BARD COLLEGE CHAMBER SINGERS BARD COLLEGE SYMPHONIC CHORUSMEMBERS OF THE ORCHESTRA NOW

GRADUATE CHORAL CONDUCTING PROGRAM DEGREE RECITAL

Tuesday, May 17, 20168pmOlin Hall

THE BARD COLLEGE CONSERVATORY OF MUSIC Robert Martin, Director Frank Corliss, Associate Director

Eileen Brickner, Dean of StudentsSebastian Danila, Orchestra Librarian Nick Edwards, Admissions CounselorAnn Gabler, Concert Office CoordinatorLauren Gerken, Business ManagerLisa Hedges, Production CoordinatorHsiao-Fang Lin, Administrative Coordinator; Assistant Orchestra ManagerKatherine Maysek, Admissions CounselorMarielle Metivier, Orchestra ManagerTricia Reed, Communications and Special Projects CoordinatorKristin Roca, Graduate Program Coordinator

Bard College Conservatory Advisory BoardGonzalo de Las Heras, ChairTheodore HeppAlan D. Hilliker Susan B. HirschhornBelinda KayeStephen Kaye Y. S. LiuDon M. RandelMaximiliaan Rutten Gabriella SperryEric Wong UNDERGRADUATE PROGRAM FACULTYViolin Shmuel Ashkenasi, Eugene Drucker, Yi-Wen Jiang, Ani Kavafian (master classes), Ida Kavafian, Honggang Li, Weigang Li, Daniel Phillips, Todd Phillips, Laurie Smukler, Arnold SteinhardtViola Marka Gustavsson, Honggang Li, Steven Tenenbom, Michael Tree, Ira Weller Cello Sophie Shao, Peter Wiley Double Bass Leigh MeshHarp Sara Cutler, Bridget KibbeyPiano Melvin Chen (master classes), Jeremy Denk, Richard Goode (master classes), Benjamin Hochman, Peter Serkin Flute Nadine Asin (master classes), Tara Helen O’ConnorOboe Elaine Douvas, Alexandra KnollClarinet Laura Flax, David Krakauer, Anthony McGillBassoon Marc Goldberg, Patricia RogersHorn Barbara Jöstlein Currie, Julie Landsman, Jeffrey Lang, Julia PilantTrumpet Carl Albach Trombone Demian Austin, George Curran, Denson Paul Pollard, Weston SprottTuba Derek FenstermacherPercussion Eric Cha-Beach, Josh Quillen, Adam Sliwinski, Jason Treuting (Sō Percussion); Daniel Druckman, Jonathan Haas, Tzong-

Ching Ju, Garry Kvistad, Jan Williams, Greg ZuberOrchestral Studies Leon Botstein, Erica KiesewetterChamber Music Marka Gustavsson, coordinator; Edward Carroll, Stephen Hammer, Robert Martin, Blair McMillen, Raman RamakrishnanComposition Da Capo Chamber Players (in residence), Joan Tower, George TsontakisPerformance Practice Advisers Raymond Erickson, Stephen Hammer Performance Studies Luis Garcia-RenartMusic Theory and History Leon Botstein, Christopher H. Gibbs, John Halle, Peter Laki, Ben LaudeAlexander Technique Alexander Farkas

GRADUATE PROGRAMSVocal Arts (M.M. degree)Dawn Upshaw, Artistic Director, Vocal CoachKayo Iwama, Associate Director, Vocal CoachErika Switzer, Coordinator of Extracurricular ConcertsVoice Edith Bers, Patricia Misslin, Lorraine Nubar, Sanford SylvanAlexander Technique Gwen Ellison Opera Workshop Nic MuniActing Workshop Lynn HawleyDiction Erika SwitzerMovement Amii LeGendreProfessional Development Workshop Carol Yaple

Orchestral And Choral Conducting (M.M. degree)James Bagwell, CodirectorLeon Botstein, CodirectorHarold Farberman, CodirectorOrchestral Conducting Leon Botstein, Harold FarbermanChoral Conducting James BagwellComposition Joan TowerMusic History and Theory James Bagwell, Kyle Gann, Christopher H. Gibbs, Peter LakiLanguages Bard College FacultySecondary Instrument Bard College Faculty

