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Bard SummerScape 2015 Explores Life and Times of Mexico’s Carlos Chávez with Eight-Week Arts Festival in New York’s Hudson Valley (June 25–Aug 16)

Includes 26th Bard Music Festival, “Chávez and His World”; First American Staging of Ethel Smyth’s Opera The Wreckers; and New, Intimate Version of Oklahoma!


Mark Primoff
845-758-7412
primoff@bard.edu
02-16-2015

Annandale-on-Hudson, N.Y. – This summer marks an historic season for the annual Bard SummerScape festival. Turning for the first time to Latin America, Bard expands its horizons with eight weeks of music, opera, theater, dance, film, and cabaret, all keyed to the theme of the 26th Bard Music Festival, “Chávez and His World.” This intensive exploration of the life and times of Carlos Chávez, the central figure in 20th-century Mexican music, also represents something of a homecoming, for it is a full decade since SummerScape last trained its focus on the New World. Addressing questions of American identity, and of marginalization by the classical community, the music festival provides the inspiration for SummerScape’s other key highlights. These include the first fully-staged American production of The Wreckers, the foremost opera by Dame Ethel Smyth, whose work is still only rarely programmed; a revelatory and highly unusual chamber version of Rodgers and Hammerstein’s quintessential celebration of Americana, Oklahoma!; an al fresco presentation of Everything by my side, a performance-installation by Argentina’s Fernando Rubio; Pam Tanowitz Dance performing a world premiere set to the music of Chávez and more, featuring live music by the FLUX Quartet; a film series titled “Reinventing Mexico”; and the return of Bard’s authentic and sensationally popular Spiegeltent, hosted by Justin Vivian Bond. Taking place between June 25 and August 16 in the Frank Gehry-designed Richard B. Fisher Center for the Performing Arts and other venues on Bard College’s idyllic Hudson River campus, the 2015 offerings serve as a reminder that SummerScape is, as the New York Times put it, “ever a hotbed of intellectual and aesthetic adventure.”

London’s Times Literary Supplement lauds Bard SummerScape as “the most intellectually ambitious of America’s summer music festivals.” The New Yorker calls it “one of the major upstate festivals,” while Bloomberg News calls it, “the smartest mix of events within driving distance of New York.” Travel and Leisure reports, “Gehry’s acclaimed concert hall provides a spectacular venue for innovative fare.” Newsday calls SummerScape “brave and brainy,” Huffington Post dubs it “a highbrow hotbed of culture,” Musical America judges it “awesomely intensive,” GALO (Global Art Laid Out) magazine names it “one of the great artistic treasure chests of the tri-state area and the country,” and the International Herald Tribune pronounces it “seven weeks of cultural delight.” As the New York Sun observes, “Bard … offers one of the best lineups of the summer for fans of any arts discipline.” Summarizing SummerScape’s manifold appeal, the New York Post confesses, “It's hard not to find something to like, and it’s even harder to beat the setting: the gleaming, Frank Gehry-designed Fisher Performing Arts Center in bucolic Annandale-on-Hudson.”

Bard SummerScape 2015 – highlights by genre

Music: Bard Music Festival, “Chávez and His World”

Founded by co-artistic director Leon Botstein, it is the Bard Music Festival – “the summer’s most stimulating music festival” (Los Angeles Times) – that provides the creative inspiration for SummerScape. Drawing on recent scholarship, the festival’s signature thematic programming, multi-disciplinary approach, and emphasis on context and reception history make for a depth and breadth of cultural discovery that appeals to classical music novices and aficionados alike. Since its inception in 1990, the Bard Music Festival has enriched the standard concert repertory with a wealth of important rediscoveries; as the New York Times points out, “wherever there is an overlooked potential masterpiece, Leon Botstein is not too far behind.” “One of the most remarkable figures in the worlds of arts and culture” (NYC Arts, THIRTEEN/WNET), Botstein also serves as music director of the American Symphony Orchestra, which will be in residence throughout SummerScape. Besides leading the music festival’s orchestral programs, he looks forward to conducting this season’s annual staged opera, The Wreckers.

