News

“Martine Syms has earned wide recognition for a practice that combines conceptual grit, humour and social commentary. For her short-form moving image artwork, Kita’s World, Martine introduces viewers into her personal mythology; equal parts biological, psychological and sociological,” writes FAD Magazine. “My world is a strange combination of core material, broken samples, seductive loops, and heavy theory. Kita’s World considers the problem of the psychosomatic slip in the digital era,” says Syms.

The Orchestra Now (TŌN) has announced the addition of two more symphonic concerts to be livestreamed for free as part of its fall season. On November 1, Music Director and Founder Leon Botstein will conduct a program pairing 20^th century works by Schoenberg, Mexican composer Silvestre Revueltas, and R. Strauss with Handel’s Water Music; and on November 14, he will lead the Orchestra in the rarely heard Scherzi musicali by Black American composer Ulysses Kay. The concert will also feature Haydn’s Symphony No. 48 and works by Varèse and Hindemith. The livestreamed concerts are free and will be available for streaming after the performances.

The November concerts follow the Orchestra’s earlier fall livestreamed series Out of the Silence: A Celebration of Music, a four-concert virtual celebration of music showcasing Black composers presented with the Bard Music Festival in September; and the October 17 performance of string concertos by Polish, Czech, and Brazilian composers conducted by Zachary Schwartzman. All concerts will be made available on TŌN’s website. The additional November performances will be the final concerts livestreamed from the Fisher Center at Bard in TŌN’s fall season. The graduate students will finish with their academic courses for the remainder of the semester and then return in February 2021 to continue their academic and musical activities.

STAY TŌNED
TŌN has presented more than 60 audio and video streams since April 2020. They are offered on STAY TŌNED, its new portal regrouping all digital initiatives. The events feature weekly new and archived audio and video recordings showcasing recitals, chamber music, and symphonic programs, including collaborations with the Bard Music Festival that are also available on the Fisher Center at Bard’s virtual stage, UPSTREAMING. Some of the performances, such as the Sunset Serenade series, were performed outdoors for physically distanced audiences. Much of the content is also available on YouTube, Facebook, Twitter, and Instagram.

Handel & Strauss
Sunday, November 1, 2020 at 2 PM
This concert pairs three works from the early 20^th century—including R. Strauss’ elegiac Metamorphosen, written in the final months of WWII, and one of Mexican composer Silvestre Revueltas’ earliest orchestral compositions, Cuauhnáhuac—with Handel’s Baroque Water Music Suite, composed for one of King George I’s royal water parties on the River Thames in 1717.
Leon Botstein, conductor
Handel: Water Music Suite No. 1
Schoenberg: Chamber Symphony No. 1
Silvestre Revueltas: Cuauhnáhuac
R. Strauss: Metamorphosen

ACCESS: RSVP here to receive a direct link to the livestream on the day of the concert. This concert will be available for delayed streaming on STAY TŌNED starting on November 5.

Haydn’s Maria Theresa
Saturday, November 14, 2020 at 5:30 PM
Leon Botstein conducts three 20th-century works that all premiered in the U.S.—including the rarely heard Scherzi musicali by Black American composer Ulysses Kay, who taught at Lehman College in the Bronx for twenty years—along with Haydn‘s regal Maria Theresa Symphony, performed for the Holy Roman Empress in 1773.
Leon Botstein, conductor
Blair McMillen, piano
Varèse: Hyperprism
Hindemith: Concert Music for Piano, Brass, and Harps
Ulysses Kay: Scherzi musicali
Haydn: Symphony No. 48, Maria Theresa

ACCESS: RSVP here to receive a direct link to the livestream on the day of the concert. This concert will be available for delayed streaming on STAY TŌNED starting on November 19.

Bard College Academic Year and Safety
To adapt to current circumstances, Bard College created detailed protocols for testing and screening, daily monitoring of symptoms, contact tracing, quarantine practices, and physical distancing in the classroom and across the Bard campus. This includes specific protocols for musicians campus-wide in both its undergraduate and graduate programs.  TŌN has successfully pivoted its activities to comply and in addition to physically distanced rehearsals, the musicians have resumed their academic coursework. Since August, procedures required a separation of brass and wind instruments from the larger ensemble. Currently, restrictions on winds and brass have been eased, and limited numbers may be added to the Orchestra. This can be credited to Bard’s diligent testing and protocols.

