The 2017–18 Concert Season at Peabody Peabody Modern Orchestra Saturday, January 27, 2018

Home , Alice Tully Hall, Arthur Friedheim, Cello Concerto (Delius), Marta Casals Istomin, My Island, Taylor Davis (violinist)

the 2017–18 concert season at peabody Peabody Modern Orchestra Saturday, January 27, 2018

Peabody Symphony Orchestra Wednesday, January 31, 2018

Peabody Wind Ensemble Wednesday, February 7, 2018

Peabody Chamber Orchestra Saturday, February 17, 2018

Faculty Showcase Monday, February 26, 2018 STEINWAY. YAMAHA. [ YOUR NAME HERE ]

With your gift to the Piano Excellence Fund at Peabody, you can add your name to the quality instruments our outstanding faculty and students use for practice and performance every day. The Piano Department at Peabody has a long tradition of excellence dating back to the days of Arthur Friedheim, a student of Franz Liszt, and continuing to this day, with a faculty of world-renowned artists including the eminent Leon Fleisher, who can trace his pedagogical lineage back to Beethoven. Peabody piano students have won major prizes in such international competitions as the Busoni, Van Cliburn, Naumburg, Queen Elisabeth, and Tchaikovsky, and enjoy global careers as performers and teachers. The Piano Excellence Fund is a new philanthropic focus, created to support this legacy of excellence by funding the needed replacement of more than 65 pianos and the ongoing maintenance and upkeep of nearly 200 pianos on stages and in classrooms and practice rooms across campus.

To learn more about naming a piano and other creative ways to support the Peabody Institute, contact: Jessica Preiss Lunken, Associate Dean for External Affairs [email protected] • 667-208-6550 Welcome back! It seems that January and February are just crammed with every conceivable kind of performance at Peabody. We begin this second half of the Peabody concert season with performances by our major ensembles, as well as special performances by our faculty. I’d like to highlight a number of these programs. We kick off this semester with a performance of the Peabody Modern Orchestra in works by four contemporary composers — Steven Stucky, John Luther Adams, Mason Bates, and Peabody alumnus Robert Martin — conducted by Harlan Parker. New music is an increasingly important and dynamic area of focus here at Peabody — not surprising given the enormous strength of Peabody’s composition program coupled with the density of gifted performers. We continue with the Peabody Symphony Orchestra conducted by Joseph Young (in his debut year as Ruth Blaustein Rosenberg Artistic Director of Ensembles) in a program that features Peabody student composition and competition winners. And in addition to a performance by our Wind Ensemble, Marin Alsop returns to the podium to conduct the newly formed Peabody Chamber Orchestra in works by Beethoven and Shostakovich with Peabody faculty member and cello soloist Amit Peled. STEINWAY. In addition to the major ensembles, we feature an Adalman Chamber Series program with faculty members Marina Piccinini, Alexander Fiterstein (also new to YAMAHA. Peabody this year), and Amit Peled, with visiting alumnus pianist Alon Goldstein. Another faculty recital features one of Peabody’s newest faculty members, tuba player Velvet Brown, who presents MOJATUBA — as the name indicates, a fusion [ YOUR NAME HERE ] of Modern Dance, Original Works, Jazz Styles and African Influence. In between all of this I hope you’ll catch the Peabody Opera Theatre’s off-campus With your gift to the Piano Excellence Fund at Peabody, you can add your production at the Theatre Project of Jake Heggie’s Out of Darkness: Two Remain. name to the quality instruments our outstanding faculty and students use The Wall Street Journal has called Heggie “arguably the world’s most popular for practice and performance every day. 21st century opera and art song composer.” The Piano Department at Peabody has a long tradition of excellence dating So, as you can see, January and February offer a chock-full, dynamic, and diverse back to the days of Arthur Friedheim, a student of Franz Liszt, and continuing performance calendar showing off a huge range of musical talent and genres at Peabody, with more to come this spring. Stay tuned! to this day, with a faculty of world-renowned artists including the eminent Leon Fleisher, who can trace his pedagogical lineage back to Beethoven.

