BMF SHOSTAKOVICH Program04

ard music festival
rediscoveries
SHOSTAKOVICH
AND HIS WORLD
AUGUST 13–15 and 20–22, 2004

SHOSTAKOVICH
AND HIS WORLD
AUGUST 13–15 and 20–22, 2004
Leon Botstein, Christopher H. Gibbs,
and Robert Martin, Artistic Directors
Laurel E. Fay, Scholar-in-Residence 2004
Please make certain the electronic signal on your
watch, pager, or cellular phone is switched off
during performance.
The taking of photographs and the use of
recording equipment are not allowed.

SHOSTAKOVICH
AS MAN AND MYTH
Throughout his life, Dmitrii Shostakovich explored the theme of the creative
artist versus his critics, satirizing and lamenting the misunderstanding, deprecation,
and torture that are too often the lot of the artist. It was a subject he
came to understand intimately from his own bitter experience. Shostakovich
was to become the showcase victim of the most capricious and merciless critic
of all, Joseph Stalin. Unwittingly, Shostakovich became an enduring symbol—a
myth vital to both his countrymen and to the entire world—of the perilous
position of the creative artist in a totalitarian society.
In an era when perceptions of the moral integrity, political convictions, and, yes,
sexual orientation of creative artists are brought increasingly to bear on the
interpretation of the works they create, Dmitrii Shostakovich (1906–75)
remains a case apart. He was never simply a composer. Alternately lionized and
vilified at Stalin’s cruel whim, Shostakovich was resilient. He was a survivor.
Most important, he demonstrated—a relentless muse and his consummate
professionalism goaded him to show—that art, in his case the ineffably resonant
art of music, could withstand the most inhuman demands and abuses of
repressive regimes. Shostakovich was an inspiration, a cultural icon, a symbol.
Exactly what he symbolized has changed with the times. There has been as
much argument about how his countrymen perceived his career and musical
accomplishments at different periods as there has been among his avid
Western following, especially regarding his complicity (or lack thereof) with
the system that oppressed him. Now, with the triumph of the capitalist ideal
over communism and the demise of the Soviet Union, the reevaluation of
Shostakovich—myth and music—is being tackled with new intensity, even
though the rhetoric, for the most part, is still loaded with political and moral
subtexts scarcely less manipulative than those in play during the Cold War.
What remains unquestioned and, indeed, what has only increased with the
passage of time, is the appreciation of the singular vitality and relevance of
his music.
For many, the author of the Fifth, Seventh (Leningrad), Tenth, and Thirteenth
(Babi Yar) symphonies is an artist who felt the suffering of his people deeply,
who courageously challenged the prohibitive aesthetic restrictions of his
time, to communicate through his music an emotional reality that could not
be expressed any other way. For others, who isolate his patriotic cantatas and
film music, as well as the voluminous number of official speeches and articles
published over his name, Shostakovich betrayed his moral responsibility; as
a lavishly decorated and honored “court” composer, he secured his survival
and his individual artistic license only by collaborating with the system that
repressed him.
In the West, Shostakovich has been made the subject of at least three fictional
portraits: a play (Master Class by David Pownall), a music-theater piece (Black
Sea Follies by Stanley Silverman and Paul Schmidt), and a movie (Testimony,
produced and directed by Tony Palmer, based on the controversial book of
the same title—the “memoirs” as related to and edited by Solomon Volkov).
Needless to say, these glimpses contrast sharply with the pious Soviet
hagiographies, which as a matter of course distorted or suppressed inconvenient
or unpalatable facts.
In reality, of course, Shostakovich was a human being—an enormously gifted
composer, but a complex human being with all the frailties and contradictions
of his less exalted peers. He was not a martyr. Seemingly modest for a man of
his unqualified talent, he could not have anticipated such an undeserved fate.
Obliged for most of his life to walk a tightrope blindfolded without a safety net,
his decisions and errors were understandably human.
Dmitrii Shostakovich was an unlikely candidate for mythology. Physically frail
from his youth, shy, awkward with words, he was always most comfortable with
music. Those who knew him best—and few of those survived the Stalin years—
paint a picture of a very private person who did not open up readily to others.
He had a mischievous sense of humor, an adventurous spirit, and the courage
to stand up and fight for his aesthetic convictions when necessary. He was
interested in a wide range of music, not excluding popular styles, and in his
youth worked more actively in theater and film than in the symphonic medium.
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It was the versatility of his talent, his interest in exploring new horizons and
reaching new audiences, that helped secure his early reputation.
In December 1931, Shostakovich gave an interview to Rose Lee of the New York
Times. He maintained confidently that “there can be no music without an ideology.
The old composers, whether they knew it or not, were upholding a political
theory....We,as revolutionists, have a different conception of music. Lenin
himself said that ‘music is a means of unifying broad masses of people.’ ...Not
that Soviets are always joyous, or supposed to be. But good music lifts and
heartens and lightens people for work and effort. It may be tragic but it must
be strong. It is no longer an end in itself, but a vital weapon in the struggle.
Because of this, Soviet music will probably develop along different lines from
any the world has ever known. There must be a change!”
There is no reason to doubt the sincerity of Shostakovich’s political or aesthetic
convictions at the time. He was not an elitist composer. He was a patriot with a
deep commitment to his people and culture. Along with a number of other
artists, including the theater director Vsevolod Meyerhold and the film director
Sergey Eisenstein, he was endeavoring to create a progressive new art necessary
and appropriate to the new socialist reality. That art did not exclude overt propaganda;
for the climaxes of his Second (Dedication to October) and Third (The
First of May) symphonies, for instance, Shostakovich used a chorus to deliver
stirring idealistic texts.
Not all his attempts met with success, but Shostakovich did not abandon his
efforts or limit his horizons. A song from his 1932 score to the film Counterplan
became an instant hit; during World War II, with a new text by Harold Rome, it
became a rallying anthem for the Allied nations. When his second opera, Lady
Macbeth of the Mtsensk District, reached the stage in 1934, it played for two
years to packed houses in Moscow and Leningrad and was hailed as the first
significant opera of the Soviet period.
On January 26, 1936, Stalin went to see Lady Macbeth and two days later, the
official government newspaper, Pravda, published an unsigned editorial called
“Muddle instead of Music” that would change the course of Shostakovich’s life
as well as that of Soviet music. More than a bad review, it amounted to a statement
of official policy with respect to the arts, and the first practical application
in music of the doctrine of Socialist Realism. The article also made an unmistakable
threat:“This game may end badly....The peril of such distortions for Soviet
music is clear. Leftist monstrosities in the opera are derived from the same
sources as leftist monstrosities in art, in poetry, in pedagogy and in science.” A
campaign of vilification followed.
Although he followed the critical debate actively—carefully compiling a 90-page
album of clippings—Shostakovich made no public answer to the charges, nor did
he ever repudiate Lady Macbeth. Confused, hurt, and with a wife and his first child
to support—his daughter Galina was born in May 1936—Shostakovich dropped
out of the limelight for nearly two years. He continued composing, completing
his Fourth Symphony (and withdrawing it before its premiere) and starting the
Fifth, writing music for theater and film and romances on poems by Pushkin.
In November 1937, Shostakovich’s Fifth Symphony was given its successful premiere
by Yevgeny Mravinsky in Leningrad, a milestone that marked the beginning
of the composer’s return to official grace. The symphony was extensively discussed
and praised in print, and Shostakovich published “My Creative Answer,” his
first public response to the events of the preceding two years: “Among the
reviews, which have frequently and very thoroughly analyzed this work, one gave
me special pleasure, where it said that the Fifth Symphony is the practical creative
answer of a Soviet artist to just criticism.” Shostakovich’s “answer” was very
guarded and delayed until after the symphony had already been vetted by the
Communist Party organization, music professionals, and the public. It is the
source of one of the original myths about Shostakovich that he subtitled his Fifth
Symphony “A Soviet Artist’s Reply to Just Criticism.” Shostakovich was not a fool;
his professional and political standing was not so secure that he could risk second-guessing
the reception and success of his new work. And this was not a patriotic
cantata or oratorio; it was an abstract piece of music without text or program.
Originated by an anonymous critic, the catchy phrase “A Soviet Artist’s Reply to
Just Criticism” took on a life of its own.
This was only the first occasion in Shostakovich’s life when self-defense would
prove hopeless or suicidal. Many friends and colleagues fell victim to Stalin’s
purges, others were victims of the siege of Leningrad and the war. The composer’s
elder sister was exiled and his mother-in-law served time in the camps.
Shostakovich learned from firsthand experience the need to keep his own counsel.
He spoke of his music only with great reluctance, steering interlocutors to the
music itself, leaving its interpretation and the extrapolation of any meanings,
either obvious or “between the lines,” to critics, musicologists, and, ultimately, to
his listeners. Knowing that music communicates on many different levels,
Shostakovich refused to clarify or dictate the manner in which he wanted his
music to be perceived.
During World War II, the internal political strife of Soviet society, as deadly as it
had become, paled before the patent threat to national survival. Prohibited from
enlisting for active duty in his country’s defense and evacuated against his will
from besieged Leningrad, Shostakovich served his country in the manner he
knew best. The symbolic significance of his Seventh Symphony, the Leningrad
Symphony—his spontaneous and highly charged response to Nazi invasion—is
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hard to overestimate. As perhaps never before in history, a piece of music
fulfilled the mission—both for his countrymen and for the Western Allies—
as a galvanizing force, a source of heroic inspiration and resolve.
Shostakovich’s very success in gauging and fulfilling the needs of his listeners
was his personal downfall. The respect in which he was held by the international
community and the influence that his music and stature exerted on
other Soviet musicians made him, in 1948, the prime target of the renewed
bout of cultural purges spearheaded by Stalin’s henchman, Andrey Zhdanov.
Subjected to the most vicious, destructive, and irrational attacks of petty
bureaucrats and opportunists—who had the full backing of the Party—
Shostakovich could not hide. Never a status-seeking composer, never a social
dissident, in order to survive he was obliged to swallow the last vestiges of
pride and to embrace the criticism with gratitude.
In the post-Stalin period, powerless to reject the role of public figure
thrust upon him and visibly uncomfortable in the spotlight, Shostakovich
nevertheless fulfilled his civic duties scrupulously. He served as an elected
legislator, an official in the Union of Composers, a delegate to national and
international congresses. He received untold honors and awards. In 1960,he
became a member of the Communist Party. At the price of a personal sacrifice
that is hard to calculate, he adopted a policy of nonresistance to his
manipulation as a mouthpiece of the system. It is no secret that the platitudinous
rhetoric he routinely delivered at official gatherings and the
sometimes strident articles published over his signature were penned by
others. Even so, to draw an absolute distinction between the pose he
assumed and the truth of his inner convictions is extremely difficult. If he
gave voice to the indignation and protest that so many wanted to hear
him utter, it was through the language of music. Even here the signals
could be mixed: while the philosophical reflections of his late symphonies,
song cycles, and chamber works were haunting, he continued to compose
music in a wide variety of genres, from a lighthearted musical comedy to
settings of patriotic poetry and accessible film scores.
Modest and unpretentious, Shostakovich was genuinely touched by the devotion
to his music of some of the finest performers of his era, including Yevgeny
Mravinsky, the Beethoven Quartet, David Oistrakh, Galina Vishnevskaya, and
Mstislav Rostropovich. He viewed the performer with utmost respect as an
essential collaborator in the creative process. Through direct involvement with
the creation of his music, performers came as close to seeing the real
Shostakovich as anyone could. Rostropovich has recalled that when he broke the
news to the composer that he intended to leave the U.S.S.R. for good,
Shostakovich “immediately started crying. He said, ‘In whose hands are you
leaving me to die?’” Yet Shostakovich apparently never considered emigration a
viable option.
Not long before his death, Shostakovich agreed to an interview conducted by his
son Maxim for a television documentary. Clearly uncomfortable before the camera
even with his son, the elder Shostakovich’s reminiscences—elicited by showing
him pictures of the past—were awkward and distanced, revealing little sense
of emotional involvement. But the physical debilitation caused by years of illness
and the unspoken torments of his inner world were vividly imparted: not through
his words, but in the pathetically hunched shoulders, in the unrelenting nervous
fidgeting, in the suffering etched on his face.
—Laurel E. Fay, Scholar-in-Residence 2004
If he never regained the self-assurance to challenge his own lot in life,
Shostakovich did use his influence to help others in inconspicuous but significant
ways. He campaigned for the rehabilitation of less fortunate victims
of Stalin’s terror. He encouraged, directly and indirectly, young
composers to pursue their individual paths. A non-Jew, he made impassioned
musical protests against the anti-Semitism prevalent in his culture.
The poet Yevgeny Yevtushenko has recalled the feeling of honor and vindication
he felt in 1962 when, under fierce attack from the literary establishment
for the publication of his “Babi Yar,” the great Shostakovich
unexpectedly telephoned him to ask permission to set the poem to music.
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1894
Nicholas II ascends Russian
throne
1894–1903
Minister of Finance Serge Witte
leads major drive to develop
industry and railroads
1896
Khodynka Fields catastrophe:
more than 1,000 people crushed
to death during coronation
festivities
1896–97
St. Petersburg textile strikes
1898
Formation of Russian Social
Democratic Workers’ Party
(R.S.D.W.P.)
1903
Social Democrats split into
Bolsheviks (under Lenin) and
Mensheviks (under Martov);
Kishinev anti-Semitic pogroms
WEEKEND
ONE
FRIDAY
AUGUST 13
program one DMITRII SHOSTAKOVICH:
THE MAN AND HIS WORK
richard b. fisher center for the performing arts
sosnoff theater
8:00 p.m. Preconcert Talk Leon Botstein
8:30 p.m. Performance
Dmitrii Shostakovich (1906–75)
Three Fantastic Dances, Op. 5, for piano (1920–22)
March in C Major
Waltz in C Major
Polka in C Major
From Twenty-four Preludes and Fugues, Op. 87 (1950–51)
No. 1 in C Major
No. 3 in G Major
Dénes Várjon, piano
Piano Trio No. 2 in E Minor, Op. 67 (1944)
Andante. Moderato
Allegro con brio
Largo attacca
Allegretto
Claremont Trio
“Song of the Counterplan,” from Counterplan,Op.33 (1932)
Andrey Antonov, bass
Anna Polonsky, piano
Four Songs on Texts of Dolmatovsky, Op. 86 (1950–51)
The Motherland Hears
Rescue Me
He Loves Me, He Loves Me Not
Sleep, My Darling Boy
Lauren Skuce, soprano
Anna Polonsky, piano
Preface to the Complete Edition of My Works and a Brief Reflection
Apropos of this Preface, for bass and piano, Op. 123 (1966)
Andrey Antonov, bass
Anna Polonsky, piano
String Quartet No. 11 in F Minor, Op. 122 (1966)
Introduction: Andantino
Scherzo: Allegretto
Recitative: Adagio
Etude: Allegro
Humoresque: Allegro
Elegy: Adagio
Finale: Moderato
Bard Festival String Quartet
intermission
Suite for Jazz Orchestra No. 1 (1934)
Waltz
Polka
Foxtrot
Bard Festival Chamber Players
Gianmaria Griglio, conductor
PROGRAM ONE NOTES
This program brings together some of the most strikingly disparate items in Shostakovich’s oeuvre. We
begin with the Three Fantastic Dances, Shostakovich’s first published work, which does not yet reveal the
stature Shostakovich was soon to attain. The Twenty-four Preludes and Fugues present Shostakovich the
classicist: the self-imposed task of engaging with forms and genres of the past not only gave the composer
the satisfaction of competing with Bach on the technical level, but also enabled him to create new
layers of meaning through his allusions to familiar idioms. The Jazz Suite demonstrates how well
Shostakovich was able to assimilate the popular music of his day, but instead of producing a grotesque
distortion for the higher purposes of art music, à la Mahler, he is able to enjoy the popular genres on
their own level.“The Motherland Hears,” from the Dolmatovsky cycle, and the “Song of the Counterplan”
10 11

1904
Trans-Siberian Railway
completed (begun 1891)
1904–05
Russo-Japanese War
1905
“Bloody Sunday” (January 9): beginning
of the first Russian revolution; widespread
disturbances throughout the
country during the summer; Nicholas II
issues the October Manifesto promising
representative assembly and civil
liberties (October 17)
1906
Convocation of the Duma, Russia’s
first representative assembly
(May 10); Pyotr Stolypin appointed
Prime Minister
Dmitrii Shostakovich born in
St. Petersburg on September 25
Large street demonstration during
the 1905 Revolution
both offer an insight into Shostakovich as a successful official composer who could be heard every day
on the radio in every Soviet workplace and household. And finally, we see Shostakovich as a great tragic
artist in the two memorial pieces: the Second Piano Trio was composed in memory of Ivan Sollertinsky
(1902–44), and the Eleventh Quartet in memory of Vassily Shirinsky (1901–65). Sollertinsky was one of
Shostakovich’s closest friends during the 1930s; a brilliant historian and music critic, he was largely
responsible for fostering Shostakovich’s fascination with Mahler and thus played an important role in
shaping the composer’s mature style. As Stalin’s purges began, they were both interrogated as friends of
the deposed Marshal Mikhail Tukhachevsky; the marshal was executed in 1937, but both musicians narrowly
escaped arrest. Sollertinsky’s early death from heart failure was a great shock to the composer.
Shirinsky was the first violinist of the Beethoven Quartet, which premiered most of Shostakovich’s quartets.
Compared to the Trio, the Eleventh Quartet is more concise and restrained, the humor rather more
chilling; its dense, elliptical manner is characteristic of Shostakovich’s late works.
Three Fantastic Dances, Op. 5
These relatively modest piano pieces show us a composer well grounded in compositional technique
and clearly interested in new music—Prokofiev’s Visions fugitives were probably Shostakovich’s main
model; there are also distinct references to popular genres. All three features characterize the more
ambitious pieces of Shostakovich’s early career.
From Twenty-four Preludes and Fugues, Op. 87
Impressed by the performances of Bach’s entire “48” by the young Soviet pianist Tatyana Nikolayeva,
Shostakovich decided to create his own cycle of preludes and fugues in every key. Most of the pieces are
quite transparent in their texture and some even hint at Russian folk song idioms, which should have
ensured their official approval; nevertheless, they were initially rejected by the Union of Composers on
grounds of “formalism.”This decision was soon reversed, thanks to the cycle’s enthusiastic advocacy by
leading Soviet pianists; since then, Shostakovich’s Preludes and Fugues have found a well-deserved
place as core repertoire for pianists of all countries.
Piano Trio No. 2 in E Minor, Op. 67
This work, like the Piano Quintet and Cello Sonata, is an essay in neoclassicism, both in the transparency
of the formal design and in the style of its thematic material. Shostakovich’s neoclassicism,
however, inherited neither the frivolity of the French, nor the academic bent of the German variety, and
the clear formal outlines only render the tragic force of the music more direct and powerful. The first
movement begins with a slow introduction, the cello’s ethereal harmonics sounding higher than the
violin’s response. This theme, initially reminiscent of Russian folk song, is developed contrapuntally and
then, in a faster version, opens the main, allegro section of the movement. The dazzling Scherzo that
follows vacillates between straightforward good humor and darker grotesqueries. The third movement
is in stark contrast: a stern chord progression is announced in the piano, signaling the beginning of a
baroque passacaglia form, one of Shostakovich’s favored vehicles for high tragedy. Six unchanging
statements of the progression underpin the flowing, expressive funeral lament in the strings. The
finale, based on a grotesque presentation of klezmer-style tunes, is a chilling danse macabre. Toward
the end, however, this mood is twice dispelled by reminiscences: first, the slow theme of the introduction,
which now soars over stormy piano writing, and then the final return of the passacaglia theme.
Suite for Jazz Orchestra No. 1
In spite of its name, Shostakovich’s Jazz Suite No. 1 contains little that a modern listener would associate
with jazz. This was not a personal eccentricity, since the Russian use of the word “jazz” in the 1920s
and 1930s extended its scope to any popular genre emanating from the West. Shostakovich’s taste for
such popular music made him vulnerable to attacks during the “fight against the foxtrot” instigated by
the advocates of so-called proletarian art (“foxtrot” was a derogatory umbrella term). This gave rise to
the first instance of Shostakovich making an official statement against his own inclinations for the
sake of his career: he denounced the foxtrot trend in Soviet musical life and tried to dissociate himself
from his celebrated Tahiti Trot (an arrangement of Vincent Youman’s “Tea for Two”). During the early
1930s, the Stalinist state disbanded the “proletarianist” organizations responsible for such pressures,
and a liking for Western-style popular music was no longer cause for shame. Stalin personally overruled
the initial ban on the film Merry Fellows (1934), which featured the comic adventures of a jazz band as
it worked its way up from obscurity to fame. Shostakovich’s suite of three jazz numbers was composed
in this more relaxed atmosphere. The Waltz, with its wistful tune, follows the style of various popular
hits played by bands in parks and gardens. The Polka is more agitated, and a little grotesque, owing to its
roots in the circus-music tradition. The closing Foxtrot, with its dramatic changes and its oddly shifting
harmonies, is the most artful of the three pieces, as if Shostakovich wanted to lavish special attention
on this formerly despised dance.
“Song of the Counterplan,” from the film Counterplan, Op. 33
This song became Shostakovich’s first official hit. The film Counterplan, directed by Friedrich Ermler and
Sergey Yutkevich, was much admired by Stalin himself. The rather bureaucratic title does nothing to
suggest the uplifting and cheery character of the lyrics, which address a young woman as she wakes,
telling her that in the day that awaits her she can rejoice in the joys of labor and love. The song was
heard by generations of Soviet early risers on the radio each morning. It also became popular for a time
in the United States owing to its use in the film Thousands Cheer (1943), where it appeared with new
lyrics as “United Nations.”
Four Songs on Texts of Dolmatovsky, Op. 86
Although Yevgeny Dolmatovsky (1915–94) was by no means an artist of any profundity, he undoubtedly
had a talent for clothing civic subjects in lyrical garb, thus providing welcome relief from the normal
pomposity of Socialist Realist verse. The first song, “The Motherland Hears,” uses one of these quietly
12 13

1907
1907–09
1911
1912–17
1913
Childhood
Convocation of the Second and Third
Stolypin attempts agricultural
Assassination of Stolypin
Fourth Duma
Tercentenary of the House
Duma; Stolypin coup d’etat (June 3);
reforms designed to promote
(September)
of Romanov
change of electoral law and curtail-
private ownership of land and
ment of civil liberties
modernize agriculture
civic texts, somewhat unusual in its imaginative avoidance of the standard four-square rhyme scheme.
Shostakovich provided the simplest of settings, and the remarkable success of his song was probably
due more to luck than any intrinsic virtues of the setting: Dolmatovsky’s fanciful idea that the song could
serve as a pilot’s “beacon” was transformed into exciting reality when Yuri Gagarin sang it upon his
return from the first manned space flight—heard by millions of Soviet listeners. The first phrase of the
song was soon adopted as the call sign of the principal Soviet radio station, imprinting the melody in the
mind of almost every citizen of the Soviet Union. The other three songs of the cycle share the same lyric
approach to civic subjects; however, they had no such lucky circumstances to lift them out of obscurity.
Preface to the Complete Edition of My Works and a Brief Reflection Apropos of this Preface,Op.123
Shostakovich, discomfited by the heavy solemnity of the official celebrations marking his 60th birthday,
penned this strange satirical piece in response. Appropriating a well-known Pushkin epigram, he managed
to satirize his own unstoppable productivity (at the time when the younger generation of composers
saw this as a vice rather than a virtue). Then in the “brief reflection” that follows, he poked fun at his own
musical signature DSCH (which had become ubiquitous in his recent works), and also at the string of official
titles and honors he had been awarded as a leading Soviet artist.The piece was even performed in one
of the anniversary concerts, as if the composer were raising his hands in gentle rebuff at excessive praise.
String Quartet No. 11 in F Minor, Op. 122
In this Quartet, Shostakovich abandons the form of a classical cycle, presenting instead a succession of
short movements played without a break—a form that looks back to developments in the 1920s. These
movements are ingeniously unified: the introduction features a theme with repeated notes and characteristic
rhythm (short–short–long), which reappears in various guises in each of the following movements.
The quartet is therefore akin to a set of variations, and Shostakovich evidently delighted in the
unexpected transformations his theme undergoes: at one moment a solemn chorale, at another a raucous
dance, and elsewhere a doleful funeral march. The “cuckoo” ostinato of the humoresque section is
most likely a reference to an old Russian superstition: those who hear the cuckoo can discover how
many years they still have to live by counting the number of calls.
—Marina Frolova-Walker
program two THE FORMATIVE YEARS
olin hall
1:00 p.m. Preconcert Talk Robert Martin
1:30 p.m. Performance
Igor Stravinsky (1882–1971)
Three Pieces for String Quartet (1914)
No. 1
No. 2
No. 3
Colorado String Quartet
Mikhail Gnesin (1883–1953)
Song of a Knight Errant,Op.28 (1928)
Andante
Poco più mosso
Colorado String Quartet
Sara Cutler, harp
Aleksandr Glazunov (1865–1936)
From Four Preludes and Fugues, Op. 101 (1918–23)
No. 2 in C-sharp Minor
Dénes Várjon, piano
Sergey Prokofiev (1891–1953)
Piano Sonata No. 3 in A Minor, Op. 28, “From Old Notebooks” (1917)
Allegro tempestoso. Moderato. Allegro tempestoso
Dénes Várjon, piano
SATURDAY
AUGUST 14
panel one CONTESTED ACCOUNTS:
THE COMPOSER’S LIFE AND CAREER
Leon Botstein, moderator
Malcolm Hamrick Brown; Laurel E. Fay; Elizabeth Wilson
olin auditorium
10:00 a.m. – noon
Dmitrii Shostakovich (1906–75)
Piano Trio No. 1 in C Minor, Op. 8 (1923)
Andante. Allegro. Moderato. Allegro
Claremont Trio
intermission
14 15

1914–18
First World War
1915
Starts piano lessons with his
mother, first compositions
1916
Rasputin murdered
(December 17)
Rasputin
1917
February revolution (February–March); abdication of Nicholas II (March 2)
and the fall of the Russian monarchy; creation of the Provisional Government;
Enters Glyasser’s School of Music
Lenin’s return to Russia (April 2); October–November: Bolsheviks overthrow
the Provisional Government and establish communist dictatorship; abolition
of civil liberties and freedom of the press; ban on opposition parties
PROGRAM TWO NOTES
Aleksandr Skriabin (1871–1915)
Piano Sonata No. 9,Op.68, “Black Mass” (1912–13)
Moderato quasi Andante. Molto meno vivo. Allegro.
Più vivo. Allegro Molto. Alla Marcia. Più vivo. Allegro.
Più vivo. Presto. Tempo I
Dénes Várjon, piano
Maximilian Shteynberg (1883–1946)
Four Songs, Op. 14 (1924) (Tagore)
I Will Care for the Grass
No Quiet and No Peace
When She Walked by
Oh, Say Why
William Ferguson, tenor
Anna Polonsky, piano
Dmitrii Shostakovich
Two Fables of Krylov, Op. 4 (1922)
The Dragonfly and the Ant
The Ass and the Nightingale
Jessie Hinkle, mezzo-soprano
Anna Polonsky, piano
Dmitrii Shostakovich
Prelude and Scherzo, Op. 11, for string octet (1924)
Colorado String Quartet
Bard Festival String Quartet
None of the three Shostakovich pieces in this program sounds like the composer in his maturity. The
Krylov Fables are still well within the 19th-century Russian tradition of comic song, and the Trio is beautifully
written in a late-Romantic style; the Octet is another matter, since it forges ahead in a fully modernist
idiom that disappeared from Shostakovich’s work after the 1920s. The two more backward-looking
pieces were a necessary part of Shostakovich’s assimilation of the past, while the Octet was one of a
series of works that caused consternation for his teachers at the Petrograd Conservatory. To allow us to
form an idea of these tensions, some songs by Shostakovich’s composition teacher, Maximilian
Shteynberg, are included in the program (he was Rimsky-Korsakov’s pupil and son-in-law). The director
of the Conservatory, Aleksandr Glazunov, is also represented in the program—he never advanced beyond
the very polished style he had perfected more than two decades earlier. Shostakovich was clearly absorbing
influences from outside the Conservatory, and the remainder of the program reflects this. The cult of
Skriabin, still very strong in post-Revolutionary Russia, affected Shostakovich on a technical level (in his
First Piano Sonata, for example), but he was temperamentally too remote from the mystical Skriabin to
join this camp. Prokofiev’s modernism was a more congenial influence, both in its neoclassical and
grotesque aspects, and it can be seen as one of the foundation stones in the creation of Shostakovich’s
mature style. Stravinsky’s influence became noticeable only later, in the 1930s, when Shostakovich fell in
love with the Symphony of Psalms. Finally, the “Jewish” strand, represented here by Gnesin’s piece, only
emerged in Shostakovich’s works of the 1940s.
Igor Stravinsky
Three Pieces for String Quartet
Stravinsky wrote this short cycle soon after his move to Switzerland, when his musical thinking still had
pronounced Russian tendencies. The first piece is an imitation of an “endless” dance, whose brief
melody is close to Russian folk types. The music of the Russian Orthodox liturgy, alternating between
solo recitation and choral response, is reflected in the third piece. In both these pieces, very simple
melodic material is given the dissonant modernist treatment characteristic of Stravinsky’s work at this
time. The unpredictable twists and turns of the second piece look back to Petrushka, although
Stravinsky cited the celebrated English clown “Little Titch” as his direct inspiration.
Mikhail Gnesin
Song of a Knight Errant,Op.28
After visiting Palestine in the second decade of the 20th century, Mikhail Gnesin enthusiastically
refashioned himself as a Jewish national composer. The Song of a Knight Errant, bearing the subtitle “In
Memory of the Minnesinger Süsskind of Trimberg,” combines stereotypical “medieval” and “Jewish”
musical elements. Its siciliano rhythm, light modal touches, and general melancholy are reminiscent of
Musorgsky’s Il vecchio castello from the Pictures at an Exhibition. At the same time, the modal writing
is elaborated with certain characteristic melodic touches and improvisatory figurations in the strings,
providing the composer with the desired Jewish component.
Aleksandr Glazunov
From Four Preludes and Fugues, Op. 101
After Glazunov became director of the St. Petersburg Conservatory in 1905, he set about his new duties
with enthusiasm, to the detriment of his compositional output. He steered the Conservatory ably
through the Civil War period and remained in charge during the restructuring of the institution in the
early 1920s—because the musicians around him complained that his music had fallen well behind the
times, he perhaps felt that this work would be better appreciated. While many of the students who
16 17

