BMF SHOSTAKOVICH Program04
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ard music festival<br />
rediscoveries<br />
<strong>SHOSTAKOVICH</strong><br />
AND HIS WORLD<br />
AUGUST 13–15 and 20–22, 2004
<strong>SHOSTAKOVICH</strong><br />
AND HIS WORLD<br />
AUGUST 13–15 and 20–22, 2004<br />
Leon Botstein, Christopher H. Gibbs,<br />
and Robert Martin, Artistic Directors<br />
Laurel E. Fay, Scholar-in-Residence 2004<br />
Please make certain the electronic signal on your<br />
watch, pager, or cellular phone is switched off<br />
during performance.<br />
The taking of photographs and the use of<br />
recording equipment are not allowed.
<strong>SHOSTAKOVICH</strong><br />
AS MAN AND MYTH<br />
Throughout his life, Dmitrii Shostakovich explored the theme of the creative<br />
artist versus his critics, satirizing and lamenting the misunderstanding, deprecation,<br />
and torture that are too often the lot of the artist. It was a subject he<br />
came to understand intimately from his own bitter experience. Shostakovich<br />
was to become the showcase victim of the most capricious and merciless critic<br />
of all, Joseph Stalin. Unwittingly, Shostakovich became an enduring symbol—a<br />
myth vital to both his countrymen and to the entire world—of the perilous<br />
position of the creative artist in a totalitarian society.<br />
In an era when perceptions of the moral integrity, political convictions, and, yes,<br />
sexual orientation of creative artists are brought increasingly to bear on the<br />
interpretation of the works they create, Dmitrii Shostakovich (1906–75)<br />
remains a case apart. He was never simply a composer. Alternately lionized and<br />
vilified at Stalin’s cruel whim, Shostakovich was resilient. He was a survivor.<br />
Most important, he demonstrated—a relentless muse and his consummate<br />
professionalism goaded him to show—that art, in his case the ineffably resonant<br />
art of music, could withstand the most inhuman demands and abuses of<br />
repressive regimes. Shostakovich was an inspiration, a cultural icon, a symbol.<br />
Exactly what he symbolized has changed with the times. There has been as<br />
much argument about how his countrymen perceived his career and musical<br />
accomplishments at different periods as there has been among his avid<br />
Western following, especially regarding his complicity (or lack thereof) with<br />
the system that oppressed him. Now, with the triumph of the capitalist ideal<br />
over communism and the demise of the Soviet Union, the reevaluation of<br />
Shostakovich—myth and music—is being tackled with new intensity, even<br />
though the rhetoric, for the most part, is still loaded with political and moral<br />
subtexts scarcely less manipulative than those in play during the Cold War.<br />
What remains unquestioned and, indeed, what has only increased with the<br />
passage of time, is the appreciation of the singular vitality and relevance of<br />
his music.<br />
For many, the author of the Fifth, Seventh (Leningrad), Tenth, and Thirteenth<br />
(Babi Yar) symphonies is an artist who felt the suffering of his people deeply,<br />
who courageously challenged the prohibitive aesthetic restrictions of his<br />
time, to communicate through his music an emotional reality that could not<br />
be expressed any other way. For others, who isolate his patriotic cantatas and<br />
film music, as well as the voluminous number of official speeches and articles<br />
published over his name, Shostakovich betrayed his moral responsibility; as<br />
a lavishly decorated and honored “court” composer, he secured his survival<br />
and his individual artistic license only by collaborating with the system that<br />
repressed him.<br />
In the West, Shostakovich has been made the subject of at least three fictional<br />
portraits: a play (Master Class by David Pownall), a music-theater piece (Black<br />
Sea Follies by Stanley Silverman and Paul Schmidt), and a movie (Testimony,<br />
produced and directed by Tony Palmer, based on the controversial book of<br />
the same title—the “memoirs” as related to and edited by Solomon Volkov).<br />
Needless to say, these glimpses contrast sharply with the pious Soviet<br />
hagiographies, which as a matter of course distorted or suppressed inconvenient<br />
or unpalatable facts.<br />
In reality, of course, Shostakovich was a human being—an enormously gifted<br />
composer, but a complex human being with all the frailties and contradictions<br />
of his less exalted peers. He was not a martyr. Seemingly modest for a man of<br />
his unqualified talent, he could not have anticipated such an undeserved fate.<br />
Obliged for most of his life to walk a tightrope blindfolded without a safety net,<br />
his decisions and errors were understandably human.<br />
Dmitrii Shostakovich was an unlikely candidate for mythology. Physically frail<br />
from his youth, shy, awkward with words, he was always most comfortable with<br />
music. Those who knew him best—and few of those survived the Stalin years—<br />
paint a picture of a very private person who did not open up readily to others.<br />
He had a mischievous sense of humor, an adventurous spirit, and the courage<br />
to stand up and fight for his aesthetic convictions when necessary. He was<br />
interested in a wide range of music, not excluding popular styles, and in his<br />
youth worked more actively in theater and film than in the symphonic medium.<br />
4<br />
5
It was the versatility of his talent, his interest in exploring new horizons and<br />
reaching new audiences, that helped secure his early reputation.<br />
In December 1931, Shostakovich gave an interview to Rose Lee of the New York<br />
Times. He maintained confidently that “there can be no music without an ideology.<br />
The old composers, whether they knew it or not, were upholding a political<br />
theory....We,as revolutionists, have a different conception of music. Lenin<br />
himself said that ‘music is a means of unifying broad masses of people.’ ...Not<br />
that Soviets are always joyous, or supposed to be. But good music lifts and<br />
heartens and lightens people for work and effort. It may be tragic but it must<br />
be strong. It is no longer an end in itself, but a vital weapon in the struggle.<br />
Because of this, Soviet music will probably develop along different lines from<br />
any the world has ever known. There must be a change!”<br />
There is no reason to doubt the sincerity of Shostakovich’s political or aesthetic<br />
convictions at the time. He was not an elitist composer. He was a patriot with a<br />
deep commitment to his people and culture. Along with a number of other<br />
artists, including the theater director Vsevolod Meyerhold and the film director<br />
Sergey Eisenstein, he was endeavoring to create a progressive new art necessary<br />
and appropriate to the new socialist reality. That art did not exclude overt propaganda;<br />
for the climaxes of his Second (Dedication to October) and Third (The<br />
First of May) symphonies, for instance, Shostakovich used a chorus to deliver<br />
stirring idealistic texts.<br />
Not all his attempts met with success, but Shostakovich did not abandon his<br />
efforts or limit his horizons. A song from his 1932 score to the film Counterplan<br />
became an instant hit; during World War II, with a new text by Harold Rome, it<br />
became a rallying anthem for the Allied nations. When his second opera, Lady<br />
Macbeth of the Mtsensk District, reached the stage in 1934, it played for two<br />
years to packed houses in Moscow and Leningrad and was hailed as the first<br />
significant opera of the Soviet period.<br />
On January 26, 1936, Stalin went to see Lady Macbeth and two days later, the<br />
official government newspaper, Pravda, published an unsigned editorial called<br />
“Muddle instead of Music” that would change the course of Shostakovich’s life<br />
as well as that of Soviet music. More than a bad review, it amounted to a statement<br />
of official policy with respect to the arts, and the first practical application<br />
in music of the doctrine of Socialist Realism. The article also made an unmistakable<br />
threat:“This game may end badly....The peril of such distortions for Soviet<br />
music is clear. Leftist monstrosities in the opera are derived from the same<br />
sources as leftist monstrosities in art, in poetry, in pedagogy and in science.” A<br />
campaign of vilification followed.<br />
Although he followed the critical debate actively—carefully compiling a 90-page<br />
album of clippings—Shostakovich made no public answer to the charges, nor did<br />
he ever repudiate Lady Macbeth. Confused, hurt, and with a wife and his first child<br />
to support—his daughter Galina was born in May 1936—Shostakovich dropped<br />
out of the limelight for nearly two years. He continued composing, completing<br />
his Fourth Symphony (and withdrawing it before its premiere) and starting the<br />
Fifth, writing music for theater and film and romances on poems by Pushkin.<br />
In November 1937, Shostakovich’s Fifth Symphony was given its successful premiere<br />
by Yevgeny Mravinsky in Leningrad, a milestone that marked the beginning<br />
of the composer’s return to official grace. The symphony was extensively discussed<br />
and praised in print, and Shostakovich published “My Creative Answer,” his<br />
first public response to the events of the preceding two years: “Among the<br />
reviews, which have frequently and very thoroughly analyzed this work, one gave<br />
me special pleasure, where it said that the Fifth Symphony is the practical creative<br />
answer of a Soviet artist to just criticism.” Shostakovich’s “answer” was very<br />
guarded and delayed until after the symphony had already been vetted by the<br />
Communist Party organization, music professionals, and the public. It is the<br />
source of one of the original myths about Shostakovich that he subtitled his Fifth<br />
Symphony “A Soviet Artist’s Reply to Just Criticism.” Shostakovich was not a fool;<br />
his professional and political standing was not so secure that he could risk second-guessing<br />
the reception and success of his new work. And this was not a patriotic<br />
cantata or oratorio; it was an abstract piece of music without text or program.<br />
Originated by an anonymous critic, the catchy phrase “A Soviet Artist’s Reply to<br />
Just Criticism” took on a life of its own.<br />
This was only the first occasion in Shostakovich’s life when self-defense would<br />
prove hopeless or suicidal. Many friends and colleagues fell victim to Stalin’s<br />
purges, others were victims of the siege of Leningrad and the war. The composer’s<br />
elder sister was exiled and his mother-in-law served time in the camps.<br />
Shostakovich learned from firsthand experience the need to keep his own counsel.<br />
He spoke of his music only with great reluctance, steering interlocutors to the<br />
music itself, leaving its interpretation and the extrapolation of any meanings,<br />
either obvious or “between the lines,” to critics, musicologists, and, ultimately, to<br />
his listeners. Knowing that music communicates on many different levels,<br />
Shostakovich refused to clarify or dictate the manner in which he wanted his<br />
music to be perceived.<br />
During World War II, the internal political strife of Soviet society, as deadly as it<br />
had become, paled before the patent threat to national survival. Prohibited from<br />
enlisting for active duty in his country’s defense and evacuated against his will<br />
from besieged Leningrad, Shostakovich served his country in the manner he<br />
knew best. The symbolic significance of his Seventh Symphony, the Leningrad<br />
Symphony—his spontaneous and highly charged response to Nazi invasion—is<br />
6<br />
7
hard to overestimate. As perhaps never before in history, a piece of music<br />
fulfilled the mission—both for his countrymen and for the Western Allies—<br />
as a galvanizing force, a source of heroic inspiration and resolve.<br />
Shostakovich’s very success in gauging and fulfilling the needs of his listeners<br />
was his personal downfall. The respect in which he was held by the international<br />
community and the influence that his music and stature exerted on<br />
other Soviet musicians made him, in 1948, the prime target of the renewed<br />
bout of cultural purges spearheaded by Stalin’s henchman, Andrey Zhdanov.<br />
Subjected to the most vicious, destructive, and irrational attacks of petty<br />
bureaucrats and opportunists—who had the full backing of the Party—<br />
Shostakovich could not hide. Never a status-seeking composer, never a social<br />
dissident, in order to survive he was obliged to swallow the last vestiges of<br />
pride and to embrace the criticism with gratitude.<br />
In the post-Stalin period, powerless to reject the role of public figure<br />
thrust upon him and visibly uncomfortable in the spotlight, Shostakovich<br />
nevertheless fulfilled his civic duties scrupulously. He served as an elected<br />
legislator, an official in the Union of Composers, a delegate to national and<br />
international congresses. He received untold honors and awards. In 1960,he<br />
became a member of the Communist Party. At the price of a personal sacrifice<br />
that is hard to calculate, he adopted a policy of nonresistance to his<br />
manipulation as a mouthpiece of the system. It is no secret that the platitudinous<br />
rhetoric he routinely delivered at official gatherings and the<br />
sometimes strident articles published over his signature were penned by<br />
others. Even so, to draw an absolute distinction between the pose he<br />
assumed and the truth of his inner convictions is extremely difficult. If he<br />
gave voice to the indignation and protest that so many wanted to hear<br />
him utter, it was through the language of music. Even here the signals<br />
could be mixed: while the philosophical reflections of his late symphonies,<br />
song cycles, and chamber works were haunting, he continued to compose<br />
music in a wide variety of genres, from a lighthearted musical comedy to<br />
settings of patriotic poetry and accessible film scores.<br />
Modest and unpretentious, Shostakovich was genuinely touched by the devotion<br />
to his music of some of the finest performers of his era, including Yevgeny<br />
Mravinsky, the Beethoven Quartet, David Oistrakh, Galina Vishnevskaya, and<br />
Mstislav Rostropovich. He viewed the performer with utmost respect as an<br />
essential collaborator in the creative process. Through direct involvement with<br />
the creation of his music, performers came as close to seeing the real<br />
Shostakovich as anyone could. Rostropovich has recalled that when he broke the<br />
news to the composer that he intended to leave the U.S.S.R. for good,<br />
Shostakovich “immediately started crying. He said, ‘In whose hands are you<br />
leaving me to die?’” Yet Shostakovich apparently never considered emigration a<br />
viable option.<br />
Not long before his death, Shostakovich agreed to an interview conducted by his<br />
son Maxim for a television documentary. Clearly uncomfortable before the camera<br />
even with his son, the elder Shostakovich’s reminiscences—elicited by showing<br />
him pictures of the past—were awkward and distanced, revealing little sense<br />
of emotional involvement. But the physical debilitation caused by years of illness<br />
and the unspoken torments of his inner world were vividly imparted: not through<br />
his words, but in the pathetically hunched shoulders, in the unrelenting nervous<br />
fidgeting, in the suffering etched on his face.<br />
—Laurel E. Fay, Scholar-in-Residence 2004<br />
If he never regained the self-assurance to challenge his own lot in life,<br />
Shostakovich did use his influence to help others in inconspicuous but significant<br />
ways. He campaigned for the rehabilitation of less fortunate victims<br />
of Stalin’s terror. He encouraged, directly and indirectly, young<br />
composers to pursue their individual paths. A non-Jew, he made impassioned<br />
musical protests against the anti-Semitism prevalent in his culture.<br />
The poet Yevgeny Yevtushenko has recalled the feeling of honor and vindication<br />
he felt in 1962 when, under fierce attack from the literary establishment<br />
for the publication of his “Babi Yar,” the great Shostakovich<br />
unexpectedly telephoned him to ask permission to set the poem to music.<br />
8<br />
9
1894<br />
Nicholas II ascends Russian<br />
throne<br />
1894–1903<br />
Minister of Finance Serge Witte<br />
leads major drive to develop<br />
industry and railroads<br />
1896<br />
Khodynka Fields catastrophe:<br />
more than 1,000 people crushed<br />
to death during coronation<br />
festivities<br />
1896–97<br />
St. Petersburg textile strikes<br />
1898<br />
Formation of Russian Social<br />
Democratic Workers’ Party<br />
(R.S.D.W.P.)<br />
1903<br />
Social Democrats split into<br />
Bolsheviks (under Lenin) and<br />
Mensheviks (under Martov);<br />
Kishinev anti-Semitic pogroms<br />
WEEKEND<br />
ONE<br />
FRIDAY<br />
AUGUST 13<br />
program one DMITRII <strong>SHOSTAKOVICH</strong>:<br />
THE MAN AND HIS WORK<br />
richard b. fisher center for the performing arts<br />
sosnoff theater<br />
8:00 p.m. Preconcert Talk Leon Botstein<br />
8:30 p.m. Performance<br />
Dmitrii Shostakovich (1906–75)<br />
Three Fantastic Dances, Op. 5, for piano (1920–22)<br />
March in C Major<br />
Waltz in C Major<br />
Polka in C Major<br />
From Twenty-four Preludes and Fugues, Op. 87 (1950–51)<br />
No. 1 in C Major<br />
No. 3 in G Major<br />
Dénes Várjon, piano<br />
Piano Trio No. 2 in E Minor, Op. 67 (1944)<br />
Andante. Moderato<br />
Allegro con brio<br />
Largo attacca<br />
Allegretto<br />
Claremont Trio<br />
“Song of the Counterplan,” from Counterplan,Op.33 (1932)<br />
Andrey Antonov, bass<br />
Anna Polonsky, piano<br />
Four Songs on Texts of Dolmatovsky, Op. 86 (1950–51)<br />
The Motherland Hears<br />
Rescue Me<br />
He Loves Me, He Loves Me Not<br />
Sleep, My Darling Boy<br />
Lauren Skuce, soprano<br />
Anna Polonsky, piano<br />
Preface to the Complete Edition of My Works and a Brief Reflection<br />
Apropos of this Preface, for bass and piano, Op. 123 (1966)<br />
Andrey Antonov, bass<br />
Anna Polonsky, piano<br />
String Quartet No. 11 in F Minor, Op. 122 (1966)<br />
Introduction: Andantino<br />
Scherzo: Allegretto<br />
Recitative: Adagio<br />
Etude: Allegro<br />
Humoresque: Allegro<br />
Elegy: Adagio<br />
Finale: Moderato<br />
Bard Festival String Quartet<br />
intermission<br />
Suite for Jazz Orchestra No. 1 (1934)<br />
Waltz<br />
Polka<br />
Foxtrot<br />
Bard Festival Chamber Players<br />
Gianmaria Griglio, conductor<br />
PROGRAM ONE NOTES<br />
This program brings together some of the most strikingly disparate items in Shostakovich’s oeuvre. We<br />
begin with the Three Fantastic Dances, Shostakovich’s first published work, which does not yet reveal the<br />
stature Shostakovich was soon to attain. The Twenty-four Preludes and Fugues present Shostakovich the<br />
classicist: the self-imposed task of engaging with forms and genres of the past not only gave the composer<br />
the satisfaction of competing with Bach on the technical level, but also enabled him to create new<br />
layers of meaning through his allusions to familiar idioms. The Jazz Suite demonstrates how well<br />
Shostakovich was able to assimilate the popular music of his day, but instead of producing a grotesque<br />
distortion for the higher purposes of art music, à la Mahler, he is able to enjoy the popular genres on<br />
their own level.“The Motherland Hears,” from the Dolmatovsky cycle, and the “Song of the Counterplan”<br />
10 11
1904<br />
Trans-Siberian Railway<br />
completed (begun 1891)<br />
1904–05<br />
Russo-Japanese War<br />
1905<br />
“Bloody Sunday” (January 9): beginning<br />
of the first Russian revolution; widespread<br />
disturbances throughout the<br />
country during the summer; Nicholas II<br />
issues the October Manifesto promising<br />
representative assembly and civil<br />
liberties (October 17)<br />
1906<br />
Convocation of the Duma, Russia’s<br />
first representative assembly<br />
(May 10); Pyotr Stolypin appointed<br />
Prime Minister<br />
Dmitrii Shostakovich born in<br />
St. Petersburg on September 25<br />
Large street demonstration during<br />
the 1905 Revolution<br />
both offer an insight into Shostakovich as a successful official composer who could be heard every day<br />
on the radio in every Soviet workplace and household. And finally, we see Shostakovich as a great tragic<br />
artist in the two memorial pieces: the Second Piano Trio was composed in memory of Ivan Sollertinsky<br />
(1902–44), and the Eleventh Quartet in memory of Vassily Shirinsky (1901–65). Sollertinsky was one of<br />
Shostakovich’s closest friends during the 1930s; a brilliant historian and music critic, he was largely<br />
responsible for fostering Shostakovich’s fascination with Mahler and thus played an important role in<br />
shaping the composer’s mature style. As Stalin’s purges began, they were both interrogated as friends of<br />
the deposed Marshal Mikhail Tukhachevsky; the marshal was executed in 1937, but both musicians narrowly<br />
escaped arrest. Sollertinsky’s early death from heart failure was a great shock to the composer.<br />
Shirinsky was the first violinist of the Beethoven Quartet, which premiered most of Shostakovich’s quartets.<br />
Compared to the Trio, the Eleventh Quartet is more concise and restrained, the humor rather more<br />
chilling; its dense, elliptical manner is characteristic of Shostakovich’s late works.<br />
Three Fantastic Dances, Op. 5<br />
These relatively modest piano pieces show us a composer well grounded in compositional technique<br />
and clearly interested in new music—Prokofiev’s Visions fugitives were probably Shostakovich’s main<br />
model; there are also distinct references to popular genres. All three features characterize the more<br />
ambitious pieces of Shostakovich’s early career.<br />
From Twenty-four Preludes and Fugues, Op. 87<br />
Impressed by the performances of Bach’s entire “48” by the young Soviet pianist Tatyana Nikolayeva,<br />
Shostakovich decided to create his own cycle of preludes and fugues in every key. Most of the pieces are<br />
quite transparent in their texture and some even hint at Russian folk song idioms, which should have<br />
ensured their official approval; nevertheless, they were initially rejected by the Union of Composers on<br />
grounds of “formalism.”This decision was soon reversed, thanks to the cycle’s enthusiastic advocacy by<br />
leading Soviet pianists; since then, Shostakovich’s Preludes and Fugues have found a well-deserved<br />
place as core repertoire for pianists of all countries.<br />
Piano Trio No. 2 in E Minor, Op. 67<br />
This work, like the Piano Quintet and Cello Sonata, is an essay in neoclassicism, both in the transparency<br />
of the formal design and in the style of its thematic material. Shostakovich’s neoclassicism,<br />
however, inherited neither the frivolity of the French, nor the academic bent of the German variety, and<br />
the clear formal outlines only render the tragic force of the music more direct and powerful. The first<br />
movement begins with a slow introduction, the cello’s ethereal harmonics sounding higher than the<br />
violin’s response. This theme, initially reminiscent of Russian folk song, is developed contrapuntally and<br />
then, in a faster version, opens the main, allegro section of the movement. The dazzling Scherzo that<br />
follows vacillates between straightforward good humor and darker grotesqueries. The third movement<br />
is in stark contrast: a stern chord progression is announced in the piano, signaling the beginning of a<br />
baroque passacaglia form, one of Shostakovich’s favored vehicles for high tragedy. Six unchanging<br />
statements of the progression underpin the flowing, expressive funeral lament in the strings. The<br />
finale, based on a grotesque presentation of klezmer-style tunes, is a chilling danse macabre. Toward<br />
the end, however, this mood is twice dispelled by reminiscences: first, the slow theme of the introduction,<br />
which now soars over stormy piano writing, and then the final return of the passacaglia theme.<br />
Suite for Jazz Orchestra No. 1<br />
In spite of its name, Shostakovich’s Jazz Suite No. 1 contains little that a modern listener would associate<br />
with jazz. This was not a personal eccentricity, since the Russian use of the word “jazz” in the 1920s<br />
and 1930s extended its scope to any popular genre emanating from the West. Shostakovich’s taste for<br />
such popular music made him vulnerable to attacks during the “fight against the foxtrot” instigated by<br />
the advocates of so-called proletarian art (“foxtrot” was a derogatory umbrella term). This gave rise to<br />
the first instance of Shostakovich making an official statement against his own inclinations for the<br />
sake of his career: he denounced the foxtrot trend in Soviet musical life and tried to dissociate himself<br />
from his celebrated Tahiti Trot (an arrangement of Vincent Youman’s “Tea for Two”). During the early<br />
1930s, the Stalinist state disbanded the “proletarianist” organizations responsible for such pressures,<br />
and a liking for Western-style popular music was no longer cause for shame. Stalin personally overruled<br />
the initial ban on the film Merry Fellows (1934), which featured the comic adventures of a jazz band as<br />
it worked its way up from obscurity to fame. Shostakovich’s suite of three jazz numbers was composed<br />
in this more relaxed atmosphere. The Waltz, with its wistful tune, follows the style of various popular<br />
hits played by bands in parks and gardens. The Polka is more agitated, and a little grotesque, owing to its<br />
roots in the circus-music tradition. The closing Foxtrot, with its dramatic changes and its oddly shifting<br />
harmonies, is the most artful of the three pieces, as if Shostakovich wanted to lavish special attention<br />
on this formerly despised dance.<br />
“Song of the Counterplan,” from the film Counterplan, Op. 33<br />
This song became Shostakovich’s first official hit. The film Counterplan, directed by Friedrich Ermler and<br />
Sergey Yutkevich, was much admired by Stalin himself. The rather bureaucratic title does nothing to<br />
suggest the uplifting and cheery character of the lyrics, which address a young woman as she wakes,<br />
telling her that in the day that awaits her she can rejoice in the joys of labor and love. The song was<br />
heard by generations of Soviet early risers on the radio each morning. It also became popular for a time<br />
in the United States owing to its use in the film Thousands Cheer (1943), where it appeared with new<br />
lyrics as “United Nations.”<br />
Four Songs on Texts of Dolmatovsky, Op. 86<br />
Although Yevgeny Dolmatovsky (1915–94) was by no means an artist of any profundity, he undoubtedly<br />
had a talent for clothing civic subjects in lyrical garb, thus providing welcome relief from the normal<br />
pomposity of Socialist Realist verse. The first song, “The Motherland Hears,” uses one of these quietly<br />
12 13
1907<br />
1907–09<br />
1911<br />
1912–17<br />
1913<br />
Childhood<br />
Convocation of the Second and Third<br />
Stolypin attempts agricultural<br />
Assassination of Stolypin<br />
Fourth Duma<br />
Tercentenary of the House<br />
Duma; Stolypin coup d’etat (June 3);<br />
reforms designed to promote<br />
(September)<br />
of Romanov<br />
change of electoral law and curtail-<br />
private ownership of land and<br />
ment of civil liberties<br />
modernize agriculture<br />
civic texts, somewhat unusual in its imaginative avoidance of the standard four-square rhyme scheme.<br />
Shostakovich provided the simplest of settings, and the remarkable success of his song was probably<br />
due more to luck than any intrinsic virtues of the setting: Dolmatovsky’s fanciful idea that the song could<br />
serve as a pilot’s “beacon” was transformed into exciting reality when Yuri Gagarin sang it upon his<br />
return from the first manned space flight—heard by millions of Soviet listeners. The first phrase of the<br />
song was soon adopted as the call sign of the principal Soviet radio station, imprinting the melody in the<br />
mind of almost every citizen of the Soviet Union. The other three songs of the cycle share the same lyric<br />
approach to civic subjects; however, they had no such lucky circumstances to lift them out of obscurity.<br />
Preface to the Complete Edition of My Works and a Brief Reflection Apropos of this Preface,Op.123<br />
Shostakovich, discomfited by the heavy solemnity of the official celebrations marking his 60th birthday,<br />
penned this strange satirical piece in response. Appropriating a well-known Pushkin epigram, he managed<br />
to satirize his own unstoppable productivity (at the time when the younger generation of composers<br />
saw this as a vice rather than a virtue). Then in the “brief reflection” that follows, he poked fun at his own<br />
musical signature DSCH (which had become ubiquitous in his recent works), and also at the string of official<br />
titles and honors he had been awarded as a leading Soviet artist.The piece was even performed in one<br />
of the anniversary concerts, as if the composer were raising his hands in gentle rebuff at excessive praise.<br />
String Quartet No. 11 in F Minor, Op. 122<br />
In this Quartet, Shostakovich abandons the form of a classical cycle, presenting instead a succession of<br />
short movements played without a break—a form that looks back to developments in the 1920s. These<br />
movements are ingeniously unified: the introduction features a theme with repeated notes and characteristic<br />
rhythm (short–short–long), which reappears in various guises in each of the following movements.<br />
The quartet is therefore akin to a set of variations, and Shostakovich evidently delighted in the<br />
unexpected transformations his theme undergoes: at one moment a solemn chorale, at another a raucous<br />
dance, and elsewhere a doleful funeral march. The “cuckoo” ostinato of the humoresque section is<br />
most likely a reference to an old Russian superstition: those who hear the cuckoo can discover how<br />
many years they still have to live by counting the number of calls.<br />
—Marina Frolova-Walker<br />
program two THE FORMATIVE YEARS<br />
olin hall<br />
1:00 p.m. Preconcert Talk Robert Martin<br />
1:30 p.m. Performance<br />
Igor Stravinsky (1882–1971)<br />
Three Pieces for String Quartet (1914)<br />
No. 1<br />
No. 2<br />
No. 3<br />
Colorado String Quartet<br />
Mikhail Gnesin (1883–1953)<br />
Song of a Knight Errant,Op.28 (1928)<br />
Andante<br />
Poco più mosso<br />
Colorado String Quartet<br />
Sara Cutler, harp<br />
Aleksandr Glazunov (1865–1936)<br />
From Four Preludes and Fugues, Op. 101 (1918–23)<br />
No. 2 in C-sharp Minor<br />
Dénes Várjon, piano<br />
Sergey Prokofiev (1891–1953)<br />
Piano Sonata No. 3 in A Minor, Op. 28, “From Old Notebooks” (1917)<br />
Allegro tempestoso. Moderato. Allegro tempestoso<br />
Dénes Várjon, piano<br />
SATURDAY<br />
AUGUST 14<br />
panel one CONTESTED ACCOUNTS:<br />
THE COMPOSER’S LIFE AND CAREER<br />
Leon Botstein, moderator<br />
Malcolm Hamrick Brown; Laurel E. Fay; Elizabeth Wilson<br />
olin auditorium<br />
10:00 a.m. – noon<br />
Dmitrii Shostakovich (1906–75)<br />
Piano Trio No. 1 in C Minor, Op. 8 (1923)<br />
Andante. Allegro. Moderato. Allegro<br />
Claremont Trio<br />
intermission<br />
14 15
1914–18<br />
First World War<br />
1915<br />
Starts piano lessons with his<br />
mother, first compositions<br />
1916<br />
Rasputin murdered<br />
(December 17)<br />
Rasputin<br />
1917<br />
February revolution (February–March); abdication of Nicholas II (March 2)<br />
