BMF SHOSTAKOVICH Brochure 04

SHOSTAKOVICH
AND HIS WORLD
bard music festival
rediscoveries
AUGUST 13–15, 2004
AUGUST 20–22, 2004
NOVEMBER 5–7, 2004
Bard College, Annandale-on-Hudson, New York

SHOSTAKOVICH
1906–1975
The life and work of Dmitrii Shostakovich are inextricably entwined with
the central questions of politics and culture in the 20th century. His
music represents a challenge to listeners that is unique in the annals of
concert music, in part because of the compelling power of his greatest
works and the tremendous divergences in its reception. The qualities of
the music and its historical contexts have given rise to highly contested
interpretations. More than a quarter-century after his death, however,
Shostakovich has emerged as one of the most influential and popular
composers of the 20th century.
Born in 1906, Shostakovich experienced World War I and the October
Revolution. He participated in the progressive era in the arts of the
1920s. Intensely ambitious and talented as a pianist and composer, he
maintained a complex relationship with the Soviet regime from Stalin
to Brezhnev. In the post-Stalin era, Shostakovich became celebrated in
the West and, in the bilateral world of the Cold War, took on more and
more the aspect of an official representative of Soviet music. In the
1950s and 1960s he was championed, partly in the name of peaceful
coexistence and partly because his music seemed to convey emotional
intensity, along with a connection to tradition seemingly absent from
the music of radical modernism and the avant-garde in Western Europe
and America. In the final stage of Shostakovich’s life, his relationship to
the Soviet regime became extremely painful. In ill health, he distanced
himself from the ever-growing number of dissidents and continued to
sustain his role as the preeminent Soviet composer.
There is little doubt that Shostakovich suffered intensely in the pursuit
of his life as a composer within the constraints of Soviet Russia, above
and beyond the predictable internal struggle that may be generic to the
creative artist. Despite the undeniable fact that in the massive output
of music he wrote there are masterpieces in practically every genre
(including popular song and film music), the controversy over the meaning
and significance of Shostakovich’s music has not subsided since his
death. Not only has there been the predictable rush to interpretive revisionism
typical of many posthumous assessments, but debate has continued
about Shostakovich’s significance and influence, heightened by
the collapse of communism and the concomitant decline in the fortunes
of musical modernism. He has taken a permanent place as a towering
and strangely characteristic seminal figure in 20th-century culture,
inclusive of its politics and social history. The reasons for this are as
complicated as the matter of understanding the composer himself.
Shostakovich’s significance as a composer cannot be reduced to some
narrative about the triumph of conservatism and the demise of an avantgarde.
The symphonies, chamber music, and vocal and operatic music
have, from their introduction to both Russian and Western audiences,
communicated alienation, affirmation, intimacy, and beauty, as well as
the fissures and contradictions of modern life.
The Bard Music Festival will attempt to confront and untangle the strands
in the music of Shostakovich, the personality of the composer, the politics
of his career, and the posthumous reception of his work. The Princeton
University Press volume, edited by Laurel E. Fay, America’s leading
Shostakovich scholar, and the symposium, panels, and preconcert lectures
over the three weekends of orchestral and chamber performances and
the additional two weeks of opera performances will provide an overview
of his music. The repertoire will include not only those works that have
always had a following in the West and appear to be representative, but
also lesser-known works. Included will be examples of music that those
who wish to portray Shostakovich as a lifelong dissident might wish to
forget, works of patriotism and propaganda that suggest little hint of
contradiction. As is the custom at the Bard Music Festival, Shostakovich’s
music will be placed alongside that of his contemporaries in Russia.
Photos: cover, from Dmitry Shostakovich Composer, Foreign Languages Publishing, Moscow, 1959; this page, ©Bettman/CORBIS
Although Shostakovich’s career as an opera composer was dramatically
changed by Stalin’s reaction to Lady Macbeth of the Mtsensk District,
written when the composer was still a young man, his music for the
stage is still some of his best, and reveals indispensable aspects of his
genius. The Richard B. Fisher Center for the Performing Arts, the new
home of the Bard Music Festival, will stage The Nose, the opera based on
the story by Gogol and first staged in 1930.