The 26th season of the Bard Music Festival presents “Chávez and His World,” an illuminating series of orchestral, choral, and chamber concerts – as well as pre-concert talks and panel discussions – devoted to examining the life and times of Carlos Chávez (1899–1978). A protean force as composer, conductor, and cultural ambassador, Chávez embodied 20th century Mexican music. While incorporating modernist techniques into his music, he was also among the first to reference his homeland’s indigenous past, and played a crucial part in the “indigenismo” movement, celebrating his native culture. In a handful of major works, Chávez drew inspiration and strength from Mexican themes, and it was his synthesis of markers of Mexican identity with modernist techniques that led Aaron Copland to judge him “one of the first authentic signs of a New World with its own new music.”

As a conductor, Chávez not only founded the Orquesta Sinfónica de México, directing it for more than two decades, but also guest conducted such leading U.S. ensembles as the Boston Symphony, Cleveland Orchestra, Los Angeles Philharmonic, and Philadelphia Orchestra, championing works by composers including Copland, Colin McPhee, Henry Cowell, and Amadeo Roldán, and leading Mexican premieres of music by Stravinsky, Shostakovich, Hindemith, Milhaud, and Falla. Through his work as a governmental arts administrator and founder of several major Mexican cultural institutions, among them the Instituto Nacional de Bellas Artes, Chávez brought international visibility to Mexican musical and cultural life.

Achieving such visibility remains, however, a work in progress. Despite the tireless efforts of Chávez and other of his compatriots, their compositions are still all too seldom programmed in U.S., European, and Asian concert halls, and very few have achieved anything like broad recognition by the concert-going public. Bard seeks to redress this balance, taking Chávez’s life and career as the prism through which to examine a vibrant cultural period in Mexico and Latin America. His life encompassed the Mexican Revolution, which was followed by a period of cultural renaissance in literature, film, the visual arts, and music, providing rich material for a reassessment of his homeland.

 

The numerous offerings that make up the 2015 Bard Music Festival take place during SummerScape’s two final weekends: on August 7–9, Weekend One investigates The Musical Voice of Mexico, and on August 14–16, Weekend Two explores Mexico, Latin America, and Modernism. Eleven concert programs, built thematically and spaced over the two weekends, address such themes as the relationship between the Latin American and U.S. musical scenes; the role of the European emigrés; the legacy and influence of Spain; Mexican musical traditions; Chávez’s work as conductor; and his place among the other outstanding Latin composers of the 20th century. The work of Silvestre Revueltas, Alberto Ginastera, and Heitor Villa-Lobos will be heard, as will Mexican choral music of the past five centuries. Along with music by Chávez’s predecessors, contemporaries, and musical descendants, a broad sampling of his own music will be heard, from his solo pieces for piano and percussion to large-scale orchestral works like the Symphonía india and H.P., Ballet Symphony. Three thought-provoking panel discussions will be supplemented by informative pre-concert talks and commentaries, which illuminate each concert’s themes and are free to ticket holders.

Since the founding of the Bard Music Festival, Princeton University Press has published a companion volume of new scholarship and interpretation for each season, with essays and translated documents relating to the featured composer and his world. Scholar-in-Residence Leonora Saavedra is the editor of the upcoming 2015 volume, Carlos Chávez and His World.

Dubbed “part boot camp for the brain, part spa for the spirit” by the New York Times, the Bard Music Festival has impressed critics worldwide. NPR named it “one of the ‘10 Can’t-Miss Classical Music Festivals,” and on his blog, Boston Globe journalist Steve Smith confessed:

“For an unrepentant music geek like me, the Bard Music Festival is simply irresistible: a fabulous wealth of music by a major composer from the classical tradition, surrounded and contextualized with works by forebears, peers, colleagues, friends, enemies, students, followers – you name it.”

