mendelssohn & bernsteinserenade (after plato’s symposium) 8 igor stravinsky concerto for piano...

MENDELSSOHN & BERNSTEIN

Saturday, April 10, 2021Performance # 166 Season 6, Concert 14

Livestreamed from the Fisher Center at Bard Sosnoff Theater

Leon Botstein conductor

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Rehearsals and performances adhere to the strict guidelines set by the CDC, with daily health checks, the wearing of masks throughout, and musicians placed at a safe social distance. Musicians sharing a music stand also share a home.

TABLE OF CONTENTS

4 CONCERT QUICK GUIDE

5 THE MUSIC 6 TANIA LEÓN ÁCANA

7 LEONARD BERNSTEIN SERENADE (AFTER PLATO’S SYMPOSIUM)

8 IGOR STRAVINSKY CONCERTO FOR PIANO AND WIND INSTRUMENTS

9 FELIX MENDELSSOHN SYMPHONY NO. 3, SCOTTISH

10 THE ARTISTS 11 LEON BOTSTEIN conductor

12 TANIA LEÓN composer

13 BLAIR MCMILLEN piano

14 ZONGHENG ZHANG ’21 violin

15 THE ORCHESTRA NOW

17 DAVID KIDD trombone

18 SHAWN HUTCHISON oboe

19 JARROD BRILEY tuba

20 MATTHEW GRIFFITH clarinet

21 SUPPORT TŌN

22 THE TŌN FUND DONORS

23 THE ADMINISTRATION

24 ABOUT BARD COLLEGE

CONCERT QUICK GUIDELEON BOTSTEIN conductor

CONCERT TIMELINE 2 hours

Ácana 13 min

Concerto 19 min

Serenade 31 min

Scottish Symphony 38 min

Brief remarks by Jarrod Briley tuba

Brief remarks by Matthew Griffith clarinet

IGOR STRAVINSKYBorn 6/18/1882 in Oranienbaum, Russia Died 4/6/1971 at age 88 in New York City

CONCERTO FOR PIANO AND WIND INSTRUMENTS

Largo—Allegro (slow & dignified, then fast) 7 min

Largo (slow & dignified) 7 minAllegro (fast) 5 min

BLAIR MCMILLEN piano

Written 1923–24, at age 41; revised in 1950Premiered 5/22/1924 at the Paris Opéra;

Serge Koussevitzky conductor; Stravinsky piano

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

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Brief remarks by David Kidd trombone

Brief remarks by Shawn Hutchison oboe

TANIA LEÓNBorn 5/14/1943 in Havana

ÁCANA

Written 2008, at age 64Premiered 2/29/2008 in Purchase, NY by the

Purchase College Orchestra; and 4/1/08 at Carnegie Hall in New York City by the Orpheus Chamber Orchestra

LEONARD BERNSTEINBorn 8/25/1918 in Lawrence, MADied 10/14/1990 at age 72 in New York City

SERENADE (AFTER PLATO’S SYMPOSIUM)

Phaedrus; Pausanias 7 minAristophanes 4 minEryximachus 2 minAgathon 7 minSocrates; Alcibiades 11 min

ZONGHENG ZHANG ’21 violin

Written 1953–54, at age 35Premiered: 9/12/1954 at the Teatro La

Fenice in Venice, Italy; Israel Philharmonic Orchestra; Bernstein conductor; Isaac Stern violin

FELIX MENDELSSOHNBorn 2/3/1809 in Hamburg Died 11/4/1847 at age 38 in Leipzig, Germany

SYMPHONY NO. 3, SCOTTISHAndante con moto—Allegro un poco agitato

(moderately slow with motion, then fast and a bit agitated) 14 min

Vivace non troppo (lively, but not too lively) 4 min

Adagio (slow) 10 minAllegro vivacissimo—Allegro maestoso assai

(lively and fast, then fast and very majestic) 10 min

no pause between movements

Written 1840–42, in Mendelssohn’s early 30s

Premiered 3/3/1842 at the Gewandhaus in Leipzig, Germany

First TŌN Performance: 5/22/16 at The Metropolitan Museum of Art in NYC; Leon Botstein conductor

THE MUSIC

THEORCHESTRANOW.ORG / APR 2021 / 6

The ComposerCuban-born composer and conductor Tania León has had a diverse career as a musician, conductor, champion for cultural diversity, and advisor for arts and educational organizations. After arriving in the United States as a Cuban refugee in 1967, León not only made New York City her home, but left a lasting legacy on the cultural scene of the vibrant city. Beginning in 1969, León became the Artistic Director of Arthur Mitchell’s Dance Theatre of Harlem, and would go on to create the Brooklyn Philharmonic Community Concert series, serve as Latin American music advisor to the American Composers Orchestra, and serve as New Music Advisor at the New York Philharmonic from 1993–97. A dedicated advocate for diversity, León founded and served as Artistic Director of Composers Now, an organization designed to empower composers and amplify the diversity of their work and voices.

The MusicLeón found inspiration for her chamber orchestra piece Ácana in Cuban Laureate Poet Nicolás Guillén’s poem dedicated to the Cuban tree. Sprawling to a height of 90 feet and 3 feet wide, the ácana tree is revered for its strength and wide-spreading roots. Guillén’s poem serves as an ode to the tree that is essential to Cuban life and society. The ácana’s role is described in this poem as being the pitchfork that helps to build homes, a staff to lead people safely home, and finally the table that will hold their coffins. This message of unity with the nature of our homelands couldn’t resonate more today, in a time where our ecosystems are continually being threatened by global warming. León undoubtedly found inspiration in this universal message, and her love for her native Cuba can be heard throughout the piece in the vibrant dance rhythms found in the percussion and the upper woodwinds. León successfully creates a multi-dimensional atmosphere using varying textures and motives. This is my first time playing Tania León’s Ácana and I’m excited to transport you to the rainforests of Cuba and immerse you in the bustling life of León’s birthplace, Havana, with this exhilarating piece.

ÁcanaNicolás Guillén

TANIA LEÓN’S ÁCANA Notes by TŌN bassoonist Cheryl Fries

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Allá dentro, en el monte,donde la luz acaba,allá en el monte adentro,ácana.

