Joseph Young, Lara Downes, & Florence Price's Piano Concerto
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
THE PROGRAM
Joseph Young, Lara Downes, &
Florence Price’s Piano Concerto
CONCERT DEEP DIVE
SAT 4/23/22 at 8 PM & SUN 4/24/22 at 2 PM
Performances #202 & #203 Season 7, Concerts 31 & 32
Fisher Center at Bard Sosnoff Theater
PLEASE KEEP PHONE SCREENS DIM Silence all electronic devices
PHOTOS AND VIDEOS ARE ENCOURAGED but only before and after the music
ENTER TO WIN TICKETS by signing up for TŌN email at ton.bard.edu
INSPIRE GREATNESS by making a donation at ton.bard.edu
GET SOCIAL by sharing your photos using @theorchnow
and #theorchnow
The Music this period she became acquainted
with the Italian composer Piero Bellugi,
who introduced her to his teacher, Luigi
JULIA PERRY’S A SHORT Dallapiccola. Because of the influence of
PIECE FOR ORCHESTRA these prestigious composers, she moved to
Notes by TŌN percussionist Petra Elek Italy to continue working with Dallapiccola,
at the conclusion of a successful summer
at Tanglewood. After one of her most well-
known pieces, Stabat Mater, was performed
in Italy, Germany, Austria, and the United
States, she decided to take a break from
studying with Dallapiccola in order to learn
from Nadia Boulanger at the American
Conservatory in Fontainebleau. It was
during Perry’s second year in Italy that the
Matt Dine
premiere of A Short Piece for Orchestra
took place, and it quickly became one of her
The Composer most-performed pieces. For the following
Julia Perry’s musical interest and talent was years she traveled back and forth between
obvious from very early in her childhood. the U.S. and Italy, and received multiple
After multiple achievements growing Guggenheim fellowships. Once she finally
up studying voice, piano, and violin, she settled down in the States, she became a
was offered scholarships to attend the teacher. Both as a composer and a teacher
Westminster Choir College in Princeton, she combined European classical and neo-
New Jersey. During her college years, she classical training with her African-American
studied composition and conducting heritage. As a consequence of underlying
while she continued her studies in voice, health problems, she suffered a stroke in
piano, and violin. After college, she took 1970, which left her right side completely
classes at Juilliard and studied voice paralyzed and made her unable to speak.
at the Curtis Institute until 1951. During Even though she tried to have her workTHE ORCHESTRA NOW CONCERT DEEP DIVE
published, it was almost impossible to Jim Crow south, Price had to struggle which is often heard in Black American Yet Rachmaninoff recovered after three
read her handwriting after the stroke, which with many facets of her identity that were spirituals. The third section transitions months of hypnotherapy with Nikolay Dahl,
ended up causing her work to either get deemed unacceptable to the people in with an accelerando and the passing off and in 1901 began composing his Second
lost after her death, or only be available in her hometown of Little Rock, Arkansas. of wind solos. This dance section is an Piano Concerto, which he dedicated to
manuscript form. However, this did not stop her from having example of a juba, which is a dance brought Dahl. Following its success, he was able to
her Symphony No. 1 premiered by the to America by enslaved people from the balance performance and composition so
The Music Chicago Symphony Orchestra in 1933 on Kingdom of Kongo (present day Angola, well that he completed his Symphony No. 2,
Julia Perry wrote A Short Piece for Orchestra a concert entitled “The Negro in Music.” This the Democratic Republic of the Congo, the symphonic poem The Isle of the Dead,
in 1952, and revised it twice before settling premiere pushed Price to put composition and Gabon) characterized by stomping, and his Third Piano Concerto all during
on its final version. After an energetic and at the forefront of her musical legacy, along slapping, and patting. This dance was used the first decade of the 20th Century, while
prominent opening, we soon find ourselves with being accomplished on the piano and when rhythmic instruments were stolen to living in Dresden. During the catastrophic
in a lyrical slow section. The composition is organ. stop enslaved people from communicating. Russian Revolution and First World War, he
clearly divided into five contrasting parts managed to survive and finally emigrated
in which the opening thunderlike material A Musical Reconstruction to the U.S., where Rachmaninoff had an
comes back three times. In the first melodic The Piano Concerto in One Movement RACHMANINOFF’S intense performance schedule and little
section the theme is first played by the was one of many works by Price that SYMPHONY NO. 3 time for composition. From the end of WWI
flute, then the oboe, the clarinet, and the disappeared for decades. The loss and Notes by TŌN violist Batmyagmar until 1931 he had not composed much,
horn. After an abrupt and short central mishandling of her compositions due to Erdenebat except to complete his Piano Concerto
section, the flute, violin, and oboe take her identity is abhorrent, proving that the No. 4. Indeed, he felt out of touch with the
over, leading us into the final recall of the proper care and attention was not given modern techniques of composition, and
vigorous opening. The short piece is full of to music which deserved to be treated like wrote in the late 1930s, “The new kind of
contrasts and sound effects that make the the music of her peers. During America’s music seems to come not from the heart
work really exciting. recent racial awakening, many orchestras but from the head. It may be that they
and institutions have found an interest in compose in the spirit of the times; but it
her music again. In 2011, Trevor Weston, a may be, too, that the spirit of the times does
FLORENCE PRICE’S Black American composer, reconstructed not inspire expression in music.”