In the New Yorker, Alex Ross commented: “At Bard, the talks and panels are nearly as well attended as the concerts: this audience wants to think about the music, not merely bathe in it.” As the Wall Street Journal’s Barrymore Laurence Scherer affirmed:

“The Bard Music Festival … no longer needs an introduction. Under the provocative guidance of the conductor-scholar Leon Botstein, it has long been one of the most intellectually stimulating of all American summer festivals and frequently is one of the most musically satisfying. Each year, through discussions by major scholars and illustrative concerts often programmed to overflowing, Bard audiences have investigated the oeuvre of a major composer in the context of the society, politics, literature, art, and music of his times.”

This season is made possible in part through the generous support of the Board of the Bard Music Festival and the Friends of the Fisher Center, as well as grants from The Andrew W. Mellon Foundation, the National Endowment for the Arts, and the New York State Council on the Arts. Additional underwriting has been provided by Jeanne Donovan Fisher, James H. Ottaway Jr., Felicitas S. Thorne, Helen and Roger Alcaly, Bettina Baruch Foundation, Michelle R. Clayman, Margo and Anthony Viscusi, and the Furthermore Foundation. Special support has also been provided by the Mrs. Mortimer Levitt Endowment Fund for the Performing Arts.

Opera: The Wreckers

As a Victorian-born Englishwoman – and a bisexual suffragette, at that – Dame Ethel Smyth (1858–1944) faced challenges comparable to those of the Latin American composers. Her music was largely marginalized by the musical establishment during her lifetime, and even today, her works are rarely programmed. Although her one-act opera Der Wald has the distinction of remaining the only work by a female composer ever produced at the Metropolitan Opera, The Wreckers (1902-4), her greatest contribution to the genre, has yet to be staged in the United States. Yet her craft was such that Smyth counted Tchaikovsky and Debussy among her admirers, and thanks to the muscular vigor of her writing, The Wreckers was considered by Sir Thomas Beecham, conductor of its London premiere, as “one of the three or four English operas of real musical merit and vitality.” Moreover, in its depiction of the nefarious Cornish coastal practice of luring ships onto the rocks to plunder them, The Wreckers addresses the potential dangers of mass hysteria, populist justice, and unquestioned religious faith, all issues with profound resonance for audiences today. Indeed, in 2007, when Leon Botstein led the American Symphony Orchestra in the opera’s first U.S. concert performance at Avery Fisher Hall, it received a warm welcome. As the New York Times realized, “The Wreckers gets your attention. It charges at the audience with all guns blazing. … Smyth knew what she was doing.” As for the performance, the Times noted, “Mr. Botstein responded with a bang-up (literally) performance, one of the best he has ever put on.

As the long overdue first American staging of The Wreckers, Bard’s production not only offers the chance to hear Botstein and the American Symphony Orchestra reprise their celebrated interpretation, but marks a major historical milestone. Returning to direct it is European Opera Prize-winner Thaddeus Strassberger, who scored previous SummerScape hits with Le roi malgré lui, Les Huguenots, Der ferne Klang, and 2013’s first full American staging of Sergei Taneyev’s Oresteia. This was pronounced “a revelation” by the Financial Times, which concluded: “Some of the most important summer opera experiences in the U.S. are not at the better known festivals but at Bard SummerScape.Musical America agreed: “Bard’s annual opera has become an indispensable part of the summer operatic landscape because the choice of works is invariably inspired and their productions distinctively creative.” Bard’s original treatment of The Wreckers will run for five performances (July 24, 26, 29, & 31; Aug 2), with an Opera Talk, free and open to the public, before the matinee on July 26.

Special support for this program is provided by Emily H. Fisher and John Alexander.

 

Theater: Oklahoma!

