Serving as the initial spark in Samuel Barber’s long and illustrious career as his first large orchestral work, The School of Scandal Overture exists as an invigorating, exciting, and lush work that establishes a compositional consistency that would last a lifetime. While studying at the newly formed Curtis Institute of Music at a young age, Barber would win two separate Joseph H. Bearns Prizes in Music, administered by Columbia University. The first in 1929, for his Violin Sonata, and the second in 1933, for this overture.

Barber was known to be a life-long lover of literature, with this overture being a prime example. Rather than serving as the opening of a larger staged work, this overture serves as a musical encapsulation of the 1777 play The School of Scandal, written by Richard Sheridan. The play features several plot lines that begin separately but slowly converge on one another. An uncle deciding whom to give his fortune to (I loved Succession), two nephews competing for a woman’s love, and two women competing for one of the nephew’s attention. There is gossip, drama, disguises, and many other shenanigans—what more could an 18th century audience need?

As mentioned above, this play has drama and high stakes, but at its core, it is very playful and comedic. Most of the music from this overture reflects that. At the beginning, you’ll hear a fanfare and high-energy introduction that brings us to an equally exciting exposition and theme. What follows thematically establishes different characters and plot lines. There are slower themes that emphasize the romance between characters, but also many moments utilized by instrumentation and melody that represent the play’s antagonist, Lady Scandal (a very nuanced name). This overture oscillates between these different ideas and themes in a programmatic way, following the plot of the play to a joyous and celebratory ending that befits an operatic comedy.

Richard Strauss was a German composer and conductor known for his contributions to late Romantic and early 20th-century music. Death and Transfiguration was composed in 1888, when Strauss was just 24 years old, and it was a significant work that garnered attention in the music world and contributed to Strauss’ rising reputation as a composer of great promise, establishing him as a leading figure in the music world of the late 19th century.

Strauss drew inspiration for the composition from a poem written by Alexander Ritter. The composer followed the structure of Ritter’s poem closely in the composition of the music. Each section of the tone poem corresponds to a specific moment or emotional state in the protagonist’s journey. The piece reflects philosophical ideas about life, death, and the human condition that were prevalent in the Romantic era. It explores the profound questions of existence, mortality, and the possibility of spiritual transcendence. The story is divided into several distinct sections in the piece, each corresponding to different phases of the protagonist’s journey from life to death and transfiguration:

Introduction: The opening section sets the stage for the narrative, representing the protagonist on his deathbed. The music is marked by a sense of gravity and reflection.

The Battle for Life: Following the introduction, the music transitions into a more agitated and tumultuous section. This represents the protagonist’s struggle with the challenges and conflicts of life. The orchestra becomes more dynamic and dissonant as it portrays the battles and trials faced by the dying man.

Memories and Reflections: After the intense battle section, the music shifts to a more lyrical and reflective character. This part represents the dying man’s memories, reflections on his past, and moments of introspection. The music becomes more melodic and expressive, with a sense of nostalgia and contemplation.

Transfiguration: The final section of the composition is the transfiguration itself. Here, the music undergoes a dramatic transformation, becoming serene and radiant. This section symbolizes the protagonist’s spiritual transfiguration, as he transcends earthly suffering and attains a state of peace and enlightenment. The music soars to its highest emotional point, and the orchestration is marked by lush harmonies and a sense of transcendence.

Strauss’ tone poems played a role in blurring the lines between symphonic and operatic music. His orchestration techniques and use of leitmotifs, borrowed from the world of opera, were instrumental in creating richly expressive symphonic compositions. The influence of this innovation can be heard in the works of composers like Gustav Mahler, Richard Wagner, and Dmitri Shostakovich, who also incorporated narrative and programmatic elements into their compositions.

Robert Schumann’s Symphony No. 4 is one of the most significant works in the Romantic symphonic repertoire. Composed in 1841 and revised in 1851, this symphony reflects an intense emotional and creative period in the composer’s life. He was trying to find his own symphonic voice while struggling with his ongoing battles with depression and mental health issues. Three years later, he attempted suicide and admitted himself to a mental hospital in Bonn, Germany.

All four movements are played without a break, creating a sense of musical storytelling that transcends individual movements. The first movement starts with a melancholic and mysterious introduction that leads into a lively allegro. Schumann masterfully blends contrasting themes and moods throughout this movement.