PIANO CONCERTO
the Piano Concerto in One Movement from
Matt Dine
Notes by TŌN clarinetist Olivia Hamilton
a few instrumental parts and a manuscript The Music
written for two pianos. An orchestral Back in Europe in 1936, Rachmaninoff
manuscript later turned up at an auction completed his Third Symphony, which
A Gifted Student
in 2019. was inspired by one of his most celebrated
Well before becoming one of the most
piano works, Rhapsody on a Theme of
admired pianists of the early 20th century,
The Music Paganini. The symphony premiered with
Rachmaninoff emerged as a gifted
This work features three distinct sections, the Philadelphia Orchestra under Leopold
composition student who impressed his
although it is performed in one movement. Stokowski in November of the same year,
teachers. He had an extraordinary gift for
It begins with a nostalgic passage between but never achieved the fame of his previous
memorization and completed his opera
the woodwinds and brass. This transitions work. The Philadelphia Orchestra recorded
Matt Dine
Aleko in just 4 weeks. So why did it take him
into an illustrious introduction in the piano, it in 1939 under Rachmaninoff’s baton.
almost three decades after finishing his
using its full range and featuring chromatic Rachmaninoff regarded his final symphony
Second Symphony to compose his Third?
The Composer leading in a flurry of notes until it arpeggiates fondly. We hear the motif enter at the start
As the first Black woman to have a to a transition back to the orchestra. The of the first of three movements. It later
A Lost Confidence
composition performed by a major second distinct section begins with a singing dominates the second half of the finale.
In 1897, Rachmaninoff lost his confidence
American orchestra, Florence Beatrice passage in the strings before it makes room The first movement has two contrasting
in composing after the disastrous premiere
Price created a musical legacy that was for an oboe solo that will eventually expand themes: sorrow and nostalgia expressed
of his First Symphony in St. Petersburg
tied to her training in the European classical and flow within the piano harmonies. This by the woodwinds; and a gracious, romantic
under the baton of Alexander Glazunov,
tradition and Black American spirituals. A section makes use of the consecutive melody presented by the cellos. Within the
who was said to be drunk on the stage.
Black woman who lived primarily in the sixth and first scale degree in a major key, second movement, a combination of adagio
2 / APR 2022 / THE ORCHESTRA NOW TON.BARD.EDU / APR 2022 / 3THE ORCHESTRA NOW CONCERT DEEP DIVE
and scherzo creates two inner movements.
The calming theme is introduced by solo
finale radiates the energy of Russian dance
music. Finally, a lush melodic theme brings The Artists
horn and followed by solo violin. The us back to high romanticism with a grand
JOSEPH YOUNG conductor won in 2008 and 2014. In 2013, he was
scherzo then takes its turn with the strings conclusion. a semi-finalist in the Gustav Mahler
to create a theatrical atmosphere. The lively International Conducting Competition
(Bamberg, Germany). In 2011, he was one
of six conductors featured in the League of
American Orchestras’ prestigious Bruno
Walter National Conductor Preview.
Mr. Young completed graduate studies with
Jared Platt
Gustav Meier and Markand Thakar at the
Peabody Conservatory in 2009, earning
an artist’s diploma in conducting. He has
Joseph Young is Music Director of the been mentored by many world-renowned
Berkeley Symphony, Artistic Director of conductors, including Jorma Panula, Robert
Ensembles for the Peabody Conservatory, Spano, and Marin Alsop, with whom he
and Resident Conductor of the National continues to maintain a close relationship.
Youth Orchestra–USA at Carnegie Hall. In
recent years, he has made appearances LARA DOWNES piano
with the Saint Louis Symphony, Buffalo
Philharmonic, Colorado Symphony, Detroit
Symphony, Phoenix Symphony, Bamberger
Symphoniker, New World Symphony,
Spoleto Festival Orchestra, Orquestra
Sinfónica do Porto Casa da Música, and
the Orquesta Sinfonica y Coro de RTVE
(Madrid), among others in the U.S. and
Max Barrett
Europe.
In his most recent role, Mr. Young served
as the Assistant Conductor of the Atlanta Pianist Lara Downes is a Billboard chart-
Symphony, where he conducted more topping recording artist, a producer,
than 50 concerts per season. He also curator, activist, and arts advocate. She
served as the Music Director of the Atlanta has performed on major stages including
Symphony Youth Orchestra, where he was the Kennedy Center, Carnegie Hall, Lincoln
the driving force behind the ensemble’s Center, Boston Symphony Hall, the Ravinia
artistic growth. Previous appointments Festival, Tanglewood, and Washington
have included Resident Conductor of the Performing Arts, and in clubs and intimate
Phoenix Symphony, and the League of venues including Joe’s Pub, National
American Orchestras Conducting Fellow Sawdust, Yoshi’s, and Le Poisson Rouge.
