the richard b. fisher center

for the performing arts at bard college

Gustav Mahler’sSymphony No. 2Featuring members of The American Symphony OrchestraBard College Conservatory Orchestra Longy Conservatory Orchestra

April 26 and 27, 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 celebrates 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.

©2013 Bard College. All rights reserved.Cover Gustav Mahler. ©Boosey and Hawkes Collection/ArenaPal/The Image WorksPage 22 The Bard College Conservatory Orchestra in concert at Alice Tully Hall ©Cory WeaverInside back cover ©Peter Aaron ’68/Esto

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

Chair Jeanne Donovan Fisher

President Leon Botstein

presents

Members of The American Symphony OrchestraBard College Conservatory OrchestraLongy Conservatory Orchestra

Leon Botstein, Music Director

Gustav Mahler (1860–1911)

Symphony No. 2 in C Minor(“Resurrection”)Allegro maestosoAndante moderatoIn ruhig fließender BewegungUrlicht. Sehr feierlich, aber schlichtIm Tempo des Scherzo

Heather Buck, sopranoJamie Van Eyck, mezzo-sopranoBard College Chamber Singers, Bard Festival Chorale, and Cappella FestivaJames Bagwell, chorus master

Sosnoff TheaterFriday, April 26, and Saturday, April 27 at 8 pmPreconcert talk at 7 pm by Christopher H. Gibbs

Running time for this concert is approximately 80 minutes. It will be performed without intermission.

A Letter from Leon Botstein

Ten years ago, Bard was proud to open the Richard B. Fisher Center for the Performing Arts.The events celebrating this opening included a performance of Gustav Mahler’s ThirdSymphony. The work had been chosen as a symbolic continuation of the 2002 Bard MusicFestival, which focused on the work and world of Mahler. Many of the leading donors to theCenter, including one of the finest individuals I have ever known, the late Richard B. Fisher,were enthusiasts for the music of Mahler. We thought, therefore, that it would be fitting toinclude a work by the composer in the 10th anniversary celebration of the Center, as a trib-ute to all who have supported the Center, to the artists and students who have studied andperformed here, and to our loyal audiences. But we did not want to mark the anniversarywith a repeat. Rather, we have chosen the other great choral symphony of Mahler, hisSecond Symphony, an extremely beloved work by audiences worldwide.

This performance also pays tribute to the teaching of music at Bard and its accomplish-ments over the past decade. The performers you see on stage consist of members of theAmerican Symphony Orchestra, some of whom teach at Bard; students of The Bard CollegeConservatory of Music; and students from the Longy School of Music of Bard College. Suchside-by-side performances are extremely gratifying experiences for all participants andexemplify teaching and learning at its best.

Let this concert be a glorious harbinger for the next 10 years.

—Leon Botstein, President, Bard College; Music Director, American Symphony Orchestra

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Notes on the Program

Gustav MahlerBorn in Kalischt (Kalisté), Bohemia, on July 7, 1860

Died in Vienna on May 18, 1911

Symphony No. 2 in C Minor (“Resurrection”) (1888–94)

List-making figures among the amusing games that many music lovers enjoy playing:lists of great performances one has heard; great recordings collected; favorite com-posers, pieces, performers, and so forth. Mahler’s Second Symphony often looms high insuch accounts, especially when musicians and audiences recount particularly memo-rable experiences of the work.

Testimonials to the power of this symphony began with its premiere in Berlin under thecomposer’s direction in December 1895. Mahler’s sister Justine recalled: “The triumphgrew after every movement. Such enthusiasm is seen only once in a lifetime! AfterwardI saw grown men weeping and youths falling all over one another.” The Swiss composerErnest Bloch heard a performance a few years later and wrote: “For me the impressionwill never be effaced, nor will it be for anyone fortunate enough to have shared in it. Theexcited audience, transported and oblivious to its surroundings, gave the composer anenthusiastic ovation; it sensed the presence of an independent work, a work comingfrom the heart which spoke directly to their hearts.”

The effect on younger Viennese composers, Mahler’s greatest admirers, was profound.Arnold Schoenberg stated that he was “overwhelmed, completely overwhelmed” by thepiece: “I remember distinctly that the first time I heard Mahler’s Second Symphony I wasseized, especially in certain passages, with an excitement which expressed itself evenphysically in the violent throbbing of my heart.” Alban Berg said that his first encounterwith it was so intimate he felt the need to confess “infidelity” to his fiancée.

The Second Symphony apparently held a special place for Mahler himself as well. Hechose it as the first of his symphonies to conduct in Vienna and also as his farewell tothe city in 1907. It was likewise the first that he presented in Munich, New York, and Paris.He told his confidant Natalie Bauer-Lechner: “Never again will I attain such depths andheights, as Ulysses only once in his life returned from Tartarus. One can create only onceor twice in a lifetime works on such a great subject. Beethoven in his C minor [FifthSymphony] and his Ninth, Goethe with Faust, Dante with the Divine Comedy, etc.Without putting myself on their level, or comparing myself to them, I am amazed that I

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was able to write this that summer in Steinbach! It was only thanks to the long inter-ruption that had been forced on me, after which the waters gushed forth, as they dofrom any obstructed pipe.”

Despite many distinguished recordings, including ones by Mahler’s protégés Bruno Walterand Otto Klemperer, a work of this size and ambition must be experienced live to do it jus-tice. The Second Symphony embodies the Wagnerian ideal, manifested at the BayreuthFestival, of a community coming together for what amounts to a kind of secular religion.This attitude may be one reason that Mahler stipulated a five-minute pause after the firstmovement, a time not for late seating or feet shuffling, but rather for introspection.

In many ways the overwhelming impact of the Second Symphony is hardly surprising. Itprojects a powerful narrative of life over death that resonates with philosophical issuesMahler explored throughout his career. It is a monumental piece written for an enor-mous orchestra and capped off by a magnificent chorus that is reserved until the end ofthe final movement. Indeed, after completing the work Mahler remarked: “What effect Icould have achieved if I had used the chorus and organ earlier, but I wanted to save themfor the climax and would rather relinquish its effect in other places.” As a great conduc-tor, especially of opera, Mahler certainly knew how to gauge effects; he was well awareof what was dramatically compelling. He knew how to build to a shattering conclusion.

