the richard b. fisher center

for the performing arts at bard college

JOHANN SEBASTIAN BACH

St. John PassionMarch 1 and 2, 2013

About The Richard B. Fisher Center for the Performing Arts at Bard College

The Richard B. Fisher Center for the Performing Arts, an environment for world-classartistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in2003. Risk-taking performances and provocative programs take place in the 800-seatSosnoff Theater, a proscenium-arch space, and in the 220-seat Theater Two, which fea-tures a flexible seating configuration. The Center is home to Bard College’s Theater andDance Programs, and host to two annual summer festivals: SummerScape, which offersopera, dance, theater, film, and cabaret; and the Bard Music Festival, which celebrates its24th year in August with “Stravinsky and His World.” The 2014 festival will be devoted toFranz Schubert.

The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’sBoard of Trustees. This magnificent building is a tribute to his vision and leadership.

The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their supportand welcome all donations.

The Richard B. Fisher Center for the Performing Arts at Bard College

Chair Jeanne Donovan Fisher

President Leon Botstein

presents

JOHANN SEBASTIAN BACH

St. John PassionMembers of the Bard College Conservatory Orchestra

Leon Botstein, conductorJames Bagwell, chorus master

Rufus Müller, EvangelistJesse Blumberg, Jesus Christus

With members of the Graduate Vocal Arts Programand Bard College Undergraduate Music ProgramMarie Marquis ’13 and Xiaobo Su ’14, sopranosSara Lemesh ’14 and Abigail Levis ’13, altosVincent Festa ’14 and Barrett Radziun ’13, tenorsYohan Yi ’08, bassLogan Walsh ’13, PilateAugust Bair ’16, PeterBrendan Beecher ’13, ServantEmily Donato ’15, Maid

Bard College Chamber SingersJames Bagwell, conductor

Sosnoff TheaterFriday, March 1 and Saturday, March 2, 2013

Preconcert talk at 7 pm by Alexander Bonus

Running time for the concert is approximately one hour and 50 minutes, with one 20-minute intermission.

Erster Teil

Nr. 1 ChorHerr, unser Herrscher, dessen RuhmIn allen Landen herrlich ist!Zeig uns durch deine Passion,Daß du, der wahre Gottessohn,Zu aller Zeit,Auch in der größten Niedrigkeit,Verherrlicht worden bist!Da capo

Nr. 2a RezitativEvangelistJesus ging mit seinen Jüngern über den BachKidron, da war ein Garten, darein ging Jesus undseine Jünger. Judas aber, der ihn verriet, wussteden Ort auch, denn Jesus versammlete sich oftdaselbst mit seinen Jüngern. Da nun Judas zu sichhatte genommen die Schar und der Hohenpriesterund Pharisäer Diener, kommt er dahin mitFackeln, Lampen, und mit Waffen. Als nun Jesuswußte alles, was ihm begegnen sollte, ging erhinaus und sprach zu ihnen:JesusWen suchet ihr?EvangelistSie antworteten ihm:

Nr. 2b ChorJesum von Nazareth.

Nr. 2c RezitativEvangelistJesus spricht zu ihnen:JesusIch bin’s.EvangelistJudas aber, der ihn verriet, stund auch bei ihnen. Als nun Jesus zu ihnen sprach: Ich bin’s, wichen siezurücke und fielen zu Boden. Da fragete er sieabermal:JesusWen suchet ihr?EvangelistSie aber sprachen:

Nr. 2d ChorJesum von Nazareth.

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Part One

No. 1 ChorusO Lord, our Ruler, whose gloryis magnified in all lands,testify to us by Thy passionthat Thou, the true Son of God,hast at all times,even in time of deepest lowliness,been glorified.Da capo

No. 2a RecitativeEvangelistJesus went forth with his disciples over the brookCedron, where was a garden, into the which heentered, and his disciples. And Judas also, whichbetrayed him, knew the place: for Jesus ofttimesresorted thither with his disciples. Judas then,having received a band of men and officers fromthe chief priests and Pharisees, cometh thither withlanterns and torches and weapons. Jesus therefore,knowing all things that should come upon him,went forth, and said unto them,JesusWhom seek ye?EvangelistThey answered him,

No. 2b ChorusJesus of Nazareth.

No. 2c RecitativeEvangelistJesus saith unto them,JesusI am he.EvangelistAnd Judas also, which betrayed him, stood withthem. As soon then as he had said unto them, I amhe, they went backward, and fell to the ground.Then asked he them again,JesusWhom seek ye?EvangelistAnd they said,

No. 2d ChorusJesus of Nazareth.

St. John Passion

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Nr. 2e RezitativEvangelistJesus antwortete:JesusIch hab’s euch gesagt, daß ich’s sei, suchet ihrdenn mich, so lasset diese gehen!

Nr. 3 ChoralO große Lieb, o Lieb ohn alle Maße,Die dich gebracht auf diese Marterstraße!Ich lebte mit der Welt in Lust und Freuden,Und du mußt leiden!

Nr. 4 RezitativEvangelistAuf daß das Wort erfüllet würde, welches er sagte:Ich habe der keine verloren, die du mir gegebenhast. Da hatte Simon Petrus ein Schwert, und zoges aus, und schlug nach des HohenpriestersKnecht, und hieb ihm sein recht Ohr ab; und derKnecht hieß Malchus. Da sprach Jesus zu Petro:JesusStecke dein Schwert in die Scheide; soll ich denKelch nicht trinken, den mir mein Vater gegebenhat, den Kelch, den mir mein Vater gegeben hat?

Nr. 5 ChoralDein Will gescheh, Herr Gott, zugleichAuf Erden wie im Himmelreich;Gib uns Geduld in Leidenszeit,Gehorsam sein in Lieb und Leid,Wehr und steur allem Fleisch und Blut,Das wider deinen Willen tut!

Nr. 6 RezitativEvangelistDie Schar aber und der Oberhauptmann und dieDiener der Juden nahmen Jesum und bunden ihn,und führeten ihn aufs erste zu Hannas, der warKaiphas Schwäher, welcher des Jahres Hoherpriesterwar. Es war aber Kaiphas, der den Judenriet, es wäre gut, daß ein Mensch würde umbrachtfür das Volk.

Nr. 7 Arie (Alt)Von den Stricken meiner SündenMich zu entbinden,Wird mein Heil gebunden;

Mich von allen LasterbeulenVöllig zu heilen,Läßt er sich verwunden.Da capo

No. 2e RecitativeEvangelistJesus answered,JesusI have told you that I am he: if therefore ye seek me,let these go their way.

No. 3 ChoraleO great, boundless love,That hath brought Thee to this path of martyrdom!I lived among the worldly in contentment and pleasureAnd Thou must suffer!

No. 4 RecitativeEvangelistThat the saying might be fulfilled, which he spoke,Of them which thou gavest me I have lost none,Then Simon Peter having a sword drew it, and smote the high priest’s servant, and cut off his rightear. The servant’s name was Malchus. Then saidJesus unto Peter,JesusPut up thy sword into the sheath: the cup which my Father hath given me, shall I not drink it, thecup which my Father hath given me?

No. 5 ChoraleThy will be done, O God, our Lord,on earth as it is in heaven;give us patience in time of trouble,obedience in love and grief,restrain and hold in check all flesh and bloodthat acteth contrary to Thy will.

No. 6 RecitativeEvangelistThen the band and the captain and officers of theJews took Jesus, and bound him, and led him awayto Annas first; for he was father-in-law to Caiaphas, which was the high priest that same year.Now Caiaphas was he, which gave counsel to the Jews, that it was expedient that one man should die for the people.

No. 7 Aria (Alto)To set me freefrom my sins’ chainmy Saviour is being bound;

to heal me quiteof all the sores of vice,he allows Himself to be wounded.Da capo

Nr. 8 RezitativEvangelistSimon Petrus aber folgete Jesum nach und einander Jünger.

Nr. 9 Arie (Sopran)Ich folge dir gleichfalls mit freudigen SchrittenUnd lasse dich nicht,Mein Leben, mein Licht.Befördre den LaufUnd höre nicht auf,Selbst an mir zu ziehen, zu schieben, zu bitten!Da capo

Nr. 10 RezitativEvangelistDerselbige Jünger war dem Hohenpriester bekanntUnd ging mit Jesu hinein in des HohenpreistersPalast. Petrus aber stund draußen für derTür. Da ging der andere Jünger, der demHohenpreister bekannt war, hinaus und redete mitder Türhüterin und führete Petrum hinein. Da sprachDie Magd, die Türhüterin, zu Petro:Ancilla (Magd)Bist du nicht dieses Menschen Jünger einer?EvangelistEr sprach:PetrusIch bin’s nicht.EvangelistEs stunden aber die Knechte und Diener, undHatten ein Kohlfeu’r gemacht, denn es war kalt,und wärmeten sich. Petrus aber stund bei ihnenund wärmete sich. Aber der Hohepriester fragteJesum um sein Jünger und um seine Lehre. Jesusantwortete ihm:JesusIch habe frei, öffentlich geredet für der Welt. Ichhabe allezeit gelehret in der Schule und in dem Tempel, da alle Juden zusammenkommen, undhabe nichts im Verborgnen geredt. Was fragest dumich darum? Frage die darum, die gehöret haben,was ich zu ihnen geredet habe! Siehe, dieselbigenwissen, was ich gesaget habe.EvangelistAls er aber solches redete, gab der Diener einer,die dabeistunden, Jesu einen Backenstreich undsprach:Servus (Diener) ISolltest du dem Hohenpriester also antworten?EvangelistJesus aber antwortete:

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No. 8 RecitativeEvangelistAnd Simon Peter followed Jesus and so didanother disciple.

No. 9 Aria (Soprano)I follow thee also with steps that are joyful,And will not leave thee,My life, my light.Assist thou the pathAnd yet do not cease,Thyself to draw me, to push me, and to entreat!Da capo

No. 10 RecitativeEvangelistThat disciple was known unto the high priest, andwent in with Jesus into the palace of the highpriest. But Peter stood at the door without. Then went out that other disciple, which was known unto the high priest, and spake unto her that keptthe door, and brought in Peter. Then saith thedamsel that kept the door unto Peter,MaidArt not thou also one of this man’s disciples?EvangelistHe saith,PeterI am not.EvangelistAnd the servants and officers stood there, whohad made a fire of coals; for it was cold: and theywarmed themselves: and Peter stood with them,and warmed himself. The high priest then askedJesus of his disciples, and of his doctrine. Jesus answered him,JesusI spake openly to the world; I ever taught in thesynagogue, and in the temple, whither the Jewsalways resort; and in secret have I said nothing.Why askest thou me? Ask them which heard me,what I have said unto them: behold, they know what I said.

EvangelistAnd when he had thus spoken, one of the officerswhich stood by struck Jesus with the palm of hishand, saying,ServantAnswerest thou the high priest so?EvangelistJesus answered him,

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JesusHab ich übel geredt, so beweise es, daß es böse sei,hab ich aber recht geredt, was schlägest du mich?

Nr. 11 ChoralWer hat dich so geschlagen,Mein Heil, und dich mit PlagenSo übel zugericht’?Du bist ja nicht ein Sünder,Wie wir und unsre Kinder,Von Missetaten weißt du nicht.

Ich, ich und meine Sünden,Die sich wie Körnlein findenDes Sandes an dem Meer,Die haben dir erregetDas Elend, das dich schläget,Und das betrübte Marterheer.

Nr. 12a RezitativEvangelistUnd Hannas sandte ihn gebunden zu dem Hohen-priester Kaiphas. Simon Petrus stund und wär-mete sich; da sprachen sie zu ihm:

Nr. 12b ChorBist du nicht seiner Jünger einer?

Nr. 12c RezitativEvangelistEr leugnete aber und sprach:PetrusIch bin’s nicht!EvangelistSpricht des Hohenpriesters Knecht’ einer, einGefreundter des, dem Petrus das Ohr abgehauenServus IISahe ich dich nicht im Garten bei ihm?EvangelistDa verleugnete Petrus abermal, und alsobaldkrähete der Hahn. Da gedachte Petrus an die Worte Jesu, und ging hinaus und weinete bitterlich.

Nr. 13 Arie (Tenor)Ach, mein Sinn,Wo willt du endlich hin,Wo soll ich mich erquicken?Bleib ich hier,Oder wünsch ich mirBerg und Hügel auf den Rücken?

Bei der Welt ist gar kein Rat,Und im Herzen

JesusIf I have spoken evil, bear witness of the evil: butIf well, why smitest thou me?

No. 11 ChoraleWho hath beaten Thee thus,my Saviour, and with tormentsso mistreated Thee?Surely, Thou art not a sinner,like unto us and our children;Thou knowest naught of misdeeds.

I, I and my sins,that are as the grainsof the sand by the sea,they it is that have caused Theethe misery that layeth Thee low,and the dejected host of martyrs.

