BELATED BEETHOVEN BIRTHDAY CELEBRATION - Leon Botstein conductor Saturday, May 1, 2021
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BELATED
BEETHOVEN
BIRTHDAY
CELEBRATION
Leon Botstein conductor
Saturday, May 1, 2021
Performance # 167 Season 6, Concert 15
Livestreamed from the Fisher Center at Bard
Sosnoff Theater
THEORCHESTRANOW.ORG / 1
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
SIGN UP FOR TŌN EMAIL 12 LEON BOTSTEIN conductor
at bit.ly/TONemail
13 ADELE ANTHONY violin
14 PETER WILEY cello
INSPIRE GREATNESS
15 SHAI WOSNER piano
by making a donation at
theorchestranow.org/support 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
2 / MAY 2021 THEORCHESTRANOW.ORG / 3
CONCERT QUICK GUIDE™ Brief remarks by Samuel Exline trumpet
TRIPLE CONCERTO
LEON BOTSTEIN conductor Allegro (fast) 17 min
Largo (slow & dignified) 5 min
CONCERT TIMELINE Rondo alla Polacca (in the rhythm of a polonaise) 13 min
2 hours no pause between second and third movements
Symphony No. 5 Triple Concerto Symphony No. 7 ADELE ANTHONY violin
33 min 35 min 38 min PETER WILEY cello
SHAI WOSNER piano
Written
1804, at age 33
Premiered
4/1808 in Leipzig
Brief remarks by Leanna Ginsburg flute
SYMPHONY NO. 7
LUDWIG VAN BEETHOVEN Poco sostenuto—Vivace
Born c. 12/16/1770 in Bonn, Germany
(a little sustained, then lively) 13 min
Died 3/26/1827 at age 56 in Vienna
Allegretto (moderately fast) 9 min
Presto (quickly) 9 min
Brief remarks by Ian Striedter trombone Allegro con brio (fast, with spirit) 7 min
SYMPHONY NO. 5 Written
Allegro con brio (fast, with spirit) 8 min 1811–12, at age 41
Andante con moto (moderately slow, with motion) 10 min Premiered
Allegro (fast) 5 min 12/8/1813 at the University of Vienna; Beethoven
Allegro (fast) 10 min conductor
no pause between third and fourth movements
First TŌN Performance
Written 4/13/2019 at Olin Hall at Bard College;
1804–08, in Beethoven’s mid 30s Zachary Schwartzman conductor
Premiered
12/22/1808 at Theater an der Wien in Vienna;
Beethoven conductor
First TŌN Performance
All timings are approximate. | Composer artwork by Khoa Doan.
1/29/2016 at Carnegie Hall in NYC; Leon Botstein conductor
4 / MAY 2021 THEORCHESTRANOW.ORG / 5
Mental Health project designed to Clemente Course, which was entering undergraduate days. “I moderated
rehabilitate patients with chronic its fifth year of offering rigorous, in the early ’70s,” recalls Stern. “My
mental illness. He also served as a university-level humanities instruction board insisted that I take a statistics
clinical psychologist at Bordentown to low-income students. His recognition class, which I did, with Stuart. It was
Reformatory in New Jersey. His that some who had completed the not my favorite subject, but I loved
teaching and research interests at Bard course but not been able to go on to the data set—Stuart’s summer catch
included social psychology, specifically college would benefit from additional of lake trout, which made me jealous
obedience to authority, conformity, study led him to offer to design and of the quantity, length, width, weight,
attitude measurement, and change; teach this bridge course once a week. and every other measure of Stuart’s
moral development; and experimental He did so without pay. His devotion to success.”
design. He was fascinated by the social learning and to Bard students had no
psychologist Stanley Milgram, on whose limits. He was legendary as a Senior Stritzler-Levine’s other passions
work and legacy he was teaching a Project adviser. Tom Maiello ’82, a included operas by Richard Wagner,
seminar in the Spring 2020 semester. former advisee, shares that Stritzler- the photography of Berenice Abbott,
“No one has worked as tirelessly and Levine, knowing Maiello could not afford and sports, particularly basketball. In
generously for Bard as Stuart did,” to continue his education after Bard, the mid 1970s, Charlie Patrick, Bard’s
Photo by Don Hamerman
writes President Leon Botstein. “He paid for his first post-graduate program. athletic director, asked if he would
loved the College, its mission, its people, Maiello retired in 2013 after nearly 33 coach the varsity basketball team.
its history, and its landscape. He was years as a director of admissions, Stritzler-Levine accepted and went
fastidious and disciplined, yet he made Holocaust educator, adjunct professor about putting together a team. Before
This concert is dedicated to the memory of the time not only to work unstintingly of philosophy, and dean of admissions. long, spurred on by “bus loads” of
STUART but also to sit and talk with everyone,
anytime.”
Last year he went back to work. “I am in
social services as part of a skilled health
students, as Stritzler-Levine recalled
at the 2014 Athletics Awards Banquet,
STRITZLER-LEVINE care team,” writes Maiello. “I dedicate who drove up to Columbia Greene
1932–2020 Stritzler-Levine was dean of the College it all to him and his being there at the Community College to cheer for Bard
from 1980 to 2001. In those 21 years he right time.” against Albany College of Pharmacy,
A MAN OF STATURE, oversaw innovations in the admission the 1976–77 team came within seconds
AND LOFTY IDEALS process, particularly the Immediate Kenneth Stern ’75, director of Bard’s of a conference title game. “It was a
by James Rodewald ’82 Decision Plan; the rapid growth of Center for Hate Studies, has had a splendid group of guys,” Stritzler-Levine
originally appeared in the Fall 2020 Bard’s enrollment and curriculum; long relationship with Stritzler-Levine, said in 2014. “For a couple of years, or
issue of the Bardian and the College’s expansion into starting as a student and more recently even three, we took ourselves seriously
graduate education. He served as Dean as a colleague. “Stuart and I spoke and practiced and learned and had a
Stuart Stritzler-Levine, 87, professor of Studies at Bard High School Early frequently over the years, often about dress code and all that good stuff that
emeritus of psychology and dean College Manhattan from 2003 to 2009, hate, especially given his expertise being a team could be. The truth is I
emeritus, died May 1, 2020. Stritzler- then returned to teaching at Bard and about Stanley Milgram,” writes Stern. loved my squad.” For 56 years and
Levine, who joined the Bard faculty at Simon’s Rock. Botstein writes, “He “Stuart was always fascinated with the counting, the Bard community has felt
in 1964 and devoted 56 years of died in active service, not retired, as world around him, and how to think the same way about him.