Close contemporaries of Carlos Chávez, Richard Rodgers (1902–79) and Oscar Hammerstein II (1895–1960) were also concerned with the forging of a new relationship between popular music and national identity. Working within the authentically homegrown art form of musical theater, their first collaboration, Oklahoma! (1943), is set in the Territory of Oklahoma during the years before statehood, exploring American cultural identity through her frontier roots. Like Green Grow the Lilacs, the play on which it was based, Oklahoma! combines a sunny romance with the darker story of a community rising up against a reviled outsider. These strands are bound together by Rodgers’s exuberant and complex score, which, besides the title song, includes such favorite numbers as “Oh, What a Beautiful Mornin’,” and “The Surrey with the Fringe on Top.” When it premiered in 1943, Oklahoma! changed the course of musical theater, and won Rodgers and Hammerstein the 1944 Pulitzer Prize. Bard’s boldly intimate chamber production, where audience and performers will come together in the round to break bread and experience this story of a young nation forming its identity, will be mounted in the LUMA Theater in 25 performances between June 25 and July 19, under the direction of Daniel Fish, whose credits include the Royal Shakespeare Company and Opera Philadelphia. It was at SummerScape 2005 that Fish premiered his staging of Clifford Odets’s Rocket to the Moon, which subsequently impressed the New York Times as “heartfelt, freshly conceived, and rich in moments that illuminate the tenderness of Odets’s vision.”

Bard’s theatrical track record is a stellar one. Last season, in response to the festival’s world premiere theater production Love in the Wars, an adaptation of Heinrich von Kleist’s Penthesilea by the Booker Prize-winning novelist John Banville, New York Arts declared: “Bard summer drama has been consistently of the highest order over the years.”

 

Performance-installation: Everything by my side

The festival continues with an outdoor performance and installation created by contemporary Argentinean theater maker and visual artist Fernando Rubio. Everything by my side takes place in seven pristine white beds ranged under the trees in the beautiful landscape outside the Fisher Center, where audience members individually experience a quiet and dreamlike performance that evokes vivid childhood memories. A meditation on loneliness, intimacy, and the shifting boundaries between public and private, Rubio’s creation has already won praise in multiple cities around the world; depicting it as “seven little islands of intimacy,” the New York Times counseled: “If you can, give it a try.” SummerScape’s seven open-air performances take place between July 9 and 12, under the trees on the Fisher Center lawn.

 

Dance: Pam Tanowitz Dance & FLUX Quartet

New York’s Pam Tanowitz Dance comes to SummerScape for the first time this season, with the choreography of Bessie Award-winner Pam Tanowitz, a “clear-sighted postmodernist” (New Yorker) who incorporates classical ballet steps into her highly original dances. In two performances on June 27 and 28, Tanowitz will premiere new works created for the occasion, including a suite of en pointe solos set to the music of Carlos Chávez and danced by Tony Award-nominee and former American Ballet Theatre principal Ashley Tuttle. The program also showcases Heaven on One’s Head (2014), a virtuosic work set to the string quartets of Conlon Nancarrow, a contemporary of Chávez who relocated from New York to Mexico. These will be performed live by the FLUX Quartet, which “has brought a new renaissance to string quartet music” (Village Voice). Calling Tanowitz “the wittiest choreographer since Mark Morris,” the New York Times observes: “The dance steps, phrases and constructions by the choreographer Pam Tanowitz are among the finest being made anywhere today.”

SummerScape has featured significant dance performances each summer since 2005. After the return of the Trisha Brown Dance Company during its farewell tour last season, Deborah Jowitt marveled: “I’ve loved Brown’s mind, her playfulness, her wit, her daring formal innovations, and her agile, fluent self in motion ever since the late 1960s. … This is a diligent community of equals, of magnificent dancers working together” (ArtsJournal).

 

Film series: “Reinventing Mexico”

To illustrate the confluence of forces shaping the work of Carlos Chávez, the SummerScape 2015 Film Series explores the relationship between realism, modernism, and nationalism in films from and about Mexico. The series opens with the landmark, proto-neorealist Redes, which brought together photographer Paul Strand, director Fred Zinnemann, Chávez, and his fellow composer Silvestre Revueltas. In addition to historical films like Vera Cruz, the series also features a retrospective of the peripatetic surrealist master Luis Buñuel (July 11–Aug 2).

