Image Credit: Bridgeman Art Library

Described by the New York Times as “part boot camp for the brain, part spa for the spirit,” the world-renowned Bard Music Festival in Annandale-on-Hudson, New York, returns for its 24^th annual season, filling the last two weekends of Bard SummerScape 2013 with a compelling and enlightening investigation of “Stravinsky and His World.” Eleven concert programs over the two mid-August weekends, complemented by pre-concert lectures, panel discussions, and expert commentary, make up Bard’s examination of Igor Stravinsky (1882–1971), arguably the most important composer of the 20^th century. The eleven concerts offer an immersion in the worlds Stravinsky straddled, contextualizing him within the musically distinct milieus – all cultural melting pots – that he inhabited. Weekend 1, “Becoming Stravinsky: From St. Petersburg to Paris” (Aug 9–11), traces the composer’s path from pre-revolutionary Russia to 1920s Paris, scene of the scandalous premiere of The Rite of Spring. Weekend 2, “Stravinsky Re-invented: From Paris to Los Angeles” (Aug 16–18), follows Stravinsky to post-war Hollywood, investigating his subsequent shift in style from neoclassicism to serialism. Enriched by a wealth of music from Stravinsky’s contemporaries and compatriots, the festival explores Russia’s profound and far-reaching impact on 20^th-century culture, while continuing Bard’s yearlong tenth-anniversary celebrations for the Frank Gehry-designed Fisher Center, which commence with a month of special performances in April.

As the New York Times observes, “Over two decades, the Bard Music Festival has managed more than its fair share of ambitious feats in its immersive annual examinations of classical music’s major composers,” offering a “rich web of context” for a full appreciation of that composer’s inspirations and significance. The resident American Symphony Orchestra, integral to the Bard Music Festival from the first, celebrates its half-centenary this season. Leon Botstein, co-artistic director of the festival and now in his 20^th year as music director of the American Symphony, will conduct all three orchestral programs at the beautiful Richard B. Fisher Center for the Performing Arts on Bard’s glorious Hudson Valley campus. As in previous seasons, choral works will feature the Bard Festival Chorale directed by James Bagwell, and solo and chamber programs will boast an impressive roster of performers.

With its recognized gift for thematic programming, Bard achieves a unique depth and breadth of musical and cultural discovery. A wide range of Stravinsky’s own music will be performed, from popular and canonical masterworks like The Rite of Spring and the Symphony of Psalms to such comparative rarities as his one-act opera Mavra and his melodrama Perséphone. Bard will also present a rich and illuminating array of music by Stravinsky’s contemporaries, ranging from little-known Maximilian Steinberg (Stravinsky’s fellow student) to such leading lights as Claude Debussy and Erik Satie (both members of his close Parisian circle), along with fellow neoclassicists like Paul Hindemith and younger American composers like Elliott Carter. Stravinsky’s long career spanned two continents and more than two-thirds of the 20^th century, bringing him into collaboration with artists from Rimsky-Korsakov and Ravel to T.S. Eliot and W.H. Auden, and from Picasso, Nijinsky, and Cocteau to Louis B. Mayer. From his apprenticeship years in St. Petersburg to those spent leading the Parisian avant-garde and as an émigré in Hollywood, Stravinsky was a master of reinvention.

His stylistic development reflects this protean capacity for change. His early compositions achieved a synthesis of the melodies, sonorities, and rhythmic vitality of his homeland’s folk traditions with a modernist sensibility. Later, when it became politically expedient for him to distance himself from his Russian roots, Stravinsky developed neoclassicism, infusing pastiches of past masters with a subtly contemporary slant. And towards the end of his career, having initially repudiated Schoenberg’s twelve-tone method, he came to embrace and put his own stamp upon it. While remaining a lifelong monarchist who opposed the Bolshevik Revolution, in music Stravinsky could hardly have been a more radical revolutionary. Certainly no 20^th-century composer’s legacy is greater; as his friend and fellow composer Erik Satie put it, Stravinsky was “a liberator,” who, “more than anyone else, … freed the musical thought of today.”