No. 12a RecitativeEvangelistNow Annas had sent him bound unto Caiaphasthe high priest. And Simon Peter stood andwarmed himself. They said therefore unto him,

No. 12b ChorusArt thou not also one of his disciples?

No. 12c RecitativeEvangelistHe denied it, and said,PeterI am not.EvangelistOne of the servants of the high priest, being hiskinsman whose ear Peter cut off, saith,ServantDid not I see thee in the garden with Him?EvangelistPeter then denied again: and immediately the cockcrew. Then Peter remembered the word of Jesus,and went outside, and wept bitterly.

No. 13 Aria (Tenor)O, my senses,where will you end?Where shall I refresh myself?Shall I stay here?Or do I desireto drag myself through trial and tribulation?

In the world, there is no counsel,and in my heart

Stehn die SchmerzenMeiner Missetat,Weil der Knecht den Herrn verleugnet hat.

Nr. 14 ChoralPetrus, der nicht denkt zurück,Seinen Gott verneinet,Der doch auf ein’ ernsten BlickBitterliche weinet:Jesu, blicke mich auch an,Wenn ich nicht will büßen;Wenn ich Böses hab getan,Rühre mein Gewissen.

Intermission

Zweiter Teil

Nr. 15 ChoralChristus, der uns selig macht,Kein Bös’ hat begangen,Der ward für uns in der NachtAls ein Dieb gefangen,Geführt für gottlose LeutUnd fälschlich verklaget,Verlacht, verhöhnt und verspeitWie denn die Schrift saget.

Nr. 16a RezitativEvangelistDa führeten sie Jesum von Kaipha vor das Richthaus,und es war frühe. Und sie gingen nicht in dasRichthaus,auf daß sie nicht unrein würden, sondern Osternessen möchten. Da ging Pilatus zu ihnen heraus undsprach:PilatusWas bringet ihr für Klage wider diesen Menschen?EvangelistaSie antworteten und sprachen zu ihm:

Nr. 16b ChorWäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht überantwortet.

Nr. 16c RezitativEvangelistDa sprach Pilatus zu ihnen:PilatusSo nehmet ihr ihn hin und richtet ihn nach euremGesetze!

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there are the pains,my misdoing,since Thy servant hath renounced his master.

No. 14 ChoralePeter, who reflecteth not,denieth his God,who yet at that earnest lookweepeth bitter tears.Jesu, look upon me, too,when I will not repent;when I have done ill,stir my conscience.

Intermission

Part Two

No. 15 ChoraleChrist, who bringeth us salvation,who hath done no wrong,for our sakes was takenlike a thief in the night,was brought before godless menand wrongly accused,derided, mocked and spat upon:thus saith the Scripture.

No. 16a RecitativeEvangelistThen led they Jesus from Caiaphas unto the hall ofjudgment: and it was early; and they themselves wentnot into the judgment hall, lest they should bedefiled;but that they might eat the passover. Pilate then wentout unto them, and said,PilatusWhat accusation bring ye against this man?EvangelistThey answered and said unto him,

No. 16b ChorusIf he were not a malefactor, we would not havedelivered him up unto thee.

No. 16c RecitativeEvangelistThen said Pilate unto them,PilateTake ye him, and judge him according to your law.

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EvangelistDa sprachen die Juden zu ihm:

Nr. 16d ChorWir dürfen niemand töten.

Nr. 16e RezitativEvangelistAuf daß erfüllet würde das Wort Jesu, welches ersagte, da er deutete, welches Todes er sterbenwürde. Da ging Pilatus wieder hinein in dasRichthaus und rief Jesum und sprach zu ihm:PilatusBist du der Juden König?EvangelistJesus antwortete:JesusRedest du das von dir selbst, oder habens dirandere von mir gesagt?EvangelistPilatus antwortete:PilatusBin ich ein Jude? Dein Volk und die HohenpriesterHaben dich mir überantwortet, was hast dugetan?EvangelistJesus antwortete:JesusMein Reich ist nicht von dieser Welt, wäre meinReich von dieser Welt, meine Diener würdendarob kämpfen, daß ich den Juden nicht überant-wortet würde; aber, nun ist mein Reich nicht vondannen.

Nr. 17 ChoralAch, großer König, gross zu allen Zeiten,Wie kann ich gnugsam diese Treu ausbreiten?Keins Menschen Herze mag indes ausdenkenWas dir zu schenken.

Ich kann’s mit meinen Sinnen nicht erreichen,Womit doch dein Erbarmen zu vergleichen.Wie kann ich dir denn deine LiebestatenIm Werk erstatten?

Nr. 18a RezitativEvangelistDa sprach Pilatus zu ihm:PilatusSo bist du dennoch ein König?EvangelistJesus antwortete:

EvangelistThe Jews therefore said unto him,

No. 16d ChorusIt is not lawful for us to put any man to death.

No. 16e RecitativeEvangelistThat the saying of Jesus might be fulfilled, whichhe spake, signifying what death he should die.Then Pilate entered into the judgment hall again,and called Jesus, and said unto him,PilateArt thou the King of the Jews?EvangelistJesus answered him,JesusSayest thou this thing of thyself, or did others tellit thee of me?EvangelistPilate answered,PilateAm I a Jew? Thine own nation and the chief priestshave delivered thee unto me: what hast thoudone?EvangelistJesus answered,JesusMy kingdom is not of this world: if my kingdomwere of this world, then would my servants fight,that I should not be delivered to the Jews: but nowis my kingdom not from hence.

No. 17 ChoraleO great King, at all times great,how may I sufficiently spread this faith abroad?Yet, no human heart may imaginewhat thing to offer Thee.

My senses cannot conceivewith what to compare Thy compassion;how, then, may I repay Thy deeds of lovewith any deeds of mine?

No. 18a RecitativeEvangelistPilate therefore said unto him,PilateArt thou a king then?EvangelistJesus answered,

JesusDu sagst’s, ich bin ein König. Ich bin dazu geboren und in die Welt kommen, daß ich dieWahrheit zeugen soll. Wer aus der Wahrheit ist,der höret meine Stimme.EvangelistSpricht Pilatus zu ihm:PilatusWas ist Wahrheit?EvangelistUnd da er das gesaget, ging er wieder hinaus zuDen Jüden und spricht zu ihnen:PilatusIch finde keine Schuld an ihm. Ihr habt aber eineGewohnheit, daß ich euch einen losgebe; wollt ihrnun, dass ich euch der Juden König losgebe?

EvangelistDa schrieen sie wieder allesamt und sprachen:

Nr. 18b ChorNicht diesen, sondern Barrabam!

Nr. 18c RezitativEvangelistBarrabas aber war ein Mörder. Da nahm PilatusJesum und geißelte ihn.

Nr. 19 Arioso (Bass)Betrachte, meine Seel, mit ängstlichem Vergnügen,Mit bittrer Lust und halb beklemmtem HerzenDein höchstes Gut in Jesu Schmerzen,Wie dir auf Dornen, so ihn stechen,Die Himmelsschlüsselblumen blühn!Du kannst viel süße Frucht von seiner Wermut brechen,Drum sieh ohn Unterlaß auf ihn!

Nr. 20 Arie (Tenor)Erwäge, wie sein blutgefärbter RiickenIn allen StückenDem Himmel gleiche geht,Daran, nachdem die WasserwogenVon unsrer Sündflut sich verzogen,Der allerschönste RegenbogenAls Gottes Gnadenzeichen steht!Da capo

Nr. 21a RezitativEvangelistUnd die Kriegsknechte flochten eine Krone vonDornen, und satzten sie auf sein Haupt, undlegten ihm ein Purpurkleid an, und sprachen:

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JesusThou sayest that I am a King. To this end was Iborn, and for this cause came I into this world, thatI should bear witness unto the truth. Every onethat is of the truth heareth my voice.EvangelistPilate saith unto him,PilateWhat is truth?EvangelistAnd when he had said this, he went out again unto the Jews, and saith unto them,PilateI find in him no fault at all. But ye have a custom,that I should release unto you one at the passover:will ye therefore that I release unto you the Kingof the Jews?EvangelistThen cried they all again, saying,

No. 18b ChorusNot this man, but Barabbas!

No. 18c RecitativeEvangelistNow Barabbas was a robber. Then Pilate thereforetook Jesus, and scourged him.

No. 19 Arioso (Bass)Behold then, o my soul, with timorous pleasure,With bitter joy and sad and heavy heart,Thy greatest good in Jesus’ sufferings,How on the thorns, the which do pierce him,Heaven’s primroses flower for thee!Many a sweet fruit thou canst thus from his sorrow pluck,Therefore look on him evermore.

No. 20 Aria (Tenor)Consider how his back that’s stained with blood,In all its aspectsLike unto the heavens is,Where, after the watery billowsOf the deluge of our sins have passed,The most beautiful of rainbows standsAs symbol of the grace of God!Da capo

No. 21a RecitativeEvangelistAnd the soldiers plaited a crown of thorns, andput it on his head, and they put on him a purplerobe, and said,

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Nr. 21b ChorSei gegrüßet, lieber Judenkönig!

Nr. 21c RezitativEvangelistUnd gaben ihm Backenstreiche. Da ging Pilatuswieder heraus und sprach zu ihnen:PilatusSehet, ich führe ihn heraus zu euch, dass ihr erkennet,dass ich keine Schuld an ihm finde.EvangelistAlso ging Jesus heraus, und trug eine Dornenkroneund Purpurkleid. Und er sprach zu ihnen:PilatusSehet, welch ein Mensch!EvangelistDa ihn die Hohenpriester und die Diener sahen,schrieen sie und sprachen:

Nr. 21d ChorKreuzige, kreuzige!

Nr. 21e RezitativEvangelistPilatus sprach zu ihnen:PilatusNehmet ihr ihn hin und kreuziget ihn; denn ich finde keine Schuld an ihm!EvangelistDie Jüden antworteten ihm:

Nr. 21f ChorWir haben ein Gesetz, und nach dem Gesetz soller sterben, dann er hat sich selbst zu Gottes Sohngemacht.

Nr. 21g RezitativEvangelistDa Pilatus das Wort hörete, fürchtet’ er sich nochmehr, und ging wieder hinein in das Richthaus,und spricht zu Jesu:PilatusVon wannen bist du?EvangelistAber Jesus gab ihm keine Antwort. Da sprach Pilatuszu ihm:PilatusRedest du nicht mit mir? Weissest du nicht, dass ichMacht habe, dich zu kreuzigen, und Macht habe, dichloszugeben?EvangelistJesus antwortete:

No. 21b ChorusHail, King of the Jews!

No. 21c RecitativeEvangelistAnd they smote him with their hands. Pilatetherefore went forth again, and saith unto them,PilateBehold, I bring him forth to you, that ye mayknow that I find no fault in him.EvangelistThen came Jesus forth, wearing the crown of thorns,and the purple robe. And Pilate saith unto them,PilateBehold the man!EvangelistWhen the chief priests therefore and officers sawhim, they cried out, saying,

No. 21d ChorusCrucify him, crucify him!

No. 21e RecitativeEvangelistPilate saith unto them,PilateTake ye him, and crucify him: for I find no fault inhim.EvangelistThe Jews answered him,

No. 21f ChorusWe have a law, and by our law he ought to die,because he made himself the Son of God.

No. 21g RecitativeEvangelistWhen Pilate therefore heard that saying, he wasthe more afraid; and went again into the judgmenthall, and saith unto Jesus,PilateWhence art thou?EvangelistBut Jesus gave him no answer. Then saith Pilate untohim,PilateSpeakest thou not unto me? Knowest thou notthat I have power to crucify thee, and have powerto release thee?EvangelistJesus answered,

JesusDu hättest keine Macht über mich, wenn sie dirnicht wäre von oben herab gegeben; darum, dermich dir überantwortet hat, der hat’s größ’re Sünde.EvangelistVon dem an trachtete Pilatus, wie er ihn losließe.

Nr. 22 ChoralDurch dein Gefängnis, Gottes Sohn,Muß uns die Freiheit kommen,Dein Kerker ist der Gnadenthron,Die Freistatt aller Frommen;Denn gingst du nicht die Knechtschaft ein,Müßt’ unsre Knechtschaft ewig sein.

Nr. 23a RezitativeEvangelistDie Juden aber schrieen und sprachen:

Nr. 23b ChorLässest du diesen los, so bist du des KaisersFreund nicht, denn wer sich zum Könige machet,der ist wider den Kaiser.

Nr. 23c RezitativEvangelistDa Pilatus das Wort hörete, führete er Jesumheraus, und satzte sich auf den Richtstuhl, an derStätte, die da heißet: Hochpflaster, auf Ebräischaber: Gabbatha. Es war aber der Rüsttag inOstern, um die sechste Stunde; und er spricht zuden Jüden:PilatusSehet, das ist euer König.EvangelistSie schrieen aber:

Nr. 23d ChorWeg, weg mit dem, kreuzige ihn!