with the Buffalo Philharmonic and Baltimore
Symphony. Ms. Downes’ series of recordings includes
Florence Price: PIano Discoveries, a
Mr. Young is a recipient of the 2015 Solti collection of world-premiere recordings
Foundation U.S. Career Assistance Award of recently discovered piano works by
for young conductors, an award he also the groundbreaking African American
4 / APR 2022 / THE ORCHESTRA NOW TON.BARD.EDU / APR 2022 / 5THE ORCHESTRA NOW CONCERT DEEP DIVE
THE ORCHESTRA NOW
composer, and Some of These Days, Rising Sun Music, a monthly recording
comprising freedom songs and spirituals series that sheds light on the music and
that reflect on social justice, progress, and stories of Black composers over the past
equality. Her Sony Masterworks recording 200 years, featuring a wide range of leading
Holes in the Sky, a celebration of the instrumentalists and vocalists (including
contributions of phenomenal women to the Ms. Downes). She is host of AMPLIFY with
past, present, and future of American music, Lara Downes, a video series for NPR Music
David DeNee
was released in March 2019, debuting at the now in its second season, that engages
top of the Billboard charts. Her recording For visionary Black musicians and artists in
Love Of You marks her concerto recording important topics confronting them today;
debut, and celebrates the 200th birthday of and an evening host and Resident Artist at The Orchestra Now (TŌN) is a group of vibrant young musicians from across the globe who
the pianist and composer Clara Schumann. KDFC. She serves as the inaugural Artist are making orchestral music relevant to 21st-century audiences by sharing their unique
Her Sony Classical debut release For Lenny Citizen in Residence for the Manhattan personal insights in a welcoming environment. Hand-picked from the world’s leading
debuted in the Billboard Top 20 and was School of Music, as well as a Fellow of the conservatories—including the Yale School of Music, Shanghai Conservatory of Music,
awarded the 2017 Classical Recording Loghaven Artist Residency. Her work has Royal Academy of Music, and the Eastman School of Music—the members of TŌN are
Foundation Award, and America Again was been supported by the Mellon Foundation, enlightening curious minds by giving on-stage introductions and demonstrations, writing
selected by NPR as one of “10 Albums that the National Endowment for the Arts, concert notes from the musicians’ perspective, and having one-on-one discussions with
Saved 2016.” the Sphinx Organization, the Classical patrons during intermissions.
Recording Foundation Award, the University
Ms. Downes enjoys creative collaborations of California Innovator of the Year Award, Conductor, educator, and music historian Leon Botstein, whom The New York Times said
with a range of leading artists, including and the Center for Cultural Innovation, “draws rich, expressive playing from the orchestra,” founded TŌN in 2015 as a graduate
folk icon Judy Collins, pianist Simone among others. program at Bard College, where he is also president. TŌN offers both a three-year master’s
Dinnerstein, former U.S. Poet Laureate Rita degree in Curatorial, Critical, and Performance Studies and a two-year advanced certificate
Dove, multi-instrumentalist/composer/ Ms. Downes’ fierce commitment to in Orchestra Studies. The orchestra’s home base is the Frank Gehry-designed Fisher Center
singer Rhiannon Giddens, writer Adam activism and advocacy has her working with at Bard, where it performs multiple concerts each season and takes part in the annual
Gopnik, baritone Thomas Hampson, and organizations including the ACLU, Feeding Bard Music Festival. It also performs regularly at the finest venues in New York, including
cellist Yo-Yo Ma. Her close partnerships America, the Lower Eastside Girls Club, the Carnegie Hall, Lincoln Center, The Metropolitan Museum of Art, and others across NYC
with prominent composers span genres Sphinx Organization, and Watts Learning and beyond. HuffPost, who has called TŌN’s performances “dramatic and intense,”
and generations, with premieres and Center. She is an Artist Ambassador for praises these concerts as “an opportunity to see talented musicians early in their careers.”
commissions coming from Michael Abels, Headcount, a non-partisan organization
Clarice Assad, John Corigliano, Jennifer that uses the power of music to register The orchestra has performed with many distinguished guest conductors and soloists,
Higdon, Paola Prestini, Stephen Schwartz, voters and promote participation in including Leonard Slatkin, Neeme Järvi, Gil Shaham, Fabio Luisi, Vadim Repin, Hans
and many others. democracy. Graf, Peter Serkin, Gerard Schwarz, Tan Dun, and JoAnn Falletta. Recordings featuring
The Orchestra Now include two albums of piano concertos with Piers Lane on Hyperion
Ms. Downes is the creator and curator of More info at LaraDownes.com. Records, and a Sorel Classics concert recording of pianist Anna Shelest performing works
by Anton Rubinstein with TŌN and conductor Neeme Järvi. Buried Alive with baritone
Michael Nagy, released on Bridge Records in August 2020, includes the first recording in
almost 60 years—and only the second recording ever—of Othmar Schoeck’s song-cycle
Lebendig begraben. Recent releases include an album of piano concertos with Orion Weiss
on Bridge Records, and the soundtrack to the motion picture Forte. Recordings of TŌN’s
live concerts from the Fisher Center can be heard on Classical WMHT-FM and WWFM The
Classical Network, and are featured regularly on Performance Today, broadcast nationwide.
Explore upcoming concerts, see what our musicians have to say, and find more information
on the academic program at ton.bard.edu.
6 / APR 2022 / THE ORCHESTRA NOW TON.BARD.EDU / APR 2022 / 7CONCERT DEEP DIVE
Bard's Orchestral Masters
Leon Botstein Music Director HYUNJUNG SONG viola We organized concerts, and they were
successful and popular.
Violin I Flute Samuel Exline Dilyana Zlatinova-
Nicole Oswald Leanna Ginsburg Principal 2, Tsenov What is some advice you would give to
Concertmaster Principal 1, 2, Alto Trumpet 3 Adrienne Harmon your younger self? Do more scale practice,
Aubrey Holmes Piccolo 3 Maggie Tsan-Jung Daniela Diaz and do technique exercises please.
Yeseul Park Rebecca Tutunick Wei Principal 3 Denise Stillwell Favorite non-classical musician or band:
Yi-Ting Kuo Principal 3 Jessica Belflower Lauv, Norah Jones, Bruno Major
Zhen Liu Brendan Dooley
Matt Dine
Trombone
Adam Jeffreys Piccolo 1 Ian Striedter Viola
Linda Duan Principal 1, 2 Emmanuel Koh MAGGIE TSAN-JUNG WEI trumpet
@hyunjung5406
Sabrina Parry Oboe David Kidd TŌN ’19
Shawn Hutchison Principal 3 Karen Waltuch
Hyunjung will talk briefly about Julia Perry’s
Violin II Principal 1, 2 Austin Pancner Brian Thompson
A Short Piece for Orchestra on stage before
Sarit Dubin Jasper Igusa Bass Trombone Dan McCarthy
the performance.
