As the holidays approach, we are sure to see more Nutcracker on the program in different venues around the world, as it is one of the most delightful tunes and charming characters which fits the atmosphere of the season.

As a very thoughtful but life-frustrated composer, many compositions that Pyotr Il’yich Tchaikovsky wrote gave people some degree of depression. However, even though many tragedies happened in his life, a number of his works provide joyful and happy elements—The Nutcracker is one of these. Tchaikovsky wrote a total of three ballets in his life, and The Nutcracker is the last of them. The story is based on E.T.A. Hoffmann’s 1816 fairy tale Nussknacker und Mausekönig (Nutcracker and Mouse King). However, Hoffmann’s version of the story is intended more for adults due to violence and horrific battle scenes. Luckily, in 1844 French writer and dramatist Alexander Dumas recognized the opportunity and retold the story, adding some sweet scenes, making it happier and more appropriate for children. In 1891, Tchaikovsky was commissioned to score the music for this ballet. The ballet was initially scheduled to premiere in the 1891–92 season. However, due to Tchaikovsky making an important and meaningful trip to New York for the opening ceremony of Carnegie Hall, the premiere was postponed to the following season, and the suite of music from The Nutcracker premiered first as a consequence.

The Nutcracker Suite is an orchestral suite—the only suite that Tchaikovsky himself compiled in his life—and it is intended for concert use. It premiered in early 1892 at the Russian Musical Society Concert in Saint Petersburg. Eight sections from the ballet were selected by the composer. Among those eight selections, only one (March) is from Act I and the remaining are from Act II. At the beginning of the suite, a feeling of Christmas celebration is immediately heard by the listener, and that atmosphere stays for the entire duration of the suite. Although each section in this suite has its own unique and fascinating points, in Tchaikovsky’s view, the “Dance of the Sugar-Plum Fairy” allowed him to showcase a new instrument that amazed him—the celeste—making it perhaps the only part of the score he was proud of.

Have you ever wondered what a musical depiction of gossip would sound like? If you have, then the Tritsch-Tratsch-Polka is the piece for you! Johann Strauss II wrote this lively dance music that represents a popular pastime in Viennese society: gossiping! “Tritsch-tratsch” translates to “chit-chat” in English, and that definitely comes across to me as a listener from the beginning. With every flourish of the flutes and strings, I can imagine a group of people erupting in laughter, and the fast and short notes of the violins and the woodwinds can sound like snickering and hushed giggling.

Johann Strauss II, otherwise known as “The Waltz King” in his lifetime, helped popularize the dance in Vienna in the second half of the 19th century. Among his most popular works to this day are The Blue Danube waltz and the operetta Die Fledermaus, while Tritsch-Tratsch is one of his most famous polkas. A polka is often characterized by a steady “oom-pah” quality in the background. It originated in Bohemia (the modern-day Czech Republic) in the 1800s, but since then it has spread throughout the rest of Europe and even to the Americas. Polka has influenced a number of other musical genres, such as Norteño, maxixe, and biguine, all of which had origins in the Americas before being exported to the rest of the world.

Tritsch-Tratsch-Polka was premiered in Vienna on November 24, 1858, at a concert headed by Johann Strauss and his brother Josef. Three days later the Theater-Zeitung gave a positive review, citing a feeling of “freshness”, as well as “humorous coloring” and “piquant instrumentation” throughout the work. This comic nature of the music can be witnessed in the James Bond film Moonraker (1979), in a rather comical chase scene where Tritsch-Tratsch is played as if performed by a local orchestra on Piazza San Marco in Venice as Bond is attempting to escape through the middle of the plaza while piloting a gondola that has been outfitted as a hoverboard on dry land.

Alexander Borodin took 18 years to write the opera Prince Igor since he was a hobby composer (albeit a very good one) and only wrote music in his spare time from his career as a chemist. He passed away in 1887 before completing the opera, and it was left to his friends Nikolai Rimsky-Korsakov and Alexander Glazunov to finish and prepare for the stage. It is intriguing to see an example of such a well-rounded individual in history who was proficient in both science and music, so much so that he was among the most prestigious Russian composers of the 19th century, all while holding a day job in another field. 