Nr. 23e RezitativEvangelistSpricht Pilatus zu ihnen:PilatusSoll ich euren König kreuzigen?EvangelistDie Hohenpriester antworteten:

Nr. 23f ChorWir haben keinen König, denn den Kaiser.

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JesusThou couldest have no power at all against me,except it were given thee from above: therefore hethat delivered me unto thee hath the greater sin.EvangelistAnd from thenceforth Pilate sought to release him.

No. 22 ChoraleBy way of Thy prison, Son of God,freedom must come to us;Thy prison is the throne of grace,the refuge of all godly folk;for if Thou hadst not suffered imprisonment,our slavery would be everlasting.

No. 23a RecitativeEvangelistBut the Jews cried out, saying,

No. 23b ChorusIf thou let this man go, thou art not Caesar’sfriend: whosoever maketh himself a king speak-eth against Caesar.

No. 23c RecitativeEvangelistWhen Pilate therefore heard that saying, hebrought Jesus forth, and sat down in the judgmentseat in a place that is called the Pavement, but inthe Hebrew, Gabbatha. And it was the preparationof the Passover, and about the sixth hour, andhe saith unto the Jews,PilateBehold your King!EvangelistBut they cried out,

No. 23d ChorusAway with him, away with him, crucify him.

No. 23e RecitativeEvangelistPilate saith unto them,PilateShall I crucify your King?EvangelistThe chief priests answered,

No. 23f ChorusWe have no king but Caesar.

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Nr. 23g RezitativEvangelistDaß überantwortete er ihn, daß er gekreuzigetwürde. Sie nahmen aber Jesum und führeten ihnhin. Und er trug sein Kreuz, und ging hinaus zurStätte, die da heißet: Schädelstätt, welche heißetauf Ebräisch: Golgotha.

Nr. 24 Arie (Bass) mit ChorEilt, ihr angefochtnen Seelen,Geht aus euren Marterhöhlen,Eilt – Wohin? – nach Golgotha!

Nehmet an des Glaubens Flügel,Flieht – Wohni? – zum Kreuzeshügel,Eure Wohlfahrt blüht allda.Da capo

Nr. 25a RezitativEvangelistAllda kreuzigten sie ihn, und mit ihm zweenandere zu beiden Seiten. Jesum aber mitten inne.Pilatus aber schrieb eine Überschrift und setzte sieauf das Kreuz, und war geschrieben: „Jesus vonNazareth, der Jüden König“. Diese Überschriftlasen viel Juden, denn die Stätte war nahe bei derStadt, da Jesus gekreuziget ist. Und es war geschrieben auf ebräische, griechische undlateinische Sprache. Da sprachen die Hohenpreisterder Jüden zu Pilato:

Nr. 25b ChorSchreibe nicht: der Juden König, sondern daß er gesaget habe: Ich bin der Juden König.

Nr. 25c RezitativEvangelistPilatus antwortet:PilatusWas ich geschrieben habe, das habe ich geschrieben.

Nr. 26 ChoralIn meines Herzens Grunde,Dein Nam und Kreuz alleinFunkelt all Zeit und Stunde,Drauf kann ich fröhlich sein.Erschein mir in dem BildeZu Trost in meiner Not,Wie du, Herr Christ, so mildeDich hast geblut’ zu Tod.

No. 23g RecitativeEvangelistThen delivered he him therefore unto them to becrucified. And they took Jesus, and led him away.And he bearing his cross went forth into a placecalled the place of a skull, which is called in theHebrew Golgotha.

No. 24 Aria (Bass) with ChorusHasten, ye troubled souls,quit your dens of martyrdom,haste ye – Whither? – to Golgotha!

Take to wings of faith,fly – Whither? – to the hill of the cross,your welfare doth flourish there.Da capo

No. 25a RecitativeEvangelistWhere they crucified him, and two others withhim, on either side one, and Jesus in the midst.And Pilate wrote a title, and put it on the cross.And the writing was, “Jesus of Nazareththe King of the Jews.” This title then readmany of the Jews: for the place where Jesus wascrucified was night to the city: and it was writtenin Hebrew, and Greek, and Latin. Then said the chief priests of the Jews to Pilate.

No. 25b ChorusWrite not, The King of the Jews; but that he said, Iam King of the Jews.

No. 25c RecitativeEvangelistPilate answered,PilateWhat I have written I have written.

No. 26 ChoraleDeep in my heartThy name and cross aloneshine all the time and every hour,for that I may rejoice.Appear to me in that likenessas comfort to my need,how Thou, Lord Christ, so meek and mild,hast bled Thyself to death.

Nr. 27a RezitativEvangelistDie Kreigsknechte aber, da sie Jesum gekreuzigethatten, nahmen seine Kleider und machten vierTeile, einem jeglichen Kreigesknechte sein Teil,dazu auch den Rock. Der Rock aber war ungenähet,von oben an gewürket durch und durch.Da sprachen sie untereinander:

Nr. 27b ChorLasset uns den nicht zerteilen, sondern darumlosen, wes er sein soll.

Nr. 27c RezitativEvangelistAuf daß erfüllet würde die Schrift, die da saget:Sie haben meine Kleider unter sich geteilet, undhaben über meinen Rock das Los geworften.Solches taten die Kriegsknechte. Es stund aber beidem Kreuze Jesu seine Mutter und seiner MutterSchwester, Maria, Cleophas Weib, und Maria Magdalena. Da nun Jesus seine Mutter sahe undden Jünger dabei stehen, den er lieb hatte, sprichter zu seiner Mutter,JesusWeib, siehe, das ist dein Sohn!EvangelistDarnach spricht er zu den Jünger,JesusSiehe, das ist deine Mutter!

Nr. 28 ChoralEr nahm alles wohl in achtIn der letzten Stunde,Seine Mutter noch bedacht,Setzt ihr ein’ Vormunde.O Mensch, mache Richtigkeit,Gott und Menschen liebe,Stirb darauf ohn alles Leid,Und dich nicht betrübe!

Nr. 29 RezitativEvangelistUnd von Stund an nahm sie der Jünger zu sich.Darnach, als Jesus wußte, daß schon alles vollbrachtwar, daß die Schrift erfüllet würde, spricht er.

JesusMich dürstet!EvangelistDa stund ein Gefäße voll Essigs. Sie fülleten abereinen Schwamm mit Essig und legten ihn um einen

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No. 27a RecitativeEvangelist

Then the soldiers, when they had crucified Jesus,took his garments, and made four parts, to everysoldier a part; and also his coat: now the coat waswithout seam, woven from the top throughout.They said therefore among themselves,

No. 27b ChorusLet us not rend it, but cast lots for it, whose it shallbe.

No. 27c RecitativeEvangelistThat the scripture might be fulfilled, which saith,They parted my raiment among them, and for my vesture they did cast lots. These things thereforethe soldiers did. Now there stood by the cross of Jesus his mother, and his mother’s sister. Mary thewife of Cleophas, and Mary Magdalene. WhenJesus therefore saw his mother, and the disciple standing by, whom he loved, he saith unto his mother,JesusWoman, behold thy son!EvangelistThen saith he to the disciple,JesusBehold thy mother!

No. 28 ChoraleHe had a care for everything,in His last hour,He took thought for His mother still,and assigned to her a guardian.Oh, mankind, exercise righteousness,love both God and man,then die free from pain,and grieve not!

No. 29 RecitativeEvangelistAnd from that hour the disciple took her unto hisown home. After this, Jesus knowing that allthings were now accomplished, that the scripturemight be fulfilled, saith,JesusI thirst.EvangelistNow there was set a vessel full of vinegar, and they filled a sponge with vinegar, and put it upon

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Isophen und hielten es ihm dar zum Munde. Da nunJesus den Essig genommen hatte, sprach er.JesusEs ist vollbracht!

Nr. 30 Arie (Alt)Es ist vollbracht!O Trost für die gekränkten Seelen;Die TrauernachtLäßt nun die letzte Stunde zählen.Der Held aus Juda siegt mit Macht,Und schließt den Kampf.Es ist vollbracht!

Nr. 31 RezitativEvangelistUnd neiget das Haupt und verschied.

Nr. 32 Arie (Bass) mit ChoralBassMein teurer Heiland, laß dich fragenDa du nunmehr ans Kreuz geschlagenUnd selbst gesaget: Es ist vollbracht!Bin ich vom Sterben frei gemacht?Kann ich durch deine Pein und SterbenDas Himmelreich ererben?Ist aller Welt Erlösung da?Du kannst vor Schmerzen zwar nichts sagen,Doch neigest du das HauptUnd sprichst stillschweigend: ja.ChorJesu, der du warest tot,Lebest nun ohn Ende,In der letzten TodesnotNirgend mich kinwende,Als zu dir, der mich versühnt.O du lieber Herre!Gib mir nur, was du verdient,Mehr ich nicht begehre.

Nr. 33 RezitativEvangelistUnd siehe da, der Vorhang im Tempel zerriß inzwei Stück von oben an bis unten aus. Und dieErde erbebete, und die Felsen zerrissen, und dieGräber täten sich auf, und stunden auf viel Leiberder Heiligen.

Nr. 34 Arioso (Tenor)Mein Herz, indem die ganze WeltBei Jesu Leiden gleichfalls leidet,Die Sonne sich in Trauer kleidet.

hyssop, and put it to his mouth. When Jesustherefore had received the vinegar, he said,JesusIt is finished.

No. 30 Aria (Alto)It is finished!Oh, consolation for all hurt souls;that night of mourningapproaches its final hour.The Hero from Judah hath triumphed in strength,and ends the struggle.It is finished!

No. 31 RecitativeEvangelistAnd he bowed his head, and gave up the ghost.

No. 32 Aria (Bass) with ChoraleBassMy dear Saviour, let me ask Theesince Thou now art nailed to the crossand since Thou sayest Thyself, It is finished!am I now set free from death?May I, through Thy suffering and death,inherit heaven?Hath salvation come for all the world?True, Thou canst not speak for pain,yet Thy head Thou bowestand tacitly Thou sayest, Yes.ChorusJesu, Thou who wert dead,now livest for ever;in my last agonynowhere will I turn but to Theewho hast redeemed me.O my beloved Lord!Give me only that which Thou hast won;more I do not desire.

No. 33 RecitativeEvangelistAnd, behold, the veil of the temple was rent intwain from the top to the bottom; and the earthdid quake, and the rocks rent; and the graves wereopened; and many bodies of the saints whichslept arose.

No. 34 Arioso (Tenor)My heart, wherein the whole worldsuffers likewise with Jesu’s sorrow,the sun is wrapped in mourning.

Der Vorhang reißt, der Fels zerfälltDie Erde bebt, die Gräber spalten,Weil sie den Schöpfer sehn erkalten:Was willst du deines Ortes tun?

Nr. 35 Arie (Sopran)Zerfließe, mein Herze, in Flute der ZäherenDem Höchsten zu Ehren.Erzähle der Welt und dem Himmel die Not,Dein Jesus ist tot!Da capo

Nr. 36 RezitativEvangelistDie Jüden aber, dieweil es der Rüsttag war, daßnicht die Leichname am Kreuze blieben den Sabbatüber, denn desselbigen Sabbats Tag war sehr groß,baten sie Pilatum, daß ihre Beine gebrochen undsie abgenommen würden. Da kamen dieKriegsknechte und brachen dem ersten die Beineund dem andern, der mit ihm gekreuziget war. Alssie aber zu Jesu kamen, daß sie sahen, daß er schongestorben war, brachen sie ihm die Beine nicht,sondern der Kriegsknechte einer eröffnete seinSeite mit einem Speer, und alsobald ging Blut undWasser heraus. Und der das gesehen hat, der hat es bezeuget, und sein Zeugnis ist wahr, und derselbigeweiß, dass er die Wahrheit saget, auf daß ihr gläubet. Denn solches ist geschehen, auf daß dieSchrift erfüllet würde: ihr sollet ihm kein Bein zer-brechen. Und abermals spricht eine andere Schrift:Sie werden sehen, in welchen sie gestochen haben.

Nr. 37 ChoralO hilf, Christe, Gottes Sohn,Durch dein bitter Leiden,Daß wir dir stets untertanAll Untugend meiden;Deinen Tod und sein UrsachFruchtbarlich bedenken,Dafür, wiewohl arm und schwach,Dir Dankopfer schenken.

Nr. 38 RezitativEvangelistDarnach bat Pilatum Joseph von Arimathia, der einJünger Jesu war, doch heimlich aus Furcht vor denJüden, daß er möchte abnehmen den LeichnamJesu Und Pilatus erlaubete es. Derowegen kam erund nahm den Leichnam Jesu herab. Es kam aberauch Nikodemus, der vormals bei der Nacht zu Jesukommen war, und brachte Myrrhen und Aloen

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The veil is torn asunder, the rock crumbleth,the earth trembleth, the tombs burst open,because they behold the creator grow cold:what wilt thou do for thy part?

