The 2016–17 Concert Season at Peabody

Home , Alice Tully Hall, Aniello Desiderio

the 2016–17 concert season at peabody

Peabody Symphony Orchestra February 28, 2017 The Cooperstown Quartet March 15, 2017 Peabody Modern Orchestra March 17, 2017 William Sharp and Seth Knopp in Recital March 28, 2017

This is an extraordinarily busy time at the Peabody Institute. We have just completed auditions for the 2017 – 18 academic year — a very energizing week in February when hundreds of prospective students and their families flood the halls of Peabody with the hope of winning a spot that will help them on their way to realizing their professional musical dreams. It’s always invigorating and makes me hopeful to see so many young artists, committed to and talented in their craft. Of course we see that commitment almost on a daily basis here at Peabody through the many performances of students and faculty. As it happens, the concerts to be found in this book paint a broad and rich picture indicative of so many musical activities taking place. This Peabody Symphony Orchestra concert, for example, is very special in that it features exclusively students performing. We have three students performing as soloists, all of whom won competitions at Peabody, as well as a work by Peter Dayton, winner of the Macht Orchestral Composition Competition. Adding to the uniqueness of this concert is that on the podium we have four graduate conducting students leading the concert. Also featured among these concerts is the Peabody Modern Orchestra, devoted to performing works of living composers and music of our time, always enthusiastically led by Harlan Parker. Chamber music and vocal studies are a very important part of artistic life here at Peabody. Two Sylvia Adalman Chamber Series programs highlight the very special nature of what happens when our own faculty take the stage. The Cooperstown Quartet features cellist Michael Kannen who directs our chamber music program as well as viola faculty member Maria Lambros in a program that includes Mendelssohn, Haydn, and Beethoven. Rounding out the month of March, William Sharp, voice faculty member and Seth Knopp, pianist and chamber music coach, recap their performance from last year of Schumann’s Dichterliebe, paired with German composer Jörg Widmann’s Das Heisse Herz (The Passionate Heart), which takes its inspiration directly from Schumann’s brilliant cycle. As you can see, there is so much great music to be enjoyed in these programs. I’m so glad you’re here to join us for these concerts at Peabody, now all free and open to the public. I hope you enjoy the artistry of our enormously talented faculty and students.

Fred Bronstein

Dean Ruth Blaustein Rosenberg Series PEABODY SYMPHONY ORCHESTRA Alan Buxbaum, Paul McShee, Nell Flanders, Thomas Fortner Conductors Rob McGinness, Baritone Junhong Kuang, Guitar Sahun Hong, Piano

Tuesday, February 28, 2017 Miriam A. Friedberg Concert Hall 8:00 pm

Grounds Peter Dayton (b. 1990) Winning work in the Macht Orchestral Composition Competition Alan Buxbaum, conductor Lieder eines fahrenden Gesellen (Songs of a Wayfarer) Gustav Mahler 1. Wenn mein Schatz Hochzeit Macht (1860-1911) 2. Ging heut Morgen übers Feld 3. Ich hab’ ein glühend Messer 4. Die zwei blauen Augen von meinem Schatz Paul McShee, conductor Rob McGinness, baritone Winner of the Sylvia L. Green Voice Competition Concierto de Aranjuez Joaquín Rodrigo Allegro con spirito (1901-1999) Adagio Allegro gentile Nell Flanders, conductor Junhong Kuang, guitar Winner of the Peggy and Yale Gordon Concerto Competition INTERMISSION Concerto No. 2 for Piano and Orchestra in C minor, Op. 18 Sergei Rachmaninoff Moderato (1873-1943) Adagio sostenuto Allegro scherzando Thomas Fortner, conductor Sahun Hong, piano Winner of the Harrison L. Winter Piano Competition

Please disable all electronic devices including phones, e-readers, and tablets during performances. The use of cameras and sound recorders during performances without the express prior written permission of Peabody is strictly prohibited. Notice: For your own safety, look for your nearest exit. In case of emergency, walk, do not run to that exit. 2 TEXTS AND TRANSLATIONS

Lieder eines fahrenden Gesellen Songs of a Wayfarer Gustav Mahler 1. Wenn mein Schatz Hochzeit macht 1. When my darling has her wedding day Wenn mein Schatz Hochzeit macht, When my darling has her wedding-day, Fröhliche Hochzeit macht, her joyous wedding-day, Hab’ ich meinen traurigen Tag! I will have my day of mourning! Geh’ ich in mein Kämmerlein, I will go to my little room, Dunkles Kämmerlein, my dark little room, Weine, wein’ um meinen Schatz, and weep, weep for my darling, Um meinen lieben Schatz! for my dear darling! Blümlein blau! Blue flower! Verdorre nicht! Do not wither! Vöglein süß! Sweet little bird – Du singst auf grüner Heide. you sing on the green heath! Ach, wie ist die Welt so schön! Alas, how can the world be so fair? Ziküth! Ziküth! Chirp! Chirp! Singet nicht! Blühet nicht! Do not sing; do not bloom! Lenz ist ja vorbei! Spring is over. Alles Singen ist nun aus! All singing must now be done. Des Abends, wenn ich schlafen geh’, At night when I go to sleep, Denk’ ich an mein Leide! I think of my sorrow, An mein Leide! of my sorrow!

2. Ging heut Morgen übers Feld 2. I walked across the fields this morning Ging heut’ Morgen übers Feld, I walked across the fields this morning; Tau noch auf den Gräsern hing; dew still hung on every blade of grass. Sprach zu mir der lust’ge Fink: The merry finch spoke to me: “Ei du! Gelt? Guten Morgen! Ei gelt? “Hey! Isn't it? Good morning! Isn't it? Du! Wird’s nicht eine schöne Welt? You! Isn't it becoming a fine world? Zink! Zink! Schön und flink! Chirp! Chirp! Fair and sharp! Wie mir doch die Welt gefällt!” How the world delights me!” Auch die Glockenblum’ am Feld Also, the bluebells in the field Hat mir lustig, guter Ding’, merrily with good spirits Mit den Glöckchen, klinge, kling, tolled out to me with bells (ding, ding) Ihren Morgengruß geschellt: their morning greeting: “Wird’s nicht eine schöne Welt? “Isn't it becoming a fine world? Kling, kling! Schönes Ding! Ding, ding! Fair thing! Wie mir doch die Welt gefällt! How the world delights me! Heia!” Hey!”

3 Und da fing im Sonnenschein And then, in the sunshine, Gleich die Welt zu funkeln an; the world suddenly began to glitter; Alles Ton und Farbe gewann everything gained sound and color Im Sonnenschein! in the sunshine! Blum’ und Vogel, groß und Klein! Flower and bird, great and small! “Guten Tag, ist’s nicht eine schöne Welt? “Good day, is it not a fine world? Ei du, gelt? Schöne Welt!” Hey, isn't it? A fair world?” Nun fängt auch mein Glück wohl an? Now will my happiness also begin? Nein, nein, das ich mein’, No, no - the happiness I mean Mir nimmer blühen kann! can never bloom!

3. Ich hab’ ein glühend Messer 3. I have a red-hot knife Ich hab’ ein glühend Messer, I have a red-hot knife, Ein Messer in meiner Brust, a knife in my breast. O weh! Das schneid’t so tief O woe! It cuts so deeply in jede Freud’ und jede Lust. into every joy and delight. Ach, was ist das für ein böser Gast! Alas, what an evil guest it is! Nimmer hält er Ruh’, Never does it rest, nimmer hält er Rast, Never does it relax, Nicht bei Tag, noch bei Nacht, not by day or by night, wenn ich schlief! when I would sleep. O weh! O woe! Wenn ich den Himmel seh’, When I gaze up into the sky Seh’ ich zwei blaue Augen stehn! I see two blue eyes there. O weh! Wenn ich im gelben Felde geh’, O woe! When I walk in the yellow field, Seh’ ich von fern das blonde Haar I see from afar her blond hair Im Winde weh’n! waving in the wind. O weh! O woe! Wenn ich aus dem Traum auffahr’ When I start from a dream Und höre klingen ihr silbern Lachen, and hear the tinkle of her silvery laugh, O weh! O woe! Ich wollt’, ich läg’ auf der Schwarzen Bahr’, Would that I lay on my black bier - Könnt’ nimmer die Augen aufmachen! Would that I could never again open my eyes!

4 4. Die zwei blauen Augen von 4. The two blue eyes of my darling meinem Schatz Die zwei blauen Augen The two blue eyes von meinem Schatz, of my darling - Die haben mich in die they have sent me weite Welt geschickt. into the wide world. Da mußt ich Abschied nehmen I had to take my leave Vom allerliebsten Platz! of this well-beloved place! O Augen blau, warum habt O blue eyes, why did ihr mich angeblickt? you gaze on me? Nun hab’ ich ewig Leid und Grämen! Now I will have eternal sorrow and grief! Ich bin ausgegangen in stiller Nacht I went out into the quiet night wohl über die dunkle Heide. well across the dark heath. Hat mir niemand Ade gesagt To me no one bade farewell. Ade! Mein Gesell’ war Farewell! My companions are Lieb und Leide! love and sorrow! Auf der Straße steht ein Lindenbaum, On the road there stands a linden tree, Da hab’ ich zum ersten Mal and there for the first time I found rest im Schlaf geruht! in sleep! Unter dem Lindenbaum, der hat Under the linden tree Seine Blüten über mich geschneit, that snowed its blossoms onto me - Da wußt’ ich nicht, wie das Leben tut, I did not know how life went on, War alles, alles wieder gut! and all was well again! Alles! Alles, Lieb und Leid All! All, love and sorrow Und Welt und Traum! and world and dream!