 

Spiegeltent

Back for a tenth magnificent summer, Bard’s authentic, one-of-a-kind Belgian Spiegeltent has enchanted guests since its introduction to the festival in 2006, which marked the first time such a structure had appeared in America. A handmade pavilion decorated with mirrors and stained glass, evoking a bygone era of glamour, the mirrored tent provides a sumptuous and magical environment to enjoy cutting-edge cabaret and world-class musical performances – almost all of which have sold out in recent years – capped by dining and late-night dancing throughout the festival. This season’s festivities will be hosted by Tony Award-nominee and Spiegeltent favorite Justin Vivian Bond, “the greatest cabaret artist of this generation” (New Yorker), who returns by popular demand to resume duties as host, emcee, and guest curator for a second season. Dining at the Spiegeltent is inspired by seasonal Hudson Valley ingredients and served at lunchtime on Saturdays and Sundays, and at dinnertime on Thursdays through Saturdays, with a full bar offering designed to complement the menu. As Edinburgh Fringe magazine urges, “Enter the Spiegeltent – the tent of dreams – and you will never be the same again.”

 

See below for chronological list of SummerScape 2015 highlights; key performance dates by genre; full program details for the Bard Music Festival; and ticket information.

 

 

SummerScape 2015: chronological list of highlights

 

June 25–July 19      SummerScape opens with first of 25 performances of Rodgers and Hammerstein's Oklahoma!

June 27 & 28      Pam Tanowitz Dance and FLUX Quartet make festival debut

July 2–Aug 15      Cabaret, live music, and After Hours dancing in the Bard Spiegeltent

July 9–12      Seven open-air performances of Fernando Rubio’s installation-performance, Everything by my side

July 11–Aug 2      Film Series “Reinventing Mexico”

July 24–Aug 2      Five performances of Ethel Smyth’s opera The Wreckers

Aug 7–9      Bard Music Festival, Weekend One: “The Musical Voice of Mexico”

Aug 14–16      Bard Music Festival, Weekend Two: “Mexico, Latin America, and Modernism”

 

SummerScape 2015: key performance dates by genre

 

MUSIC

Bard Music Festival, Weekend One: “The Musical Voice of Mexico” (Aug 7–9)

Bard Music Festival, Weekend Two: “Mexico, Latin America, and Modernism” (Aug 14–16)

 

Complete program details follow.

 

OPERA

Ethel Smyth: The Wreckers

Sosnoff Theater

July 24* & 31 at 7:30 pm

July 26*, 29 & Aug 2* at 2 pm

Tickets start at $25

 

THEATER

Rodgers and Hammerstein: Oklahoma!

LUMA Theater

June 25, 26, 27, July 2, 3, 4, 5, 9, 10, 11, 12, 16, 17, 18 & 19 at 7:30 pm

June 28*, July 1, 4, 5, 8, 11, 12*, 15, 18 & 19* at 2 pm

Tickets start at $25

 

Fernando Rubio: Everything by my side

Fisher Center lawn

July 9, 10, 11 & 12 at 5 pm

July 10 at 2 pm

July 11 & 12 at 12 pm

Tickets: $5 (not discounted in subscription packages)

 

DANCE

Pam Tanowitz Dance & FLUX Quartet

June 27 at 8 pm

June 28* at 3 pm

Sosnoff Theater

Tickets start at $25

 

FILM SERIES

Reinventing Mexico”

Saturday, July 11 to Sunday, Aug 2

Ottaway Film Center

Tickets: $10

 

SPIEGELTENT

Live Music, Cabaret, Festival Dining, and After Hours salon

Dates, times, and prices vary

 

 

Program details of Bard Music Festival, “Chávez and His World”

 

WEEKEND ONE: The Musical Voice of Mexico

 

Friday, August 7

 

