Saturday, May 1, 2021 Performance # 167 Season 6, Concert 15
Livestreamed from the Fisher Center at Bard Sosnoff Theater
Leon Botstein conductor
theorchestranow.org/support
8 THE MUSIC
LUDWIG VAN BEETHOVEN
28 THE ADMINISTRATION
CONCERT TIMELINE 2 hours
Triple Concerto 35 min
™
Brief remarks by Ian Striedter trombone
SYMPHONY NO. 5 Allegro con brio (fast, with spirit) 8 min
Andante con moto (moderately slow, with motion) 10 min Allegro (fast) 5 min
Allegro (fast) 10 min no pause between third and fourth movements
Written 1804–08, in Beethoven’s mid 30s
Premiered 12/22/1808 at Theater an der Wien in Vienna;
Beethoven conductor
First TN Performance 1/29/2016 at Carnegie Hall in NYC; Leon Botstein conductor
Brief remarks by Samuel Exline trumpet
TRIPLE CONCERTO Allegro (fast) 17 min
Largo (slow & dignified) 5 min Rondo alla Polacca (in the rhythm of a polonaise) 13 min
no pause between second and third movements
ADELE ANTHONY violin PETER WILEY cello
SHAI WOSNER piano
Premiered 4/1808 in Leipzig
Brief remarks by Leanna Ginsburg flute
SYMPHONY NO. 7 Poco sostenuto—Vivace
(a little sustained, then lively) 13 min Allegretto (moderately fast) 9 min
Presto (quickly) 9 min Allegro con brio (fast, with spirit) 7 min
Written 1811–12, at age 41
Premiered 12/8/1813 at the University of Vienna; Beethoven
conductor
First TN Performance 4/13/2019 at Olin Hall at Bard College;
Zachary Schwartzman conductor
All timings are approximate. | Composer artwork by Khoa Doan.
LUDWIG VAN BEETHOVEN Born c. 12/16/1770 in Bonn, Germany Died 3/26/1827 at age 56 in Vienna
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This concert is dedicated to the memory of STUART STRITZLER-LEVINE 1932–2020
A MAN OF STATURE, AND LOFTY IDEALS by James Rodewald ’82 originally appeared in the Fall 2020 issue of the Bardian
Stuart Stritzler-Levine, 87, professor emeritus of psychology and dean emeritus, died May 1, 2020. Stritzler- Levine, who joined the Bard faculty in 1964 and devoted 56 years of continuous service to the College, received his B.A. from New York University, M.A. from New School University, and Ph.D. from SUNY Albany. Before coming to Bard he was a clinical research psychologist at Philadelphia State Hospital, where he worked in a National Institute of
Mental Health project designed to rehabilitate patients with chronic mental illness. He also served as a clinical psychologist at Bordentown Reformatory in New Jersey. His teaching and research interests at Bard included social psychology, specifically obedience to authority, conformity, attitude measurement, and change; moral development; and experimental design. He was fascinated by the social psychologist Stanley Milgram, on whose work and legacy he was teaching a seminar in the Spring 2020 semester. “No one has worked as tirelessly and generously for Bard as Stuart did,” writes President Leon Botstein. “He loved the College, its mission, its people, its history, and its landscape. He was fastidious and disciplined, yet he made the time not only to work unstintingly but also to sit and talk with everyone, anytime.”
Stritzler-Levine was dean of the College from 1980 to 2001. In those 21 years he oversaw innovations in the admission process, particularly the Immediate Decision Plan; the rapid growth of Bard’s enrollment and curriculum; and the College’s expansion into graduate education. He served as Dean of Studies at Bard High School Early College Manhattan from 2003 to 2009, then returned to teaching at Bard and at Simon’s Rock. Botstein writes, “He died in active service, not retired, as was his dream.”
Even while fully occupied by his duties at the College, Stritzler-Levine worked to extend liberal arts and sciences education to underserved communities. In 1999, he proposed a “bridge course” to expand the original
Clemente Course, which was entering its fifth year of offering rigorous, university-level humanities instruction to low-income students. His recognition that some who had completed the course but not been able to go on to college would benefit from additional study led him to offer to design and teach this bridge course once a week. He did so without pay. His devotion to learning and to Bard students had no limits. He was legendary as a Senior Project adviser. Tom Maiello ’82, a former advisee, shares that Stritzler- Levine, knowing Maiello could not afford to continue his education after Bard, paid for his first post-graduate program. Maiello retired in 2013 after nearly 33 years as a director of admissions, Holocaust educator, adjunct professor of philosophy, and dean of admissions. Last year he went back to work. “I am in social services as part of a skilled health care team,” writes Maiello. “I dedicate it all to him and his being there at the right time.”
Kenneth Stern ’75, director of Bard’s Center for Hate Studies, has had a long relationship with Stritzler-Levine, starting as a student and more recently as a colleague. “Stuart and I spoke frequently over the years, often about hate, especially given his expertise about Stanley Milgram,” writes Stern. “Stuart was always fascinated with the world around him, and how to think about it. He was an eager supporter of the Center for Hate Studies (he and I had brainstormed about this idea for years) and a regular participant in the faculty reading group on hate.” Stern also shared a passion for fishing, and the two traded strategies, fish tales, and lures, beginning in Stern’s
undergraduate days. “I moderated in the early ’70s,” recalls Stern. “My board insisted that I take a statistics class, which I did, with Stuart. It was not my favorite subject, but I loved the data set—Stuart’s summer catch of lake trout, which made me jealous of the quantity, length, width, weight, and every other measure of Stuart’s success.”