Bard’s eleven musical programs, built thematically and spaced over two August weekends, open with Program 1 – “The 20^th Century’s Most Celebrated Composer.” The first of two all-Stravinsky events, this program offers a survey of some of the composer’s most notable achievements, from the raw originality and power of his early cantata Les Noces, which draws on Russian folk melodies, to Abraham and Isaac, an Old Testament setting in the twelve-tone method, written almost half a century later. It is typical that these widely-spaced works nonetheless share their hieratic theme, as do two other works on the program: Stravinsky’s Symphonies of Wind Instruments, which was written to honor the memory of Debussy and invokes the Russian Orthodox service for the dead; and his neoclassical choral masterpiece, the Symphony of Psalms. By contrast, the jazz-inflected Concerto for Two Pianos, Stravinsky’s first composition as a French citizen, hints at his more playful side.

Given Stravinsky’s exceptional originality, it is easy to forget those who helped inspire him. Program 2 – “The Russian Context” helps redress this balance, offering examples of his early works alongside the music of his compatriots. These include older composers like Glinka, often regarded as the father of Russia’s classical tradition, and Tchaikovsky, who Stravinsky venerated, and in whose illustrious steps he would follow as a ballet composer. Of his contemporaries, Stravinsky was influenced by such as Scriabin, Rachmaninoff, and Glazunov, to whose symphonic writing he felt especially indebted. Indeed, something of Scriabin’s otherworldly sonorities may be heard in Stravinsky’s Four Studies for piano, while in Glazunov’s Five Novelettes for string quartet, we find hints of Petrushka’s rhythmic propulsion. 

Under Rimsky-Korsakov’s tutelage, Stravinsky initially absorbed many features of his style, echoes of which abound in the early orchestral fantasy Fireworks, composed on the wedding of Rimsky-Korsakov’s daughter to composer Maximilian Steinberg. Like Anatoly Liadov, whose own students would come to include Prokofiev, Steinberg also studied under Rimsky-Korsakov, enjoying a degree of favor and approbation to which Stravinsky enviously aspired. Yet, as Bard’s first orchestral concert – Program 3 – “1913: Breakthrough to Fame and Notoriety” – reveals, situating Stravinsky’s work within this world only highlights its modernity. Where Steinberg’s rarely-programmed Ovidian ballet Metamorphosen and Liadov’s atmospheric tone poem From the Apocalypse both channel their mentors’ gift for expansive orchestration, in Fireworks Stravinsky already goes further, imbuing this lush sound with hints of the bitonality and rhythmic drama that would characterize so much of his later work.

In so doing, he had effectively begun to synthesize the best of Russia’s classical tradition with her rich folk heritage. No doubt this is what the impresario Diaghilev recognized when, on hearing Fireworks in St. Petersburg, he commissioned Stravinsky to write The Firebird, Petrushka, and The Rite of Spring for his Ballets Russes in Paris. Aaron Copland later pronounced The Rite of Spring the foremost orchestral achievement of the 20^th century, and even today, a full hundred years after its first performance, it retains the power to shock. At its now infamous Paris premiere, the ballet’s revolutionary sound and demonic paganism, as showcased by Nijinsky’s choreography, provoked a near riot. Far from cutting short the composer’s career, however, this succès de scandale served to boost it in a manner as modern as the music itself.

In Paris Stravinsky found himself at the forefront of the musical avant-garde, where the cross-pollination of ideas prevailed. He attended one of the first performances of Schoenberg’s Pierrot lunaire (of which the protagonist, like those of his own Petrushka and Pulcinella, was drawn from the Commedia dell’Arte), admiring its instrumentation and contrapuntal writing even while he deplored its aesthetic. It was Schoenberg’s groundbreaking atonal song cycle that inspired Stravinsky’s own Three Japanese Lyrics, which in turn impressed Ravel, who scored his Trois poèmes de Stéphane Mallarmé for similar forces. Ravel hoped that the three works might be programmed together, but the concert he envisaged only took place once Pierrot had been replaced by less controversial songs from Maurice Delage. Bard’s Program 4 – “Modernist Conversations” brings together all four works, with music by other luminaries of pre-World War One Paris, juxtaposing late chamber pieces by Stravinsky’s friends Debussy and Satie, both of an older generation, with early ones by his closer contemporaries Bartók and de Falla.