Mahler came to expect the success of his Second with audiences. After performing thework in Paris the year before his death in 1911, he stated: “My Second Symphony occupiesa special place among my works: If it is successful anywhere, this means nothing for myother works!” And yet the effect, power, and success of the symphony might not havebeen predicted given its unusually protracted genesis. The work gave Mahler great trou-ble over the course of the nearly seven years he took to write it, a longer period than forany of his other symphonies. Moreover, when he began composing the symphony earlyin 1888 he had no central vision of its content or structure and, most crucially, did notknow how it would all end.

In November 1889 he had premiered a “Symphonic Poem in Two Parts” in Budapest, wherehe served at the time as director of the Royal Hungarian Opera. This five-movement workwould later lose its second movement and be retitled “Symphony in D Major,” his “First.”The year before Mahler had already begun composing a “Symphony in C Minor,” of whichhe drafted an enormous opening movement, as well as two themes for a second one. Atsome later point he decided to rename this movement Todtenfeier (Funeral Rites). It wasbased, at least in part, on a ballad entitled Dziady (Forefathers’ Eve), by the celebratedPolish poet Adam Mickiewicz, which had recently been translated into German byMahler’s close friend Siegfried Lipiner and published as Todtenfeier. Mahler later saidthat in this massive funeral march “it is the hero of my D-major [First] Symphony whom I bear to the grave there, and whose life I catch up, from a higher standpoint, in apure mirror.”

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Mahler was extraordinarily busy as a rising young conductor and he set aside the newsymphony for five years. During the hiatus, in 1891, he played the Todtenfeier movementon the piano for the great conductor Hans von Bülow, who had led the premieres ofWagner’s Tristan und Isolde and Die Meistersinger, and who had become an importantsupporter of the young composer. But when Mahler looked up from the keyboard, he sawvon Bülow covering his ears; afterwards his mentor stated that the work made Tristansound like a Haydn symphony.

The “long interruption” Mahler mentioned to Bauer-Lechner ended in 1893, when Mahlertook up the symphony again, composing the second movement, which makes use of theopening dance melody and lush cello theme he had sketched years earlier. He alsoorchestrated two songs that would become the next two movements in the symphony.Once again, Mahler called upon poetry from the early-19th-century folk collection DesKnaben Wunderhorn (The Youth’s Magic Horn). The composer was obsessed with thesepoems for more than a decade, and in addition to his many vocal settings with piano ororchestra, he also placed them in his early symphonies.

The songs employed in the Second Symphony were originally written for piano andvoice, but joined with the Andante to provide a three-movement intermezzo leading tothe finale with organ, two vocal soloists, and chorus. The third movement is a purelyinstrumental version, much expanded, of the ironic song “St. Anthony of Padua’s Sermonto the Fishes.” The fourth movement, “Urlicht,” retains the vocal part, sung by a mezzo-soprano. Yet Mahler was baffled about how to end the symphony. The breakthroughcame in March 1894 when he attended a memorial service in the same Hamburg churchwhere he would himself be baptized three years later. The occasion—a “Todtenfeier,” infact—honored von Bülow, who had died in Cairo the previous month. “The way in whichI received inspiration for the Finale is deeply indicative of the essence of musical cre-ation,” Mahler would later explain, saying:

I had long considered the idea of employing a chorus for the last movement,and only the fear that this might be seen as a superficial imitation ofBeethoven made me hesitate time and again. Then von Bülow died, and I wentto his funeral. My mood as I sat there thinking of the man who had died waswholly in tune with the work that was growing in my mind. Suddenly the choirchanted from the organ-loft the Klopstock chorale Auferstehn! It was as if I hadbeen struck by lightning—the whole work now stood clearly before me! Suchis the flash for which the creator waits, such is sacred inspiration!

After that I had to create in sound what I had just experienced. Nonetheless, ifI had not already been carrying the work within me, how could I have experi-enced this moment? Weren’t thousands of other people with me in thechurch? That’s how it always is with me. I only compose when I truly experi-ence something, and I only experience it when I create!

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And so Mahler crafted the finale of the Second Symphony using a poem by the 18th-century German writer Friedrich Gottlieb Klopstock, which he heavily edited and vastlyexpanded with his own words. This final movement begins with a cataclysmic dischord,comparable to the famous “terror fanfare” (as Wagner called it) with which Beethovenopened the finale of his Ninth Symphony. And indeed it was Beethoven’s final symphonythat served as a model in various other respects. As in the Ninth, Mahler brings backthemes from the earlier movements at the opening of the finale, thus lending unity to thedisparate work composed over so many years. He worked on this last movement in thesummer of 1894 at Steinbach, in Austria’s majestic Salzkammergut region. The symphonywas completed in December 1894 and Mahler conducted the first three movements(reversing the order of the second and third) with the Berlin Philharmonic in March 1895.On this occasion the music was received poorly. He presented the premiere of the completeSymphony with the same orchestra in December and although the critical response wasnot much better, the general audience response was apparently enthusiastic.

If the preceding narrative gives something of the story behind the lengthy creation of thesymphony, there is also a story, or several of them, within the symphony itself. Mahler vacillated about creating “programs” for his works (usually doing so after they were com-posed), or divulging them once he had. (“Down with programs!” became his mantra.) Ashe grew increasingly reluctant to say much of anything about his music, perhaps partlyto distance himself from the music of his friend and rival Richard Strauss, he withdrewthose he had devised for his first three symphonies.

About the Second Mahler gave various accounts, some in private as well as one for pub-lic consumption. All sketch a fairly similar scheme for the piece. Not long after finishingthe symphony, he wrote to the journalist Max Marschalk that the work grapples with thequestion: “‘Why did you live? Why did you suffer? Is it all nothing but a huge, frightfuljoke?’ We must answer these questions in some way, if we want to go on living—indeed,if we are to go on dying! He into whose life this call has once sounded must give ananswer; and it is his answer I give in the final movement.” The explanation Mahler gavefor public consumption in 1900 was originally intended for a Munich performance butwas suppressed in the end. It was printed, however, for a presentation the next year inDresden. Somewhat less well known than his earlier private accounts, it is excerpted here:

First Movement: We are standing near the grave of a beloved man. His whole life,his struggles, his sufferings and accomplishments on earth pass before us. Andnow, in this solemn and deeply stirring moment, when the confusion anddistractions of everyday life are lifted like a hood from our eyes, a voice of awe-inspiring solemnity chills our heart, a voice that, blinded by the mirage ofeveryday life, we usually ignore: “What next?” it says. “What is life and what isdeath? Will we live on eternally? Is it all an empty dream or do our life and deathhave a meaning?” And we must answer this question, if we are to go on living.