The second movement is a lyrical, introspective interlude. A solo cello and oboe play a sweet melody that vaguely resembles material heard in the introduction of the first movement. This duet returns with the opening theme of the movement, which ends with a quiet segue to the third movement.

The third movement is playful and spirited, changing the mood immediately. It is characterized by its lively rhythmic energy and charming melodies. After the scherzo, the trio contains music for the violins that is similar to the middle section of the second movement. The music slows down into a mysterious segue to the last movement that contains a reference to the primary theme of the first movement.

Finally, the fourth movement is a triumphant and exhilarating conclusion to the symphony, with a lively tempo and intricate orchestration. This movement features memorable melodies, driving rhythms, and a robust orchestration that showcases the full power of the orchestra, perfectly encapsulating the symphony’s emotional journey.

Schumann’s Symphony No. 4 is a powerful and emotionally charged work that reflects the composer’s personal struggles and creative genius. Its innovative orchestration and structural elements make it a significant contribution to the Romantic symphonic tradition, and it remains a beloved and frequently performed piece in the classical music repertoire.

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.

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 it performs multiple concerts each season and takes part in the annual Bard Music Festival. It also performs 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 Leonard Slatkin, Neeme Järvi, Gil Shaham, Fabio Luisi, Joan Tower, Vadim Repin, Hans Graf, Peter Serkin, Naomi Woo, Gerard Schwarz, Tan Dun, and JoAnn Falletta. Among TŌN’s many recordings are albums featuring pianists Piers Lane, Anna Shelest, and Orion Weiss; Buried Alive with baritone Michael Nagy, which includes the first recording in almost 60 years—and only the second recording ever—of Othmar Schoeck’s song-cycle Lebendig begraben; Classics of American Romanticism, featuring the first-ever complete recording of 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 on Classical WMHT-FM and WWFM The Classical Network, and are featured regularly on Performance Today, broadcast nationwide.

Explore upcoming concerts, see what our musicians have to say, and more at ton.bard.edu.

Samuel Frois Concertmaster
Chance McDermott
Haley Schricker
Seunghye Park
Enikő Samu
Haley Maurer Gillia
Judith Kim
Shengjia (Sherry) Zhang
Jonathan Fenwick
Leonardo Pineda ’15 TŌN ’19
Luca Sakon

Yaewon Choi Principal
Lana Auerbach
Nayoung Kim
Julián Andrés Rey Peñaranda
Yi-Ting Kuo
Zeyi Sun
Emerie Mon
Gökçe Erem
Angeles Hoyos not performing in this concert

Emmanuel Koh TŌN ’19 Principal
Andrea Natalia Torres-Álvarez
Tania Ladino Ramirez
Sydney Link
Michael Halbrook
Keegan Donlon

Yuri Ahn Principal
Dariimaa Batsaikhan
Eva Roebuck
Emma Churchill
Amelia Smerz
Sam Boundy
Elvira Hoyos not performing in this concert
Jihyun Hwang not performing in this concert

Rowan Puig Davis Principal
Holdan Silva Acosta
Milad Daniari TŌN ’18
Luke Stence TŌN ’22

Olivia Chaikin Principal (Barber, Strauss)
Jordan Arbus Principal (Schumann)
Chase McClung Piccolo (Barber)

David Zoschnick Principal (Barber, Strauss)
Quinton Bodnár-Smith Principal (Schumann), English Horn (Barber, Strauss)
Shawn Hutchison

Colby Bond Principal (Barber, Strauss)
Zachary Gassenheimer Principal (Schumann), Bass Clarinet (Barber, Strauss)
Dávid Kéringer

Miranda Macias Principal (Barber), Contrabassoon (Strauss)
Kylie Bartlett Principal (Strauss)
Han-Yi Huang Principal (Schumann)

Stefan Williams Principal (Barber), Assistant (Strauss)
Tori Boell Principal (Strauss)
Daniel Itzkowitz Principal (Schumann)
Douglas Nunes
Ziming Zhu

Forrest Albano Principal (Barber)
Giulia Rath Principal (Strauss)
Jid-anan Netthai Principal (Schumann)

Stephen Whimple Principal (Barber, Schumann)
Zachary Johnson Principal (Strauss)
Samuel Boeger Bass Trombone

