From Bard’s Fisher Center for the Performing Arts: Events – The Russian Traditions

From Bard’s Fisher Center for the Performing Arts

Bard Fisher Center for the performing Arts

“Easter Procession” by Illarion Pryanishnikov; Wikimedia Commons
Bard Music Festival
Program One: Fashioning the Russian Sound
August 10

Anchored by The Orchestra Now, this program integrates orchestral, solo, and chamber works to introduce the work of the Mighty Five and their musical godfather, Mikhail Glinka.

Program One features Glinka’s Kamarinskaya—Russia’s first important orchestral work—which Tchaikovsky so eloquently described as “the acorn from which the oak of Russian symphonic music grew.”
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“Surikov Pokoreniye Sibiri Yermakom” by Vasily Ivanovich Surikov (1894); Wikimedia Commons

Bard Music Festival
Program Three: Music under Tsarist Autocracy
August 11

Pianist Orion Weiss joins Maestro Botstein and the American Symphony Orchestra for their first concert of the Bard Music Festival season. The program offers an orchestral snapshot of the world of Russian composers under the rule of the Romanovs, featuring works by Rimsky-Korsakov, Tchaikovsky, Taneyev, and more.
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Ilya Repin’s celebrated portrait of Mussorgsky, painted March 2–5 1881, only a few days before the composer’s death; Wikimedia Commons

Bard Music Festival
Program Six: The Piano in Russia
August 12

Russia boasts one of the world’s great keyboard traditions. Program Six spotlight’s the compositions of piano virtuosos Anton Rubinstein, Prokofiev, Medtner, Scriabin, Rachmaninoff, among others, and will include Mussorgsky’s monumental masterpiece Pictures at an Exhibition. One of the composer’s few completed works, Pictures illustrates the Five’s characteristic practice of contrasting diatonic harmonies to represent the human world with chromatic ones for the fantastic.
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“The Russian Bride” (1884) by Konstantin Makovsky
Bard Music Festival
Program Twelve: The Tsar’s Bride
August 19

“One of the most lyrical of all Rimsky-Korsakov scores.” —New York Times

Presenting Nikolai Rimsky-Korsakov’s opera The Tsar’s Bride with a strong cast supported by the Bard Festival Chorale and The Orchestra Now, Program Twelve makes a riveting end to Bard’s probing and far-reaching festival.

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See the full article here.


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About Us
The Richard B. Fisher Center for the Performing Arts at Bard College, designed by Frank Gehry, illustrates the College’s commitment to the performing arts as a cultural and educational necessity. The Center’s adventurous programs and world-class facilities provide an outstanding environment in which to create, perform, learn, and experience. The Center bears the name of Richard B. Fisher, the former chair of Bard’s Board of Trustees. This magnificent building and the extraordinary arts experiences that take place within it are a tribute to his vision, generosity, and leadership.

The mission of the Fisher Center is to:

bring leading artists to the Hudson Valley to engage with the public and the College;
produce and present adventurous and in-depth programs, including new, rare, and undiscovered works;
support the development of new work by artists at all stages of their careers; and
provide a home for Bard student and faculty work in the performing arts.

Bard College seeks to inspire curiosity, a love of learning, idealism, and a commitment to the link between higher education and civic participation. The undergraduate curriculum is designed to address central, enduring questions facing succeeding generations of students. Academic disciplines are interconnected through multidisciplinary programs; a balance in the curriculum is sought between general education and individual specialization. Students pursue a rigorous course of study reflecting diverse traditions of scholarship, research, speculation, and artistic expression. They engage philosophies of human existence, theories of human behavior and society, the making of art, and the study of the humanities, science, nature, and history.

Bard’s approach to learning focuses on the individual, primarily through small group seminars. These are structured to encourage thoughtful, critical discourse in an inclusive environment. Faculty are active in their fields and stress the connection between the contemplative life of the mind and active engagement outside the classroom. They strive to foster rigorous and free inquiry, intellectual ambition, and creativity.

Bard acts at the intersection of education and civil society, extending liberal arts and sciences education to communities in which it has been underdeveloped, inaccessible, or absent. Through its undergraduate college, distinctive graduate programs, commitment to the fine and performing arts, civic and public engagement programs, and network of international dual-degree partnerships, early colleges, and prison education initiatives, Bard offers unique opportunities for students and faculty to study, experience, and realize the principle that higher-education institutions can and should operate in the public interest.

The Bard College of today reflects in many ways its varied past.
Bard was founded as St. Stephen’s College in 1860, a time of national crisis. While there are no written records of the founders’ attitude toward the Civil War, a passage from the College’s catalogue of 1943 applies also to the time of the institution’s establishment:

“While the immediate demands in education are for the training of men for the war effort, liberal education in America must be preserved as an important value in the civilization for which the War is being fought. . . . Since education, like life itself, is a continuous process of growth and effort, the student has to be trained to comprehend and foster his own growth and direct his own efforts.”

This philosophy molded the College during its early years and continues to inform its academic aims.

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