the richard b. fisher center

for the performing arts at bard college

AMERICAN SYMPHONY ORCHESTRAOctober 25 and 26, 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-classartistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in2003. Risk-taking performances and provocative programs take place in the 800-seatSosnoff 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 MusicFestival, which celebrated its 24th year in August with “Stravinsky and His World.” The2014 festival will be devoted to Franz Schubert.

The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’sBoard 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 supportand welcome all donations.

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

Chair Jeanne Donovan Fisher

President Leon Botstein

presents

American Symphony Orchestra Leon Botstein, Music Director

Igor Stravinsky (1882–1971)Petrushka (1910–11, rev. 1947)

Intermission

Avner Dorman (b. 1975)Piccolo Concerto (2001)

AllegroAdagio cantabilePresto

Fanya Wyrick-Flax ’13, piccolo

Felix Mendelssohn (1809–47)Symphony No. 5, Op. 107 (“Reformation”) (1829–30)

Andante–Allegro con fuocoAllegro vivaceAndanteAndante con moto–Allegro vivace–Allegro maestoso

Sosnoff TheaterFriday, October 25 and Saturday, October 26 at 8 pmPreconcert talk at 7 pm by Peter Laki

This evening’s concert will run approximately two hours, including one 20-minuteintermission.

Notes on the Program

Igor StravinskyBorn in Oranienbaum, near St. Petersburg, June 17, 1882

Died in New York, April 6, 1971

Petrushka (1910–11, rev. 1947)

After the resounding success of The Firebird in 1910, Igor Stravinsky became an instantcelebrity in Paris. His name was now inseparable from the famous Ballets Russes, whosedirector, Sergei Diaghilev, was anxious to continue this most promising collaboration. Planswere almost immediately under way for what eventually became The Rite of Spring. Butevents took a slight detour: in the summer of 1910, Stravinsky began writing a piece forpiano and orchestra in which the piano represented for him “a puppet, suddenly endowedwith life, exasperating the patience of the orchestra with diabolical cascades of arpeggios.”The puppet was none other than Petrushka, the popular Russian puppet-theater hero, theequivalent of Punch in “Punch and Judy” shows.

When Diaghilev visited Stravinsky in Lausanne later in the summer, he expected his friendto have made some progress with The Great Sacrifice (the working title of The Rite);instead, he found him engrossed in a completely different composition. Diaghilev imme-diately saw the dramatic potential of Stravinsky’s concert piece, and persuaded the com-poser to turn it into a ballet. (The soloistic handling of the piano in the final version is areminder of the origins of the piece.) Alexandre Benois, a Russian artist and a longtimeDiaghilev collaborator, wrote the scenario with Stravinsky, and designed the sets and cos-tumes for the performance.

The original Russian Petrushka has been described as “a devil-may-care oddball, a wisecrackerand disturber of the peace.” As Richard Taruskin has pointed out in his magisterial book onStravinsky, however, the hero of the ballet has little to do with that characterization. He is,rather, a reincarnation of Pierrot, the sad-eyed clown with a white face and wearing a whitesuit with large black buttons. The plot was not based on the Russian Petrushka plays butrather on the classical love triangle from the commedia dell’arte tradition involving Pierrot,Colombine, and Harlequin. Yet in the first and last scenes, Benois re-created the atmosphereof the old Shrove-Tide fairs in St. Petersburg, a tradition that had already disappeared but onehe still remembered from his childhood. The structure of the ballet, then, with two outerscenes depicting a fair in Old Russia and two inner scenes representing a love story that tran-scends time and place, is more than a neat symmetrical device. It expresses a contrastbetween things Russian and international, between the public and the private spheres, andbetween the worlds of humans and puppets. As Taruskin has observed, however,

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[T]he “people” . . . are represented facelessly by the corps de ballet. Only thepuppets have “real” personalities and emotions. The people in Petrushka actand move mechanically, like toys. Only the puppets act spontaneously, impul-sively—in a word, humanly.

In composing the music of Petrushka, Stravinsky made use of an unusually large numberof preexistent melodies, either Russian folk music or popular songs of the time. Thesecame to Stravinsky from a wide variety of sources, ranging from the first scientific col-lections of folk music, recorded with the then-new phonograph, to urban songs thatwere “in the air.” His treatment of these sources was far more radical, as far as harmoniesare concerned, than it had been in The Firebird; especially in the second scene, “ChezPétrouchka,” we see significant departures from the 19th-century Russian tradition thatStravinsky had learned from his teacher, Nikolay Rimsky-Korsakov, and that he had beenfollowing much more closely in his first ballet.

The first of the four tableaux (“The Shrove-Tide Fair”) is shaped by an alternationbetween the noise of the crowd and numbers played by street musicians. At first we heara flute signal accompanied by rapid figurations that evoke the bustle of the fair. Soon theentire orchestra breaks into a boisterous performance of a Russian beggars’ song, fol-lowed by the entrance of two competing street musicians, a hurdy-gurdy player and onewith a music box. Of the two popular tunes, heard first in succession and then simulta-neously, one is a Parisian street tune about the famous actress Sarah Bernhardt who hada wooden leg (“Elle avait un’ jambe en bois”—“She had a wooden leg”). This song, by acertain Mr. Spencer, was protected by copyright, although Stravinsky didn’t realize this atthe time of composition. As a result, the author collected a percentage of the royaltiesfrom every performance of Petrushka the world over during his lifetime; that percentagehas since gone to his heirs. The other song was a well-known Russian melody, sometimesset to bawdy lyrics, that Stravinsky remembered from his youth.

The competition of the street musicians suddenly stops and the beggars’ song returns asa general dance. The signal from the beginning closes the first half of the tableau. Nowthe puppet theater opens, and the Showman, playing his flute, introduces Petrushka, theBallerina, and the Moor to the audience. As he touches them with his flute, the threepuppets begin the famous “Russian Dance” in which the piano plays a predominant part.(This was one of the two sections in Stravinsky’s concert piece.) The irresistible force ofthis passage lies in the varied repetitions of short rhythmic figures and simple melodiesharmonized with repeated or parallel-moving chords. These features became importanthallmarks of Stravinsky’s style in later years. The dance has a lyrical middle section wherethe same melody is played more softly by the piano, accompanied by the harp and winds.Finally, the loud version returns; the dance and the tableau end with a bang.

The second tableau is a reworking of what was originally called “Petrushka’s Cry” in theconcert piece for piano and orchestra. It starts with the sonority that has become

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emblematic of the work: two clarinets playing in two different keys at the same time.After a short piano cadenza, we hear a theme that gives vent to Petrushka’s anger anddespair at his failure to win the Ballerina’s heart. His fury suddenly changes into quietsadness in the following slow pseudo–folk song, played by the duo of the first flute andthe piano with only occasional interjections from other instruments. The Ballerinaenters, and Petrushka becomes highly agitated. Then she leaves, and the earlier despairmotif closes the tableau.