One of Stravinsky’s closest contemporaries was Picasso, his portraitist and collaborator on Pulcinella, and there are many parallels between their careers. Poulenc’s song cycle Le travail du peintre depicts leading visual artists and their distinctive styles, yet while Braque may be reasonably labeled a “Cubist” or Miró a “Surrealist,” Picasso, like Stravinsky, resists such easy classification; despite his pioneering of Cubism in the 1920s, it was just one of the movements he would espouse. Similarly, Stravinsky remained dominant even as he too reinvented his signature style. In Program 5 – “Sight and Sound: From Abstraction to Surrealism,” Bard presents two of the works with which he left his early “Russian period” behind. Ragtime’s syncopations heralded his newfound interest in jazz, while its stripped-down sound marked his increasing fascination with a pre-Romantic timbral and textural clarity. In its fusion of parody and homage, Stravinsky’s rarely-heard one-act opera buffa Mavra is one of the works with which he helped launch the neoclassical movement in music. Rounding out the program and concluding the festival’s first weekend are chamber and ensemble selections of a surrealist bent from Satie, André Souris, and five members of Les Six, the phantasmagorical libretto to whose ballet Les mariés de la tour Eiffel (heard here in an orchestral arrangement) was by Stravinsky’s future collaborator Cocteau.

Despite drawing on the past, one hallmark of neoclassicism was a very modern detachment. The festival’s second weekend opens with Program 6 – “Against Interpretation and Expression: The Aesthetics of Mechanization,” offering works that – in marked contrast with the excesses of late Romanticism – privileged clarity and objectivity over more lyrical expression of emotion. These include Hindemith’s Kleine Kammermusik, Bartók’s Sonata for Two Pianos and Percussion, Varèse’s ensemble piece Octandre, and Stravinsky’s own Concerto for Piano and Wind Instruments and Sonata for Two Pianos. While sharing something of the same aesthetic, Messiaen’s Quatre études de rythme was achieved by means of rigorous pre-compositional processes, presaging the total serialism techniques of composers like Boulez and Stockhausen.

The Parisian press was at first unanimous in dismissing Stravinsky’s neoclassical writing as “a mess of 18^th-century mannerisms.” With hindsight, however, his Duo concertante has been recognized as boldly experimental, Les cinq doigts as a model of concision, and the contrapuntal mastery of the Octet for Wind Instruments as a high-water mark of the period. And, as Program 7 – “Stravinsky in Paris” reveals, there were others in the French capital who embraced the new development from the first. Similar pre-Romantic gestures with a contemporary slant may be found in the work of Stravinsky’s fellow ex-patriot Prokofiev, the Czech composer Bohuslav Martinu and his French mentor Albert Roussel, and Stravinsky’s early biographer Alexandre Tansman. 

A few months after the outbreak of the Second World War, Stravinsky immigrated to West Hollywood, having already established key American connections and received a number of important commissions. Among his new neighbors was Arnold Schoenberg, near whom – although they neither met nor spoke – he would live for the next eleven years. With Program 8 – “The Émigré in America,” Bard reunites these two giants of 20^th-century composition in a second full orchestral concert that includes a sacred choral work by each. Given that it was Schoenberg who created serialism, the Viennese composer’s Kol Nidre is unexpectedly tonal, probably because he intended it for liturgical use on the Jewish Day of Atonement. Ironically, the Requiem Canticles, Stravinsky’s penultimate work and a partial setting of the Catholic Mass for the Dead, employs the twelve-tone system, which Stravinsky, after decades of suspicion, eventually embraced and individualized in another of his radical stylistic shifts. Together with works by a third émigré, Hanns Eisler, who was the first of Schoenberg’s disciples to adopt the serial method, Bard presents three of Stravinsky’s earlier orchestral works, too: the playful neoclassical ballet Jeu de cartes; the lean and economical Ode; and the Symphony in Three Movements, which, born of material from abandoned film projects, marked his first major composition in the States.

In his early 40s, while still in Europe, Stravinsky had what he termed a “religious experience” that precipitated his return to the Russian Orthodox Church. Having long favored ritualistic themes, now he began to compose works that were explicitly religious. Many were based on tone-rows and – perhaps reflecting the Orthodox Church’s prohibition of the use of instruments – all, without exception, featured a chorus. For inspiration Stravinsky turned once again to the past, and Program 9 – “Stravinsky, Spirituality, and the Choral Tradition” offers examples of his sacred music alongside selections of choral music by such past masters as Gesualdo, Monteverdi, and Bach. Also featured are comparable examples by those of Stravinsky’s contemporaries who explored the genre, including Poulenc, Lili Boulanger, Ernst Krenek, and his countryman Sergey Rachmaninoff.

