A Workshop with Harold Farberman and Leon Botstein
Conductor Training Workshop
A Workshop with Harold Farberman and Leon Botstein
The Bard College Conservatory of Music
Bard College – Annandale-on-Hudson, New York
Thursday March 26 – Sunday, March 29, 2009
The Conductors Guild is proud to announce a special workshop at The Bard College Conservatory of Music. This Conductor Training Workshop will focus on audition repertoire and will include conducting sessions of popular audition repertoire as well as lectures and panels on the subject of auditioning.
Harold Farberman, Maestro Farberman has conducted many of the world’s leading orchestras, among them: the London Symphony, Royal Plhilharmonic, the Philharmonia, the BBC, English Chamber Orchestra, Bournemouth Philharmonic, Bournemouth Sinfonietta, American Symphony Orchestra, Puerto Rico Philharmonic, Stockholm Philharmonic, Malmo Symphony, Danish Radio, Swedish Radio, Aarhus Philharmonic, Hessischer Rundfunk, RAI in Rome, Mozarteum Orchestra, Tonkunstler Orchestra (Vienna), Linzer Philharmonie, Hong Kong Philharmonic, KBS (Korea), Soeul Philharmonic, Normal Conservatory Philharmonic(Taiwan), Sydney, Melbourne and Adelaide Orchestras in Australia.
Upon graduating from the Juilliard School of Music in 1951, Mr. Farberman was invited to join the Boston Symphony Orchestra as a percussionist/timpanist. At the time he was the youngest player ever to become a full-time member of the orchestra. He resigned in 1963 to devote his energy to conducting and composing.
In 1966 he was appointed the principal guest conductor of the Denver Symphony, subsequently becoming the Music Director of the Colorado Springs Symphony from 1967 to 1970, and then the Oakland Symphony Orchestsra from 1971 to 1979.
As a recording artist Mr Farberman has recorded more of Charles Ives’ music than any conductor and is the only conductor to have recorded all 4 of his symphonies (with the New Philharmonic in London), in the 1970′s when Ives was not yet fully appreciated. He has been honored with the Ives Award from the Charles Ives Society. In the 1980′s he began a project to record the Mahler Symphonies with the London Philharmonic, and the complete symphonies of Michael Haydn with the Bournemouth Sinfonietta. His recording of Gliere’s “Ilya Murometz” with the Royal Philharmonic received Belgiums highest recording honor, the Saint Cecelia Award. The December 1993 ARG listed Farberman’s recording of Mahler’s 2,5, and 6 as among the best ever recorded. In 1995 he added the Mahler 10th, Clinton Carpenter version, recorded with the Hungarica Philharmonie, the first such recording. He has been an active proponent of the music of Irwin Bazelon, recording many of his works for a variety of labels as well as his own music.
A prolific composer, Maestro Farberman counts orchestral and chamber music, concertos, ballet music, film music, song cycles, and 3 operas among his compositions. His second opera “The Losers” was commissioned by the Juilliard School and premiered in Lincoln Center in 1971. He has recently completed a “Double Concerto for Violin and Percussion” premiered in San Juan, Puerto Rico, Harold Farberman conductor.The New York premiere was performed by the American Symphony Orchestra in Lincoln Center, Leon Botstein conductor. His newest work, a chamber opera “Diamond Street” commissioned for the city of Hudson’s (NY) quadra-centenniel, will be premiered in October 2009.
Maestro Farberman has been a tireless advocate on behalf of all conductors. He founded the Conductors Guild in 1976 and served for 2 terms as the Guild’s first president. He established countrywide workshops for young conductors when he served on the Board of the American Symphony Orchestra. He is the director of the Conductors Institute and the the Graduate Program in Conducting at the Bard College Conservatory of Music. He has mentored hundreds of conductors.
Leon Botstein is music director and principal conductor of the American Symphony Orchestra and the Jerusalem Symphony Orchestra, the radio orchestra of Israel. Radio broadcasts of Mr. Botstein’s concerts with the Jerusalem Symphony Orchestra may be heard in syndication throughout the United States. He is also the founder and co-artistic director of the Bard Music Festival. Since 1975 he has been president of Bard College in New York.