1918
Lenin disbands the Constituent
Assembly in January; separation of
state and church; Trotsky announces the
end of war with Germany (February 10);
first Soviet constitution
1918–21
Civil War
Street demonstration with
“Communism” banner
Trotsky addressing a crowd that
included members of the middle and
professional classes
studied during his directorship complained about the burden of obligatory fugue writing (Shostakovich
was no exception), Glazunov demonstrated in these pieces that excitement could still be injected into
the old genre. The Four Preludes and Fugues are monumental pieces, where contrapuntal mastery is
combined with Romantic gestures and textures. In the C-sharp minor pair, the whimsical prelude is contrasted
with a weighty fugue, although both are based on the same material.
Sergey Prokofiev
Piano Sonata No. 3 in A Minor, Op. 28, “From Old Notebooks”
Prokofiev completed this sonata as the October Revolution unfolded beneath his window. While it is
tempting to see this as the inspiration for such a turbulent piece, the melodic material had been written
years before, and the motoric style was already a Prokofiev trademark. The Sonata is in one movement,
largely in a virtuosic and mercurial toccata manner, and with frequent harsh dissonances and
grotesqueries. The only island of repose is the beautiful second theme, which is developed at length
almost as if it were a separate slow movement; the main motif E–C–H(B)–E was derived from the name
of a female admirer. This motif returns, transformed, in the violent development, and in the recapitulation
it is almost unrecognizable—its original calm is banished as the Sonata hurtles to its close.
Dmitrii Shostakovich
Piano Trio No. 1 in C Minor, Op. 8
This Trio belongs to Shostakovich’s Conservatory years and, although performed at the time in a student
concert, it remained unpublished until after his death. There is only one movement, a self-sufficient
sonata form with a substantial introduction and coda, following the Romantic tradition of Liszt
and others. The introduction begins with a wistful motif, stated by each player in turn, surrounded by
meandering harmonies; a livelier episode prepares the way for the Allegro. The Allegro’s opening theme
owes much to Prokofiev, although it also foreshadows Shostakovich’s grotesque manner. The second
theme is lushly Romantic, its broad melody and soft accompaniment in parallel triads pointing toward
Rachmaninoff. It is this theme that eventually crowns the piece in a lyrical apotheosis, a fitting ending
for a work that Shostakovich dedicated to his first love, Tatyana Glivenko.
Aleksandr Skriabin
Piano Sonata No. 9,Op.68, “Black Mass”
The nickname “Black Mass” is not Skriabin’s own, but he was known to like it, and it prompted him to
discuss what he saw as the “satanic” qualities of the piece. He said the opening was an induction into a
world of darkness. A repeated-note motive then emerges, which he considered a satanic “incantation,”
while the lyrical second subject exuded “evil charms.” The development and recapitulation surge forward
in a single wave. Skriabin, in his own performances, rushed through the beginning of the recapitulation
the sooner to reach his climactic point, where the second subject is transformed into a “march
of evil forces.” Defying tonality but absolutely clear in its use of sonata form, this work is a tour de force.
Maximilian Shteynberg
Four Songs, Op. 14
The Four Songs on verses by Rabindranath Tagore (1861–1941) present Shteynberg as an accomplished
artist still clinging to certain late- and post-Romantic styles regarded as “decadent” by many of his contemporaries.
The poems are opulent symbolist texts, rich in metaphor and erotically charged. The first is
a celebration of love, the second longs for the unattainable and remote, the third portrays the first flutter
of desire, while the final song warns mysteriously of a darker future. All of these themes are perfectly
suited to Shteynberg’s rich Skriabinesque harmony, his echoes of sultry Russian and French Orientalism,
and his subtle word-painting.
Dmitrii Shostakovich
Two Fables of Krylov, Op. 4
The verse fables of Ivan Krylov (1769–1844), often based on Aesop, were usually the first moral lessons
received by Russian children, and they had to be memorized at school both in Tsarist and Stalinist times.
Shostakovich himself had acted out the fables at home in his youth. These two songs from his
Conservatory days exhibit the kind of moment-by-moment characterization that had been established
by Aleksandr Dargomïzhsky and Modest Musorgsky. The protagonists’ words, actions, and physical features
are all minutely reflected in the music. The assurance with which Shostakovich tackles the genre
of comic song is striking, and with hindsight, we can see here the birth of a great musical satirist.
Prelude and Scherzo, Op. 11
In these pieces for double string quartet, Shostakovich’s individual voice is already clearly discernible.
The neoclassical Prelude begins with a Bachian recitative, whose pathos is shared by Shostakovich’s
later Adagios. The linear polyphony of the piece, culminating in an eight-part canon, also became one
of Shostakovich’s trademarks. While the Prelude is quite mellifluous, the Scherzo, by contrast, presents
an aural assault characteristic of Soviet modernism in the 1920s. Although clearly beginning and ending
in a G minor spiced with many “wrong” notes, it occasionally veers off into atonality and the fractured
textures of Webern. The Scherzo strikes the listener as much by its indomitable vigor and capricious
changes of direction as it does by its uniquely astringent sound. As Shostakovich expected (and
hoped?), his Conservatory teacher Shteynberg was not amused. Bizarrely, someone trundled out this
long-forgotten modernist onslaught in 1948, so that it could be added to the list of Shostakovich’s “formalist”
misdemeanors; it then had the honor of being banned in the company of such grand works as
the Eighth Symphony.
—Marina Frolova-Walker
18 19

1919
1920
1921
1921–22
1922
Red Army victory in Crimea (May 17)
Youth
Communist victory
Kronstadt revolt; Tenth Party
Famine crisis
Eleventh Party congress: Stalin is
Passes entrance exam at Petrograd
Studies composition with
Congress: New Economic Policy
elected General Secretary of the
Conservatory in the fall
Maximilian Shteynberg
(NEP) and a resolution prohibiting
Party; formation of the Union of
Scherzo in F-sharp Minor, Op. 1
factions in the Party passed
Soviet Socialist Republics
Art Life publishes first review
Father dies (February 24)
(September 27)
Theme and Variations, Op. 3;
Two Fables by Krylov, Op. 4;
Three Fantastic Dances, Op. 5
SATURDAY
AUGUST 14
program three FROM SUCCESS TO DISGRACE
richard b. fisher center for the performing arts
sosnoff theater
7:00 p.m. Preconcert Talk Morten Solvik
8:00 p.m. Performance American Symphony Orchestra,
Leon Botstein, conductor
Dmitrii Shostakovich (1906–75)
Theme and Variations in B-flat Major, Op. 3 (1921–22)
Theme. Andantino
1. Andantino
2. Più mosso (Vivace)
3. Andante
4. Allegretto
5. Andante
6. Allegro
7. Moderato. Allegro.
8. Largo
9. Allegro
10. Allegro molto
11. Appassionato
Finale. Allegro. Maestoso. Coda. Presto
Symphony No. 1 in F Minor, Op. 10 (1923–25)
Allegretto. Allegro non troppo
Allegro
Lento
Allegro molto
intermission
Symphony No. 4 in C Minor, Op. 43 (1935–36)
Allegretto poco moderato
Moderato con moto
Largo. Allegro
PROGRAM THREE NOTES
This evening’s program takes us from Shostakovich’s student days to his triumphant symphonic debut in
1926, and then on to his dramatic fall from grace 10 years later. From the beginning of his conservatory
studies, Shostakovich was widely recognized as an exceptional talent, and the fragile, bespectacled boy
was protected from the worst hardships of the Civil War period. The First Symphony was the realization of
the hopes placed in him, and it brought him immediate recognition in the Soviet Union (he celebrated the
anniversary of the premiere for the rest of his life). Two years later, the symphony was even performed
under the baton of Bruno Walter in Berlin. This success was followed by many others, and Shostakovich
quickly gained celebrity status. But he had no intention of becoming a purveyor of instant classics, and
instead he combined bold modernist experimentation with an appropriation of the music of the street and
the circus. His newfound confidence, and the waywardness of his art, changed his public image, at times
leading to accusations of arrogance and unpleasantness. He became an enthusiast for revolutionary and
Soviet topics, approaching them with his customary flair, causing some jealousy among his less talented
colleagues. Others felt he was wasting his talent on such topical works, which included ballets about a
Soviet soccer team, industrial sabotage, and a collective farm. The same heads were shaken when he produced
his first opera, The Nose, an absurdist farce with music as bizarre as Nikolai Gogol’s story.
It was only with the appearance of his second opera, Lady Macbeth of the Mtsensk District, in 1934,
that Shostakovich enjoyed near unanimous approval: the grotesque aspects of his art had certainly not
disappeared, but they were now combined with powerful tragedy, signaling the passage from youth to
maturity. Before long, Lady Macbeth had become the most celebrated and popular Soviet opera.
Shostakovich was now clearly considered the foremost Soviet composer, bringing him a more comfortable
life and financial security. He was married and this seemed a propitious moment to start a family. But this
happy situation was not to last for long. In 1936, Lady Macbeth was suddenly attacked in the pages of
Pravda as a decadent work that utterly failed to satisfy the demands of so-called Socialist Realism, as the
new artistic policy was termed (its implications for music had not yet been spelled out). The criticisms
clearly had authorization at the highest level, and so it was unsurprising, at a time when the great purges
were beginning, that Shostakovich temporarily became a pariah among his colleagues and was reduced
to poverty. He requested an audience with Stalin himself, but this was not granted. For the moment left
without guidance, Shostakovich simply continued with his work in progress, the grandiose, Mahlerian
Fourth Symphony. During rehearsals, Shostakovich became convinced that his only option was to withdraw
the work from performance. Perhaps, at the last moment, he stifled a self-destructive urge to show
his contempt for the authorities. Or perhaps he merely wanted to hear the symphony for himself, knowing
that it ought not to be heard in public. In spite of his later return to official favor, he never sought to
have the Fourth performed during Stalin’s lifetime. The premiere of this crucial work was astonishingly
delayed until 1961, by which time younger Soviet composers were already becoming familiar with the
music of the Western avant-gardists.
20
21

His father
1923
Constitution of U.S.S.R. adopted
(July 6)
Spends summer in a
sanatorium in the Crimea
Piano Trio No. 1,Op.8
1924
Death of Lenin (January 21)
Begins to play in movie theaters
1924
Bust of Lenin in May Day parade in
newly renamed Leningrad
1926
Premiere of Symphony No. 1,Op.10
Theme and Variations in B-flat Major, Op. 3
As this youthful work impressively demonstrates, Shostakovich had already mastered the style of Rimsky-
Korsakov’s “St. Petersburg School” by the age of 16.The previous two generations of Russian composers had
written many fresh and innovative works using the variation principle. Shostakovich follows in their footsteps
by transforming his suitably plain and neutral theme into a mazurka, a scherzo, a “Turkish”march, and
a Russian folk dance (among others). There are 11 variations in all, followed by a brilliant finale. (The first
recording of the piece, with the London Symphony and Leon Botstein conducting, will be issued this fall.)
Symphony No. 1 in F Minor, Op. 10
Like Prokofiev’s First Piano Concerto, Shostakovich’s First Symphony was an outstanding conservatory
graduation piece that still has a place in the concert repertoire. It was also a worthy addition to the symphonic
tradition of the St. Petersburg School: the themes are well-defined and memorable and their transformations
and combinations carefully worked out; the harmony is adventurous without being
outlandish; and the whole cycle is well balanced and classically transparent. Nevertheless, the symphony’s
reception from the Conservatory professors, while positive, was not entirely smooth. The two most important
symphonists among them qualified their admiration with certain reservations. Nikolay Myaskovsky
was uncomfortable with the theatrical and bizarre aspects of the first movement—this deeply serious
composer probably considered such qualities out of place at the beginning of a symphonic work (as
opposed to the Scherzo, where such things were expected). Aleksandr Glazunov most probably disliked
the overblown rhetoric of the last two movements, replete with dramatic silences and sententious instrumental
soliloquies—such devices were quite contrary to his own predilections. With hindsight, we see
that the First Symphony has more in common with the mature Shostakovich than the works that followed
over the next few years, which were more pronouncedly modernist and experimental. Here, we can
already see Shostakovich the master of the grotesque, the author of scherzos bristling with every shade
of irony or sarcasm; we can already see his penchant for the relentless moto perpetuo, and we can foresee
the blossoming of a dramatic symphonist who would eventually rival Tchaikovsky and Mahler.
Symphony No. 4 in C Minor, Op. 43
The criticisms in Pravda appeared after Shostakovich had already completed the first two of this symphony’s
three movements, but he did nothing to conciliate the authorities when he wrote the Finale,
which follows naturally from the first two movements as if nothing had happened. Either Shostakovich
had not yet understood that he had to adjust his work to the demands of the state, or more likely he had
no desire to destroy the integrity of his largest and most serious symphony to date. The Finale, of course,
is tragic, but no more so than the first movement or Lady Macbeth—Shostakovich’s personal life had simply
caught up with his artistic persona.
The sprawling first movement thrusts us into a fractured world whose conflicts overshadow its
unity. The opening theme unleashes the full force of the quadruple orchestra, the gravity of a Bach-like
melody undermined by its wild scoring for shrill woodwind. The second main theme seems to come
from a different world: a slow solo-bassoon monologue in a barren setting. The extreme contrast perhaps
evokes the public and private duality found in Tchaikovsky’s symphonies. But these themes have
no fixed character, for Shostakovich subsequently transforms them beyond anything we could have
imagined: the undemonstrative second theme reappears harsh and strident in the brass, while the
weighty opening theme is bizarrely recast as a mincing little polka. A frenzied fugato sweeps through
the orchestra, and terrifying climaxes rip through the symphonic tissue six times. In this apparently
anarchic world, the unexpected becomes normal, and the shocks seem to make no lasting difference.
The movement is a study in deliberate incoherence that resists the embrace of any narrative.
The second movement, a Mahlerian Ländler, is much shorter.The continuous tread of its triple meter
guarantees a degree of unity, and beyond this, certain rhythms soon become almost mechanically persistent:
there is the short–short–short–long heard from the opening, and also the short–short–long
toward the end, a characteristic Shostakovich rhythm. These figures may lull the senses for a while, but
their repetition eventually becomes unsettling. The detached and imperturbable character of the movement
is eventually dispelled by a wild flurry of dissonance leading to an impetuous theme in the horns
that would have sounded heroic but for the present context, which renders it more ominous.
The Finale, once again, brings Mahler’s influence to the fore. A veritable cult of Mahler evolved
in 1920s Leningrad, owing in part to the efforts of Shostakovich’s close friend and Mahler enthusiast,
the musicologist Ivan Sollertinsky. By 1936, however, it was clear that the Mahler path was
incompatible with Socialist Realism: a year earlier a symphony of Mahlerian scale and ambition by
Gavriil Popov was banned from performance. Moreover, after the Lady Macbeth debacle,
Shostakovich was explicitly advised by officials to free himself from the influence of Sollertinsky
(and thus from the influence of Mahler). The Finale of the Fourth shows that Shostakovich did
exactly the opposite: the beginning is a grotesque funeral march so close to Mahler that it could
qualify as pastiche. The sequence of musical events here is even more baffling than in the first movement:
the funeral march is followed by an Allegro that turns the orchestra into an enormous unstoppable
machine. Suddenly everything is quiet, and a grotesque polka rings out, initiating a long suite
of dances and marches that seem to unfold like a dream sequence. At the end of this aimless wandering,
there is some sense of arrival: we reach a clear C-major triad. A gargantuan coda ensues, with the
timpani insisting on the C in the bass, no matter what is happening in the rest of the orchestra. This
is a moment of the highest emotional intensity: a Mahlerian chorale rings out, the triumph undercut
by a cry of pain. Minor tonality replaces major with the return of the funeral march, and the symphony
closes enigmatically with the sounds of the celeste.
—Marina Frolova-Walker
22 23

1927
1928
1929
1929
Trotsky expelled from the Communist
First Five-Year Plan implemented (October 1); Soviet industrialization drive
Liquidation of kulaks in Ukraine
Vladimir Mayakovsky (standing, left),
Party (exiled January 16, 1928)
and forced collectivization of agriculture
Composes first film score:
Vsevolod Meyerhold (seated), and
Finalist (honorable mention) at First
Works temporarily in Meyerhold’s Moscow theater; Stokowski conducts
New Babylon,Op.18
the artist Alexander Rodchenko
Chopin Competition in Warsaw
Symphony No. 1 in Philadelphia
Symphony No. 3, The First of May,
discussing Shostakovich’s incidental
Aphorisms,Op.13; Symphony No. 2,
The Nose,Op.15
Op. 20
music to Mayakovsky’s Bedbug
Dedication to October, Op.14
SUNDAY
AUGUST 15
panel two MUSIC IN THE SOVIET UNION
Christopher H. Gibbs, moderator
Marina Frolova-Walker; David Nice; Maya Pritsker
olin hall
10:00 a.m. – noon
program four THE PROGRESSIVE 1920s
olin hall
1:00 p.m. Preconcert Talk Simon Morrison
1:30 p.m. Performance
Dmitrii Shostakovich (1906–75)
Piano Sonata No. 1,Op.12 (1926)
Allegro. Lento. Allegro
Melvin Chen, piano
Vladimir Sherbachov (1887–1952)
From Songs, Op. 11, for voice and piano (1915–24) (Blok)
That Life Has Passed
Mary’s Hair Comes Unplaited
I Will Forget Today
Grey Smoke
Courtenay Budd, soprano
Anna Polonsky, piano
Nikolay Myaskovsky (1881–1950)
String Quartet No. 4 in F Minor, Op. 33,No.4 (1909–37)
Andante. Allegro
Allegretto risoluto
Andante
Allegro molto
Colorado String Quartet
intermission
PROGRAM FOUR NOTES
Dmitrii Shostakovich
Aphorisms,Op.13 (1927)
Recitative
Serenade
Nocturne
Elegy
March Funèbre
Étude
Dance of Death
Canon
Legend
Lullaby
Melvin Chen, piano
Gavriil Popov (1904–72)
Chamber Symphony, Op. 2, for seven instruments (1927)
Moderato cantabile. Andante
Scherzo: Allegro
Largo
Finale: Allegro energico. Fuoco
Randolph Bowman, flute
Laura Flax, clarinet
Marc Goldberg, bassoon
Carl Albach, trumpet
Laura Hamilton, violin
Jonathan Spitz, cello
Jordan Frazier, double bass
Fernando Raucci, conductor
The Russian Civil War period saw a remarkable level of music making, with a continuation of operatic and
concert life on the one hand, and ambitious new programs of mass music education on the other.With the
end of the war and the introduction of the New Economic Policy, several factions of composers emerged
from the resulting stability, most claiming some sort of inspiration from the Revolution, but with much disagreement
over what post-Revolutionary music should be. Up to the end of the decade, the Soviet government
refused, on principle, to give exclusive support to any particular artistic factions, and musicians were
free both to compete for state grants and to seek remuneration privately, from box-office sales. The period
24 25

1930
Gulag system established
Premiere of The Nose (January 18)
1932
Suicide of Nadezhda Allilueva, Stalin’s wife; proletarian arts organizations
disbanded (April 23); Union of Soviet Composers formed
Marries Nina Varzar (May 13)
Lady Macbeth of the Mtsensk District,Op.29
1932–33
Man-made famine in Ukraine
1933
Piano Concerto No. 1,Op.35
1934
Assassination of Sergey Kirov
(December 1)
Premiere of Lady Macbeth
(January 22)
Cello Sonata, Op. 40
of the most extravagant musical experiments had in fact already passed with the fading of hopes for world
revolution—there were no more symphonies requiring the factory whistles of an entire city, or the sound
of fleets of planes and battleships. Now avant-gardists experimented more soberly in music laboratories
with microtonal music and electric instruments, while the Skriabinists carried forward the banner of their
late prophet, and the self-styled proletarian composers turned out rousing songs and marches.
The Association for Contemporary Music brought together the bulk of composers whose work fits
into concert programs today; there were several conservatives among the membership, and others who
met modernism partway, but the most vocal members were generally the most committed to modernist
trends. The Association promoted the music of “advanced” Western composers, such as Berg,
Hindemith, Krenek, and Stravinsky. Soviet composers of many colors benefited from the Association’s
concerts. In Moscow, Myaskovsky’s dark expressionist symphonies were performed alongside Aleksandr
Mosolov’s Iron Foundry, which imitated the noises of the factory in a joyful cacophony.
In Petrograd/Leningrad, there were three leading progressives, all with very different styles,
namely Shcherbachov, Popov, and Shostakovich—contemporary critics often ranked them in this order.
And it was in this order, too, that they were denounced in the harsher atmosphere of the early Stalin
period. Shcherbachov lost his teaching position at the Leningrad Conservatory in 1931, as a result of sustained
attacks by the “proletarian musicians” (who were temporarily being supported by the state, for
as long as this suited Stalin’s purposes). Popov’s extremely ambitious First Symphony was, in 1935, the
first major work to be banned under the new, centralized system of control over the arts. The following
year, Shostakovich came under fire for his opera Lady Macbeth of the Mtsensk District, even though the
opera had initially been received very well. Unlike Shostakovich, who bounced back relatively quickly,
Shcherbachov and Popov both suffered protracted creative crises before they finally reconciled themselves
to Socialist Realism, almost losing their individuality in the process. It is in comparison with such
formerly successful modernists that we realize how strong and resilient Shostakovich proved to be,
both as a man and as an artist.
Dmitrii Shostakovich
Piano Sonata No. 1,Op.12
Although written shortly after the neoclassical First Symphony, this Sonata is uncompromisingly modernist
throughout. Shostakovich seems to begin in the world of Prokofiev’s Third Sonata, with a toccata/tarantella
theme, but before long he increases the level of dissonance and atonality to the level of
Mosolov, the most rebarbatively modernist of all the early Soviet composers. While elements of sonata
form are certainly present, the structuring role of tonality is gone. The stormy opening material eventually
gives way to the descending scales that herald the second part of the exposition—a jarring
march followed by a more lyrical passage. The development presents all the previous material in combination,
with complex textures, leading to a shattering climax that draws from late Skriabin, marked
by pounding clusters at the low end of the keyboard. The march theme finally emerges from the chaos,
but now transformed in almost every aspect: tempo, meter, and texture are all changed, and the
melodic contours are inverted. This rarefied, static passage is the final respite before the hair-raising
coda, which Shostakovich brings to a halt with a desultory octave C.
Vladimir Shcherbachov
From Songs, Op. 11 *
The Russian intelligentsia perceived the death, in 1921, of the great poet Aleksandr Blok (b. 1880) as the
end of an era (the era we now refer to as the “Silver Age”). Blok was the most respected of the pre-
Revolutionary poets who welcomed the Revolution as a realization of their dreams. By the early 1920s,
the dashing of revolutionary hopes, and the reality of the impoverished and deindustrialized country left
by the Civil War, made their millennial rhetoric and mystical prognostications seem hopelessly out of
touch. But for a time, the spirit of Blok—and of Skriabin—lingered on for certain artists during the 1920s.
For Shcherbachov, Blok was simply “the greatest of poets,” and he planned to celebrate the late poet’s
work in a two-evening program, one of chamber music (to include the songs of Op. 11), and the other
symphonic (his Second Symphony included settings of Blok poems). While the chamber evening was to
focus on the tragic individual, the symphonic evening would focus instead on a “cosmic indifference” to
these earthly sorrows; these reflected two facets of the poet’s work.This contrast is present even in some
of the individual texts chosen by Shcherbachov. Blok was revered not only for the character of his
poetry. The sound of Blok’s language, its economy and subtle rhythmic ingenuity, made form and content
inseparable. The music in the song “I Will Forget Today” opens with a nearly minimalist clarity that
is followed by a more active and agitated section, properly reflecting Blok’s evocation of death. The
third section is a harmonically imaginative synthesis that highlights through subtle variation the brilliance
of the composer’s favorite poet.
Nikolay Myaskovsky
String Quartet No. 4 in F Minor, Op. 33,No.4
This Quartet was originally written as a graduation piece in 1909–10, but Myaskovsky revised it for publication
in 1937. In fact, this was only one of several unpublished early works that he returned to in the
1930s and 1940s—evidently he felt that they would flourish better in the era of Socialist Realism than
any of his dark and troubled works of the 1910s and 1920s. But this does not mean that the Quartet is
a mere historic curiosity; like almost everything from this composer’s pen, it displays the thoroughness
of thematic development and elegance of form that Myaskovsky inherited from the St. Petersburg
tradition, while the constant lyrical-dramatic current that propels the music forward betrays the
composer’s admiration for Tchaikovsky. But the nervous anxiety of the outer movements, the angularity
of the themes, and the avoidance of a major-key “happy ending” are all highly characteristic of
Myaskovsky’s maturity.
* We thank Elena Khodorkovskaya, Smolny College, and the staff of the Russian Institute of the History of Arts, St.
Petersburg, for providing the music.
26 27