The Orchestra Now
The Orchestra Now (TŌN) is a group of 72 vibrant young musicians from 14 different countries across the globe: Bulgaria, China, Costa Rica, Hungary, Indonesia, Japan, Korea, Mongolia, Peru, Spain, Taiwan, Thailand, the U.K., and the U.S. All share a mission to make orchestral music relevant to 21st-century audiences by sharing their unique personal insights in a welcoming environment. Hand-picked from the world’s leading conservatories—including The Juilliard School, Shanghai Conservatory of Music, Royal Conservatory of Brussels, and the Curtis Institute of Music—the members of TŌN are enlightening curious minds by giving on-stage introductions and demonstrations, writing concert notes from the musicians’ perspective, and having one-on-one discussions with patrons during intermissions.

Conductor, educator, and music historian Leon Botstein, whom The New York Times said “draws rich, expressive playing from the orchestra,” founded TŌN in 2015 as a graduate program at Bard College, where he is also president. TŌN offers both a three-year master’s degree in Curatorial, Critical, and Performance Studies and a two-year advanced certificate in Orchestra Studies. The orchestra’s home base is the Frank Gehry-designed Fisher Center at Bard, where they perform multiple concerts each season and take part in the annual Bard Music Festival. They also perform regularly at the finest venues in New York, including Carnegie Hall, Lincoln Center, The Metropolitan Museum of Art, and others across NYC and beyond. HuffPost, who has called TŌN’s performances “dramatic and intense,” praises these concerts as “an opportunity to see talented musicians early in their careers.” 

The Orchestra has performed with many distinguished guest conductors and soloists, including Hans Graf, Neeme Järvi, Vadim Repin, Fabio Luisi, Peter Serkin, Gerard Schwarz, Tan Dun, Zuill Bailey, and JoAnn Falletta. Recordings featuring The Orchestra Now include two albums of piano concertos with Piers Lane on Hyperion Records, and a Sorel Classics concert recording of pianist Anna Shelest performing works by Anton Rubinstein with TŌN and conductor Neeme Järvi. Buried Alive with baritone Michael Nagy, released on Bridge Records in August 2020, includes the first recording in almost 60 years—and only the second recording ever—of Othmar Schoeck’s song-cycle Lebendig begraben. Upcoming releases include an album of piano concertos with Orion Weiss on Bridge Records. Recordings of TŌN’s live concerts from the Fisher Center can be heard on Classical WMHT-FM and WWFM The Classical Network, and are featured regularly on Performance Today, broadcast nationwide. In 2019, the orchestra’s performance with Vadim Repin was live-streamed on The Violin Channel.

For upcoming activities and more detailed information about the musicians, visit theorchestranow.org.

Leon Botstein
Leon Botstein brings a renowned career as both a conductor and educator to his role as music director of The Orchestra Now. He has been music director of the American Symphony Orchestra since 1992, artistic co-director of Bard SummerScape and the Bard Music Festival since their creation, and president of Bard College since 1975. He was the music director of the Jerusalem Symphony Orchestra from 2003–11 and is now conductor laureate. In 2018, he assumed artistic directorship of Campus Grafenegg and Grafenegg Academy in Austria. Mr. Botstein is also a frequent guest conductor with orchestras around the globe, has made numerous recordings, and is a prolific author and music historian. He is editor of the prestigious The Musical Quarterly and has received many honors for his contributions to music. More info online at LeonBotstein.com.


Press Contacts
Pascal Nadon
Pascal Nadon Communications
Phone: 646.234.7088
Email: [email protected]

Mark Primoff
Associate Vice President of Communications
Bard College
Phone: 845.758.7412
Email: [email protected]


 

“Many of my photographs are made out of a profound sense of powerlessness but also out of a desire to locate power and authority in unexpected places: in the natural world, in a solitary border patrol officer or in the intimacy and strength of a family under a bridge that connects the United States to Mexico,” writes Lê in the New York Times. “These images are reminders to me that our American landscape and the communities within it transcend this cultural and political moment.”

“What's important to us is to make sure that we keep in touch with who it is that we are in these unfortunate times,” Aviles, tells PBS NewsHour’s Jeffrey Brown. “We want to create a platform for the community to be a star on. That's really what we say. This is about boxes, and where we are confined to that. And art is all about pushing against the boundaries of those boxes, and helping all of us see the world.”