The third tableau takes place in the Moor’s room. His slow dance is accompanied by bassdrum, cymbals, and plucked strings, whose off-beat accents impart a distinctly Orientalflavor to the music. The melody itself is played by a clarinet and a bass clarinet pitchedtwo octaves apart. Soon the Ballerina comes in (“with cornet in hand,” according to theinstructions), and dances for the Moor as the trumpet (which in the 1947 version replacesthe cornet of the original) plays a rather simple tune accompanied only by the snaredrum. She then starts waltzing to two melodies by Viennese composer Joseph Lanner(1801–43, a forerunner of the great Strauss dynasty), while the Moor continues his ownclumsy movements (for a while, the two melodies are heard simultaneously). The waltzis abruptly interrupted as Petrushka enters to motifs familiar from the second tableau.His fight with the Moor is expressed by excited runs that, like Petrushka’s earlier music,are “bitonal” in the sense that the same melodic lines are played in two keys at the sametime. The orchestra plays some violent, repeated fortissimo chords as the Moor pushesPetrushka out the door.

The fourth and last tableau brings us back to the fair, where, as the evening draws closer,more and more people gather for the festivities. A succession of numbers is performedby various groups taking turns at center stage. A group of nursemaids dances to theaccompaniment of two Russian folk songs which, according to a technique already seenseveral times, are heard first in succession and then simultaneously. Next, a peasantenters with a bear that dances to the peasant’s pipe (the pipe is represented by the shrillsounds of two clarinets playing in their highest register). After this, a drunken merchantcomes in: his tune is played in unison by the entire string section, with frequent glissan-dos, against a motley succession of ascending and descending runs in the woodwindsand brass. Two Gypsy girls perform a quick dance whose melody is given to the oboesand the English horn, with harps and plucked strings in the background, and then boththe merchant’s tune and the Gypsy dance are repeated.

The Russian folk song of the coachmen and stable boys comes next, scored mainly forbrass; that of the nursemaids, which began the whole scene, returns on clarinets andbassoons. The coachmen’s dance is taken over by the full orchestra, only to be suddenlydisplaced by the mummers, who, in their funny masks, jest and dance with the crowd tosome loud and highly rhythmic music in which the brass predominates.

Suddenly the celebration is disrupted by a scream coming from the side of the theater.Petrushka rushes in, pursued by the Moor who soon overtakes him and strikes him

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down. The two clarinets, whose dissonant intervals have followed Petrushka throughoutthe piece, emit a final piercing shriek that fades away in a pianissimo as the hero expires.Some soft woodwind solos, accompanied by high-pitched violin tremolos, lamentPetrushka’s death. But as the Showman arrives to pick up the puppet and take him backto the theater, Petrushkas’s ghost appears overhead as a piccolo trumpet intones hismelody in a tone that is aggressive, mocking, and menacing at the same time. There areonly a few string pizzicatos as the curtain falls; the last event in the piece is the resur-gence of Petrushka the invincible, thumbing his nose at the magician and at the entireworld, which has been so hostile to his pure and sincere feelings.

Avner DormanBorn in Tel Aviv, April 14, 1975

Piccolo Concerto (2001)

The world of musical instruments is becoming more and more democratic, and in recentdecades, players who had been relegated to the back of the orchestra have increasinglyclaimed their spot in the limelight. Not that the piccolo flute can easily hide; its piercinghigh notes easily cut through the most complex orchestral texture. But players have longfelt that the instrument can do a lot more than it is called upon to do in the average sym-phony and, more recently, have actively encouraged composers to write concertos forthem. (A distant precedent may be found in the three piccolo concertos by Vivaldi, butthese were actually written for a different instrument, the sopranino recorder.)

Among the most successful recent concertos for piccolo is the present work by Israeli-born Avner Dorman, who studied at Juilliard and has long been a resident of the UnitedStates. The work, which has been released as part of an all-Dorman CD in Naxos’sAmerican Classics series, was originally commissioned by Israeli piccoloist Lior Eitan as aduet for piccolo and harp, but, as the composer noted, the material turned out to bemore fitting for piccolo and orchestra. Dorman has discussed the various influences onthe concerto in some program notes found on his website:

The musical material is drawn from diverse musical genres and styles: Baroqueand Classical music, ethnic music, jazz, and popular music.

Baroque and Classical — The first movement is based on the Classical sonataform. Throughout the piece, there are several fugues and canons. I also usemany sequential patterns and other clichés of 18th-century music in this piece.

Ethnic — To my ears, the piccolo’s bottom octave sounds very similar to MiddleEastern shepherd’s flutes. In the second movement, especially, I emphasize thissimilarity by using characteristic modes of Middle Eastern music, as well as

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common styles of ornamentation from the region. Another reference to myhome region is the imitation of the sounds of desert winds and of theMediterranean Sea in the second part of the movement.

Jazz and popular music — From the very first notes of the concerto, the juxta-position of a steady beat in the bass with syncopations in the upper partsserves as a key compositional technique in this piece. Frequently, the classicaland ethnic motives are accompanied by short repetitive patterns. In vast sec-tions of the piece, the soloist’s part is supposed to sound as if it is an improvi-sation. In certain sections of the piece, these repetitive rhythms together withthe basso-continuo lines emulate modern drum machines.

Felix MendelssohnBorn in Hamburg, November 14, 1809

Died in Leipzig, May 14, 1847

Symphony No. 5, Op. 107 (“Reformation”) (1829–30)

In the year 1830, the Lutheran Church was marking the 300th anniversary of the AugsburgConfession, a fundamental document of the Protestant faith. Felix Mendelssohn decidedto participate in the celebration by writing a grand symphony incorporating MartinLuther’s chorale Ein’ feste Burg ist unser Gott (“A Mighty Fortress Is Our God”). He wasapparently eager to follow in the footsteps of J. S. Bach, whose St. Matthew Passion he hadrevived at the Berlin Singakademie in 1829: Bach had written his cantata Ein’ feste Burg(Cantata No. 80) exactly 100 years earlier for the bicentennial of the Lutheran Church.

Mendelssohn started work on the symphony while in England in the autumn of 1829, andfinished it in Berlin the following spring. As his friend Eduard Devrient related, Mendelssohnmade an effort to work out every detail of the instrumentation (at least in the first move-ment) in his head before committing a single note to paper.

Felix undertook to write down the entire score, the whole of the instrumenta-tion, bar by bar. It is true that he never wrote out a composition until it was quitecompleted in his head, and he had played it over to those nearest to him; butnevertheless this was a gigantic effort of memory, to fit in each detail, each dou-bling of parts, each solo effect barwise, like an immense mosaic. It was wonder-ful to watch the black column slowly advance upon the blank music paper.

If writing the symphony was a great effort, naming it was not easy either. In a letter to hissister Fanny, Mendelssohn asked her advice on a suitable title:

Try to collect opinions as to the title I ought to select: Reformation Symphony,Confession Symphony, Symphony for a Church Festival, Juvenile Symphony, or

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whatever you like. Write to me about it, and instead of all the stupid sugges-tions, send me one clever one; but I also want to hear the nonsensical onessure to be produced on the occasion.

In the wake of the revolutionary events of the year 1830, the church festivities were can-celled. Mendelssohn’s symphony was again scheduled for performance by François-Antoine Habeneck in Paris in 1832, while Mendelssohn was in town. This time it was themusicians who protested against the work, which had too much dense counterpoint totheir taste. Mendelssohn led a single performance in Berlin later that year, but thenwithdrew the work and did not allow it to be performed or published during his lifetime.What is more, he left instructions for the manuscript to be burned. The symphony wasnot published until 21 years after the composer’s death, which explains why it is num-bered last among Mendelssohn’s symphonies.