Tyler Woodbury

Miles Salerni

Petra Elek Principal (Barber)
Nick Goodson Principal (Strauss)
Luca Esposito

Cheng Wei (Ashley) Lim Principal
Violetta Maria Norrie

Neilson Chen not performing in this concert

Who is your biggest inspiration? Every singer/songwriter

Which composer or genre of music do you feel you connect with the most? Kpop

Favorite non-classical musician or band: (G)I-DLE

If you could play another instrument, what would it be? Electric bass

What is your earliest memory of classical music? I remember watching the 1940 movie Fantasia as a child and being absolutely enchanted with the Beethoven Pastoral Symphony scenes with the cherubs, centaurs, fauns, Pegasus, and Bacchus, etc. It’s one of my favorite pieces to this day. Also, I loved the infamous YoYo-Ma episode of Arthur on PBS Kids.

What is your favorite piece of music, and why do you love it? My answer is constantly changing, but Mahler’s Symphonies 5 and 9 will always hit me hard. It never fails to give me goosebumps when I am surrounded by that immense depth of sound and emotion.

Favorite non-classical musician or band: Alt-J, Anderson .Paak, Esperanza Spalding, Freddie Hubbard, Queen

Tell us something about yourself that might surprise us: In 2014 I worked as an English-Mandarin translator for YangMingShan National Park in Taipei. 

Piece of advice for a young classical musician: Develop an excellent work ethic sooner in life. Don’t hold your failures up next to someone else’s successes. Be kind to your colleagues, but also remember to be kind to yourself.

Joseph Baxer and Barbara Bacewicz 
Michael Dorf Presents
Michael L. Privitera

Emily Sachar

Charles Doran and Carissa Escober Doran

Helen V. Atlas
Marc and Margaret Cohen, in honor of Colby Bond TŌN ’25
Gary Giardina
Steven Holl and Dimitra Tsachrelia
Bernard and Lisa S. King-Smith
Robert Lonergan
The Merrill G. and Emita E. Hastings Foundation
Kurt Moschner and Hannelore Wilfert
James and Andrea Nelkin
Alice Stroup, in memory of Timothy Stroup
Vivian Sukenik

Anonymous (2)
Anne-Katrin Spiess Philanthropic Fund at the Foundation for Jewish Philanthropies
Mr. and Mrs. Ronald Atkins
Geri Brodsky
Curtis DeVito and Dennis Wedlick
Vincent M. Dicks
Jan M. Guifarro
Scott Huang
Kassell Family Foundation of the Jewish Communal Fund
Laurie and Michael Pollock Fund of Fidelity Charitable
Tyler J. Lory and Michael Rauschenberg*
Barry Nalebuff and Helen Kauder
Christine T. Munson
Maury Newburger Foundation
Northwestern Mutual Foundation
Joseph and Barbara Schoenberg
Janet Schoor
Lynda Schwab-Edmundson
Dan Schwartzman and Julie Nives, in memory of Irwin W. Schwartzman
Jennifer Shykula ’96 and Thomas Ochs
The Stanley & Ethel Glen Family Foundation
Joseph Sweeney
David W. Welles

Nicole M. de Jesús ’94 and Brian P. Walker
Richard and Hildegard ’78 Edling
Maia Farish, in memory of Don Farish
Brian J. Heck
George Jahn and Karen Kaczmar
Susan and Peter LeVangia
Janet C. Mills
Paul Oakley
Bruce and Blanche Rubin
Arlene and Gil Seligman
Jan and Jim Smyth
Judith Thoyer
Gene Vidal
Alan Wanzenberg

Philip B. Ardell
Marvin Bielawski
Erika S. Bernich
James Blakney and Kelly A. Preyer
Richard Bopp
Diane and Ronald Blum
Herbert and Sharon W. Burklund
Dora Jeanette Canaday
Sara Cashen and Tony Muoser
Mark Churchill, in honor of Emma Churchill TŌN ’24
Joan Cohen
Phyllis and Joe DiBianco
Mary Lou Dillon
William J. Harper
Stan Harrison
Stephen J. Hoffman
Diedrich Holtkamp
Hospitality Committee for United Nations Delegations
Judith and Ron Goodman Charitable Trust of Fidelity 
Elena and Frederic Howard
Bob and Vickie Kampf
Erica Kiesewetter
Tom and Sherry Knowles
Seth Lachterman
Deborah Hoffman Lanser
Erika Lieber
Nancy Leonard and Larry Kramer
Nina Lynch
Martha Lyon
Fulvia Masi, in memory of William R. Tanksley
Ken and Lindsay Morgan
Cathy and Fred Reinis
Richard Rizzo and Enid Ain
Susan Seidel
Dana L. Vanderheyden
Ann and Douglas William
Jo Winograd