Postgraduate Collaborative Piano FellowshipsFrank Corliss, Director

The Conductors InstituteHarold Farberman, Founder and Director

Preparatory DivisionRyan Kamm and Susanne Son, CodirectorsVoice Lucy Dhegrae, Amy Palomo, Amy TravisViolin Helena Baillie, Jaram KimCello Sean KatsuyamaDouble Bass Ryan KammPercussion David Degge

Piano Renana Gutman, Luba Poliak, Hiroko Sasaki, Susanne Son, Anna Stoytcheva, Cynthia TobeyClarinet/Saxophone Megan Shumate Guitar David TempleMusicianship Shawn Jaeger, David Temple, Amy TravisComposition Shawn JaegerEarly Childhood and Chorus Amy TravisChinese Language Class Shar Shuai

Participating Bard Music Program FacultyJames Bagwell, Program DirectorJazz Studies Thurman Barker, John Esposito, Erica LindsayTheory and Composition Kyle GannChamber Music Luis Garcia-Renart, Marka Gustavsson, Blair McMillenMusicology Alexander Bonus, Christopher H. Gibbs, Peter LakiVoice Rufus MüllerComposition Richard Teitelbaum

STUDENTSCompositionDaniel Castellanos, New Jersey (Classics)Corey Chang, Connecticut* Joan Tower Composition ScholarshipTamzin Ferré Elliott, California (Written Arts) New Albion ScholarshipJackson Spargur, California*Obadiah Wright, California (Religion)Daniel Zlatkin, Connecticut (Political Studies)

PianoAnna-Sofia Botti, Vermont*Ana Felicia Doni, Oregon (Human Rights) Bettina Baruch Foundation ScholarshipJesse Goldberg, New York**Alexander Hamme, New Jersey*Domantas Karalius, Lithuania* Martin & Toni Sosnoff ScholarshipYa Ping (Chloe) Lo, Taiwan**Eri Nakamura, Japan**Anna Obbágy, Hungary (Psychology ) Bitó Scholarship Tomoki Park, Korea/Japan**Fyodor Shiryaev, New York*Adam Zsolt Szokolay, Hungary* Belinda and Stephen Kaye ScholarshipMengying Wei, China (German Studies)ChaoJun Yang, China*

ViolinTianpei Ai, China*Benjamin Brashear, Minnesota*Sergio Carleo, Venezuela*Sebastian Carrasco, California*Qun Dai, China (Asian Studies)Valory Hight, Virginia*Bihan (Leeya) Li, China* Luis Garcia-Renart ScholarshipLun Li, China* Luis Garcia-Renart Scholarship

The Bard College Conservatory of Music

presents

The Degree Recital of the Graduate Choral Conducting ProgramBenedict SheehanChristopher Puckett

with

The Bard College Chamber Singers and Symphonic ChorusMembers of The Orchestra Now

Program

Wolfgang Amadeus Mozart (1756–91) Dies irae and Lacrymosa, from Requiem in d minor (K. 626)

Augustina Pavoti, conductor

Gustav Holst (1874–1934) I Love My Love

William Rowan, conductor

John Stainer (1840–1901) from The Crucifixion

Jamal Sarikoki, conductor

Johannes Brahms (1833–97) Wie lieblich sind deine Wohnungen, from Ein Deutsches Requiem

Andrew Burger, conductor

Bard College Symphonic Chorus

George Friderich Handel (1685–1759) Funeral Music for Queen Caroline (HWV 264) Symphony The ways of Zion do mourn How are the mighty fall’n She put on righteousness When the ear heard her How are the mighty fall’n The righteous shall be had in everlasting remembrance Their bodies are buried in peace The merciful goodness of the Lord Lauren D’Ottavio, soprano

Madison Owings, alto Matthew Slipp, tenor Jamal Sarikoki, bass Alexander Bonus, organ Bard College Symphonic Chorus Bard College Chamber Singers Members of The Orchestra Now

Benedict Sheehan, conductor

INTERMISSION

Cipriano de Rore (1515-65)Da le belle contrade d'oriente

Luca Marenzio (1553-99)Solo e pensoso

Lauren D'Ottavio, soprano Madison Owings, alto William Rowan, tenor Daniel Castellanos, tenor Muir Ingliss, bass

Gabriel Fauré (1845-1924)Requiem, Op. 48 Introitus – Kyrie Offertorium Sanctus Pie ]esu Agnus Dei Libera me In Paradisum Nelle Anderson, soprano Jamal Sarikoki, bass Bard College Chamber Singers Members of The Orchestra Now Christopher Puckett, conductor

