László Z. Bitó '60 Conservatory Building The Bard College Conservatory of Music presents Degree Recital: Rosemary Nelis, viola with Bethany Pietroniro, piano
Figment IV (2007) Elliott Carter (1908-2012)
Concerto for Viola and Orchestra (1929) William Walton (1902-83) Andante comodo Vivo, con molto preciso Allegro moderato
Suite No. 3 in C Major, BWV 1009 Johann Sebastian Bach (1685-1750) Prelude Allemande Courante Sarabande Bourrée I & II Gigue
Sonata for Viola and Piano Op.11 No.4 (1919) Paul Hindemith (1895-1963) Fantasie Thema mit Variationen Finale (mit Variationen)
Violist Rosemary Nelis is a fifth-year student at Bard College Conservatory of Music where she studies with Steven Tenenbom. Beginning at age five, she attended the Special Music School in New York City, and later moved on to Bard High School Early College in Manhattan where she graduated in 2012 with an associate of arts degree. In addition to collaborating with musicians on the Conservatory faculty including Daniel Phillips, Laurie Smukler, Benjamin Hochman, and Peter Wiley, Rosemary has participated in festivals such as Music@Menlo, Kneisel Hall, Bard Music Festival, and Bowdoin International Music Festival.
Rosemary recently completed the requirements for her second major in Asian Studies with the submission of her senior thesis: Can You Hear the Roars of Autumn's Wind:Discussing the Silenced Voice in An Qi's Poetry. Rosemary has greatly enjoyed and valued her time at Bard and looks forward to what the future will bring. She is incredibly grateful to have been a recipient of the Bard Conservatory’s G. de las Heras Scholarship.
Bethany Pietroniro is a postgraduate collaborative piano fellow at the Bard College Conservatory of Music. She has twice been the recipient of a Marc and Eva Stern Fellowship at SongFest in California, where she had the opportunity to study with leading artists including Margo Garrett, Graham Johnson, and Lucy Shelton. Bethany has also participated in the Bowdoin International Music Festival, the Garth Newel Chamber Music Fellowship Program, and the New Music on the Point Summer Festival, where she worked with composers Tom Cipullo, Daron Hagen, and Gilda Lyons, and coached with Paul Sperry and members of the International Contemporary Ensemble. Bethany received dual master of arts degrees in solo piano and vocal accompanying from Peabody Conservatory, where she studied with Yong Hi Moon. She holds bachelor of arts degrees in piano performance and mathematics from Indiana University.
László Z. Bitó '60 Conservatory Building Today's 3pm Mozart Project concert will go on as scheduled. If you can safely join us, please do.
The fourth in a series of five Sunday afternoon concerts of Mozart’s chamber music for strings, winds, piano, and voice, curated by Peter Serkin. Each program includes an arrangement by Mr. Serkin, for an ensemble of various instruments, of work originally composed for piano four-hands.
Carrie Lambert-Beatty "How do you know? Contemporary art and the politics of knowledge"
Wednesday, February 15, 2017 5 pm
Campus Center, Weis Cinema
Carrie Lambert-Beatty is Professor in the Department of History of Art and Architecture and the Department of Visual and Environmental Studies at Harvard University, and Director of Graduate Studies for the Ph.D. in Film and Visual Studies. An art historian with a focus on art from the 1960s to the present, and a special interest in performance in an expanded sense, she is currently at work on a book for University of Chicago Press expanding on her 2009 October magazine essay “Make-Believe: Parafiction and Plausibility.” What happens, aesthetically and ethically, when artists deceive their audiences? Why has the presentation of fiction as fact—“parafiction,” in Lambert-Beatty’s term—become such a common way of working in contemporary art, and in culture more generally, since the early 1990s? In the past decade one of Lambert-Beatty’s chief research concerns has been the potential and limits of political art in contemporary practice, which she has explored through work on hybrids of art and activism such as Women on Waves and The Yes Men. Her essay on recuperation —both neurological and ideological—in the work of the art team Allora + Calzadilla accompanied their representation of the United States at the 2011 Venice Biennial. Her 2008 book Being Watched: Yvonne Rainer and the 1960s (MIT Press) was a study of the art of a signal member of the American avant-garde. Treating aesthetic issues such as minimalism, dance, documentation, and the problem of politics in Rainer’s work, the book is also driven by the problem of how artists responded, often at unconscious levels, to the burgeoning media culture of the 1960s. Being Watched was awarded the 2008 de la Torre prize for dance studies. Lambert-Beatty’s writing has also appeared in collections such as the Blackwell-Wiley volume Contemporary Art 1989 to the Present, exhibition catalogs including Dance/Draw and A Minimal Future? Art as Object 1958-1968 and journals such as Artforum, Art Journal, and Signs , as well as October magazine, of which she is an editor.
Free and Open to the Public
Sponsored by: Brant Foundation Fellowship in Contemporary Arts.
A LITTLE THEATER MUSIC: Blitzstein and Sondheim in Review
Saturday, February 18, 2017 3 pm
László Z. Bitó '60 Conservatory Building The Bard Graduate Vocal Arts Program singers and the Post-Graduate Piano Fellows perform works by Marc Blitzstein and Stephen Sondheim. To complement the upcoming performances on February 25 and 26 of Bernstein's Candide by The Orchestra Now and the singers of the Graduate Vocal Arts Program, the afternoon concert will present music from Juno, Regina, A Cradle Will Rock, A Little Night Music, Sunday in the Park with George, and Company.
The Da Capo Chamber Players with Guest Composer Keith Fitch
Saturday, February 18, 2017 5 pm
Bard Hall, Bard College Campus The Da Capo Chamber Players will perform works written for them including Midnight Rounds by Keith Fitch and Gravity by George Tsontakis.
Meet guest composer Keith Fitch, who will speak about his works at a composers forum in Blum Hall at 3:30pm, preceding the 5pm Da Capo concert in Bard Hall. For all composition students and open to the public. Free. For more information, call 845-758-7196, or e-mail email@example.com.
Campus Center, Weis Cinema "In acting and speaking, men show who they are, reveal actively their unique personal identities and thus make their appearance in the human world, while their physical identities appear without any activity of their own in the unique shape of body and sound of the voice. This disclosure of 'who' in contradistinction to 'what' somebody is ... is implicit in everything somebody says and does." (Hannah Arendt)
“There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it.” (Martha Graham)
Since ancient times and across cultures, dance has provided a powerful form of human expression. This talk examines the political power of dance from a global perspective inspired by—and drawing upon—the work of Hannah Arendt.
This talk by Dana Naomy Mills, a 2017 Hannah Arendt Fellow, explores different dimensions of dance as a form of intervention into a politics more commonly articulated in words. Dance is understood as a system of communication that allows its subjects to speak with their bodies and to create embodied spaces, drawing attention to the radically egalitarian nature of dance with its ability to transcend all boundaries of gender, race and sexual politics. Drawing on diverse examples such as the work of dance pioneers Martha Graham and Isadora Duncan, gumboots dancers in the gold mines of South Africa, Dabke dancers in Palestine and the One Billion Rising movement challenging gender violence through flash mobs, the talk will present a reading of dance as a form of performing equality as well as distinction.Sponsored by: Dance Program; Hannah Arendt Center.
Performing the music of Alden Slack, Miles Barnett, Jackson Spargur, Justin Geyer and Christian Yost, followed by the alumni group, Windows Quartet, featuring Antonin Faijt, Matthew Norman, Carolyn Hietter and Julian Lampert.