and the fall of the Russian monarchy; creation of the Provisional Government;<br />
Enters Glyasser’s School of Music<br />
Lenin’s return to Russia (April 2); October–November: Bolsheviks overthrow<br />
the Provisional Government and establish communist dictatorship; abolition<br />
of civil liberties and freedom of the press; ban on opposition parties<br />
PROGRAM TWO NOTES<br />
Aleksandr Skriabin (1871–1915)<br />
Piano Sonata No. 9,Op.68, “Black Mass” (1912–13)<br />
Moderato quasi Andante. Molto meno vivo. Allegro.<br />
Più vivo. Allegro Molto. Alla Marcia. Più vivo. Allegro.<br />
Più vivo. Presto. Tempo I<br />
Dénes Várjon, piano<br />
Maximilian Shteynberg (1883–1946)<br />
Four Songs, Op. 14 (1924) (Tagore)<br />
I Will Care for the Grass<br />
No Quiet and No Peace<br />
When She Walked by<br />
Oh, Say Why<br />
William Ferguson, tenor<br />
Anna Polonsky, piano<br />
Dmitrii Shostakovich<br />
Two Fables of Krylov, Op. 4 (1922)<br />
The Dragonfly and the Ant<br />
The Ass and the Nightingale<br />
Jessie Hinkle, mezzo-soprano<br />
Anna Polonsky, piano<br />
Dmitrii Shostakovich<br />
Prelude and Scherzo, Op. 11, for string octet (1924)<br />
Colorado String Quartet<br />
Bard Festival String Quartet<br />
None of the three Shostakovich pieces in this program sounds like the composer in his maturity. The<br />
Krylov Fables are still well within the 19th-century Russian tradition of comic song, and the Trio is beautifully<br />
written in a late-Romantic style; the Octet is another matter, since it forges ahead in a fully modernist<br />
idiom that disappeared from Shostakovich’s work after the 1920s. The two more backward-looking<br />
pieces were a necessary part of Shostakovich’s assimilation of the past, while the Octet was one of a<br />
series of works that caused consternation for his teachers at the Petrograd Conservatory. To allow us to<br />
form an idea of these tensions, some songs by Shostakovich’s composition teacher, Maximilian<br />
Shteynberg, are included in the program (he was Rimsky-Korsakov’s pupil and son-in-law). The director<br />
of the Conservatory, Aleksandr Glazunov, is also represented in the program—he never advanced beyond<br />
the very polished style he had perfected more than two decades earlier. Shostakovich was clearly absorbing<br />
influences from outside the Conservatory, and the remainder of the program reflects this. The cult of<br />
Skriabin, still very strong in post-Revolutionary Russia, affected Shostakovich on a technical level (in his<br />
First Piano Sonata, for example), but he was temperamentally too remote from the mystical Skriabin to<br />
join this camp. Prokofiev’s modernism was a more congenial influence, both in its neoclassical and<br />
grotesque aspects, and it can be seen as one of the foundation stones in the creation of Shostakovich’s<br />
mature style. Stravinsky’s influence became noticeable only later, in the 1930s, when Shostakovich fell in<br />
love with the Symphony of Psalms. Finally, the “Jewish” strand, represented here by Gnesin’s piece, only<br />
emerged in Shostakovich’s works of the 1940s.<br />
Igor Stravinsky<br />
Three Pieces for String Quartet<br />
Stravinsky wrote this short cycle soon after his move to Switzerland, when his musical thinking still had<br />
pronounced Russian tendencies. The first piece is an imitation of an “endless” dance, whose brief<br />
melody is close to Russian folk types. The music of the Russian Orthodox liturgy, alternating between<br />
solo recitation and choral response, is reflected in the third piece. In both these pieces, very simple<br />
melodic material is given the dissonant modernist treatment characteristic of Stravinsky’s work at this<br />
time. The unpredictable twists and turns of the second piece look back to Petrushka, although<br />
Stravinsky cited the celebrated English clown “Little Titch” as his direct inspiration.<br />
Mikhail Gnesin<br />
Song of a Knight Errant,Op.28<br />
After visiting Palestine in the second decade of the 20th century, Mikhail Gnesin enthusiastically<br />
refashioned himself as a Jewish national composer. The Song of a Knight Errant, bearing the subtitle “In<br />
Memory of the Minnesinger Süsskind of Trimberg,” combines stereotypical “medieval” and “Jewish”<br />
musical elements. Its siciliano rhythm, light modal touches, and general melancholy are reminiscent of<br />
Musorgsky’s Il vecchio castello from the Pictures at an Exhibition. At the same time, the modal writing<br />
is elaborated with certain characteristic melodic touches and improvisatory figurations in the strings,<br />
providing the composer with the desired Jewish component.<br />
Aleksandr Glazunov<br />
From Four Preludes and Fugues, Op. 101<br />
After Glazunov became director of the St. Petersburg Conservatory in 1905, he set about his new duties<br />
with enthusiasm, to the detriment of his compositional output. He steered the Conservatory ably<br />
through the Civil War period and remained in charge during the restructuring of the institution in the<br />
early 1920s—because the musicians around him complained that his music had fallen well behind the<br />
times, he perhaps felt that this work would be better appreciated. While many of the students who<br />
16 17
1918<br />
Lenin disbands the Constituent<br />
Assembly in January; separation of<br />
state and church; Trotsky announces the<br />
end of war with Germany (February 10);<br />
first Soviet constitution<br />
1918–21<br />
Civil War<br />
Street demonstration with<br />
“Communism” banner<br />
Trotsky addressing a crowd that<br />
included members of the middle and<br />
professional classes<br />
studied during his directorship complained about the burden of obligatory fugue writing (Shostakovich<br />
was no exception), Glazunov demonstrated in these pieces that excitement could still be injected into<br />
the old genre. The Four Preludes and Fugues are monumental pieces, where contrapuntal mastery is<br />
combined with Romantic gestures and textures. In the C-sharp minor pair, the whimsical prelude is contrasted<br />
with a weighty fugue, although both are based on the same material.<br />
Sergey Prokofiev<br />
Piano Sonata No. 3 in A Minor, Op. 28, “From Old Notebooks”<br />
Prokofiev completed this sonata as the October Revolution unfolded beneath his window. While it is<br />
tempting to see this as the inspiration for such a turbulent piece, the melodic material had been written<br />
years before, and the motoric style was already a Prokofiev trademark. The Sonata is in one movement,<br />
largely in a virtuosic and mercurial toccata manner, and with frequent harsh dissonances and<br />
grotesqueries. The only island of repose is the beautiful second theme, which is developed at length<br />
almost as if it were a separate slow movement; the main motif E–C–H(B)–E was derived from the name<br />
of a female admirer. This motif returns, transformed, in the violent development, and in the recapitulation<br />
it is almost unrecognizable—its original calm is banished as the Sonata hurtles to its close.<br />
Dmitrii Shostakovich<br />
Piano Trio No. 1 in C Minor, Op. 8<br />
This Trio belongs to Shostakovich’s Conservatory years and, although performed at the time in a student<br />
concert, it remained unpublished until after his death. There is only one movement, a self-sufficient<br />
sonata form with a substantial introduction and coda, following the Romantic tradition of Liszt<br />
and others. The introduction begins with a wistful motif, stated by each player in turn, surrounded by<br />
meandering harmonies; a livelier episode prepares the way for the Allegro. The Allegro’s opening theme<br />
owes much to Prokofiev, although it also foreshadows Shostakovich’s grotesque manner. The second<br />
theme is lushly Romantic, its broad melody and soft accompaniment in parallel triads pointing toward<br />
Rachmaninoff. It is this theme that eventually crowns the piece in a lyrical apotheosis, a fitting ending<br />
for a work that Shostakovich dedicated to his first love, Tatyana Glivenko.<br />
Aleksandr Skriabin<br />
Piano Sonata No. 9,Op.68, “Black Mass”<br />
The nickname “Black Mass” is not Skriabin’s own, but he was known to like it, and it prompted him to<br />
discuss what he saw as the “satanic” qualities of the piece. He said the opening was an induction into a<br />
world of darkness. A repeated-note motive then emerges, which he considered a satanic “incantation,”<br />
while the lyrical second subject exuded “evil charms.” The development and recapitulation surge forward<br />
in a single wave. Skriabin, in his own performances, rushed through the beginning of the recapitulation<br />
the sooner to reach his climactic point, where the second subject is transformed into a “march<br />
of evil forces.” Defying tonality but absolutely clear in its use of sonata form, this work is a tour de force.<br />
Maximilian Shteynberg<br />
Four Songs, Op. 14<br />
The Four Songs on verses by Rabindranath Tagore (1861–1941) present Shteynberg as an accomplished<br />
artist still clinging to certain late- and post-Romantic styles regarded as “decadent” by many of his contemporaries.<br />
The poems are opulent symbolist texts, rich in metaphor and erotically charged. The first is<br />
a celebration of love, the second longs for the unattainable and remote, the third portrays the first flutter<br />
of desire, while the final song warns mysteriously of a darker future. All of these themes are perfectly<br />
suited to Shteynberg’s rich Skriabinesque harmony, his echoes of sultry Russian and French Orientalism,<br />
and his subtle word-painting.<br />
Dmitrii Shostakovich<br />
Two Fables of Krylov, Op. 4<br />
The verse fables of Ivan Krylov (1769–1844), often based on Aesop, were usually the first moral lessons<br />
received by Russian children, and they had to be memorized at school both in Tsarist and Stalinist times.<br />
Shostakovich himself had acted out the fables at home in his youth. These two songs from his<br />
Conservatory days exhibit the kind of moment-by-moment characterization that had been established<br />
by Aleksandr Dargomïzhsky and Modest Musorgsky. The protagonists’ words, actions, and physical features<br />
are all minutely reflected in the music. The assurance with which Shostakovich tackles the genre<br />
of comic song is striking, and with hindsight, we can see here the birth of a great musical satirist.<br />
Prelude and Scherzo, Op. 11<br />
In these pieces for double string quartet, Shostakovich’s individual voice is already clearly discernible.<br />
The neoclassical Prelude begins with a Bachian recitative, whose pathos is shared by Shostakovich’s<br />
later Adagios. The linear polyphony of the piece, culminating in an eight-part canon, also became one<br />
of Shostakovich’s trademarks. While the Prelude is quite mellifluous, the Scherzo, by contrast, presents<br />
an aural assault characteristic of Soviet modernism in the 1920s. Although clearly beginning and ending<br />
in a G minor spiced with many “wrong” notes, it occasionally veers off into atonality and the fractured<br />
textures of Webern. The Scherzo strikes the listener as much by its indomitable vigor and capricious<br />
changes of direction as it does by its uniquely astringent sound. As Shostakovich expected (and<br />
hoped?), his Conservatory teacher Shteynberg was not amused. Bizarrely, someone trundled out this<br />
long-forgotten modernist onslaught in 1948, so that it could be added to the list of Shostakovich’s “formalist”<br />
misdemeanors; it then had the honor of being banned in the company of such grand works as<br />
the Eighth Symphony.<br />
—Marina Frolova-Walker<br />
18 19
1919<br />
1920<br />
1921<br />
1921–22<br />
1922<br />
Red Army victory in Crimea (May 17)<br />
Youth<br />
Communist victory<br />
Kronstadt revolt; Tenth Party<br />
Famine crisis<br />
Eleventh Party congress: Stalin is<br />
Passes entrance exam at Petrograd<br />
Studies composition with<br />
Congress: New Economic Policy<br />
elected General Secretary of the<br />
Conservatory in the fall<br />
Maximilian Shteynberg<br />
(NEP) and a resolution prohibiting<br />
Party; formation of the Union of<br />
Scherzo in F-sharp Minor, Op. 1<br />
factions in the Party passed<br />
Soviet Socialist Republics<br />
Art Life publishes first review<br />
Father dies (February 24)<br />
(September 27)<br />
Theme and Variations, Op. 3;<br />
Two Fables by Krylov, Op. 4;<br />
Three Fantastic Dances, Op. 5<br />
SATURDAY<br />
AUGUST 14<br />
program three FROM SUCCESS TO DISGRACE<br />
richard b. fisher center for the performing arts<br />
sosnoff theater<br />
7:00 p.m. Preconcert Talk Morten Solvik<br />
8:00 p.m. Performance American Symphony Orchestra,<br />
Leon Botstein, conductor<br />
Dmitrii Shostakovich (1906–75)<br />
Theme and Variations in B-flat Major, Op. 3 (1921–22)<br />
Theme. Andantino<br />
1. Andantino<br />
2. Più mosso (Vivace)<br />
3. Andante<br />
4. Allegretto<br />
5. Andante<br />
6. Allegro<br />
7. Moderato. Allegro.<br />
8. Largo<br />
9. Allegro<br />
10. Allegro molto<br />
11. Appassionato<br />
Finale. Allegro. Maestoso. Coda. Presto<br />
Symphony No. 1 in F Minor, Op. 10 (1923–25)<br />
Allegretto. Allegro non troppo<br />
Allegro<br />
Lento<br />
Allegro molto<br />
intermission<br />
Symphony No. 4 in C Minor, Op. 43 (1935–36)<br />
Allegretto poco moderato<br />
Moderato con moto<br />
Largo. Allegro<br />
PROGRAM THREE NOTES<br />
This evening’s program takes us from Shostakovich’s student days to his triumphant symphonic debut in<br />
1926, and then on to his dramatic fall from grace 10 years later. From the beginning of his conservatory<br />
studies, Shostakovich was widely recognized as an exceptional talent, and the fragile, bespectacled boy<br />
was protected from the worst hardships of the Civil War period. The First Symphony was the realization of<br />
the hopes placed in him, and it brought him immediate recognition in the Soviet Union (he celebrated the<br />
anniversary of the premiere for the rest of his life). Two years later, the symphony was even performed<br />
under the baton of Bruno Walter in Berlin. This success was followed by many others, and Shostakovich<br />
quickly gained celebrity status. But he had no intention of becoming a purveyor of instant classics, and<br />
instead he combined bold modernist experimentation with an appropriation of the music of the street and<br />
the circus. His newfound confidence, and the waywardness of his art, changed his public image, at times<br />
leading to accusations of arrogance and unpleasantness. He became an enthusiast for revolutionary and<br />
Soviet topics, approaching them with his customary flair, causing some jealousy among his less talented<br />
colleagues. Others felt he was wasting his talent on such topical works, which included ballets about a<br />
Soviet soccer team, industrial sabotage, and a collective farm. The same heads were shaken when he produced<br />
his first opera, The Nose, an absurdist farce with music as bizarre as Nikolai Gogol’s story.<br />
It was only with the appearance of his second opera, Lady Macbeth of the Mtsensk District, in 1934,<br />
that Shostakovich enjoyed near unanimous approval: the grotesque aspects of his art had certainly not<br />
disappeared, but they were now combined with powerful tragedy, signaling the passage from youth to<br />
maturity. Before long, Lady Macbeth had become the most celebrated and popular Soviet opera.<br />
Shostakovich was now clearly considered the foremost Soviet composer, bringing him a more comfortable<br />
life and financial security. He was married and this seemed a propitious moment to start a family. But this<br />
happy situation was not to last for long. In 1936, Lady Macbeth was suddenly attacked in the pages of<br />
Pravda as a decadent work that utterly failed to satisfy the demands of so-called Socialist Realism, as the<br />
new artistic policy was termed (its implications for music had not yet been spelled out). The criticisms<br />
clearly had authorization at the highest level, and so it was unsurprising, at a time when the great purges<br />
were beginning, that Shostakovich temporarily became a pariah among his colleagues and was reduced<br />
to poverty. He requested an audience with Stalin himself, but this was not granted. For the moment left<br />
without guidance, Shostakovich simply continued with his work in progress, the grandiose, Mahlerian<br />
Fourth Symphony. During rehearsals, Shostakovich became convinced that his only option was to withdraw<br />
the work from performance. Perhaps, at the last moment, he stifled a self-destructive urge to show<br />
his contempt for the authorities. Or perhaps he merely wanted to hear the symphony for himself, knowing<br />
that it ought not to be heard in public. In spite of his later return to official favor, he never sought to<br />
have the Fourth performed during Stalin’s lifetime. The premiere of this crucial work was astonishingly<br />
delayed until 1961, by which time younger Soviet composers were already becoming familiar with the<br />
music of the Western avant-gardists.<br />
20<br />
21
His father<br />
1923<br />
Constitution of U.S.S.R. adopted<br />
(July 6)<br />
Spends summer in a<br />
sanatorium in the Crimea<br />
Piano Trio No. 1,Op.8<br />
1924<br />
Death of Lenin (January 21)<br />
Begins to play in movie theaters<br />
1924<br />
Bust of Lenin in May Day parade in<br />
newly renamed Leningrad<br />
1926<br />
Premiere of Symphony No. 1,Op.10<br />
Theme and Variations in B-flat Major, Op. 3<br />
As this youthful work impressively demonstrates, Shostakovich had already mastered the style of Rimsky-<br />
Korsakov’s “St. Petersburg School” by the age of 16.The previous two generations of Russian composers had<br />
written many fresh and innovative works using the variation principle. Shostakovich follows in their footsteps<br />
by transforming his suitably plain and neutral theme into a mazurka, a scherzo, a “Turkish”march, and<br />
a Russian folk dance (among others). There are 11 variations in all, followed by a brilliant finale. (The first<br />
recording of the piece, with the London Symphony and Leon Botstein conducting, will be issued this fall.)<br />
Symphony No. 1 in F Minor, Op. 10<br />
Like Prokofiev’s First Piano Concerto, Shostakovich’s First Symphony was an outstanding conservatory<br />
graduation piece that still has a place in the concert repertoire. It was also a worthy addition to the symphonic<br />
tradition of the St. Petersburg School: the themes are well-defined and memorable and their transformations<br />
and combinations carefully worked out; the harmony is adventurous without being<br />
outlandish; and the whole cycle is well balanced and classically transparent. Nevertheless, the symphony’s<br />
reception from the Conservatory professors, while positive, was not entirely smooth. The two most important<br />
symphonists among them qualified their admiration with certain reservations. Nikolay Myaskovsky<br />
was uncomfortable with the theatrical and bizarre aspects of the first movement—this deeply serious<br />
composer probably considered such qualities out of place at the beginning of a symphonic work (as<br />
opposed to the Scherzo, where such things were expected). Aleksandr Glazunov most probably disliked<br />
the overblown rhetoric of the last two movements, replete with dramatic silences and sententious instrumental<br />
soliloquies—such devices were quite contrary to his own predilections. With hindsight, we see<br />
that the First Symphony has more in common with the mature Shostakovich than the works that followed<br />
over the next few years, which were more pronouncedly modernist and experimental. Here, we can<br />
already see Shostakovich the master of the grotesque, the author of scherzos bristling with every shade<br />
of irony or sarcasm; we can already see his penchant for the relentless moto perpetuo, and we can foresee<br />
the blossoming of a dramatic symphonist who would eventually rival Tchaikovsky and Mahler.<br />
Symphony No. 4 in C Minor, Op. 43<br />
The criticisms in Pravda appeared after Shostakovich had already completed the first two of this symphony’s<br />
three movements, but he did nothing to conciliate the authorities when he wrote the Finale,<br />
which follows naturally from the first two movements as if nothing had happened. Either Shostakovich<br />
had not yet understood that he had to adjust his work to the demands of the state, or more likely he had<br />
no desire to destroy the integrity of his largest and most serious symphony to date. The Finale, of course,<br />
is tragic, but no more so than the first movement or Lady Macbeth—Shostakovich’s personal life had simply<br />
caught up with his artistic persona.<br />
The sprawling first movement thrusts us into a fractured world whose conflicts overshadow its<br />
unity. The opening theme unleashes the full force of the quadruple orchestra, the gravity of a Bach-like<br />
melody undermined by its wild scoring for shrill woodwind. The second main theme seems to come<br />
from a different world: a slow solo-bassoon monologue in a barren setting. The extreme contrast perhaps<br />
evokes the public and private duality found in Tchaikovsky’s symphonies. But these themes have<br />
no fixed character, for Shostakovich subsequently transforms them beyond anything we could have<br />
imagined: the undemonstrative second theme reappears harsh and strident in the brass, while the<br />
weighty opening theme is bizarrely recast as a mincing little polka. A frenzied fugato sweeps through<br />
the orchestra, and terrifying climaxes rip through the symphonic tissue six times. In this apparently<br />
anarchic world, the unexpected becomes normal, and the shocks seem to make no lasting difference.<br />
The movement is a study in deliberate incoherence that resists the embrace of any narrative.<br />
The second movement, a Mahlerian Ländler, is much shorter.The continuous tread of its triple meter<br />
guarantees a degree of unity, and beyond this, certain rhythms soon become almost mechanically persistent:<br />
there is the short–short–short–long heard from the opening, and also the short–short–long<br />
toward the end, a characteristic Shostakovich rhythm. These figures may lull the senses for a while, but<br />
their repetition eventually becomes unsettling. The detached and imperturbable character of the movement<br />
is eventually dispelled by a wild flurry of dissonance leading to an impetuous theme in the horns<br />
that would have sounded heroic but for the present context, which renders it more ominous.<br />
The Finale, once again, brings Mahler’s influence to the fore. A veritable cult of Mahler evolved<br />
in 1920s Leningrad, owing in part to the efforts of Shostakovich’s close friend and Mahler enthusiast,<br />
the musicologist Ivan Sollertinsky. By 1936, however, it was clear that the Mahler path was<br />
incompatible with Socialist Realism: a year earlier a symphony of Mahlerian scale and ambition by<br />
Gavriil Popov was banned from performance. Moreover, after the Lady Macbeth debacle,<br />
Shostakovich was explicitly advised by officials to free himself from the influence of Sollertinsky<br />
(and thus from the influence of Mahler). The Finale of the Fourth shows that Shostakovich did<br />
exactly the opposite: the beginning is a grotesque funeral march so close to Mahler that it could<br />
qualify as pastiche. The sequence of musical events here is even more baffling than in the first movement:<br />
the funeral march is followed by an Allegro that turns the orchestra into an enormous unstoppable<br />
machine. Suddenly everything is quiet, and a grotesque polka rings out, initiating a long suite<br />
of dances and marches that seem to unfold like a dream sequence. At the end of this aimless wandering,<br />
there is some sense of arrival: we reach a clear C-major triad. A gargantuan coda ensues, with the<br />
timpani insisting on the C in the bass, no matter what is happening in the rest of the orchestra. This<br />
is a moment of the highest emotional intensity: a Mahlerian chorale rings out, the triumph undercut<br />
by a cry of pain. Minor tonality replaces major with the return of the funeral march, and the symphony<br />
closes enigmatically with the sounds of the celeste.<br />
—Marina Frolova-Walker<br />
22 23
1927<br />
1928<br />
1929<br />
1929<br />
Trotsky expelled from the Communist<br />
First Five-Year Plan implemented (October 1); Soviet industrialization drive<br />
Liquidation of kulaks in Ukraine<br />
Vladimir Mayakovsky (standing, left),<br />
Party (exiled January 16, 1928)<br />
and forced collectivization of agriculture<br />
Composes first film score:<br />
Vsevolod Meyerhold (seated), and<br />
Finalist (honorable mention) at First<br />
Works temporarily in Meyerhold’s Moscow theater; Stokowski conducts<br />
New Babylon,Op.18<br />
the artist Alexander Rodchenko<br />
Chopin Competition in Warsaw<br />
Symphony No. 1 in Philadelphia<br />
Symphony No. 3, The First of May,<br />
discussing Shostakovich’s incidental<br />
Aphorisms,Op.13; Symphony No. 2,<br />
The Nose,Op.15<br />
Op. 20<br />
music to Mayakovsky’s Bedbug<br />
Dedication to October, Op.14<br />
SUNDAY<br />
AUGUST 15<br />
panel two MUSIC IN THE SOVIET UNION<br />
Christopher H. Gibbs, moderator<br />
Marina Frolova-Walker; David Nice; Maya Pritsker<br />
olin hall<br />
10:00 a.m. – noon<br />
program four THE PROGRESSIVE 1920s<br />
olin hall<br />
1:00 p.m. Preconcert Talk Simon Morrison<br />
1:30 p.m. Performance<br />
Dmitrii Shostakovich (1906–75)<br />
Piano Sonata No. 1,Op.12 (1926)<br />
Allegro. Lento. Allegro<br />
Melvin Chen, piano<br />
Vladimir Sherbachov (1887–1952)<br />
From Songs, Op. 11, for voice and piano (1915–24) (Blok)<br />
That Life Has Passed<br />
Mary’s Hair Comes Unplaited<br />
I Will Forget Today<br />
Grey Smoke<br />
Courtenay Budd, soprano<br />
Anna Polonsky, piano<br />
Nikolay Myaskovsky (1881–1950)<br />
String Quartet No. 4 in F Minor, Op. 33,No.4 (1909–37)<br />
Andante. Allegro<br />
Allegretto risoluto<br />
Andante<br />
Allegro molto<br />
Colorado String Quartet<br />
intermission<br />
PROGRAM FOUR NOTES<br />
Dmitrii Shostakovich<br />
Aphorisms,Op.13 (1927)<br />
Recitative<br />
Serenade<br />
Nocturne<br />
Elegy<br />
March Funèbre<br />
Étude<br />
Dance of Death<br />
Canon<br />
Legend<br />
Lullaby<br />
Melvin Chen, piano<br />
Gavriil Popov (1904–72)<br />
Chamber Symphony, Op. 2, for seven instruments (1927)<br />
Moderato cantabile. Andante<br />
Scherzo: Allegro<br />
Largo<br />
Finale: Allegro energico. Fuoco<br />
Randolph Bowman, flute<br />
Laura Flax, clarinet<br />
Marc Goldberg, bassoon<br />
Carl Albach, trumpet<br />
Laura Hamilton, violin<br />
Jonathan Spitz, cello<br />
Jordan Frazier, double bass<br />
Fernando Raucci, conductor<br />
The Russian Civil War period saw a remarkable level of music making, with a continuation of operatic and<br />
concert life on the one hand, and ambitious new programs of mass music education on the other.With the<br />
end of the war and the introduction of the New Economic Policy, several factions of composers emerged<br />
from the resulting stability, most claiming some sort of inspiration from the Revolution, but with much disagreement<br />
over what post-Revolutionary music should be. Up to the end of the decade, the Soviet government<br />
refused, on principle, to give exclusive support to any particular artistic factions, and musicians were<br />
free both to compete for state grants and to seek remuneration privately, from box-office sales. The period<br />
24 25
1930<br />
Gulag system established<br />
Premiere of The Nose (January 18)<br />
1932<br />
Suicide of Nadezhda Allilueva, Stalin’s wife; proletarian arts organizations<br />
disbanded (April 23); Union of Soviet Composers formed<br />
Marries Nina Varzar (May 13)<br />
Lady Macbeth of the Mtsensk District,Op.29<br />
1932–33<br />
Man-made famine in Ukraine<br />
1933<br />
Piano Concerto No. 1,Op.35<br />
1934<br />
Assassination of Sergey Kirov<br />
(December 1)<br />
Premiere of Lady Macbeth<br />
(January 22)<br />
Cello Sonata, Op. 40<br />
of the most extravagant musical experiments had in fact already passed with the fading of hopes for world<br />
revolution—there were no more symphonies requiring the factory whistles of an entire city, or the sound<br />
of fleets of planes and battleships. Now avant-gardists experimented more soberly in music laboratories<br />
with microtonal music and electric instruments, while the Skriabinists carried forward the banner of their<br />
late prophet, and the self-styled proletarian composers turned out rousing songs and marches.<br />
The Association for Contemporary Music brought together the bulk of composers whose work fits<br />
into concert programs today; there were several conservatives among the membership, and others who<br />
met modernism partway, but the most vocal members were generally the most committed to modernist<br />
trends. The Association promoted the music of “advanced” Western composers, such as Berg,<br />
Hindemith, Krenek, and Stravinsky. Soviet composers of many colors benefited from the Association’s<br />
concerts. In Moscow, Myaskovsky’s dark expressionist symphonies were performed alongside Aleksandr<br />
Mosolov’s Iron Foundry, which imitated the noises of the factory in a joyful cacophony.<br />
In Petrograd/Leningrad, there were three leading progressives, all with very different styles,<br />
namely Shcherbachov, Popov, and Shostakovich—contemporary critics often ranked them in this order.<br />
And it was in this order, too, that they were denounced in the harsher atmosphere of the early Stalin<br />
period. Shcherbachov lost his teaching position at the Leningrad Conservatory in 1931, as a result of sustained<br />
attacks by the “proletarian musicians” (who were temporarily being supported by the state, for<br />
as long as this suited Stalin’s purposes). Popov’s extremely ambitious First Symphony was, in 1935, the<br />
first major work to be banned under the new, centralized system of control over the arts. The following<br />
year, Shostakovich came under fire for his opera Lady Macbeth of the Mtsensk District, even though the<br />
opera had initially been received very well. Unlike Shostakovich, who bounced back relatively quickly,<br />
Shcherbachov and Popov both suffered protracted creative crises before they finally reconciled themselves<br />
to Socialist Realism, almost losing their individuality in the process. It is in comparison with such<br />
formerly successful modernists that we realize how strong and resilient Shostakovich proved to be,<br />
both as a man and as an artist.<br />
Dmitrii Shostakovich<br />
Piano Sonata No. 1,Op.12<br />
Although written shortly after the neoclassical First Symphony, this Sonata is uncompromisingly modernist<br />
throughout. Shostakovich seems to begin in the world of Prokofiev’s Third Sonata, with a toccata/tarantella<br />
theme, but before long he increases the level of dissonance and atonality to the level of<br />
Mosolov, the most rebarbatively modernist of all the early Soviet composers. While elements of sonata<br />
form are certainly present, the structuring role of tonality is gone. The stormy opening material eventually<br />
gives way to the descending scales that herald the second part of the exposition—a jarring<br />
march followed by a more lyrical passage. The development presents all the previous material in combination,<br />
with complex textures, leading to a shattering climax that draws from late Skriabin, marked<br />
by pounding clusters at the low end of the keyboard. The march theme finally emerges from the chaos,<br />
but now transformed in almost every aspect: tempo, meter, and texture are all changed, and the<br />
melodic contours are inverted. This rarefied, static passage is the final respite before the hair-raising<br />