Stritzler-Levine’s other passions included operas by Richard Wagner, the photography of Berenice Abbott, and sports, particularly basketball. In the mid 1970s, Charlie Patrick, Bard’s athletic director, asked if he would coach the varsity basketball team. Stritzler-Levine accepted and went about putting together a team. Before long, spurred on by “bus loads” of students, as Stritzler-Levine recalled at the 2014 Athletics Awards Banquet, who drove up to Columbia Greene Community College to cheer for Bard against Albany College of Pharmacy, the 1976–77 team came within seconds of a conference title game. “It was a splendid group of guys,” Stritzler-Levine said in 2014. “For a couple of years, or even three, we took ourselves seriously and practiced and learned and had a dress code and all that good stuff that being a team could be. The truth is I loved my squad.” For 56 years and counting, the Bard community has felt the same way about him.
Stuart Stritzler-Levine is survived by his wife, Nina Stritzler-Levine, and their daughter, Ali SR ’15. He is also survived by his daughter Jennifer, and was predeceased by his daughter Jessica ’84, who died in 2010.
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BEETHOVEN’S SYMPHONY NO. 5 Notes by TN bassoonist Philip McNaughton
BEETHOVEN’S TRIPLE CONCERTO Notes by TN trumpet player Maggie Tsan-Jung Wei
An Icon Beethoven’s Fifth Symphony, also known as the “Fate Symphony,” is arguably one of the most iconic pieces of classical music in the canon. Its four-note opening motif evokes an immediate reaction from not only the most avid classical music appreciator, but also from someone who has never stepped foot into a concert hall before. It has been played by world-class orchestras in almost every city around the world, and has even been heard in McDonald’s commercials. The work was composed from 1804 to 1808 and was based off of three of Beethoven’s original sketches. The piece premiered in Vienna in 1808 at a momentous all- Beethoven program that is said to have lasted four hours, at which the composer himself conducted and performed on the piano. The work was one of several premieres on the program, including Beethoven’s Sixth Symphony.
Symphony V for Victory The nickname of the symphony, “Fate,” which was not given by Beethoven himself, comes from the four note opening of the piece. The most recognizable portion, “short-short- short-long,” was thought to resemble fate knocking at a subject’s door, and is used as a motif throughout each movement of the work. Because of the symphony’s popularity, the theme was commonly used during the second World War as a way to mark a victory over the radio systems. In Morse code, “short-short-short-long” spelled out the letter “V” for victory. The theme would be played whenever the Allied forces found success in their endeavors. It became a powerful symbol of hope.
A Gateway Work Whether or not Beethoven himself thought of this opening motif as fate knocking on the door remains unclear. What does ring true is that it was fate for this piece to live on forever. I think of this work as a gateway to classical music for the average person. The opening four notes are recognized by practically everyone around the world, but it’s what follows those notes that makes the symphony magical. The opening hooks the audience, but the rest of the piece keeps listeners planted in their seats, amazed at what contemporary and rich stories classical music can paint. The “Fate Symphony” has held the fate of classical music in its hands for centuries, and I believe the piece will continue to be a riveting gateway work for many more centuries to come.
The Background Beethoven’s Triple Concerto in C major, Op. 56, is more similar to a piano trio than a concerto, with the whole orchestra acting as an accompanist to build up texture and add different colors. Most of the time, it is a competition or cooperation among three soloists. The three of them may play against each other, or support each other in different phrases. What makes this piece unique is the instrumentation. Beethoven was successful not only at putting these three solo instruments together in front of a whole orchestra, but also at keeping them balanced. Acting more as partners, the three instruments do not dominate over each other. Even now, it is probably the only well-known triple sonata for these three instruments. However, the work was not as successful as it is now when Beethoven first composed it around the year 1804. It was not officially performed until about four years after it was published. Surprisingly, it did not receive great critiques during the nineteenth century. However, the fact that people are still performing the concerto nowadays proves the value of this piece.
The Music I certainly cannot choose my favorite movement in this concerto. The three movements have their own unique texture and musical language. The first movement is in sonata form, which is one of the most common forms for first movements in symphonies or concertos. It can be separated into three parts based on the motive. In this movement I really enjoy the beginning, when the piece opens with the lower string section, and the rest of the orchestra slowly builds up and introduces the three soloists. The second movement instills a sacred and peaceful feeling in me, almost as if I was standing by myself in the middle of an empty cathedral. The last movement, just like other traditional concertos, is a fast movement. It is joyful and delightful, and also brings back the tension and the cooperation between the three soloists.
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“As a sforzando occurred, he tore his arms with great vehemence asunder . . . at the entrance of a forte he jumped into the air.” So Louis Spohr, the renowned German composer and violinist, described Beethoven’s tempestuous conducting at the premiere of the Seventh Symphony. The occasion was a patriotic one. On December 8, 1813, Spohr, along with a starry group of musicians including Johann Nepomuk Hummel, Antonio Salieri, and Giacomo Meyerbeer, gathered to play in an orchestra led by Beethoven as part of a charity concert for soldiers wounded in the Battle of Hanau. For this event the composer, by then an emphatic critic of the megalomaniacal Napoleon, debuted his Seventh Symphony alongside another new work, Wellington’s Victory, written to commemorate the Duke of Wellington’s defeat of Joseph Bonaparte’s forces in the Battle of Vitoria. Revolutionary Zeal Though the Seventh Symphony does not share the explicit political immediacy of Wellington’s Victory, it is impossible to
dissociate it from Beethoven’s resolute idealism. Even at a time in his career plagued by worsening deafness and dire financial hardship, Beethoven was able to suffuse the work with a palpable sense of revolutionary zeal. As a whole, the symphony is exuberant, grand, and unbridled in its dual capacities for jubilance and sincerity. The first movement begins with a gracefully unfolding oboe solo punctuated by chordal “hits” from the full orchestra. The rest of the poco sostenuto introduction alternates between poised, lilting wind passages and stentorian iterations from the orchestra which, before long, give way to a cheerful vivace permeated by lively dotted rhythms.