Ay, ácana con ácana,con ácana;ay, ácana con ácana.El horcón de mi casa.

Allá dentro, en el monte,ácana,bastón de mis caminos,allá en el monte adentro . . .

Ay, ácana con ácanacon ácana;ay, ácana con ácana.

Allá dentro, en el monte,donde la luz acaba,tabla de mi sarcófago,allá en el monte adentro . . .

Ay, ácana con ácana,con ácana;ay, ácana con ácana . . .Con ácana.

Inside there, on the mountain,where the light ends,there in the mountains,acana.

Ay, acana with acana,with acana;ay, acana with acana.The pitchfork of my house.

Inside there, on the mountain,acana,staff of my ways,there in the mountains . . .

Ay, acana with acanawith acana;ay, acana with acana.

Inside there, on the mountain,where the light ends,table of my sarcophagus,there in the mountains . . .

Ay, acana with acana,with acana;ay, acana with acana . . .With acana.


The BackgroundCompleted during the summer of 1954, Bernstein wrote this piece alongside his musical Candide. Similar to Candide, West Side Story, and The Age of Anxiety, Serenade relates directly to literature. This work (as stated in the subtitle) is based on Plato’s dialogue The Symposium. Plato’s work is a musical reflection of the impassioned, yet rancorous, speeches on the subject of love made by philosophers such as Aristophanes, Agathon, Phaedrus, and Socrates. Bernstein describes his thoughts on each movement and the philosophers’ speeches they represent. I. Phaedrus; Pausanias“Phaedrus opens the symposium with a lyrical oration in praise of Eros, the god of love. (Fugato, begun by the solo violin.) Pausanias continues by describing the duality of the lover as compared with the beloved. This is expressed in a classical sonata-allegro, based on the material of the opening fugato.”Composed in sonata form, the second theme utilizes disjunct grace-note figures and dissonant intervals in an otherwise elegant solo violin part. II. Aristophanes “Aristophanes does not play the role of clown in this dialogue, but instead that of the bedtime-storyteller, invoking the fairy-tale mythology of love. The atmosphere is one of quiet charm.”Much of the material derives from the grace-note theme of the first movement. The middle section incorporates a melody for the lower strings played in close canon.

III. Eryximachus “The physician speaks of bodily harmony as a scientific model for the workings of love-patterns. This is an extremely short fugato-scherzo, born of a blend of mystery and humor.” This section contains music that corresponds thematically to the canon of the previous movement. IV. Agathon“Perhaps the most moving speech of the dialogue, Agathon’s panegyric embraces all aspects of love’s powers, charms and functions. This movement is a simple three-part song.” V. Socrates; Alcibiades“Socrates describes his visit to the seer Diotima, quoting her speech on the demonology of love. Love as a daemon is Socrates’ image for the profundity of love; and his seniority adds to the feeling of didactic soberness in an otherwise pleasant and convivial after-dinner discussion. This is a slow introduction of greater weight than any of the preceding movements, and serves as a highly developed reprise of the middle section of the Agathon movement, thus suggesting a hidden sonata-form. The famous interruption by Alcibiades and his band of drunken revelers ushers in the Allegro, which is an extended rondo ranging in spirit from agitation through jig-like dance music to joyful celebration. If there is a hint of jazz in the celebration, I hope it will not be taken as anachronistic Greek party-music, but rather the natural expression of a contemporary American composer imbued with the spirit of that timeless dinner party.”Speaking through the voice of Diotima, Socrates proposes the notion that the most virtuous form of love is the love for wisdom (philosophy).

LEONARD BERNSTEIN’S SERENADE (AFTER PLATO’S SYMPOSIUM) Notes by TŌN timpanist Keith Hammer III

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Sounds Struck and BlownThe first performance of Stravinsky’s Concerto pour Piano avec L’Orchestre d’Harmonie occurred in Paris in May 1924, only one month after the completion of the score, with the composer as soloist and Serge Koussevitsky conducting. Stravinsky described his “Harmonic Orchestra” as separate from the Symphonic Orchestra, consisting solely of winds and percussion (although this piece includes double basses). His choice to exclude the strings caused Parisian critics to ask “Where are the bows?” So why did Stravinsky choose this format for his concerto? In an interview following the opening concerts he expressed that “Strings and piano, a sound scraped and a sound struck, do not sound well together; piano and wind, sounds struck and blown, do.” This is a noteworthy deviation from the norm which Stravinsky uses to highlight certain characteristics of sound. In particular, the percussive articulation of the piano stands out against the sustain of the winds.

Unexpected MomentsAlthough the piece is considered Neo-Classical, Stravinsky does not play by antiquated rules. Beyond the fast—slow—fast organization of the movements, almost nothing in the music could be confused with Mozart or Haydn. This stems mainly from Stravinsky’s (now infamous) harmonic language. His characteristic use of dissonance appears immediately in the first few bars with a brass chorale and continues throughout the concerto; every bar seems to bear his mark. Beyond his innovative harmonies, Stravinsky is also known for employing unexpected rhythms. For example, Stravinsky often articulates solo piano passages with ragtime syncopations in the right hand.

An easily identifiable instance of this comes in the beginning of the piece, after the introduction when the piano plays alone for the first time. The passage begins as an approachable counterpoint, almost spoon-feeding the idea of Neo-Classicism we were told to expect. However, the Classical motive is quickly shattered by these aggressive syncopations which remind the listener this is the music of a 20th century master. As is the case with most of Stravinsky’s music, he controls the audience by way of unexpected moments.

Beauty in a Crunchy LandscapeThe second movement is solemn, and exemplifies how Stravinsky can create beauty while maintaining his dissonant, often “crunchy” harmonic landscape. After two cadenzas, the finale begins with an energetic fugue. The piano states the theme first, complete with more jazzy accents, and from there the energy of the fugue is ceaseless. However, a recapitulation of the brass chorale brings the motion to a halt. The energy attempts to return, but is only a brief flourish before the concerto concludes.

