Shostakovich & Dawson - Bard College
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Shostakovich & Dawson
CONCERT DEEP DIVE
SAT 9/11/21 at 8 PM & SUN 9/12/21 at 2 PM
Performances #172 & #173 Season 7, Concerts 1 & 2
Fisher Center at Bard Sosnoff Theater
PLEASE KEEP PHONE SCREENS DIM Silence all electronic devices
PHOTOS AND VIDEOS ARE ENCOURAGED but only before and after the music
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The Music its wildly successful world premiere at
Carnegie Hall by the Philadelphia Orchestra
with Leopold Stokowski. The New York
WILLIAM L. DAWSON’S World-Telegram praised the piece for
NEGRO FOLK SYMPHONY its “imagination, warmth, drama – (and)
Notes by TŌN bassist Tristen Jarvis sumptuous orchestration.” After visiting
seven countries in West Africa to study
indigenous African music in 1952, Dawson
revised the Negro Folk Symphony into the
version that you will hear today, which is
more infused with a rhythmic foundation
inspired by those African influences from
his sabbatical; he wanted those who heard
it to know that it was "unmistakably not the
work of a white man."
Matt Dine
The Bond of Africa
The opening thirty seconds of the piece
A Distinctly American Work contain a soaring blues gesture by a solo
William Dawson’s Negro Folk Symphony is a French horn, quickly morphing into a
luminous, sophisticated, and very distinctly brief declaration by the woodwinds and
“American” work that bridges the language trombones that evokes moody, Cotton
of post-slavery Negro spirituals with the Club-era undertones of an Ellington big-
timbres and aesthetics of the European band ballad fused with Dvorak’s New World
symphony orchestra. Already celebrated Symphony. Not even a minute in, the strings
for his popular choral arrangements of interrupt with a tender, cinematic excerpt
these spirituals, Dawson’s Negro Folk out of a Hollywood film score that launches
Symphony catapulted his reputation afterTHE ORCHESTRA NOW
into an opera overture-like formal structure The Dichotomy of Fame and Rebellion
for the remainder of the movement, Dmitri Shostakovich was himself both
alluding to classic orchestral themes a distributor and victim of Soviet
such as the opening to Bizet’s Carmen propaganda. For most of his professional
and Smetana’s Bartered Bride. life, he had to toe the line between pleasing
the state with his music, and remaining
Hope in the Night true to himself and his people. Some of his
In my opinion, the most rewarding part works won accolades from Stalin’s regime
of the Negro Folk Symphony is this and others were swiftly banned. Seeing his
second movement. Lush and brightly own image be tossed back and forth was
sophisticated, imagine the opening to undoubtedly a source of extreme anxiety
Stravinsky’s “Berceuse (Lullaby)” from for our dear Dmitri. Despite being the most
The Firebird fused with the minor-blues famous Russian composer of his day, he
language of Gershwin’s “Summertime” allegedly kept a packed suitcase at his front
from Porgy and Bess. Dawson described door at all times in case he were to be taken
this movement as an "atmosphere of the away by the state in the middle of the night,
humdrum life of a people whose bodies so as to not disturb his sleeping family. This
were baked by the sun and lashed with dichotomy of fame and rebellion is easily
the whip for two hundred and fifty years; heard in Shostakovich’s music.
whose lives were proscribed before they
were born." Tyranny and Totalitarianism
The Seventh Symphony, nicknamed the
O, Le’ Me Shine, Shine Like a Morning Star! Leningrad (something of a propaganda
A dazzling, high-paced finale punctuates piece itself), received great praise from
this remarkable work in a style that draws the Soviet government. It is a narrative
upon mid-nineteenth century European work; you will hear in the first movement
romanticism while foreshadowing the the theme and drums of the Nazi soldiers
writing styles of American composers such marching into the city, and by the end of the
as Leonard Bernstein and George Walker. symphony, the Russians eventual victory
in capturing Leningrad back. The work is
greatly, almost grotesquely nationalist,
DMITRI SHOSTAKOVICH’S and reportedly had the entire audience
SYMPHONY NO. 7, weeping at its premiere. However, there
LENINGRAD is an underlying message about the
Notes by TŌN violist Celia Daggy horrors of facism - and not just the Nazis.
Shostakovich privately revealed that the
symphony “[is] not only about fascism
but about our country . . . tyranny and
totalitarianism.”
