A Child Prodigy
Herman Whitfield III was born in 1982 in Indianapolis, Indiana. Whitfield was a talented young man, beginning to play the piano at the age of four and composing symphonic works and operas by the age of eight. For many years he was mentored by Dr. William Curry, Music Director of the Durham Symphony Orchestra. Dr. Curry wrote, “when I saw Herman’s music I knew he was indeed a musical genius. And so a few months later I conducted the Indianapolis Symphony Orchestra in the premiere of his Scherzo No. 2.” Whitfield went on to pursue dual degrees in political science and piano performance at Oberlin Conservatory, and later received a master’s degree in piano performance from the Cleveland Institute of Music.

In Memory of Herman Whitfield III
Herman Whitfield III was only 39 years old when he tragically died. On April 25, 2022, Whitfield experienced a mental health crisis, prompting his mother to call for an ambulance. Instead, six Indianapolis Metropolitan Police Department officers arrived. Without provocation, they tasered Whitfield, tackled him, and handcuffed him. He suffocated face down for about five minutes before becoming motionless. The coroner later ruled that the IMPD had killed Herman. For more information about the ongoing trials of the officers and to support Whitfield’s family, please visit justice4herman3rd.org. Dr. Curry is planning to continue to perform and publish Whitfield’s music in his memory.

A Complex Scherzo
Herman Whitfield III wrote his Scherzo No. 1 for orchestra early on in his career. For a young composer, it proves to be a very complex work, reminiscent of Sibelius with traces of Tchaikovsky, Verdi, and Beethoven. It alternates between dramatic chords and sweeping dotted rhythms in a quick 3/8 meter with a beautiful pastorale section in the middle reminiscent of Beethoven’s 6th Symphony. Light, natural woodwind solos and chorales are played over beautiful harmonies in the strings. The tranquility is quickly interrupted by the return of the earlier chords to bring the listener to the recap, like lightning striking a forest. A brief moment of silence occurs before the final coda, which uses flurries of string scales and brass fanfares to end the piece with more drama than the beginning. Dr. Curry writes, “Herman had a melodic gift and an innate sense of structure. In short: he had what you cannot teach. It’s impossible to know what his future music would have been like.”

Completed in 1899, the concept for Nocturnes could be dated back to 1892, under the composition Trois Scènes au Crépuscule (Three Scenes at Twilight). Inspired by the poems of Henri de Régnier, Debussy intended to compose a triptych for orchestra, an idea similar to his famous orchestral triptych Prelude to the Afternoon of a Faun. The piano score of Three Scenes at Twilight was completed in 1893. However, Debussy started recomposing this work into a piece for solo violin and orchestra after listening to Eugène Ysaÿe premiere his String Quartet in G minor. In 1894, Debussy retitled the Three Scenes to Nocturnes, inspired by the works of American painter James McNeill Whistler. By 1897 Debussy had abandoned the idea of composing a piece for solo violin and orchestra, and he started revising the piece into a full orchestral work. The score of Nocturnes was signed with a completion date of December 15, 1899. However, until the day he died, Debussy continued to make new adjustments and modifications to the score. At some point, even the revised versions became contradictory to each other. The “definitive version” was published in 1930 and became the most widely performed version today.

The first movement, “Nuages” (“Clouds”), depicts “thunderclouds swept along by a stormy wind; a boat passing, with its horn sounding” (comments recorded by biographer Léon Vallas from Debussy himself). The second movement, “Fêtes” (“Festivals”), pictures a rustic festival with the rhythm of dances. Debussy explained that “Festivals” was inspired by the scene of noisy crowds watching the drum and bugle corps of the Garde Nationale in the parade of merry-making in the Bois de Boulogne. The third movement, “Sirènes” (“Sirens”), depicts a sea scene with the mysterious sounds of waves and the mythological sirens. This movement resembles his later work La Mer. The similar haunting female voices can be later found in Holst’s “Neptune” from The Planets.

Returning to the Soviet Union in 1933 after a 15-year period spent in America composing new works, Sergei Prokofiev was approached by director Sergei Radlov on behalf of the later-named Kirov Theatre with a proposal to create a new ballet based on Shakespeare’s Romeo and Juliet. However, after years of challenges trying to complete the endeavor, including the assassination of politician Sergei Kirov and a premiere outside the USSR in Brno, Czechoslovakia, Prokofiev transformed the 52-scene scene ballet into three orchestral suites, and it finally received a Soviet premiere at the Kirov Theatre in 1940. 