Hazel Gurland-Pooler ’99 has won a $25,000 grant for her film Storming Caesar's Palace, one of six finalists for the second annual Library of Congress Lavine / Ken Burns Prize for Film. The awards—overseen by the Library of Congress, acclaimed documentarian Ken Burns, the Crimson Lion/Lavine Family Foundation, and nonprofit The Better Angels Society—were presented at a virtual ceremony on October 20.

About Storming Caesar's Palace
Primarily led by low-income African American women, The National Welfare Rights Organization (NWRO) challenged sitting presidents, corporations, and everyday Americans to rethink their notions of the “welfare queen” by protesting benefit cuts, boycotting companies, suing the government—and winning—all before national news cameras.

For Ruby Duncan, Mary Wesley, and Alversa Beals—who lived in the shadow of the Las Vegas Strip—welfare reform was taking too long. With the NWRO, they sought to abolish welfare altogether, instead proposing a guaranteed annual minimum income for all Americans.

Storming Caesar's Palace explores how a group of ordinary mothers launched an extraordinary grassroots movement that fought for economic justice, women’s rights, and Black women’s empowerment.

“For me, puberty was rock ’n’ roll and Ginsberg’s ‘Howl,’ and the Lower East Side was the logical place to find that culture,” says Sante whose new collection, Maybe the People Would Be the Times, explores his experiences living and working in the Lower East Side. “When I arrived in the neighborhood, the contrast was palpable between newfangled hippie businesses, which had only been going on for five years at the most, and the older, working class businesses. You had hippie boutiques side by side with Ukrainian social clubs and Polish pork stores. . . . I lived in an apartment between First Avenue and Avenue A, across the street from a Polish bar with a jukebox heavily laden with Bobby Vinton.”

Trump is determined to be a manly man at all costs—even if it means encouraging the American people to not wear masks, writes Prose in the Guardian. “Like so many of our problems, poisonous masculinity didn’t start with Trump, nor will it vanish when he leaves office. Let’s say, it’s been around. There’s no doubt that things are better for (some) women than they were in the 1950s, when doors were slammed in women’s faces, when there was pressure to stay home, raise the kids, bake the best apple pie. But Trump reminds us daily that misogyny remains.”

“As part of ‘Art for Action,’ works by artists including Jeffrey Gibson, Jenny Holzer, Tomashi Jackson, and Carrie Mae Weems are on display on 350 digital screens in 16 cities across the US through Election Day, with seven additional artists showing on screens in Columbus and Cleveland, Ohio,” writes Hyperallegenic. “Approximately 3.34 million people will see them every day, totaling more than 106.7 million people throughout its monthlong run, making it the largest, nonpartisan voter awareness public art campaign. It’s a massive effort to counter voter suppression in the lead-up to one of the most anticipated and decisive elections in the country’s modern history.”

“What Ms. Hennies’s disparate works have in common is their forthright yet subtle, moving evocation of queerness,” writes Steve Smith. “The idea of subverting identity is queer,” Hennies said. “There’s a spectrum of sexuality. There’s a spectrum of identity. And the representation of that is taking something that seems simple, and showing that it is a spectrum.”

“With Perfidia, a new book of the artist-filmmaker’s writings, edited by Julie Niemi and stunningly designed by Chris Lee, Hopinka delves further into the effects of the violent foundations of the US, and their impact on the everyday lives of Indigenous peoples,” writes Dessane Lopez Cassell in Hyperallergic. “The text takes the form of a lengthy poem, and unfolds via a series of lucid cantos. These poetic compositions are punctuated by the artist’s own photographs, which alternate between the serene and more foreboding visions.”

“We were attracted to the people whose job it is to actually manage this process, kind of the unseen figures of democracy,” says Easton, part of the team that produced the series, which, according to the Times, “zeros in on battleground states, reflecting larger issues with voting laws, voters’ rights and disenfranchisement” and illustrates “how starkly different the voting process is for Americans depending on where they live.”

“I think it’s really important to photograph what you know, otherwise the work will feel insincere. That philosophy can be applied to anything you’re photographing. Somehow what you’re shooting has to relate back to you for it to work, in my opinion,” Wenner tells W. “The more time I’ve spent with my mother over the years, the more complex of a character she’s become for me. She really is one of the most mysterious, surprising people I know. Over time, it just became obvious to me that this was what the book should be about.”