Deliberate OrchestrationThe most important thing to remember as an audience is that this concerto is principally an example of Stravinsky’s composition. Influences abound, including those of Classical era music, but the harmonies and jarring rhythms are the composer’s trademark. Instead of hanging on to the term Neo-Classicism, focus instead on the deliberate orchestration and instrumentation. Know that this work was composed specifically for the solo piano to interact with the winds. Allow yourself to be surprised while understanding everything was done with great purpose.

IGOR STRAVINSKY’S CONCERTO FOR PIANO AND WIND INSTRUMENTS Notes by TŌN bass trombonist Jack E. Noble

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The Grand TourAs was expected of a cultured, wealthy man in the early 19th century, Felix Mendelssohn, at age 20, embarked on a Grand Tour, departing his family home in Berlin for what would be a three-year expedition across various countries. With his family friend Karl Klingemann, Mendelssohn started his Grand Tour with a three-week walking tour of Scotland, beginning in Edinburgh. In a letter to his family, Mendelssohn noted, “We went, in the deep twilight, to the Palace of Holyrood, where Queen Mary lived and loved. There’s a little room to be seen there, with a winding staircase leading up to it. This the murderers ascended, and finding Rizzio, drew him out. Three chambers away is a small corner where they killed him. Everything around is broken and moldering, and the bright sky shines in. I believe I found today in the old chapel the beginning of my Scottish Symphony.” Enclosed within the envelope was a scrap of paper with what would become his symphony’s opening theme.

A 13 Year JourneyOver the next 13 years, Mendelssohn set aside and returned to his work on the Scottish Symphony several times, until eventually completing the symphony while in Berlin, in 1842. Though it was

his fifth, and final symphony, it was his third to become published, so it became widely known as Symphony No. 3. It was first performed in Leipzig in 1842 under Mendelssohn’s own baton, and then brought to London to an audience that included Queen Victoria, to whom the symphony became dedicated.

The MusicThe symphony is played in four interconnected movements. It begins with a rather somber, yet grand, opening theme, followed by a slightly more agitated idea in the violins. The two ideas conversate and evolve, in a beautiful, overlapping texture. The movement develops to bring plenty of drama and tension, as well as captivating melodies and thematic progression. The influence of Scotland is very clearly heard in the burbling, lighthearted second movement. Mendelssohn illustrates his deft use of featherlight magic, and inspires ideas of folk dance. The Adagio follows, interlacing a sweet, charming melody with a darker counterpart, evoking the conflict between love and fate. This movement has been described as a lament for Mary Queen of Scots. The fourth movement starts fiercely, immediately suggesting impending battle. The heroism and chaos of combat is conveyed, until a new, majestic theme prevails in the coda.

FELIX MENDELSSOHN’S SYMPHONY NO. 3, SCOTTISH Notes by TŌN flutist Rebecca Tutunick

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THE ARTISTS


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

More info online at leonbotstein.com.

LEON BOTSTEIN conductor

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https://leonbotstein.com


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Tania León (b. Havana, Cuba) is highly regarded as a composer, conductor, educator, and advisor to arts organizations.

Recent commissions include works for the New York Philharmonic, Los Angeles Philharmonic, NDR Symphony Orchestra, Grossman Ensemble, International Contemporary Ensemble, and pianist Ursula Oppens with the Cassatt String Quartet. Appearances as guest conductor include the Philharmonic Orchestra of Marseille, Gewandhausorchester, Orquesta Sinfonica de Guanajuato, and Orquesta Sinfónica de Cuba.

Upcoming premieres feature commissions for the NewMusic USA Amplifying Voices Program, the League of American Orchestras in honor of Jesse Rosen, The Musical Fund Society in Philadelphia to celebrate their 200th anniversary, and for The Crossing chamber choir with flutist Claire Chase, among others.

A founding member of the Dance Theatre of Harlem, Ms. León instituted the Brooklyn Philharmonic Community Concert Series, co-founded the American Composers Orchestra’s Sonidos de las Américas Festivals, was New Music Advisor to the New York Philharmonic, and is the founder/Artistic Director of the nonprofit and festival Composers Now.

Ms. León’s honors include the New York Governor’s Lifetime Achievement, awards from the American Academy of Arts and Letters and the American Academy of Arts and Sciences, and the ASCAP Victor Herbert Award, among others. She also received a proclamation for Composers Now by the New York City mayor, and the MadWoman Festival Award in Music (Spain).

Ms. León has received Honorary Doctorate Degrees from Colgate University, Oberlin, and SUNY Purchase College, and served as U.S. Artistic Ambassador of American Culture in Madrid, Spain. A CUNY Professor Emerita, she was awarded a 2018 United States Artists Fellowship.

TANIA LEÓN composer


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Appearances: The Knights; International Contemporary Ensemble; New York Philharmonic; St. Paul Chamber Orchestra; performances with jazz legends Fred Hersch and Don Byron; principal soloist on a tour of Japan with the Juilliard Orchestra; major concert venues throughout New York City, the United States, and around the world

Ensembles: member of several ensembles, including the American Modern Ensemble, the six-piano “supergroup” Grand Band, and the Perspectives Ensemble, among others; pianist for the Naumburg Award-winning Da Capo Chamber Players for 11 years

Festivals: co-founder and co-director of Rite of Summer Music Festival on Governors Island in New York City

Recordings: Soundings, solo CD, 2000; Powerhouse Pianists II; featured on dozens of commercially-released solo and ensemble recordings, spanning numerous musical genres

Awards/Competitions: Juilliard Gina Bachauer Competition, Sony “Elevated Standards” Career Grant

Faculty: Bard College and Conservatory since 2005, piano faculty at Mannes School of Music in New York City

Education: Oberlin College, The Juilliard School, Manhattan School of Music

BLAIR MCMILLEN piano

Photo by Daniel d’Ottavio

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Zongheng Zhang is completing his fifth and final year in the Bard College Conservatory of Music, studying violin and viola performance with Todd Phillips and Melissa Reardon, and orchestra conducting with James Bagwell. He is a winner of the 2020 Bard Conservatory Concerto Competition. He also won the 2019 Bard Community Orchestra Concerto Competition on Viola.