Propaganda
Many of us can swiftly identify propaganda
as it appears in history books—posters with
cartoonish political figures and some sort
Matt Dine
of obvious state-sponsored message,
many of which seem exaggerated and
absurd. We, as enlightened members
2 / SEP 2021 / THE ORCHESTRA NOWCONCERT DEEP DIVE
of the 21st century, wonder how such
messages could control a society so
The Artists
strongly. Yet we may not be as attuned to
identifying propaganda when it is under LEON BOTSTEIN conductor
our own noses. It is not as obvious as those
characterized posters from the days of
old. Think about those questionable news
stories we all hear on TV or the internet,
where facts may be distorted and altered
to fit a certain agenda, or cherry-picked to
only show part of the whole story. Are these
not themselves forms of propaganda?
Matt Dine
Leon Botstein brings a renowned career
as both a conductor and educator to his
role as music director of The Orchestra
Now. He has been music director of the
American Symphony Orchestra since 1992,
artistic codirector of Bard SummerScape
and the Bard Music Festival since their
creation, and president of Bard College
since 1975. He was the music director of
the Jerusalem Symphony Orchestra from
2003–11, and is now conductor laureate.
In 2018 he assumed artistic directorship
of the Grafenegg Academy in Austria. Mr.
Botstein is also a frequent guest conductor
with orchestras around the globe, has
made numerous recordings, and is a
prolific author and music historian. He is
the editor of the prestigious The Musical
Quarterly, and has received many honors
for his contributions to music.
More info online at leonbotstein.com.
TON.BARD.EDU / SEP 2021 / 3THE ORCHESTRA NOW
THE ORCHESTRA NOW
David DeNee
The Orchestra Now (TŌN) is a group of vibrant young musicians from across the globe who
are making orchestral music relevant to 21st-century audiences by sharing their unique
personal insights in a welcoming environment. Hand-picked from the world’s leading
conservatories—including the Yale School of Music, Shanghai Conservatory of Music,
Royal Academy of Music, and the Eastman School of Music—the members of TŌN are
enlightening curious minds by giving on-stage introductions and demonstrations, writing
concert notes from the musicians’ perspective, and having one-on-one discussions with
patrons during intermissions.
Conductor, educator, and music historian Leon Botstein, whom The New York Times said
“draws rich, expressive playing from the orchestra,” founded TŌN in 2015 as a graduate
program at Bard College, where he is also president. TŌN offers both a three-year master’s
degree in Curatorial, Critical, and Performance Studies and a two-year advanced certificate
in Orchestra Studies The orchestra’s home base is the Frank Gehry-designed Fisher Center
at Bard, where it performs multiple concerts each season and takes part in the annual
Bard Music Festival. It also performs regularly at the finest venues in New York, including
Carnegie Hall, Lincoln Center, The Metropolitan Museum of Art, and others across NYC
and beyond. HuffPost, who has called TŌN’s performances “dramatic and intense,”
praises these concerts as “an opportunity to see talented musicians early in their careers.”
The orchestra has performed with many distinguished guest conductors and soloists,
including Leonard Slatkin, Neeme Järvi, Gil Shaham, Fabio Luisi, Vadim Repin, Hans
Graf, Peter Serkin, Gerard Schwarz, Tan Dun, and JoAnn Falletta. Recordings featuring
The Orchestra Now include two albums of piano concertos with Piers Lane on Hyperion
Records, and a Sorel Classics concert recording of pianist Anna Shelest performing works
by Anton Rubinstein with TŌN and conductor Neeme Järvi. Buried Alive with baritone
Michael Nagy, released on Bridge Records in August 2020, includes the first recording in
almost 60 years—and only the second recording ever—of Othmar Schoeck’s song-cycle
Lebendig begraben. Recent releases include an album of piano concertos with Orion Weiss
on Bridge Records, and the soundtrack to the motion picture Forte. Recordings of TŌN’s
live concerts from the Fisher Center can be heard on Classical WMHT-FM and WWFM The
Classical Network, and are featured regularly on Performance Today, broadcast nationwide.
Explore upcoming concerts, see what our musicians have to say, and find more information
on the academic program at ton.bard.edu.