The symphony contains an unusually large number of allusions to earlier works. Thefour-note opening motif of the Andante introduction, played by the violas, is known tomost of us from the last movement of Mozart’s “Jupiter” Symphony, but it has a long his-tory going back all the way to Gregorian chant. Mendelssohn elaborates the motif con-trapuntally, setting the stage for the next quote, the so-called Dresden Amen—aharmonization of the word “amen” as sung in churches in Dresden since the 18th cen-tury. (Fifty years later, Wagner would use the Dresden Amen as the Grail motif in Parsifal.)

The Dresden Amen is followed by the main part of the movement, in a stormy D minorthat recalls the “storm and stress” tone of many minor-mode works by Haydn and Mozart.(The first four notes are identical to the beginning of Haydn’s Symphony No. 104; the sameopening was also to be adopted by Schumann in his Second Symphony of 1845–46).

According to classical expectations, the second theme introduces a more peaceful, lyricalmood; however, it does so only gradually here, as it begins in the minor mode and modulatesto major only in the third measure. At the end of the tempestuous development section, theDresden Amen reappears, ushering in a rather unusual recapitulation. The tempo is slowerhere than it was at the beginning, and the forte dynamics are replaced by piano, with thestrings often playing pizzicato (with the strings plucked). Mendelssohn may have beeninspired here by the third movement of Beethoven’s Fifth Symphony, where a similar “toningdown” occurs. Eventually, however, the music finds its way back to its initial exuberance.

The second movement is a light-hearted and simple minuet in B-flat major, with a G-major trio remarkable for its ingratiating melody and innovative orchestration. The min-uet is repeated with the addition of a substantial coda.

The short third-movement Andante (G minor) is an aria whose theme is presented bythe first violins. Commentators have cited Pamina’s G-minor aria from Mozart’s MagicFlute and the Arioso dolente from Beethoven’s Piano Sonata in A-flat Major, Op. 110, aspossible influences. The spirit of the latter is certainly present when the violins suddenlyinterrupt their melody with a recitative-like cadence.

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The last movement opens with a flute solo in G major, intoning the chorale Ein’ festeBurg. More and more instruments join in, and the chorale is treated in a Bach-like con-trapuntal style. The home key of D major is reached at the end of an excited Allegrovivace section, followed by an Allegro maestoso tempo. The chorale theme returns, andbecomes the basis of an extended fugato. Later we hear a more lyrical variation, in whichparts of the melody are taken up by the cellos and bassoons with accompaniment inshort staccato notes from violins, violas, and double basses. After the chorale is joined bya new, folklike dance melody, the jubilant movement ends with a solemn proclamationof Ein’ feste Burg.

—Peter Laki, Visiting Associate Professor of Music, Bard College

Who’s Who

Leon Botstein ConductorWidely recognized for his performances but also for hisvisionary zeal, championing masterpieces unfairly ignoredby history and putting together concert programs thatengage the head as well as the heart, Leon Botsteinrecently celebrated his 20th year as music director andprincipal conductor of the American Symphony Orchestra.He is also artistic codirector of the SummerScape and BardMusic festivals, which take place at the Richard B. FisherCenter for the Performing Arts, designed by Frank Gehryfor Bard College, where Botstein has been president since

1975. He is conductor laureate of the Jerusalem Symphony Orchestra, where he served asmusic director from 2003–11.

Botstein leads an active schedule as a guest conductor all over the world, and can beheard on numerous recordings with the London Symphony (their recording of Popov’sFirst Symphony was nominated for a Grammy), the London Philharmonic, NDR-Hamburg,and the Jerusalem Symphony Orchestra. Many of his live performances with theAmerican Symphony Orchestra are available for download online. The Los Angeles Timescalled this summer’s Los Angeles Philharmonic performance under Leon Botstein “the all-around most compelling performance of anything I’ve heard all summer at the Bowl.”

Highly regarded as a music historian, Botstein is the editor of The Musical Quarterly andthe author of numerous articles and books. In 2011 he was invited to give the prestigiousTanner Lectures in Berkeley, California. For his contributions to music he has received theaward of the American Academy of Arts and Letters and Harvard University’s esteemedCentennial Award, as well as the Cross of Honor, First Class, from the government ofAustria. In 2009 he received Carnegie Foundation’s Academic Leadership Award, and in2011 was inducted into the American Philosophical Society. He is also the 2012 recipientof the Leonard Bernstein Award for the Elevation of Music in Society. In 2013, followingin the footsteps of Sir John Barbirolli, Otto Klemperer, and many other of his musicalheroes, Leon Botstein received the Bruckner Society’s Julio Kilenyi Medal of Honor for hisinterpretations of that composer’s music.

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©ric kallaher

Fanya Wyrick-FlaxFanya Wyrick-Flax ’13 received degrees in mathematics andflute performance from Bard College, where she studiedwith Tara O’Connor in The Bard College Conservatory ofMusic. A graduate of Bard High School Early College inManhattan, she was a pupil of Bart Feller in The JuilliardSchool Pre-College Division, and also studied with HarrieStarreveld for one semester at the Conservatorium vanAmsterdam. She recently participated in the Banff Festivaland was praised by the Calgary Herald for her “lyrical sensitivity.” Other performances include the Eastern,

Kent/Blossom, and Bard Music festivals, and side-by-side concerts with the Clevelandand American Symphony orchestras. She was selected for master classes with PaulaRobison, Ransom Wilson, Tara O’Connor, Kersten McCall, and Niccola Mazzanti. An ardentproponent of contemporary music, she appears regularly with the New York–based newmusic ensemble Contemporaneous, and can be heard on their album, Stream of Stars—Music of Dylan Mattingly.

The American Symphony OrchestraThe American Symphony Orchestra was founded 50 years ago by Leopold Stokowski,with the avowed intention of making orchestral music accessible and affordable foreveryone. Under music director Leon Botstein, Stokowski’s mission is not only intact butthrives. And beyond that, the ASO has become a pioneer in what the Wall Street Journalcalled “a new concept in orchestras,” presenting concerts curated around various themesdrawn from the visual arts, literature, politics, and history, and unearthing rarely per-formed masterworks for well-deserved revival. These concerts are performed in theVanguard Series at Carnegie Hall.

The orchestra also gives the celebrated concert series Classics Declassified at Peter NortonSymphony Space, and regularly performs at The Richard B. Fisher Center for the PerformingArts at Bard College, where it appears in a winter subscription series as well as Bard’sannual SummerScape and the Bard Music Festival. In 2010, the ASO became the residentorchestra of The Collegiate Chorale, performing regularly in the Chorale’s New York concertseries. The orchestra has made several tours of Asia and Europe, and has performed incountless benefits for organizations including the Jerusalem Foundation and PBS.

Many of the world’s most accomplished soloists have performed with the ASO, amongthem Yo-Yo Ma, Deborah Voigt, and Sarah Chang. In addition to CDs released by the Telarc,New World, Bridge, Koch, and Vanguard labels, live performances by the AmericanSymphony are now available for digital download. In many cases, these are the only exist-ing recordings of some of the rare works that have been rediscovered in ASO performances.