No. 35 Aria (Soprano)Melt, my heart, in floods of tearsin honour of the Lord most high.Tell the misery to the world and to the heavens,thy Jesus is dead!Da capo

No. 36 RecitativeEvangelistThe Jews therefore, because it was the preparation,that the bodies should not remain upon thecross on the Sabbath day (for that Sabbath day wasan high day), besought Pilate that their legs mightbe broken, and that they might be taken away.Then came the soldiers, and brake the legs of the first, and of the other which was crucified withhim. But when they came to Jesus, and saw thathe was dead already, they brake not his legs. Butone of the soldiers with a spear pierced his side,and forthwith came there out blood and water.And he that saw it bore record, and his record istrue: and he knoweth that he saith true, that yemight believe. For these things were done, thatthe scripture should be fulfilled, A bone of himshall not be broken. And again another scripturesaith, They shall look on him whom they pierced.

No. 37 ChoraleO help us, Jesus Christ, Son of God,through Thy bitter suffering,to be always obedient to Thee,eschewing all sin;to contemplate fruitfullyThy death and its cause,for which, though poor and weak,we will offer up our thanks.

No. 38 RecitativeEvangelistAnd after this Joseph of Arimathaea, being a discipleof Jesus, but secretly for fear of the Jews,besought Pilate that he might take away the bodyof Jesus: and Pilate gave him leave. He came there-fore, and took the body of Jesus. And there camealso Nicodemus, which at the first came to Jesus by night, and brought a mixture of myrrh and aloes,

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untereinander, bei hundert Pfunden. Da nahmensie den Leichnam Jesu, und bunden ihn in leinenTücher mit Spezereien, wie die Jüden pflegen zubegraben. Es war aber an der Stätte, da er gekreuzi-get ward, ein Garte, und im Garten ein neu Grab,in welches niemand je geleget war. Daselbst hinlegten sie Jesum, um des Rüsttags willen der Jüden,dieweil das Grab nahe war.

Nr. 39 ChorRuht wohl, ihr heiligen Gebeine,Die ich nun weiter nicht beweine;Ruht wohl, und bringt auch mich zur Ruh.Das Grab, so euch bestimmet istUnd ferner keine Not umschließt,Macht mir den Himmel auf und schließt die Hölle zu.Da capo

Nr. 40 ChoralAch Herr, laß dein lieb EngeleinAm letzten End die Seele meinIn Abrahams Schoß tragen;Den Leib in seim SchlafkämmerleinGar sanft, ohn einge Qual und Pein,Ruhn bis am Jüngsten Tage!Alsdenn von Tod erwecke mich,Da meine Augen sehen dichIn aller Freud, o Gottes Sohn,Mein Heiland und Genadenthron!Herr Jesu Christ, erhöre mich,Ich will dich preisen ewiglich!

about an hundred pound weight. Then took theythe body of Jesus, and wound it in linen clotheswith the spices, as the manner of the Jews is tobury. Now in the place where he was crucifiedthere was a garden; and in the garden a new sepul-chre, wherein was never man yet laid. There laid they Jesus therefore because of the Jews’ prepara-tion day; for the sepulcher was nigh at hand.

No. 39 ChorusRest in peace, you holy bones,which I will now no longer mourn;rest in peace, and take me, too, to rest.The grave, that is destined for youand encloseth no more grief,openeth the heavens up to me and closeth hell.Da capo

No. 40 ChoraleO Lord, let Thy dear angelscarry my soul when my end comesto Abraham’s bosom;let my body in its resting chambergently repose, without pain or grief,till Judgment Day!Awaken me from death,that my eyes may behold Theein all joy, O Son of God,my Saviour and my Throne of Grace!Lord Jesus Christ, hear my prayer,I will ever praise Thee!

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Notes on the Program

Johann Sebastian BachBorn in Eisenach, Thuringia, 1685

Died in Leipzig, 1750

St. John Passion, BWV245, composed in 1724 (rev. 1725, 1732, 1749)

Since the earliest days of Christianity, the story of the Crucifixion was chanted as part ofthe Holy Week liturgy. At first, the entire text was entrusted to a single reader; by the 13thcentury at the latest, the parts were distributed among several singers and the readingbecame more and more dramatized. The first polyphonic settings of the Passion date fromthe 15th century. After the Protestant Reformation, Passion settings using Martin Luther’sBible translation became popular in Germany, and eventually started to expand on theactual Gospel narrative by including newly written commentaries set as arias and cho-ruses. Bach’s Passions, therefore, stand on the shoulders of a long line of predecessors,drawing on, synthesizing, and transcending their accomplishments.

Bach’s obituary, signed by his son Carl Philipp Emanuel and his pupil Johann FriedrichAgricola, credited the composer with five Passion settings. One of these, the St. Luke Passion,has since been shown not to be by Bach, and two other works are lost (for one of these, thetext and a few excerpts of the music survive). Of the remaining two, the St. Matthew Passion,one of Bach’s longest and most richly scored works, takes more time for meditative reflec-tion and for tender, lyrical feelings. St. John Passion, completed in 1724 and revised severaltimes afterwards, is on a smaller scale and is often said to be the more dramatic of the two.

The differences derive, in part at least, by the differences between the two Gospels onwhich the Passions are based. The three Gospels of Mark, Luke, and Matthew are called“synoptic” because of the similarities in the way they tell the story. John’s Gospel is differ-ent from the other three in both content and style. One of its most striking characteristics,which became particularly important in Lutheranism, is the view that Christ’s death on thecross was truly a spiritual victory. Accordingly, the general mood of mourning, which pre-vails in the St. Matthew Passion, is tempered in St. John by repeated affirmations of Christ’sglory and eternal life. We don’t have to wait for the Resurrection—which, of course, is notmentioned in either Passion—to have cause for celebration. It is enough to compare theopening choruses of the two Passions to experience this difference: the magnificent dou-ble chorus in St. Matthew is a song of lament, while its counterpart in St. John (“Herr, unserHerrscher”—“Lord, our ruler”) is an affirmation of God’s glory.

The music of both Passions falls into several distinct categories:

(1) Biblical narrative—the words of the Gospel, sung to accompanied recitativeby the Evangelist and the various other characters.

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(2) Arias preceded by accompanied recitatives, using newly written texts thatcontain commentaries on the narrative from an 18th-century Lutheranstandpoint.

(3) Choruses on Biblical texts (“turbas”), containing the responses of the crowd.(4) Chorales, or Lutheran church hymns inserted as moments of communal

reflection on the action.

The first and third of these categories had been part of the Passion from the beginning;the second and fourth were added in the German “oratorio Passions” of the 17th and 18thcenturies. The words to the arias were written by contemporaries of Bach; while in thecase of St. Matthew we know who the poet was (Christian Friedrich Henrici, akaPicander), the situation is more complicated in St. John: here the identity of the librettistis unknown, although the text leans heavily on a famous Passion poem by BartholdHeinrich Brockes, set to music by both Handel and Telemann.

The St. John Passion narrates the events of the last days of Jesus’s life, from his betrayalby Judas through the Crucifixion, as found in chapters 18 and 19 of John’s Gospel. In twoinstances, elements from Matthew were also woven into the narrative: one of theseinsertions occurs during the episode of Peter’s denial of Jesus, the other describes theearthquake following Jesus’s death.

Bach wrote the St. John Passion in 1724, the year after he took up his duties at St.Thomas’s Church in Leipzig. Subsequently, he revised the work no fewer than threetimes. Only one year after the first version, Bach made substantial changes in the score,adding several new movements; later he cut those movements again and the last ver-sion, from 1749, the year before Bach’s death, is actually very close to the first one. Mostperformances today follow the modern edition prepared by Arthur Mendel and first pub-lished in 1951; this is a composite of the different versions (not all of which survive in full).

Recitatives

Of the four musical categories listed above, the first is the biblical narrative presented inthe recitatives. Bach’s recitative differs from Passion recitatives of earlier composers inthe highly expressive nature of its melodic line. Far from being the mere imitation ofspeech that recitative is supposed to be according to most dictionaries, Bach’s recitatives(while scrupulously following the prosody of his text) are quite demanding musically.They have a wide vocal range, may be quite complex harmonically, and sometimes con-tain aria-like elements such as long melismas (groups of notes sung to the same sylla-ble) to mark words of particular importance.

The Evangelist, whose part is by far the most extensive, is much more than a mere nar-rator: he actively participates in the action, and the melodic inflections in his part offer apersonal commentary on the events. His voice often rises to the highest register of the

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tenor voice, as a sign of intense emotion. At the moment where Peter becomes aware ofhis denial of Jesus, he bursts out in an expressive melisma to the words weinete bitter-lich [“wept bitterly”]. A similarly elaborate melisma occurs in the trial scene, on thewords geisselte ihn [“scourged him”].

Other vocal soloists intervene to sing the lines of the various characters in the story. Thesecond most extensive part, after the Evangelist, belongs to Jesus, portrayed by a basssoloist. In most modern performances, a second bassist sings the parts of both Peter andPontius Pilate. A maid (soprano) and a servant (tenor) have only a few short lines to sing.

Arias

The texts for the arias represent individual members of the congregation reacting to,and identifying with, the events as they unfold. They are closely related to the recitativesthat precede them. For example, the scene where Peter denies Jesus is followed by thetormented tenor aria Ach mein Sinn [“O my mind”], which is a vivid illustration of Peter’sfeelings of guilt. It is important to emphasize that it is not Peter who sings this aria buta devout Christian who internalizes the drama he has been witnessing. Similarly, thebass aria Eilt, ihr angefochtnen Seelen [“Hurry, you besieged souls”], sung after Jesus wastaken to Golgotha, is a personal reaction to this tragic turn in the story. The soloist is sur-rounded by a chorus of sympathetic listeners who keep interrupting him with the ques-tion “Where?” to which, invariably, “Golgotha” is the answer.

All arias contain one or more instrumental solos. These so-called obbligato parts have astructural role in announcing the themes and providing interludes between the vocalsections; furthermore, the choice of instruments affects the emotional character of thearias. The special atmosphere of the bass arioso Betrachte, meine Seel [“Ponder, my soul”],followed by the tenor aria Erwäge [“Consider”] is largely due to the presence of the twoviolas d’amore (a string instrument with special resonance strings); the arioso also fea-tures the lute.

Likewise, the alto aria Es ist vollbracht [“It is accomplished”], one of the high points of thePassion, is scored with a viola da gamba or bass viol, an instrument with a uniquelywarm timbre. This aria, sung after Jesus has uttered his last words on the cross (“It isaccomplished”), is another example for the particular way John’s Gospel and Bach’slibrettist interpret the events. The original Greek for “It is accomplished” is tetelestai,which is a cry of triumph. While Bach set these words as a lament, the aria includes anamazing middle section in a faster tempo, where the key changes from minor to major,the entire string orchestra joins in, and the soloist joyfully exclaims: Der Held aus Judasiegt mit Macht (“The hero from Judah triumphs with power”).

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Choruses and chorales

The chorus may represent different groups in the Passion. In the opening and closingmovements, it stands for the congregation of Bach’s time. In the biblical turbas, they canimpersonate soldiers and priests among others. Sometimes they are introduced by theEvangelist by the simple pronoun “they,” whose interpretation has given rise to someintense debates.

Since in many of the turbas “they” call for Jesus’s death and Barabbas’s release, and sincethe Gospel recitative often refers to “the Jews” in general (rather than “high priests,scribes, and elders” as in St. Matthew), the St. John Passion is sometimes accused of hav-ing anti-Semitic overtones. It is, however, not clear if imprecise lingustic usage should beconstrued as religious prejudice (“the Jews” doesn’t necessarily mean “all the Jews”). Weknow that Jesus, himself a Jew, was strongly opposed by some Jewish conservatives; inother words, the conflict was not between “the Jews” and others, but rather between dif-ferent Jewish factions. Therefore, it is entirely wrong to say that “the Jews killed Jesus,” aclaim the Gospel itself never makes; in fact, the narrative makes it amply clear thatPontius Pilate, the Roman governor of Judea, had the final say in the matter. Recentresearch has even shown that Bach had actually softened some of the anti-Jewish rhet-oric present in the Gospel and in Luther’s translation of it.

German audiences in Bach’s time were intimately familiar with the words and themelodies of the chorales (Lutheran church hymns), but Bach’s harmonizations were new(and quite startling at times). In the Passions, chorale settings are strategically placed atkey moments when it is time to take a step back and reflect communally on what hasjust been said in the biblical narrative. The St. John Passion has eleven chorale move-ments using eight different chorale melodies. In addition, the solo line in the bass ariaMein teurer Heiland (“My precious Savior”), sung after Jesus’s death, is intertwined witha chorale (on a melody previously heard) performed by the chorus.