Principal Principal 3
Zongheng Zhang JJ Silvey English Tuba Cello Hometown: Seoul, Korea
Misty Drake Horn Jarrod Briley Lucas Button Alma mater: Peabody Institute of The
Matt Dine
Tin Yan Lee* TŌN ’21 Johns Hopkins University, M.M., Graduate
Clarinet Timpani Performance Diploma
Viola Olivia Hamilton Keith Hammer III* Bass @maggieweimaggie
Lucas Goodman Principal 1, 2 Aidan Phipps Appearances: York Symphony Orchestra,
Principal Juan Martinez substitute; Aspen Music Festival, 2015, Maggie will talk briefly about Florence
Percussion
Batmyagmar Principal 3 Contrabassoon 2017; Festival Napa Valley Blackburn Price’s Piano Concerto on stage before
Petra Elek
Erdenebat Mackenzie Austin William Safford Music Academy, 2018; American Institute the performance.
Principal 1
Hyunjung Song Bass Clarinet of Musical Studies, Graz, Austria, 2019
Felix Ko Principal 2 Home country: Taiwan
Leonardo Vásquez Luis Herrera Horn What is your earliest memory of classical
Chacón Emily Buehler music? When I was about 9 years old, I Alma maters: San Francisco Conservatory
Bassoon Albertazzi
TŌN ’21 remember playing violin with a large group of Music, M.M., 2020; Yong Siew Toh
Philip McNaughton Principal 3
Cello of other kids at a Suzuki violin academy. Conservatory of Music, National University
Principal 1, 2
Eva Roebuck Timpani of Singapore, B.M., 2018
Han-Yi Huang Harp When did you realize you wanted to
Principal Principal 3 Taylor Ann Miles Salerni Awards/Competitions: Third Place, 2019
pursue music as a career? I used to play
Kelly Knox Fleshman National Trumpet Competition, small
Percussion music as a hobby. When my music teacher
Sara Page Horn ensemble; Finalist, 2017 Jeju International
Taylor Lents suggested I should consider becoming a
Cameron Collins Ser Konvalin Guest Musicians Brass Competition
Parker Olson professional musician, the idea got me really
Isaac Kim Principal 1, 2 excited and kept me up at nights. After a What is your earliest memory of classical
Jordan Gunn Zachary Travis Violin I
Piano/Celeste week, I somehow knew I wanted to become music? For as long as I can remember,
Pecos Singer Principal 3 Joohyun Lee
Ji Hea Hwang a musician. because my godmother is a piano teacher,
Shane Conley Nalin Myoung I have been listening to classical music.
Bass Kwong Ho Hin APS ’23 What is your favorite piece of music, and
why do you love it? J.S. Bach’s Schafe My parents also love classical music,
Joshua DePoint Assistant 3 Bruno Pena
1
Perry
können sicher weiden. Listening to this piece especially Beethoven’s symphonies and
Principal Steven Harmon*
2
Price
calms me and makes me happy. Tchaikovsky’s Violin Concerto in D as played
Tristen Jarvis Violin II
3
Rachmaninoff
by Sarah Chang with the London Symphony
Luke Stence Trumpet Leonardo Pineda * not performing in What has been your favorite experience Orchestra. They always played classical
Rowan Puig Davis Diana Lopez ’15 TŌN ’19 this concert as a musician? When I was a college music at home or in car rides, and I feel that
Principal 1 Kathryn Aldous student, my friends and I together made classical music was a really big part of my
an ensemble entirely made of violists. life growing up.
Members of TŌN can be identified by their distinctive blue attire.
8 / APR 2022 / THE ORCHESTRA NOW TON.BARD.EDU / APR 2022 / 9THE ORCHESTRA NOW CONCERT DEEP DIVE
What is your favorite piece of music, and Awards/competitions: Co-winner, 2014
why do you love it? I do not really have Jacqueline Avent Concerto Competition, Support TŌN
a favorite piece of music, it changes over Sewanee Summer Music Festival
time. However, The Rite of Spring by Igor
Stravinsky has been my favorite for a while.
Appearances: Montclair Orchestra, 2019– WE’VE BROUGHT MUSIC TO MORE THAN
20; Aspen Music Festival, 2019; Chautauqua
I really love the colorful and mysterious
harmony with the rich and complex rhythm
Institution, 2017; National Music Festival, 73,000 LIVE & VIRTUAL CONCERTGOERS
throughout the whole piece. Also, I love how
Stravinsky composed this piece in a time
2017; Eastern Music Festival, 2015; Sewanee
Summer Music Festival, 2014 IN OVER 200 CONCERTS THANKS TO
when people had not had this kind of “new What is your earliest memory of
classical music? I remember going with
SUPPORT FROM DONORS LIKE YOU!
music experience” yet.
my family to an outdoor summer concert
What is some advice you would give to INSPIRE GREATNESS!
of the Indianapolis Symphony and being
your younger self? PRACTICE MORE! But Support TŌN’s innovative training program for classical musicians.
completely awestruck to learn what an
also enjoy life more! Just focus on what you orchestra sounded like up close. It was
need to do, one thing at a time, you will get THE TŌN FUND
an amazing experience, and I left with the
past everything eventually. Members of The Orchestra Now are completing an innovative graduate degree program.