4 / SEP 2021 / THE ORCHESTRA NOWCONCERT DEEP DIVE
Bard's Orchestral Masters
Leon Botstein, Music Director
Violin I Kaden Henderson* Diana Lopez Flute
Zhen Liu Jillian Reed ’21
Concertmaster Flute Trombone
Xinran Li Brendan Dooley Ian Striedter Clarinet
Misty Drake Principal 1 Principal 1 Viktor Tóth ’16 TŌN ’21
Yi-Ting Kuo Leanna Ginsburg David Kidd Principal 2 Bass Clarinet 1
Sabrina Parry Principal 2 Austin Pancner
Yeseul Park Rebecca Tutunick Bass Trombone Horn
Zongheng Zhang Piccolo 1 Liri Ronen ’21
Zhengdong Liang Tuba Mindy Holthe APS ’23
Oboe Jarrod Briley Daniel Salera
Violin II JJ Silvey Principal 1, Emily Buehler TŌN ’21
Tin Yan Lee Principal English Horn 2 Timpani Assistant 2
Yinglin Zhou Shawn Hutchison Keith Hammer III
Linda Duan Principal 2 Trumpet
Aubrey Holmes Jasper Igusa Percussion Zachary Silberschlag
Nicole Oswald English Horn 1 Petra Elek Principal 1 TŌN ’18
Sarit Luban Luis Herrera Angela Gosse
Adam Jeffreys* Clarinet Albertazzi Principal 2 James Lake
Bram Margoles* Olivia Hamilton Rebecca Steinberg
Esther Goldy Principal 1 Harp Assistant 2
Roestan* Mackenzie Austin Taylor Ann Fleshman
Principal 2, E-flat Principal Trombone
Viola Clarinet 1 Matt Walley TŌN ’19
Batmyagmar Juan Martinez Bass Guest Musicians Hsiao-Fang Lin ’13
Erdenebat Principal Clarinet 2 APS ’15
Katelyn Hoag Violin I Erik Saras
Sean Flynn Bassoon Leonardo Pineda ’15
Lucas Goodman Cheryl Fries Principal TŌN ’19 Percussion
Hyunjung Song Philip McNaughton Eni Samu APS ’23 Miles Salerni
Celia Daggy Contrabassoon 2 Daniela Diaz Matthew Overbay
Leonardo Vásquez Han-Yi Huang Emanouil Manolov APS ’22
Chacón Contrabassoon 1 Cristian Zavala
Violin II APS ’23
Cello Horn Bruno Pena David Stevens
Sara Page Principal Ser Konvalin Nalin Myoung APS ’23
Jordan Gunn Principal 1 Joohyun Lee Harp
Cameron Collins Steven Harmon Rachel Crozier Kathryn Sloat
Charles Barnard Principal 2
Eva Roebuck Zachary Travis Viola Piano
Isaac Kim Shane Conley Rosemary Nelis ’17 Bethany Pietroniro
Kelly Knox Kwong Ho Hin
Pecos Singer* Assistant 1 Cello
Theo Zimmerman * not performing in
Bass Trumpet this concert
Tristen Jarvis Principal Samuel Exline Bass 1
Dawson
Kevin Thompson Principal 1 Zhenyuan Yao ’16 2
Shostakovich
Rowan Puig Davis Maggie Tsan-Jung Wei TŌN ’20
Joshua DePoint Principal 2
Luke Stence
Members of TŌN can be identified by their distinctive blue attire.
TON.BARD.EDU / SEP 2021 / 5THE ORCHESTRA NOW
Sean Flynn viola Which three people, dead or alive, would
you like to have dinner with and why?
Paul Thomas Anderson, Dave Chappelle,
and Philip Seymour Hoffman. All are/were
masters of their craft and it would be great
to hear anything they had to say. I’m always
fascinated by the parallels in philosophies
between musicians and other kinds of
Matt Dine
artists.
Sean will talk briefly about Dawson’s Tell us something about yourself that
Negro Folk Symphony on stage before the might surprise us: I played bass guitar in a
performance. heavy metal band all through high school.
Hometown: Las Vegas, NV Piece of advice for a young classical
musician: Always have a clear idea of the
Alma maters: University of Texas at Austin, message of a piece before you even begin
M.M. in Music Performance; University of playing it.