1935–38
1936
1937
Great Purges; show trials; mass
terror
Pravda publishes attacks on Lady
Macbeth (“Muddle instead of Music,”
Daughter Galina practices her “own”
cycle
Red Army Marshal Tukhachevsky and seven generals shot (June);
height of Great Terror
January 28) and The Limpid Stream
Teacher of composition and instrumentation at Leningrad Conservatory
(“Balletic Falsehood,” February 6);
(1937–41)
daughter Galina born (May 30)
Symphony No. 5,Op.47
Symphony No. 4,Op.43
Dmitrii Shostakovich
Aphorisms,Op.13
The Aphorisms were Shostakovich’s response a decade later to Prokofiev’s Visions fugitives. Both works
are collections of brief and varied pieces, each based on a single distinctive compositional task,
although Shostakovich’s pieces were additionally filtered through the eclectic and sometimes absurdist
modernism of the Soviet 1920s. Unlike Prokofiev, Shostakovich also chose to specify genres for his
pieces, thereby creating a further opportunity for irony: the Nocturne is hopelessly disjointed, as if a
negation of its supposed genre, and the final piece, Lullaby, is a white-notes baroque Adagio, sleepinducing
because of its deliberate lack of interest. From the extreme of the Lullaby, there are various
approaches to tonality: the Étude is in a clear C major until its “wrong” final chord, the Dance of Death
uses the Dies Irae motive in a bitonal context, and the pointillist Canon is rigorously atonal. Anything is
possible, and everything is permissible—a faithful reflection of the Soviet musical world of that moment.
Gavriil Popov
Chamber Symphony, Op. 2
Popov’s Chamber Symphony was one of the most celebrated works to emerge from the Soviet 1920s.
While various neoclassical influences are easily discernible (Prokofiev, Stravinsky, and Hindemith), the
result is surprisingly individual thanks to the poetry of Popov’s broad themes, his unusual polyphonic
textures, and his unpredictability. The ensemble of violin, cello, double bass, flute, clarinet, bassoon, and
trumpet is employed with great variety, drawing upon associations both classical and romantic, serious
and popular, heroic and comic. The first movement opens with a lyrical flute theme, its initial pastoral
calm giving way to a more improvisatory mode of expression. A trumpet call signals the entry of harsher
sounds, but even then the first theme, ever changing, continues to dominate the movement. The second
movement is a Scherzo with kaleidoscopic changes of rhythms and complex polyphonic textures. A contrasting
Trio looks toward Prokofiev, while the coda is a somewhat grotesque moto perpetuo. The Largo
begins with a noble contemplative theme, but the sounds of popular dance music arrive with the second
theme, a sensuous melody over a static bass that is quite spellbinding. The Finale reintroduces the
grotesque element with an angular chromatic theme that seems to have fallen out of a fugue. After a
brief reappearance of the Trio theme from the second movement, the Finale’s theme does indeed prove
to be a fugue subject, which turns ugly in its inversion. More themes from the earlier movements make
their return, as if to round off the work with a grand romantic gesture. But Popov deliberately undermines
the effect, and in the end the apotheosis is eaten away by the grotesque.
SUNDAY
AUGUST 15
program five THE ONSET OF POLITICAL REACTION
richard b. fisher center for the performing arts
sosnoff theater
4:30 p.m. Preconcert Talk Marina Frolova-Walker
5:00 p.m. Performance
Dmitrii Shostakovich (1906–75)
Oath to the People’s Commissar, for bass, chorus, and piano (1941)
From Ten Russian Folk Songs (1951)
A Clap of Thunder over Moscow
What Are These Songs
Daniel Gross, bass-baritone
Bard Festival Chorale, James Bagwell, choral director
Mihae Lee, piano
Ivan Dzerzhinsky (1909–78)
From The Quiet Don (1934)
Oh, How Proud Our Quiet Don
From Border to Border
John Hancock, baritone
Bard Festival Chorale, James Bagwell, choral director
Mihae Lee, piano
Tikhon Khrennikov (b. 1913)
From Into the Storm, Op. 8 (1936–39)
Frol’s Tale of Lenin
Chorus of Peasants
Daniel Gross, bass-baritone
Bard Festival Chorale, James Bagwell, choral director
Mihae Lee, piano
—Marina Frolova-Walker
28 29

1938
1939
Shostakovich with his pupils at the
Leningrad Conservatory
Son Maxim born (May 10)
Quartet No. 1,Op.49
Maxim
Non-Aggression Pact signed by Hitler and Stalin (August 23); outbreak of
World War II (September 3); Soviet troops cross Polish frontier (September 17);
U.S.S.R. attacks Finland (November 30)
Symphony No. 6,Op.54
Dmitrii Shostakovich (1906–75)
Four Romances, Op. 46 (1936–37) (Pushkin)
Renaissance
A Jealous Maiden, Sobbing Bitterly
Presentiment
Stanzas
John Hancock, baritone
Mihae Lee, piano
Dmitrii Shostakovich
Cello Sonata in D Minor, Op. 40 (1934)
Allegro non troppo
Allegro
Largo
Allegro
Zuill Bailey, cello
Simone Dinnerstein, piano
Dmitrii Kabalevsky (1904–87)
From Twenty-four Preludes, Op. 38 (1943–44)
No. 1 in C Major
No. 2 in A Minor
No. 3 in G Major
No. 4 in E Minor
No. 5 in D Major
No. 6 in B Minor
Simone Dinnerstein, piano
Vissarion Shebalin (1902–63)
String Quartet No. 5,Op.33, “Slavonic” (1942)
Moderato
Andante
Allegro energico
Meno mosso, cantabile. Allegro assai
Bard Festival String Quartet
intermission
PROGRAM FIVE NOTES
After largely achieving his principal aims of promoting heavy industry and breaking the independence
of the peasantry, Stalin was finally able to attend to the cultural front.The multifarious and spontaneous
artistic organizations of the 1920s had given way to the posturing of the self-styled proletarian groups,
and when Stalin finally disbanded the latter in 1932, many serious artists welcomed the move. Stalin’s
aim, of course, was not to return to the artistic freedom of the 1920s, but to impose a set of cultural
norms that served the needs of the state that he had built. The label “Socialist Realism” was first applied
to literature in 1934, but extended to the other arts before long. Music was in fact the last of the arts to
be brought under the full control of the state, not least because it was very hard to see what Socialist
Realist music could be if no one could point to any Realist music. In practice, the state had to show the
way by example. The opportunity arose in 1936, when Stalin reacted very differently to two prominent
Soviet operas. The sophisticated and often anguished music of Shostakovich’s Lady Macbeth of the
Mtsensk District was denounced, while Dzerzhinsky’s simple and barely competent work, The Quiet Don,
was elevated as a model of Soviet opera (admittedly, this work was more simplistic than the eventual
Socialist Realist norm). Conservative composers such as Kabalevsky and Shebalin could continue producing
well-crafted works without any substantial stylistic change. Khrennikov’s popular touch, sometimes
verging on the banal, was also acceptable as it stood. Khachaturian proved a perfect example of Stalin’s
formula “national in form, socialist in content.” Shostakovich’s neoclassical tendencies could take him
only part of the way, so he also had to dash off soulless pieces commissioned by the state. But no one
was immune to criticism, and even Shebalin and Khachaturian would be censured in 1948.
Aram Khachaturian (1903–78)
Trio, for clarinet, violin, and piano (1932)
Andante con dolore, molt’ espressione
Allegro
Moderato. Prestissimo
David Krakauer, clarinet
Erica Kiesewetter, violin
Melvin Chen, piano
Dmitrii Shostakovich
Oath to the People’s Commissar
This simple, rousing song was written in the first months of the war, and although some critics considered
it simplistic, it was awarded a prize. As with many other songs that explicitly glorified Stalin, the
song’s title and text were altered after Stalin’s death.
30 31

1940
U.S.S.R. signs peace treaty with
Finland (March 12); annexation
of Baltic states
Receives Order of Red Banner
of Labor
Piano Quintet, Op. 57
1941
German troops invade the Soviet Union (June 22); beginning of the Great Patriotic
War; siege of Leningrad begins (July); battle for Moscow (November–December);
Soviet counter-offensive (December 1941 – February 1942)
Attempts to join People’s Volunteer Corps; evacuated from blockaded Leningrad
to Kuibyshev (October 1); Stalin Prize for Piano Quintet
Symphony No. 7, “Dedicated to the City of Leningrad,” Op. 60
1942
Battle of Stalingrad begins
(September 12)
Stalin Prize for Symphony No. 7;
Honored Artist of the R.S.F.S.R.
The Gamblers (abandoned);
Six Romances on Texts of W. Raleigh,
R. Burns, and W. Shakespeare, Op. 62
Shostakovich as a member
of the fire brigade on the
roof of Leningrad
Conservatory
From Ten Russian Folk Songs
After Shostakovich was denounced for the “formalism” of his opera Lady Macbeth in 1936, he sought official
advice on how to restore his standing; among other things, he was told to harmonize a hundred folk
songs. But even by the time of the second denunciation, in 1948, Shostakovich had still not made a single
folk-song arrangement. It was only in 1951, just months before Stalin’s death, that he finally decided
that it would be prudent—financially, at least—to take up this long neglected task. He made arrangements
of 10 songs, five of which were soldiers’ marching songs dating back to Napoleon’s Russian campaign
of 1812. These Shostakovich had found in a collection published during the Second World War. The
texts had been updated by Soviet poets to fit the current Socialist Realist style—it was hoped that in this
form they could be adopted by Soviet troops. The songs on this program are among these marches, and
Shostakovich presents his material in simple, stirring arrangements. “Thunderclap over Moscow” had
already made a more celebrated appearance, in Prokofiev’s War and Peace, at the behest of the Committee
for Artistic Affairs.
Ivan Dzerzhinsky
From The Quiet Don
This opera, based on the Civil War novel by Mikhail Sholokhov (1905–89), contains a series of folk-style
songs with somewhat unusual harmonies, often gauche rather than convincingly inventive. The final
number,“From Border to Border,” became very widely known owing to frequent radio broadcasts. In the
opera, it is heard as the main characters walk off into the sunset, intent on furthering the goals of the
Revolution. This vision of a brighter future was a standard feature of Socialist Realist works.
Tikhon Khrennikov
From Into The Storm,Op.8
This opera tells of the Revolution spreading through deepest rural Russia, and at the climax of the story
a group of peasants from Tambov are persuaded by Lenin in person—this marked the first appearance
of Lenin on the operatic stage, albeit with a speaking part only. Like The Quiet Don, Khrennikov’s opera
was assigned by the critics to the genre of “song opera,” which was supposed to be more easily accessible
to a mass audience. However, some critics thought the composer had gone too far, and found
parts of the opera vulgar and primitive (while it was wrong to browbeat the masses, it was also wrong
to insult their intelligence). These criticisms were soon forgotten, and Into the Storm became a Socialist
Realist classic.
Dmitrii Shostakovich
Four Romances on Pushkin, Op. 46
Many Soviet composers marked the 1937 centenary of Pushkin’s death by composing new settings of his
verses—there were even competitions for Pushkin songs. They were probably relieved that they could
gain official approval by working with such witty and elegant literature, rather than heavy-handed propagandistic
texts that had lately become the norm. Shostakovich wrote his set of songs shortly after the
Lady Macbeth debacle had occurred, and it is tempting to look for autobiographical resonances in his
choice of poems. For example, in the third song:“Jealous Fate is threatening me with trouble....Will I preserve
my contempt for Destiny? Will I meet it with the steadfastness and patience of my proud youth?”
But it is the first song that has given recent commentators most food for thought, due to its musical connections
with the finale of the Fifth Symphony. In this poem, a painting of genius is defaced by a barbarian
doodle, but years later the alien layer of paint is removed and the original is revealed again in all its
beauty. It is highly probable that Shostakovich saw a parallel with his chef d’oeuvre, Lady Macbeth of the
Mtsensk District, which had been banned from performance, but which he hoped might return to the
stage in better times (as it did in the early 1960s).
Dmitrii Kabalevsky
From Twenty-four Preludes, Op. 38
The simplicity of these pieces reflects not only the composer’s personal inclinations, but also his membership
in Prokoll, the Production Collective of the Moscow Conservatory, an organization that sought to create
music that was accessible to the people, but also based soundly on art-music traditions.
Vissarion Shebalin
String Quartet No. 5,Op.33, “Slavonic”
Shebalin’s Fifth Quartet allows us to see very clearly what Socialist Realism meant for instrumental
music. The result, in the hands of this accomplished composer, is well crafted and easy on the ear, with
much more than a hint of the 19th-century Russian nationalists. The nationalist style was revived during
the war, and the use of folk themes became an essential feature of Socialist Realist music. The
Quartet was awarded a Stalin Prize, First Class.
Aram Khachaturian
Trio, for clarinet, violin, and piano
The Trio brought Khachaturian his first real success: Prokofiev, who heard the work during a visit to
Moscow, was sufficiently impressed to organize a performance in Paris. Perhaps this had some influence
on Khatchaturian’s career, since the Trio’s pervasive Orientalism remained a consistent feature of the
composer’s work. Although Khachaturian was born and raised in the Caucasus, this does not mean that
his Oriental manner can be regarded as authentic, for he worked within the Orientalist conventions
used by the Mighty Five (Balakirev, Borodin, Cui, Musorgsky, Rimsky-Korsakov). In the Trio, we also find
Khachaturian absorbing the influence of Debussy, who had himself been influenced by the Mighty
Five’s Orientalism. Even Liszt’s Hungarian Rhapsodies make their presence felt in the contrast of the first
movement’s rhapsodic, improvisatory style with the vigorous dance music of the second and third
movements. But even if Khachaturian submitted to these conventions, he was never content to be a
mere epigone, and so he always sought to introduce fresh rhythms and colors, as the Finale of the Trio
32 33

1943
1944
Orchestra members with the
composer and the conductor,
Surrender of German troops at
Stalingrad (January 31)
Leningrad siege ends after 880 days
(January 16)
Shostakovich with art critic Ivan Sollertinsky
(photo taken in the 1930s)
S. Samosud, after the first
Moves to Moscow; honorary
Close friend Ivan Sollertinsky dies of
Moscow performance of the
member of American Academy of
heart ailment (February 11)
“Leningrad” Symphony (photo
Arts and Letters
Piano Trio No. 2,Op.67; Quartet
taken during an air alert)
Piano Sonata No. 2,Op.61;
No. 2,Op.68
Symphony No. 8,Op.65
illustrates: note the vivacious folk-like interaction between clarinet and violin in the dance sections.
Khachaturian’s melodic gift, his lush Romantic and post-Romantic harmonies, and, most importantly, his
“national” color (as Stalin-era commentators supposed) made him a Socialist Realist success story, and
he was seen as a model for what Stalin’s national policies in the arts could achieve.
Dmitrii Shostakovich
Cello Sonata in D Minor, Op. 40
Together with his First Piano Concerto, the Cello Sonata is one of Shostakovich’s most thoroughgoing neoclassical
works, ingeniously transforming an array of models from the past. The cello cantilena of the first
movement begins as if in mid-phrase, and continues in an unstoppable lyrical stream inspired by the
kind of melodic writing that opens Mendelssohn’s Violin Concerto or Tchaikovsky’s String Sextet, both
classicizing works of the 19th century. The beautiful second theme is also lyrical, but still and contemplative
in contrast to the first. A short cadential motive introduces much anxiety and agitation into the
development. The second theme returns seemingly unperturbed, but it is interrupted by the return of the
first theme, now somber and slow, having lost all its original fluidity. The second movement follows a
classical scherzo and trio form: in the outer sections, the original rustic Ländler of Viennese classicism is
transformed into a harsher moto perpetuo, while the calmer trio offers sweet harmonics on the cello. In
the gravely expressive slow movement, Shostakovich finally begins to speak in his own characteristic
voice, dropping the neoclassical inverted commas. The finale returns to the neoclassical, with a rondo
form whose refrain is Haydnesque, but severely distorted; there are episodes that sound more like early
Beethoven, but popular street songs also make an unexpected appearance.
Shostakovich claimed that the relative simplification of his musical language in the Cello Sonata
was a direct response to calls for more accessible music. But it is also possible that Shostakovich was
in fact looking toward European neoclassicism, but would have done himself no favors by advertising
the fact—Prokofiev, still resident in the West, suspected as much, and even commented wryly that the
foremost Soviet composer had evidently decided to follow bourgeois trends. In truth, the line of demarcation
between Western neoclassicism and Socialist Realist classicism is very faint at times, and one
could easily say that the Cello Sonata anticipated the Soviet house style; only the amount of alienating
grotesquerie in the Cello Sonata invites us to place it in the Western camp. Shostakovich was to play
this stylistic game again many times during his career.
—Marina Frolova-Walker
WEEKEND
TWO
FRIDAY
AUGUST 20
symposium ART AND CULTURE IN THE SOVIET ERA
Paul Mitchinson, moderator
Jonathan Brent; Caryl Emerson; Steven Marks; Joan Neuberger;
Richard Pipes; Jane Sharp
olin hall
10:00 a.m. – noon
1:30 p.m. – 3:30 p.m.
program six “GOOD MORNING MOSCOW”:
ONE DAY IN THE LIFE OF SOVIET
POPULAR MUSIC
richard b. fisher center for the performing arts
sosnoff theater
8:00 p.m. Performance
Act I
intermission
Act II
Marina Kostalevsky, book
Elise Thoron, director
Anne Patterson, design
Please refer to event program for detailed information.
PROGRAM SIX NOTES
There is a part of the Soviet musical heritage that is practically unknown to the American—and for that
matter, any non-Soviet Russian—audience. The names of such composers as Isaak Dunaevsky (1900–55),
Matvei Blanter (1903–90), Vasily Soloviev-Sedoi (1907–79), Aleksandra Pakhmutova (b. 1929), Eduard
Kolmanovskii (b. 1933), and Mikhail Tariverdiev (1931–96) do not say much to music lovers and even to
34 35

1945
1946
1947
1948
Yalta Conference (February);
Central Committee’s attacks against writers Anna Akhmatova and
Beginning of Cold War
Central Committee Resolution “On V. Muradeli’s opera, The Great Friendship”
Soviet troops capture Berlin (May 2);
Mikhail Zoshchenko
Deputy of Supreme Soviet R.S.F.S.R.;
(February 10) attacks musical “formalists” (Shostakovich, Prokofiev,
German unconditional surrender
First Soviet monograph published in honor of his 40th birthday;
participates in Prague International
Khachaturian, and others); resumption of purges; Berlin Blockade begins
(May 9); [Andrey] Zhdanov era
Order of Lenin; Stalin Prize (category II) for Piano Trio No. 2
Spring Festival; People’s Artist of
(May); Zhdanov dies (August 31)
(1945–48)
Quartet No. 3,Op.73
R.S.F.S.R.
Violin Concerto No. 1,Op.77; From Jewish Folk Poetry,Op.79 (both withheld
Symphony No. 9,Op.70
until 1955)
musicians in the West. But these were household names for generations of people all over the Soviet
Union, as their music was broadcast on Soviet radio every day. This missing (to the rest of the world) link
is the Soviet popular song. For the state, popular song was a vitally important ideological musical genre
that could channel political and patriotic messages straight to the ears of the entire population. For the
people, it was an art form that accompanied their day-to-day lives, expressed their civic and lyric selves,
and created celebrated performers beloved by the masses.
Dmitrii Shostakovich, never a snob, not only accepted the legitimacy of popular song in the world
of music, but had his own favorite examples of the genre. For instance, he was very fond of Blanter’s
“Soccer March,” which he ardently admired as both a musician and an enthusiastic soccer fan. Moreover,
Shostakovich quotes popular tunes in his own works, most famously in the Eleventh Symphony, where
he uses popular revolutionary songs for historical and personal references. During the composer’s lifetime,
the Soviet popular song went through a number of phases that were naturally connected and to a
large degree determined by historical events and periods. Needless to say, under Stalin the sentiments
projected by those songs were in full agreement with the general line of the Communist Party. In the
post-Stalinist Soviet Union the ideological marches and ballads remained as powerful as before, but now
the forces of musical propaganda more often had to share radio waves with apolitical songs.
When Shostakovich, like any of his contemporaries in the late 1960s, turned on the radio, he would
have been treated to the variable but predictable succession of popular tunes. He could listen to perfectly
optimistic songs from the politically horrible 1930s; soberly uplifting songs of wartime; songs
with the usual human touch glorifying Lenin; songs dedicated to the fight for world peace; proudly dignified
songs inspired by the Soviet space program; or songs about love and the simple things in life.
In this program, we present a typical collection of Soviet popular songs that may have been heard
by Dmitrii Shostakovich in his later years. As a narrative line for this “radio concert” we have chosen one
day in the life of a Soviet communal apartment, specifically a Saturday in the early 1970s.
D. T. Troikin Nikita Storojev, bass
Musical Functionaries Members of the
Bard Festival Chorale, James Bagwell, choral director
Tatiana Stepanova, piano
program eight IN THE SHADOW OF 1948
olin hall
1:00 p.m. Preconcert Talk David Fanning
1:30 p.m. Performance
Dmitrii Shostakovich (1906–75)
From Twenty-four Preludes and Fugues, Op. 87 (1950–51)
No. 5 in D Major
No. 22 in G Minor
No. 7 in A Major
No. 24 in D Minor
Martin Kasik, piano
Mieczyslaw Weinberg (1919–96)
Moldavian Rhapsody, Op. 47,No.3, for violin and piano (1949–52)
Philippe Quint, violin
Martin Kasik, piano
—Marina Kostalevsky
Yurii Shaporin (1887–1966)
Vocalise, Op. 21,No.5, for voice and piano on the theme of a Jewish folk
SATURDAY
AUGUST 21
program seven MUSIC AS POLITICS
olin hall
song (1947)
William Ferguson, tenor
Alon Goldstein, piano
10:00 a.m. Performance with commentary by Richard Taruskin
Dmitrii Shostakovich (1906–75)
Antiformalist Rayok (Little Paradise), Cantata (1948,cont.1957; finale
betw. 1965–68)
Chairman Valerian Ruminski, bass
S. Yedinitsyn Daniel Gross, bass-baritone
A. A. Dvoikin Joshua Winograde, bass-baritone
Georgii Sviridov (1915–98)
Russia the Wooden, for tenor and piano (1964) (Yesenin)
Farewell My Native Grove
Marshes and Swamps
I am a Wretched Wanderer
Do Not Look for Me in God
William Ferguson, tenor
Alon Goldstein, piano
36 37

1949
1950
1951–53
1951
The “Big Three” of Soviet music—
Sergey Prokofiev, Shostakovich,
Campaigns against “cosmopolitans”
(Jews) and intelligentsia; end of
Stalin Prize for The Song of the
Forests and The Fall of Berlin,Op.82
Korean War
Twenty-four Preludes and Fugues,
Op. 87
and Aram Khachaturian
Berlin Blockade (May)
(film score)
(photo taken in the 1940s)
Visit to New York for Congress for
World Peace; member of organizing
committee for celebration of Stalin’s
70th birthday
The Song of the Forests,Op.81
PROGRAM EIGHT NOTES
intermission
Galina Ustvolskaya (b. 1919)
Trio, for clarinet, violin, and piano (1949)
Espressivo
Dolce
Energico
Alexander Fiterstein, clarinet
Philippe Quint, violin
Alon Goldstein, piano
Dmitrii Shostakovich
String Quartet No. 5 in B-flat Major, Op. 92 (1953)
Allegretto non troppo
Andante
Moderato. Allegretto
Chiara String Quartet
In early 1948, Shostakovich, Prokofiev, and several other leading Soviet composers were labeled “formalists”
and many of their works were banned from public performance. Having faced such problems a
dozen years earlier, Shostakovich acted resolutely to ensure his speedy rehabilitation, writing film scores
and cantatas for state occasions that offered fulsome praise to Stalin. This tactic soon proved successful.
In his spare time, however, he continued to write serious works, such as the Fifth Quartet and the Violin
Concerto, but the scores remained in his desk drawer, awaiting more favorable times. In this program, we
will hear this music, which was heard only in private performance within a narrow circle of musicians
associated with Shostakovich. Galina Ustvolskaya and Georgy Sviridov were students of his at the
Leningrad Conservatory, while Mieczyslaw Weinberg considered himself Shostakovich’s “flesh and
blood” (although he never took any lessons with him). The program also draws out two subplots relating
to this circle. The first is the dramatic arrest of Weinberg, when Shostakovich expected the worst and
offered to raise Weinberg’s daughter if necessary. The other is the complex relationship between
Shostakovich and Ustvolskaya, ending in great bitterness on the part of the latter.
Dmitrii Shostakovich
From Twenty-four Preludes and Fugues, Op. 87
The only serious work that Shostakovich tried to make public in the period between 1948 and Stalin’s
death was this large and ambitious piano work, but unfortunately it fell at the first hurdle—it was con-
demned as “formalist” by the committee of the Composers’ Union. It was only grudgingly accepted at
a later stage, after prominent Soviet pianists persisted in playing parts of the work during public
recitals. Given the proximity of the work to its Bach prototype, the decision of the committee was surprising.
The preludes, like Bach’s, are generally studies on a single figuration or dance type, while some
of the fugue themes, such as No. 22, could almost have been written by Bach. In the final, D-minor
fugue, the serene opening looks back to Bach’s B-flat major fugue from Book II of the “48.” With the
introduction of the second theme, however, the peace is disturbed, and the section combining the two
themes is a weighty symphonic ending.
Mieczyslaw Weinberg
Moldavian Rhapsody, Op. 47,No.3
This colorful piece with its innocuous title could have blended in with the many Socialist Realist works
on folk material, were it not for the timing of its composition and the personal connections of its composer.
Mieczyslaw Weinberg (or Moisei Vainberg) had fled from Poland to the U.S.S.R. in order to escape
the Nazis, but found himself once again in danger a decade later, due to his connections with “Jewish
conspirators.” Weinberg’s family traced itself back to Moldavia, and the composer tries to summon up
the spirit of his forefathers with klezmer melodies from the region. Weinberg’s position was already
delicate, because he was married to the late Solomon Mikhoels’s daughter, but by the time of the
Rhapsody’s premiere, in February 1953, the situation had deteriorated further: Miron Vovsi, an uncle of
Weinberg’s wife, had been charged with conspiring to poison Stalin—this was the notorious “Doctors’
Plot” episode. In these circumstances, the Rhapsody’s Jewish character could easily be interpreted as a
protest, so on the morning after the performance, Weinberg was arrested for activities classed as
“Jewish bourgeois nationalism.” One of the accusations was that he had incited Shaporin to write his
Jewish vocalise. Shostakovich tried to intercede, but in the event Weinberg was saved by Stalin’s death,
after which all charges against the Jewish “conspirators” and “nationalists” were quickly dropped.
Yurii Shaporin
Vocalise, Op. 21,No.5
Shaporin was prompted to use this mournful Jewish melody by Solomon Mikhoels (1890–1948), the celebrated
director of the Moscow Yiddish Theatre and chairman of the wartime Jewish Antifascist
Committee. The piece was originally published as one of Ten Songs on Texts by Soviet Poets, but as Stalin
began to promote the notion that prominent Soviet Jews formed a kind of fifth column, and Mikhoels
died in a dubious “accident,” the Jewish melody was hastily removed from the collection.
Georgii Sviridov
Russia the Wooden
Sergey Yesenin (1895–1925), the colorful Russian poet of the 1910s and 1920s and one-time husband of
Isadora Duncan, committed suicide at the age of 30, before Socialist Realism ever had a chance to extinguish
his gift. Yesenin’s poetry, with images of a humble and poor peasant Russia (“wooden Russia”), its
38 39

1952
Stalin Prize (category II) for Ten
Poems on Texts by Revolutionary
1953
Doctors’ Plot (January); death of
Stalin and Prokofiev (March 5);
1954
Publication of Ilya Ehrenburg’s
The Thaw
Shostakovich speaking on the
occasion of the award of the
1955
“The Thaw”—restoration of friendly
relations with West
Poets, Op. 88
Nikita Khrushchev elected General
Wife Nina dies (December 4);
International Peace Prize
Mother dies (November 9)
Secretary of the Communist Party
People’s Artist of U.S.S.R.;
The Gadfly,Op.97
Symphony No. 10,Op.93
International Peace Prize; honored by
Swedish Royal Musical Academy
folk religion and drunken courage, almost vanished during the Stalin era, but finally enjoyed a revival
during the Khrushchev Thaw, when Sviridov began the first of his many Yesenin settings. Russia the
Wooden is a small cycle of Yesenin’s earlier verses in a very simple, transparent setting. Brief folk-like
motives and static, mildly dissonant “bell” harmonies are typical Sviridov trademarks (inspired, it
seems, by Stravinsky’s Les Noces). The poem chosen for the last song, with its “prisons built from church
bricks,” had doubtless accrued new meaning for Russians who had lived through the Stalin era.
Galina Ustvolskaya
Trio, for clarinet, violin, and piano
Of all Soviet composers to emerge during the Stalin period, Ustvolskaya had to endure the most
extreme artistic schizophrenia. The individualism and uncompromising modernism of her private
works were utterly at odds with the faceless Socialist Realism of the various cantatas and suites that
prompted the state to award her prizes (she disowned these works later in life). Shostakovich was an
ardent admirer of Ustvolskaya both as an artist and a woman; he even went so far as to propose to her.
The relationship ended badly: Ustvolskaya claimed that she burnt all his letters, and she never had a
good word for Shostakovich again.
The Trio is one of the earliest entries in the list of works the composer is prepared to acknowledge.
The first movement begins with a meditative clarinet solo, imitated by the piano; the second theme, in
the violin, is more rhythmically defined. An expressive dialogue between the three instruments ensues,
growing in intensity and then fading away, pared down to the clarinet monologue again. The transition
to the short second movement is seamless: the clarinet is answered by three dissonant chords in
the violin; these chords are soon taken up by the piano, allowing the violin to take over the melodic role
from the clarinet. The finale contrasts strongly with the preceding movements, opening violently with
a strongly accented theme. The second theme, in the clarinet, was adopted by Shostakovich in his Fifth
Quartet; it is more plaintive and speech-like, but has to endure the violent attacks of the other instruments.
Calm eventually descends, but the ending is unexpected: the piano has the last word with the
stilted, tongue-tied melody interrupted by the ominous chords in the bass.
Dmitrii Shostakovich
String Quartet No. 5 in B-flat Major, Op. 92
Shostakovich had good reasons to withhold the Fifth Quartet temporarily: although it displays the classically
transparent forms and the “organic” thematic development demanded by Socialist Realism, the
style is still too individual and the moods too ambivalent. The first movement might be suitably
dynamic and in the major, but is permeated with a certain relentless drive that does not fit within
Socialist Realism’s normal emotional range. The quotation from Ustvolskaya’s Trio is introduced at the
end of the movement, in the muted first violin; making ingenious use of the original’s ascending
sequence, Shostakovich has the theme soar ever higher, up to the extreme high F. The second movement,
which follows without a break, offers an otherworldly Andante theme, which alternates with a
livelier and warmer Andantino, in the manner of the “Heiliger Dankgesang” movement of Beethoven’s
late A-minor Quartet. The Ustvolskaya theme makes a dramatic return in the middle of the Finale, at the
point of highest intensity, appearing first in the cello, then in the two violins. Interrupting Ustvolskaya,
Shostakovich bombards us (or her?) with theatricals: there is a recitative, a chorale, fateful triple pizzicato
chords, then at the end an operatic pleading figure (first heard in the Finale’s slow introduction),
which is repeated again and again, as if in despair. The Fifth Quartet is certainly much more than a love
story that ends badly, but given what we now know of his circumstances, the rhetoric of the Quartet
and the use of the Ustvolskaya quotation certainly suggest that this was a major part of its import for
Shostakovich.
—Marina Frolova-Walker
SATURDAY
AUGUST 21
program nine AFTER THE THAW:
A COMPOSER LOOKS BACK
richard b. fisher center for the performing arts
sosnoff theater
7:00 p.m. Preconcert Talk Laurel E. Fay
8:00 p.m. Performance American Symphony Orchestra,
Leon Botstein, conductor
Modest Musorgsky (1839–81)
Songs and Dances of Death (1875–77; arr. Shostakovich, 1962)
(Golenishchev-Kutuzov)
Lullaby
Serenade
Trepak
The Field Marshal
Ewa Podleś, contralto
Dmitrii Shostakovich (1906–75)
The Execution of Stepan Razin,Op.119 (1964) (Yevtushenko)
Nikita Storojev, bass
Bard Festival Chorale, James Bagwell, choral director
intermission
40 41