Triumph Over Tyranny The second movement, though marked allegretto, is the work’s dramatic zenith. A simple, serious rhythmic theme is introduced by low strings and is soon interwoven with a grave countermelody. These two ideas compete in increasing force as more instruments take them up, building steadily to an intense, climactic scene. This gives way to a dreamlike, yearning middle section, soon interrupted by a re-introduction of the theme. Another climax results, this time texturally enriched by deeper layers of Beethoven’s characteristically masterful counterpoint. In the third movement, a rollicking presto, fleet, playful wind solos are heard among bombastic, high- spirited dance episodes. The spectacle is occasionally curtailed by the emergence of an unhurried, stately theme. Finally, the fourth movement arrives to declare victory. Beethoven, the revolutionary, has had an ecstatic vision of mankind’s final triumph over tyranny.
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e BEETHOVEN’S SYMPHONY NO. 7 Notes by TN oboist JJ Silvey
THE BEETHOVEN CELEBRATION CONTINUES NEXT SATURDAY! Saturday, May 8 at 8 PM
Bard College Conservatory Orchestra
Leon Botstein conductor
Ludwig van Beethoven Symphony No. 4 Wellington’s Victory Symphony No. 3, Eroica Drei Equali (Three Equals) for four trombones
RSVP at FISHERCENTER.BARD.EDU
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Leon Botstein brings a renowned career as both a conductor and educator to his role as music director of The Orchestra Now. He has been music director of the American Symphony Orchestra since 1992, artistic codirector of Bard SummerScape and the Bard Music Festival since their creation, and president of Bard College since 1975. He was the music director of the Jerusalem Symphony Orchestra from 2003–11, and is now conductor laureate. In 2018 he assumed artistic directorship of Campus Grafenegg and Grafenegg Academy in Austria. Mr. Botstein is also a frequent guest conductor with orchestras around the globe, has made numerous recordings, and is a prolific author and music historian. He is the editor of the prestigious The Musical Quarterly, and has received many honors for his contributions to music.
More info online at leonbotstein.com.
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LEON BOTSTEIN conductor
Since her triumph at Denmark’s 1996 Carl Nielsen International Violin Competition, Adele Anthony has enjoyed an acclaimed and expanding international career. Performing as a soloist with orchestra and in recital, as well as being active in chamber music, her career spans the continents of North America, Europe, Australia, India and Asia.
In addition to appearances with all six symphonies of the Australian Broadcasting Corporation, Ms. Anthony’s highlights from recent seasons have included performances with the symphony orchestras of Houston, San Diego, Seattle, Ft. Worth, and Indianapolis, as well as the Leipzig Gewandhaus Orchestra and the Orchestre Philharmonique de Radio France. Being an avid chamber music player, she appears regularly at La Jolla
SummerFest and Aspen Music Festival. Her wide-ranging repertoire extends from the Baroque of Bach and Vivaldi to contemporary works of Ross Edwards, Arvo Pärt and Phillip Glass.
An active recording artist, Ms. Anthony’s work includes releases with Sejong Soloists’ “Vivaldi: The Four Seasons” on Naxos, a recording of the Philip Glass Violin Concerto with Takuo Yuasa and the Ulster Orchestra on Naxos, Arvo Pärt’s Tabula rasa with Gil Shaham, Neeme Järvi and the Gothenburg Symphony Orchestra on Deutsche Grammophon, and her latest recording of the Sibelius Violin Concerto and Ross Edwards’ Maninyas with the Adelaide Symphony Orchestra on Canary Classics/ABC Classics. Ms. Anthony performs on an Antonio Stradivarius violin, crafted in 1728.
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Cellist Peter Wiley enjoys a prolific career as a performer and teacher. He is a member of the piano quartet Opus One, a group he co-founded in 1998 with pianist Anne-Marie McDermott, violinist Ida Kavafian, and violist Steven Tenenbom. He attended the Curtis Institute of Music as a student of David Soyer and joined the Pittsburgh Symphony in 1974. The following year, he was appointed Principal cellist of the Cincinnati Symphony Orchestra, a position he held for eight years. From 1987 through 1998, he was cellist of the Beaux Arts Trio. In 2001, he succeeded his mentor, David Soyer, as cellist of the Guarneri Quartet. The quartet retired from the concert stage in 2009. He has been awarded an Avery Fisher Career Grant, and was nominated for a Grammy Award in 1998 with the Beaux Arts Trio and again in 2009 with the Guarneri Quartet. He participates at leading festivals, including Music from Angel Fire, Chamber Music Northwest, OK Mozart, Santa Fe, Bravo!, and Bidgehampton. He continues his long association with the Marlboro Music Festival, dating back to 1971. He teaches at the Curtis Institute of Music and Bard College Conservatory of Music.