continuous service to the College, was his dream.” about it. He was an eager supporter
received his B.A. from New York of the Center for Hate Studies (he and Stuart Stritzler-Levine is survived by
University, M.A. from New School Even while fully occupied by his I had brainstormed about this idea his wife, Nina Stritzler-Levine, and their
University, and Ph.D. from SUNY duties at the College, Stritzler-Levine for years) and a regular participant daughter, Ali SR ’15. He is also survived
Albany. Before coming to Bard he worked to extend liberal arts and in the faculty reading group on hate.” by his daughter Jennifer, and was
was a clinical research psychologist sciences education to underserved Stern also shared a passion for fishing, predeceased by his daughter Jessica
at Philadelphia State Hospital, where communities. In 1999, he proposed a and the two traded strategies, fish ’84, who died in 2010.
he worked in a National Institute of “bridge course” to expand the original tales, and lures, beginning in Stern’s
6 / MAY 2021 THEORCHESTRANOW.ORG / 7
Symphony V for Victory The Music
The nickname of the symphony, “Fate,” I certainly cannot choose my favorite
which was not given by Beethoven movement in this concerto. The three
himself, comes from the four note movements have their own unique
opening of the piece. The most texture and musical language. The first
recognizable portion, “short-short- movement is in sonata form, which is
short-long,” was thought to resemble one of the most common forms for
fate knocking at a subject’s door, and first movements in symphonies or
is used as a motif throughout each concertos. It can be separated into
BEETHOVEN’S movement of the work. Because of BEETHOVEN’S three parts based on the motive.
SYMPHONY NO. 5 the symphony’s popularity, the theme TRIPLE CONCERTO In this movement I really enjoy the
Photo by Matt Dine
Photo by Matt Dine
Notes by TŌN bassoonist was commonly used during the second Notes by TŌN trumpet player beginning, when the piece opens with
Philip McNaughton World War as a way to mark a victory Maggie Tsan-Jung Wei the lower string section, and the rest
over the radio systems. In Morse code, of the orchestra slowly builds up and
“short-short-short-long” spelled out introduces the three soloists. The
An Icon The Background
the letter “V” for victory. The theme second movement instills a sacred and
Beethoven’s Fifth Symphony, also Beethoven’s Triple Concerto in C major,
would be played whenever the Allied peaceful feeling in me, almost as if I was
known as the “Fate Symphony,” is Op. 56, is more similar to a piano trio than
forces found success in their endeavors. standing by myself in the middle of an
arguably one of the most iconic pieces a concerto, with the whole orchestra
It became a powerful symbol of hope. empty cathedral. The last movement,
of classical music in the canon. Its acting as an accompanist to build
just like other traditional concertos,
four-note opening motif evokes an up texture and add different colors.
A Gateway Work is a fast movement. It is joyful and
immediate reaction from not only the Most of the time, it is a competition
Whether or not Beethoven himself delightful, and also brings back the
most avid classical music appreciator, or cooperation among three soloists.
thought of this opening motif as fate tension and the cooperation between
but also from someone who has never The three of them may play against
knocking on the door remains unclear. the three soloists.
stepped foot into a concert hall before. each other, or support each other in
What does ring true is that it was fate for
It has been played by world-class different phrases. What makes this
this piece to live on forever. I think of this
orchestras in almost every city around piece unique is the instrumentation.
work as a gateway to classical music
the world, and has even been heard Beethoven was successful not only at
for the average person. The opening
in McDonald’s commercials. The work putting these three solo instruments
four notes are recognized by practically
was composed from 1804 to 1808 and together in front of a whole orchestra,
everyone around the world, but it’s
was based off of three of Beethoven’s but also at keeping them balanced.
what follows those notes that makes
original sketches. The piece premiered Acting more as partners, the three
the symphony magical. The opening
in Vienna in 1808 at a momentous all- instruments do not dominate over
hooks the audience, but the rest of the
Beethoven program that is said to each other. Even now, it is probably the
piece keeps listeners planted in their
have lasted four hours, at which the only well-known triple sonata for these
seats, amazed at what contemporary
composer himself conducted and three instruments. However, the work
and rich stories classical music can
performed on the piano. The work was not as successful as it is now when
paint. The “Fate Symphony” has held
was one of several premieres on the Beethoven first composed it around
the fate of classical music in its hands
program, including Beethoven’s Sixth the year 1804. It was not officially
for centuries, and I believe the piece
Symphony. performed until about four years
will continue to be a riveting gateway after it was published. Surprisingly, it
work for many more centuries to come. 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.
8 / MAY 2021 THEORCHESTRANOW.ORG / 9
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
BEETHOVEN’S unfolding oboe solo punctuated by
Photo by Matt Dine
SYMPHONY NO. 7 chordal “hits” from the full orchestra. The
Notes by TŌN oboist JJ Silvey rest of the poco sostenuto introduction
alternates between poised, lilting wind
passages and stentorian iterations from
“As a sforzando occurred, he tore his
the orchestra which, before long, give
arms with great vehemence asunder .
way to a cheerful vivace permeated by
. . at the entrance of a forte he jumped
lively dotted rhythms.
into the air.”
Triumph Over Tyranny
So Louis Spohr, the renowned German
The second movement, though marked
composer and violinist, described
allegretto, is the work’s dramatic zenith.