The most striking of the chorales is the one with which the entire work ends. It is pre-ceded by the grandiose chorus Ruht wohl (“Be at peace”), which could very well functionas the concluding movement of the Passion (and actually did so in the third version ofthe work). This “lullaby” shares its general mood and meter with the final chorus of theSt. Matthew Passion, although its text, in true Johannine spirit, says: “Be at peace, youholy bones, which I will no longer bewail.” The emphasis, once again, is on triumph andglorification, not on mourning. The final chorale, which follows Ruht wohl in three of thefour versions, drives that point home forcefully, ending as it does with a resoundingpraise of the victorious “Lord Jesus Christ.”

—Peter Laki, Visiting Associate Professor of Music, Bard College

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Who’s Who

Leon Botstein ConductorThis season, Leon Botstein celebrates his 20th anniversaryas music director and principal conductor of the AmericanSymphony Orchestra. He is artistic codirector of theacclaimed SummerScape and Bard Music festivals, whichtake place at Bard College’s Richard B. Fisher Center for thePerforming Arts, designed by Frank Gehry. Botstein is alsoconductor laureate of the Jerusalem Symphony Orchestra,where he served as music director from 2003–11. He hasbeen president of Bard College in New York since 1975.

He has an active schedule as a guest conductor all over the world, and can be heard onnumerous recordings, including operas by Strauss, Dukas, and Chausson, as well as worksof Shostakovich, Dohnányi, Liszt, Bruckner, Bartók, Hartmann, Reger, Glière, Szymanowski,Brahms, Copland, Sessions, Perle, and Rands. Many of his live performances with theAmerican Symphony Orchestra are now available for download on the Internet.

Leon Botstein is highly regarded as a music historian. He is the editor of The MusicalQuarterly and the author of numerous articles and books. In 2011 he gave the prestigiousTanner Lectures in Berkeley, California. For his contributions to music he has received theaward of the American Academy of Arts and Letters and Harvard University’s prestigiousCentennial Award, as well as the Cross of Honor, First Class, from the government ofAustria. In 2009 he received Carnegie Foundation’s Academic Leadership Award, and in2011 was inducted into the American Philosophical Society. He is also the 2012 recipient ofthe Leonard Bernstein Award for the Elevation of Music in Society.

James Bagwell Chorus MasterJames Bagwell maintains an active interna-tional schedule as a conductor of choral, oper-atic, and orchestral music. In 2009 he wasappointed music director of The CollegiateChorale and principal guest conductor of theAmerican Symphony Orchestra, leading theASO in concerts at Carnegie Hall during the2011–12 season. Some highlights of this past

season included Bellini’s rarely performed opera Beatrice di Tenda at Carnegie Hall, and hisconducting of Kurt Weill’s Knickerbocker Holiday at Alice Tully Hall, which was recordedlive for Gaslight Records. In July 2011 he prepared The Collegiate Chorale for three concertsat the Verbier Festival in Switzerland, and in 2012 they traveled to Israel and the SalzburgFestival for performances with The Israel Philharmonic.

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Bagwell has prepared The Concert Chorale of New York for numerous performances withthe American Symphony Orchestra, Los Angeles Philharmonic, and Mostly MozartFestival (broadcast nationally in 2006 on Live from Lincoln Center)—all in Avery FisherHall at Lincoln Center. Since 2003 he has been director of choruses for the Bard MusicFestival, conducting and preparing choral works during the summer festival at TheRichard B. Fisher Center for the Performing Arts at Bard College. In June he conducted theAmici New York Orchestra at the OK Mozart Festival, and he continues a collaborativeproject with singer Natalie Merchant that pairs her with major orchestras across thecountry. In December 2011 he made his debut with Cincinnati Symphony Orchestra.Bagwell is professor of music at Bard College and codirector of the Graduate Program in Conducting.

Rufus Müller EvangelistBritish-German tenor Rufus Müller was acclaimed by theNew York Times following a performance in Carnegie Hallas “easily the best tenor I have heard in a live Messiah.” Heis celebrated as the Evangelist in Bach’s Passions, and hisunique dramatic interpretation of this role has confirmedhis status as one of the world’s most sought-after per-formers. He gave the world premiere of Jonathan Miller’sproduction of the St. Matthew Passion, which he alsorecorded for United and broadcast on BBC TV; he repeated

the role in three revivals of the production at the Brooklyn Academy of Music. Müller isalso a leading recitalist, performing worldwide with pianist Maria João Pires

His 2012 –13 season includes recitals with fortepianist Christoph Hammer in Germany,New York, and Baltimore; Britten’s Serenade in Toronto; Hans Zender’s version ofWinterreise in Montreal; Bach’s Passions in Oxford, Stockholm, New York, San Francisco,and Washington, D.C., and Handel’s Messiah in Montreal and Washington,Mendelssohn’s Paulus in Madrid, Haydn’s Creation in Norway and Washington, amongother appearances. Born in Kent, England, UK, Müller was a choral scholar at NewCollege, Oxford. He studied in New York with Thomas LoMonaco and is assistant profes-sor of music at Bard College, New York.

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Jesse Blumberg Jesus ChristusBaritone Jesse Blumberg is equally at home on opera, con-cert, and recital stages. Some of his recent engagementsinclude Niobe, Regina di Tebe at Boston Early Music Festival,Bernstein’s Mass at London’s Royal Festival Hall, and per-formances with the New York Festival of Song. He has per-formed roles at Minnesota Opera, Pittsburgh Opera, UtahOpera, and Boston Lyric Opera, and made concert appear-ances with American Bach Soloists, Los Angeles MasterChorale, Charlotte Symphony, Apollo’s Fire, and the Vail

Valley Music Festival. He toured with Mark Morris Dance Group and the Waverly Consort,and has given recitals for the Marilyn Horne Foundation. A very active performer of newmusic, he is a member of Mirror Visions Ensemble.

Blumberg’s 2012 –13 season includes debuts with New York City Opera, LincolnCenter’s American Songbook series, Oratorio Society of New York, and Pacific Musicworks,among others. In addition, he returns to American Bach Soloists, Apollo’s Fire, MarkMorris Dance Group, TENET/Green Mountain Project, and Boston Early Music Festival. Hereceived an M.M. degree from the University of Cincinnati College –Conservatory ofMusic and undergraduate degrees in history and music from the University of Michigan.He is the founder and artistic director of Five Boroughs Music Festival, which bringschamber music of many genres to every corner of New York City.

Yohan Yi ’08 Bass Bass-baritone Yohan Yi made his debut at Lincoln Center’sAvery Fisher Hall as a bass soloist in Handel’s Messiah inDecember 2012. After graduating from Hanyang Universityin South Korea, he completed an M.M. degree in 2008 as amember of the inaugural class of the Graduate Vocal ArtsProgram of The Bard College Conservatory of Music. Hemade his professional opera debut at the 2008 CincinnatiMay Festival, where he performed as Alcade and theSurgeon in Verdi’s La forza del destino under the baton of

James Conlon. In the summer of 2009, Yi took part in San Francisco Opera’s MerolaProgram, and performed as Hanezo in Mascagni’s L’amico Fritz and sang Aleko’s Cavatinawith San Francisco Opera Orchestra. From 2009–11, he participated in the Domingo-Thornton Young Artist Program of the LA Opera. In 2011 he sang Haydn’s Heiligmesse at theCincinnati May Festival and made his Ravinia Festival debut as the Jailer in Tosca. Yi wonfirst prize in the 2011 Connecticut Opera Guild voice competition and fifth place in the LorenL. Zachary National Vocal Competition. He also placed first in the 2010 Pasadena OperaGuild Competition and the 2008 Heida Hermanns Voice Competition.

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Vincent Festa ’14 TenorVincent Festa is a first-year student in the Graduate VocalArts Program at The Bard College Conservatory of Music. Hereceived his B.M. from The Juilliard School, where he wasseen as Flute in Britten’s A Midsummer Night’s Dream andas tenor soloist in a pastiche of early works by Monteverdiand Purcell. He spent two summers at the ChautauquaInstitute, where he performed the roles of Basilio in Lenozze di Figaro and Giles Corey in The Crucible. A native NewYorker, Festa currently studies with Lorraine Nubar.

Sara Lemesh ’14 AltoMezzo-soprano Sara Lemesh, of San Francisco, received herbachelor of music degree from Rice University under thetutelage of Susanne Mentzer and is working toward hermaster’s degree at Bard College. She performs frequentlyas a soloist, most recently in Mozart’s Requiem, Vivaldi’sGloria, Duruflé’s Requiem, and Britten’s Ceremony ofCarols. This past summer, Lemesh attended the AspenOpera Theater Center, where she played Third Spirit inMozart’s Die Zauberflöte as well as Idamante and Despina

in the AOTC Scenes Program. Other engagements have included Songfest and theMozarteum International Summer Academy, where she studied with Ruggero Raimondi.This summer, Lemesh looks forward to performing at the Music Academy of the West inSanta Barbara, California.

Abigail Levis ’13 AltoNamed “Debut Artist of the Year” by the Joy in SingingFoundation, lyric mezzo-soprano Abigail Levis is emergingas an exciting young singer. The Boston MusicalIntelligencer praised her “dramatic style” and “high level oftechnical ability” in her performance of Israel in Egypt withthe Handel and Haydn Society in Symphony Hall. She is astudent in the Graduate Vocal Arts Program at The BardCollege Conservatory of Music, where she studies withEdith Bers and Dawn Upshaw. As a professional singer,

Levis has appeared as a soloist with the American Symphony Orchestra, Ars LyricaHouston, and New York Opera Exchange. She is the winner of several competitions,including the 2010 University of Houston Concerto Competition, 2010 National OrpheusVocal Competition, 2011 Five Towns Music Competition in Long Island, and 2011 YoungTexas Artist Competition.

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Marie Marquis ’13 SopranoMarie Marquis, a Mississippi native and recent graduate ofthe Peabody Institute in Baltimore, enjoys singing a diverseselection of repertoire from Renaissance to classical to con-temporary. She has been featured on WYPR with thePeabody Renaissance Ensemble, and performed as a soloistwith the group in several concerts. Recently she hasappeared on stage as Norina in Don Pasquale at FairbanksSummer Arts Festival, as Judy in This is the Rill Speaking inBaltimore’s Theater Project, and as a soldier in the premiere

of Libby Larsen’s Stone Soup at Songfest in Malibu. Last year, she won both the state andregional NATS student auditions in the Mid-Atlantic Region and received the Charles M.Eaton prize in voice and the Azalia H. Thomas Prize from the Peabody Institute. She holds abachelor of music degree from Peabody as well as a B.A. in French language and literaturefrom Johns Hopkins University. Marquis is a second-year student in the Graduate Vocal ArtsProgram at The Bard College Conservatory of Music.

Barrett Radziun ’13 TenorBarrett Radziun has appeared on opera, oratorio, and recitalstages throughout the United States. Described byCleveland Classical as “brilliant in his solo performances,”Radziun’s recent engagements include the world premiereof Elena Langer’s opera Four Sisters; Monteverdi’s Vesprodella beata Vergine; Dubois’s The Seven Last Words of Christ;and J. S. Bach’s Cantata No. 80. He also appeared as tenorsoloist in Mendelssohn’s Elijah with members of theAmerican Symphony Orchestra. Radziun won first place in

Thursday Musical’s 2011 Young Artist Competition, and was a finalist in the 2011 SchubertClub Scholarship Competition. He is an alumnus of SongFest, Hawaii Performing ArtsFestival, Amherst Early Music Festival, Oberlin’s Baroque Performance Institute, andSeattle’s Accademia d’Amore Baroque Opera Workshop. He holds a bachelor of musicdegree in vocal performance from Northwestern College.

Xiaobo Su ’14 SopranoChinese soprano Xiaobo Su is a first-year student in theBard Conservatory’s Graduate Vocal Arts Program. In 2011,she won first prize in the NATSLA Young ArtistCompetition and was a finalist in the Metropolitan OperaWest Regional Competition. She is a recipient of scholar-ships from the Leni Fe Bland Foundation, Society ofSingers, Tsinghua University, USC Thornton School ofMusic, and Aspen School Music Festival. Su has performed

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throughout Asia, the United States, and Italy. Praised for her interpretation of DonnaAnna in Mozart’s Don Giovanni, she recently performed her first Wagner role, Mariana, inthe West Coast premiere of Das Liebesverbot, as part of a celebration of Wagner Year inLos Angeles. Other stage credits include La Cesca in Gianni Schicchi, Mimi in La bohème,and Manon in Manon Lescaut.

