Enjoy the Bard College Community Orchestra in concert, livestreamed from Olin Hall, featuring Maeve McKaig, violin soloist, in Max Bruch’s Kol Nidrei and music of Elgar, Mendelssohn, and Mozart. Conductors: Zachary Schwartzman and Erica Kiesewetter. This concert took place on November 16, 2020.
Monday, May 16, 2022 Campus Center – South Quad Lawn6:00 pm – 7:00 pm EDT/GMT-4
6:00 pm – 7:00 pm EDT/GMT-4 Campus Center – South Quad Lawn
5/16
Monday
Monday, May 16, 2022 Bitó Conservatory Building, Performance Space6:00 pm – 7:30 pm EDT/GMT-4 Composers from three centuries include: Florence Price, Dvořák-influencer Harry Burleigh, Robert Owens, Undine Smith Moore, George Walker, Margaret Bonds, Valerie Capers, Carlos Gomes, Lena McLin, Adolphus Hailstork, Leslie Adams, Camille Nickerson, and Rosephanye Powell.
Thursday, May 19, 2022 The Jazz Room, Blum N2116:30 pm – 8:00 pm EDT/GMT-4
6:30 pm – 8:00 pm EDT/GMT-4 The Jazz Room, Blum N211
Music Program Newsroom
Four Bard College Students Win Prestigious Gilman International Scholarships to Study Abroad
Four Bard College students, Asyl Almaz ’24, Nandi Woodfork-Bey ’22, Grant Venable ’24, and Azriel Almodovar ’24, have been awarded highly competitive Benjamin A. Gilman International Scholarships by the U.S. Department of State. Gilman Scholars receive up to $5,000, or up to $8,000 if also a recipient of the Gilman Critical Need Language Award, to apply toward their study abroad or internship program costs. The recipients of this cycle’s Gilman scholarships are American undergraduate students attending 536 U.S. colleges and represent 49 U.S. states, the District of Columbia and Puerto Rico, who will study or intern in 91 countries around the globe through April 2023.
Four Bard College Students Win Prestigious Gilman International Scholarships to Study Abroad
Four Bard College students have been awarded highly competitive Benjamin A. Gilman International Scholarships by the U.S. Department of State. Gilman Scholars receive up to $5,000, or up to $8,000 if also a recipient of the Gilman Critical Need Language Award, to apply toward their study abroad or internship program costs. The recipients of this cycle’s Gilman scholarships are American undergraduate students attending 536 U.S. colleges and represent 49 U.S. states, the District of Columbia and Puerto Rico, who will study or intern in 91 countries around the globe through April 2023.
Computer science and Asian studies joint major Asyl Almaz ’24, from Bishkek, Kyrgyzstan,has been awarded $4,000 towards her studies via Bard’s Tuition Exchange at Waseda University in Tokyo for fall 2022. “Coming from Bishkek, Kyrgyzstan, it has not been an easy journey immersing myself into a different culture when I moved to America for college—let alone another one. I am so incredibly grateful to receive the Gilman scholarship to be able to spend a semester in Waseda. This will ensure that I will be able to not only step foot in another country and learn so many new things about Asian history and culture, but also to be able to afford the expenses that I will have to pay there,” said Almaz.
Music and Asian studies joint major Nandi Woodfork-Bey ’22, from Sacramento, California,has been awarded $3,500 to study at the American College of Greece for fall 2022. “I’m immensely grateful to have received the Gilman Scholarship. I look forward to spending a semester abroad in Greece as I expand and diversify my studies in music and culture. Studying abroad will help me build the global and professional skills needed to succeed in my future endeavors, and I’m thankful that the Gilman program has further helped me achieve this opportunity” said Woodfork-Bey.
Theater major Grant Venable ’24, from Sherman Oaks, California, received a Gilman-DAAD scholarship andhas been awarded $5,000 to study at Bard College Berlin for fall 2022. “I am honored to be able to attend Bard College in Berlin with the help of the Gilman scholarship. This scholarship will allow me to pursue my passion for theater and challenge my work as a performance artist through my studies in Berlin,” said Venable.
Philosophy major Azriel Almodovar ’24, from Puerto Plata, Dominican Republic, has been awarded $3,500 to study in Taormina, Italy on Bard’s Italian Language Intensive program in summer 2022. “Thanks to the Gilman Scholarship, I am able to study abroad with no financial issues and really take advantage of all that the Italian Intensive Program has to offer. I am very grateful for being a recipient and look forward to my time abroad,” said Almodovar.
Since the program’s establishment in 2001, over 1,350 U.S. institutions have sent more than 34,000 Gilman Scholars of diverse backgrounds to 155 countries around the globe. The program has successfully broadened U.S. participation in study abroad, while emphasizing countries and regions where fewer Americans traditionally study.
As Secretary of State Anthony Blinken said, “People-to-people exchanges bring our world closer together and convey the best of America to the world, especially to its young people.”
The late Congressman Gilman, for whom the scholarship is named, served in the House of Representatives for 30 years and chaired the House Foreign Relations Committee. When honored with the Secretary of State’s Distinguished Service Medal in 2002, he said, “Living and learning in a vastly different environment of another nation not only exposes our students to alternate views but adds an enriching social and cultural experience. It also provides our students with the opportunity to return home with a deeper understanding of their place in the world, encouraging them to be a contributor, rather than a spectator in the international community.”
The Gilman Program is sponsored by the U.S. Department of State’s Bureau of Educational and Cultural Affairs (ECA) and is supported in its implementation by the Institute of International Education (IIE). To learn more, visit: gilmanscholarship.org
Bard College’s Division of the Arts is pleased to announce the appointment of pianist, composer, and educator Angelica Sanchez as assistant professor of music. Her tenure-track appointment begins in the 2022–23 academic year. Sanchez moved to New York from Arizona in 1995. Since moving to the East Coast Sanchez has collaborated with such notable artists as Wadada Leo Smith, Paul Motian, Richard Davis, William Parker, Jamaaladeen Tacuma, Nicole Mitchell, Rob Mazurek, Tom Rainey, Tim Berne, Mario Pavone, among others.
Bard College Appoints Angelica Sanchez as Assistant Professor of Music in the Division of the Arts
Bard College’s Division of the Arts is pleased to announce the appointment of Angelica Sanchez as assistant professor of music. Her tenure-track appointment begins in the 2022–23 academic year.
Pianist, composer, and educator Angelica Sanchez moved to New York from Arizona in 1995. Since moving to the East Coast Sanchez has collaborated with such notable artists as Wadada Leo Smith, Paul Motian, Richard Davis, William Parker, Jamaaladeen Tacuma, Nicole Mitchell, Rob Mazurek, Tom Rainey, Tim Berne, Mario Pavone, amongst others.
Her music has been recognized in national and international publications including Jazz Times, the New York Times, Down Beat, Jazziz and Chicago Tribune amongst others. She was also the 2008 recipient of a French/American Chamber Music America grant, the 2011 Rockefeller Brothers Pocantico artist residency, the 2021 Berklee Institute of Jazz and Gender Justice Score Compilation Grant, and the 2021 Civitella Fellowship, Italy.