Beethoven’s tempestuous conducting at
A simple, serious rhythmic theme is
the premiere of the Seventh Symphony.
The occasion was a patriotic one. On
December 8, 1813, Spohr, along with
introduced by low strings and is soon
interwoven with a grave countermelody. THE BEETHOVEN
a starry group of musicians including
Johann Nepomuk Hummel, Antonio
These two ideas compete in increasing
force as more instruments take them CELEBRATION
Salieri, and Giacomo Meyerbeer,
gathered to play in an orchestra led by
up, building steadily to an intense,
climactic scene. This gives way to a CONTINUES NEXT
Beethoven as part of a charity concert
for soldiers wounded in the Battle of
dreamlike, yearning middle section, soon
interrupted by a re-introduction of the SATURDAY!
theme. Another climax results, this time
Hanau. For this event the composer, Saturday, May 8 at 8 PM
texturally enriched by deeper layers of
by then an emphatic critic of the
megalomaniacal Napoleon, debuted his Beethoven’s characteristically masterful Bard College Conservatory Orchestra
counterpoint. In the third movement,
Seventh Symphony alongside another
a rollicking presto, fleet, playful wind
new work, Wellington’s Victory, written to
solos are heard among bombastic, high- Leon Botstein conductor
commemorate the Duke of Wellington’s
spirited dance episodes. The spectacle is
defeat of Joseph Bonaparte’s forces in
occasionally curtailed by the emergence Ludwig van Beethoven
the Battle of Vitoria.
of an unhurried, stately theme. Finally, Symphony No. 4
the fourth movement arrives to declare Wellington’s Victory
Revolutionary Zeal
victory. Beethoven, the revolutionary, Symphony No. 3, Eroica
Though the Seventh Symphony does not
has had an ecstatic vision of mankind’s Drei Equali (Three Equals) for four trombones
share the explicit political immediacy of
final triumph over tyranny.
Wellington’s Victory, it is impossible to
RSVP at FISHERCENTER.BARD.EDU
10 / MAY 2021 THEORCHESTRANOW.ORG / 11
Photo by Marcia Ciriello
Photo by Matt Dine
LEON BOTSTEIN ADELE ANTHONY
conductor violin
Leon Botstein brings a renowned career as both a conductor and educator to Since her triumph at Denmark’s SummerFest and Aspen Music Festival.
his role as music director of The Orchestra Now. He has been music director 1996 Carl Nielsen International Violin Her wide-ranging repertoire extends
of the American Symphony Orchestra since 1992, artistic codirector of Bard Competition, Adele Anthony has from the Baroque of Bach and Vivaldi to
SummerScape and the Bard Music Festival since their creation, and president enjoyed an acclaimed and expanding contemporary works of Ross Edwards,
of Bard College since 1975. He was the music director of the Jerusalem international career. Performing as a Arvo Pärt and Phillip Glass.
Symphony Orchestra from 2003–11, and is now conductor laureate. In 2018 he soloist with orchestra and in recital, as
assumed artistic directorship of Campus Grafenegg and Grafenegg Academy well as being active in chamber music, An active recording artist, Ms. Anthony’s
in Austria. Mr. Botstein is also a frequent guest conductor with orchestras her career spans the continents of work includes releases with Sejong
around the globe, has made numerous recordings, and is a prolific author and North America, Europe, Australia, India Soloists’ “Vivaldi: The Four Seasons”
music historian. He is the editor of the prestigious The Musical Quarterly, and and Asia. on Naxos, a recording of the Philip Glass
has received many honors for his contributions to music. Violin Concerto with Takuo Yuasa and
In addition to appearances with all the Ulster Orchestra on Naxos, Arvo
More info online at leonbotstein.com. six symphonies of the Australian Pärt’s Tabula rasa with Gil Shaham,
Broadcasting Corporation, Ms. Neeme Järvi and the Gothenburg
Anthony’s highlights from recent Symphony Orchestra on Deutsche
seasons have included performances Grammophon, and her latest recording
with the symphony orchestras of of the Sibelius Violin Concerto and Ross
Houston, San Diego, Seattle, Ft. Worth, Edwards’ Maninyas with the Adelaide
and Indianapolis, as well as the Leipzig Symphony Orchestra on Canary
Gewandhaus Orchestra and the Classics/ABC Classics.
Orchestre Philharmonique de Radio
France. Being an avid chamber music Ms. Anthony performs on an Antonio
player, she appears regularly at La Jolla Stradivarius violin, crafted in 1728.
12 / MAY 2021 THEORCHESTRANOW.ORG / 13
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
Photo by Marco Borggreve
Proms performances with Donald
PETER WILEY SHAI WOSNER Runnicles and appeared with the BBC
cello piano Philharmonic in a live broadcast from
Manchester’s Bridgewater Hall. As a
Cellist Peter Wiley enjoys a prolific career as a performer and teacher. He is Pianist Shai Wosner records for Onyx concerto soloist in North America,
a member of the piano quartet Opus One, a group he co-founded in 1998 Classics. Among his recent recordings he has appeared with the major
with pianist Anne-Marie McDermott, violinist Ida Kavafian, and violist Steven is 2017’s Impromptu, which features orchestras of Atlanta, Baltimore,
Tenenbom. He attended the Curtis Institute of Music as a student of David an eclectic mix of improvisationally Berkeley, Chicago, Cleveland, Dallas,
Soyer and joined the Pittsburgh Symphony in 1974. The following year, he was inspired works by composers from Indianapolis, Los Angeles, Milwaukee,
appointed Principal cellist of the Cincinnati Symphony Orchestra, a position he Beethoven and Schubert to Gershwin Philadelphia, Pittsburgh, Ottawa, San
held for eight years. From 1987 through 1998, he was cellist of the Beaux Arts and Ives. Additional releases include Francisco, and Toronto, among others.