PETER WILEY cello
Pianist Shai Wosner records for Onyx Classics. Among his recent recordings is 2017’s Impromptu, which features an eclectic mix of improvisationally inspired works by composers from Beethoven and Schubert to Gershwin and Ives. Additional releases include concertos and capriccios by Haydn and Ligeti with the Danish National Symphony conducted by Nicholas Collon, an all-Schubert solo album featuring a selection of the composer’s folk-inspired piano works, solo works by Brahms and Schoenberg, and works by Schubert paired with new works by Missy Mazzoli. As a chamber musician, he has recorded Beethoven’s complete sonatas and variations for cello and piano with Ralph Kirshbaum and—for Cedille Records—works by Bartók, Janáek, and Kurtág with his duo partner of many years, violinist Jennifer Koh.
Mr. Wosner is a recipient of Lincoln Center’s Martin E. Segal Award, an Avery Fisher Career Grant, and a Borletti-Buitoni Trust Award—a prize he used to commission Michael Hersch’s concerto Along the Ravines, which he performed with the Seattle Symphony and Deutsche Radio Philharmonie in its world and European premieres. He was in residence with the BBC as a New Generation Artist, during which he appeared frequently with the BBC orchestras, including conducting Mozart concertos from the keyboard with the BBC Scottish Symphony Orchestra. He returned to the BBC Scottish Symphony in both subscription concerts and Proms performances with Donald Runnicles and appeared with the BBC Philharmonic in a live broadcast from Manchester’s Bridgewater Hall. As a concerto soloist in North America, he has appeared with the major orchestras of Atlanta, Baltimore, Berkeley, Chicago, Cleveland, Dallas, Indianapolis, Los Angeles, Milwaukee, Philadelphia, Pittsburgh, Ottawa, San Francisco, and Toronto, among others. In addition to the BBC orchestras, he has performed abroad with the Aurora Orchestra, Barcelona Symphony, Bournemouth Symphony, Frankfurt Radio Symphony, Gothenburg Symphony, LSO St. Luke’s, Nieuw Sinfonietta Amsterdam, Orchestre National de Belgique, Staatskapelle Berlin, and the Vienna Philharmonic, among others. He has also appeared with the Orpheus, St. Paul, and Los Angeles Chamber Orchestras, having conducted the latter from the keyboard in a 2010 concert that was broadcast on American Public Radio. More info online at shaiwosner.com.
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The Orchestra Now (TN) is a group of vibrant young musicians from across the globe who are making orchestral music relevant to 21st- century audiences by sharing their unique personal insights in a welcoming environment. Hand-picked from the world’s leading conservatories— including the Yale School of Music, Shanghai Conservatory of Music, Royal Academy of Music, and the Eastman School of Music—the members of TN are enlightening curious minds by giving on-stage introductions and demonstrations, writing concert notes from the musicians’ perspective, and having one-on-one discussions with patrons during intermissions.
Conductor, educator, and music historian Leon Botstein, whom The New York Times said “draws rich, expressive playing from the orchestra,” founded TN in 2015 as a graduate program at Bard College, where he is also president. TN offers both a three-year master’s degree in Curatorial, Critical, and Performance Studies and a two-year advanced certificate in Orchestra Studies. The orchestra’s home base is the Frank Gehry-designed Fisher Center at Bard, where it performs multiple concerts each season and takes part in the annual Bard Music Festival. It
also performs regularly at the finest venues in New York, including Carnegie Hall, Lincoln Center, The Metropolitan Museum of Art, and others across NYC and beyond. HuffPost, who has called TN’s performances “dramatic and intense,” praises these concerts as “an opportunity to see talented musicians early in their careers.”
The orchestra has performed with many distinguished guest conductors and soloists, including Neeme Järvi, Vadim Repin, Fabio Luisi, Peter Serkin, Hans Graf, Gerard Schwarz, Tan Dun, Zuill Bailey, and JoAnn Falletta. Recent recordings featuring The Orchestra Now include two albums on Bridge Records: Piano Protagonists with pianist Orion Weiss, a New York Times critic’s pick with an ensemble performance that Fanfare magazine called “perfect;” and Buried Alive with baritone Michael Nagy, which includes the first recording in almost 60 years of Othmar Schoeck’s song cycle Lebendig begraben. Also available are two albums of piano concertos with Piers Lane on Hyperion Records, and a Sorel Classics concert recording with pianist Anna Shelest and conductor Neeme Järvi. Recordings of TN’s live concerts from the Fisher Center can be heard on Classical WMHT-FM and WWFM The Classical Network, and are featured regularly on Performance Today, broadcast nationwide. In 2019, the orchestra’s performance with Vadim Repin was live-streamed on The Violin Channel.
Explore upcoming concerts, see what our musicians have to say, and more at theorchestranow.org. For more information on the academic program, visit bard.edu/theorchnow
Violin I Nicole Oswald
Concertmaster Bram Margoles Yada Lee Tin Yan Lee Misty Drake Jacques Gadway
Violin II Dillon Robb
Ramsdell Gerg Krisztián
Tóth Adam Jeffreys* Xinran Li* Zhen Liu* Shaina Pan* Esther Goldy
Roestan* Yinglin Zhou*
Viola Batmyagmar
Erdenebat Principal
Sean Flynn Katelyn Hoag Lucas Goodman Celia Daggy Larissa Mapua* Hyunjung Song* Leonardo Vásquez
Chacón*
Cello Lucas Button
Principal Eva Roebuck Jordan Gunn Pecos Singer Cameron Collins* Kelly Knox* Sara Page* Sarah Schoeffler*
Bass Kaden Henderson
Flute Rebecca Tutunick
Leanna Ginsburg
Jasper Igusa Principal 2
Shawn Hutchison Principal 3
Viktor Tóth Principal 3
Trumpet Maggie Tsan-Jung
Wei Principal 1
Anita Tóth*
Bass Trombone
Albertazzi*
* not performing in this concert
1 Symphony No. 5 2 Triple Concerto 3 Symphony No. 7
Leon Botstein Music Director
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Members of TN can be identified by their distinctive blue attire.
violin
2021 graduates receiving a Master of Music Degree in Curatorial, Critical, and Performance Studies
Musician photos by Matt Dine
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Charles Gillette percussion
Xiaoxiao Yuan Guiyang Symphony Orchestra, China
Yuqian Zhang Guiyang Symphony Orchestra, China
Ian will talk briefly about Beethoven’s Symphony No. 5 before the performance.