OPERA
The Nose
An opera in three acts by Dmitrii Shostakovich
Based on the story by Nikolai Gogol
(in Russian, with English surtitles)
richard b. fisher center for the performing arts, sosnoff theater
JULY 28 – AUGUST 7
The American Symphony Orchestra, conducted by Leon Botstein, music director
Francesca Zambello, director
Rafael Viñoly, scenic designer
Georgi Alexi-Meskhishvili, costume designer
Mark McCullough, lighting designer
WEEKEND
ONE
FRIDAY
AUGUST 13
program one DMITRII SHOSTAKOVICH:
THE MAN AND HIS WORK
Dmitrii Shostakovich (1906–75): Funeral March, “In Memory of the
Victims of the Revolution” (1917); Three Fantastic Dances, Op. 5,for
piano (1920); from Twenty-four Preludes and Fugues, Op. 87 (1950–51);
Songs; Piano Trio No. 2 in E Minor, Op. 67 (1944); Suite for Jazz
Orchestra No. 1 in E Major (1934); String Quartet No. 11 in F Minor,
Op. 122 (1966)
richard b. fisher center for the performing arts
sosnoff theater
8:00 p.m. Preconcert Talk Leon Botstein
8:30 p.m. Performance Andrey Antonov, bass; Bard Festival String
Quartet; Claremont Trio; Anna Polonsky, piano; Lauren Skuce, soprano;
Dénes Várjon, piano; Bard Festival Chamber Players
SATURDAY
panel one CONTESTED ACCOUNTS: AUGUST 14
THE COMPOSER’S LIFE AND CAREER
Leon Botstein, moderator; Laurel E. Fay; Elizabeth Wilson;
others TBA
olin hall
10:00 a.m. – noon
program two THE FORMATIVE YEARS
Dmitrii Shostakovich (1906–75): Two Fables of Krylov,Op.4 (1922);
Trio No. 1 in C Minor, Op. 8 (1923); Prelude and Scherzo, Op. 11, for
string octet (1924)
Igor Stravinsky (1882–1971): Three Pieces for String Quartet (1914)
Aleksandr Glazunov (1865–1936): From Four Preludes and Fugues,
Op. 101 (1918–23)
Sergey Prokofiev (1891–1953): Piano Sonata No. 3 in A Minor, Op. 28,
“From Old Notebooks” (1917)
Aleksandr Skriabin (1872–1915): Piano Sonata No. 9, Op. 68,
“Black Mass”(1912–13)
Mikhail Gnesin (1883–1953): Songs of a Knight Errant,Op.28 (1928)
© Georgi Alexi-Meskhishvili

Maximilian Shteynberg (1883–1946): Four Songs on Texts by
Rabindranath Tagore, Op. 14 (1924)
olin hall
1:00 p.m. Preconcert Talk Robert Martin
1:30 p.m. Performance Bard Festival String Quartet; Claremont Trio;
Colorado String Quartet; William Ferguson, tenor; Jessie Hinkle,
mezzo-soprano; Dénes Várjon, piano; others TBA
Aram Khachaturian (1903–78): Trio for clarinet, violin, and piano (1932)
Ivan Dzerzhinsky (1909–78): Excerpts from The Quiet Don (1934)
Tikhon Khrennikov (b. 1913): Excerpts from Into the Storm (1936–39)
richard b. fisher center for the performing arts
sosnoff theater
4:30 p.m. Preconcert Talk Marina Frolova-Walker
5:00 p.m. Performance Zuill Bailey, cello; Bard Festival String Quartet;
Simone Dinnerstein, piano; John Hancock, baritone; others TBA
program three FROM SUCCESS TO DISGRACE
Dmitrii Shostakovich (1906–75): Theme and Variations in B-flat Major,
Op. 3 (1921–22); Symphony No. 1 in F Minor, Op. 10 (1923–25); Symphony
No. 4 in C Minor, Op. 43 (1935–36)
richard b. fisher center for the performing arts
sosnoff theater
7:00 p.m. Preconcert Talk Morten Solvik
8:00 p.m. Performance American Symphony Orchestra, Leon Botstein,
conductor
SUNDAY
AUGUST 15
panel two MUSIC IN THE SOVIET UNION
Christopher H. Gibbs, moderator; Marina Frolova-Walker; others TBA
olin hall
10:00 a.m. – noon
program four THE PROGRESSIVE 1920s
Dmitrii Shostakovich (1906–75): Piano Sonata No. 1,Op.12 (1926);
Aphorisms, Op. 13 (1927)
Vladimir Shcherbachov (1889–1952): Songs, Op. 11 (1915–24)