coda, which Shostakovich brings to a halt with a desultory octave C.<br />
Vladimir Shcherbachov<br />
From Songs, Op. 11 *<br />
The Russian intelligentsia perceived the death, in 1921, of the great poet Aleksandr Blok (b. 1880) as the<br />
end of an era (the era we now refer to as the “Silver Age”). Blok was the most respected of the pre-<br />
Revolutionary poets who welcomed the Revolution as a realization of their dreams. By the early 1920s,<br />
the dashing of revolutionary hopes, and the reality of the impoverished and deindustrialized country left<br />
by the Civil War, made their millennial rhetoric and mystical prognostications seem hopelessly out of<br />
touch. But for a time, the spirit of Blok—and of Skriabin—lingered on for certain artists during the 1920s.<br />
For Shcherbachov, Blok was simply “the greatest of poets,” and he planned to celebrate the late poet’s<br />
work in a two-evening program, one of chamber music (to include the songs of Op. 11), and the other<br />
symphonic (his Second Symphony included settings of Blok poems). While the chamber evening was to<br />
focus on the tragic individual, the symphonic evening would focus instead on a “cosmic indifference” to<br />
these earthly sorrows; these reflected two facets of the poet’s work.This contrast is present even in some<br />
of the individual texts chosen by Shcherbachov. Blok was revered not only for the character of his<br />
poetry. The sound of Blok’s language, its economy and subtle rhythmic ingenuity, made form and content<br />
inseparable. The music in the song “I Will Forget Today” opens with a nearly minimalist clarity that<br />
is followed by a more active and agitated section, properly reflecting Blok’s evocation of death. The<br />
third section is a harmonically imaginative synthesis that highlights through subtle variation the brilliance<br />
of the composer’s favorite poet.<br />
Nikolay Myaskovsky<br />
String Quartet No. 4 in F Minor, Op. 33,No.4<br />
This Quartet was originally written as a graduation piece in 1909–10, but Myaskovsky revised it for publication<br />
in 1937. In fact, this was only one of several unpublished early works that he returned to in the<br />
1930s and 1940s—evidently he felt that they would flourish better in the era of Socialist Realism than<br />
any of his dark and troubled works of the 1910s and 1920s. But this does not mean that the Quartet is<br />
a mere historic curiosity; like almost everything from this composer’s pen, it displays the thoroughness<br />
of thematic development and elegance of form that Myaskovsky inherited from the St. Petersburg<br />
tradition, while the constant lyrical-dramatic current that propels the music forward betrays the<br />
composer’s admiration for Tchaikovsky. But the nervous anxiety of the outer movements, the angularity<br />
of the themes, and the avoidance of a major-key “happy ending” are all highly characteristic of<br />
Myaskovsky’s maturity.<br />
* We thank Elena Khodorkovskaya, Smolny College, and the staff of the Russian Institute of the History of Arts, St.<br />
Petersburg, for providing the music.<br />
26 27
1935–38<br />
1936<br />
1937<br />
Great Purges; show trials; mass<br />
terror<br />
Pravda publishes attacks on Lady<br />
Macbeth (“Muddle instead of Music,”<br />
Daughter Galina practices her “own”<br />
cycle<br />
Red Army Marshal Tukhachevsky and seven generals shot (June);<br />
height of Great Terror<br />
January 28) and The Limpid Stream<br />
Teacher of composition and instrumentation at Leningrad Conservatory<br />
(“Balletic Falsehood,” February 6);<br />
(1937–41)<br />
daughter Galina born (May 30)<br />
Symphony No. 5,Op.47<br />
Symphony No. 4,Op.43<br />
Dmitrii Shostakovich<br />
Aphorisms,Op.13<br />
The Aphorisms were Shostakovich’s response a decade later to Prokofiev’s Visions fugitives. Both works<br />
are collections of brief and varied pieces, each based on a single distinctive compositional task,<br />
although Shostakovich’s pieces were additionally filtered through the eclectic and sometimes absurdist<br />
modernism of the Soviet 1920s. Unlike Prokofiev, Shostakovich also chose to specify genres for his<br />
pieces, thereby creating a further opportunity for irony: the Nocturne is hopelessly disjointed, as if a<br />
negation of its supposed genre, and the final piece, Lullaby, is a white-notes baroque Adagio, sleepinducing<br />
because of its deliberate lack of interest. From the extreme of the Lullaby, there are various<br />
approaches to tonality: the Étude is in a clear C major until its “wrong” final chord, the Dance of Death<br />
uses the Dies Irae motive in a bitonal context, and the pointillist Canon is rigorously atonal. Anything is<br />
possible, and everything is permissible—a faithful reflection of the Soviet musical world of that moment.<br />
Gavriil Popov<br />
Chamber Symphony, Op. 2<br />
Popov’s Chamber Symphony was one of the most celebrated works to emerge from the Soviet 1920s.<br />
While various neoclassical influences are easily discernible (Prokofiev, Stravinsky, and Hindemith), the<br />
result is surprisingly individual thanks to the poetry of Popov’s broad themes, his unusual polyphonic<br />
textures, and his unpredictability. The ensemble of violin, cello, double bass, flute, clarinet, bassoon, and<br />
trumpet is employed with great variety, drawing upon associations both classical and romantic, serious<br />
and popular, heroic and comic. The first movement opens with a lyrical flute theme, its initial pastoral<br />
calm giving way to a more improvisatory mode of expression. A trumpet call signals the entry of harsher<br />
sounds, but even then the first theme, ever changing, continues to dominate the movement. The second<br />
movement is a Scherzo with kaleidoscopic changes of rhythms and complex polyphonic textures. A contrasting<br />
Trio looks toward Prokofiev, while the coda is a somewhat grotesque moto perpetuo. The Largo<br />
begins with a noble contemplative theme, but the sounds of popular dance music arrive with the second<br />
theme, a sensuous melody over a static bass that is quite spellbinding. The Finale reintroduces the<br />
grotesque element with an angular chromatic theme that seems to have fallen out of a fugue. After a<br />
brief reappearance of the Trio theme from the second movement, the Finale’s theme does indeed prove<br />
to be a fugue subject, which turns ugly in its inversion. More themes from the earlier movements make<br />
their return, as if to round off the work with a grand romantic gesture. But Popov deliberately undermines<br />
the effect, and in the end the apotheosis is eaten away by the grotesque.<br />
SUNDAY<br />
AUGUST 15<br />
program five THE ONSET OF POLITICAL REACTION<br />
richard b. fisher center for the performing arts<br />
sosnoff theater<br />
4:30 p.m. Preconcert Talk Marina Frolova-Walker<br />
5:00 p.m. Performance<br />
Dmitrii Shostakovich (1906–75)<br />
Oath to the People’s Commissar, for bass, chorus, and piano (1941)<br />
From Ten Russian Folk Songs (1951)<br />
A Clap of Thunder over Moscow<br />
What Are These Songs<br />
Daniel Gross, bass-baritone<br />
Bard Festival Chorale, James Bagwell, choral director<br />
Mihae Lee, piano<br />
Ivan Dzerzhinsky (1909–78)<br />
From The Quiet Don (1934)<br />
Oh, How Proud Our Quiet Don<br />
From Border to Border<br />
John Hancock, baritone<br />
Bard Festival Chorale, James Bagwell, choral director<br />
Mihae Lee, piano<br />
Tikhon Khrennikov (b. 1913)<br />
From Into the Storm, Op. 8 (1936–39)<br />
Frol’s Tale of Lenin<br />
Chorus of Peasants<br />
Daniel Gross, bass-baritone<br />
Bard Festival Chorale, James Bagwell, choral director<br />
Mihae Lee, piano<br />
—Marina Frolova-Walker<br />
28 29
1938<br />
1939<br />
Shostakovich with his pupils at the<br />
Leningrad Conservatory<br />
Son Maxim born (May 10)<br />
Quartet No. 1,Op.49<br />
Maxim<br />
Non-Aggression Pact signed by Hitler and Stalin (August 23); outbreak of<br />
World War II (September 3); Soviet troops cross Polish frontier (September 17);<br />
U.S.S.R. attacks Finland (November 30)<br />
Symphony No. 6,Op.54<br />
Dmitrii Shostakovich (1906–75)<br />
Four Romances, Op. 46 (1936–37) (Pushkin)<br />
Renaissance<br />
A Jealous Maiden, Sobbing Bitterly<br />
Presentiment<br />
Stanzas<br />
John Hancock, baritone<br />
Mihae Lee, piano<br />
Dmitrii Shostakovich<br />
Cello Sonata in D Minor, Op. 40 (1934)<br />
Allegro non troppo<br />
Allegro<br />
Largo<br />
Allegro<br />
Zuill Bailey, cello<br />
Simone Dinnerstein, piano<br />
Dmitrii Kabalevsky (1904–87)<br />
From Twenty-four Preludes, Op. 38 (1943–44)<br />
No. 1 in C Major<br />
No. 2 in A Minor<br />
No. 3 in G Major<br />
No. 4 in E Minor<br />
No. 5 in D Major<br />
No. 6 in B Minor<br />
Simone Dinnerstein, piano<br />
Vissarion Shebalin (1902–63)<br />
String Quartet No. 5,Op.33, “Slavonic” (1942)<br />
Moderato<br />
Andante<br />
Allegro energico<br />
Meno mosso, cantabile. Allegro assai<br />
Bard Festival String Quartet<br />
intermission<br />
PROGRAM FIVE NOTES<br />
After largely achieving his principal aims of promoting heavy industry and breaking the independence<br />
of the peasantry, Stalin was finally able to attend to the cultural front.The multifarious and spontaneous<br />
artistic organizations of the 1920s had given way to the posturing of the self-styled proletarian groups,<br />
and when Stalin finally disbanded the latter in 1932, many serious artists welcomed the move. Stalin’s<br />
aim, of course, was not to return to the artistic freedom of the 1920s, but to impose a set of cultural<br />
norms that served the needs of the state that he had built. The label “Socialist Realism” was first applied<br />
to literature in 1934, but extended to the other arts before long. Music was in fact the last of the arts to<br />
be brought under the full control of the state, not least because it was very hard to see what Socialist<br />
Realist music could be if no one could point to any Realist music. In practice, the state had to show the<br />
way by example. The opportunity arose in 1936, when Stalin reacted very differently to two prominent<br />
Soviet operas. The sophisticated and often anguished music of Shostakovich’s Lady Macbeth of the<br />
Mtsensk District was denounced, while Dzerzhinsky’s simple and barely competent work, The Quiet Don,<br />
was elevated as a model of Soviet opera (admittedly, this work was more simplistic than the eventual<br />
Socialist Realist norm). Conservative composers such as Kabalevsky and Shebalin could continue producing<br />
well-crafted works without any substantial stylistic change. Khrennikov’s popular touch, sometimes<br />
verging on the banal, was also acceptable as it stood. Khachaturian proved a perfect example of Stalin’s<br />
formula “national in form, socialist in content.” Shostakovich’s neoclassical tendencies could take him<br />
only part of the way, so he also had to dash off soulless pieces commissioned by the state. But no one<br />
was immune to criticism, and even Shebalin and Khachaturian would be censured in 1948.<br />
Aram Khachaturian (1903–78)<br />
Trio, for clarinet, violin, and piano (1932)<br />
Andante con dolore, molt’ espressione<br />
Allegro<br />
Moderato. Prestissimo<br />
David Krakauer, clarinet<br />
Erica Kiesewetter, violin<br />
Melvin Chen, piano<br />
Dmitrii Shostakovich<br />
Oath to the People’s Commissar<br />
This simple, rousing song was written in the first months of the war, and although some critics considered<br />
it simplistic, it was awarded a prize. As with many other songs that explicitly glorified Stalin, the<br />
song’s title and text were altered after Stalin’s death.<br />
30 31
1940<br />
U.S.S.R. signs peace treaty with<br />
Finland (March 12); annexation<br />
of Baltic states<br />
Receives Order of Red Banner<br />
of Labor<br />
Piano Quintet, Op. 57<br />
1941<br />
German troops invade the Soviet Union (June 22); beginning of the Great Patriotic<br />
War; siege of Leningrad begins (July); battle for Moscow (November–December);<br />
Soviet counter-offensive (December 1941 – February 1942)<br />
Attempts to join People’s Volunteer Corps; evacuated from blockaded Leningrad<br />
to Kuibyshev (October 1); Stalin Prize for Piano Quintet<br />
Symphony No. 7, “Dedicated to the City of Leningrad,” Op. 60<br />
1942<br />
Battle of Stalingrad begins<br />
(September 12)<br />
Stalin Prize for Symphony No. 7;<br />
Honored Artist of the R.S.F.S.R.<br />
The Gamblers (abandoned);<br />
Six Romances on Texts of W. Raleigh,<br />
R. Burns, and W. Shakespeare, Op. 62<br />
Shostakovich as a member<br />
of the fire brigade on the<br />
roof of Leningrad<br />
Conservatory<br />
From Ten Russian Folk Songs<br />
After Shostakovich was denounced for the “formalism” of his opera Lady Macbeth in 1936, he sought official<br />
advice on how to restore his standing; among other things, he was told to harmonize a hundred folk<br />
songs. But even by the time of the second denunciation, in 1948, Shostakovich had still not made a single<br />
folk-song arrangement. It was only in 1951, just months before Stalin’s death, that he finally decided<br />
that it would be prudent—financially, at least—to take up this long neglected task. He made arrangements<br />
of 10 songs, five of which were soldiers’ marching songs dating back to Napoleon’s Russian campaign<br />
of 1812. These Shostakovich had found in a collection published during the Second World War. The<br />
texts had been updated by Soviet poets to fit the current Socialist Realist style—it was hoped that in this<br />
form they could be adopted by Soviet troops. The songs on this program are among these marches, and<br />
Shostakovich presents his material in simple, stirring arrangements. “Thunderclap over Moscow” had<br />
already made a more celebrated appearance, in Prokofiev’s War and Peace, at the behest of the Committee<br />
for Artistic Affairs.<br />
Ivan Dzerzhinsky<br />
From The Quiet Don<br />
This opera, based on the Civil War novel by Mikhail Sholokhov (1905–89), contains a series of folk-style<br />
songs with somewhat unusual harmonies, often gauche rather than convincingly inventive. The final<br />
number,“From Border to Border,” became very widely known owing to frequent radio broadcasts. In the<br />
opera, it is heard as the main characters walk off into the sunset, intent on furthering the goals of the<br />
Revolution. This vision of a brighter future was a standard feature of Socialist Realist works.<br />
Tikhon Khrennikov<br />
From Into The Storm,Op.8<br />
This opera tells of the Revolution spreading through deepest rural Russia, and at the climax of the story<br />
a group of peasants from Tambov are persuaded by Lenin in person—this marked the first appearance<br />
of Lenin on the operatic stage, albeit with a speaking part only. Like The Quiet Don, Khrennikov’s opera<br />
was assigned by the critics to the genre of “song opera,” which was supposed to be more easily accessible<br />
to a mass audience. However, some critics thought the composer had gone too far, and found<br />
parts of the opera vulgar and primitive (while it was wrong to browbeat the masses, it was also wrong<br />
to insult their intelligence). These criticisms were soon forgotten, and Into the Storm became a Socialist<br />
Realist classic.<br />
Dmitrii Shostakovich<br />
Four Romances on Pushkin, Op. 46<br />
Many Soviet composers marked the 1937 centenary of Pushkin’s death by composing new settings of his<br />
verses—there were even competitions for Pushkin songs. They were probably relieved that they could<br />
gain official approval by working with such witty and elegant literature, rather than heavy-handed propagandistic<br />
texts that had lately become the norm. Shostakovich wrote his set of songs shortly after the<br />
Lady Macbeth debacle had occurred, and it is tempting to look for autobiographical resonances in his<br />
choice of poems. For example, in the third song:“Jealous Fate is threatening me with trouble....Will I preserve<br />
my contempt for Destiny? Will I meet it with the steadfastness and patience of my proud youth?”<br />
But it is the first song that has given recent commentators most food for thought, due to its musical connections<br />
with the finale of the Fifth Symphony. In this poem, a painting of genius is defaced by a barbarian<br />
doodle, but years later the alien layer of paint is removed and the original is revealed again in all its<br />
beauty. It is highly probable that Shostakovich saw a parallel with his chef d’oeuvre, Lady Macbeth of the<br />
Mtsensk District, which had been banned from performance, but which he hoped might return to the<br />
stage in better times (as it did in the early 1960s).<br />
Dmitrii Kabalevsky<br />
From Twenty-four Preludes, Op. 38<br />
The simplicity of these pieces reflects not only the composer’s personal inclinations, but also his membership<br />
in Prokoll, the Production Collective of the Moscow Conservatory, an organization that sought to create<br />
music that was accessible to the people, but also based soundly on art-music traditions.<br />
Vissarion Shebalin<br />
String Quartet No. 5,Op.33, “Slavonic”<br />
Shebalin’s Fifth Quartet allows us to see very clearly what Socialist Realism meant for instrumental<br />
music. The result, in the hands of this accomplished composer, is well crafted and easy on the ear, with<br />
much more than a hint of the 19th-century Russian nationalists. The nationalist style was revived during<br />
the war, and the use of folk themes became an essential feature of Socialist Realist music. The<br />
Quartet was awarded a Stalin Prize, First Class.<br />
Aram Khachaturian<br />
Trio, for clarinet, violin, and piano<br />
The Trio brought Khachaturian his first real success: Prokofiev, who heard the work during a visit to<br />
Moscow, was sufficiently impressed to organize a performance in Paris. Perhaps this had some influence<br />
on Khatchaturian’s career, since the Trio’s pervasive Orientalism remained a consistent feature of the<br />
composer’s work. Although Khachaturian was born and raised in the Caucasus, this does not mean that<br />
his Oriental manner can be regarded as authentic, for he worked within the Orientalist conventions<br />
used by the Mighty Five (Balakirev, Borodin, Cui, Musorgsky, Rimsky-Korsakov). In the Trio, we also find<br />
Khachaturian absorbing the influence of Debussy, who had himself been influenced by the Mighty<br />
Five’s Orientalism. Even Liszt’s Hungarian Rhapsodies make their presence felt in the contrast of the first<br />
movement’s rhapsodic, improvisatory style with the vigorous dance music of the second and third<br />
movements. But even if Khachaturian submitted to these conventions, he was never content to be a<br />
mere epigone, and so he always sought to introduce fresh rhythms and colors, as the Finale of the Trio<br />
32 33
1943<br />
1944<br />
Orchestra members with the<br />
composer and the conductor,<br />
Surrender of German troops at<br />
Stalingrad (January 31)<br />
Leningrad siege ends after 880 days<br />
(January 16)<br />
Shostakovich with art critic Ivan Sollertinsky<br />
(photo taken in the 1930s)<br />
S. Samosud, after the first<br />
Moves to Moscow; honorary<br />
Close friend Ivan Sollertinsky dies of<br />
Moscow performance of the<br />
member of American Academy of<br />
heart ailment (February 11)<br />
“Leningrad” Symphony (photo<br />
Arts and Letters<br />
Piano Trio No. 2,Op.67; Quartet<br />
taken during an air alert)<br />
Piano Sonata No. 2,Op.61;<br />
No. 2,Op.68<br />
Symphony No. 8,Op.65<br />
illustrates: note the vivacious folk-like interaction between clarinet and violin in the dance sections.<br />
Khachaturian’s melodic gift, his lush Romantic and post-Romantic harmonies, and, most importantly, his<br />
“national” color (as Stalin-era commentators supposed) made him a Socialist Realist success story, and<br />
he was seen as a model for what Stalin’s national policies in the arts could achieve.<br />
Dmitrii Shostakovich<br />
Cello Sonata in D Minor, Op. 40<br />
Together with his First Piano Concerto, the Cello Sonata is one of Shostakovich’s most thoroughgoing neoclassical<br />
works, ingeniously transforming an array of models from the past. The cello cantilena of the first<br />
movement begins as if in mid-phrase, and continues in an unstoppable lyrical stream inspired by the<br />
kind of melodic writing that opens Mendelssohn’s Violin Concerto or Tchaikovsky’s String Sextet, both<br />
classicizing works of the 19th century. The beautiful second theme is also lyrical, but still and contemplative<br />
in contrast to the first. A short cadential motive introduces much anxiety and agitation into the<br />
development. The second theme returns seemingly unperturbed, but it is interrupted by the return of the<br />
first theme, now somber and slow, having lost all its original fluidity. The second movement follows a<br />
classical scherzo and trio form: in the outer sections, the original rustic Ländler of Viennese classicism is<br />
transformed into a harsher moto perpetuo, while the calmer trio offers sweet harmonics on the cello. In<br />
the gravely expressive slow movement, Shostakovich finally begins to speak in his own characteristic<br />
voice, dropping the neoclassical inverted commas. The finale returns to the neoclassical, with a rondo<br />
form whose refrain is Haydnesque, but severely distorted; there are episodes that sound more like early<br />
Beethoven, but popular street songs also make an unexpected appearance.<br />
Shostakovich claimed that the relative simplification of his musical language in the Cello Sonata<br />
was a direct response to calls for more accessible music. But it is also possible that Shostakovich was<br />
in fact looking toward European neoclassicism, but would have done himself no favors by advertising<br />
the fact—Prokofiev, still resident in the West, suspected as much, and even commented wryly that the<br />
foremost Soviet composer had evidently decided to follow bourgeois trends. In truth, the line of demarcation<br />
between Western neoclassicism and Socialist Realist classicism is very faint at times, and one<br />
could easily say that the Cello Sonata anticipated the Soviet house style; only the amount of alienating<br />
grotesquerie in the Cello Sonata invites us to place it in the Western camp. Shostakovich was to play<br />
this stylistic game again many times during his career.<br />
—Marina Frolova-Walker<br />
WEEKEND<br />
TWO<br />
FRIDAY<br />
AUGUST 20<br />
symposium ART AND CULTURE IN THE SOVIET ERA<br />
Paul Mitchinson, moderator<br />
Jonathan Brent; Caryl Emerson; Steven Marks; Joan Neuberger;<br />
Richard Pipes; Jane Sharp<br />
olin hall<br />
10:00 a.m. – noon<br />
1:30 p.m. – 3:30 p.m.<br />
program six “GOOD MORNING MOSCOW”:<br />
ONE DAY IN THE LIFE OF SOVIET<br />
POPULAR MUSIC<br />
richard b. fisher center for the performing arts<br />
sosnoff theater<br />
8:00 p.m. Performance<br />
Act I<br />
intermission<br />
Act II<br />
Marina Kostalevsky, book<br />
Elise Thoron, director<br />
Anne Patterson, design<br />
Please refer to event program for detailed information.<br />
PROGRAM SIX NOTES<br />
There is a part of the Soviet musical heritage that is practically unknown to the American—and for that<br />
matter, any non-Soviet Russian—audience. The names of such composers as Isaak Dunaevsky (1900–55),<br />
Matvei Blanter (1903–90), Vasily Soloviev-Sedoi (1907–79), Aleksandra Pakhmutova (b. 1929), Eduard<br />
Kolmanovskii (b. 1933), and Mikhail Tariverdiev (1931–96) do not say much to music lovers and even to<br />
34 35
1945<br />
1946<br />
1947<br />
1948<br />
Yalta Conference (February);<br />
Central Committee’s attacks against writers Anna Akhmatova and<br />
Beginning of Cold War<br />
Central Committee Resolution “On V. Muradeli’s opera, The Great Friendship”<br />
Soviet troops capture Berlin (May 2);<br />
Mikhail Zoshchenko<br />
Deputy of Supreme Soviet R.S.F.S.R.;<br />
(February 10) attacks musical “formalists” (Shostakovich, Prokofiev,<br />
German unconditional surrender<br />
First Soviet monograph published in honor of his 40th birthday;<br />
participates in Prague International<br />
Khachaturian, and others); resumption of purges; Berlin Blockade begins<br />
(May 9); [Andrey] Zhdanov era<br />
Order of Lenin; Stalin Prize (category II) for Piano Trio No. 2<br />
Spring Festival; People’s Artist of<br />
(May); Zhdanov dies (August 31)<br />
(1945–48)<br />
Quartet No. 3,Op.73<br />
R.S.F.S.R.<br />
Violin Concerto No. 1,Op.77; From Jewish Folk Poetry,Op.79 (both withheld<br />
Symphony No. 9,Op.70<br />
until 1955)<br />
musicians in the West. But these were household names for generations of people all over the Soviet<br />
Union, as their music was broadcast on Soviet radio every day. This missing (to the rest of the world) link<br />
is the Soviet popular song. For the state, popular song was a vitally important ideological musical genre<br />
that could channel political and patriotic messages straight to the ears of the entire population. For the<br />
people, it was an art form that accompanied their day-to-day lives, expressed their civic and lyric selves,<br />
and created celebrated performers beloved by the masses.<br />
Dmitrii Shostakovich, never a snob, not only accepted the legitimacy of popular song in the world<br />
of music, but had his own favorite examples of the genre. For instance, he was very fond of Blanter’s<br />
“Soccer March,” which he ardently admired as both a musician and an enthusiastic soccer fan. Moreover,<br />
Shostakovich quotes popular tunes in his own works, most famously in the Eleventh Symphony, where<br />
he uses popular revolutionary songs for historical and personal references. During the composer’s lifetime,<br />
the Soviet popular song went through a number of phases that were naturally connected and to a<br />
large degree determined by historical events and periods. Needless to say, under Stalin the sentiments<br />
projected by those songs were in full agreement with the general line of the Communist Party. In the<br />
post-Stalinist Soviet Union the ideological marches and ballads remained as powerful as before, but now<br />
the forces of musical propaganda more often had to share radio waves with apolitical songs.<br />
When Shostakovich, like any of his contemporaries in the late 1960s, turned on the radio, he would<br />
have been treated to the variable but predictable succession of popular tunes. He could listen to perfectly<br />
optimistic songs from the politically horrible 1930s; soberly uplifting songs of wartime; songs<br />
with the usual human touch glorifying Lenin; songs dedicated to the fight for world peace; proudly dignified<br />
songs inspired by the Soviet space program; or songs about love and the simple things in life.<br />
In this program, we present a typical collection of Soviet popular songs that may have been heard<br />
by Dmitrii Shostakovich in his later years. As a narrative line for this “radio concert” we have chosen one<br />
day in the life of a Soviet communal apartment, specifically a Saturday in the early 1970s.<br />
D. T. Troikin Nikita Storojev, bass<br />
Musical Functionaries Members of the<br />
Bard Festival Chorale, James Bagwell, choral director<br />
Tatiana Stepanova, piano<br />
program eight IN THE SHADOW OF 1948<br />
olin hall<br />
1:00 p.m. Preconcert Talk David Fanning<br />
1:30 p.m. Performance<br />
Dmitrii Shostakovich (1906–75)<br />
From Twenty-four Preludes and Fugues, Op. 87 (1950–51)<br />
No. 5 in D Major<br />
No. 22 in G Minor<br />
No. 7 in A Major<br />
No. 24 in D Minor<br />
Martin Kasik, piano<br />
Mieczyslaw Weinberg (1919–96)<br />
Moldavian Rhapsody, Op. 47,No.3, for violin and piano (1949–52)<br />
Philippe Quint, violin<br />
Martin Kasik, piano<br />
—Marina Kostalevsky<br />
Yurii Shaporin (1887–1966)<br />
Vocalise, Op. 21,No.5, for voice and piano on the theme of a Jewish folk<br />
SATURDAY<br />
AUGUST 21<br />
program seven MUSIC AS POLITICS<br />
olin hall<br />
song (1947)<br />
William Ferguson, tenor<br />
Alon Goldstein, piano<br />
10:00 a.m. Performance with commentary by Richard Taruskin<br />
Dmitrii Shostakovich (1906–75)<br />
Antiformalist Rayok (Little Paradise), Cantata (1948,cont.1957; finale<br />
betw. 1965–68)<br />
Chairman Valerian Ruminski, bass<br />
S. Yedinitsyn Daniel Gross, bass-baritone<br />
A. A. Dvoikin Joshua Winograde, bass-baritone<br />
Georgii Sviridov (1915–98)<br />
Russia the Wooden, for tenor and piano (1964) (Yesenin)<br />
Farewell My Native Grove<br />
Marshes and Swamps<br />
I am a Wretched Wanderer<br />
Do Not Look for Me in God<br />
William Ferguson, tenor<br />
Alon Goldstein, piano<br />
36 37
1949<br />
1950<br />
1951–53<br />
1951<br />
The “Big Three” of Soviet music—<br />
Sergey Prokofiev, Shostakovich,<br />
Campaigns against “cosmopolitans”<br />
(Jews) and intelligentsia; end of<br />
Stalin Prize for The Song of the<br />
Forests and The Fall of Berlin,Op.82<br />
Korean War<br />
Twenty-four Preludes and Fugues,<br />
Op. 87<br />
and Aram Khachaturian<br />
Berlin Blockade (May)<br />
(film score)<br />
(photo taken in the 1940s)<br />
Visit to New York for Congress for<br />
World Peace; member of organizing<br />
committee for celebration of Stalin’s<br />
70th birthday<br />
The Song of the Forests,Op.81<br />
PROGRAM EIGHT NOTES<br />
intermission<br />
Galina Ustvolskaya (b. 1919)<br />
Trio, for clarinet, violin, and piano (1949)<br />
Espressivo<br />
Dolce<br />
Energico<br />
Alexander Fiterstein, clarinet<br />
Philippe Quint, violin<br />
Alon Goldstein, piano<br />
Dmitrii Shostakovich<br />
String Quartet No. 5 in B-flat Major, Op. 92 (1953)<br />
Allegretto non troppo<br />
Andante<br />
Moderato. Allegretto<br />
Chiara String Quartet<br />
In early 1948, Shostakovich, Prokofiev, and several other leading Soviet composers were labeled “formalists”<br />
and many of their works were banned from public performance. Having faced such problems a<br />
dozen years earlier, Shostakovich acted resolutely to ensure his speedy rehabilitation, writing film scores<br />
and cantatas for state occasions that offered fulsome praise to Stalin. This tactic soon proved successful.<br />
In his spare time, however, he continued to write serious works, such as the Fifth Quartet and the Violin<br />
Concerto, but the scores remained in his desk drawer, awaiting more favorable times. In this program, we<br />
will hear this music, which was heard only in private performance within a narrow circle of musicians<br />
associated with Shostakovich. Galina Ustvolskaya and Georgy Sviridov were students of his at the<br />
Leningrad Conservatory, while Mieczyslaw Weinberg considered himself Shostakovich’s “flesh and<br />
blood” (although he never took any lessons with him). The program also draws out two subplots relating<br />
to this circle. The first is the dramatic arrest of Weinberg, when Shostakovich expected the worst and<br />
offered to raise Weinberg’s daughter if necessary. The other is the complex relationship between<br />
Shostakovich and Ustvolskaya, ending in great bitterness on the part of the latter.<br />
Dmitrii Shostakovich<br />
From Twenty-four Preludes and Fugues, Op. 87<br />
The only serious work that Shostakovich tried to make public in the period between 1948 and Stalin’s<br />
death was this large and ambitious piano work, but unfortunately it fell at the first hurdle—it was con-<br />
demned as “formalist” by the committee of the Composers’ Union. It was only grudgingly accepted at<br />
a later stage, after prominent Soviet pianists persisted in playing parts of the work during public<br />
recitals. Given the proximity of the work to its Bach prototype, the decision of the committee was surprising.<br />
The preludes, like Bach’s, are generally studies on a single figuration or dance type, while some<br />