At the Bard Conservatory, Mr. Zhang holds the Y.S. Liu Scholarship. After giving his first solo recital in Wuhan, China when he was 15 years old, he was invited to join several international summer music festivals, such as Napa Valley Music Festival, The Great Wall Music Summer Academic, and the Summer Violin Institute at Northwestern University, among others. He has often served as the concertmaster and principal violin in the Bard Conservatory Orchestra and the Bard Community Orchestra. Highlights of his chamber music performances at Bard include the retirement concert of Robert Martin, director of the Bard Conservatory, with the Beethoven and Mozart string quartets; and Stravinsky’s L’ Histoire du Soldat with Leon Botstein, Erica Kiesewetter, and Edward Carroll.

For his second major in psychology, Mr. Zhang completed a senior project last year: Does the Direction of Current Flow Using Transcranial Direct-Current Stimulation (TDCS) Affect One’s Ability to Perform Motor Tasks? He won the Andrew Jay Bernstein Prize in 2019. He presented the results of his lab project “Sleeping and Memory” studies at the Eastern Psychology Association Conference in 2018. He is now the lab manager of the Memory Dynamics Lab at the Bard College Psychology Department.

ZONGHENG ZHANG ’21 violin

The Orchestra Now (TŌN) is a group of vibrant young musicians from across the globe who are making orchestral music relevant to 21st-century audiences by sharing their unique personal insights in a welcoming environment. Hand-picked from the world’s leading conservatories—including the Yale School of Music, Shanghai Conservatory of Music, Royal Academy of Music, and the Eastman School of Music—the members of TŌN are enlightening curious minds by giving on-stage introductions and demonstrations, writing concert notes from the musicians’ perspective, and having one-on-one discussions with patrons during intermissions.

Conductor, educator, and music historian Leon Botstein, whom The New York Times said “draws rich, expressive playing from the orchestra,” founded TŌN in 2015 as a graduate program at Bard College, where he is also president. TŌN offers both a three-year master’s degree in Curatorial, Critical, and Performance Studies and a two-year advanced certificate in Orchestra Studies. The orchestra’s home base is the Frank Gehry-designed Fisher Center at Bard, where it performs multiple concerts each season and takes part in the annual Bard Music Festival. It also performs regularly at the finest venues in New York, including Carnegie Hall, Lincoln Center, The Metropolitan Museum of Art, and others across NYC and beyond. HuffPost, who has called TŌN’s performances “dramatic and intense,” praises these concerts as “an opportunity to see talented musicians early in their careers.”

The orchestra has performed with many distinguished guest conductors and soloists, including Neeme Järvi, Vadim Repin, Fabio Luisi, Peter Serkin, Hans Graf, Gerard Schwarz, Tan Dun, Zuill Bailey, and JoAnn Falletta. Recent recordings featuring The Orchestra Now include two albums on Bridge Records: Piano Protagonists with pianist Orion Weiss, a New York Times critic’s pick with an ensemble performance that Fanfare magazine called “perfect;” and Buried Alive with baritone Michael Nagy, which includes the first recording in almost 60 years of Othmar Schoeck’s song cycle Lebendig begraben. Also available are two albums of piano concertos with Piers Lane on Hyperion Records, and a Sorel Classics concert recording with pianist Anna Shelest and conductor Neeme Järvi. Recordings of TŌN’s live concerts from the Fisher Center can be heard on Classical WMHT-FM and WWFM The Classical Network, and are featured regularly on Performance Today, broadcast nationwide. In 2019, the orchestra’s performance with Vadim Repin was live-streamed on The Violin Channel.

Explore upcoming concerts, see what our musicians have to say, and more at theorchestranow.org. For more information on the academic program, visit bard.edu/theorchnow.

THE ORCHESTRA NOW


Photo by David DeNee



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Violin IShaina Pan

Concertmaster 1, 4

Dillon Robb Concertmaster 2

Zhen LiuGergő Krisztián

TóthStuart McDonaldNicole Oswald

Violin IITin Yan Lee

PrincipalYinglin ZhouXinran LiAdam Jeffreys Misty Drake*Jacques Gadway*Yada Lee*Bram Margoles*Yurie Mitsuhashi*Sabrina Parry*Gaia Mariani

Ramsdell*Esther Goldy

Roestan*

ViolaLucas Goodman

PrincipalHyunjung SongBatmyagmar

ErdenebatLarissa MapuaLeonardo Vásquez

ChacónCelia Daggy*Sean Flynn*Katelyn Hoag*

CelloJordan Gunn

PrincipalSarah SchoefflerEva RoebuckKelly KnoxLucas Button*Cameron Collins*Sara Page*Pecos Singer*

BassMariya-Andoniya

Henderson Principal

Tristen JarvisKaden HendersonJoshua DePoint*Luke Stence*

FluteRebecca Tutunick

Principal 1, 3

Leanna Ginsburg Principal 4

Brendan Dooley Piccolo 3

OboeJasper Igusa

Principal 1, 4, English Horn 3

Shawn Hutchison Principal 3

JJ Silvey*

ClarinetYe Hu Principal 1

Matthew Griffith Principal 3

Rodrigo Orviz Pevida Principal 4

Viktor Tóth

BassoonPhilip McNaughton

Principal 1

Cheryl Fries Principal 3, 4

Xiaoxiao Yuan*

HornSer Konvalin

Principal 1

Steven Harmon Principal 3, Assistant 4

Zachary Travis Principal 4

Emily BuehlerKwong Ho Hin

TrumpetGuillermo García

Cuesta Principal 1

Samuel Exline Principal 3, 4

Maggie Tsan-Jung Wei

Anita Tóth*

TromboneDavid Kidd

Principal 3

Ian StriedterJack E. Noble

Bass Trombone TubaJarrod Briley

TimpaniKeith Hammer III

PercussionCharles Gillette

PrincipalLuis Herrera

Albertazzi

HarpTaylor Ann

Fleshman

Guest Musicians

Violin IILeonardo Pineda

TŌN ’19

OboeMichał Cieślik

TrumpetAdam Shohet

PercussionMiles SalerniPetra ElekMatthew Overbay

PianoBethany Pietroniro

* not performing in this concert

1 León2 Bernstein3 Stravinsky4 Mendelssohn

Leon Botstein Music Director

Members of TŌN can be identified by their distinctive blue attire.THEORCHESTRANOW.ORG / APR 2021 / 16

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David will talk briefly about Tania León’s Ácana before the performance.