Program One*

Chávez and Mexico’s Musical Heritage

Sosnoff Theater

8 pm            Performance with commentary by Leon Botstein

 

Carlos Chávez (1899–1978)

   H.P. Danse des hommes et des machines (1926)

   Unidad (1930)

   String Quartet No. 2 (1932)

   from Ten Preludes (1937)

  Xochipili: An Imaginary Aztec Music (1940)

Manuel M. Ponce (1882–1948)

   Concierto del sur (1941)

Silvestre Revueltas (1899–1940)

   Ranas (1931)

   Toccata (sin fuga) (1933)

Songs and other works by Manuel de Sumaya (c.1678–1755); Juventino Rosas (1868–94); Felipe Villanueva (1862–93); Gustavo Campa (1863–1934); Ricardo Castro (1864–1907); Ernesto Elorduy (1854–1913); Julián Carrillo (1875–1965); and José Pablo Moncayo (1912–58)

 

Tickets: $25–$60

 

 

Saturday, August 8

 

Panel One

Culture and National Identity: The Case of Mexico

Olin Hall

10 am–noon

 

Free and open to the public

 

 

Program Two

The Parisian Influence

Olin Hall

1 pm            Pre-concert Talk

1:30 pm            Performance

 

Carlos Chávez (1899–1978)

   Seis exágonos (1923–24)

   Sonatina, for piano (1924)

   36 (1925)

   Soli I (1933)

   Trio, for flute, viola, and harp (1940)

Paul Dukas (1865–1935)

   La plainte, au loin, du faune (1920)

Maurice Ravel (1875–1937)

   5 Mélodies populaires grecques (1904–6)

José Rolón (1876–1945)

   String Quartet (ca. 1920)

Manuel M. Ponce (1882–1948)

   Sonata, for guitar and harpsichord (c. 1926)

Darius Milhaud (1892–1974)

   Catalogue de fleurs, Op. 60 (1920)

Francis Poulenc (1899–1963)

   Rapsodie nègre (1917)

Igor Stravinsky (1882–1971)

   Tango (1940)

 

Tickets: $35

 

 

Program Three

Music and Politics

Sosnoff Theater

7 pm            Pre-concert Talk

8 pm            Performance: American Symphony Orchestra, conducted by Leon Botstein, music director

 

Carlos Chávez (1899–1978)

   Sinfonía de Antígona (1933)

   Piano Concerto (1938)

Arthur Honegger (1892–1955)

   Symphony No. 3 “Liturgique” (1945–46)

Silvestre Revueltas (1899–1940)

   Redes (1934–35)

Conlon Nancarrow (1912–97)

   Piece for Orchestra (U.S. premiere)

 

Tickets: $25–$75

 

 

Sunday, August 9

 

Panel TWO

Mexico and the United States: Past, Present, and Future

Olin Hall

10 am–noon

 

Free and open to the public

 

 

Program Four

Music and the 10-Year Mexican Revolution

Olin Hall

1 pm            Pre-concert Talk

1:30 pm            Performance

 

Carlos Chávez (1899–1978)

   Adelita y La cucaracha (1915)

   Las margaritas, canción mexicana tradicional (1919)

   Jarabe, baile mexicano tradicional (1922)

   Three Pieces, for guitar (1923)

   Sonatina, for violin and piano (1924)

   Foxtrot (1925)

   Cuatro melodías tradicionales indias del Ecuador (1942)

Silvestre Revueltas (1899–1940)

   Tierra pa’ las macetas (c. 1924)

   String Quartet No. 4 “Música de feria” (1932)

   Ocho por radio (1933)

Songs and works for guitar or piano by José Rolón (1876–1945); José Pomar (1880–1961); Manuel M. Ponce (1882–1948); Tata Nacho (Ignacio Fernández Esperón; 1894–1968); Alfonso Esparza Oteo (1894–1950); Blas Galindo (1910–93); José Pablo Moncayo (1912–58); and others

 

