting at the premiere of the Seventh Symphony. The occasion was a patriotic one. On December 8, 1813, Spohr, along with a starry group of musicians including Johann Nepomuk Hummel, Antonio Salieri, and Giacomo Meyerbeer, gathered to play in an orchestra led by Beethoven as part of a charity concert for soldiers wounded in the Battle of Hanau. For this event the composer, by then an emphatic critic of the megalomaniacal Napoleon, debuted his Seventh Symphony alongside another new work, Wellington’s Victory, written to commemorate the Duke of Wellington’s defeat of Joseph Bonaparte’s forces in the Battle of Vitoria. Revolutionary ZealThough the Seventh Symphony does not share the explicit political immediacy of Wellington’s Victory, it is impossible to

dissociate it from Beethoven’s resolute idealism. Even at a time in his career plagued by worsening deafness and dire financial hardship, Beethoven was able to suffuse the work with a palpable sense of revolutionary zeal. As a whole, the symphony is exuberant, grand, and unbridled in its dual capacities for jubilance and sincerity. The first movement begins with a gracefully unfolding oboe solo punctuated by chordal “hits” from the full orchestra. The rest of the poco sostenuto introduction alternates between poised, lilting wind passages and stentorian iterations from the orchestra which, before long, give way to a cheerful vivace permeated by lively dotted rhythms.

Triumph Over TyrannyThe second movement, though marked allegretto, is the work’s dramatic zenith. A simple, serious rhythmic theme is introduced by low strings and is soon interwoven with a grave countermelody. These two ideas compete in increasing force as more instruments take them up, building steadily to an intense, climactic scene. This gives way to a dreamlike, yearning middle section, soon interrupted by a re-introduction of the theme. Another climax results, this time texturally enriched by deeper layers of Beethoven’s characteristically masterful counterpoint. In the third movement, a rollicking presto, fleet, playful wind solos are heard among bombastic, high-spirited dance episodes. The spectacle is occasionally curtailed by the emergence of an unhurried, stately theme. Finally, the fourth movement arrives to declare victory. Beethoven, the revolutionary, has had an ecstatic vision of mankind’s final triumph over tyranny.

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e BEETHOVEN’S SYMPHONY NO. 7Notes by TŌN oboist JJ Silvey

THE BEETHOVEN CELEBRATION CONTINUES NEXT SATURDAY!Saturday, May 8 at 8 PM

Bard College Conservatory Orchestra

Leon Botstein conductor

Ludwig van BeethovenSymphony No. 4Wellington’s VictorySymphony No. 3, EroicaDrei Equali (Three Equals) for four trombones

RSVP at FISHERCENTER.BARD.EDU

https://fishercenter.bard.edu/events/leon-botstein-may-ton/


Leon Botstein brings a renowned career as both a conductor and educator to his role as music director of The Orchestra Now. He has been music director of the American Symphony Orchestra since 1992, artistic codirector of Bard SummerScape and the Bard Music Festival since their creation, and president of Bard College since 1975. He was the music director of the Jerusalem Symphony Orchestra from 2003–11, and is now conductor laureate. In 2018 he assumed artistic directorship of Campus Grafenegg and Grafenegg Academy in Austria. Mr. Botstein is also a frequent guest conductor with orchestras around the globe, has made numerous recordings, and is a prolific author and music historian. He is the editor of the prestigious The Musical Quarterly, and has received many honors for his contributions to music.

More info online at leonbotstein.com.

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LEON BOTSTEIN conductor

Since her triumph at Denmark’s 1996 Carl Nielsen International Violin Competition, Adele Anthony has enjoyed an acclaimed and expanding international career. Performing as a soloist with orchestra and in recital, as well as being active in chamber music, her career spans the continents of North America, Europe, Australia, India and Asia.

