My leading thought goes against much of what the Bard Music Festival and my own values, for that matter, stand for. And just read Keith Francis' provocative series, The Great Composers?, the latest installment of which has just been published. I've missed only one Bard Festival since 2006, and I've heard great music by Elgar, Prokofiev, and Sibelius. And, well, Saint-Saëns was too gifted to be great, and that really didn't interest him in any case. Of the composers included in the festival, only Wagner and Stravinsky turn up on common lists of the greatest—not that those stupid lists do anything but harm. Still, during the two weekends devoted to Franz Schubert I felt I was living with the gods, and the lingering impression of those weekends swelled accordingly.
Every year, the Bard Summer Music Festival enjoys excellent attendance, including some, like Saint-Saëns, in 2012, that even surprised the organizers. I think it also came a something of a surprise that this year's Stravinsky Festival was a sell-out for most events, to the point that the lobby of Olin Hall was filled with long lines of nervous visitors, hoping to get their hands on a return. Why did Stravinsky, the forbidding dandy, who had no interest whatsoever in providing comfort for his audiences, turn out to be such a draw? Was it the popular film about his love life? Robert Craft's recent, highly dubious "outing" of him, which created a flurry in the newspapers? The hit play, Nikolai and the Others, at Lincoln Center? Or is it simply hip to like Stravinsky these days?