When Prokofiev’s Romeo and Juliet is performed in symphonic concerts, conductors usually select a few movements from each of the three suites that encapsulate the story of the whole ballet. This performance will contain eight movements, beginning with “The Montagues and the Capulets”. One of the most well-known excerpts from the ballet, it is meant to depict the rivalry between the two feuding families. It features both a lyrical and muted section highlighting the flute and violas contrasted with a section with heavy pulsations in the low brass and percussion. “The Child Juliet” is  a quick and lively movement meant to depict the vivacious and wistful energy of the young heroine through fast and lively passages in the violins. “Dance of the Girls with Lilies” is a waltz-like movement with soaring melodies in the solo violin and clarinet. “Masks” represents Romeo’s entrance into Capulet’s ball, which Prokofiev emulates with a steady snare rhythm beneath solo wind and string melodies. “The Death of Tybalt” depicts Romeo avenging the death of his brother Mercuito, who was slain by Tybalt, a member of the rival Capulet family. It features sword fighting—as heard is the frenetic scales and arpeggios in the violins—and the resulting funeral march, showcasing the cellos and horns lamenting over the heavy drums. “Romeo and Juliet Before Parting”, a tender love ballad for the flute and violas, sets up the dramatic “Romeo at the Tomb of Juliet”, where Romeo mistakenly believes Juliet to be dead. The anguish in the violins and brass and dissonant harmonies convey Romeo’s pain and heartbreak, ultimately leading him to commit suicide. The suite ends with “The Death of Juliet”, who awakens to find Romeo dead, and after musical references to the earlier movement “The Child Juliet”, she ends her own life and the violins represent her soul floating high up into the heavens. 

Mr. Schwartzman’s credits as assistant conductor include recordings for Albany Records, Bridge Records, Naxos Records, Hyperion Records, and a Grammy-nominated world-premiere recording for Chandos Records. He had a twelve-year tenure as music director of the Blue Hill Troupe and has been assistant conductor for the American Symphony Orchestra since 2012. He has appeared as both assistant conductor and conductor at Bard SummerScape and the Bard Music Festival at The Richard B. Fisher Center for the Performing Arts. He is currently resident conductor of The Orchestra Now (TŌN) and music director of the Bard College Community Orchestra. In addition to degrees in Piano Performance and Orchestral Conducting, he earned a B.A. in East Asian Studies from Oberlin College.

The 39-year-old took his last breath April 25 − double-handcuffed, face down and twice shocked by police officers with a taser while experiencing an apparent mental health crisis. His parents, Gladys Whitfield and Herman Whitfield Jr., said it was his first mental health episode as far as they knew. They called 911 early that morning with the intent to request an ambulance. Instead, police arrived. Their son was naked, unarmed and mumbling to himself while walking around the home. Then, their call for help became a deadly encounter.

His death came as a horrific blow to those who knew him. It flew in the face of what they remembered about Herman Whitfield III, the inquisitive and soft-spoken genius who’s been referred to as a gentle giant in media reports as far back as 2001. By all accounts, Indianapolis lost one of its best and brightest.  

“When I think about what the world lost with Herman, that saddens me,” said William Curry, the music director of the Durham Symphony Orchestra.

Saturday, on what would’ve been their son’s 40th birthday, Herman Whitfield III’s parents are commemorating his life while continuing to push for justice in his death.  

Their continued fight for justice and better mental health resources, his parents told IndyStar, is what their son, who they call Trey, would’ve wanted.

A genius in the making
The start of Herman Whitfield III’s love affair with music began perhaps the way any child first encounters that world – by banging on pots and pans.  

He wanted to become a drummer, but Gladys Whitfield and Herman Whitfield Jr. noticed a different potential in him on Sundays when the family returned from church. Herman Whitfield III could sit down at the family’s piano and effortlessly play the hymns he’d just heard by ear.

His parents kindled that talent by putting him in lessons at four years old. Gladys Whitfield said they were met with hesitation by teachers. He was too young, she remembers being told. Gladys Whitfield said they insisted the teachers at least hear him play. After they obliged, the piano instructors changed their tune and said he was ready.

With the help of notable local piano teachers, Herman Whitfield III blossomed.By age 14, his talents advanced at rare pace, giving him the ability to move from one classical piece to the next seamlessly, an instructor remarked in a 1997 article.