“Polovtsian Dances” is a selection from near the end of the second act. Prince Igor Svyatoslavich, who embarked on a campaign against the brutal and powerful Polovtsians who were ravaging his territories, is captured and held hostage by the Polovtsian Khan. The Khan decides to entertain Igor while he is in captivity, possibly a way of showing off his extensive collection of slaves and worshippers. The “Polovtsian Dances” begins with the slave women dancing and singing a sorrowful song of their homeland. This is reflected by beautiful oboe and English horn solos singing a nostalgic melody. In the ballet a choir sings their song along with the orchestral arrangement, although the selection is often performed in concert without the choral accompaniment. The women are sad and longing for the land they were forcefully removed from and their hope is that the words reach the place where they were once free. 

“Fly on the wings of the wind 
To our native land, dear song of ours, … 
You are free there, song. 
Fly home.”

As if inspired by their leader’s powerful presence, the Polovtsian men leap into action and begin singing their version of entertainment, an ode to their king. 

“Sing songs of praise to Khan! Sing!… 
The Khan is equal to the sun!… 
The Khan female slaves praise the Khan,…” 

Their words are in stark contrast to the women’s, and the listener can grasp the depth of enslavement. The piece ends with a powerful variation of the main theme representing the Polovtsians’ force and control over Igor and leaves the listener with a sense of scale, as well as insight to the tragic situation of the captives.

The Planets is a masterpiece that has left a significant mark on popular and cinematic music, which can be attributed to what has been described as its visual power. It was a source of inspiration for figures like John Williams and Hans Zimmer, who incorporated elements of its style into the soundtracks of movies such as Star Wars and Gladiator.

The piece is a musical journey through the solar system that uses dramatic portrayals that imbue each planet with personality. The composer, a Virgo himself, was passionate about astrology and horoscopes, a fascination reflected in his allusion to the astrological traits attributed to each planet. Today we will listen to two of these musical representations, which, in their contrast, highlight the emotional and dramatic breadth of the work: “Mars, the Bringer of War”, with its warlike intensity, and “Jupiter, the Bringer of Jollity”, with its festive grandeur.

Mars is epic, dramatic, somber, and fierce—a perfect soundtrack for a violent cosmic conflict. The portrayal requires ruthless rhythmic precision from the musicians, and the predominance of powerful brass and percussion chords paints a picture for us of an unstoppable enemy pushing forward. It is a perfect reflection of the violence and destruction it symbolizes. As the music increases its intensity and tension progressively, war itself has arrived.

Jupiter, on the other hand, is associated in astrology with generosity and good fortune. Brass and strings create a sense of grandeur and joy. Then, in the famous central section known as “The Jupiter March”, a theme emerges filled with benevolence and optimism. This melody has been so influential that it has been used in various adaptations, including the British patriotic hymn “I Vow to Thee, My Country”. Jupiter brings us celebration and hope, a magical moment among the stars, a victory, light in the midst of darkness.

It is impressive to imagine a London audience in 1918 listening to this piece at its premiere, when it still sounds so current and vibrant today. To me, this work is a tribute to the marvelous, to the very human desire to approach the mystical, the fantastic, and the unknown—hence its power to move generations of listeners, composers, and performers with its descriptive quality and emotional depth.

Mr. Pineda’s career launched with an impressive debut when he stepped in to replace José Gomez for Schoenberg’s Transfigured Night and Richter’s The Four Seasons with Francisco Fullana at the HEB Center, a performance that earned him the role of resident conductor at the Classical Music Institute (CMI). At CMI, he has focused on expanding the orchestra’s reach and leading community outreach programs to make music more accessible. Since his debut conducting The Nutcracker with Ballet San Antonio in 2022, he has returned annually to lead this holiday classic, becoming a core part of the production. He served as cover conductor for OPERA San Antonio during the 2022–23 and 2023–24 seasons, contributing to major productions such as Pagliacci, Romeo and Juliet, Hansel and Gretel, and The Pirates of Penzance.

