{"id":12574,"date":"2013-07-25T11:54:46","date_gmt":"2013-07-25T15:54:46","guid":{"rendered":"http:\/\/www.musicalamerica.com\/mablogs\/?p=12574"},"modified":"2013-09-10T20:47:13","modified_gmt":"2013-09-11T00:47:13","slug":"partial-view","status":"publish","type":"post","link":"http:\/\/www.musicalamerica.com\/mablogs\/?p=12574","title":{"rendered":"Partial View"},"content":{"rendered":"

by Sedgwick Clark <\/strong><\/p>\n

I wandered over to Lincoln Center on Wednesday to see the opening act of Kronos Quartet\u2019s five-night 40th-anniversary gig. Mark Dendy\u2019s new site-specific modern-dance work for 80 dancers, Ritual Cyclical<\/em>, was being staged in and around the Henry Moore reflecting pool in front of the Vivian Beaumont Theater and set to Kronos recordings on Nonesuch. The Times<\/em> had given a big spread to it on Monday the 22nd, dominated by a dramatic photo of two dancers in the pool in a balletic pose. Alas, by the time I arrived there were so many people standing on the plaza around the pool that only the tops of the sculptures were visible, and attempting to walk around for a different view without seeming pushy was not possible.<\/p>\n

After about half an hour several disagreeable-looking women dressed in army fatigues cleared out a circular area between the pool and Avery Fisher Hall so that a few dancers could run around gazelle-like in an effort to open up the available stage area, but the most interesting choreography presumably was out of view for all but those lining the pool. Eventually, for some reason, the crowd began to shift toward Alexander Calder\u2019s Box Office<\/em> sculpture in front of the Performing Arts Library entrance. The Kronos recordings, which had been easy on the ear up to this point, segued to the 1943 recording of Charles Ives playing piano and singing his antiwar song They Are There<\/em>, followed by Jimi Hendricks\u2019s electronically distorted arrangement of Kronos scratching out The Star-Spangled Banner<\/em> \u2013 a rendition that makes Roseanne Barr\u2019s infamous 1990 San Diego Padres pre-game performance seem mellifluous by comparison \u2013 and the audience quickly thinned out.<\/p>\n

Bard Festival\u2019s Stravinsky Weekends <\/strong>
\nThere\u2019s been a lot of Stravinsky in this blog so far this year, and there will be more as the world continues to celebrate the centennial of his Le Sacre du printemps. Those who share my passion for his music and wish to hear other composers\u2019 works from the same period as well should comb the schedule of events below and plan to be at the Bard Music Festival in Annandale-on-Hudson, August 9-11 and August 16-18.<\/p>\n

Program details of Bard Music Festival, \u201cStravinsky and His World\u201d<\/span><\/strong><\/p>\n

WEEKEND ONE: Becoming Stravinsky: From St. Petersburg to Paris<\/span><\/strong><\/p>\n

Friday, August 9<\/strong><\/p>\n

PROGRAM ONE<\/strong>
\nThe 20th<\/sup> Century\u2019s Most Celebrated Composer<\/strong>
\nSosnoff Theater
\n7:30 pm\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Pre-concert Talk: Leon Botstein
\n8 pm\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Performance:\u00a0 Alessio Bax, piano; Andrey Borisenko, bass; Lucille Chung, piano; Kiera Duffy, soprano; Gustav Djupsj\u00f6backa, piano; John Hancock, baritone; Melis Jaatinen, mezzo-soprano; Anna Polonsky, piano; Mikhail Vekua, tenor; Orion Weiss, piano; Bard Festival Chorale, James Bagwell, choral director; members of the American Symphony Orchestra, conducted by Leon Botstein, music directorIgor Stravinsky (1882\u20131971)
\n\u00a0\u00a0 Les Noces <\/em>(1914\u201317)
\n\u00a0\u00a0 Symphonies of Wind Instruments<\/em> (1920, rev. 1947)
\n\u00a0\u00a0 Symphony of Psalms<\/em> (1930)
\n\u00a0\u00a0 Concerto for Two Pianos (1935)
\n\u00a0\u00a0 Abraham and Isaac<\/em> (1962\u201363)<\/p>\n