Nikolay Myaskovsky (1881–1950): String Quartet No. 4,Op.33,No.4
(1909–37)
Gavriil Popov (1904–72): Septet, Op. 2 (1927)
olin hall
1:00 p.m. Preconcert Talk Simon Morrison
1:30 p.m. Performance Courtenay Budd, soprano; Melvin Chen, piano;
Colorado String Quartet; Bard Festival Chamber Players
program five THE ONSET OF POLITICAL REACTION
Dmitrii Shostakovich (1906–75): Cello Sonata in D Minor, Op. 40 (1934);
Four Romances, Op. 46 (1936–37); Oath to the People’s Commissar (1941)
Vissarion Shebalin (1902–63): String Quartet No. 5,Op.33,
“Slavonic” (1942)
Dmitrii Kabalevsky (1904–87): Sonatina No. 1,Op.13,No.1, for piano (1930)
WEEKEND
TWO
FRIDAY
symposium ART AND CULTURE IN THE SOVIET ERA AUGUST 20
Paul Mitchinson, moderator; Jonathan Brent; Caryl Emerson;
Steven Marks; Joan Neuberger; Richard Pipes; Jane Sharp
olin hall
10:00 a.m. – noon
1:30 p.m. – 3:30 p.m.
program six “GOOD MORNING MOSCOW”:
ONE DAY IN THE LIFE OF
SOVIET POPULAR MUSIC
Radio was the lifeline to the outside world as well as the main
provider of entertainment for many living under the Soviet regime.
This program, conceived and scripted by Marina Kostalevsky, explores
the popular music of the time as it was heard, and integrated into
daily life, by the inhabitants of communal apartments in Moscow.
richard b. fisher center for the performing arts
sosnoff theater
8:00 p.m. Performance
Tatiana Bruni, 1931, drawings for
The Bolt, © St. Petersburg State
Museum of Theatre and Music

SATURDAY
AUGUST 21
program seven MUSIC AS POLITICS
Dmitrii Shostakovich (1906–75): Rayok (Little Paradise)
(1948, 1965–68); with Nikita Storojev, bass
olin hall
10:00 a.m. Performance with commentary by Richard Taruskin
program eight IN THE SHADOW OF 1948
Dmitrii Shostakovich (1906–75): From Twenty-four Preludes and Fugues,
Op. 87 (1950–51); String Quartet No. 5 in B-flat Major, Op. 92 (1953)
Galina Ustvolskaya (b. 1919): Trio for clarinet, violin, and piano (1949)
Mieczyslaw Weinberg (1919–96): Moldavian Rhapsody, Op. 47,No.3,for
violin and piano (1949–52)
Works by Georgy Sviridov (1915–98) and Yury Shaporin (1887–1966)
olin hall
1:00 p.m. Preconcert Talk David Fanning
1:30 p.m. Performance Chiara String Quartet; Alexander Fiterstein,
clarinet; Alon Goldstein, piano; Martin Kasik, piano; Philippe Quint, violin
program nine AFTER THE THAW:
A COMPOSER LOOKS BACK
Dmitrii Shostakovich (1906–75): The Execution of Stepan Razin,Op.119
(1964); Symphony No. 14,Op.135 (1969)
Modest Musorgsky (1839–81): Songs and Dances of Death (1875–77;
arr. Shostakovich, 1962)
richard b. fisher center for the performing arts
sosnoff theater
Boris Tishchenko (b. 1939): String Quartet No. 1,Op.8 (1957)
Sofiya Gubaidulina (b. 1931): Five Etudes (1965)
Alfred Schnittke (1934–98): From Four Hymns for Cello and
Instrumental Ensemble (1974–77)
olin hall
1:00 p.m. Preconcert Talk Peter Schmelz
1:30 p.m. Performance Lydia Artymiw, piano; Courtenay Budd, soprano;
Chiara String Quartet; Kim Kashkashian, viola; Bard Festival Chamber
Players
program eleven IDEOLOGY AND INDIVIDUALISM
Dmitrii Shostakovich (1906–75): Sun over Our Homeland, Cantata,
Op. 90 (1952); The Song of the Forests,Op.81 (1949); Symphony No. 10
in E Minor, Op. 93 (1953)
richard b. fisher center for the performing arts
sosnoff theater
4:00 p.m. Preconcert Talk Christopher H. Gibbs
5:00 p.m. Performance Simon O’Neill, tenor; Valerian Ruminski, bass;
Bard Festival Chorale, James Bagwell, choral director; American
Symphony Orchestra, Leon Botstein, conductor
7:00 p.m. Preconcert Talk Laurel E. Fay