Developed by the Ford Foundation in partnership with the Andrew W. Mellon Foundation, the Disability Futures Initiative spotlights the work of disabled creatives across disciplines and geography. Multimedia artist and Bard alum Carolyn Lazard ’10 is among the 20 filmmakers, artists, and journalists who make up the first cohort of winners. Each will receive a fellowship award of $50,000. Lazard, who works from the material conditions of chronic illness, uses video, sculpture, text, and performance to engage the aesthetic and political dimensions of consent, care, and dependency. Lazard has shown work at The Walker Art Center, The New Museum, Museum für Moderne Kunst Frankfurt, The Institute of Contemporary Art at the University of Pennsylvania, and the Whitney Museum of American Art, among other institutions.

“In the last two years, the pressure has really ramped up. Our offices have been raided by law enforcement repeatedly. There have been a number of criminal prosecutions. They tried to crush our nationwide structure, which they perceive as the biggest threat to their power. We are the victims of our own success. They saw that the organization can’t be beaten down, so they decided to seek a final solution. They imagined that if they removed me from the organization, the organization would break. They were wrong,” Navalny tells Gessen in the New Yorker. “Of course I’m going back. If I don’t, that will be the ideal outcome for them. They’d love to have me as just another political émigré.”

The Fisher Center at Bard, long known for its memorable productions of rarely performed operatic works programmed and conducted by Maestro Leon Botstein, commemorates World Opera Day on October 25 with two special releases, adding to an already robust selection of archival HD opera recordings and contextual materials available free of charge on UPSTREAMING, the Fisher Center’s virtual stage.

World Opera Day is an international campaign to raise awareness of the positive impact and value of opera for society. As part of World Opera Day, the Fisher Center will present a lively and wide-ranging virtual conversation about opera today between Maestro Botstein and the acclaimed mezzo-soprano Stephanie Blythe, who recently assumed the directorship of the Vocal Arts Program at Bard College. Their conversation will be available for streaming here, beginning October 25. Bard Music Festival members will receive early access to the conversation on October 20.

“Opera is immune to technological reproduction and is a unique amalgam of the visual language and sound,” says Botstein. “It is perhaps the most resilient, alluring, and enduring genre of the human imagination.”

Offering one of the most unique opera programs in the country, Bard presents a new, fully staged production of a rarely performed opera each year as part of the renowned SummerScape Festival. The operas are programmed in conjunction with Bard Music Festival, a summer series led by Botstein, which focuses on one composer each summer for an intensive series of concerts, lectures, and panel discussions. “Some of the most important summer opera experiences in the U.S. are … at Bard SummerScape.” —Financial Times

Since the start of the COVID-19 pandemic, the Fisher Center has been streaming selections from its rich archive of HD video recordings over UPSTREAMING, the Fisher Center’s Virtual Stage. On October 19, Bard SummerScape’s 2016 production of Pietro Mascagni’s Iris joins a robust selection of Bard SummerScape productions of rarely-performed operatic treasures available for viewing. Operas produced in recent years at Bard SummerScape (all currently streaming on UPSTREAMING) include the U.S. premieres of such neglected treasures as Erich Wolfgang Korngold’s Das Wunder der Heliane (2019); Richard Strauss’s Die Liebe der Danae (2012); Carl Maria von Weber’s Euryanthe (2014) and Dame Ethel Smyth’s The Wreckers (2015). These perfromances have been made available at no charge to ensure wider access to these rarely seen works. All of these programs can be viewed here.

About UPSTREAMING, the Fisher Center’s virtual stage. Archival Discoveries and New Commissions for the Digital Sphere.
UPSTREAMING broadens the Fisher Center’s commitment to reaching audiences far beyond the physical walls of our building, and offers new ways for us to engage with artists. Launched in April 2020, UPSTREAMING has released new content, including digital commissions, virtual events, and beloved performances and rich contextual materials from the archives of the SummerScape Opera and Bard Music Festival’s 30-year history. UPSTREAMING highlights different aspects of the breadth of programming the Fisher Center offers. New releases are announced via the Fisher Center’s weekly newsletter. To receive those updates and stay connected to UPSTREAMING, join the mailing list here.
#UPSTREAMINGFC