Tickets: $35

 

 

Program Five*

Music, Murals, and Puppets

Sosnoff Theater

5 pm            Pre-concert Talk

5:30 pm            Performance

 

Carlos Chávez (1899–1978)

   Los cuatro soles (1925)

   Suite for Double Quartet, from The Daughter of Colchis (Dark Meadow) (1943)

Manuel de Falla (1876–1946)

   El retablo de maese Pedro (1922)

Silvestre Revueltas (1899–1940)

   Troka (1933)

   El renacuajo paseador (1936)

 

Tickets: $25–$60

 

 

WEEKEND TWO: Mexico, Latin America, and Modernism

 

Thursday, August 13

 

SPECIAL EVENTS

Music by Contemporary Latin American Composers

LUMA Theater

7:30 pm Performance by Contemporaneous

Tickets: $20

 

 

Friday, August 14

 

Ottaway Film Center

4 pm

Film Showing: The Other Conquest / La Otra Conquista (dir. Salvador Carrasco ’91)

Free and open to the public

 

 

Program SIX*

East and West

Sosnoff Theater

7:30 pm            Pre-concert Talk

8 pm            Performance

 

Carlos Chávez (1899–1978)

   Toccata (1942)

   Partita, for solo timpani (1973)

Henry Cowell (1897–1965)

   Ostinato pianissimo (1930)

Amadeo Roldán (1900–39)

   Rítmicas 5 and 6 (1930)

John Cage (1912–92)

   Construction (1939–42)

Lou Harrison (1917–2003)

   Threnody for Carlos Chávez (1979)

Works by Colin McPhee (1900–64); Alberto Ginastera (1916–83); and others

 

Tickets: $25–$60

 

 

Saturday, August 15

 

Panel THREE

Mexico and Latin America

Olin Hall

10 am–noon

 

Free and open to the public

 

 

Program SEVEN

“New York New York”

Olin Hall

1 pm            Pre-concert Talk

1:30 pm            Performance

 

Carlos Chávez (1899–1978)

   Piano Sonata No. 3 (1928)

   Blues (1928)

   Fox (1928)

   North Carolina Blues (1942)

Edgard Varèse (1883–1965)

   Density 21.5 (1936)

Henry Cowell (1897–1965)

   Quartet Euphometric (1919)

Aaron Copland (1900–90)

   Sextet (1937)

Songs and piano works by Dane Rudhyar (1895–1985); William Grant Still (1895–1978); Roger Sessions (1896–1985); Virgil Thomson (1896–1989); Silvestre Revueltas (1899–1940); Ruth Crawford (1901–53); Israel Citkowitz (1909–74); Paul Bowles (1910–99); Conlon Nancarrow (1912–97)

 

Tickets: $35

 

 

Program EIGHT

Reimagined Landscapes and Pasts

Sosnoff Theater

7 pm            Pre-concert Talk

8 pm            Performance: American Symphony Orchestra, conducted by Leon Botstein, music director

 

Carlos Chávez (1899–1978)

   Symphonía india (1935)

Heitor Villa-Lobos (1887–1959)

   Amazonas (1917)

   Forest of the Amazons (1958)

Silvestre Revueltas (1899–1940)

   Cuauhnáhuac (1930)

José Pablo Moncayo (1912–58)

   Three Pieces for Orchestra (1947)

 

Tickets: $25–$75

 

 

Sunday, August 16

 

Program NINE

Sacred and Secular Choral Music from 5 Centuries

Olin Hall

10 am            Performance with commentary

 

Choral works by Hernando Franco (1532–85); Juan Gutiérrez de Padilla (c. 1590–1664); Francisco López Capillas (c. 1615–73); Manuel de Sumaya (c. 1678–1755); Manuel de Falla (1876–1946); Juan Bautista Plaza (1898–1965); Domingo Santa Cruz (1899–1987); Carlos Chávez (1899–1978); and Aaron Copland (1900–90)

 

Tickets starting at $30

 