8:00 p.m. Performance Ewa Podleś, contralto; Lauren Skuce, soprano;
Nikita Storojev, bass; Bard Festival Chorale, James Bagwell, choral
director; American Symphony Orchestra, Leon Botstein, conductor
SUNDAY
panel three THE COMPOSER’S LEGACY: AUGUST 22
SHOSTAKOVICH IN THE CONTEXT
OF MUSIC TODAY
Richard Wilson, moderator; others TBA
olin hall
10:00 a.m. – noon
program ten A NEW GENERATION RESPONDS
Dmitrii Shostakovich (1906–75): Viola Sonata, Op. 147 (1975)
Edison Denisov (1929–96): The Sun of the Incas (1964)
WEEKEND
THREE
FRIDAY
NOVEMBER 5
Battleship Potemkin, film poster
by Stenberg Brothers 1929.
© Swim Ink/CORBIS
program one WORLD WAR II AND ITS AFTERMATH
Dmitrii Shostakovich (1906–75): From Jewish Folk Poetry, Op. 79a
(1948–?64); Symphony No. 7 in C Major, Op. 60, “Leningrad” (1941)
richard b. fisher center for the performing arts, sosnoff theater
7:00 p.m. Preconcert Talk
8:00 p.m. Performance American Symphony Orchestra,
Leon Botstein, conductor; others TBA

SATURDAY
panel ART IN WARTIME NOVEMBER 6
Participants TBA
olin hall
10:00 a.m. – noon
program two ELECTIVE AFFINITIES:
A MUSICAL AND SPIRITUAL FRIENDSHIP
Dmitrii Shostakovich (1906–75): String Quartet No. 2 in A Major,
Op. 68 (1944); String Quartet No. 3 in F Major, Op. 73 (1946)
Benjamin Britten (1913–76): String Quartet No. 2 in C Major,
Op. 36 (1945)
richard b. fisher center for the performing arts
sosnoff theater
1:00 p.m. Preconcert Talk
1:30 p.m. Performance Emerson String Quartet
program three WORLD WAR II AND ITS AFTERMATH
Dmitrii Shostakovich (1906–75): From Jewish Folk Poetry, Op. 79a
(1948–?64); Symphony No. 7 in C Major, Op. 60, “Leningrad” (1941)
richard b. fisher center for the performing arts
sosnoff theater
7:00 p.m. Preconcert Talk
8:00 p.m. Performance American Symphony Orchestra,
Leon Botstein, conductor; others TBA
SUNDAY
NOVEMBER 7
program four MUSIC AND WORLD WAR II
Works by Dmitrii Shostakovich (1906–75), Sergey Prokofiev (1891–1953),
Mieczyslaw Weinberg (1919–96), and Georgy Sviridov (1915–98)
richard b. fisher center for the performing arts
sosnoff theater
11:00 a.m. Preconcert Panel: “The Fall of Berlin”
2:00 p.m. Performance
THE BARD MUSIC FESTIVAL
The Bard Music Festival was founded in 1990 to promote new ways of understanding and
presenting the history of music to a contemporary audience. Each year, a single composer is
chosen as the main subject. The biography of the composer, the influences and consequences
of that composer’s achievement, and all aspects of the musical culture surrounding the time
and place of the composer’s life are explored. By linking music to the worlds of literature,
painting, theater, philosophy, and politics, the festival brings two kinds of audiences together:
those with a long history of interest in concert life, and first-time listeners, who find the festival
an ideal place to learn about and enjoy the riches of our musical past.
The festival also seeks to bridge the worlds of performance and scholarship in new and
exciting ways. As a result of this collaboration, each concert is curated and the concert format
varies, so that different genres and instrumental groupings appear in a single program, breaking
the mold of the standard vocal recital, piano recital, or quartet concert. The festival’s tradition
of presenting concert operas was replaced by performances of staged operas, made possible by
the opening of The Richard B. Fisher Center for the Performing Arts at Bard College in 2003.
