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Steely Dan: Celebrating Bard’s Iconic Alumni
More than 50 years after Donald Fagen and Walter Becker first met at Bard College, the College’s elite musicians come together for a first-of-its-kind concert celebrating the music of Steely Dan. Featuring a full rhythm section, horns, and background singers, the band will perform a selection of Steely Dan’s high-fidelity hits in exacting detail. Streamed live from Olin Hall in 2023.
Music Program Events
- 10/04SundayVarious Campus Locations
- 10/04Sunday3:00 pm – 5:00 pm EDT/GMT-4 TEMPO Performing Arts Center 29 Wurts Street Kingston, NY, 12401 United States
BE/WE photo by Fadi Kheir. Festival graphics by Saboteur Studios, UK.Sunday, October 4, 2026
Bard East/West Ensemble conducted by Jindong Cai
TEMPO Performing Arts Center 29 Wurts Street Kingston, NY, 12401 United States 3:00 pm – 5:00 pm EDT/GMT-4
As a part of the ninth annual China Now Music Festival, Chasing Dreams, the Bard East/West Ensemble celebrates America’s 250th anniversary by performing pieces from their recent tour. Returning home from a tour in China that took them to 8 cities for 15 performances, the ensemble will showcase their cross-cultural sound through unique arrangements of works by Aaron Copland, Astor Piazzolla, and Jiang Ying, among others.
The festival is co-presented by the US-China Music Institute of the Bard College Conservatory of Music and the Central Conservatory of Music, China. Follow this link for tickets to the TEMPO Performing Arts Center concert: https://tempokingston.org/events/bard_china_ensemble/ - 10/09Friday2:00 pm EDT/GMT-4 Chapel of the Holy Innocents
Photo courtesy of the Choir of the Music Education Institute, China. Friday, October 9, 2026
Chinese and American Folk Songs
Chapel of the Holy Innocents 2:00 pm EDT/GMT-4
The Choir of the Music Education Institute, Central Conservatory of Music, China is joined by guest chorus, the Xinsheng Chinese Choir of New York, for an afternoon in which Chinese folk songs and North American ballads share a stage.
The festival is co-presented by the US-China Music Institute of the Bard College Conservatory of Music and the Central Conservatory of Music, China. Follow this link for more information about the event: https://www.barduschinamusic.org/events/2026/8/19/chinese-and-american-folk-songs - 10/10Saturday3:00 pm – 5:00 pm EDT/GMT-4 Fisher Center, Sosnoff Theater
Saturday, October 10, 2026
Fisher Center, Sosnoff Theater 3:00 pm – 5:00 pm EDT/GMT-4
The theme of this year’s China Now Music Festival, “Chasing Dreams,” celebrates America’s 250th anniversary. The program features Zhou Long’s Men of Iron and the Golden Spike, a powerful symphonic oratorio honoring the thousands of Chinese laborers who came to America in the 1860s to build the Transcontinental Railroad that connected our coasts and transformed our nation. This epic work by the Pulitzer Prize winning composer includes a full orchestra, 120 choristers, and six soloists. Also featured is the U.S. premiere of Li Shaosheng’s five-movement symphonic suite Chasing the Sky, honoring humanity’s pursuit of space exploration. The festival is presented by the US-China Music Institute of the Bard College Conservatory of Music in collaboration with the Central Conservatory of Music, China.
Learn more at https://www.barduschinamusic.org/chasing-dreams - 10/10Saturday3:00 pm – 5:00 pm EDT/GMT-4 Fisher Center, Sosnoff Theater
The Orchestra Now photo by Fadi Kheir. Festival graphics by Saboteur Studios, UK.Saturday, October 10, 2026
The Orchestra Now Celebrates America's 250th Anniversary - Bard College
Fisher Center, Sosnoff Theater 3:00 pm – 5:00 pm EDT/GMT-4
The theme of this year’s China Now Music Festival, Chasing Dreams, celebrates America’s 250th anniversary. The program features Zhou Long’s Men of Iron and the Golden Spike, a powerful symphonic oratorio honoring the thousands of Chinese laborers who came to America in the 1860s to build the Transcontinental Railroad that connected our coasts and transformed our nation. This epic work by the Pulitzer Prize-winning composer includes a full orchestra, 120 choristers, and vocal soloists. Also featured is the U.S. premiere of Li Shaosheng’s five-movement symphonic suite Chasing the Sky, honoring humanity’s pursuit of space exploration. Conducted by Jindong Cai, The Orchestra Now is joined by the China Now Chorus and soloists including suona player Zhang Weiwei, soprano Lucy Fitz Gibbon, mezzo-soprano Ziqi Wang, tenor Li Yi, bass-baritone Yue Wu, bass Andrew Munn, and child soloist Wyatt Stephens.