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©kristan toczko

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The American Symphony OrchestraLeon Botstein, Music Director

Violin IErica Kiesewetter,

ConcertmasterSuzanne GilmanYukie HandaRobert ZubryckiDiane BruceWende NamkungRagga PetursdottirKatherine Livolsi-LandauAnn LabinSander StrengerMara MilkisAnn Gillette

Violin IIRichard Rood, PrincipalElizabeth NielsenPatricia DavisYana GoichmanAshley HorneAlexander VselenskyLucy MorgansternKatherine HannauerNazig TchakarianKathryn Aldous

ViolaWilliam Frampton, PrincipalSally ShumwayShelley Holland-MoritzCrystal GarnerDebra Shufelt-DineAdria BenjaminRachel RiggsLouis Day

CelloAlexander Scheirle, PrincipalRoberta CooperAnnabelle HoffmanSarah CarterMaureen HynesRubin KodheliTatyana MargulisElina Lang

BassJohn Beal, PrincipalJack WengerLouis BrunoPeter DonovanRichard OstrovskyWilliam Sloat

FluteKarla Moe, PrincipalRie SchmidtDiva Goodfriend-Koven,

Piccolo

OboeAlexandra Knoll, PrincipalErin GustafsonLaura Covey, English horn

ClarinetLaura Flax, PrincipalMarina SturmDavid Gould, Bass clarinet

BassoonCharles McCracken, PrincipalMaureen StrengeDamian Primis,

Contrabassoon

HornZohar Schondorf, PrincipalDavid SmithLawrence DiBelloKyle HoytSara Cyrus, Assistant

TrumpetCarl Albach, PrincipalJohn DentJohn Sheppard

TromboneRichard Clark, PrincipalKenneth FinnJeffrey Caswell

TubaKyle Turner, Principal

TimpaniJonathan Haas, Principal

PercussionKory Grossman, PrincipalMatthew BeaumontSean Statser

HarpSara Cutler, Principal

KeyboardPeggy Kampmeier, PrincipalIsabelle O’Connell

Personnel ManagerAnn Yarbrough Guttman

Assistant ConductorGeoffrey McDonald

Orchestra LibrarianMarc Cerri

American Symphony OrchestraAnnual Contributors

Stokowski Society The Booth Ferris FoundationMichael DorfFaith Golding Foundation, Inc.The Fan Fox & Leslie R. Samuels

Foundation, Inc.Jeanne Donovan FisherThe Frank & Lydia Bergen

FoundationDanny Goldberg and

Rosemary CarrollRachel and Shalom KalnickiPeter LindenNew York City Department

of Cultural Affairs New York State Council on the ArtsOpen Society FoundationsDimitri B. and Rania PapadimitriouRobert Rauschenberg FoundationThurmond SmithgallFelicitas S. ThorneThe Winston Foundation

Sustaining Supporter AnonymousThe Ann & Gordon Getty

FoundationMary and Sam MillerMrs. James P. WarburgMr. and Mrs. Richard E. Wilson

Distinguished Patron AnonymousThe Elroy & Terry Krumholz

Foundation

Golden Circle Anonymous Joel and Ann BersonEric CzervionkeThe David & Sylvia Teitelbaum

Fund, Inc.Gary M. GiardinaPeter L. KennardArthur S. LeonardDr. Pamela F. MazurJoAnne MeloccaroShirley A. Mueller, Esq.Mark Ptashne and Lucy GordonJoseph and Jean SullivanIrene Zedlacher

Benefactor AnonymousMiriam R. BergerEllen Chesler and

Matthew J. MallowPatricia K. Faber and Edward FaberKaren FinkbeinerIrwin and Maya HoffmanIBM CorporationMichael KishbauchJack Kliger and Amy GriggsWilliam McCracken and

Cynthia LeghornMarcia H. MoorRichard and Joanne MrstikJames and Andrea NelkinDavid E. Schwab II and

Ruth Schwartz SchwabPeter SourianRonnie Streichler, in honor of

Leon BotsteinTart-Wald Foundation

Contributor AnonymousTania AhujaGary M. ArthurDavid Beek and Gayle ChristianThomas and Carolyn P. CassillyRichard C. CellerBette R. CollomMary S. DonovanMr. and Mrs.

Joseph Lawrence GilmanRhea Graffman-Cohen, in honor

of Miriam R. BergerEva Botstein GrieppMax and Eliane HahnSara HunsickerThe Kanter Riopelle FamilyErica KiesewetterIrving and Rhoda KleimanJohn D. KnoernschildPeter KrollPeter A. Q. LockerAlan MallachJeanne MalterKaren ManchesterStephen McAteerSally McCrackenLisa Mueller and Gara LaMarcheTatsuji NambaKurt Rausch LLCHarriet SchonMartha and David SchwartzJon P. Tilley

Kenneth WaldLarry WehrRobert WeisWayne and Dagmar Yaddow

Orchestra Club Anonymous (4)American Express Gift

Matching ProgramEllis ArnsteinCarol H. AshRonald BaranowskiCarol K. BaronRuth BaronMary Ellin BarrettRobert BasnerMatthew and Debra BeatriceKaren Bedrosian-RichardsonYvette and Maurice J. BendahanAdria BenjaminStephen BlumJohn BrautigamMona Yuter BrokawPatricia R. BrophyStephen M. BrownMarjorie L. Burns, in memory of

Marden BateIsabelle A. CazeauxRoger ChatfieldBarbara ClapmanMichele ConeMary M. CopeDiana DavisNicole M. de Jesús and

Brian P. WalkerElisabeth DerowAntonio DiezRuth Dodziuk-JustitzBarton DominusRobert DurstPaul EhrlichExxon Mobil FoundationRichard FarrisW. J. FenzaMartha FerryDonald W. FowleDeborah FrancoLyudmila GermanChristopher H. GibbsMacEllis K. GlassJune GoldbergMichael GottsGreenwich House, Inc.Nathan GrossJohn HaggertyLaura Harris

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The American Symphony Orchestra Board of Directors, staff, and artists gratefully acknowl-edge the following individuals, foundations, corporations, and government agencies for theirvital support. While space permits us only to list gifts made at the Orchestra Club level andabove, we value the generosity of all donors. Thank you for your support of our 50th anniver-sary season. We look forward to our next 50.