The organ used in this evening's performance has been generously provided by the New York Theatre Organ Society.

nytos.org

BARD COLLEGE CHAMBER SINGERS

SOPRANOYamilet Cortes GilLauren D'OttavioRachel GunningEmily HegartyKathleen MillerRachel NalezSigi Nielsen

ALTOAugustina KapotiMadison OwingsErin Stuckenbruck

Haley LuggLynn RowanMae Vader

TENORAdrian GillermanJack HarrellEthan IsaacPeter LaneTheo LowreyWilliam RowanTheo TrotterCarter Vanderbilt

BASSAndrew BergerAndrew FeyerMuir InglissJackson McKinnonLuke PattersonChristopher PuckettJamal SarikokiBenedict SheehanRoger SweetNoach LundgrenCoe WalkerJacob Testa

SOPRANOMarlene BauerJulie Cahill Cynthia CarlawLinda Rose D’Avarizo Virginia Dow Linda Faber Kari Feuer Ivy GreenMaureen GregoryElizabeth Hanka Jane HeigerdLinda Herring Louisa HeywardMargaret Hornick Maya Horowitz Mary Lee-Mehl Dorothee Leife Isabel Livingston Debra Lundgren Silvie Lundgren Madonna Meagher Rosemary Molloy Phyllis Palmer Noël Phillips Susan Phillips Lynn Ruggiero Susan Russell Savanah Shulkin Jodie Sleed Christa Stosiek Joan Swift Ellen Triebwasser

Marie TrottaBarbara Jean Weyant Carolyn Wolz Dagmar Yaddow Rebecca Nebesor Phyllis Heiko

ALTOJane Bloodgood - Abrams Eleanor Aimone Josana Berkow Ida Brier Anne Brueckner Steevie Chinitz Katie Coates Amy Cornwall- Robinson Mary Evans Vera Ewing Mary Fairchild Muriel Finger Rebecca Gayne Jeanette Gurney Connie Herodes Linda Kaumeyer Jane Korn Jill Lundquist Fulvia MasiMary Anne McLean Penelope Milford Carol Monteleoni Lisa Morris

Bettina Mueller Cynthia Nelson Phyllis Plass Jo Pragman Wendy Uban-Mead Laurie Woolever

TENORRich AzoffAlex Bialy Richard Bump Andrew Burger Tanner Cohan Andy CrispellCorey Dale-Miller Scott Fuller Lyle Gayne Jack Harrell Craig Holdrege John A. James Karen Jahn Matt Kenny Douglas Koop Bryan Mechtly David Merrill Alan Neumann Robert Plass Maarten ReilinghRobert Renbeck Bill Ross William Rowan Miklos Rudnay Kevin Seekamp

Yida Shao Russell Uban-Mead Gareth Valentin MunanLisa Whalen Bill Wolz

BARD COLLEGE SYMPHONIC CHORUS

MEMBERS OF THE ORCHESTRA NOW

George Friderich Handel (1685-1759) Funeral Music for Queen Caroline (HWV 264)

Violin I Michael Rau, concertmasterAdina Tsai

Violin IIHolly JenkinsYouYang Qu

Viola Omar ShelleyDavid Mason

Cello Andrew Borkowski

Bass Julian Lampert

Oboe Zachery BoedingAleh Remezau

Gabriel Urbain Fauré (1845-1924) Requiem, Op. 48

Violin IMichael Rau, concertmaster

Viola Omar ShelleyDavid MasonScot MooreBonnie Heung

Cello Andrew BorkowskiEleanor Lee

Bass Julian Lampert

Horn Phillip BrindiseJordan Miller

HarpTamzin Elliott **

*Member of The Bard College Conservatory of Music Orchestra

NOTES ON THE PROGRAM

Wolfgang Amadeus Mozart (1756–91) Dies irae and Lacrymosa, from Requiem in d minor (K. 626)