A prolific writer and speaker all his life, in the year of his emigration Stravinsky was invited to give the prestigious Charles Eliot Norton Lectures at Harvard that would later be published as Poetics of Music. Bard’s penultimate concert, Program 10 – “The Poetics of Music and After,” presents Stravinsky’s late Septet and a four-hands arrangement of his witty Circus Polka in tandem with chamber music by Walter Piston, then professor of music at Harvard; Piston’s students Ellis B. Kohs and Elliott Carter, whom Stravinsky came greatly to admire; and two composers who would give Norton Lectures at Harvard themselves. Aaron Copland, who had attended Stravinsky premieres in Paris, later delivered a famous Harvard talk entitled “Music and Imagination,” while Mexico’s Carlos Chávez gave his own Norton Lecture series that would come be published in book form as Musical Thought. (Chávez will be the featured composer for the Bard Music Festival in 2015.) As for Anton Webern, whose work Stravinsky preferred to Schoenberg’s and which he reverently likened to “dazzling diamonds,” he, too, presented his ideas about music in a series of talks that were published as The Path to the New Music.

It was in yet another Norton lecture that Leonard Bernstein pronounced Stravinsky’s Oedipus Rex the most “awesome product” of his neoclassical years. An opera-oratorio for orchestra, narrator, soloists, and male chorus, its Latin libretto was translated from Jean Cocteau’s French interpretation of Sophocles’s archetypal Greek tragedy. Written several years later, Perséphone is a musical melodrama for narrator, soloists, chorus, dancers and orchestra, set to a libretto by André Gide. Both works marked Stravinsky’s attraction not only to Classicism in music, but to the themes of the ancient Classical world. Despite their pagan themes, however, there is a continuity between the dramatic grandeur of these works and the composer’s later religious ones. And although neither Oedipus Rex nor Perséphone is often performed, in their drama, wit, and consummate artistry, both do justice to Stravinsky’s formidable legacy, providing a fitting end to the festival in Bard’s final choral-orchestral tour-de-force, Program 11 – “The Classical Heritage.”

Three free panel discussions – “Who Was Stravinsky?”, “The Ballets Russes and Beyond: Stravinsky and Dance,” and “Lenin, Hitler, Stalin, and Mussolini: Music, Ethics, and Politics” – will be supplemented by informative pre-concert talks before each performance that illuminate the concert’s themes and are free to ticket-holders. As has become traditional, the first of these pre-concert talks will be given by Maestro Botstein himself.

Since the founding of the Bard Music Festival with “Brahms and His World” in 1990, Princeton University Press has published a companion volume of new scholarship and interpretation each season, with essays, translations, and correspondence relating to the featured composer and his world. Scholar-in-Residence Tamara Levitz, Professor of Musicology at UCLA, is editor of the upcoming 2013 volume, Igor Stravinsky and His World.

Described as “uniquely stimulating” by the Los Angeles Times, and named “one of New York’s premier summer destinations for adventurous music lovers” by the New York Times, the Bard Music Festival has impressed critics worldwide. On his blog, New York Times journalist Steve Smith confesses:

“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.”

The New York Times reports that “performers engaged by Bard invariably seem energized by the prospect of extending beyond canonical routine, and by an audience that comes prepared with open ears and open minds.” As the Wall Street Journal’s Barrymore Laurence Scherer observes:

“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.”

Getting to the Bard Festival: New York City Round-Trip Bus Transportation

A round-trip bus service is provided exclusively to ticket-holders for the performances listed below. Reservation is required, and may be made by calling the box office at 845-758-7900. The round-trip fare is $40, and the bus departs from Lincoln Center at the times indicated:

Program 1: Friday, August 9 at 8 pm (preconcert talk at 7:30 pm) 2:30 pm

Program 5: Sunday, August 11 at 5:30 pm (preconcert talk at 5 pm) 1:00 pm

Program 6: Friday, August 16 at 8 pm (preconcert talk at 7:30 pm) 2:30 pm

Program 11: Sunday, August 18 at 4:30 pm (preconcert talk at 3:30 pm) 11:30 am

Bard’s delightful Spiegeltent will be open for lunch and dinner throughout “Stravinsky and His World,” and there will be special opening and closing parties in the tent on August 9 and 18 respectively.
 