Sanchez’ debut solo CD “A Little House” was featured on NPR’s Weekend Edition and her recording with Marilyn Crispell “How to Turn the Moon” was chosen as one of the best recordings of 2020 in the New York City Jazz Record and was voted as one of the top 50 best recordings in 2020, NPR critics poll. Sanchez leads numerous groups including her nonet that will release a new recording in 2022 on the Pyroclastic label. A new trio recording with Michael Formanek and Billy Hart will be released on Sunnyside Records in 2022. Sanchez holds a master’s degree from William Paterson University in Jazz Arranging. www.angelicasanchez.com
In an interview with Coda Story, Maria Sonevytsky, associate professor of anthropology and music, spoke to the history and future of Ukrainian music—a category which is itself under political dispute. In Sonevytsky’s work studying Ukrainian music and its relation to national identity, she has written widely about hybrid works that imagine futures, “even if just a wish for the survival of a past.” In addition to her scholarship on groups such as the Dakh Daughters and Vopli Vidopliassova, Sonevytsky is equally interested in street musicians, who even now play in the streets of Kyiv. “I’m thinking about very ordinary musicians, noncelebrities, who are playing music on the streets of Odesa or on the streets of Kyiv in defiance of this unjust war,” Sonevytsky says. “I think these ordinary acts of defiance, these people playing music on the streets as they’re surrounded by barricades and sandbags, have been incredibly moving to watch.”
Bard Professor Maria Sonevytsky on the Power of Ukrainian Music to Document the Past and Imagine the Future
In an interview with Coda Story, Maria Sonevytsky, associate professor of anthropology and music, spoke to the history and future of Ukrainian music—a category which is itself under political dispute. In Sonevytsky’s work studying Ukrainian music and its relation to national identity, she has written widely about hybrid works that imagine futures, “even if just a wish for the survival of a past.” In addition to her scholarship on groups such as the Dakh Daughters and Vopli Vidopliassova, Sonevytsky is equally interested in street musicians, who even now play in the streets of Kyiv. “I’m thinking about very ordinary musicians, noncelebrities, who are playing music on the streets of Odesa or on the streets of Kyiv in defiance of this unjust war,” Sonevytsky says. “I think these ordinary acts of defiance, these people playing music on the streets as they’re surrounded by barricades and sandbags, have been incredibly moving to watch.”
Songwriter Lily Konigsberg ’16’s Lifelong Journey to Unconventional Pop Perfection
Best known as one-third of Palberta—the anarchic pop-rock group formed with fellow Bardians Ani Ivry-Block ’15 and Nina Ryser ’15—the 26-year-old songwriter steps out on her own with The Best of Lily Konigsberg Right Now, a solo compilation that brings together three of Konigsberg’s pop-leaning solo EPs and a handful of previously unreleased songs. “On first listen, the collection stands up as a debut album in its own right, showcasing Konigsberg’s breadth as a pop songwriter, from the rich a cappella harmonies of ‘Rock and Sin’ to the bubblegum throb of ‘It’s Just Like All the Clouds’ to the pretty, carefree-sounding folk of ‘Roses,’” writes Alex Robert Ross in Fader. “But the story of Konigsberg’s growth as a songwriter and a person is buried beneath the tracklist.”
Bard Faculty Erika Switzer and Lucy Fitz Gibbon Share $30,000 National Endowment for the Arts Grant
The National Endowment for the Arts has approved a $30,000 Grants for Arts Projects award for “Freedom on the Move: Songs in Flight,” a project envisioned and led by art song organization Sparks & Wiry Cries for the commission of two world premieres and a subsequent performance tour in 2023. This ambitious musical project is a direct response to Cornell University’s Freedom on the Move (FOTM) database, housing digitized, searchable fugitive slave advertisements, resulting in a co-commission by Sparks & Wiry Cries and the Philadelphia Chamber Music Society. The grant was written by Sparks cofounders Martha Guth, Ithaca College, and Erika Switzer, Bard artist in residence; director, Postgraduate Collaborative Piano Fellowship; and faculty in Bard’s undergraduate Music Program, Graduate Vocal Arts Program, and Conservatory of Music, with Sparks Managing Editor Lucy Fitz Gibbon, faculty in Bard College's Conservatory of Music and Graduate Vocal Arts Program.
The first commission is a song cycle by composer Shawn Okpebholo featuring four prominent classical musicians—soprano Karen Slack, countertenor Reginald Mobley, baritone Will Liverman, and pianist and Bard Conservatory faculty Howard Watkins—interlaced with material curated and performed by the singer and multi-instrumentalist Rhiannon Giddens. Okpebholo’s cycle sets poetry curated by Tsitsi Ella Jaji, Duke University, whose work along with that of poet Crystal Simone Smith, Duke University, contextualizes and responds to documents in the FOTM database. This interdisciplinary song cycle will be accompanied by a choral work by Joel Thompson, drawing on the Spiritual tradition as well as the FOTM database. After a New York City premiere in early 2023, the project will travel to Philadelphia, Durham, and the Finger Lakes region of New York, in performances co-presented by the Philadelphia Chamber Music Society, Lincoln University, Duke University, Cornell University, Ithaca College, the Harriet Tubman Home, Inc., in partnership with Sparks & Wiry Cries.
This project is among the more than 1,100 projects across America totaling nearly $27 million that were selected during this second round of Grants for Arts Projects fiscal year 2021 funding.
“As the country and the arts sector begin to imagine returning to a post-pandemic world, the National Endowment for the Arts is proud to announce funding that will help arts organizations such as Cornell’s Music Department reengage fully with partners and audiences,” said NEA Acting Chairman Ann Eilers. “Although the arts have sustained many during the pandemic, the chance to gather with one another and share arts experiences is its own necessity and pleasure.”
For more information on the projects included in the Arts Endowment grant announcement, visit arts.gov/news.
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About Sparks & Wiry Cries Sparks & Wiry Cries curates opportunities for art song creators, performers, and scholars through innovative initiatives that capture the stories of our diverse communities. For more information, visit sparksandwirycries.org.
About Freedom on the Move Due to the breaking of family bonds and the illegality of literacy amongst enslaved people, there remains a paucity of written records to track individual lives during the period of slavery. The Freedom on the Move database notes that it compiles “thousands of stories of resistance that have never been accessible in one place. Created to control the movement of enslaved people, the ads ultimately preserved the details of individual lives—their personality, appearance, and life story. Taken collectively, the ads constitute a detailed, concise, and rare source of information about the experiences of enslaved people.” Cornell Department of History’s Dr. Ed Baptist and William Block, director of the Cornell Institute for Social and Economic Research (CISER), are the principal investigators for FOTM, a joint project of the Department of History, CISER and Cornell University Library. Songs in Flight seeks to bring awareness to these individuals and to the creative possibilities made possible through FOTM, building a living monument to this erased history by highlighting stories of strength rather than stories of oppression. For more information, visit freedomonthemove.org.