The mysterious genesis of Mozart’s last composition, the Requiem, is well known. In the summer of 1791, a stranger approached Mozart with a commission for a Requiem Mass to honor his young wife’s death. The anonymous patron was Count Franz von Walsegg, who made such requests of other composers as well and then passed off the resulting work as his own. By the time Walsegg commissioned the Requiem, Mozart was already occupied with his last two operas, The Magic Flute and La clemenza di Tito, and the Clarinet Concerto, He became, however, obsessed with the Mass project, which kept getting delayed. Already physically exhausted and suffering his final ill-ness, Mozart started to feel that he was finally writing his own Requiem. Years earlier he wrote in a letter to his ailing father: “Since death, when you come to think of it, is actually the ultimate purpose of our life, I have got to know this true, best friend of man so well that his image not only no longer frightens me, but calms and comforts me! And I thank God that He has given me the boon of providing an opportunity to get to know Him as the key to our true happiness. I never go to bed without consid-ering that, young as I am, perhaps I shall not see the next day.” When Mozart died on December 5, 1791 the Requiem was not yet finished. His wife, Constanza, enlisted several composers to finish it, principally Mozart’s student Franz Xaver Süssmayr (1766-1803).

Mozart’s Requiem is a masterpiece that looks backward to the Baroque era. The bril-liant counterpoint and fugues are influenced by composers such as Bach and Handel. The surviving sources regarding Mozart’s Requiem have led to some confusion about which sections Mozart wrote entirely himself, which parts he drafted, and which were completely Süssmayr’s inspiration. However, we do know that the first 8 bars of “Lacrymosa” are Mozart’s own.

This evening we will hear two parts of the “Lacrymosa” (Mournful) and “Dies Irae” (Day of Wrath).

Gustav Holst (1874-1934) I Love My Love

The turn of the 20th century in Britain saw what is considered the first British folk re-vival. In response to industrial urbanization and the resulting decline in rural cultural heritage, pioneering folklorists collected and published numerous volumes of British folksongs between 1890 and 1920. Holst’s Somerset Rhapsody (1907) is based on mel-odies collected and published by Cecil Sharp, the founder of the English Folk Dance and Song Society. “I Love My Love” is the fifth in a series of six choral arrangements Holst wrote in 1916 of English folksongs collected by George Gardiner. The song, which comes from Cornwall, puts an interesting twist on the familiar trope of the maiden pining for her sailor, by having the maid's weeping be overheard by a visitor to Bethlehem Royal Hospital, (aka Bedlam), the asylum that notoriously used to allow visitors from the public in the 16th and 17th centuries.

John Stainer (1840–1901) from The Crucifixion

The Crucifixion is a cantata composed by Sir John Stainer (1840-1901) to a text by Rev. William Sparrow-Simpson. The crucifixion is both a scriptural and dramatic interpreta-tion of Christ’s death. The work was composed and premiered in 1886-87 at Lon-don’s St. Paul’s Cathedral. There is speculation that Stainer fashioned the piece after Bach’s St. Matthew Passion, which he presented in the same venue in 1883. Although nowhere near the musical depth or insight of Bach’s Passions, Stainer used some of the same concepts for this cantata. He employed solo recitatives, arias, duets, crowd choruses, and interspersed hymns (chorales). The piece was originally written for cho-rus and organ and has been arranged for orchestra by a few different composers, most notably by Barry Rose, former organist and choirmaster at St. Paul’s. Tonight’s perfor-mance will feature movement no. 18, “The Appeal of the Crucified.” This movement encapsulates anger, judgment, betrayal, sadness, and unconditional love. Through the judgment and anger of the mob, Christ still offers them eternal salvation by rendering the statement “O come unto me. Why will ye die? Come unto me.”

Johannes Brahms (1833–97) Wie lieblich sind deine Wohnungen, from Ein Deutsches Requiem

Composed between 1865 and 1869, Brahms’s German Requiem represented some-thing completely new for the Mass for the Dead. It is often assumed Brahms wrote it in response to the death of his mentor Robert Schumann, and of his own mother; from the beginning he intended the work to be more of a consolation for the living rather than a memorial for the dead, like most Requiems that came before. This can be seen from the work’s first lines of text, “blessed are they that mourn, for they shall have comfort.” The text for the entire piece does not come from the Catholic Latin Mass but rather from the Lutheran German Bible. To that end, there is no mention of Jesus Christ, and Brahms himself considered his Requiem a personal statement and not a liturgical one. The fourth movement, “How Lovely is Thy Dwelling Place” in English, is the central movement of the work and takes its text from Psalm 84. This movement is often performed as a standalone piece, and encapsulates the overall tone of the Requiem.

Wie lieblich sind deine Wohnungen, Herr Zebaoth!Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott.Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.