The festival is co-presented by the US-China Music Institute of the Bard College Conservatory of Music and the Central Conservatory of Music, China. Follow this link for tickets to the concert: https://fishercenter.bard.edu/events/china-now-music-festival-chasing-dreams/
Music Program Newsroom
Professor Joan Tower Profiled in WHMT and the Daily Catch
Professor Joan Tower, who has been a member of Bard’s faculty for 54 years, was profiled in the Daily Catch and featured on Classical music station WHMT. A free concert celebrating Tower’s work will be held on October 3, featuring her music performed by Bard faculty, students, the Cassatt Quartet, and musicians of The Orchestra Now (TŌN). Tower said her goal as a professor is to help writers develop their own perspective. “We don’t try to burden our students with our style,” she said. “They develop their own voice, which is something I’m very proud of.”
Professor Joan Tower Profiled in WHMT and the Daily Catch
“[Tower] was larger than life for me [as a child],” Bard Artist in Residence and cellist Raman Ramakrishnan, who will perform at the celebratory concert, told the Daily Catch. “[Her music can be] stormy, serene, humorous, nostalgic, tender, or violent.” Tower said her goal as a professor is to help writers develop their own perspective. “We don’t try to burden our students with our style,” she said. “They develop their own voice, which is something I’m very proud of.”
The October 3 concert marks Tower’s 54 years at Bard with an evening of her music performed by Bard faculty, students, the Cassatt Quartet, and musicians of The Orchestra Now (TŌN). This celebratory concert is free and open to the public.
Post Date: 09-29-2026
The Orchestra Now at Bard College Revives Works of Composer Friedrich Gernsheim that Survived Destruction by Nazi Germany
Over the weekend, audiences at the Fisher Center’s Sosnoff Theater heard music that had not been performed in New York since 1913. The music was that of Friedrich Gernsheim, a masterful composer whose work was spirited away from Nazi Germany in the 1930s, and rarely heard since except in recordings.The Orchestra Now at Bard College Revives Works of Composer Friedrich Gernsheim that Survived Destruction by Nazi Germany
“The Gernsheim Festival: Rediscovering a Master” ran from September 18-20, featuring orchestral and chamber concerts as well as a panel discussion exploring Gersheim’s life and legacy. The concerts represented the public debut of the Gernsheim Rediscovery Initiative, a multi-year project led by The Orchestra Now (TŌN) the graduate orchestra at Bard College, conducted by Leon Botstein, dedicated to recovering and presenting the composer’s work to new audiences, starting at Bard.
Friedrich Gernsheim was a German-Jewish composer, conductor, and pianist. His work was systematically destroyed by the Nazis. A prodigious pianist, he settled in Berlin where he taught composition at the Prussian Academy of Fine Arts, while gaining recognition for his own compositions. Gernsheim died in 1916; 20 years later, in their effort to erase the contributions of Jewish artists and intellectuals, the Nazis destroyed Gernsheim’s printing plates, sheet music, and the remaining copies of a 1928 biography of the composer. In recent years, Gernsheim’s work has been the subject of renewed interest.
“Since about 30 years ago, there have been studio recordings of Gernsheim’s work, but what has been lacking in his rediscovery are live performances,” musicologist and Bard Visiting Associate Professor in the Music Program at Bard Peter Laki told the Daily Catch. “That’s why this festival is very important: It’s a wonderful concentration of Gernsheim that’s rarely seen anywhere in the world.”