of the fugue themes, such as No. 22, could almost have been written by Bach. In the final, D-minor<br />
fugue, the serene opening looks back to Bach’s B-flat major fugue from Book II of the “48.” With the<br />
introduction of the second theme, however, the peace is disturbed, and the section combining the two<br />
themes is a weighty symphonic ending.<br />
Mieczyslaw Weinberg<br />
Moldavian Rhapsody, Op. 47,No.3<br />
This colorful piece with its innocuous title could have blended in with the many Socialist Realist works<br />
on folk material, were it not for the timing of its composition and the personal connections of its composer.<br />
Mieczyslaw Weinberg (or Moisei Vainberg) had fled from Poland to the U.S.S.R. in order to escape<br />
the Nazis, but found himself once again in danger a decade later, due to his connections with “Jewish<br />
conspirators.” Weinberg’s family traced itself back to Moldavia, and the composer tries to summon up<br />
the spirit of his forefathers with klezmer melodies from the region. Weinberg’s position was already<br />
delicate, because he was married to the late Solomon Mikhoels’s daughter, but by the time of the<br />
Rhapsody’s premiere, in February 1953, the situation had deteriorated further: Miron Vovsi, an uncle of<br />
Weinberg’s wife, had been charged with conspiring to poison Stalin—this was the notorious “Doctors’<br />
Plot” episode. In these circumstances, the Rhapsody’s Jewish character could easily be interpreted as a<br />
protest, so on the morning after the performance, Weinberg was arrested for activities classed as<br />
“Jewish bourgeois nationalism.” One of the accusations was that he had incited Shaporin to write his<br />
Jewish vocalise. Shostakovich tried to intercede, but in the event Weinberg was saved by Stalin’s death,<br />
after which all charges against the Jewish “conspirators” and “nationalists” were quickly dropped.<br />
Yurii Shaporin<br />
Vocalise, Op. 21,No.5<br />
Shaporin was prompted to use this mournful Jewish melody by Solomon Mikhoels (1890–1948), the celebrated<br />
director of the Moscow Yiddish Theatre and chairman of the wartime Jewish Antifascist<br />
Committee. The piece was originally published as one of Ten Songs on Texts by Soviet Poets, but as Stalin<br />
began to promote the notion that prominent Soviet Jews formed a kind of fifth column, and Mikhoels<br />
died in a dubious “accident,” the Jewish melody was hastily removed from the collection.<br />
Georgii Sviridov<br />
Russia the Wooden<br />
Sergey Yesenin (1895–1925), the colorful Russian poet of the 1910s and 1920s and one-time husband of<br />
Isadora Duncan, committed suicide at the age of 30, before Socialist Realism ever had a chance to extinguish<br />
his gift. Yesenin’s poetry, with images of a humble and poor peasant Russia (“wooden Russia”), its<br />
38 39
1952<br />
Stalin Prize (category II) for Ten<br />
Poems on Texts by Revolutionary<br />
1953<br />
Doctors’ Plot (January); death of<br />
Stalin and Prokofiev (March 5);<br />
1954<br />
Publication of Ilya Ehrenburg’s<br />
The Thaw<br />
Shostakovich speaking on the<br />
occasion of the award of the<br />
1955<br />
“The Thaw”—restoration of friendly<br />
relations with West<br />
Poets, Op. 88<br />
Nikita Khrushchev elected General<br />
Wife Nina dies (December 4);<br />
International Peace Prize<br />
Mother dies (November 9)<br />
Secretary of the Communist Party<br />
People’s Artist of U.S.S.R.;<br />
The Gadfly,Op.97<br />
Symphony No. 10,Op.93<br />
International Peace Prize; honored by<br />
Swedish Royal Musical Academy<br />
folk religion and drunken courage, almost vanished during the Stalin era, but finally enjoyed a revival<br />
during the Khrushchev Thaw, when Sviridov began the first of his many Yesenin settings. Russia the<br />
Wooden is a small cycle of Yesenin’s earlier verses in a very simple, transparent setting. Brief folk-like<br />
motives and static, mildly dissonant “bell” harmonies are typical Sviridov trademarks (inspired, it<br />
seems, by Stravinsky’s Les Noces). The poem chosen for the last song, with its “prisons built from church<br />
bricks,” had doubtless accrued new meaning for Russians who had lived through the Stalin era.<br />
Galina Ustvolskaya<br />
Trio, for clarinet, violin, and piano<br />
Of all Soviet composers to emerge during the Stalin period, Ustvolskaya had to endure the most<br />
extreme artistic schizophrenia. The individualism and uncompromising modernism of her private<br />
works were utterly at odds with the faceless Socialist Realism of the various cantatas and suites that<br />
prompted the state to award her prizes (she disowned these works later in life). Shostakovich was an<br />
ardent admirer of Ustvolskaya both as an artist and a woman; he even went so far as to propose to her.<br />
The relationship ended badly: Ustvolskaya claimed that she burnt all his letters, and she never had a<br />
good word for Shostakovich again.<br />
The Trio is one of the earliest entries in the list of works the composer is prepared to acknowledge.<br />
The first movement begins with a meditative clarinet solo, imitated by the piano; the second theme, in<br />
the violin, is more rhythmically defined. An expressive dialogue between the three instruments ensues,<br />
growing in intensity and then fading away, pared down to the clarinet monologue again. The transition<br />
to the short second movement is seamless: the clarinet is answered by three dissonant chords in<br />
the violin; these chords are soon taken up by the piano, allowing the violin to take over the melodic role<br />
from the clarinet. The finale contrasts strongly with the preceding movements, opening violently with<br />
a strongly accented theme. The second theme, in the clarinet, was adopted by Shostakovich in his Fifth<br />
Quartet; it is more plaintive and speech-like, but has to endure the violent attacks of the other instruments.<br />
Calm eventually descends, but the ending is unexpected: the piano has the last word with the<br />
stilted, tongue-tied melody interrupted by the ominous chords in the bass.<br />
Dmitrii Shostakovich<br />
String Quartet No. 5 in B-flat Major, Op. 92<br />
Shostakovich had good reasons to withhold the Fifth Quartet temporarily: although it displays the classically<br />
transparent forms and the “organic” thematic development demanded by Socialist Realism, the<br />
style is still too individual and the moods too ambivalent. The first movement might be suitably<br />
dynamic and in the major, but is permeated with a certain relentless drive that does not fit within<br />
Socialist Realism’s normal emotional range. The quotation from Ustvolskaya’s Trio is introduced at the<br />
end of the movement, in the muted first violin; making ingenious use of the original’s ascending<br />
sequence, Shostakovich has the theme soar ever higher, up to the extreme high F. The second movement,<br />
which follows without a break, offers an otherworldly Andante theme, which alternates with a<br />
livelier and warmer Andantino, in the manner of the “Heiliger Dankgesang” movement of Beethoven’s<br />
late A-minor Quartet. The Ustvolskaya theme makes a dramatic return in the middle of the Finale, at the<br />
point of highest intensity, appearing first in the cello, then in the two violins. Interrupting Ustvolskaya,<br />
Shostakovich bombards us (or her?) with theatricals: there is a recitative, a chorale, fateful triple pizzicato<br />
chords, then at the end an operatic pleading figure (first heard in the Finale’s slow introduction),<br />
which is repeated again and again, as if in despair. The Fifth Quartet is certainly much more than a love<br />
story that ends badly, but given what we now know of his circumstances, the rhetoric of the Quartet<br />
and the use of the Ustvolskaya quotation certainly suggest that this was a major part of its import for<br />
Shostakovich.<br />
—Marina Frolova-Walker<br />
SATURDAY<br />
AUGUST 21<br />
program nine AFTER THE THAW:<br />
A COMPOSER LOOKS BACK<br />
richard b. fisher center for the performing arts<br />
sosnoff theater<br />
7:00 p.m. Preconcert Talk Laurel E. Fay<br />
8:00 p.m. Performance American Symphony Orchestra,<br />
Leon Botstein, conductor<br />
Modest Musorgsky (1839–81)<br />
Songs and Dances of Death (1875–77; arr. Shostakovich, 1962)<br />
(Golenishchev-Kutuzov)<br />
Lullaby<br />
Serenade<br />
Trepak<br />
The Field Marshal<br />
Ewa Podleś, contralto<br />
Dmitrii Shostakovich (1906–75)<br />
The Execution of Stepan Razin,Op.119 (1964) (Yevtushenko)<br />
Nikita Storojev, bass<br />
Bard Festival Chorale, James Bagwell, choral director<br />
intermission<br />
40 41
1956<br />
1957<br />
His mother<br />
Twentieth Party Congress: Khrushchev’s “Secret Speech” denouncing Stalin;<br />
Launch of first Sputnik<br />
A performance of the Second Piano<br />
de-Stalinization; Soviet army crushes the Hungarian independence<br />
Piano Concerto No. 2,Op.102;<br />
Concerto in the Grand Hall of<br />
movement<br />
Symphony No. 11, The Year 1905,<br />
Moscow Conservatory<br />
Marries Margarita Kainova; Order of Lenin<br />
Op. 103<br />
(soloist Maxim Shostakovich)<br />
Quartet No. 6,Op.101<br />
PROGRAM NINE NOTES<br />
Symphony No. 14,Op.135 (1969)<br />
De profundis (Lorca)<br />
Malagueña (Lorca)<br />
The Loreley (Apollinaire, after Brentano)<br />
The Suicide (Apollinaire)<br />
On Watch (Apollinaire)<br />
Madam, Look! (Apollinaire)<br />
At the Santé Prison (Apollinaire)<br />
Reply of the Zaporozhian Cossacks to the Sultan of<br />
Constantinople (Apollinaire)<br />
O Delvig, Delvig (Küchelbecker)<br />
Death of a Poet (Rilke)<br />
Conclusion (Rilke)<br />
Lauren Skuce, soprano<br />
Nikita Storojev, bass<br />
This program sheds light on Shostakovich’s special relationship with Modest Musorgsky. Commentators<br />
have remarked on similarities at various levels: both composers had a proclivity for tragedy and satire,<br />
both reflected speech intonation in their vocal writing, and both made prominent use of modes. The<br />
influence of Musorgsky was already evident in Shostakovich’s two operas: The Nose, which owes much<br />
to Musorgsky’s farce The Marriage, and Lady Macbeth of the Mtsensk District, which in many ways<br />
echoes Boris Godunov. Later, Shostakovich’s Antiformalist Rayok, a satire on the 1948 resolution against<br />
formalism, was modeled on Musorgsky’s own Rayok, a satire on his hostile critics. In 1939, Shostakovich<br />
was commissioned to produce his own version of Musorgsky’s Boris, but the task soon became a labor<br />
of love. Thereafter, Shostakovich became an assiduous orchestrator of Musorgsky, second only to<br />
Rimsky-Korsakov. In 1958, his orchestration of Khovanshchina followed, and in 1962, the Songs and<br />
Dances of Death. This evidently inspired Shostakovich’s Execution of Stepan Razin, in which the eponymous<br />
hero is led to his execution to the sounds of the trepak, the dance which Musorgsky had adopted<br />
for his morbid purposes. Regretting the brevity of Musorgsky’s song cycle, Shostakovich wrote his<br />
Fourteenth Symphony as a larger-scale set of songs on the subject of death.<br />
Modest Musorgsky<br />
Songs and Dances of Death<br />
Musorgsky had long been fascinated with medieval danse macabre illustrations, showing the figure of<br />
Death appearing to people of all ages and social status. The musical world had found inspiration in this<br />
source before: Franz Liszt’s Totentanz for piano and orchestra was much admired by Musorgsky (while<br />
he disdained in equal measure the orchestral Danse macabre by Camille Saint-Saëns). For the texts,<br />
Musorgsky turned to his close friend, the poet Arseniy Golenishchev-Kutuzov (1848–1913). In 1875,<br />
Musorgsky set only three of the resulting poems.“Lullaby” presents Death rocking a sick infant to sleep.<br />
In “Serenade,” Death is a glorious knight promising his love to a consumptive girl. Finally, “Trepak” features<br />
a poor drunken peasant dancing in a snowstorm, and Death comforts him with a blanket of snow.<br />
Two years later, Musorgsky decided that the cycle needed to close with a more substantial piece, and he<br />
added “The Field Marshal,” where Death is triumphant in a battlefield littered with corpses. Aside from<br />
clear-cut “songs” and “dances,” Musorgsky also employs his characteristic declamatory style, based on<br />
Russian speech patterns, for the dialogue between Death and the infant’s mother in “Lullaby.”The cycle<br />
is recognized as one of Musorgsky’s greatest achievements.<br />
Dimitrii Shostakovich<br />
The Execution of Stepan Razin,Op.119<br />
Stepan Razin, the leader of a 17th-century peasant uprising, was long established as a folk hero in<br />
Russia. During the Soviet era, he was held up as the first in a line of great revolutionaries, and many<br />
Socialist Realist works were devoted to him. Yevgeny Yevtushenko (b. 1933), taking advantage of the relative<br />
artistic freedom of the Khrushchev Thaw, reclaimed Razin as an opponent of Russia’s rulers. By<br />
basing his cantata on Yevtushenko’s version of the story, Shostakovich expected controversy, but the<br />
authorities received the work without complaint and even decided that it merited a prize. This<br />
Musorgskian work falls into three parts: the first consists of an introduction and strophic trepak, the<br />
second is Razin’s monologue, and the third a dramatic execution scene followed by an epilogue that<br />
looks back to the first part.<br />
Symphony No. 14,Op.135<br />
Like its immediate predecessor, the Fourteenth Symphony is a song cycle with orchestral accompaniment,<br />
but whereas the Thirteenth contained five substantial movements on verses by a single poet, the<br />
Fourteenth at first seems much more fragmented and unsymphonic: there are 11 movements, some of<br />
them very brief, and the verses are drawn from four poets, each of whom wrote in a different language.<br />
Nevertheless, Shostakovich eventually decided that the cycle could justifiably be called a symphony<br />
because of the strong unity it exhibits, both in the subject matter of its poetic texts and in its musical<br />
material.<br />
Rainer Maria Rilke (1875–1926), Guillaume Apollinaire (1880–1918), and Federico García Lorca (1898–1936),<br />
the symphony’s three non-Russian poets, were all unknown in Stalin’s Soviet Union; this lent a certain<br />
freshness and excitement to their poetry for the Russian intelligentsia of the 1960s, which was vigorously<br />
exercising its newfound freedoms to expand its artistic horizons far beyond the limits that Stalin had set.<br />
Additionally, these three poets, in their different ways, all used the elusive symbolism and dark colors that<br />
had been notably absent from Socialist Realist verse. From Pushkin onward, there had been a strong<br />
Russian tradition of literary translation, for poetry as much as prose, and this tradition was now revived to<br />
42 43
1958<br />
Boris Pasternak receives Nobel Prize<br />
for Dr. Zhivago<br />
Honorary doctorate from Oxford;<br />
Lenin Prize for Symphony No. 11<br />
Moscow, Cheryomushki,Op.105<br />
The ceremony of conferring the<br />
degree of Honorary Doctor of Music<br />
of Oxford University.<br />
1958<br />
Jury and competitors in the Tchaikovsky<br />
International Piano and Violin Contest,<br />
Moscow, at the Tchaikovsky Museum<br />
in Klin. Left to right: Conductor<br />
Alexander Gauk; Tchaikovsky’s nephew<br />
Yury Davydov; the director of the<br />
museum; and Dmitrii Shostakovich,<br />
chairman of the jury.<br />
1959<br />
Khrushchev’s visit to the United<br />
States (the first visit ever by a Soviet<br />
leader to this country)<br />
Visit to United States; honored by<br />
American Academy of Sciences;<br />
divorces Margarita Kainova<br />
Cello Concerto No. 1,Op.107<br />
bring formerly forbidden Western writers to a much wider Russian audience than language scholars.<br />
None of the poems Shostakovich included in the symphony required any specially commissioned translation—they<br />
were already in circulation among Russian readers. The translators used artistic license in their<br />
renderings of the originals, and this sometimes led to results that reflected the time and circumstances<br />
of translation: more explicitly violent or sexual imagery is sanitized, perhaps to ensure that publication<br />
would be allowed, but perhaps merely reflecting the preferences of the Soviet translators and their<br />
expected readership. Non-Russian listeners should keep in mind that the settings in the symphony therefore<br />
directly reflect the nuances of the translations, rather than the original poems. The sole setting of a<br />
Russian poem stands apart from the rest of the cycle in several ways. Aside from the obvious linguistic difference,<br />
the poem was written about a century earlier than the other poems, the author being Wilhelm<br />
Küchelbecker (1791–1846), a contemporary of Pushkin’s.The subject matter, although sharing the theme of<br />
death, ponders the immortality conferred upon an artist through his works.<br />
The prevailing theme of death in the symphony’s poetic texts prompts us to understand the<br />
work in autobiographical terms. Shostakovich was increasingly incapacitated by health problems,<br />
and the symphony was largely written while the composer was confined to a hospital bed, uncertain<br />
whether he would even live long enough to complete it. But the symphony expresses much<br />
more than the fears and hopes of a single man, since death does not merely appear in the abstract,<br />
but also in connection with imprisonment, tyranny, and mass slaughter. This allows us to see the<br />
Fourteenth Symphony as a companion piece to the Thirteenth, as an attack on the rulers of the<br />
Soviet Union, above all on Stalin. In its musical style, however, the Fourteenth is very different from<br />
its predecessor: Shostakovich at last ventures beyond the conservatism that had protected him in<br />
harsher times, and plays with such modernist features as 12-tone themes and atonal canons. But<br />
this was not a return to the 1920s: Shostakovich restricted himself to those techniques that suited<br />
his particular expressive purposes in a given passage, but remained true to his mature compositional<br />
manner.<br />
The first movement,“De profundis,” is based on a short motif resembling the beginning of the Dies<br />
Irae, the medieval chant melody used by many composers as a symbol for death. In the second movement,<br />
“Malagueña,” Shostakovich represents death in a very different way, using a 12-tone theme that<br />
ascends and descends representing the poet’s image: “Death moves in and out of the tavern.” The use<br />
of the solo violin for the dance melody harks back to macabre solo-violin dances in Saint-Saëns and<br />
Mahler. Number three,“The Loreley” (by Apollinaire after Brentano), draws from the German ballade tradition<br />
of Schubert’s Erlkönig, but proceeds at a still more frenzied pace. Here another 12-tone theme is<br />
built up into a multipart canon, symbolizing the death and destruction of the poem. Number four,“The<br />
Suicide,” is linked to the first movement through its use of a similar short motif in a funereal context.<br />
The following two movements, “On Watch” and “Madame, Look”, form a natural pair in Shostakovich’s<br />
grotesque manner. Number seven, “In the Santé Prison,” provides a memorable musical image of captivity<br />
with woodblock and pizzicato strings. Number eight, “Reply of the Zaporozhian Cossacks to the<br />
Sultan of Constantinople,” returns to the grotesque manner, with a special savagery reflecting the<br />
imagery of the poem. In contrast,“O Delvig, Delvig” is solemn and compassionate, with echoes of Russian<br />
Orthodox singing and Mahler. The calm of the D-flat major ending conveys how the poet, Anton Delvig<br />
(1798–1831), lives on through his verses even though the authorities had tried to silence him with imprisonment.<br />
The following movement,“Death of a Poet,” concentrates instead on the destructive aspect of<br />
death, painfully contemplating how the great mind of a poet is snuffed out together with the physical<br />
death of his body. This movement functions musically as a reprise, containing material from movements<br />
one and four. The final movement, “Conclusion,” is an emotionally detached epilogue that lacks<br />
any hint of consolation: the pull of death is symbolized by a starkly dissonant chord, whose repetitions<br />
accelerate into the abyss.<br />
—Marina Frolova-Walker<br />
SUNDAY<br />
AUGUST 22<br />
panel three THE COMPOSER’S LEGACY:<br />
<strong>SHOSTAKOVICH</strong> IN THE CONTEXT<br />
OF MUSIC TODAY<br />
Richard Wilson, moderator<br />
Bruce Adolphe; John Eaton; Paul Moravec<br />
olin hall<br />
10:00 a.m. – noon<br />
program ten A NEW GENERATION RESPONDS<br />
olin hall<br />
1:00 p.m. Preconcert Talk Peter Schmelz<br />
1:30 p.m. Performance<br />
Sofiya Gubaidulina (b. 1931)<br />
Five Etudes, for harp, double bass, and percussion (1965)<br />
Largo<br />
Allegretto<br />
Adagio<br />
Allegro disperato<br />
Andante<br />
Sara Cutler, harp<br />
Dennis James, double bass<br />
Kory Grossman, percussion<br />
44 45
1960<br />
Travels to Britain, Belgium, France, Italy, Switzerland, and Austria; First<br />
Secretary of Union of Composers of R.S.F.S.R.; applies for membership in<br />
1961<br />
Yuri Gagarin first man in space;<br />
construction of Berlin Wall; Stalin’s<br />
1962<br />
Publication of Aleksandr Solzhenitsyn’s One Day in the Life of Ivan Denisovich;<br />
Cuban Missile Crisis (October)<br />
1963<br />
Katerina Izmailova,Op.114 [revised<br />
version of Lady Macbeth]<br />
Communist Party<br />
body removed from Lenin Mausoleum<br />
Attends 19th Edinburgh Festival where 22 of his works are performed;<br />
Quartet No. 7,Op.108; Quartet No. 8,Op.110; Five Days, Five Nights,Op.111<br />
Accepted as full member of<br />
meets Stravinsky (October 1); Deputy of Supreme Soviet of the U.S.S.R.;<br />
Communist Party; premiere of<br />
marries Irina Supinskaya<br />
Symphony No. 4 (December 30)<br />
Symphony No. 13, Babi Yar,Op.113<br />
Symphony No. 12, The Year 1917,Op.112<br />
Boris Tishchenko (b. 1939)<br />
String Quartet No. 1,Op.8 (1957)<br />
Andante mesto<br />
Allegro giocoso<br />
Lento<br />
Chiara String Quartet<br />
Alfred Schnittke (1934–98)<br />
From Four Hymns for Cello and Instrumental Ensemble (1974–77)<br />
No. 3<br />
No. 4<br />
Jonathan Spitz, cello<br />
Dennis James, double bass<br />
Marc Goldberg, bassoon<br />
Edward Brewer, harpsichord<br />
Sara Cutler, harp<br />
Matthew Strauss, timpani<br />
Kory Grossman, chimes<br />
intermission<br />
Edison Denisov (1929–96)<br />
The Sun of the Incas (1964) (Mistral)<br />
Preludium<br />
A Sad God<br />
Intermedium<br />
Red Evening<br />
The Cursed Word<br />
Finger Song<br />
Courtenay Budd, soprano<br />
Randolph Bowman, flute<br />
Laura Ahlbeck, oboe<br />
Laura Flax, clarinet<br />
Erica Kiesewetter, violin<br />
Roger Shell, cello<br />
Jeffrey Lang, horn<br />
Carl Albach, trumpet<br />
PROGRAM TEN NOTES<br />
Reiko Uchida and Elizabeth Wright, piano<br />
Kory Grossman and Matthew Strauss, percussion<br />
James Bagwell, conductor<br />
Dmitrii Shostakovich (1906–75)<br />
Viola Sonata, Op. 147 (1975)<br />
Aria<br />
Scherzo<br />
Adagio: “In Memory of the Great Beethoven”<br />
Kim Kashkashian, viola<br />
Lydia Artymiw, piano<br />
Nikita Khrushchev’s celebrated condemnation of Stalin at the 20th Party Congress (1956) ushered in the<br />
period of the Thaw. Most of Stalin’s political prisoners were allowed to return home; prominent names<br />
among the living and the dead were rehabilitated.The Iron Curtain was lifted for droves of foreigners who<br />
came to Moscow’s International Youth Festival in 1957. In the same year, Glenn Gould played works by<br />
Schoenberg, Berg, Webern, and Krenek in Moscow—such an event had been unthinkable after the 1920s,<br />
but was now possible once again. In 1958, the notorious Resolution against “formalism” in music was<br />
revoked after 10 years, and the floodgates opened. Apart from the return of works by Shostakovich that<br />
had long been banned, there was Stravinsky’s Russian tour, and concerts of music by the Western avantgardists<br />
Pierre Boulez and Luigi Nono. Such changes inevitably transformed the outlook of many Soviet<br />
composers, and the youngest generation, the conservatory students and recent graduates, immediately<br />
tried to absorb these new sounds into their scores. They were confronted by all the decades of music that<br />
Stalinism had kept at bay—all of Stravinsky from the Rite of Spring onward, the Second Viennese School,<br />
and of course the postwar avant-garde; jazz from 1930s swing through to the latest post-bebop developments<br />
was new, and rock ’n’ roll was all but unknown. The radicals, such as Denisov, Gubaidulina, and<br />
Schnittke, rushed to experiment with serialism and electronic music. The moderates, like Sviridov or<br />
Rodion Shchedrin (b. 1932), successfully adapted Stravinsky’s techniques. But there was a layer of conservatives<br />
who remained more or less untouched by the new music. Shostakovich was closest to the last<br />
camp—his distinctive voice, for better or worse, had already been forged during the Stalin era, and it was<br />
difficult to see how such alien influences could be assimilated organically. But this judgment needs to be<br />
qualified. Over the following decade, Shostakovich gradually began to register the new musical environment,<br />
and so we find 12-tone themes, occasional atonal passages, fresh instrumental sonorities, and even<br />
hints of his own 1920s modernism. And although Shostakovich was skeptical about the value of various<br />
modernist and avant-garde methods (including even serialism), he crucially offered his full support to all<br />
young composers whom he considered genuinely talented, from his own student Tishchenko to the<br />
experimentalist Denisov. Nor was Shostakovich’s influence killed off by the new freedoms: Schnittke was<br />
46 47
1964<br />
Fall of Khrushchev; Leonid Brezhnev elected General Secretary of the<br />
Communist Party<br />
Second Contemporary Music Festival in Gorky, devoted entirely to his work<br />
Quartet No. 9,Op.117; Quartet No. 10,Op.118; The Execution of Stepan Razin,<br />
Op. 119<br />
1966<br />
Heart attack (May 28); Royal<br />
Philharmonic Gold Medal; Order of<br />
Lenin and Hero of Socialist Labor<br />
Quartet No. 11,Op.122; Cello<br />
Concerto No. 2,Op.126<br />
1968<br />
Soviet invasion crushes<br />
“Prague Spring”<br />
U.S.S.R. State Prize for Stepan Razin<br />
Quartet No. 12,Op.133; Violin Sonata,<br />
Op. 134<br />
1969<br />
First wave of Jewish emigration<br />
from the Soviet Union<br />
At Lake Baikal sanatorium<br />
Symphony No. 14,Op.135<br />
1970<br />
Spends more than 170 days in<br />
Kurgan hospital<br />
Quartet No. 13,Op.138<br />
deeply influenced by the drama and pathos of his music, and many more, like Gubaidulina, held him in<br />
high esteem for his civic courage, in particular for the openly anti-Stalinist Thirteenth Symphony. There<br />
were others, however, who resented Shostakovich for a mixture of reasons: his recent recruitment to the<br />
Party, the bland works that he still turned out for state occasions, and the collective letters condemning<br />
dissidents which Shostakovich saw fit to sign. But it was impossible for young Soviet composers to ignore<br />
him: late Soviet and even post-Soviet music has been shaped by composers’ responses to Shostakovich,<br />
whether positive or negative.<br />
Alfred Schnittke<br />
From Four Hymns for Cello and Instrumental Ensemble<br />
Schnittke is best known for his earlier polystylistic works, but the Hymns are very different—gone are the<br />
bold stylistic contrasts, and the material is now simple and uniform. This radical shift was due primarily<br />
to Schnittke’s religious conversion—the composer chose to be baptized a Catholic (although he attended<br />
confession with an Orthodox priest). The third hymn is based on chant-like material, while the fourth<br />
uses the rhythms of liturgical recitation as a basis for ostinato patterns reminiscent of Stravinsky.<br />
Sofiya Gubaidulina<br />
Five Etudes<br />
Gubaidulina was fortunate to have had the Five Etudes premiered and even published before a new<br />
wave of reaction set in (the same can be said for Denisov and his cantata). This was perhaps the first<br />
work in which the voice of the mature artist is clearly heard. Not only was the combination of instruments<br />
unusual, but the way in which she wanted them played required two pages of instructions as<br />
an essential preface to the score. This detailed attention to every sound, often in rarefied textures,<br />
became a consistent feature of Gubaidulina’s mature works, and likewise the careful characterization<br />
of each instrument in order to foster dramatic relationships between them. In the first etude, rhythm<br />
is placed in the foreground with polyrhythms such as 2, 3, or 4 over 7. The second piece increases the<br />
tempo but retains the interest in rhythm: the percussionist (who is allowed some freedom to choose<br />
instruments) always plays in 4/4 whatever happens in the other parts—for example, the double bass<br />
plays an eight-note ostinato within a 5/4 meter. The third etude, by contrast, is a haunting Adagio with<br />
suggestions of a funeral march. The rhythmic complications return in the following etude, a “desperate”<br />
Scherzo, although the double bass tries to break through the tangle. In the finale, the double bass<br />
is able to adopt jazz or baroque-like “walking” patterns; its unstoppability and unpredictability are in<br />
fact dictated by the countless permutations of a tone-row.<br />
Boris Tishchenko<br />
String Quartet No. 1,Op.8<br />
In his 20s,Tishchenko studied under Shostakovich, but the youthful First Quartet dates from before this<br />
period. Nevertheless, the work clearly betrays the influence of Tishchenko’s future teacher. The first<br />
movement is pervaded by an elegiac and sweetly dissonant atonality—the tonal gestures usually<br />
evade rather than clarify the very attenuated sense of F-sharp minor.The brusque chords of the Scherzo<br />
seem to settle the issue in favor of tonality, but the fleeting semiquavers threaten to undermine this;<br />
the movement is punctuated by the sound of the cellist knocking on the body of the instrument. The<br />
last movement returns to the elegiac mood of the first, but the tonality is much less clouded. The long<br />
suppressed grief finally expresses itself in a climactic outburst near the end of the movement, but this<br />
suddenly subsides in a strange glissando whimper followed by silence. The Quartet closes with the<br />
same material that opened the Finale, calm again, as if skirting around the cause of the outburst.<br />
Edison Denisov<br />
The Sun of the Incas<br />
The 1964 premiere of this Cantata in Leningrad was one of the most important musical events of that<br />
decade. Soviet listeners were able to hear a large-scale work that used an astounding variety of techniques<br />
that had long been out of bounds, such as serial technique, pointillistic textures, indeterminacy,<br />
and the mixing of live and recorded sound. But the cantata is not merely of historical interest, for<br />
Denisov had already thoroughly assimilated all that he had acquired from the Western avant-garde, and<br />
he had now developed a mature and distinctive artistic voice. The cantata also did more than any other<br />
work to alert Western composers to the new developments in Soviet music, and The Sun of the Incas<br />
was soon conducted by Pierre Boulez in Paris and Bruno Maderna in Darmstadt. Denisov’s decision to<br />
use the poetry of Gabriela Mistral, a Chilean Nobel Prize winner, was in itself a rejection of the tenets of<br />
