The Richard B.

Fisher Center
for the Performing Arts at Bard College presents

PROGRAMS IN CELEBRATION OF

JOHN CAGE
AT BARD COLLEGE: A SYMPOSIUM

The Richard B. Fisher Center for

the Performing Arts at Bard College
Chair Jeanne Donovan Fisher
President Leon Botstein

Presents

Programs in Celebration of

John Cage at Bard College:

A Symposium

Sosnoff Theater
October 30 at 7:30 pm
October 31 at 8:00 pm

Presented by The John Cage Trust at Bard College, The Bard College Conservatory
of Music, Office of the Dean of Graduate Studies, and the Institute for Writing
and Thinking
Additional support for this program has been generously provided by the Advisory
Board of The Richard B. Fisher Center for the Performing Arts at Bard College and
the Friends of the Fisher Center.

October 30

Intermission

John Cage: Chamber Music

String Quartet in Four Parts (1950)
Performed by students and faculty of The Bard College Conservatory of Music

Yuan Ma, violin

and the Music Program at Bard College

Agnieszka Peszko, violin

Lin Wang, viola

In the lobby of the Sosnoff Theater, prior to the concert

Inlets (Improvisation II) for four conch shells and the sound of burning pinecones (1977)
David Bloom
Benjamin Pesetsky
Luks Olejnik
Conor Brown
Five Dances for String Quartet (arr. by Eric Salzman, 199697)
Fangyue He, violin

Qizhen Liu, cello

Eight Whiskus for solo violin (1985)
Erica Kiesewetter, violin
Nocturne for violin and piano (1947)
Erica Kiesewetter, violin
Blair McMillen, piano
Two (1987)

Yue Sun, violin

Jo Brand, flute

Leah Gastler, viola

Blair McMillen, piano

Laura Hendrickson, cello

The Beatles 19621970 (1990)
Six Melodies for Violin and Keyboard (1950)

Frank Corliss, live piano

Erica Kiesewetter, violin

Sungha Lee, live piano

Blair McMillen, piano

Liang-yu Wang, taped piano

Three Songs for Voice and Piano (text by Gertrude Stein) (1933)
Twenty years after

Christina Lalog, taped piano

Michael Bukhman, taped piano

If it was to be
At East and ingredients
Megan Taylor, soprano

Special thanks to David Bloom for his assistance in programming

Christina Lalog, piano

this evenings concert.

The Wonderful Widow of Eighteen Springs (1942)

Running time is approximately 1 hour and 55 minutes, with one intermission.

A Flower (1950)
Nowth upon Nacht (1984)
Ilana Zarankin, soprano
Liang-yu Wang, piano
Radio Music (1956)

October 31

Notes on the Program: John Cages Chamber Music

John Cage: Percussion!

by Brian Brandt

Performed by Nexus

Bob Becker
Bill Cahn
Russell Hartenberger
Garry Kvistad

with special guests

These concerts present a wonderful cross section of John Cages periods of development and style. The oldest works in the program, Three Songs for Voice and Piano
(1933), are set to texts by Gertrude Stein, which were likely chosen for their musical

Frank Corliss

quality. The 21-year old Cage clearly was not to follow in the Romantic song tradi-

Jason Treuting

tion; in their sparseness, these miniatures already look forward toward his more
mature style.

(Note: all works composed by John Cage unless otherwise noted)

Amores for prepared piano and three percussion players (1943)

The Wonderful Widow of Eighteen Springs (1942), set to a text by James Joyce from
Cages beloved Finnegans Wake, incorporates the composers revolutionary develop-

Credo in US for four performers (1942)

Chess Pieces (1944) (arr. for percussion ensemble by Brian Nozny, 2009)

ments in percussion. In this mysterious piece, the singers non-vibrato, chant-like

music is accompanied by a pianist-percussionist who never touches the keyboard
but rather taps the rhythms on the closed piano lid. Similar techniques are

Dance Music for Elfrid Ide for six percussionists (1940)

employed in A Flower (1950), wherein the singer performs a wordless vocalise, following Cages somewhat mysterious instructions to sing like a pigeon and like a

Intermission
The Invisible Proverb for percussion (2002) by Russell Hartenberger

wild duck.

Eric Salzman had the idea that some of the works for prepared pianoall of which

Okarche

were originally written for dancewould sound interesting if played on strings uti-

2.

Drumtalker

lizing extended techniques in place of the usual prepared sounds. The Five Dances

3.

Darkwater

for String Quartet (1996 97) comprise portions of Our Spring Will Come (1943),

4.

Sky Ghost

Dream (1948), Totem Ancestor (1943), In a Landscape (1948), and A Room (1943).

1.

Third Construction for percussion quartet (1941)

The String Quartet in Four Parts (1950) is a pivotal work in Cages oeuvre. During this
time, Cage was searching for a new aesthetic and style. Attending D. T. Suzukis
lectures on Zen Buddhism while delving into the work of such authors as the Indian

This concert is dedicated to the memory of Merce Cunningham (19192009).

art historian Ananda Coomaraswamy and the medieval German mystic Meister

Running time is approximately 1 hour and 35 minutes, with one intermission.

Eckhart, as well as the music of Erik Satie, Cage came to feel that music should
serve a spiritual purpose, which might allow his audience to forget themselves,

The use of recording equipment or the taking of photographs during

the performances is strictly prohibited.

enraptured, and so gain themselves. Throughout the late 1940s, as his goals became
more spiritual, his music became more modest. After completing the first movement
5

of the String Quartet, he wrote to his parents: This piece is like the opening of

result. The sounds of the conch shells is at times accompanied by the sound of

another door; the possibilities implied are unlimited. The works muted, non-vibrato

burning pinecones, and, near the end, a single tone blown from a single conch shell.

chords were chosen for their sonorous quality. The four movements represent the
seasons: opening with summer and proceeding, as the music becomes increasingly

Nowth Upon Nacht (1984) is also scored for voice and closed piano, again to a text

slower, through fall to winter, the latter indicated as nearly stationary. An increase

from Finnegans Wake, rapidly declaimed. Cage wrote this piece in memory of Cathy

in tempo for the final movement suggests the renewed vigor of spring.