Mr. Pineda studied under Harold Farberman and James Bagwell at Bard College, gaining experience with both the Bard Conservatory Orchestra and TŌN. He has also worked with notable conductors such as Leon Botstein, Carlos Prieto, Gemma New, and José Luis Gomez, and participated in the 2020 European International Competition in Bulgaria. As a violinist, he has performed under conductors like Fabio Luisi, Valery Gergiev, Marin Alsop, and Leonard Slatkin.

Committed to education, Mr. Pineda teaches at TŌN and directs TŌNteaches, a teaching artist platform focused on advancing music education and community engagement.

A passionate advocate for chamber music, Mr. West was the founder and cellist of the New York Chamber Collective from 2018 to 2022. This ensemble focused on creating intimate, themed concerts that brought classical music into the heart of New York’s diverse neighborhoods. From 2013 to 2019, he was also a founding member of the Lehman String Quartet, performing across New York City within the city’s vibrant chamber music scene.

Mr. West’s performances have spanned a wide range of venues, from the prestigious Carnegie Hall and Symphony Space to the eclectic Mercury Lounge and The Stone. In addition to his extensive solo and chamber music engagements, He regularly performs with the Park Avenue Chamber Symphony and collaborates with various orchestras and chamber groups across the city.

Mr. West completed his master of arts degree in cello performance at CUNY Queens College in 2010, studying under the renowned cellist Marcy Rosen. His academic training, combined with his extensive performance experience, has made him a sought-after performer, guest conductor, clinician, and educator.

With a deep belief in the transformative power of music, he is dedicated to exploring how music can touch people in uniquely personal ways, both through his performances and his teaching.

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 Grammy-nominated 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.

Samuel Frois Concertmaster
Asher Hartman*
Joey Shi*
Yuchen Zhao
Chance McDermott
Ryan Flemmings*
Samuel Tubridy*
Enikő Samu
Yaewon Choi
Abby Harach*
Katie Phung*
Nayoung Kim
Jonathan Fenwick
Lio Hartman*
Piet Shettle*
Shengjia (Sherry) Zhang
Christopher Harach*
Jasmine Chin*
Estherika Cokro*

Zeyi Sun Principal
Richard Lei*
Anthony Reyes*
Haley Maurer Gillia
Lana Auerbach
Emily Gonzalez*
Max Bronsnick*
Heather Lambert
Lap Yin Lee
Amaiyah Grant*
Ai Qian Fun*
Hanyu Feng
Ara Hekinian*
Siyao Li*
Yuanming Zhao*
Liam Gooch-Tonic*
Samantha Lin*
Angeles Hoyos not performing in this concert
Emerie Mon not performing in this concert
Seunghye Park not performing in this concert
Carlos Torres not performing in this concert

Michael Halbrook Principal
Ella Chen*
Ruize Hu*
Tania Ladino Ramirez
Enoch Ng
Jillian Fontimayor*
Johanna Omesuh*
Samuel Omalyev
Chia-Mei (Lily) Li
Batmyagmar Erdenebat TŌN ’23

Elvira Hoyos Malagon Principal
Catherine Langhenry*
Charlie Lopez*
Sam Boundy
Shawn Thoma
Kaiya Nam*
Millan Bisegna*
Alfred Western
Michael Zyzak
Jihyun Hwang
Dariimaa Batsaikhan
Kevario Malcolm*
Billy Chen*

Zacherie Small Principal
Luke Weidenmueller*
Shawn Farberov*
Jud Mitchell
Holdan Arbey Silva Acosta
Yu-Cih Chang
Jack Corcoran
Nicolette Smith*
Austin Wiafe*
Shion Kim

Jordan Arbus Principal (Tchaikovsky, Strauss)
Olivia Chaikin Principal (Borodin, Holst)
Josiah Jackson*
Zara Dolby*
Chase McClung Piccolo (Borodin, Holst)
Isabella Rondon* Piccolo

David Zoschnick Principal (Tchaikvosky, Strauss)
Yejin Kim Principal (Borodin, Holst), English Horn (Tchaikovsky)
Isabella Vidach*
Daniella Tobias*
Quinton Bodnár-Smith English Horn (Holst)
Helen Villca*