How lovely are thy tabernacles, O Lord of hosts!My soul longs, yea, even faints for the courts of the Lord: my heart and my flesh cries out for the living God.Blessed are they that dwell in thy house: they will always be praising thee.

G.F Handel (1685-1759)Funeral Anthem for Queen Caroline (1737)

As the composer of Messiah—one of the most popular pieces of music of all time and certainly among the most frequently performed—the name of George Frideric Handel

will probably forever be associated with choral music to one degree or another. For those who know his music, Handel’s name conjures up an image of a likeable (if sometimes taciturn), generous, business-savvy, and above all, immensely prolific composer, who excelled in nearly every musical genre of his time. Among his massive output are 42 operas, 29 oratorios, and 102 cantatas, along with a multitude of solo, chamber, keyboard, vocal, choral, and large- and small-scale orchestral works. The most up-to-date and exhaustive scholarly edition of Handel’s works, begun in the 1950s, is expected to comprise 128 volumes by its estimated date of completion in 2023.

Hidden within this vast musical treasure trove is a work called alternately The Ways of Zion Do Mourn or the Funeral Anthem for Queen Caroline (HWV 264). When compared with Handel’s many popular oratorios, or even with his better known anthems, such as the coronation anthems or the twelve Chandos Anthems, the Funeral Anthem appears at first glance to be quite a modest work. Its scoring is small—it calls only for strings, continuo, and two oboes in addition to the chorus—and its texture is almost exclu-sively choral, aside from a brief opening sinfonia. This apparent modesty, however, conceals a piece that truly stands tall among Handel’s masterworks. Everyone who speaks about the Funeral Anthem—from the usually cautious 18th-century historian and proto-musicologist Charles Burney, who considered it to be “at the head of all [Handel’s] works,” to the eminent mid-20th-century Handel scholar Paul Henry Lang, who places the Anthem “in a class by itself” and calls it “one of his finest composi-tions,” to today’s foremost Handel researcher Donald Burrows, who calls it “a mas-terpiece in its own right”—each without exception each treats the piece with a high degree of reverence. And deservedly so. In the Funeral Anthem we encounter a Handel who, though struggling with financial reverses and faltering health, is in 1737 at the height of his artistic powers, and who, moreover, appears to have been genuinely cut to the heart by the death of Queen Caroline.

Handel’s connection with Queen Caroline of Ansbach (1683-1737), wife of King George II, was a personal one, more than just the composer-patron relationship that might be expected. Their paths may first have crossed in their youth—they were about the same age—but they certainly worked together and even developed an affection for one another while Handel was Kapellmeister in Hanover from 1710 to 1712. Caro-line was known as a woman of great understanding and remarkable beauty, and she made a deep impression on all who knew her. From the very beginning of her friend-ship with Handel she loved his music and did all she could to promote him, includ-ing predisposing her unbalanced, impulsive, and somewhat less-cultured husband toward him. One result of this patronage was a significant number of commissions, including engaging Handel to write four anthems for the royal couple’s coronation in 1727. One of these coronation anthems, the famous Zadok the Priest (HWV 258), has been performed at every British coronation ever since. The queen also steadfastly supported Handel as an opera impresario, subscribing substantial amounts of money to his opera houses each year and attending regularly with her family. She remained Handel’s friend and sometime confidante to the end of her life.

Shortly after Caroline’s death on November 20, 1737, Handel was approached to com-pose an anthem for her funeral. The result was a piece that is in many ways unique, both among other examples of funeral music and among Handel’s own composition-al output. The work has twelve movements in an almost entirely choral texture. In

several movements Handel quotes Lutheran chorale melodies, perhaps in an effort to evoke his and the queen’s shared German Lutheran heritage and faith. The first choral movement, “The Ways of Zion Do Mourn,” is one such example and uses the choral melody (Du Friedefürst, Jesu Christ). It is so strikingly mournful, noble, and restrained that it impressed Mozart enough for him to use it as a model for the opening mea-sures of his Requiem. Few examples of funerary music of any kind, whether officially or personally motivated, can approach the degree of tenderness, sensitivity, gravity, restraint, and authentic pain of spirit, both universal and individual, evinced in the fifty minutes of Handel’s Funeral Anthem for his beloved Queen Caroline.