urge to learn everything I could about the
If you could play another instrument, what different instruments and the kinds of TŌN offers students the experiences they might expect as career orchestral musicians—
would it be? Percussion. I think it is really sounds they made. including public performance, touring, and recording. TŌN is tuition free, and each student
cool for them to be able to play so many receives a yearly living stipend. Individual contributions from music lovers like you are
What inspired you to apply to TŌN? It essential to TŌN’s success.
different instruments and I love seeing them seemed like an incredible opportunity not
switch places and instruments during the only to make music with exciting players, Gifts to TŌN support full-tuition fellowships and annual living stipends for each musician—
concert. but to hone my ability to speak, write, and more than 60 players from 13 countries around the globe. Your gift also provides vital
Piece of advice for a young classical communicate about the music I love to resources for TŌN’s public performances—more than 30 concerts each season—from its
musician: Pursuing music as a career might play. I also wanted to gain experience home base at the Fisher Center at Bard, and in NYC at Carnegie Hall, Lincoln Center, and
feel dark and alone in your path sometimes, with public engagement, outreach, and The Metropolitan Museum of Art. TŌN also offers a number of family-friendly, free concerts
but believe me, we will all see the light in project creation, all of which are incredibly and chamber events in New York City and across the Hudson Valley. Your generosity will
the end! important skills for musicians to possess sustain the education and training of the next generation of great performers as they
today. learn to communicate the transformative power of music to 21st-century audiences.
What do you think orchestra concerts
JJ SILVEY oboe should look like in the 21st Century? I think SPONSOR A TŌN MUSICIAN: NAMED FELLOWSHIPS
that, above all, 21st-century audiences Play a defining role in our success by sponsoring a TŌN musician. Direct your support to
should feel invited into a personal have a lasting impact on the education and training of TŌN’s exceptional young players
experience each time they attend a from around the world. TŌN offers both a three-year master’s degree in Curatorial, Critical,
concert. The atmosphere should be open and Performance Studies and a two-year advanced certificate in Orchestral Studies.
and welcoming, and there should be nothing Named fellowships begin with a gift of $10,000+ (Concertmaster’s Circle).
standing in the way of the audience’s ability
to feel that the music belongs to them. For detailed information on the many ways to support TŌN, please contact
Matt Dine
Nicole M. de Jesús, Director of Development, at 845.758.7988 or ndejesus@bard.edu.
What is some advice you would give to
JJ will talk briefly about Rachmaninoff’s your younger self? Study and become There’s simply no other music degree program like TŌN. Help us to
Symphony No. 3 on stage before the familiar with as many of a composer’s works
as you can! Just knowing the major pieces
inspire greatness by making a contribution today!
performance.
won’t give you the context necessary to To Donate:
Hometown: Walkerton, IN create a meaningful interpretation. Visit TON.BARD.EDU/SUPPORT
Alma mater: Mannes College of Music, M.M.; Call 845.758.7988
Indiana University, B.M., B.S.
10 / APR 2022 / THE ORCHESTRA NOW TON.BARD.EDU / APR 2022 / 11THE ORCHESTRA NOW CONCERT DEEP DIVE
The TŌN Fund Donors Howard and Caroline
Goodman, in honor of
Joseph M. Sweeney
Robert Vermeulen
Brigitte R. Roepke
Arthur Rose
Lucas Goodman TŌN ’23 Howard N. Wallick Beverly and Rev. Stephen
The Orchestra Now gratefully acknowledges the generosity of each and every
Lee Haring Ross, in honor of Gaia
donor who makes our work possible. Ticket sales cover less than a quarter of the
William J. Harper Downbeat Mariani Ramsdell TŌN ’21
expenses for our concerts and educational initiatives. For detailed information on
Karen and Perry Hoag, in Anonymous (3) Suzanne Sarason
contributing to TŌN, or to update your listing, please contact Nicole M. de Jesús at
honor of Bram Margoles Norman Abrams Bonnie S. Sgarro
ndejesus@bard.edu or 845.758.7988. Thank you for making this important investment
TŌN ’21 and Katelyn Hoag Fred Allen and Erica De Mane Frances Sharpless
in the future of classical music!
TŌN ’21 Melissa Auf der Maur Shari Siegel
Leadership Gifts The Merrill G. and Emita E. Arnold** and Milly Feinsilber Hospitality Committee for Jeffrey Berns Peter Sipperley
Estate of Clyde Talmadge Hastings Foundation Stan J. Harrison United Nations Delegations Donald Bourque Theodore J. Smith
Gatlin James and Andrea Nelkin* Stephen J. Hoffman (HCUND) Herbert and Sharon W. Linda C. Stanley
Rockefeller Brothers Fund Jen Shykula ’96 and Tom Elena and Frederic Howard James Gavin Houston Burklund Phyllis Tuchman
Felicitas S. Thorne* Ochs* Scott Huang I.B.M. Matching Grants Evangeline Caliandro Stephanie Walker
Richard D. Sime George Jahn and Karen Program Judith Chaifetz Ann and Douglas William
The Yvonne Nadaud Thom and Valerie Styron, Kaczmar Malcolm G. Idelson Joanne Chu Wayne and Dagmar Yaddow
Mai Concertmaster in honor of Jarrod Briley Kassell Family Foundation of John and Min Hwyei Jeung, Karen and Mark Collins, in Lynda Youmans, in honor of
Chair TŌN ’22 the Jewish Communal Fund in honor of Brendan Dooley honor of Cameron Collins Drew Youmans TŌN ‘19
Made possible by The Mai Irene Vincent* Miodrag Kukrika TŌN ’22 TŌN ‘22 Drs. Julie and Sandy Zito
Family Foundation David W. Welles Janet C. Mills Judith and Ron Goodman James Costello and Laura
Lisa and Albrecht Pichler Charitable Trust of Fidelity Cannamela Prelude
Concertmaster’s Trumpeter Arlene and Gilbert Seligman Rebecca S. Kidd, in honor of Jefferson Cotton Anonymous (4)
Circle Anne-Katrin Spiess Jan and Jim Smyth David Kidd TŌN ’22 Thomas De Stefano Sharon B. Applegate
Joseph Baxer and Barbara Philanthropic Fund at the Judith and Michael Thoyer Erica Kiesewetter John and Remy Duffy, in Mr. and Mrs. Louis Baker
Bacewicz Foundation for Jewish Howard N. Wallick Laurie and Michael Pollock honor of Luis Herrera Laurence Blau and Karen
Michael Dorf and Sarah Philanthropies Meyer J. Wolin Fund of Fidelity Charitable Albertazzi TŌN ’23 Johnsen
Connors* Mr. and Mrs. Ronald Atkins Dr. Nancy S. Leonard and Dr. Priscilla Duskin, in memory of Marie-Louise Brauch
Emily Sachar Curtis DeVito and Dennis TŌNor Lawrence Kramer Luis Garcia-Renart Frank Brice, Jr.