The next three movements are conceived as intermezzi.

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Second Movement: A blissful moment in the dear departed’s life and asad recollection of his youth and lost innocence.

Third Movement: A spirit of disbelief and negation has seized him. Heloses his perception of childhood and the profound strength that love cangive. He despairs both of himself and of God. The world and life begin to seemunreal. Utter disgust for every form of existence and evolution seizes him inan iron grasp, torments him until he utters a cry of despair.

Fourth Movement: Urlicht (Primeval Light) from the Knaben Wunderhorn.The stirring words of simple faith sound in his ears: “I come from God and Iwill return to God!”

Fifth Movement: Once more we must confront terrifying questions, andthe atmosphere is the same as at the end of the third movement. The voiceof the Caller is heard. The end of every living thing has come, the lastjudgment is at hand, and the horror of the day of days has come upon us. Theearth trembles, the graves burst open, the dead arise and march forth inendless procession. The great and the small of this earth, the kings and thebeggars, the just and the godless, all press forward. . . . The last trumpetsounds. . . . In the eerie silence that follows we can just barely make out adistant nightingale, a last tremulous echo of earthly life. The gentle sound ofa chorus of saints and heavenly hosts is then heard: “Rise again, yes, rise againthou wilt!” The God in all His glory comes into sight. A wondrous light strikesus to the heart. All is quiet and blissful. Lo and behold: There is no judgment,no sinners, no just men, no great and small; there is no punishment and noreward. A feeling of overwhelming love fills us with blissful knowledge andilluminates our existence.

—Christopher H. Gibbs, James H. Ottaway Jr. Professor of Music, Bard College

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Who’s Who

Leon Botstein ConductorThis season, Leon Botstein celebrates his 20th anniversaryas music director and principal conductor of the AmericanSymphony Orchestra. He is artistic codirector of theacclaimed SummerScape and Bard Music festivals, whichtake place at Bard College’s Richard B. Fisher Center for thePerforming Arts, designed by Frank Gehry. Botstein is alsoconductor laureate of the Jerusalem Symphony Orchestra,where he served as music director from 2003–11. He hasbeen president of Bard College in New York since 1975.

Botstein has an active schedule as a guest conductor all over the world, and can be heardon numerous recordings, including operas by Strauss, Dukas, and Chausson, as well asworks of Shostakovich, Dohnányi, Liszt, Bruckner, Bartók, Hartmann, Reger, Glière,Szymanowski, Brahms, Copland, Sessions, Perle, and Rands. Many of his live performanceswith the American Symphony Orchestra are now available for download on the Internet.

Leon Botstein is highly regarded as a music historian. He is the editor of The MusicalQuarterly and the author of numerous articles and books. In 2011 he gave 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 CentennialAward, as well as the Cross of Honor, First Class, from the government of Austria. In 2009

he received the Carnegie Foundation’s Academic Leadership Award, and in 2011 wasinducted into the American Philosophical Society. He is also the 2012 recipient of theLeonard Bernstein Award for the Elevation of Music in Society.

James Bagwell Chorus MasterJames Bagwell maintains an active interna-tional schedule as a conductor of choral, oper-atic, and orchestral music. In 2009 he wasappointed music director of the CollegiateChorale and principal guest conductor of theAmerican Symphony Orchestra, leading theASO in concerts at Carnegie Hall during the2011–12 season. Some highlights of this past

season included Bellini’s rarely performed opera Beatrice di Tenda at Carnegie Hall, andhis conducting of Kurt Weill’s Knickerbocker Holiday at Alice Tully Hall, which wasrecorded live for Gaslight Records. In July 2011 he prepared the Collegiate Chorale for

©joanne savio

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three concerts at the Verbier Festival in Switzerland, and in 2012 they traveled to Israeland the Salzburg Festival for performances with the Israel Philharmonic.

Heather Buck SopranoHeather Buck has established herself internationally as a consummate singing actress,“combining an agile, liquid soprano, a bright, natural stage presence, and the timing ofan expert comedienne” (Opera News). She performed as Lulu Baines in Elmer Gantry withFlorentine Opera, which was recorded for the Naxos label (2011) and received twoGrammy Awards. Her engagements for 2012–13 include a return to Virginia Opera asLeila in Les pêcheurs de perles; to Opera Naples as Tytania in A Midsummer Night’s Dream;reprising the role of Medea in Medeamaterial by Pascal Dusapin with Teatr Wielki, OperaNarodowa (Warsaw, Poland); and singing as soloist in works of Holliger and Schubertwith the Riverside Symphony (New York).

Other recent engagements include her return to the roster of the Metropolitan Opera forits production of Nixon in China; her reprisal of the role of Angel in Dusapin’s Faustus: TheLast Night at the Concertgebouw; her portrayal of Zerbinetta in Ariadne auf Naxos withToledo Opera; and her performance of the title role in the American premiere ofWolfgang Rihm’s monodrama Proserpina with Spoleto Festival USA. She holds a masterof music degree from Yale, where she studied with Doris Yarick-Cross, and a bachelor’sdegree in music from Tufts University. She also has a bachelor of fine arts from theSchool of the Museum of Fine Arts in Boston.

Jamie Van Eyck Mezzo-sopranoWith polished, elegant vocalism, and committed dramatic portrayals on stage, Americanmezzo-soprano Jamie Van Eyck appeals to audiences and critics alike as a compellingyoung artist in opera and concert. Last summer, she debuted with the Princeton Festivaland Bar Harbor Music Festival, and returned to Bard SummerScape for concerts of Frenchsongs and arias, including Debussy’s Chansons de Bilitis. This season, she performsHandel’s Messiah with the Lexington Philharmonic, and Cherubino in Le nozze di Figarowith Arizona Opera and the Bar Harbor Music Festival.