Socialist Realism, which had always stayed well clear of the mystery and dark symbolism that characterize<br />
these poems. No. 1 is an instrumental prelude that prefigures some of the movements to come.<br />
In No. 2, a slow movement, the soprano makes her first appearance, accompanied by piano and percussion.<br />
No. 3 is another instrumental piece, featuring a prominent repeated-note motif (one of Denisov’s<br />
trademarks). No. 4 sees the return of the soprano, accompanied by a flute whose resources are thoroughly<br />
explored in the course of the movement. A sense of catastrophe descends on us in No. 5, with<br />
shrieking instruments and convulsive rhythms—this is an instrumental fantasy based on a Mistral<br />
poem that yearns for the reign of peace. The childlike and folksy No. 6 is perhaps unexpected in the context,<br />
but the soprano text, now with taped chorus, rounds the work off on the level of epic and myth.<br />
Dmitrii Shostakovich<br />
Viola Sonata, Op. 147<br />
We often hope to find some kind of weighty message or testament in a great composer’s final work.<br />
Shostakovich’s Viola Sonata is certainly no disappointment in this respect. The first movement begins<br />
with the plucking of the open strings on the viola—a coolly impersonal, “objective” theme. The piano<br />
is restricted to ascetic textures, acting as an equal partner to the viola. A short chorale fragment<br />
appears, gravely reflective like so many other chorales in Shostakovich. Twice the viola breaks through<br />
the ice with passionate monologues, but it is always forced back to the pizzicato theme. The Scherzo is<br />
one of Shostakovich’s grotesque dance movements; the viola adopts a folk style for a chain of raucous<br />
48 49
1971<br />
Second heart attack (September 17);<br />
Order of October Revolution<br />
1972<br />
President Nixon visits the Soviet<br />
Union; the beginning of détente<br />
1973<br />
Honored in Denmark and at<br />
Northwestern University<br />
1974<br />
Solzhenitsyn expelled<br />
Glinka Prize for Quartet No. 14 and<br />
1975<br />
Andrei Sakharov awarded Nobel<br />
Peace Prize<br />
1976<br />
Commemorative stamp issued<br />
in U.S.S.R.<br />
Symphony No. 15,Op.141<br />
Quartet No. 14,Op.142; Six Verses of<br />
Loyalty,Op.136<br />
Dies in Moscow on August 9; buried<br />
Marina Tsvetayeva, Op. 143<br />
Quartet No. 15,Op.144; Suite on<br />
in Moscow’s Novodevichy Cemetery<br />
Texts of Michelangelo Buonarroti,<br />
(August 14)<br />
Op. 145<br />
Viola Sonata, Op. 147<br />
street songs. (The Scherzo is based on material from his unfinished Gogol opera The Gamblers.) The<br />
Finale is something quite unique in Shostakovich: a close and continuous dialogue with another composer,<br />
namely the Beethoven of the “Moonlight” Sonata. The sonata fades in and out, its elements are<br />
defamiliarized, developed, or dramatized, and then restored to their familiar form. There had been quotations<br />
from Wagner and Rossini in the Fifteenth Symphony, but the Finale of this sonata goes far<br />
beyond mere quotation, although the reason for the inclusion of preexisting music is equally elusive.<br />
Whatever meaning the Beethoven movement might have had for Shostakovich, he has left us a beautiful<br />
and moving farewell.<br />
—Marina Frolova-Walker<br />
SUNDAY<br />
AUGUST 22<br />
program eleven IDEOLOGY AND INDIVIDUALISM<br />
richard b. fisher center for the performing arts<br />
sosnoff theater<br />
4:00 p.m. Preconcert Talk Christopher H. Gibbs<br />
5:00 p.m. Performance American Symphony Orchestra,<br />
Leon Botstein, conductor<br />
Dmitrii Shostakovich (1906–75)<br />
The Sun Shines over Our Motherland, cantata, Op. 90 (1952) (Dolmatovsky)<br />
Bard Festival Chorale, James Bagwell, choral director<br />
The Song of the Forests,Op.81 (1949) (Dolmatovsky)<br />
Simon O’Neill, tenor<br />
Valerian Ruminski, bass<br />
Bard Festival Chorale, James Bagwell, choral director<br />
intermission<br />
Symphony No. 10 in E Minor, Op. 93 (1953)<br />
Moderato<br />
Allegro<br />
Allegretto<br />
Andante<br />
PROGRAM ELEVEN NOTES<br />
The year 1948 ushered in the gloomiest period for many Soviet composers.The infamous Party Resolution<br />
against “formalism” deprived composers of the right to individual expression and innovation, and<br />
reduced them to submitting only the safest possible works. Heaps of bland, almost undistinguishable<br />
cantatas filled the desks of the Union of Composers officials awaiting their verdict. Shostakovich was no<br />
exception: he had received fierce criticism and saw many of his works removed from the concert stage,<br />
so he had little choice but to comply. In 1949, he composed The Song of the Forests, and in 1952, The Sun<br />
Shines over Our Motherland, both using texts by Yevgeny Dolmatovsky (1915–94), a sycophantic court poet<br />
for whom the composer had little respect. Shostakovich felt no inclination to write symphonies during<br />
this period, and so his Tenth had to wait until 1953, after Stalin’s death. The premiere revealed a<br />
Shostakovich who had lost none of his individual genius: he marked the end of the fallow years with an<br />
intensely personal and emotional work.<br />
The Sun Shines over Our Motherland,Op.90<br />
While the Song of the Forests, the next piece on this program, is an imaginative response to a very narrow<br />
set of demands, and so stands out from the bulk of Socialist Realist fare during Stalin’s last years,<br />
by 1952, when The Sun Shines over Our Motherland was composed, Shostakovich had evidently abandoned<br />
any attempt at artfulness—he simply fulfilled his commission with minimal effort. The result is<br />
an entirely anonymous, smoothly processed slab of Socialist Realism, which usefully enables us to place<br />
The Song of the Forests in its proper context. Even the rubber-stamp committee of the Union of<br />
Composers ventured to suggest that The Sun Shines was stilted and only “ritually festive”—and here<br />
we would not beg to differ.<br />
The Song of the Forests,Op.81<br />
The Song of the Forests is a model of Socialist Realism. The subject matter was appropriately topical: it<br />
celebrates the grand project that Stalin had just begun, of reforesting vast tracts of land ravaged by the<br />
war. The cantata’s style was also in keeping with Socialist Realism, balancing old and new, highbrow<br />
and kitsch. Soviet ceremonial music also required a degree of anonymity, and Shostakovich achieves<br />
this too, although various small details quickly identify him to those who know his music well. The<br />
opening bass solo is a portrait of Stalin, who is represented by an orchestral theme that begins in an<br />
understated, if quietly confident manner. This closely resembles the way in which Stalin was portrayed<br />
in films of the period, such as The Fall of Berlin (for which Shostakovich wrote the score): the leader’s<br />
quiet voice and unassuming demeanor was contrasted with the noisy adulation of his people, and with<br />
the chaotic machinations of his enemies. The picture is almost moving: Stalin, alone in his study, is<br />
removing from his map the red flags of his wartime battalions, replacing them with green flags representing<br />
the peacetime forests he would plant. The country responds to his call in the rousing second<br />
number, which is virtually anonymous in its Socialist Realist style. The third number is a Musorgskian<br />
lament that looks back to the war years. But what made the Cantata genuinely popular among Soviet<br />
50 51
1979<br />
Soviet invasion of Afghanistan<br />
1981<br />
Suppression of “Solidarity”<br />
movement in Poland<br />
1982<br />
Death of Brezhnev<br />
(November 10)<br />
WORDS<br />
■ assembled by Gennady Shkliarevsky<br />
■■ based on Laurel E. Fay, Shostakovich: A Life,Oxford<br />
University Press, 2000<br />
■ from Dmitry Shostakovich Composer, Foreign<br />
Languages Publishing, Moscow, 1959<br />
IMAGES<br />
from Dmitry Shostakovich Composer, Foreign<br />
Languages Publishing, Moscow, 1959<br />
■ from Russia: A History, Gregory L. Freeze (ed.), Oxford<br />
University Press, 1997, 2002<br />
audiences was the fourth number’s catchy tune, sung by the boys’ choir, representing the Young<br />
Pioneers movement; the light touch of chromaticism is enough to endow it with Shostakovich’s characteristic<br />
bite. The fifth number moves on to Komsomol, the youth movement, and here Shostakovich<br />
returns to the safe formula of a successful mass song he had written earlier, the “Song of the<br />
Counterplan” (this was already associated with youthful fervor). A nocturne follows, with a vision of a<br />
nightingale singing in a garden that has yet to be created (Shostakovich refers here to Schubert’s<br />
Ständchen, familiar to all Soviet radio listeners). Stalin’s presence is felt here; even though he is not<br />
mentioned in the tenor’s text, listeners at the time would have understood: The Fall of Berlin portrays<br />
him as a protector of young lovers, and his memorable first appearance is in the midst of a garden. The<br />
finale is at first a standard “glory to the tsar”–type chorus from the Russian operatic tradition; this is<br />
dramatically interrupted by the return of Stalin’s theme from the first number, now presented in the<br />
grandest manner, to the words of Dolmatovsky’s fulsome praise: “Our Teacher, our Friend and Father,<br />
the Commander of great battles, the Gardener of future gardens.”<br />
Symphony No. 10 in E Minor, Op. 93<br />
As Shostakovich’s first post-Stalin work, the Tenth Symphony has attracted the close attention of commentators,<br />
who search the score for signs that a great burden had been lifted from the composer. There<br />
were indeed some clear changes for the better in the springtime after Stalin’s death: many labor-camp<br />
prisoners quietly returned home, for example. But the bureaucrats were careful to avoid undermining<br />
the stability of the status quo, and among other things, there were no official changes in artistic policy.<br />
Nevertheless, artists like Shostakovich warily tested the waters, and the Tenth was the first major product<br />
of the new uncertainties: on the one hand, it challenged the officially accepted emotional range of<br />
Socialist Realist music; on the other, it was by no means a radical departure, and any messages, whatever<br />
they might be, lay well hidden.<br />
The first movement draws on a scheme that Shostakovich had established in his Fifth and Eighth<br />
symphonies: the first theme progresses slowly and tortuously, eventually giving way to a lighter, dancelike<br />
second theme; both themes are then dramatically reworked, and after a churning climax, the<br />
movement ends uneasily, with nothing resolved. The Tenth, however, is darker and more extreme than<br />
these two predecessors; its brooding first theme develops very slowly, and the second, a limping, anxious<br />
little waltz, cannot dispel the somber mood. The subsequent transformation of the two themes<br />
renders both surprisingly harsh and aggressive, and in this guise they proceed to a crashing climax. The<br />
movement closes bleakly in the high register, without any hope or light to offer.<br />
The second movement is a wild, relentless scherzo, a grotesque “ride to the abyss.” Interestingly,<br />
the last time Shostakovich had written anything comparable was in his opera Lady Macbeth of the<br />
Mtsensk District, which had been denounced in 1936; only after Stalin’s death did he feel able to return<br />
to such soundscapes. The third movement, which begins as an unsettled dance, has a pivotal role<br />
within this symphony, though it reminisces upon material from the previous two movements. Its<br />
strong rhetorical gestures also suggest that it carried some message of importance for the composer.<br />
There are clues to be found. This movement sees the first appearance of Shostakovich’s signature DSCH<br />
motif (the notes D–E-flat–C–B), which obsessively points to the composer in the midst of the conflict.<br />
More recently, it was discovered that the middle section’s horn motive stands for Elmira Nazirova, a student<br />
of the composer’s, with whom he was infatuated that summer; the notes are E–A–E–D–A, or more<br />
helpfully E–L(a)–Mi–R(e)–A. In the closing moments the two motives are combined, only to be swept<br />
aside by a brutal Tchaikovskian “fate” gesture.<br />
The finale, if anything, is still more enigmatic. In the course of the long slow introduction, a goodhumored<br />
theme is born out of the same interval of the fifth that marks the Elmira motive; this new theme<br />
then plunges us in the whirlwind of the finale. A diverse succession of images flashes by, including a (mockingly?)<br />
earnest theme of the sort that accompanied the more heavy-handed propaganda messages in the<br />
cinema, and at another moment, a grotesque reminiscence of the wild second movement. With an exaggeratedly<br />
dramatic gesture, the DSCH motive interrupts this strange carnival, dominating the final<br />
moments through its obsessive repetitions; even specially tuned timpani hammer out the motive.<br />
With everything we know about Shostakovich and this symphony today, it is easy to hear this ending<br />
as the battered composer’s roguish triumph. The critics at the time, however, had no inkling of the<br />
DSCH motive’s meaning, and they were content to describe the finale as a standard gesture of Socialist<br />
Realist affirmation. Still, without suspecting the personal nature of this affirmation, some of the critics<br />
complained that contrary to the Socialist Realist ideal, the darkness of the preceding movements was<br />
not entirely dispelled by the finale. Nevertheless, all agreed that the work was a superlative example of<br />
symphonic craftsmanship, a cycle held together by an intricate web of motivic connections, which was<br />
at the same time fresh, compelling, and memorable. A final twist brings us back to the first half of the<br />
program, for Shostakovich’s efforts in The Song of the Forests had brought him a Stalin Prize, whereas<br />
the Tenth Symphony was denied this accolade—perhaps in its mastery it was thought to draw too<br />
much attention to Shostakovich as an individual, or perhaps it was not considered sufficiently demotic.<br />
But for Shostakovich, this probably mattered little at the time, because outliving Stalin was a prize in<br />
itself.<br />
—Marina Frolova-Walker<br />
52 53
BIOGRAPHIES<br />
Laura Ahlbeck is principal oboist of the Boston Pops<br />
Esplanade, Lyric Opera, and the resident orchestra of the<br />
Bard Music Festival. She is frequently heard in groups<br />
such as the Boston Symphony Orchestra, Boston Pops,<br />
and Emmanuel Church, and in chamber groups throughout<br />
Boston. She has been a member of the Columbus<br />
Symphony Orchestra, Orchestra Sinfónica de Maracaibo,<br />
Eastern Music Festival Orchestra, and Metropolitan<br />
Opera Orchestra. She teaches oboe at Boston University,<br />
New England Conservatory of Music, and Boston<br />
Conservatory.<br />
Bruce Adolphe is a composer of chamber, orchestral, theatrical,<br />
and operatic works that have been performed by<br />
Itzhak Perlman, the Beaux Arts Trio, the Chamber Music<br />
Society of Lincoln Center, the Santa Fe Chamber Music<br />
Festival, Orpheus Chamber Orchestra, St. Luke’s Chamber<br />
Ensemble, and many other ensembles. His book, The<br />
Mind’s Ear, is used by educators throughout the country;<br />
a new book, What to Listen for in the World, is forthcoming.<br />
Mr. Adolphe is education director and music administrator<br />
of the Chamber Music Society of Lincoln Center<br />
and has taught at Juilliard, Yale, and New York University.<br />
He is a frequent guest lecturer at schools and concert<br />
series throughout the United States.<br />
Carl Albach has been a freelance trumpet player in<br />
New York since 1982. He performs regularly with the<br />
Orchestra of St. Luke’s, Orpheus Chamber Orchestra,<br />
and American Symphony Orchestra. He has been a<br />
soloist with Orpheus in Europe, Japan, and the United<br />
States. He lives in New Jersey with his wife, Maureen<br />
Strenge, a bassoonist, and their three sons.<br />
Born in Volgograd in 1967, the Russian bass Andrey<br />
Antonov graduated from Astrakhan State Conservatory.<br />
He won the Glinka Competition in 1997, the Maria Foltyn<br />
Prize at the International Moniuszko Competition in<br />
1998, and the International Hans Gabor Belvedere<br />
Singing Competition in 1999. Since 1996 he has been a<br />
principal with the Samara State Opera Company, where<br />
he sings all the lead bass roles. In 1999 he performed the<br />
title roles in two world premieres with Moscow’s Helikon<br />
Opera Theater, The Visions of Ivan the Terrible (conducted<br />
by Mstislav Rostropovich) and Moses. In 2001 he made<br />
his Wexford Festival Opera debut in Tchaikovsky’s The<br />
Maid of Orleans and performed in Shostakovich’s The<br />
Gamblers at the Concertgebouw in Amsterdam.<br />
Lydia Artymiw is the recipient of the 1987 Avery Fisher<br />
Career Grant and the 1989 Andrew Wolf Chamber<br />
Music Prize. She has performed with more than a hundred<br />
orchestras worldwide, with many of the leading conductors<br />
of our time. American orchestral appearances<br />
include the Boston Symphony, Cleveland Orchestra, New<br />
York Philharmonic, Philadelphia Orchestra, Los Angeles<br />
Philharmonic, National Symphony, San Francisco<br />
Symphony, and St. Paul Chamber Orchestra. Solo recital<br />
tours have taken her to all major American cities, to the<br />
music centers of Europe, and throughout the Far East.<br />
She has collaborated with such acclaimed artists as<br />
Yo-Yo Ma, Richard Stoltzman, Arnold Steinhardt,<br />
Michael Tree, and the Guarneri, Vermeer, American,<br />
Miami, Orion, and Shanghai Quartets. Along with<br />
Arnold Steinhardt and Jules Eskin, she is a member of<br />
the Steinhardt-Artymiw-Eskin Trio. Ms. Artymiw<br />
appears by special arrangement with John Gingrich<br />
Management, Inc., New York.<br />
James Bagwell maintains an active schedule throughout<br />
the United States as a conductor of choral, operatic, and<br />
orchestral literature. He is music director and conductor<br />
of the Cappella Festival Orchestra and Chorus in New<br />
York, founder and artistic director of the New York<br />
Repertory Chorus, music director of Light Opera<br />
Oklahoma, music director of the May Festival Youth<br />
Chorus in Cincinnati, and is active as a guest conductor<br />
with the Indianapolis Chamber Orchestra and the<br />
Berkshire Bach Society Orchestra and Chorus. He has<br />
worked with such noted conductors as Leon Botstein,<br />
James Conlon, Leon Fleischer, Erich Kunzel, Raymond<br />
Leppard, Jesus Lopez-Cobos, Imre Pallo, Christof Perick,<br />
and Robert Shaw. In 2000 he joined the faculty of Bard<br />
College, where he is director of the orchestral and choral<br />
programs. He made his Bard Music Festival debut in<br />
August 2001.<br />
Cellist Zuill Bailey has performed with the Annapolis,<br />
Arlington, Chicago, Napa Valley, Reno Chamber, San<br />
Francisco, and Utah orchestras, as well as the Illinois<br />
Symphony and National Orchestra de Cuba. Recent<br />
recitals and chamber music performances were presented<br />
at the Ravinia Festival, Interlochen Center<br />
for the Arts, Australian Festival of Chamber Music,<br />
WITF Festival, and Musica Saint Nazaire-Festival<br />
Consonanses. Mr. Bailey is also a frequent guest at the<br />
Kennedy Center, Metropolitan Museum of Art, Alice<br />
Tully Hall, Kravis Center in Palm Beach, the Lied Center,<br />
and Wolf Trap. He appeared live on SIRIUS Satellite<br />
Radio and BBC Radio 3’s In Tune program, and made his<br />
Carnegie Hall debut, performing the U.S. premiere of<br />
the Theodorakis Rhapsody for Cello and Orchestra. Mr.<br />
Bailey appears by special arrangement with Colbert<br />
Artists Management Inc., New York.<br />
The Bard Festival Chorale was formed in 2003 as the<br />
resident choir of the Bard Music Festival and consists of<br />
the finest ensemble singers from New York City and<br />
surrounding areas. Many of its members have distinguished<br />
careers as performers in a variety of choral<br />
groups as well as as soloists. All possess a shared enthusiasm<br />
for the exploration of new and unfamiliar music.<br />
The Bard Festival String Quartet, formed at the Bard<br />
Music Festival in 1995, has won praise for the lyricism and<br />
intensity of its performances. In keeping with the festival’s<br />
“Rediscoveries” theme, the ensemble has performed<br />
quartets by Milhaud, Magnard, Stanford, and d’Indy, as<br />
well as quartets of Haydn, Beethoven, Schubert, Debussy,<br />
Bartók, Borodin, Schoenberg, and others.The members of<br />
the Bard Festival String Quartet are Laurie Smukler and<br />
Patricia Sunwoo, violins, Ira Weller, viola, and Robert<br />
Martin, cello. Ms. Smukler and Mr. Weller were founding<br />
members of the Mendelssohn String Quartet; Ms.<br />
Sunwoo was a member of the Whitman String Quartet<br />
from 1997 to 2002; and Mr. Martin was cellist of the<br />
Sequoia String Quartet from 1975 to 1985. Together their<br />
years of string quartet experience find new focus and<br />
expression in the Bard Festival String Quartet.<br />
Leon Botstein is founder and artistic codirector of the<br />
Bard Music Festival. He is also music director and principal<br />
conductor of the American Symphony Orchestra and<br />
the Jerusalem Symphony Orchestra and artistic director<br />
of the American Russian Young Artists Orchestra. Active<br />
as a guest conductor, he has most recently appeared<br />
with such orchestras as the London Philharmonic, St.<br />
Petersburg Philharmonic, NDR–Hannover, Düsseldorf<br />
Symphony, Royal Scottish National Orchestra, Bern<br />
Symphony, and Budapest Festival Orchestra. His live<br />
recording for Telarc of Strauss’s opera Die ägyptische<br />
Helena with Deborah Voigt and the American Symphony<br />
Orchestra and Glière’s Symphony No. 3, Il’ya Muramets,<br />
with the London Symphony Orchestra, were released in<br />
2003. He has also recorded music by Reger, Bartók,<br />
Szymanowski, Hartmann, Dohnányi, Bruckner, Toch,<br />
Mendelssohn, Liszt, and Bruch, among others. He has<br />
received the “Distinguished Service to the Arts” award<br />
from the National Academy of Arts and Letters. He has<br />
been president of Bard College, where he is also Leon<br />
Levy Professor in the Arts and Humanities, since 1975.<br />
Randolph Bowman is principal flutist of the Cincinnati<br />
Symphony Orchestra. He has performed with the Boston<br />
Symphony Orchestra, Handel and Haydn Society,<br />
Orpheus Chamber Orchestra, and the Portland, New<br />
Hampshire, Pittsburgh, and St. Louis Symphony<br />
Orchestras. Mr. Bowman has been principal flutist of<br />
the Bard Music Festival’s resident orchestra since its<br />
inaugural season. He has premiered and recorded<br />
numerous contemporary chamber music works while<br />
a member of Collage New Music. His most recent release<br />
is the Concerto for Flute and Orchestra by John Harbison.<br />
Jonathan Brent is editorial director and associate director<br />
of Yale University Press, where he initiated the Annals<br />
of Communism publishing program in 1992. He has<br />
translated the work of Joseph Brodsky, Osip Mandelstam,<br />
and other Soviet poets and is the author, with Vladimir P.<br />
Naumov, of Stalin’s Last Crime:The Plot Against the Jewish<br />
Doctors, 1948–1953 (2003; chosen as a best book of the<br />
year by The Economist of London). He is currently working<br />
on a biography of Isaac Babel as well as completing a<br />
novel about the new Russia. He has a Ph.D. in English<br />
literature from the University of Chicago.<br />
An active performer for more than 35 years, harpsichordist<br />
Edward Brewer performs regularly in New<br />
York’s concert halls and is highly regarded for his chamber<br />
music collaborations. His affiliations include Amor<br />
Artis, Philharmonia Virtuosi, Oratorio Society of New<br />
York, Bronx Arts Ensemble, Philharmonic of New Jersey,<br />
and New York Chamber Soloists. He has more than 30<br />
recordings to his credit and is founding music director<br />
of the Soclair Music Festival in New Jersey.<br />
Malcolm Hamrick Brown is the founding editor of the<br />
scholarly series Russian Music Studies, published by<br />
Indiana University Press since 1990. From the time of<br />
his first extended stay in Moscow in 1962, when he was<br />
doing research for his dissertation on Prokofiev’s symphonies,<br />
he has been continuously involved in teaching,<br />
researching, lecturing, writing, and publishing on<br />
Russian and Soviet music.<br />
Soprano Courtenay Budd won First Prize in the 2001<br />
Young Concert Artists International Auditions, and the<br />
Young Concert Artists Series presented her recital debuts<br />
at the 92nd Street Y, Kennedy Center, and Gardner<br />
Museum. She has appeared in opera in a variety of roles<br />
with companies such as Omaha Opera; Opera Northeast;<br />
the Opera Festival of New Jersey; and the Opera<br />
Orchestra of New York. She has made concert appearances<br />
with the National Symphony Orchestra, Reno and<br />
Orlando Philharmonic, New Jersey Symphony; and<br />
Masterwork Chorus and Orchestra, among others, and<br />
has presented recitals for the Sewanee Music Festival,<br />
Kent Classic Arts, Buffalo Chamber Music Society, Lee<br />
County Arts Council, University of Wisconsin, and Spoleto<br />
Festival U.S.A. Ms. Budd appears by special arrangement<br />
with Young Concert Artists, Inc., New York.<br />
54<br />
55
Pianist Melvin Chen has performed at major venues in<br />
the United States, including Carnegie Hall, Alice Tully<br />
Hall, Merkin Concert Hall, and Weill Recital Hall, in addition<br />
to other appearances throughout the country,<br />
Canada, and Asia. He has collaborated with such artists<br />
as Pamela Frank, Ida Kavafian, David Shifrin, Steven<br />
Tenenbom, Robert White, Peter Wiley, and members of<br />
the Arditti, Borromeo, Mendelssohn, Miami, Orion, and<br />
St. Lawrence Quartets. He was selected to be a member<br />
of Lincoln Center’s Chamber Music Society Two, and<br />
has performed at Bravo! Vail Valley Music Festival,<br />
Chautauqua, Norfolk Chamber Music Festival, Chamber<br />
Music Northwest, Bard Music Festival, and Music from<br />
Angel Fire, among others. He appears on Wynton<br />
Marsalis’s series on music education, Marsalis on<br />
Music, and can be heard on Discover, Nices, and KBS<br />
label compact disks with violinist Juliette Kang. He<br />
teaches music and chemistry at Bard College.<br />
Recipient of the Lisa Arnhold residency at the Juilliard<br />
School, the Chiara String Quartet (Rebecca Fischer and<br />
Julie Yoon, violins; Jonah Sirota, viola; and Greg Beaver,<br />
cello) is at the forefront of a new generation of exceptional<br />
American string quartets. The group’s recent<br />
accomplishments include First Prize at the 2002<br />
Fischoff National Chamber Music Competition and the<br />
Astral Artistic Services’ National Auditions. Recent performances<br />
include a live concert on NPR’s Performance<br />
Today, an appearance on the Niven series at Carnegie<br />
Hall’s Weill Recital Hall, and a performance on the<br />
chamber series at New York’s Neue Galerie. Highlights<br />
of the upcoming season include concerts at Alice Tully<br />
Hall, Philadelphia’s Kimmell Center, and concerts and<br />
tours in Texas, Vermont, and North Dakota, among others.<br />
The group has commissioned award-winning<br />
pieces from Gabriela Lena Frank, Jefferson Friedman,<br />
and Robert Sirota, and plays for thousands of New York<br />
schoolchildren each year as part of Young Audiences of<br />
New York’s artist roster. The group appears by special<br />
arrangement with MCM Artists.<br />
The Claremont Trio won the 2001 Young Concert Artists<br />
International Auditions, which led to acclaimed debuts<br />
at the 92nd Street Y, the Gardner Museum, and in<br />
Washington, D.C. In 2003, the group (Emily Bruskin,<br />
violin; Julia Bruskin, cello; and Donna Kwong, piano)<br />
received the first ever Kalichstein-Laredo-Robison<br />
International Trio Award, and in 2004, Arabesque<br />
Recordings released its debut CD. During the 2003–04<br />
season, the Trio returned to Weill Recital Hall, Gardner<br />
Museum, and Bargemusic; made its Kennedy Center<br />
debut as part of the Fortas Chamber Music Series; premiered<br />
a new work by Daniel Kellogg at Merkin Concert<br />
Hall; and participated in the Schneider Concert Series at<br />
the New School. Other engagements included Vanguard<br />
Concerts in Ohio, Washington Center for the Performing<br />
Arts, and the Alys Stephens Performing Arts Center in<br />
Birmingham. The Trio appears by special arrangement<br />
with Young Concert Artists, Inc., New York.<br />
Currently celebrating its 20th anniversary, the Colorado<br />
Quartet (Julia Rosenfeld and Deborah Redding, violins;<br />
Marka Gustavsson, viola; Diane Chaplin, cello) appears<br />
regularly in major halls around the globe. Highlights of<br />
recent years were a Beethoven cycle in Berlin, tours of<br />
more than 20 countries, New York concerts at Lincoln<br />
Center’s Mostly Mozart Festival and Great Performance<br />
Series, and appearances in Carnegie Hall’s “Quartet<br />
Plus” and at the Kennedy Center and Concertgebouw.<br />
The Colorado has recorded Brahms’s Op. 51 quartets<br />
(Parnassus Records); works of Henry Cowell (Mode;<br />
selected as Critics’ Choice by Gramophone magazine);<br />
Schubert’s Death and the Maiden and Mendelssohn’s<br />
Quartet, Op. 80; and the Op. 59 and Op. 74 quartets of<br />
Beethoven (all on Parnassus). Honors include the<br />
Naumburg Chamber Music Award and First Prize at the<br />
Banff International String Quartet Competition (1983).<br />
The Colorado Quartet is currently Quartet-in-Residence<br />
at Bard College.<br />
Harpist Sara Cutler has appeared as concerto soloist<br />
at Carnegie Hall; Lincoln Center; the Brooklyn Academy<br />
of Music; the Kennedy Center in Washington, D.C.;<br />
Scotland’s Edinburgh Festival; and the Festival of Two<br />
Worlds in Spoleto, Italy. As a soloist and with flutist<br />
Linda Chesis, she has performed in recital in Tokyo, Tel<br />
Aviv, London, Paris, and New York. She has recorded<br />
extensively—with the Metropolitan Opera and the<br />
Orchestra of St. Luke’s; as a soloist and chamber musician;<br />
and with soprano Jessye Norman on the Philips<br />
release In the Spirit. In New York, where she has worked<br />
with such conductors as Georg Solti, James Levine,<br />
André Previn, and Robert Shaw, Ms. Cutler is principal<br />
harp with the American Symphony and the New York<br />
City Ballet Orchestras and solo harpist with the Dance<br />
Theatre of Harlem. She is on the faculty of Brooklyn<br />
College’s Conservatory of Music.<br />
Pianist Simone Dinnerstein has been called “remarkably<br />
musicianly” by Emanuel Ax and “a real artist” by Peter<br />
Serkin. She has performed extensively throughout the<br />
United States, including recitals at the 92nd Street Y, concerto<br />
and chamber music performances at Carnegie Hall<br />
and Lincoln Center, and a recital at the National Gallery<br />
in Washington. Media appearances have included a live<br />
performance on NPR’s Performance Today and broad-<br />
casts on NPR affiliates across the country. She has given<br />
recitals and appeared as a concerto soloist in Britain,<br />
Germany, and South America. For two summers, Ms.<br />
Dinnerstein was a fellow at the Tanglewood Music<br />
Center, where she performed frequently at Ozawa Hall<br />