Peabody piano students have won major prizes in such international Fred Bronstein competitions as the Busoni, Van Cliburn, Naumburg, Queen Elisabeth, and Tchaikovsky, and enjoy global careers as performers and teachers. The Piano Excellence Fund is a new philanthropic focus, created to Dean support this legacy of excellence by funding the needed replacement of more than 65 pianos and the ongoing maintenance and upkeep of nearly 200 pianos on stages and in classrooms and practice rooms across campus.

Robert Martin (b. 1952) They Will Take My Island (2009)

Steven Stucky (1949–2016) Chamber Concerto (2009)

INTERMISSION

John Luther Adams (b. 1953) Become River (2013)

Mason Bates (b. 1977) Sea Blue Circuitry (2011) Silicon Blues Marine Snow Greyhound Miriam A. Friedberg Concert Hall Concert A. Friedberg Miriam | 7:30 pm | ORCHESTRA

MODERN

PEABODY 2018 27, January Saturday, In case of emergency, walk, do not run to that exit. 2 PROGRAM NOTES They Will Take My Island A key to Stucky’s success was that he Robert Martin wrote the kind of parts performers love to Born 1952. play. Each line is idiomatic and sonorous, demanding individual artistry while They Will Take My Island is a single avoiding grueling toil. In the Chamber movement piece for ten players. The Concerto, the clarinet’s first solo turn, instrumentation is comprised of two for example, shows Stucky’s keen quintets: one made up of wind instruments understanding of that instrument’s (flute, oboe, clarinet, horn, and bassoon) ability to leap and swell. Flutes join in, and the other consisting of string playing related material, and then instruments (two violins, viola, cello, bassoons, until the separate woodwinds and double bass). In the late autumn of amass into a flurry of swooping lines that 2008 Max Lifchitz, conductor, composer, quickly dissolve in a sputtering staccato and pianist, asked me to compose a array. There is ample virtuosity on display, piece in honor of the 30th anniversary individually and collectively, but there of the group and concert series he are also understated colorations that founded, the North/South Consonance. simply showcase the characteristic tones I regard Max Lifchitz as one of the most of particular instruments, such as when important and accomplished musicians the horns dwell in their dark low range in of our day, and I was delighted to accept. the somber Largo section near the end. The title is from a painting by Arshile The Chamber Concerto progresses in six Gorky (Vosdanig Manoog Adoian). As connected sections, alternating slow and Paul Griffiths, music critic of The New fast. Each successive slow section is slower York Times, observed: and longer, and each new fast section is faster and shorter, so that the piece arcs “Martin’s interest was apparently not toward its most extreme and intense so much in the subject matter of that material at the end. Stucky provided particular picture as in the general this illuminating outline of the piece: notion of what gives an abstract image wholeness and presence.” Moderato, fluido: Pastoral, introductory. Allegro energico: Mostly brilliant and — Robert Martin scherzando. Prominent soloists, especially oboe. Lento: Lyrical. Prominent soloists, Chamber Concerto especially flute. Steven Stucky Vivo: Scurrying. Born November 7, 1949, in Hutchinson, Kansas. Largo: Darker, ultimately even perhaps Died February 14, 2016, in Ithaca, New York. tragic. The emotional center. Prominent soloists, especially horns. Steven Stucky’s most celebrated music Presto: Very short but brilliant finale. explores individual sounds within larger bodies. He wrote a number of concertos ©2018 Aaron Grad for one or more solo instruments, plus two concertos for orchestra, the second of which earned Stucky the 2005 Pulitzer Prize; the first was a finalist for the award in 1989. He returned to that winning genre, on a slightly smaller scale, in the Chamber Concerto commissioned by the St. Paul Chamber Orchestra in 2009.