About Bard College Founded in 1860, Bard College is a four-year residential college of the liberal arts and sciences located 90 miles north of New York City. With the addition of the Montgomery Place estate, Bard’s campus consists of nearly 1,000 parklike acres in the Hudson River Valley. It offers bachelor of arts, bachelor of science, and bachelor of music degrees, with majors in nearly 40 academic programs; graduate degrees in 11 programs; eight early colleges; and numerous dual-degree programs nationally and internationally. Building on its 161-year history as a competitive and innovative undergraduate institution, Bard College has expanded its mission as a private institution acting in the public interest across the country and around the world to meet broader student needs and increase access to liberal arts education. The undergraduate program at our main campus in upstate New York has a reputation for scholarly excellence, a focus on the arts, and civic engagement. Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders. For more information about Bard College, visit bard.edu.
James H. Ottaway Jr. Professor of Music Christopher H. Gibbs Awarded 2021–22 Berlin Prize by the American Academy in Berlin
The American Academy in Berlin has awarded Christopher H. Gibbs, James H. Ottaway Jr. Professor of Music at Bard College, a 2021-22 Berlin Prize. The Berlin Prize is awarded annually to American or US-based scholars, writers, composers, and artists who represent the highest standards of excellence in their fields, from the humanities and social sciences to journalism, public policy, fiction, the visual arts, and music composition. Gibbs, who is also artistic codirector of the Bard Music Festival and a professor at the Bard College Conservatory of Music, was named a spring 2022 Berlin Prize fellow. Fellows spend a semester at the Academy’s lakeside Hans Arnhold Center, a historic nineteenth-century villa located in Berlin’s Wannsee district.
“Gibbs has long been committed to so-called public musicology, especially to forging links between music scholarship and general audiences through curated concerts and festivals,” writes the American Academy in Berlin in its award citation. “In Berlin, he will explore the past, present, and future of concert life in the city.”
“I am thrilled by the opportunity to think intensely about curation, something familiar with museums but much less so with music,” said Gibbs. “Berlin’s rich musical history and its innovative scene today provide abundant material to help reimage the future, especially in the wake of the pandemic and amid struggles for social justice.”
About the 2021-22 Berlin Prize Chosen by an independent selection committee, the 2021-22 class of Berlin Prize fellows will pursue a wide array of scholarly and artistic projects, including histories of the legalities of small wars among European empires, the Visigothic political order, competing conceptions of self-government in English and American political thought, Algerian Jewish life, and the Greek Revolution; two new novels and a graphic memoir; investigations into lithium extraction in the US, Chile, and Argentina; EU-China-US relations in the context of global supply chains; the relationship between declining coal-use and the rise of populism; European attitudes toward global democratic decline; and new works by a composer, translator, and two visual artists.
The Berlin Prize provides recipients the time and resources to advance important scholarly and artistic projects, free from the constraints of other professional obligations. Fellows work throughout the semester with Berlin peers and institutions in the Academy’s well-established network, forging meaningful connections that lead to lasting transatlantic relationships. During their stays, fellows engage German audiences through lectures, readings, and performances, which form the core of the American Academy’s public program. For more information, click here.
About Christopher H. Gibbs Christopher H. Gibbs is James H. Ottaway Jr. Professor of Music at Bard College; faculty, Bard College Conservatory of Music; and artistic codirector, Bard Music Festival. He is the executive editor of The Musical Quarterly; editor of The Cambridge Companion to Schubert (1997); author of The Life of Schubert (2000), which has been translated into five languages; coeditor of Franz Liszt and His World (2006) and Franz Schubert and His World (2014); and coauthor of The Oxford History of Western Music, College Edition (2013; 2nd ed., 2018). He is a contributor to New Grove Dictionary of Music and Musicians, 19th-Century Music, Schubert durch die Brille, Current Musicology, Opera Quarterly, and Chronicle of Higher Education. Additionally, he has served as program annotator and musicological consultant to the Philadelphia Orchestra (2000– ); musicological director of the Schubertiade at the 92nd Street Y in New York City; musicological adviser for the Schubert Festival at Carnegie Hall (1997); and artistic codirector of the Bard Music Festival (2003– ). Among Gibbs’s previous honors were the Dissertation Prize of the Austrian Cultural Institute, ASCAP–Deems Taylor Award, and American Council of Learned Societies fellowship. He previously taught at SUNY Buffalo (1993–2003). BA, Haverford College; MA, MPhil, PhD, Columbia University. At Bard since 2002.
About Bard College Founded in 1860, Bard College is a four-year residential college of the liberal arts and sciences located 90 miles north of New York City. With the addition of the Montgomery Place estate, Bard’s campus consists of nearly 1,000 parklike acres in the Hudson River Valley. It offers bachelor of arts, bachelor of science, and bachelor of music degrees, with majors in nearly 40 academic programs; graduate degrees in 11 programs; eight early colleges; and numerous dual-degree programs nationally and internationally. Building on its 161-year history as a competitive and innovative undergraduate institution, Bard College has expanded its mission as a private institution acting in the public interest across the country and around the world to meet broader student needs and increase access to liberal arts education. The undergraduate program at our main campus in upstate New York has a reputation for scholarly excellence, a focus on the arts, and civic engagement. Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders. For more information about Bard College, visit bard.edu.
Lake Street Dive Band Members Discuss the Impact of Singer-Songwriter Akie Bermiss ’05 on the Band’s New Album, Obviously
“Akie was one of my favorite singers, before he joined the band,” singer Rachael Price tells Variety. “I was literally starstruck when he joined. I was like, I cannot believe somebody of this caliber of voice is sitting behind me playing piano.” Bassist Bridget Kearney adds, “(Akie) has many talents that he brings to the table and contributed a lot to the writing on this record and also of course to the character of the recordings, not only with his keyboard playing, but with his singing.”
Artist George Condo to Support New Concert Series, Scholarships, and Exhibitions at Bard College
Bard College announced today that artist George Condo has made a significant gift supporting the arts on campus, including a new online concert series and a dedicated $400,000 fund underwriting scholarships, musical events, and exhibitions at Bard’s Conservatory of Music, The Orchestra Now, the Center for Curatorial Studies, and the Masters in Fine Art programs. Among those scholarships is the new Inclusive Excellence in Music Scholarship Program that addresses inequities in access to higher education in music.
“The Condo Concerts,” presented by the Bard College Conservatory of Music and CCS Bard, begins February 19with a performance by violinist Leila Josefowicz, winner of the Avery Fisher Prize and a MacArthur Fellowship, and continues with recitals by The Fred Sherry Quartet on March 14 and April 18, and clarinetist Anthony McGill on May 2. Full details on upcoming performances follow below.
“During one of the most challenging times for colleges in the United States, I wanted to provide both funding and inspirational programming for students,” says Condo, whose daughter, Raphaelle, graduated from Bard in 2018. “Bard College is a place where my daughter thrived and one where the arts are central to the student experience.”
“We are grateful to George Condo for his support not only of the students at Bard, but also for underwriting these concerts and supporting the great musicians on this series, whose opportunities to perform have been so limited by the pandemic,” said Bard Conservatory Director Franks Corliss.
In establishing this fund, Condo created a special edition etching being sold through Hauser & Wirth, with all proceeds dedicated to supporting the arts at Bard. For more information on purchasing Condo’s etching, contact Cristopher Canizares at Hauser & Wirth.