Princeton University Press will again publish a book of new scholarship and interpretation
as well as documents, many previously unavailable in English. This year’s volume,
Shostakovich and His World, the 15th in the series, is edited by Laurel E. Fay.
Leon Botstein, Christopher H. Gibbs, and Robert Martin, Artistic Directors
Laurel E. Fay, Scholar-in-Residence 2004
FESTIVAL PERFORMERS
Andrey Antonov, bass; Lydia Artymiw, piano; Zuill Bailey, cello; Bard Festival String Quartet;
Courtenay Budd, soprano; Melvin Chen, piano; Chiara String Quartet; Claremont Trio; Colorado
String Quartet; Simone Dinnerstein, piano; William Ferguson, tenor; Alexander Fiterstein,
clarinet; Alon Goldstein, piano; John Hancock; baritone; Jessie Hinkle, mezzo-soprano; Kim
Kashkashian, viola; Martin Kasik, piano; Marina Kostalevsky, author; Simon O’Neill, tenor; Ewa
Podleś, contralto; Anna Polonsky, piano; Philippe Quint, violin; Valerian Ruminski, bass; Lauren
Skuce, soprano; Nikita Storojev, bass; Dénes Várjon, piano; Bard Festival Chamber Players; Bard
Festival Chorale, James Bagwell, choral director; American Symphony Orchestra, Leon Botstein,
music director
LECTURERS AND PANELISTS
Leon Botstein, Bard College; Jonathan Brent,Yale University; Caryl Emerson, Princeton University;
David Fanning, University of Manchester; Laurel E. Fay; Marina Frolova-Walker, University of
Cambridge; Christopher H. Gibbs, Bard College; Steven Marks, Clemson University; Robert
Martin, Bard College; Paul Mitchinson; Simon Morrison, Princeton University; Joan Neuberger,
University of Texas, Austin; Richard Pipes, Harvard University; Peter Schmelz, SUNY at Buffalo;
Jane Sharp, Rutgers University; Morten Solvik, Institute of European Studies, Vienna; Richard
Taruskin, University of California, Berkeley; Elizabeth Wilson; Richard Wilson, Vassar College
All programs and artists are subject to change.

BARDSUMMERSCAPE 2004
PROGRAM SCHEDULE
JULY 2 – AUGUST 22
THE RICHARD B. FISHER CENTER
FOR THE PERFORMING ARTS
AT BARD COLLEGE
OPERA
THEATER
The Nose JULY 28 – AUGUST 7
by Dmitrii Shostakovich
Libretto by the composer, Yevgeny Zamyatin,
Georgy Ionin, and Alexander Preys, after the story by Gogol
The American Symphony Orchestra
Conducted by Leon Botstein, music director
Directed by Francesca Zambello
The Inspector General JULY 8–11
A play by Nikolai Gogol
The Alexandriinsky Theater of St. Petersburg
Directed by Valery Fokin
Music by Leonid Desatnikov
The Overcoat AUGUST 4–8
Based on a story by Nikolai Gogol
Credo Theatre of Bulgaria
Nevsky Prospekt AUGUST 11–15
Based on a story by Nikolai Gogol
Theatre Potudan of St. Petersburg
MUSIC
THEATER
RUSSIAN
FILM FESTIVAL
NIGHTSCAPE
CABARET
Guest from the Future JULY 22 – AUGUST 1
Music by Mel Marvin
Libretto by Jonathan Levi
Directed by David Chambers
Music directed by David Levi
St. Petersburg Legacy JULY 24, 25
Da Camera of Houston
Directed by Sarah Rothenberg
Moscow: Cherry Tree Towers AUGUST 12–15
by Dmitrii Shostakovich
Libretto by Vladimir Mass and Mikhail Chervinsky
Directed by Francesca Zambello
Music directed by Sergei Dreznin
SummerScape 2004’s Russian Film
Festival includes four films scored by
Dmitrii Shostakovich, including his great
Shakespeare collaborations with director
Grigory Kozintsev, Hamlet and King Lear.
Also to be screened are films by acclaimed
animator Yuri Norstein, including his uncompleted
version of The Overcoat, along with other rare
cinematic treatments of classic stories by Nikolai
Gogol and three recently discovered and restored
film comedies by Boris Barnet.