Oregon, B.M. in Music Education
Leanna Ginsburg flute
Appearances: Austin Symphony,
substitute, 2018–19; Britt Festival Orchestra,
2018–19; National Orchestral Institute, 2018;
Oregon Mozart Players, 2015–17
What is your earliest memory of classical
music? Listening to a “Mozart for Babies”
CD in the car on my way to middle school Matt Dine
What do you think orchestra concerts @leannaginsburg
should look like in the 21st Century? They
should be inclusive and accessible and, in Leanna will talk briefly about Shostakovich’s
general, have music played from a much Symphony No. 7, Leningrad on stage before
more varied set of repertoire. There is still the performance.
a time and place for the more traditional,
formalized concert experience, but I think Hometown: Richmondville, NY
the ratio should be shifted towards more
casual concert-going experiences. The Alma maters: Purchase College,
audience should ideally feel at ease and Northwestern University, Lynn University
open to anything the orchestra wants to
present to them, including pieces they may Awards/Competitions: Winner, 2018
have never heard before. Chicago Women Musicians Club
Competition; 2017–18 Walfrid Kujala
Favorite non-classical musician or band: Scholarship; Outstanding Senior Award,
Björk, Frank Zappa, The Mars Volta 2016 Purchase College Classical Division;
Outstanding Junior Award, 2015 Purchase
College Classical Division
6 / SEP 2021 / THE ORCHESTRA NOWCONCERT DEEP DIVE
Appearances: Chautauqua Music Festival, end of the session they would be dancing,
2017–18; OrchestraNext 2016–17; National laughing, playing, and singing along! It was
Music Festival, 2016; Eastern Music Festival, the most fun and rewarding experience I’ve
2015 ever had as a musician.What is some advice
you would give to your younger self? It’s okay
When did you realize you wanted to to have and pursue more than one passion!
pursue music as a career? In eighth grade I I was always told that I needed to focus on
was accepted into the New York State Honor one path in order to be successful, but I
Band. That experience exposed me to so love many different art forms, and finding
many amazing musicians and opened my a way to weave them all together has been
mind to the possibility of pursuing music extremely rewarding.
as a career. From that moment on I knew I
wanted to be a musician. If you weren’t a musician, what would you
be doing? I would probably be working as
What has been your favorite experience a photographer full time. Right now I work
as a musician? A few years ago I worked for as a photographer part-time, so if I had to
a non-profit organization in South Florida make a change, then that would most likely
called Mind and Melody. I helped lead be my choice.
music sessions in assisted living facilities
for people with Alzheimer’s and Dementia. Tell us something about yourself that
There were days when we would arrive at might surprise us: When I was in elementary
the facility and the participants were sad, school I had two pet rats! Their names were
quiet, or not making eye contact. By the Rugrat and Missy.
TON.BARD.EDU / SEP 2021 / 7THE ORCHESTRA NOW Support TŌN WE’VE BROUGHT MUSIC TO MORE THAN 66,000 LIVE & VIRTUAL CONCERTGOERS IN OVER 150 CONCERTS THANKS TO SUPPORT FROM DONORS LIKE YOU! Inspire Greatness! Support TŌN’s innovative training program for classical musicians. THE TŌN FUND Members of The Orchestra Now are completing an innovative graduate degree program. TŌN offers students the experiences they might expect as career orchestral musicians— including public performance, touring, and recording. TŌN is tuition free, and each student receives a yearly living stipend. Individual contributions from music lovers like you are essential to TŌN’s success. Gifts to TŌN support student living stipends, free chamber performances around the Hudson Valley, and virtual events including livestreamed concerts from the Fisher Center at Bard. Your gift will also provide vital resources for our return to live performance at Carnegie Hall, Jazz at Lincoln Center, and The Metropolitan Museum of Art. SPONSOR A TŌN MUSICIAN: NAMED FELLOWSHIPS Play a defining role in our success by sponsoring a TŌN musician. Direct your support to have a lasting impact on the education and training of TŌN’s exceptional young players from around the world. TŌN offers both a three-year master’s degree in Curatorial, Critical, and Performance Studies and a two-year advanced certificate in Orchestral Studies. Named fellowships begin with a gift of $10,000+ (Concertmaster’s Circle). For detailed information on the many ways to support TŌN, please contact Nicole M. de Jesús, Director of Development, at 845.758.7988 or ndejesus@bard.edu. There’s simply no other music degree program like TŌN. Help us to inspire greatness by making a contribution today! To Donate: Visit TON.BARD.EDU/SUPPORT Call 845.758.7988 8 / SEP 2021 / THE ORCHESTRA NOW
CONCERT DEEP DIVE
The TŌN Fund Donors
The Orchestra Now gratefully acknowledges the generosity of each and every donor who
makes our work possible. Ticket sales cover less than a quarter of the expenses for our
concerts and educational initiatives. Thank you for making this important investment in
the future of classical music!