About the Condo Concert Series The first concert in the series, streaming February 19 at 8 pm, is a solo performance by the internationally renowned violinist Leila Josefowicz, winner of the Avery Fisher Prize and a MacArthur Fellowship. Her program combines a Partita by J. S. Bach with a new work by the noted conductor and composer Matthias Pintscher, La Linea Evocativa, that was composed for her in 2020 and inspired by Condo’s artwork.
For the next two concerts, streaming on March 14 and April 18, Josefowicz will perform as part of the Fred Sherry String Quartet with her renowned colleagues, violinist Jesse Mills, violist Hsin-Yun Huang, and cellist Fred Sherry, to perform string quartets by Schoenberg and Schubert, and other works to be announced.
The final concert in the series will be a recital by clarinetist Anthony McGill, who is the principal clarinet of the New York Philharmonic and a recipient of the 2020 Avery Fisher Career Prize.
The Condo Concerts Spring 2021 programs
Friday, February 19, at 8 pm Matthias Pintscher La Linea Evocativa(2020) Bach Partita No. 2 BWV 1004 Leila Josefowicz, violin
Sunday, March 14, at 3 pm Schoenberg String Quartet #1, Opus 7 Fred Sherry String Quartet, with Leila Josefowicz and Jesse Mills, violins, Hsin-Yun Huang, viola, and Fred Sherry, cello.
Sunday, April 18, at 7 pm Schubert String Quartet No. 15 in G Major Fred Sherry String Quartet, with Leila Josefowicz and Jesse Mills, violins, Hsin-Yun Huang, viola, and Fred Sherry, cello.
About the Artists Leila Josefowicz’s passionate advocacy of contemporary music for the violin is reflected in her diverse programs and enthusiasm for performing new works. In recognition of her outstanding achievement and excellence in music, she won the 2018 Avery Fisher Prize and was awarded a prestigious MacArthur Fellowship in 2008, joining prominent scientists, writers and musicians who have made unique contributions to contemporary life.
Highlights of Josefowicz’s 2019/20 season include opening the London Symphony Orchestra’s season with Sir Simon Rattle and returning to San Francisco Symphony with the incoming Music Director Esa-Pekka Salonen to perform his Violin Concerto. Other engagements include concerts with Los Angeles Philharmonic, NDR Elbphilharmonie Orchester, Orchestre de la Suisse Romande, Chicago Symphony Orchestra, City of Birmingham Symphony Orchestra and the Cleveland and Philadelphia orchestras, where she will be working with conductors at the highest level, including Susanna Mälkki, Matthias Pintscher and John Adams.
A favourite of living composers, Josefowicz has premiered many concertos, including those by Colin Matthews, Steven Mackey and Esa-Pekka Salonen, all written specially for her. This season, she will perform the UK premiere of Helen Grime’s Violin Concerto with the BBC Symphony Orchestra and Dalia Stasevska. Other recent premieres include John Adams’ Scheherazade.2 (Dramatic Symphony for Violin and Orchestra) in 2015 with the New York Philharmonic and Alan Gilbert, and Luca Francesconi’s Duende – The Dark Notes in 2014 with Swedish Radio Symphony Orchestra and Susanna Mälkki. Josefowicz enjoyed a close working relationship with the late Oliver Knussen, performing various concerti, including his violin concerto, together over 30 times.
Alongside pianist John Novacek, with whom she has enjoyed a close collaboration since 1985, Josefowicz has performed recitals at world-renowned venues such as New York’s Zankel Hall, Washington DC’s Kennedy Center and London’s Wigmore Hall, as well as in Reykjavik, Chicago, San Francisco and Santa Barbara. This season, they appear together at Washington DC’s Library of Congress, New York’s Park Avenue Armory and Amherst College. She will also join Thomas Adès in recital to perform the world premiere of his new violin and piano work at Fondation Louis Vuitton in Paris and the Japanese premiere at the Tokyo Opera City Cultural Foundation.
Recent highlights include engagements with the Berliner Philharmoniker, Royal Concertgebouw Orchestra, Washington’s National Symphony Orchestra, Tonhalle-Orchester Zürich and Boston and Finnish Radio symphony orchestras. In summer 2019, Josefowicz took part in a special collaboration between Los Angeles Philharmonic, the Royal Ballet, and Company Wayne McGregor featuring the music of composer-conductor Thomas Adès.
Josefowicz has released several recordings, notably for Deutsche Grammophon, Philips/Universal and Warner Classics and was featured on Touch Press’s acclaimed iPadapp, The Orchestra. Her latest recording, released in 2019, features Bernd Alois Zimmermann’s Violin Concerto with the Finnish Radio Symphony Orchestra conducted byHannu Lintu. She has previously received nominations for Grammy Awards for her recordings of Scheherazade.2 with the St Louis Symphony conducted by David Robertson, and Esa-Pekka Salonen’s Violin Concerto with the Finnish Radio Symphony Orchestra conducted by the composer.
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Violist Hsin-Yun Huang has forged a career by performing on international concert stages, commissioning and recording new works, and nurturing young musicians. Highlights of her 2017–2018 season included performances as soloist under the batons of David Robertson, Osmo Vänskä, Xian Zhang, and Max Valdés in Beijing, Taipei, and Bogota. She is also the first solo violist to be presented in the National Performance Center of the Arts in Beijing and was featured as a faculty member with Yo-Yo Ma and his new initiative in Guangzhou. She has commissioned compositions from Steven Mackey, Shih-Hui Chen, and Poul Ruders. Her 2012 recording for Bridge Records, titled Viola Viola, won accolades from Gramophone and BBC Music Magazine. Her next recording will be the complete unaccompanied sonatas and partitas of J. S. Bach, in partnership her husband, violist Misha Amory.
Ms. Huang regularly appears at festivals, including Marlboro, Spoleto, Ravinia, Santa Fe, and [email protected], among many others. Huang first came to international attention as the gold medalist in the 1988 Lionel Tertis International Viola Competition. In 1993, she was the top-prize winner in the ARD International Competition in Munich and was awarded the highly prestigious Bunkamura Orchard Hall Award. A native of Taiwan, she received degrees from the Yehudi Menuhin School, the Curtis Institute of Music, and The Juilliard School. She now serves on the faculties of Juilliard and Curtis and lives in New York City.
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Two-time Grammy nominated violinist Jesse Mills performins music of many genres, from classical to contemporary, as well as composed and improvised music of his own. Since his concerto debut at the Ravinia Festival in Chicago, Mr. Mills has performed throughout the U.S. and Canada. He has been a soloist with the Phoenix Symphony, the Colorado Symphony, the New Jersey Symphony, the Green Bay Symphony, Juilliard Chamber Orchestra, the Denver Philharmonic, the Teatro Argentino Orchestra (in Buenos Aires, Argentina), and the Aspen Music Festival's Sinfonia Orchestra.