Berberian, the avant-garde diva who championed so much of new musics vocal
works, becoming widely known for her premiere performance of Cages virtuosic

Composed in 1950, shortly after he completed the String Quartet, the Six Melodies

Aria (1958). Berberian was, for a time, married to the celebrated Italian composer

for Violin and Keyboard follow many of the same compositional techniques. (Cage

Luciano Berio.

actually referred to the Six Melodies as a postscript to the String Quartet.) The violinist is to play with a minimum amount of weight on the bow and, as is now the

Eight Whiskus for solo violin (1985), the title a conjoining of the words Whistlin is

norm for Cage, sans vibrato. One has to wonder what kind of career Cage might

did, was arranged from the original version for voice by Malcolm Goldstein. Cage

have achieved had his compositional path progressed along the lines of these idio-

collaborated by indicating bow articulation, pressure, and positions on the strings

syncratically beautiful and genuinely accessible works.

as well as harmonics, vibrato, and other techniques.

But this was not to be. In the early 1950s, Cage met Pierre Boulez and Morton

Two (1987), the first of Cages so-called number pieces, marks the beginning of

Feldman, and he received a copy of the I Ching (the Chinese book of changes) from

Cages late style, wherein his works were almost exclusively composed using time

his student Christian Wolff. Using the I Ching, Cage sought to free the sounds from

brackets. The work has a fixed duration; each player is given a score with a timeline,

his will. A period of radical experimentation with chance was to begin.

with the notes/chords placed within brackets of time. The performer can choose to
play the notes at any point within the specified time bracket. The result is a work

Radio Music (1956), for one to eight radios, represents an extreme liberation. Each

that, while identifiable from one performance to another, can never be the same

players parts indicate specific AM-band frequencies to tune to, along with silences

twice. Two also began Cages system of titling his later works based on the number

and amplitudes. Dependent entirely on what is on the radio when each player lands

of instruments specified (here, two). In the case of a subsequent work written for
the same number of instruments, a superscript would be added, i.e Two2 (1989).

on the specified frequencyit could in fact be static or even silencethe performer

(and the audience) must accept what is there. This clearly comes from a simpler
time, when the composer had no reason to be concerned about either the dangers

The Beatles 19621970 was written in 1990 for pianist Aki Takahashis Hyper-

of lawsuits due to copyright infringement or the now prevailing rules regarding of

Beatles CD collection, for which she invited numerous composers to interpret

fair use.

Beatles songs. It consists of six layered piano parts in time brackets derived from
various Beatles tunes, which may be played by one to six pianists, live and recorded.

In Inlets (1977), the performers use amplified conch shells that are partially filled

The tempos throughout are left to the performers.

with water, tipping them to produce somewhat uncontrolled gurgling sounds. Cage
enjoyed the idea of contingency herethe players were necessary in their move-

Brian Brandt is the director of Mode Records in New York City. His company is in the

ment of the shells, but had no control over what, if anything, might be heard as a

process of recording all of John Cages works.

station. This piece was intended as a kind of satire on Americans belief that

Notes on the Program: John Cages Percussion Music

recorded music is culture (credo is that belief, and in US signifies both the U.S.
and us). Cage wrote a cowboy tune, a blues number, and a boogie-woogie riff,
Amores

and included extended vamps that feature Cunningham reciting various texts. Of

Composed by John Cage, 1943

all his early works for percussion instruments, Cage said his favorites were Credo in
US and Third Construction, and indeed both live happily on in concert halls around

John Cage studied with and was influenced by the American composer Henry

the world.

Cowell (18971965). During the late 1930s, it was Cages recollection of Cowell

Robin Engelman

pounding his fist on the piano strings in his own The Banshee (1925) that led him to
compose his first piece for prepared pianofor Syvilla Forts dance Bacchanalein
1938. In 1943, as World War II raged on, Cage, who found the conflict both huge and

Chess Pieces

hideous, wrote, Logically I thought that anything that is small and intimate, and

Composed by John Cage, 1944

has some love in it, is beautiful. Therefore I wrote a piece for prepared piano, which
is very quiet. It is called Amores, and it is about my conviction that love is something

Chess Pieces is the name Cage gave to a painting he created in 1944 for an exhibi-

that we can consider beautiful. But then shortly I discovered that I was being

tion called The Images of Chess organized by Max Ernst and Marcel Duchamp at the

divorced . . . So what is beautiful? So whats art? Amores premiered on February 7,

Julien Levy Gallery in New York City. When the exhibition closed, a private collector

1943, at the Museum of Modern Art in New York City. After attending a perform-

purchased Chess Pieces, and, over time, the work was either considered lost or

ance of Amores in 1944, Lou Harrison wrote, Cages music strikes perhaps the last

largely overlooked by Cage scholars. Chess Pieces is a 19-by-19-inch square painting

note in the romantic era; it reaches a maximum of personalization in every one of

in ink and gouache on Masonite, its 64 squares filled with music written in Cages

its elements. He has mastered a curious and convincing form of rhapsodic rhythm,

hand in black and white ink. Its 22 systems read from left to right, as do Cages pre-

intimate and free; what might be called baroque rhythm. Movements I and IV are

pared piano scores from the same period. No documentation exists of this music

scored for prepared piano, in which the performer places objects in the strings,

ever having been played, nor are instrumentation, tempi, or dynamics indicated. In

resulting in a sound similar to a percussion ensemble of gongs, woodblocks, and rat-

2005, Chess Pieces went on public display for the first time in more than 60 years

tles. Movement II calls for nine tom-toms and a pod rattle, while movement III is for

when the Noguchi Museum in Long Island City, New York, mounted an exhibition

seven blocks of wood.

entitled The Image of Chess Revisited. The pianist Margaret Leng Tan transcribed the
Garry Kvistad

music and recorded it (for Mode Records) to be played during this show. As Tan said:
. . . for the first time the public could experience Chess Pieces as art and music
simultaneously. At Nexuss request, percussionist Brian Nozny has transcribed and

Credo in US

arranged Tans piano transcription for percussion quintet.

Composed by John Cage, 1942

Cages interest in chess began when he met Marcel Duchamp in New York City in
Credo in US is music for a dance made by Merce Cunningham and Jean Erdman. It is

1944. Duchamp introduced Cage to the game and became his teacher, and the two

scored for piano and two percussionists playing muted gongs, tin cans, an electric

played off and on until Duchamps death in 1968. Cage once wrote: I began using

buzzer, and tom-toms. Another performer plays a radio tuned to a classical music

chess and the hunting of mushrooms as a balance to my involvement with chance.

They are both situations in which chance cannot be used. They are both life-and-

The Invisible Proverb

death matters of winning and losing. One prefers to live.