Trio. In 2001, he succeeded his mentor, David Soyer, as cellist of the Guarneri concertos and capriccios by Haydn In addition to the BBC orchestras, he
Quartet. The quartet retired from the concert stage in 2009. He has been and Ligeti with the Danish National has performed abroad with the Aurora
awarded an Avery Fisher Career Grant, and was nominated for a Grammy Symphony conducted by Nicholas Orchestra, Barcelona Symphony,
Award in 1998 with the Beaux Arts Trio and again in 2009 with the Guarneri Collon, an all-Schubert solo album Bournemouth Symphony, Frankfurt
Quartet. He participates at leading festivals, including Music from Angel Fire, featuring a selection of the composer’s Radio Symphony, Gothenburg
Chamber Music Northwest, OK Mozart, Santa Fe, Bravo!, and Bidgehampton. He folk-inspired piano works, solo works Symphony, LSO St. Luke’s, Nieuw
continues his long association with the Marlboro Music Festival, dating back to by Brahms and Schoenberg, and Sinfonietta Amsterdam, Orchestre
1971. He teaches at the Curtis Institute of Music and Bard College Conservatory works by Schubert paired with new National de Belgique, Staatskapelle
of Music. works by Missy Mazzoli. As a chamber Berlin, and the Vienna Philharmonic,
musician, he has recorded Beethoven’s among others. He has also appeared
complete sonatas and variations for with the Orpheus, St. Paul, and
cello and piano with Ralph Kirshbaum Los Angeles Chamber Orchestras,
and—for Cedille Records—works by having conducted the latter from the
Bartók, Janáček, and Kurtág with his keyboard in a 2010 concert that was
duo partner of many years, violinist broadcast on American Public Radio.
Jennifer Koh. More info online at shaiwosner.com.
14 / MAY 2021 THEORCHESTRANOW.ORG / 15
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 Leon Botstein Music Director
TŌN’s performances “dramatic and Violin I Cello Viktor Tóth Tuba
intense,” praises these concerts as “an Nicole Oswald Lucas Button Principal 3 Jarrod Briley*
opportunity to see talented musicians Concertmaster Principal Matthew Griffith*
Photo by David DeNee
early in their careers.” Bram Margoles Eva Roebuck Timpani
Yada Lee Jordan Gunn Bassoon Keith Hammer III
The orchestra has performed with Tin Yan Lee Pecos Singer Philip McNaughton
The Orchestra Now (TŌN) is a group many distinguished guest conductors Misty Drake Cameron Collins* Principal 1, 2 Percussion
of vibrant young musicians from and soloists, including Neeme Järvi, Jacques Gadway Kelly Knox* Cheryl Fries Charles Gillette*
across the globe who are making Vadim Repin, Fabio Luisi, Peter Serkin, Sara Page* Principal 3 Luis Herrera
orchestral music relevant to 21st- Hans Graf, Gerard Schwarz, Tan Dun, Violin II Sarah Schoeffler* Xiaoxiao Yuan* Albertazzi*
century audiences by sharing their Zuill Bailey, and JoAnn Falletta. Recent Dillon Robb
unique personal insights in a welcoming recordings featuring The Orchestra Now Principal Bass Horn Harp
environment. Hand-picked from the include two albums on Bridge Records: Yurie Mitsuhashi Kaden Henderson Ser Konvalin Taylor Ann
world’s leading conservatories— Piano Protagonists with pianist Orion Sabrina Parry Principal Principal 1, Fleshman*
including the Yale School of Music, Weiss, a New York Times critic’s pick Stuart McDonald Mariya-Andoniya Assistant 3
Shanghai Conservatory of Music, Royal with an ensemble performance that Gaia Mariani Henderson Zachary Travis Guest Musicians
Ramsdell Luke Stence Principal 2
Academy of Music, and the Eastman Fanfare magazine called “perfect;” and
Gergő Krisztián Joshua DePoint Steven Harmon Bassoon
School of Music—the members of Buried Alive with baritone Michael Nagy,
Tóth Tristen Jarvis* Principal 3 Anna Pem
TŌN are enlightening curious minds which includes the first recording in
Adam Jeffreys* Emily Buehler
by giving on-stage introductions and almost 60 years of Othmar Schoeck’s
Xinran Li* Flute Kwong Ho Hin
demonstrations, writing concert notes song cycle Lebendig begraben. Also
from the musicians’ perspective, and available are two albums of piano Zhen Liu* Rebecca Tutunick * not performing in
Shaina Pan* Principal 1 Trumpet this concert
having one-on-one discussions with concertos with Piers Lane on Hyperion
Esther Goldy Brendan Dooley Maggie Tsan-Jung 1
Symphony No. 5
patrons during intermissions. Records, and a Sorel Classics concert Wei Principal 1
Roestan* Principal 2, 3, 2
Triple Concerto
recording with pianist Anna Shelest and Samuel Exline
Yinglin Zhou* Piccolo 1 3
Symphony No. 7
Conductor, educator, and music conductor Neeme Järvi. Recordings Principal 2
Leanna Ginsburg
historian Leon Botstein, whom The New of TŌN’s live concerts from the Fisher Guillermo García
York Times said “draws rich, expressive Center can be heard on Classical Viola
Oboe Cuesta Principal 3
playing from the orchestra,” founded WMHT-FM and WWFM The Classical Batmyagmar
Erdenebat JJ Silvey Principal 1 Anita Tóth*
TŌN in 2015 as a graduate program at Network, and are featured regularly
Principal Jasper Igusa
Bard College, where he is also president. on Performance Today, broadcast Trombone
Sean Flynn Principal 2
TŌN offers both a three-year master’s nationwide. In 2019, the orchestra’s Ian Striedter
Katelyn Hoag Shawn Hutchison
degree in Curatorial, Critical, and performance with Vadim Repin was Principal 3 Principal
Lucas Goodman
Performance Studies and a two-year live-streamed on The Violin Channel. David Kidd
Celia Daggy
advanced certificate in Orchestra Clarinet Jack E. Noble
Larissa Mapua*
Studies. The orchestra’s home base is Explore upcoming concerts, see what Ye Hu Principal 1 Bass Trombone
Hyunjung Song*
the Frank Gehry-designed Fisher Center our musicians have to say, and more Rodrigo Orviz
Leonardo Vásquez
at Bard, where it performs multiple at theorchestranow.org. For more Chacón* Pevida Principal 2
concerts each season and takes part information on the academic program,
in the annual Bard Music Festival. It visit bard.edu/theorchnow Members of TŌN can be identified by their distinctive blue attire.