5 PROGRAM NOTES

Grounds Lieder eines fahrenden Gesellen Peter Dayton (Songs of a Wayfarer) Born 1990, in Cincinnati, Ohio. Gustav Mahler Born July 7, 1860, in Kalischt, Bohemia; The title of the work Grounds touches Died May 18, 1911, in Vienna, Austria. several different points of reference, some musical, some poetic, some personal. The orchestrated version of this work was ‘Ground bass’ forms such as the passacaglia first performed on March 16, 1896, by the and the chaconne feature contrapuntal Berlin Philharmonic with Dutch baritone interaction with recurring or ostinato Anton Sistermans and was conducted by bass-lines, and in its unfolding Grounds the composer. It is scored for solo voice, makes use of, or recalls, the ‘ground bass’ piccolo, three flutes, two oboes, English idea in several places. In a more evocative horn, three clarinets, bass clarinet, two sense, the pastoral associations of the bassoons, four horns, two trumpets, title suggest a journey through an aural three trombones, timpani, percussion, landscape with particular motivic or gestural harp, and strings. figures serving as landmarks rather than Gustav Mahler’s symphonies are some of sections of a conventional form which we the most monumental achievements in may recognize as we pass by a second orchestral literature. They are sprawling time or double back. My own personal masterpieces nearly unequalled in sheer overlay on this more imagistic approach size. However, Mahler was also one of the to Grounds is my experience spending greatest composers of miniature master- a too-brief time in West Sussex visiting pieces. His 50-odd lieder exist in versions the British painter John Hitchens, whose for piano and voice, but many of them work and whose father’s work has inspired were also orchestrated. As the son of the some of my compositions, and his wife village butcher and tavern keeper, Mahler ‘Rosy. ’ My ambulatory experience of the knew peasant life quite well. Folk music vast grounds of Greenleaves (the site was the first music he knew. of John’s studio), Petworth House, the surrounding countryside, and Bignor Perhaps it should not be surprising that Hill serve as geographical touchstones so much of Mahler’s music is based on for this piece — though like many of Mr. folk materials. Collectively, Mahler’s Hitchens’ own paintings, the resultant first five symphonies are known as the creation is itself a landscape of abstraction. Wunderhorn Symphonies because of their For their hospitality during my visit and use of musical ideas drawn from Mahler’s their continued friendship, this work is own settings of Clemens Brentano and dedicated with love to John and ‘Rosy. ’ This Achim von Arnim’s poetry published work was recorded by Mikel Toms and the in 1808 under the title Des Knaben Brno Philharmonic for Orchestral Masters Wunderhorn (The Youth’s Magic Horn). Vol. 3 produced by Ablaze Records. It was Mahler found an existential quality to the winner of the 2016 Peabody Conservatory these folk-infused verses that seemed Macht Orchestral Composition Competition. to reach into the very soul of his own musical and personal philosophy. They — Peter Dayton came to represent every aspect of life from birth to death and beyond.

6 Perhaps no other composer wrote so The second song is familiar to anyone much of the human experience into who knows the composer’s Symphony such a vast panorama of works as No. 1 where it appears in the first move- Mahler did into his nine symphonies ment. Wandering through the fields, the and the songs from which many of his singer revels in the sounds of nature themes are drawn. and finds comfort in the call of the finch and cuckoo. At the end of the song, he The Songs of a Wayfarer are particularly realizes that he can never truly be happy interesting. They do not use folk poetry without his beloved. but are settings of Mahler’s own imitations of rural verse. Always emotional and Anguish erupts in the third song as the dramatic in his music, Mahler’s verses are singer tells of “a burning knife in my no different in that they were inspired by breast.” The turbulent and dissonant music a failed love affair with soprano Johanna shows Mahler’s adeptness at conveying Richter that ended in 1885 in Kassel. extreme emotions in his music. Although the music was completed by Closure comes in the final song, quoted in the mid-1880s, the orchestrated version the final movement of Mahler’s Symphony did not emerge until 1893. The premiere No. 1, as the hero lays his romance to rest took place in Berlin in 1896. It would with a stately funeral march. The singer emerge as Mahler’s first mature work rests under a linden tree and allows his and remains popular to this day. anguish to pass. Happiness does not The cycle follows a young man who is follow, but a sense of quietness suggests spurned by his lover for someone else. complacent resignation, still aching from He wanders across the countryside and the experience. expounds upon his anguish. Mahler’s first song uses images of a joyous wedding ©2016 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com day to outline the depth of sadness for the jilted lover. Sounds of folk dances at the celebration are heard, but they seem distant from the mournful melody of the solo voice, which sings an augmented version of the accompaniment music. This is nervous and unsettled music that perfectly depicts the protagonist’s mental state. 7 Concierto de Aranjuez In his later life, he was frequently honored Joaquín Rodrigo with awards and distinguished posts. Born November 22, 1901, in Sagunto, Spain; Among these were Rodrigo festivals in Died July 6, 1999, in Madrid, Spain. Argentina, Mexico, Japan, and Turkey (the homeland of his wife, pianist Victoria The work first performed on Kamhi). He was a member of Legion November 9, 1940, at the Palau de d’ Honneur, the Académie Royale des la Musica Catalana de Barcelona by Sciences, des Letters et Beaux-Arts in the Orquesta Filarmonica with Cesar Belgium. On his 90th birthday in 1992, Mendoza LaSalle conducting. The Rodrigo and his wife were given the soloist was Regino Sainz de la Maza. hereditary titles of Marqueses de los It is scored for piccolo, two flutes, two Jardines de Aranjuez by King Juan Carlos I. oboes, English horn, two clarinets, two bassoons, two horns, two trumpets, Rodrigo’s Concierto de Aranjuez is his and strings. most popular work and has been in the repertoire ever since its premiere Joaquín Rodrigo was probably Spain’s in 1940. Aranjuez was a palace near most nationalistic composer, surpassing Madrid that served as a summer home even Manuel de Falla in his connection for the Spanish Bourbon kings in the to his native soil. Born near the southern 18th century. The palace’s formal Spanish city of Valencia in 1901, he gardens cover over 300 acres. As a contracted diphtheria at age 3 which blind man, Rodrigo concentrated on caused permanent blindness. Early interest the aspects of Aranjuez that he could in music led to extensive childhood studies, perceive “the fragrance of magnolias, culminating in his acceptance to the Ecole the singing of birds, and the gushing of Normale in Paris, where he studied with fountains.” The composer described the Paul Dukas. In the 1930s, he continued work as not following a narrative: studies at the Paris Conservatoire and the Sorbonne. Although this concerto is a piece of pure music, without Rodrigo’s music is surprisingly conservative any program, by situating it in considering the widespread influence Aranjuez, I wanted to indicate the Parisian avant-garde composers had a specific time: The end of the on most students when he was active in 18th and beginning of the 19th Paris. His melodies are quite singable and centuries, the courts of Charles his harmonies, although tinged with IV and Ferdinand VII, a subtly colorful dissonance, act as a functional stylized atmosphere of majas, musical underpinning.The result is a bullfighters, and Spanish sounds uniquely individual musical language, returned from America . . . described by Rodrigo as “neo-traditional,” Concierto remaining true to his Spanish roots and Rodrigo’s opens with a elevating these sounds to a lofty pedestal dance-like theme based on the fandango built upon centuries of European musical with its alternation between 6/8 and 3/4 traditions. In other words, Rodrigo could meters. The guitar plays throughout the be called a traditional modernist. movement, actually throughout most of the work, without a significant pause.

8 Using a method dating back to the After this highly emotional climax the Baroque period, especially in the concertos movement ends quietly. of Vivaldi, Rodrigo alternates statements Based on the same fandango rhythms of the orchestral tutti with interjections by as the first movement, the finale begins the soloist. This movement is filled with the with a folk-like melody in the guitar. Spanish-sounding Phrygian mode along The 3/4 and 2/4 alternations eventually with flamenco-like solo episodes for the break down so that the meter becomes guitar that would sound at home in an unpredictable. After the expected Spanish Iberian village plaza. guitar fireworks, the movement subsides The “Adagio” is magical. Opening simply and ends with a rhythmic whisper. with strummed chords, a lone English horn enters with a melody of solitude and ©2016 Orpheus Music Prose & Craig Doolin longing. The guitar repeats the theme www.orpheusnotes.com in a flamenco-flavored variation with elaborate ornamentation. A monumental cadenza follows, allowing the soloist to Concerto No. 2 for Piano and Orchestra display incredible virtuosity. Unexpectedly, in C minor, Op. 18 the full orchestra erupts with a ravishing Sergei Rachmaninoff orchestration of the English horn melody. Born April 1, 1873, in Oneg, Russia; Died March 28, 1943, in Beverly Hills, California.