Composed by Russell Hartenberger, 2002

Robin Engelman
The Invisible Proverb uses elements of talking-drum styles and the rhythm patterns
of West African drumming ensembles. Movements 1 and 3, Okarche and

Dance Music for Elfrid Ide

Darkwater, use Atenteben flute melodies from Ghana and elements of the horn

Composed by John Cage, 1940

ensembles of Central Africa. The fourth movement, Sky Ghost, is based on material
from the song Small Sky by Toru Takemitsu. The music represents the drummer

Cages numerous compositions for percussion composed between 1939 and 1942

Okarches mythical search for the meaning of a drum proverb that supposedly holds

are now standard repertoire and include his three Constructions, the third of which

magical powers.

has been frequently performed by Nexus. But fans of Cages music were pleasantly

Russell Hartenberger

surprised to learn of the recent discovery of a 15-minute work, largely unknown

even to Cage scholars, entitled Dance Music for Elfrid Ide (composed in 1940, the
same year as the Second Construction). The discovery was made by Laura Kuhn, exec-

Third Construction

utive director of the John Cage Trust at Bard College, while conducting research at

Composed by John Cage, 1941

Mills College. Written for dancer Elfrid Ide (191793), daughter of New England
composer Chester Ide (18781944), the work was probably performed at her thesis

Although this piece was written 68 years ago, it is as fresh and popular as the day it

dance concert given on May 20, 1941, at Mills. She called her choreography Wheel

was first performed at the California Club Auditorium in San Francisco by an ensem-

of Circumstance, and titled her three movements Quest, The Rift Between, and

ble conducted by Cage himself, including Xenia Cage (then Cages wife, to whom the

Song in Counterpoint. Cage served on the dance faculty at Mills during the sum-

work is dedicated, for our anniversary), Doris Dennison, Lou Harrison, and

mers of 1940 and 1941. While in that position, he had ample latitude to experiment

Margaret Jansen. Some of its features that are common to many compositions of

with compositional forms and whimsical instrumentation. The use of toy piano in

the classical era of percussion chamber music include complex polyrhythms and

this work, for example, predates Cages now classic Suite for Toy Piano (1948). Other

an eclectic instrumentation, here including Indonesian angklung rattle, Latin

instruments used include squawkers, whistles, ratchet, handclaps, a whisk, cow-

American cowbells, claves, maraca, African log drum, Chinese cymbal and tom-toms,

bells, slitblocks, drums, cymbals, gongs, claves, and a slapstick. One can only imagine

Hawaiian pouweili sticks, Caribbean pod rattle, conch shell, tambourine, thumbtack

what Chester Ide, a composer of American art song, would have thought of his

rattle, ratchet, 20 tin cans, and lions roars!

Garry Kvistad

daughters thesis recital, assuming he attended.

Garry Kvistad

10

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Whos Who

lOrdre des Arts et des Lettres by the French Legion dHonneur (1982) and laureate
of the Kyoto Prize given by the Inamori Foundation (1989); and recipient of an honorary doctorate in performing arts at the California Institute of the Arts (1986).

John Cage (191992)

Cage was the Charles Eliot Norton Professor of Poetry at Harvard University for the

John Cage was born in Los Angeles, where he studied composition with Richard

198889 academic year. The 1991 Zurich June Festival was devoted to his work,

Buhlig, Henry Cowell, Adolph Weiss, and Arnold Schoenberg. In 1938 he began

alongside that of his collaborator in spirit, James Joyce.

working as a dance accompanist and a teacher at the Cornish School of the Arts in
Seattle, Washington. It was there that he met the dancer Merce Cunningham

Cage authored many books, among them Silence, A Year from Monday, M, Empty

(19192009), with whom he would have a lifelong working relationship. Together

Words, and X (all published by Wesleyan University Press). His I-VI (Charles Eliot Norton

they were responsible for a number of radical innovations in music and dance com-

Lectures, published by both Harvard and Wesleyan University Presses), includes tran-

position, such as the use of chance operations and the independence of dance

scripts of the question-and-answer sessions with students that followed each lecture,

and music. Cage served as music adviser for the Merce Cunningham Dance

and a recording of Cage reading one of his six lectures. Conversing with Cage, a book-

Company from its inception in 1953 until shortly before his death in New York City

length composition of excerpts from interviews compiled by Richard Kostelanetz, was

on August 12, 1992.

published in 1988 by Limelight Editions. Cages music is published by the Henmar

Press of C. F. Peters Corporation and has been recorded on numerous labels. Since 1958,

In the 1940s, Cage moved to New York and joined a group of avant-garde artists,

many of Cages scores have been exhibited in galleries and museums. He was also

including painters Robert Rauschenberg and Jasper Johns. During this period, Cage

active later in his life as a visual artist. A series of 52 watercolors, the New River

became interested in Eastern religions, particularly Zen Buddhism, and while his

Watercolors, executed by Cage at the Mountain Lake Workshop at the Miles C. Horton

compositions continued his use of carefully segmented time, he also began to fill

Center at the Virginia Polytechnic Institute and State University, was shown at the

them with materials derived by chance processes (the rolling of dice, the use of the

Phillips Collection in Washington, D.C., in 1990. Cage/Cunningham, a feature-length

I Ching, et al). In perhaps the ultimate statement of this aesthetic, he wrote 433, a

documentary film directed by Elliot Caplan, was produced in 1991 by the Cunningham

piece of total silence on the part of the performer into which the random sounds of

Dance Foundation, partly funded by PBS.

the world are invited to enter. In 1952, at Black Mountain College, Cage presented a
theatrical event considered by many to have been the first happening. In 1958,

The John Cage Trust

Johns, Rauschenberg, and Emile de Antonio organized a 25-year retrospective con-

Laura Kuhn, Executive Director

cert of his music at New Yorks Town Hall.

Emily Martin, Office Manager

Rebecca Johnson, Administrator

Cage was the recipient of many awards and honors during his lifetime, beginning

When John Cage died, in August of 1992, his significant holdings passed to the dancer

in 1949 with a Guggenheim Fellowship and an award from the National Academy

and choreographer Merce Cunningham, his longtime friend and collaborator. The John

of Arts and Letters for having extended the boundaries of music through his work

Cage Trust was legally formed shortly thereafter, with a board of directors consisting

with percussion orchestra and his systematic elaboration of the prepared piano. He

of Cunningham; Anne dHarnoncourt, director of the Philadelphia Museum of Art;

was awarded membership in the American Academy of Arts and Sciences (1978)

David Vaughan, archivist at the Cunningham Dance Foundation; and Laura Kuhn,

and the American Academy of Arts and Letters (1989); named Commandeur de

who had been Cages assistant since 1986, and who continues to serve as the Trusts