Hometown: Irvine, CA
Alma maters: Peabody Institute, B.M. Trombone, B.M. Recording Arts, M.A. Audio Sciences 2012–17; New England Conservatory, M.M. Trombone, 2017–19
Awards/Competitions: Winner, 2012 Pacific Symphony Youth Orchestra Concerto Competition; Winner, 2018 American Trombone Workshop National Quartet Competition (with David and Cameron); Winner, 2019 American Trombone Workshop National Quartet Competition (with David and Cameron)
Appearances: Aspen Music Festival, 2014–15; Verbier Festival, 2016–18
What is your earliest memory of classical music? Mom playing me Smetana’s Moldau on the stereo as a kid
What is your favorite piece of music, and why do you love it? Mahler’s Third Symphony, for the trombone solo
What has been your favorite experience as a musician? Playing the sunrise scene from An Alpine Symphony at sunrise on a mountaintop in the Swiss Alps
What is some advice you would give to your younger self? Do more score study with recordings.
Favorite non-classical musician or band: Shakey Graves, Punch Brothers, The Head and the Heart
If you weren’t a musician, what would you be doing? Working as an architectural acoustician
Which three people, dead or alive, would you like to have dinner with? Batman, Nikola Tesla, Stanley Kubrick
Piece of advice for a young classical musician: Don’t sit in front of the trombones.
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Leanna will talk briefly about Beethoven’s Symphony No. 7 before the performance.
Hometown: Richmondville, NY
Awards/Competitions: Winner, 2018 Chicago Women Musicians Club Competition; 2017–18 Walfrid Kujala Scholarship; Outstanding Senior Award, 2016 Purchase College Classical Division; Outstanding Junior Award, 2015 Purchase College Classical Division
Appearances: Chautauqua Music Festival, 2017–18; OrchestraNext
2016–17; National Music Festival, 2016; Eastern Music Festival, 2015
When did you realize you wanted to pursue music as a career? In eighth grade I was accepted into the New York State Honor Band. That experience exposed me to so many amazing musicians and opened my mind to the possibility of pursuing music as a career. From that moment on I knew I wanted to be a musician.
What has been your favorite experience as a musician? I worked for a non-profit organization in South Florida called Mind and Melody. I helped lead music sessions in assisted living facilities for people with Alzheimer’s and Dementia. There were days when we would arrive at the facility and the participants were sad, quiet, or not making eye contact. By the end of the session they would be dancing, laughing, playing, and singing along! It was the most fun and rewarding experience I’ve ever had as a musician.
What is some advice you would give to your younger self? It’s okay to have and pursue more than one passion! I was always told that I needed to focus on one path in order to be successful, but I love many different art forms, and finding a way to weave them all together has been extremely rewarding.
If you weren’t a musician, what would you be doing? I would probably be working as a photographer full time. Right now I work as a photographer part- time, so if I had to make a change, then that would most likely be my choice.
Samuel will talk briefly about Beethoven’s Triple Concerto before the performance.
Hometown: Meridian, ID
Alma maters: University of Miami, B.M. 2016, M.M. 2018; Bard College Advanced Performance Studies Program, 2019
Appearances: Atlantic Music Festival, 2017–18; Pierre Monteux School and Music Festival, 2015–16; Banff Brass and Drum Residency, 2014; Kennedy Center Summer Music Institute, 2011
When did you realize you wanted to pursue music as a career? An episode of the children’s cartoon Rugrats. Grandpa Lou loses his dentures and must get them back in order to play the big trumpet solo in a band concert. My six-year-old self begged my mom to
buy me a trumpet, and she finally did after seeing how many times I watched the episode.
How did you hear about TN? What inspired you to apply? I heard about TN via an alumnus of Bard College. I immediately set my sights on the program several years ago, as it has everything I was looking for in an advanced graduate program. TN is not only a stellar orchestral program that rehearses and performs more than any college or conservatory program, but also goes beyond solely performance and into critical and curatorial studies. This well-rounded approach is invaluable.
What has been your favorite experience as a musician? Performing as Principal Trumpet on Beethoven’s Fifth Symphony at the John F. Kennedy Center for the Performing Arts as a senior in high school
What is some advice you would give to your younger self? The more you practice, the more fun it becomes.
If you weren’t a musician, what would you be doing? Environmental Science/ Policy
Tell us something about yourself that might surprise us: I used to participate in competitive ski racing.
Piece of advice for a young classical musician: Get as many recordings of great musicians, bands, and orchestras as you can and listen as much as possible.
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SUPPORT TN WE’VE BROUGHT MUSIC TO MORE THAN 55,000 NEW YORKERS IN OVER 150 CONCERTS THANKS TO SUPPORT FROM DONORS LIKE YOU!
Inspire Greatness! Support TN’s innovative training program for classical musicians.