This work was first performed on October 27, 1901, by the Philharmonic Society of Moscow with Alexander Siloti conducting and the composer as soloist. It is scored for solo piano, woodwinds in pairs, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings. Sergei Rachmaninoff once told his editor that he did not know which was his “true calling — that of a composer, pianist, or conductor . . . I am constantly troubled by the misgiving that, in venturing into too many fields, I may have failed to make the best use of my life.” He composed in nearly every musical genre, but it is primarily because of his works for piano that audiences know him today. Rachmaninoff developed a personal idiom of keyboard writing, patterned somewhat after Chopin and Liszt but strongly individual and drawn from his own tendencies as a pianist. One particularly effective aspect of his music 9 is his infallible ability to create surging Brooding and moody, the “Adagio and poignant melodies along with sostenuto” commences with soft chords captivating orchestral textures. in the orchestra, which usher in the darkly stunning piano solo. A contrasting middle Of Rachmaninoff’s four concertos for section presents a tumultuous surge in piano and orchestra, the second has emotion. Listeners might note that the become the most popular. This beloved expressive theme that opens the move- work is characterized by its rich beauty, ment was adapted into the popular song as well as great technical brilliance and “All By Myself.” difficulty. However, it was a particularly difficult work for Rachmaninoff, Rachmaninoff’s lively finale, marked who suffered from writer’s block. His “Allegro scherzando,” opens with a Symphony No. 1 (1897) was a complete rhythmic pianissimo entrance. Piano failure. Despite his great potential as the arpeggios navigate through treacherous most promising leader of a new gener- territory as the movement winds up to a ation of Russian composers, the harsh fiery pace. After the usual development reception could not have been more brutal. and recapitulation filled with surprises Cesar Cui declared that the work sounded around every corner, the movement like the product of “a conservatory in Hell.” ends with a showcase of dazzling pianism The depression that ensued caused an punctuated with a final triumphant unusually dry period in Rachmaninoff’s hammering of orchestra chords. compositional output. After three years, friends convinced the composer to seek ©2016 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com help from Nicolai Dahl, who had used alternative therapies with his patients. The composer received considerable relief after four months of hypnosis and was so grateful to Dr. Dahl that he dedicated Piano Concerto No. 2 to him. The opening “Moderato” begins with soft chords played by the piano even before the main theme enters in the strings. Supporting the sweeping melody, the soloist begins a pattern of wide arpeggios. The broad melody continues for some time, growing in passion and giving way to an unaccompanied section for the soloist. A yearning second theme is introduced by the soloist while the orchestra interjects an occasional fragment of supporting material. Rachmaninoff’s sultry development section begins with a major key proclamation of the first theme, finally giving way to a new march-like melody, growing in intensity until the recapitulation.

10 ARTIST BIOGRAPHIES

Alan Buxbaum Conductor Alan Buxbaum is currently assistant conductor of the Peabody Symphony Orchestra, where he has covered concerts for both Marin Alsop and Leon Fleisher. Mr. Buxbaum also serves as assistant for the Peabody Youth Orchestra and the Baltimore Symphony Youth Orchestra. He is an avid proponent of both contemporary music and mainstream repertoire. In October, he put on a concert featuring Ligeti’s Chamber Concerto and several Peabody composers’ works. He will also be conducting Georg Friedrich Haas’ in vain on the May 6 concert by Peabody’s Now Hear This ensemble. Mr. Buxbaum currently studies with Marin Alsop and Markand Thakar and will be receiving his master’s degree in music in May 2017. He holds a double degree in percussion performance and composition, along with a minor in microtonality under the tutelage of the late Dean Drummond, from Montclair State University. Mr. Buxbaum studied conducting with Paul Hostetter, Jeffrey Grogan, and Ken Lam.

Nell Flanders Conductor Nell Flanders’ conducting credits include performances with the Buffalo Philharmonic Orchestra, the Mannes Orchestra at Alice Tully Hall, the Secret Opera Company, Peabody’s Now Hear This ensemble, the Mannes American Composers Ensemble, and the Riverside Orchestra. This year she is the assistant conductor for the Peabody Opera productions of Hänsel und Gretel and Le nozze di Figaro, and, in 2014-15, she served as a cover conductor for the Buffalo Philharmonic. In May 2016, she conducted the premiere of Jochem Le Cointre’s opera Steppenwolf at The New School in New York. A dedicated teacher, Ms. Flanders has conducted the Repertory Orchestra of the Manhattan School of Music Precollege Division since 2014. She taught violin, viola, and string pedagogy and coached chamber music at the University of Chicago, Vandercook College of Music, Utah State University, and the Hoff-Barthelson Music School. She currently maintains a private violin studio in New York City. In January 2016, Ms. Flanders had the privilege of conducting the advanced orchestra of the Youth Music Camp of the Asociación Nacional de Conciertos in Panama City, Panama, where she returned in January. In 2015, she was a teaching assistant for the course Music and Mind at the New School. Ms. Flanders has been featured as violin soloist with the Chelsea Symphony and the Philharmonisch Orkest Mozart in Amsterdam. As an orchestral player, she has performed with the Netherlands Philharmonic Orchestra and Chicago Opera Theater among many others. A musician of great versatility, she plays in many genres, including classical, baroque, blues, and contemporary, with ensembles including Corky Siegel’s Chamber Blues, Dorian Baroque, Pocket Opera Players, and the University of Chicago Piano Trio. A graduate of Oberlin Conservatory with a major in violin performance and a minor in piano performance, Ms. Flanders also received a MM degree in orchestral conducting from Mannes College of Music. She is currently pursuing a doctoral degree in orchestral conducting with Marin Alsop and Markand Thakar at the Peabody Conservatory.

11 Thomas Fortner Conductor Conductor and cellist Thomas Fortner is equally at home on the podium or with a cello. An active conductor, chamber musician, and soloist, he has performed concerts in Europe and across North America. Founder and artistic director of the Iowa Great Lakes Music Festival, Mr. Fortner is also an assistant conductor of the Baltimore Symphony Youth Orchestra. In 2016, he began as assistant conductor of the Peabody Concert Orchestra. In the 2016 season, he served as assistant conductor for the Martha Graham Dance Company at the Library of Congress during their revival of the original ballet to Copland’s Appalachian Spring. As cover conductor for the Concert Artists of Baltimore, he served under Maestro Ed Polochick. Additionally, Mr. Fortner has collaborated in workshops and master classes with the Baltimore Symphony, the New Symphony of Bulgaria, the Akademisches Orchester Zurich, the Orchestre de la Francophonie, and the McGill Beethoven Orchestra and led rehearsals for the McGill Contemporary Music Ensemble and the Peabody Symphony Orchestra. Originally from Houston, Texas, Mr. Fortner completed a master’s of cello performance at McGill University in Montreal, Quebec. He is currently a conducting student of Marin Alsop and Markand Thakar at Peabody.

Sahun Hong Piano Praised for his “excellent combination of virtuosity and musicality” and “lots of clarity, confidence, and wisdom” (New York Concert Review), pianist Sahun “Sam” Hong brings his colorful style and riveting energy to the solo, chamber, and concerto stage. On the roster of Young Steinway Artists since 2010, Mr. Hong has been featured as a guest soloist with the Camerata New York and the Milwaukee, Fort Worth, Richardson, Racine, Waco, Galveston, and Brazos Valley Symphony Orchestras. Mr. Hong is currently one of five finalists in the ongoing 2017 American Pianists Awards. His other prizes include first prize in the New York International, Leschetizky International, Lennox International Young Artist, PianoArts North American, Fort Worth Symphony Young Artist, Juanita Miller, and Snowy Range Competitions. An avid chamber musician, Mr. Hong is part of Trio St. Bernard with violinist Brandon Garbot and cellist Zachary Mowitz. He is the pianist and arranger of the ensemble Mercury Musicians, which performs original arrangements of classical music. He has participated in festivals such as the Ravinia’s Steans Music Institute, Chamber Music Encounters at Lincoln Center, and the Taos School of Music. Mr. Hong has given music education performances in over 100 schools throughout the country, including 47 in the Dallas/Fort Worth area through the Van Cliburn Foundation’s Musical Awakenings Program. He has also been featured on the nationally broadcast radio show From the Top. At the age of 16, Mr. Hong graduated magna cum laude from Texas Christian University (TCU) with a Bachelor of Music degree in piano performance, studying with John Owings. He has also studied with Martin Canin and Yoheved Kaplinsky of The Juilliard School. Currently, Mr. Hong is a student of Leon Fleisher at Peabody.