Tickets: $25, $35, $50, $60<\/p>\n

Saturday, August 10<\/strong><\/p>\n

Panel One<\/strong>
\nWho Was Stravinsky?<\/strong>
\nOlin Hall
\n10 am\u2013noon
\nChristopher H. Gibbs, moderator; Leon Botstein; Marina Frolova-Walker; Olga Manulkina; Stephen Walsh
\nFree and open to the public<\/p>\n

Program Two<\/strong>
\nThe Russian Context<\/strong>
\nOlin Hall
\n1 pm\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Pre-concert Talk: Marina Frolova-Walker
\n1:30 pm\u00a0\u00a0\u00a0\u00a0Performance: Matthew Burns, bass-baritone; Dover Quartet; Gustav Djupsj\u00f6backa, piano; Laura Flax, clarinet; Marc Goldberg, bassoon; Melis Jaatinen, mezzo-soprano; Piers Lane, piano; Orion Weiss, piano<\/p>\n

Igor Stravinsky (1882\u20131971)
\n\u00a0\u00a0 Faun<\/em> and<\/em> Shepherdess<\/em>, Op. 2 (1906\u201307)
\n\u00a0 From Four Studies, for piano, Op. 7 (1908)
\n\u00a0\u00a0 Three Movements from Petrushka<\/em>, for piano solo (1921)
\nMikhail Glinka (1804\u201357)
\n\u00a0\u00a0 Trio Path\u00e9tique<\/em> in D minor (1832)
\nAlexander Glazunov (1865\u20131936)
\n\u00a0\u00a0 Five Novelettes<\/em>, for string quartet, Op. 15 (1886)
\nAlexander Scriabin (1872\u20131915)
\n\u00a0\u00a0 Vers la flamme<\/em>, Op. 72 (1914)
\nSergey Rachmaninoff (1873\u20131943)
\n\u00a0\u00a0 Preludes, Op. 23, Nos. 8 & 9 (1901\u201303)
\nSongs and piano works by Modest Mussorgsky (1839\u201381), Pyotr Tchaikovsky (1840\u201393), Nikolai Medtner (1880\u20131951), and Mikhail Gnesin (1883\u20131957)<\/p>\n

Tickets: $35<\/p>\n

SPECIAL EVENT<\/strong>
\nFilm: The Soldier\u2019s Tale<\/em> <\/strong>
\nL\u00e1szlo Z. Bit\u00f3 \u201960 Conservatory Building<\/strong>
\nA film by R. O. Blechman, with live musical accompaniment<\/strong>
\nTickets: $12<\/strong><\/p>\n

Program Three<\/strong>
\n1913: Breakthrough to Fame and Notoriety<\/strong>
\nSosnoff Theater
\n7 pm\u00a0\u00a0\u00a0\u00a0Pre-concert Talk: Richard Taruskin
\n8 pm\u00a0\u00a0\u00a0\u00a0Performance: American Symphony Orchestra, conducted by Leon Botstein, music director<\/p>\n

Igor Stravinsky (1882\u20131971)
\n\u00a0\u00a0 Fireworks<\/em> (1908)
\n\u00a0\u00a0 The<\/em> Rite of Spring<\/em> (1913)
\nNikolai Rimsky-Korsakov (1844\u20131908)
\n\u00a0\u00a0 Suite from The Legend of the Invisible City of<\/em> Kitezh <\/em>(c. 1907)
\nAnatoly Liadov (1855\u20131914)
\n\u00a0\u00a0 From the Apocalypse<\/em>, Op. 66 (1910\u201312)
\nMaximilian Steinberg (1883\u20131946)
\n\u00a0\u00a0 Les M\u00e9tamorphoses<\/em>, Op. 10 <\/em>(1913)Tickets: $30, $50, $60, $75<\/p>\n

Sunday, August 11<\/strong><\/p>\n

Panel Two<\/strong>
\nThe Ballets Russes and Beyond: Stravinsky and Dance<\/strong>
\nOlin Hall
\n10 am\u2013noon
\nKenneth Archer; Lynn Garafola; Millicent Hodson
\nFree and open to the public<\/p>\n