JULY 15 – AUGUST 21
A late-night cabaret of informal JULY 10 – AUGUST 21
entertainment Saturday evenings
during the SummerScape season
All programs and artists are subject to change.
FOR DETAILED INFORMATION ON TIMES, TICKET PRICES, AND LOCATIONS,
SEE TICKET FORM, CALL 845-758-7900, OR VISIT summerscape.bard.edu.
© Georgi Alexi-Meskhishvili
White Cabin AUGUST 18–21
Akhe Russian Engineering Theatre of St. Petersburg

tickets
Donors of $500 or more have the opportunity to purchase
tickets prior to general sales, beginning April 8, 2004. Tickets
go on sale to the general public on May 1, 2004.
Discounts
Discounted tickets will be marked by the box office and
checked at the door. Discounts apply only to the individual
for whom the ticket is purchased. Only one discount per
ticket purchased is permitted. Single ticket discounts do not
apply to subscriptions.
Senior citizens aged 62 and over are eligible for a discount
of $4 per single ticket purchased.
Students aged 5 to 18 and college and graduate students
with a valid school ID are eligible for a discount of $15 per
single ticket purchased.
Groups of 15 or more may be eligible for a discount. Please
call the box office manager at 845-758-7948.
Please Note
Tickets will not be held without payment.
No refunds or exchanges will be made on ticket sales.
dining
The new Manor House Café, steps away from the Fisher
Center, features stunning views of the Catskills and superb
cuisine. It is open weekdays from 11 am to 5 pm for lunch,
snacks, and picnics. From 5 to 8 pm on performance days,
Manor House serves a prix fixe four-course dinner at $35 per
person, exclusive of beverages, tax, and tip. Call the box
office at 845-758-7900 for reservations.
other information
Latecomers are not admitted to the hall after the performance
has started. Closed-circuit TVs are available in the lobby
of the Sosnoff Theater and Theater Two for patrons to view
the performance. Ushers will direct patrons to their seats
during a suitable pause, but this may not be until an intermission.
Patrons who need to leave the hall during a performance
will be readmitted only during a suitable pause.
Children under age 5 may attend age-appropriate events
only. Check with the box office. Infants will not be admitted
to performances.
The use of recording equipment or photography is strictly
prohibited during performances.
Mobile phones, beepers, and watch alarms must be turned
off during performances.
Lost and Found is in the box office in the Sosnoff Theater.
If you have forgotten or lost your tickets, the box office can
reprint them. Stop by the box office prior to the performance.
Access and Facilities for the Disabled
Seating in the Sosnoff Theater is available in all price categories
for patrons in wheelchairs and their companions. See
the seating chart for locations. There is an elevator to all levels
of the Sosnoff Theater and a special wheelchair lift used
to access front-row wheelchair seating.
Wheelchair seating in Theater Two and Resnick Theater Studio
varies for each production. Wheelchair seating in Olin Hall
and the Film Center is in the front of the hall.
Please be sure to let the box office know at the time you
purchase your tickets that you need wheelchair seating so
an appropriate location can be reserved for you.
Restrooms in all locations are wheelchair accessible. For the
additional convenience of Sosnoff Theater patrons, there is
a private restroom on the lower lobby for use by patrons in
wheelchairs.
Sennheiser infrared assistive listening devices are available
in the Sosnoff Theater and Theater Two. Receivers may be
borrowed on request at the box office.
Reserved parking is available for drivers with disabilities.
Please call 845-758-7923 in advance to ensure a reserved
space. Drivers of cars carrying the disabled are asked to drop
their passengers off at the drop-off point in front of the
Fisher Center.
If you would like additional information or have any special
requirements not covered in the brochure, please call 845-
758-7945 for assistance.
contributions
The revenue from ticket sales does not cover the costs of
producing the Bard Music Festival. You can help by making
a gift in one of the categories listed below. With your support,
we will continue to explore the life and work of the
world’s leading composers and enjoy outstanding music
every summer.
Friend:$100 – $499
Friends receive a contributor’s price on individual tickets for
the Bard Music Festival, and their names are listed in the
program. (Donation is fully tax deductible.)
Sponsor:$500 – $999
Sponsors receive the preceding benefits, a copy of the festival
book, and a recording of Richard Strauss’s Die ägyptische
Helena with Leon Botstein conducting. ($53 of donation is not
tax deductible.)