James HaydenRobert HerbertRoberta HershensonDr. and Mrs. Gerald HerskowitzDeb HoffmanEric S. HoltzGeorge H. HutzlerJose JimenezDonald JulianoRonald S. KahnRobert KalishPeter KeilDavid KernahanCaral G. and Robert A. KleinAdnah G. and

Grace M. KostenbauderThomas LambertRobert LaPorteGerald LaskeySteve LeventisWalter LeviJudd LevyJosé A. LopezLinda LopezHarvey MarekEllen Marshall, in honor of

Louis MarshallCarolyn McColleyJoan and Allan McDougallRichard and

Maryanne MendelsohnJune MeyerClifford S. MillerPhyllis MishkinAlex MitchellJudith MonsonElisabeth J. MuellerMarin L. and Lucy Miller Murray,

in honor of Leon BotsteinMichael NassarKenneth NassauMaury NewburgerJacob and Susan NeusnerJames NorthSandra NovickJill ObrigClarence W. Olmstead Jr. and

Kathleen F. HeenanThomas O’MalleyJim and Mary OttawayRoger PhillipsJane and Charles PrussackBruce RaynorAnthony RichterKenneth RockLeonard RosenPeri RosenfeldHenry SaltzmanLeslie SalzmanNina C. and Emil SchellerHarriet SchonGerald and Gloria ScorseJanet Z. SegalG. ShimanovskyBruce Smith

John SowleStanley StangrenGertrude SteinbergAlan StenzlerHazel and Bernard StraussHelen StudleyPaul StumpfAndre SverdloveLorne and Avron TaichmanMadeline V. TaylorWilliam UlrichJames WagnerRenata and Burt WeinsteinBarbara WestergaardJanet WhalenAnn WilliamMichael P. A. WinnKurt WissbrunRichard J. WoodLeonard and Ellen ZablowMark ZarickAlfred ZollerKaren Zorn, Longy School of Music

of Bard CollegeMyra and Matthew Zuckerbraun

Music plays a special part in thelives of many New York residents.The American SymphonyOrchestra gratefully acknowledgesthe support of the following government agencies that havemade a difference in the culture of New York: New York State Council on the Arts

with the support of GovernorAndrew Cuomo and the NewYork State Legislature

The New York City Department ofCultural AffairsThe Honorable Michael R.Bloomberg, MayorThe Honorable Kate D. Levin,Commissioner

List current as of September 27, 2013

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Donors to the Fisher Center

Leadership SupportCarolyn Marks BlackwoodEmily H. Fisher and John AlexanderJeanne Donovan FisherMartin and Toni Sosnoff

FoundationThe Marks Family FoundationMillbrook Tribute Garden, Inc.National Endowment for the Arts

(NEA)Richard B. Fisher Endowment FundMartin T. and Toni SosnoffThendara Foundation and

New Albion Records, Inc.True Love Productions

Golden CircleEstate of Richard B. FisherFelicitas S. ThorneIn honor of Oakleigh B. Thorne

from Felicitas S. Thorne

ProducerArtekMr. and Mrs. Lewis W. BernardChartwells School and University

Dining ServicesSteven M. DawsonMichael J. Del Giudice and

Jaynne KeyesStefano Ferrari and Lilo ZinglersenBritton FisherCatherine C. Fisher and

Gregory A. MurphyFlorence & Robert Rosen Family

FoundationThe Howard Gilman FoundationDoris J. LockhartThe Maurer Family Foundation, Inc.Stephen Mazoh and Martin KlineMr. and Mrs. James H. Ottaway Jr.Tricia and Foster ReedDavid E. Schwab II ’52 and

Ruth Schwartz Schwab ’52

Live Arts Bard Creative CouncilHarvey BermanSteven M. DawsonJeanne Donovan FisherBarbara Grant

PatronFiona Angelini and Jamie WelchMary I. Backlund and Virginia CorsiDr. Leon Botstein and

Barbara HaskellStuart Breslow and Anne MillerKay Brover and Arthur BennettAnne and Harvey BrownCultural Services of the French

EmbassyEar Trumpet Labs, Inc.Elizabeth W. Ely ’65 and

Jonathan K. GreenburgThe Ettinger Foundation, Inc.Barbara Lemperly Grant Thomas and Bryanne HamillThe Harkness Foundation for

Dance, Inc.Rachel and Dr. Shalom KalnickiAmala and Eric LevineBonnie Loopesko and Daniel ShapiroMillbrook Winery, Inc.David J. MarshallQuality Printing Company, Inc.David A. SchulzKaren and Robert G. ScottDenise S. Simon and

Paulo VieiradacunhaAllan and Ronnie StreichlerTeo Creative, Inc.Illiana van MeeterenAida and Albert WilderWilder Consolidated Enterprises Inc.

SponsorHelen and Roger AlcalyProf. Jonathan and

Jessica K. Becker Dr. Miriam Roskin Berger ’56

Sandra and Dr. A. John Blair IIIAnne Donovan Bodnar and

James L. BodnarHarlan Bratcher and

William L. Usnik Jr.Alexandre and Lori ChemlaMichelle R. ClaymanMr. and Mrs. Gonzalo de Las HerasMichael F. DupreeBeverly Fanger and

Dr. Herbert S. Chase, Jr.Alberta Gilbridge-WonderlinEliot D. and Paula K. Hawkins

Susan HendricksonAlan Hilliker and Vivian W. LiuJane’s Ice CreamMr. and Mrs. George A. KellnerSusan and Roger KennedyDr. and Mrs. Roy G. KulickGeraldine and Kit LaybourneNancy A. MarksPeter Kenner Family Fund of the

Jewish Communal FundMargrit and Albrecht PichlerMelanie and Philippe RadleyDrs. M. Susan and Irwin RichmanFlorence and Robert A. RosenTed Ruthizer and Jane DenkensohnBarbara and Dick SchreiberSarah and Howard SolomonDarcy StephensDr. Elisabeth F. Turnauer-DerowJerry WeisskohlMr. Jann S. WennerRobert and Melanie Whaley

SupporterJoshua J. AronsonKathleen AugustineRoland AugustineWard C. BelcherMarshall S. Berland and

John E. JohnsonAlfred M. Buff and Lenore NemethMichael BywaterJennifer and Jonathan Cohen Mr. Claude Dal FarraLyell Dampeer and Valerie BelliJohn DierdorffGordon DouglasMartha J. FleischmanAlysha Forster-WestlakeMarvin and Maxine GilbertNan and David GreenwoodRosemary and Graham HansonFrederic Harwood James HaydenMartin HolubBonnie JohnsonDr. Barbara Kenner Kevin KloseProf. Laura KuhnCesar Ramon LascanoPatricia Duane Lichtenberg Charles S. MaierMarilyn J. Marinaccio

16

We honor the late Richard B. Fisher for his generosity and leadership in building and support-ing this superb center that bears his name by offering outstanding arts experiences. We rec-ognize and thank the following individuals, corporations, and foundations that share Dick’sand our belief in presenting and creating art for the enrichment of society. Ticket sales coverless than 15 percent of our presentation of outstanding art experiences. Help us sustain theFisher Center and ensure that the performing arts are a part of our lives. We encourage andneed you to join our growing list of donors.