As a chamber musician Jesse Mills has performed throughout the U.S. and Canada, including concerts at Lincoln Center's Alice Tully Hall, Carnegie Hall, the 92nd Street Y, the Metropolitan Museum, the Kennedy Center in Washington, DC, Boston's Gardener Museum, Chicago’s Ravinia Festival, and the Marlboro Music Festival. He has also appeared at prestigious venues in Europe, such as the Barbican Centre of London, La Cité de la Musique in Paris, Amsterdam’s Royal Carré Theatre, Teatro Arcimboldi in Milan, and the Palais des Beaux Arts in Brussels. Mills is co-founder of Horszowski Trio and Duo Prism, a violin-piano duo with Rieko Aizawa, which earned 1st Prize at the Zinetti International Competition in Italy in 2006.
Mills is also known as a pioneer of contemporary works, a renowned improvisational artist, as well as a composer. He earned Grammy nominations for his performances of Arnold Schoenberg's music, released by NAXOS in 2005 and 2010. He can also be heard on the Koch, Centaur, Tzadik, Max Jazz and Verve labels for various compositions of Webern, Schoenberg, Zorn, Wuorinen, and others. As a member of the FLUX Quartet from 2001-2003, Mills performed music composed during the last 50 years, in addition to frequent world premieres. As a composer and arranger, Mills has been commissioned by venues including Columbia University’s Miller Theater, the Chamber Music Northwest festival in Portland, OR and the Bargemusic in NYC.
Jesse Mills began violin studies at the age of three. He graduated with a Bachelor of Music degree from The Juilliard School in 2001. He studied with Dorothy DeLay, Robert Mann and Itzhak Perlman. Mr. Mills lives in New York City, and he is on the faculty at Longy School of Music of Bard College and at Brooklyn College.
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Fred Sherry has introduced audiences on five continents and all fifty United States to the music of our time for over five decades. He was a founding member of TASHI and Speculum Musicae, Artistic Director of the Chamber Music Society of Lincoln Center, and has been a member of the Group for Contemporary Music, Berio's Juilliard Ensemble and the Galimir String Quartet. He has also enjoyed a close collaboration with jazz pianist and composer Chick Corea. Elliott Carter, Mario Davidovsky, Steve Mackey, David Rakowski, Somei Satoh, Charles Wuorinen and John Zorn have written concertos for Sherry, and he has premiered solo and chamber works dedicated to him by Milton Babbitt, Derek Bermel, Jason Eckardt, Lukas Foss, Oliver Knussen, Peter Lieberson, Donald Martino and Toru Takemitsu among others.
Fred Sherry’s vast discography encompasses a wide range of classic and modern repertoire; he has been soloist and “sideman” on hundreds of commercial and esoteric recordings. Mr. Sherry was the organizer for Robert Craft’s New York recording sessions from 1995-2012. Their longstanding collaboration produced celebrated performances of the Schoenberg Cello Concerto, all four String Quartets and the String Quartet Concerto as well as major works by Stravinsky and Webern.
Mr. Sherry's book 25 Bach Duets from the Cantatas was published by Boosey & Hawkes in 2011, the revised edition was released in 2019. C.F. Peters unveiled his treatise on contemporary string playing, A Grand Tour of Cello Technique in 2018. He is a member of the cello faculty of The Juilliard School, The Mannes School of Music and The Manhattan School of Music.
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Clarinetist Anthony McGill is one of classical music’s most recognizable and brilliantly multifaceted figures. He serves as the principal clarinet of the New York Philharmonic — that orchestra’s first African-American principal player — and maintains a dynamic international solo and chamber music career. Hailed for his “trademark brilliance, penetrating sound and rich character” (The New York Times), as well as for his “exquisite combination of technical refinement and expressive radiance” (The Baltimore Sun), McGill also serves as an ardent advocate for helping music education reach underserved communities and for addressing issues of diversity, equity, and inclusion in classical music. He was honored to take part in the inauguration of President Barack Obama, premiering a piece written for the occasion by John Williams and performing alongside violinist Itzhak Perlman, cellist Yo-Yo Ma, and pianist Gabriela Montero.
McGill’s 2019-20 season includes the premiere of a new work by Tyshawn Sorey at the 92Y, and a special collaboration with mezzo-soprano Joyce DiDonato at Carnegie Hall. He will be a featured soloist at the Kennedy Center performing the Copland concerto at the SHIFT Festival of American Orchestras with the Jacksonville Symphony, and will also perform concertos by Copland, Mozart, and Danielpour with the Richmond, Delaware, Alabama, Reno, and San Antonio Symphonies. Additional collaborations include programs with Gloria Chien, Demarre McGill, Michael McHale, Anna Polonsky, Arnaud Sussman, and the Pacifica Quartet.
McGill appears regularly as a soloist with top orchestras around North America including the New York Philharmonic, Metropolitan Opera, Baltimore Symphony, San Diego Symphony, and Kansas City Symphony. As a chamber musician, McGill is a favorite collaborator of the Brentano, Daedalus, Guarneri, JACK, Miró, Pacifica, Shanghai, Takacs, and Tokyo Quartets, as well as Emanuel Ax, Inon Barnatan, Gloria Chien, Yefim Bronfman, Gil Shaham, Midori, Mitsuko Uchida, and Lang Lang. He has led tours with Musicians from Marlboro and regularly performs for the Chamber Music Society of Lincoln Center and the Philadelphia Chamber Music Society. Festival appearances include Tanglewood, Marlboro, Mainly Mozart, [email protected], and the Santa Fe, Seattle, and Skaneateles Chamber Music Festivals.
In January 2015, McGill recorded the Nielsen Clarinet Concerto together with Alan Gilbert and the New York Philharmonic, which was released on DaCapo Records. He also recorded an album together with his brother Demarre McGill, principal flute of the Seattle Symphony, and pianist Michael McHale; and one featuring the Mozart and Brahms Clarinet Quintet with the Pacifica Quartet that were both released by Cedille Records.
A dedicated champion of new music, in 2014, McGill premiered a new piece written for him by Richard Danielpour entitled “From the Mountaintop” that was commissioned by the New Jersey Symphony, Kansas City Symphony, and Orchestra 2001. McGill served as the 2015-16 Artist-in-Residence for WQXR and has appeared on Performance Today, MPR’s St. Paul Sunday Morning, and Mr. Roger’s Neighborhood. In 2013, McGill appeared on the NBC Nightly News and on MSNBC, in stories highlighting the McGill brothers’ inspirational story.
A graduate of the Curtis Institute of Music, McGill previously served as the principal clarinet of the Metropolitan Opera and associate principal clarinet of the Cincinnati Symphony Orchestra. In-demand as a teacher, he serves on the faculty of the Juilliard School, the Curtis Institute of Music, and Bard College’s Conservatory of Music. He also serves as the Artistic Advisor for the Music Advancement Program at the Juilliard School, on the Board of Directors for both the League of American Orchestra and the Harmony Program, and the advisory council for the InterSchool Orchestras of New York.
US-China Music Institute Presents The Sound of Spring, a Chinese New Year Concert with The Orchestra Now and Guests
The US-China Music Institute presents its second annual concert of symphonic music to celebrate the Lunar New Year in collaboration with musicians both here in New York and abroad.
The Sound of Spring will be offered free online in a livestream from the Fisher Center at Bard at 8 p.m. on Saturday, February 13. The program will feature a new performance by The Orchestra Now, conducted by Jindong Cai, along with performances from special guests including the Central Conservatory of Music Chinese Chamber Orchestra, the China NCPA Orchestra, the Hong Kong Chinese Orchestra, and the Contemporary Legend Theater from Taiwan. For information and reservations, click here.