1956
1957
His mother
Twentieth Party Congress: Khrushchev’s “Secret Speech” denouncing Stalin;
Launch of first Sputnik
A performance of the Second Piano
de-Stalinization; Soviet army crushes the Hungarian independence
Piano Concerto No. 2,Op.102;
Concerto in the Grand Hall of
movement
Symphony No. 11, The Year 1905,
Moscow Conservatory
Marries Margarita Kainova; Order of Lenin
Op. 103
(soloist Maxim Shostakovich)
Quartet No. 6,Op.101
PROGRAM NINE NOTES
Symphony No. 14,Op.135 (1969)
De profundis (Lorca)
Malagueña (Lorca)
The Loreley (Apollinaire, after Brentano)
The Suicide (Apollinaire)
On Watch (Apollinaire)
Madam, Look! (Apollinaire)
At the Santé Prison (Apollinaire)
Reply of the Zaporozhian Cossacks to the Sultan of
Constantinople (Apollinaire)
O Delvig, Delvig (Küchelbecker)
Death of a Poet (Rilke)
Conclusion (Rilke)
Lauren Skuce, soprano
Nikita Storojev, bass
This program sheds light on Shostakovich’s special relationship with Modest Musorgsky. Commentators
have remarked on similarities at various levels: both composers had a proclivity for tragedy and satire,
both reflected speech intonation in their vocal writing, and both made prominent use of modes. The
influence of Musorgsky was already evident in Shostakovich’s two operas: The Nose, which owes much
to Musorgsky’s farce The Marriage, and Lady Macbeth of the Mtsensk District, which in many ways
echoes Boris Godunov. Later, Shostakovich’s Antiformalist Rayok, a satire on the 1948 resolution against
formalism, was modeled on Musorgsky’s own Rayok, a satire on his hostile critics. In 1939, Shostakovich
was commissioned to produce his own version of Musorgsky’s Boris, but the task soon became a labor
of love. Thereafter, Shostakovich became an assiduous orchestrator of Musorgsky, second only to
Rimsky-Korsakov. In 1958, his orchestration of Khovanshchina followed, and in 1962, the Songs and
Dances of Death. This evidently inspired Shostakovich’s Execution of Stepan Razin, in which the eponymous
hero is led to his execution to the sounds of the trepak, the dance which Musorgsky had adopted
for his morbid purposes. Regretting the brevity of Musorgsky’s song cycle, Shostakovich wrote his
Fourteenth Symphony as a larger-scale set of songs on the subject of death.
Modest Musorgsky
Songs and Dances of Death
Musorgsky had long been fascinated with medieval danse macabre illustrations, showing the figure of
Death appearing to people of all ages and social status. The musical world had found inspiration in this
source before: Franz Liszt’s Totentanz for piano and orchestra was much admired by Musorgsky (while
he disdained in equal measure the orchestral Danse macabre by Camille Saint-Saëns). For the texts,
Musorgsky turned to his close friend, the poet Arseniy Golenishchev-Kutuzov (1848–1913). In 1875,
Musorgsky set only three of the resulting poems.“Lullaby” presents Death rocking a sick infant to sleep.
In “Serenade,” Death is a glorious knight promising his love to a consumptive girl. Finally, “Trepak” features
a poor drunken peasant dancing in a snowstorm, and Death comforts him with a blanket of snow.
Two years later, Musorgsky decided that the cycle needed to close with a more substantial piece, and he
added “The Field Marshal,” where Death is triumphant in a battlefield littered with corpses. Aside from
clear-cut “songs” and “dances,” Musorgsky also employs his characteristic declamatory style, based on
Russian speech patterns, for the dialogue between Death and the infant’s mother in “Lullaby.”The cycle
is recognized as one of Musorgsky’s greatest achievements.
Dimitrii Shostakovich
The Execution of Stepan Razin,Op.119
Stepan Razin, the leader of a 17th-century peasant uprising, was long established as a folk hero in
Russia. During the Soviet era, he was held up as the first in a line of great revolutionaries, and many
Socialist Realist works were devoted to him. Yevgeny Yevtushenko (b. 1933), taking advantage of the relative
artistic freedom of the Khrushchev Thaw, reclaimed Razin as an opponent of Russia’s rulers. By
basing his cantata on Yevtushenko’s version of the story, Shostakovich expected controversy, but the
authorities received the work without complaint and even decided that it merited a prize. This
Musorgskian work falls into three parts: the first consists of an introduction and strophic trepak, the
second is Razin’s monologue, and the third a dramatic execution scene followed by an epilogue that
looks back to the first part.
Symphony No. 14,Op.135
Like its immediate predecessor, the Fourteenth Symphony is a song cycle with orchestral accompaniment,
but whereas the Thirteenth contained five substantial movements on verses by a single poet, the
Fourteenth at first seems much more fragmented and unsymphonic: there are 11 movements, some of
them very brief, and the verses are drawn from four poets, each of whom wrote in a different language.
Nevertheless, Shostakovich eventually decided that the cycle could justifiably be called a symphony
because of the strong unity it exhibits, both in the subject matter of its poetic texts and in its musical
material.
Rainer Maria Rilke (1875–1926), Guillaume Apollinaire (1880–1918), and Federico García Lorca (1898–1936),
the symphony’s three non-Russian poets, were all unknown in Stalin’s Soviet Union; this lent a certain
freshness and excitement to their poetry for the Russian intelligentsia of the 1960s, which was vigorously
exercising its newfound freedoms to expand its artistic horizons far beyond the limits that Stalin had set.
Additionally, these three poets, in their different ways, all used the elusive symbolism and dark colors that
had been notably absent from Socialist Realist verse. From Pushkin onward, there had been a strong
Russian tradition of literary translation, for poetry as much as prose, and this tradition was now revived to
42 43

1958
Boris Pasternak receives Nobel Prize
for Dr. Zhivago
Honorary doctorate from Oxford;
Lenin Prize for Symphony No. 11
Moscow, Cheryomushki,Op.105
The ceremony of conferring the
degree of Honorary Doctor of Music
of Oxford University.
1958
Jury and competitors in the Tchaikovsky
International Piano and Violin Contest,
Moscow, at the Tchaikovsky Museum
in Klin. Left to right: Conductor
Alexander Gauk; Tchaikovsky’s nephew
Yury Davydov; the director of the
museum; and Dmitrii Shostakovich,
chairman of the jury.
1959
Khrushchev’s visit to the United
States (the first visit ever by a Soviet
leader to this country)
Visit to United States; honored by
American Academy of Sciences;
divorces Margarita Kainova
Cello Concerto No. 1,Op.107
bring formerly forbidden Western writers to a much wider Russian audience than language scholars.
None of the poems Shostakovich included in the symphony required any specially commissioned translation—they
were already in circulation among Russian readers. The translators used artistic license in their
renderings of the originals, and this sometimes led to results that reflected the time and circumstances
of translation: more explicitly violent or sexual imagery is sanitized, perhaps to ensure that publication
would be allowed, but perhaps merely reflecting the preferences of the Soviet translators and their
expected readership. Non-Russian listeners should keep in mind that the settings in the symphony therefore
directly reflect the nuances of the translations, rather than the original poems. The sole setting of a
Russian poem stands apart from the rest of the cycle in several ways. Aside from the obvious linguistic difference,
the poem was written about a century earlier than the other poems, the author being Wilhelm
Küchelbecker (1791–1846), a contemporary of Pushkin’s.The subject matter, although sharing the theme of
death, ponders the immortality conferred upon an artist through his works.
The prevailing theme of death in the symphony’s poetic texts prompts us to understand the
work in autobiographical terms. Shostakovich was increasingly incapacitated by health problems,
and the symphony was largely written while the composer was confined to a hospital bed, uncertain
whether he would even live long enough to complete it. But the symphony expresses much
more than the fears and hopes of a single man, since death does not merely appear in the abstract,
but also in connection with imprisonment, tyranny, and mass slaughter. This allows us to see the
Fourteenth Symphony as a companion piece to the Thirteenth, as an attack on the rulers of the
Soviet Union, above all on Stalin. In its musical style, however, the Fourteenth is very different from
its predecessor: Shostakovich at last ventures beyond the conservatism that had protected him in
harsher times, and plays with such modernist features as 12-tone themes and atonal canons. But
this was not a return to the 1920s: Shostakovich restricted himself to those techniques that suited
his particular expressive purposes in a given passage, but remained true to his mature compositional
manner.
The first movement,“De profundis,” is based on a short motif resembling the beginning of the Dies
Irae, the medieval chant melody used by many composers as a symbol for death. In the second movement,
“Malagueña,” Shostakovich represents death in a very different way, using a 12-tone theme that
ascends and descends representing the poet’s image: “Death moves in and out of the tavern.” The use
of the solo violin for the dance melody harks back to macabre solo-violin dances in Saint-Saëns and
Mahler. Number three,“The Loreley” (by Apollinaire after Brentano), draws from the German ballade tradition
of Schubert’s Erlkönig, but proceeds at a still more frenzied pace. Here another 12-tone theme is
built up into a multipart canon, symbolizing the death and destruction of the poem. Number four,“The
Suicide,” is linked to the first movement through its use of a similar short motif in a funereal context.
The following two movements, “On Watch” and “Madame, Look”, form a natural pair in Shostakovich’s
grotesque manner. Number seven, “In the Santé Prison,” provides a memorable musical image of captivity
with woodblock and pizzicato strings. Number eight, “Reply of the Zaporozhian Cossacks to the
Sultan of Constantinople,” returns to the grotesque manner, with a special savagery reflecting the
imagery of the poem. In contrast,“O Delvig, Delvig” is solemn and compassionate, with echoes of Russian
Orthodox singing and Mahler. The calm of the D-flat major ending conveys how the poet, Anton Delvig
(1798–1831), lives on through his verses even though the authorities had tried to silence him with imprisonment.
The following movement,“Death of a Poet,” concentrates instead on the destructive aspect of
death, painfully contemplating how the great mind of a poet is snuffed out together with the physical
death of his body. This movement functions musically as a reprise, containing material from movements
one and four. The final movement, “Conclusion,” is an emotionally detached epilogue that lacks
any hint of consolation: the pull of death is symbolized by a starkly dissonant chord, whose repetitions
accelerate into the abyss.
—Marina Frolova-Walker
SUNDAY
AUGUST 22
panel three THE COMPOSER’S LEGACY:
SHOSTAKOVICH IN THE CONTEXT
OF MUSIC TODAY
Richard Wilson, moderator
Bruce Adolphe; John Eaton; Paul Moravec
olin hall
10:00 a.m. – noon
program ten A NEW GENERATION RESPONDS
olin hall
1:00 p.m. Preconcert Talk Peter Schmelz
1:30 p.m. Performance
Sofiya Gubaidulina (b. 1931)
Five Etudes, for harp, double bass, and percussion (1965)
Largo
Allegretto
Adagio
Allegro disperato
Andante
Sara Cutler, harp
Dennis James, double bass
Kory Grossman, percussion
44 45

1960
Travels to Britain, Belgium, France, Italy, Switzerland, and Austria; First
Secretary of Union of Composers of R.S.F.S.R.; applies for membership in
1961
Yuri Gagarin first man in space;
construction of Berlin Wall; Stalin’s
1962
Publication of Aleksandr Solzhenitsyn’s One Day in the Life of Ivan Denisovich;
Cuban Missile Crisis (October)
1963
Katerina Izmailova,Op.114 [revised
version of Lady Macbeth]
Communist Party
body removed from Lenin Mausoleum
Attends 19th Edinburgh Festival where 22 of his works are performed;
Quartet No. 7,Op.108; Quartet No. 8,Op.110; Five Days, Five Nights,Op.111
Accepted as full member of
meets Stravinsky (October 1); Deputy of Supreme Soviet of the U.S.S.R.;
Communist Party; premiere of
marries Irina Supinskaya
Symphony No. 4 (December 30)
Symphony No. 13, Babi Yar,Op.113
Symphony No. 12, The Year 1917,Op.112
Boris Tishchenko (b. 1939)
String Quartet No. 1,Op.8 (1957)
Andante mesto
Allegro giocoso
Lento
Chiara String Quartet
Alfred Schnittke (1934–98)
From Four Hymns for Cello and Instrumental Ensemble (1974–77)
No. 3
No. 4
Jonathan Spitz, cello
Dennis James, double bass
Marc Goldberg, bassoon
Edward Brewer, harpsichord
Sara Cutler, harp
Matthew Strauss, timpani
Kory Grossman, chimes
intermission
Edison Denisov (1929–96)
The Sun of the Incas (1964) (Mistral)
Preludium
A Sad God
Intermedium
Red Evening
The Cursed Word
Finger Song
Courtenay Budd, soprano
Randolph Bowman, flute
Laura Ahlbeck, oboe
Laura Flax, clarinet
Erica Kiesewetter, violin
Roger Shell, cello
Jeffrey Lang, horn
Carl Albach, trumpet
PROGRAM TEN NOTES
Reiko Uchida and Elizabeth Wright, piano
Kory Grossman and Matthew Strauss, percussion
James Bagwell, conductor
Dmitrii Shostakovich (1906–75)
Viola Sonata, Op. 147 (1975)
Aria
Scherzo
Adagio: “In Memory of the Great Beethoven”
Kim Kashkashian, viola
Lydia Artymiw, piano
Nikita Khrushchev’s celebrated condemnation of Stalin at the 20th Party Congress (1956) ushered in the
period of the Thaw. Most of Stalin’s political prisoners were allowed to return home; prominent names
among the living and the dead were rehabilitated.The Iron Curtain was lifted for droves of foreigners who
came to Moscow’s International Youth Festival in 1957. In the same year, Glenn Gould played works by
Schoenberg, Berg, Webern, and Krenek in Moscow—such an event had been unthinkable after the 1920s,
but was now possible once again. In 1958, the notorious Resolution against “formalism” in music was
revoked after 10 years, and the floodgates opened. Apart from the return of works by Shostakovich that
had long been banned, there was Stravinsky’s Russian tour, and concerts of music by the Western avantgardists
Pierre Boulez and Luigi Nono. Such changes inevitably transformed the outlook of many Soviet
composers, and the youngest generation, the conservatory students and recent graduates, immediately
tried to absorb these new sounds into their scores. They were confronted by all the decades of music that
Stalinism had kept at bay—all of Stravinsky from the Rite of Spring onward, the Second Viennese School,
and of course the postwar avant-garde; jazz from 1930s swing through to the latest post-bebop developments
was new, and rock ’n’ roll was all but unknown. The radicals, such as Denisov, Gubaidulina, and
Schnittke, rushed to experiment with serialism and electronic music. The moderates, like Sviridov or
Rodion Shchedrin (b. 1932), successfully adapted Stravinsky’s techniques. But there was a layer of conservatives
who remained more or less untouched by the new music. Shostakovich was closest to the last
camp—his distinctive voice, for better or worse, had already been forged during the Stalin era, and it was
difficult to see how such alien influences could be assimilated organically. But this judgment needs to be
qualified. Over the following decade, Shostakovich gradually began to register the new musical environment,
and so we find 12-tone themes, occasional atonal passages, fresh instrumental sonorities, and even
hints of his own 1920s modernism. And although Shostakovich was skeptical about the value of various
modernist and avant-garde methods (including even serialism), he crucially offered his full support to all
young composers whom he considered genuinely talented, from his own student Tishchenko to the
experimentalist Denisov. Nor was Shostakovich’s influence killed off by the new freedoms: Schnittke was
46 47

1964
Fall of Khrushchev; Leonid Brezhnev elected General Secretary of the
Communist Party
Second Contemporary Music Festival in Gorky, devoted entirely to his work
Quartet No. 9,Op.117; Quartet No. 10,Op.118; The Execution of Stepan Razin,
Op. 119
1966
Heart attack (May 28); Royal
Philharmonic Gold Medal; Order of
Lenin and Hero of Socialist Labor
Quartet No. 11,Op.122; Cello
Concerto No. 2,Op.126
1968
Soviet invasion crushes
“Prague Spring”
U.S.S.R. State Prize for Stepan Razin
Quartet No. 12,Op.133; Violin Sonata,
Op. 134
1969
First wave of Jewish emigration
from the Soviet Union
At Lake Baikal sanatorium
Symphony No. 14,Op.135
1970
Spends more than 170 days in
Kurgan hospital
Quartet No. 13,Op.138
deeply influenced by the drama and pathos of his music, and many more, like Gubaidulina, held him in
high esteem for his civic courage, in particular for the openly anti-Stalinist Thirteenth Symphony. There
were others, however, who resented Shostakovich for a mixture of reasons: his recent recruitment to the
Party, the bland works that he still turned out for state occasions, and the collective letters condemning
dissidents which Shostakovich saw fit to sign. But it was impossible for young Soviet composers to ignore
him: late Soviet and even post-Soviet music has been shaped by composers’ responses to Shostakovich,
whether positive or negative.
Alfred Schnittke
From Four Hymns for Cello and Instrumental Ensemble
Schnittke is best known for his earlier polystylistic works, but the Hymns are very different—gone are the
bold stylistic contrasts, and the material is now simple and uniform. This radical shift was due primarily
to Schnittke’s religious conversion—the composer chose to be baptized a Catholic (although he attended
confession with an Orthodox priest). The third hymn is based on chant-like material, while the fourth
uses the rhythms of liturgical recitation as a basis for ostinato patterns reminiscent of Stravinsky.
Sofiya Gubaidulina
Five Etudes
Gubaidulina was fortunate to have had the Five Etudes premiered and even published before a new
wave of reaction set in (the same can be said for Denisov and his cantata). This was perhaps the first
work in which the voice of the mature artist is clearly heard. Not only was the combination of instruments
unusual, but the way in which she wanted them played required two pages of instructions as
an essential preface to the score. This detailed attention to every sound, often in rarefied textures,
became a consistent feature of Gubaidulina’s mature works, and likewise the careful characterization
of each instrument in order to foster dramatic relationships between them. In the first etude, rhythm
is placed in the foreground with polyrhythms such as 2, 3, or 4 over 7. The second piece increases the
tempo but retains the interest in rhythm: the percussionist (who is allowed some freedom to choose
instruments) always plays in 4/4 whatever happens in the other parts—for example, the double bass
plays an eight-note ostinato within a 5/4 meter. The third etude, by contrast, is a haunting Adagio with
suggestions of a funeral march. The rhythmic complications return in the following etude, a “desperate”
Scherzo, although the double bass tries to break through the tangle. In the finale, the double bass
is able to adopt jazz or baroque-like “walking” patterns; its unstoppability and unpredictability are in
fact dictated by the countless permutations of a tone-row.
Boris Tishchenko
String Quartet No. 1,Op.8
In his 20s,Tishchenko studied under Shostakovich, but the youthful First Quartet dates from before this
period. Nevertheless, the work clearly betrays the influence of Tishchenko’s future teacher. The first
movement is pervaded by an elegiac and sweetly dissonant atonality—the tonal gestures usually
evade rather than clarify the very attenuated sense of F-sharp minor.The brusque chords of the Scherzo
seem to settle the issue in favor of tonality, but the fleeting semiquavers threaten to undermine this;
the movement is punctuated by the sound of the cellist knocking on the body of the instrument. The
last movement returns to the elegiac mood of the first, but the tonality is much less clouded. The long
suppressed grief finally expresses itself in a climactic outburst near the end of the movement, but this
suddenly subsides in a strange glissando whimper followed by silence. The Quartet closes with the
same material that opened the Finale, calm again, as if skirting around the cause of the outburst.
Edison Denisov
The Sun of the Incas
The 1964 premiere of this Cantata in Leningrad was one of the most important musical events of that
decade. Soviet listeners were able to hear a large-scale work that used an astounding variety of techniques
that had long been out of bounds, such as serial technique, pointillistic textures, indeterminacy,
and the mixing of live and recorded sound. But the cantata is not merely of historical interest, for
Denisov had already thoroughly assimilated all that he had acquired from the Western avant-garde, and
he had now developed a mature and distinctive artistic voice. The cantata also did more than any other
work to alert Western composers to the new developments in Soviet music, and The Sun of the Incas
was soon conducted by Pierre Boulez in Paris and Bruno Maderna in Darmstadt. Denisov’s decision to
use the poetry of Gabriela Mistral, a Chilean Nobel Prize winner, was in itself a rejection of the tenets of
Socialist Realism, which had always stayed well clear of the mystery and dark symbolism that characterize
these poems. No. 1 is an instrumental prelude that prefigures some of the movements to come.
In No. 2, a slow movement, the soprano makes her first appearance, accompanied by piano and percussion.
No. 3 is another instrumental piece, featuring a prominent repeated-note motif (one of Denisov’s
trademarks). No. 4 sees the return of the soprano, accompanied by a flute whose resources are thoroughly
explored in the course of the movement. A sense of catastrophe descends on us in No. 5, with
shrieking instruments and convulsive rhythms—this is an instrumental fantasy based on a Mistral
poem that yearns for the reign of peace. The childlike and folksy No. 6 is perhaps unexpected in the context,
but the soprano text, now with taped chorus, rounds the work off on the level of epic and myth.
Dmitrii Shostakovich
Viola Sonata, Op. 147
We often hope to find some kind of weighty message or testament in a great composer’s final work.
Shostakovich’s Viola Sonata is certainly no disappointment in this respect. The first movement begins
with the plucking of the open strings on the viola—a coolly impersonal, “objective” theme. The piano
is restricted to ascetic textures, acting as an equal partner to the viola. A short chorale fragment
appears, gravely reflective like so many other chorales in Shostakovich. Twice the viola breaks through
the ice with passionate monologues, but it is always forced back to the pizzicato theme. The Scherzo is
one of Shostakovich’s grotesque dance movements; the viola adopts a folk style for a chain of raucous
48 49

1971
Second heart attack (September 17);
Order of October Revolution
1972
President Nixon visits the Soviet
Union; the beginning of détente
1973
Honored in Denmark and at
Northwestern University
1974
Solzhenitsyn expelled
Glinka Prize for Quartet No. 14 and
1975
Andrei Sakharov awarded Nobel
Peace Prize
1976
Commemorative stamp issued
in U.S.S.R.
Symphony No. 15,Op.141
Quartet No. 14,Op.142; Six Verses of
Loyalty,Op.136
Dies in Moscow on August 9; buried
Marina Tsvetayeva, Op. 143
Quartet No. 15,Op.144; Suite on
in Moscow’s Novodevichy Cemetery
Texts of Michelangelo Buonarroti,
(August 14)
Op. 145
Viola Sonata, Op. 147
street songs. (The Scherzo is based on material from his unfinished Gogol opera The Gamblers.) The
Finale is something quite unique in Shostakovich: a close and continuous dialogue with another composer,
namely the Beethoven of the “Moonlight” Sonata. The sonata fades in and out, its elements are
defamiliarized, developed, or dramatized, and then restored to their familiar form. There had been quotations
from Wagner and Rossini in the Fifteenth Symphony, but the Finale of this sonata goes far
beyond mere quotation, although the reason for the inclusion of preexisting music is equally elusive.
Whatever meaning the Beethoven movement might have had for Shostakovich, he has left us a beautiful
and moving farewell.
—Marina Frolova-Walker
SUNDAY
AUGUST 22
program eleven IDEOLOGY AND INDIVIDUALISM
richard b. fisher center for the performing arts
sosnoff theater
4:00 p.m. Preconcert Talk Christopher H. Gibbs
5:00 p.m. Performance American Symphony Orchestra,
Leon Botstein, conductor
Dmitrii Shostakovich (1906–75)
The Sun Shines over Our Motherland, cantata, Op. 90 (1952) (Dolmatovsky)
Bard Festival Chorale, James Bagwell, choral director
The Song of the Forests,Op.81 (1949) (Dolmatovsky)
Simon O’Neill, tenor
Valerian Ruminski, bass
Bard Festival Chorale, James Bagwell, choral director
intermission
Symphony No. 10 in E Minor, Op. 93 (1953)
Moderato
Allegro
Allegretto
Andante
PROGRAM ELEVEN NOTES
The year 1948 ushered in the gloomiest period for many Soviet composers.The infamous Party Resolution
against “formalism” deprived composers of the right to individual expression and innovation, and
reduced them to submitting only the safest possible works. Heaps of bland, almost undistinguishable
cantatas filled the desks of the Union of Composers officials awaiting their verdict. Shostakovich was no
exception: he had received fierce criticism and saw many of his works removed from the concert stage,
so he had little choice but to comply. In 1949, he composed The Song of the Forests, and in 1952, The Sun
Shines over Our Motherland, both using texts by Yevgeny Dolmatovsky (1915–94), a sycophantic court poet
for whom the composer had little respect. Shostakovich felt no inclination to write symphonies during
this period, and so his Tenth had to wait until 1953, after Stalin’s death. The premiere revealed a
Shostakovich who had lost none of his individual genius: he marked the end of the fallow years with an
intensely personal and emotional work.
The Sun Shines over Our Motherland,Op.90
While the Song of the Forests, the next piece on this program, is an imaginative response to a very narrow
set of demands, and so stands out from the bulk of Socialist Realist fare during Stalin’s last years,
by 1952, when The Sun Shines over Our Motherland was composed, Shostakovich had evidently abandoned
any attempt at artfulness—he simply fulfilled his commission with minimal effort. The result is
an entirely anonymous, smoothly processed slab of Socialist Realism, which usefully enables us to place
The Song of the Forests in its proper context. Even the rubber-stamp committee of the Union of
Composers ventured to suggest that The Sun Shines was stilted and only “ritually festive”—and here
we would not beg to differ.
The Song of the Forests,Op.81
The Song of the Forests is a model of Socialist Realism. The subject matter was appropriately topical: it
celebrates the grand project that Stalin had just begun, of reforesting vast tracts of land ravaged by the
war. The cantata’s style was also in keeping with Socialist Realism, balancing old and new, highbrow
and kitsch. Soviet ceremonial music also required a degree of anonymity, and Shostakovich achieves
this too, although various small details quickly identify him to those who know his music well. The
opening bass solo is a portrait of Stalin, who is represented by an orchestral theme that begins in an
understated, if quietly confident manner. This closely resembles the way in which Stalin was portrayed
in films of the period, such as The Fall of Berlin (for which Shostakovich wrote the score): the leader’s
quiet voice and unassuming demeanor was contrasted with the noisy adulation of his people, and with
the chaotic machinations of his enemies. The picture is almost moving: Stalin, alone in his study, is
removing from his map the red flags of his wartime battalions, replacing them with green flags representing
the peacetime forests he would plant. The country responds to his call in the rousing second
number, which is virtually anonymous in its Socialist Realist style. The third number is a Musorgskian
lament that looks back to the war years. But what made the Cantata genuinely popular among Soviet
50 51