Barbara L. and Arthur MichaelsAndrea and Kenneth L. MironJames and Purcell PalmerMr. and Mrs. Frederick P. PaytonRhinebeck Department StoreTed SnowdenCraig and Renee SnyderMr. H. Peter Stern and

Helen Drutt EnglishPeter SullivanMark SuttonMr. Randy J. TryonCornelius R. VerhoestRosemary and Noel WerrettIrene Zedlacher

FriendJamie AlbrightSybil BaldwinTheodore BartwinkMatthew BeatriceAl and Arlene BeckerRichard L. BensonDrs. Daniel Berkenblit and

Philippine Meister-BerkenblitKhurshed BhumgaraGisa BotbolGary BoydDavid and Jeannette T. BrownJeffrey and Ellyn BursteinProf. Mary Ellen Caponegro ’78

Ellen and Mac CaputoMrs. Pauline G. CarafotesRichard CheekNeil and Kathleen ChrismanDaniel Chu and Lenore SchiffMr. and Mrs. Jonathan M. ClarkRobert and Isobel ClarkMs. Darrah L. CloudMarshall J. CohenRichard D. CohenMarianthe ColakisEllen K. ColemanColgate-Palmolive CompanyDr. Edward ConradJane R. CottrellMs. Heather CronerDr. Bruce Cuttler and

Joanne E. Cuttler ’99

C. Douglas and Leslie DienelAmy K. and David DubinAbby H. and John B. DuxDavid Ebony and Bruce MundtMr. and Mrs. Arthur C. EschenlauerEstate of James DeguirePatricia FalkMilly and Arnold FeinsilberAnn and Robert FreedmanDavid GableFrances and Rao GaddipatiJames J. Gebhard Joseph GeldMarvin and Maxine GilbertLaurie Gilmore

Debby and Fred GlynnArthur and Judy GoldMims and Burton GoldNaomi and Roger GordonStanley and Anne GordonSheryl GriffithMatthew M. Guerreiro and

Christina MohrMs. Julio GuillenRonald GuttmanGilbert and Mary HalesRosemary and Graham HansonDavid A. HarrisJohanna Hecht and

Raymond SokolovDorothy and Leo HellermanDelmar D. HendricksKenneth P. HodgesMartin HolubDaniel IdzikNeil IsabelleTimur KanaatovDr. Eleanor C. KaneLinda L. KaumeyerJohn and Mary KellyMarilyn KirchnerDr. Seymour and Harriet KoenigProf. Marina KostalevskyRose and Josh KoplovitzRobert J. KurillaDaniel LabarMyron LedbetterMr. Maurice Dupont LeeDr. Nancy Leonard and

Dr. Lawrence KramerAmala and Eric LevineGerald F. LewisSusan LorenceJoy McManigalJanet C. MillsDr. David T. MintzRoy MosesJoanne and Richard MrstikEdmund M. MurphyDr. Abraham and Gail NussbaumJill ObrigDouglas Okerson and

William WilliamsSky Pape and Alan HoughtonGary S. PatrikDebra Pemstein and Dean VallasSteven Pollak and

Robin S. TanenbaumDavid Pozorski and Anna RomanskiSusan PriceSandra RayGeorge and Gail Hunt ReekeJohn and Claire ReidMr. Douglas ReeserMr. Irwin RosenthalBlanche and Bruce Joel RubinMs. Myrna B. SamethMichael W. ScheringerBarbara A. Schoenberg

Marc SferrazzaNevin ShalitMr. Ian ShrankElizabeth A. SimonClare L. SmithDr. Sanford B. SternliebMr. and Mrs. Charles StukenborgMargo and Anthony ViscusiMike and Kathy Zdeb

List current as of September 12, 2013

Donors to the Bard Music Festival

Leadership SupportThe Andrew W. Mellon FoundationBettina Baruch FoundationMichelle R. ClaymanJeanne Donovan FisherSusan and Roger KennedyMrs. Mortimer LevittThe Mortimer Levitt

Foundation Inc.Mr. and Mrs. James H. Ottaway Jr.Denise S. Simon and

Paulo VieiradacunhaFelicitas S. Thorne

Golden CircleHelen and Roger AlcalyJane W. Nuhn Charitable TrustDr. Barbara KennerNational Endowment for the Arts

(NEA)Charles P. Stevenson Jr. and

Alexandra KuczynskiMillie and Robert WiseThe Wise Family Charitable

Foundation

ProducerThe Ann and Gordon Getty

FoundationArtekJoan K. DavidsonElizabeth W. Ely ’65 and

Jonathan K. Greenburg Eliot D. and Paula K. Hawkins The J. M. Kaplan Fund, Inc.Edna and Gary LachmundAmy and Thomas O. MaggsNew York State Council on the Arts

(NYSCA)Jim and Talila O’HigginsPeter Kenner Family Fund of the

Jewish Communal Fund Drs. M. Susan and Irwin RichmanDavid E. Schwab II ’52 and

Ruth Schwartz Schwab ’52

Bruce and Francesca SlovinThe Slovin FoundationDr. Sanford Sternlieb

17

Margo and Anthony Viscusi

PatronMary I. Backlund and Virginia Corsi Helen ’48 and Robert L. Bernstein Lydia Chapin and David SoeiroDavid G. Whitcomb Foundation Amy K. and David DubinHelena and Christopher GibbsMatthew M. Guerreiro and

Christina MohrAlan Hilliker and Vivien W. LiuFrederic K. and Elena Howard Belinda and Stephen KayeJames KlostyAlison L. and John C. LankenauAlfred J. Law and

Glenda A. Fowler LawAmala and Eric LevineMarstrand FoundationStephen Mazoh and Martin KlineThe McGraw-Hill Companies

Matching Gift ProgramMetLife FoundationMartin L. and Lucy Miller MurrayAndrea and Kenneth L. MironBlanche and Bruce Joel RubinSarah and Howard Solomon Edwin SteinbergStewart’s ShopsAllan and Ronnie StreichlerDr. Elisabeth F. Turnauer-DerowDr. Siri von ReisMerida Welles and Chip HolmanBill Zifchak and Maggie EvansIrene Zedlacher

SponsorJoshua J. AronsonEdwin L. Artzt and Marieluise HesselKathleen AugustineRoland AugustineAlexander and Margaret BancroftEva Thal Belefont ’49

Dr. Miriam Roskin Berger ’56

Sarah Botstein and Bryan DoerriesJane R. CottrellBlythe Danner ’65

Mr. and Mrs. Gonzalo de Las HerasEmily H. Fisher and John Alexander Frederick Wiseman and Sons, Ltd.John GellerLaura GeneroAlison GranucciMartin HolubAnne E. Impellizzeri Rachel and Dr. Shalom KalnickiHelene L. and Mark N. KaplanDr. Seymour and Harriet KoenigRichard KortrightCynthia Hirsch Levy ’65

Dr. and Mrs. Arthur MenkenMartin L. and Lucy Miller MurrayMr. and Mrs. Frederick P. Payton

Barbara B. ReisElizabeth Farran Tozer and

W. James Tozer Jr.Mark TrujilloUBS Matching Gift ProgramRosemary and Noel WerrettMaureen A. Whiteman and

Lawrence J. Zlatkin

SupporterAnonymousJames Akerberg and

Larry SimmonsAlexander and Margaret BancroftProf. Jonathan and

Jessica K. BeckerSandra BendfeldtMarshall S. Berland and

John E. JohnsonSarah Botstein and Bryan DoerriesKay Brover and Arthur BennettFrederick and Jan CohenMr. J. Roberto De AzevedoWillem F. De VogelJohn A. DierdorffPatricia FalkMr. Donald C. FresneKatherine Gould-Martin and

Robert L. MartinDavid and Nancy HathawayDr. Barbara K. HoganElizabeth D. and Robert HottensenI.B.M. Matching Grants ProgramJack & Marion’s Fund of the JCFEdith and Hamilton F. KeanMr. and Mrs. Thomas W. Keesee IIIJohn and Mary KellyJohn R. and Karen KloppElizabeth I. McCannMs. Anna Neverova ’07