3 Become River Sea Blue Circuitry John Luther Adams Mason Bates Born 1953. Born 1977.

Steven Schick and I were having dinner The grooves of Sea Blue Circuitry hiccup together. I was just beginning work on from measure to measure as rapidly a large-scale piece for the Seattle as data quietly flashing on the silicon Symphony. So when Steve asked me if innards of a computer, yet the piece is I might be interested in composing a entirely unplugged. While some of my new piece for the St. Paul Chamber recent works fuse orchestral textures Orchestra, I must have hesitated. and electronica, this piece explores ways Deftly, Steve asked me to tell him a of recreating the precision of electronica little about the Seattle piece. I went on through the instruments alone. at length about the music I’d begun to Breathy flute interjections, chirping imagine, finally concluding: trumpets, and even an old typewriter “It’s called Become Ocean. The title bring to life the quicksilver music of the comes from a poem that John Cage opening “Silicon Blues. ” The morphing wrote in honor of Lou Harrison.” beat, at the movement’s climax, begins to lengthen persistently, and by the time Cage observes that the breadth and variety we enter “Marine Snow,” a pulsing of Harrison’s music make it “resemble a prepared-piano figure becomes a distant, river in delta. ” He concludes that: out-of-tune gong. In the deep ocean, LiStening to it marine snow is a continuous shower of we becOme organic detritus — primarily made up of oceaN. dead and dying animals — that falls for “So you’re already composing a symphonic weeks before reaching the ocean floor. ocean,” Steve said. “Maybe for a smaller Conjured by shimmering textures in the orchestra you could go ahead and upper winds, this suspended animation compose that river in delta. ” (a nod to the Floridian element of the premiere) serves as the quiet backdrop Steve had me, and I knew it. Within a for the melody that unfolds in the brass. week I’d begun work on Become River. Changing color at almost every cadence, From a single high descending line, this it floats over the haze, eventually being music gradually expands into a delta taken up by the rest of the ensemble. of melodic streams flowing toward the depths. I now imagine this river, and As the marine snow drifts lower, the gentle its related ocean, as part of a larger pulse returns with growing insistence. series of pieces encompassing desert, The prepared low-end of the piano finally mountain, tundra, and perhaps other presents itself in “Greyhound,” a mad landscapes and waterscapes. dash across bumpy terrain. The piano’s muffled thuds are a subsonic reincarnation — John Luther Adams of the work’s opening mechanistic element. By the work’s end, we return to a clunkier version of the silicon-based world that began the piece — like an old-fashioned mainframe computer doing a lopsided dance. Many thanks to the Frost Ensemble at the University of Miami and, especially, to Gary Green. A gifted maestro and a wonderful person, he is the one who brought this piece to life.

—Mason Bates

4 ARTIST BIOGRAPHIES Harlan D. Parker Conductor Harlan Parker has been the conductor of the Peabody 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 PWE has received critical acclaim from contemporary composers such as David Amram, James Syler, Eric Ewazen, H. O. Reed, and Johan de Meij. 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 writes in a letter to Parker: 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. Its 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. 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. 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 adjudicator, having worked with professional musicians and students from all 50 states and over 40 countries. In his first year as a faculty member at Peabody, 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, 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. 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. He has completed post-doctoral work at the Laban/Bartenieff Institute of Movement Studies in New York. 5 PEABODY MODERN ORCHESTRA Harlan D. Parker, conductor

Violin Cello Horn Becca Kasdan † Jerram John * Marianna Cardon Yiqing Fu * Justin Cheung Jordan Dinkins Yangying Chen Lindsey Choung Noah Tingen Yung-Tzu Chen Esther Cook Scott Ullman Gyuwon Choi Sua Jo Trumpet Kaden Culp Xingqiao Ren Herman Makosky Sheila Esquivel Julia Solomon David Sayers Claire Hebeisen Ethan Wagner Ambrose Tang Mu-Ning Huang Bass John Wagner Christopher Jasiewicz Douglas Ohashi * Chenguang Wang Grace Kim Andrew Butts Hyun Ji Lim Trombone Sophia Kelsall Zhixin Ouyang Sarah Lewandowski April Kim Rouying Pan Gabriel Luciano-Carson Gabriel Rioux-Boudreau Elle Park Noah Strevell Bass trombone Yujin Park Jacob Niemann Yan Qiao Flute Zili Sha Amanda Dame Tuba Fangming Shen Lily Josefsberg Samuel Adam Sayer Stewart Gyuri Kim Harp Sarah Thomas Hannah Tassler Thea Kammerling Madison Van de Wetering Oboe Kelly Wells Viola Mengying Han Piano Lan Zhang * Sonia Matheus Soo Jung Kim Daphne Bickley Amelia Wingard Maddi Brightbill Percussion/Timpani Clarinet Anita Chan Randall Chaves Camacho Andrew Im Carrie Jones Colin Crandal Juan Carlos Martinez Hannah Jung Russell Fisher Juan Esteban Martinez Mark Liu Nonoka Mizukami Setareh Parvaresh Bassoon Matthew Overbay Yang Yang Kathleen Beavers * Principal Mateen Milan † Concertmaster Brian Wilson