12 Junhong Kuang Guitar Junhong Kuang began to receive professional training in classical guitar under the guidance of Xu Bao in August 2009. Two years later he won first prize in the Thailand International Guitar Competition and was awarded fourth prize at the Iserlohn International Guitar Competition in Germany in August 2012. He was also awarded a prize for best interpretation of a Spanish work and a Bach work. Following studies with Xu Bao, Mr. Kuang gradually emerged on the international music scene with his hardworking, extraordinary ability and musical perception. Under Xu Bao’s guidance, Mr. Kuang has given almost 100 concerts including at Carnegie Hall in New York, Shanghai Oriental Art Centre Hall, Shanghai He Luting Concert Hall, Beijing Poly Theatre, Xiamen Philharmonic Hall, Wenzhou Grand Theatre, Changsha Grand Theatre, Chengdu Pride Concert Hall, the grand concert hall of Sichuan Conservatory of Music, and Parktheater and the Church of the Supreme Court in Iserlohn in Iserlohn, Germany. He has appeared on stage as a guest performer with maestros Pepe Romero and Manuel Barrueco. During his recital at Carnegie Hall, he received two standing ovations. In August 2014, he gave the opening concert at the Iserlohn Guitar Symposium, his third such appearance. Mr. Kuang has participated in master classes with the Amadeus Duo, Pepe Romero, Manuel Barrueco, David Russell, Gerald Garcia, Pavel Steidl, Rainer Feldmann, Aniello Desiderio, and Bruce Holzman among others. He has worked with conductors such as Hu Yongyan, Fu Long, Peng Jiapeng, and Chen Lin and has performed with the Symphony Orchestra of Dance and Theatre in Beijing, the Xiamen Philharmonic Orchestra, and the Sichuan Conservatory of Music Symphony Orchestra. Mr. Kuang is currently pursuing his Bachelor of Music degree at the Peabody Conservatory of the Johns Hopkins University, under the tutelage of the legendary maestro, Manuel Barrueco. He is the D’Addario Music Foundation’s featured artist and the spokesperson for Altamira classical guitars.

Rob McGinness Baritone Baritone Rob McGinness has been praised by The Baltimore Sun for his impressive singing, supple phrasing, and well-supported tone. Recent operatic roles include the title role in Don Giovanni, Guglielmo in Cosí fan tutte, and Eisenstein in Die Fledermaus, a role lauded for his “bright baritone and winning jitteriness” by the Cleveland Plain Dealer. Other performances include Jules Goddard in A Wedding by William Bolcom and world premieres as Ed Wall in Frances Pollock’s award winning opera Stinney and as Saul Hodkin/Price in The Ghost Train by Paul Crabtree. Mr. McGinness’ concert credits include the baritone solo in Durufle’s Requiem with both Oberlin College’s Musical Union and the Peabody Concert Orchestra, and the bass solo in Schubert’s Mass in G, with Concert Artists of Baltimore, a performance praised by The Baltimore Sun’s Tim Smith for its “poetic warmth.” Mr. McGinness has had the honor of working in master classes with Thomas Hampson, Marilyn Horne, Sherrill Milnes, Martin Katz, Graham Johnson, and John Musto. He has won awards and competitions including first place in the Sylvia L. Green 13 Vocal Competition, second place in the Piccola Opera Competition, the Ruth Cogan Memorial Scholarship, and the Margot Bos Stambler Award. Currently based in Balti- more, he performs regularly with local ensembles and has upcoming engagements this season as a featured soloist with Bel Cantanti Opera, Columbia ProCantare, Maryland Lyric Opera, Peabody Opera Theatre, and the Peabody Concert Orchestra. Mr. McGinness is a master’s student with Stanley Cornett and a grateful recipient of the William W. More PhD Scholarship.

Paul McShee Conductor Paul McShee has been described as a “movingly expressive conductor” known for developing “rich sounds, and driving energy” from orchestras he works with. Mr. McShee has been performing in a variety of settings from an early age as a flutist, singer, as well as conductor. Despite focusing on orchestral and operatic repertoire, he has conducted numerous choirs and wind ensembles in addition to orchestras across Europe and the United States. Mr. McShee was most recently a staff conductor for Minnesota Opera, music director of the Buffalo Community Orchestra, and director of campus orchestras at the University of Minnesota. Additionally, he has guest conducted the Boulder Chamber Orchestra, the Mihail Jora Philharmonic, the Bohuslav Martinů Philharmonic, and the Orchestre Bande-Son. Mr. McShee is currently a doctoral candidate at the Peabody Conservatory where he studies with Marin Alsop and Markand Thakar. He holds undergraduate degrees from Gettysburg College in flute performance and medieval English literature. He also completed a master’s degree in conducting at the University of Connecticut. His previous conducting teachers have been Harvey Felder and Alexander Kahn. He studied flute with Teresa Bowers, José-Daniel Castellon, and Verena Bosshart.

14 PEABODY SYMPHONY ORCHESTRA Hajime Teri Murai, Music Director Laureate Ruth Blaustein Rosenberg Director of Orchestral Activities Marin Alsop, Director of Graduate Conducting

Violin Cello Bass clarinet Kaleigh Acord Lichia Chuang Jay Shankar Co-Concertmaster Co-Principal Bassoon Hangchen Xiao Michael Newman Alex Carlson Co-Concertmaster Co-Principal Co-Principal Andrew Kwon Najette Abouelhadi Kevin Solomowitz Co-Principal Jessica Albrecht Co-Principal Marika Suzuki Drew Dahms Brian Wilson Co-Principal Aaron Feeney Co-Principal Nicholas Bentz Matt Gabriel Cong Chang Dou Robert Kaufman Horn Sophie Fortunato Dorian Latchague Sam Bessen Jerry Hou Andrew Shiau Co-Principal Ben Hoyt Ethan Wagner Samuel Jones Co-Principal Kaeun Julia Kim Contrabass Yeji Kim Taryn Lee Douglas Ohashi Co-Principal Anna Kong Co-Principal Gabriel Lee Bailey Myers Gabriel Rioux-Boudreau Kelsey Ross Minjin Lee Co-Principal Hilda Li Sam Shreves Trumpet Mengjiao Li Co-Principal Buddy Deshler Natalia Merezhuk Brandon Smith Co-Principal Cassidy Moore Assistant Principal Sam Hughes Maitreyi Muralidharan Winston Harris Co-Principal Katie Nakamura Yoshiaki Horiguchi John Wagner Yan Qiao Alec Kipnes Co-Principal Daisy Rho James Peterson Joshua Olariu Arianna Schickel Jong Hwan Yun Naomi Schrank Flute Sarah Thomas Lily Josefsberg Trombone Yuhong Tu Co-Principal Ricson M. Poonin Yat Sze Wong David Le Principal Ying-Chen Wu Co-Principal Gabriel Luciano-Carson Han Xie Seungmin Oh Bass trombone Viola Piccolo Harry Oehler Yuan Qi Lily Josefsberg Tuba Co-Principal Oboe Michael Minor Xinyi Xu Caleb Bradley Harp Co-Principal Co-Principal Olivia Castor Ankit Anil Julia Perry Principal Hannah Emigh-Doyle Co-Principal Thea Kammerling Christen Hooks Hannah Staudinger Phoebe Chia-Chen Hu Timpani Daniel C. Jacobs English horn Arlo Shultis Jennifer Kim Julia Perry Matthew Stiens Hyun Jung Song Clarinet Percussion Alexandra Takasugi Eric Black Arlo Shultis Taylor Tin Principal Matthew Stiens Jasper Zientek Juan Carlos Martínez Mari Takeda Stephanie Zimmerman Jay Shankar Assistant conductor Alan Buxbaum 15 Sylvia Adalman Chamber Series

THE COOPERSTOWN QUARTET Ara Gregorian, violin Hye-Jin Kim, violin Maria Lambros, viola Michael Kannen, violoncello Sidney M. Friedberg Chair in Chamber Music

Wednesday, March 15, 2017 Leith Symington Griswold Hall 8:00 pm

String Quartet in E-flat major, Op. 12 Felix Mendelssohn Adagio non troppo — Allegro non tardante (1809-1847) Canzonetta: Allegretto Andante espressivo Molto allegro e vivace

String Quartet in D minor, Op. 76, No. 2, “Quinten” Joseph Haydn Allegro (1732-1809) Andante o piú tosto Allegretto Menuetto. Allegro ma non troppo Vivace assai

String Quartet in F major, Op. 59, No. 1 Ludwig van Beethoven Allegro (1770-1827) Allegretto vivace e sempre scherzando Adagio molto e mesto Théme Russe: Allegro

The Cooperstown Quartet The Cooperstown Quartet brings together four of the chamber music world’s most exciting and experienced performers. Its members — violinists Ara Gregorian and Hye-Jin Kim, violist Maria Lambros, and cellist Michael Kannen — are former members of some of this country’s most respected ensembles: the Brentano, Daedalus, Mendelssohn, and Ridge string quartets as well as the string sextet Concertante. Having played together for years, they now make it official. These musicians have performed in the world’s most prestigious chamber music venues, including New York’s Carnegie and Alice Tully Halls, London’s Wigmore Hall, Amsterdam’s Concertgebouw and Vienna’s Konzerthaus; won international competitions including the Yehudi Menuhin International and Concert Artists Guild International competitions; performed throughout Asia, Australia, Europe, and North America; and are veterans of the Four Seasons, Marlboro, Santa Fe, Ravinia, Yellow Barn, Chamber Music Northwest, and Prussia Cove chamber music festivals. In addition to their extensive music-making careers, they are all dedicated teachers, with appointments at the Peabody Conservatory and East Carolina University. In short, four consummate musicians come together to form one dynamic and brilliant string quartet.