Wedlick Anonymous David L. Lewis Vera A. Farrell Geraldine Brodsky
Conductor's Box Jan M. Guifarro Naja R. Armstrong Erika and Ernest Lieber Teresa Genin Carole L. Cappadocia and
Anonymous, in memory of Bernard and Lisa King-Smith Erika Bernich Fulvia Masi, in memory of Helena and Christopher Vincent Cappadocia
Stuart Stritzler-Levine Maury Newburger Jesika R. Berry William R. Tanksley H. Gibbs Harriet D. Causbie
Koren C. Lowenthal, in Foundation Marvin Bielawski Virginia M. and Guenther Carol and Peter Goss Marsha S. Clark
memory of Larry Lowenthal Michael J. Hall James Blakney and Kelly A. W. May Tamara Judith Gruzko Wendy Faris
Michael L. Privitera Tyler J. Lory and Michael Preyer Warren R. Mikulka Michaela Harnick Mark L. Feinsod ’94
Christine T. Munson* Rauschenberg Diane and Ronald Blum Charles H. Milligan and Henry Terrell K. Holmes Katka Hammond
Susanne Neunhoeffer Richard C. Bopp Westmoreland Neil and Diana King Amy Hebard
Allegro Shirley Ripullone and Kent Brown and Nat Thomas Gary Morgan Arthur S. Leonard Al Jacobsen
Alexandra Ottaway Kenneth Stahl Dora Jeanette Canaday Inez Parker, in honor of David Eugene Lowenkopf Steven Jonas, M.D.
Northwestern Mutual Alice Stroup, in memory of Margaret M. Coughlin Kidd TŌN ‘22 Karen Manchester Brenda Klein
Foundation* Timothy Stroup Joseph and Phyllis DiBianco Catherine K. and Fred Reinis Phyllis Marsteller Ann and Robert Libbey
Vivian Sukenik Vincent M. Dicks Ann and Thomas Robb , in Martin and Lucy Murray Frank E. Lucente
Forte Richard and Hildegard ’78 honor of Dillon Robb TŌN ‘21 Stan and Bette Nitzky Eva Mayer
Anonymous (2) Crescendo Edling James Rosenfield Nora Post Rikki Michaels
Helen V. Atlas Anonymous (2) Renate L. Friedrichsen Edward Sandfort Robert Renbeck Kathleen G. Overbay
Gary Giardina Josephine G. Curry ’11 Peter and Charlene Gay Linda V. Schwab Edmundson Jing L. Roebuck, in honor of Leslie Pepper
Steven Holl Nicole M. de Jesús ‘94 and Thomas J. Shykula Eva Roebuck TŌN ’22 Shirley Perle
Laurie S. Lauterbach Brian P. Walker
12 / APR 2022 / THE ORCHESTRA NOW TON.BARD.EDU / APR 2022 / 13THE ORCHESTRA NOW CONCERT DEEP DIVE
Robert Renbeck
Joan Roth
Elizabeth Zubroff, in honor of
John D. Murphy
This list represents gifts
made January 1, 2021 to
The Administration
Richard Scherr March 24, 2022.
Diane J. Scrima *Includes gifts and THE ORCHESTRA NOW
M. Lana Sheer pledges to the Bard Thank you for your
Artistic Staff Administrative Staff Matt Walley TŌN ’19 Program
Anna Shuster Music Festival and The partnership!
Leon Botstein Music Director Kristin Roca Executive Coordinator, Admissions
John Simpson Orchestra Now Gala.