The evening will be hosted by acclaimed pipa performer Wu Man and conductor Jindong Cai, who is the director of the US-China Music Institute. Musical selections include works by Tan Dun, Bao Yuankai, Wu Man, Julian Yu, Li Shaosheng, and more, plus a very special excerpt of a Chinese opera style adaptation of Shakespeare’s A Midsummer Night’s Dream.
Soloists include Wu Man performing a world premiere of her own composition for the pipa responding to this special time we are all experiencing; pianist and Bard faculty member Blair McMillan in the US-premiere of Li Shaosheng’s Spring China Capriccio; and Bard College Conservatory of Music undergraduate erhu major Beitong Liu performing with The Orchestra Now in two arrangements of traditional Chinese folk tunes. Kunqu opera masters Wu Hsing-kuo and Wei Han-min are the lead performers in the Contemporary Legend Theater adaptation of A Midsummer Night’s Dream.
The beginning of the concert will feature Tan Dun’s Internet ‘Eroica’ symphony to honor the many heroes worldwide who are working to combat the pandemic. The symphony will first be performed by the YouTube Symphony Orchestra conducted by Tan Dun, and then followed by a rearrangement of the same piece for the Hong Kong Chinese Orchestra using all Chinese instruments.
The program also offers a sampling of traditional and contemporary Chinese symphonic, chamber, solo, and theatrical music, showcasing different regional folk traditions, as well as blending Chinese and Western instruments and musical forms. Musical selections will send a message of hope, gratitude, renewal, and new beginnings, in the spirit of the Chinese New Year tradition of the Spring Festival.
“The Lunar New Year is celebrated by people all around the world. This is the year of the Ox, which symbolizes strength and determination. We created this year’s program to give people some feelings of hope and looking forward to the future. We hope through music we can give you inspiration.” - Jindong Cai
Conductor Jindong Cai is director of the US-China Music Institute, professor of music and arts at Bard College, and associate conductor of The Orchestra Now. Over his 30-year career in the United States, Cai has established himself as an active and dynamic conductor, scholar of Western classical music in China, and leading advocate of music from across Asia. Born in Beijing, Cai received his early musical training in China, where he learned to play violin and piano. He came to the United States for his graduate studies at the New England Conservatory and the College-Conservatory of Music in Cincinnati. In 1989, he was selected to study with famed conductor Leonard Bernstein at the Tanglewood Music Center, and won the Conducting Fellowship Award at the Aspen Music Festival in 1990 and 1992.
Cai started his professional conducting career with the Cincinnati Symphony Orchestra, and has worked with numerous orchestras throughout North America and Asia. He maintains strong ties to his homeland and has conducted most of the top orchestras in China. Cai has served as the principal guest conductor of the China Shenzhen Symphony Orchestra since 2012. He is a three-time recipient of the ASCAP Award for Adventurous Programming of Contemporary Music. Cai serves as the principal guest conductor of the Mongolia State Academic Theatre of Opera and Ballet in Ulaanbaatar. In 2004 he joined Stanford University faculty as director of orchestral studies and conducted the Stanford Symphony Orchestra for 11 years. He is also the founder of the Stanford Pan-Asian Music Festival. Cai founded the US-China Music Institute at the Bard Conservatory in 2017 and created the Institute’s the annual China Now Music Festival in the following year. In its first two seasons, China Now presented new works by some of the most important Chinese composers of our time, with concerts performed at Lincoln Center, Carnegie Hall, Bard’s Fisher Center, and Stanford University.
Together with his wife Sheila Melvin, Cai has coauthored many articles on the performing arts in China and the book Rhapsody in Red: How Western Classical Music Became Chinese. Their latest book, Beethoven in China: How the Great Composer Became an Icon in the People’s Republic, was published by Penguin in September 2015.
Recognized as the world’s premier pipa virtuoso, Wu Man is a soloist, educator and composer who gives her lute-like instrument—which has a history of more than 2,000 years in China—a new role in both traditional and contemporary music. Wu Man has premiered hundreds of new works for the pipa, while spearheading multimedia projects to both preserve and create global awareness of China’s ancient musical traditions. Projects she has initiated have resulted in the pipa finding a place in new solo and quartet works, concertos, opera, chamber, electronic, and jazz music as well as in theater productions, film, dance, and collaborations with visual artists. She has performed in recital and with major orchestras around the world, is a frequent collaborator with ensembles such as the Kronos Quartet and Shanghai Quartets and The Knights, and is a founding member of the Silkroad Ensemble. Wu Man has appeared in more than 40 recordings throughout her career, including seven Nominee Awards and the Silkroad Ensemble’s Grammy Award-winning recording Sing Me Home, featuring her own composition. She is also a featured artist in the 2015 documentary The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble.
Born in Hangzhou, China, Wu Man studied at the Central Conservatory of Music in Beijing, where she became the first recipient of a master's degree in pipa. At age 13, she was hailed as a child prodigy and became a nationally recognized role model for young pipa players. She subsequently received first prize in the First National Music Performance Competition, among other awards, and participated in many premieres of works by Chinese composers. She moved to the U.S. in 1990 and was awarded the Bunting Fellowship at Harvard University in 1998. Wu Man was the first Chinese traditional musician to receive the United States Artist Fellowship (2008) and the first artist from China to perform at the White House. In 2013, she was named Musical America’s Instrumentalist of the Year. Now she is a distinguished Professor at both the Zhejiang and the Xi'an Conservatory, China. Wu Man serves as artistic advisor and teaches master classes for the US-China Music Institute of the Bard College Conservatory of Music.
Pianist Blair McMillan is a member of the faculty of the Bard College Department of Music. He studied at Oberlin College, The Juilliard School, and the Manhattan School of Music. A pianist, chamber musician, improviser, concert series curator, his appearances as soloist include Carnegie Hall, Avery Fisher Hall, le Poisson Rouge, Moscow Conservatory, Casals Hall (Tokyo), Miller Theatre. He has performed with American Symphony Orchestra, Orchestra of St. Luke's, Albany Symphony, Juilliard Orchestra (Lincoln Center and tour of Japan). He is a member of the Da Capo Chamber Players, American Modern Ensemble, and the Avian Orchestra. His solo recordings include Soundings (Midnight Productions), Concert Music of Fred Hersch (Naxos), and Multiplicities '38 (Centaur). He has been at Bard since 2006.