The Music Program, one of the largest programs on Bard’s campus, provides a wide range of musical concentrations, from classical composition and performance to jazz, electronic music, musicology, ethnomusicology, and music theory. The Orchestra Now (TŌN) is a graduate program of Bard College that is training the next generation of music professionals to become creative ambassadors of classical music, offering a master’s degree or an advanced certificate.
Post Date: 09-24-2026
Fisher Center Performance of The Egyptian Helen reviewed in Opera Magazine
Opera Magazine’s Eric Myers wrote an admiring review of The Egyptian Helen, performed at the Sosnoff Theater as part of the 2026 Bard Summerscape Festival. The review noted “memorable” costume design and “impressive” production, and broadly praised the various vocal performances.Fisher Center Performance of The Egyptian Helen reviewed in Opera Magazine
The Strauss opera, described as difficult for performers and audiences alike, was staged by Christian Räth, conducted by Leon Bostein, and featured the American Symphony Orchestra and the Bard Festival Choir. The review concludes by noting Botstein’s long association with this specific work, having written about and recorded it extensively, making for an “exciting” interpretation that, according to Myers, “overcame many of the work’s difficulties."
Post Date: 09-24-2026
More Music News
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Bard Composer in Residence Missy Mazzoli featured in the New York Times
Bard Composer in Residence Missy Mazzoli featured in the New York Times
Bard Composer in Residence Missy Mazzoli was the subject of a New York Times feature article, on the occasion of the back-to-back world premieres for two operas she composed.
The Galloping Cure, cowritten with librettist Royce Vavrek, debuted as a Scottish Opera production at the Edinburgh International Festival; meanwhile, Lincoln in the Bardo is set to premier at the Metropolitan Opera—who also commissioned it—in October. The former opera has received rave reviews, according to the Times, for providing “politically urgent, musically eclectic works for a new generation of operagoers.” The Times of London labeled the latter opera as “one of the greatest operas of the century.”
The forthcoming Lincoln in the Bardo is based on George Saunders’s 2017 novel of the same name. Following the former American president through the Civil War while he is also grieving the death of his son, it engages themes of political polarization that remain relevant today. It will be the first world premiere opera at the Met that was written by a woman; Mazzoli is also one of two women to have been awarded Met commissions. Artistic director of the Graduate Vocal Arts Program, Stephanie Blythe, will also be featured in the new opera.
Mazzoli’s operas are written as much for new audiences as for traditional ones, she told the Times. “I don’t feel that opera has to stay stuck in the past,” Mazzoli said. “I really want my work to spark a conversation among the audience, with the critics, with the press. I just want people to come out asking more questions than they have answers.”
At 45, Mazzoli has already written seven operas, drawing from a wide range of musical styles and traditions that are expanding the definition of the operatic form. Mazzoli studied music in college and in graduate school, though she cites MTV as being as much an influence as anything from the operatic canon. The use of nontraditional instrumentation—including kazoos, in the case of Lincoln in the Bardo—further distinguishes Mazzoli as charting a new direction for opera. “The idea that opera is only for people in tuxedos, that is the perception we are fighting against,” she told the Times.
Mazzoli is faculty member in the Bard Music Program and the Bard College Conservatory of Music, whose mission is to provide the best possible preparation for a person dedicated to a life immersed in the creation and performance of music. She teaches classes on composition and new music, as well as giving private studio instruction for composition majors at Bard.
Post Date: 09-18-2026
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Bard College Presents an Evening of Jazz with Marilyn Crispell and Angelica Sanchez on September 8
Bard College Presents an Evening of Jazz with Marilyn Crispell and Angelica Sanchez on September 8
Jazz at Bard, by the Bard College music program, will present an evening with two of the most distinctive voices in creative music, Marilyn Crispell, jazz pianist and composer, and Angelica Sanchez, assistant professor of music at Bard.
The performance will be held on Tuesday, September 8, 2026, at 6:30 pm in the László Z. Bitó ’60 Conservatory building on Bard’s Annandale campus. Tickets start at $60. The concert will be followed with a wine and cheese reception, and all proceeds will benefit Jazz at Bard. To purchase tickets, please visit here.