1979
Soviet invasion of Afghanistan
1981
Suppression of “Solidarity”
movement in Poland
1982
Death of Brezhnev
(November 10)
WORDS
■ assembled by Gennady Shkliarevsky
■■ based on Laurel E. Fay, Shostakovich: A Life,Oxford
University Press, 2000
■ from Dmitry Shostakovich Composer, Foreign
Languages Publishing, Moscow, 1959
IMAGES
from Dmitry Shostakovich Composer, Foreign
Languages Publishing, Moscow, 1959
■ from Russia: A History, Gregory L. Freeze (ed.), Oxford
University Press, 1997, 2002
audiences was the fourth number’s catchy tune, sung by the boys’ choir, representing the Young
Pioneers movement; the light touch of chromaticism is enough to endow it with Shostakovich’s characteristic
bite. The fifth number moves on to Komsomol, the youth movement, and here Shostakovich
returns to the safe formula of a successful mass song he had written earlier, the “Song of the
Counterplan” (this was already associated with youthful fervor). A nocturne follows, with a vision of a
nightingale singing in a garden that has yet to be created (Shostakovich refers here to Schubert’s
Ständchen, familiar to all Soviet radio listeners). Stalin’s presence is felt here; even though he is not
mentioned in the tenor’s text, listeners at the time would have understood: The Fall of Berlin portrays
him as a protector of young lovers, and his memorable first appearance is in the midst of a garden. The
finale is at first a standard “glory to the tsar”–type chorus from the Russian operatic tradition; this is
dramatically interrupted by the return of Stalin’s theme from the first number, now presented in the
grandest manner, to the words of Dolmatovsky’s fulsome praise: “Our Teacher, our Friend and Father,
the Commander of great battles, the Gardener of future gardens.”
Symphony No. 10 in E Minor, Op. 93
As Shostakovich’s first post-Stalin work, the Tenth Symphony has attracted the close attention of commentators,
who search the score for signs that a great burden had been lifted from the composer. There
were indeed some clear changes for the better in the springtime after Stalin’s death: many labor-camp
prisoners quietly returned home, for example. But the bureaucrats were careful to avoid undermining
the stability of the status quo, and among other things, there were no official changes in artistic policy.
Nevertheless, artists like Shostakovich warily tested the waters, and the Tenth was the first major product
of the new uncertainties: on the one hand, it challenged the officially accepted emotional range of
Socialist Realist music; on the other, it was by no means a radical departure, and any messages, whatever
they might be, lay well hidden.
The first movement draws on a scheme that Shostakovich had established in his Fifth and Eighth
symphonies: the first theme progresses slowly and tortuously, eventually giving way to a lighter, dancelike
second theme; both themes are then dramatically reworked, and after a churning climax, the
movement ends uneasily, with nothing resolved. The Tenth, however, is darker and more extreme than
these two predecessors; its brooding first theme develops very slowly, and the second, a limping, anxious
little waltz, cannot dispel the somber mood. The subsequent transformation of the two themes
renders both surprisingly harsh and aggressive, and in this guise they proceed to a crashing climax. The
movement closes bleakly in the high register, without any hope or light to offer.
The second movement is a wild, relentless scherzo, a grotesque “ride to the abyss.” Interestingly,
the last time Shostakovich had written anything comparable was in his opera Lady Macbeth of the
Mtsensk District, which had been denounced in 1936; only after Stalin’s death did he feel able to return
to such soundscapes. The third movement, which begins as an unsettled dance, has a pivotal role
within this symphony, though it reminisces upon material from the previous two movements. Its
strong rhetorical gestures also suggest that it carried some message of importance for the composer.
There are clues to be found. This movement sees the first appearance of Shostakovich’s signature DSCH
motif (the notes D–E-flat–C–B), which obsessively points to the composer in the midst of the conflict.
More recently, it was discovered that the middle section’s horn motive stands for Elmira Nazirova, a student
of the composer’s, with whom he was infatuated that summer; the notes are E–A–E–D–A, or more
helpfully E–L(a)–Mi–R(e)–A. In the closing moments the two motives are combined, only to be swept
aside by a brutal Tchaikovskian “fate” gesture.
The finale, if anything, is still more enigmatic. In the course of the long slow introduction, a goodhumored
theme is born out of the same interval of the fifth that marks the Elmira motive; this new theme
then plunges us in the whirlwind of the finale. A diverse succession of images flashes by, including a (mockingly?)
earnest theme of the sort that accompanied the more heavy-handed propaganda messages in the
cinema, and at another moment, a grotesque reminiscence of the wild second movement. With an exaggeratedly
dramatic gesture, the DSCH motive interrupts this strange carnival, dominating the final
moments through its obsessive repetitions; even specially tuned timpani hammer out the motive.
With everything we know about Shostakovich and this symphony today, it is easy to hear this ending
as the battered composer’s roguish triumph. The critics at the time, however, had no inkling of the
DSCH motive’s meaning, and they were content to describe the finale as a standard gesture of Socialist
Realist affirmation. Still, without suspecting the personal nature of this affirmation, some of the critics
complained that contrary to the Socialist Realist ideal, the darkness of the preceding movements was
not entirely dispelled by the finale. Nevertheless, all agreed that the work was a superlative example of
symphonic craftsmanship, a cycle held together by an intricate web of motivic connections, which was
at the same time fresh, compelling, and memorable. A final twist brings us back to the first half of the
program, for Shostakovich’s efforts in The Song of the Forests had brought him a Stalin Prize, whereas
the Tenth Symphony was denied this accolade—perhaps in its mastery it was thought to draw too
much attention to Shostakovich as an individual, or perhaps it was not considered sufficiently demotic.
But for Shostakovich, this probably mattered little at the time, because outliving Stalin was a prize in
itself.
—Marina Frolova-Walker
52 53

BIOGRAPHIES
Laura Ahlbeck is principal oboist of the Boston Pops
Esplanade, Lyric Opera, and the resident orchestra of the
Bard Music Festival. She is frequently heard in groups
such as the Boston Symphony Orchestra, Boston Pops,
and Emmanuel Church, and in chamber groups throughout
Boston. She has been a member of the Columbus
Symphony Orchestra, Orchestra Sinfónica de Maracaibo,
Eastern Music Festival Orchestra, and Metropolitan
Opera Orchestra. She teaches oboe at Boston University,
New England Conservatory of Music, and Boston
Conservatory.
Bruce Adolphe is a composer of chamber, orchestral, theatrical,
and operatic works that have been performed by
Itzhak Perlman, the Beaux Arts Trio, the Chamber Music
Society of Lincoln Center, the Santa Fe Chamber Music
Festival, Orpheus Chamber Orchestra, St. Luke’s Chamber
Ensemble, and many other ensembles. His book, The
Mind’s Ear, is used by educators throughout the country;
a new book, What to Listen for in the World, is forthcoming.
Mr. Adolphe is education director and music administrator
of the Chamber Music Society of Lincoln Center
and has taught at Juilliard, Yale, and New York University.
He is a frequent guest lecturer at schools and concert
series throughout the United States.
Carl Albach has been a freelance trumpet player in
New York since 1982. He performs regularly with the
Orchestra of St. Luke’s, Orpheus Chamber Orchestra,
and American Symphony Orchestra. He has been a
soloist with Orpheus in Europe, Japan, and the United
States. He lives in New Jersey with his wife, Maureen
Strenge, a bassoonist, and their three sons.
Born in Volgograd in 1967, the Russian bass Andrey
Antonov graduated from Astrakhan State Conservatory.
He won the Glinka Competition in 1997, the Maria Foltyn
Prize at the International Moniuszko Competition in
1998, and the International Hans Gabor Belvedere
Singing Competition in 1999. Since 1996 he has been a
principal with the Samara State Opera Company, where
he sings all the lead bass roles. In 1999 he performed the
title roles in two world premieres with Moscow’s Helikon
Opera Theater, The Visions of Ivan the Terrible (conducted
by Mstislav Rostropovich) and Moses. In 2001 he made
his Wexford Festival Opera debut in Tchaikovsky’s The
Maid of Orleans and performed in Shostakovich’s The
Gamblers at the Concertgebouw in Amsterdam.
Lydia Artymiw is the recipient of the 1987 Avery Fisher
Career Grant and the 1989 Andrew Wolf Chamber
Music Prize. She has performed with more than a hundred
orchestras worldwide, with many of the leading conductors
of our time. American orchestral appearances
include the Boston Symphony, Cleveland Orchestra, New
York Philharmonic, Philadelphia Orchestra, Los Angeles
Philharmonic, National Symphony, San Francisco
Symphony, and St. Paul Chamber Orchestra. Solo recital
tours have taken her to all major American cities, to the
music centers of Europe, and throughout the Far East.
She has collaborated with such acclaimed artists as
Yo-Yo Ma, Richard Stoltzman, Arnold Steinhardt,
Michael Tree, and the Guarneri, Vermeer, American,
Miami, Orion, and Shanghai Quartets. Along with
Arnold Steinhardt and Jules Eskin, she is a member of
the Steinhardt-Artymiw-Eskin Trio. Ms. Artymiw
appears by special arrangement with John Gingrich
Management, Inc., New York.
James Bagwell maintains an active schedule throughout
the United States as a conductor of choral, operatic, and
orchestral literature. He is music director and conductor
of the Cappella Festival Orchestra and Chorus in New
York, founder and artistic director of the New York
Repertory Chorus, music director of Light Opera
Oklahoma, music director of the May Festival Youth
Chorus in Cincinnati, and is active as a guest conductor
with the Indianapolis Chamber Orchestra and the
Berkshire Bach Society Orchestra and Chorus. He has
worked with such noted conductors as Leon Botstein,
James Conlon, Leon Fleischer, Erich Kunzel, Raymond
Leppard, Jesus Lopez-Cobos, Imre Pallo, Christof Perick,
and Robert Shaw. In 2000 he joined the faculty of Bard
College, where he is director of the orchestral and choral
programs. He made his Bard Music Festival debut in
August 2001.
Cellist Zuill Bailey has performed with the Annapolis,
Arlington, Chicago, Napa Valley, Reno Chamber, San
Francisco, and Utah orchestras, as well as the Illinois
Symphony and National Orchestra de Cuba. Recent
recitals and chamber music performances were presented
at the Ravinia Festival, Interlochen Center
for the Arts, Australian Festival of Chamber Music,
WITF Festival, and Musica Saint Nazaire-Festival
Consonanses. Mr. Bailey is also a frequent guest at the
Kennedy Center, Metropolitan Museum of Art, Alice
Tully Hall, Kravis Center in Palm Beach, the Lied Center,
and Wolf Trap. He appeared live on SIRIUS Satellite
Radio and BBC Radio 3’s In Tune program, and made his
Carnegie Hall debut, performing the U.S. premiere of
the Theodorakis Rhapsody for Cello and Orchestra. Mr.
Bailey appears by special arrangement with Colbert
Artists Management Inc., New York.
The Bard Festival Chorale was formed in 2003 as the
resident choir of the Bard Music Festival and consists of
the finest ensemble singers from New York City and
surrounding areas. Many of its members have distinguished
careers as performers in a variety of choral
groups as well as as soloists. All possess a shared enthusiasm
for the exploration of new and unfamiliar music.
The Bard Festival String Quartet, formed at the Bard
Music Festival in 1995, has won praise for the lyricism and
intensity of its performances. In keeping with the festival’s
“Rediscoveries” theme, the ensemble has performed
quartets by Milhaud, Magnard, Stanford, and d’Indy, as
well as quartets of Haydn, Beethoven, Schubert, Debussy,
Bartók, Borodin, Schoenberg, and others.The members of
the Bard Festival String Quartet are Laurie Smukler and
Patricia Sunwoo, violins, Ira Weller, viola, and Robert
Martin, cello. Ms. Smukler and Mr. Weller were founding
members of the Mendelssohn String Quartet; Ms.
Sunwoo was a member of the Whitman String Quartet
from 1997 to 2002; and Mr. Martin was cellist of the
Sequoia String Quartet from 1975 to 1985. Together their
years of string quartet experience find new focus and
expression in the Bard Festival String Quartet.
Leon Botstein is founder and artistic codirector of the
Bard Music Festival. He is also music director and principal
conductor of the American Symphony Orchestra and
the Jerusalem Symphony Orchestra and artistic director
of the American Russian Young Artists Orchestra. Active
as a guest conductor, he has most recently appeared
with such orchestras as the London Philharmonic, St.
Petersburg Philharmonic, NDR–Hannover, Düsseldorf
Symphony, Royal Scottish National Orchestra, Bern
Symphony, and Budapest Festival Orchestra. His live
recording for Telarc of Strauss’s opera Die ägyptische
Helena with Deborah Voigt and the American Symphony
Orchestra and Glière’s Symphony No. 3, Il’ya Muramets,
with the London Symphony Orchestra, were released in
2003. He has also recorded music by Reger, Bartók,
Szymanowski, Hartmann, Dohnányi, Bruckner, Toch,
Mendelssohn, Liszt, and Bruch, among others. He has
received the “Distinguished Service to the Arts” award
from the National Academy of Arts and Letters. He has
been president of Bard College, where he is also Leon
Levy Professor in the Arts and Humanities, since 1975.
Randolph Bowman is principal flutist of the Cincinnati
Symphony Orchestra. He has performed with the Boston
Symphony Orchestra, Handel and Haydn Society,
Orpheus Chamber Orchestra, and the Portland, New
Hampshire, Pittsburgh, and St. Louis Symphony
Orchestras. Mr. Bowman has been principal flutist of
the Bard Music Festival’s resident orchestra since its
inaugural season. He has premiered and recorded
numerous contemporary chamber music works while
a member of Collage New Music. His most recent release
is the Concerto for Flute and Orchestra by John Harbison.
Jonathan Brent is editorial director and associate director
of Yale University Press, where he initiated the Annals
of Communism publishing program in 1992. He has
translated the work of Joseph Brodsky, Osip Mandelstam,
and other Soviet poets and is the author, with Vladimir P.
Naumov, of Stalin’s Last Crime:The Plot Against the Jewish
Doctors, 1948–1953 (2003; chosen as a best book of the
year by The Economist of London). He is currently working
on a biography of Isaac Babel as well as completing a
novel about the new Russia. He has a Ph.D. in English
literature from the University of Chicago.
An active performer for more than 35 years, harpsichordist
Edward Brewer performs regularly in New
York’s concert halls and is highly regarded for his chamber
music collaborations. His affiliations include Amor
Artis, Philharmonia Virtuosi, Oratorio Society of New
York, Bronx Arts Ensemble, Philharmonic of New Jersey,
and New York Chamber Soloists. He has more than 30
recordings to his credit and is founding music director
of the Soclair Music Festival in New Jersey.
Malcolm Hamrick Brown is the founding editor of the
scholarly series Russian Music Studies, published by
Indiana University Press since 1990. From the time of
his first extended stay in Moscow in 1962, when he was
doing research for his dissertation on Prokofiev’s symphonies,
he has been continuously involved in teaching,
researching, lecturing, writing, and publishing on
Russian and Soviet music.
Soprano Courtenay Budd won First Prize in the 2001
Young Concert Artists International Auditions, and the
Young Concert Artists Series presented her recital debuts
at the 92nd Street Y, Kennedy Center, and Gardner
Museum. She has appeared in opera in a variety of roles
with companies such as Omaha Opera; Opera Northeast;
the Opera Festival of New Jersey; and the Opera
Orchestra of New York. She has made concert appearances
with the National Symphony Orchestra, Reno and
Orlando Philharmonic, New Jersey Symphony; and
Masterwork Chorus and Orchestra, among others, and
has presented recitals for the Sewanee Music Festival,
Kent Classic Arts, Buffalo Chamber Music Society, Lee
County Arts Council, University of Wisconsin, and Spoleto
Festival U.S.A. Ms. Budd appears by special arrangement
with Young Concert Artists, Inc., New York.
54
55