In addition to appearances with all six symphonies of the Australian Broadcasting Corporation, Ms. Anthony’s highlights from recent seasons have included performances with the symphony orchestras of Houston, San Diego, Seattle, Ft. Worth, and Indianapolis, as well as the Leipzig Gewandhaus Orchestra and the Orchestre Philharmonique de Radio France. Being an avid chamber music player, she appears regularly at La Jolla

SummerFest and Aspen Music Festival. Her wide-ranging repertoire extends from the Baroque of Bach and Vivaldi to contemporary works of Ross Edwards, Arvo Pärt and Phillip Glass.

An active recording artist, Ms. Anthony’s work includes releases with Sejong Soloists’ “Vivaldi: The Four Seasons” on Naxos, a recording of the Philip Glass Violin Concerto with Takuo Yuasa and the Ulster Orchestra on Naxos, Arvo Pärt’s Tabula rasa with Gil Shaham, Neeme Järvi and the Gothenburg Symphony Orchestra on Deutsche Grammophon, and her latest recording of the Sibelius Violin Concerto and Ross Edwards’ Maninyas with the Adelaide Symphony Orchestra on Canary Classics/ABC Classics. Ms. Anthony performs on an Antonio Stradivarius violin, crafted in 1728.

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ADELE ANTHONY violin

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Cellist Peter Wiley enjoys a prolific career as a performer and teacher. He is a member of the piano quartet Opus One, a group he co-founded in 1998 with pianist Anne-Marie McDermott, violinist Ida Kavafian, and violist Steven Tenenbom. He attended the Curtis Institute of Music as a student of David Soyer and joined the Pittsburgh Symphony in 1974. The following year, he was appointed Principal cellist of the Cincinnati Symphony Orchestra, a position he held for eight years. From 1987 through 1998, he was cellist of the Beaux Arts Trio. In 2001, he succeeded his mentor, David Soyer, as cellist of the Guarneri Quartet. The quartet retired from the concert stage in 2009. He has been awarded an Avery Fisher Career Grant, and was nominated for a Grammy Award in 1998 with the Beaux Arts Trio and again in 2009 with the Guarneri Quartet. He participates at leading festivals, including Music from Angel Fire, Chamber Music Northwest, OK Mozart, Santa Fe, Bravo!, and Bidgehampton. He continues his long association with the Marlboro Music Festival, dating back to 1971. He teaches at the Curtis Institute of Music and Bard College Conservatory of Music.

PETER WILEY cello

Pianist Shai Wosner records for Onyx Classics. Among his recent recordings is 2017’s Impromptu, which features an eclectic mix of improvisationally inspired works by composers from Beethoven and Schubert to Gershwin and Ives. Additional releases include concertos and capriccios by Haydn and Ligeti with the Danish National Symphony conducted by Nicholas Collon, an all-Schubert solo album featuring a selection of the composer’s folk-inspired piano works, solo works by Brahms and Schoenberg, and works by Schubert paired with new works by Missy Mazzoli. As a chamber musician, he has recorded Beethoven’s complete sonatas and variations for cello and piano with Ralph Kirshbaum and—for Cedille Records—works by Bartók, Janáček, and Kurtág with his duo partner of many years, violinist Jennifer Koh.

Mr. Wosner is a recipient of Lincoln Center’s Martin E. Segal Award, an Avery Fisher Career Grant, and a Borletti-Buitoni Trust Award—a prize he used to commission Michael Hersch’s concerto Along the Ravines, which he performed with the Seattle Symphony and Deutsche Radio Philharmonie in its world and European premieres. He was in residence with the BBC as a New Generation Artist, during which he appeared frequently with the BBC orchestras, including conducting Mozart concertos from the keyboard with the BBC Scottish Symphony Orchestra. He returned to the BBC Scottish Symphony in both subscription concerts and Proms performances with Donald Runnicles and appeared with the BBC Philharmonic in a live broadcast from Manchester’s Bridgewater Hall. As a concerto soloist in North America, he has appeared with the major orchestras of Atlanta, Baltimore, Berkeley, Chicago, Cleveland, Dallas, Indianapolis, Los Angeles, Milwaukee, Philadelphia, Pittsburgh, Ottawa, San Francisco, and Toronto, among others. In addition to the BBC orchestras, he has performed abroad with the Aurora Orchestra, Barcelona Symphony, Bournemouth Symphony, Frankfurt Radio Symphony, Gothenburg Symphony, LSO St. Luke’s, Nieuw Sinfonietta Amsterdam, Orchestre National de Belgique, Staatskapelle Berlin, and the Vienna Philharmonic, among others. He has also appeared with the Orpheus, St. Paul, and Los Angeles Chamber Orchestras, having conducted the latter from the keyboard in a 2010 concert that was broadcast on American Public Radio.More info online at shaiwosner.com.