THE TN FUND Your generosity will sustain the next generation of great performers—more than 70 players from 14 countries around the globe—as they learn to communicate the transformative power of music to 21st-century audiences.
Your gift will support TN Student Living Stipends, free chamber performances around the Hudson Valley, and virtual events including livestreamed concerts from the Fisher Center at Bard. Your gift will also provide vital resources for our return to live performance at Carnegie Hall, Jazz at Lincoln Center, and The Metropolitan Museum of Art when it’s safe again to do so.
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For detailed information on the many ways to support TN, please contact Nicole M. de Jesús, Director of Development, at 845.758.7988 or ndejesus@bard.edu.
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The Orchestra Now gratefully acknowledges the generosity of each and every donor who makes our work possible. Ticket sales cover less than a quarter of the expenses for our concerts and educational initiatives. Thank you for making this important investment in the future of classical music!
LEADERSHIP GIFTS Rockefeller Brothers Fund
THE YVONNE NADAUD MAI CONCERTMASTER CHAIR Made possible by The Mai
Family Foundation
Bacewicz Michael Dorf and Sarah
Connors* Estate of Clyde
Stuart Stritzler-Levine Koren C. Lowenthal,
in memory of Larry Lowenthal
Christine T. Munson*
Charitable Trust
Foundation*
FORTE Anonymous (2) Helen V. Atlas Bridget Kibbey* Tyler J. Lory and Michael
Rauschenberg Robert Losada Jen Shykula ’96 and Tom
Ochs* Thom and Valerie Styron,
in honor of Jarrod Briley TN ’22
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Erica Kiesewetter Robert Lonergan Maury Newburger
Foundation The Merrill G. and Emita E.
Hastings Foundation James and Andrea Nelkin* Suzanne Neunhoeffer Paul W. Oakley Inez Parker, in honor of
David Kidd TN ’22 Shirley Ripullone and
Kenneth Stahl Linda Schwab-Edmundson Arlene and Gilbert Seligman Anne-Katrin Spiess and
Gerlinde Spiess Alice Stroup, in memory of
Timothy Stroup Sally Sumner, in honor of
Sara Page TN ’22 Shining Sung
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CRESCENDO Anonymous (2) Mr. and Mrs. Ronald Atkins Nicole M. de Jesús and
Brian P. Walker Curtis DeVito and Dennis
Wedlick Stan J. Harrison George Jahn and Karen
Kaczmar Kassell Family Foundation
of the Jewish Communal Fund
Peter and Susan J. LeVangia
Amala and Eric Levine Janet C. Mills Tatsuji Namba Anthony Napoli Lisa and Albrecht Pichler Jan and Jim Smyth George Striedter, in honor
of Ian Striedter TN ’22 Meyer J. Wolin
TNOR
Anonymous Jesika Berry Diane and Ronald Blum Richard Bopp Kent Brown and
Nat Thomas Lisa Aber Cohen James Costello and Laura
Cannamela Margaret M. Coughlin Richard and Hildegard ’78
Edling Vera A. Farrell Renate L. Friedrichsen Howard and Caroline
Goodman, in honor of Lucas Goodman TN ’21
Susanna Grannis Jan M. Guifarro
James Gavin Houston Elena and
Frederic Howard Scott Huang IBM Matching Grants
Program Judith and Ron Goodman
Charitable Trust of Fidelity
John and Min Hwyei Jeung, in honor of Brendan Dooley TN ’22
Charlotte Mandell Kelly ’90 and Robert Kelly
Rebecca S. Kidd, in honor of David Kidd TN ’22
Bernard King-Smith and Lisa S. King-Smith
Miodrag Kukrika Arthur S. Leonard Nancy S. Leonard and
Lawrence Kramer Fulvia Masi and William
Tanksley James McLafferty Warren R. Mikulka Karen E. Moeller and
Charles H. Talleur Gary E. Morgan Suzanne Neusner Catherine K. and Fred
Reinis Robert Renbeck Ann and Thomas Robb,
in honor of Dillon Robb TN ’21
James Rosenfield Thomas J. Shykula Joseph M. Sweeney Judith and Michael Thoyer Howard Wallick Henry H. Westmoreland
and Charles H. Milligan Wayne and Dagmar
Yaddow
DOWNBEAT Anonymous Julia Aneshansley Naja B. Armstrong Melissa Auf der Maur Sheila R. Beall David Behl Jeffrey Berns Matthew C. Bernstein Stephanie G. Beroes Marvin Bielawski Karen and Mark Collins,
in honor of Cameron Collins TN ’22
Jefferson Cotton Thomas De Stefano Vincent M. Dicks John and Remy Duffy, in
honor of Luis Herrera Albertazzi TN ’23
Priscilla Duskin Mark L. Feinsod ’94 Carol and Peter Goss Tamara Judith Gruzko Lee Haring Michaela Harnick Juliet Heyer Terrell K. Holmes James Gavin Houston Jeffrey Keller David Kraskow and Liz
Hess Carol E. Lachman Erika Lieber Guenther and Virginia May Martin and Lucy Murray Stan and Bette Nitzky Pat Parsons Neila Beth Radin Kurt Rausch Jing L. Roebuck, in honor
of Eva Roebuck TN ’22 Ted Ruthizer and Jane
Denkensohn Edward Sandfort
Daniel E. Scherrer Mark Peter Scherzer Dan and Rosie Schiavone Fran D. Smyth John Staugaitis Jerl O. Surratt Jonathan Wechsler Michael and Leslie
Weinstock Ann and Douglas William
PRELUDE Anonymous (2) Fred Allen and Erica De
Mane Sharon B. Applegate Kyra Assaad and Warren
Tappe Leslie and Louis Baker Laurence Blau and Karen
Johnsen Geraldine Brodsky Deloss Brown Anne B. Brueckner Lael Burns
Harriet D. Causbie Judith Chaifetz Jill Cohen Maria V. Collins Elizabeth Davis José M. de Jesús, Jr. Andrea N. Driscoll Wendy Faris Claudia Forest Renate L. Friedrichsen Miriam Frischer Albert Gottlieb Audrey Hackel Katka Hammond Amy Hebard Karen and Perry Hoag, in
honor of Bram Margoles TN ’22 and Katelyn Hoag TN ’22
Maung Htoo Al Jacobsen Steven Jonas, M.D. Brenda Klein Barbara Komansky Ralph B. Lawrence
David H. Levey Ann and Robert Libbey Eve Mayer Maryanne Mendelsohn Rikki Michaels Fred Justin Morgan Ross Parrino Leslie Pepper Shirley Perle Joan W. Roth Sheldon Rudolph Richard Scherr Diane J. Scrima Anna Shuster Shari Siegel John Simpson Tija Spitsberg and David J.