16 / MAY 2021 THEORCHESTRANOW.ORG / 17
TO OUR MUSICIANS!
CONGRATULATIONS
Mariya-Andoniya Emily Kelly Stuart Rodrigo Orviz
Henderson Buehler Knox McDonald Pevida
bass bass cello violin clarinet
Lucas Batmyagmar Gaia Mariani Dillon Sarah
Button Erdenebat Ramsdell Robb Schoeffler
cello viola violin violin cello
Jacques Guillermo Anita Gergő Viktor
Gadway García Cuesta Tóth Krisztián Tóth Tóth
violin trumpet trumpet violin clarinet
2021 graduates
receiving a Master
of Music Degree in
Curatorial, Critical,
and Performance
Lucas Ye Leonardo Weiqiao Yuqian
Studies Goodman Hu Vásquez Chacón Wu Zhang
viola clarinet viola violin violin
18 / MAY 2021 Musician photos by Matt Dine THEORCHESTRANOW.ORG / 19Musicians Appearances: Aspen Music Festival,
completing 2014–15; Verbier Festival, 2016–18
their Advanced
What is your earliest memory of
Certificate in
classical music? Mom playing me
Orchestral Studies: 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
Charles Gillette What has been your favorite
percussion
experience as a musician? Playing
the sunrise scene from An Alpine
Symphony at sunrise on a mountaintop
in the Swiss Alps
Musicians who
have recently What is some advice you would give
Photo by Matt Dine
won positions in IAN STRIEDTER to your younger self? Do more score
orchestras: trombone study with recordings.
@istriedter Favorite non-classical musician or
band: Shakey Graves, Punch Brothers,
Ian will talk briefly about The Head and the Heart
Beethoven’s Symphony No. 5 before
the performance. If you weren’t a musician, what
would you be doing? Working as an
Xiaoxiao Yuan Hometown: Irvine, CA architectural acoustician
Guiyang Symphony Orchestra, China
Alma maters: Peabody Institute, B.M. Which three people, dead or alive,
Trombone, B.M. Recording Arts, M.A. would you like to have dinner with?
Audio Sciences 2012–17; New England Batman, Nikola Tesla, Stanley Kubrick
Conservatory, M.M. Trombone, 2017–19
Piece of advice for a young classical
Awards/Competitions: Winner, 2012 musician: Don’t sit in front of the
Pacific Symphony Youth Orchestra trombones.
Concerto Competition; Winner,
2018 American Trombone Workshop
National Quartet Competition (with
David and Cameron); Winner, 2019
American Trombone Workshop
National Quartet Competition (with
Yuqian Zhang David and Cameron)
Guiyang Symphony Orchestra, China
20 / MAY 2021 Musician photos by Matt Dine THEORCHESTRANOW.ORG / 21buy me a trumpet, and she finally did 2016–17; National Music Festival, 2016;
after seeing how many times I watched Eastern Music Festival, 2015
the episode.
When did you realize you wanted to
How did you hear about TŌN? pursue music as a career? In eighth
What inspired you to apply? I heard grade I was accepted into the New York
about TŌN via an alumnus of Bard State Honor Band. That experience
College. I immediately set my sights exposed me to so many amazing
on the program several years ago, as musicians and opened my mind to
it has everything I was looking for in an the possibility of pursuing music as a
advanced graduate program. TŌN is career. From that moment on I knew I
not only a stellar orchestral program wanted to be a musician.
that rehearses and performs more
than any college or conservatory What has been your favorite
program, but also goes beyond solely experience as a musician? I worked
performance and into critical and for a non-profit organization in South
curatorial studies. This well-rounded Florida called Mind and Melody. I helped
approach is invaluable. lead music sessions in assisted living
facilities for people with Alzheimer’s
Photo by Matt Dine
Photo by Matt Dine
SAMUEL EXLINE What has been your favorite LEANNA GINSBURG and Dementia. There were days when
trumpet experience as a musician? Performing flute we would arrive at the facility and the
as Principal Trumpet on Beethoven’s participants were sad, quiet, or not
Samuel will talk briefly about Fifth Symphony at the John F. Kennedy @leannaginsburg making eye contact. By the end of
Beethoven’s Triple Concerto before Center for the Performing Arts as a the session they would be dancing,
the performance. senior in high school Leanna will talk briefly about laughing, playing, and singing along!
Beethoven’s Symphony No. 7 before It was the most fun and rewarding
Hometown: Meridian, ID What is some advice you would give the performance. experience I’ve ever had as a musician.
to your younger self? The more you
Alma maters: University of Miami, B.M. practice, the more fun it becomes. Hometown: Richmondville, NY What is some advice you would give
2016, M.M. 2018; Bard College Advanced to your younger self? It’s okay to have
Performance Studies Program, 2019 If you weren’t a musician, what would Alma maters: Purchase College, and pursue more than one passion! I
you be doing? Environmental Science/ Northwestern University, Lynn was always told that I needed to focus
Appearances: Atlantic Music Festival, Policy University on one path in order to be successful,
2017–18; Pierre Monteux School and but I love many different art forms, and
Music Festival, 2015–16; Banff Brass Tell us something about yourself that Awards/Competitions: Winner, finding a way to weave them all together
and Drum Residency, 2014; Kennedy might surprise us: I used to participate 2018 Chicago Women Musicians has been extremely rewarding.