Leadership Gifts Trumpeter TŌNor
Estate of Clyde Talmadge Gatlin Anonymous (3) Erika Bernich
Rockefeller Brothers Fund Stan Harrison Jesika R. Berry
Hospitality Committee for United Diane and Ronald Blum
The Yvonne Nations Delegations (HCUND) Richard Bopp
Nadaud Mai James and Andrea Nelkin* Kent Brown and Nat Thomas
Concertmaster Chair Inez Parker, in honor of David Margaret M. Coughlin
Made possible by The Mai Family Kidd TŌN ’22 Joseph and Phyllis DiBianco
Foundation Shirley Ripullone and Kenneth Vincent M. Dicks
Stahl Richard and Hildegard ’78 Edling
Concertmaster’s Circle Linda Schwab-Edmundson Vera A. Farrell
Joseph Baxer and Arlene and Gilbert Seligman Renate L. Friedrichsen
Barbara Bacewicz Anne-Katrin Spiess and Gerlinde Howard and Caroline Goodman,
Michael Dorf and Sarah Connors* Spiess in honor of Lucas Goodman
Michael L. Privitera Alice Stroup, in memory of TŌN ’21
Emily Sachar Timothy Stroup Tamara Judith Gruzko
Felicitas S. Thorne* Sally Sumner, in honor of Sara Lee Haring
Page TŌN ’22 William J. Harper
Conductor's Box Shining Sung James Gavin Houston
Anonymous, in memory of Stuart Meyer J. Wolin Elena and Frederic Howard
Stritzler-Levine Scott Huang
Koren C. Lowenthal, in memory Crescendo IBM Matching Grants Program
of Larry Lowenthal Anonymous (2) Judith and Ron Goodman
Christine T. Munson* Josephine G. Curry ’11 Charitable Trust of Fidelity
Nicole M. de Jesús and Brian P. John and Min Hwyei Jeung, in
Allegro Walker honor of Brendan Dooley
Gary and Martha Giardina Curtis DeVito and Dennis TŌN ’22
Northwestern Mutual Wedlick Charlotte Mandell Kelly ’90 and
Foundation* Jan M. Guifarro Robert Kelly
Stephen J. Hoffman Rebecca S. Kidd, in honor of
Forte George Jahn and Karen Kaczmar David Kidd TŌN ’22
Anonymous (2) Kassell Family Foundation of the Erica Kiesewetter
Helen V. Atlas Jewish Communal Fund Bernard King-Smith and Lisa S.
Steven Holl Miodrag Kukrika King-Smith
Robert A. Lonergan Peter and Susan J. LeVangia Arthur S. Leonard
Robert Losada Amala and Eric Levine Dr. Nancy S. Leonard and
The Merrill G. and Emita E. Janet C. Mills Dr. Lawrence Kramer
Hastings Foundation Anthony Napoli Fulvia Masi and William Tanksley
Susanne Neunhoeffer Lisa and Albrecht Pichler Virginia M. and Guenther W. May
Maury Newburger Foundation Arlene and Gilbert Seligman Warren R. Mikulka
Jen Shykula ’96 and Tom Ochs* Jan and Jim Smyth Charles H. Milligan and Henry
Thom and Valerie Styron, in George Striedter, in honor of Westmoreland
honor of Jarrod Briley TŌN ’22 Ian Striedter TŌN ’22 Gary Morgan
Vivian Sukenik Catherine K. and Fred Reinis
Irene Vincent*
TON.BARD.EDU / SEP 2021 / 9THE ORCHESTRA NOW
James Rosenfield Arthur Rose Steven Jonas, M.D.