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SHAI WOSNER piano

http://www.shaiwosner.com

http://www.shaiwosner.com/


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. Recent recordings featuring The Orchestra Now include two albums on Bridge Records: Piano Protagonists with pianist Orion Weiss, a New York Times critic’s pick with an ensemble performance that Fanfare magazine called “perfect;” and Buried Alive with baritone Michael Nagy, which includes the first recording in almost 60 years of Othmar Schoeck’s song cycle Lebendig begraben. Also available are two albums of piano concertos with Piers Lane on Hyperion Records, and a Sorel Classics concert recording with pianist Anna Shelest and conductor Neeme Järvi. 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

Violin INicole Oswald

ConcertmasterBram MargolesYada LeeTin Yan Lee Misty DrakeJacques Gadway

Violin IIDillon Robb

PrincipalYurie MitsuhashiSabrina ParryStuart McDonaldGaia Mariani

RamsdellGergő Krisztián

TóthAdam Jeffreys* Xinran Li*Zhen Liu*Shaina Pan*Esther Goldy

Roestan*Yinglin Zhou*

ViolaBatmyagmar

Erdenebat Principal

Sean FlynnKatelyn HoagLucas GoodmanCelia DaggyLarissa Mapua*Hyunjung Song*Leonardo Vásquez

Chacón*

CelloLucas Button

PrincipalEva RoebuckJordan GunnPecos SingerCameron Collins*Kelly Knox*Sara Page*Sarah Schoeffler*

BassKaden Henderson

PrincipalMariya-Andoniya

HendersonLuke StenceJoshua DePointTristen Jarvis*

FluteRebecca Tutunick

Principal 1

Brendan Dooley Principal 2, 3, Piccolo 1

Leanna Ginsburg

OboeJJ Silvey Principal 1

Jasper Igusa Principal 2

Shawn Hutchison Principal 3

ClarinetYe Hu Principal 1

Rodrigo Orviz Pevida Principal 2

Viktor Tóth Principal 3

Matthew Griffith*

BassoonPhilip McNaughton

Principal 1, 2

Cheryl Fries Principal 3

Xiaoxiao Yuan*

HornSer Konvalin

Principal 1, Assistant 3

Zachary Travis Principal 2

Steven Harmon Principal 3

Emily BuehlerKwong Ho Hin

TrumpetMaggie Tsan-Jung

Wei Principal 1

Samuel Exline Principal 2

Guillermo García Cuesta Principal 3

Anita Tóth*

TromboneIan Striedter

PrincipalDavid KiddJack E. Noble

Bass Trombone

TubaJarrod Briley*

TimpaniKeith Hammer III

PercussionCharles Gillette*Luis Herrera

Albertazzi*

HarpTaylor Ann

Fleshman*

Guest Musicians

BassoonAnna Pem

* not performing in this concert

1 Symphony No. 52 Triple Concerto3 Symphony No. 7

Leon Botstein Music Director

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Members of TŌN can be identified by their distinctive blue attire.