Logan Walsh ’13 PilateBaritone Logan Walsh has sung leading and supportingroles in opera, operetta, recital repertoire, sacred music,musical theater, and contemporary music. He collaboratedwith composer Jake Heggie on a recital of the composer’ssongs and arias from Moby Dick, The End of the Affair, andThree Decembers. In 2012, he performed the role of Charliein Heggie’s Three Decembers with the International VocalArts Institute in Virginia and sang the role of Krumpelblattin the world premiere of Elena Langer’s opera Four Sisters.

He spent three summers with the Ohio Light Opera Company, participating in more than150 performances in such roles as Count Berezowski in Victor Herbert’s The Fortune Teller,Pauvel von Paulovitch in Franz Lehár’s The Count of Luxembourg, the Usher in Gilbert &Sullivan’s Trial by Jury, and Sam Jenkins in Gershwin’s Of Thee I Sing. Walsh has performedin several training programs, among them the Crested Butte Music Festival, OperaWorksin Los Angeles, and Crittenden Summer Opera Studio. While completing his bachelor ofmusic in voice performance at the University of North Texas, he sang the title role in LeNozze di Figaro, Albert in Werther, Barone Duophol in La Traviata, and Oscar in Regina.

The Bard College Conservatory of MusicRobert Martin, Director

Recognized as one of the finest conservatories in the United States, The Bard CollegeConservatory of Music, founded in 2005, is guided by the principle that musicians shouldbe broadly educated in the liberal arts and sciences to achieve their greatest potential.All undergraduates complete two degrees over a five-year period, a bachelor of musicand a bachelor of arts in a field other than music.

The Bard College Conservatory Orchestra, Leon Botstein, music director, performs at leastfour times each year in The Richard B. Fisher Center for the Performing Arts at BardCollege as part of the Conservatory Sundays concert series. In May 2013 the orchestra willmake a return appearance at Alice Tully Hall in a concert of works by Prokofiev,Shostakovich, and Stravinsky, conducted by Leon Botstein. The orchestra also performsannually at the Eastern NY Correctional Facility as part of the Bard Prison Initiative. In

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June 2012 the orchestra, conducted by Botstein, toured Asia for three weeks, performingin Hong Kong, Taipei, Shanghai, Beijing, Guangzhou, Wuhan, and Tinjin.

The Graduate Vocal Arts Program is a two-year master of music degree conceived bysoprano Dawn Upshaw. The course work is designed to support a broad-based approachto a singing career that extends from standard repertory to new music. Alongside weeklyvoice lessons, diction, and repertory courses is training in acting, as well as core seminarsthat introduce and tie together the historical/cultural perspective, analytical tools, andperformance skills that distinguish vocal and operatic performance at the highest level.

The Orchestral and Choral Conducting Program is a new two-year graduate curriculumthat culminates in the master of music degree. The program is designed and directed byHarold Farberman, founder and director of The Conductors Institute at Bard; JamesBagwell, director of Bard’s undergraduate Music Program and music director of theCollegiate Chorale; and Leon Botstein, president of Bard College, music director and prin-cipal conductor of the American Symphony Orchestra, and conductor laureate of theJerusalem Symphony Orchestra.

The Bard College Chamber SingersFormed in 2002 by music director James Bagwell, Bard College Chamber Singers is anauditioned choir of Bard students and alumni/ae from all programs of the College. In thepast few seasons, the Chamber Singers have performed Arvo Pärt’s Magnificat, MauriceDurufle’s Requiem, and Mozart’s Requiem in concert at the Fisher Center’s SosnoffTheater. During the spring of 2010, the group filled the role of the chorus in Bard College’sGraduate Vocal Arts Program’s performances of two original operas, Vinkensport by DavidLittle and Song from the Uproar: The Lives and Deaths of Isabelle Eberhardt by MissyMazzoli, as well as in a production of Maurice Ravel’s L’enfant et les sortilèges. In October2012, the Chamber Singers performed Mahler’s Eighth Symphony at Carnegie Hall withthe American Symphony Orchestra, and in December joined the Bard College SymphonicChorus performing Beethoven’s Mass in C.

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SopranoCharlotte AmesSamantha BurkeAngela Aida Carducci+Elizabeth Cohen+Lauren D’OttavioElisabeth DarnellEmily DonatoAllison EmanuelNatasha FriedmanJennifer Gliere**Eileen GoodrichSarah Hawkey**Tanya LeibmanRosemary LimburgJennifer Ribeiro**Amy Rood**Liz ShermanDevony Smith+Megan SnyderAriana StulzRebecca SwanbergDorothy Trowbridge

AltoBirai Barkakaty**Dani DobkinKimberly Feltkamp+Agueda Fernandez**Chelsea FrankelClaire GotchMaureen GregoryMolly HickmanKatherine Korsak**Sarah Longstreth

Margaret O’Connell**Ali OveringPage ReddingHannah Rommer*Trina RossHeidi Schnarr*Anastasia SerdsevLily SmithRaina Sokolov-GonzalezPolina VulakhRuadhan Ward

TenorsBrendan BeecherBen DiFabbioJack HarrellJohn Cleveland Howell**Hyunhak Kim+Theo LowreyZach Malavolti*Nathan Siler**Riley Soter**Kannan Vasudevan**Zach WhalenMatthew Woolever*

BassAugust BairOtto BerkesJoe Curry-StodderAndrew FeyerJames FitzwilliamKenneth Griffth*Matt HughesJonathan Keeley**

Noah LundgrenMichael Maliakel**Brian Mummert**Will Sanna

*Masters in Choral Conducting student**Guest choral artist+Graduate Vocal Arts student

All guest choral artists contracted byNancy Wertsch

Bard College Chamber SingersJames Bagwell, Music Director and ConductorJames Fitzwilliam, AccompanistAnastasia Serdsev, Chorus Administrator

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Violin IErica Kiesewetter+,

ConcertmasterSabrina Tabby Reina MurookaZhi Ma Sergio Carleo

Violin IIBob Zubrycki*, PrincipalScot Moore Caitlin MajewskiLeonardo PinedaShuang Yang

ViolaDavid Toth, PrincipalWei Peng Wenlong HuangRosemary Nelis

CelloMyron Lutzke*, PrincipalStanley MooreEmma SchmiedeckeDaniel Zlatkin

BassBence Botar, PrincipalDamon Korf

GambaLoren Ludwig*

FluteFanny Wyrick-FlaxEleni TsachtaniEszter FicsorBridget Bertoldi

OboeStephen Hammer+Carl Alex MeyerGregory DrillingAlessandro Cirafici

BassoonDavid Nagy

ContrabassoonJoshua Hodge

OrganAlexander Bonus+

HarpsichordMilena Giglic**

+Faculty*Assisting Artists**Collaborative Piano Fellow

Members of the Bard College Conservatory OrchestraLeon Botstein, conductorErica Kiesewetter, director of orchestral studies

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Please Support the Bard College Conservatory of Music with a Tax-deductible Gift

Name a Room in the Conservatory’s New BuildingMake a gift to name a classroom, music studio, and the performance hall in the new László Z.Bitó ’60 Conservatory Building. All donors of $1,000 and up will be listed on a plaque in thelobby.

Donate a Piano Small to medium-sized grand pianos by Steinway, Mason & Hamlin, Yamaha, or other highquality makers are needed for the new music studios and practice rooms.

Match the Challenge Grant from the Andrew W. Mellon FoundationHelp us match the $2.5 million challenge grant to create an endowment for theConservatory’s unique dual-degree program.

Create a ScholarshipA contribution of any amount will help us build the scholarship fund. With a tax-deductiblegift of $10,000, a named scholarship can be designated for one year, or an endowed scholar-ship can be established with a gift of $200,000, which can be pledged over a five-year period.

Fund a Master ClassNoted artists offer master classes and workshops for students that are also open to the pub-lic. A gift of $5,000 underwrites a master class series.

Please contact Ann Gabler, development manager, 845-758-7866 or gabler@bard.edu, formore information about how to make a tax-deductible gift, or make a gift on line atwww.bard.edu/conservatory/giving/.

The Conservatory gratefully acknowledges the generous support of these recent donors:

Robert and Marilyn AdamsDr. and Mrs. Morton AltermanThe Ann & Gordon Getty

FoundationWayne Baden and

Drayton GrantDr. R. Etta BainesBanco Santander S.A.Simone BeldaBerkshire Taconic Community

Foundation, Inc.Marshall S. BerlandAlison R. BernsteinBettina Baruch FoundationBeverwyck, Inc.Dr. László Z. Bitó ’60 and

Olivia Cariño Foundation, Inc.Blue Ridge CapitalFrancesca Bray and

Alexander RobertsonStuart Breslow and Anne MillerCraig and Camille BroderickTheodora BudnikAlfred M. Buff and

Lenore Nemeth

Frederick J. C. and Marie Claude Butler

Lisa CarnoyCatherine Cattabiani ’77

Fu-chen ChanGeorge ConneratEllen CurtisLyell DampeerArnold J. Davis ’44

Georgia and Michael de Havenon

Kathy and Gonzalo de Las HerasBarbara DeeganDavid de WeeseLucy DhegraeBruce B. DorisIvan Dremov and

Normandy VincentCornelia Z. and Timothy ElandElyse EttingerMarjorie and Walter B. FarrellAndrew H. FeinmanShane and Odaria FinemoreDouglas K. and

Faith W. Finnemore

The Ford FoundationMr. D. B. ForerThe Fred Stein Family FoundationFriends of Beattie-Powers PlaceFriends of Chamber Music

of ReadingAmy FurthCharlotte FurthJane Furth and August MatzdorfRichard and Eileen FurthLuis Garcia-RenartGE FoundationKatherine Gould-Martin and

Robert L. MartinMarka Gustavsson and

John HalleLouis and Caroline HaberDorothy and Leo HellermanRichard HerbertSusan B. Hirschhorn and

Arthur KlebanoffDr. and Mrs. Bertrand R. JacobsJoe Lewis Jefferson

Foundation Inc.John Cage Trust

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John E. JohnsonJames E. JordanDemetrios A. KaridesBelinda and Stephen KayeFelicia Keesing and

Richard OstfeldNick KennerDavid and Janet E. KettlerJamie Kibel And Michael DeColaMartha and Basil KingJane KornDr. Lawrence Kramer and

Dr. Nancy S. LeonardKvistad FoundationGary and Edna LachmundAlison L. and John C. LankenauGlenda Fowler Law and

Alfred LawThe Leonard & Evelyn Lauder Fund

of the Lauder FoundationKaren B. LeonardAngela Kiche LeungMrs. Mortimer LevittThe Mortimer Levitt

Foundation Inc.Lou LewisRichard C. Lewit ’84 and

Alison J. GussLifetime Learning InstituteVivian Liu and Alan HillikerPhilip LoebSheila Maloney and John Pruitt

Harvey MarekMartin and Toni Sosnoff

FoundationElisabeth and Robert McKeonJohn and Patricia McNultyNatalie MerchantHerbert MorrisHelen K. MottElizabeth and Gary MunchMartin L. and Lucy Miller MurrayNancy and Paul Ross

Foundation Inc.New Albion RecordsDavid NobleSakiko OhashiMarilyn and Peter OswaldMr. and Mrs. James H. Ottaway, Jr.Pepsico FoundationMarina L. PreussnerMark PrezorskiD. Miles PricePuffin Foundation, Ltd.Susan Rabinowitz and

Joel LongeneckerResnick Family Foundation, Inc.Andrea L. ReynoldsPeter RichmanBarbara J. RitchieRoaring Brook GroupFelice RossStuart RossRishin Roy and Laura Martin

Stephen H. and Sheila SachsSaugerties Pro Musica, Inc.Pam B. SchaflerDavid L. and

Rebecca Y. SchroedelDagni and Martin SenzelLizbeth and Stephen ShaferTara Shafer and Gavin CurranRichard T. SharpClaude ShawPaul D. SheatsDenise S. Simon and

Paulo VieiradacunhaDenele and Eric SmallCarol Furth SontagGabriella and Harvey SperryFelicitas S. ThorneStephane and Isabel TruongIlliana van MeeterenDr. Jan and Marica VilcekMargo and Anthony ViscusiMarla and Brian WalkerDavid WetherillBarbara Jean WeyantMaureen A. Whiteman and

Lawrence J. ZlatkinGray and Marian WilliamsEric Wong

Donor listings current as ofDecember 15, 2012

We honor the late Richard B. Fisher for his generosity and leadership in building and supportingthis superb center that bears his name by offering outstanding arts experiences. We recognizeand thank the following individuals, corporations, and foundations that share Dick’s and ourbelief in presenting and creating art for the enrichment of society. Ticket sales cover less than 15 percent of our presentation of outstanding art experiences. Help us sustain the Fisher Centerand ensure that the performing arts are a part of our lives. We encourage and need you to joinour growing list of donors.