ABOUT THE FISHER CENTER
The Fisher Center develops, produces, and presents performing arts across disciplines through new productions and context-rich programs that challenge and inspire. As a premier professional performing arts center and a hub for research and education, the Fisher Center supports artists, students, and audiences in the development and examination of artistic ideas, offering perspectives from the past and present, as well as visions of the future. The Fisher Center demonstrates Bard’s commitment to the performing arts as a cultural and educational necessity. Home is the Fisher Center for the Performing Arts, designed by Frank Gehry and located on the campus of Bard College in New York’s Hudson Valley. The Fisher Center offers outstanding programs to many communities, including the students and faculty of Bard College, and audiences in the Hudson Valley, New York City, across the country, and around the world. Building on a 159-year history as a competitive and innovative undergraduate institution, Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders.(10.19.20)
 

Ohio-based artist Julia Christensen ’00 talks to Gabrielle Schwarz about how a visit to an e-waste processing center in India sparked an obsession with our throwaway culture, and how that has fed into a book and an exhibition titled Upgrade Available: “The concept that I’m working with, what I call ‘upgrade culture,’ is this sort of relentless notion that we constantly have to upgrade our electronics and media to remain relevant. I became interested in this, how this was culturally happening, because I visited, by a crazy chain of events, an e-waste processing centre in India several years ago. It was the first time I was faced with this global aggregate of e-waste, mountains of old computers and printers, etc. As a member of the consumer public I just had never thought about what happens when I take my computer to the recycling centre to be recycled. And of course I’m a media artist. I use a camera, I have a phone. I am part of this whole thing, so I began to think critically about what it means [to participate in upgrade culture]. It’s hard to connect the little phones in our pockets to this larger global issue, which is what it is. We are enacting a planetary crisis right now with electronics.”

Bard College announces the appointment of award-winning pianist and composer Marcus Roberts as Distinguished Visiting Professor of Music for the 2020–21 academic year. A highly acclaimed modern jazz pianist, composer, and educator, Roberts is known throughout the world for his development of an entirely new approach to jazz trio performance as well as for his remarkable ability to blend the jazz and classical idioms. Hailed as “the genius of modern piano,” Roberts’s life and career were featured by the CBS news magazine 60 Minutes in a 2014 episode, “The Virtuoso,” in which he was interviewed by Wynton Marsalis. In addition to his renown as a performer and composer, Roberts is the founder of The Modern Jazz Generation, a multigenerational ensemble that is the realization of his long-standing dedication to training and mentoring younger jazz musicians. Roberts will teach a series of master classes to Bard music students this fall and spring.

Pianist/composer Marcus Roberts has been hailed “the genius of the modern piano”. His life and career have been featured on an episode of the CBS News television show, 60 Minutes, called “The Virtuoso.” The show traced his life from his early roots in Jacksonville and at the Florida School for the Deaf and Blind to his remarkable career as a modern jazz pianist, composer, and educator. Roberts grew up in Jacksonville, FL where his mother's gospel singing and the music of the local church left a lasting impact on his own musical style. While he began playing piano at age five after losing his sight, he did not have his first formal lesson until age 12. Despite that late start, he progressed quickly and at age 18, went on to study classical piano at Florida State University with the great Leonidas Lipovetsky. Roberts has won numerous awards and competitions over the years, but the one that is most personally meaningful to him is the Helen Keller Award for Personal Achievement.

Roberts is known throughout the world for his development of an entirely new approach to jazz trio performance as well as for his remarkable ability to blend the jazz and classical idioms to create something wholly new. His critically acclaimed legacy of recorded music reflects this tremendous artistic versatility with recordings ranging from solo piano, duets, and trio to large ensembles and symphony orchestra. His popular DVD recording with the Berlin Philharmonic showcases his groundbreaking arrangement of Gershwin's “Concerto in F for Piano and Orchestra”. One of Roberts’ more recent musical projects is the founding of a new band called The Modern Jazz Generation. This multigenerational ensemble is the realization of Roberts’ long-standing dedication to training and mentoring younger jazz musicians. Roberts is also an associate professor of music at the School of Music at Florida State University and he holds an honorary Doctor of Music degree from The Juilliard School.