Anonymous
Frederick E. Allen and Erica De Mane
Stephanie G. Beroes
Katherine B. Berry
Marie-Louise Brauch
Kent Brown and Nat Thomas
Lael Burns
Lydia Chapin and David Soeiro 
Thomas De Stefano
Janet and Robert Feldman
Renate L. Friedrichsen
Teresa Genin
Carol and Peter Goss
Gwen Gould and Ed Grossman
David Greenwood
Adrian and Tamara Judith Gruzko
Lee Haring
Malcolm G. Idelson
Carol E. Lachman
Arthur S. Leonard
Willa Lewis and Edward Moulin
Catherine and Jacques Luiggi
Nancy Lupton
Phyllis Marsteller
Jane Meisel
David Mellins
Warren Mikulka
Lucy and Martin Murray
Justin Morgan
Stanley and Bette Nitzky
Shirley G. Perle
Carole Pickering
Denise T. Pitcher
Bobbie Post
Pat Rogers
Anna Shuster
Thomas Shykula
William Solis
Elizabeth Strianese
George Wachtel/Audience Research & Analysis
Elizabeth Willis
Ian Zimmerman ’92
Drs. Julie and Sandy Zito

Leslie and Louis Baker
Marge and Ed Blaine
Laurence Blau and Karen Johnsen
Renée Burgevin
Harriet Bussel
Sarah Carr
Marsha S. Clark
James Costello
Walter Czajka
Richard Desir
Lucinda DeWitt
Dena Fisher
Katherine J. Flack
Helena and Christopher H. Gibbs 
Beverly Gillia, in honor of Haley Gillia TŌN ’26
Nancy Hereford
Maung S. Htoo, in memory of Anne Htoo
Steven Jonas 
Robert Kappes
Brenda Klein
Barbara Komansky
Marilyn Lebowitz
Thomas Mortka
Sandra Novick
Eileen Quinlan
Robert Renbeck
Brigitte R. Roepke
Diane J. Scrima
Barbara Shrager
Shari Siegel
Dennis Staropoli
Michael and Leslie Weinstock
Judith Winzemer

Leon Botstein Music Director
James Bagwell Associate Conductor and Academic Director 
Jindong Cai Associate Conductor
Zachary Schwartzman Resident Conductor
Andrés Rivas GCP ’17 Assistant ConductorErica Kiesewetter Director of Orchestral Studies
Keisuke Ikuma Artistic Coordinator of Chamber Music
Sima Mitchell First Year Seminar Faculty

Kristin Roca Executive Director
Marielle Metivier Orchestra Manager
Viktor Tóth ’16 TŌN ’21 Eastern/Central European Music Curator and Assistant Orchestra Manager
Matt Walley TŌN ’19 Program Coordinator and Admissions
Sebastian Danila Music Preparer and Researcher
Benjamin Oatmen Librarian
Leonardo Pineda ’15 TŌN ’19 Director of Youth Music Education
Shawn Hutchison Recruitment and Alumni/ae Coordinator

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

Grace Anne Stage Manager

James C. Chambers ’81 Chair
Emily H. Fisher Vice Chair
Brandon Weber ’97 Vice Chair
Elizabeth Ely ’65 Secretary; Life Trustee
Stanley A. Reichel ’65 Treasurer; Life Trustee
Fiona Angelini
Roland J. Augustine
Leonard Benardo
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
Matina S. Horner ex officio
Charles S. Johnson III ’70
Mark N. Kaplan Life Trustee
George A. Kellner
Mark Malloch-Brown
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
Geoffrey W. Smith
Alexander Soros
James von Klemperer
Susan Weber
Patricia Ross Weis ’52

Leon Botstein President
Coleen Murphy Alexander ’00 Vice President for Administration
Myra Young Armstead Vice President for Academic Inclusive Excellence
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 for Institutional Initiatives; 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 Executive Director, Bard Early College; Vice President for Early Colleges
Dumaine Williams ’03 Vice President for Student Affairs; Dean of Early Colleges