Donors to the Fisher CenterLeadership SupportCarolyn Marks BlackwoodEmily H. Fisher and

John AlexanderJeanne Donovan FisherMartin and Toni Sosnoff

FoundationThe Marks Family FoundationMillbrook Tribute Garden, Inc.National Endowment for the Arts

(NEA)Richard B. Fisher Endowment FundMartin T. and Toni SosnoffThendara Foundation

Golden CircleEstate of Richard B. FisherFelicitas S. ThorneIn honor of Oakleigh B. Thorne

from Felicitas S. Thorne

ProducerArtekHarvey BermanChartwells School and University

Dining ServicesStefano Ferrari and Lilo ZinglersenBritton FisherCatherine C. Fisher and

Gregory A. MurphyThe Howard Gilman Foundation

New York State Council on theArts (NYSCA)

PatronMary I. BacklundStuart Breslow and Anne MillerAnne and Harvey BrownCultural Services of the French

EmbassyElizabeth W. Ely ’65 and

Jonathan K. GreenburgThe Ettinger Foundation, Inc.The Harkness Foundation for

Dance, Inc.Rachel and Dr. Shalom KalnickiMr. and Mrs. George A. Kellner

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Susan and Roger KennedyMillbrook Winery, Inc.Mr. and Mrs. James H. Ottaway Jr.Quality Printing Company, Inc.David A. SchulzDenise S. Simon and

Paolo VieiradacunhaTeo Creative, Inc.

SponsorHelen and Roger AlcalyProf. Jonathan and

Jessica K. BeckerAnne Donovan Bodnar and

James L. BodnarMichelle R. ClaymanMr. and Mrs. Gonzalo de las HerasMichael F. DupreeAlberta Gilbridge-WonderlinAlan Hilliker and Vivian W. LiuDr. Barbara KennerGeraldine and Kit LaybourneNancy A. MarksPeter Kenner Family Fund

of the JCFMargrit and Albrecht PichlerMelanie and Philippe RadleyDrs. M. Susan and Irwin RichmanTed Ruthizer and

Jane DenkensohnDavid E. Schwab II ‘52 and

Ruth Schwartz Schwab ‘52

Sarah and Howard SolomonDarcy StephensAllan and Ronnie StreichlerDr. Elisabeth F. Turnauer-DerowIlliana van MeeterenMargo and Anthony ViscusiJerry WeisskohlRobert and Melanie WhaleyAida and Albert WilderWilder Consolidated

Enterprises Inc.

SupporterJoshua J. AronsonKathleen AugustineLyell Dampeer and Valerie BelliMarshall S. Berland and

John E. JohnsonMichael BywaterJohn DierdorffMr. H. Peter Stern and

Helen Drutt EnglishAlysha Forster-WestlakeMims and Burton GoldNan and David GreenwoodRosemary and Graham HansonEliot D. and Paula K. HawkinsJames HaydenMartin HolubKevin KloseDr. Seymour and Harriet KoenigProf. Laura KuhnMarilyn J. MarinaccioBarbara L. and Arthur Michaels

Andrea and Kenneth L. MironJames and Purcell PalmerRhinebeck Department StoreBarbara and Dick SchreiberTed SnowdenPeter SullivanMr. Randy J. TryonCornelius R. VerhoestRosemary and Noel WerrettIrene Zedlacher

FriendJamie AlbrightSybil BaldwinTheodore BartwinkAl and Arlene BeckerRichard L. BensonDrs. Daniel Berkenblit and

Phillipine Meister-BerkenblitKurshed BhumgaraJeffrey and Ellyn BursteinProf. Mary Ellen Caponegro ’78

Daniel Chu and Lenore SchiffColgate-Palmolive CompanyDr. Edward ConradDr. Bruce Cuttler and

Joanne E. Cuttler ’99

C. Douglas and Leslie DienelAbby H. and John B. DuxDavid Ebony and Bruce MundtMr. and Mrs. Arthur C. EschenlauerPatricia FalkMilly and Arnold FeinsilberFrances and Rao GaddipatiJames J. Gebhard Joseph GeldMarvin and Maxine GilbertLaurie GilmoreDebby and Fred GlynnNaomi and Roger GordonStanley and Anne GordonSheryl GriffithGilbert and Mary HalesDavid A. HarrisDorothy and Leo HellermanDelmar D. HendricksNeil IsabelleMarshall S. Berland and

John E. JohnsonDr. Eleanor C. KaneJohn and Mary KellyRose and Josh KoplovitzRobert J. KurillaAmala and Eric LevineGerald F. LewisSusan LorenceCharles S. MaierJanet C. MillsRoy MosesJoanne and Richard MrstikEdmund M. MurphyDr. Abraham and Gail NussbaumJill ObrigDouglas Okerson and

William Williams

Sky Pape and Alan HoughtonGary S. PatrikDebra Pemstein and Dean VallasSteven Pollak and

Robin S. TanenbaumDavid Pozorski and Anna RomanskiGeorge and Gail Hunt ReekeJohn and Claire ReidMr. Irwin RosenthalMs. Myrna B. SamethMichael W. ScheringerBarbara A. SchoenbergElizabeth A. SimonMr. and Mrs. Charles StukenborgMike and Kathy Zdeb

Friends of the Bard Music FestivalLeadership SupportBettina Baruch FoundationJeanne Donovan FisherMrs. Mortimer LevittThe Mortimer Levitt Foundation

Inc.Denise S. Simon and

Paulo Vieiradacunha

Golden CircleHelen and Roger AlcalyMichelle R. ClaymanJane W. Nuhn Charitable TrustDr. Barbara KennerNational Endowment for the Arts

(NEA)Felicitas S. ThorneMillie and Robert WiseThe Wise Family Charitable

Foundation

BenefactorThe Ann and Gordon Getty

FoundationArtekJoan K. DavidsonElizabeth W. Ely ’65 and

Jonathan K. Greenburg Eliot D. and Paula K. Hawkins The J. M. Kaplan Fund, Inc.Susan and Roger KennedyEdna and Gary LachmundAmy and Thomas O. MaggsNew York State Council on the Arts

(NYSCA)Jim and Talila O’HigginsPeter Kenner Family Fund of the

Jewish Communal Fund Drs. M. Susan and Irwin RichmanBruce and Francesca SlovinThe Slovin FoundationDr. Sanford SternliebMargo and Anthony Viscusi

PatronHelen ’48 and Robert L. Bernstein Lydia Chapin

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David G. Whitcomb Foundation Helena and Christopher GibbsAlan Hilliker and Vivien W. LiuMerida Welles and

William “Chip” Holman Anne E. Impellizzeri Frederic K. and Elena Howard Belinda and Stephen KayeDr. Seymour and Harriet KoenigAlison L. and John C. LankenauAmala and Eric LevineMarstrand FoundationStephen Mazoh and Martin KlineMetLife FoundationAndrea and Kenneth L. MironChristina A. Mohr and

Matthew GuerreiroMr. and Mrs. James H. Ottaway Jr.Barbara B. ReisDavid E. Schwab II ‘52 and

Ruth Schwartz Schwab ‘52

Sarah and Howard Solomon Stewart’s ShopsAllan and Ronnie StreichlerOlivia van Melle KampDr. Siri von ReisBill Zifchak and Maggie EvansIrene Zedlacher

SponsorRoland AugustineAlexander and Margaret BancroftEva Thal Belefont ’49

Dr. Miriam Roskin Berger ‘56

Sarah Botstein and Bryan DoerriesBlythe Danner ’65

Mr. and Mrs. Gonzalo de Las HerasAmy K. and David DubinAlison GranucciEdwin L. Artzt and

Marieluise HesselMartin HolubHelene L. and Mark N. KaplanCynthia Hirsch Levy ’65

Martin L. and Lucy Miller MurrayMr. and Mrs. Frederick P. PaytonBlanche and Bruce Joel RubinRosemary and Noel Werrett

SupporterJames Akerberg and

Larry SimmonsAnonymousMr. J. Roberto De AzevedoJohn A. DierdorffLaura GeneroElizabeth D. and Robert HottensenElizabeth I. McCannMs. Anna Neverova ’07

UBS Matching Gift Program

FriendMary I. BacklundHoward and Mary BellSandra BendfeldtClara Botstein

Michael CaolaPamela Chow and Ted SmithRobert and Isobel ClarkMs. Joan CostaMary E. DavisAbby H. and John B. DuxPatricia FalkDavid and Tracy FinnFloyd and Phyliss Glinert

Foundation of the FCGFJoseph W. and Joyce GelbAlysha Glenn ’09

Sandra Graznow and Jim KearnsThurston GreeneAndrea E. GrossFrederick Fisher HammondEmilie and William HenryLinda Hirshman and

David Forkosh**I.B.M. Matching Grants ProgramRocco G. IlardiRod and Caroline KeatingErica KiesewetterIrving and Rhonda E. KleimanRaquel KleinfeldLinda L. KaumeyerRobert J. KurillaLeon and Fern LernerMartin S. LippmanLongy School of Music of Bard

CollegeMs. Linda LopezJohn P. MacKenzieHerbert MayoRamy Nagy ’05 and

Mia McCully ’07

Joanna M. MigdalMarilyn and Peter OswaldSarah Elizabeth Coe Paden ’09

Lucas Pipes ’08

Eleanor PollakEmma Richter ’09 and

Alex Gaudio ’10

Mr. and Mrs. Sidney RoseDr. Gloria SchaferMr. Robert SchweichJohn and Aija SedlakMuriel SimmonsBetsy Covington SmithEdwin SteinbergArt and Jeannette TaylorRobert E. TullyLeigh Beery and

Jonathan Tunick ’58

Dr. Elisabeth F. Turnauer-DerowJohn WaldesMarvin Zelman

Major support for theFisher Center’s programshas been provided by:Helen and Roger Alcaly The Andrew W. Mellon Foundation

The Ann & Gordon GettyFoundation

ArtekHarvey BermanBettina Baruch FoundationCarolyn Marks Blackwood and

Gregory QuinnChartwells School and University

Dining ServicesMichelle R. ClaymanJoan K. DavidsonElizabeth W. Ely ’65 and

Jonathan K. GreenburgEstate of Richard B. FisherStefano Ferrari and Lilo ZinglersenCatherine C. Fisher and

Gregory A. MurphyEmily H. Fisher and John AlexanderJeanne Donovan FisherR. Britton and Melina FisherEliot D. and Paula K. HawkinsThe Howard Gilman FoundationJane’s Ice CreamJane W. Nuhn Charitable TrustThe J. M. Kaplan Fund, Inc.Dr. Barbara KennerEdna and Gary LachmundMrs. Mimi Levitt Amy and Thomas O. MaggsThe Marks Family FoundationJim and Talila O’HigginsMartin and Toni Sosnoff FoundationMillbrook Tribute Garden Inc.Millbrook Vineyards & WineryThe Mortimer Levitt Foundation Inc.Mrs. Mortimer Levitt Endowment

Fund for the Performing ArtsNational Endowment for the Arts

(NEA)New York State Council on the Arts

(NYSCA)Peter Kenner Family Fund of the

Jewish Communal FundDrs. M. Susan and Irwin RichmanDavid E. Schwab II ’52 and Ruth

Schwartz Schwab ’52

Denise S. Simon and PauloVieiradacunha

The Slovin Foundation Bruce and Francesca SlovinMartin T. and Toni SosnoffDr. Sanford B. SternliebThendara FoundationFelicitas S. ThorneMargo and Anthony ViscusiMillie and Robert WiseThe Wise Family Charitable

Foundation

**deceasedAll lists current as of February 4, 2013

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Boards and Administration

Bard CollegeBoard of TrusteesDavid E. Schwab II ’52, Chair

EmeritusCharles P. Stevenson Jr., ChairEmily H. Fisher, Vice ChairElizabeth Ely ’65, Secretary; Life

TrusteeStanley A. Reichel ’65, Treasurer

Fiona AngeliniRoland J. AugustineLeon Botstein+ , President of the

CollegeJames Cox Chambers ’81

David C. ClappMarcelle Clements ’69*Melinda N. Donovan+Asher B. Edelman ’61

Paul S. Efron Robert S. Epstein ’63

Barbara S. Grossman ’73*Sally HambrechtGeorge F. Hamel Jr.Marieluise HesselMaja HoffmannMatina S. Horner+Charles S. Johnson III ’70

Mark N. KaplanGeorge A. KellnerMurray Liebowitz, Life TrusteeMarc S. LipschultzPeter H. Maguire ’88

James H. Ottaway Jr., Life TrusteeMartin PeretzStewart Resnick, Life TrusteeRoger N. Scotland ’93*The Rt. Rev. Mark S. Sisk, Honorary