12

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founding executive director. The primary functions of the Trust are to control, monitor,

many years the director of music at the Walnut Hill School and a staff pianist for the

and administer rights and licenses to Cages published and unpublished work, and to

Boston Symphony Orchestra (BSO) and the Tanglewood Festival Chorus. A frequent

create and encourage educational experiences, enhance public access, and enliven

performer in the Boston Symphony Prelude Concert series, he also performs

global awareness of Cages work through new recordings, performances, workshops,

throughout the United States as a chamber musician and collaborative pianist. In

festivals, and more.

addition to his duties at the BSO and Walnut Hill, Corliss has worked as a musical
assistant for Yo-Yo Ma and has assisted Ma in the musical preparation of many new

The John Cage Trust at Bard College is now a resident organization at Bard College,

works for performance and recording, including concertos by Elliot Carter, Richard

where all of its materials are housed and maintained. The John Cage Trust at Bard

Danielpour, Tan Dun, John Harbison, Leon Kirchner, Peter Lieberson, Christopher

College provides access to these holdings through courses, workshops, and con-

Rouse, and John Williams. Corliss can be heard on Yo-Yo Mas Grammy-winning Sony

certs, and develops new programs around this extraordinary resource. Dr. Laura

disc Soul of the Tango, as well as the Koch International disc of music by Elliot Carter

Kuhn, in addition to maintaining and operating The John Cage Trust at Bard College,

for chorus and piano with the John Oliver Chorale.

holds the position of John Cage Professor of Performance Arts at Bard College and
teaches courses at the undergraduate and graduate levels.

Jason Treuting
In addition to his work with So Percussion, Jason Treuting performs in the duo

Nexus

Alligator Eats Fish with guitarist Grey McMurray. He also improvises with com-

The first, entirely improvised NEXUS concert in 1971 marked the formation of a group

poser/performer Cenk Ergun and in a duo setting with composer/guitarist Steve

that would touch and entertain people of all levels of musical learning, and in all gen-

Mackey. His compositions are featured on Sos album Amid the Noise from

res of percussion music. Bob Becker, Bill Cahn, Robin Engelman, Russell Hartenberger,

Cantaloupe Music. Treuting received a bachelor of music degree at the Eastman

and Garry Kvistad, each a virtuoso in his own right, bring elements of their knowledge

School of Music, where he studied percussion with John Beck and drum set and

and character to a distinct and powerful whole. Together they stand out in the con-

improvisation with Ralph Alessi, Michael Cain, and Steve Gadd. He received a mas-

temporary music scene for the innovation and diversity of their programs, their

ters degree in music, along with an Artist Diploma, from Yale University, where he

impressive history of collaborations and commissions, their revival of 1920s novelty

studied percussion with Robert Van Sice. He has also traveled to Japan to study

ragtime xylophone music, and their influential improvisatory ideas. Nexuss firm com-

marimba with Keiko Abe, and to Bali to study gamelan with Pac I Nyoman Suadin.

mitment to music education and a steady output of quality CD recordings and compositions continues to enhance the role of percussion in the 21st century.

The Bard College Conservatory of Music

Robert Martin, Director

Nexus wishes to thank the Ontario Arts Council and the Canada Council for their

Melvin Chen, Associate Director

generous support. Nexus also thanks Pearl Corporation and Adams Musical

Building on its distinguished history in the arts and education, Bard College

Instruments for their support worldwide.

launched The Bard College Conservatory of Music in 2005. The Conservatorys

undergraduate program is guided by the principle that musicians should be broadly

Frank Corliss

educated in the liberal arts and sciences to achieve their greatest potential. While

Before coming to The Bard College Conservatory of Music, where he is on the piano

training and studying for the bachelor of music degree, Conservatory students also

faculty and also directs the Postgraduate Piano Fellowship, Frank Corliss was for

pursue a bachelor of arts degree. The Graduate Vocal Arts Program is a two-year

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master of music degree conceived by artistic director Dawn Upshaw and head of

We honor the late Richard B. Fisher for his generosity and leadership in building and supporting this superb center

program Kayo Iwama. The course work extends from standard repertory to new

corporations, and foundations that share Dicks and our belief in presenting and creating art for the enrichment of

music, alongside training in acting, core seminars that provide historical and cul-

society. Help us sustain the Fisher Center and ensure that the performing arts are a part of our lives. We encourage and

that bears his name by offering outstanding arts experiences. We recognize and thank the following individuals,

need you to join our growing list of donors. (The list reflects donations received in the last 12 months.)

tural perspectives, analytical tools, and performance skills for vocal and operatic
performance at the highest levels.

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The Institute for Writing and Thinking (IWT) offers professional development in
writing to secondary and college teachers in all academic discipline. IWTs mission
is to improve the teaching of writing and to enliven and enrich teaching and learn-

Donors to the Fisher Center

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Martin T. and Toni Sosnoff

ing across the curriculum through writing. Through experiential, intellectually

engaging, and collaborative workshops (one-day, two-day, and weeklong), teachers
learn how to make writing central to their classrooms.

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Phyllis Braziel

17

Kay Brover and Arthur Bennett

Gary Capetta and Nick Jones
Eileen and Michael Cohen
Virginia Corsi
Anne Cotton
Dr. Robert Crowell
Emily M. Darrow and
Brendon P. McCrane
George and Marsha Davis
Abby H. and John B. Dux
K. F. Etzold and Carline Dure-Etzold
Martha J. Fleischmann
Len Floren and Susan Regis
Helena and Christopher Gibbs
Gilberte Vansintejan Glaser and
William A. Glaser
Adrien Glover and Michael Kelly
Stanley L. Gordon
Nan and David Greenwood
Alexander Grey and David Cabrera
Rosemary and Graham Hanson
Janet and William Hart
Sue Hartshorn
Lars Hedstrom and Barry Judd
Hedstrom and Judd, Inc.
Mel and Phyllis Heiko
Dorothy and Leo Hellerman
Dr. Joan Hoffman and Syd Silverman
Rachel and Dr. Shalom Kalnicki
Susan and Roger Kennedy
Harold Klein
Seymour and Harriet Koenig
Danielle Korwin and
Anthony DiGuiseppe
Ramone Lascano
Helena Lee
Fred and Jean Leventhal
Mimi Levitt
William Li and James Oates
Charles S. Maier
Mark McDonald
Bibhu Mohapatra
Sybil Nadel
Elizabeth J. and Sevgin Oktay
Margrit and Albrecht Pichler
Mark Podlaseck
Arlene Richards
Nicole Ringenberg
Ted Ruthizer and Jane Denkensohn