Around this time, he tried his hand at composing, taking pencil to paper to jot down pieces. The family later splurged on a computer so he could organize his compositions more easily through a software program.  

Though playing keys was his forte, Herman Whitfield III could write music for any instrument. 

“He often told me he could hear all the instruments in the piano,” Herman Whitfield Jr. said. “It’s just amazing, the conversation he’d carry on all day about music.”  

The Detroit Symphony Orchestra twice named Herman Whitfield III the winner in its “emerging African-American composers” competition.

Herman Whitfield III’s uncanny composing ability marked him as a genius to Curry, the musical director of Durham Symphony Orchestra.  

Curry recalled listening to Herman Whitfield III’s Scherzo No. 2 for Orchestra while he was on the hunt for music to fill his concert series for the Indianapolis Symphony Orchestra in 2003. He immediately selected it to play at the concert, Curry told IndyStar, and the piece received a standing ovation.  

A musical genius in Curry’s mind, he said, is either someone who can compose and play at a level it would take a maestro like him hours to achieve the same standard.

“Then, there’s the genius who I could work 1000 times more than them, but I could still never equal their level (such as) Mozart,” he said. “What I saw in Herman was the latter category.”

Listening to Scherzo No. 2 for Orchestra now makes Curry emotional, knowing the world will never again hear a new Herman Whitfield III piece. He hadn’t heard of the 39-year-old’s death until recently.

Remembering Herman Whitfield III’s life also evokes tears from Susan Kitterman, his former music teacher who taught him every week through the previously-named New World Youth Orchestra she founded in 1983.  

For Kitterman, her emotion does not solely stem from sadness, but sheer respect.    

Kitterman remembers the lesser-known aspect of Herman Whitfield III – his interest in politics. Herman earned a Bachelor of Arts in Politics at Oberlin College, along with a Bachelor of Music in both Composition and Piano Performance.

Gladys Whitfield and Herman Whitfield Jr. recalled how their son would stun them with his knowledge of political organization and theory. His former peers at Brebeuf Jesuit Prepatory School elected him senior vice president of student council. In his trademark private manner, his parents said, he didn’t tell his family until they saw the news in the student newspaper.  

Kitterman remembers hearing Herman Whitfield III discussing the Austro-Hungarian empire with other students during one of their breaks at music practice.  

“That’s what I think in reflecting back on his life now,” she said.

Herman Whitfield III combined his passion for music and politics in 2009 by playing in an opera entitled Small Box. In a cruel twist of irony, the opera examines the death penalty. 

Losing Indianapolis’ best and brightest
It’s safe to draw the conclusion the world would’ve heard more from Herman Whitfield III. Composing and performing is what he’s done since elementary school, and the people who knew him have no doubt his works would’ve received even more standing ovations.

Yet reaching that level of fanfare was never Herman Whitfield III’s main goal. In a cut-throat industry rife with egos, Herman Whitfield III preferred to compete with himself.

When asked about his source of talent for an article, the then-14-year-old responded matter-of-factly he just loved to play. Years later in a video from the Arts Council of Indianapolis, he said music is one of the most direct forms of communication we have, before playing a bouncy tune on the piano.

Herman Whitfield III is a product of the Indianapolis community recognizing his talent, Kitterman said, and his parents putting him in places where he could thrive.

The Marion County Coroner’s Office declared his death a homicide in July and an investigation of the officers who responded that night is being reviewed by the prosecutor’s office.

Now, Gladys and Herman Whitfield Jr. hope the memories of their son’s life flourish, and his untimely death marks the start of a reckoning for mental health responses.

TŌN performs dozens of concerts a year at venues including Carnegie Hall, Lincoln Center, The Metropolitan Museum of Art, and the Fisher Center at Bard. Specializing in both familiar and rarely heard repertoire, the orchestra has given numerous New York, U.S., and world premieres, and has performed the work of living composers, including Joan Tower, Jessie Montgomery, Jonny Greenwood, and Tania León. In 2023, TŌN appeared with Bradley Cooper in the Academy Award-nominated film Maestro, and was featured on the Deutsche Grammophon soundtrack, conducted by Yannick Nézet-Séguin. The orchestra has performed with many other distinguished guest conductors and soloists, including Leonard Slatkin, Gil Shaham, Neeme Järvi, Stephanie Blythe, Fabio Luisi, Vadim Repin, Joseph Young, Peter Serkin, Naomi Woo, Peter Moore, Tan Dun, and JoAnn Falletta. 