Center Summer Music Institute, 2011 in competitive ski racing. Club Competition; 2017–18 Walfrid
Kujala Scholarship; Outstanding If you weren’t a musician, what would
When did you realize you wanted to Piece of advice for a young classical Senior Award, 2016 Purchase College you be doing? I would probably be
pursue music as a career? An episode musician: Get as many recordings of Classical Division; Outstanding Junior working as a photographer full time.
of the children’s cartoon Rugrats. great musicians, bands, and orchestras Award, 2015 Purchase College Classical Right now I work as a photographer part-
Grandpa Lou loses his dentures and as you can and listen as much as Division time, so if I had to make a change, then
must get them back in order to play the possible. that would most likely be my choice.
big trumpet solo in a band concert. My Appearances: Chautauqua Music
six-year-old self begged my mom to Festival, 2017–18; OrchestraNext
22 / Apr 2021 THEORCHESTRANOW.ORG / 23Photo by David DeNee
Photo by David DeNee
SUPPORT TŌN SPONSOR A TŌN MUSICIAN: NAMED THE TŌN FUND DONORS
FELLOWSHIPS
WE’VE BROUGHT MUSIC TO MORE Play a defining role in our success by The Orchestra Now gratefully acknowledges the generosity of each and every
THAN 55,000 NEW YORKERS IN sponsoring a TŌN musician. Direct donor who makes our work possible. Ticket sales cover less than a quarter
OVER 150 CONCERTS THANKS TO your support to have a lasting impact of the expenses for our concerts and educational initiatives. Thank you for
SUPPORT FROM DONORS LIKE YOU! on the education and training of TŌN’s making this important investment in the future of classical music!
exceptional young players from around
Inspire Greatness! the world. TŌN offers both a three-year LEADERSHIP GIFTS Michael L. Privitera Hospitality Committee
Support TŌN’s innovative training master’s degree in Curatorial, Critical, Rockefeller Brothers Fund The Vaughan Williams for United Nations
program for classical musicians. and Performance Studies and a two- Charitable Trust Delegations (HCUND)
year advanced certificate in Orchestra THE YVONNE NADAUD MAI Erica Kiesewetter
THE TŌN FUND Studies. Your generosity will help us CONCERTMASTER CHAIR ALLEGRO Robert Lonergan
Your generosity will sustain the next meet the challenges of educating a new Made possible by The Mai Gary and Martha Giardina Maury Newburger
generation of great performers—more generation of musicians to become Family Foundation Northwestern Mutual Foundation
than 70 players from 14 countries creative ambassadors for classical Foundation* The Merrill G. and Emita E.
around the globe—as they learn to music. CONCERTMASTER’S Hastings Foundation
communicate the transformative CIRCLE FORTE James and Andrea Nelkin*
power of music to 21st-century For detailed information on the Joseph Baxer and Barbara Anonymous (2) Suzanne Neunhoeffer
audiences. many ways to support TŌN, please Bacewicz Helen V. Atlas Paul W. Oakley
contact Nicole M. de Jesús, Director Michael Dorf and Sarah Bridget Kibbey* Inez Parker, in honor of
Your gift will support TŌN Student Living of Development, at 845.758.7988 or Connors* Tyler J. Lory and Michael David Kidd TŌN ’22
Stipends, free chamber performances ndejesus@bard.edu. Estate of Clyde Rauschenberg Shirley Ripullone and
around the Hudson Valley, and virtual Talmadge Gatlin Robert Losada Kenneth Stahl
events including livestreamed concerts There’s simply no other music Emily Sachar Jen Shykula ’96 and Tom Linda Schwab-Edmundson
from the Fisher Center at Bard. Your gift degree program like TŌN. Help us Felicitas S. Thorne* Ochs* Arlene and Gilbert Seligman
will also provide vital resources for our to inspire greatness by making a Thom and Valerie Styron, Anne-Katrin Spiess and
return to live performance at Carnegie contribution today! CONDUCTOR’S BOX in honor of Jarrod Briley Gerlinde Spiess
Hall, Jazz at Lincoln Center, and The Anonymous, in memory of TŌN ’22 Alice Stroup, in memory of
Metropolitan Museum of Art when it’s TO DONATE: Stuart Stritzler-Levine Vivian Sukenik Timothy Stroup
safe again to do so. Visit THEORCHESTRANOW.ORG/ Koren C. Lowenthal, Irene Vincent* Sally Sumner, in honor of
SUPPORT in memory of Larry Sara Page TŌN ’22
Call 845.758.7988 Lowenthal TRUMPETER Shining Sung
Christine T. Munson* Anonymous (3)
24 / MAY 2021 THEORCHESTRANOW.ORG / 25CRESCENDO James Gavin Houston DOWNBEAT Daniel E. Scherrer Harriet D. Causbie David H. Levey
Anonymous (2) Elena and Anonymous Mark Peter Scherzer Judith Chaifetz Ann and Robert Libbey
Mr. and Mrs. Ronald Atkins Frederic Howard Julia Aneshansley Dan and Rosie Schiavone Jill Cohen Eve Mayer
Nicole M. de Jesús and Scott Huang Naja B. Armstrong Fran D. Smyth Maria V. Collins Maryanne Mendelsohn
Brian P. Walker IBM Matching Grants Melissa Auf der Maur John Staugaitis Elizabeth Davis Rikki Michaels
Curtis DeVito and Dennis Program Sheila R. Beall Jerl O. Surratt José M. de Jesús, Jr. Fred Justin Morgan
Wedlick Judith and Ron Goodman David Behl Jonathan Wechsler Andrea N. Driscoll Ross Parrino
Stan J. Harrison Charitable Trust of Jeffrey Berns Michael and Leslie Wendy Faris Leslie Pepper
George Jahn and Karen Fidelity Matthew C. Bernstein Weinstock Claudia Forest Shirley Perle
Kaczmar John and Min Hwyei Stephanie G. Beroes Ann and Douglas William Renate L. Friedrichsen Joan W. Roth
Kassell Family Foundation Jeung, in honor of Marvin Bielawski Miriam Frischer Sheldon Rudolph
of the Jewish Communal Brendan Dooley TŌN ’22 Karen and Mark Collins, PRELUDE Albert Gottlieb Richard Scherr
Fund Charlotte Mandell Kelly in honor of Cameron Anonymous (2) Audrey Hackel Diane J. Scrima
Peter and Susan J. ’90 and Robert Kelly Collins TŌN ’22 Fred Allen and Erica De Katka Hammond Anna Shuster
LeVangia Rebecca S. Kidd, in honor Jefferson Cotton Mane Amy Hebard Shari Siegel
Amala and Eric Levine of David Kidd TŌN ’22 Thomas De Stefano Sharon B. Applegate Karen and Perry Hoag, in John Simpson
Janet C. Mills Bernard King-Smith and Vincent M. Dicks Kyra Assaad and Warren honor of Bram Margoles Tija Spitsberg and David J.