Recent engagements include a return to Madison Opera as Olga in Eugene Onegin,repeat performances at the Dallas Museum of Art and the Wolf Trap FoundationDiscovery Series, and a debut with the Five Boroughs Music Festival in New York City inthe premiere of the Five Borough Songbook. In concert, Van Eyck sang Beethoven’s NinthSymphony with the Wisconsin Chamber Orchestra and Messiah with the PhoenixSymphony. In 2011 her second recording with Bridge Records of New York, titled CompleteCrumb Edition, Volume 15, was praised as “consistently wonderful” and “not to be missed”by Classics Today, and by The Classical Review as a performance rich with “immense tech-nical skill and musical panache.”

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The American Symphony OrchestraThe American Symphony Orchestra (ASO) was founded 50 years ago by LeopoldStokowski, with the specific intention of making orchestral music accessible and afford-able for everyone. Under music director Leon Botstein, the ASO has kept Stokowski’s mis-sion intact, and has also become a pioneer in what the Wall Street Journal called “a newconcept in orchestras,” presenting concerts curated around various themes drawn fromthe visual arts, literature, politics, and history, and unearthing rarely performed master-works for well-deserved revival. These concerts are performed in the Vanguard Series atCarnegie Hall.

In addition, the orchestra performs in the celebrated concert series Classics Declassifiedat Peter Norton Symphony Space, and is the resident orchestra of The Richard B. FisherCenter for the Performing Arts at Bard College, where it appears in a winter subscriptionseries as well as Bard’s annual SummerScape and the Bard Music Festival. In 2010, theAmerican Symphony became the resident orchestra of the Collegiate Chorale, perform-ing regularly in the Chorale’s New York concert series. The orchestra has made severaltours of Asia and Europe, and has performed in countless benefits for organizationsincluding the Jerusalem Foundation and PBS. ASO’s award-winning music education pro-gram, Music Notes, integrates symphonic music into core humanities classes in highschools across the tristate area.

In addition to many albums released on the Telarc, New World, Bridge, Koch, andVanguard labels, many live performances by the American Symphony are now availablefor digital download. In many cases, these are the only existing recordings of some of therare works that have been rediscovered in ASO performances.

Longy School of Music of Bard CollegeLongy School of Music of Bard College, founded as Longy School of Music in 1915 byrenowned oboist Georges Longy, is a degree-granting conservatory and school of prepara-tory and continuing studies located in Harvard Square in Cambridge, Massachusetts. Theschool serves 225 undergraduate and graduate students from 37 states and 21 countries,and nearly 1,000 children and adults from the Greater Boston area. For all students, Longyprovides a distinguished faculty that promotes profound musical understanding and tech-nical mastery, encourages growth of imagination, and fosters inquiry about the role ofmusic and the musician in the larger world. With a curriculum rooted in the traditions ofWestern music, Longy’s mission is to prepare musicians to make a difference in the world.

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The Bard College Conservatory of MusicRobert Martin, Director

Recognized as one of the finest conservatories in the United States, The Bard CollegeConservatory of Music, founded in 2005, is guided by the principle that musicians shouldbe broadly educated in the liberal arts and sciences to achieve their greatest potential.All undergraduates complete two degrees over a five-year period, a bachelor of musicand a bachelor of arts in a field other than music.

The Graduate Vocal Arts Program is a two-year master of music degree conceived bysoprano Dawn Upshaw. The course work is designed to support a broad-based approachto a singing career that extends from standard repertory to new music. Alongsideweekly voice lessons and diction and repertory courses is training in acting, as well ascore seminars that introduce and tie together the historical/cultural perspective, analyt-ical tools, and performance skills that distinguish vocal and operatic performance at thehighest level.

The Gradute Conducting Program is a new two-year curriculum that culminates in themaster of music degree. The program is designed and directed by Harold Farberman,founder and director of the Conductors Institute at Bard; James Bagwell, director ofBard’s undergraduate Music Program and music director of the Collegiate Chorale; andLeon Botstein, president of Bard College, music director and principal conductor of theAmerican Symphony Orchestra, and conductor laureate of the Jerusalem SymphonyOrchestra.

Bard College Conservatory Orchestra, Leon Botstein, music director, performs at leastfour times each year in The Richard B. Fisher Center for the Performing Arts at BardCollege as part of the Conservatory Sundays concert series. In May the orchestra willmake a return appearance at Alice Tully Hall in a concert of works by Prokofiev,Shostakovich, and Stravinsky, conducted by Leon Botstein. The orchestra also performsannually at the Eastern NY Correctional Facility as part of the Bard Prison Initiative. InJune 2012 the orchestra, conducted by Botstein, toured Asia for three weeks, performingin Hong Kong, Taipei, Shanghai, Beijing, Guangzhou, Wuhan, and Tianjin.

Bard College Chamber SingersFormed in 2002 by music director James Bagwell, Bard College Chamber Singers is anauditioned choir of Bard students and alumni/ae from all programs of the College. In thepast few seasons, the Chamber Singers have performed Arvo Pärt’s Magnificat, MauriceDurufle’s Requiem, and Mozart’s Requiem in concert at the Fisher Center’s SosnoffTheater. During the spring of 2010, the group filled the role of the chorus in BardCollege’s Graduate Vocal Arts Program’s performances of two original operas,Vinkensport by David Little and Song from the Uproar: The Lives and Deaths of IsabelleEberhardt by Missy Mazzoli, as well as in a production of Maurice Ravel’s L’enfant et les

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sortilèges. In October 2012, the Chamber Singers performed Mahler’s Eighth Symphonyat Carnegie Hall with the American Symphony Orchestra, and in December joined theBard College Symphonic Chorus performing Beethoven’s Mass in C.

Bard Festival ChoraleThe Bard Festival Chorale was formed in 2003 as the resident choir of the Bard MusicFestival. It consists of the finest ensemble singers from New York City and surroundingareas. Many of its members have distinguished careers as soloists and as performers ina variety of choral groups; all possess a shared enthusiasm for the exploration of newand unfamiliar music.