About the Presenters
The US-China Music Institute was founded in 2018 by conductor Jindong Cai and Robert Martin, founding director of the Bard College Conservatory of Music, with the mission to promote the study, performance, and appreciation of music from contemporary China and to support musical exchange between the United States and China. In partnership with the prestigious Central Conservatory of Music in Beijing, the Institute has embarked on several groundbreaking projects including the first degree-granting program in Chinese instrument performance in a U.S. conservatory. barduschinamusic.org
Recognized as one of the finest conservatories in the United States, Bard College Conservatory of Music is guided by the principle that young musicians should be broadly educated in the liberal arts and sciences to achieve their greatest potential. The mission of the Conservatory is to provide the best possible preparation for a person dedicated to a life immersed in the creation and performance of music. The five-year, double-degree program combines rigorous conservatory training with a challenging and comprehensive liberal arts program. All Conservatory students pursue a double degree in a thoroughly integrated program and supportive educational community. Graduating students receive a bachelor of music and a bachelor of arts in a field other than music. At the Bard Conservatory the serious study of music goes hand in hand with the education of the whole person. Founded in 2005 by cellist and philosopher Robert Martin, the Conservatory welcomed the composer Tan Dun as its new dean in the summer of 2019. bard.edu/conservatory
The Orchestra Now (TŌN) is a group of vibrant young musicians from across the globe who are making orchestral music relevant to 21st-century audiences. They are lifting the curtain on the musicians’ experience and sharing their unique personal insights in a welcoming environment. Conductor, educator, and music historian Leon Botstein founded TŌN in 2015 as a master’s degree program at Bard College, where he also serves as president. The orchestra is in residence at Bard’s Richard B. Fisher Center for the Performing Arts, presenting multiple concerts there each season as well as taking part in the annual Bard Music Festival. It also performs regularly at the finest venues in New York and beyond, including Carnegie Hall, Lincoln Center, the Metropolitan Museum of Art, and elsewhere. The orchestra has performed with many distinguished conductors, including Fabio Luisi, Neeme Järvi, Gerard Schwarz, and JoAnn Falletta. theorchestranow.org
The Fisher Center at Bard develops, produces, and presents performing arts across disciplines through new productions and context-rich programs that challenge and inspire. As a premier professional performing arts center and a hub for research and education, the Fisher Center supports artists, students, and audiences in the development and examination of artistic ideas, offering perspectives from the past and present, as well as visions of the future. The Fisher Center demonstrates Bard’s commitment to the performing arts as a cultural and educational necessity. Home is the Fisher Center for the Performing Arts, designed by Frank Gehry and located on the campus of Bard College in New York’s Hudson Valley. The Fisher Center offers outstanding programs to many communities, including the students and faculty of Bard College, and audiences in the Hudson Valley, New York City, across the country, and around the world. Building on a 160-year history as a competitive and innovative undergraduate institution, Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders. fishercenter.bard.edu
Coached by Erika Switzer Blum Hall12:30 pm – 1:30 pm EDT/GMT-4 Featuring: LEO CRONAN-COUNTERTENOR GARRICK NEUNER- BASS/BARITONE LEXI LANNI-SOPRANO RYAN MICHKI- TENOR ERIKA SWITZER- PIANO
Thursday, May 12, 2022
Olin Hall8:00 pm – 10:00 pm EDT/GMT-4
Thursday, May 12, 2022
Blum Hall7:00 pm – 9:00 pm EDT/GMT-4
Tuesday, May 10, 2022
Blum Hall8:00 pm – 9:00 pm EDT/GMT-4
Monday, May 9, 2022
The Jazz Room - Blum N2118:00 pm – 9:00 pm EDT/GMT-4
Monday, May 9, 2022
Performing Music from Bali Bard Hall5:30 pm – 6:30 pm EDT/GMT-4
Sunday, May 8, 2022
Bard Hall6:00 pm – 7:30 pm EDT/GMT-4
Friday, May 6, 2022
8:30 pm – 9:30 pm EDT/GMT-4
Thursday, May 5, 2022
Olin Hall8:00 pm – 10:00 pm EDT/GMT-4 Come hear the students of the Jazz Vocal Workshop perform their annual spring selection of jazz standards and new jazz sounds.
Chapel of the Holy Innocents7:30 pm – 8:30 pm EDT/GMT-4
Friday, April 29, 2022
And other works by J.S. and Johann Bernhard Bach Bard Baroque Ensemble in collaboration with Bard Chamber Singers Preparatory Chorus Graduate Vocal Arts Program Olin Hall7:00 pm – 9:00 pm EDT/GMT-4
Thursday, April 28, 2022
Blum N211, the jazz room8:30 pm – 9:30 pm EDT/GMT-4
Wednesday, April 27, 2022
Chapel of the Holy Innocents7:00 pm – 8:00 pm EDT/GMT-4
Tuesday, April 26, 2022
Blum Hall8:00 pm – 9:30 pm EDT/GMT-4 Greg Stuart is a percussionist whose work draws upon a mixture of music from the experimental tradition, Wandelweiser, improvisation, and electronics. His performances have been described as “a ghostly, gorgeous lesson in how close, concentrated listening can alter and enhance perception” (The New York Times). Since 2006, he has collaborated extensively with the composer Michael Pisaro, producing a large body of music comprised of pieces that focus on the magnification of small sounds through recording and layering, often in combination with field recordings and/or electronic sound. Stuart holds a D.M.A. and M.A. from the University of California, San Diego, and a BMus from Northwestern University. He is currently an Associate Professor at the University of South Carolina School of Music in Columbia, SC where he teaches experimental music, music history, and runs the Experimental Music Workshop.Stuart will join Professor Sarah Hennies’s students from the MUS 214 “Sound Art”class in a performance of music by Pauline Oliveros and the world premiere of “Oxbow (2)” by Greg Stuart, composed expressly for Bard students. The concert will also feature a piece of improvised music performed by Stuart and Professor Hennies.
Monday, April 25, 2022
Fisher Center, Sosnoff Theater8:00 pm – 10:00 pm EDT/GMT-4 Featuring soloists from our annual concerto competition.
Sunday, April 24, 2022
18 musicians including a brass quintet, a string quartet, percussion duo, and more Bitó Conservatory Building, Performance Space4:00 pm – 6:00 pm EDT/GMT-4 Live stream link: https://tools.bard.edu/wwwmedia/files/99962499/117/Music%20Alive%20Concert%20Program%20Spring%2022.pdf
Program link: https://tools.bard.edu/wwwmedia/files/99962499/117/Music%20Alive%20Concert%20Program%20Spring%2022.pdf
Saturday, April 23, 2022
The Bard College Community Jazz Orchestra will present a program of music by American Composers in Theatre to Hard bop to Free jazz. Bitó Conservatory Building, Performance Space3:00 pm – 5:00 pm EDT/GMT-4 Featuring the Bard College Community Jazz Orchestra, the Bard College Percussion Ensemble and Thurman Barker's ensemble performing the music of Henry Mancini, Richard Rogers, Horace Silver and Thurman Barker.
Featured guest for this concert will be pianist composer NOAH BARKER from NOISEBODY.
Program link: https://tools.bard.edu/wwwmedia/files/99962499/114/Senior%20Recital%20I%20Program%20PDF%20Version.pdf
Wednesday, April 20, 2022
Blum Hall7:30 pm – 8:00 pm EDT/GMT-4
Tuesday, April 19, 2022
Caroline Davis & Portals, featuring Caroline Davis (alto saxophone), Jonathan Finlayson (trumpet), Julian Shore (piano), Chris Tordini (bass), and Allan Mednard (drums) Blum Hall2:00 pm – 3:00 pm EDT/GMT-4 Mobile since her birth in Singapore, musician and composer Caroline Davis covers diverse musical styles. Recent albums include My Tree’s Where The Grace Is and Portals: Volume 1. She won Downbeat’s Critic’s Poll Rising Star Alto-Saxophonist (2018) and was listed in Downbeat’s Readers Poll (2021). Davis has played with Lee Konitz, The Femme Jam, Matt Mitchell, Terry Riley, Sara Serpa, Miles Okazaki, Angelica Sanchez, and Billy Kaye. She has been in residence at MacDowell and awarded Jerome Hill, CMA, and NYFA grants. Her compositions integrate science and music, influenced by her Ph.D. Davis is an advocate for gender equity (TIAM, The New School) and abolition (Justice for Keith Lamar).