Edward Sandfort Beverly and Rev. Stephen Ross Ann and Robert Libbey
Linda V. Schwab Edmundson Suzanne Sarason Frank E. Lucente
Thomas J. Shykula Mark Peter Scherzer Eve Mayer
Joseph M. Sweeney Dan and Rosie Schiavone Rikki Michaels
Robert Vermeulen Frances Sharpless Fred Justin Morgan
Linda C. Stanley Leslie Pepper
Downbeat John Staugaitis Richard Scherr
Naja Armstrong Stephanie Walker Diane J. Scrima
Melissa Auf der Maur Ann and Douglas William M. Lana Sheer
David Behl Wayne and Dagmar Yaddow Anna Shuster
Jeffrey Berns Shari Siegel
Matthew C. Bernstein Prelude John Simpson
Marvin Bielawski Anonymous (2) J. Waldhorn
Evangeline Caliandro Fred Allen and Erica De Mane Tija Spitsberg and
Dora Jeanette Canaday Sharon B. Applegate David J. Weiner
Judith Chaifetz Mr. and Mrs. Louis Baker Lynda Youmans, in honor of
Lisa Aber Cohen Katherine Berry Drew Youmans TŌN ’19
Karen and Mark Collins, in honor Laurence Blau and Karen Elizabeth Zubroff, in honor of
of Cameron Collins TŌN ‘22 Johnsen John D. Murphy
James Costello and Jaura Frank Brice, Jr.
Cannamela Geraldine Brodsky *Includes gifts and pledges to
Jefferson Cotton Deloss Brown the Bard Music Festival and
Thomas De Stefano Lael Burns The Orchestra Now Gala
John and Remy Duffy, in honor of Harriet D. Causbie
Luis Herrera Albertazzi TŌN ’23 Marsha S. Clark This list represents gifts
Priscilla Duskin Maria V. Collins made to The Orchestra Now
Mr. and Mrs. Peter Goss Elizabeth Davis from July 1, 2020 to August
Michaela Harnick José M. de Jesús, Jr. 31, 2021.
Terrell K. Holmes Andrea N. Driscoll
Malcolm G. Idelson Wendy Faris For information on
Neil King and Diana King Mark L. Feinsod ’94 contributing to TŌN, or to
David Kraskow and Liz Hess Claudia Forest update your listing, please
Erika Lieber Miriam Frischer contact Nicole M. de Jesús
Martin and Lucy Murray Albert Gottlieb at ndejesus@bard.edu or
Stan and Bette Nitzky Katka Hammond 845.758.7988.
Shirley Perle Amy Hebard
Robert Renbeck Karen and Perry Hoag, in honor Thank you for your
Jing L. Roebuck, in honor of Eva of Bram Margoles TŌN ’22 and partnership!
Roebuck TŌN ’22 Katelyn Hoag TŌN ’22
Brigitte Roepke Al Jacobsen
10 / SEP 2021 / THE ORCHESTRA NOWCONCERT DEEP DIVE
The Administration
THE ORCHESTRA NOW
Artistic Staff Administrative Staff Viktor Tóth ’16 TŌN ’21
Leon Botstein Music Director Kristin Roca Executive Director Production Coordinator
James Bagwell Associate Brian J. Heck Director of Matt Walley TŌN ’19 Program
Conductor and Academic Marketing Coordinator, Admissions
Director Nicole M. de Jesús ’94 Director of Counselor, and Guest Artist
Jindong Cai Associate Development Relations
Conductor Leonardo Pineda ’15 TŌN ’19
Zachary Schwartzman Resident Director of Youth Educational Concert Crew
Conductor Performance and South Marlan Barry Audio Producer
Andrés Rivas GCP ’17 Assistant American Music Curator and Recording Engineer
Conductor Sebastian Danila Music Preparer Emily Beck Stage Manager
Erica Kiesewetter Professor of and Researcher Nora Rubenstone Stage
Orchestral Practice Marielle Metivier Orchestra Manager
Bridget Kibbey Director of Manager Miles Salerni Rehearsal
Chamber Music and Arts Benjamin Oatmen Librarian Coordinator
Advocacy
BARD COLLEGE
Board of Trustees Mark N. Kaplan Life Trustee Senior
James C. Chambers ’81 Chair George A. Kellner Administration
Emily H. Fisher Vice Chair Mark Malloch-Brown Leon Botstein President
George F. Hamel Jr. Vice Chair Fredric S. Maxik ’86 Coleen Murphy Alexander
Elizabeth Ely ’65 Secretary; Life Juliet Morrison '03 ’00 Vice President for
Trustee James H. Ottaway Jr. Life Trustee Administration
Stanley A. Reichel ’65 Treasurer; Hilary Pennington Myra Young Armstead Vice
Life Trustee Martin Peretz Life Trustee President for Academic
Fiona Angelini Stewart Resnick Life Trustee Inclusive Excellence
Roland J. Augustine David E. Schwab II ’52 Jonathan Becker Executive Vice