Patron:$1,000 – $2,499
Patrons receive all of the preceding benefits, plus reserved
parking for all Fisher Center performances, exclusive use of
a special telephone line to purchase and reserve tickets, priority
seating, and an invitation to a dinner at a Hudson River
home during the festival. Patrons are also invited to postconcert
receptions with musicians throughout the year. ($103
of donation is not tax deductible.)
Associate:$2,500 – $4,999
Associates receive all of the preceding benefits, plus an invitation
to the Bard Music Festival Board of Directors dinner
on opening night of the festival. ($153 of donation is not tax
deductible.)
Benefactor:$5,000 and above
Benefactors receive all of the preceding benefits, plus a pair
of tickets to the Saturday night orchestra concert during
the third weekend of the Bard Music Festival, November 6,
2004, in the Sosnoff Theater at the Fisher Center, and invitations
to special festival events scheduled throughout the
year. Benefactors will also receive the opportunity to underwrite
events. ($213 of donation is not tax deductible.)
Special thanks to the Bettina Baruch Foundation, Richard B. and Jeanne
Donovan Fisher, the Homeland Foundation, Mimi Levitt, Joanna M.
Migdal, Andrea and Kenneth Miron, Mary and James H. Ottaway Jr.,
Felicitas S. Thorne, and Margo and Anthony Viscusi for their outstanding
support in underwriting this festival.
travel to bard
This project is also made possible in part by grant
awards from the National Endowment for the Arts
and the New York State Council on the Arts.
Bard College is in Annandale-on-Hudson, New York, on the
east bank of the Hudson River, about 90 miles north of New
York City and 220 miles southwest of Boston.
By Train
Amtrak provides service from Penn Station, New York City, and
from Albany to Rhinecliff,about 9 miles south of Annandale.Taxi
service is available at the station.
By Automobile
From southern Connecticut, follow I-84 to the Taconic State
Parkway; take the Taconic north to the Red Hook/Route 199
exit; drive west on Route 199 through the village of Red
Hook to Route 9G; turn right onto Route 9G and drive north
1.9 miles. Follow the sign for Center for Performing Arts.
From northern Connecticut, take Route 44 to Route 199 at
Millerton; drive west on Route 199 and proceed as from
southern Connecticut.
From Massachusetts and northern New England, take the
Massachusetts Turnpike to Exit B-2 (Taconic Parkway); take
the Taconic south to the Red Hook/Route 199 exit and proceed
as from southern Connecticut.
From New York City, New Jersey, and points south, take the
New York State Thruway to Exit 19 (Kingston); take Route
209 (which changes to Route 199 at the Hudson River) over
the Rhinecliff Bridge to Route 9G at the second light; turn
left onto Route 9G and drive north 3.8 miles. Follow the sign
for Center for Performing Arts.
From Albany, take the New York State Thruway to Exit 19 and
proceed as from New York City.
accommodations
Unless otherwise specified, the area code is 845.
Hotels and Motels
Red Hook, NY 12571 (10 min.)
Gaslight Inn, Rte. 9, 758-1571
Hearthstone Motel, 7958 Rte. 9, 758-1811
Rhinebeck, NY 12572 (15 min.)
Rhinebeck Motel, 6938 Rte. 9, 876-5900
Village Inn of Rhinebeck, 6260 Rte. 9, 876-7000
Kingston, NY 12401 (20 min.)
Holiday Inn, 503 Washington Ave., Exit 19 of NY State
Thruway, 338-0400
Ramada Inn, Rte. 28 and Exit 19 of NY State Thruway,
339-3900/800-228-2828
Super 8 Motel, 487 Washington Ave., 338-3078
Super Lodge Motel, 129 Rte. 28, 338-4200
Stanfordville, NY 12506 (20 min.)
Bullis Hall, 88 Hunnslake Rd., 868-1665
Saugerties, NY 12477 (25 min.)
Comfort Inn, 2790 Rte. 32, 246-1565/800-228-5150
Hyde Park, NY 12538 (30 min.)