Hometown: Madison, AL

Alma maters: The University of Alabama, 2013–17; New England Conservatory, 2017–19

Awards/Competitions: Winner, 2019 and 2018 American Trombone Workshop Quartet Competition; Finalist, 2017 International Trombone Association Lewis van Haney Orchestral Excerpt Competition; 2nd Place, 2016 Texas State Trombone Symposium, Conn/Selmer Tenor Trombone Solo Competition; Division II Finalist, 2016 American Trombone Workshop

Appearances: Tanglewood Music Center, 2019

What is your earliest memory of classical music? I listened to “Ride of the Valkyries” with my dad when I was young. I had started playing trombone in middle school earlier that year, and he played a recording he had of “Ride of the Valkyries” because he knew it contains an important trombone melody.

When did you realize you wanted to pursue music as a career? I realized after a performance of “O magnum mysterium” in high school that was arranged for wind ensemble. The arrangement was written with many added exposed trombone parts, and I really enjoyed playing such a beautiful piece of music.

What has been your favorite experience as a musician? My favorite experience as a musician was performing Star Wars Episode IV with the Boston Pops.

What is some advice you would give to your younger self? I would have told myself to think more about the long game of becoming a musician and practice with more long-term goals.

Favorite non-classical musician or band: I like Zac Brown Band and The Eagles.

If you could play another instrument, what would it be? I would like to be able to play guitar and sing well at the same time.

Which three people, dead or alive, would you like to have dinner with and why? I would like to have Mozart, Bach, and Mahler over for dinner because I would like to see how they thought about composition.

Piece of advice for a young classical musician: Work Hard, be inspired, and don’t give up.

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DAVID KIDD trombone

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Shawn will talk briefly about Bernstein’s Serenade before the performance.

Hometown: Winnipeg, Manitoba

Alma maters: University of Cincinnati College-Conservatory of Music, B.M.; Yale School of Music, M.M.

Awards/Competitions: Presser Foundation Graduate Award; Marcel J. Dandois Memorial Prize in Oboe

Appearances: Bowdoin International Music Festival, 2018–19; Richmond Symphony Orchestra, Indiana, 2016

What is your earliest memory of classical music? I remember being captivated by the film scores of John Williams and Howard Shore from a very early age.

When did you realize you wanted to pursue music as a career? I came to this realization soon after I started learning the oboe as a child.

Who is your biggest inspiration? I find inspiration—in equal parts and with great admiration—in the teachers who have helped me along the way: Ayca Yayman, Dr. Mark Ostoich, Dwight Parry, Christopher Philpotts, and Stephen Taylor.

What is your favorite piece of music, and why do you love it? It’s incredibly difficult to narrow to one choice, but I do reserve a special spot for the Goldberg Variations. The work represents the height of musical creativity and invention, and my life is continually enriched every time I play them or sit to listen to a favorite recording.

What is some advice you would give to your younger self? Go make more reeds.

Favorite non-classical musician or band: Radiohead

If you weren’t a musician, what would you be doing? Psychiatry

Which three people, dead or alive, would you like to have dinner with and why? Siddhārtha Gautama, Marcel Tabuteau, and W.A. Mozart. I think the conversation would have both great depth and levity.

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SHAWN HUTCHISON oboe

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Jarrod will talk briefly about Stravinsky’s Concerto for Piano and Wind Instruments before the performance.

Hometown: Otway, NC

Alma maters: East Carolina University, 2018; Bard College Conservatory of Music, 2018–19

Appearances: Eastern Music Festival, 2016–17

When did you realize you wanted to pursue music as a career? As cheesy as it is, it was during a district band concert in high school. One of the pieces touched me emotionally like I’d never felt before, and from that moment on I knew I was destined to have a musical career.

Who is your biggest inspiration? I’m constantly inspired by the musicians I get to perform with and the students I get to teach. It’s easy to strive for greatness when you’re always surrounded by it!

Which composer or genre of music do you feel you connect with the most? Romanticism, and Brahms especially. The way he was able to capture the emotion and drama of Romanticism in simple writing inspired by classical composition has always stuck out to and connected with me.

What is your favorite piece of music, and why do you love it? Hindemith’s Mathis der Maler, specifically the ending chorale. I’d never really heard an orchestral brass section until my first year of undergrad when my tuba professor showed me a recording of the San Francisco Symphony playing the end of it. It blew my mind and made me want to play in a professional orchestra immediately.

What is some advice you would give to your younger self? Listen to yourself more, never turn down an opportunity to learn, go practice!

Favorite non-classical musician or band: Snarky Puppy, Kendrick Lamar, Rascal Flatts.

If you weren’t a musician, what would you be doing? I’d probably be a national park ranger or trail guide. I love nature and history.

Tell us something about yourself that might surprise us: I’m a direct descendent of Viking royalty!

Photo by Matt Dine

JARROD BRILEY tuba

https://www.instagram.com/jarrod_briley

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Matthew will talk briefly about Mendelssohn’s Symphony No. 3, Scottish before the performance.

Hometown: Sheboygan, WI

Alma maters: New England Conservatory of Music, M.M. Clarinet Performance, May 2014–16, G.D. 2016–18; Yale University, B.A., Distinction in Both Music and Computer Science, May 2010–14

Awards/Competitions: Winner, 2020 The Orchestra Now Concerto Competition; Winner, 2017 Tanglewood Music Center Gino B. Cioffi Memorial Prize; Winner, 2017 Borromeo String Quartet Guest Artist Award; Winning Quintet, 2016–17 New England Conservatory Honors Ensemble Competition; Winner, 2016 New England Conservatory/Boston Pops Competition; Winner, 2014 Yale University Wrexham Prize in Music and DuPuy Graduation Prize; Winner, 2012 Yale University William Waite Concerto Competition; 1st Prize, 2011 Eastern Connecticut Symphony Orchestra Instrumental Competition; Winner, 2010 “The President’s Own” United States Marine Band High School Concerto Competition; Winner, 2010 United States Army Field Band Young Artists Competition; Winner, 2010 Neale-Silva Young Artist Competition, Wisconsin Public Radio

Appearances: Tanglewood Music Center, fellow, 2016–17; New Fromm Player, 2019; Nashville Symphony, Acting Assistant Principal/2nd & E-flat clarinet, 2017; Louisiana Philharmonic Orchestra, guest clarinet, 2019; New World Symphony, finalist and substitute clarinet, 2017-2020; Tanglewood Music Center Orchestra, 2016–17; New England Conservatory of Music Philharmonia, 2014–18; National Orchestral Institute, 2015; Atlantic Music Festival, 2015; Norfolk Chamber Music Festival, 2014; Yale Symphony Orchestra, principal clarinet, 2010–14

What is your earliest memory of classical music? When my brother and I were children, my mother would play Brahms’ Lullaby on the piano in a different style each night after tucking us in for bed.