Program Four<\/strong>
\nModernist Conversations<\/strong>
\n\u00a0<\/strong>
\nOlin Hall
\n1 pm\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pre-concert Talk: Byron Adams
\n1:30 pm\u00a0\u00a0\u00a0 Performance: Alessio Bax, piano; Lucille Chung, piano; Gustav Djupsj\u00f6backa, piano; Kiera Duffy, soprano; Benjamin Fingland, clarinet; Judith Gordon, piano; John Hancock, baritone; Melis Jaatinen, mezzo-soprano; Sharon Roffman, violin; Raman Ramakrishnan, cello; Lance Suzuki, flute; Benjamin Verdery, guitar; Lei Xu, soprano; Bard Festival Chamber Players<\/p>\n

Igor Stravinsky (1882\u20131971)
\n\u00a0\u00a0 Three Japanese Lyrics<\/em> (1912)
\n\u00a0\u00a0 Pribaoutki<\/em> (1914)
\nClaude Debussy (1862-1918)
\n\u00a0\u00a0 En blanc et noir<\/em> (1915)
\nArnold Schoenberg (1874\u20131951)
\n\u00a0\u00a0 Pierrot lunaire<\/em> (1912)
\nMaurice Ravel (1875\u20131937)
\n\u00a0\u00a0 Trois po\u00e8mes de St\u00e9phane Mallarm\u00e9<\/em> (1913)
\nMaurice Delage (1879\u20131961)
\n\u00a0\u00a0 Quatre po\u00e8mes hindous<\/em> (1912\u201313)
\nWorks by Erik Satie<\/strong> (1866\u20131925); Manuel de Falla<\/strong> (1876\u20131946); and B\u00e9la Bart\u00f3k<\/strong> (1881\u20131945)<\/p>\n

Tickets: $35<\/p>\n

Program Five<\/strong>
\nSight and Sound: From Abstraction to Surrealism<\/strong>
\n\u00a0<\/strong>
\nSosnoff Theater\ufffd
\n5 pm\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pre-concert Talk: Mary E. Davis
\n5:30 pm\u00a0\u00a0 Performance: Anne-Carolyn Bird, soprano; John Hancock, baritone; Melis Jaatinen, mezzo-soprano; Nicholas Phan, tenor; Ann McMahon Quintero, mezzo-soprano; Anna Polonsky, piano; Orion Weiss, piano; members of the American Symphony Orchestra, conducted by Leon Botstein, music director; designed and directed by Anne Patterson; projection design by Adam Larson; choreography by Janice Lancaster<\/p>\n

Igor Stravinsky (1882\u20131971)
\n\u00a0\u00a0 Ragtime <\/em>(1918)\u00a0<\/em>
\n\u00a0\u00a0 Mavra<\/em> (1921\u201322)
\nErik Satie (1866\u20131925)
\n\u00a0\u00a0 Parade<\/em> (1916\u201317; arr. piano four-hands)
\nFrancis Poulenc (1899\u20131963)
\n\u00a0\u00a0 Le travail du peintre<\/em>, song cycle for voice and piano (1956)
\nGeorges Auric (1899\u20131983), Arthur Honegger (1892\u20131955), Darius Milhaud (1892\u20131974), Francis Poulenc, and Germaine Tailleferre (1892\u20131983)
\n\u00a0\u00a0 Les mari\u00e9s de la tour Eiffel <\/em>(1921)
\nAndr\u00e9 Souris (1899\u20131970)
\n\u00a0\u00a0\u00a0 Choral, marche, et galop<\/em> (1925)<\/p>\n

WEEKEND TWO: Stravinsky Re-invented: From Paris to Los Angeles<\/span><\/strong>\u00a0\u00a0<\/p>\n

Friday, August 16<\/strong>
\nSPECIAL SHOWING<\/strong>
\nFilming Stravinsky: Preserving Posterity\u2019s Image<\/strong>
\nWeis Cinema
\nFree and open to the public<\/p>\n

PROGRAM SIX<\/strong>
\nAgainst Interpretation and Expression: The Aesthetics of Mechanization<\/strong>
\nSosnoff Theater
\n7:30 pm Pre-concert Talk: Christopher H. Gibbs
\n8 pm\u00a0\u00a0\u00a0\u00a0\u00a0 Performance: Eric Beach, percussion; Judith Gordon, piano; Jonathan Greeney, percussion; Imani Winds; Piers Lane, piano; Peter Serkin, piano; Gilles Vonsattel, piano; Bard Festival Chamber Players and students of The Bard College Conservatory, conducted by Leon Botstein\u00a0\u00a0<\/p>\n