William Siegfried
Mish Tworkowski
Barbara Jean Weyant
Arthur Weyhe
Earnest Wurzbach
Desi and Ben Zalman
Friend
Anonymous
John J. Austrian 91 and
Laura M. Austrian
Sybil Baldwin
Alvin Becker
Richard L. Benson
Dr. Marge and Edward Blaine
Timothy Bonticou
Walter Brighton
Alfred M. Buff and Lenore Nemeth
Jeanne and Homer Byington
MaryAnn and Thomas Case
Daniel Chu and Lenore Schiff
Mr. and Mrs. John Cioffi
Irwin and Susan Cohen
Evelyn and James Constantino
Jean T. Cook
David Ebony and Bruce Mundt
Christine Fasano
Mary and Harvey Freeman
Edward Friedman
Catherine Fukushima
Frances A. and Rao Gaddipati
Ann Marie Gardner
Joseph W. and Joyce Gelb
Marvin Gilbert
Esther Glick
Mr. and Mrs. Floyd Glinert
Judy R. and Arthur Gold
Rosalind Golembe
Sheryl Griffith
Elise and Carl Hartman
James Hayden
Delmar D. Hendricks
Neil Isabelle
Ryland Jordan
John Kalish
Eleanor C. Kane
Nathan M. Kaplan
Linda L. Kaumeyer
Rose and Josh Koplovitz

James Kraft
Robert J. Kurilla
Michael and Ruth Lamm
Jeffrey Lang
Gerald F. Lewis
Hermes Mallea and Carey Maloney
Florence Mayne
Marcus de Albuquerque Mello 04
Dr. Naomi Mendelsohn
Edie Michelson and Sumner Milender
Milly Sugarman Interiors, Ltd.
Janet C. Mills
Arvia Morris
Joanne and Richard Mrstik
Martha Nickels
Robert M. Osborne
David Pozorski and Anna Romanski
Leopold Quarles van Ufford
Serena Rattazzi
Yael Ravin and Howard Sachar
George and Gail Hunt Reeke
Harry Reingold
Barbara B. Reis
Edward and Marion Scott
James E. Scott
Susan Seidel
Frank Self
William Shum
Elisabeth A. Simon
Joel Stein
Dr. Sanford B. Sternlieb
LuRaye Tate
Janeth L. Thoron
Linda Steinitz Vehlow
Dr. and Mrs. Stanley Weinstock
Barbara K. and Roger H. Wesby
Naomi J. Miller and
Thomas M. Williams
Robert and Lynda Youmans
Mike and Kathy Zdeb
Rena Zurofsky
Current as of September 1, 2009

Donors to the Bard Music Festival

Events in this years Bard Music
Festival are underwritten in part by
special gifts from
Bettina Baruch Foundation
Jeanne Donovan Fisher
Mimi Levitt
James H. Ottaway Jr.
Felicitas S. Thorne
Festival Underwriters
James H. Ottaway Jr.
Opening Concert
Mimi Levitt
Opening Night Dinner
Guest Artists

Margo and Anthony Viscusi

Preconcert Talks
Furthermore Foundation
Festival Book
Roger and Helen Alcaly
Festival Program
Homeland Foundation
Bard Music Festival Preview at
Wethersfield

Leadership Support
Mimi Levitt
The Mortimer Levitt Foundation
Mr. and Mrs. James H. Ottaway Jr.
Golden Circle
Bettina Baruch Foundation
Jeanne Donovan Fisher
Jane W. Nuhn Charitable Trust
Denise S. Simon and
Paulo Vieira da Cunha
Felicitas S. Thorne
Millie and Robert Wise

New York State Council on the Arts

National Endowment for the Arts

Friends of the Bard Music Festival

Benefactor
Helen and Roger E. Alcaly
The Ann and Gordon Getty
Foundation
Leonie F. Batkin
Joan K. Davidson
Mr. and Mrs. Gonzalo de las Heras
John A. Dierdorff
Elizabeth W. Ely 65 and
Jonathan K. Greenburg
FMH Foundation
Eliot D. and Paula K. Hawkins
Linda Hirshman and David Forkosh
Homeland Foundation, Inc.
HSBC Philanthropic Programs
The J. M. Kaplan Fund, Inc.
Peter 66 and Barbara Kenner
Amy and Thomas O. Maggs
Marstrand Foundation
Joanna M. Migdal
National Endowment
for the Arts (NEA)
New York State Council
on the Arts (NYSCA)
Dimitri B. and Rania Papadimitriou
Peter Kenner Family Fund of the
Jewish Communal Fund
Ralph E. Ogden Foundation, Inc
Drs. M. Susan and Irwin Richman
Santander Central Hispano
David E. Schwab II 52 and
Ruth Schwartz Schwab 52
H. Peter Stern and Helen Drutt English
Margo and Anthony Viscusi
Dr. Siri von Reis
The Wise Family Charitable
Foundation
Betsey and E. Lisk Wyckoff, Jr.
Patron
ABC Foundation
Constance Abrams and Ann Verber

18

Joanna M. Migdal
Panel Discussions

Edwin L. Artzt and Marieluise Hessel

Mr. and Mrs. Ronald Atkins
Kathleen and Roland Augustine
Gale and Sheldon Baim
Elizabeth Phillips Bellin and
Marco M. S. Bellin
Dr. Miriam Roskin Berger 56
Helen 48 and Robert Bernstein
Helen and Robert Bernstein
Philanthropic Fund of the Jewish
Communal Fund
Sarah Botstein and Bryan Doerries
Constance and David C. Clapp
Michelle Clayman
J. T. Compton
Arnold J. 44 and Seena Davis
Michael Del Guidice and Jaynne Keyes
Rt. Rev. Herbert A. and Mary Donovan
Robert C. Edmonds 68
Carlos Gonzalez and
Katherine Stewart
David and Nancy Hathaway
Barbara K. Hogan
Frederic K. and Elena Howard
Anne E. Impellizzeri
Rachel and Dr. Shalom Kalnicki
Belinda and Stephen Kaye
Mr. and Mrs. George A. Kellner
Susan and Roger Kennedy
Seymour and Harriet Koenig
Edna and Gary Lachmund
Barbara and S Jay Levy
Cynthia Hirsch Levy 65
Patti and Murry Liebowitz
Martin S. Lippman
Martin and Toni Sosnoff Foundation
W. Patrick McMullan and
Rachel McPherson
Metropolitan Life Foundation
Matching Gift Program
Martin L. Murray and
Lucy Miller Murray