Cappella Festiva Chamber Choir Cappella Festiva Chamber Choir is in its 38th year of offering beautiful performances inthe Hudson Valley. The ensemble was founded by Jameson Marvin, and was laterdirected by Luis Garcia-Renart and James Bagwell. Christine R. Howlett was appointedartistic director in 2006. An auditioned chorus, Cappella Festiva performs regularly inPoughkeepsie and Millbrook and is often invited to perform with professional orches-tras. The ensemble has been invited many times to Carnegie Hall, most recently underthe baton of John Rutter. The choir has performed Beethoven’s Ninth Symphony, Mozart’sRequiem, Prokofiev’s Alexander Nevsky, and many other works with the Hudson ValleyPhilharmonic, Randall Fleischer, conductor. Cappella Festiva has been honored to singwith the American Symphony Orchestra and the Bard choruses, recently performingMendelssohn’s Elijah and Brahms’s Requiem. The ensemble also supports the SummerChoral Festival and the Cappella Festiva Treble Choir for treble singers ages 10 to 16, codi-rected by Christine R. Howlett and Susan Bialek. Ronald Bemrich is the choir’s guest con-ductor this spring.

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SopranoWendy Baker*Jennifer Bates*Aja Brady-Saalfeld+Samantha Burke**Alyssa Caplan+Eileen Clark*Lauren D’Ottavio**Elizabeth Darnell**Susie Deane+Emily Donato**Allison Emanuel**Lori Engle*Natasha Friedman**Jennifer Gliere*Eileen Goodrich**Laura Green*Tina Hastings+Kristen Jemiolo+Marta Knapp+Ann Lawson+Tanya Leibman**Rosemary Limburg**Kathleen McNutt+Janice Meltzer+Heather Meyer*Susan Phillips+Amy Pickering+Rachel Rosales*Liz Sherman**Elisa Singer*Ellen Taylor Sisson*Bernice Slater+Megan Snyder**Christine Sperry*

Ariana Stultz**Rebecca Swanberg**Alice Thornburgh+Annie Trowbridge**Katherine Wessinger*Liz Wilmerding+

AltoCharlotte Ames**Jane Ann Askins*Teresa Buchholz*Theodora Budnik+Amanda Burdine+Misty Decker+Dani Dobkin**Katherine Emory*Chelsea Frankel**B. J. Fredricks*John Garlid**Yonah Gershator*Viola Hathaway+Audrey Helffrich+Molly Hickman**Keiko Kai*Katherine Korsak*Rachele Levy+Sarah Longstreth**Mary Marathe*Ali Overing**Guadalupe Peraza*Jeanette Peterson+Page Redding**Carolyn Reid+Hannah Rommer++Laura Russell+Heidi Schnarr++

Anastasia Serdsev**Jo Shute+Lois Skelly+Lily Smith**Irene Snyder*Raina Sokolov-Gonzalez**Joanne Stretton+Polina Vulakh**Ruadhan Ward**Nancy Wertsch*Margaret Yap+

TenorJohn Bassler+Bruce Beard+Brendan Beecher**Josh Bruce+Daniel Cucura*Michael Denos*Ben DiFabbio**Sean Fallen*Ethan Fran*Jack Harrell**Frederic Heringes*Nicholas Houhoulis*John Cleveland Howell*Ben Kellner+Theo Lowrey**Zach Malavolti++John McCleary+Marc Molomot*Timothy O’Connor*Douglas Purcell*Kevin Rose*Scott Silipino+Jack Spyker-Oles+

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Members of Bard College Chamber SingersBard Festival ChoraleCappella FestivaJames Bagwell, chorus master; music director, Bard College Chamber Singers andBard Festival Chorale; Christine R. Howlett, artistic director, Cappella Festiva; and Ron Bemrich, guest conductor, Cappella Festiva

Andrew Wack+Michael Wood+Zach Whalen**Austin Wilmerding+Matthew Woolever++

BassPaul An*August Bair**Frank Barr*Otto Berkes**Donald Boos*Joe Curry-Stodder**Wayne Delia+Andrew Feyer**James Fitzwilliam**Paul Frazer+James Gregory*Kenneth Griffith++Eric Hepp+Gilbert High*Matt Hughes**Hance Huston+Enrico Lagasca*Noah Lundgren**Andrew Martens*Jose Pietri-Coimbre*Gregory Purnhagen*Rob Renbeck+Michael Riley*Christopher Roselli*Ethan Solomon**Steve Taylor+Forrest Walker+Jeff Walker+Patrick Walker+Allan Weiman+

*Bard Festival Chorale**Bard College Chamber Singers+Cappella Festiva++Masters in Choral Conducting

student at Bard College

All Bard Festival Chorale singers contracted by Nancy Wertsch

Violin IErica Kiesewetter+,

ConcertmasterJiamin Wang*Yukie HandaKate Goldstein**Isabella Reyes**Diane BruceJessica Beberaggi**Patricia DavisAshley HorneReina Murooka*Kathryn AldousCaitlin Majewski*

Violin IISuzanne Gilman, PrincipalAgnieska Pezsko*John ConnellyRebecca Phillips**Elizabeth NielsonCassandra McBride**Consuelo Lepauw**Matthew Woodard*Ann Labin Francesco Composto**Alexander VselenskyDavid Steinberg

ViolaWilliam Frampton,

PrincipalWenlong Huang*Jeremy Chiew**Jiawei Yan*Shelley Holland-MoritzEmily Lane**Wei Peng*Melissa Knorr**Adria BenjaminRosemary Nelis*Leah Gastler*

CelloSophie Shao+, PrincipalJennie Brent*Miguel Vasquez Lopez**Emma Schmiedecke*Elina LangRastislav Huba*Sarah Ghandour*Pia Bourne Haug**Diana Flores **Danial Zlatkin*

BassJack Wenger, PrincipalBence Botar*James Robinson**Zhen-Yuan Yao*John Stajduhar*Claudia Garcia**Louis BrunoDamon Korf*

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Members of The American Symphony Orchestra Bard College Conservatory OrchestraLongy Conservatory OrchestraLeon Botstein, Music Director

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FluteLaura Conwesser, PrincipalEszter Ficsor*Weronika Balewski**Bridget Bertoldi*

OboeMelanie Feld, PrincipalAlessandro Cirifaci*Greg Drilling*Yo Shionoya**

ClarinetLaura Flax+, PrincipalViktor Toth*Noemi Sallai*Ivan Javier Valbuena Paez**Amalie Flax-Wyrick*