Mr. and Mrs. Frederick P. PaytonLucas Pipes ’08 and

Sarah Elizabeth Coe Paden ’09

John and Claire ReidBarbara and Donald ToberIlliana van MeeterenOlivia van Melle KampMr. Michael P. A. Winn ’59

FriendBarbara J. AgrenJamie AlbrightRichard Armstrong and

Dorsey WaxterLinda BaldwinLeigh Beery and

Jonathan Tunick ’58

Howard and Mary BellElizabeth Phillips Bellin ’00 and

Marco M. S. BellinKhurshed BhumgaraElisabeth BoadaClara BotsteinMadge Briggs

John C. D. and Nancy BrunoMelva Bucksbaum and

Raymond J. Learsy Ms. Katherine Burstein ’09

Michael CaolaPhilip and Mimi CarrollMr. George CarrothersPamela Chow and Ted SmithConstance and David C. ClappRobert and Isobel ClarkJennifer Paul CohenMs. Joan CostaMary E. DavisMr. and Mrs. Timothy DelaneyAngela O. B. de Mello KeeseeRt. Rev. Herbert A. and

Mary DonovanSeth DubinAbby H. and John B. DuxPatricia FalkJune and Peter FelixFrancis Finlay and Olivia J. FussellDavid and Tracy FinnAnne Stewart FitzroyLaura FlaxDeborah and Thomas FlexnerFloyd and Phyllis Glinert

Foundation of the FCGFLuisa E. FlynnJohn ForemanSamantha R. J. FreeEmily Rutgers FullerJoseph W. and Joyce GelbAlysha Glenn ’09

Maxwell H. and Victoria GoodwinMr. and Mrs. Harrison J. GoldinSamuel L. Gordon Jr.Lawrence and Lorna GraevSandra Graznow and Jim KearnsThurston GreeneAndrea E. GrossSally S. HamiltonFrederick Fisher HammondTameka L. HarveyJames HaydenSusan Heath and

Rodney PattersonEmilie and William HenryFritz and Nancy HenzeMr. Derek B. Hernandez ’10

Juliet HeyerLinda Hirshman and

David Forkosh*Susan HoehnRocco G. IlardiJohn Cage TrustDemetrios and

Susan KarayannidesLinda L. KaumeyerRobert E. KausRod and Caroline KeatingMr. and Mrs. George A. Kellner

18

Fernanda Kellogg and Kirk Henckels

Erica KiesewetterCharles and Katherine KingIrving and Rhonda E. KleimanHarold and Raquel KleinfeldPhyllis Busell and James M. KostellChloe A. KramerRobert J. KurillaDebra I. and Jonathan LanmanWayne LawsonBeth LedyMs. Carol LeeE. Deane and Judith S. LeonardLeon and Fern LernerMartin S. LippmanLongy School of Music of Bard

CollegeMs. Linda LopezCatherine Anne LuiggiLynn Favrot Nolan Family FundJohn P. MacKenzieClaire and Chris MannHerbert MayoDon and Evelyn McLeanMr. and Mrs. Seth MelhadoJoanna M. MigdalDr. David T. MintzRoy MosesRamy Nagy ’05 and

Mia McCully ’07

Dr. Vanessa NeumannMr. and Mrs. William T. NolanElizabeth J. and Sevgin OktayMarilyn and Peter OswaldDavid B. and Jane L. ParshallEilene PeelingEleanor PollakD. Miles PriceEncarnita and Robert QuinlanEmma Richter ’09 and

Alex Gaudio ’10

Joseph M. Rinaldi and Elizabeth McClintock

Mr. and Mrs. Sidney RoseMs. Phyllis RossAlfred J. and Deirdre RossDr. Gloria SchaferBarbara A. SchoenbergMr. Robert SchweichJohn and Aija SedlakDagni and Martin SenzelSusan ShineMuriel SimmonsBetsy Covington SmithEdwin SteinbergJohn TancockArt and Jeannette TaylorJessica and Peter TcherepnineMila TewellAlexandra Tuller and Dean TempleRobert E. TullyJohn WaldesArete B. S. Warren

Arnold S. Warwick ’58

Jack and Jill WertheimBarbara Jean WeyantRobert and Melanie WhaleySerena H. WhitridgeDr. Lawrence A. Wills and Dorry JoyPeter and Maria WirthMs. Chanel M. Wood ’08

Marvin ZelmanMr. YuGai Zhu ’11

* deceasedList current as of September 12, 2013

19

Boards and Administration

Bard College

Board of TrusteesDavid E. Schwab II ’52, Chair

EmeritusCharles P. Stevenson Jr., ChairEmily H. Fisher, Vice ChairElizabeth Ely ’65, Secretary;

Life TrusteeStanley A. Reichel ’65, Treasurer

Fiona AngeliniRoland J. AugustineLeon Botstein+ ,

President of the CollegeStuart Breslow+Thomas M. Burger+James C. Chambers ’81

David C. ClappMarcelle Clements ’69*The Rt. Rev. Andrew M. L. Dietsche,

Honorary TrusteeAsher B. Edelman ’61

Paul S. Efron Robert S. Epstein ’63

Barbara S. Grossman ’73*Sally HambrechtGeorge F. Hamel Jr.Marieluise HesselMaja HoffmannMatina S. Horner+Charles S. Johnson III ’70

Mark N. KaplanGeorge A. KellnerMurray Liebowitz, Life TrusteeMarc S. LipschultzPeter H. Maguire ’88

James H. Ottaway Jr., Life TrusteeMartin Peretz, Life TrusteeStewart Resnick, Life TrusteeRoger N. Scotland ’93*The Rt. Rev. Mark S. Sisk, Honorary

TrusteeMartin T. Sosnoff Susan WeberPatricia Ross Weis ’52

Senior AdministrationLeon Botstein, PresidentDimitri B. Papadimitriou,

Executive Vice PresidentMichèle D. Dominy, Vice President

and Dean of the CollegeMary Backlund, Vice President for

Student Affairs and Director ofAdmission

Norton Batkin, Vice President andDean of Graduate Studies

Jonathan Becker, Vice President and Dean for InternationalAffairs and Civic Engagement

James Brudvig, Vice President forAdministration

John Franzino, Vice President forFinance

Susan H. Gillespie, Vice Presidentfor Special Global Initiatives

Max Kenner ’01, Vice President forInstitutional Initiatives

Robert Martin, Vice President forAcademic Affairs and Director of The Bard CollegeConservatory of Music

Debra Pemstein, Vice President forDevelopment and Alumni/aeAffairs

The Richard B. Fisher Center for the Performing Arts

Advisory BoardJeanne Donovan Fisher, ChairCarolyn Marks BlackwoodLeon Botstein+Stefano FerrariHarvey LichtensteinRobert Martin+Dimitri B. Papadimitriou+Martin T. SosnoffToni SosnoffFelicitas S. Thorne

Administration and ProgrammingDebra Pemstein, Vice President for

Development and Alumni/aeAffairs

Bob Bursey, Senior ProducerGideon Lester, Director of Theater

ProgramsCaleb Hammons, Associate

ProducerJeannie Schneider, Business ManagerMarla Walker, Executive Assistant

ProductionVincent Roca, Production ManagerStephen Dean, Production

Coordinator, Concerts andLectures

Matthew Waldron ’07, ProductionCoordinator, Dance and Theater

Steven Michalek, Technical DirectorJosh Foreman, Lighting SupervisorMoe Schell, Costume Shop