James Bagwell Associate Director Counselor, and Guest Artist
Jenny Snider **Deceased Relations
Conductor and Academic Brian J. Heck Director of
Irene Zedlacher
Director Marketing
Jindong Cai Associate Nicole M. de Jesús ’94 Concert Crew
Conductor Director of Development Marlan Barry Audio Producer
Zachary Schwartzman Leonardo Pineda ’15 and Recording Engineer
Resident Conductor TŌN ’19 Director of Youth Skillman Music Audio and
Andrés Rivas GCP ’17 Educational Performance Video Broadcast
Assistant Conductor and South American Music Nora Rubenstone Stage
Erica Kiesewetter Professor Curator Manager
of Orchestral Practice Sebastian Danila Music Danielle Brescia Stage
Bridget Kibbey Director of Preparer and Researcher Manager
Chamber Music and Arts Marielle Metivier Orchestra Lydia McCaw Stage Manager
Advocacy Manager Robert Strickstein Stage
Benjamin Oatmen Librarian Manager
Viktor Tóth ’16 TŌN ’21 Walter Daniels LX
Production Coordinator
BARD COLLEGE
Board of Trustees Kimberly Marteau Emerson Mostafiz ShahMohammed
James C. Chambers ’81 Chair Robert S. Epstein ’63 ’97
Emily H. Fisher Vice Chair Barbara S. Grossman ’73 Jonathan Slone ’84
George F. Hamel Jr. Vice Alumni/ae Trustee Geoffrey W. Smith
Chair Andrew S. Gundlach Alexander Soros
Elizabeth Ely ’65 Secretary; Matina S. Horner ex officio Jeannette H. Taylor ex officio
Life Trustee Charles S. Johnson III ’70 James von Klemperer
Stanley A. Reichel ’65 Mark N. Kaplan Life Trustee Brandon Weber ’97
Treasurer; Life Trustee George A. Kellner Alumni/ae Trustee
Fiona Angelini Mark Malloch-Brown Susan Weber
Roland J. Augustine Fredric S. Maxik ’86 Patricia Ross Weis ’52
Leonard Benardo Juliet Morrison '03
Leon Botstein President of James H. Ottaway Jr. Life Senior
the College, ex officio Trustee Administration
Mark E. Brossman Hilary Pennington Leon Botstein President
Jinqing Cai Martin Peretz Life Trustee Coleen Murphy Alexander
Marcelle Clements ’69 Life Stewart Resnick Life Trustee ’00 Vice President for
Trustee David E. Schwab II ’52 Life Administration
The Rt. Rev. Andrew M. L. Trustee Myra Young Armstead Vice
Dietsche Honorary Trustee Roger N. Scotland ’93 President for Academic
Asher B. Edelman ’61 Life Alumni/ae Trustee Inclusive Excellence
Trustee Annabelle Selldorf
14 / APR 2022 / THE ORCHESTRA NOW TON.BARD.EDU / APR 2022 / 15THE ORCHESTRA NOW CONCERT DEEP DIVE
Jonathan Becker Executive Peter Gadsby Vice Taun Toay ’05 Senior Vice Stephen Dean Orchestra Marketing and Erik Long Box Office
Vice President; Vice President for Enrollment President; Chief Financial Production Manager Audience Services Supervisor
President for Academic Management; Registrar Officer Brynn Gilchrist ‘17 Production David Steffen Director of Jardena Gertler-Jaffe VAP ‘21
Affairs; Director, Center for Mark D. Halsey Vice President Stephen Tremaine ’07 Coordinator Marketing and Audience Box Office Supervisor
Civic Engagement for Institutional Research Executive Director, Andrea Sofia Sala Production Services*
Erin Cannan Vice President and Assessment Bard Early College; Vice Administrator Nicholas Reilingh Database Facilities
for Civic Engagement Max Kenner ’01 Vice President for Early Colleges Rick Reiser Technical and Systems Manager Mark Crittenden Facilities
Deirdre d’Albertis Vice President for Institutional Dumaine Williams ’03 Vice Director Maia Kaufman Audience and Manager
President; Dean of the Initiatives; Executive President for Student Josh Foreman Lighting Member Services Manager Ray Stegner Building
College Director, Bard Prison Affairs; Dean of Early Supervisor Brittany Brouker Marketing Operations Manager
Malia K. Du Mont ’95 Vice Initiative Colleges Moe Schell Costume Manager Hazaiah Tompkins ’19
President for Strategy and Debra Pemstein Vice Supervisor Sean Jones Assistant Building Operations
Policy; Chief of Staff President for Development Kat Pagsolingan Video Marketing Manager Assistant
and Alumni/ae Affairs Supervisor Garrett Sager HRA ‘23 Digital Liam Gomez Building
Lex Morton Audio Supervisor Archive Associate Operations Assistant
Elyse Lichtenthal House Chris Lyons Building
FISHER CENTER AT BARD Communications Manager Operations Assistant
Advisory Board Barbara Kenner Jason Collins Associate Mark Primoff Associate David Bánóczi-Ruof ‘22 Lead Robyn Charter Fire Panel
Jeanne Donovan Fisher Chair Gary Lachmund Producer Vice President of Assistant House Manager Monitor
Carolyn Marks Blackwood Vivien Liu Rachael Gunning ‘19 Communications Ash Fitzgerald ‘24 Assistant Bill Cavanaugh
Leon Botstein ex officio Thomas O. Maggs Producing Coordinator Amy Murray Videographer House Manager Environmental Specialist
Stefano Ferrari Kenneth L. Miron Maya Miggins ‘23 Assistant Drita Gjokaj Environmental
Alan Fishman Christina A. Mohr Development Publications House Manager Specialist
Neil Gaiman James H. Ottaway Jr. Debra Pemstein Vice Mary Smith Director of Paulina Swierczek VAP ‘19 Oksana Ryabinkina
S. Asher Gelman ’06 Felicitas S. Thorne President for Development Publications Audience and Member Environmental Specialist
Rebecca Gold Milikowsky and Alumni/ae Affairs Cynthia Werthamer Editorial Services Assistant Manager
Anthony Napoli Executive Director Alessandra Larson Director Director * Equity & Inclusion working
Denise S. Simon Liza Parker* of Development* group team leader
Martin T. Sosnoff Kieley Michasiow-Levy
Toni Sosnoff Artistic Director Individual Giving Manager