Pianist Melvin Chen has performed at major venues in
the United States, including Carnegie Hall, Alice Tully
Hall, Merkin Concert Hall, and Weill Recital Hall, in addition
to other appearances throughout the country,
Canada, and Asia. He has collaborated with such artists
as Pamela Frank, Ida Kavafian, David Shifrin, Steven
Tenenbom, Robert White, Peter Wiley, and members of
the Arditti, Borromeo, Mendelssohn, Miami, Orion, and
St. Lawrence Quartets. He was selected to be a member
of Lincoln Center’s Chamber Music Society Two, and
has performed at Bravo! Vail Valley Music Festival,
Chautauqua, Norfolk Chamber Music Festival, Chamber
Music Northwest, Bard Music Festival, and Music from
Angel Fire, among others. He appears on Wynton
Marsalis’s series on music education, Marsalis on
Music, and can be heard on Discover, Nices, and KBS
label compact disks with violinist Juliette Kang. He
teaches music and chemistry at Bard College.
Recipient of the Lisa Arnhold residency at the Juilliard
School, the Chiara String Quartet (Rebecca Fischer and
Julie Yoon, violins; Jonah Sirota, viola; and Greg Beaver,
cello) is at the forefront of a new generation of exceptional
American string quartets. The group’s recent
accomplishments include First Prize at the 2002
Fischoff National Chamber Music Competition and the
Astral Artistic Services’ National Auditions. Recent performances
include a live concert on NPR’s Performance
Today, an appearance on the Niven series at Carnegie
Hall’s Weill Recital Hall, and a performance on the
chamber series at New York’s Neue Galerie. Highlights
of the upcoming season include concerts at Alice Tully
Hall, Philadelphia’s Kimmell Center, and concerts and
tours in Texas, Vermont, and North Dakota, among others.
The group has commissioned award-winning
pieces from Gabriela Lena Frank, Jefferson Friedman,
and Robert Sirota, and plays for thousands of New York
schoolchildren each year as part of Young Audiences of
New York’s artist roster. The group appears by special
arrangement with MCM Artists.
The Claremont Trio won the 2001 Young Concert Artists
International Auditions, which led to acclaimed debuts
at the 92nd Street Y, the Gardner Museum, and in
Washington, D.C. In 2003, the group (Emily Bruskin,
violin; Julia Bruskin, cello; and Donna Kwong, piano)
received the first ever Kalichstein-Laredo-Robison
International Trio Award, and in 2004, Arabesque
Recordings released its debut CD. During the 2003–04
season, the Trio returned to Weill Recital Hall, Gardner
Museum, and Bargemusic; made its Kennedy Center
debut as part of the Fortas Chamber Music Series; premiered
a new work by Daniel Kellogg at Merkin Concert
Hall; and participated in the Schneider Concert Series at
the New School. Other engagements included Vanguard
Concerts in Ohio, Washington Center for the Performing
Arts, and the Alys Stephens Performing Arts Center in
Birmingham. The Trio appears by special arrangement
with Young Concert Artists, Inc., New York.
Currently celebrating its 20th anniversary, the Colorado
Quartet (Julia Rosenfeld and Deborah Redding, violins;
Marka Gustavsson, viola; Diane Chaplin, cello) appears
regularly in major halls around the globe. Highlights of
recent years were a Beethoven cycle in Berlin, tours of
more than 20 countries, New York concerts at Lincoln
Center’s Mostly Mozart Festival and Great Performance
Series, and appearances in Carnegie Hall’s “Quartet
Plus” and at the Kennedy Center and Concertgebouw.
The Colorado has recorded Brahms’s Op. 51 quartets
(Parnassus Records); works of Henry Cowell (Mode;
selected as Critics’ Choice by Gramophone magazine);
Schubert’s Death and the Maiden and Mendelssohn’s
Quartet, Op. 80; and the Op. 59 and Op. 74 quartets of
Beethoven (all on Parnassus). Honors include the
Naumburg Chamber Music Award and First Prize at the
Banff International String Quartet Competition (1983).
The Colorado Quartet is currently Quartet-in-Residence
at Bard College.
Harpist Sara Cutler has appeared as concerto soloist
at Carnegie Hall; Lincoln Center; the Brooklyn Academy
of Music; the Kennedy Center in Washington, D.C.;
Scotland’s Edinburgh Festival; and the Festival of Two
Worlds in Spoleto, Italy. As a soloist and with flutist
Linda Chesis, she has performed in recital in Tokyo, Tel
Aviv, London, Paris, and New York. She has recorded
extensively—with the Metropolitan Opera and the
Orchestra of St. Luke’s; as a soloist and chamber musician;
and with soprano Jessye Norman on the Philips
release In the Spirit. In New York, where she has worked
with such conductors as Georg Solti, James Levine,
André Previn, and Robert Shaw, Ms. Cutler is principal
harp with the American Symphony and the New York
City Ballet Orchestras and solo harpist with the Dance
Theatre of Harlem. She is on the faculty of Brooklyn
College’s Conservatory of Music.
Pianist Simone Dinnerstein has been called “remarkably
musicianly” by Emanuel Ax and “a real artist” by Peter
Serkin. She has performed extensively throughout the
United States, including recitals at the 92nd Street Y, concerto
and chamber music performances at Carnegie Hall
and Lincoln Center, and a recital at the National Gallery
in Washington. Media appearances have included a live
performance on NPR’s Performance Today and broad-
casts on NPR affiliates across the country. She has given
recitals and appeared as a concerto soloist in Britain,
Germany, and South America. For two summers, Ms.
Dinnerstein was a fellow at the Tanglewood Music
Center, where she performed frequently at Ozawa Hall
and in Tanglwood’s Festival of Contemporary Music.
With cellist Simca Heled, she has recorded Mendelssohn’s
complete works for cello and piano (Classica) and a critically
acclaimed CD of Beethoven’s complete sonatas for
cello and piano. Ms. Dinnerstein is affiliated with Astral
Artistic Services.
John Eaton is internationally recognized as a composer
and performer of electronic and microtonal music. His
operas include The Tempest, The Cry of Clytaemnestra,
and Danton and Robespierre. In his chamber, vocal, and
orchestral music, he expands the traditional tools of
the composer through microtonal scales and electronic
instruments. His awards include a 1990 MacArthur
“genius award,” three Prix de Rome and two
Guggenheim grants, and commissions from the
Koussevitzky and Fromm Foundations, the Santa Fe
Opera, the National Endowment for the Arts, and the
Public Broadcasting Corporation. His composition teachers
included Milton Babbitt and Roger Sessions.
Caryl Emerson is A. Watson Armour III University
Professor of Slavic Languages and Literatures at
Princeton University, where she chairs the Slavic
Department with a co-appointment in comparative
literature. She is a translator and critic of the Russian
literary critic and philosopher Mikhail Bakhtin, and has
published widely on 19th-century Russian literature
(Pushkin, Tolstoy, Dostoevsky), the history of literary
criticism in the Slavic world, and Russian opera and
vocal music. Recent publications include The Life of
Musorgsky (1999) for Cambridge University Press’s
series Musical Lives.
David Fanning is professor of music at the University of
Manchester, author of The Breath of the Symphonist:
Shostakovich’s Tenth (1988), and editor of and contributor
to Shostakovich Studies (1995). He wrote the entry
on Shostakovich for the revised edition of The New
Grove Dictionary of Music and Musicians, and his monograph
on Shostakovich’s Eighth String Quartet was
published in 2003. His study on “Shostakovich and His
Pupils” appears in the Bard Music Festival volume
Shostakovich and His World.
Laurel E. Fay received her Ph.D. in musicology from
Cornell University. A specialist in Russian and Soviet
music, she has taught at the Ohio State University,
Wellesley College, and New York University. She is currently
consultant on Russian music to the music publisher
G. Schirmer, Inc. Her articles have appeared in the
New York Times, Musical America, and Opera News as
well as in many scholarly publications, and she was a
contributing editor of the New Grove Dictionary of
Opera. She has written program notes and lectured for
many performing groups, including all the major
American orchestras, the Metropolitan Opera, Santa Fe
Chamber Music Festival, and Ojai Festival. Her book,
Shostakovich: A Life (2000), won the Otto Kinkeldey
Award of the American Musicological Society.
Tenor William Ferguson has performed Nanki-Poo in
The Mikado and Hérisson de Porc-Épic in L’étoile with
New York City Opera; Andres in Wozzeck with Opera
Festival of New Jersey; Bentley Drummle in Miss
Havisham’s Fire at Opera Theatre of St. Louis; the title
role in Albert Herring at the Music Academy of the West;
Gonzalve in L’ heure Espagnole and Fenton in Falstaff at
Tanglewood (both with Maestro Seiji Ozawa); and Peter
Quint in The Turn of the Screw at the Chautauqua
Institution. He has appeared with the Orchestra of St.
Luke’s, New Jersey Symphony Orchestra, Wheeling
Symphony Orchestra, and Opera Orchestra of New York,
and has been presented in recitals sponsored by the
Marilyn Horne Foundation as well as the New York
Festival of Song. He received the 2003 Alice Tully Vocal
Arts Debut Recital award.
Clarinetist Alexander Fiterstein won First Prize in the 2001
Young Concert Artists International Auditions. He has
performed as soloist with the Jerusalem Symphony,
Vienna Chamber Orchestra, Orchestra of St. Luke’s, Tokyo
Philharmonic, Israel Chamber Orchestra, Denmark’s
National Radio Symphony, and Brooklyn Philharmonic. In
recital, he has appeared in Washington, D.C.’s Music at the
Supreme Court series and at both the National Gallery of
Art and the Kennedy Center; at New York’s 92nd Street Y,
Weill Recital Hall, and Bargemusic; and at venues in
France, England, the British Virgin Islands, Holland,
Germany, Japan, Korea, and Israel. A participant in the
Marlboro Music Festival since 2001, he has premiered
works by Samuel Adler, Mason Bates, John Corigliano, and
Betti Olivero and has performed the U.S. premiere of
Henrik Strindberg’s Clarinet Concerto. He was born in
Minsk in the former Soviet Union, and emigrated with his
family to Israel at age 2. Mr. Fiterstein appears by special
arrangement with Young Concert Artists, Inc., New York.
Laura Flax is recognized as one of New York City’s most
versatile players. She is principal clarinetist with the
New York City Opera Orchestra and the American
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Symphony Orchestra. She has been performing at the
Bard Music Festival since its inception and appeared as
concerto soloist during the 2001 Debussy season. Flax’s
recording of Joan Tower’s Wings is available on the CRI
label, and she performs Shulamit Ran’s clarinet music
on Bridge Records. She lives in New York City with her
twin daughters, Fanny and Amalie.
Highlights of Jordan Frazier’s career include performances
at the 1992 Olympics, a tour of Japan and Korea,
and recordings for EMI with Alicia de la Rocha and
Victoria de los Angeles. He has traveled widely with the
Orpheus Chamber Orchestra, and is a member of the
American Composers Orchestra, American Symphony
Orchestra, and Westchester Philharmonic, for which he
holds the principal bass position. He also performs frequently
with the Orchestra of St. Luke’s and the Brooklyn
Philharmonic. In the summer, he performs as principal
bassist at the prestigious Carmel Bach Festival. A member
of the Perspectives Ensemble, he recently recorded a
CD of music by Richard Danielpour for Sony Classical.
Marina Frolova-Walker is University Lecturer in the
Faculty of Music and Fellow of Clare College at
Cambridge University. She studied musicology at the
Moscow Conservatory, receiving her doctorate in 1994.
Before coming to Cambridge she taught at the Moscow
Conservatory College; University of Ulster; Goldsmiths’
College, University of London; and University of
Southampton. Her principal fields of research are
German Romanticism, Russian and Soviet music, and
nationalism in music. She has published articles in the
Cambridge Opera Journal and the Journal of the
American Musicological Society, as well as contributed
some of the Russian entries in the revised New Grove.
She is currently writing Russia: Music and Nation, commissioned
by Yale University Press.
Christopher H. Gibbs is James H. Ottaway Jr. Professor of
Music at Bard College and artistic codirector of the Bard
Music Festival. He edited the Cambridge Companion to
Schubert (1997) and is the author of The Life of Schubert
(2000). Mr. Gibbs received the ASCAP–Deems Taylor
Award in 1998, and during the 1999–2000 academic
year was a fellow of the American Council of Learned
Societies. As an active critic, program annotator, and
lecturer, he works with many of the country’s leading
musical institutions. He was the musicological director
for the final three years of the acclaimed Schubertiade
at the 92nd Street Y and for the past five seasons has
written the program notes for the Philadelphia
Orchestra. He frequently gives lectures for that orchestra,
as well as for the New York Philharmonic, Cleveland
Orchestra, Carnegie Hall, Metropolitan Museum of Art,
and Great Performers at Lincoln Center.
Formerly associate principal bassoonist of the New York
Philharmonic, Marc Goldberg this year accepted the
principal bassoon chair with New York City Opera. He
has been a frequent guest of the Metropolitan Opera,
the Boston Symphony Orchestra, the Orchestra of St.
Luke’s, Orpheus, and the Eos Chamber Orchestra. Solo
appearances include performances in the United States,
South America, and across the Pacific Rim with the
American Symphony Orchestra, Jupiter Symphony, New
York Chamber Soloists, Sea Cliff Chamber Players, New
York Symphonic Ensemble, Long Island Philharmonic,
and New York Scandia Symphony, as well as performances
with the Brandenburg Ensemble. He has been a
guest of the Da Camera Society of Houston, St. Luke’s
Chamber Ensemble, Musicians from Marlboro, the
Brentano Quartet, and the New York Woodwind
Quintet. He is on the faculty of the Juilliard School Pre-
College Division, Mannes College, the Hartt School, and
Columbia University.
It has not taken long for Israeli pianist Alon Goldstein to
achieve the kind of success that was predicted for him by
such leading figures as Zubin Mehta, Claudio Abbado,
and Leon Fleisher. He made his orchestra debut at the
age of 18, playing the Rachmaninoff Piano Concerto No. 1
with the Israeli Philharmonic under the baton of Zubin
Mehta, which resulted in reengagements as well as additional
performances with the Jerusalem Symphony.
Recent seasons have seen his debut appearances with
the Houston Symphony, Kansas City Symphony,
Kalamazoo Symphony, Rhode Island Philharmonic, and
Israel Chamber Orchestra. In July 2002 he made his
debut appearance with the Philadelphia Orchestra, playing
Beethoven’s Piano Concerto No. 4 under the baton of
Raphael Fruhbeck de Burgos. He appears by special
arrangement with Frank Soloman Associates, New York.
Gianmaria Griglio studied violin with Massimo Marin in
Italy and Philip Bride in France, as well as composition
with Marco Minetti and conducting with Vram
Tchiftchian As a conductor he has appeared with
L’ensemble baroque de Provence, the Belle Epoque
Orchestra, the AMP Symphony Orchestra, and the
Pressenda Symphony Orchestra, among others, both in
symphonic and operatic repertoire. Future engagements
include concerts with the Radio Orchestra of Sofia and a
production of Rossini’s La Cenerentola in 2005. He holds
a master’s degree in conducting from Bard College,
where he studied with Harold Farberman, and is assistant
conductor with the American Symphony Orchestra.
Bass-baritone Daniel Gross has performed with the
Wolf Trap, Glimmerglass, Spoleto Festival USA, Juilliard
Opera Center, Gotham Chamber, Chautauqua, and other
opera companies. His repertoire highlights include
Figaro in Le Nozze di Figaro, Leporello in Don Giovanni,
Escamillo in Carmen, Guglielmo and Don Alfonso in
Cosí fan tutte, Seneca in L’incoronazione di Poppea,
Gremin in Eugene Onegin, Colline in La Bohème, Tod in
Der Kaiser von Atlantis, and the Messenger in Œdipus
Rex. As an oratorio soloist, Mr. Gross has collaborated
with such orchestras as the National Symphony,
Pittsburgh, Juilliard, and New York Philharmonic.
Upcoming engagements include Renard with the
Chamber Music Society of Lincoln Center, Der Kaiser
von Atlantis with the Los Angeles Philharmonic and
James Conlon, and Il Sonno in Arianna in Creta with
Gotham Chamber Opera.
Drummer and percussionist Kory Grossman has played
for more than 20 Broadway shows, and has performed
with the American Symphony Orchestra, Brooklyn
Philharmonic, Metropolitan Opera Orchestra, New York
Pops, Merce Cunningham Dance Company, and Queen
Latifah and toured with Chita Rivera and Liza Minelli.
He has recorded for a variety of labels, has done television
work, and can be heard on the score for the film
Tadpole.
Laura Hamilton’s first advanced violin studies came at
age 16, when she was admitted to the Moscow
Conservatory of Music in the Soviet Union, as a student
of Oleh Krysa. Later she worked with Raphael Bronstein
and Burton Kaplan at the Manhattan School of Music,
where she was the Nathan Milstein Scholarship recipient.
Active as a soloist and chamber musician,
Ms. Hamilton has performed in many venues in the
New York and Chicago areas; at the Marlboro and
Manchester music festivals, as well as festivals in
Norway and Greece; and in the Met Chamber Series at
Carnegie Hall with James Levine and colleagues. In
1999, Maestro Levine appointed her Principal Associate
Concertmaster of the Metropolitan Opera Orchestra.
Baritone John Hancock returned to the Metropolitan
Opera in the 2003–04 season to perform the roles
of Schaunard in La Bohème and Albert in Werther. He
performed in a Gala Concert with the Grand Rapids
Symphony; recorded the role of The Son in Michael
Torke’s Strawberry Fields with the Albany Symphony
Orchestra; and appeared with the American Symphony
Orchestra. He has received international acclaim for his
performances of the world premiere of The Picture of
Dorian Gray at l’Opéra de Monte Carlo, as well as for his
interpretations of the title role in Tchaikovsky’s Eugene
Onegin at Opera Ireland and Oreste in Gluck’s Iphigénie en
Tauride in Strasbourg, Rennes, and Rotterdam. He is the
recipient of awards and grants from the Metropolitan
Opera National Council, Sullivan Foundation, and
Shoshana Foundation. He appears by special arrangement
with Columbia Artists Management Inc., New York.
Jessie Hinkle holds degrees in operatic vocal performance
from the University of North Texas and the
Manhattan School of Music. She has performed
throughout the United States in such roles as Carmen,
Sesto in Mozart’s La Clemenza di Tito, Lucretia in
Benjamin Britten’s The Rape of Lucretia, Prince Orlofsky
in Johann Strauss’s Die Fledermaus, Anita in West Side
Story, and Petra in Steven Sondheim’s A Little Night
Music. She has been featured in many of the greatest
oratorio works, including the Mozart Requiem, Handel’s
Messiah, Haydn’s Lord Nelson Mass, and Beethoven’s
Mass in C Minor. In 2003 she was a member of the
ensemble in Baz Luhrman’s production of the classic
La Bohème at the Broadway Theater. Most recently
Ms. Hinkle was a cast member in Sutermeister’s Die
Schwarze Spinne with the Gotham Chamber Opera.
Dennis James is principal bass for both the National
Arts Center Orchestra and the Opera Orchestra of New
York, a position he has also held in the Bard Music
Festival’s resident orchestra since 1991. He has toured
worldwide with the New York Philharmonic, Montreal
Symphony Orchestra, and Orpheus Chamber Orchestra.
He has worked with the noted jazz artists Jimmy Cobb,
Herb Ellis, Barney Kessel, Cab Calloway, Tad Farlow, Peter
Leitch, Abbey Lincoln, and Sam Noto. Mr. James is the
founder of TrioConcertant, an ensemble with which he
produced an award-winning CD by the same name.
Violist Kim Kashkashian is one of the most accomplished
artists of her generation. She has performed
recitals at the Metropolitan Museum and 92nd Street Y
in New York City, and in Boston, Cleveland, Los Angeles,
Philadelphia, Pittsburgh, San Francisco, and Washington,
D.C. Highlights of recent seasons include concerto
appearances with RAI Torino, Concertgebouw of
Amsterdam, and the American Symphony Orchestra,
Munich Chamber Orchestra, and Chicago Symphony;
world premieres of works by Christopher Theofanidis
and Thomas Larcher; and a duo tour with pianist Robert
Levin. She has performed with the Toyko, Guarneri, and
Galimir Quartets and toured with a unique quartet that
included violinists Gidon Kremer and Daniel Phillips
and cellist Yo-Yo Ma. Her extensive discography
includes the complete viola sonatas of Hindemith; the
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Shostakovich Sonata, Op. 147 (Robert Levin, piano); and
Voci, a recording of two large works by Lucian Berio. Ms.
Kashkashian appears by special arrangement with John
Gingrich Management, Inc., New York.
Pianist Martin Kasik won first prize at the 1999 Young
Concert Artists International Auditions, the 1999 Akzo
Nobel Prize, the 2000 Alexander Kasza-Kasser Prize of
YCA, and the 2000 Davidoff Prize. He has performed critically
acclaimed concerts with the Minnesota Orchestra,
Utah Symphony, and New York Chamber Symphony, and
abroad with the Singapore Philharmonic, Rotterdam
Philharmonic, Czech Philharmonic, and many more. In
recital, he has appeared in New York at the 92nd Street Y,
Alice Tully Hall, and the Metropolitan Museum of Art; in
Washington, D.C., at the Kennedy Center; in Boston at the
Gardner Museum; and in Japan, on a tour of the country
that ended with a concert at Suntory Hall in Tokyo. He
attended the Conservatory in Ostrava and studied at the
Academy of Performing Arts in Prague. He appears by
special arrangement with Verve Productions, Waccabuc,
New York.
Violinist Erica Kiesewetter has performed at the Bard
Music Festival since its inception. She is the concertmaster
of the American Symphony Orchestra (with whom
she performed Berg’s Kammerkonzert) and also holds
that position with the Opera Orchestra of New York,
Long Island Philharmonic, Solisti New York Chamber
Orchestra, and the American Ballet Theater at City
Center. For 14 years, Ms. Kiesewetter was the violinist of
the Leonardo Trio, which toured internationally and has
recorded two CDs. She was previously the first violinist
of the Colorado Quartet, garnering prizes at the Evian
and Coleman competitions. She is a founding member
of the Perspectives Ensemble, as well as a former member
of the Alexandria Quintet and Odyssey Chamber
Players, and has been a guest artist with Bargemusic,
Omega Ensemble, and the Da Capo Chamber Players.
She has toured and recorded with the Orpheus Chamber
Orchestra since 1982.
Marina Kostalevsky, author, is associate professor of
Russian at Bard College. She was born in Moscow and
received her musical education there and in St.
Petersburg. After graduating cum laude from St.
Petersburg Conservatory, she began to work as a pianist
for the Bolshoi Theater, Bolshoi Ballet Academy, and
Moscow Philharmonic Society. She continued her career
as a musician after moving to the United States in
1979, and received a Ph.D. in Slavic languages and literature
from Yale University in 1992. She is the author of
Dostoevsky and Soloviev: The Art of Integral Vision (1997)
and numerous articles on Russian literature and music.
She participated in the 1998 Bard Music Festival,
“Tchaikovsky and His World.”
Internationally acclaimed clarinetist David Krakauer
redefines the notion of a concert artist. Known for his
mastery of myriad styles including classical chamber
music, Eastern European klezmer music, the avantgarde,
rock, and jazz, Mr. Krakauer is a natural storyteller
who has long dazzled colleagues and the public
with his ability to shift and meld musical gears. Recent
collaborations have included the Tokyo String Quartet,
Eroica Trio, Kronos Quartet, Lark Quartet, Mendelssohn
String Quartet, and Empire Brass Quintet. His programs
have ranged from Brahms and Bartók to Schoenberg
and Golijov. As one of the foremost musicians of the
vital new wave of klezmer, Mr. Krakauer tours the globe
with his celebrated Klezmer Madness! Ensemble. His
compositions also pay homage to R&B, jazz, classical
music, and funk. He appears by special arrangement
with Bernstein Artists, Brooklyn, New York.
Jeffrey Lang is currently principal horn of the
American Symphony Orchestra and the New York City
Opera Orchestra. He performs regularly with the
Orpheus Chamber Orchestra and Metropolitan Opera
and was recently engaged as acting co-principal horn
of the Philadelphia Orchestra and the Bavarian
Radio Symphony Orchestra. He is a member of the
Graham Ashton Brass and has performed chamber
music with Bella Davidovitch, the Wilson-Schulte-
Lang Trio, the Israel Piano Trio, Musica Nova, and the
Canadian Brass.
Korean-born pianist Mihae Lee made her professional
debut with the Korean National Orchestra at the age of
14 and since then has performed extensively in solo and
chamber music concerts throughout North America,
Europe, and Asia. She has appeared as a soloist with the
Berlin Symphony and in recitals at Lincoln Center and
Jordan Hall and with the National Philharmonic in
Warsaw. Ms. Lee is a member of the Boston Chamber
Music Society and the Triton Horn Trio (with Ani
Kavafian and William Purvis), and has collaborated with
the Muir, Cassatt, and Manhattan Quartets. She performs
frequently at international festivals. A winner of
the Kosciuszko Foundation Chopin Competition, she is a
graduate of the Juilliard School and the New England
Conservatory. Ms. Lee has recorded on the Etcetera,
Northeastern, BCMS, and Bridge labels.
Steve Marks is professor in the Department of History
at Clemson University (South Carolina), where he also
serves as graduate coordinator and chairman of the
Russian Area Studies Committee. He is the author of
How Russia Shaped the Modern World: From Art to Anti-
Semitism, Ballet to Bolshevism (2003) and Road to
Power: TheTrans-Siberian Railroad and the Colonization
of Asian Russia (1991).
Robert Martin is artistic codirector of the Bard Music
Festival and vice president for academic affairs of Bard
College. After receiving his doctorate in philosophy, he
pursued a dual career, holding joint appointments in
music and philosophy at SUNY Buffalo and Rutgers
University. Before coming to Bard, he was assistant
dean of humanities at UCLA. He was cellist of the
Sequoia String Quartet from 1975 to 1985, during which
time the ensemble made many recordings and toured
internationally.
Paul Mitchinson is a Canadian writer and historian. He
completed a doctorate in Russian history at Harvard
University under Richard Pipes, and wrote his dissertation
on classical music and politics in early Soviet Russia.
His work has appeared in both scholarly and popular publications,
including Canada’s National Post, Newsday, The
Nation, Lingua Franca, andante.com, Queen’s Quarterly,
East European Quarterly, the Canadian Journal of History,
and Left History. He also contributed to A Shostakovich
Casebook (2004), edited by Malcolm Hamrick Brown. He
lives in Toronto with his wife and two children.
Pulitzer-Prize winner Paul Moravec is the composer of
more than 70 published orchestral, chamber, choral, and
lyric compositions as well as several film scores and electro-acoustic
pieces. His music has earned numerous
distinctions, including the 2004 Pulitzer Prize for his
Tempest Fantasy for solo clarinet and piano trio, written
for David Krakauer and the Trio Solisti; a Rome Prize
Fellowship from the American Academy in Rome; a
Fellowship in Music Composition from the National
Endowment for the Arts; a Rockefeller Foundation
Fellowship, a Camargo Foundation Residency Fellowship;
and a Goddard Lieberson Fellowship and Charles Ives
Fellowship from the American Academy of Arts and
Letters, as well as many commissions. A graduate of
Harvard University and Columbia University, he has
taught at Harvard, Columbia, Dartmouth, and Hunter
College and currently heads the Music Department at
Adelphi University. Recordings of his work have been
issued by BMG/RCA Classics, Modern Masters, and
Arabesque.
Simon Morrison is assistant professor of music at
Princeton University, where he teaches courses on
modernity. He is the author of Russian Opera and the
Symbolist Movement (2002); articles on Ravel, Rimsky-
Korsakov, Prokofiev, Skriabin, and Shostakovich; and several
essay-reviews. He writes on occasion for the Arts &
Leisure section of the New York Times. In 2002 he was a
guest lecturer at the Institute Pro Arte in St. Petersburg,
Russia; this past year, he has been conducting archival
research in Moscow. He is currently writing a collection
of essays on the ontology of ballet, and has just begun a
monograph entitled Prokofiev: The Soviet Years.
Joan Neuberger is associate professor of history at
the University of Texas at Austin. Her publications
include Ivan the Terrible: The Film Companion (2003);
Hooliganism: Crime, Culture, and Power in St. Petersburg,
1900–1914 (1993); and numerous articles. She is working
on a book titled Eisenstein’s Ivan the Terrible in
Stalinist Russia.
David Nice is a writer, lecturer, and broadcaster on
music with a special interest in Russian music. He has
taught at Goldsmiths College and lectures at Birkbeck
College, the University of London, Morley College, and
the City Literary Institute. A regular contributor to BBC
Radio 3, he produces his own opera channel for Music
Choice Europe. The first volume of his Prokofiev biography,
From Russia to the West, 1891–1935 was published
in 2003. His previous books include short
studies of Elgar, Richard Strauss, Tchaikovsky, and the
history of opera, and he contributed the chapter on
Russian conductors for The Cambridge Companion to
Conducting.
This past season, tenor Simon O’Neill made his New
York City Opera debut as the First Armored Man in Die
Zauberflöte, followed by Carlson in Of Mice and Men.
Other engagements included Judge Danforth in The
Crucible with Toledo Opera; concert performances with
the Auckland Philharmonia; Janáček’s The Diary of One
Who Vanished and Skuratov in From the House of the
Dead with the Bard Music Festival; and the title role in
La Clemenza di Tito with Wolf Trap Opera. He has
appeared with New Zealand Opera, San Francisco
Merola Opera, and Western Opera Theatre and in concert
with the New West Symphony, New Zealand
Symphony, Fort Worth Symphony, Singapore
Symphony, and Wellington Sinfonia, among others. Mr.
O’Neill was a finalist of the 2002 Metropolitan Opera
National Council Auditions. Other honors include a
2001 Circle 100 Career Grant, a 1998 Fulbright
Scholarship, and the 1996 Tower Opera Scholar award.
He appears by special arrangement with Herbert
Barrett Management, New York.
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Anne Patterson has designed sets and costumes for productions
at Alice Tully Hall, the Juilliard School, Brooklyn
Academy of Music, New York Theater Workshop,
Ensemble Studio Theater, the Joyce, and St. Mark’s
Dance Space. She has designed 11 operas, including one
world premiere and three U.S. premieres for the Aspen
Music Festival, and has created designs for the Atlanta
Symphony Orchestra, Kimmell Center, Pacific Northwest
Ballet, Ballet West, Houston Ballet, Kennedy Center,
Wolf Trap, and in Europe for the National Theatre,
London, and the Scottish Ballet. PBS and the BBC have
featured her production design work as well. Recent
designs include Every Good Boy Deserves Favor by
Stoppard/Previn for the Philadelphia Orchestra and Cosí,
directed by Jonathan Miller, at BAM’s Harvey Theater.
Richard Pipes is Baird Professor of History, Emeritus, at
Harvard University. Born in Poland, he served in the U.S.
Air Force from 1943 to 1946, completing his B.A. while
on active service. In 1950 he received his Ph.D. in history
from Harvard University where he taught for 46 years.
In 1976, Mr. Pipes was chairman of the CIA’s “Team B” to
review Strategic Intelligence Estimates; from 1981–82
he served as director of East European and Soviet
Affairs in President Reagan’s National Security Council;
and in 1992 he served as expert witness in the Russian
Constitutional Court’s trial of the Communist Party of
the Soviet Union. His publications include Formation of
the Soviet Union (1954, 1964, 1998); Struve (1970, 1980);
Russia under the Old Regime (1974); The Russian Revolution
(1990); Russia under the Bolshevik Regime (1994); Property
and Freedom (1999); Communism: A History (2001); and
Vixi: The Memoirs of a Non-Belonger (2003).
Ewa Podleś is widely regarded as the world’s foremost
contralto. Verdi dominates her current season, in debuts
with Michigan Opera Theater and the Collegiate Chorale,
Opera Company of Philadelphia, and Florentine Opera of
Milwaukee. Future seasons include returns to the Seattle
Opera and Canadian Opera Company, and two roles at
the Houston Grand Opera: Ulrica in Ballo and the
Marquise in Donizetti’s La fille du regiment. She has collaborated
with the San Francisco, Seattle, Montreal,
Pittsburgh, American, Toronto, NHK Tokyo, Detroit, and
New World Symphonies as well as many national orchestras,
appearing under such conductors as David
Atherton, Leon Botstein, Myung-Whun Chung, Neeme
Järvi, Lorin Maazel, and Pinchas Zukerman. Her many
collaborations with Marc Minkowski and Les Musiciens
du Louvre include two Deutsche Grammophon recordings,
Handel’s Ariodante and Gluck’s Armide. Ms. Podleś
appears by special arrangement with Matthew Sprizzo
Artists Management, Staten Island, New York.
Anna Polonsky has appeared with the Columbus
Symphony Orchestra, Concerto Soloists Chamber
Orchestra of Philadelphia, Pro-Musica Chamber
Orchestra, and many others. She is regularly invited to
perform at festivals such as Marlboro, Santa Fe,
Chamber Music Northwest, Bard, and Caramoor, as
well as Bargemusic in New York City. In constant
demand as a partner for duo recitals, she has collaborated
with such musicians as Ida Kavafian, Joseph
Silverstein, Arnold Steinhardt, and Peter Wiley. She
has given concerts in the Amsterdam Concertgebouw
and New York’s Alice Tully Hall, and has toured
throughout the United States, Europe, and Asia. Next
season she will make her Wigmore Hall debut and
take part in the European Broadcasting Union’s project
to broadcast all of Mozart’s keyboard sonatas during
2005. A native of Russia, she immigrated to the
United States in 1990.
Maya Pritsker received her education in musicology and
piano in Moscow. From 1988 on she worked as music
critic and editor for the magazine Muzikal’naya Zhizn’
(Musical Life), based in Moscow. Since 1990, Ms. Pritsker
has lectured on Russian music at Harvard, Yale,
Princeton, and Boston Universities, as well as at Lincoln
Center, the Bard Music Festival, and the Brooklyn
Academy of Music. She writes program notes for Lincoln
Center, the Boston Philharmonic, the American
Symphony Orchestra, and for American record companies
and publications such as the New York Times,
American Music Teacher, and Opera News. She resides in
New York, where she works as senior cultural editor for
the New York–based American-Russian daily Novoye
Russkoye Slovo.
Violinist Philippe Quint’s debut recording on the Naxos
label of the William Schuman Concerto was nominated
for two Grammys last year. It also received “Editor’s
Choice” from both Gramophone and Strad magazines.
Recent appearances have included performances with
the Detroit, Houston, Virginia, Bournemouth (UK), and
Nashville Symphonies and at the Mostly Mozart
Festival. He has performed under the batons of Marin
Alsop, JoAnn Falletta, Hans Graf, Kurt Masur, Jorge
Mester, Maxim Shostakovich, Xiao Lu li, and other
maestros. Recent highlights include the world premiere
of Lera Auerbach’s Concerto No. 1 at the Walt
Disney Concert Hall in Los Angeles and a debut with
the China National Symphony in Beijing. An active
chamber musician, he has appeared in recitals and performances
at Caramoor, Ravinia, Aspen, Kravis Center,
and other venues. He appears by special arrangement
with Arts Management Group, New York.
Fernando Raucci has been conducting professionally
in the United States for the past five years and is currently
assistant conductor of the American Symphony
Orchestra and music director of the Greater Princeton
Youth Orchestra. He was previously music director of the
Opera International in Princeton; principal guest conductor
for four year with the Greater Trenton Symphony
Orchestra; conductor of the Niccolo’ Amati Chamber
Orchestra; and artistic director of the Festival Armonie
Notturne in Isernia. He began to study conducting at age
17 and received a master’s degree in orchestra conducting
at the Hartt School of Music in Hartford. Since then
he has conducted orchestras in Poland, Russia, Hungary,
Italy, and Bulgaria, as well as in the United States.
Bass Valerian Ruminski has sung numerous roles with
the Metropolitan Opera, New York City Opera, New
Israeli Opera, Santa Fe Opera, Minnesota Opera, Opera
Pacific, Kansas City Lyric Opera, Chautauqua Opera, and
Greater Buffalo Opera. Recent engagements include
Halevy’s La Juive with Eve Queler and the Opera
Orchestra of New York; a Richard Tucker Gala, a series of
recitals in Detroit, Buffalo, and Philadelphia; a gala concert
for the Birmingham Opera in Alabama; roles with
the Santa Fe Opera, Dallas Opera, Opera Pacific, and
Atlanta Opera, and a special staged/orchestral performance
of Musorgsky’s Songs and Dances of Death at
Amherst College. He is also the featured bass in a series
of new recordings of Victor Herbert and Jerome Kern
operettas. Mr. Ruminski is the artistic director of the
Nickel City Opera in Buffalo, which presents contemporary
opera in chamber settings. Honors include a fiveyear
grant from the William Mattheus Sullivan
Foundation; a Richard Tucker Award; and First Prize in
the MacAllister Award Opera Competition in 2000. Mr.
Ruminski appears by special arrangement with Neil
Funkhouser Artists Management, New York.
Peter Schmelz is an assistant professor of musicology
at the University at Buffalo (SUNY). He received his
Ph.D. from the University of California, Berkeley, in
2002, and has recently received a 2004 National
Endowment for the Humanities summer stipend for
work on his monograph, tentatively titled Listening,
Memory, and the Thaw: The Politics and Practice of
Unofficial Music in the Soviet Union, 1956–1974.
Jane A. Sharp is assistant professor of art history at
Rutgers University and research curator of the Norton
and Nancy Dodge Collection of Soviet Nonconformist
Art. Her book Russian Modernism Between East and
West: Natalia Goncharova and the Moscow Avant-garde
is forthcoming from Cambridge University Press.
During her tenure at the Solomon R. Guggenheim
Museum, she organized the exhibition The Great
Utopia: The Russian and Soviet Avant-Garde, 1915–32.
She is currently preparing the third in a series of
exhibitions for the Zimmerli Art Museum (Rutgers
University) on abstract painting from the Dodge
Collection (fall 2004), and a related book titled Allusive
Form: Abstract Painting after the Thaw. She received her
Ph.D. in art history and a master’s degree in Slavic languages
and literatures from Yale.
Roger Shell has served as principal cellist with such
groups as Eos Ensemble, the American Symphony
Orchestra, Solisti New York, New York Pops, and
Philharmonia Virtuosi. He has also performed with the
New York City Opera, the New Jersey Symphony, Steve
Reich and Musicians, An die Musik, and New York
Theater Orchestra, among others. He has appeared
many times on National Public Television and Radio and
in the Live from Lincoln Center series. His many recordings
include the Vivaldi double cello concerto for RCA,
and several chamber music CDs for the ESSA.Y. label.
Soprano Lauren Skuce is noted for her versatility on both
the opera and concert stage. In the 2003–04 season, she
returned to New York City Opera as Morgana in a new
production of Handel’s Alcina, a role she also performed
with Boston Baroque. She appeared as Micaëla in Carmen
with Opera Theatre of St. Louis; was soloist in the Mozart
Requiem with the Toledo Symphony Orchestra; performed
on tour with the Chamber Music Society of
Lincoln Center; and sang in recitals throughout the
United States. In 2002–03, she created the role of Heloise
in the world premiere of Stephen Paulus’s Heloise and
Abelard with the Juilliard Opera Center, and appeared
with New York City Opera as Lucia in The Rape of Lucretia,
Mrs. Anderssen in A Little Night Music, Suor Genevieve in
Suor Angelica, and Laoula in L’étoile. A Sullivan Award winner,
Ms. Skuce is the recipient of many prizes, including
the 2002 DeRosa Career Grant, the Catherine Filene
Shouse Study Grant from Wolf Trap Opera, and an Opera
Index award. She appears by special arrangement with
Herbert Barrett Management, New York.
Morten Solvik is a native of Norway who was raised
and educated in the United States before moving to
Vienna 12 years ago, where he lives with his wife and
two children. Mr. Solvik, who earned his Ph.D. at the
University of Pennsylvania with a dissertation on the
cultural setting of Mahler’s Third Symphony, continues
to pursue the tantalizing connections between music
and culture in his research, especially in relation to
Vienna. He holds teaching positions at Vienna’s
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63