Crispell, an NEA Jazz Master and 2025 and 2026 Mellon Foundation Jazz Legacy Fellow, has forged a singular musical language shaped by deep lyricism, fearless improvisation, and a lifelong commitment to artistic exploration. Her work with Anthony Braxton, Reggie Workman, Joe Lovano, Wadada Leo Smith, and many others has established her as one of the most influential pianists and composers in contemporary creative music. For more than four decades, Crispell has remained a pioneering force in avant-garde jazz, creating music that is both adventurous and deeply expressive.
Sanchez is an acclaimed composer, pianist, and educator whose music seamlessly integrates intricate compositional structures with the spontaneity of improvisation. A leading voice in modern creative music, Sanchez has collaborated with artists including Wadada Leo Smith, Paul Motian, Nicole Mitchell, Joe Lovano, Tim Berne, and Billy Hart. Her recordings have received widespread critical acclaim, with Sparkle Beings named one of The New York Times' Top Ten Jazz Recordings of 2022 and Nighttime Creatures selected among DownBeat's Best Recordings of 2023.
A centerpiece of this collaboration is their celebrated duo recording, How to Turn the Moon (Pyroclastic Records). Recognized in NPR's Critics Poll as one of the Top 50 Recordings of 2020, the album showcases an extraordinary musical dialogue between Crispell and Sanchez. Through expansive improvisations, subtle textures, and profound listening, the recording reveals the deep artistic connection shared by these two remarkable pianists. This performance brings that acclaimed partnership to the stage, offering audiences a rare opportunity to experience the artistry behind How to Turn the Moon live. Moving fluidly between composition and improvisation, Crispell and Sanchez create music of intimacy, intensity, and discovery, demonstrating the boundless expressive possibilities of the piano duo.
Post Date: 08-13-2026
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Bard Faculty Member Gwen Laster Awarded a MacDowell Fellowship
Bard Faculty Member Gwen Laster Awarded a MacDowell Fellowship
Gwen Laster, visiting artist in residence in music at Bard College, has been awarded a MacDowell Fellowship to the MacDowell Residency Program in the Music Composition category for spring/summer 2026. While in residence, Laster will complete work on her project, “Is My Black Still Beautiful: Reflections on a Childhood in Detroit,” a mixed-media staged play with original music, storytelling, dance, and projected visuals.
Laster’s project explores the global complexities of Colorism, a discriminatory practice within one’s own ethnic group based on a person’s complexion and skin tone, through the lens of a Black girl reared during the post–civil rights movement in Detroit. The music spans various genres from contemporary classical to Motown, blues, soul, R&B, and jazz—both free and traditional. “Is My Black Still Beautiful” will premiere in New York City on July 23 at Mabou Mines,and on September 26–27 at the Philipstown Depot Theater.
The Music Program, one of the largest programs on Bard’s campus, provides a wide range of musical concentrations, from classical composition and performance to jazz, electronic music, musicology, ethnomusicology, and music theory.
Post Date: 06-26-2026
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Bard Musician Franz Nicolay Testifies in Congress
Bard Musician Franz Nicolay Testifies in Congress
Franz Nicolay, visiting instructor of music at Bard College, spoke at a Congressional hearing about a Live Nation/Ticketmaster antitrust case, reported Chronogram. The case concerned the merger of Live Nation and Ticketmaster which has resulted in a monopoly on event ticket sales in the United States. “Live music hasn’t been a healthy competitive market,” said Nicolay during the hearing. “Instead, a vertically integrated corporation that controls venues and tour promotion and ticketing and artist management, to the almost total control of many music markets, is, to a comical degree, the epitome of the kind of monopolistic power that antitrust law was created to address.”
“We, as artists, simply don’t have the range of city-to-city, venue-to-venue choices that would constitute a healthy ecosystem,” Nicolay continued. “It’s a problem of affordability, in an economic climate which, through drastically increasing gas prices, airfare, postage and international shipping fees for merchandise, and hardening borders, is making the touring on which our livings depend increasingly unaffordable for musicians. And that increased overhead… has a corresponding effect on affordability and access for fans.”