BassoonCharles McCracken,

PrincipalJosh Hodges*Anna Opatka*David Nagy*

HornZohar Schondorf, PrincipalKyle Hoyt Szilard Molnar *Andras Ferencz *Cameron West *James Haber *Julie Landsman+ Jessie Mersinger **Krysta Harmon **Dan Severson *Susan Williams **

TrumpetJohn Sheppard, PrincipalPhillip Brunet*Joseph Klause**Isidro Suarez Avila**Trygve Butler*Christopher Carroll*Hannah O'Connor**Tyler Hauer**

TromboneKenneth Finn, PrincipalHsiao-Fang Lin*János Sutyák*Vaclav Kalivoda*Tamas Marcovics*

TubaPeter Blaga*

HarpSara Cutler+, PrincipalAnna Bikales*Xing Gao*Tamzin Elliot*

TimpaniJonathan Haas+, PrincipalPetra Elek*

PercussionKory Grossman, PrincipalMatthew Lau***Brett Luipi***Luis Jacome***Karina Yau***

OrganJoseph Bartolozzi

American SymphonyOrchestraPersonnel Manager: Ann Yarbrough Guttman

Bard College Conservatoryof MusicDirector of OrchestralStudies: Erica Kiesewetter

Orchestra Manager: Fu-chen Chan

Assistant OrchestraManager: Emily Cuk

Longy School of Music ofBard CollegeMusic Director: Julian Pellicano

Orchestra Manager: Eve Boltax

*Indicates member of the Bard CollegeConservatory Orchestra or alumni/ae

**Indicates member of the LongyConservatory Orchestra

+Indicates faculty of The Bard CollegeConservatory of Music

***Indicates students of the NYUSteinhardt Percussion Program,Jonathan Haas, Director

Stokowski SocietyThe Frank & Lydia Bergen

FoundationMichael DorfThe Fan Fox & Leslie R. Samuels

Foundation, Inc.Jeanne Donovan FisherThe Booth Ferris FoundationDanny Goldberg and

Rosemary CarrollFaith Golding Foundation, Inc.Rachel and Shalom KalnickiPeter LindenNew York City Department of

Cultural AffairsNew York State Council on the ArtsOpen Society InstituteRobert Rauschenberg FoundationThurmond SmithgallFelicitas S. ThorneThe Winston Foundation

Sustaining Supporter Dr. Leon BotsteinThe Ann & Gordon Getty

FoundationMary and Sam MillerDimitri B. PapadimitriouMrs. James P. WarburgMr. and Mrs. Richard E. Wilson

Distinguished Patron The Elroy & Terry Krumholz

FoundationLynne Meloccaro

Golden CircleJoel and Ann BersonEric CzervionkeGary M. GiardinaPeter L. KennardArthur S. LeonardDr. Pamela F. MazurJoAnne MeloccaroShirley A. MuellerJoseph and Jean SullivanThe David & Sylvia Teitelbaum

Fund, Inc.Irene Zedlacher

BenefactorAnonymousMiriam R. BergerPatricia K. FaberKaren and Mark FinkbeinerIrwin and Maya HoffmanIBM CorporationJack KligerWilliam McCracken and

Cynthia Leghorn

Marcia H. MoorRichard and Joanne MrstikMr. and Mrs. David E. Schwab IIDavid and Martha SchwartzPeter SourianAllan and Ronnie Streichler,

in honor of Leon Botstein

ContributorTania AhujaGary M. ArthurDavid Beek and Gayle ChristianThomas CassillyIsabelle A. CazeauxRichard C. CellerBette R. CollomMary S. DonovanMr. and

Mrs. Joseph Lawrence GilmanRhea Graffman-Cohen,

in honor of Miriam BergerEva Botstein GrieppMax HahnSara HunsickerErica KiesewetterMichael KishbauchIrving KleimanJohn D. KnoernschildPeter KrollAlan MallachJeanne MalterKaren ManchesterStephen McAteerSally McCrackenLisa Mueller and Gara LaMarcheTatsuji NambaJames and Andrea NelkinLawrence NylenKurt Rausch LLCHarriet SchonJon P. TilleyKenneth WaldLarry WehrRobert WeisWayne and Dagmar Yaddow

Orchestra ClubHarold P. AllenAmerican Express Gift Matching

ProgramEllis ArnsteinCarol H. AshRonald BaranowskiCarol K. BaronRuth BaronMatthew and Debra BeatriceYvette and Maurice J. BendahanAdria Benjamin

John BrautigamMona Yuter BrokawPatricia R. BrophyMarjorie L. Burns,

in memory of Marden BateRoger ChatfieldBarbara ClapmanMichele ConeMary M. CopeDiana DavisElisabeth DerowAntonio DiezRuth Dodziuk-JustitzRobert DurstPaul EhrlichExxon Mobil FoundationRichard FarrisW. J. FenzaMartha FerryDonald W. FowleDeborah FrancoLyudmila GermanChristopher H. GibbsMacEllis K. GlassJune GoldbergGreenwich House, Inc.Nathan GrossJohn HaggertyLaura HarrisJames HaydenRoberta HershensonDr. and Mrs. Gerald HerskowitzDeb HoffmanEric S. HoltzGeorge H. HutzlerJose JimenezDonald JulianoRonald S. KahnRobert KalishDavid KernahanCaral G. KleinAdnah KostenbauderRobert LaPorteGerald LaskeySteve LeventisWalter LeviJudd LevyPeter A. LockerHarvey MarekEllen Marshall,

in honor of Louis MarshallAlan B. McDougallRichard and Maryanne

MendelsohnJune MeyerClifford S. MillerPhyllis Mishkin

American Symphony Orchestra PatronsThe American Symphony Orchestra Board of Directors, staff, and artists gratefully acknowledge the followingindividuals, foundations, corporations, and government agencies for their vital support. While space permits usonly to list gifts made at the Orchestra Club level and above, we value the generosity of all donors.