Alexandra Ottaway
Dr. Gabrielle H. Reem and
Dr. Herbert J. Kayden
Drs. Morton and Shirley Rosenberg
Blanche and Bruce Rubin
Ines Elskop and Christopher Scholz
Sarah and Howard Solomon
Martin T. and Toni Sosnoff
Edwin Steinberg
Stewarts Shops
Allan and Ronnie Streichler
Elizabeth Farran Tozer and
W. James Tozer Jr.
Tozer Family Fund of the New York
Community Trust
Aida and Albert Wilder
William C. Zifchak
Sponsor
Anonymous
Beth and Jerry Bierbaum
David C. Brown
Melva Bucksbaum and
Raymond J. Learsy
Lydia Chapin
Craig and Gloria Callen
Everett and Karen Cook
Phillip S. Cooke
Dasein Foundation
Willem F. De Vogel
Cornelia Z. and Timothy Eland
Shepard and Jane Ellenberg
Ellenberg Asset Management Corp.
Field-Bay Foundation
Deborah and Thomas Flexner
Donald C. Fresne
Francis Finlay and Olivia J. Fussell
Samuel L. Gordon Jr.
Mr. and Mrs. Jay M. Gwynne
Martin Holub and Karen Kidder
Elizabeth D. and Robert Hottensen
Pamela Howard

19

John R. and Joyce Hupper

I.B.M. Matching Grants Program
Edith and Hamilton F. Kean
Fernanda Kellogg and Kirk Henckels
John and Karen Klopp
Nancy and Robert Lindsay
Clara F. and David J. Londoner
Renee Petrofes and Gerry McNamara
Andrea and Kenneth Miron
James and Purcell Palmer
Mr. and Mrs. Frederick P. Payton
Ellen and Eric Petersen
John and Claire Reid
Alfred J. and Deirdre Ross
Dr. Paul H. Schwartz and
Lisa Barne-Schwartz
James and Sara Sheldon
Andrew Solomon and John Habich
David and Sarah Stack
Richard C. Strain
Timothy and Cornelia Eland Fund of
the Fidelity Charitable Gift Fund
Helen and Michiel van der Voort
Caroline A. Wamsler
Arete and William Warren
Jack and Jill Wertheim
Serena H. Whitridge
Julia and Nigel Widdowson
Peter and Maria Wirth
Supporter
Munir and Susan Abu-Haidar
Barbara J. Agren
Leora and Peter Armstrong
John K. Ayling
Irene and Jack Banning
Didi and David Barrett
Karen H. Bechtel
Dr. Susan Krysiewicz and Thomas Bell
Carole and Gary Beller
Mr. and Mrs. Andy Bellin
Mr. and Mrs. David Bova
Mr. and Mrs. William B. Brannan
Kay Brover and Arthur Bennett
Dan F. and Nancy Brown
Kate Buckley and Tony Pell
Peter Caldwell and Jane Waters
Miriam and Philip Carroll
Constance and David C. Clapp
Frederick and Jan Cohen
Emily M. Darrow and
Brendon P. McCrane
Dorothy and Seth Dubin
Ruth Eng
Ingrid and Gerald Fields
Laura Flax
Emily Rutgers Fuller
Helena and Christopher Gibbs
Mims and Burton Gold
Mrs. Janine M. Gordon
Nan and David Greenwood
Mortimer and Penelope C. Hall
Sally S. Hamilton
Juliet Heyes
Susan Hoehn and Allan Bahrs
William Holman
Jay Jolly
Karen Bechtel Foundation of the
Advisor Charitable Gift Fund

20

Robert E. Kaus
Erica Kiesewetter
Charles and Katherine King
Dr. and Mrs. Vincent Koh
Lowell H. and Sandra A. Lamb
Debra I. and Jonathan Lanman
E. Deane and Judith S. Leonard
Walter Lippincott
Lynn Favrot Nolan Family Fund
Jeanette MacDonald and
Charles Morgan
Philip and Tracey Mactaggart
Charles S. Maier
Claire and Chris Mann
Elizabeth B. Mavroleon
Samuel C. Miller
Mr. and Mrs. Alfred Mudge
Bernadette Murray and Randy Fertel
Jay H. Newman
Mr. and Mrs. William T. Nolan
Marta E. Nottebohm
Elizabeth J. and Sergin Oktay
Dr. Bernhard Fabricius and
Sylvia Owen
David B. and Jane L. Parshall
Susan Heath and Rodney Paterson
Eve Propp
Eve Propp Family Foundation, Inc.
John and Claire Reid
John Royall
Dagni and Martin Senzel
Nadine Bertin Stearns
Mim and Leonard Stein
Ms. Carole Tindall
John Tuke
Dr. Elisabeth F. Turnauer
Monica Wambold
Taki and Donald Wise
John and Mary Young
Friend
Anonymous
Rev. Albert R. Ahlstrom
Lorraine D. Alexander
Artscope, Inc.
Antonia Bakker-Salvato
Alexander and Margaret Bancroft
Phebe and George Banta
James M. Barton
Mr. and Mrs. Francis D. Barton
Saida Baxt
Regina and David Beckman
Richard L. Benson
Beth and Jerry Bierbaum
Dr. Marge and Edward Blaine
Eric and Irene Brocks
David and Jeannette T. Brown
Mr. and Mrs. John C. D. Bruno
Alfred M. Buff and Lenore Nemeth
Millicent O. McKinley Cox
Linda and Richard Daines
Peter Edelman
Peter Elebach and Jane Robinson
Jim and Laurie Niles Erwin
Patricia Falk
Harold Farberman
Arthur L. Fenaroli
David and Tracy Finn
Luisa E. Flynn

Patricia and John Forelle

Samantha Free
Stephen and Jane Garmey
Anne C. Gillis
Miriam and Burton Gold
Mr. and Mrs. Harrison J. Goldin
Dr. Joel and Ellen Goldin
Stanley L. Gordon
Thurston Greene
Ben-Ali and Mimi Haggin
David A. Harris
Sy Helderman
Carol Henken
Nancy H. Henze
Gary Herman
Juliet Heyer
Dr. and Mrs. Gerald Imber
Patricia H. Keesee
Diana Niles King
Thea Kliros
Sharon Daniel Kroeger
Beth Ledy
M Group, LLC
John P. MacKenzie
Hermes Mallea and Carey Maloney
Annette S. and Paul N. Marcus
Harvey Marek
The McGraw-Hill Companies
Matching Gift Program
Marcus Mello 04
Philip Messing
Deborah D. Montgomery
Kelly Morgan
Debbie Ann and Christopher Morley
Susan and Robert Murphy
Hugh and Marilyn Nissenson
Harold J. and Helen C. Noah
Gary S. Patrik
Peter and Sally V. Pettus
Dr. Alice R. Pisciotto
David Pozorski and Anna Romanski
Sheila Sanders
Dr. Thomas B. Sanders
Klara Sauer
Frederick W. Schwerin Jr.
Harriet and Bernard Sadow
Danny P. Shanahan and
Janet E. Stetson 81
J. Kevin Smith
Polly and LeRoy Swindell
Jessica and Peter Tcherepnine
Gladys R. Thomas
Janeth L. Thoron
Cynthia M. Tripp 01
Laurie Tuzo
Illiana van Meeteren
Andrea A. Walton
Jacqueline E. Warren
Victoria and Conrad Wicher
Mr. and Mrs. John Winkler
Robert and Lynda Youmans
Current as of September 1, 2009