Colby Bond Principal (Tchaikovsky, Strauss)
Zachary Gassenheimer Principal (Borodin, Holst)
Peyton Gooch-Tonic*
Michelle Kagan*
Dávid Kéringer Bass Clarinet

Miranda Macias Principal (Tchaikovsky, Strauss), Contrabassoon (Holst)
Kylie Bartlett Principal (Borodin, Holst)
Emmett Wasik*
Sofia Cervantes*
Chaoyang Jing

Daniel Itzkowitz Principal (Tchaikovsky, Strauss)
Douglas Nunes Principal (Borodin)
Augustina “Gus” Weir* Principal (Holst)
Stefan Williams
Jesus Perez*
Ziming Zhu
Tori Boell not performing in this concert

Jid-anan Netthai Principal (Tchaikovsky, Strauss)
Giulia Rath Principal (Borodin)
Forrest Albano Principal (Holst)
Eric Goldberg*
Eriko Goto*
Alicja Koziel*

Stephen Whimple Principal (Tchaikovsky, Strauss)
Zachary Johnson Principal (Borodin, Holst)
Ryan Lin*
Samuel Boeger Bass Trombone

Tyler Woodbury

Pei Hsien (Ariel) Lu Principal
Zachary Stein*

Philip Drembus
Luca Esposito
Nick Goodson
Alice Tonelli*

Cheng Wei (Ashley) Lim Principal
Abigail Weiss*

Neilson Chen

We are pleased to recognize the following donors who have provided early support for this milestone season. Watch this space for an updated list throughout the year!

Anonymous (2)
Arthur Reynolds
William Bell
Katherine B. Berry
Diane and Ronald Blum
Marie-Louise Brauch
Anusheh and Paul Byrne
Michelle Clayman
Curtis DeVito and Dennis Wedlick
Craig Diehl and Michael Koelsch
Peter and David Eng-Chernack
Maia Farish
Janet Feldman
Gary M. Giardina
Michel Goldberg and Frances Spark
Bill Harrison
Bernard and Lisa S. King-Smith
The Merrill G. and Emita E. Hastings Foundation
Michael Dorf Presents
Pat Miller
Robert K. Montgomery
Karl Moschner and Hannelore Wilfert
Walter Mullin and Julian Kaplin
Christine T. Munson
James and Andrea Nelkin
Helmut Northrup
Andrew Penkalo
Michael P. Pillot
Denise T. Pitcher
Laurie and Michael Pollock
Michael L. Privitera
Emily Sachar
Joseph and Barbara Schoenberg
Susan Seidel
Alice Stroup
Felicitas S. Thorne
Éric Trudel
Tryon Family Foundation

We gratefully acknowledge the following individuals who have made gifts and pledges in support of our December 8, 2024 reception:

Event Sponsors
Helen V. Atlas
Randy Faerber ’73, in memory of Harvey Waldman
Janice Haggerty, The Merrill G. and Emita E. Hastings Foundation
Anne-Katrin Spiess

Benefit Donors
Diane and Ronald Blum
Michelle Clayman
Gary M. Giardina
Christine T. Munson
Northwestern Mutual Foundation
Arthur Reynolds
Joseph and Barbara Schoenberg

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

Kassell Family Foundation of the Jewish Communal Fund
Christine T. Munson
Northwestern Mutual Foundation
Joseph and Barbara Schoenberg
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
Alison Lankenau
Denise S. Simon and Paulo Vieira da Cunha
Alice Stroup, in memory of Timothy Stroup
Tryon Family Foundation

William Bell
Michelle Clayman
Peter and David Eng-Chernack
Marc and Margaret Cohen, in honor of Colby Bond TŌN ‘25
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
Laurie and Michael Pollock Fund of Fidelity Charitable
Andrea and James Nelkin
Maury Newburger Foundation
Bruce and Blanche Rubin
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
Robert K. Montgomery
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
Andrew Penkalo
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 (4)
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
Leonardo Pineda ’15 TŌN ’19 Interim Assistant 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
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

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