Last season, a recording of Leon Botstein conducting John Foulds’s A World Requiem was released by Chandos from a live performance at Royal Albert Hall with the BBC Symphony. Paul Dukas’s opera Ariane et Barbe-bleue with the BBC Symphony was released by Telarc. (This opera was conducted by Leon Botstein with the American Symphony Orchestra in 1999 and with New York City Opera in 2005.) Soon to be released is Bruno Walter’s Symphony No. 1 with NDR-Hamburg on the CPO label. In the fall of 2008, Mr. Botstein led the Jerusalem Symphony Orchestra on a tour of the U.S. West Coast (following 2006’s triumphant tour of the East Coast); and this spring opens the Leipzig Bach Festival with a performance of Mendelssohn’s Elijah to commemorate the composer’s bicentennial.
In addition to a demanding schedule as a guest conductor, Leon Botstein has also made a number of prestigious recordings of works by Chausson, Copland, Sessions, Perle, Dohnanyi, Liszt, Bruckner, Bartók, Hartmann, Reger, Gliere, and Szymanowski for such labels as Telarc, New World Records, Bridge, Koch, and Arabeseque. With the American Symphony Orchestra he has recorded live performances of two operas by Richard Strauss: Die ägyptische Helena with Deborah Voigt and Die Liebe der Danae with Lauren Flanigan; a recording of Copland, Sessions, Perle, and Rands; and discs of Dohnanyi, Brahms, and Joachim among others. His recording with the London Symphony Orchestra of Gavriil Popov’s epic Symphony No. 1 and Shostakovich’s Theme and Variations, Op. 3 received a Grammy nomination in the category of Best Orchestral Performance. Among the orchestras with which he had performed are BBC Symphony, London Symphony, London Philharmonic, NDR-Hamburg, NDR-Hannover, Royal Scottish National Orchestra, St. Petersburg Philharmonic, Budapest Festival Orchestra, Bamberg, Bern, Duesseldorf, and Teatro Real Madrid.
Mr. Botstein is the editor of The Musical Quarterly and the author of numerous articles and books. For his contributions to music he has received the award of the American Academy of Arts and Letters and Harvard University’s prestigious Centennial Award, as well as the Cross of Honor, First Class from the government of Austria.
Laura Flax B.M., M.M., Juilliard School (studied with Augustin Duques and Leon Russianoff). Principal clarinetist, New York City Opera and American Symphony Orchestra. Performs regularly with the New York Philharmonic and has been a member of the San Diego and San Francisco Symphonies. Has premiered works by Elliott Carter, Philip Glass, Shulamit Ran, Joan Tower, others. Faculty, Bard College Conservatory of Music, Juilliard School, Pre-College Division. Gives master classes and recitals throughout the United States.
Luis Garcia-Renart studied at the Music School of the National University and the National Conservatory, Mexico; conservatories of Bern and Basel, Switzerland; and Trossingen, Germany. Pupil of Sándor Veress, Sándor Vegh, and Pablo Casals. Scholarship to Conservatory of Moscow with Rostropovich and Khachaturian (1960). Prizes: Casals International Contest, Paris (1956); Xalapa (1959); Israel (1961); Harriet Cohen Cello Prize, London (1959). Solo performances in North and South America, Europe, the Soviet Union, and Israel. Faculty of Vassar College, Yale Summer Graduate School of Music and Art, Piatigorsky Seminars, University of Southern California, Los Angeles. Music director, Woodstock Chamber Orchestra (1991– ). (1962–2004) Professor Emeritus and Visiting Professor of Music.
Erica Kiesewetter was educated at the Juilliard School, where she was a student of Ivan Galamian, and a fellowship teaching assistant to the Juilliard Quartet.Other significant teachers have included Charles Castleman, Joyce Robbins, Emanuel Vardi, and Robert Mann. She is the concertmaster of the American Symphony Orchestra and also holds that position with the Northeastern Pennsylvania Philharmonic, Opera Orchestra of New York, NY Pops, Stamford Symphony, Long Island Philharmonic, and Amici NY. She frequently appears as concerto soloist with these orchestras and will be heard in 2008 performing the Sibelius Concerto with the A.S.O. at the Fisher Center at Bard and at Symphony Space in NY. This past march she performed the North American premiere of two violin pieces by Enric Granados with pianist Douglas Riva, and is currently preparing an edition and recording of these works.