Ara Gregorian Violin Known for his thrilling performances and musical creativity, Ara Gregorian made his New York recital debut in 1996 in Carnegie Hall’s Weill Recital Hall and his debut as soloist with the Boston Pops Orchestra in Symphony Hall in 1997. Since that time he has established himself as one of the most sought-after and versatile musicians of his generation with performances in New York’s Carnegie Hall, Avery Fisher Hall, Alice Tully Hall, Washington D.C.’s Kennedy Center, and in major metropolitan cities throughout the world including Boston, Los Angeles, Chicago, Detroit, Houston, Dallas, Atlanta, Cleveland, Vancouver, Hong Kong, Shanghai, Beijing, and Helsinki as well as Ulaanbaatar, Mongolia; and Tel Aviv, Israel. Throughout his career, Mr. Gregorian has taken an active role as a performer and presenter of chamber music. He is the founder and artistic director of the Four Seasons Chamber Music Festival in North Carolina, which recently celebrated its 15th anniversary season, and has appeared at festivals worldwide including the SpringLight (Finland), Storioni (Holland), Summer Solstice (Canada), Casals (Puerto Rico), Intimacy of Creativity (Hong Kong), Bard, Bravo! Vail Valley, Beethoven Institute, Santa Fe, Skaneateles, Music in the Vineyards, Bach Dancing and Dynamite Society, Cactus Pear, Wintergreen, Mt. Desert, Madeline Island, and Strings in the Mountains festivals. He has also performed extensively as a member of numerous chamber music ensembles including Concertante, the Daedalus Quartet, and the Arcadian Trio, and has recorded for National Public Radio, New York’s WQXR radio station, and the Bridge and Kleos labels.

17 An active and committed teacher, Mr. Gregorian is the Four Seasons Chamber Music Festival Distinguished Professor of Violin at East Carolina University where he has been on the violin faculty since 1998. He has taught at numerous summer festivals and seminars and has taken a leading role in creating opportunities for established musicians to perform with talented young professionals and students through the Four Seasons Chamber Music Festival’s Winter Workshop and Next Generation programs.

Michael Kannen Cello Cellist Michael Kannen has distinguished himself as a musician and educator of uncommon accomplishment who is comfortable in widely diverse musical situations and venues. He was a founding member of the Brentano String Quartet and for seven years performed with that group on concert stages around the world, on radio and television, and on recordings. During those years, the Brentano Quartet was awarded the first Cleveland Quartet Award, the Naumburg Chamber Music Award, a Royal Philharmonic Award, and was the first participant in the Chamber Music Society of Lincoln Center II program. Mr. Kannen continues to perform chamber music around the country as a member of the Apollo Trio, on period instruments with the Houston-based group Context, and at major music festivals such as Yellow Barn, Chamber Music Northwest, Portland Chamber Music Festival, and the International Musicians Seminar in Prussia Cove, England. Mr. Kannen has collaborated with such artists as Jessye Norman, Phyllis Bryn-Julson, Sergiu Luca, Daniel Phillips, Donald Weilerstein, Pamela Frank, Leon Fleisher, Mitsuko Uchida, Peter Frankl, Paula Robison, David Krakauer, Jörg Widmann, Steven Isserlis, and with jazz artists Michael Formanek and Uri Caine. His activities range from performances on period instruments to premieres of the music of our time. He has recorded for the CRI and Azica labels. Mr. Kannen has served on the faculties of Dartmouth College and the Purchase College Conservatory, and he is currently the director of chamber music at the Peabody Conservatory, where he holds the Sidney Friedberg Chair in Chamber Music.

Hye-Jin Kim Violin Violinist Hye-Jin Kim, winner of the Yehudi Menuhin and the Concert Artists Guild international competitions, has performed as soloist with the Philadelphia, New Jersey Symphony, New Haven Symphony, BBC Concert (UK), Seoul Philharmonic (Korea), Pan Asia Symphony (Hong Kong), and Hanover Chamber (Germany) orchestras. She has appeared in major venues including Weill Recital Hall at Carnegie Hall, the Kennedy Center Terrace Theater, Kimmel Center Verizon Hall, the Kravis Center, Salzburg’s Mirabel Schloss, St. John’s Smith Square, and Wigmore Hall in London. At the invitation of Korea’s Ministry of Foreign Affairs and Trade, she performed at the U.N. Headquarters in both Geneva and New York and served as a cultural representative for Korea in Switzerland, Australia, New Zealand, Kazakhstan, and Uzbekistan through concerts and outreach engagements. A passionate chamber musician, Ms. Kim has appeared in notable chamber music festivals internationally 18 including Marlboro, Ravinia, Four Seasons, Music from Angel Fire, Music@ Menlo, Seoul Spring, Bridgehampton, Music in the Vineyards, and Prussia Cove Open Chamber Music. Born in Seoul, Korea, Hye-Jin Kim entered the Curtis Institute of Music at age 14 and earned her master’s degree at the New England Conservatory. Currently, Ms. Kim is assistant professor of violin at East Carolina University, where she founded and directs the ECU Summer Chamber Music Institute. Ms. Kim’s debut CD, From the Homeland, featuring works by Debussy, Smetana, Sibelius, and Janáček is available on CAG Records.

Maria Lambros Viola Violist Maria Lambros has performed as a chamber musician throughout the world as a member of three of the country’s finest string quartets in venues such as the Concertgebouw in Amsterdam, London’s Wigmore Hall, the Konzerthaus in Vienna, New York’s Lincoln Center and Weill Recital Hall at Carnegie Hall, and the Library of Congress in Washington, D.C. She was a member of the renowned Ridge String Quartet, which was nominated for the 1993 Grammy Award for Best Chamber Music Performance for their recording of the Dvořák Piano Quintets with pianist Rudolf Firkusny on the RCA label. The recording won Europe’s prestigious Diapason d’Or in the same year. She was also a founding member of the Naumburg Award-winning Meliora String Quartet, which was quartet-in-residence at the Spoleto Festivals of the U.S., Italy, and Australia, and which recorded Mendelssohn’s Octet with the Cleveland Quartet on the Telarc label. She was most recently a member of the Mendelssohn String Quartet, which held residences at Harvard University and New York’s Town Hall and is currently the violist with the New York based chamber ensemble La Fenice and The Cooperstown Quartet. Ms. Lambros appears regularly at a number of major chamber music festivals, including Yellow Barn, Chesapeake, Aspen, Vancouver, Santa Fe, Tanglewood, La Jolla, Caramoor, Helsinki, Norfolk, Rockport, Skaneateles, Bard, Cascade Head, Chamber Music West, New York’s Mostly Mozart Festival, and the Four Seasons Chamber Music Festival. She also performed with the Chamber Music Society of Lincoln Center, DaCamera Society, and Context of Houston and with the Guarneri, Cleveland, Juilliard, Muir, Brentano, Borromeo, Colorado, and Orion Quartets, as well as the Peabody Trio and Triple Helix. She recorded the two Brahms Viola Quintets with the New Zealand Quartet in 2016. Notable collaborators include Leon Fleisher, Joshua Bell, Steven Isserlis, Walter Trampler, Paula Robison, and Jan De Gaetani. Ms. Lambros has had many pieces written especially for her, including four viola sonatas, a viola concerto, and numerous chamber works for viola with other instruments, including Gerald Cohen’s Yedid Nefesh for viola, clarinet, and piano, which she recently recorded with Vasko Dukovski and Alexandra Joan. She is also involved in historical performance and recorded Schumann’s Piano Quartet and Quintet on period instruments with the violinist Sergiu Luca. A devoted teacher, Ms. Lambros currently teaches chamber music at Peabody and is a faculty member of the Yellow Barn Music School.

19 PEABODY MODERN ORCHESTRA

HARLAN D. PARKER Director and Conductor

Friday, March 17, 2017 Miriam A. Friedberg Concert Hall 7:30 pm

Canzonas Americanas (2010) Derek Bermel El Dude (b. 1967) Silvioudades (ecos e lembranças) Montuno Blue Itaparica

Ghost Theater (2013) Robert Paterson (b. 1970)

INTERMISSION

Dismantled Embankments (2015) Nicholas Bentz (b. 1991)

Son of Chamber Symphony (2007) John Adams I. = 116 (b. 1947) II. = 92 III. Presto

Canzonas Americanas In the first movement, “El Dude,” a Derek Bermel quintessentially ‘Americana’ diatonic/ Born 1967, in New York, New York. pentatonic melody is transformed as it encounters Latin rhythms, blues, jazz, While writing Canzonas Americanas, I kept rock & roll, funk. The second movement, in mind a request from Gustavo Dudamel to “Silvioudades (ecos e lembranças),” is consider the interconnectedness of North an homage to Silvio Robatto, the great and South American musical traditions. This architect and photographer of Salvador; was not a difficult task, as our cultures it is a simple Brazilian chôros — with a are sonically intertwined, both historically slight Bulgarian inflection — which adds a and contemporaneously. From Gershwin canonic ‘echo’ in each succeeding verse. and Copland to Ellington and Gillespie, The third movement, “Montuno Blue,” is many of our trailblazing composers derived from an atonal salsa that recalls have been indelibly influenced by Latin the spirit of two great pianists/composers: music, and vice-versa. Apart from their Puerto Rican Eddie Palmieri and American distinct instrumentations, Afro-Brazilian and Thelonious Monk. The fourth and final African-American compositions — such as movement is a short song that I wrote Pixinguina’s chôros and Joplin’s rags — can while resident at the Fondação Sacatar be difficult to distinguish. My hometown on the island of Itaparica in Bahia. The of New York has become as much of a island exudes a gentle seductiveness; center for salsa and merengue music as accordingly, the bass carries a mellow Havana or Santo Domingo, and the U.S. bossa rhythm as the traditional berimbau as a whole is becoming more bilingual and melds into the sound of the guitar. I bicultural with each successive generation. wrote it for the magical singer Luciana In preparation for writing the piece, I Souza. Special thanks to John Adams returned to Brazil for a month, where and Chad Smith. I spent days refamiliarizing my fingers with chôros, bossa nova, and samba — Derek Bermel standards, at night jamming with friends in clubs around Rio de Janeiro. In this way I reconnected with the South American spirit, and the piece now feels to me to be as much about memory as music.