and in Tanglwood’s Festival of Contemporary Music.<br />
With cellist Simca Heled, she has recorded Mendelssohn’s<br />
complete works for cello and piano (Classica) and a critically<br />
acclaimed CD of Beethoven’s complete sonatas for<br />
cello and piano. Ms. Dinnerstein is affiliated with Astral<br />
Artistic Services.<br />
John Eaton is internationally recognized as a composer<br />
and performer of electronic and microtonal music. His<br />
operas include The Tempest, The Cry of Clytaemnestra,<br />
and Danton and Robespierre. In his chamber, vocal, and<br />
orchestral music, he expands the traditional tools of<br />
the composer through microtonal scales and electronic<br />
instruments. His awards include a 1990 MacArthur<br />
“genius award,” three Prix de Rome and two<br />
Guggenheim grants, and commissions from the<br />
Koussevitzky and Fromm Foundations, the Santa Fe<br />
Opera, the National Endowment for the Arts, and the<br />
Public Broadcasting Corporation. His composition teachers<br />
included Milton Babbitt and Roger Sessions.<br />
Caryl Emerson is A. Watson Armour III University<br />
Professor of Slavic Languages and Literatures at<br />
Princeton University, where she chairs the Slavic<br />
Department with a co-appointment in comparative<br />
literature. She is a translator and critic of the Russian<br />
literary critic and philosopher Mikhail Bakhtin, and has<br />
published widely on 19th-century Russian literature<br />
(Pushkin, Tolstoy, Dostoevsky), the history of literary<br />
criticism in the Slavic world, and Russian opera and<br />
vocal music. Recent publications include The Life of<br />
Musorgsky (1999) for Cambridge University Press’s<br />
series Musical Lives.<br />
David Fanning is professor of music at the University of<br />
Manchester, author of The Breath of the Symphonist:<br />
Shostakovich’s Tenth (1988), and editor of and contributor<br />
to Shostakovich Studies (1995). He wrote the entry<br />
on Shostakovich for the revised edition of The New<br />
Grove Dictionary of Music and Musicians, and his monograph<br />
on Shostakovich’s Eighth String Quartet was<br />
published in 2003. His study on “Shostakovich and His<br />
Pupils” appears in the Bard Music Festival volume<br />
Shostakovich and His World.<br />
Laurel E. Fay received her Ph.D. in musicology from<br />
Cornell University. A specialist in Russian and Soviet<br />
music, she has taught at the Ohio State University,<br />
Wellesley College, and New York University. She is currently<br />
consultant on Russian music to the music publisher<br />
G. Schirmer, Inc. Her articles have appeared in the<br />
New York Times, Musical America, and Opera News as<br />
well as in many scholarly publications, and she was a<br />
contributing editor of the New Grove Dictionary of<br />
Opera. She has written program notes and lectured for<br />
many performing groups, including all the major<br />
American orchestras, the Metropolitan Opera, Santa Fe<br />
Chamber Music Festival, and Ojai Festival. Her book,<br />
Shostakovich: A Life (2000), won the Otto Kinkeldey<br />
Award of the American Musicological Society.<br />
Tenor William Ferguson has performed Nanki-Poo in<br />
The Mikado and Hérisson de Porc-Épic in L’étoile with<br />
New York City Opera; Andres in Wozzeck with Opera<br />
Festival of New Jersey; Bentley Drummle in Miss<br />
Havisham’s Fire at Opera Theatre of St. Louis; the title<br />
role in Albert Herring at the Music Academy of the West;<br />
Gonzalve in L’ heure Espagnole and Fenton in Falstaff at<br />
Tanglewood (both with Maestro Seiji Ozawa); and Peter<br />
Quint in The Turn of the Screw at the Chautauqua<br />
Institution. He has appeared with the Orchestra of St.<br />
Luke’s, New Jersey Symphony Orchestra, Wheeling<br />
Symphony Orchestra, and Opera Orchestra of New York,<br />
and has been presented in recitals sponsored by the<br />
Marilyn Horne Foundation as well as the New York<br />
Festival of Song. He received the 2003 Alice Tully Vocal<br />
Arts Debut Recital award.<br />
Clarinetist Alexander Fiterstein won First Prize in the 2001<br />
Young Concert Artists International Auditions. He has<br />
performed as soloist with the Jerusalem Symphony,<br />
Vienna Chamber Orchestra, Orchestra of St. Luke’s, Tokyo<br />
Philharmonic, Israel Chamber Orchestra, Denmark’s<br />
National Radio Symphony, and Brooklyn Philharmonic. In<br />
recital, he has appeared in Washington, D.C.’s Music at the<br />
Supreme Court series and at both the National Gallery of<br />
Art and the Kennedy Center; at New York’s 92nd Street Y,<br />
Weill Recital Hall, and Bargemusic; and at venues in<br />
France, England, the British Virgin Islands, Holland,<br />
Germany, Japan, Korea, and Israel. A participant in the<br />
Marlboro Music Festival since 2001, he has premiered<br />
works by Samuel Adler, Mason Bates, John Corigliano, and<br />
Betti Olivero and has performed the U.S. premiere of<br />
Henrik Strindberg’s Clarinet Concerto. He was born in<br />
Minsk in the former Soviet Union, and emigrated with his<br />
family to Israel at age 2. Mr. Fiterstein appears by special<br />
arrangement with Young Concert Artists, Inc., New York.<br />
Laura Flax is recognized as one of New York City’s most<br />
versatile players. She is principal clarinetist with the<br />
New York City Opera Orchestra and the American<br />
56<br />
57
Symphony Orchestra. She has been performing at the<br />
Bard Music Festival since its inception and appeared as<br />
concerto soloist during the 2001 Debussy season. Flax’s<br />
recording of Joan Tower’s Wings is available on the CRI<br />
label, and she performs Shulamit Ran’s clarinet music<br />
on Bridge Records. She lives in New York City with her<br />
twin daughters, Fanny and Amalie.<br />
Highlights of Jordan Frazier’s career include performances<br />
at the 1992 Olympics, a tour of Japan and Korea,<br />
and recordings for EMI with Alicia de la Rocha and<br />
Victoria de los Angeles. He has traveled widely with the<br />
Orpheus Chamber Orchestra, and is a member of the<br />
American Composers Orchestra, American Symphony<br />
Orchestra, and Westchester Philharmonic, for which he<br />
holds the principal bass position. He also performs frequently<br />
with the Orchestra of St. Luke’s and the Brooklyn<br />
Philharmonic. In the summer, he performs as principal<br />
bassist at the prestigious Carmel Bach Festival. A member<br />
of the Perspectives Ensemble, he recently recorded a<br />
CD of music by Richard Danielpour for Sony Classical.<br />
Marina Frolova-Walker is University Lecturer in the<br />
Faculty of Music and Fellow of Clare College at<br />
Cambridge University. She studied musicology at the<br />
Moscow Conservatory, receiving her doctorate in 1994.<br />
Before coming to Cambridge she taught at the Moscow<br />
Conservatory College; University of Ulster; Goldsmiths’<br />
College, University of London; and University of<br />
Southampton. Her principal fields of research are<br />
German Romanticism, Russian and Soviet music, and<br />
nationalism in music. She has published articles in the<br />
Cambridge Opera Journal and the Journal of the<br />
American Musicological Society, as well as contributed<br />
some of the Russian entries in the revised New Grove.<br />
She is currently writing Russia: Music and Nation, commissioned<br />
by Yale University Press.<br />
Christopher H. Gibbs is James H. Ottaway Jr. Professor of<br />
Music at Bard College and artistic codirector of the Bard<br />
Music Festival. He edited the Cambridge Companion to<br />
Schubert (1997) and is the author of The Life of Schubert<br />
(2000). Mr. Gibbs received the ASCAP–Deems Taylor<br />
Award in 1998, and during the 1999–2000 academic<br />
year was a fellow of the American Council of Learned<br />
Societies. As an active critic, program annotator, and<br />
lecturer, he works with many of the country’s leading<br />
musical institutions. He was the musicological director<br />
for the final three years of the acclaimed Schubertiade<br />
at the 92nd Street Y and for the past five seasons has<br />
written the program notes for the Philadelphia<br />
Orchestra. He frequently gives lectures for that orchestra,<br />
as well as for the New York Philharmonic, Cleveland<br />
Orchestra, Carnegie Hall, Metropolitan Museum of Art,<br />
and Great Performers at Lincoln Center.<br />
Formerly associate principal bassoonist of the New York<br />
Philharmonic, Marc Goldberg this year accepted the<br />
principal bassoon chair with New York City Opera. He<br />
has been a frequent guest of the Metropolitan Opera,<br />
the Boston Symphony Orchestra, the Orchestra of St.<br />
Luke’s, Orpheus, and the Eos Chamber Orchestra. Solo<br />
appearances include performances in the United States,<br />
South America, and across the Pacific Rim with the<br />
American Symphony Orchestra, Jupiter Symphony, New<br />
York Chamber Soloists, Sea Cliff Chamber Players, New<br />
York Symphonic Ensemble, Long Island Philharmonic,<br />
and New York Scandia Symphony, as well as performances<br />
with the Brandenburg Ensemble. He has been a<br />
guest of the Da Camera Society of Houston, St. Luke’s<br />
Chamber Ensemble, Musicians from Marlboro, the<br />
Brentano Quartet, and the New York Woodwind<br />
Quintet. He is on the faculty of the Juilliard School Pre-<br />
College Division, Mannes College, the Hartt School, and<br />
Columbia University.<br />
It has not taken long for Israeli pianist Alon Goldstein to<br />
achieve the kind of success that was predicted for him by<br />
such leading figures as Zubin Mehta, Claudio Abbado,<br />
and Leon Fleisher. He made his orchestra debut at the<br />
age of 18, playing the Rachmaninoff Piano Concerto No. 1<br />
with the Israeli Philharmonic under the baton of Zubin<br />
Mehta, which resulted in reengagements as well as additional<br />
performances with the Jerusalem Symphony.<br />
Recent seasons have seen his debut appearances with<br />
the Houston Symphony, Kansas City Symphony,<br />
Kalamazoo Symphony, Rhode Island Philharmonic, and<br />
Israel Chamber Orchestra. In July 2002 he made his<br />
debut appearance with the Philadelphia Orchestra, playing<br />
Beethoven’s Piano Concerto No. 4 under the baton of<br />
Raphael Fruhbeck de Burgos. He appears by special<br />
arrangement with Frank Soloman Associates, New York.<br />
Gianmaria Griglio studied violin with Massimo Marin in<br />
Italy and Philip Bride in France, as well as composition<br />
with Marco Minetti and conducting with Vram<br />
Tchiftchian As a conductor he has appeared with<br />
L’ensemble baroque de Provence, the Belle Epoque<br />
Orchestra, the AMP Symphony Orchestra, and the<br />
Pressenda Symphony Orchestra, among others, both in<br />
symphonic and operatic repertoire. Future engagements<br />
include concerts with the Radio Orchestra of Sofia and a<br />
production of Rossini’s La Cenerentola in 2005. He holds<br />
a master’s degree in conducting from Bard College,<br />
where he studied with Harold Farberman, and is assistant<br />
conductor with the American Symphony Orchestra.<br />
Bass-baritone Daniel Gross has performed with the<br />
Wolf Trap, Glimmerglass, Spoleto Festival USA, Juilliard<br />
Opera Center, Gotham Chamber, Chautauqua, and other<br />
opera companies. His repertoire highlights include<br />
Figaro in Le Nozze di Figaro, Leporello in Don Giovanni,<br />
Escamillo in Carmen, Guglielmo and Don Alfonso in<br />
Cosí fan tutte, Seneca in L’incoronazione di Poppea,<br />
Gremin in Eugene Onegin, Colline in La Bohème, Tod in<br />
Der Kaiser von Atlantis, and the Messenger in Œdipus<br />
Rex. As an oratorio soloist, Mr. Gross has collaborated<br />
with such orchestras as the National Symphony,<br />
Pittsburgh, Juilliard, and New York Philharmonic.<br />
Upcoming engagements include Renard with the<br />
Chamber Music Society of Lincoln Center, Der Kaiser<br />
von Atlantis with the Los Angeles Philharmonic and<br />
James Conlon, and Il Sonno in Arianna in Creta with<br />
Gotham Chamber Opera.<br />
Drummer and percussionist Kory Grossman has played<br />
for more than 20 Broadway shows, and has performed<br />
with the American Symphony Orchestra, Brooklyn<br />
Philharmonic, Metropolitan Opera Orchestra, New York<br />
Pops, Merce Cunningham Dance Company, and Queen<br />
Latifah and toured with Chita Rivera and Liza Minelli.<br />
He has recorded for a variety of labels, has done television<br />
work, and can be heard on the score for the film<br />
Tadpole.<br />
Laura Hamilton’s first advanced violin studies came at<br />
age 16, when she was admitted to the Moscow<br />
Conservatory of Music in the Soviet Union, as a student<br />
of Oleh Krysa. Later she worked with Raphael Bronstein<br />
and Burton Kaplan at the Manhattan School of Music,<br />
where she was the Nathan Milstein Scholarship recipient.<br />
Active as a soloist and chamber musician,<br />
Ms. Hamilton has performed in many venues in the<br />
New York and Chicago areas; at the Marlboro and<br />
Manchester music festivals, as well as festivals in<br />
Norway and Greece; and in the Met Chamber Series at<br />
Carnegie Hall with James Levine and colleagues. In<br />
1999, Maestro Levine appointed her Principal Associate<br />
Concertmaster of the Metropolitan Opera Orchestra.<br />
Baritone John Hancock returned to the Metropolitan<br />
Opera in the 2003–04 season to perform the roles<br />
of Schaunard in La Bohème and Albert in Werther. He<br />
performed in a Gala Concert with the Grand Rapids<br />
Symphony; recorded the role of The Son in Michael<br />
Torke’s Strawberry Fields with the Albany Symphony<br />
Orchestra; and appeared with the American Symphony<br />
Orchestra. He has received international acclaim for his<br />
performances of the world premiere of The Picture of<br />
Dorian Gray at l’Opéra de Monte Carlo, as well as for his<br />
interpretations of the title role in Tchaikovsky’s Eugene<br />
Onegin at Opera Ireland and Oreste in Gluck’s Iphigénie en<br />
Tauride in Strasbourg, Rennes, and Rotterdam. He is the<br />
recipient of awards and grants from the Metropolitan<br />
Opera National Council, Sullivan Foundation, and<br />
Shoshana Foundation. He appears by special arrangement<br />
with Columbia Artists Management Inc., New York.<br />
Jessie Hinkle holds degrees in operatic vocal performance<br />
from the University of North Texas and the<br />
Manhattan School of Music. She has performed<br />
throughout the United States in such roles as Carmen,<br />
Sesto in Mozart’s La Clemenza di Tito, Lucretia in<br />
Benjamin Britten’s The Rape of Lucretia, Prince Orlofsky<br />
in Johann Strauss’s Die Fledermaus, Anita in West Side<br />
Story, and Petra in Steven Sondheim’s A Little Night<br />
Music. She has been featured in many of the greatest<br />
oratorio works, including the Mozart Requiem, Handel’s<br />
Messiah, Haydn’s Lord Nelson Mass, and Beethoven’s<br />
Mass in C Minor. In 2003 she was a member of the<br />
ensemble in Baz Luhrman’s production of the classic<br />
La Bohème at the Broadway Theater. Most recently<br />
Ms. Hinkle was a cast member in Sutermeister’s Die<br />
Schwarze Spinne with the Gotham Chamber Opera.<br />
Dennis James is principal bass for both the National<br />
Arts Center Orchestra and the Opera Orchestra of New<br />
York, a position he has also held in the Bard Music<br />
Festival’s resident orchestra since 1991. He has toured<br />
worldwide with the New York Philharmonic, Montreal<br />
Symphony Orchestra, and Orpheus Chamber Orchestra.<br />
He has worked with the noted jazz artists Jimmy Cobb,<br />
Herb Ellis, Barney Kessel, Cab Calloway, Tad Farlow, Peter<br />
Leitch, Abbey Lincoln, and Sam Noto. Mr. James is the<br />
founder of TrioConcertant, an ensemble with which he<br />
produced an award-winning CD by the same name.<br />
Violist Kim Kashkashian is one of the most accomplished<br />
artists of her generation. She has performed<br />
recitals at the Metropolitan Museum and 92nd Street Y<br />
in New York City, and in Boston, Cleveland, Los Angeles,<br />
Philadelphia, Pittsburgh, San Francisco, and Washington,<br />
D.C. Highlights of recent seasons include concerto<br />
appearances with RAI Torino, Concertgebouw of<br />
Amsterdam, and the American Symphony Orchestra,<br />
Munich Chamber Orchestra, and Chicago Symphony;<br />
world premieres of works by Christopher Theofanidis<br />
and Thomas Larcher; and a duo tour with pianist Robert<br />
Levin. She has performed with the Toyko, Guarneri, and<br />
Galimir Quartets and toured with a unique quartet that<br />
included violinists Gidon Kremer and Daniel Phillips<br />
and cellist Yo-Yo Ma. Her extensive discography<br />
includes the complete viola sonatas of Hindemith; the<br />
58<br />
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Shostakovich Sonata, Op. 147 (Robert Levin, piano); and<br />
Voci, a recording of two large works by Lucian Berio. Ms.<br />
Kashkashian appears by special arrangement with John<br />
Gingrich Management, Inc., New York.<br />
Pianist Martin Kasik won first prize at the 1999 Young<br />
Concert Artists International Auditions, the 1999 Akzo<br />
Nobel Prize, the 2000 Alexander Kasza-Kasser Prize of<br />
YCA, and the 2000 Davidoff Prize. He has performed critically<br />
acclaimed concerts with the Minnesota Orchestra,<br />
Utah Symphony, and New York Chamber Symphony, and<br />
abroad with the Singapore Philharmonic, Rotterdam<br />
Philharmonic, Czech Philharmonic, and many more. In<br />
recital, he has appeared in New York at the 92nd Street Y,<br />
Alice Tully Hall, and the Metropolitan Museum of Art; in<br />
Washington, D.C., at the Kennedy Center; in Boston at the<br />
Gardner Museum; and in Japan, on a tour of the country<br />
that ended with a concert at Suntory Hall in Tokyo. He<br />
attended the Conservatory in Ostrava and studied at the<br />
Academy of Performing Arts in Prague. He appears by<br />
special arrangement with Verve Productions, Waccabuc,<br />
New York.<br />
Violinist Erica Kiesewetter has performed at the Bard<br />
Music Festival since its inception. She is the concertmaster<br />
of the American Symphony Orchestra (with whom<br />
she performed Berg’s Kammerkonzert) and also holds<br />
that position with the Opera Orchestra of New York,<br />
Long Island Philharmonic, Solisti New York Chamber<br />
Orchestra, and the American Ballet Theater at City<br />
Center. For 14 years, Ms. Kiesewetter was the violinist of<br />
the Leonardo Trio, which toured internationally and has<br />
recorded two CDs. She was previously the first violinist<br />
of the Colorado Quartet, garnering prizes at the Evian<br />
and Coleman competitions. She is a founding member<br />
of the Perspectives Ensemble, as well as a former member<br />
of the Alexandria Quintet and Odyssey Chamber<br />
Players, and has been a guest artist with Bargemusic,<br />
Omega Ensemble, and the Da Capo Chamber Players.<br />
She has toured and recorded with the Orpheus Chamber<br />
Orchestra since 1982.<br />
Marina Kostalevsky, author, is associate professor of<br />
Russian at Bard College. She was born in Moscow and<br />
received her musical education there and in St.<br />
Petersburg. After graduating cum laude from St.<br />
Petersburg Conservatory, she began to work as a pianist<br />
for the Bolshoi Theater, Bolshoi Ballet Academy, and<br />
Moscow Philharmonic Society. She continued her career<br />
as a musician after moving to the United States in<br />
1979, and received a Ph.D. in Slavic languages and literature<br />
from Yale University in 1992. She is the author of<br />
Dostoevsky and Soloviev: The Art of Integral Vision (1997)<br />
and numerous articles on Russian literature and music.<br />
She participated in the 1998 Bard Music Festival,<br />
“Tchaikovsky and His World.”<br />
Internationally acclaimed clarinetist David Krakauer<br />
redefines the notion of a concert artist. Known for his<br />
mastery of myriad styles including classical chamber<br />
music, Eastern European klezmer music, the avantgarde,<br />
rock, and jazz, Mr. Krakauer is a natural storyteller<br />
who has long dazzled colleagues and the public<br />
with his ability to shift and meld musical gears. Recent<br />
collaborations have included the Tokyo String Quartet,<br />
Eroica Trio, Kronos Quartet, Lark Quartet, Mendelssohn<br />
String Quartet, and Empire Brass Quintet. His programs<br />
have ranged from Brahms and Bartók to Schoenberg<br />
and Golijov. As one of the foremost musicians of the<br />
vital new wave of klezmer, Mr. Krakauer tours the globe<br />
with his celebrated Klezmer Madness! Ensemble. His<br />
compositions also pay homage to R&B, jazz, classical<br />
music, and funk. He appears by special arrangement<br />
with Bernstein Artists, Brooklyn, New York.<br />
Jeffrey Lang is currently principal horn of the<br />
American Symphony Orchestra and the New York City<br />
Opera Orchestra. He performs regularly with the<br />
Orpheus Chamber Orchestra and Metropolitan Opera<br />
and was recently engaged as acting co-principal horn<br />
of the Philadelphia Orchestra and the Bavarian<br />
Radio Symphony Orchestra. He is a member of the<br />
Graham Ashton Brass and has performed chamber<br />
music with Bella Davidovitch, the Wilson-Schulte-<br />
Lang Trio, the Israel Piano Trio, Musica Nova, and the<br />
Canadian Brass.<br />
Korean-born pianist Mihae Lee made her professional<br />
debut with the Korean National Orchestra at the age of<br />
14 and since then has performed extensively in solo and<br />
chamber music concerts throughout North America,<br />
Europe, and Asia. She has appeared as a soloist with the<br />
Berlin Symphony and in recitals at Lincoln Center and<br />
Jordan Hall and with the National Philharmonic in<br />
Warsaw. Ms. Lee is a member of the Boston Chamber<br />
Music Society and the Triton Horn Trio (with Ani<br />
Kavafian and William Purvis), and has collaborated with<br />
the Muir, Cassatt, and Manhattan Quartets. She performs<br />
frequently at international festivals. A winner of<br />
the Kosciuszko Foundation Chopin Competition, she is a<br />
graduate of the Juilliard School and the New England<br />
Conservatory. Ms. Lee has recorded on the Etcetera,<br />
Northeastern, BCMS, and Bridge labels.<br />
Steve Marks is professor in the Department of History<br />
at Clemson University (South Carolina), where he also<br />
serves as graduate coordinator and chairman of the<br />
Russian Area Studies Committee. He is the author of<br />
How Russia Shaped the Modern World: From Art to Anti-<br />
Semitism, Ballet to Bolshevism (2003) and Road to<br />
Power: TheTrans-Siberian Railroad and the Colonization<br />
of Asian Russia (1991).<br />
Robert Martin is artistic codirector of the Bard Music<br />
Festival and vice president for academic affairs of Bard<br />
College. After receiving his doctorate in philosophy, he<br />
pursued a dual career, holding joint appointments in<br />
music and philosophy at SUNY Buffalo and Rutgers<br />
University. Before coming to Bard, he was assistant<br />
dean of humanities at UCLA. He was cellist of the<br />
Sequoia String Quartet from 1975 to 1985, during which<br />
time the ensemble made many recordings and toured<br />
internationally.<br />
Paul Mitchinson is a Canadian writer and historian. He<br />
completed a doctorate in Russian history at Harvard<br />
University under Richard Pipes, and wrote his dissertation<br />
on classical music and politics in early Soviet Russia.<br />
His work has appeared in both scholarly and popular publications,<br />
including Canada’s National Post, Newsday, The<br />
Nation, Lingua Franca, andante.com, Queen’s Quarterly,<br />
East European Quarterly, the Canadian Journal of History,<br />
and Left History. He also contributed to A Shostakovich<br />
Casebook (2004), edited by Malcolm Hamrick Brown. He<br />
lives in Toronto with his wife and two children.<br />
Pulitzer-Prize winner Paul Moravec is the composer of<br />
more than 70 published orchestral, chamber, choral, and<br />
lyric compositions as well as several film scores and electro-acoustic<br />
pieces. His music has earned numerous<br />
distinctions, including the 2004 Pulitzer Prize for his<br />
Tempest Fantasy for solo clarinet and piano trio, written<br />
for David Krakauer and the Trio Solisti; a Rome Prize<br />
Fellowship from the American Academy in Rome; a<br />
Fellowship in Music Composition from the National<br />
Endowment for the Arts; a Rockefeller Foundation<br />
Fellowship, a Camargo Foundation Residency Fellowship;<br />
and a Goddard Lieberson Fellowship and Charles Ives<br />
Fellowship from the American Academy of Arts and<br />
Letters, as well as many commissions. A graduate of<br />
Harvard University and Columbia University, he has<br />
taught at Harvard, Columbia, Dartmouth, and Hunter<br />
College and currently heads the Music Department at<br />
Adelphi University. Recordings of his work have been<br />
issued by BMG/RCA Classics, Modern Masters, and<br />
Arabesque.<br />
Simon Morrison is assistant professor of music at<br />
Princeton University, where he teaches courses on<br />
modernity. He is the author of Russian Opera and the<br />
Symbolist Movement (2002); articles on Ravel, Rimsky-<br />
Korsakov, Prokofiev, Skriabin, and Shostakovich; and several<br />
essay-reviews. He writes on occasion for the Arts &<br />
Leisure section of the New York Times. In 2002 he was a<br />
guest lecturer at the Institute Pro Arte in St. Petersburg,<br />
Russia; this past year, he has been conducting archival<br />
research in Moscow. He is currently writing a collection<br />
of essays on the ontology of ballet, and has just begun a<br />
monograph entitled Prokofiev: The Soviet Years.<br />
Joan Neuberger is associate professor of history at<br />
the University of Texas at Austin. Her publications<br />
include Ivan the Terrible: The Film Companion (2003);<br />
Hooliganism: Crime, Culture, and Power in St. Petersburg,<br />
1900–1914 (1993); and numerous articles. She is working<br />
on a book titled Eisenstein’s Ivan the Terrible in<br />
Stalinist Russia.<br />
David Nice is a writer, lecturer, and broadcaster on<br />
music with a special interest in Russian music. He has<br />
taught at Goldsmiths College and lectures at Birkbeck<br />
College, the University of London, Morley College, and<br />
the City Literary Institute. A regular contributor to BBC<br />
Radio 3, he produces his own opera channel for Music<br />
Choice Europe. The first volume of his Prokofiev biography,<br />
From Russia to the West, 1891–1935 was published<br />
in 2003. His previous books include short<br />
studies of Elgar, Richard Strauss, Tchaikovsky, and the<br />
history of opera, and he contributed the chapter on<br />
Russian conductors for The Cambridge Companion to<br />
Conducting.<br />
This past season, tenor Simon O’Neill made his New<br />
York City Opera debut as the First Armored Man in Die<br />
Zauberflöte, followed by Carlson in Of Mice and Men.<br />
Other engagements included Judge Danforth in The<br />
Crucible with Toledo Opera; concert performances with<br />
the Auckland Philharmonia; Janáček’s The Diary of One<br />
Who Vanished and Skuratov in From the House of the<br />
Dead with the Bard Music Festival; and the title role in<br />
La Clemenza di Tito with Wolf Trap Opera. He has<br />
appeared with New Zealand Opera, San Francisco<br />
Merola Opera, and Western Opera Theatre and in concert<br />
with the New West Symphony, New Zealand<br />
Symphony, Fort Worth Symphony, Singapore<br />
Symphony, and Wellington Sinfonia, among others. Mr.<br />
O’Neill was a finalist of the 2002 Metropolitan Opera<br />
National Council Auditions. Other honors include a<br />
2001 Circle 100 Career Grant, a 1998 Fulbright<br />
Scholarship, and the 1996 Tower Opera Scholar award.<br />
He appears by special arrangement with Herbert<br />
Barrett Management, New York.<br />
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Anne Patterson has designed sets and costumes for productions<br />
at Alice Tully Hall, the Juilliard School, Brooklyn<br />
Academy of Music, New York Theater Workshop,<br />
Ensemble Studio Theater, the Joyce, and St. Mark’s<br />
Dance Space. She has designed 11 operas, including one<br />
world premiere and three U.S. premieres for the Aspen<br />
Music Festival, and has created designs for the Atlanta<br />
Symphony Orchestra, Kimmell Center, Pacific Northwest<br />
Ballet, Ballet West, Houston Ballet, Kennedy Center,<br />
Wolf Trap, and in Europe for the National Theatre,<br />
London, and the Scottish Ballet. PBS and the BBC have<br />
featured her production design work as well. Recent<br />
designs include Every Good Boy Deserves Favor by<br />
Stoppard/Previn for the Philadelphia Orchestra and Cosí,<br />
directed by Jonathan Miller, at BAM’s Harvey Theater.<br />
Richard Pipes is Baird Professor of History, Emeritus, at<br />
Harvard University. Born in Poland, he served in the U.S.<br />
Air Force from 1943 to 1946, completing his B.A. while<br />
on active service. In 1950 he received his Ph.D. in history<br />
from Harvard University where he taught for 46 years.<br />
In 1976, Mr. Pipes was chairman of the CIA’s “Team B” to<br />
review Strategic Intelligence Estimates; from 1981–82<br />
he served as director of East European and Soviet<br />
Affairs in President Reagan’s National Security Council;<br />
and in 1992 he served as expert witness in the Russian<br />
Constitutional Court’s trial of the Communist Party of<br />
the Soviet Union. His publications include Formation of<br />
the Soviet Union (1954, 1964, 1998); Struve (1970, 1980);<br />
Russia under the Old Regime (1974); The Russian Revolution<br />
(1990); Russia under the Bolshevik Regime (1994); Property<br />
and Freedom (1999); Communism: A History (2001); and<br />
Vixi: The Memoirs of a Non-Belonger (2003).<br />
Ewa Podleś is widely regarded as the world’s foremost<br />
contralto. Verdi dominates her current season, in debuts<br />
with Michigan Opera Theater and the Collegiate Chorale,<br />
Opera Company of Philadelphia, and Florentine Opera of<br />
Milwaukee. Future seasons include returns to the Seattle<br />
Opera and Canadian Opera Company, and two roles at<br />
the Houston Grand Opera: Ulrica in Ballo and the<br />
Marquise in Donizetti’s La fille du regiment. She has collaborated<br />
with the San Francisco, Seattle, Montreal,<br />
Pittsburgh, American, Toronto, NHK Tokyo, Detroit, and<br />
New World Symphonies as well as many national orchestras,<br />
appearing under such conductors as David<br />
Atherton, Leon Botstein, Myung-Whun Chung, Neeme<br />
Järvi, Lorin Maazel, and Pinchas Zukerman. Her many<br />
collaborations with Marc Minkowski and Les Musiciens<br />
du Louvre include two Deutsche Grammophon recordings,<br />
Handel’s Ariodante and Gluck’s Armide. Ms. Podleś<br />
appears by special arrangement with Matthew Sprizzo<br />
Artists Management, Staten Island, New York.<br />
Anna Polonsky has appeared with the Columbus<br />
Symphony Orchestra, Concerto Soloists Chamber<br />
Orchestra of Philadelphia, Pro-Musica Chamber<br />
Orchestra, and many others. She is regularly invited to<br />
perform at festivals such as Marlboro, Santa Fe,<br />
Chamber Music Northwest, Bard, and Caramoor, as<br />
well as Bargemusic in New York City. In constant<br />
demand as a partner for duo recitals, she has collaborated<br />
with such musicians as Ida Kavafian, Joseph<br />
Silverstein, Arnold Steinhardt, and Peter Wiley. She<br />
has given concerts in the Amsterdam Concertgebouw<br />
and New York’s Alice Tully Hall, and has toured<br />
throughout the United States, Europe, and Asia. Next<br />
season she will make her Wigmore Hall debut and<br />
take part in the European Broadcasting Union’s project<br />
to broadcast all of Mozart’s keyboard sonatas during<br />
2005. A native of Russia, she immigrated to the<br />
United States in 1990.<br />