University of Music and Performing Arts and at the
Institute of European Studies.
Jonathan Spitz has participated in the Bard Music
Festival since its inception. He is one of the leading cellists
in the New York area, with performances as soloist,
chamber musician, and orchestral principal. He is a
member and coprincipal of the Orpheus Chamber
Orchestra and principal cellist of the New Jersey
Symphony, American Ballet Theater Orchestra, and Bard
Festival orchestra. An active chamber musician, he is a
founding member of the Leonardo Trio and has toured
the United States and Europe with the ensemble.
Tatiana Stepanova was born in Yekaterinburg, Russia,
where she attended a special music school for gifted children.
After completing her studies at the Yekaterinburg
Musorgsky Conservatory, she served as head coach at the
city’s opera house, performed for its Philharmonica
Society, and was artistic director, conductor, and pianist
for the Yekaterinburg Musical Theater. For her work in
opera, Ms. Stepanova was named an Honored Artist of
Russia. She has recorded with internationally recognized
singers and has prepared and accompanied singers in
national and international competitions. She assisted
Mstislav Rostropovich in a production of Shostakovich’s
Lady Macbeth of the Mtsensk District at the Teatro Real in
Madrid, and was rehearsal pianist and coach for
Baltimore Opera’s production of the same opera. She
appears by special arrangement with Sardos Artists
Management Corporation, New York.
Russian bass Nikita Storojev entered Moscow’s
Tchaikovsky Conservatory after receiving his degree in
philosophy. Upon wining the prestigious Tchaikovsky
Competition, he became principal soloist at the Bolshoi
Theatre and the Moscow Philharmonic Society. He has
performed in the world’s major opera houses, concert
halls, and international festivals in Vienna, Paris, London,
Milan, New York, San Francisco, Florence, Munich, Tokyo,
and Berlin. He has performed and recorded under the
direction of such conductors as Mstislav Rostropovich,
Vladimir Ashkenazy, Sir John Pritchard, Claudio Abbado,
and Neeme Järví, and has sung with such singers as
Placido Domingo, Luciano Pavarotti, Katia Ricciarelli,
Ruggiero Raimondi, and Nikolai Ghiaurov. Upcoming
engagements will take him to St. Petersburg’s Mariinsky
Theatre; Monterrey, Mexico; the Dallas Symphony; and De
Nederlandse Opera. He appears by special arrangement
with Sardos Artists Management Corporation, New York.
Richard Taruskin, Class of 1955 Professor of Music at the
University of California, Berkeley, is recognized internationally
for his scholarship on Russian music. His books
on the subject include Defining Russia Musically:
Historical and Hermeneutic Essays (1997); Stravinsky and
the Russian Traditions: A Biography of the Works
through Marva (2 vols., 1996); Musorgsky: Eight Essays
and an Epilogue (1993); and Opera and Drama in Russia
as Preached and Practiced in the 1860s (2nd ed., 1993).
Some 160 of his articles on Russian composers and
their works are found in the New Grove Dictionary of
Opera. His six-volume general history of music will be
published this fall by Oxford University Press.
Director Elise Thoron’s most recent projects include
Prozak and the Platypus (book and lyrics; music by Jill
Sobule); Green Violin (book and lyrics; music by Frank
London); and Charlotte: Life? Or Theater (music by Gary
Fagin). Her adaptation of The Great Gatsby, which she
also directed, was shown in repertory at the Pushkin
Theatre in Moscow for seven years. Ms. Thoron was one
of the cofounders of A.S.T.I. (American Soviet Theater
Initiative). She has directed a company of American and
Russian actors in a bilingual production of Oleg
Antonov’s play Egorushka and Constance Congdon’s No
Mercy. For the St. Petersburg Music Theater Festival, she
has directed Tsigany, an opera by V. Ustinovsky;
Captain’s Daughter, a musical by Andrey Petrov; and
Wild Party by Andrew Lippa. She has translated the
work of playwrights Liudmila Petrushevskaya and
Alexander Galin.
Reiko Uchida has appeared as soloist with many
orchestras, including the Los Angeles Philharmonic,
Symphony Orchestra of the Curtis Institute of Music,
and Santa Fe Symphony. She has performed solo and
chamber music concerts throughout the world and has
appeared at the Santa Fe, Tanglewood, Banff, Marlboro,
and Laurel Festivals. She is currently a member of the
Laurel Trio and of the Moebius Ensemble.
Pianist Dénes Várjon made his debut at the Salzburger
Festspiele with the Camerata Academica Salzburg under
the baton of Sándor Végh at age 25. He has been a guest
soloist at Kissinger Sommer, Biennale di Venezia,
Marlboro, Davos, Lucerne, Begegnung Salzburg,
Musiktage Mondsee, Klavierfestival Ruhr, and other international
festivals. He has performed with the Academy of
St. Martin in the Fields, Vienna Kammerorchester, Franz
Liszt Chamber Orchestra, Munich Kammerorchester,
Camerata Bern (Heinz Holliger), American Symphony
Orchestra (Leon Botstein), Budapest Symphony Orchestra
(Tamás Vásáry), and Gidon Kremer’s Kremerata Baltica. A
dedicated chamber musician, he has appeared with
artists such as Steven Isserlis, Leonidas Kavakos, Boris
Pergamenshikov, András Schiff, Tabea Zimmermann, and
the Carmina,Takács, Keller, and Endellion Quartets. He has
recorded for Naxos, Capriccio, Hungaroton Classics,
Teldec, and PAN-Classics Switzerland. Honors include the
Liszt Prize (1997) and First Prize at the Concours Géza
Anda (1991). He appears by special arrangement with
Cadenza Concert, Salzburg, Austria.
Elizabeth Wilson attended schools in England, China,
and the United States and studied cello at the Moscow
Conservatory with Mstislav Rostropovich. She resides in
Italy, where she founded Xenia Ensemble, a chamber
group dedicated to contemporary music and interdisciplinary
projects. Ms.Wilson’s biography of Shostakovich,
Shostakovich: A Life Remembered (1994), was greeted
with great critical acclaim. She has participated in conferences
on Shostakovich at the University of Michigan,
in St. Petersburg, at Milan’s La Scala, and at Manhattan
School of Music, and has given talks at festivals in
Austria, Holland, and Ireland. Other writings include a
biography of Jacqueline du Pré (1998), as well as articles
on contemporary Russian music and composers. She was
a consultant for a BBC documentary on Alfred Schnittke
and is currently at work on a book on Rostropovich as
teacher, entitled Class 19.
Richard Wilson is the composer of some 80 works in
many genres, including opera. He has received the
Hinrichsen Award, Stoeger Prize, Cleveland Arts Prize,
and a Guggenheim Fellowship. Recent commissions
have come from the Koussevitzky and Fromm
Foundations. His orchestral works have been performed
by the San Francisco Symphony, London Philharmonic,
American Symphony, Orquesta Sinfónica de Colombia,
and Hudson Valley Philharmonic. Albany Records has just
issued the Chicago String Quartet’s performances of his
Third and Fourth String Quartets as well as his Canzona
for Horn and Quartet. Wilson holds the Mary Conover
Mellon Chair in Music at Vassar; he is also composer-inresidence
with the American Symphony Orchestra, for
which he gives preconcert talks. He has been a member
of the program committee of the Bard Music Festival
since its inception.
Bass-baritone Joshua Winograde, a native of California,
made his New York City Opera debut this past season
as Melisso in the Francesca Zambello production of
Alcina. He studied at the Juilliard School for his undergraduate
and graduate degrees.
Founded in 1962 by Leopold Stokowski and directed for
the past 11 seasons by Leon Botstein, the American
Symphony Orchestra performs thematically organized
concerts at Avery Fisher Hall as part of Lincoln Center
Presents Great Performers series, linking music to the
visual arts, literature, politics, and popular culture.
In addition to its main subscription series at Lincoln
Center, the American Symphony Orchestra performs
Classics Declassified, a lecture/concert series with
audience interaction, at Columbia University’s Miller
Theatre. It is also the resident orchestra of The Richard
B. Fisher Center for the Performing Arts at Bard College,
where it participates in a winter concert series and the
summer Bard Music Festival. The orchestra also offers a
variety of music education programs at high schools in
Manhattan and New Jersey.
The American Symphony Orchestra has toured the
world, and made numerous recordings and broadcasts.
Its most recent recording is Richard Strauss’s opera Die
ägyptische Helena with Deborah Voigt. This recording
joins the Orchestra’s recording of Strauss’s Die Liebe der
Danae, also from Telarc. In addition, Ernst von Dohnányi’s
Harp Concertino will soon be available from Arabesque.
Other recordings with Leon Botstein include Franz
Schubert: Orchestrated (Koch International) and Johannes
Brahms’s Serenade No. 1 in D Major, Op. 11 for Orchestra
(Vanguard Classics).
Founded in 1990, the Bard Music Festival has established
its unique identity in the classical concert field
by presenting programs that, through performance
and discussion, place a selected work in the cultural
and social context of the composer’s world.
The intimate communication of recital and chamber
music and the excitement of full orchestral and choral
works are complemented by informative preconcert
talks, panel discussions and special events. In addition,
each season Princeton University Press publishes a book
of essays, translations, and correspondence relating to
the festival’s central figure.
By providing an illuminating context, the festival
encourages listeners and musicians alike to rediscover
the powerful, expressive nature of familiar works and to
become acquainted with less familiar works. Since its
inaugural season, the Bard Music Festival has entered
the world of Brahms, Mendelssohn, Richard Strauss,
Dvořák, Schumann, Bartók, Ives, Haydn, Tchaikovsky,
Schoenberg, Beethoven, Debussy, Mahler, and Janáček. In
2005 the festival will be devoted to Aaron Copland.
From the Bard Music Festival is a rapidly growing part
of the Bard Music Festival. In addition to the festival programming
at Bard College,“From the Bard Music Festival”
performs concerts from its past seasons and develops
special concert events for outside engagements.
64 65

BARD FESTIVAL CHORALE
AMERICAN SYMPHONY ORCHESTRA LEON BOTSTEIN, MUSIC DIRECTOR
Soprano
Carol Ambrogio*
Marion Beckenstein*
Carolyn Braden
Judy Cope
Margery Daley*
Michele Eaton+
Lori Engle
Laura Green*
Virginia Green*
Melissa Kelley*
Jeanmarie Lally
Gayla Morgan
Julie Morgan+
Beverly Myers
Rachel Rosales
Rosemarie Serrano
Christine Sperry+
Martha Sullivan
Julia Turner
Janine Ullyette
Cynthia Wallace
Elena Williamson
Alto
Susan Altabet+
Juliana Anderson* +
Jane Ann Askins
September Bigelow
Laura Broadhurst
Teresa Buchholz*
Twila Ehmcke
B. J. Fredricks
Karen Goldfeder
Denise Kelly
Karen Krueger*
Phyllis Jo Kubey*
Sarah Lambert
Mary Marathe*
Martha Mechalakos
Sara Murphy
Kirsten Sollek-Avella
Nancy Wertsch*
Tenor
James Bassi
John Bernard
Lee Compton
John Davey+
Robert Dingman*
James Donegan
Martin Doner
Neil Farrell*
James Fredericks
Jonathan Goodman*
Daniel Kirk-Foster
Eric Lamp+
Mukund Marathe*
Drew Martin
Timothy O’Connor
John Olund
David Schnell
Michael Steinberger
James Archie Worley*
BARD FESTIVAL CHAMBER PLAYERS PROGRAM ONE
Violin
Eric Wyrick
Double Bass
Jordan Frazier
Saxophone
Dennis C. Anderson
Ralph Olsen
Scott Shachter
Trumpet
Carl Albach
John Dent
Trombone
Richard Clark
Percussion
Kory Grossman
Banjo and Hawaiian Guitar
Scott Kuney
Piano
Elizabeth Wright
Bass
Daniel Alexander
Frank Barr*
Hayes Biggs
Peter Couchman
Roosevelt Credit
Walter DuMelle+
Peter Fischer+
James Gregory* +
Steven Hrycelak*
Richard Lippold
Darren Lougee
Steven Moore
Gregory Purnhagen*
Mark Rehnstrom*
Walter Richardson
Christopher Roselli
Charles Sprawls*
Clifford Townsend
Lewis White*
Choral Contractor
Nancy Wertsch
Choral Director
James Bagwell
* Program Five
+ Program Seven
Violin I
Eric Wyrick*, Concertmaster
Ellen Payne
Calvin Wiersma
Laura Hamilton
Alicia Edelberg
Brian Krinke
Yana Goichman
Patricia Davis
James Tsao
Alvin Rogers
Ashley Horne
Mara Milkis
Dorothy Han
Jane Chung
Violin II
Erica Kiesewetter, Principal
Robert Zubrycki
Joanna Jenner
Wende Namkung
John Connelly
Heidi Stubner
Browning Cramer
Roy Lewis
Alexander Vselensky
Elizabeth Kleinman
Sarah Schwartz
David Steinberg
Viola
Nardo Poy, Principal
Mary Ruth Ray
Sarah Adams
John Dexter
Ah Ling Neu
Sally Shumway
Shelley Holland-Moritz
Adria Benjamin
Martha Brody
Crystal Garner
Cello
Eugene Moye, Principal
Jonathan Spitz*
Susannah Chapman
Roger Shell
Annabelle Hoffman
David Calhoun
Sarah Carter
Maureen Hynes
Lanny Paykin
Elina Lang
Tatyana Margulis
Bass
John Beal, Principal
Dennis James*
Jack Wenger
Jordan Frazier
Louis Bruno
Louise Koby
John Babich
Rick Ostrovsky
Brian Cassier
Flute
Laura Conwesser, Principal
Randolph Bowman*
Diva Goodfriend-Koven
Karla Moe
Janet Arms, Piccolo
Helen Campo, Piccolo
Oboe
Robert Ingliss, Principal
Laura Ahlbeck*
Kelly Peral
Melanie Feld, English Horn
Clarinet
Laura Flax, Principal
Marina Sturm
Dean Leblanc
Lino Gomez
Jonathan Gunn, Eb Clarinet
Amy Zoloto, Bass Clarinet
Bassoon
Charles McCracken, Principal
Marc Goldberg*
Maureen Strenge
Gilbert Dejean, Contrabassoon
Horn
Julia Pilant, Principal
David Smith
Ronald Sell
Kelly Dent
Zohar Schondorf, Assistant
Brad Gemeinhardt
Lawrence DiBello
Kyle Hoyt
Leise Anschuetz
Trumpet
Carl Albach, Principal
John Dent
Susan Radcliff
James Hamlin
Lorraine Cohen
John Sheppard
Trombone
Richard Clark, Principal
Kenneth Finn
Jeffrey Caswell
Thomas Olcott
David Read
Bruce Eidem
Tuba
Stephen Johns, Principal
Marcus Rojas
Timpani
Matthew Strauss, Principal
Percussion
Kory Grossman, Principal
Matthew Beaumont
Lynn Bernhardt
Charles Descarfino
Javier Diaz
William Moersch
Glenn Paulson
Harp
Sara Cutler, Principal
Victoria Drake
Piano/Celeste
Elizabeth Wright, Principal
Elizabeth Difelice
Orchestra Personnel Manager
Ronald Sell
Orchestra Librarian
Jack Parton
Assistant Conductor
Teresa Cheung
* Principal, Bard Music Festival
66
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DONORS TO THE BARD MUSIC FESTIVAL
EVENTS IN THIS YEAR’S BARD MUSIC
FESTIVAL ARE UNDERWRITTEN IN
PART BY SPECIAL GIFTS FROM
Jeanne Donovan Fisher and
Richard B. Fisher
Festival Underwriters
James H. Ottaway Jr., Bard Trustee
The Bettina Baruch Foundation
Felicitas S. Thorne
Chamber Music Concerts
Mimi Levitt
Guest Artists and
Opening Night Dinner
Joanna M. Migdal
Panel Discussions
Andrea and Kenneth L. Miron
Margo and Anthony Viscusi
Preconcert Talks
Homeland Foundation
New York State Council on the Arts
National Endowment for the Arts
NYSCA
New York State Council on the Arts
Underwriters
Bettina Baruch Foundation
Jeanne Donovan Fisher and
Richard B. Fisher
Homeland Foundation
Mimi and Mortimer Levitt
The Mortimer Levitt Foundation Inc.
Joanna Migdal
New York State Council on the Arts
(NYSCA)
Jane W. Nuhn Charitable Trust
Mr. and Mrs. James H. Ottaway Jr.
Felicitas S. Thorne
Millie and Robert Wise
The Wise Family Charitable
Foundation
Elizabeth and E. Lisk Wyckoff Jr.
Benefactors
Elizabeth W. Ely ’65 and
Jonathan K. Greenburg
Barbara D. Finberg
The Ann & Gordon Getty Foundation
Thomas O. Maggs
Marstrand Foundation
Andrea and Kenneth Miron
Ralph E. Ogden Foundation
Felicitas S. Thorne
Margo and Anthony Viscusi
Associates
Gail and Sheldon Baim
Helen and Kenneth R. Blackburn
John A. Dierdorff
G. Schirmer, Inc.
Patrons
Roger Alcaly and Helen Bodian
Deborah and Peter Barrow
John T. Compton
Dr. George M. Coulter
Mrs. Joanne E. Cuttler ’99 and
Dr. Bruce Cuttler
Daniel Dietrich
Jacob W. Doft
Amy K. and David Dubin
R. Mardel Fehrenbach
Carolyn and Bernard Guttilla
Carol A. Harman
Eliot D. and Paula K. Hawkins
Dr. Barbara K. Hogan
Frederic K. and Elena Howard
Anne E. Impellizzeri
Susan Jonas
Mr. and Mrs. George A. Kellner
Harriet and Dr. Seymour Koenig
Alfred and Glenda Law
Barbara and S Jay Levy
Rachel McPherson and
Patrick McMullan
Eileen and Peter Rhulen
Shirley and Morton Rosenberg
David E. Schwab II ’52 and
Ruth Schwartz Schwab ’52
Jay Marc Schwamm
Denise S. Simon
Arlene and Edwin Steinberg
Carlos Gonzalez and
Katherine Stewart
Stewart’s Shops
Richard C. Strain
Elizabeth Farran Tozer and
W. James Tozer
Wheelock Whitney III
Sponsors
Irene and Jack Banning
Didi and David Barrett
Carole and Gary Beller
Kathryn and Charles Berry
Carolyn Marks Blackwood
Lydia Chapin
Connie and David C. Clapp
Karen and Everett Cook
Andrea and Willem de Vogel
Jane and Shepard Ellenberg
Deban and Tom Flexner
Lawrence P. Fraiberg
Aura Reinhardt Gebauer
Mr. and Mrs. Jay M. Gwynne
Julia and Barney Hallingby
Nancy and David Hathaway
Mr. and Mrs. Ben Heller
Steven Holl
Janet M. Johnson
Edith and Hamilton Kean
Mr. and Mrs. Thomas W. Keesee III
Barbara and Peter Kenner
Karen and John Klopp
Debra and Jonathan Lanman
Mr. and Mrs. Robert V. Lindsay
J. Murray Logan
Mr. and Mrs. Douglas S. Luke
Claire and Chris Mann
Mr. and Mrs. Basil G. Mavroleon
Chas A. Miller III
Lucille W. Miller
Deborah Montgomery
Marta E. Nottebohm
Candace and Billy Platt
Drs. M. Susan and Irwin Richman
Rebecca and Bryant Seaman
Sara and James Sheldon
Elizabeth K. Shequine
Alonzo Smith
Melissa and Robert Soros
Dorothy and John Sprague
Barbara and Donald Tober
Illiana van Meeteren
Siri von Reis
Friends
Mr. and Mrs. Munir Abuhaidar
Barbara J. Agren
Candy and Lex Anderson
Zelda Aronstein and Norman Eisner
Lois Atkinson
Kathleen and Roland Augustine
Antonia Bakker-Salvato
Mr. and Mrs. Alexander C. Bancroft
Felicity Banford and Tim Bontecou
Karen H. Bechtel
Mark W. and Susan Beckerman
Richard Benson
Patricia Berlanga
Beth and Jerry Bierbaum
Mr. and Mrs. R. O. Blechman
Harriet Bloch and Evan Sakellarios
Helen Blodgett
Renata Borsetti
Mr. and Mrs. Arthur T. Brooks
Hannah Buchan
Joan and Walter Cadette
Wendy Carduner
Virginia Chevy
Mr. and Mrs. Henry L. Collins III
Lea and Jim Cornell
Lucy Day
Professor Matthew Deady
Mr. and Mrs. Gonzalo de Las Heras
Charlotte and
Ottavio Serena di Lapigio
Peter Edelman
Cornelia and Tim Eland
Jane and Peter Elebash
Ines Elskop and Christopher Scholz
Dianne Engleke
Laurie Erwin
Barbara Etherington
Patricia and
Alexander Farman-Farmaian
Mr. and Mrs. Stuart Feder
Arthur L. Fenaroli
Pamela Fields and Andy Postal
David and Tracy Finn
Raimond Flynn
Donald C. Fresne
Olivia Fussell and Francis Finlay
Anne C. Gillis
Diane Gilmour and Peter Kuhlmann
Gilbert Vansintejan Glaser and
William A. Glaser
Eric Warren Goldman ’98
Mrs. Maxwell Goodwin
Janine Gordon
Samuel L. Gordon Jr.
Fayal B. Greene
Thurston Greene
Chris Griffin
Lorraine Alexander Grisi and
Giancarlo Grisi
Penelope Hall
DONORS TO THE FISHER CENTER
Trustees
Leon Botstein
Rt. Rev. Herbert A. and
Mary Donovan
Elizabeth W. Ely ’65 and
Jonathan K. Greenburg
Emily H. Fisher
Richard B. Fisher and
Jeanne Donovan Fisher
Sally and William Hambrecht
Cynthia Hirsch Levy ’65
Murray and Patti Liebowitz
Susan Heath and Rodney Paterson
Leo Hellerman
Delmar D. Hendricks
Nancy H. Henze
Juliet Heyer
Isis and Brian Hoffman
Mr. and Mrs. Robert Hottensen
Kathleen Huggins
Mrs. John R. Hupper
Mr. and Mrs. Rene Jacobus
Peter Judd
Lily Kamenecka
John Kander
Bindy and Stephen Kaye
Richard P. Kelisky
Fernanda Kellogg and Kirk Henckels
Chippie Kennedy-Hermann
David and Janet E. Kettler
Diana Niles King
Emily Fuller Kingston
Irving Kleiman
Thea Kliros
Professor Benjamin La Farge
Beth Ledy
Judy and Deane Leonard
Mrs. Michael Levin
Lois Mander and Max Pine
Annette S. and Paul N. Marcus
Bonnie M. Meagher
Ricki and Milton Meshel
Mary Moeller
Shelia M. Moloney ’84 and
Professor John Pruitt
Arvia Morris
Mr. and Mrs. Alfred Mudge
Lynn and William T. Nolan
Frederick H. Okolowitz and
Daniel C. Greenwald
Marilyn and Peter Oswald
Sylvia Owen and Bernhard Fabricius
M. Jack Parker
Jane and David Parshall
James Haller Ottaway and
Mary Hyde Ottaway
Lynda and Stewart Resnick
David E. Schwab II ’52 and
Ruth Schwartz Schwab ’52
Martin T. Sosnoff and Toni Sosnoff
Patricia Ross Weis and
Robert F. Weis
Alumni/ae
Kara M. Aiello ’99
Richard Allen ’67
Ellen and Eric Petersen
Miles Price
Eve Propp
Robert B. Recknagel
Claire and John Reid
Solie Reinhardt
Eugenia and Martin Revson
Jane Richards
Dede and Eric Rosenfeld
Deirdre and Alfred Ross
Nancy F. Rudolph
Sheila Sanders
Edith M. and F. Karl Schoenborn
Karin Shrubsole
Reginald W. Smith
Mr. and Mrs. Martin T. Sosnoff
Sarah and David Stack
Nadine Bertin Stearns
Mim and Leonard Stein
Alan Sutton
Humphrey and Penelope Taylor
Jessica and Peter Tcherepnine
Mr. Vincent L. Teahan and
Dr. Johanna Triegel
Robert G. Thomas
Cynthia Tripp ’01
Van de Water
Mr. and Mrs. Ralph E. Weindling
Cari Weisberg
Jill and Jack Wertheim
Mr. and Mrs. Royal Whiting
John H. Whitworth Jr.
Julia and Nigel Widdowson
Nancy R. Winstein
Maria and Peter Wirth
William C. Zifchak
Betsy Zimring
Mr. and Mrs. Howard Zipser
Current as of June 1, 2004
Suzan Alparslan-Lustig ’92
Ruth D. Alpert ’73
Josephine Alvare ’77
Mr. and Mrs. Robert Amsterdam ’53
Edgar A. Anderson ’42
Claire Angelozzi ’74
Anonymous ’75
Charlotte Hahn Arner ’49
Judith Arner ’68
Jane-Evelyn Atwood ’70
John J. ’91 and Laura M. Austrian
Penny Axelrod ’63
68
69