SupervisorAdam Kushner, Audio/Video

Supervisor

CommunicationsMark Primoff, Director of

CommunicationsEleanor Davis, Media and

Marketing ManagerJoanna Szu, Marketing Associate

PublicationsMary Smith, Director of

PublicationsGinger Shore, Consultant to

Publications

Audience ServicesDavid Steffen, Audience Services

Manager and CommunicationsCoordinator

Nicholas Reilingh, Box OfficeManager

Caitlyn DeRosa, Assistant BoxOffice Manager

Patrick King ’12, House ManagerAlec Newell ’15, Assistant House

ManagerKay Schaffer ’14, Assistant House

Manager

FacilitiesMark Crittenden, Facilities

ManagerRay Stegner, Building Operations

ManagerDoug Pitcher, Building Operations

CoordinatorDaniel DeFrancis, Building

AssistantRobyn Charter, Building AssistantVicki Child, HousekeepingKatie O’Hanlon, HousekeepingAnna Simmons, Housekeeping

The Bard Music Festival

Board of DirectorsDenise S. Simon, ChairRoger AlcalyLeon Botstein+Michelle R. ClaymanRobert C. Edmonds ’68

Jeanne Donovan FisherChristopher H. Gibbs+Paula K. HawkinsSusan Petersen KennedyBarbara KennerGary LachmundMimi LevittThomas O. MaggsRobert Martin+Kenneth L. MironChristina A. MohrJames H. Ottaway Jr.Felicitas S. ThorneSiri von Reis

Artistic DirectorsLeon BotsteinChristopher H. GibbsRobert Martin

20

Executive DirectorIrene Zedlacher

Associate DirectorRaissa St. Pierre ’87

Scholar in Residence 2013

Tamara Levitz

Program Committee 2013

Byron AdamsLeon BotsteinChristopher H. GibbsTamara LevitzRobert MartinRichard WilsonIrene Zedlacher

Director of ChorusesJames Bagwell

Vocal Casting ConsultantSusana Meyer

* alumni/ae trustee+ ex officio

The American Symphony Orchestra

Board of DirectorsDimitri B. Papadimitriou, ChairThurmond Smithgall, Vice ChairKaren Zorn, Treasurer

Miriam BergerMichael DorfRachel KalnickiJack KligerShirley A. Mueller, Esq.Debra R. PemsteinEileen RhulenFelicitas S. Thorne

Honorary Members:Joel I. Berson, Esq.L. Stan Stokowski

AdministrationLynne Meloccaro, Executive

DirectorOliver Inteeworn, General ManagerBrian J. Heck, Director of MarketingNicole M. de Jesús, Director of

DevelopmentSebastian Danila, Library ManagerMarielle Métivier, Operations

Manager

Katrina Herfort, Ticketing ServicesCoordinator

Marc Cerri, Orchestra LibrarianAnn Yarbrough Guttman,

Orchestra Personnel ManagerBen Oatmen, Production AssistantJames Bagwell, Principal Guest

ConductorGeoffrey McDonald, Assistant

ConductorZachary Schwartzman, Assistant

ConductorRichard Wilson, Composer-in-

ResidenceLeszek M. Wojcik, Concert Archival

Recording

21

About Bard College

Founded in 1860, Bard College in Annandale-on-Hudson, New York, is an independent, nonsectarian, residential,coeducational college offering a four-year B.A. program in the liberal arts and sciences and a five-year B.A./ B.S.degree in economics and finance. The Bard College Conservatory of Music offers a five-year program in which stu-dents pursue a dual degree—a B.Music and a B.A. in a field other than music—and offers an M.Music in vocal artsand in conducting. Bard also bestows an M.Music degree at Longy School of Music of Bard College in Cambridge,Massachusetts. Bard and its affiliated institutions also grant the following degrees: A.A. at Bard High School EarlyCollege, a public school with campuses in New York City (Manhattan and Queens) and Newark, New Jersey; A.A.and B.A. at Bard College at Simon’s Rock: The Early College, in Great Barrington, Massachusetts, and through theBard Prison Initiative at six correctional institutions in New York State; M.A. in curatorial studies, M.S. in economictheory and policy, and M.S. in environmental policy and in climate science and policy at the Annandale campus;M.F.A. and M.A.T. at multiple campuses; M.B.A. in sustainability in New York City; and M.A., M.Phil., and Ph.D. in thedecorative arts, design history, and material culture at the Bard Graduate Center in Manhattan. Internationally,Bard confers dual B.A. degrees at the Faculty of Liberal Arts and Sciences, St. Petersburg State University, Russia(Smolny College); American University of Central Asia in Kyrgyzstan; and ECLA of Bard: A Liberal Arts University inBerlin; as well as dual B.A. and M.A.T. degrees at Al-Quds University in the West Bank.

Bard offers nearly 50 academic programs in four divisions. Total enrollment for Bard College and its affiliates isapproximately 5,000 students. The undergraduate college has an enrollment of more than 1,900 and a student-to-faculty ratio of 10:1. For more information about Bard College, visit www.bard.edu.

©2013 Bard College. All rights reserved.Cover Scott Barrow Inside back cover ©Peter Aaron ’68/Esto

22

Photo: Cory Weaver

AMERICANSYMPHONY

ORCHESTRAconducted by leon botstein, music directorsosnoff theater$25, 30, 35, 40

All concerts are at 8 pm and will feature a preconcert talk at 7 pm.

concert twoFriday, February 21 and Saturday, February 22, 2014joan tower Strokeerkki melartin Concerto in D Minor for violin and orchestra, Op. 60 (1913)

Dongfang Ouyang ’14, violinrobert schumann Symphony No. 2

concert three Friday, April 11 and Saturday, April 12, 2014johann strauss Emperor Waltz, Accelerations, The Blue Danubejulius conus Violin Concerto Zhi Ma ’15, violinjohannes brahms Symphony No. 2

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 Expiration date

Name as it appears on card (please print clearly)

Address

City State Zip code

Telephone (daytime) Fax E-mail

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 aFriend 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 aFriend of the Fisher Center, you will

enjoy a behind-the-scenes look atFisher Center presentations and

receive invitations to special eventsand services throughout the year.

Friend ($100–349)• 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 CollegePO Box 5000

Annandale-on-Hudson NY12504-5000

fishercenter.bard.edu/support

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845-758-7900 | fishercenter.bard.eduBe the first in line for news of upcoming events, discounts,and special offers. Join the Fisher Center's e-newsletter atfishercenter.bard.edu.

theater & performance

Moby Dick—RehearsedBy Orson WellesOctober 24–27

dance

Moderation Dance ConcertNovember 8–10

music

Conservatory SundaysConservatory Orchestra Works by Rossini, Strauss, and ShostakovichNovember 10

dance

Senior Dance ConcertDecember 5–7

music

Conservatory SundaysConservatory Orchestra Works by Chausson, Beethoven, and BrahmsDecember 8

theater & performance

Elephant RoomDecember 13–15