Tatsuji Namba Lisa S. King-Smith John and Remy Duffy, in Tappe TŌN ’22 and Katelyn Weiner
Anthony Napoli Miodrag Kukrika honor of Luis Herrera Leslie and Louis Baker Hoag TŌN ’22 Lloyd Targer
Lisa and Albrecht Pichler Arthur S. Leonard Albertazzi TŌN ’23 Laurence Blau and Karen Maung Htoo J. Waldhorn
Jan and Jim Smyth Nancy S. Leonard and Priscilla Duskin Johnsen Al Jacobsen Lynda Youmans, in honor
George Striedter, in honor Lawrence Kramer Mark L. Feinsod ’94 Geraldine Brodsky Steven Jonas, M.D. of Drew Youmans TŌN ’19
of Ian Striedter TŌN ’22 Fulvia Masi and William Carol and Peter Goss Deloss Brown Brenda Klein Elizabeth Zubroff, in
Meyer J. Wolin Tanksley Tamara Judith Gruzko Anne B. Brueckner Barbara Komansky honor of John D. Murphy
James McLafferty Lee Haring Lael Burns Ralph B. Lawrence
TŌNor Warren R. Mikulka Michaela Harnick
Anonymous Karen E. Moeller and Juliet Heyer *Includes gifts to the Bard Music Festival and The Orchestra Now Gala.
Jesika Berry Charles H. Talleur Terrell K. Holmes
Diane and Ronald Blum Gary E. Morgan James Gavin Houston This list represents gifts made to The Orchestra Now from January 1, 2020 to
Richard Bopp Suzanne Neusner Jeffrey Keller April 23, 2021.
Kent Brown and Catherine K. and Fred David Kraskow and Liz
Nat Thomas Reinis Hess For information on contributing to TŌN, or to update your listing, please
Lisa Aber Cohen Robert Renbeck Carol E. Lachman contact Nicole M. de Jesús at ndejesus@bard.edu. Thank you for your
James Costello and Laura Ann and Thomas Robb, Erika Lieber partnership.
Cannamela in honor of Dillon Robb Guenther and Virginia May
Margaret M. Coughlin TŌN ’21 Martin and Lucy Murray
Richard and Hildegard ’78 James Rosenfield Stan and Bette Nitzky
Edling Thomas J. Shykula Pat Parsons
Vera A. Farrell Joseph M. Sweeney Neila Beth Radin
Renate L. Friedrichsen Judith and Michael Thoyer Kurt Rausch
Howard and Caroline Howard Wallick Jing L. Roebuck, in honor
Goodman, in honor of Henry H. Westmoreland of Eva Roebuck TŌN ’22
Lucas Goodman TŌN ’21 and Charles H. Milligan Ted Ruthizer and Jane
Susanna Grannis Wayne and Dagmar Denkensohn
Jan M. Guifarro Yaddow Edward Sandfort
26 / MAY 2021 THEORCHESTRANOW.ORG / 27THE ADMINISTRATION THE RICHARD B. FISHER CENTER FOR THE PERFORMING ARTS
ADVISORY BOARD Gideon Lester Artistic Director Darren O’Sullivan Senior Public
THE ORCHESTRA NOW Jeanne Donovan Fisher Chair Caleb Hammons Director of Relations Associate
Artistic Staff Administrative Staff Matt Walley TŌN ’19 Carolyn Marks Blackwood Artistic Planning and Producing Amy Murray Videographer
Leon Botstein Music Director Kristin Roca Executive Director Program Coordinator, Leon Botstein+ Catherine Teixeira General
James Bagwell Associate Brian J. Heck Director of Marketing Admissions Counselor, and Stefano Ferrari Manager PUBLICATIONS
Conductor and Academic Nicole M. de Jesús ’94 Director of Guest Artist Relations Alan Fishman Nunally Kersh SummerScape Mary Smith Director of
Director Development Neil Gaiman Opera Producer Publications
Jindong Cai Associate Conductor Sebastian Danila Music Preparer Concert Crew S. Asher Gelman ’06 Hannah Gosling-Goldsmith Artist Cynthia Werthamer Editorial
Zachary Schwartzman Resident and Researcher Marlan Barry Audio Producer and Rebecca Gold Milikowsky Services and Programs Manager Director
Conductor Marielle Metivier Orchestra Recording Engineer Anthony Napoli Thai Harris Singer ‘20 Post-
Andrés Rivas Assistant Conductor Manager Emily Beck Stage Manager Denise S. Simon Baccalaureate Fellow, MARKETING AND
Erica Kiesewetter Professor of Benjamin Oatmen Librarian Nora Rubenstone Stage Manager Martin T. Sosnoff Producing Assistant AUDIENCE SERVICES
Orchestral Practice Viktor Tóth Production Coordinator Miles Salerni Rehearsal Toni Sosnoff David Steffen Director of Marketing
Bridget Kibbey Director of Leonardo Pineda TŌN ’19 Coordinator Felicitas S. Thorne Emerita DEVELOPMENT and Audience Services
Chamber Music and Arts Director of Youth Educational Taun Toay ’05+ Debra Pemstein Nicholas Reilingh Database and
Advocacy Performance and South Andrew E. Zobler Vice President for Development Systems Manager
American Music Curator and Alumni/ae Affairs Maia Kaufman Audience and
BARD MUSIC FESTIVAL Alessandra Larson Director of Member Services Manager
BOARD OF DIRECTORS Development Collin Lewis APS ‘21 Audience and
BARD COLLEGE Denise S. Simon Chair Kieley Michasiow-Levy Individual Member Services Coordinator
Roger Alcaly Giving Manager Brittany Brouker Marketing
BOARD OF TRUSTEES Stewart Resnick Life Trustee Malia K. Du Mont ’95 Vice President Leon Botstein+ Michael Hofmann VAP ‘15 Manager