Dennis B. Barone ’77 and
Deborah Ducoff-Barone ’78
Rob Bauer ’63
Belinha Rowley Beatty ’69
Jeffrey S. Becker ’88
Eva Thal Belefant ’49 and
Martin S. Belefant
Abby Bender ’95
Nicholas Bensen ’87
Andrea Berger ’00
Dr. Miriam Roskin Berger ’56
Hope Bernstein ’47
Peter Blaxill ’53
Susan Bodine ’72
Carla Bolte ’71
Brian Bonnar ’77
Elliott Bowden ’36
Morgen Bowers ’90
Marcy Brafman ’72
George Brewster ’70
Laurel Meinig Brewster ’71
Anja M. Brogan ’00
Randy Buckingham ’73
Arabella Bull-Stewart ’95
Michael Burgi ’87
Mary S. Burns ’73
John L. Burton ’78
Brooke Byrne ’85
Robert Caccomo ’81
Shari Calnero ’88
Judith Caplan ’80
Mary E. Caponegro ’78
Steven Carpenter ’87
Claire Carren ’73
Laura Caruso ’86
Shirley Cassara ’71
Catherine Cattabiani ’77
Cassandra Chan ’78
Pola Chapelle ’94
Peter Charak ’71
Laurence J. Chertoff ’78 and
Rose Gasner
Doreen Clark ’78 and
Lewis Copulsky ’79
Jeffrey Clock ’73 and
Elisabeth Armstrong Clock ’74
Mark Cohen ’74
Seth Compton ’02
Hyacinth E. Coopersmith ’48
Mari and Robert M. ’53 Cornell
Sheryl Corshes ’50
Peter Criswell ’89
Karen Cutler ’74
Aisha DaCosta ’96
Michael Damato ’88
Cynthia Maris Dantzic ’54
Jerri Dell ’73
Lisa M. DeTora ’89
Chris Devine ’88
Michael DeWitt ’65
Sarah Dillon ’88
George B. Dobbs ’78
Judy Donner ’59
Dr. Marian Dunn ’60
Obadiah Eaves ’93
Karin Eckert ’87
Nancy Edelstein ’48
Hannah Kit Ellenbogen ’52
Joan Elliott ’67
Gayle Iselin Engel ’75
Monica Escalante ’90
Peter Eschauzier ’62
Deborah Fehr ’77
Naomi B. Feldman ’53
Alfred T. Felsberg ’41*
Brett H. Fialkoff ’88
Dr. and Mrs. Joel Fields ’53
Julie Fischer ’87
Faith Fisher ’95
Cormac Flynn ’90
Lynda Fong ’95
Dylan Ford ’96
Gwynne Fox ’84
Richard G. Frank ’74
Diana Hirsch Friedman ’68
Bonnie Galayda ’78
Suzanne Gallant ’83
Peter Ganick ’68
Percy Gibson ’87
Tara S. Gilani ’77
Alan Glaser ’68
Jane Glover ’69
David Goessling ’74
Eric Warren Goldman ’98
Mr. and Mrs. John Goldsmith ’40
John Goodman ’67
William Gottlieb ’69
Charles Granquist ’68
Sallie E. Gratch ’57
Judith Green ’61
Tracy A. Gregorowicz ’88
Catherine A. Grillo ’82
Merry C. Grissom ’94
Katherine Happ ’01
Rayna Harman ’63
Laura Hawkinson ’99
Jane Heidgerd ’94
Joanne Pines Hersh ’53
Elizabeth Hess ’74
Christine Hillegass ’75
Daniel C. Hillman ’88
Ann Ho ’62
Eric Hoffman ’94
Maggie Hopp ’67
William Hulbert ’69
Carolyn J. Hull ’48
Marya Huseby ’67
Barbara L. Hyman ’53
Earl H. Jackel ’59
Tara G. Johannessen ’89
Rev. Canon Clinton R. Jones ’38
Daniel Josephs ’79
John Juhl ’72
Deborah Davidson Kaas ’71
Douglas Kabat ’68
Elaine Kaplan ’48 and
Armon J. Kaplan ’49
Margery Karger ’55
Rona Keilin ’58
Jessica Post Kemm ’74
Peter ’66 and Barbara Kenner
Rodger Kessler ’71
Pamela Fairbanks Kirkpatrick ’71
Elizabeth Kitsos-Kang ’87
Reynold A. Klein ’78
Joel Kluger ’59
Pamela Dendy Knap ’67
Birgitta Knuttgen ’59
Norbert C. Koenig ’48
Elinor Kopmar ’52
Kenneth Kosakoff ’81
Peter Kosewski ’77
Arlene Krebs ’67
Helaine Kushner ‘53
Sandra Ladley ’78
Deirdre Larson ’97
Adrienne Larys ’67
Bette Levine ’59
Rhoda J. Levine ’53
Jeffrey Levy ’67
Robert Livingston ’71
Michelle A. Lords ’88
Susan Lowenstein-Kitchell ’48
Jacqueline Lowry ’73
Abigail Loyd ’99
Jennifer Lupo ’88
Melina Mackall ’93
Efrem Marder ’73
Robert Marrow ’62
Michelle Dunn Marsh ’95
Kristi Martel ’94
Christopher Scott Martin ’88
Tony Marzani ’68
Melissa Mathis ’88
Julia Mauran ’69
Peter McCabe ’70
Catherine McDowell ’84
Vicki McKinnon ’72
Sally K. McMurray ’48
Michael M. Miller ’63
Deborah Milligan ’72
Sheila M. Moloney ’84
Stephen C. Montgomery ’52
Donald A. ’67 and Ginna H. Moore
Jubilith M. Moore ’91
Barbara Morse ’61
Diana Moser ’85
Paul B. Munson ’47
Linda Murphy ’88
David Mydans ’70
Priscilla Myerson ’67
Charles Naef ’53
Janet R. Nash ’48
Debbie Needleman ’78
Chris Larsen Nelson ’73
Sarah Nisenson ’62
Deborah Nitzberg ’76
Donna Nussinow-Lampert ’79
Blythe Danner Paltrow ’65
Dr. Richard Pargament ’65
Christopher Pennington ’87
Richard Perry ’63
Leslie Phillips ’73
Lorelle Marcus Phillips ’57 and
Roger Phillips ’53
Markus B. Pinney ’78
Susan Playfair ’62
Peter W. Price ’52
Carolyn G. Rabiner ‘76
Allison Radzin ’88
Joyce ’52 and Leonard Reed
Kenneth Reiss ’66
Elizabeth Rejonis ’89
Bryony Renner ’92
Stacey Resnikoff ’90
Joan Rich ’63
Maurice N. Richter ’53
Jacqueline Schultz Riley ’79
Robert A. Ronder ’53
James N. Rosenau ’48
Joann T. Rosenberger-Lang ’48
Amanda Rouse ’94
Emily H. Rubin ’78
Olympia Saint-Auguste ’74
Lucius A. Salisbury Jr. ’48
Barbara Sang ’58
Alvin Sapinsley ’42*
Monroe B. Scharff ’48 and
Edwina K. Scharff ’48
Anita Schnee ’70
Sandra Propp Schwartz ’55
Susan C. Schwartz ’78
George Selmont ’89
Elisabeth Semel ’72
S. William Senfeld ’62*
Karen Shapiro ’78
Melanie Shaw ’98
Marilyn B. Sherman ’78
Charles Sims ’71*
Susan Seidler Skulsky ’74
Carole-Jean Smith ’66
Jenna Smith ’88
Sarah Smith ’93
John Solomon ’58
Carol S. Sonnenschein ’53
Joseph Spagnoli ’85
Eve Stahlberger ’97
Selda Steckler ’48
Marion P. Stein ’48
Billy Steinberg ’72
Joel Stoffer ’87
Peter Stone ’51*
Brian Sullivan ’97
Eve Sullivan ’62
Lindy Sutton ’65
Lance A. Tait ’78
Kornelia Tamm ’00
Frolic Taylor ’70
Naomi Alazraki Taylor ’62
Linda Tyrol ’80
Nan-Toby Tyrrell ’63
Lisa Uchrin ’85
Grace Uffner ’01
Annalee Van Kleeck ’85
Lisa A. Vasey ’84
Winslow Wacker ’82
Walter Waggoner ’39*
Martha D. Wagner ’53
Tara Wagner ’94
John W. Waxman ’62
Marilyn Wechter ’73
Karl Wedemeyer ’55
Adam Weiss ’97
Wendy J. Weldon ’71
George Wellington ’54*
Holly Wertheimer ’73
Zafra Whitcomb ’93
Laura Wickens ’93
Christopher Wienert ’73
Barbara Wigren ’68
Susanne Williams ’92
Bethany Wood ’94
Evan Yerburgh ’96
Jane Young ’61
Jessica Yudelson ’61
Corporations
Bank of New York Company, Inc.
CH Energy Group, Inc.
Historical Society of Princeton
Hudson River Heritage
Key Foundation
Macpherson King Global
Van DeWater and Van DeWater LLP
Faculty and Staff
Chinua and Christie Achebe
Mary I. Backlund
Laura Battle
Burton Brody
Jean Churchill
Laurie Dahlberg
Michèle D. Dominy
Bernard Greenwald
Adolfas Mekas
Elizabeth Shea
Ginger and Stephen Shore
Friends
Susanna Bedell
Herbert Berman
Dr. Anne Botstein
Čapka Family
Darrah Cloud
Hal and Valery Einhorn
Barbara Ettinger and Sven Huseby
R. Mardel Fehrenbach
Allison Fitzgerald
Susan Fowler-Gallagher
Edward and Holli Gersh
Mr. and Mrs. Gardner F. Gillespie
Roberta Goodman
Charles and Madelene Huebner
Dr. Margaret Johns* and
H. Peter Stern
Lorraine Katterhenry
Rose Koplovitz
Alison and John C. Lankenau
James Londagin
James Perry Lunn
Neil McKenzie
Andrew and Kenneth Miron
Barbara Nolan
Carol J. Ockman
Elizabeth J. and Sevgin Oktay
Evelyn Paltrow
Laura Pels
Whitney Quesenbery
Robert B. Recknagel
Albert Reid
David Rockefeller
Margaret Creal Shafer*
Nadine Stearns
Katherine Stewart and
Carlos Gonzalez
Thomas van Straaten
Allan and Ronnie Streichler
Susanna Tanger
Felicitas S. Thorne
Elisabeth F. Turnauer
Julie and Louis Turpin
Robert and Mille Wise
Howard Zipser
Foundations
Arthur Vining Davis Foundations
Armand G. Erpf Fund
Bettina Baruch Foundation
Booth Ferris Foundation
The Cummings-Goldman
Foundation
Gannett Foundation
Kresge Foundation
Millbrook Tribute Garden, Inc.
Jane W. Nuhn Charitable Trust
The Skirball Foundation
Trust for Mutual Understanding
70
71

Government
State of New York,
George E. Pataki, Governor
Senator Stephen M. Saland
Parents
Nancy and Neil R. Austrian
Leslie and Louis Baker
Carolyn Marks Blackwood
Linda Caigan
Mr. and. Mrs. Thomas Case
Deborah and Larry Chernoff
Elizabeth de Lima and Roger Alter
Barbara and Julien Devereux
Robert and Judith Dumont
Leadership
John H. T. Wilson
A. MacDonald Caputo
Barton M. Biggs
Frederick B. Whittemore
Lewis W. Bernard
Friends and Colleagues
Nancy Abramson and Doug Hertz
Maya Ajmera
James M. Allwin
Anonymous
Mr. and Mrs. William J. Armfield IV
Judith Arner
Didi and David Barrett
Eileen Barron
Anson M. Beard
Karen H. Bechtel
Betsey and Lloyd W. Bell III
Jim and Peggy Benkard
Elizabeth and Rodney Berens
Betsy Berg and Joel Fredericks
Dr. Miriam Roskin Berger ’56
Jill and Lewis Bernard
Helen and Robert Bernstein
Ann and Joel Berson
Barton M. Biggs
David H. Blair
Anne and Jim Bodnar
Sarah L. Botstein
Ken Brecher and Pat Dandonoli
Peggy Brill
Anne M. Brimberg
Jennifer Brown
Annie Brumbaugh
Ellen and A. MacDonald Caputo
Miriam H. Carroll
Mr. and Mrs. Russell L. Carson
John K. Castle
Carol and Dexter D. Earle
Richard and Sigrid Freese
Marjorie B. Garwood
Christine Goldberg
Jill J. Hacker
Geraldine Hammerstein
George and Mary Jane Hebron
Susan Hirschhorn and
Arthur Klebanoff
George and Janet Kennedy
Jeffrey and Joannie Levenson
Tamme McCauley
Manuel and Yamila Morales
Dr. and Mrs. Ronald Podell
Nicholas and Susan Pritzker
THE FRIENDS OF RICHARD B. FISHER FUND
March Avery Cavanaugh and
Philip Cavanaugh
Beverly and Herbert Chase
Deborah and Larry Chernoff
Kathleen and Neil Christian
Irja and Frank Cilluffo
Jennifer and Christopher Clark
Mayree C. Clark and Jeffrey Williams
Priscilla and Jonathan M. Clark
Thomas Cole
Bobbi and Barry S. Coller
Susan Conroy
Marella Consolini
Zoe Cruz
D. Ronald Daniel
Robert A. Day
Barbara and Richard Debs
Nancy and J. Hugh Devlin
John A. Dierdorff
Rowena and David Dillon
Christine Donovan
Frances M. Donovan
Patricia A. Doyle
Craig A. Drill
Giovannella B. and Edward Dunn
John E. Eckelberry
Ines Elskop and Christopher Scholz
Elizabeth W. Ely ’65 and
Jonathan K. Greenburg
Herman Engel and Sonya Friedman
R. Bradford Evans
Kirsten Feldman and Hugh Frater
Linda and Robert Feldman
Susannah Fiennes
Barbara D. Finberg
Daniel Fish
Alex Fisher MFA ’96 and
Jennifer Hodges
R. Britton Fisher
Sandra Renner
Drs. M. Susan and Irwin Richman
Steven Jay Sanford and
Sandra A. Sullivan
Mr. and Mrs. Jeff Schwarz
Mr.* and Mrs. Alfred Schweitzman
Jeffrey and Pamella Seemans
Mr. and Mrs. Joel Seldin
Mr. and Mrs. Thomas Tignor
Barbara Tramonte
Henry Tucker
Leslie Uhl
*deceased
Current as of April 20, 2004
Katherine Fisher and Gregg Murphy
Laurie and David Fisher
Mr. and Mrs. Alan H. Fishman
Charles Fiumefreddo
Ann and Robert Freedman
Raymond B. Gary
Peter Gee
Helena and Christopher H. Gibbs
S. Parker Gilbert
James Gillson
The Giordano Group, LTD
Goldberg Lindsay and Company
Eric Warren Goldman
William R. Grant
Richard Grayson
John M. Greenwood
Eva B. Griepp
Betsy Grob
Randall A. Hack
Charles T. Hamm
Bunny Harvey and Frank Muhly
John Havens
Mary Ellen Hawn and
Gates Helms Hawn
Peter Hedges and Susan Bruce
John K. Hepburn
Marieluise Hessel
Karen Brooks Hopkins and
Ronald Feiner
Christine and Richard Horrigan
Al Houghton and Sky Pape
Timothy A. Hultquist
Robert W. Jones
Jill and Michael Kafka
Sylvia and T. Byram Karasu
Anna-Maria and Stephen Kellen
Peter L. Kellner
Paul G. Kimball
Tony Kurz
Madeline and Philip Lacovara
Tracey and Eric Lederer
Thomas H. Lee and Ann Tenenbaum
Hal Lehr
Mimi Levitt
Cynthia Hirsch Levy ’65
James W. Lewis and Beth Herman
William M. Lewis Jr.
Patti and Murray Liebowitz
Jane and Daniel Lindau
Dr. and Mrs. Peter J. Linden
Mr. and Mrs. Walter F. Loeb
Elaine Magenheim and
Marshall Johnson
Jodi Magee
Edward E. Matthews
Barbara and Bowen H. McCoy
Chuck Mee and Michi Barall
Barrant V. Merrill
Mr. and Mrs. Damon Mezzacappa
Joanna Migdal
Caroline Miller and Eric Himmel
Nancy and Joshua Miller
Phoebe Zaslove Milligan
Andrea and Kenneth Miron
Lynn Moffat and James Nicola
Vivien and Donald A. Moore
Anne Donovan Moran and
James V. Ohlemeyer
Martha Moran and Mike Shatzkin
Eileen K. Murray
Naneen H. and Axel M. Neubohn
Robin Neustein
Joan and Lucio Noto
Simon Orme
James H. Ottaway Jr.
Catherine James Paglia and
DONORS TO SUMMERSCAPE
EVENTS IN THIS YEAR’S SUMMERSCAPE
ARE UNDERWRITTEN IN PART BY
SPECIAL GIFTS FROM
Pom Wonderful, LLC
Producers
Anonymous
Carolyn Marks Blackwood
Robert A. Fippinger and Ann Kaplan
Jeanne Donovan Fisher and
Richard B. Fisher
Peter J. Linden
James H. Ottaway Jr.
Toni Sosnoff and Martin T. Sosnoff
The Laurie Tisch Sussman Foundation
Trust for Mututal Understanding
Louis J. Paglia
Vikram S. Pandit
Joseph and Amy Perella
Ellen and Robert Perless
Michael Pierce and Liz Dougherty
Thomas R. Pura and
Sara J. Weinheimer Foundation
Philip Purcell
Charles Reckard and Lucia O’Reilly
Gail Hunt Reeke
Susan and Ned Regan
Elaine and Stanley Reichel
Robert Renfftlen
Drs. M. Susan and Irwin Richman
David Rockefeller
Patience and Charles S. Rockey Jr.
Robert Ruotola and
Theresa O’Hagan
Peter M. Saint Germain
George Sard and Susan Wasserstein
Elizabeth and Carl Schorske
Ruth Schwartz Schwab ’52 and
David E. Schwab II ’52
Rae and H. Marshall Schwarz
Karen and Robert G. Scott
Brealyn Sellers and Bradley Fleisher
Fran and Mike Sheeley
John J. F. Sherrerd
Barbara Siesel and
Mitchell Dorfman
H. Abigail and Parker Silzer
The Simons Foundation
Sire Foundation and BB and
Judson P. Reis
Steve Skoler and Sandra Hornbach
Gordon E. Smith and
Margaret Wright
Directors
Mr. and Mrs. Gary Lachmund
Stage Manager
Ellen Chesler
Members
Alice M. Boyne
Elisabeth Derow
Patricia Falk
Susan M. Ferris
Allan Freedman
Jeffrey E. Glen
James Hayden
John A. James
Laura Kate Kaplan
Sara M. Knight
Melissa and Robert Soros
Susan Weber Soros
Toni and Martin T. Sosnoff
Morgan Stanley
Seth L. Starr
Jean Stein and Dr. Torsten V. Wiesel
Robin and Benjamin Steinman
Lynn Stirrup
Margaret Stitham
Jeannette and J. Arthur Taylor
Felicitas S. Thorne
Elizabeth and James Tilley
Narcissa and John Titman
Eric and Berett Trachtenberg
Paul Verbinnen and Cecilia Greene
Margo and Anthony Viscusi
Stephen R. Volk
Susy and Jack Wadsworth
Peter Waring
Patricia Ross Weis and
Robert F. Weis
Louise and John Wellemeyer
Rosalind Whitehead
Marion and Frederick Whittemore
Julie and Thomas Williams
Laurie Williams and Paul Mullins
Sandy and John H. T. Wilson
Susan Wine
Paul M. Wythes
Deborah and Nicholas Zoullas
Current as of April 20, 2004
Lisa Lancaster
Isaac and Judith Levi
Brice and Helen Marden
Marcuse Pfeifer
Arnold L. Putterman
Blanche and Bruce Rubin
Mr. and Mrs. Bernard D. Sadow
Edith M. and F. Karl Schoenborn
Mr. and Mrs. Dick Schreiber
Ronald D. Segal
Susan Kasen Summer
Jeannette and J. Arthur Taylor
Ellen and Stanley M. Weinstock
Mr. and Mrs. Irwin Kaplan
Beverley D. and Philip T. Zabriskie
72
73

BOARD AND ADMINISTRATION OF BARD COLLEGE
BOARD AND ADMINISTRATION OF THE BARD MUSIC FESTIVAL
Board of Trustees of Bard College
David E. Schwab II ’52, Chairman
Charles P. Stevenson Jr.,
Vice Chairman
Emily H. Fisher,
Second Vice Chairman
Richard B. Fisher, Treasurer
John C. Honey ’39, Secretary
Peter C. Aldrich
Leon Botstein,
President of the College +
David C. Clapp
Marcelle Clements ’69 *
Rt. Rev. Herbert A. Donovan Jr.,
Honorary Trustee
Asher B. Edelman ’61
Elizabeth Ely ’65
Philip H. Gordon ’43 *
Barbara S. Grossman ’73 *
Elizabeth Blodgett Hall,
Life Trustee Emerita
Sally Hambrecht
Ernest F. Henderson III
Marieluise Hessel
Mark N. Kaplan
George A. Kellner
Charles D. Klein ’60
Cynthia Hirsch Levy ’65
Murray Liebowitz
James H. Ottaway Jr.
Martin Peretz
Stanley A. Reichel ’65
Stewart Resnick
Mark Schwartz
Susan Weber Soros
Martin T. Sosnoff
Patricia Ross Weis ’52
William Julius Wilson
* alumni/ae trustee
+ ex officio
Bard College Administration
Leon Botstein, President
Dimitri B. Papadimitriou,
Executive Vice President
Michèle D. Dominy,
Dean of the College
Robert L. Martin,
Vice President for Academic Affairs
James Brudvig,
Vice President for Administration
Debra Pemstein,
Vice President for Development
and Alumni/ae Affairs
Mary Backlund,
Vice President for Student Affairs
Peter Gadsby, Registrar
Mark Loftin,
Director of Special Projects at Bard
Mark Primoff,
Director of Communications
Ginger Shore,
Director of Publications
Fisher Center Advisory Board
Jeanne Donovan Fisher, Chairman
Leon Botstein +
Carolyn Marks Blackwood
Robert A. Fippinger
Richard B. Fisher
Harvey Lichtenstein
James H. Ottaway Jr.
Dimitri B. Papadimitriou +
David E. Schwab II ’52
Martin T. Sosnoff
Toni Sosnoff
+ ex officio
Fisher Center Administration
Jonathan Levi,
Director, Bard SummerScape
Nancy Cook, Managing Director
Mark Primoff,
Director of Communications
Robert Airhart, Production Manager
Paul LaBarbera,
Sound and Video Engineer
Orin Chait, Box Office Manager
Raissa St. Pierre ’87, House Manager
Gianmaria Griglio,
Artistic Administrator
Mark Crittenden, Facilities Manager
Board of Directors
Robert C. Edmonds ’68, Chair
Barbara D. Finberg, Vice Chair
Kenneth R. Blackburn
Schuyler G. Chapin
John A. Dierdorff
Ines Elskop
Jeanne Donovan Fisher
Jonathan K. Greenburg
Paula K. Hawkins
Anne E. Impellizzeri
Christoph E. Kull
Mimi Levitt
Thomas O. Maggs
Joanna M. Migdal
Lucy Miller
Kenneth L. Miron
Christina Mohr
James H. Ottaway Jr.
David E. Schwab II ’52
H. Peter Stern
ABOUT BARD COLLEGE
Felicitas S. Thorne
Anthony Viscusi
Siri von Reis
Rosalind C. Whitehead
E. Lisk Wyckoff
Artistic Directors
Leon Botstein
Christopher H. Gibbs
Robert Martin
Scholar-in-Residence 2004
Laurel E. Fay
Program Committee 2004
Leon Botstein
Laurel E. Fay
Christopher H. Gibbs
Mark Loftin
Robert Martin
Richard Wilson
Irene Zedlacher
Executive Director
Irene Zedlacher
Associate Director
Raissa St. Pierre ’87
Director of Choruses
James Bagwell
Vocal Casting Consultant
Susana Meyer
Production Manager
Eric Swanson
Special Projects
Permele Doyle
Andrea Guido
Vocal Coach/Transliteration
Yelena Kurdina
Bard College is an independent, nonsectarian, residential, coeducational college offering a four-year B.A. program in
the liberal arts and sciences. Bard and its affiliated institutions also grant the following degrees: A.A. at Bard High
School Early College, a New York City public school in Manhattan; A.A. and B.A. at Simon’s Rock College of Bard in
Great Barrington, Massachusetts; B.A. at Smolny College, a joint program with Saint Petersburg State University,
Russia; B.A., M.F.A., M.S. in environmental policy, and M.A. in curatorial studies at the Annandale campus; and M.A.
and Ph.D. in the history of the decorative arts, design, and culture at the Bard Graduate Center in Manhattan.
BOARD AND ADMINISTRATION OF THE AMERICAN SYMPHONY ORCHESTRA
Board of Directors
Robert Fippinger, Chair
Eileen Rhulen, Vice Chair
Dimitri B. Papadimitriou, Treasurer
Mary F. Miller, Secretary
Joel I. Berson
Schuyler G. Chapin
Nomi Ghez
J. William Holt
Jack Kliger
Jan Krukowski
Peter J. Linden, MD
Shirley A. Mueller
Richard L. Plepler
Martin Riskin
Daniel Schiffman
Thurmond Smithgall
L. Stan Stokowski *
*Honorary
Administration
Lynne Meloccaro,
Executive Director
Susana Meyer,
Director of Artistic Administration
Georgia Siampalioti,
Director of Development
Dennis Conroy,
Director of Operations
Chris Schimpf, Director of Marketing
Nicholas J. Bartell,
Marketing Assistant
Ronald Sell,
Orchestra Personnel Manager
Jack Parton, Orchestra Librarian
21C Media Group, Public Relations
CRStager marketing & audience
development, Marketing
Consultant
Karen Walker Spencer,
Graphic Design
Bondy & Schloss LLP, Counsel
Lambrides, Lamos, Moulthroup and
Co., Auditing Services
Situated on 540 acres along the Hudson River, on the grounds of two historic riverfront estates, the main campus of
Bard is 90 miles north of New York City. Bard’s total enrollment is 2,600 students. The undergraduate college,
founded in 1860, has an enrollment of more than 1,300 and a student-to-faculty ratio of 9:1. The College offers more
than 40 academic programs in four divisions.
Published by the Bard Publications Office
Julia Jordan, Assistant Director
Mary Smith, Art Director
Francie Soosman, Designer
Mikhail Horowitz, Editor
Diane Rosasco, Production Manager
©2004 Bard College. All rights reserved. Irene Zedlacher, Executive Director, The Bard Music Festival
Public Relations Office
Mark Primoff, Director of Communications
Emily Darrow, Associate
Darren O’Sullivan, Associate
21C Media Group, Public Relations
74
75

Help sustain innovative summer music
programming in the Hudson Valley
You can help by making a gift to The Bard Music Festival. With your support, we
will continue to explore the life and work of the world’s leading composers and
enjoy outstanding music every summer.
Friend: $100 – $499 Friends receive a contributor’s price on individual tickets for the Bard Music Festival, and their
names are listed in the program.
Sponsor: $500 – $999 Sponsors receive the preceding benefits, a copy of the festival book, and a recording of Richard
Strauss’s Die ägyptische Helena with Leon Botstein conducting.
Patron: $1,000 – $2,499 Patrons receive all of the preceding benefits, plus reserved parking for all Fisher Center performances,
exclusive use of a special telephone line to purchase and reserve tickets, priority seating, and an invitation
to a dinner at a Hudson River home during the festival. Patrons are also invited to postconcert receptions with
musicians throughout the year.
Associate: $2,500 – $4,999 Associates receive all of the preceding benefits, plus an invitation to the Bard Music
Festival Board of Directors dinner on opening night of the festival.
Benefactors: $5,000 and above Benefactors receive all of the preceding benefits, plus a pair of tickets to the
Saturday night orchestra concert during the third weekend of the Bard Music Festival, November 6, 2004, in the
Sosnoff Theater at the Fisher Center, and invitations to special festival events scheduled throughout the year.
Benefactors will also receive the opportunity to underwrite events.
bard music festival
rediscoveries
Please return
your donation to:
The Bard
Music Festival
Bard College
P.O. Box 5000
Annandale-on-Hudson
New York 12504
Enclosed is my check made payable to The Bard Music Festival in the amount of $ .
WEEKEND
THREE
FRIDAY
NOVEMBER 5
program one WORLD WAR II AND ITS AFTERMATH
Dmitrii Shostakovich (1906–75): From Jewish Folk Poetry, Op. 79a
(1948–?64); Symphony No. 7 in C Major, Op. 60, Leningrad (1941)
richard b. fisher center for the performing arts
sosnoff theater
7:00 p.m. Preconcert Talk
8:00 p.m. Performance American Symphony Orchestra,
Leon Botstein, conductor; others TBA
SATURDAY
panel ART IN WARTIME NOVEMBER 6
Participants TBA
olin hall
10:00 a.m. – noon
program two ELECTIVE AFFINITIES:
A MUSICAL AND SPIRITUAL FRIENDSHIP
Dmitrii Shostakovich (1906–75): String Quartet No. 2 in A Major,
Op. 68 (1944); String Quartet No. 3 in F Major, Op. 73 (1946)
Benjamin Britten (1913–76): String Quartet No. 2 in C Major, Op. 36 (1945)
richard b. fisher center for the performing arts
sosnoff theater
1:00 p.m. Preconcert Talk
1:30 p.m. Performance Emerson String Quartet
SHOSTAKOVICH
AND HIS WORLD NOVEMBER 5-7, 2004
program three WORLD WAR II AND ITS AFTERMATH
Dmitrii Shostakovich (1906–75): From Jewish Folk Poetry, Op. 79a
(1948–?64); Symphony No. 7 in C Major, Op. 60, Leningrad (1941)
richard b. fisher center for the performing arts
sosnoff theater
7:00 p.m. Preconcert Talk
8:00 p.m. Performance American Symphony Orchestra,
Leon Botstein, conductor; others TBA
Please charge my: ■ Visa ■ MasterCard ■ AMEX in the amount of $ .
Credit card account number
Expiration date
SUNDAY
NOVEMBER 7
program four MUSIC AND WORLD WAR II
Name as it appears on card (please print clearly)
Works by Dmitrii Shostakovich (1906–75), Sergey Prokofiev (1891–1953),
Paul Hindemith (1895–1963), and Aaron Copland (1900–90)
Address
richard b. fisher center for the performing arts
sosnoff theater
City State Zip code
Telephone (daytime) Fax E-mail
11:00 a.m. Preconcert Panel: “The Fall of Berlin”
2:00 p.m. Performance
All programs and artists are subject to change.

the 2004-2005 season
american symphony orchestra
leon botstein, music director
richard b. fisher center for
the performing arts, bard college:
September 17 & 18, 2004
wagner Tannhäuser Overture and Venusberg (1843-45)
wagner Excerpts from Götterdämmerung (1873-74)
beethoven Symphony No. 7 (1811-12)
February 4 & 5, 2005
brahms Piano Concerto No. 1 (1854-58)
strauss Don Juan (1888-89)
elgar “Enigma” Variations (1898-99)
April 8 & 9, 2005
zwilich Millennium Fantasy for
Piano and Orchestra (2000)
tchaikovsky Romeo and Juliet (1869/80)
shostakovich Symphony No. 5 (1937)
avery fisher hall, lincoln center:
8:00pm Friday, october 15, 2004
complicated friendship
hans pfitzner Palestrina Preludes (1917)
Violin Concerto, Op. 34 (1923)
bruno walter Symphony No. 1 (c. 1907)
3:00pm Sunday, november 14, 2004
beethoven’s pupil
carl czerny
Psalm 130, “Aus der Tiefe rufe ich Herr zu dir” (1840)
Die Macht des Gesanges (1842)
Fantaisie et Variations, for piano and orchestra (1819)
Symphony in D (1814)
3:00pm Sunday, january 16, 2005
revolution 1905
igor stravinsky Feu d’artifice, Op. 4 (1908)
alexander glazunov Song of Destiny, Op. 84 (1908)
nikolai miaskovsky Silentium, Op. 9 (1909)
dmitrii shostakovich Symphony No. 11,
“The Year 1905” Op. 103 (1957)
3:00pm Sunday, february 13, 2005
an operatic rarity
emmanuel chabrier Le roi malgré lui (1887)
8:00pm Friday, march 11, 2005
hans christian andersen
paul klenau Klein Ida’s Blumen Overture (1916)
karel husa The Steadfast Tin Soldier (1974)
igor stravinsky Le Chant du Rossignol (1917)
alexander zemlinsky Die Seejungfrau (1903)
3:00pm Sunday, april 17, 2005
richard strauss choral works
Austria, Op. 78 (1929)
Bardengesang, Op. 55 (1905)
Wandrers Sturmlied, Op. 14 (1884)
Die Tageszeiten, Op. 76 (1928)
Taillefer, Op. 52 (1903)
for tickets and information
Call Monday–Friday: 10am–5pm
(800) 505-1ASO(1276) [Outside New York City]
or (212) 868-9ASO(9276)

Aaron Copland
and His World
Summer 2005
bard music festival
rediscoveries