Weiner Lloyd Targer J. Waldhorn Lynda Youmans, in honor
of Drew Youmans TN ’19 Elizabeth Zubroff, in
honor of John D. Murphy
*Includes gifts to the Bard Music Festival and The Orchestra Now Gala.
This list represents gifts made to The Orchestra Now from January 1, 2020 to April 23, 2021.
For information on contributing to TN, or to update your listing, please contact Nicole M. de Jesús at ndejesus@bard.edu. Thank you for your partnership.
Conductor and Academic Director
Conductor Andrés Rivas Assistant Conductor Erica Kiesewetter Professor of
Orchestral Practice Bridget Kibbey Director of
Chamber Music and Arts Advocacy
Administrative Staff Kristin Roca Executive Director Brian J. Heck Director of Marketing Nicole M. de Jesús ’94 Director of
Development Sebastian Danila Music Preparer
and Researcher Marielle Metivier Orchestra
Manager Benjamin Oatmen Librarian Viktor Tóth Production Coordinator Leonardo Pineda TN ’19
Director of Youth Educational Performance and South American Music Curator
Matt Walley TN ’19 Program Coordinator, Admissions Counselor, and Guest Artist Relations
Concert Crew Marlan Barry Audio Producer and
Recording Engineer Emily Beck Stage Manager Nora Rubenstone Stage Manager Miles Salerni Rehearsal
Coordinator
THE ADMINISTRATION THE ORCHESTRA NOW
BOARD OF TRUSTEES James C. Chambers ’81 Chair Emily H. Fisher Vice Chair George F. Hamel Jr. Vice Chair Elizabeth Ely ’65 Secretary; Life
Trustee Stanley A. Reichel ’65 Treasurer;
Life Trustee Fiona Angelini Roland J. Augustine Leonard Benardo Leon Botstein+ President of the
College Mark E. Brossman Jinqing Cai Marcelle Clements ’69 Life Trustee The Rt. Rev. Andrew M. L. Dietsche
Honorary Trustee Asher B. Edelman ’61 Life Trustee Robert S. Epstein ’63 Barbara S. Grossman ’73
Alumni/ae Trustee Andrew S. Gundlach Matina S. Horner+ Charles S. Johnson III ’70 Mark N. Kaplan Life Trustee George A. Kellner Mark Malloch-Brown Fredric S. Maxik ’86 Juliet Morrison ‘03 James H. Ottaway Jr. Life Trustee Hilary Pennington Martin Peretz Life Trustee
Stewart Resnick Life Trustee David E. Schwab II ’52 Roger N. Scotland ’93 Alumni/ae
Trustee Annabelle Selldorf Mostafiz ShahMohammed ’97 Jonathan Slone ’84 Alexander Soros Jeannette H. Taylor+ James A. von Klemperer Brandon Weber ’97 Alumni/ae
Trustee Susan Weber Patricia Ross Weis ’52
+ ex officio
SENIOR ADMINISTRATION Leon Botstein President Coleen Murphy Alexander ’00 Vice
President for Administration Myra Young Armstead Vice
President for Academic Inclusive Excellence
Jonathan Becker Executive Vice President; Vice President for Academic Affairs; Director, Center for Civic Engagement
Erin Cannan Vice President for Civic Engagement
Deirdre d’Albertis Dean of the College
Malia K. Du Mont ’95 Vice President for Strategy and Policy; Chief of Staff
Peter Gadsby Vice President for Enrollment Management; Registrar
Mark D. Halsey Vice President for Institutional Research and Assessment
Max Kenner ’01 Vice President for Institutional Initiatives; Executive Director, Bard Prison Initiative
Debra Pemstein Vice President for Development and Alumni/ae Affairs
Taun Toay ’05 Senior Vice President; Chief Financial Officer
Stephen Tremaine ’07 Vice President for Early Colleges
Dumaine Williams ’03 Vice President for Student Affairs; Dean of Early Colleges
BARD COLLEGE
ADVISORY BOARD Jeanne Donovan Fisher Chair Carolyn Marks Blackwood Leon Botstein+ Stefano Ferrari Alan Fishman Neil Gaiman S. Asher Gelman ’06 Rebecca Gold Milikowsky Anthony Napoli Denise S. Simon Martin T. Sosnoff Toni Sosnoff Felicitas S. Thorne Emerita Taun Toay ’05+ Andrew E. Zobler
BARD MUSIC FESTIVAL BOARD OF DIRECTORS Denise S. Simon Chair Roger Alcaly Leon Botstein+ Michelle R. Clayman David Dubin Robert C. Edmonds ‘68 Jeanne Donovan Fisher Christopher H. Gibbs+ Paula K. Hawkins Thomas Hesse Susan Petersen Kennedy Barbara Kenner Gary Lachmund Thomas O. Maggs Kenneth L. Miron Christina A. Mohr James H. Ottaway Jr. Felicitas S. Thorne Siri von Reis Kathleen Vuillet Augustine
+ ex officio
Manager Brynn Gilchrist ‘17 Executive
Assistant Kayla Leacock Summer Hiring
Manager
College
Artistic Planning and Producing Catherine Teixeira General
Manager Nunally Kersh SummerScape
Services and Programs Manager Thai Harris Singer ‘20 Post-
Baccalaureate Fellow, Producing Assistant
Alessandra Larson Director of Development
Kieley Michasiow-Levy Individual Giving Manager
Michael Hofmann VAP ‘15 Development Operations Manager
Elise Alexander ‘19 Development Assistant
BARD MUSIC FESTIVAL Irene Zedlacher Executive Director Raissa St. Pierre ’87 Associate
Director
Administrator