What do you think orchestra concerts should look like in the 21st Century? I once toured with a trio that programmed arrangements of Lady Gaga and Radiohead songs right alongside Brahms and J.S. Bach in the same concert. Any music can be made enjoyable if framed in the right context, and building that context requires an active understanding of the audience’s shifting needs and desires. There’s really no right answer, but I am definitely a huge fan of the nationwide trend from the past few years to screen popular films with a live orchestral soundtrack.

Piece of advice for a young classical musician: Never back away from an opportunity to push yourself to the next level.

MATTHEW GRIFFITH clarinet

THEORCHESTRANOW.ORG / APR 2021 / 20Photo by Matt Dine

WE’VE BROUGHT MUSIC TO MORE THAN 55,000 NEW YORKERS IN OVER 150 CONCERTS THANKS TO SUPPORT FROM DONORS LIKE YOU!Inspire Greatness! Support TŌN’s innovative training program for classical musi-cians.

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

Your gift will support TŌN Student Living Stipends, free cham-ber 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 per-formance at Carnegie Hall, Jazz at Lincoln Center, and The Metro-politan Museum of Art when it’s safe again to do so.

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

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

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

TO DONATE: Visit THEORCHESTRANOW.ORG/SUPPORTCall 845.758.7988

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mailto:[email protected]

https://www.theorchestranow.org/support/


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!

*Includes gifts to the Bard Music Festival and The Orchestra Now Gala.

This list represents gifts made to The Orchestra Now from January 1, 2020 to April 6, 2021.

For information on contributing to TŌN, or to update your listing, please contact Nicole M. de Jesús at [email protected]. Thank you for your partnership.

LEADERSHIP GIFTSRockefeller Brothers Fund

THE YVONNE NADAUD MAICONCERTMASTER CHAIRMade possible by The Mai

Family Foundation

CONCERTMASTER’S CIRCLEJoseph Baxer and

Barbara BacewiczMichael Dorf and Sarah

Connors*Estate of Clyde Talmadge GatlinEmily SacharFelicitas S. Thorne*

CONDUCTOR’S BOXAnonymousKoren C. Lowenthal, in memory

of Larry LowenthalChristine Munson*Michael L. PriviteraThe Vaughan Williams

Charitable Trust

ALLEGROGary and Martha GiardinaNorthwestern Mutual

Foundation*

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

Michael RauschenbergRobert LosadaJen Shykula ‘96 and Tom Ochs*Thom and Valerie Styron, in

honor of Jarrod Briley TŌN ’22Vivian SukenikIrene Vincent*

TRUMPETERAnonymous (3)Hospitality Committee for

United Nations Delegations (HCUND)

Erica KiesewetterRobert LonerganMaury Newburger FoundationThe Merrill G. and Emita E.

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

Kidd TŌN ’22Shirley Ripullone and Kenneth

StahlLinda Schwab-EdmundsonArlene and Gilbert SeligmanAnne-Katrin Spiess and

Gerlinde Spiess

Alice Stroup, in memory of Timothy Stroup

Sally Sumner, in honor of Sara Page TŌN ’22

Shining Sung

CRESCENDOAnonymous (2)Mr. and Mrs. Ronald AtkinsNicole M. de Jesús and

Brian P. WalkerCurtis DeVito and Dennis

WedlickStan J. HarrisonGeorge Jahn and Karen KaczmarKassell Family Foundation of the

Jewish Communal FundPeter and Susan J. LeVangiaAmala and Eric LevineJanet C. MillsTatsuji NambaAnthony NapoliLisa and Albrecht PichlerJan and Jim SmythGeorge Striedter, in honor of Ian

Striedter TŌN ’22Meyer J. Wolin

TŌNorAnonymousJesika BerryDiane and Ronald BlumRichard BoppLisa Aber CohenJames Costello and

Laura CannamelaMargaret M. CoughlinRichard and Hildegard ‘78 EdlingVera A. FarrellRenate L. FriedrichsenHoward and Caroline Goodman,

in honor of Lucas Goodman TŌN ’21

Susanna GrannisJan M. GuifarroJames Gavin HoustonElena and Frederic HowardScott HuangIBM Matching Grants ProgramJudith and Ron Goodman

Charitable Trust of FidelityCharlotte Mandell Kelly ’90 and

Robert KellyRebecca S. Kidd, in honor of

David Kidd TŌN ’22Bernard King-Smith and

Lisa S. King-SmithMiodrag KukrikaArthur S. LeonardNancy S. Leonard and

Lawrence KramerFulvia Masi and William TanksleyJames McLaffertyWarren R. MikulkaKaren E. Moeller and

Charles H. Talleur

Gary E. MorganSuzanne NeusnerCatherine K. and Fred ReinisRobert RenbeckAnn and Thomas Robb, in honor

of Dillon Robb TŌN ’21James RosenfieldThomas J. ShykulaJoseph M. SweeneyJudith and Michael ThoyerHoward WallickHenry H. Westmoreland and