Blum N211, the jazz room5:00 pm – 6:00 pm EDT/GMT-4 Salim Washington will discuss the origins and development of jazz music and the imaginary that surrounds it, with a special focus on the revolutionary potential and the ways in which it functions in our society.
Salim Washington is the inaugural International Visiting Professor of African American and African Diasporic Studies at Columbia University. Washington is also a cluster leader and head of department of Performing Arts, as well as a professor at University of Kwa-Zulu Natal (Durban, South Africa). A composer and reedsman, he performs on the flute, tenor saxophone, oboe, and bass clarinet. He also studied other instruments including mbira and hand drums. Prof Washington is a widely published scholar of Black culture and music. His interests include the Black Atlantic, afrofuturism, jazz and other vernacular musics, and diasporic film and literature. Washington is now completing the following titles: Beautiful Nightmare: John Coltrane, Jazz, and American Culture and Notes from Mzansi: The South African Jazz Imaginary. Washington performed at the Pan African Space Station in Cape Town, South Africa in 2021
Saturday, April 9, 2022
Bard Baroque Ensemble in collaboration with the Graduate Vocal Arts Program Chapel of the Holy Innocents7:30 pm – 8:30 pm EDT/GMT-4
Tuesday, April 5, 2022
Blum N211, the jazz room5:00 pm – 6:00 pm EDT/GMT-4 Musicians have created their unique sound by building language through analysis, assimilation, and performance. There are countless strategies for this, but how do we build language and unity in an ensemble? With fewer playing opportunities, it can be challenging to get the performance time necessary to make these deep meaningful connections. This lecture examines different strategies using music parameters, like texture, rhythm, and dynamics, to create unity in an ensemble. Learn how to develop a “band sound” and gain a heightened sense of listening awareness.
Pianist/Composer/Educator Angelica Sanchez moved to New York from Arizona in 1994. Sanchez leads numerous groups, the most recent being her Nonet which features Chris Speed, Michael Attias, Thomas Heberer, Kenny Warren, Ben Goldberg, John Hebert, Omar Tamez, and Sam Ospavot. Her music has been recognized in national and international publications including Jazz Times, The New York Times, Chicago Tribune amongst others. She was also the 2008 recipient of a French/American Chamber Music America grant, the 2011 Rockefeller Brothers Pocantico artist residency and the 2021 Civitella Fellowship, Italy.
Sanchez’s debut solo CD “A Little House” was featured on NPR’s Weekend Edition and her recording “Wires & Moss” featuring her Quintet was chosen as one of best Releases of 2012 in “The New York City Jazz Record (formerly AllAboutJazz-New York).” Her recording “Twine Forest” a duo with Wadada Leo Smith received Honorable Mention as one of the best releases of 2013 in "The New York City Jazz Record." Her latest trio project “Float The Edge” features Michael Formanek and Tyshawn Sorey and has garnered wide critical acclaim. Her new piano duo "How to Turn the Moon," with Marilyn Crispell was voted as one of the top 50 best recordings in 2020, NPR critics poll.
Angelica Sanchez has a Masters Degree in Arranging from William Paterson University. She is currently on faculty at The New School of Jazz and Contemporary Music and Princeton University.
Wednesday, March 16, 2022
Bard Hall8:00 pm – 10:00 pm EDT/GMT-4
Tuesday, March 15, 2022
Rob Cosgrove and Taylor Long (SUNY Stony Brook) with Matt Sargent (Bard College) Bitó Conservatory Building, Performance Space7:00 pm – 9:00 pm EDT/GMT-4 Performing music by Sarah Hennies, Kimia Koochakzadeh-Yazi, Sarah Belle-Reid, Matt Sargent, and Samuel Carl Adams.
https://youtu.be/rYwoRr8q7tI
Tuesday, March 15, 2022
Lecture by Brendon M. Wilkins Blum N211, the Jazz Room5:00 pm – 6:00 pm EDT/GMT-4 Throughout history, jazz musicians have established a tradition of transforming existing compositions into new music by combining the intrinsic ideas in the composition with their own personal ideas. By analyzing the content found in other compositions, jazz musicians today can discover new compositional ideas that can be a source of inspiration for new pieces of music.
Brendon M. Wilkins is a multi-instrumentalist performer and educator who is involved in both classical and jazz woodwind performance. Brendon has performed in various musical mediums throughout the United States and has maintained active teaching studios in-person and online in New York, Texas, and Florida.
Brendon’s active musical career has led to performances with Jose Aponte, The Barcelona Clarinet Players, Scott Belck, Wayne Bergeron, Ron Carter, John Clayton, Carey Deadman, Rosana Eckert, Gregg Field, Quamon Fowler, Keith Ganz, Marshall Gilkes, Gordon Goodwin, Frank Greene, Stefon Harris, Jimmy Heath, Steve Houghton, Hugh Jackman, Sean Jones, Audrey Ochoa, Brad Leali, Sal Lozano, Johnny Mathis, Joe McBride, Marcus Miller, Christian McBride, Kate McGarry, Chris Potter, Rashawn Ross, Rex Richardson, Eric Scortia, Doc Severinsen, Jim Walker, Jiggs Whigham, and many others.
Tuesday, March 1, 2022
Blum Hall8:00 pm – 9:30 pm EST/GMT-5 The Blow is Melissa Dyne and Khaela Maricich. A shape-shifting entity, The Blow has taken various forms over time and manifests in an array of media, employing popular music as a vehicle for broader explorations. Operating between contexts and genres, the duo works with sound recording, performance, installation, writing, and physical media, aiming to address and expand the limitations encountered within each framework. Their self-titled album The Blow, released in 2013, was listed among the top-ten songs of 2013 by New York Times, and was NPR music editor Bob Boilen’s #1 album of that year. They have been curating WOMANPRODUCER.com, a multi-platform archive of female music producers, engineers and sonic innovators, since 2014. Their performances have been presented at The Kitchen, The Wexner Center, Artists Space, The Warhol Museum, On The Boards, Portland Institute of Contemporary Art, as well as in traditional music venues such as The Henry Fonda Theater, Great American Music Hall, Joe’s Pub, and The Gramercy Theater. They live and work in New York City. womanproducer.com melissadyne.com khaelamaricich.com
Friday, February 25, 2022
Blum Hall7:00 pm – 9:00 pm EST/GMT-5
Sunday, February 6, 2022
Companions Fisher Center, LUMA Theater3:00 pm – 5:00 pm EST/GMT-5
Saturday, February 5, 2022
Companions Fisher Center, LUMA Theater7:30 pm – 9:30 pm EST/GMT-5