 

Program TEN

Post-World War II Latin America

Olin Hall

1 pm            Preconcert Talk

1:30 pm            Performance

 

Carlos Chávez (1899–1978)

   Invention No. 3, for harp (1967)

   Soli No. 4, for brass trio (1966)

Works by Mozart Camargo Guarnieri (1907–93); Astor Piazzolla (1921–92); and others

 

Tickets: $35

 

 

Program ELEVEN*

Musical Culture of the Hemisphere

Sosnoff Theater

3:30 pm            Pre-concert Talk

4:30 pm            Performance: American Symphony Orchestra, conducted by Leon Botstein, music director

 

Carlos Chávez (1899–1978)

   H.P., Ballet Symphony (1932)

Julián Carrillo (1875–1965)

   Symphony No. 1 in D Major (1901)

Alberto Ginastera (1916–83)

   Estancia, Op. 8 (1941)

Julián Orbón (1925–91)

   Tres versiones sinfónicas (1954)

 

Tickets: $25–$75

 

 

Bard SummerScape ticket information

 

Tickets for all Bard SummerScape events go on sale to “e-members” on February 10 and to the public on February 17. For tickets and further information on all SummerScape events, call the Fisher Center box office at 845-758-7900 or visit fishercenter.bard.edu/summerscape.

 

Venues:

SummerScape opera, theater, and dance performances and most Bard Music Festival programs are held in the Sosnoff Theater or LUMA Theater in Bard’s Richard B. Fisher Center for the Performing Arts, designed by Frank Gehry and celebrated since its opening as a major architectural landmark in the region. Some chamber programs and other BMF events are in Olin Hall, Oklahoma! is in LUMA Theater, and Everything by my side takes place out of doors. The Spiegeltent has its own schedule of events, in addition to serving as a restaurant, café, and bar before and after performances. Film Series screenings are at the Jim Ottaway Jr. Film Center in the Milton and Sally Avery Arts Center.

 

New York City Round-Trip Coach Transportation:

To make a reservation on the round-trip SummerScape coach provided exclusively to ticket holders for specific performances indicated by * in the listings above, call the box office at 845-758-7900 or select this option when purchasing tickets. The round-trip fare is $40 and reservations are required. The coach departs from behind Lincoln Center, on Amsterdam Avenue between 64th and 65th Street. Find additional details at: fishercenter.bard.edu/transportation.

 

Full Schedule:

For a complete schedule of SummerScape and Bard Music Festival events (subject to change), follow the links given below. Updates are posted at the festival web site fishercenter.bard.edu/summerscape.

Fisher Center members receive priority access to the best seats in advance, and those who join the Center’s email list receive advance booking opportunities as well as regular news and updates.

 

Bard SummerScape: fishercenter.bard.edu/summerscape

 

Bard Music Festival: fishercenter.bard.edu/bmf

 

Tickets and Subscriptions: fishercenter.bard.edu/tickets; or by phone at 845-758-7900. Tickets start at $25.

 

Special offers:

Create Your Own Series: save 25% and enjoy maximum flexibility, by choosing four or more events across the entire festival.

 

SummerScape Mainstage Series: save 30% and guarantee seats for dance, theater, and opera events.

 

Spiegeltent Series: save 30% by purchasing tickets to any three Spiegeltent events.

 

Groups of 10 or more receive a 20% discount and concierge service to assist with dining and lodging reservations.

 

Updates: Bard’s “e-members” get all the news in regular updates. To sign up send an e-mail to fishercenter@bard.edu.

 

All program information is subject to change.

 

The 2015 SummerScape season is made possible in part through the generous support of Jeanne Donovan Fisher, the Martin and Toni Sosnoff Foundation, the Board of The Richard B. Fisher Center for the Performing Arts at Bard College, the Board of the Bard Music Festival, and Fisher Center members, as well as grants from the National Endowment for the Arts and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

 

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February 2015

 


 

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This event was last updated on 02-16-2015