Charles H. MilliganWayne and Dagmar Yaddow

DOWNBEATAnonymousJulia AneshansleyNaja B. ArmstrongMelissa Auf der MaurSheila R. BeallDavid BehlJeffrey BernsMatthew C. BernsteinStephanie G. BeroesMarvin BielawskiKent Brown and Nat ThomasKaren and Mark Collins, in honor

of Cameron Collins TŌN ’22Jefferson CottonThomas De StefanoVincent M. DicksJohn and Remy Duffy,

in honor of Luis Herrera Albertazzi TŌN ’23

Priscilla DuskinMark L. Feinsod ’94Carol and Peter GossTamara Judith GruzkoLee HaringMichaela HarnickJuliet HeyerTerrell K. HolmesJames Gavin HoustonJeffrey KellerDavid Kraskow and Liz HessCarol E. LachmanErika LieberGuenther and Virginia MayMarin and Lucy MurrayStan and Bette NitzkyPat ParsonsNeila Beth RadinKurt RauschJing L. Roebuck, in honor of Eva

Roebuck TŌN ’22Ted Ruthizer and Jane

DenkensohnEdward SandfortDaniel E. ScherrerMark Peter ScherzerDan and Rosie SchiavoneFran D. SmythJohn StaugaitisJerl O. SurrattJonathan Wechsler

Michael and Leslie WeinstockAnn and Douglas William

PRELUDEAnonymous (2)Fred Allen and Erica De ManeSharon B. ApplegateKyra Assaad and Warren TappeLeslie and Louis BakerLaurence Blau and Karen

JohnsenGeraldine BrodskyDeloss BrownAnne B. BruecknerLael BurnsHarriet D. CausbieJudith ChaifetzJill CohenMaria V. CollinsElizabeth DavisJosé M. de Jesús, Jr.Andrea N. DriscollWendy FarisClaudia ForestRenate L. FriedrichsenMiriam FrischerAlbert GottliebAudrey HackelKatka HammondAmy HebardKaren and Perry Hoag, in honor

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

Maung HtooAl JacobsenSteven Jonas, M.D.Brenda KleinBarbara KomanskyRalph B. LawrenceDavid H. LeveyAnn and Robert LibbeyEve MayerMaryanne MendelsohnRikki MichaelsFred Justin MorganRoss ParrinoShirley PerleJoan W. RothSheldon RudolphRichard ScherrDiane J. ScrimaAnna ShusterShari SiegelJohn SimpsonTija Spitsberg and

David J. WeinerLloyd TargerJ. WaldhornLynda Youmans, in honor of

Drew Youmans TŌN ’19Elizabeth Zubroff, in honor of

John D. Murphy

THE TŌN FUND DONORS

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THE ORCHESTRA NOWARTISTIC STAFFLeon Botstein Music DirectorJames Bagwell Associate

Conductor and Academic Director

Jindong Cai Associate ConductorZachary Schwartzman Resident

ConductorAndrés Rivas Assistant ConductorErica Kiesewetter Professor of

Orchestral Practice

Bridget Kibbey Director of Chamber Music and Arts Advocacy

ADMINISTRATIVE STAFFKristin Roca Executive DirectorBrian J. Heck Director of MarketingNicole M. de Jesús ’94 Director of

DevelopmentSebastian Danila Music Preparer

and Researcher

Marielle Metivier Orchestra Manager

Benjamin Oatmen LibrarianViktor Tóth Production

CoordinatorLeonardo Pineda TŌN ’19

Director of Youth Educational Performance and South American Music Curator

Matt Walley TŌN ’19 Program Coordinator, Admissions Counselor, and Guest Artist Relations

CONCERT CREWMarlan Barry Audio Producer and

Recording EngineerEmily Beck Stage ManagerNora Rubenstone Stage ManagerMiles Salerni Rehearsal

Coordinator

BARD COLLEGEBOARD OF TRUSTEESJames C. Chambers ’81 ChairEmily H. Fisher Vice ChairGeorge F. Hamel Jr. Vice ChairElizabeth Ely ’65 Secretary;

Life TrusteeStanley A. Reichel ’65 Treasurer;

Life TrusteeFiona AngeliniRoland J. AugustineLeonard BenardoLeon Botstein+

President of the CollegeMark E. BrossmanJinqing CaiMarcelle Clements ’69 Life TrusteeThe Rt. Rev. Andrew M. L. Dietsche

Honorary TrusteeAsher B. Edelman ’61 Life TrusteeRobert S. Epstein ’63Barbara S. Grossman ’73

Alumni/ae TrusteeAndrew S. GundlachMatina S. Horner+Charles S. Johnson III ’70

Mark N. Kaplan Life TrusteeGeorge A. KellnerMark Malloch-BrownFredric S. Maxik ’86Juliet Morrison ‘03James H. Ottaway Jr. Life TrusteeHilary PenningtonMartin Peretz Life TrusteeStewart Resnick Life TrusteeDavid E. Schwab II ’52Roger N. Scotland ’93 Alumni/ae

TrusteeAnnabelle SelldorfMostafiz ShahMohammed ’97Jonathan Slone ’84Alexander SorosJeannette H. Taylor+James A. von KlempererBrandon Weber ’97 Alumni/ae

TrusteeSusan WeberPatricia Ross Weis ’52

+ ex officio

SENIOR ADMINISTRATIONLeon Botstein PresidentColeen Murphy Alexander ’00

Vice President for AdministrationMyra Young Armstead

Vice President for Academic Inclusive Excellence

Jonathan Becker Executive Vice President; Vice President for Academic Affairs; Director, Center for Civic Engagement

Erin Cannan Vice President for Civic Engagement

Deirdre d’Albertis Dean of the College

Malia K. Du Mont ’95 Vice President for Strategy and Policy; Chief of Staff

Peter Gadsby Vice President for Enrollment Management; Registrar

Mark D. Halsey Vice President for Institutional Research and Assessment

Max Kenner ’01 Vice President for Institutional Initiatives; Executive Director, Bard Prison Initiative

Debra Pemstein Vice President for Development and Alumni/ae Affairs

Taun Toay ’05 Senior Vice President; Chief Financial Officer

Stephen Tremaine ’07 Vice President for Early Colleges

Dumaine Williams ’03 Vice President for Student Affairs; Dean of Early Colleges

THE RICHARD B. FISHER CENTER FOR THE PERFORMING ARTSADVISORY BOARDJeanne Donovan Fisher ChairCarolyn Marks BlackwoodLeon Botstein+Stefano FerrariAlan FishmanNeil GaimanS. Asher Gelman ’06Rebecca Gold MilikowskyAnthony NapoliDenise S. SimonMartin T. SosnoffToni SosnoffFelicitas S. Thorne EmeritaTaun Toay ’05+Andrew E. Zobler