The Music Program, one of the largest programs on Bard’s campus, provides a wide range of musical concentrations, from classical composition and performance to jazz, electronic music, musicology, ethnomusicology, and music theory.
Read more in Chronogram
Further Reading in Rural Intelligence
Post Date: 06-02-2026
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Composer in Residence Missy Mazzoli Profiled in the New York Times
Composer in Residence Missy Mazzoli Profiled in the New York Times
Bard Composer in Residence Missy Mazzoli was profiled in a New York Times article about the Luna Composition Lab, the mentorship program she founded with fellow composer Ellen Reid. They founded the lab after they realized they’d never experienced female mentorship in composing. “We took a good hard look at what we wished we had had,” said Mazzoli, and the two asked themselves, “What can we do to make this more diverse, more vital, more alive, more fun?” The Lab, which turns 10 this year, matches young and experienced composers who are female, nonbinary or gender nonconforming, and mentees receive eight months of mentorship and attend a music festival in New York. Now, Mazzoli and Reid are organizing musical events for LunaLab@10, an anniversary celebration of the program and its expanded reach. “We want the field to expand,” said Mazzoli, “and so bringing in gender diversity, racial diversity, economic income diversity, geographic diversity helps [the] field survive and thrive.”
Mazzoli is a Grammy-nominated composer and musician who has written operas including Lincoln in the Bardo and Proving Up that are based on contemporary literature. She teaches in the Bard College Conservatory of Music, which provides the best possible preparation for a person dedicated to a life immersed in the creation and performance of music.
Post Date: 05-28-2026
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James Bagwell Named Principal Conductor of the Tulsa Symphony Orchestra and Berkshire Bach Society
James Bagwell Named Principal Conductor of the Tulsa Symphony Orchestra and Berkshire Bach Society
Professor of Music James Bagwell, director of the music program at Bard College and director of performance studies in the Bard College Conservatory of Music, has been announced as the principal conductor of the Tulsa Symphony Orchestra, as well as principal conductor and director of choral music at the Berkshire Bach Society. Bagwell will assume a central artistic leadership role with Tulsa Symphony, helping shape programming and performances as the orchestra continues to expand its artistic vision and community impact. Bagwell was recognized by both organizations for the role he has played over the past two decades in creating a consistent record of excellence in choral performance. “These two appointments mark the culmination of a long artistic association with the Tulsa Symphony and Berkshire Bach,” said Bagwell. “I look forward to many more years of artistic collaborations with these two prestigious organizations.”
He has been a regular guest conductor for the Tulsa Symphony since 2007, leading it in performances of Mozart’s Requiem and Brahms’s Ein deutsches Requiem, returning in subsequent seasons to conduct Britten’s War Requiem, and Mahler’s First Symphony. “We are thrilled to welcome James Bagwell as principal conductor of the Tulsa Symphony Orchestra,” said Morgan Walker, executive director of Tulsa. “His long-standing relationship with the orchestra, combined with his depth of experience and artistic leadership, makes him the ideal partner as we look ahead to an exciting new chapter.”
Bagwell, who additionally serves as codirector of the Bard Conservatory Graduate Program in conducting and is associate conductor of The Orchestra Now (TŌN), also frequently appears as a guest conductor for orchestras around the country and abroad, including the Indianapolis Chamber Orchestra, the Interlochen Music Festival, and the Jerusalem Symphony. “I’ve long admired James Bagwell’s work as a choral conductor,” said Eugene Drucker, artistic director of Berkshire Bach, “specifically in the Berkshire Bach Society vocal concerts for which I’ve had the pleasure of serving as his concertmaster, and more generally in his meticulous preparation of the chorus for opera productions at Bard College’s Summerscape and for oratorio performances with the American Symphony Orchestra at Carnegie Hall.”
The Music Program, one of the largest programs on Bard’s campus, provides a wide range of musical concentrations, from classical composition and performance to jazz, electronic music, musicology, ethnomusicology, and music theory.
Post Date: 05-12-2026