Gideon Lester Malinda Slayton-Cruz MAT '10
BARD MUSIC FESTIVAL
Felicitas S. Thorne Emerita
Taun Toay ’05 ex officio Development Operations Executive Director Scholar in Director of Choruses
Andrew E. Zobler Administration Manager Irene Zedlacher Residence 2022 James Bagwell
Shannon Csorny Executive Michael Hofmann VAP '15 Philip Ross Bullock
Bard Music Festival Coordinator Development Operations Artistic Directors Vocal Casting
Board of Directors Kayla Leacock Hiring/Special Manager Leon Botstein Program Committee Joshua Winograde
Denise S. Simon Chair Projects Manager Elise Alexander ‘19 Gala Christopher H. Gibbs 2022
Roger Alcaly Coordinator* Byron Adams Producer, Staged
Leon Botstein ex officio Artistic Direction Associate Director Leon Botstein Concerts
Michelle R. Clayman Caleb Hammons Director Theater & Raissa St. Pierre Philip Ross Bullock Nunally Kersh
David Dubin of Artistic Planning and Performance and Christopher H. Gibbs
Robert C. Edmonds '68 Producing* Dance Programs Richard Wilson
Jeanne Donovan Fisher Catherine Teixeira General Jennifer Lown Program Irene Zedlacher
Emerita Manager* Administrator
Dr. Sanford J. Friedman Nunally Kersh SummerScape
Christopher H. Gibbs Opera Producer Production
ex officio Carter Edwards Producing Jason Wells Director of
Thomas Hesse Operations Manager Production*
Susan Petersen Kennedy
16 / APR 2022 / THE ORCHESTRA NOW TON.BARD.EDU / APR 2022 / 17THE ORCHESTRA NOW CONCERT DEEP DIVE
About Bard College Upcoming TŌN Events
FISHER CENTER AT BARD
The Fisher Center develops, produces, and presents performing arts across disciplines New Voices from Liszt & Bartók
through new productions and context-rich programs that challenge and inspire. As a premier the 1930s MAY 22
SUNDAY AT 4 PM
professional performing arts center and a hub for research and education, the Fisher MAY 7 & 8
Center supports artists, students, and audiences in the development and examination SATURDAY at 8 PM | SUNDAY AT 2 PM at Peter Norton Symphony Space in NYC
of artistic ideas, offering perspectives from the past and present as well as visions of the at the Fisher Center at Bard
future. The Fisher Center demonstrates Bard’s commitment to the performing arts as MAY 12 Zachary Schwartzman conductor
a cultural and educational necessity. Home is the Fisher Center for the Performing Arts, THURSDAY at 7 PM
designed by Frank Gehry and located on the campus of Bard College in New York’s Hudson at Carnegie Hall Emmerich Kálmán Gräfin Mariza Overture
Valley. The Fisher Center offers outstanding programs to many communities, including the Liszt Les Préludes
students and faculty of Bard College, and audiences in the Hudson Valley, New York City, Leon Botstein conductor Zoltán Kodály Dances of Galánta
across the country, and around the world. Building on a 162-year history as a competitive Gilles Vonsattel piano Bartók Concerto for Orchestra
and innovative undergraduate institution, Bard is committed to enriching culture, public Deborah Nansteel mezzo-soprano
life, and democratic discourse by training tomorrow’s thought leaders. Frank Corliss piano
William Grant Still Dismal Swamp
ABOUT BARD COLLEGE Carlos Chávez Piano Concerto
Founded in 1860, Bard College in Annandale-on-Hudson, New York, is an independent,
Witold Lutosławski Symphonic
residential, coeducational college offering a four-year BA program in the liberal arts
Variations
and sciences and a five-year BA/BS degree in economics and finance. The Bard College
Karl Amadeus Hartmann
Conservatory of Music offers a five-year program in which students pursue a dual degree—a
Symphony No. 1, Essay for a Requiem
BM and a BA in a field other than music. Bard offers MM degrees in conjunction with the
Conservatory and The Orchestra Now, and at Longy School of Music of Bard College in
Cambridge, Massachusetts. Bard and its affiliated institutions also grant the following
degrees: AA at Bard Early Colleges, public schools with campuses in New York City,
Baltimore, Cleveland, New Orleans, Washington, D.C., and Newark, New Jersey, and at
three Bard Microcolleges; AA and BA at Bard College at Simon’s Rock in Great Barrington,
Massachusetts, and through the Bard Prison Initiative at six correctional institutions in
New York State; MA in curatorial studies, MS and MA in economic theory and policy, MEd
in environmental education, and MS in environmental policy and in climate science and
policy at the Annandale campus; MFA at multiple campuses; MBA in sustainability in
New York City; and MA, MPhil, and PhD in the decorative arts, design history, and material
culture at the Bard Graduate Center in Manhattan. Internationally, Bard confers BA and
MAT degrees at Al-Quds University in East Jerusalem and American University of Central
Asia in Kyrgyzstan; and BA degrees at Bard College Berlin: A Liberal Arts University. Bard
offers nearly 50 academic programs in four divisions. Total enrollment for Bard College
and its affiliates is approximately 6,000 students. The undergraduate College has an
enrollment of about 1,800 and a student-to-faculty ratio of 10:1. Bard’s acquisition of the
Montgomery Place estate brings the size of the campus to nearly 1,000 acres.
For more information about Bard College, visit bard.edu.
18 / APR 2022 / THE ORCHESTRA NOW TON.BARD.EDU / APR 2022 / 19Bard's Orchestral Masters
TON.BARD.EDU
Join the Conversation
@TheOrchNow
©2022 THE ORCHESTRA NOW | PROGRAM DESIGN : NELSON YANYou can also read