Maya Pritsker received her education in musicology and<br />
piano in Moscow. From 1988 on she worked as music<br />
critic and editor for the magazine Muzikal’naya Zhizn’<br />
(Musical Life), based in Moscow. Since 1990, Ms. Pritsker<br />
has lectured on Russian music at Harvard, Yale,<br />
Princeton, and Boston Universities, as well as at Lincoln<br />
Center, the Bard Music Festival, and the Brooklyn<br />
Academy of Music. She writes program notes for Lincoln<br />
Center, the Boston Philharmonic, the American<br />
Symphony Orchestra, and for American record companies<br />
and publications such as the New York Times,<br />
American Music Teacher, and Opera News. She resides in<br />
New York, where she works as senior cultural editor for<br />
the New York–based American-Russian daily Novoye<br />
Russkoye Slovo.<br />
Violinist Philippe Quint’s debut recording on the Naxos<br />
label of the William Schuman Concerto was nominated<br />
for two Grammys last year. It also received “Editor’s<br />
Choice” from both Gramophone and Strad magazines.<br />
Recent appearances have included performances with<br />
the Detroit, Houston, Virginia, Bournemouth (UK), and<br />
Nashville Symphonies and at the Mostly Mozart<br />
Festival. He has performed under the batons of Marin<br />
Alsop, JoAnn Falletta, Hans Graf, Kurt Masur, Jorge<br />
Mester, Maxim Shostakovich, Xiao Lu li, and other<br />
maestros. Recent highlights include the world premiere<br />
of Lera Auerbach’s Concerto No. 1 at the Walt<br />
Disney Concert Hall in Los Angeles and a debut with<br />
the China National Symphony in Beijing. An active<br />
chamber musician, he has appeared in recitals and performances<br />
at Caramoor, Ravinia, Aspen, Kravis Center,<br />
and other venues. He appears by special arrangement<br />
with Arts Management Group, New York.<br />
Fernando Raucci has been conducting professionally<br />
in the United States for the past five years and is currently<br />
assistant conductor of the American Symphony<br />
Orchestra and music director of the Greater Princeton<br />
Youth Orchestra. He was previously music director of the<br />
Opera International in Princeton; principal guest conductor<br />
for four year with the Greater Trenton Symphony<br />
Orchestra; conductor of the Niccolo’ Amati Chamber<br />
Orchestra; and artistic director of the Festival Armonie<br />
Notturne in Isernia. He began to study conducting at age<br />
17 and received a master’s degree in orchestra conducting<br />
at the Hartt School of Music in Hartford. Since then<br />
he has conducted orchestras in Poland, Russia, Hungary,<br />
Italy, and Bulgaria, as well as in the United States.<br />
Bass Valerian Ruminski has sung numerous roles with<br />
the Metropolitan Opera, New York City Opera, New<br />
Israeli Opera, Santa Fe Opera, Minnesota Opera, Opera<br />
Pacific, Kansas City Lyric Opera, Chautauqua Opera, and<br />
Greater Buffalo Opera. Recent engagements include<br />
Halevy’s La Juive with Eve Queler and the Opera<br />
Orchestra of New York; a Richard Tucker Gala, a series of<br />
recitals in Detroit, Buffalo, and Philadelphia; a gala concert<br />
for the Birmingham Opera in Alabama; roles with<br />
the Santa Fe Opera, Dallas Opera, Opera Pacific, and<br />
Atlanta Opera, and a special staged/orchestral performance<br />
of Musorgsky’s Songs and Dances of Death at<br />
Amherst College. He is also the featured bass in a series<br />
of new recordings of Victor Herbert and Jerome Kern<br />
operettas. Mr. Ruminski is the artistic director of the<br />
Nickel City Opera in Buffalo, which presents contemporary<br />
opera in chamber settings. Honors include a fiveyear<br />
grant from the William Mattheus Sullivan<br />
Foundation; a Richard Tucker Award; and First Prize in<br />
the MacAllister Award Opera Competition in 2000. Mr.<br />
Ruminski appears by special arrangement with Neil<br />
Funkhouser Artists Management, New York.<br />
Peter Schmelz is an assistant professor of musicology<br />
at the University at Buffalo (SUNY). He received his<br />
Ph.D. from the University of California, Berkeley, in<br />
2002, and has recently received a 2004 National<br />
Endowment for the Humanities summer stipend for<br />
work on his monograph, tentatively titled Listening,<br />
Memory, and the Thaw: The Politics and Practice of<br />
Unofficial Music in the Soviet Union, 1956–1974.<br />
Jane A. Sharp is assistant professor of art history at<br />
Rutgers University and research curator of the Norton<br />
and Nancy Dodge Collection of Soviet Nonconformist<br />
Art. Her book Russian Modernism Between East and<br />
West: Natalia Goncharova and the Moscow Avant-garde<br />
is forthcoming from Cambridge University Press.<br />
During her tenure at the Solomon R. Guggenheim<br />
Museum, she organized the exhibition The Great<br />
Utopia: The Russian and Soviet Avant-Garde, 1915–32.<br />
She is currently preparing the third in a series of<br />
exhibitions for the Zimmerli Art Museum (Rutgers<br />
University) on abstract painting from the Dodge<br />
Collection (fall 2004), and a related book titled Allusive<br />
Form: Abstract Painting after the Thaw. She received her<br />
Ph.D. in art history and a master’s degree in Slavic languages<br />
and literatures from Yale.<br />
Roger Shell has served as principal cellist with such<br />
groups as Eos Ensemble, the American Symphony<br />
Orchestra, Solisti New York, New York Pops, and<br />
Philharmonia Virtuosi. He has also performed with the<br />
New York City Opera, the New Jersey Symphony, Steve<br />
Reich and Musicians, An die Musik, and New York<br />
Theater Orchestra, among others. He has appeared<br />
many times on National Public Television and Radio and<br />
in the Live from Lincoln Center series. His many recordings<br />
include the Vivaldi double cello concerto for RCA,<br />
and several chamber music CDs for the ESSA.Y. label.<br />
Soprano Lauren Skuce is noted for her versatility on both<br />
the opera and concert stage. In the 2003–04 season, she<br />
returned to New York City Opera as Morgana in a new<br />
production of Handel’s Alcina, a role she also performed<br />
with Boston Baroque. She appeared as Micaëla in Carmen<br />
with Opera Theatre of St. Louis; was soloist in the Mozart<br />
Requiem with the Toledo Symphony Orchestra; performed<br />
on tour with the Chamber Music Society of<br />
Lincoln Center; and sang in recitals throughout the<br />
United States. In 2002–03, she created the role of Heloise<br />
in the world premiere of Stephen Paulus’s Heloise and<br />
Abelard with the Juilliard Opera Center, and appeared<br />
with New York City Opera as Lucia in The Rape of Lucretia,<br />
Mrs. Anderssen in A Little Night Music, Suor Genevieve in<br />
Suor Angelica, and Laoula in L’étoile. A Sullivan Award winner,<br />
Ms. Skuce is the recipient of many prizes, including<br />
the 2002 DeRosa Career Grant, the Catherine Filene<br />
Shouse Study Grant from Wolf Trap Opera, and an Opera<br />
Index award. She appears by special arrangement with<br />
Herbert Barrett Management, New York.<br />
Morten Solvik is a native of Norway who was raised<br />
and educated in the United States before moving to<br />
Vienna 12 years ago, where he lives with his wife and<br />
two children. Mr. Solvik, who earned his Ph.D. at the<br />
University of Pennsylvania with a dissertation on the<br />
cultural setting of Mahler’s Third Symphony, continues<br />
to pursue the tantalizing connections between music<br />
and culture in his research, especially in relation to<br />
Vienna. He holds teaching positions at Vienna’s<br />
62<br />
63
University of Music and Performing Arts and at the<br />
Institute of European Studies.<br />
Jonathan Spitz has participated in the Bard Music<br />
Festival since its inception. He is one of the leading cellists<br />
in the New York area, with performances as soloist,<br />
chamber musician, and orchestral principal. He is a<br />
member and coprincipal of the Orpheus Chamber<br />
Orchestra and principal cellist of the New Jersey<br />
Symphony, American Ballet Theater Orchestra, and Bard<br />
Festival orchestra. An active chamber musician, he is a<br />
founding member of the Leonardo Trio and has toured<br />
the United States and Europe with the ensemble.<br />
Tatiana Stepanova was born in Yekaterinburg, Russia,<br />
where she attended a special music school for gifted children.<br />
After completing her studies at the Yekaterinburg<br />
Musorgsky Conservatory, she served as head coach at the<br />
city’s opera house, performed for its Philharmonica<br />
Society, and was artistic director, conductor, and pianist<br />
for the Yekaterinburg Musical Theater. For her work in<br />
opera, Ms. Stepanova was named an Honored Artist of<br />
Russia. She has recorded with internationally recognized<br />
singers and has prepared and accompanied singers in<br />
national and international competitions. She assisted<br />
Mstislav Rostropovich in a production of Shostakovich’s<br />
Lady Macbeth of the Mtsensk District at the Teatro Real in<br />
Madrid, and was rehearsal pianist and coach for<br />
Baltimore Opera’s production of the same opera. She<br />
appears by special arrangement with Sardos Artists<br />
Management Corporation, New York.<br />
Russian bass Nikita Storojev entered Moscow’s<br />
Tchaikovsky Conservatory after receiving his degree in<br />
philosophy. Upon wining the prestigious Tchaikovsky<br />
Competition, he became principal soloist at the Bolshoi<br />
Theatre and the Moscow Philharmonic Society. He has<br />
performed in the world’s major opera houses, concert<br />
halls, and international festivals in Vienna, Paris, London,<br />
Milan, New York, San Francisco, Florence, Munich, Tokyo,<br />
and Berlin. He has performed and recorded under the<br />
direction of such conductors as Mstislav Rostropovich,<br />
Vladimir Ashkenazy, Sir John Pritchard, Claudio Abbado,<br />
and Neeme Järví, and has sung with such singers as<br />
Placido Domingo, Luciano Pavarotti, Katia Ricciarelli,<br />
Ruggiero Raimondi, and Nikolai Ghiaurov. Upcoming<br />
engagements will take him to St. Petersburg’s Mariinsky<br />
Theatre; Monterrey, Mexico; the Dallas Symphony; and De<br />
Nederlandse Opera. He appears by special arrangement<br />
with Sardos Artists Management Corporation, New York.<br />
Richard Taruskin, Class of 1955 Professor of Music at the<br />
University of California, Berkeley, is recognized internationally<br />
for his scholarship on Russian music. His books<br />
on the subject include Defining Russia Musically:<br />
Historical and Hermeneutic Essays (1997); Stravinsky and<br />
the Russian Traditions: A Biography of the Works<br />
through Marva (2 vols., 1996); Musorgsky: Eight Essays<br />
and an Epilogue (1993); and Opera and Drama in Russia<br />
as Preached and Practiced in the 1860s (2nd ed., 1993).<br />
Some 160 of his articles on Russian composers and<br />
their works are found in the New Grove Dictionary of<br />
Opera. His six-volume general history of music will be<br />
published this fall by Oxford University Press.<br />
Director Elise Thoron’s most recent projects include<br />
Prozak and the Platypus (book and lyrics; music by Jill<br />
Sobule); Green Violin (book and lyrics; music by Frank<br />
London); and Charlotte: Life? Or Theater (music by Gary<br />
Fagin). Her adaptation of The Great Gatsby, which she<br />
also directed, was shown in repertory at the Pushkin<br />
Theatre in Moscow for seven years. Ms. Thoron was one<br />
of the cofounders of A.S.T.I. (American Soviet Theater<br />
Initiative). She has directed a company of American and<br />
Russian actors in a bilingual production of Oleg<br />
Antonov’s play Egorushka and Constance Congdon’s No<br />
Mercy. For the St. Petersburg Music Theater Festival, she<br />
has directed Tsigany, an opera by V. Ustinovsky;<br />
Captain’s Daughter, a musical by Andrey Petrov; and<br />
Wild Party by Andrew Lippa. She has translated the<br />
work of playwrights Liudmila Petrushevskaya and<br />
Alexander Galin.<br />
Reiko Uchida has appeared as soloist with many<br />
orchestras, including the Los Angeles Philharmonic,<br />
Symphony Orchestra of the Curtis Institute of Music,<br />
and Santa Fe Symphony. She has performed solo and<br />
chamber music concerts throughout the world and has<br />
appeared at the Santa Fe, Tanglewood, Banff, Marlboro,<br />
and Laurel Festivals. She is currently a member of the<br />
Laurel Trio and of the Moebius Ensemble.<br />
Pianist Dénes Várjon made his debut at the Salzburger<br />
Festspiele with the Camerata Academica Salzburg under<br />
the baton of Sándor Végh at age 25. He has been a guest<br />
soloist at Kissinger Sommer, Biennale di Venezia,<br />
Marlboro, Davos, Lucerne, Begegnung Salzburg,<br />
Musiktage Mondsee, Klavierfestival Ruhr, and other international<br />
festivals. He has performed with the Academy of<br />
St. Martin in the Fields, Vienna Kammerorchester, Franz<br />
Liszt Chamber Orchestra, Munich Kammerorchester,<br />
Camerata Bern (Heinz Holliger), American Symphony<br />
Orchestra (Leon Botstein), Budapest Symphony Orchestra<br />
(Tamás Vásáry), and Gidon Kremer’s Kremerata Baltica. A<br />
dedicated chamber musician, he has appeared with<br />
artists such as Steven Isserlis, Leonidas Kavakos, Boris<br />
Pergamenshikov, András Schiff, Tabea Zimmermann, and<br />
the Carmina,Takács, Keller, and Endellion Quartets. He has<br />
recorded for Naxos, Capriccio, Hungaroton Classics,<br />
Teldec, and PAN-Classics Switzerland. Honors include the<br />
Liszt Prize (1997) and First Prize at the Concours Géza<br />
Anda (1991). He appears by special arrangement with<br />
Cadenza Concert, Salzburg, Austria.<br />
Elizabeth Wilson attended schools in England, China,<br />
and the United States and studied cello at the Moscow<br />
Conservatory with Mstislav Rostropovich. She resides in<br />
Italy, where she founded Xenia Ensemble, a chamber<br />
group dedicated to contemporary music and interdisciplinary<br />
projects. Ms.Wilson’s biography of Shostakovich,<br />
Shostakovich: A Life Remembered (1994), was greeted<br />
with great critical acclaim. She has participated in conferences<br />
on Shostakovich at the University of Michigan,<br />
in St. Petersburg, at Milan’s La Scala, and at Manhattan<br />
School of Music, and has given talks at festivals in<br />
Austria, Holland, and Ireland. Other writings include a<br />
biography of Jacqueline du Pré (1998), as well as articles<br />
on contemporary Russian music and composers. She was<br />
a consultant for a BBC documentary on Alfred Schnittke<br />
and is currently at work on a book on Rostropovich as<br />
teacher, entitled Class 19.<br />
Richard Wilson is the composer of some 80 works in<br />
many genres, including opera. He has received the<br />
Hinrichsen Award, Stoeger Prize, Cleveland Arts Prize,<br />
and a Guggenheim Fellowship. Recent commissions<br />
have come from the Koussevitzky and Fromm<br />
Foundations. His orchestral works have been performed<br />
by the San Francisco Symphony, London Philharmonic,<br />
American Symphony, Orquesta Sinfónica de Colombia,<br />
and Hudson Valley Philharmonic. Albany Records has just<br />
issued the Chicago String Quartet’s performances of his<br />
Third and Fourth String Quartets as well as his Canzona<br />
for Horn and Quartet. Wilson holds the Mary Conover<br />
Mellon Chair in Music at Vassar; he is also composer-inresidence<br />
with the American Symphony Orchestra, for<br />
which he gives preconcert talks. He has been a member<br />
of the program committee of the Bard Music Festival<br />
since its inception.<br />
Bass-baritone Joshua Winograde, a native of California,<br />
made his New York City Opera debut this past season<br />
as Melisso in the Francesca Zambello production of<br />
Alcina. He studied at the Juilliard School for his undergraduate<br />
and graduate degrees.<br />
Founded in 1962 by Leopold Stokowski and directed for<br />
the past 11 seasons by Leon Botstein, the American<br />
Symphony Orchestra performs thematically organized<br />
concerts at Avery Fisher Hall as part of Lincoln Center<br />
Presents Great Performers series, linking music to the<br />
visual arts, literature, politics, and popular culture.<br />
In addition to its main subscription series at Lincoln<br />
Center, the American Symphony Orchestra performs<br />
Classics Declassified, a lecture/concert series with<br />
audience interaction, at Columbia University’s Miller<br />
Theatre. It is also the resident orchestra of The Richard<br />
B. Fisher Center for the Performing Arts at Bard College,<br />
where it participates in a winter concert series and the<br />
summer Bard Music Festival. The orchestra also offers a<br />
variety of music education programs at high schools in<br />
Manhattan and New Jersey.<br />
The American Symphony Orchestra has toured the<br />
world, and made numerous recordings and broadcasts.<br />
Its most recent recording is Richard Strauss’s opera Die<br />
ägyptische Helena with Deborah Voigt. This recording<br />
joins the Orchestra’s recording of Strauss’s Die Liebe der<br />
Danae, also from Telarc. In addition, Ernst von Dohnányi’s<br />
Harp Concertino will soon be available from Arabesque.<br />
Other recordings with Leon Botstein include Franz<br />
Schubert: Orchestrated (Koch International) and Johannes<br />
Brahms’s Serenade No. 1 in D Major, Op. 11 for Orchestra<br />
(Vanguard Classics).<br />
Founded in 1990, the Bard Music Festival has established<br />
its unique identity in the classical concert field<br />
by presenting programs that, through performance<br />
and discussion, place a selected work in the cultural<br />
and social context of the composer’s world.<br />
The intimate communication of recital and chamber<br />
music and the excitement of full orchestral and choral<br />
works are complemented by informative preconcert<br />
talks, panel discussions and special events. In addition,<br />
each season Princeton University Press publishes a book<br />
of essays, translations, and correspondence relating to<br />
the festival’s central figure.<br />
By providing an illuminating context, the festival<br />
encourages listeners and musicians alike to rediscover<br />
the powerful, expressive nature of familiar works and to<br />
become acquainted with less familiar works. Since its<br />
inaugural season, the Bard Music Festival has entered<br />
the world of Brahms, Mendelssohn, Richard Strauss,<br />
Dvořák, Schumann, Bartók, Ives, Haydn, Tchaikovsky,<br />
Schoenberg, Beethoven, Debussy, Mahler, and Janáček. In<br />
2005 the festival will be devoted to Aaron Copland.<br />
From the Bard Music Festival is a rapidly growing part<br />
of the Bard Music Festival. In addition to the festival programming<br />
at Bard College,“From the Bard Music Festival”<br />
performs concerts from its past seasons and develops<br />
special concert events for outside engagements.<br />
64 65
BARD FESTIVAL CHORALE<br />
AMERICAN SYMPHONY ORCHESTRA LEON BOTSTEIN, MUSIC DIRECTOR<br />
Soprano<br />
Carol Ambrogio*<br />
Marion Beckenstein*<br />
Carolyn Braden<br />
Judy Cope<br />
Margery Daley*<br />
Michele Eaton+<br />
Lori Engle<br />
Laura Green*<br />
Virginia Green*<br />
Melissa Kelley*<br />
Jeanmarie Lally<br />
Gayla Morgan<br />
Julie Morgan+<br />
Beverly Myers<br />
Rachel Rosales<br />
Rosemarie Serrano<br />
Christine Sperry+<br />
Martha Sullivan<br />
Julia Turner<br />
Janine Ullyette<br />
Cynthia Wallace<br />
Elena Williamson<br />
Alto<br />
Susan Altabet+<br />
Juliana Anderson* +<br />
Jane Ann Askins<br />
September Bigelow<br />
Laura Broadhurst<br />
Teresa Buchholz*<br />
Twila Ehmcke<br />
B. J. Fredricks<br />
Karen Goldfeder<br />
Denise Kelly<br />
Karen Krueger*<br />
Phyllis Jo Kubey*<br />
Sarah Lambert<br />
Mary Marathe*<br />
Martha Mechalakos<br />
Sara Murphy<br />
Kirsten Sollek-Avella<br />
Nancy Wertsch*<br />
Tenor<br />
James Bassi<br />
John Bernard<br />
Lee Compton<br />
John Davey+<br />
Robert Dingman*<br />
James Donegan<br />
Martin Doner<br />
Neil Farrell*<br />
James Fredericks<br />
Jonathan Goodman*<br />
Daniel Kirk-Foster<br />
Eric Lamp+<br />
Mukund Marathe*<br />
Drew Martin<br />
Timothy O’Connor<br />
John Olund<br />
David Schnell<br />
Michael Steinberger<br />
James Archie Worley*<br />
BARD FESTIVAL CHAMBER PLAYERS PROGRAM ONE<br />
Violin<br />
Eric Wyrick<br />
Double Bass<br />
Jordan Frazier<br />
Saxophone<br />
Dennis C. Anderson<br />
Ralph Olsen<br />
Scott Shachter<br />
Trumpet<br />
Carl Albach<br />
John Dent<br />
Trombone<br />
Richard Clark<br />
Percussion<br />
Kory Grossman<br />
Banjo and Hawaiian Guitar<br />
Scott Kuney<br />
Piano<br />
Elizabeth Wright<br />
Bass<br />
Daniel Alexander<br />
Frank Barr*<br />
Hayes Biggs<br />
Peter Couchman<br />
Roosevelt Credit<br />
Walter DuMelle+<br />
Peter Fischer+<br />
James Gregory* +<br />
Steven Hrycelak*<br />
Richard Lippold<br />
Darren Lougee<br />
Steven Moore<br />
Gregory Purnhagen*<br />
Mark Rehnstrom*<br />
Walter Richardson<br />
Christopher Roselli<br />
Charles Sprawls*<br />
Clifford Townsend<br />
Lewis White*<br />
Choral Contractor<br />
Nancy Wertsch<br />
Choral Director<br />
James Bagwell<br />
* Program Five<br />
+ Program Seven<br />
Violin I<br />
Eric Wyrick*, Concertmaster<br />
Ellen Payne<br />
Calvin Wiersma<br />
Laura Hamilton<br />
Alicia Edelberg<br />
Brian Krinke<br />
Yana Goichman<br />
Patricia Davis<br />
James Tsao<br />
Alvin Rogers<br />
Ashley Horne<br />
Mara Milkis<br />
Dorothy Han<br />
Jane Chung<br />
Violin II<br />
Erica Kiesewetter, Principal<br />
Robert Zubrycki<br />
Joanna Jenner<br />
Wende Namkung<br />
John Connelly<br />
Heidi Stubner<br />
Browning Cramer<br />
Roy Lewis<br />
Alexander Vselensky<br />
Elizabeth Kleinman<br />
Sarah Schwartz<br />
David Steinberg<br />
Viola<br />
Nardo Poy, Principal<br />
Mary Ruth Ray<br />
Sarah Adams<br />
John Dexter<br />
Ah Ling Neu<br />
Sally Shumway<br />
Shelley Holland-Moritz<br />
Adria Benjamin<br />
Martha Brody<br />
Crystal Garner<br />
Cello<br />
Eugene Moye, Principal<br />
Jonathan Spitz*<br />
Susannah Chapman<br />
Roger Shell<br />
Annabelle Hoffman<br />
David Calhoun<br />
Sarah Carter<br />
Maureen Hynes<br />
Lanny Paykin<br />
Elina Lang<br />
Tatyana Margulis<br />
Bass<br />
John Beal, Principal<br />
Dennis James*<br />
Jack Wenger<br />
Jordan Frazier<br />
Louis Bruno<br />
Louise Koby<br />
John Babich<br />
Rick Ostrovsky<br />
Brian Cassier<br />
Flute<br />
Laura Conwesser, Principal<br />
Randolph Bowman*<br />
Diva Goodfriend-Koven<br />
Karla Moe<br />
Janet Arms, Piccolo<br />
Helen Campo, Piccolo<br />
Oboe<br />
Robert Ingliss, Principal<br />
Laura Ahlbeck*<br />
Kelly Peral<br />
Melanie Feld, English Horn<br />
Clarinet<br />
Laura Flax, Principal<br />
Marina Sturm<br />
Dean Leblanc<br />
Lino Gomez<br />
Jonathan Gunn, Eb Clarinet<br />
Amy Zoloto, Bass Clarinet<br />
Bassoon<br />
Charles McCracken, Principal<br />
Marc Goldberg*<br />
Maureen Strenge<br />
Gilbert Dejean, Contrabassoon<br />
Horn<br />
Julia Pilant, Principal<br />
David Smith<br />
Ronald Sell<br />
Kelly Dent<br />
Zohar Schondorf, Assistant<br />
Brad Gemeinhardt<br />
Lawrence DiBello<br />
Kyle Hoyt<br />
Leise Anschuetz<br />
Trumpet<br />
Carl Albach, Principal<br />
John Dent<br />
Susan Radcliff<br />
James Hamlin<br />
Lorraine Cohen<br />
John Sheppard<br />
Trombone<br />
Richard Clark, Principal<br />
Kenneth Finn<br />
Jeffrey Caswell<br />
Thomas Olcott<br />
David Read<br />
Bruce Eidem<br />
Tuba<br />
Stephen Johns, Principal<br />
Marcus Rojas<br />
Timpani<br />
Matthew Strauss, Principal<br />
Percussion<br />
Kory Grossman, Principal<br />
Matthew Beaumont<br />
Lynn Bernhardt<br />
Charles Descarfino<br />
Javier Diaz<br />
William Moersch<br />
Glenn Paulson<br />
Harp<br />
Sara Cutler, Principal<br />
Victoria Drake<br />
Piano/Celeste<br />
Elizabeth Wright, Principal<br />
Elizabeth Difelice<br />
Orchestra Personnel Manager<br />
Ronald Sell<br />
Orchestra Librarian<br />
Jack Parton<br />
Assistant Conductor<br />
Teresa Cheung<br />
* Principal, Bard Music Festival<br />
66<br />
67
DONORS TO THE BARD MUSIC FESTIVAL<br />
EVENTS IN THIS YEAR’S BARD MUSIC<br />
FESTIVAL ARE UNDERWRITTEN IN<br />
PART BY SPECIAL GIFTS FROM<br />
Jeanne Donovan Fisher and<br />
Richard B. Fisher<br />
Festival Underwriters<br />
James H. Ottaway Jr., Bard Trustee<br />
The Bettina Baruch Foundation<br />
Felicitas S. Thorne<br />
Chamber Music Concerts<br />
Mimi Levitt<br />
Guest Artists and<br />
Opening Night Dinner<br />
Joanna M. Migdal<br />
Panel Discussions<br />
Andrea and Kenneth L. Miron<br />
Margo and Anthony Viscusi<br />
Preconcert Talks<br />
Homeland Foundation<br />
New York State Council on the Arts<br />
National Endowment for the Arts<br />
NYSCA<br />
New York State Council on the Arts<br />
Underwriters<br />
Bettina Baruch Foundation<br />
Jeanne Donovan Fisher and<br />
Richard B. Fisher<br />
Homeland Foundation<br />
Mimi and Mortimer Levitt<br />
The Mortimer Levitt Foundation Inc.<br />
Joanna Migdal<br />
New York State Council on the Arts<br />
(NYSCA)<br />
Jane W. Nuhn Charitable Trust<br />
Mr. and Mrs. James H. Ottaway Jr.<br />
Felicitas S. Thorne<br />
Millie and Robert Wise<br />
The Wise Family Charitable<br />
Foundation<br />
Elizabeth and E. Lisk Wyckoff Jr.<br />
Benefactors<br />
Elizabeth W. Ely ’65 and<br />
Jonathan K. Greenburg<br />
Barbara D. Finberg<br />
The Ann & Gordon Getty Foundation<br />
Thomas O. Maggs<br />
Marstrand Foundation<br />
Andrea and Kenneth Miron<br />
Ralph E. Ogden Foundation<br />
Felicitas S. Thorne<br />
Margo and Anthony Viscusi<br />
Associates<br />
Gail and Sheldon Baim<br />
Helen and Kenneth R. Blackburn<br />
John A. Dierdorff<br />
G. Schirmer, Inc.<br />
Patrons<br />
Roger Alcaly and Helen Bodian<br />
Deborah and Peter Barrow<br />
John T. Compton<br />
Dr. George M. Coulter<br />
Mrs. Joanne E. Cuttler ’99 and<br />
Dr. Bruce Cuttler<br />
Daniel Dietrich<br />
Jacob W. Doft<br />
Amy K. and David Dubin<br />
R. Mardel Fehrenbach<br />
Carolyn and Bernard Guttilla<br />
Carol A. Harman<br />
Eliot D. and Paula K. Hawkins<br />
Dr. Barbara K. Hogan<br />
Frederic K. and Elena Howard<br />
Anne E. Impellizzeri<br />
Susan Jonas<br />
Mr. and Mrs. George A. Kellner<br />
Harriet and Dr. Seymour Koenig<br />
Alfred and Glenda Law<br />
Barbara and S Jay Levy<br />
Rachel McPherson and<br />
Patrick McMullan<br />
Eileen and Peter Rhulen<br />
Shirley and Morton Rosenberg<br />
David E. Schwab II ’52 and<br />
Ruth Schwartz Schwab ’52<br />
Jay Marc Schwamm<br />
Denise S. Simon<br />
Arlene and Edwin Steinberg<br />
Carlos Gonzalez and<br />
Katherine Stewart<br />
Stewart’s Shops<br />
Richard C. Strain<br />
Elizabeth Farran Tozer and<br />
W. James Tozer<br />
Wheelock Whitney III<br />
Sponsors<br />
Irene and Jack Banning<br />
Didi and David Barrett<br />
Carole and Gary Beller<br />
Kathryn and Charles Berry<br />
Carolyn Marks Blackwood<br />
Lydia Chapin<br />
Connie and David C. Clapp<br />
Karen and Everett Cook<br />
Andrea and Willem de Vogel<br />
Jane and Shepard Ellenberg<br />
Deban and Tom Flexner<br />
Lawrence P. Fraiberg<br />
Aura Reinhardt Gebauer<br />
Mr. and Mrs. Jay M. Gwynne<br />
Julia and Barney Hallingby<br />
Nancy and David Hathaway<br />
Mr. and Mrs. Ben Heller<br />
Steven Holl<br />
Janet M. Johnson<br />
Edith and Hamilton Kean<br />
Mr. and Mrs. Thomas W. Keesee III<br />
Barbara and Peter Kenner<br />
Karen and John Klopp<br />
Debra and Jonathan Lanman<br />
Mr. and Mrs. Robert V. Lindsay<br />
J. Murray Logan<br />
Mr. and Mrs. Douglas S. Luke<br />
Claire and Chris Mann<br />
Mr. and Mrs. Basil G. Mavroleon<br />
Chas A. Miller III<br />
Lucille W. Miller<br />
Deborah Montgomery<br />
Marta E. Nottebohm<br />
Candace and Billy Platt<br />
Drs. M. Susan and Irwin Richman<br />
Rebecca and Bryant Seaman<br />
Sara and James Sheldon<br />
Elizabeth K. Shequine<br />
Alonzo Smith<br />
Melissa and Robert Soros<br />
Dorothy and John Sprague<br />
Barbara and Donald Tober<br />
Illiana van Meeteren<br />
Siri von Reis<br />
Friends<br />
Mr. and Mrs. Munir Abuhaidar<br />
Barbara J. Agren<br />
Candy and Lex Anderson<br />
Zelda Aronstein and Norman Eisner<br />
Lois Atkinson<br />
Kathleen and Roland Augustine<br />
Antonia Bakker-Salvato<br />
Mr. and Mrs. Alexander C. Bancroft<br />
Felicity Banford and Tim Bontecou<br />
Karen H. Bechtel<br />
Mark W. and Susan Beckerman<br />
Richard Benson<br />
Patricia Berlanga<br />
Beth and Jerry Bierbaum<br />
Mr. and Mrs. R. O. Blechman<br />
Harriet Bloch and Evan Sakellarios<br />
Helen Blodgett<br />
Renata Borsetti<br />
Mr. and Mrs. Arthur T. Brooks<br />
Hannah Buchan<br />
Joan and Walter Cadette<br />
Wendy Carduner<br />
Virginia Chevy<br />
Mr. and Mrs. Henry L. Collins III<br />
Lea and Jim Cornell<br />
Lucy Day<br />
Professor Matthew Deady<br />
Mr. and Mrs. Gonzalo de Las Heras<br />
Charlotte and<br />
Ottavio Serena di Lapigio<br />
Peter Edelman<br />
Cornelia and Tim Eland<br />
Jane and Peter Elebash<br />
Ines Elskop and Christopher Scholz<br />
Dianne Engleke<br />
Laurie Erwin<br />
Barbara Etherington<br />
Patricia and<br />
Alexander Farman-Farmaian<br />
Mr. and Mrs. Stuart Feder<br />
Arthur L. Fenaroli<br />
Pamela Fields and Andy Postal<br />
David and Tracy Finn<br />
Raimond Flynn<br />
Donald C. Fresne<br />
Olivia Fussell and Francis Finlay<br />
Anne C. Gillis<br />
Diane Gilmour and Peter Kuhlmann<br />
Gilbert Vansintejan Glaser and<br />
William A. Glaser<br />
Eric Warren Goldman ’98<br />
Mrs. Maxwell Goodwin<br />
Janine Gordon<br />
Samuel L. Gordon Jr.<br />
Fayal B. Greene<br />
Thurston Greene<br />
Chris Griffin<br />
Lorraine Alexander Grisi and<br />
Giancarlo Grisi<br />
Penelope Hall<br />
DONORS TO THE FISHER CENTER<br />
Trustees<br />
Leon Botstein<br />
Rt. Rev. Herbert A. and<br />
Mary Donovan<br />
Elizabeth W. Ely ’65 and<br />
Jonathan K. Greenburg<br />
Emily H. Fisher<br />
Richard B. Fisher and<br />
Jeanne Donovan Fisher<br />
Sally and William Hambrecht<br />
Cynthia Hirsch Levy ’65<br />
Murray and Patti Liebowitz<br />
Susan Heath and Rodney Paterson<br />
Leo Hellerman<br />
Delmar D. Hendricks<br />
Nancy H. Henze<br />
Juliet Heyer<br />
Isis and Brian Hoffman<br />
Mr. and Mrs. Robert Hottensen<br />
Kathleen Huggins<br />
Mrs. John R. Hupper<br />
Mr. and Mrs. Rene Jacobus<br />
Peter Judd<br />
Lily Kamenecka<br />
John Kander<br />
Bindy and Stephen Kaye<br />
Richard P. Kelisky<br />
Fernanda Kellogg and Kirk Henckels<br />
Chippie Kennedy-Hermann<br />
David and Janet E. Kettler<br />
Diana Niles King<br />
Emily Fuller Kingston<br />
Irving Kleiman<br />
Thea Kliros<br />
Professor Benjamin La Farge<br />
Beth Ledy<br />
Judy and Deane Leonard<br />
Mrs. Michael Levin<br />
Lois Mander and Max Pine<br />
Annette S. and Paul N. Marcus<br />
Bonnie M. Meagher<br />
Ricki and Milton Meshel<br />
Mary Moeller<br />
Shelia M. Moloney ’84 and<br />
Professor John Pruitt<br />
Arvia Morris<br />
Mr. and Mrs. Alfred Mudge<br />
Lynn and William T. Nolan<br />
Frederick H. Okolowitz and<br />
Daniel C. Greenwald<br />
Marilyn and Peter Oswald<br />
Sylvia Owen and Bernhard Fabricius<br />
M. Jack Parker<br />
Jane and David Parshall<br />
James Haller Ottaway and<br />
Mary Hyde Ottaway<br />
Lynda and Stewart Resnick<br />
David E. Schwab II ’52 and<br />
Ruth Schwartz Schwab ’52<br />
Martin T. Sosnoff and Toni Sosnoff<br />
Patricia Ross Weis and<br />
Robert F. Weis<br />
Alumni/ae<br />
Kara M. Aiello ’99<br />
Richard Allen ’67<br />
Ellen and Eric Petersen<br />
Miles Price<br />
Eve Propp<br />
Robert B. Recknagel<br />
Claire and John Reid<br />
Solie Reinhardt<br />
Eugenia and Martin Revson<br />
Jane Richards<br />
Dede and Eric Rosenfeld<br />
Deirdre and Alfred Ross<br />
Nancy F. Rudolph<br />
Sheila Sanders<br />
Edith M. and F. Karl Schoenborn<br />
Karin Shrubsole<br />
Reginald W. Smith<br />
Mr. and Mrs. Martin T. Sosnoff<br />