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Lucas Button

cello

Emily Buehler

bass

Rodrigo Orviz Pevida clarinet

Mariya-Andoniya Henderson

bass

Stuart McDonald

violin

Kelly Knox

cello

Viktor Tóth

clarinet

Gergő Krisztián Tóth

violin

Anita Tóth

trumpet

Ye Hu

clarinet

Lucas Goodman

viola

Batmyagmar Erdenebat

viola

Jacques Gadway

violin

Guillermo García Cuesta

trumpet

Sarah Schoeffler

cello

Gaia Mariani Ramsdell

violin

Dillon Robb

violin

Yuqian Zhang

violin

Leonardo Vásquez Chacón

viola

Weiqiao Wu

violin

2021 graduates receiving a Master of Music Degree in Curatorial, Critical, and Performance Studies

Musician photos by Matt Dine


Musicians completing their Advanced Certificate in Orchestral Studies:

Musicians who have recently won positions in orchestras:

Charles Gillette percussion

Xiaoxiao Yuan Guiyang Symphony Orchestra, China

Yuqian Zhang Guiyang Symphony Orchestra, China

Ian will talk briefly about Beethoven’s Symphony No. 5 before the performance.

Hometown: Irvine, CA

Alma maters: Peabody Institute, B.M. Trombone, B.M. Recording Arts, M.A. Audio Sciences 2012–17; New England Conservatory, M.M. Trombone, 2017–19

Awards/Competitions: Winner, 2012 Pacific Symphony Youth Orchestra Concerto Competition; Winner, 2018 American Trombone Workshop National Quartet Competition (with David and Cameron); Winner, 2019 American Trombone Workshop National Quartet Competition (with David and Cameron)

Appearances: Aspen Music Festival, 2014–15; Verbier Festival, 2016–18

What is your earliest memory of classical music? Mom playing me Smetana’s Moldau on the stereo as a kid

What is your favorite piece of music, and why do you love it? Mahler’s Third Symphony, for the trombone solo

What has been your favorite experience as a musician? Playing the sunrise scene from An Alpine Symphony at sunrise on a mountaintop in the Swiss Alps

What is some advice you would give to your younger self? Do more score study with recordings.

Favorite non-classical musician or band: Shakey Graves, Punch Brothers, The Head and the Heart

If you weren’t a musician, what would you be doing? Working as an architectural acoustician

Which three people, dead or alive, would you like to have dinner with? Batman, Nikola Tesla, Stanley Kubrick

Piece of advice for a young classical musician: Don’t sit in front of the trombones.

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IAN STRIEDTER trombone

@istriedter

Musician photos by Matt Dine

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https://www.instagram.com/jarrod_briley

THEORCHESTRANOW.ORG / 2322 / ApR 2021

Leanna will talk briefly about Beethoven’s Symphony No. 7 before the performance.

Hometown: Richmondville, NY

Alma maters: Purchase College, Northwestern University, Lynn University

Awards/Competitions: Winner, 2018 Chicago Women Musicians Club Competition; 2017–18 Walfrid Kujala Scholarship; Outstanding Senior Award, 2016 Purchase College Classical Division; Outstanding Junior Award, 2015 Purchase College Classical Division

Appearances: Chautauqua Music Festival, 2017–18; OrchestraNext

2016–17; National Music Festival, 2016; Eastern Music Festival, 2015

When did you realize you wanted to pursue music as a career? In eighth grade I was accepted into the New York State Honor Band. That experience exposed me to so many amazing musicians and opened my mind to the possibility of pursuing music as a career. From that moment on I knew I wanted to be a musician.

What has been your favorite experience as a musician? I worked for a non-profit organization in South Florida called Mind and Melody. I helped lead music sessions in assisted living facilities for people with Alzheimer’s and Dementia. There were days when we would arrive at the facility and the participants were sad, quiet, or not making eye contact. By the end of the session they would be dancing, laughing, playing, and singing along! It was the most fun and rewarding experience I’ve ever had as a musician.

What is some advice you would give to your younger self? It’s okay to have and pursue more than one passion! I was always told that I needed to focus on one path in order to be successful, but I love many different art forms, and finding a way to weave them all together has been extremely rewarding.

If you weren’t a musician, what would you be doing? I would probably be working as a photographer full time. Right now I work as a photographer part-time, so if I had to make a change, then that would most likely be my choice.

Samuel will talk briefly about Beethoven’s Triple Concerto before the performance.