Ms Kiesewetter also is an avid chamber musician and was the first violinist of the Colorado Quartet, garnering prizes at the Evian and Coleman competitions. She was also a member of the Leonardo Trio for 14 years, making a number of recordings and touring the U.S. and Europe. She has been a member of the Perspectives Ensemble, Columbia Synfonietta and numerous others, and for many years toured internationally and recorded with the Orpheus Chamber Orchestra. Her chamber music performances have taken her to the Festival Inverno in Brazil, the Aldeburgh Festival in England, and many others. She is Director of Orchestral Studies at the Bard College Conservatory of Music.
Accepted participants will conduct the following repertoire with the Bard Workshop Orchestra, Chamber Orchestra or Ensemble (String Quintet and Piano):
Beethoven, Symphony No. 5 Op. 67 in C minor (movements 1 and 3)
Brahms, Symphony No. 1 Op. Op. 68 in C minor (movements 1 and 4)
Mozart, Overture to the Magic Flute (complete)
Tchaikovsky, Concerto for Violin and Orchestra Op.35 in D Major (first movement)
Copland, Appalachian Spring, chamber version (complete)
Mahler, Adagietto from Symphony No. 5 in C sharp Minor (complete)
Stravinsky, A Soldier’s Tale (Part 1 Soldier March, Royal March, Little Concert, Devil’s Dance)
Participants are urged to study all of the listed repertoire in preparation for this workshop. Participants will be given some choice of the particular segments to conduct at the actual workshop, in consultation with the faculty.
All Tier One conductors will have podium time with the full orchestra, the chamber orchestra, and the string quintet/piano sessions. All Tier One conductors will conduct in the March 29 public concert. Repertoire assignments will be made by faculty. All sessions will be videotaped; miniDV tapes will be provided.
All Tier Two conductors will have podium time with the full orchestra, the chamber orchestra, and the string quintet/piano sessions. All sessions will be videotaped; miniDV tapes will be provided.
Auditors will be accepted but will not be given podium time.
Getting to Bard
Lodging near Bard College
Map of Bard and the Area
Application Fee: $50
Tier 1 Participant Fee: $450
Tier 2 Participant Fee: $350
Auditor Fee: $250
Fees are due upon notice of acceptance and must be paid in full not later than March 13, 2009 by a credit card or by a check payable to the Conductors Guild. The fee will act as a deposit to reserve each participant/auditor’s place in the workshop. Fees will be refunded only if the withdrawing applicant’s place in the workshop is filled by another participant/auditor.
This workshop is sponsored by the Conductors Guild and is opened to members of the Conductors Guild only. However, if you are not currently a member of the Conductors Guild, you have the option of becoming a member of the Conductors Guild by including a separate membership application with your masterclass application. You may also apply online. The Conductors Guild does not accept masterclass applications from non-members.
Application Deadline: February 26, 2009. The completed application form, video, and application fee of $50 should be mailed to: Conductors Guild, ATTN: Audition Repertoire Workshop, 5300 Glenside Dr., Suite 2207, Richmond, VA 23228-3983.
Please note that submission of a video is strongly recommended, and applicants should furnish one whenever possible. In the case of a large number of applicants, video evaluation will be a determining factor in the selection of participants. Consult the CG Video Guidelines for suggestions regarding the preparation of a conducting video. Video formats accepted include VHS and DVDs. Please make sure your DVD will play in most DVD players (not just a computer). Videos will NOT be returned. Please do not include originals. It is your responsibility to clearly identify your video. The CG Workshop website also contains important information about workshop application review procedures, and about the goals and format of CG Workshops.
You may download the application here (PDF).
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- February 4, 2009 / 2:13 am