Leonard Benardo Roger N. Scotland ’93 President; Vice President for
Leon Botstein+ President of the Alumni/ae Trustee Academic Affairs; Director,
College Annabelle Selldorf Center for Civic Engagement
Mark E. Brossman Mostafiz ShahMohammed ’97 Erin Cannan Vice President for
Jinqing Cai Jonathan Slone ’84 Civic Engagement
Marcelle Clements ’69 Life Alexander Soros Deirdre d’Albertis Vice President
Trustee Jeannette H. Taylor+ and Dean of the College
The Rt. Rev. Andrew M. L. James A. von Klemperer Malia K. Du Mont ’95 Vice
Dietsche Honorary Trustee Brandon Weber ’97 President for Strategy and
Asher B. Edelman ’61 Life Trustee Alumni/ae Trustee Policy; Chief of Staff
Robert S. Epstein ’63 Susan Weber Peter Gadsby Vice President
Barbara S. Grossman ’73 Patricia Ross Weis ’52 for Enrollment Management;
Alumni/ae Trustee Registrar
Andrew S. Gundlach + ex officio Mark D. Halsey Vice President
Matina S. Horner+ for Institutional Research and
Charles S. Johnson III ’70 Assessment
TON.BARD.EDU / SEP 2021 / 11THE ORCHESTRA NOW
Max Kenner ’01 Vice President Taun Toay ’05 Senior Vice Dumaine Williams ’03 Vice
for Institutional Initiatives; President; Chief Financial President for Student Affairs;
Executive Director, Bard Officer Dean of Early Colleges
Prison Initiative Stephen Tremaine ’07 Executive
Debra Pemstein Vice President Director, Bard Early College;
for Development and Vice President for Early
Alumni/ae Affairs Colleges
THE RICHARD B. FISHER CENTER FOR THE PERFORMING ARTS
Advisory Board Administration Bard Music Festival
Jeanne Donovan Fisher Chair Liza Parker Executive Director Irene Zedlacher Executive
Carolyn Marks Blackwood Catherine Teixeira General Director
Leon Botstein+ Manager Raissa St. Pierre ’87 Associate
Stefano Ferrari Brynn Gilchrist '17 Executive Director
Alan Fishman Assistant
Neil Gaiman Kayla Leacock Summer Hiring Theater & Performance
S. Asher Gelman ’06 Manager and Dance Programs
Rebecca Gold Milikowsky Jennifer Lown Program
Anthony Napoli Artistic Direction Administrator
Denise S. Simon Leon Botstein President, Bard
Martin T. Sosnoff College Production
Toni Sosnoff Gideon Lester Artistic Director Jason Wells Director of
Felicitas S. Thorne Emerita Caleb Hammons Director Production
Taun Toay ’05+ of Artistic Planning and Stephen Dean Associate
Andrew E. Zobler Producing Production Manager
Catherine Teixeira General Andrea Sofia Sala Production
Bard Music Festival Manager Administrator
Board of Directors Nunally Kersh SummerScape Rick Reiser Technical Director
Denise S. Simon Chair Opera Producer Josh Foreman Lighting
Roger Alcaly Hannah Gosling-Goldsmith Supervisor
Leon Botstein+ Artist Services and Programs Moe Schell Costume Supervisor
Michelle R. Clayman Manager Danny Carr Video Supervisor
David Dubin Thai Harris Singer ‘20 Eric Sherman Audio Supervisor
Robert C. Edmonds '68 Post-Baccalaureate Fellow,
Jeanne Donovan Fisher Producing Assistant Communications
Christopher H. Gibbs+ Mark Primoff Associate Vice
Paula K. Hawkins Development President of Communications
Thomas Hesse Debra Pemstein Vice President Darren O’Sullivan Senior Public
Susan Petersen Kennedy for Development and Alumni/ Relations Associate
Barbara Kenner ae Affairs Amy Murray Videographer
Gary Lachmund Alessandra Larson Director of
Thomas O. Maggs Development Publications
Kenneth L. Miron Kieley Michasiow-Levy Individual Mary Smith Director of
Christina A. Mohr Giving Manager Publications
James H. Ottaway Jr. Michael Hofmann VAP '15 Cynthia Werthamer Editorial
Felicitas S. Thorne Development Operations Director
Siri von Reis Manager
Kathleen Vuillet Augustine Elise Alexander '19 Development
Assistant
+ ex officio
12 / SEP 2021 / THE ORCHESTRA NOWCONCERT DEEP DIVE
Marketing and Erik Long Box Office Supervisor Facilities
Audience Services Brittany Brouker Marketing Mark Crittenden Facilities