James C. Chambers ’81 Chair David E. Schwab II ’52 for Strategy and Policy; Chief Michelle R. Clayman Development Operations Garrett Sager Digital Marketing
Emily H. Fisher Vice Chair Roger N. Scotland ’93 Alumni/ae of Staff David Dubin Manager Assistant
George F. Hamel Jr. Vice Chair Trustee Peter Gadsby Vice President Robert C. Edmonds ‘68 Elise Alexander ‘19 Development Jesika Berry Senior House
Elizabeth Ely ’65 Secretary; Life Annabelle Selldorf for Enrollment Management; Jeanne Donovan Fisher Assistant Manager
Trustee Mostafiz ShahMohammed ’97 Registrar Christopher H. Gibbs+ Erik Long Box Office Supervisor
Stanley A. Reichel ’65 Treasurer; Jonathan Slone ’84 Mark D. Halsey Vice President Paula K. Hawkins BARD MUSIC FESTIVAL Paulina Swierczek VAP ‘19 Box
Life Trustee Alexander Soros for Institutional Research and Thomas Hesse Irene Zedlacher Executive Director Office Supervisor
Fiona Angelini Jeannette H. Taylor+ Assessment Susan Petersen Kennedy Raissa St. Pierre ’87 Associate David Bánóczi-Ruof ‘22 Assistant
Roland J. Augustine James A. von Klemperer Max Kenner ’01 Vice President Barbara Kenner Director House Manager
Leonard Benardo Brandon Weber ’97 Alumni/ae for Institutional Initiatives; Gary Lachmund Maia Weiss Assistant House
Leon Botstein+ President of the Trustee Executive Director, Bard Prison Thomas O. Maggs THEATER & Manager
College Susan Weber Initiative Kenneth L. Miron PERFORMANCE AND Hazaiah Tompkins ‘19 Community
Mark E. Brossman Patricia Ross Weis ’52 Debra Pemstein Christina A. Mohr DANCE PROGRAMS Space Manager
Jinqing Cai Vice President for Development James H. Ottaway Jr. Jennifer Lown Program
Marcelle Clements ’69 Life Trustee + ex officio and Alumni/ae Affairs Felicitas S. Thorne Administrator FACILITIES
The Rt. Rev. Andrew M. L. Dietsche Taun Toay ’05 Senior Vice Siri von Reis Mark Crittenden Facilities Manager
Honorary Trustee SENIOR ADMINISTRATION President; Chief Financial Officer Kathleen Vuillet Augustine PRODUCTION Ray Stegner Building Operations
Asher B. Edelman ’61 Life Trustee Leon Botstein President Stephen Tremaine ’07 Vice Jason Wells Director of Production Manager
Robert S. Epstein ’63 Coleen Murphy Alexander ’00 Vice President for Early Colleges + ex officio Sarah Jick Associate Production Doug Pitcher Building Operations
Barbara S. Grossman ’73 President for Administration Dumaine Williams ’03 Vice Manager Coordinator
Alumni/ae Trustee Myra Young Armstead Vice President for Student Affairs; ADMINISTRATION Stephen Dean Associate Chris Lyons Building Operations
Andrew S. Gundlach President for Academic Inclusive Dean of Early Colleges Liza Parker Executive Director Production Manager Assistant
Matina S. Horner+ Excellence Catherine Teixeira General Rick Reiser Technical Director Robyn Charter Fire Panel Monitor
Charles S. Johnson III ’70 Jonathan Becker Executive Vice Manager Josh Foreman Lighting Supervisor Bill Cavanaugh Environmental
Mark N. Kaplan Life Trustee President; Vice President for Brynn Gilchrist ‘17 Executive Moe Schell Costume Supervisor Specialist
George A. Kellner Academic Affairs; Director, Assistant Danny Carr Video Supervisor Drita Gjokaj Environmental
Mark Malloch-Brown Center for Civic Engagement Kayla Leacock Summer Hiring Eric Sherman Audio Supervisor Specialist
Fredric S. Maxik ’86 Erin Cannan Vice President for Manager Oksana Ryabinkina Environmental
Juliet Morrison ‘03 Civic Engagement COMMUNICATIONS Specialist
James H. Ottaway Jr. Life Trustee Deirdre d’Albertis Dean of the ARTISTIC DIRECTION Mark Primoff Associate Vice
Hilary Pennington College Leon Botstein President, Bard President of Communications
Martin Peretz Life Trustee College
28 / MAY 2021 THEORCHESTRANOW.ORG / 29ABOUT BARD COLLEGE
FISHER CENTER AT BARD
The 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 COLLEGE Leon Botstein and all of us at The Orchestra Now
Founded in 1860, Bard College in Annandale-on-Hudson, New York, is an
independent, residential, coeducational college offering a four-year BA program
would like to express our sincere appreciation to
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.
Emily Sachar
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. for underwriting the TŌN-branded masks.
Bard and its affiliated institutions also grant the following degrees: AA at Bard Early Thank you for safeguarding the health and vitality of our
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 musicians during this time.
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.
30 / MAY 2021 THEORCHESTRANOW.ORG / 31THEORCHESTRANOW.ORG ©2021 The Orchestra Now | Program Design Nelson Yan
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