Golden Manor Motel, Rte. 9, 229-2157
The Inn at Hyde Park, 41211 Albany Post Rd. (Rte. 9),
229-9161
Roosevelt Inn, 616 Albany Post Rd. (Rte. 9), 229-2443
Super 8 Motel, 4142 Albany Post Rd., 229-0088/
800-800-8000
Vanderbilt Motel, Rte. 9, 229-7100
Village Square and Country Inn, 4159 Albany Post Rd.
(Rte. 9), 229-7141
Poughkeepsie, NY 12601 (45 min.)
Best Western, 2170 South Rd. (Rte.9) 462-4600
Courtyard by Marriott, 2641 South Rd. (Rte. 9), 485-6336
Holiday Inn Express, Rte. 9 and Sharon Dr., 473-1151
Inns
Red Hook, NY 12571 (10 min.)
Red Hook Inn, 7460 S. Broadway (Rte. 9), 758-8445
Sage House, 48 Old Post Rd. N., 758-4001
Rhinebeck, NY 12572 (15 min.)
Beekman Arms, Rtes. 9 and 308, 876-7077
Belvedere Country Inn, Rte. 9, 889-8000
Hudson, NY 12534 (15 min.)
Inn at Blue Stores, 2323 Rte. 9, 518-537-4277
Union Street Guest House, 349 Union St., 518-828-0958
Germantown, NY 12526 (20 min.)
Gingerbread Haus, 44 Young America Rd.,
518-537-3756
Staatsburg, NY 12580 (20 min.)
Arborcrest, 15 Reservoir Rd., 889-4953
Stanfordville, NY 12581 (25 min.)
Lake House Inn, Shelly Hill Rd., 266-8093
Woodstock, NY 12498 (30 min.)
Woodstock Inn on the Millstream, 48 Tannery Brook Rd.,
679-8211
Bed-and-Breakfasts
Red Hook, NY 12571 (10 min.)
1821 House, RD 1,Box 1, Old Post Rd. (Rte. 9)
758-5013
CD Diplomat B and B, 82 Walker Hill, 757-4305
The Grand Dutchess B and B, 7571 Old Post Rd.,
758-5818
Lombard’s Antiques and B and B, 79 Spring Lake Rd.,
758-3805
The Old Post Coach House, 8021 Albany Post Rd.,
(Rte. 9) 758-3804
Tivoli, NY 12583 (10 min.)
Bird’s Nest B and B, 21 Clayhill Rd., 757-4279
Rhinebeck, NY 12572 (15 min.)
Beckrick House, 27 Beckrick Dr., 876-6416
Bitter Sweet B and B, 470 Wurtemburg Rd.,
876-7777/4488
The Gables at Rhinebeck, 6358 Mill St., 876-7577
MacPherson House, 37 Knollwood Rd., 876-6221
Mansakenning Carriage House, 29 Ackert Hook Rd.,
876-3500
Olde Rhinebeck Inn, 340 Wurtemburg Rd.,
871-1745
Sleeping Beauty B and B, 30 Chestnut Street,
876-8986
Stone Church B and B, 339 Stone Church Rd.,
758-2427
Veranda House B and B, 6487 Montgomery St.,
876-4133
Whistle Wood Farm, 52 Pells Rd., 876-6838
Rhinecliff, NY 12574 (20 min.)
Rhinecliff B and B, William & Grinnel Sts.,
876-3710
Hudson, NY 12534 (20 min.)
Hudson City B and B, 326 Allen St., 518-822-8044
Staatsburg, NY 12580 (20 min.)
Half Moon B and B, 161 W. Meadowbrook Ln.,
266-5296
Kingston, NY 12401 (20 min.)
Rondout B and B, 88 W. Chester St., 331-8144
Hyde Park, NY 12538 (30 min.)
Inn the Woods, 32 Howard Blvd. Extension,
229-9331
Journey Inn B and B, 1 Sherwood Place, 229-8972
Millbrook, NY 12545 (30 min.)
Millbrook County House, 506 Sharon Turnpike, 677-9570
Stanfordville, NY 12581 (40 min.)
Jenny’s Country Manor Lodge, 1639 Rte. 199,
876-1151/800-859-8978
Dover Plains, NY 12522 (45 min.)
Old Drover’s Inn, 196 East Duncan Hill Rd.,
832-9311

ard music festival
rediscoveries
Bard College
Annandale-on-Hudson, NY 12504-5000
FOR TICKETS, CALL 845-758-7900
OR VISIT www.bard.edu/bmf