Gabriel Fauré (1845-1924)Requiem, Op. 48

Gabriel Fauré’s Requiem is famous for several reasons. First, it is performed frequently, due partly to its spare instrumentation, especially in the reduced version presented here, conceived by John Rutter in an attempt to revive the original orchestration, and partly due to its relatively low difficulty in the pantheon of major requiem mass settings. Next, there is the novelty of Fauré’s decision to ease the hellfire and judg-ment side of the traditional Requiem liturgy, and write a work that truly embraces the conception of a requiem as a prayer for peace, rather than the fear of what unknown fate awaits the dead. In pursuit of this, for example, he follows the French tradition of omitting all of the sequence: “Dies Irae” aside from the “Pie Jesu”, although the text of the “Dies Irae” is still present in a reduced form in the “Libera Me”. And lastly it has achieved its fame through the force of its beauty and the careful balance of peace and despair that it embraces.

Because of its departures from the traditional requiem mass, Fauré’s Requiem has been described as pagan, or sometimes even the work of an atheist, and while Fauré did say that the work was written for nothing other than the composer’s pleasure, it is unfair to say that it lacks conviction. Dogma, perhaps, but no one listening to the sopranos during the “Agnus Dei” singing a shimmering, unison, “lux aeterna”, or the chorus, in octaves, imploring “libera me” could rightly argue that the work has the hollow ring of someone setting texts he did not believe. It is certainly not dogmatic, but just as certainly not heretical.

So what is it? Not a work meant simply to convey the message of the liturgy, certain-ly, as it makes several significant variations to the liturgical texts. The elision of the “Dies Irae” I have already alluded to, but just as significant is the inclusion of the “In Paradisum” text from the Order of Burial, and not from the Requiem Mass.

Johannes Brahms described his brilliant German Requiem as a “Requiem for the living”, and designed it around the goal of consolation for those left bereft by death. Fauré attempts something less ambitious, but in some ways grander. He offers a universal prayer of deliverance. Not a deliverance from any eternal torment, but rather hope that all those who die, will find eternal rest.

This edition of Requiem by Gabriel Fauré and edited by John Rutter is scored for 2 horns in F, Harp, Organ, solo violin, 4 violas, 2 cellos and bass.

BIOGRAPHIES

Christopher Puckett is a second year Masters student in the Graduate Conduct-ing Program at the Bard Conservatory of Music. He holds a Bachelor of Arts in Vocal Performance from Seattle Pacific University, where, aside from theatrical productions and recitals, he sang in the Concert and Chamber choirs, underwent a conducting internship, and led and sang in a Renaissance vocal ensemble of which he was a founding member. More recently, he has served as the conductor in residence of Musette, a local homeshool orchestra, and was the musical direc-tor for a production of Into the Woods at Bard College.

Benedict Sheehan is a teacher of liturgical music and choir director at St. Tik-hon’s Orthodox Theological Seminary and Monastery, and artistic director of the Chamber Choir of St. Tikhon’s Monastery, a professional vocal ensemble. His musical education includes a Bachelor of Music in Composition at Westminster Choir College and a Master of Music in Conducting at Bard College Conservatory of Music. He also has a Master of Divinity from St. Tikhon’s Seminary. A compos-er, author, and conductor, Sheehan currently has a variety of published works, including an album of his choral music, Till Morn Eternal Breaks: Sacred Choral Music of Benedict Sheehan (2015). He and his wife Maria and six daughters live in northeastern Pennsylvania.

From Niskayuna, New York, Andrew Burger is a graduate student in the conduct-ing program at Bard College, and the Music Ministries Director of the Niskayuna Reformed Church. His bachelors degree is from The College of Saint Rose in Albany, New York, in Music Education, specializing in brass pedagogy. He is also a freelance tubist, vocalist, arranger, and educator; and when not working as a mu-sician, he works as retail manager and foreman at his families farm in Niskayuna. Andrew currently studies conducting with James Bagwell.

Lauren D’Ottavio is a fourth year Music and Theater & Performance Major at Bard College. Over the past four years as an undergraduate, she has studied classical voice with Ilka LoMonaco, piano with Blair McMillen and conducting with James Bagwell. In addition to her performance studies, she has participated in an obser-vation program with the choral department at Red Hook High School, overseen by Dr. Bagwell, and has worked closely with students and faculty in pursuit of a future career in music education. Lauren looks forward to continuing her endeav-ors in the arts and in teaching and would like to especially thank James Bagwell for giving her this amazing opportunity.