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

WEEKEND ONE: Becoming Stravinsky: From St. Petersburg to Paris

Friday, August 9

Program One

The 20^th Century’s Most Celebrated Composer

Sosnoff Theater

7:30 pm Pre-concert Talk

8 pm Performance

Igor Stravinsky (1882–1971)

   Les Noces (1914–17)

   Symphonies of Wind Instruments (1920, rev. 1947)

   Symphony of Psalms (1930)

   Concerto for Two Pianos (1935)

   Abraham and Isaac (1962–63)

   Songs

Tickets: $25, 35, 50, 60

Saturday, August 10 

Panel One

Who Was Stravinsky?

Olin Hall

10 am–noon

Free and open to the public

Program Two

The Russian Context

Olin Hall

1 pm Pre-concert Talk

1:30 pm Performance

Igor Stravinsky (1882–1971)

   Faun and Shepherdess, Op. 2 (1906–07)

   Four Studies, for piano, Op. 7 (1908)

   Three Movements from Petrushka, for piano solo (1921)

Mikhail Glinka (1804–57)

   Trio pathétique in D minor (1832)

Alexander Glazunov (1865–1936)

   Five Novelettes, for string quartet, Op. 15 (1886)

Alexander Scriabin (1872–1915)

   Vers la flamme, Op. 72 (1914)

Sergey Rachmaninoff (1873–1943)

   Preludes, Op. 23, Nos. 8 & 9 (1901–03)

Songs and piano works by Modest Mussorgsky (1839–81), Pyotr Tchaikovsky (1840–93), Nikolai Medtner (1880–1952), and Mikhail Gnesin (1883–1957)

Tickets: $35

Program Three

1913: Breakthrough to Fame and Notoriety

Sosnoff Theater

7 pm Pre-concert Talk

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

Igor Stravinsky (1882–1971)

   Fireworks (1908)

   The Rite of Spring (1913)

Nikolai Rimsky-Korsakov (1844–1908)

   Suite from The Invisible City of Kitezh (c. 1907)

Anatoly Liadov (1855–1914)

   From the Apocalypse, Op. 66 (1910–12)

Maximilian Steinberg (1883–1946)

   Metamorphosen, Op. 10 (1913)

Tickets: $30, 50, 60, 75

Sunday, August 11

Panel Two

The Ballets Russes and Beyond: Stravinsky and Dance

Olin Hall

10 am–noon

Free and open to the public

Program Four

Modernist Conversations 

Olin Hall

1 pm Pre-concert Talk

1:30 pm Performance

Igor Stravinsky (1882–1971)

   Three Japanese Lyrics (1912)

   Pribaoutki (1914)

Claude Debussy (1862-1918)

En blanc et noir (1915)

Arnold Schoenberg (1874–1951)

   Pierrot lunaire (1912)

Maurice Ravel (1875–1937)

   Trois poèmes de Stéphane Mallarmé (1913)

Manuel de Falla (1876–1946)

   Pour le tombeau de Claude Debussy (1920)

Maurice Delage (1879–1961)

   Quatre poèmes hindous (1912–13)

Works by Erik Satie (1866-1925); Manuel de Falla (1876-1946); and Béla Bartók (1881-1945)

Tickets: $35

Program Five

Sight and Sound: From Abstraction to Surrealism

Sosnoff Theater 

5 pm Pre-concert Talk

5:30 pm Performance

Igor Stravinsky (1882–1971)

   Ragtime (1918)

  Mavra (1921–22)

Erik Satie (1866–1925)

   Parade (1916–17; arr. piano four-hands)

Francis Poulenc (1899–1963)

   Le travail du peintre, song cycle for voice and piano, Op. 161 (1956)

Georges Auric (1899–1983), Arthur Honegger (1892–1955), Darius Milhaud (1892–1974), Francis Poulenc, and Germaine Tailleferre (1892–1983)

   Les mariés de la tour Eiffel (1921)

Works by André Souris (1899–1970)