BARD MUSIC FESTIVAL BOARD OF DIRECTORSDenise S. Simon ChairRoger AlcalyLeon Botstein+Michelle R. ClaymanDavid DubinRobert C. Edmonds ‘68Jeanne Donovan FisherChristopher H. Gibbs+Paula K. HawkinsThomas HesseSusan Petersen KennedyBarbara KennerGary LachmundThomas O. MaggsKenneth L. MironChristina A. MohrJames H. Ottaway Jr.Felicitas S. ThorneSiri von ReisKathleen Vuillet Augustine

+ ex officio

ADMINISTRATIONLiza Parker Executive DirectorCatherine Teixeira General

ManagerBrynn Gilchrist ‘17 Executive

Assistant Kayla Leacock Summer Hiring

Manager

ARTISTIC DIRECTIONLeon Botstein President,

Bard CollegeGideon Lester Artistic DirectorCaleb Hammons Director of

Artistic Planning and ProducingCatherine Teixeira General

ManagerNunally Kersh SummerScape

Opera ProducerHannah Gosling-Goldsmith Artist

Services and Programs ManagerThai Harris Singer ‘20

Post-Baccalaureate Fellow, Producing Assistant

DEVELOPMENTDebra Pemstein Vice President

for Development and Alumni/ae Affairs

Alessandra Larson Director of Development

Kieley Michasiow-Levy Individual Giving Manager

Michael Hofmann VAP ‘15 Development Operations Manager

Elise Alexander ‘19 Development Assistant

BARD MUSIC FESTIVALIrene Zedlacher Executive DirectorRaissa St. Pierre ’87 Associate

Director

THEATER & PERFORMANCEAND DANCE PROGRAMSJennifer Lown Program

Administrator

PRODUCTIONJason Wells Director of ProductionSarah Jick Associate Production

ManagerStephen Dean Associate

Production ManagerRick Reiser Technical DirectorJosh Foreman Lighting SupervisorMoe Schell Costume SupervisorDanny Carr Video SupervisorLex Morton Audio SupervisorEric Sherman Audio Supervisor

COMMUNICATIONSMark Primoff Associate Vice

President of CommunicationsDarren O’Sullivan Senior Public

Relations AssociateAmy Murray Videographer

PUBLICATIONSMary Smith Director of

PublicationsCynthia Werthamer Editorial

Director

MARKETING AND AUDIENCE SERVICESDavid Steffen Director of

Marketing and Audience Services

Nicholas Reilingh Database and Systems Manager

Maia Kaufman Audience and Member Services Manager

Collin Lewis APS ‘21 Audience and Member Services Coordinator

Brittany Brouker Marketing Manager

Garrett Sager Digital Marketing Assistant

Jesika Berry Senior House Manager

Erik Long Box Office SupervisorPaulina Swierczek VAP ‘19 Box

Office SupervisorDavid Bánóczi-Ruof ‘22 Assistant

House ManagerMaia Weiss Assistant House

ManagerHazaiah Tompkins ‘19 Community

Space Manager

FACILITIESMark Crittenden Facilities

ManagerRay Stegner Building Operations

ManagerDoug Pitcher Building Operations

CoordinatorChris Lyons Building Operations

AssistantRobyn Charter Fire Panel MonitorBill Cavanaugh Environmental

SpecialistDrita Gjokaj Environmental

SpecialistOksana Ryabinkina Environmental

Specialist

THE ADMINISTRATION

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FISHER CENTER AT BARDThe Fisher Center develops, produces, and presents performing arts across disciplines through new productions and context-rich programs that challenge and inspire. As a premier professional performing arts center and a hub for research and education, the Fisher Center supports artists, students, and audiences in the development and examination of artistic ideas, offering perspectives from the past and present as well as visions of the future. The Fisher Center demonstrates Bard’s commitment to the performing arts as a cultural and educational necessity. Home is the Fisher Center for the Performing Arts, designed by Frank Gehry and located on the campus of Bard College in New York’s Hudson Valley. The Fisher Center offers outstanding programs to many communities, including the students and faculty of Bard College, and audiences in the Hudson Valley, New York City, across the country, and around the world. Building on a 161-year history as a competitive and innovative undergraduate institution, Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders.

ABOUT BARD COLLEGE

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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, Newark, New Jersey, New Orleans, and Washington, D.C.; AA and BA at Bard College at Simon’s Rock: The Early College, in Great Barrington, Massachusetts, and through the Bard Prison Initiative at six correctional institutions in New York State; MA in curatorial studies, MS and MA in economic theory and policy, MEd in environmental education, and MS in environmental policy and in climate science and policy at the Annandale campus; MFA and MAT at multiple campuses; MBA in sustainability in New York City; and MA, MPhil, and PhD in the decorative arts, design history, and material culture at the Bard Graduate Center in Manhattan. Internationally, Bard confers BA and MAT degrees at Al-Quds University in East Jerusalem and American University of Central Asia in Kyrgyzstan; BA degrees at Bard College Berlin: A Liberal Arts University; and BA and MA degrees at the Faculty of Liberal Arts and Sciences, St. Petersburg University, Russia (Smolny). Bard offers nearly 50 academic programs in four divisions. Total enrollment for Bard College and its affiliates is approximately 6,000 students. The undergraduate College has an enrollment of about 1,800 and a student-to-faculty ratio of 10:1. Bard’s acquisition of the Montgomery Place estate brings the size of the campus to nearly 1,000 acres.

Photo by Matt Dine

Photo by Matt Dine

Leon Botstein and all of us at The Orchestra Now would like to express our sincere appreciation to

Emily Sachar

for underwriting the TŌN-branded masks.

Thank you for safeguarding the health and vitality of our musicians during this time.

mendelssohn & bernsteinserenade (after plato’s symposium) 8 igor stravinsky concerto for piano...

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