21 Ghost Theater be presented with Mr. Craven’s film. In Robert Paterson the world of filmmaking, films are usually Born 1970, in Buffalo, New York. created first, with music added later or even at the very end, but Jay and I went Ghost Theater was commissioned by David back and forth quite a bit, treating the Alan Miller and the Albany Symphony process in a more collaborative manner. for the Dogs of Desire, the symphony’s Once we had an idea, Jay created a rough groundbreaking, 18 member, chamber outline and then shot footage in collab- ensemble. The only requirement, other oration with video artist Catherine Siller. than length and instrumentation, was After studying a rough cut, I composed that I work with a collaborator, so I chose the music. The film was then edited award-winning, Vermont-based filmmaker around a digital mock-up of the music. Jay Craven. The result is a surreal, dreamlike work that interweaves music and film, creating The work is about what the title describes: an aural and visual tapestry. a theater haunted by apparitions and, in particular, disembodied shadows Ghost Theater is dedicated with gratitude and ghosts of soldiers killed in combat. to Christopher Rouse, David Alan Miller, However, as the work was created, it took and the Albany Symphony. on additional inspirations: the thought of — Robert Paterson being haunted by one’s past, especially via a musical lens, and also the memories Dismantled Embankments of war stories told by my father when Nicholas Bentz I was growing up, who was born and raised in Rensselaer, right outside Albany, Born 1993, in Charleston, South Carolina. and who was stationed in Korea during Dismantled Embankments is a journey the Korean War. Throughout the work, I through the different musicological theories interweave abstract references to pieces that have developed in regards to the intent and composers that have not only inspired behind Couperin’s Mysterious Barricades. (or haunted) me, but also my mentor Due to the ambiguous nature of the and longtime friend Christopher Rouse. mysterious barricades, a great variety of In particular, I quoted the drum part for theories have arisen over the years in order When the Levee Breaks Led Zeppelin’s , to explain François Couperin’s vague title, the same drum lick that also appears in ranging from the difference between God Bonham Rouse’s for eight percussionists. and man to Couperin’s shifts in harmony The entire piece is presented as a series to women’s underwear and chastity belts. of connected, pseudo-programmatic Dismantled Embankments attempts to vignettes, each one flowing into the next, take the original material from Couperin’s without break. The vocal texts are derived Mysterious Barricades and put it through from three sources: an epitaph found on the filters of these different musicological many European gravestones and brief explanations. After a short introduction quotes from poems by Wilfred Owen and (presenting the Mysterious Barricades in Pablo Naruda. direct quotation), the ensemble quickly Although this work may be performed as encounters the first ‘barricade,’ the differ- a stand-alone concert work, it may also ence between the Past, Present, and the Future. Then the second barricade arrives. 22 This theory proposes that the mysterious barricades are in fact the masks that one would wear to a masquerade, eliminating the ability for anyone to recognize exactly who they are dancing with. After this, the third (and final) barricade comes forth: the seemingly insurmountable distance implicit in unrequited love. Dismantled Embank- ments was written for and is dedicated to the SONAR New Music Ensemble.

— Nicholas Bentz

Son of Chamber Symphony John Adams Born 1947, in Worcester, Massachusetts.

American composer John Adams is one of the most prolific and widely traveled musicians of our time. Credited by many with revitalizing modern opera, Adams has contributed several works to the genre, including the politically-charged The Death of Klinghoffer (1991), his Broadway-style musical/opera entitled I Was Looking at the Ceiling and Then I Saw the Sky (1995), the sometimes Saxophone Concerto that is a tribute staged Nativity oratorio El Niño (2000), to great jazz saxophonists. Perhaps his the opera based on the life of atomic most famous work is the barnburner bomb creator Robert J. Oppenheimer, entitled Short Ride in a Fast Machine, entitled Doctor Atomic (2005), and which takes the listener on a nail-biting The Flowering Tree (2006) based on a trip in a sports car. southern Indian folktale. Predating all of The musical style of Adams’ music has the others is Adams’ character study of changed over the years. He was associated President Richard M. Nixon’s 1972 trip with the minimalist movement in his early to China entitled, appropriately enough, works, an assessment with which he did Nixon in China (1987). not agree, but began to incorporate Adams’ orchestral music is known for elements of neo-romanticism almost its rhythmic drive and his continuous immediately. His mature music draws from attention to timbre. His Harmonium for a wide variety of sonic influences, including chorus and orchestra is a magnificent Eastern philosophy and popular music. setting of poems by John Donne and He has always been open to the use of Emily Dickinson. Lollapalooza is a electronic instruments and multi-disciplinary dazzling overture written for Simon Rattle’s collaborations with the leading artists, 40th birthday. He has also written a writers, and musicians of our time.

23 Dedicated to Ara Guzelimian, the provost and The second movement begins with an dean of The Juilliard School, Adams’ Son of almost Stravinskian melody above a Chamber Symphony was commissioned by strumming accompaniment. Layering Stanford University, Carnegie Hall, and the is also present here, as elements of the San Francisco Ballet. The concert premiere melody and accompaniment are gradually was given on November 30, 2007, at Stanford fused into a deliciously complex texture. University by Alarm Will Sound, conducted Adams’ finale is a driving work akin to his by Alan Pierson. The San Francisco Ballet pre- Short Ride in a Fast Machine. It is also a miered the version choreographed by Mark layering of timbres and rhythms atop a Morris and titled Joyride on April 23, 2008. steady rhythmic pulse. It also brings to In order to understand Son of Chamber Sym- mind the “News” aria from Nixon in China. phony, it is necessary to begin with Adams’ This movement is actually based on a Chamber Symphony. Composed in the fall of string quartet work that Adams composed 1992, the work uses the instrumentation of for director Peter Sellars’ 50th birthday. Arnold Schoenberg’s work of the same title, but with a few additions. Adams essentially ©2017 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com combined a Schoenbergian approach with the aesthetic of 1950s cartoon music. He wrote: “… I had another one of those strange interludes that often lead to a new piece. This one involved a brief moment of what Melville called ‘the shock of recognition’: I was sitting in my studio, studying the score to Schoenberg’s Chamber Symphony, and as I was doing so I became aware that my 7-year-old son Sam was in the adjacent room watching cartoons (good cartoons, old ones from the ’50s). The hyperactive, insistently aggressive, and acrobatic scores for the cartoons mixed in my head with the Schoenberg music, itself hyperactive, acrobatic, and not a little aggressive, and I realized suddenly how much these two traditions had in common.” Son of Chamber Symphony dates from 15 years later. The first movement is built on a three-note motive drawn from Beethoven’s Ninth Symphony. Overlapping patterns ebb and flow, but build to a climax as flurries of high woodwind textures combat some very impressive brass writing. A strong pulse is always present.

24 ARTIST BIOGRAPHIES

Harlan D. Parker Conductor Harlan Parker has been the conductor of the Peabody Conservatory Wind Ensemble and coordinator of the music education division at the Peabody Conservatory of the Johns Hopkins University since the fall of 1990. From 2007 to 2016 he served as the conductor of the Peabody Youth Orchestra. Under his direction, the Peabody Wind Ensemble (PWE)has given over 40 world premieres and has performed at state, regional, and national conventions. Considered “among the very top wind bands in the U.S.” (Fanfare), the Peabody Wind Ensemble has received critical acclaim from contemporary composers such as David Amram, James Syler, Eric Ewazen, H. O. Reed, and Johan de Meij. Dr. Parker is also the music director and founding conductor of the Conservatory’s Peabody Modern Orchestra, which was founded in 2013. The PWE’s debut CD, From an Antique Land, has been praised as one of the most exciting wind ensemble recordings in recent times, and the second CD, Orff, Bird and Reed, was re-released in August 2006 on the Naxos label. Of the performance of La Fiesta Mexicana on the second CD, composer H. Owen Reed, in a letter to Dr. Parker writes: I have just listened, twice, to your brilliant recording of my La Fiesta Mexicana, and I must tell you that it was a thrill to hear my music performed exactly as I always hoped for. Your total understanding of the work showed up on all parameters. Your tempos were on the mark, and the overall conception of the work was superb. The Orff, Bird and Reed CD was also listed on the “Best of the Year Discs for 2006” by Audiophile Audition. Their second CD for Naxos, Collage: A Celebration of the 150th Anniversary of the Peabody Institute: 1857-2007, was the top classical music download (out of more than 12,000 CDs) on eMusic.com for the first half of April 2007. Their third CD for Naxos, Trendsetters, was released in the summer of 2009. The fourth CD on Naxos, Johan de Meij: The Symphonies, was released to critical acclaim in June 2013. Dr. Parker has a very active musical life outside of the Conservatory. He is a past president of the Conductors Guild, an international service organization dedicated to encouraging and promoting the highest standards in the art and profession of conducting. Dr. Parker is also a member the American Bandmasters Association, an organization whose membership is by invitation and recognizes “outstanding achievement in the field of the concert band and its music.” He is active regionally, nationally, and internationally as a guest conductor, conducting pedagogue, clinician, and adjudica- tor, having worked with professional musicians and students from all 50 states and over 40 countries.