Major support for the Fisher Centers programs has been provided by:
Anonymous
Arthur F. and Alice E. Adams
Foundation
Helen and Roger E. Alcaly
Fiona Angelini and Jamie Welch
The Ann & Gordon Getty Foundation
Ms. Leonie F. Batkin
Bettina Baruch Foundation
Carolyn Marks Blackwood
Chartwells School and University
Dining Services
The Christian A. Johnson
Endeavor Foundation
Joan K. Davidson
John A. Dierdorff
Robert C. Edmonds 68
Educational Foundation of America
Elizabeth W. Ely 65 and
Jonathan K. Greenburg
Barbara Ettinger and Sven Huseby
Stefano Ferrari and Lilo Zinglersen
Alexander D. Fisher MFA 96
Catherine C. Fisher and
Gregory A. Murphy
Emily H. Fisher and John Alexander
Jeanne Donovan Fisher
R. Britton and Melina Fisher
FMH Foundation
Eliot D. and Paula K. Hawkins
Linda Hirshman and David Forkosh
Homeland Foundation, Inc.
HSBC Philanthropic Programs
Anne E. Impellizzeri

Janes Ice Cream

Jane W. Nuhn Charitable Trust
The Jerome Robbins Foundation
The J. M. Kaplan Fund, Inc.
Peter 66 and Barbara Kenner
Key Bank
The Kosciuszko Foundation, Inc.
Annie Leibovitz
Harvey and Phyllis Lichtenstein
Lucy Pang Yoa Chang Foundation
Mimi Levitt
Amy and Thomas O. Maggs
Magic Hat Brewing Company
The Marks Family Foundation
Marstrand Foundation
Martin & Toni Sosnoff Foundation
Mid Atlantic Arts Foundation
Joanna M. Migdal
The Millbrook Tribute Garden
Millbrook Vineyards & Winery
Andrea and Kenneth Miron
The Mortimer Levitt Foundation Inc.
National Dance Project of the New
England Foundation for the Arts
National Endowment for the Arts
American Masterpieces: Dance
National Endowment
for the Arts (NEA)
New England Foundation
for the Arts (NEFA)
New York State Council on
the Arts (NYSCA)
Ralph E. Ogden Foundation, Inc.

Mr. and Mrs. James H. Ottaway Jr.

The Overbrook Foundation
Dimitri B. and Rania Papadimitriou
Polish Cultural Institute
Dr. Gabrielle H. Reem and
Dr. Herbert J. Kayden
Richard B. Fisher Endowment Fund
Drs. M. Susan and Irwin Richman
Rudolf Nureyev Dance Foundation
Senator Stephen M. Saland
David E. Schwab II 52 and Ruth
Schwartz Schwab 52
Denise S. Simon and
Paulo Vieira da Cunha
Matthew Patrick Smyth
Martin T. and Toni Sosnoff
H. Peter Stern
Ronnie and Allan Streichler
Thorne and Tucker Taylor
Thaw Charitable Trust
Thendara Foundation
Felicitas S. Thorne
Tiffany & Co.
True Love Productions
Margo and Anthony Viscusi
Dr. Siri von Reis
Rosalind C. Whitehead
Millie and Robert Wise
The Wise Family Charitable
Foundation
Elizabeth and E. Lisk Wyckoff Jr.

Board and Administration of Bard College

Board of Trustees
David E. Schwab II 52, Chair Emeritus
Charles P. Stevenson Jr., Chair
Emily H. Fisher, Vice Chair
Elizabeth Ely 65, Secretary
Roland J. Augustine, Treasurer
Fiona Angelini
Leon Botstein,
President of the College+
David C. Clapp
Marcelle Clements 69*
The Rt. Rev. Herbert A. Donovan Jr.,
Honorary Trustee
Asher B. Edelman 61
Robert S. Epstein 63
Barbara S. Grossman 73*
Ernest F. Henderson III, Life Trustee
Marieluise Hessel
John C. Honey 39, Life Trustee
Charles S. Johnson III 70
Mark N. Kaplan
George A. Kellner
Cynthia Hirsch Levy 65
Murray Liebowitz
Marc S. Lipschultz
Peter H. Maguire 88

James H. Ottaway Jr.

Martin Peretz
Bruce C. Ratner
Stanley A. Reichel 65
Stewart Resnick
Roger N. Scotland 93*
Martin T. Sosnoff
Susan Weber
Patricia Ross Weis 52

Mary Backlund
Vice President for Student Affairs
and Director of Admission

Administration

Mary Smith
Director of Publications

Leon Botstein
President
Dimitri B. Papadimitriou
Executive Vice President
Michle D. Dominy
Vice President and Dean of the College
Robert L. Martin
Vice President for Academic Affairs;
Director, Bard College Conservatory
of Music
James Brudvig
Vice President for Administration
Debra Pemstein
Vice President for Development and
Alumni/ae Affairs

Norton Batkin
Dean of Graduate Studies
Erin Cannan
Dean of Students
Peter Gadsby
Registrar

Ginger Shore
Consultant to Publications
Mark Primoff
Director of Communications
Kevin Parker
Controller
Jeffrey Katz
Dean of Information Services
Judith Samoff
Dean of Programs
+ ex officio
* alumni/ae trustee

21

Board and Administration for The Richard B. Fisher Center for the Performing Arts at Bard College
Advisory Board

Administration

Jeanne Donovan Fisher, Chair

Leon Botstein+
Stefano Ferrari
Harvey Lichtenstein
Peter J. Linden, M.D.
James H. Ottaway Jr.
Dimitri B. Papadimitriou+

Susana Meyer
Associate Director

David E. Schwab II 52
Martin T. Sosnoff
Toni Sosnoff
Felicitas S. Thorne
+ ex officio