TrusteeMartin T. Sosnoff Susan WeberPatricia Ross Weis ’52

Senior AdministrationLeon Botstein, PresidentDimitri B. Papadimitriou, Executive

Vice PresidentMichèle D. Dominy, Vice President

and Dean of the CollegeMary Backlund, Vice President for

Student Affairs and Director ofAdmission

Norton Batkin, Vice President andDean of Graduate Studies

Jonathan Becker, Vice President andDean for International Affairsand Civic Engagement

James Brudvig, Vice President forAdministration

John Franzino, Vice President forFinance

Susan H. Gillespie, Vice Presidentfor Special Global Initiatives

Max Kenner ’01, Vice President forInstitutional Initiatives

Robert Martin, Vice President forAcademic Affairs and Directorof The Bard CollegeConservatory of Music

Debra Pemstein, Vice President forDevelopment and Alumni/aeAffairs

The Richard B. Fisher Center for the Performing ArtsAdvisory BoardJeanne Donovan Fisher, ChairCarolyn Marks BlackwoodLeon Botstein+Stefano FerrariHarvey LichtensteinRobert Martin+Dimitri B. Papadimitriou+Martin T. SosnoffToni SosnoffFelicitas S. Thorne

AdministrationDebra Pemstein, Vice President for

Development and Alumni/aeAffairs

Bob Bursey, Senior ProducerGideon Lester, Director, Theater

and Dance ProgrammingMark Primoff, Director of

CommunicationsSusana Meyer, Producer,

SummerScape OperaMary Smith, Director of

PublicationsGinger Shore, Consultant to

PublicationsEleanor Davis, Media and

Marketing ManagerJoanna Szu, Marketing AssociateVincent Roca, Production ManagerStephen Dean, Production

Coordinator, Concerts &Lectures

Matthew Waldron ’07, ProductionCoordinator, Dance & Theater

Paul LaBarbera, Director of Audio-Visual Services

Mark Crittenden, FacilitiesManager

Jeannie Schneider, BusinessManager

Patrick King ’12, House ManagerSean Rucewicz, Assistant House

ManagerKay Schaffer, Assistant House

ManagerNicholas Reilingh, Box Office

Manager

Caitlyn DeRosa, Assistant BoxOffice Manager

Ray Stegner, Building OperationsManager

Doug Pitcher, Building OperationsCoordinator

Daniel DeFrancis, Staff AssistantRobyn Charter, Staff Assistant

The Bard Music FestivalBoard of DirectorsDenise S. Simon, ChairRoger AlcalyLeon Botstein+Michelle R. ClaymanRobert C. Edmonds ’68

Jeanne Donovan FisherChristopher H. Gibbs+Paula K. HawkinsSusan Petersen KennedyBarbara KennerGary LachmundMimi LevittThomas O. MaggsRobert Martin+Kenneth L. MironChristina A. MohrJames H. Ottaway Jr.Siri von ReisFelicitas S. Thorne

Artistic DirectorsLeon BotsteinChristopher H. GibbsRobert Martin

Executive DirectorIrene Zedlacher

Associate DirectorRaissa St. Pierre ’87

Scholar in Residence 2013

Tamara Levitz

Program Committee 2013

Byron AdamsLeon BotsteinChristopher H. GibbsTamara LevitzRobert MartinRichard WilsonIrene Zedlacher

Director of ChorusesJames Bagwell

Vocal Casting ConsultantSusana Meyer

+ ex officio * alumni/ae trustee

3636

About Bard College

Founded in 1860, Bard College in Annandale-on-Hudson, New York, is an independent, nonsec-tarian, residential, coeducational college offering a four-year B.A. program in the liberal arts andsciences and a five-year B.A./ B.S. degree in economics and finance. The Bard CollegeConservatory of Music offers a five-year program in which students pursue a dual degree—aB.Music and a B.A. in a field other than music—and offers an M.Music in vocal arts and in con-ducting. Bard also bestows an M.Music degree at Longy School of Music of Bard College inCambridge, Massachusetts. Bard and its affiliated institutions also grant the following degrees:A.A. at Bard High School Early College, a public school with campuses in New York City(Manhattan and Queens) and Newark, New Jersey; A.A. and B.A. at Bard College at Simon’s Rock:The Early College, in Great Barrington, Massachusetts, and through the Bard Prison Initiative atfive correctional institutions in New York State; M.A. in curatorial studies, and M.S. in environ-mental policy and in climate science and policy at the Annandale campus; M.F.A. and M.A.T. atmultiple campuses; M.B.A. in sustainability in New York City; and M.A., M.Phil., and Ph.D. in thedecorative arts, design history, and material culture at the Bard Graduate Center in Manhattan.Internationally, Bard confers dual B.A. degrees at the Faculty of Liberal Arts and Sciences, St.Petersburg State University, Russia (Smolny College); American University of Central Asia inKyrgyzstan; and ECLA of Bard: A Liberal Arts University in Berlin; as well as dual B.A. and M.A.T.degrees at Al-Quds University in the West Bank.

Bard offers nearly 50 academic programs in four divisions. Total enrollment for Bard Collegeand its affiliates is approximately 3,900 students. The undergraduate college has an enroll-ment of more than 1,900 and a student-to-faculty ratio of 10:1. For more information aboutBard College, visit www.bard.edu.

©2013 Bard College. All rights reserved.Cover St. John the Evangelist, Master of St. Francis, ca. 1270. Courtesy National Gallery of Art, Washington, D.C.Inside back cover ©Peter Aaron ’68/Esto

Join us at the Sosnoff Theater for a series of winter and spring concerts performed by students and faculty of The Bard College Conservatory of Music.

SPRING 2013 THE BARD COLLEGE CONSERVATORY OF MUSIC

Photo: Karl Rabe

SOSNOFF THEATERAll ticket sales benefit the Conservatory’s Scholarship Fund.

CONCERTO COMPETITION PRELIMINARY ROUNDFINAL ROUNDConservatory students compete for the opportunity to perform with the American Symphony Orchestra. Free and open to the public.

CONSERVATORY PERCUSSION ENSEMBLE WITH S O PERCUSSIONWorks by Reich, Harrison, Lansky, Quillen, and Treuting

CONSERVATORY ORCHESTRA Leon Botstein, music directorStravinsky FireworksProkofiev Violin Concerto No. 1, Shmuel Ashkenasi, violinShostakovich Symphony No. 10

APRIL 12 | 8 PM

MAY 11 | 8 PM

MARCH 8 | 10 AMMARCH 9 | 1 PM

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THE RICHARD B. FISHER CENTER FOR THE PERFORMING ARTS AT BARD COLLEGE

10TH ANNIVERSARY CELEBRATION

2013 marks the launch of a second decade of world-class performing arts programs at the Fisher Center. Join us for a packed season of music, theater, dance,

and performance from special guest artists and Bard students and faculty.

TICKETS ON SALE NOW

GUSTAV MAHLER’S SYMPHONY NO. 2

Members of the American Symphony Orchestra, Bard College Conservatory Orchestra, and Longy Conservatory Orchestra Conducted by Leon BotsteinHeather Buck, sopranoJamie Van Eyck, mezzo-sopranoMahler’s Second Symphony projects a powerful narra-tive of life triumphant over death.sosnoff theaterApril 26–27 at 8 pmTickets: $25, 30, 35, 40

AMERICAN SYMPHONY ORCHESTRAConducted by Leon BotsteinThis all-Wagner program includes Lohengrin: Preludes to Acts I and III; Tristan und Isolde: Prelude and Liebestod; and Die Walküre: Act I.sosnoff theaterApril 19–20 at 8 pmPreconcert Talk at 7 pmTickets: $25, 30, 35, 40

SO PERCUSSION AND STUDENTS CONCERTSo Percussion and The Bard College Conservatory of Music Percussion Program present their second annual spring concert at the Fisher Center. Works include music by Steve Reich, Lou Harrison, Paul Lansky, and other recent percussion masterworks.sosnoff theaterApril 12 at 8 pmTickets: $15 general admission; free to Bard students

JACK FERVER AND QWAN COMPANYNOTES!!! and SWAN!!!Live Arts Bard visiting artist Jack Ferver presents his QWAN (Quality Without a Name) Company in the dra-matic parodied readings of two well-loved screenplays, Notes from a Scandal and Black Swan. Suitable for mature and immature audiences, 15 years and older. sosnoff theater stage rightApril 3 at 7 pmTickets: $20; $5 for the Bard community

AN EVENING WITH NEIL GAIMAN AND AMANDA PALMERAn intimate night of spoken word, songs, stories, chats with the audience, and more than a few surprises with author Neil Gaiman (Coraline; The Graveyard Book) and musician/performance artist Amanda Palmer (Dresden Dolls; Amanda Palmer and the Grand Theft Orchestra).sosnoff theaterApril 6 at 8 pm Tickets: $25, 30, 35, 40

THE BACCHAEby EuripidesDirected by Lileana Blain-CruzTranslated by Ned Moore ’13The god Dionysus returns to Thebes to prove his divinity and punish the city’s unbelievers. This student produc-tion is presented in partnership with Bard’s Classical Studies Program.theater twoApril 11–13 at 7 pmApril 14 at 2 and 7 pmTickets: $15 general admission; free to Bard students

THE 2013 FACULTY DANCE CONCERTA dynamic evening of choreography by the faculty of the Bard College Dance Program, performed by students in the program.theater twoApril 26–27 at 7:30 pm and April 28 at 2 and 7:30 pmTickets: $15 general admission; free to Bard students

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

Please designate my gift toward: q Fisher Center Council q Bard Music Festival Council q Where it is needed most

Please charge my: q AmEx q Discover Card q MasterCard q Visa in the amount of $

Credit card account number Expiration date

Name as it appears on card (please print clearly)

Address

City State Zip code

Telephone (daytime) Fax E-mail

BECOME A FRIEND OF THE FISHER CENTER TODAY!

Since opening in 2003, The Richard B.Fisher Center for the Performing Arts

at Bard College has transformed cultural life in the Hudson Valley with

world-class programming. Our continued success relies heavily on individuals such as you. Become aFriend of the Fisher Center today.

Friends of the Fisher Center membership is designed to give

individual donors the opportunity to support their favorite programs

through the Fisher Center Council or Bard Music Festival Council. As aFriend of the Fisher Center, you will

enjoy a behind-the-scenes look atFisher Center presentations and

receive invitations to special eventsand services throughout the year.

Friend ($100–349)• Advance notice of programming• Free tour of the Fisher Center• Listing in the program

($5 of donation is not tax deductible)

Supporter ($350–749) All of the above, plus:• Invitation for you and a guest to a season preview event• Invitations to opening night receptions with the artists• Invitation for you and a guest to a select dress rehearsal

($5 of donation is not tax deductible)

Sponsor ($750–1,499) All of the above, plus:• Copy of the Bard Music Festival book• Invitation for you and a guest to a backstage technical

demonstration ($40 of donation is not tax deductible)

Patron ($1,500–4,999) All of the above, plus:• Opportunity to buy tickets before sales open to

the general public• Exclusive telephone line for Patron Priority handling

of ticket orders• Invitation for you and a guest to a pre-performance

dinner at a Hudson River Valley home($150 of donation is not tax deductible)

Producer/Benefactor ($5,000+) All of the above, plus:• Seat naming opportunity• Invitations to special events scheduled throughout the year• Opportunity to underwrite events

($230 of donation is not tax deductible)

Please return your donation to:

Richard B. Fisher Center for the Performing Arts

Bard CollegePO Box 5000

Annandale-on-Hudson NY12504-5000

fishercenter.bard.edu/support

SAV

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845-758-7900 | fishercenter.bard.eduBe the first in line for news of upcoming events, discounts,and special offers. Join the Fisher Center's e-newsletter atfishercenter.bard.edu.

BARDSUMMERSCAPE 2013

DANCE JULY 6–7

Bill T. Jones/Arnie Zane Dance Company and SITI CompanyA Rite

THEATER JULY 11–21

World Premiere Adaptation

The Master and Margaritaby Mikhail BulgakovA pungent political satire, a magical fantasy, and an unforgettable love story

OPERA JULY 26 – AUGUST 4

Oresteiaby Sergey TaneyevAeschylus’ powerful trilogy about the cursed House of Atreus

FILM FESTIVAL JULY 12 – AUGUST 3

Stravinsky’s Legacy and Russian Émigré CinemaRussian exile filmmaking in France and films by modern masters

SPIEGELTENTCabaret, music, fine dining, and more

and

THE 24TH ANNUAL BARD MUSIC FESTIVALStravinsky and His WorldAUGUST 9–11 and 16–18

The 2013 SummerScape season and the 24th Bard music Festival are made possible in part through the generous support of the Board of The Richard B. Fisher Center for thePerforming Arts at Bard College, the Board of the Bard Music Festival, and the Friends of the Fisher Center, as well as grants from the National Endowment for the Arts and the New York State Council on the Arts.