Madison Owings is a sophomore undergraduate at Bard College majoring in music theory pedagogy and vocal studies. She attended a performing arts high school in Pittsburgh, Pennsylvania as a piano major and has participated as an all state musician, a Steinway Society Young Artist, and a choral scholar for Pitts-burgh’s Trinity Episcopal Cathedral. At Bard she is a teacher’s assistant for music theory and ear training courses and has been a member of the Bard College Chamber Choir since Fall of 2014.

Born in Greece, where she studied Musicology at the University of Athens. Augustina Kapoti, started her studies in Orchestral Conducting at the Athens Conservatory with the chief conductor of the Greek National Opera, L.Karytinos. She has conducted the Symphony Orchestra of Athens, the Y.S.O. of Athens and of Athens Conservatory.

At at Bard College Conservatory of Music, she started her Master in Conducting with Harold Farberman and continued with James Bagwell. She was one of the two selected participants who conducted at the Conductor’s Institute final concert in Summer 2014. Ms Kapoti, holds a diploma in Piano Performance. Recently she made her composition debut with the Da Capo Ensemble.

Will Rowan has toured with Northern Harmony and Renewal Chorus. He is a voice instructor for Village Harmony youth singing camps, and Associate Director of Music for Revels North in Hanover, NH. He is also a composer whose compositions have been published in the Northern Harmony collection and featured in the Vermony Poetry and Song project. Will is in his first year of the Graduate Choral Conducting Program at Bard.

Jamal Sarikoki is currently in his first year studying conducting at Bard Conser-vatory under James Bagwell and voice under Rufus Muller. He studied violin and viola at Sherwood Conservatory in Chicago and organ and conducting at Nyack College in Nyack, NY. As a baritone, Mr. Sarikoki has sung the Roles of; Eisenstein in Die Fledermaus, Gianni Schicchi in Gianni Schicchi, Handel’s Messiah, Handel’s Chandos Anthem No.8, and Medelssohn’s Elijah. As a conductor, Mr. Sarikoki has conducted such works as; Beethoven Symphony No.9, Beethoven Symphony No.5, Beethoven’s Choral Fantasy, Barber’s Knoxville Summer of 1915, Handel’s Messiah, Saint-Saëns Organ symphony, Guilmant Symphony No.1 and is looking forward to conducting Verdi’s La Traviata and Brahm’s Alto Rhapsody next April.

Matthew Slipp, a New England native, found his love for vocal music at the age of 15 while attending Boston University Tanglewood Institute, in Lenox, Massachu-setts. In the decade since, he has performed numerous opera and musical theater roles, as well as recital programs through the United States. He is a second-year student in the Graduate Vocal Arts Program.

Celebrate the First Decade of The Bard College Conservatory of Music and Help Us “Make the Match”

Help write the music ... and match the Andrew W. Mellon Foundation challenge grant:

Composer Benjamin Pesetsky, Conservatory of Music class of 2011, has started composing "Sinfonia" to help us raise funds to complete the Mellon match. You may listen to the first three minutes as performed by the Conservatory Orchestra

on the new GIVING page:http://www.bard.edu/conservatory/10thanniversary/.

We invite you to help Ben complete the "Sinfonia" by contributing at one of the

levels below:A movement - $10,000 each

A phrase - $5,000 eachA measure - $ 1,000 each

A note - $100 eachA rest - $ 50 each

All contributions will be used toward complete the required match for a $2.5 mil-lion challenge grant awarded by The Andrew W. Mellon Foundation to create an endowment for the Conservatory's unique dual-degree program. To mark our first decade and raise matching funds, the Conservatory will present special programs

and unveil a new composition that you can help "write" in the coming months. To make a tax-deductible gift now, visit our web site.

www.bard.edu/conservatory/giving

Xinran Li, China*Fang Xi Liu, China (Asian Studies)Zhen Liu, China*Zhi Ma, China (German Studies) Gitta Markó, Hungary*Veronika Mojzešová, Czech Republic (Psychology)Avery Morris, California (Mathmatics)Reina Murooka, Japan (German Studies)Eliot Roske, Texas*Jiayu Sun, China (Asian Studies)Gergő Tóth, Hungary (Asian Studies)Alex van der Veen, California*Xinyi Wang, China*Xinyue Wang, China*Yezu Woo, Korea**Matthew Woodard, Massachusetts (French Studies)Hanni Xie, China*Shuang Yang, China (German Studies)