Hometown: Meridian, ID

Alma maters: University of Miami, B.M. 2016, M.M. 2018; Bard College Advanced Performance Studies Program, 2019

Appearances: Atlantic Music Festival, 2017–18; Pierre Monteux School and Music Festival, 2015–16; Banff Brass and Drum Residency, 2014; Kennedy Center Summer Music Institute, 2011

When did you realize you wanted to pursue music as a career? An episode of the children’s cartoon Rugrats. Grandpa Lou loses his dentures and must get them back in order to play the big trumpet solo in a band concert. My six-year-old self begged my mom to

buy me a trumpet, and she finally did after seeing how many times I watched the episode.

How did you hear about TŌN? What inspired you to apply? I heard about TŌN via an alumnus of Bard College. I immediately set my sights on the program several years ago, as it has everything I was looking for in an advanced graduate program. TŌN is not only a stellar orchestral program that rehearses and performs more than any college or conservatory program, but also goes beyond solely performance and into critical and curatorial studies. This well-rounded approach is invaluable.

What has been your favorite experience as a musician? Performing as Principal Trumpet on Beethoven’s Fifth Symphony at the John F. Kennedy Center for the Performing Arts as a senior in high school

What is some advice you would give to your younger self? The more you practice, the more fun it becomes.

If you weren’t a musician, what would you be doing? Environmental Science/Policy

Tell us something about yourself that might surprise us: I used to participate in competitive ski racing.

Piece of advice for a young classical musician: Get as many recordings of great musicians, bands, and orchestras as you can and listen as much as possible.

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LEANNA GINSBURG flute

SAMUEL EXLINE trumpet

@leannaginsburg

https://www.instagram.com/leannaginsburg

https://www.instagram.com/jarrod_briley


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SUPPORT TŌNWE’VE BROUGHT MUSIC TO MORE THAN 55,000 NEW YORKERS IN OVER 150 CONCERTS THANKS TO SUPPORT FROM DONORS LIKE YOU!

Inspire Greatness! Support TŌN’s innovative training program for classical musicians.

THE TŌN FUNDYour generosity will sustain the next generation of great performers—more than 70 players from 14 countries around the globe—as they learn to communicate the transformative power of music to 21st-century audiences.

Your gift will support TŌN Student Living Stipends, free chamber performances around the Hudson Valley, and virtual events including livestreamed concerts from the Fisher Center at Bard. Your gift will also provide vital resources for our return to live performance at Carnegie Hall, Jazz at Lincoln Center, and The Metropolitan Museum of Art when it’s safe again to do so.

SPONSOR A TŌN MUSICIAN: NAMED FELLOWSHIPSPlay a defining role in our success by sponsoring a TŌN musician. Direct your support to have a lasting impact on the education and training of TŌN’s exceptional young players from around the world. TŌN offers both a three-year master’s degree in Curatorial, Critical, and Performance Studies and a two-year advanced certificate in Orchestra Studies. Your generosity will help us meet the challenges of educating a new generation of musicians to become creative ambassadors for classical music.

For detailed information on the many ways to support TŌN, please contact Nicole M. de Jesús, Director of Development, at 845.758.7988 or [email protected].

There’s simply no other music degree program like TŌN. Help us to inspire greatness by making a contribution today!

TO DONATE:Visit THEORCHESTRANOW.ORG/SUPPORTCall 845.758.7988

THE TŌN FUND DONORS

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!

LEADERSHIP GIFTSRockefeller Brothers Fund

THE YVONNE NADAUD MAICONCERTMASTER CHAIRMade possible by The Mai

Family Foundation

CONCERTMASTER’SCIRCLEJoseph Baxer and Barbara

BacewiczMichael Dorf and Sarah

Connors*Estate of Clyde

Talmadge GatlinEmily SacharFelicitas S. Thorne*

CONDUCTOR’S BOXAnonymous, in memory of

Stuart Stritzler-LevineKoren C. Lowenthal,

in memory of Larry Lowenthal

Christine T. Munson*

Michael L. PriviteraThe Vaughan Williams

Charitable Trust

ALLEGROGary and Martha GiardinaNorthwestern Mutual

Foundation*

FORTEAnonymous (2)Helen V. AtlasBridget Kibbey*Tyler J. Lory and Michael

RauschenbergRobert LosadaJen Shykula ’96 and Tom

Ochs*Thom and Valerie Styron,

in honor of Jarrod Briley TŌN ’22

Vivian SukenikIrene Vincent*

TRUMPETERAnonymous (3)

Hospitality Committee for United Nations Delegations (HCUND)

Erica KiesewetterRobert LonerganMaury Newburger

FoundationThe Merrill G. and Emita E.