Igor Stravinsky (1882\u20131971)
\nConcerto for Piano and Winds (1923\u201324)
\n\u00a0\u00a0\u00a0Sonata for Two Pianos (1943\u201344)
\nB\u00e9la Bart\u00f3k (1881\u20131945)
\n\u00a0\u00a0\u00a0Sonata for Two Pianos and Percussion, Sz 110 (1937)
\nEdgard Var\u00e8se (1883\u20131965)
\n\u00a0\u00a0\u00a0Octandre<\/em>\u00a0(1923)
\nPaul Hindemith (1895\u20131963)
\n\u00a0\u00a0\u00a0Kleine Kammermusik<\/em>, Op. 24, No. 2 (1922)
\nOlivier Messiaen (1908\u201392)
\n\u00a0\u00a0\u00a0From\u00a0Quatre \u00e9tudes de rythme<\/em>\u00a0(1949\u201350)Tickets: $25, $35, $50, $60\u00a0\u00a0<\/p>\n

Saturday, August 17<\/strong>\u00a0\u00a0<\/p>\n

PANEL THREE<\/strong>
\nLenin, Hitler, Stalin, and Mussolini: Music, Ethics, and Politics<\/strong>
\nOlin Hall
\n10 am\u2014noon
\nTamara Levitz, moderator; Tomi M\u00e4kel\u00e4; Simon Morrison; Michael Beckerman\u00a0\u00a0<\/p>\n

Free and open to the public\u00a0\u00a0<\/p>\n

PROGRAM SEVEN<\/strong>
\nStravinsky in Paris<\/strong>
\nOlin Hall
\n1 pm\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Pre-concert Talk: Manuela Schwartz
\n1:30 pm\u00a0\u00a0\u00a0\u00a0\u00a0Performance: Xak Bjerken, piano; Randolph Bowman, flute; Sara Cutler, harp; Jordan Frazier, double bass; Marka Gustavsson, viola; Robert Martin, cello; Jesse Mills, violin; Harumi Rhodes, violin; Sharon Roffman, violin; Laurie Smukler, violin; Bard Festival Chamber Players\u00a0\u00a0\u00a0\u00a0<\/p>\n

Igor Stravinsky (1882\u20131971)
\n\u00a0\u00a0\u00a0Les cinq doigts<\/em>, for piano (1921)
\n\u00a0\u00a0\u00a0Octet for Wind Instruments (1922\u201323)
\n\u00a0\u00a0\u00a0Duo concertant<\/em>\u00a0(1931\u201332)
\nAlbert Roussel (1869\u20131937)
\n\u00a0\u00a0\u00a0S\u00e9r\u00e9nade<\/em>, for flute, harp, and string trio, Op. 30 (1925)
\nBohuslav Martinu (1890\u20131959)
\n\u00a0\u00a0\u00a0String Quartet No. 4, H. 256 (1937)
\nSergey Prokofiev (1891\u20131953)
\n\u00a0\u00a0\u00a0Sonata for Two Violins, Op. 56 (1932)
\nArthur Louri\u00e9 (1892\u20131966)
\n\u00a0\u00a0\u00a0\u00a0Sonata for Violin and Double Bass (1924)
\nAlexandre Tansman (1897\u20131986)
\n\u00a0\u00a0\u00a0Sonatina for Flute and Piano (1925)\u00a0\u00a0<\/p>\n

Tickets: $35\u00a0\u00a0<\/p>\n

PROGRAM EIGHT<\/strong>
\nThe \u00c9migr\u00e9 in America<\/strong>
\nSosnoff Theater
\n7 pm\u00a0\u00a0\u00a0\u00a0\u00a0Pre-concert Talk: Leon Botstein
\n8 pm\u00a0\u00a0\u00a0\u00a0\u00a0Performance: John Relyea, bass-baritone; Rebecca Ringle, mezzo-soprano; Bard Festival Chorale, James Bagwell, choral director; American Symphony Orchestra, conducted by Leon Botstein, music director\u00a0\u00a0<\/p>\n