ViolaJoseph Burke, New Jersey*Andrew Carlson, South Dakota*Wenlong Huang, China (Languages and Literature)Weilan Li, China*Alexzandra Morris, California (Computer Science)Rosemary Nelis, New York (Asian Studies) G. de Las Heras ScholarshipYushi Pan, China*Hsin-Fang Wu, Taiwan*Zi Ye, China (French Studies) Luis Garcia-Renart Scholarship

CelloJohn Belk, Minnesota (Computer Science) George Martin/ Hans Thatcher Clarke ScholarshipYi Cheng, China (Asian Studies)Colyer Durovich, North Carolina (Environmental and Urban Studies)Rylan Gajek-Leonard, Canada (Mathematics) D. Miles Price ScholarshipSarah Ghandour, California (Mathematics)Rastislav Huba, Slovakia (Russian Studies) Mischa Schneider ScholarshipStanley Moore, Illinois Emily Munstedt, Massachusetts*Kaila Piscitelli, Connecticut*Maclean Pachkowski, Canada*

BassDavid Mercier, Vermont*Andrew O’Connor, Kansas**Zhenyuan Yao, China (Asian Studies)

HarpXing Gao, China*

FluteBridget Bertoldi, Connecticut (Psychology)Eszter Ficsor, Hungary**

Kelly Herrmann, Vermont**Maies Hriesh, Israel*Emma Neiman, California* OboeAmy Cassiere, Louisiana *Alessandro Cirafici, New York (German Studies)Gregory Drilling, Iowa (Political Studies)

ClarinetCaitlin Beare, New York**Jingyu Mao, China*Kristýna Petišková, Czech Republic*Noemi Sallai, Hungary (German Studies) Bitó Scholarship Viktor Tóth, Hungary (Italian Studies) Bitó Scholarship

BassoonAdam Romey, Minnesota**

HornLászló Csabay, Hungary*Marc Gelfo, Florida**Shannon Hagan, Colorado**Stephanie Hollander, New Jersey**Claire Worsey, California

TrumpetMátyás Dániel Fieszl, Hungary**Shanhui Sun, China*

TromboneYu-Tien Chou, Taiwan*Marco Jaimes, New Jersey*Chia-Hsien Lin, Taiwan**Conghao (Natty) Tian, China*Michael Ventoso, New Jersey*

TubaJacob Moore, Texas**

PercussionJonathan Collazo, Florida*David Degge, Illinois^^Petra Elek, Hungary (German Studies) Bitó Scholarship Samuel Gohl, New Hampshire*Dylan Greene, Washington**Christopher Gunnell, Kentucky (Mathematics)Benjamin Malinski, Pennsylvania (Computer Science)Dániel Matei, Hungary (Italian Studies) Bitó Scholarship Meilin Wei, China*Zihan Yi, China (Asian Studies) John Cage Trust Scholarship

Graduate Vocal Arts ProgramSophia Burgos, IllinoisRolfe Dauz, CaliforniaCaroline Dunigan, New YorkAdanya Dunn, CanadaKimberly Feltkamp, New YorkDanika Felty, CanadaOlivier Gagnon, Canada/IrelandCorey Dalton Hart, North CarolinaZoe Johnson, CaliforniaLizabeth Malanga, Massachusetts**Andrew Munn, West VirginiaAnna-Sophie Neher, CanadaKelly Newberry, CaliforniaMary-Elizabeth O’Neill, New YorkChristopher Remkus, New YorkKatherine Rossiter, PennsylvaniaMatthew Slipp, MaineNathaniel Sullivan, Nebraska

Graduate Conducting ProgramAndrew Burger, New YorkAugustina-Paraskevi Kapoti, GreeceMichael McCarty, New YorkLucas Paiva, BrazilChristopher Puckett, OregonKevin Purcell, AustraliaAndres Rivas, VenezuelaWilliam Rowan, VermontHaley Rudolph, New YorkBen Ruesch, MassachusettsJamal Sarikoki, New YorkRowan Benedict Sheehan, Pennsylvania

Postgraduate Collaborative Piano FellowsYumi Namoto, JapanBethany Pietroniro, MarylandRami Sarieddine, CyprusJingwen Tu, FloridaWei Zhou, China

* second major not yet declared** Advanced Performance Studies Program^^ Percussion Fellow

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