25 In his first year as a faculty member at Peabody, Dr. Parker reorganized the Peabody Wind Ensemble in its present format after several years of non-existence and was awarded the Peabody Student Council Faculty/Administration Award for outstanding contributions to the Peabody community. In the fall of 2000, Dr. Parker accepted the first graduate class of wind conducting students. Graduates and students of the program are teachers and conductors in high schools and colleges and conductors of military bands, with two recent master’s students accepting positions as conductors with the United States Air Force. Dr. Parker received his Bachelor of Music from Emporia State University and his Master of Music and Doctor of Philosophy in music education with an emphasis in conducting from the University of Kansas and has completed post-doctoral work at the Laban/Bartenieff Institute of Movement Studies in New York.

PEABODY MODERN ORCHESTRA Harlan D. Parker, Conductor Adam Waller, assistant conductor Rich Lauver, manager

Vocals Horn Percussion Megan Heavner Gregory Goldberg Randall Chaves Camacho Katherine Procell Rachel K. Jones Matthew Overbay Flutes & Piccolo Eli Pandolfi Wanyue Ye Drew Dardis Trumpet Violin Oboe Shane Coughlin Ledah Finck Brandon Sklute Sonia Matheus Concertmaster Ambrose Tang Samuel York Cheng-Chia Chiu Chenguang Wang Alexander Hardan Clarinets Trombone Ben Hoyt James Duncan Jon Hutchings Weija Wang Scott Johnson Jr Jacob Niemann Viola Bassoon Guitar Gavon Peck Mateen Milan Nick Saia Zoe Hartenbaum Bri Waterson Violoncello Saxophone Piano Chelsea De Souza Irene Han Tae Ho Wong SooJung Kim Kahler Suzuki Kyle Jones Synthesizer Contrabass & Electric Bass Yonatan Rozin Eric Scholes

26 UPCOMING EVENTS

PEABODY SINGERS Thursday, March 16, 2017 7:30 pm Leith Symington Griswold Hall

PEABODY CONCERT ORCHESTRA MUSIC THAT’S PEABODY SINGERS PEABODY - HOPKINS CHORUS EXPRESSIVE, Friday, April 21, 2017 8:00 pm NOT EXPENSIVE. Miriam A. Friedberg Concert Hall

PEABODY CONDUCTORS ORCHESTRA Enjoy performance Wednesday, April 26, 2017 2:30 pm excellence at Peabody Miriam A. Friedberg Concert Hall for FREE this year.

Opera, jazz, orchestral and PEABODY WIND ENSEMBLE choral music, chamber music, Friday, April 28, 2017 dance, new music, early music— 7:30 pm all free. So have a night out with Miriam A. Friedberg Concert Hall world-renowned guest artists, acclaimed faculty, and top-level student performers. For FREE tickets, IT’S ON US! call 667-208-6620 or visit peabody.jhu.edu/events

Reserve your seats by calling 667-208-6620 or visiting peabody.jhu.edu/events.

27 Sylvia Adalman Chamber Series WILLIAM SHARP & SETH KNOPP IN RECITAL

William Sharp Baritone Seth Knopp Piano Tuesday, March 28, 2016 Leith Symington Griswold Hall 8:00 pm

Dichterliebe, Op. 48, “Poet’s Love” Robert Schumann 1. Im wunderschönen Monat Mai (1810-1856) 2. Aus meinen Tränen sprießen 3. Die Rose, die Lilie, die Taube, die Sonne 4. Wenn ich in deine Augen seh’ 5. Ich will meine Seele tauchen 6.Im Rhein, im heiligen Strome 7. Ich grolle nicht 8. Und wüßten’s die Blumen, die kleinen 9. Das ist ein Flöten und Geigen 10. Hör’ ich das Liedchen klingen 11. Ein Jüngling lieht ein Mädchen 12. Am leuchtenden Sommermorgen 13. Ich hab’ im Traum geweinet 14. Allnächtlich im Traume 15. Aus alten Märchen winkt es 16. Die alten, bösen Lieder

INTERMISSION

Das heiße Herz (The Passionate Heart) Jörg Widmann 1. Der arme Kaspar (b. 1973) 2. Spätes Liebeslied 3. Liebeslied 4. Hab‘ ein Ringlein am Finger 5. Eifersucht 6. Das Fräulein stand am Meere 7. Kartenspiel 8. Einsam will ich untergehn Please disable all electronic devices including phones, e-readers, and tablets during performances. The use of cameras and sound recorders during performances without the express prior written permission of Peabody is strictly prohibited. Notice: For your own safety, look for your nearest exit. In case of emergency, walk, do not run to that exit. 28 ARTIST BIOGRAPHIES

Seth Knopp Piano Pianist Seth Knopp serves on the piano and chamber music faculties of the Peabody Conservatory. In 1983, Mr. Knopp and violinist Violaine Melançon formed the Knopp-Melançon Duo, an artistic collaboration which would eventually expand to become the Peabody Trio, winner of the 1989 Naumburg Chamber Music Award. In 2000, Mr. Knopp was named Artistic Director of the Yellow Barn Music School and Festival, an international gathering of artists who meet each summer to explore the vast riches of the chamber music repertoire. Since 2010, he has been curator of Soundings, a concert series presented at the Nasher Sculpture Center in Dallas, drawing on the relationship between musical traditions and innovation and the unique lens through which music helps us to better understand the world. Mr. Knopp has performed in North America, Europe, the Far East, and Middle East with appearances at New York’s Alice Tully Hall, London’s Wigmore Hall, Israel’s Jerusalem Music Center, and the John F. Kennedy Center for the Performing Arts in Washington, D.C. He has conducted master classes at Eastman, San Francisco Conservatory, New York University, Conservatoire de Montreal, Jerusalem Music Center, and Wolf Trap Center for the Performing Arts. Mr. Knopp’s solo and chamber music performances can be heard on the Albany Records, Analekta, Artek, CRI, Koch and New World Records labels.

William Sharp Baritone Baritone William Sharp has a reputation as a singer of artistry and versatility, garnering acclaim for his work in concert, recital, opera, and recording. He performs actively, as he has for four decades. He has appeared with most major American symphony orchestras including those of New York, Chicago, Washington, Boston, Baltimore, San Francisco, and Los Angeles. He has created world premiere performances and recordings of works by composers including Leonard Bernstein, John Harbison, John Musto, Jon Deak, Libby Larson, David Del Tredici, Lori Laitman, Steven Paulus, Scott Wheeler, and David Liptak. His performances and recordings of Baroque and earlier music are equally acclaimed. Mr. Sharp’s discography of several dozen discs encompasses music spanning 900 years, from the 12th century to today. His 1990 world premiere recording of Leonard Bernstein’s last major work, Arias and Barcarolles won a Grammy Award, and he was nominated for a 1989 Grammy for Best Classical Vocal Performance for his recording featuring the works of American composers such as Virgil Thomson, John Musto, and Lee Hoiby. He made his New York recital debut in 1983, Kennedy Center debut in 1984, and Carnegie Hall recital debut in 1989. He is winner of the Carnegie Hall International American Music Competition, the Young Concert Artists International Auditions, the Kathleen Ferrier Memorial Prize, and the Geneva International Competition. Mr. Sharp has taught voice at the university level since 1977, and joined the Peabody Conser- vatory faculty in 2002. His students are performing throughout the world in concert and opera.