Hastings FoundationJames and Andrea Nelkin*Suzanne NeunhoefferPaul W. OakleyInez Parker, in honor of

David Kidd TŌN ’22Shirley Ripullone and

Kenneth StahlLinda Schwab-EdmundsonArlene and Gilbert SeligmanAnne-Katrin Spiess and

Gerlinde SpiessAlice Stroup, in memory of

Timothy StroupSally Sumner, in honor of

Sara Page TŌN ’22Shining Sung

mailto:[email protected]




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 Fund

Peter and Susan J. LeVangia

Amala and Eric LevineJanet C. MillsTatsuji NambaAnthony NapoliLisa and Albrecht PichlerJan and Jim SmythGeorge Striedter, in honor

of Ian Striedter TŌN ’22Meyer J. Wolin

TŌNOR

AnonymousJesika BerryDiane and Ronald BlumRichard BoppKent Brown and

Nat ThomasLisa Aber CohenJames Costello and Laura

CannamelaMargaret M. CoughlinRichard and Hildegard ’78

EdlingVera A. FarrellRenate L. FriedrichsenHoward and Caroline

Goodman, in honor of Lucas Goodman TŌN ’21

Susanna GrannisJan M. Guifarro

James Gavin HoustonElena and

Frederic HowardScott HuangIBM Matching Grants

ProgramJudith and Ron Goodman

Charitable Trust of Fidelity

John and Min Hwyei Jeung, in honor of Brendan Dooley TŌN ’22

Charlotte Mandell Kelly ’90 and Robert Kelly

Rebecca S. Kidd, in honor of David Kidd TŌN ’22

Bernard King-Smith and Lisa S. King-Smith

Miodrag KukrikaArthur S. LeonardNancy S. Leonard and

Lawrence KramerFulvia Masi and William

TanksleyJames McLaffertyWarren R. MikulkaKaren E. Moeller and

Charles H. TalleurGary E. MorganSuzanne NeusnerCatherine K. and Fred

ReinisRobert RenbeckAnn and Thomas Robb,

in honor of Dillon Robb TŌN ’21

James RosenfieldThomas J. ShykulaJoseph M. SweeneyJudith and Michael ThoyerHoward WallickHenry H. Westmoreland

and Charles H. MilliganWayne and Dagmar

Yaddow

DOWNBEATAnonymousJulia AneshansleyNaja B. ArmstrongMelissa Auf der MaurSheila R. BeallDavid BehlJeffrey BernsMatthew C. BernsteinStephanie G. BeroesMarvin BielawskiKaren and Mark Collins,

in honor of Cameron Collins TŌN ’22

Jefferson CottonThomas De StefanoVincent M. DicksJohn and Remy Duffy, in

honor of Luis Herrera Albertazzi TŌN ’23

Priscilla DuskinMark L. Feinsod ’94Carol and Peter GossTamara Judith GruzkoLee HaringMichaela HarnickJuliet HeyerTerrell K. HolmesJames Gavin HoustonJeffrey KellerDavid Kraskow and Liz

HessCarol E. LachmanErika LieberGuenther and Virginia MayMartin and Lucy MurrayStan and Bette NitzkyPat ParsonsNeila Beth RadinKurt RauschJing L. Roebuck, in honor

of Eva Roebuck TŌN ’22Ted Ruthizer and Jane

DenkensohnEdward Sandfort

Daniel E. ScherrerMark Peter ScherzerDan and Rosie SchiavoneFran D. SmythJohn StaugaitisJerl O. SurrattJonathan WechslerMichael and Leslie