David Steffen Director of Manager Manager
Marketing and Audience Garrett Sager Digital Marketing Ray Stegner Building Operations
Services Assistant Manager
Nicholas Reilingh Database and Jesika Berry Senior House Chris Lyons Building Operations
Systems Manager Manager Assistant
Maia Kaufman Audience and Rachael Gunning ’19 House Robyn Charter Fire Panel
Member Services Manager Manager Monitor
Paulina Swierczek VAP '19 David Bánóczi-Ruof '22 Assistant Bill Cavanaugh Environmental
Audience and Member House Manager Specialist
Services Assistant Manager Hazaiah Tompkins '19 Drita Gjokaj Environmental
Collin Lewis APS ‘21 Audience Community Space Manager Specialist
and Member Services Oksana Ryabinkina
Coordinator Environmental Specialist
TON.BARD.EDU / SEP 2021 / 13THE ORCHESTRA NOW About 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 Founded in 1860, Bard College in Annandale-on-Hudson, New York, is an independent, residential, coeducational college offering a four-year BA program in the liberal arts and sciences and a five-year BA/BS degree in economics and finance. The Bard College Conservatory of Music offers a five-year program in which students pursue a dual degree—a BMus and a BA in a field other than music. Bard offers MMus degrees in conjunction with the Conservatory and The Orchestra Now, and at Longy School of Music of Bard College in Cambridge, Massachusetts. Bard and its affiliated institutions also grant the following degrees: AA at Bard Early Colleges, public schools with campuses in New York City, Baltimore, Cleveland, New Orleans, Washington, D.C., and Newark, New Jersey, and at three Bard Microcolleges; AA and BA at Bard College at Simon’s Rock: The Early College, in Great Barrington, Massachusetts, and through the Bard Prison Initiative at six correctional institutions in New York State; MA in curatorial studies, MS and MA in economic theory and policy, MEd in environmental education, and MS in environmental policy and in climate science and policy at the Annandale campus; MFA 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; and BA degrees at Bard College Berlin: A Liberal Arts University. 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. For more information about Bard College, visit bard.edu. 14 / SEP 2021 / THE ORCHESTRA NOW
CONCERT DEEP DIVE
Upcoming TŌN Events
Slatkin Conducts Gil Shaham &
Brahmsiana Julia Perry
SEPTEMBER 18 & 19 NOVEMBER 13 & 14
SATURDAY at 8 PM | SUNDAY AT 2 PM SATURDAY at 8 PM | SUNDAY AT 2 PM
Leonard Slatkin conductor Leon Botstein conductor
Gil Shaham violin
Cindy McTee Circuits
Brahms (arr. Slatkin) Brahmsiana Scott Wheeler Birds of America
WORLD PREMIERE WORLD PREMIERE
Mussorgsky (orch. Ravel, arr. Slatkin) Julia Perry Stabat Mater
Pictures at an Exhibition George Frederick Bristow
Symphony No. 4, Arcadian
Saturday Serenade:
Baroque to Classical Handel’s Messiah
DECEMBER 11 & 12
at Clermont SATURDAY at 8 PM | SUNDAY AT 2 PM
SATURDAY, SEPTEMBER 25 at 4 PM
Leon Botstein conductor
at Clermont State Historic Site in Vocal soloists from the Bard
Germantown, NY Conservatory Graduate Vocal Arts
Program
Taking inspiration from the architecture Bard Festival Chorale
and landscape of the Clermont estate, Bard College Chamber Singers
members of The Orchestra Now perform James Bagwell choral director
a free community concert of baroque
and classical works by Bach, Mozart, Handel Messiah
and others, that celebrates life along the
Hudson. Introduced by Pieter Estersohn,
president of Friends of Clermont.
Strass’ Merry Pranks
& Bruckner's Fifth
OCTOBER 1 & 2
FRIDAY at 8 PM | SATURDAY at 5 PM
All seats $10!
Leon Botstein conductor
R. Strauss Till Eulenspiegel’s
Merry Pranks
Bruckner Symphony No. 5
TON.BARD.EDU / SEP 2021 / 15Bard's Orchestral Masters
TON.BARD.EDU
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