6 JOSEPH YOUNG CONDUCTOR Ruth Blaustein Rosenberg Artistic Director of Ensembles XIAOHUI YANG PIANO Winner of the 2016 Peggy and Yale Gordon Concerto Competition

Gu Wei (b. 1991) Transience, for Orchestra Winning work in the Macht Orchestral Composition Competition

Frédéric Chopin (1810–1849) Piano Concerto No. 2 in F minor, Op. 21 I. Maestoso II. Larghetto III. Allegro vivace Wednesday, January 31, 2018

Xiaohui Yang, piano

INTERMISSION

Anniversary Remarks by Sunil Kumar Provost and Senior Vice President for Academic Affairs, Johns Hopkins University

Richard Strauss (1864–1949) Suite from Der Rosenkavalier, Op. 59 | 8:00 pm PEABODY | Miriam A. Friedberg Concert Hall Ruth Blaustein Rosenberg Blaustein SeriesRuth

SYMPHONY Commemorating the 40th anniversary of the Peabody Institute’s affiliation with the Johns Hopkins University

ORCHESTRA

“President Steven Muller had the foresight to see that not only was the oldest conservatory of music in the United States worth preserving and investing in, but that the great university over which he presided could benefit from adding an artistic heart to its enterprise. All of us who love music and dance and cherish this institution owe a huge debt of gratitude to Steve Muller, and we are honored to celebrate him here today” — Jeffrey Sharkey, Director of the Peabody Institute, at the memorial service for Steven Muller: A Celebration of his Life and Leadership on February 22, 2013 Steven Muller may be regarded as the savior of the Peabody Institute but he was first and foremost a fan of Peabody. Music was always a part of his life. In his youth in Hamburg, he studied the violin and, after his family fled Nazi Germany and moved to Los Angeles, he was a member of the Le Conte Junior High Troubadours, an all-male a cappella group. He was known to have belted out parodies of well-known songs at home and, once, he sang his entire speech to the Hopkins President’s Club in New York. And he was delighted to join Maestro Leonard Bernstein in a chorus of “Happy Birthday” to Ruth Blaustein Rosenberg before Peabody’s Commencement Ceremony in 1980. A generous gift from the Jill E. McGovern and Steven Muller Fund has been made to the Peabody Institute to launch and endow this annual concert in memory of Steven Muller and in tribute to all those with whom he worked to preserve Peabody for generations to come.

