A rousing performance [of Beethoven’s Missa Solemnis] ensured that the festival ended on a peak. Mr. Botstein went for quick tempos and affirmative closures of phrases, to which Mr. Rosenbaum’s chorus added clear, lively counterpoint.
–New York Times, 2000

Perhaps the most stunning aspect of the [Schoenberg Festival] weekend. . . was the quality of the chamber performances. It is unlikely that any of the players on hand had these works in their repertories, but the best of them . . . played with commanding technique and interpretive warmth as if they had been playing it all their lives.
–New York Times, 1999

 

1 2 T H   A N N U A L  B A R D  M U S I C  F E S T I V A L

For its 12th season, the Bard Music Festival embarks on its first full venture into French music with a celebration of featured composer Claude Debussy. Assessing the significance of a composer within a cultural and historical context allows consideration of Debussy’s colleagues and contemporaries while rediscovering the unique character of his contribution to 20th-century music. As the New York Times described last year’s festival, "The concept here is different: to dig deep into the repertories of familiar masters, locating unusual and neglected works that help put the masterpieces in context. To broaden that context, works of other, often unfamiliar composers are brought to bear as well."

Accordingly, festival programs over a two-weekend period in August on the Bard College campus and one weekend at Lincoln Center in October cover a broad range of genres, including orchestral and chamber music, song repertoire, choral music, and special events. "This festival," said the Wall Street Journal of the 2000 event, "is set apart from most run-of-the-summer exercises, which are built primarily, if not entirely, on performance and the draw of big-name performers." This year, in addition to the panel discussions and symposium, the festival will offer a special program, "The Lure of the Exotic," which illustrates the influence on Debussy of music from Java, Spain, and elsewhere.

Princeton University will again issue a collection of essays and articles by noted scholars at the start of the festival. Debussy and His World, the 12th in the series, is edited by Jane Fulcher
of Indiana University.

The Bard Music Festival offers affordable ticket prices along with scenic and intimate settings for its concerts. The 600-acre Bard College campus two hours north of New York City provides an idyllic, informal festival setting. Orchestra concerts are performed in an 800-seat acoustical tent. Chamber music and recital concerts are presented in the 350-seat F. W. Olin Auditorium.

Events take place over two consecutive weekends in order to allow audiences the opportunity to enjoy a variety of programs from the extensive selection of concerts and special events. Food and beverages are available for purchase before and between performances.

The Bard Music Festival experience is best summed up by the Financial Times’ observation that "the assiduous festival-goer at Bard . . . comes away with the profound satisfaction of new, or renewed, acquaintance, of having spent many hours in great company, hours of stimulation and refreshment."

Festival photos by Don Hamerman
Homepage image and Hokusai print courtesy of Editions Minkoff
Debussy photo courtesy Cambridge University Press