29 THE GEORGE PEABODY SOCIETY $1.4 MILLION AND ABOVE We recognize those philanthropic visionaries whose lifetime cumulative giving has matched or exceeded George Peabody’s founding gift of $1.4 million. Their generosity has expanded and transformed the Peabody Institute of the Johns Hopkins University. The names are ordered by the date when they joined this elite group of donors. George Peabody Elizabeth J. and Richard W. Case Anonymous Sidney M. Friedberg Florence H. and Charles R. John L. Due Charitable Trust Austrian Taylor A. Hanex The Blaustein-Rosenberg- Michael R. Bloomberg Rheda Becker and Robert E. Thalheimer Philanthropic Group Anonymous Meyerhoff Eric and Edith Friedheim Tristan W. Rhodes Laifun Chung and Ted Kotcheff Loretta Ver Valen Hilda P. and Douglas S. Goodwin Sandra Levi Gerstung and the Arabella Leith Symington Claire S. and Allan D. Jensen Levi Family Fund II of the Griswold Baltimore Community Marc C. von May Wendy G. Griswold and Foundation Benjamin H. Griswold IV Thomas H. Powell THE 2015–16 FRIEDBERG SOCIETY This society is named in honor of Sidney and Miriam Friedberg, whose generosity launched a new era of philanthropic leadership at the Peabody Institute. Friedberg Society donors sustain and enhance Peabody by giving $1,000 or more over the course of a fiscal year. The donors listed below have made outright gifts or pledges at the Friedberg Society level between July 1, 2015 and June 30, 2016. CHAIRMAN’S CIRCLE Brookby Foundation Marc C. von May $100,000 AND ABOVE Jane W. I. and Larry D. Droppa Andrew Yang Fred and Sandra Hittman Shirley S. L. Yang Adalman-Goodwin Foundation Philanthropic Fund Anonymous Helen J. Iliff * VIRTUOSO’S CIRCLE Robert Austrian * Beth G. Pierce * $10,000–$24,999 Meta Packard Barton * Howard and Geraldine Polinger Ruth and Ted Bauer Family Foundation Jacob and Hilda Blaustein Family Foundation Thomas H. Powell Foundation Rheda Becker Henry and Ruth Blaustein Tammy L. Bormann and and Robert E. Meyerhoff Rosenberg Foundation Mark J. Paris France-Merrick Foundation Alexandra L. Clancy Sandra Levi Gerstung and the MAESTRO’S CIRCLE Stephanie Cooper-Greenberg and Levi Family Fund II of the Erwin L. Greenberg Baltimore Community Foundation $25,000–$49,000 Charles Delmar Foundation Hilda P. and Douglas S. * Goodwin Anonymous Helen P. Denit Charitable Trust Janet Rayburn Greive and Barbara and Thomas Bozzuto Evergreen House Foundation Tyrone Greive Phyllis Bryn-Julson and Nancy Grasmick Wendy G. Griswold and Donald Sutherland + Wilda M. Heiss Benjamin H. Griswold IV Elana R. Byrd Christina M. Holzapfel and Hecht-Levi Foundation Cape Foundation William E. Bradshaw Claire S. and Allan D. Jensen Charlesmead Foundation Nina Rodale Houghton Evelyn Johnson Laifun Chung and Ted Kotcheff Charlene and Michael Kass Charitable Foundation Rosalee and Richard Davison C. Albert Kuper III Jill E. McGovern Lynn and Anthony W. Deering Audrey C. McCallum Glenn E. Mortimore * + Estelle Dennis Scholarship Trust Dae-Won Moon Dorothy and Louis Pollack Jephta and Daniel Drachman Israel and Mollie Myers Julie A. Walters and Foundation Samuel G. Rose Peggy and Yale Gordon Charitable Trust Susan Perl + COMPOSER’S CIRCLE Amy L. Gould and Barbara and David Roux Matthew S. Polk Jr. Sheridan A. L. and $50,000–$99,999 Taylor A. Hanex John W. Skouge Anonymous T. Rowe Price Foundation Speedwell Foundation Liza Bailey and Michael Musgrave Adam G. Shapiro Dorothy Richard Starling Foundation Herman C. Bainder * Judith and Turner Smith 30 Esther Carliner Viros Helen Stone Tice Nathalie Irvine and Barbara P. and Martin P. Marguerite M. VillaSanta Bruno Latchague Wasserman Charles Emerson Walker Nikolai Isayev Thomas Wilson Sanitarium for Margaret C. and Patrick C. Walsh Donna and Eric Kahn Children of Baltimore City Patricia E. Kauffman DIRECTOR’S CIRCLE Harris L. Kempner Jr. CONCERTMASTER’S CIRCLE Irene T. Kitagawa and $5,000–$9,999 $1,000–$2,499 Stephen S. McCall Anita and Marc Abramowitz Myron Terry Koenig A L H Foundation Elizabeth Adams Fund for Waverly Bank of America Foundation ** Anonymous (2) Christopher Kovalchick Liz and Fred Bronstein Edith Andre-Bjork Galan Kral C. Sylvia Brown and Susan and Jeffrey Krew Eddie C. Brown Kristin Bacchiocchi-Stewart Cynthia and Paul Lorraine Robert T. Foley Missy and Rick W. Baker Carol and Steven Batoff Lois & Philip Macht Family Edith Hall Friedheim and the Philanthropic Fund Eric Friedheim Foundation Larraine Bernstein and Ellen Mack Ruby and Robert Wesley Hearn Kenneth D. Hornstein Paul B. Mathews Jephson Educational Trusts Patricia and David Bernstein Carol and Paul Matlin Robert Wood Johnson Lisa Di Julio Bertani Foundation ** Carol A. Bogash Barbara and John McDaniel Akemi Kawano-Levine and Aurelia G. Bolton Cynthia and Michael McKee David Levine Anders V. Borge Gary Melick Helen C. Kielkopf and Microsoft Corporation ** John F. Kielkopf Paula Borge Marjorie and Howard Mitchell Koret Foundation Amy Boscov and Terrence Ellen Helene Breazeale Suruchi Mohan and John J. Leidy Foundation Prabhat K. Goyal Laura R. Burrows Abbe Levin Mary C. R. S. Morgan and Charles and Margaret Levin Carol Cannon David J. Callard Family Foundation Denise Caves Trust Federico A. Musgrove Stetson Terry H. Morgenthaler and L. Chinsoo Cho Thomas R. Nathan Patrick J. Kerins Georgia R. Crompton NYC Classical Guitar Society Clara Juwon Ohr Margaret O. Cromwell Kimberly and Townsend Plant Peabody Institute Fund of the Family Foundation Baltimore Community Foundation Melissa and Charles Reuland D’Addario Music Foundation Lori Raphael and Joanne Rosen and Ronald Daniels Russell Davidson Foundation J. Michael Hemmer Matthew W. Rupcich Ruth L. and Arno P. Drucker Sonia Robbins and Oscar Schabb David H. Schwartz Lydia and Charles Duff Suzanne J. Schlenger Lisa Smith and Phillip T. Dunk Jr. Tracey Pullo Schutty W. Christopher Smith Jr. Hildegard and Richard Eliasberg Marian and Abraham Sofaer Terry Meiselman Shuch and Anna Else and Joshua D. Else Neal Meiselman Carol J. and Roy R. Thomas Kimberly and Donald Evans Carolyn J. Sienkiewicz Susan F. Weiss Brook E. Ferguson Thomas R. Silverman Sally A. White Exelon Foundation ** Eleanor Simon and Patrick O’Neall Wenbin Feng and Renjie Yang PRINCIPAL’S CIRCLE Jan K. Smeets Brook E. Ferguson Linda B. and Richard Q. Snurr $2,500–$4,999 Google, Inc. ** Rochelle Stanfield and Frances K. and George Alderson David B. Grossman and the Edward Grossman Bill Grossman Fund of the Edward Steinhouse Ira J. and Mary K. Basler Isidore Grossman Foundation Foundation Kenneth R. Talle Ellen Halle and the Halle Family Basil Gordon * Philanthropic Fund Andrea Trisciuzzi and Charles Gannon Korean Chapter of the Maureen Harrigan and Society of Peabody Alumni David McDowell Sheila and Erick Vail Sara W. Levi Barbara S. Hawkins Beverly Dietrich Weber Links, Inc. Todd Hodes Wolman Family Foundation Thomas MacCracken Kris Hoffman and Paul D. Raschke Avedis Zildjian Company Lloyd E. Mitchell Foundation Trust Alma D. Hunt/VCM Charitable Trust + In-Kind Gift Christine Rutt Schmitz and Thomas E. Hunt * Deceased Robert Schmitz Indian Spring Academy of Music ** Matching Gift Angela and Daniel Taylor The students, faculty, and staff of the Peabody Institute would also like to acknowledge the more than 1,000 dedicated donors whose gifts of $1 to $999 helped to realize Peabody’s 2015–16 academic year. 31 JOHNS HOPKINS UNIVERSITY ADMINISTRATION PEABODY NATIONAL ADVISORY COUNCIL Ronald J. Daniels Liza Bailey Jill E. McGovern President Rheda Becker Christine Rutt Schmitz

Sunil Kumar Paula Boggs Solomon H. Snyder Provost and Senior Vice President for Academic Affairs Barbara Bozzuto David Tan Laifun Chung Shirley S. L. Yang PEABODY INSTITUTE Richard Davison ADMINISTRATION Larry Droppa Leon Fleisher EMERITUS MEMBERS

Fred Bronstein Sandra Levi Gerstung Dean Pilar Bradshaw Nancy Grasmick Abra Bush Tony Deering Senior Associate Dean Taylor A. Hanex, chair Hilda Perl Goodwin of Institute Studies Sandra Hittman* Benjamin H. Griswold IV Maureen Harrigan Allan D. Jensen Turner B. Smith Senior Associate Dean Christopher Kovalchick for Finance and Administration Abbe Levin * Deceased Sarah Hoover Special Assistant to the Dean for Innovation, Interdisciplinary Partnerships, and Community Initiatives Jessica Lunken Associate Dean for External Relations Townsend Plant Associate Dean for Enrollment and Student Life

PRODUCTION STAFF

Linda G. Goodwin Melina Gajger Douglas Nelson Executive Director Orchestra Coordinator Technical Coordinator of Ensemble Operations Ben Johnson Amelia Stinnette Chelsea Buyalos Design and Publication Specialist Communications Coordinator Concert and Box Office Assistant Alex King William Racine Daniel Chaloux Stage Coordinator Audiovisual Coordinator Concert Production Coordinator Yuriy Kosachevich Jessica Satava Elizabeth Digney Piano Technician Concert Series Coordinator Box Office Coordinator Rich Lauver Mary Schwendeman Paul Faatz Ensemble Coordinator Chief Piano Technician Senior Ensemble Coordinator Dennis Malat Technical and Stage Consultant