TŌN has released several albums on the Hyperion, Sorel Classics, and AVIE labels. May 2024’s The Lost Generation includes world-premiere recordings of works by Hugo Kauder, Hans Erich Apostel, and Adolf Busch. Other highlights include rare recordings of Othmar Schoeck’s Lebendig begraben and Bristow’s Arcadian Symphony, and the soundtrack to the motion picture Forte. Recordings of TŌN’s live concerts from the Fisher Center can be heard regularly on Classical WMHT-FM and WWFM The Classical Network, and the orchestra has appeared over 100 times on Performance Today, broadcast nationwide.

Visit ton.bard.edu to find out more about TŌN’s academic program, concerts, musicians, albums, and broadcasts; sign up for the email list; and support the orchestra with a donation.

Yaewon Choi Concertmaster
Lana Auerbach
Haley Schricker
Lap Yin Lee
Enikő Samu
Jonathan Fenwick
Samuel Frois
Yuchen Zhao
Emerie Mon
Kathleen Bosman

Haley Maurer Gillia Principal
Heather Lambert
Carlos Torres
Chance McDermott
Angeles Hoyos
Shengjia (Sherry) Zhang
Zeyi Sun
Hanyu Feng
Nayoung Kim not performing in this concert
Seunghye Park not performing in this concert

Enoch Ng Principal
Tania Ladino Ramirez
Chia-Mei (Lily) Li
Samuel Omalyev
Michael Halbrook
Keegan Donlon

Jihyun Hwang Principal
Dariimaa Batsaikhan
Alfred Western
Shawn Thoma
Michael Zyzak
Sam Boundy
Elvira Hoyos Malagon not performing in this concert

Holdan Arbey Silva Acosta Principal
Zacherie Small
Jack Corcoran
Shion Kim
Jud Mitchell
Yu-Cih Chang

Jordan Arbus Principal
Sulina Baek
Chase McClung
Olivia Chaikin not performing in this concert

Yejin Kim Principal (Whitfield, Debussy)
David Zoschnick Principal (Prokofiev)
Shawn Hutchison TŌN ’22 English Horn
Quinton Bodnár-Smith not performing in this concert

Zachary Gassenheimer Principal
Dávid Kéringer Tenor Saxophone (Prokofiev)
Viktor Tóth ’16 TŌN ’21
Colby Bond Bass Clarinet

Kylie Bartlett Principal (Whitfield, Debussy), Contrabassoon (Prokofiev)
Miranda Macias Principal (Prokofiev)
Chaoyang Jing

Stefan Williams Principal (Whitfield, Debussy)
Tori Boell Principal (Prokofiev)
Daniel Itzkowitz
Ziming Zhu Assistant (Prokofiev)
Douglas Nunes

Jid-anan Netthai Principal (Whitfield, Prokofiev)
Forrest Albano Principal (Debussy)
Giulia Rath Cornet (Prokofiev)

Zachary Johnson Principal (Whitfield, Debussy)
Stephen Whimple Principal (Prokofiev)
Samuel Boeger Bass Trombone

Tyler Woodbury

Pei Hsien (Ariel) Lu

Nick Goodson Principal (Whitfield)
Philip Drembus Principal (Debussy)
Luca Esposito Principal (Prokofiev)
Luis Jacome

Cheng Wei (Ashley) Lim Principal
Violetta Maria Norrie

Neilson Chen

Aja Nile Brimm
Dena Cubbin
Celeste Hall
Yousra Hegazy
Katie Holler
Francesca Serritella
Sami Sallaway
Shanna Swenson

Nancy Blagman
Caitlin Caulfield
Charlotte Detrick
Nancy Havens-Hasty
Cornelia Iredell
bj Karpen
Casey Keeler
Renee Lasher
Conway McGrath

Joseph Baxer and Barbara Bacewicz 
Michael L. Privitera
Emily Sachar

Michael E. Dorf and Sarah Connors
Karl Moschner and Hannelore Wilfert

Charles Doran and Carissa Escober Doran
Gary M. Giardina
Bernard and Lisa S. King-Smith
The Merrill G. and Emita E. Hastings Foundation
Lawrence T. Nash, in memory of Naomi M. Nash

