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the ten seasons since its inception, the Bard Music Festival has built
a solid base of support among concertgoers who come to the series
because of the high level of musicianship and the interesting programs,
which are thematically related and carefully curated. The assessment
of the Financial Times (1996) that "the planning of the festival is
consistently thoughtful and imaginative" is reinforced by the Wall
Street Journalšs (1996) observation that "the concerts arenšt mere
showcases for star performers but serve as musical illustrations of
the various aspects of the subject that are discussed during festival
gatherings." The programmatic appeal of the festival is perhaps best
illustrated in one of the reviews of the Haydn festival: "But leave
it to the Bard Festival to come up with the Haydn Baryton Trio to
give this music an airing. And the crowd loved it" (The Wall Street
Journal, 1997).
B A R D
M U S I C F E S T I V A L B
O O K S E R I E S
A volume
of essays by noted scholars is published each year by Princeton
University Press and is available at the start of the festival.
This seasonšs book, Beethoven and His World, is edited by Michael
P. Steinberg and Scott Burnham.
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