In addition to his renown as a performer, Roberts is also an accomplished composer who has received numerous commissioning awards from such places as Chamber Music America, Jazz at Lincoln Center, ASCAP, the Atlanta Symphony Orchestra and the Savannah Music Festival, Seiji Ozawa and the Saito Kinen Orchestra (who commissioned him to write his second piano concerto, “Rhapsody in D for Piano and Orchestra”), and most recently, the American Symphony Orchestra.(10.13.20)
 

Hess, who’s majoring in music at Bard, joined other local Gen Z-ers to share their views on racial inequity, social isolation, climate change, and higher education in the time of COVID-19. A voting rights advocate and proponent of the Green New Deal, Hess became involved in the climate movement in his native California. Last fall, he founded a chapter of the Sunrise Movement at Bard, a youth-led political movement that addresses the need for comprehensive climate change reform. Hess is not alone in his determination to save the planet: a survey of Generation Z from Amnesty International found that climate change was a vital issue for 41 percent of respondents.

“I’m in my second year of teaching history of electronic music, and it’s been really fun to develop a syllabus for that that encompasses all of these things that I just never, ever would have encountered in a class at either of the schools I went to, even though one of them was a very progressive experimental school. But nobody was telling me about Kool Herc or Coil or Tangerine Dream or any of these more DIY underground, nonacademic things that, to me, are just as important as the West German Radio Studio [for Electronic Music]. I really like it quite a lot, despite being a very hesitant academic. Bard is a very peculiar place with a really diverse array of students. So the program that we’re in is not at all like a typical music school program. I feel really at home there.”

Concerts will Feature the World Premiere of Artist in Residence Erica Lindsay’s Adagio for String Orchestra (2020) and Works by Casals, Vivaldi, Mozart, Mahler, and Elgar

October 24 Event Will Honor Cellist and Faculty Member Luis Garcia-Renart (1936–2020)

The Bard College Conservatory of Music presents a student and faculty showcase weekend, October 24–25, two free, live-streamed concerts featuring the Bard College Conservatory Orchestra, Leon Botstein, conductor, showcasing performances by celebrated violinists and new Conservatory faculty Gil Shaham and Adele Anthony, as well as students and other faculty from the Bard Music Program, Conservatory, and The Orchestra Now. The October 24 concert, at 7:30 p.m., is in honor of cellist and faculty member Luis Garcia-Renart (1936–2020), and features the world premiere of Artist in Residence Erica Lindsay’s Adagio for String Orchestra (2020), as well as works by Casals and Vivaldi. Garcia-Renart, who taught at Bard from 1962 until his death earlier this year, was a former student of Casals. The October 25 concert, at 3 p.m., includes performances of works by Mozart, Mahler, and Elgar. Both concerts are free and will be live streamed from the Fisher Center at Bard’s Sosnoff Theater. Reservations are required. Proceeds support the Conservatory Scholarship Fund. For more information, visit fishercenter.bard.edu.

October 24 at 7:30 p.m.
Bard College Conservatory Orchestra Leon Botstein, Music Director
Concert in honor of cellist and faculty member Luis Garcia-Renart (1936–2020)

Pablo Casals
“The Song of the Birds” (El cant dels Ocells)

La Sardana, Cello choir with faculty members Peter Wiley and Raman Ramakrishnan and cellists from the Conservatory, The Orchestra Now, and the Music Program

Erica Lindsay
Adagio World Premiere
Conservatory Orchestra with Erica Kiesewetter, conductor

Antonio Vivaldi
The Four Seasons
Conservatory Orchestra
with faculty soloists Gil Shaham and Adele Anthony, violinsOctober 25 at 3 p.m.
Bard College Conservatory Orchestra Leon Botstein, Music Director

W. A. Mozart
Serenade No. 6 in D Major, KV 239 “Serenata notturna”

Gustav Mahler
Adagietto from Symphony No. 5

Edward Elgar (1857–1934)
Introduction and Allegro, for string quartet and string orchestra in G Major, Op.47


BARD COLLEGE CONSERVATORY OF MUSIC

Tan Dun, Dean

Frank Corliss, Director

Marka Gustavsson, Associate Director

The Bard College Conservatory of Music expands Bard’s spirit of innovation in arts and education. The Conservatory, which opened in 2005, offers a five-year, double-degree program at the undergraduate level and, at the graduate level, programs in vocal arts and conducting. At the graduate level the Conservatory also offers an Advanced Performance Studies program and a two-year Postgraduate Collaborative Piano Fellowship. The US-China Music Institute of the Bard College Conservatory of Music, established in 2017, offers a unique degree program in Chinese instruments.

For more information, see bard.edu/conservatory.
 
(10.08.20)