Gary M. Giardina
Kassell Family Foundation of the Jewish Communal Fund
Vivian J. Sukenik

Curtis DeVito and Dennis Wedlick
Barbara J. Ewert
Dr. Sanford J. Friedman and Virginia Howsam
Steven Holl and Dimitra Tsachrelia
Susan and Roger Kennedy
Edna and Gary Lachmund
Denise S. Simon and Paulo Vieira da Cunha
Alice Stroup, in memory of Timothy Stroup
Tryon Family Foundation

William Bell
Peter and David Eng-Chernack
Marc and Margaret Cohen, in honor of Colby Bond TŌN ‘25
Curtis DeVito and Dennis Wedlick
Dvorak Giving Fund
​​Maia Farish, in memory of Don Farish
Michel Goldberg and Frances Spark
Jan M. Guifarro
Scott Huang
Karen Kaczmar and George P. Jahn
Alison Lankenau
Laurie and Michael Pollock Fund of Fidelity Charitable
Christine T. Munson
Andrea and James Nelkin
Maury Newburger Foundation
Bruce and Blanche Rubin
Joseph and Barbara Schoenberg
Lynda V. Schwab-Edmundson
Arlene and Gilbert Seligman
Jennifer Shykula ’96 and Thomas Ochs
Joseph Sweeney
David and Marcia Welles

Diane and Ronald Blum
Dora Jeanette Canaday
Nicole M. de Jesus ’94 and Brian P. Walker
Hildegard F. Edling ’78 and Richard Edling
Peter C. Gay
Brian J. Heck
Judith and Ron Goodman Charitable Trust of Fidelity
Erica Kiesewetter
Susan B. and Peter J. LeVangia
Ken and Lindsay Morgan
Helmut Norpoth
Susan Seidel
Jan and Jim Smyth
Judith R. Thoyer
Dana L. Vanderheyden
Gene L. Vidal

Philip B. Ardell
Marvin F. Bielawski
Marie-Louise Brauch
Phyllis and Joe DiBianco
Mildred Feinsilber
Janet Feldman
Renate L. Friedrichsen
William J. Harper
Stan Harrison
Stephen J. Hoffman
Hospitality Committee for United Nations Delegations
Elena and Fred Howard
L&T Freudenheim Fund of Bernstein Philanthropic Impact Fund
Prof. Nancy S. Leonard and Dr. Lawrence Kramer
Tyler J. Lory and Michael Rauschenberg*
Fulvia M. Masi, in memory of William Tanksley
Warren R. Mikulka
Martin L. and Lucy Miller Murray
Gary E. Morgan
Shirley Mueller and Paul Tepper
Barry Nalebuff and Helen Kauder
Stanley and Bette Nitzky
Ross and Marianne Parrino
Edith K. Payne
Denise T. Pitcher
Kelly A. Preyer and James Blakney
Richard Rizzo and Enid Ain
Thomas J. Shykula, in memory of Marcy Shykula
Theodore J. Smith
Anne M. Sunners
Catherine Susser and Jacques Luiggi
Daniel J. Thornton
Éric Trudel
Susan L. Waysdorf and Mary K. O’Melveney

Patricia Ahearn
Frederick E. Allen and Erica De Mane
Matthew C. Bernstein
Stephanie G. Beroes
Katherine B. Berry
Marge and Edward Blaine
Lawrence D. Blau and Karen Johnsen
Roberta Brangam
Joyce W. Brown
Renée Burgevin
Anusheh and Paul Byrne
Isobel R. Contento and Robert F. Clark
Richard Desir, in memory of Pierre Desir
Thomas J. De Stefano
Vincent M. Dicks
Mary Lou Dillon
Janet and Robert Feldman
Malva Filer
Helena and Christopher H. Gibbs
Beverly Gillia, in honor of Haley Gillia, TŌN ‘26
Peter C. and Carol A. Goss
Tamara J. Gruszko
Diane E. Guendel
Lee Haring
Nancy S. Hemmes
Steven Jonas
Robert V. and Victoria A. Kampf
Barbara Komansky
Nancy Lupton
Nina Lynch
Martha V. Lyon
Phyllis Marsteller
Guenther May
Kenneth J. McCormick
Jane W. Meisel
Anne I. Odwyer
Shirley G. Perle
Michael P. Pillot
Cathy and Fred Reinis
Arlene Romoff
Patricia Scharlin
Gerald Scorse
Theodore J. Smith
William M. Solis
George A. Wachtel/Audience Research & Analysis
Michael S. and Leslie Weinstock
Ian A. Zimmerman ’92
Drs. Julie and Sandy Zito