18

Robert and Marilyn AdamsThe Ann & Gordon Getty

FoundationArbor Ridge at BrookmeadeJane Evelyn Atwood ’70

Wayne Baden Dr. R. Etta BainesBanco Santander S.A.Simone BeldaBerkshire Taconic Community

Foundation, Inc.Marshall S. Berland and

John E. JohnsonBettina Baruch FoundationDr. László Z. Bitó ’60 and

Olivia Cariño Blue Ridge CapitalFrancesca Bray and Alexander

RobertsonTheodora BudnikAlfred M. Buff and Lenore NemethFrederick J. C. and

Marie Claude ButlerCatherine Cattabiani ’77

Fu-chen ChanColumbia Festival OrchestraGeorge ConneratEllen CurtisLyell DampeerArnold J. Davis ’44

Georgia and Michael de HavenonKathy and Gonzalo de Las HerasBarbara Deegan

Lucy DhegraeBruce B. DorisHal and Valery EinhornCornelia Z. and Timothy ElandShane and Odaria FinemoreDouglas K. and Faith W. FinnemoreThe Fred Stein Family FoundationFriends of Beattie-Powers PlaceFriends of Chamber Music

of ReadingAmy FurthCharlotte FurthJane Furth and August MatzdorfRichard and Eileen FurthLuis Garcia-RenartKatherine Gould-Martin and

Robert L. MartinMarka Gustavsson and John HalleLouis and Caroline HaberDorothy and Leo HellermanRichard HerbertSusan B. Hirschhorn and

Arthur KlebanoffMorimi and Midori IwamaDr. and Mrs. Bertrand R. JacobsJoe Lewis Jefferson

Foundation Inc.John Cage TrustDavid and Renée KaplanBelinda and Stephen KayeFelicia Keesing and

Richard OstfeldDavid and Janet E. Kettler

Jamie Kibel and Michael DeColaErica KiesewetterMartha and Basil KingDr. Lawrence Kramer and

Dr. Nancy S. LeonardKvistad FoundationGary and Edna LachmundAlison L. and John C. LankenauGlenda Fowler Law and Alfred LawThe Leonard & Evelyn Lauder Fund

of the Lauder FoundationKaren B. LeonardAngela Kiche LeungAnnemarie LevittThe Mortimer Levitt Foundation Inc.Richard C. Lewit ’84 and

Alison J. GussLifetime Learning InstituteVivian Liu and Alan HillikerSheila Maloney and John PruittHarvey MarekMartin and Toni Sosnoff

FoundationElisabeth and Robert McKeonJohn and Patricia McNultyHerbert MorrisElizabeth and Gary MunchMartin L. and Lucy MurrayNew Albion RecordsSakiko OhashiMarilyn and Peter OswaldMr. and Mrs. James H. Ottaway Jr.Pepsico Foundation

Alex MitchellJudith MonsonElisabeth J. MuellerMarin L. and Lucy Miller Murray,

in honor of Leon BotsteinKenneth NassauMaury NewburgerJacob and Suzanne NeusnerJames NorthSandra NovickJill ObrigThomas O’MalleyJames OttawayRoger PhillipsBruce RaynorAnthony RichterThe Kauter Riopelle FamilyKenneth RockLeonard RosenPeri RosenfeldHenry SaltzmanLeslie SalzmanEmil and Nina C. SchellerHarriet Schon

Janet Z. SegalGeorgi ShimanovskyBruce SmithJohn SowleStanley StangrenGertrude SteinbergAlan StenzlerHazel and Bernard StraussPaul StumpfAndre SverdloveLorne TaichmanMadeline V. TaylorWilliam UlrichJames WagnerRenata WeinsteinBarbara WestergaardJanet WhalenAnn WilliamKurt WissbrunLeonard ZablowMark ZarickAlfred ZollerKaren Zorn, Longy School of Music

of Bard College

Music plays a special part in thelives of many New York residents.The American Symphony Orchestragratefully acknowledges the support of the following government agencies that havemade a difference in the culture of New York: New York State Council on the ArtsThe Honorable Andrew M. Cuomo,

GovernorThe New York City Department of

Cultural AffairsThe Honorable Michael R.

Bloomberg, MayorThe Honorable Kate D. Levin,

Commissioner

List current as of March 19, 2013

19

The Bard College Conservatory of MusicThe Conservatory gratefully acknowledges the generous support of these recent donors:

Marina L. PreussnerD. Miles PricePuffin Foundation, Ltd.Susan Rabinowitz and

Joel LongeneckerResnick Family Foundation, Inc.Andrea L. ReynoldsRhinebeck Chamber Music SocietyPeter RichmanStephen RichmanBarbara J. RitchieRoaring Brook GroupFelice RossRishin Roy and Laura Martin

Stephen H. and Sheila SachsSaugerties Pro Musica, Inc.Pam B. SchaflerDavid L. and Rebecca Y. SchroedelDagni and Martin SenzelLizbeth and Stephen ShaferTara Shafer and Gavin CurranPaul D. SheatsDenise S. Simon and

Paulo VieiradacunhaCarol Furth SontagMartin and Toni SosnoffGabriella and Harvey SperryTerra Nova Foundation

Felicitas S. ThorneDr. Jan and Marica VilcekMargo and Anthony ViscusiMarla and Brian WalkerDavid WetherillBarbara Jean WeyantMaureen A. Whiteman and

Lawrence J. ZlatkinGray and Marian WilliamsEric Wong

List current as of February 8, 2013

20

Longy School of Music of Bard College 2013 SupportersLongy gratefully acknowledges the following donors for their recent support of the Georges Longy Circle, student scholarships, and special projects for the school.

ImpresarioHarriet and David Griesinger

Virtuoso Ms. Ruth M. McKay and

Mr. Don CampbellJane and Neil Pappalardo

Bravo Estate of Ruth Gessner-Schocken

GrandiosoMr. and Mrs. Peter C. AldrichSandra and David BakalarDr. and Mrs. Joshua BogerEmily H. FisherMs. Charlotte HallMr. George F. Hamel Jr.Lincoln and Therese Filene

Foundation, Inc.Paul and Virginia Cabot

Charitable TrustDr. Robert B. Straus

FortissimoDr. John A. CareyDr. David CohenGene and Lloyd DahmenMelinda DonovanBruce and Margaret GelinHagerty FamilyDr. Matina S. HornerMr. Timothy JacobyMary Jane Kornacki and

Jack SilversinMs. Virginia MeanyNSTAR Electric and Gas

CorporationMrs. Patricia OstranderMs. Marilyn Ray Smith and

Mr. Charles FreifeldTufts Health Plan Foundation

CrescendoMr. and Mrs. Edwin CampMr. and Mrs. Jan LoeberNorthern Trust CompanyLouise Ambler Osborn and