Sarah and David Stack<br />
Nadine Bertin Stearns<br />
Mim and Leonard Stein<br />
Alan Sutton<br />
Humphrey and Penelope Taylor<br />
Jessica and Peter Tcherepnine<br />
Mr. Vincent L. Teahan and<br />
Dr. Johanna Triegel<br />
Robert G. Thomas<br />
Cynthia Tripp ’01<br />
Van de Water<br />
Mr. and Mrs. Ralph E. Weindling<br />
Cari Weisberg<br />
Jill and Jack Wertheim<br />
Mr. and Mrs. Royal Whiting<br />
John H. Whitworth Jr.<br />
Julia and Nigel Widdowson<br />
Nancy R. Winstein<br />
Maria and Peter Wirth<br />
William C. Zifchak<br />
Betsy Zimring<br />
Mr. and Mrs. Howard Zipser<br />
Current as of June 1, 2004<br />
Suzan Alparslan-Lustig ’92<br />
Ruth D. Alpert ’73<br />
Josephine Alvare ’77<br />
Mr. and Mrs. Robert Amsterdam ’53<br />
Edgar A. Anderson ’42<br />
Claire Angelozzi ’74<br />
Anonymous ’75<br />
Charlotte Hahn Arner ’49<br />
Judith Arner ’68<br />
Jane-Evelyn Atwood ’70<br />
John J. ’91 and Laura M. Austrian<br />
Penny Axelrod ’63<br />
68<br />
69
Dennis B. Barone ’77 and<br />
Deborah Ducoff-Barone ’78<br />
Rob Bauer ’63<br />
Belinha Rowley Beatty ’69<br />
Jeffrey S. Becker ’88<br />
Eva Thal Belefant ’49 and<br />
Martin S. Belefant<br />
Abby Bender ’95<br />
Nicholas Bensen ’87<br />
Andrea Berger ’00<br />
Dr. Miriam Roskin Berger ’56<br />
Hope Bernstein ’47<br />
Peter Blaxill ’53<br />
Susan Bodine ’72<br />
Carla Bolte ’71<br />
Brian Bonnar ’77<br />
Elliott Bowden ’36<br />
Morgen Bowers ’90<br />
Marcy Brafman ’72<br />
George Brewster ’70<br />
Laurel Meinig Brewster ’71<br />
Anja M. Brogan ’00<br />
Randy Buckingham ’73<br />
Arabella Bull-Stewart ’95<br />
Michael Burgi ’87<br />
Mary S. Burns ’73<br />
John L. Burton ’78<br />
Brooke Byrne ’85<br />
Robert Caccomo ’81<br />
Shari Calnero ’88<br />
Judith Caplan ’80<br />
Mary E. Caponegro ’78<br />
Steven Carpenter ’87<br />
Claire Carren ’73<br />
Laura Caruso ’86<br />
Shirley Cassara ’71<br />
Catherine Cattabiani ’77<br />
Cassandra Chan ’78<br />
Pola Chapelle ’94<br />
Peter Charak ’71<br />
Laurence J. Chertoff ’78 and<br />
Rose Gasner<br />
Doreen Clark ’78 and<br />
Lewis Copulsky ’79<br />
Jeffrey Clock ’73 and<br />
Elisabeth Armstrong Clock ’74<br />
Mark Cohen ’74<br />
Seth Compton ’02<br />
Hyacinth E. Coopersmith ’48<br />
Mari and Robert M. ’53 Cornell<br />
Sheryl Corshes ’50<br />
Peter Criswell ’89<br />
Karen Cutler ’74<br />
Aisha DaCosta ’96<br />
Michael Damato ’88<br />
Cynthia Maris Dantzic ’54<br />
Jerri Dell ’73<br />
Lisa M. DeTora ’89<br />
Chris Devine ’88<br />
Michael DeWitt ’65<br />
Sarah Dillon ’88<br />
George B. Dobbs ’78<br />
Judy Donner ’59<br />
Dr. Marian Dunn ’60<br />
Obadiah Eaves ’93<br />
Karin Eckert ’87<br />
Nancy Edelstein ’48<br />
Hannah Kit Ellenbogen ’52<br />
Joan Elliott ’67<br />
Gayle Iselin Engel ’75<br />
Monica Escalante ’90<br />
Peter Eschauzier ’62<br />
Deborah Fehr ’77<br />
Naomi B. Feldman ’53<br />
Alfred T. Felsberg ’41*<br />
Brett H. Fialkoff ’88<br />
Dr. and Mrs. Joel Fields ’53<br />
Julie Fischer ’87<br />
Faith Fisher ’95<br />
Cormac Flynn ’90<br />
Lynda Fong ’95<br />
Dylan Ford ’96<br />
Gwynne Fox ’84<br />
Richard G. Frank ’74<br />
Diana Hirsch Friedman ’68<br />
Bonnie Galayda ’78<br />
Suzanne Gallant ’83<br />
Peter Ganick ’68<br />
Percy Gibson ’87<br />
Tara S. Gilani ’77<br />
Alan Glaser ’68<br />
Jane Glover ’69<br />
David Goessling ’74<br />
Eric Warren Goldman ’98<br />
Mr. and Mrs. John Goldsmith ’40<br />
John Goodman ’67<br />
William Gottlieb ’69<br />
Charles Granquist ’68<br />
Sallie E. Gratch ’57<br />
Judith Green ’61<br />
Tracy A. Gregorowicz ’88<br />
Catherine A. Grillo ’82<br />
Merry C. Grissom ’94<br />
Katherine Happ ’01<br />
Rayna Harman ’63<br />
Laura Hawkinson ’99<br />
Jane Heidgerd ’94<br />
Joanne Pines Hersh ’53<br />
Elizabeth Hess ’74<br />
Christine Hillegass ’75<br />
Daniel C. Hillman ’88<br />
Ann Ho ’62<br />
Eric Hoffman ’94<br />
Maggie Hopp ’67<br />
William Hulbert ’69<br />
Carolyn J. Hull ’48<br />
Marya Huseby ’67<br />
Barbara L. Hyman ’53<br />
Earl H. Jackel ’59<br />
Tara G. Johannessen ’89<br />
Rev. Canon Clinton R. Jones ’38<br />
Daniel Josephs ’79<br />
John Juhl ’72<br />
Deborah Davidson Kaas ’71<br />
Douglas Kabat ’68<br />
Elaine Kaplan ’48 and<br />
Armon J. Kaplan ’49<br />
Margery Karger ’55<br />
Rona Keilin ’58<br />
Jessica Post Kemm ’74<br />
Peter ’66 and Barbara Kenner<br />
Rodger Kessler ’71<br />
Pamela Fairbanks Kirkpatrick ’71<br />
Elizabeth Kitsos-Kang ’87<br />
Reynold A. Klein ’78<br />
Joel Kluger ’59<br />
Pamela Dendy Knap ’67<br />
Birgitta Knuttgen ’59<br />
Norbert C. Koenig ’48<br />
Elinor Kopmar ’52<br />
Kenneth Kosakoff ’81<br />
Peter Kosewski ’77<br />
Arlene Krebs ’67<br />
Helaine Kushner ‘53<br />
Sandra Ladley ’78<br />
Deirdre Larson ’97<br />
Adrienne Larys ’67<br />
Bette Levine ’59<br />
Rhoda J. Levine ’53<br />
Jeffrey Levy ’67<br />
Robert Livingston ’71<br />
Michelle A. Lords ’88<br />
Susan Lowenstein-Kitchell ’48<br />
Jacqueline Lowry ’73<br />
Abigail Loyd ’99<br />
Jennifer Lupo ’88<br />
Melina Mackall ’93<br />
Efrem Marder ’73<br />
Robert Marrow ’62<br />
Michelle Dunn Marsh ’95<br />
Kristi Martel ’94<br />
Christopher Scott Martin ’88<br />
Tony Marzani ’68<br />
Melissa Mathis ’88<br />
Julia Mauran ’69<br />
Peter McCabe ’70<br />
Catherine McDowell ’84<br />
Vicki McKinnon ’72<br />
Sally K. McMurray ’48<br />
Michael M. Miller ’63<br />
Deborah Milligan ’72<br />
Sheila M. Moloney ’84<br />
Stephen C. Montgomery ’52<br />
Donald A. ’67 and Ginna H. Moore<br />
Jubilith M. Moore ’91<br />
Barbara Morse ’61<br />
Diana Moser ’85<br />
Paul B. Munson ’47<br />
Linda Murphy ’88<br />
David Mydans ’70<br />
Priscilla Myerson ’67<br />
Charles Naef ’53<br />
Janet R. Nash ’48<br />
Debbie Needleman ’78<br />
Chris Larsen Nelson ’73<br />
Sarah Nisenson ’62<br />
Deborah Nitzberg ’76<br />
Donna Nussinow-Lampert ’79<br />
Blythe Danner Paltrow ’65<br />
Dr. Richard Pargament ’65<br />
Christopher Pennington ’87<br />
Richard Perry ’63<br />
Leslie Phillips ’73<br />
Lorelle Marcus Phillips ’57 and<br />
Roger Phillips ’53<br />
Markus B. Pinney ’78<br />
Susan Playfair ’62<br />
Peter W. Price ’52<br />
Carolyn G. Rabiner ‘76<br />
Allison Radzin ’88<br />
Joyce ’52 and Leonard Reed<br />
Kenneth Reiss ’66<br />
Elizabeth Rejonis ’89<br />
Bryony Renner ’92<br />
Stacey Resnikoff ’90<br />
Joan Rich ’63<br />
Maurice N. Richter ’53<br />
Jacqueline Schultz Riley ’79<br />
Robert A. Ronder ’53<br />
James N. Rosenau ’48<br />
Joann T. Rosenberger-Lang ’48<br />
Amanda Rouse ’94<br />
Emily H. Rubin ’78<br />
Olympia Saint-Auguste ’74<br />
Lucius A. Salisbury Jr. ’48<br />
Barbara Sang ’58<br />
Alvin Sapinsley ’42*<br />
Monroe B. Scharff ’48 and<br />
Edwina K. Scharff ’48<br />
Anita Schnee ’70<br />
Sandra Propp Schwartz ’55<br />
Susan C. Schwartz ’78<br />
George Selmont ’89<br />
Elisabeth Semel ’72<br />
S. William Senfeld ’62*<br />
Karen Shapiro ’78<br />
Melanie Shaw ’98<br />
Marilyn B. Sherman ’78<br />
Charles Sims ’71*<br />
Susan Seidler Skulsky ’74<br />
Carole-Jean Smith ’66<br />
Jenna Smith ’88<br />
Sarah Smith ’93<br />
John Solomon ’58<br />
Carol S. Sonnenschein ’53<br />
Joseph Spagnoli ’85<br />
Eve Stahlberger ’97<br />
Selda Steckler ’48<br />
Marion P. Stein ’48<br />
Billy Steinberg ’72<br />
Joel Stoffer ’87<br />
Peter Stone ’51*<br />
Brian Sullivan ’97<br />
Eve Sullivan ’62<br />
Lindy Sutton ’65<br />
Lance A. Tait ’78<br />
Kornelia Tamm ’00<br />
Frolic Taylor ’70<br />
Naomi Alazraki Taylor ’62<br />
Linda Tyrol ’80<br />
Nan-Toby Tyrrell ’63<br />
Lisa Uchrin ’85<br />
Grace Uffner ’01<br />
Annalee Van Kleeck ’85<br />
Lisa A. Vasey ’84<br />
Winslow Wacker ’82<br />
Walter Waggoner ’39*<br />
Martha D. Wagner ’53<br />
Tara Wagner ’94<br />
John W. Waxman ’62<br />
Marilyn Wechter ’73<br />
Karl Wedemeyer ’55<br />
Adam Weiss ’97<br />
Wendy J. Weldon ’71<br />
George Wellington ’54*<br />
Holly Wertheimer ’73<br />
Zafra Whitcomb ’93<br />
Laura Wickens ’93<br />
Christopher Wienert ’73<br />
Barbara Wigren ’68<br />
Susanne Williams ’92<br />
Bethany Wood ’94<br />
Evan Yerburgh ’96<br />
Jane Young ’61<br />
Jessica Yudelson ’61<br />
Corporations<br />
Bank of New York Company, Inc.<br />
CH Energy Group, Inc.<br />
Historical Society of Princeton<br />
Hudson River Heritage<br />
Key Foundation<br />
Macpherson King Global<br />
Van DeWater and Van DeWater LLP<br />
Faculty and Staff<br />
Chinua and Christie Achebe<br />
Mary I. Backlund<br />
Laura Battle<br />
Burton Brody<br />
Jean Churchill<br />
Laurie Dahlberg<br />
Michèle D. Dominy<br />
Bernard Greenwald<br />
Adolfas Mekas<br />
Elizabeth Shea<br />
Ginger and Stephen Shore<br />
Friends<br />
Susanna Bedell<br />
Herbert Berman<br />
Dr. Anne Botstein<br />
Čapka Family<br />
Darrah Cloud<br />
Hal and Valery Einhorn<br />
Barbara Ettinger and Sven Huseby<br />
R. Mardel Fehrenbach<br />
Allison Fitzgerald<br />
Susan Fowler-Gallagher<br />
Edward and Holli Gersh<br />
Mr. and Mrs. Gardner F. Gillespie<br />
Roberta Goodman<br />
Charles and Madelene Huebner<br />
Dr. Margaret Johns* and<br />
H. Peter Stern<br />
Lorraine Katterhenry<br />
Rose Koplovitz<br />
Alison and John C. Lankenau<br />
James Londagin<br />
James Perry Lunn<br />
Neil McKenzie<br />
Andrew and Kenneth Miron<br />
Barbara Nolan<br />
Carol J. Ockman<br />
Elizabeth J. and Sevgin Oktay<br />
Evelyn Paltrow<br />
Laura Pels<br />
Whitney Quesenbery<br />
Robert B. Recknagel<br />
Albert Reid<br />
David Rockefeller<br />
Margaret Creal Shafer*<br />
Nadine Stearns<br />
Katherine Stewart and<br />
Carlos Gonzalez<br />
Thomas van Straaten<br />
Allan and Ronnie Streichler<br />
Susanna Tanger<br />
Felicitas S. Thorne<br />
Elisabeth F. Turnauer<br />
Julie and Louis Turpin<br />
Robert and Mille Wise<br />
Howard Zipser<br />
Foundations<br />
Arthur Vining Davis Foundations<br />
Armand G. Erpf Fund<br />
Bettina Baruch Foundation<br />
Booth Ferris Foundation<br />
The Cummings-Goldman<br />
Foundation<br />
Gannett Foundation<br />
Kresge Foundation<br />
Millbrook Tribute Garden, Inc.<br />
Jane W. Nuhn Charitable Trust<br />
The Skirball Foundation<br />
Trust for Mutual Understanding<br />
70<br />
71
Government<br />
State of New York,<br />
George E. Pataki, Governor<br />
Senator Stephen M. Saland<br />
Parents<br />
Nancy and Neil R. Austrian<br />
Leslie and Louis Baker<br />
Carolyn Marks Blackwood<br />
Linda Caigan<br />
Mr. and. Mrs. Thomas Case<br />
Deborah and Larry Chernoff<br />
Elizabeth de Lima and Roger Alter<br />
Barbara and Julien Devereux<br />
Robert and Judith Dumont<br />
Leadership<br />
John H. T. Wilson<br />
A. MacDonald Caputo<br />
Barton M. Biggs<br />
Frederick B. Whittemore<br />
Lewis W. Bernard<br />
Friends and Colleagues<br />
Nancy Abramson and Doug Hertz<br />
Maya Ajmera<br />
James M. Allwin<br />
Anonymous<br />
Mr. and Mrs. William J. Armfield IV<br />
Judith Arner<br />
Didi and David Barrett<br />
Eileen Barron<br />
Anson M. Beard<br />
Karen H. Bechtel<br />
Betsey and Lloyd W. Bell III<br />
Jim and Peggy Benkard<br />
Elizabeth and Rodney Berens<br />
Betsy Berg and Joel Fredericks<br />
Dr. Miriam Roskin Berger ’56<br />
Jill and Lewis Bernard<br />
Helen and Robert Bernstein<br />
Ann and Joel Berson<br />
Barton M. Biggs<br />
David H. Blair<br />
Anne and Jim Bodnar<br />
Sarah L. Botstein<br />
Ken Brecher and Pat Dandonoli<br />
Peggy Brill<br />
Anne M. Brimberg<br />
Jennifer Brown<br />
Annie Brumbaugh<br />
Ellen and A. MacDonald Caputo<br />
Miriam H. Carroll<br />
Mr. and Mrs. Russell L. Carson<br />
John K. Castle<br />
Carol and Dexter D. Earle<br />
Richard and Sigrid Freese<br />
Marjorie B. Garwood<br />
Christine Goldberg<br />
Jill J. Hacker<br />
Geraldine Hammerstein<br />
George and Mary Jane Hebron<br />
Susan Hirschhorn and<br />
Arthur Klebanoff<br />
George and Janet Kennedy<br />
Jeffrey and Joannie Levenson<br />
Tamme McCauley<br />
Manuel and Yamila Morales<br />
Dr. and Mrs. Ronald Podell<br />
Nicholas and Susan Pritzker<br />
THE FRIENDS OF RICHARD B. FISHER FUND<br />
March Avery Cavanaugh and<br />
Philip Cavanaugh<br />
Beverly and Herbert Chase<br />
Deborah and Larry Chernoff<br />
Kathleen and Neil Christian<br />
Irja and Frank Cilluffo<br />
Jennifer and Christopher Clark<br />
Mayree C. Clark and Jeffrey Williams<br />
Priscilla and Jonathan M. Clark<br />
Thomas Cole<br />
Bobbi and Barry S. Coller<br />
Susan Conroy<br />
Marella Consolini<br />
Zoe Cruz<br />
D. Ronald Daniel<br />
Robert A. Day<br />
Barbara and Richard Debs<br />
Nancy and J. Hugh Devlin<br />
John A. Dierdorff<br />
Rowena and David Dillon<br />
Christine Donovan<br />
Frances M. Donovan<br />
Patricia A. Doyle<br />
Craig A. Drill<br />
Giovannella B. and Edward Dunn<br />
John E. Eckelberry<br />
Ines Elskop and Christopher Scholz<br />
Elizabeth W. Ely ’65 and<br />
Jonathan K. Greenburg<br />
Herman Engel and Sonya Friedman<br />
R. Bradford Evans<br />
Kirsten Feldman and Hugh Frater<br />
Linda and Robert Feldman<br />
Susannah Fiennes<br />
Barbara D. Finberg<br />
Daniel Fish<br />
Alex Fisher MFA ’96 and<br />
Jennifer Hodges<br />
R. Britton Fisher<br />
Sandra Renner<br />
Drs. M. Susan and Irwin Richman<br />
Steven Jay Sanford and<br />
Sandra A. Sullivan<br />
Mr. and Mrs. Jeff Schwarz<br />
Mr.* and Mrs. Alfred Schweitzman<br />
Jeffrey and Pamella Seemans<br />
Mr. and Mrs. Joel Seldin<br />
Mr. and Mrs. Thomas Tignor<br />
Barbara Tramonte<br />
Henry Tucker<br />
Leslie Uhl<br />
*deceased<br />
Current as of April 20, 2004<br />
Katherine Fisher and Gregg Murphy<br />
Laurie and David Fisher<br />
Mr. and Mrs. Alan H. Fishman<br />
Charles Fiumefreddo<br />
Ann and Robert Freedman<br />
Raymond B. Gary<br />
Peter Gee<br />
Helena and Christopher H. Gibbs<br />
S. Parker Gilbert<br />
James Gillson<br />
The Giordano Group, LTD<br />
Goldberg Lindsay and Company<br />
Eric Warren Goldman<br />
William R. Grant<br />
Richard Grayson<br />
John M. Greenwood<br />
Eva B. Griepp<br />
Betsy Grob<br />
Randall A. Hack<br />
Charles T. Hamm<br />
Bunny Harvey and Frank Muhly<br />
John Havens<br />
Mary Ellen Hawn and<br />
Gates Helms Hawn<br />
Peter Hedges and Susan Bruce<br />
John K. Hepburn<br />
Marieluise Hessel<br />
Karen Brooks Hopkins and<br />
Ronald Feiner<br />
Christine and Richard Horrigan<br />
Al Houghton and Sky Pape<br />
Timothy A. Hultquist<br />
Robert W. Jones<br />
Jill and Michael Kafka<br />
Sylvia and T. Byram Karasu<br />
Anna-Maria and Stephen Kellen<br />
Peter L. Kellner<br />
Paul G. Kimball<br />
Tony Kurz<br />
Madeline and Philip Lacovara<br />
Tracey and Eric Lederer<br />
Thomas H. Lee and Ann Tenenbaum<br />
Hal Lehr<br />
Mimi Levitt<br />
Cynthia Hirsch Levy ’65<br />
James W. Lewis and Beth Herman<br />
William M. Lewis Jr.<br />
Patti and Murray Liebowitz<br />
Jane and Daniel Lindau<br />
Dr. and Mrs. Peter J. Linden<br />
Mr. and Mrs. Walter F. Loeb<br />
Elaine Magenheim and<br />
Marshall Johnson<br />
Jodi Magee<br />
Edward E. Matthews<br />
Barbara and Bowen H. McCoy<br />
Chuck Mee and Michi Barall<br />
Barrant V. Merrill<br />
Mr. and Mrs. Damon Mezzacappa<br />
Joanna Migdal<br />
Caroline Miller and Eric Himmel<br />
Nancy and Joshua Miller<br />
Phoebe Zaslove Milligan<br />
Andrea and Kenneth Miron<br />
Lynn Moffat and James Nicola<br />
Vivien and Donald A. Moore<br />
Anne Donovan Moran and<br />
James V. Ohlemeyer<br />
Martha Moran and Mike Shatzkin<br />
Eileen K. Murray<br />
Naneen H. and Axel M. Neubohn<br />
Robin Neustein<br />
Joan and Lucio Noto<br />
Simon Orme<br />
James H. Ottaway Jr.<br />
Catherine James Paglia and<br />
DONORS TO SUMMERSCAPE<br />
EVENTS IN THIS YEAR’S SUMMERSCAPE<br />
ARE UNDERWRITTEN IN PART BY<br />
SPECIAL GIFTS FROM<br />
Pom Wonderful, LLC<br />
Producers<br />
Anonymous<br />
Carolyn Marks Blackwood<br />
Robert A. Fippinger and Ann Kaplan<br />
Jeanne Donovan Fisher and<br />
Richard B. Fisher<br />
Peter J. Linden<br />
James H. Ottaway Jr.<br />
Toni Sosnoff and Martin T. Sosnoff<br />
The Laurie Tisch Sussman Foundation<br />
Trust for Mututal Understanding<br />
Louis J. Paglia<br />
Vikram S. Pandit<br />
Joseph and Amy Perella<br />
Ellen and Robert Perless<br />
Michael Pierce and Liz Dougherty<br />
Thomas R. Pura and<br />
Sara J. Weinheimer Foundation<br />
Philip Purcell<br />
Charles Reckard and Lucia O’Reilly<br />
Gail Hunt Reeke<br />
Susan and Ned Regan<br />
Elaine and Stanley Reichel<br />
Robert Renfftlen<br />
Drs. M. Susan and Irwin Richman<br />
David Rockefeller<br />
Patience and Charles S. Rockey Jr.<br />
Robert Ruotola and<br />
Theresa O’Hagan<br />
Peter M. Saint Germain<br />
George Sard and Susan Wasserstein<br />
Elizabeth and Carl Schorske<br />
Ruth Schwartz Schwab ’52 and<br />
David E. Schwab II ’52<br />
Rae and H. Marshall Schwarz<br />
Karen and Robert G. Scott<br />
Brealyn Sellers and Bradley Fleisher<br />
Fran and Mike Sheeley<br />
John J. F. Sherrerd<br />
Barbara Siesel and<br />
Mitchell Dorfman<br />
H. Abigail and Parker Silzer<br />
The Simons Foundation<br />
Sire Foundation and BB and<br />
Judson P. Reis<br />
Steve Skoler and Sandra Hornbach<br />
Gordon E. Smith and<br />
Margaret Wright<br />
Directors<br />
Mr. and Mrs. Gary Lachmund<br />
Stage Manager<br />
Ellen Chesler<br />
Members<br />
Alice M. Boyne<br />
Elisabeth Derow<br />
Patricia Falk<br />
Susan M. Ferris<br />
Allan Freedman<br />
Jeffrey E. Glen<br />
James Hayden<br />
John A. James<br />
Laura Kate Kaplan<br />
Sara M. Knight<br />
Melissa and Robert Soros<br />
Susan Weber Soros<br />
Toni and Martin T. Sosnoff<br />
Morgan Stanley<br />
Seth L. Starr<br />
Jean Stein and Dr. Torsten V. Wiesel<br />
Robin and Benjamin Steinman<br />
Lynn Stirrup<br />
Margaret Stitham<br />
Jeannette and J. Arthur Taylor<br />
Felicitas S. Thorne<br />
Elizabeth and James Tilley<br />
Narcissa and John Titman<br />
Eric and Berett Trachtenberg<br />
Paul Verbinnen and Cecilia Greene<br />
Margo and Anthony Viscusi<br />
Stephen R. Volk<br />
Susy and Jack Wadsworth<br />
Peter Waring<br />
Patricia Ross Weis and<br />
Robert F. Weis<br />
Louise and John Wellemeyer<br />
Rosalind Whitehead<br />
Marion and Frederick Whittemore<br />
Julie and Thomas Williams<br />
Laurie Williams and Paul Mullins<br />
Sandy and John H. T. Wilson<br />
Susan Wine<br />
Paul M. Wythes<br />
Deborah and Nicholas Zoullas<br />
Current as of April 20, 2004<br />
Lisa Lancaster<br />
Isaac and Judith Levi<br />
Brice and Helen Marden<br />
Marcuse Pfeifer<br />
Arnold L. Putterman<br />
Blanche and Bruce Rubin<br />
Mr. and Mrs. Bernard D. Sadow<br />
Edith M. and F. Karl Schoenborn<br />
Mr. and Mrs. Dick Schreiber<br />
Ronald D. Segal<br />
Susan Kasen Summer<br />
Jeannette and J. Arthur Taylor<br />
Ellen and Stanley M. Weinstock<br />
Mr. and Mrs. Irwin Kaplan<br />
Beverley D. and Philip T. Zabriskie<br />
72<br />
73
BOARD AND ADMINISTRATION OF BARD COLLEGE<br />
BOARD AND ADMINISTRATION OF THE BARD MUSIC FESTIVAL<br />
Board of Trustees of Bard College<br />
David E. Schwab II ’52, Chairman<br />
Charles P. Stevenson Jr.,<br />
Vice Chairman<br />
Emily H. Fisher,<br />
Second Vice Chairman<br />
Richard B. Fisher, Treasurer<br />
John C. Honey ’39, Secretary<br />
Peter C. Aldrich<br />
Leon Botstein,<br />
President of the College +<br />
David C. Clapp<br />
Marcelle Clements ’69 *<br />
Rt. Rev. Herbert A. Donovan Jr.,<br />
Honorary Trustee<br />
Asher B. Edelman ’61<br />
Elizabeth Ely ’65<br />
Philip H. Gordon ’43 *<br />
Barbara S. Grossman ’73 *<br />
Elizabeth Blodgett Hall,<br />
Life Trustee Emerita<br />
Sally Hambrecht<br />
Ernest F. Henderson III<br />
Marieluise Hessel<br />
Mark N. Kaplan<br />
George A. Kellner<br />
Charles D. Klein ’60<br />
Cynthia Hirsch Levy ’65<br />
Murray Liebowitz<br />
James H. Ottaway Jr.<br />
Martin Peretz<br />
Stanley A. Reichel ’65<br />
Stewart Resnick<br />
Mark Schwartz<br />
Susan Weber Soros<br />
Martin T. Sosnoff<br />
Patricia Ross Weis ’52<br />
William Julius Wilson<br />
* alumni/ae trustee<br />
+ ex officio<br />
Bard College Administration<br />
Leon Botstein, President<br />
Dimitri B. Papadimitriou,<br />
Executive Vice President<br />
Michèle D. Dominy,<br />
Dean of the College<br />
Robert L. Martin,<br />
Vice President for Academic Affairs<br />
James Brudvig,<br />
Vice President for Administration<br />
Debra Pemstein,<br />
Vice President for Development<br />
and Alumni/ae Affairs<br />
Mary Backlund,<br />
Vice President for Student Affairs<br />
Peter Gadsby, Registrar<br />
Mark Loftin,<br />
Director of Special Projects at Bard<br />
Mark Primoff,<br />
Director of Communications<br />
Ginger Shore,<br />
Director of Publications<br />
Fisher Center Advisory Board<br />
Jeanne Donovan Fisher, Chairman<br />
Leon Botstein +<br />
Carolyn Marks Blackwood<br />
Robert A. Fippinger<br />
Richard B. Fisher<br />
Harvey Lichtenstein<br />
James H. Ottaway Jr.<br />
Dimitri B. Papadimitriou +<br />
David E. Schwab II ’52<br />
Martin T. Sosnoff<br />
Toni Sosnoff<br />
+ ex officio<br />
Fisher Center Administration<br />
Jonathan Levi,<br />
Director, Bard SummerScape<br />
Nancy Cook, Managing Director<br />
Mark Primoff,<br />
Director of Communications<br />
Robert Airhart, Production Manager<br />
Paul LaBarbera,<br />
Sound and Video Engineer<br />
Orin Chait, Box Office Manager<br />
Raissa St. Pierre ’87, House Manager<br />
Gianmaria Griglio,<br />
Artistic Administrator<br />
Mark Crittenden, Facilities Manager<br />
Board of Directors<br />
Robert C. Edmonds ’68, Chair<br />
Barbara D. Finberg, Vice Chair<br />
Kenneth R. Blackburn<br />
Schuyler G. Chapin<br />
John A. Dierdorff<br />
Ines Elskop<br />
Jeanne Donovan Fisher<br />
Jonathan K. Greenburg<br />
Paula K. Hawkins<br />
Anne E. Impellizzeri<br />
Christoph E. Kull<br />
Mimi Levitt<br />
Thomas O. Maggs<br />
Joanna M. Migdal<br />
Lucy Miller<br />
Kenneth L. Miron<br />
Christina Mohr<br />
James H. Ottaway Jr.<br />
David E. Schwab II ’52<br />
H. Peter Stern<br />
ABOUT BARD COLLEGE<br />
Felicitas S. Thorne<br />
Anthony Viscusi<br />
Siri von Reis<br />
Rosalind C. Whitehead<br />
E. Lisk Wyckoff<br />
Artistic Directors<br />
Leon Botstein<br />
Christopher H. Gibbs<br />
Robert Martin<br />
Scholar-in-Residence 2004<br />
Laurel E. Fay<br />
Program Committee 2004<br />
Leon Botstein<br />
Laurel E. Fay<br />
Christopher H. Gibbs<br />
Mark Loftin<br />
Robert Martin<br />
Richard Wilson<br />
Irene Zedlacher<br />
Executive Director<br />
Irene Zedlacher<br />
Associate Director<br />
Raissa St. Pierre ’87<br />
Director of Choruses<br />
James Bagwell<br />
Vocal Casting Consultant<br />
Susana Meyer<br />
Production Manager<br />
Eric Swanson<br />
Special Projects<br />
Permele Doyle<br />
Andrea Guido<br />
Vocal Coach/Transliteration<br />
Yelena Kurdina<br />
Bard College is an independent, nonsectarian, residential, coeducational college offering a four-year B.A. program in<br />
the liberal arts and sciences. Bard and its affiliated institutions also grant the following degrees: A.A. at Bard High<br />
School Early College, a New York City public school in Manhattan; A.A. and B.A. at Simon’s Rock College of Bard in<br />
Great Barrington, Massachusetts; B.A. at Smolny College, a joint program with Saint Petersburg State University,<br />
Russia; B.A., M.F.A., M.S. in environmental policy, and M.A. in curatorial studies at the Annandale campus; and M.A.<br />
and Ph.D. in the history of the decorative arts, design, and culture at the Bard Graduate Center in Manhattan.<br />
BOARD AND ADMINISTRATION OF THE AMERICAN SYMPHONY ORCHESTRA<br />
Board of Directors<br />
Robert Fippinger, Chair<br />
Eileen Rhulen, Vice Chair<br />
Dimitri B. Papadimitriou, Treasurer<br />
Mary F. Miller, Secretary<br />
Joel I. Berson<br />
Schuyler G. Chapin<br />
Nomi Ghez<br />
J. William Holt<br />
Jack Kliger<br />
Jan Krukowski<br />
Peter J. Linden, MD<br />
Shirley A. Mueller<br />
Richard L. Plepler<br />
Martin Riskin<br />
Daniel Schiffman<br />
Thurmond Smithgall<br />
L. Stan Stokowski *<br />
*Honorary<br />
Administration<br />
Lynne Meloccaro,<br />
Executive Director<br />
Susana Meyer,<br />
Director of Artistic Administration<br />
Georgia Siampalioti,<br />
Director of Development<br />
Dennis Conroy,<br />
Director of Operations<br />
Chris Schimpf, Director of Marketing<br />
Nicholas J. Bartell,<br />
Marketing Assistant<br />
Ronald Sell,<br />
Orchestra Personnel Manager<br />
Jack Parton, Orchestra Librarian<br />
21C Media Group, Public Relations<br />
CRStager marketing & audience<br />
development, Marketing<br />
Consultant<br />
Karen Walker Spencer,<br />
Graphic Design<br />
Bondy & Schloss LLP, Counsel<br />
Lambrides, Lamos, Moulthroup and<br />
Co., Auditing Services<br />
Situated on 540 acres along the Hudson River, on the grounds of two historic riverfront estates, the main campus of<br />
Bard is 90 miles north of New York City. Bard’s total enrollment is 2,600 students. The undergraduate college,<br />
founded in 1860, has an enrollment of more than 1,300 and a student-to-faculty ratio of 9:1. The College offers more<br />
than 40 academic programs in four divisions.<br />
Published by the Bard Publications Office<br />
Julia Jordan, Assistant Director<br />
Mary Smith, Art Director<br />
Francie Soosman, Designer<br />
Mikhail Horowitz, Editor<br />
Diane Rosasco, Production Manager<br />
©2004 Bard College. All rights reserved. Irene Zedlacher, Executive Director, The Bard Music Festival<br />
Public Relations Office<br />
Mark Primoff, Director of Communications<br />
Emily Darrow, Associate<br />
Darren O’Sullivan, Associate<br />
21C Media Group, Public Relations<br />
74<br />
75
Help sustain innovative summer music<br />
programming in the Hudson Valley<br />
You can help by making a gift to The Bard Music Festival. With your support, we<br />
will continue to explore the life and work of the world’s leading composers and<br />
enjoy outstanding music every summer.<br />
Friend: $100 – $499 Friends receive a contributor’s price on individual tickets for the Bard Music Festival, and their<br />
names are listed in the program.<br />
Sponsor: $500 – $999 Sponsors receive the preceding benefits, a copy of the festival book, and a recording of Richard<br />
Strauss’s Die ägyptische Helena with Leon Botstein conducting.<br />
Patron: $1,000 – $2,499 Patrons receive all of the preceding benefits, plus reserved parking for all Fisher Center performances,<br />
exclusive use of a special telephone line to purchase and reserve tickets, priority seating, and an invitation<br />
to a dinner at a Hudson River home during the festival. Patrons are also invited to postconcert receptions with<br />
musicians throughout the year.<br />
Associate: $2,500 – $4,999 Associates receive all of the preceding benefits, plus an invitation to the Bard Music<br />
Festival Board of Directors dinner on opening night of the festival.<br />
Benefactors: $5,000 and above Benefactors receive all of the preceding benefits, plus a pair of tickets to the<br />
Saturday night orchestra concert during the third weekend of the Bard Music Festival, November 6, 2004, in the<br />
Sosnoff Theater at the Fisher Center, and invitations to special festival events scheduled throughout the year.<br />
Benefactors will also receive the opportunity to underwrite events.<br />
bard music festival<br />
rediscoveries<br />
Please return<br />
your donation to:<br />
The Bard<br />
Music Festival<br />
Bard College<br />
P.O. Box 5000<br />
Annandale-on-Hudson<br />
New York 12504<br />
Enclosed is my check made payable to The Bard Music Festival in the amount of $ .<br />
WEEKEND<br />
THREE<br />
FRIDAY<br />
NOVEMBER 5<br />
program one WORLD WAR II AND ITS AFTERMATH<br />
Dmitrii Shostakovich (1906–75): From Jewish Folk Poetry, Op. 79a<br />
(1948–?64); Symphony No. 7 in C Major, Op. 60, Leningrad (1941)<br />
richard b. fisher center for the performing arts<br />
sosnoff theater<br />
7:00 p.m. Preconcert Talk<br />
8:00 p.m. Performance American Symphony Orchestra,<br />
Leon Botstein, conductor; others TBA<br />
SATURDAY<br />
panel ART IN WARTIME NOVEMBER 6<br />
Participants TBA<br />
olin hall<br />
10:00 a.m. – noon<br />
program two ELECTIVE AFFINITIES:<br />
A MUSICAL AND SPIRITUAL FRIENDSHIP<br />
Dmitrii Shostakovich (1906–75): String Quartet No. 2 in A Major,<br />
Op. 68 (1944); String Quartet No. 3 in F Major, Op. 73 (1946)<br />
Benjamin Britten (1913–76): String Quartet No. 2 in C Major, Op. 36 (1945)<br />
richard b. fisher center for the performing arts<br />
sosnoff theater<br />
1:00 p.m. Preconcert Talk<br />
1:30 p.m. Performance Emerson String Quartet<br />
<strong>SHOSTAKOVICH</strong><br />
AND HIS WORLD NOVEMBER 5-7, 2004<br />
program three WORLD WAR II AND ITS AFTERMATH<br />
Dmitrii Shostakovich (1906–75): From Jewish Folk Poetry, Op. 79a<br />
(1948–?64); Symphony No. 7 in C Major, Op. 60, Leningrad (1941)<br />
richard b. fisher center for the performing arts<br />
sosnoff theater<br />
7:00 p.m. Preconcert Talk<br />
8:00 p.m. Performance American Symphony Orchestra,<br />
Leon Botstein, conductor; others TBA<br />
Please charge my: ■ Visa ■ MasterCard ■ AMEX in the amount of $ .<br />
Credit card account number<br />
Expiration date<br />
SUNDAY<br />
NOVEMBER 7<br />
program four MUSIC AND WORLD WAR II<br />
Name as it appears on card (please print clearly)<br />
Works by Dmitrii Shostakovich (1906–75), Sergey Prokofiev (1891–1953),<br />
Paul Hindemith (1895–1963), and Aaron Copland (1900–90)<br />
Address<br />
richard b. fisher center for the performing arts<br />
sosnoff theater<br />
City State Zip code<br />
Telephone (daytime) Fax E-mail<br />
11:00 a.m. Preconcert Panel: “The Fall of Berlin”<br />
2:00 p.m. Performance<br />
All programs and artists are subject to change.
the 2004-2005 season<br />
american symphony orchestra<br />
leon botstein, music director<br />
richard b. fisher center for<br />
the performing arts, bard college:<br />
September 17 & 18, 2004<br />
wagner Tannhäuser Overture and Venusberg (1843-45)<br />
wagner Excerpts from Götterdämmerung (1873-74)<br />
beethoven Symphony No. 7 (1811-12)<br />
February 4 & 5, 2005<br />
brahms Piano Concerto No. 1 (1854-58)<br />
strauss Don Juan (1888-89)<br />
elgar “Enigma” Variations (1898-99)<br />
April 8 & 9, 2005<br />
zwilich Millennium Fantasy for<br />
Piano and Orchestra (2000)<br />
tchaikovsky Romeo and Juliet (1869/80)<br />
shostakovich Symphony No. 5 (1937)<br />
avery fisher hall, lincoln center:<br />
8:00pm Friday, october 15, 2004<br />
complicated friendship<br />
hans pfitzner Palestrina Preludes (1917)<br />
Violin Concerto, Op. 34 (1923)<br />
bruno walter Symphony No. 1 (c. 1907)<br />
3:00pm Sunday, november 14, 2004<br />
beethoven’s pupil<br />
carl czerny<br />
Psalm 130, “Aus der Tiefe rufe ich Herr zu dir” (1840)<br />
Die Macht des Gesanges (1842)<br />
Fantaisie et Variations, for piano and orchestra (1819)<br />
Symphony in D (1814)<br />
3:00pm Sunday, january 16, 2005<br />
revolution 1905<br />
igor stravinsky Feu d’artifice, Op. 4 (1908)<br />
alexander glazunov Song of Destiny, Op. 84 (1908)<br />
nikolai miaskovsky Silentium, Op. 9 (1909)<br />
dmitrii shostakovich Symphony No. 11,<br />
“The Year 1905” Op. 103 (1957)<br />
3:00pm Sunday, february 13, 2005<br />
an operatic rarity<br />
emmanuel chabrier Le roi malgré lui (1887)<br />
8:00pm Friday, march 11, 2005<br />
hans christian andersen<br />
paul klenau Klein Ida’s Blumen Overture (1916)<br />
karel husa The Steadfast Tin Soldier (1974)<br />
igor stravinsky Le Chant du Rossignol (1917)<br />
alexander zemlinsky Die Seejungfrau (1903)<br />
3:00pm Sunday, april 17, 2005<br />
richard strauss choral works<br />
Austria, Op. 78 (1929)<br />
Bardengesang, Op. 55 (1905)<br />
Wandrers Sturmlied, Op. 14 (1884)<br />
Die Tageszeiten, Op. 76 (1928)<br />
Taillefer, Op. 52 (1903)<br />
for tickets and information<br />
Call Monday–Friday: 10am–5pm<br />
(800) 505-1ASO(1276) [Outside New York City]<br />
or (212) 868-9ASO(9276)
Aaron Copland<br />
and His World<br />
Summer 2005<br />
bard music festival<br />
rediscoveries