Anonymous (3)
Michelle Ajami
Elaine Berk
Kent A. Brown
Harriet Bussel
Harriet D. Causbie
Karen M. Harvey
Maung S. Htoo, in memory of Anne Htoo
Robert Kappes
Tod Klebanoff
Pat Miller
Yuka Nishino
Sandra Novick
Robert B. Renbeck
Brigitte Roepke
Sandra Schanzer
Mary T. Sheerin
Gail Sherain
Anna Shuster
Shari Siegel

Leon Botstein Music Director
James Bagwell Associate Conductor and Academic Director 
Jindong Cai Associate Conductor
Zachary Schwartzman Resident Conductor
Erica Kiesewetter Director of Orchestral Studies
Keisuke Ikuma Director of Chamber Music
Sima Mitchell First Year Seminar Faculty

Kristin Roca Executive Director
Marielle Metivier Orchestra Manager
Petra Elek ’16 APS ’20 TŌN ’24 Assistant Orchestra Manager
Viktor Tóth ’16 TŌN ’21 Special Events Coordinator and Eastern/Central European Music Curator
Matt Walley TŌN ’19 Program Coordinator, Admissions and Artist Relations
Sebastian Danila Music Preparer and Researcher
Benjamin Oatmen Librarian
Leonardo Pineda ’15 TŌN ’19 Director of Youth Educational Performance and South American Music Curator
Shawn Hutchison TŌN ’22 Recruitment and Alumni/ae Coordinator

Brian J. Heck Director of Marketing
Nicole M. de Jesús ’94 Director of Development

Stephen Dean Orchestra Production Manager
Grace Anne Orchestra Stage Manager
Liz Cohen Assistant Stage Manager
LJ McCaw Orchestra Stage Manager
Nora Rubenstone ’11 Associate Orchestra Production Manager

James C. Chambers ’81 Chair
Emily H. Fisher Vice Chair
Brandon Weber ’97 Vice Chair, Alumni/ae Trustee
Elizabeth Ely ’65 Secretary; Life Trustee
Stanley A. Reichel ’65 Treasurer; Life Trustee
Fiona Angelini
Roland J. Augustine
Leon Botstein President of the College, ex officio
Mark E. Brossman
Jinqing Cai
Marcelle Clements ’69 Life Trustee
The Rt. Rev. Andrew M. L. Dietsche Honorary Trustee
Asher B. Edelman ’61 Life Trustee
Kimberly Marteau Emerson
Barbara S. Grossman ’73 Alumni/ae Trustee
Andrew S. Gundlach
Glendean Hamilton ’09
Matina S. Horner ex officio
Charles S. Johnson III ’70
Mark N. Kaplan Life Trustee
George A. Kellner
Fredric S. Maxik ’86
Jo Frances Meyer ex officio
Juliet Morrison ’03
James H. Ottaway Jr. Life Trustee
Hilary Pennington
Martin Peretz Life Trustee
Stewart Resnick Life Trustee
David E. Schwab II ’52 Life Trustee
Roger N. Scotland ’93 Alumni/ae Trustee
Annabelle Selldorf
Mostafiz ShahMohammed ’97
Jonathan Slone ’84
James A. von Klemperer
Susan Weber
Patricia Ross Weis ’52

Leon Botstein President
Coleen Murphy Alexander ’00 Vice President for Administration
Jonathan Becker Executive Vice President; Vice President for Academic Affairs; Director, Center for Civic Engagement
Erin Cannan Vice President for Civic Engagement
Deirdre d’Albertis Vice President; Dean of the College
Malia K. Du Mont ’95 Vice President for Strategy and Policy; Chief of Staff
Peter Gadsby Vice President for Enrollment Management; Registrar
Mark D. Halsey Vice President for Institutional Research and Assessment
Max Kenner ’01 Vice President; Executive Director, Bard Prison Initiative
Debra Pemstein Vice President for Development and Alumni/ae Affairs
Taun Toay ’05 Senior Vice President; Chief Financial Officer
Stephen Tremaine ’07 Vice President of Network Education
Dumaine Williams ’03 Vice President for Student Affairs; Dean of Early Colleges