Robert Airhart
Production Manager
Debra Pemstein
Vice President for Development and
Alumni/ae Affairs
Mark Primoff
Director of Communications
Mary Smith
Director of Publications
Ginger Shore
Consultant to Publications
Kimberly Keeley-Henschel
Budget Director
Paul LaBarbera
Sound and Video Engineer

Mark Crittenden
Facilities Manager
Jeannie Schneider
Administrative Assistant
Elena Batt
Box Office Manager
Austin Miller 06
Assistant General Manager and
House Manager
Ray Stegner
Assistant to the General Manager
Doug Pitcher
Building Operations Coordinator
Kelly Spencer
Managing Editor
Bonnie Kate Anthony
Assistant Production Manager

Stephen Dean
Stage Operations Manager

Michelle Clayman
John A. Dierdorff
Jeanne Donovan Fisher
Christopher H. Gibbs+
Jonathan K. Greenburg
Paula K. Hawkins
Linda Hirshman
Anne E. Impellizzeri
Peter Kenner 66
Mimi Levitt
Thomas O. Maggs
Robert Martin+
Joanna M. Migdal
Lucy Miller Murray
Kenneth L. Miron
Christina A. Mohr
James H. Ottaway, Jr.
David E. Schwab II 52
Denise Simon
H. Peter Stern
Tucker Taylor
Felicitas S. Thorne
Anthony Viscusi
Siri von Reis
E. Lisk Wyckoff

Development
Debra Pemstein
Andrea Guido
Stephen Millikin

Executive Director
Irene Zedlacher

Publications
Mary Smith

Associate Director
Raissa St. Pierre 87

Consultant to Publications
Ginger Shore

Program Committee 2010

Byron Adams
Leon Botstein
Christopher H. Gibbs
Christopher Hailey
Robert Martin
Richard Wilson
Irene Zedlacher
Administrative Assistant
Christina Kaminski 08

cultural life in the Hudson Valley with world-class programming. Our continued success relies heavily on individuals such as you. Become a Friend of the Fisher Center today.
Friends of the Fisher Center membership is designed to give individual donors the opportunity to support
their favorite programs through the Fisher Center Council or Bard Music Festival Council. As a Friend of the
Fisher Center, you will enjoy a behind-the-scenes look at Fisher Center presentations and receive invitations
to special events and services throughout the year.

Friend ($100249)

Patron ($1,0004,999) All of the above, plus:

Advance notice of programming

Free tour of the Fisher Center
Listing in the program
($5 of donation is not tax deductible)

Opportunity to buy tickets before sales open to

the general public
Exclusive telephone line for Patron Priority handling
of ticket orders
Invitation for you and a guest to a pre-performance
dinner at a Hudson River Valley home
($150 of donation is not tax deductible)

Invitation for you and a guest to a season preview event

Invitations to opening night receptions with the artists
Invitation for you and a guest to a select dress rehearsal
($5 of donation is not tax deductible)

Artistic Directors
Leon Botstein
Christopher H. Gibbs
Robert Martin

Scholar in Residence 2010

Christopher Hailey

Since opening in 2003, The Richard B. Fisher Center for the Performing Arts at Bard College has transformed

Supporter ($250499) All of the above, plus:

Board and Administration of the Bard Music Festival

Robert C. Edmonds 68, Chair
Roger Alcaly
Leon Botstein+

BECOME A FRIEND OF THE FISHER CENTER TODAY!

Sponsor ($500999) All of the above, plus:

Copy of the Bard Music Festival book
Invitation for you and a guest to a backstage technical
demonstration ($40 of donation is not tax deductible)

Stephen Millikin
Richard B. Fisher Center for
the Performing Arts
Bard College
PO Box 5000
Annandale-on-Hudson, NY
12504

Director of Choruses
James Bagwell

Stage Manager
Stephen Dean
Cynthia Baker

Seat naming opportunity

Invitations to special events scheduled throughout
the year
Opportunity to underwrite events
($230 of donation is not tax deductible)

Please return
your donation to:

Public Relations
Mark Primoff
Eleanor Davis
21C Media Group

Vocal Casting Consultant

Susana Meyer

Producer/Benefactor ($5,000+) All of the above, plus:

Enclosed is my check made payable to Bard College in the amount of $

Please designate my gift toward: Fisher Center Council Bard Music Festival Council Where it is needed most
Please charge my: VISA MasterCard AMEX in the amount of $

Transportation Director
Edward W. Schmidt

Credit card account number

+ ex officio

Name as it appears on card (please print clearly)

Expiration date

Address

22

City

State

Zip code

Telephone (daytime)

Fax

E-mail

Bard College, in Annandale-on-Hudson, New York, is an independent, nonsectarian, residential, coeducational college that offers a four-year B.A. degree in the liberal arts and sciences and a five-year B.S./B.A.
degree in economics and finance. Bard and its affiliated institutions also grant the following degrees: A.A. at
Bard High School Early College, a New York City public school with two campuses; A.A. and B.A. at Bard
College at Simons Rock: The Early College, in Great Barrington, Massachusetts; M.S. in environmental policy
and M.A. in curatorial studies at the Annandale campus; M.F.A. and M.A.T. on multiple campuses; and M.A.,
M.Phil., and Ph.D. in the history of the decorative arts, design, and culture at The Bard Graduate Center for
Studies in the Decorative Arts, Design, and Culture in Manhattan. The Bard College Conservatory of Music
grants a five-year dual degree, a B.Music and a B.A. in a field other than music; and an M.Music degree in
vocal arts. Internationally, Bard offers dual B.A. degrees at Smolny College of Saint Petersburg State
University, Russia, and Al-Quds University in Jerusalem. For more information about Bard College, visit
www.bard.edu.

Published by the Bard Publications Office

2009 Bard College. All rights reserved.
Cover Christopher Felver

SAVE THE DATES

About Bard College

AMERICAN SYMPHONY ORCHESTRA

Beethoven's Symphonies 1 through 5
Conducted by Leon Botstein, music director
February 5-6 and April 23-24

CONSERVATORY SUNDAYS
Orchestra and chamber music
Performed by Conservatory
students and faculty
Sundays at 3 pm,
September through April
(check website for dates)

TWO ONE-ACT OPERAS

Specially commissioned to benefit
Bard's Graduate Vocal Arts Program
February 26 (Gala) and 28

Subscriptions and group discounts available.

TICKETS AND INFORMATION:

fishercenter.bard.edu
Box Office 845-758-7900

Annandale-on-Hudson, New York

fishercenter.bard.edu