Igor Stravinsky (1882\u20131971)
\n\u00a0\u00a0\u00a0Jeu de cartes\u00a0<\/em>(1936)
\n\u00a0\u00a0\u00a0Symphony in Three Movements (1942\u201345)
\nOde<\/em>\u00a0(1943)
\nRequiem Canticles<\/em>\u00a0(1965\u201366)
\nArnold Schoenberg (1874\u20131951)
\n\u00a0\u00a0\u00a0Kol<\/em>\u00a0Nidre<\/em>, Op. 39 (1938)
\nHanns Eisler (1898\u20131962), Score for\u00a0Night and Fog<\/em>\u00a0(1955), a film by Alain Resnais\u00a0\u00a0<\/p>\n

Tickets: $30, $50, $60, $75\u00a0\u00a0<\/p>\n

Sunday, August 18<\/strong>\u00a0\u00a0<\/p>\n

PROGRAM NINE<\/strong>
\nStravinsky, Spirituality, and the Choral Tradition<\/strong>
\nOlin Hall
\n10 am\u00a0\u00a0\u00a0\u00a0\u00a0Performance with commentary by Kl\u00e1ra M\u00f3ricz, with the Bard Festival Chorale, James Bagwell, choral director; Frank Corliss, piano; Bard Festival Chamber Players\u00a0\u00a0<\/p>\n

Choral works by Igor Stravinsky (1882\u20131971); Gesualdo da Venosa (1566\u20131613), Claudio Monteverdi (1567\u20131643); Johann Sebastian Bach (1685-1750); Sergey Rachmaninoff (1873\u20131943); Francis Poulenc (1899\u20131963), Lili Boulanger (1893\u20131918), and Ernst Krenek (1900\u201391)\u00a0\u00a0<\/p>\n

Tickets: $30\u00a0\u00a0<\/p>\n

PROGRAM TEN<\/strong>
\nThe Poetics of Music\u00a0<\/em><\/strong>and After<\/strong>
\nOlin Hall
\n1 pm\u00a0\u00a0\u00a0\u00a0\u00a0Pre-concert Talk: Richard Wilson\u00a0<\/p>\n

1:30 pm\u00a0\u00a0Performance: Rieko Aizawa, piano; Imani Winds; Alexandra Knoll, oboe; Piers Lane, piano; Jesse Mills, violin; Bard Festival Chamber Players\u00a0<\/p>\n

Igor Stravinsky (1882\u20131971)
\n\u00a0\u00a0\u00a0Circus Polka<\/em>, arranged for piano (1942, arr. 1944)
\n\u00a0\u00a0\u00a0Septet (1952\u201353)
\nAnton Webern (1883\u20131945)
\n\u00a0\u00a0\u00a0Variations for Piano, Op. 27 (1936)
\nWalter Piston (1894\u20131976)
\n\u00a0\u00a0\u00a0Suite, for oboe and piano (1931)
\nAaron Copland (1900\u201390)
\n\u00a0\u00a0\u00a0Nonet (1960)
\nElliott Carter (1908\u20132012)
\n\u00a0\u00a0\u00a0Woodwind Quintet (1948)
\nEllis Kohs (1916\u20132000)
\n\u00a0\u00a0\u00a0Sonatina for Violin and Piano (1948)
\nCarlos Ch\u00e1vez (1899\u20131978)
\n\u00a0\u00a0\u00a0From Ten Preludes (1937)
\nTickets: $35<\/p>\n

PROGRAM ELEVEN<\/strong>
\nThe Classical Heritage<\/strong>
\nSosnoff Theater
\n3:30 pm\u00a0\u00a0\u00a0\u00a0\u00a0Pre-concert Talk: Tamara Levitz 4:30 pm\u00a0\u00a0\u00a0\u00a0\u00a0Performance: Gordon Gietz, tenor; Jennifer Larmore, mezzo-soprano; Sean Panikkar, tenor; John Relyea, bass-baritone; Bard Festival Chorale, James Bagwell, choral director; American Symphony Orchestra, conducted by Leon Botstein, music director; and others\u00a0<\/p>\n

Igor Stravinsky (1882\u20131971)
\n\u00a0\u00a0\u00a0Pers\u00e9phone<\/em>\u00a0(1933\u201334, rev. 1948)
\n\u00a0\u00a0\u00a0Oedipus Rex\u00a0<\/em>(1926\u201327, rev. 1948)Tickets: $30, $50, $60, $75All programs subject to change.<\/em>\u00a0<\/strong><\/p>\n