Tickets: $25, 35, 50, 60

WEEKEND TWO: Stravinsky Re-invented: From Paris to Los Angeles

Friday, August 16

Program Six

Against Interpretation and Expression: The Aesthetics of Mechanization

Sosnoff Theater

7:30 pm Pre-concert Talk

8 pm Performance

Igor Stravinsky (1882–1971)

   Concerto for Piano and Winds (1923–24)

   Sonata for Two Pianos (1943–44)

Béla Bartók (1881–1945)

   Sonata for Two Pianos and Percussion, Sz 110 (1937)

Edgard Varèse (1883–1965)

   Octandre (1923)

Paul Hindemith (1895–1963)

   Kleine Kammermusik, Op. 24, No. 2 (1922)

Olivier Messiaen (1908–92)

   From Quatre études de rythme (1949–50)

Tickets: $25, 35, 50, 60

Saturday, August 17

Panel Three

Lenin, Hitler, Stalin, and Mussolini: Music, Ethics, and Politics

Olin Hall

10 am—noon

Free and open to the public

Program Seven

Stravinsky in Paris

Olin Hall

1 pm Pre-concert Talk

1:30 pm Performance

Igor Stravinsky (1882–1971)

   Les cinq doigts, for piano (1921)

   Octet for Wind Instruments (1922–23)

   Duo Concertant (1931–32)

Albert Roussel (1869–1937)

   Sérénade, for flute, harp, and string trio, Op. 30 (1925)

Bohuslav Martinu (1890–1959)

   String Quartet No. 4, H. 256 (1937)

Sergey Prokofiev (1891–1953)

   Sonata for Two Violins, Op. 56 (1932)

Alexandre Tansman (1897–1986)

   Sonatina for Flute and Piano (1925)

Tickets: $35

Program Eight

The Émigré in America

Sosnoff Theater

7 pm Pre-concert Talk

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

Igor Stravinsky (1882–1971)

   Jeu de cartes (1936)

   Symphony in Three Movements (1942–45)

   Ode (1943)

   Requiem Canticles (1965–66)

Arnold Schoenberg (1874–1951)

   Kol Nidre, Op. 39 (1938)

Works by Hanns Eisler (1898–1962)

Tickets: $30, 50, 60, 75

Sunday, August 18

Program Nine

Stravinsky, Spirituality, and the Choral Tradition

Olin Hall

10 am Performance with commentary

Choral works by Igor Stravinsky (1882–1971); Gesualdo da Venosa (1566–1613), Claudio Monteverdi (1567–1643); Johann Sebastian Bach (1685-1750); Sergey Rachmaninoff (1873–1943); Francis Poulenc (1899–1963), Lili Boulanger (1893-1918), and Ernst Krenek (1900-91) 

Tickets: $30

Program Ten

The Poetics of Music and After

Olin Hall

1 pm Pre-concert Talk

1:30 pm Performance

Igor Stravinsky (1882–1971)

   Circus Polka, arranged for piano (1942, arr. 1944)

   Septet (1952–53)

Anton Webern (1883–1945)

   Variations for Piano, Op. 27 (1936)

Walter Piston (1894–1976)

   Suite, for oboe and piano (1931)

Aaron Copland (1900–90)

   Nonet (1960)

Elliott Carter (1908–2012)

   Woodwind Quintet (1948)

Ellis B. Kohs (1916–2000)

   Sonatina for Violin and Piano (1948)

Carlos Chávez (1899–1978)

   Fugas (1942)

Tickets: $35

Program Eleven

The Classical Heritage

Sosnoff Theater

3:30 pm Pre-concert Talk

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

Igor Stravinsky (1882–1971)

   Perséphone (1933–34, rev. 1948)

   Oedipus Rex (1926–27, rev. 1948)

Tickets: $30, 50, 60, 75

Bard SummerScape ticket information

For tickets and further information on all SummerScape events, call the Fisher Center box office at 845-758-7900 or visit www.fishercenter.bard.edu.

Bard SummerScape: fishercenter.bard.edu/summerscape/2013

Bard Music Festival: fishercenter.bard.edu/bmf/2013

Tickets: [email protected]; or by phone at 845-758-7900

Updates: Bard’s “e-members” get all the news in regular updates. Click here to sign up, or send an e-mail to [email protected].

All program information is subject to change.

The 24^th annual Bard Music Festival 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 National Endowment for the Arts and the New York State Council on the Arts.

# # #

April, 2013