WeinstockAnn and Douglas William

PRELUDEAnonymous (2)Fred Allen and Erica De

ManeSharon B. ApplegateKyra Assaad and Warren

TappeLeslie and Louis BakerLaurence Blau and Karen

JohnsenGeraldine BrodskyDeloss BrownAnne B. BruecknerLael Burns

Harriet D. CausbieJudith ChaifetzJill CohenMaria V. CollinsElizabeth DavisJosé M. de Jesús, Jr.Andrea N. DriscollWendy FarisClaudia ForestRenate L. FriedrichsenMiriam FrischerAlbert GottliebAudrey HackelKatka HammondAmy HebardKaren and Perry Hoag, in

honor of Bram Margoles TŌN ’22 and Katelyn Hoag TŌN ’22

Maung HtooAl JacobsenSteven Jonas, M.D.Brenda KleinBarbara KomanskyRalph B. Lawrence

David H. LeveyAnn and Robert LibbeyEve MayerMaryanne MendelsohnRikki MichaelsFred Justin MorganRoss ParrinoLeslie PepperShirley 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

*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 April 23, 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.

mailto:[email protected]


Artistic StaffLeon Botstein Music DirectorJames Bagwell Associate

Conductor and Academic Director

Jindong Cai Associate ConductorZachary Schwartzman Resident

ConductorAndrés Rivas Assistant ConductorErica Kiesewetter Professor of

Orchestral PracticeBridget Kibbey Director of

Chamber Music and Arts Advocacy

Administrative StaffKristin Roca Executive DirectorBrian J. Heck Director of MarketingNicole M. de Jesús ’94 Director of

DevelopmentSebastian Danila Music Preparer

and ResearcherMarielle Metivier Orchestra

ManagerBenjamin 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 ManagerMiles Salerni Rehearsal

Coordinator

THE ADMINISTRATIONTHE ORCHESTRA NOW

BOARD OF TRUSTEESJames C. Chambers ’81 ChairEmily H. Fisher Vice ChairGeorge F. Hamel Jr. 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 ’70Mark N. Kaplan Life TrusteeGeorge A. KellnerMark Malloch-BrownFredric S. Maxik ’86Juliet Morrison ‘03James H. Ottaway Jr. Life TrusteeHilary PenningtonMartin Peretz Life Trustee

Stewart 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

BARD COLLEGE

ADVISORY 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 FESTIVALBOARD 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 Kayla Leacock Summer Hiring

Manager

ARTISTIC DIRECTIONLeon Botstein President, Bard

College

Gideon 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 &PERFORMANCE ANDDANCE 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 SupervisorEric Sherman Audio Supervisor

COMMUNICATIONSMark Primoff Associate Vice

President of Communications

Darren O’Sullivan Senior Public Relations Associate

Amy Murray Videographer

PUBLICATIONSMary Smith Director of

PublicationsCynthia Werthamer Editorial

Director

MARKETING ANDAUDIENCE 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

ManagerGarrett Sager Digital Marketing

AssistantJesika Berry Senior House

ManagerErik Long Box Office SupervisorPaulina Swierczek VAP ‘19 Box

Office SupervisorDavid Bánóczi-Ruof ‘22 Assistant

House ManagerMaia Weiss Assistant House

ManagerHazaiah Tompkins ‘19 Community

Space 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 RICHARD B. FISHER CENTER FOR THE PERFORMING ARTS


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 supports artists, students, and audiences in the development and examination 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 necessity. 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 161-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 COLLEGEFounded in 1860, Bard College in Annandale-on-Hudson, New York, is an independent, 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 program 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 Conservatory 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 College, in Great Barrington, Massachusetts, and through the Bard Prison Initiative 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 Annandale 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. Internationally, Bard confers BA and MAT degrees at Al-Quds University in East Jerusalem 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 Faculty of Liberal Arts and Sciences, St. Petersburg University, Russia (Smolny). 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 10:1. Bard’s acquisition of the Montgomery Place estate brings the size of the campus to nearly 1,000 acres.

ABOUT BARD COLLEGE

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.