Pell OsbornThe Richard and Natalie Jacoff

Foundation, Inc.Mr. David E. Schwab IIJeannette and Arthur TaylorThe William and Lia Poorvu Family

FoundationMr. Gary Wolf and

Ms. Bonnie Grad

SymphonyDave and Judy ArchibaldThe Adelard A. Roy and

Valeda Lea Roy FoundationMr. Jerry M. BernhardW. Lincoln and Edith BoydenKatharine BurnettBruce P. CarrCharles and Sara Goldberg

Charitable Lead TrustMrs. Linda G. ConwayRev. Edward and Patricia DeytonMr. Robert B. FraserMr. Marvin GilmoreRobert Goldsmith and

Kathleen McIsaacHammond Real EstateMr. Henry B. Hoover Jr.Christopher JencksRobert KleinbergMr. and Mrs. T. K. and

Emily McClintockMr. Clifford B. MollerRobert and Jane MorseMr. and Mrs. Joseph MuellerDr. Irene A. NicholsMr. and Mrs. James W. Perkins

Mr. John PrattMr. Warren Pyle and

Ms. Lisl UrbanMr. Dan RaizenKalen Ratzlaff and

Wilbur HerringtonMr. and Mrs. Andres and

Isabel RodriguezMr. Edgar ScheinMr. and Mrs. Gary SeligsonThe Spencer FoundationAlexandra and Charles StevensonMs. Sandra UyterhoevenDavid and Mary Ann Wark

ConcertoMrs. Samuel AckermanAsseo Griliches Endowment Fund Ms. Anna GabrieliFreya & Richard Block Family

FoundationSylvia and Roy A. HammerDrs. Abby Hornstein and

Mark HornsteinMuriel E. KayeAllan G. RodgersCarl and Anne RosenbergMs. Leila Joy Rosenthal

CantataDavid and Ying BarlowVirginia Brady and William MannMr. Matthew A. BerlinKatie and Paul ButtenwieserThe Chasin/Gilden Family FundMs. Susan GlassmanMr. Garth GreimannMs. Julianne Lindsay and

Richard O’ConnorMr. Robert H. Willoughby

List current as of January 15, 2013

The American Symphony OrchestraBoard of DirectorsDanny Goldberg, ChairThurmond Smithgall, Vice ChairDimitri B. Papadimitriou, Treasurer

Miriam BergerMichael DorfRachel KalnickiJack KligerJan KrukowskiShirley A. MuellerEileen RhulenFelicitas S. ThorneHonorary 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

ManagerKatrina Herfort, Ticketing Services

CoordinatorMarc 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

The Bard CollegeConservatory of MusicAdvisory Board Gonzalo de Las Heras, Chair Alan D. Hilliker Susan B. Hirschhorn Belinda Kaye Stephen Kaye Gabriella Sperry Eric Wong

AdministrationRobert Martin, DirectorEileen Brickner, Dean of StudentsFu-chen Chan, Dean of

AdministrationFrank Corliss, Admission Director;

Director of PostgraduateCollaborative Piano Fellows

Ann Gabler, Development ManagerLauren Gerken, Administrative

AssistantTricia Reed, Concert Office

Coordinator

Longy School of Music of Bard CollegeBoard of GovernorsMatina S. Horner, ChairVirginia Meany, Vice ChairMelinda N. Donovan, SecretaryPeter C. AldrichSandra Bakalar+ Leon Botstein, Chancellor and

Chief Executive Officer, Longy;President, Bard College

Thomas M. BurgerGene D. DahmenPatricia H. DeytonRobert S. EpsteinHarriet E. GriesingerCharlotte I. HallGeorge F. Hamel Jr.Timothy J. JacobyRuth M. McKayLouise Ambler OsbornPatricia Ostrander+ Dimitri B. Papadimitriou+ Kalen RatzlaffDavid E. Schwab IICharles P. Stevenson Jr.Marilyn Ray SmithRobert B. StrausJeannette H. TaylorJ. David WimberlyGary Wolf+ Karen Zorn, President, Longy

School of Music of Bard College;Vice President, Bard College

Administration Leon Botstein, Chancellor and

Chief Executive OfficerKaren Zorn, PresidentWayman Chin, Dean of the

ConservatoryMiriam Eckelhoefer, Director of

Community ProgramsKatina Leodas, Vice President of

Institutional AdvancementHoward Levy, Chief Financial

OfficerKalen Ratzlaff, Chief of Staff

+ ex officio

21

The Bard College Conservatory Orchestra Celebrates

STRAVINSKYAND HIS WORLD

Wednesday, May 22, at 7 pm Alice Tully Hall, Lincoln Center

New York City

Bard Music Festival Gala Dinner immediately following the concert.

For information contact Linda Baldwinat 845-758-7414 or events@bard.edu.

Leon Botstein, music directorShmuel Ashkenasi, violin

stravinsky

Fireworks, Op. 4

prokofiev

Violin Concerto No. 1in D Major, Op. 19

shostakovich

Symphony No. 10

in E Minor, Op. 93

All tickets $15

Free admission for students with ID 

tickets: 212-671-4050

www.lincolncenter.orgThe Bard College Conservatory of Music

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

SAV

E T

HE

DA

TES

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.

BARDSUMMERSCAPE 2013

DANCE/THEATER JULY 6–7

A RiteBill T. Jones/Arnie Zane Dance Company and SITI Company

THEATER JULY 11–21

World Premiere Adaptation

The Master and Margaritaafter the novel by Mikhail Bulgakov

OPERA JULY 26 – AUGUST 4

Oresteiaby Sergey Taneyev

FILM FESTIVAL JULY 12 – AUGUST 3

Stravinsky’s Legacy and Russian Émigré Cinema

SPIEGELTENT JULY 5 – AUGUST 18

Cabaret, music, fine dining, and more

and

THE 24TH ANNUAL BARD MUSIC FESTIVAL

AUGUST 9–11 and 16–18

Stravinsky and His World

The 2013 SummerScape season and the 24th Bard Music Festival are made possible in part through the generous support of the Board of The Richard B. Fisher Center for thePerforming Arts at Bard College, the Board of the Bard Music Festival, and the Friends of the Fisher Center, as well as grants from the National Endowment for the Arts and the New York State Council on the Arts.