PRODUCTION Jason Wells Director of Production Sarah Jick Associate Production
Manager Stephen Dean Associate
Production Manager Rick Reiser Technical Director Josh Foreman Lighting Supervisor Moe Schell Costume Supervisor Danny Carr Video Supervisor Eric Sherman Audio Supervisor
COMMUNICATIONS Mark Primoff Associate Vice
President of Communications
Amy Murray Videographer
Publications Cynthia Werthamer Editorial
and Audience Services Nicholas Reilingh Database and
Systems Manager Maia Kaufman Audience and
Member Services Manager Collin Lewis APS ‘21 Audience and
Member Services Coordinator Brittany Brouker Marketing
Manager Garrett Sager Digital Marketing
Assistant Jesika Berry Senior House
Manager Erik Long Box Office Supervisor Paulina Swierczek VAP ‘19 Box
Office Supervisor David Bánóczi-Ruof ‘22 Assistant
House Manager Maia Weiss Assistant House
Manager Hazaiah Tompkins ‘19 Community
Space Manager
Manager Doug Pitcher Building Operations
Coordinator Chris Lyons Building Operations
Assistant Robyn Charter Fire Panel Monitor Bill Cavanaugh Environmental
Specialist Drita Gjokaj Environmental
Specialist Oksana Ryabinkina Environmental
THEORCHESTRANOW.ORG / 3130 / MAY 2021
FISHER CENTER AT BARD The Fisher Center develops, produces, and presents performing arts across disciplines through new productions and context-rich programs that challenge and inspire. As a premier professional performing arts center and a hub for research and education, the Fisher Center supports artists, students, and audiences in the development and examination of artistic ideas, offering perspectives from the past and present as well as visions of the future. The Fisher Center demonstrates Bard’s commitment to the performing arts as a cultural and educational necessity. Home is the Fisher Center for the Performing Arts, designed by Frank Gehry and located on the campus of Bard College in New York’s Hudson Valley. The Fisher Center offers outstanding programs to many communities, including the students and faculty of Bard College, and audiences in the Hudson Valley, New York City, across the country, and around the world. Building on a 161-year history as a competitive and innovative undergraduate institution, Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders.
ABOUT BARD COLLEGE Founded in 1860, Bard College in Annandale-on-Hudson, New York, is an independent, residential, coeducational college offering a four-year BA program in the liberal arts and sciences and a five-year BA/BS degree in economics and finance. The Bard College Conservatory of Music offers a five-year program in which students pursue a dual degree—a BMus and a BA in a field other than music. Bard offers MMus degrees in conjunction with the Conservatory and The Orchestra Now, and at Longy School of Music of Bard College in Cambridge, Massachusetts. Bard and its affiliated institutions also grant the following degrees: AA at Bard Early Colleges, public schools with campuses in New York City, Baltimore, Cleveland, Newark, New Jersey, New Orleans, and Washington, D.C.; AA and BA at Bard College at Simon’s Rock: The Early College, in Great Barrington, Massachusetts, and through the Bard Prison Initiative at six correctional institutions in New York State; MA in curatorial studies, MS and MA in economic theory and policy, MEd in environmental education, and MS in environmental policy and in climate science and policy at the Annandale campus; MFA and MAT at multiple campuses; MBA in sustainability in New York City; and MA, MPhil, and PhD in the decorative arts, design history, and material culture at the Bard Graduate Center in Manhattan. Internationally, Bard confers BA and MAT degrees at Al-Quds University in East Jerusalem and American University of Central Asia in Kyrgyzstan; BA degrees at Bard College Berlin: A Liberal Arts University; and BA and MA degrees at the Faculty of Liberal Arts and Sciences, St. Petersburg University, Russia (Smolny). Bard offers nearly 50 academic programs in four divisions. Total enrollment for Bard College and its affiliates is approximately 6,000 students. The undergraduate College has an enrollment of about 1,800 and a student-to-faculty ratio of 10:1. Bard’s acquisition of the Montgomery Place estate brings the size of the campus to nearly 1,000 acres.
ABOUT BARD COLLEGE
Leon Botstein and all of us at The Orchestra Now would like to express our sincere appreciation to
Emily Sachar
for underwriting the TN-branded masks.
Thank you for safeguarding the health and vitality of our musicians during this time.
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