8 PROGRAM NOTES Transience, for Orchestra However, he was able to cobble together Gu Wei enough money for a short vacation to Born 1991. Vienna, where he performed to such acclaim that he realized that private Our cells die every moment, but are funding might be his best option. Although constantly being replaced by new cells. there was little certainty in this plan, it Since our body is entirely made up of was his only hope. He mounted a series of cells, the group of cells that make up public benefit concerts in Warsaw in the our body in a year’s time would be spring of 1830 and raised the necessary almost completely different from the funds. On November 1, 1830, he set out group of cells now. Are you still “you” in again from Poland for Vienna as the first a year’s time? stop on a planned European tour to seek fame as a composer/pianist. Everything is transient — longevity Within a year, he was in Paris. He would is merely an illusion created by a never return to his homeland. continuous stream of transience. The motifs in this piece represent this idea Chopin found solace in Parisian musical directly — they are short but repetitive, life, which was much more suited to and when they are juxtaposed and his many short salon pieces than was superimposed upon each other, they Vienna’s more elitist musical community. form continuous motion which never In Paris he could socialize with poets, seems to cease. novelists, and other musicians, while his skills as a pianist were in great — Gu Wei demand. Tales of his performances are legendary, but such information Piano Concerto No. 2 in F minor, Op. 21 is based on accounts of fewer than a Frédéric Chopin dozen appearances. Despite his disdain for the concert hall, he composed Born March 1, 1810, in Zelazowa Wola, Poland. hundreds of intimate works for piano Died October 17, 1849, in Paris, France. solo, most of which have never left the repertoire. He was so dedicated This work was premiered on March 17, 1830, to his instrument that every work he in Warsaw with the composer as soloist. composed included the piano. It is scored for solo piano, two flutes, two oboes, two clarinets, two bassoons, two After contracting tuberculosis in 1839, horns, two trumpets, trombone, timpani, Chopin would live the remaining decade and strings. of his life in varying degrees of frailty. He avoided balmy weather, spending Frédéric Chopin was the proverbial his summers at the country estate of man without a country. His father was his lover George Sand (the nom de a tutor to the Polish Countess Justyna plume of female writer Amandine- Skarbek’s son and was well connected Aurore-Lucile Dupin), then returning in aristocratic circles. As a young to Paris in October. Although his child, Chopin was able to study piano music is often performed with great with the best teachers available. After bombast, one must remember that completing his secondary education Chopin’s diminutive size and sickly in 1826, he attended classes at the condition would have precluded such University of Warsaw, specializing in an interpretation on his part. In place composition — not piano performance. of physical power, Chopin’s music In 1829, having learned all he could in has a delicacy of ornamentation and Warsaw, the young Chopin decided to harmonic shading shared by few study abroad, but the Education Ministry composers of his day. would not approve his funding request. 9 Historians are quick to note that Chopin’s Perhaps the most striking feature of the musical tastes were quite conservative. final rondo is the straightforwardness of Nearly all of his music for solo piano is Chopin’s musical language. The lavish written in a compact form — nocturne, ornamentation of the “Larghetto” is mazurka, waltz, etc. However, many of replaced with the lively rhythms of these forms were quite new and their use Polish folk dances – most notably the for salon music was quietly revolutionary. mazurka and kujawiak. As in the first In his concertos, Chopin saw the orchestra movement, the piano dominates the as a means of conveying his piano solos finale. Like Chopin’s other concerto, on a grand scale. He has also been criticized this movement grows more complex for a lack of orchestrational skill as as it progresses. The final measures compared to Wagner or Berlioz (both of of the coda bustle with blazing scales whom he vilified as being too radical), but and arpeggios that leave the audience Chopin created suitable and functional enthralled and the soloist exhausted. accompaniments that serve to enhance ©2017 Orpheus Music Prose & Craig Doolin his decidedly progressive piano writing, www.orpheusnotes.com which was his sole purpose in composing for orchestra. Suite from Der Rosenkavalier, Op. 59 In March of 1830, Chopin premiered his Piano Concerto No. 2 at his first public Richard Strauss appearance in Warsaw. Although the Born June 11, 1864, in Munich, Germany. work is numbered as his second, it was Died September 8, 1949, in Garmisch- Partenkirchen, Germany. the first he composed and premiered, but was published after his Concerto No. 1. The complete opera was premiered on Chopin’s Piano Concerto No. 2 opens January 26, 1911, by the Dresden Court with a long orchestral introduction that Opera, with Ernst von Schuch conducting. has been described as “dutiful” with The Suite on this program was most likely its mazurka rhythms and dramatic assembled by conductor Artur Rodzinski, declamation. The orchestra introduces who led the New York Philharmonic in its both themes of the movement. Once premiere on October 5, 1944. It is scored for the piano enters, the orchestra recedes a huge orchestra consisting of piccolo, three into a supporting role. The seemingly flutes, three oboes, English horn, E-flat ordinary thematic material introduced clarinet, three clarinets, bass clarinet, three by the orchestra is transformed into bassoons, contrabassoon, four horns, three majestic and poetic music by the soloist. trumpets, three trombones, tuba, timpani, As expected, the usual dramatic percussion, two harps, celesta, and strings. interplay between piano and orchestra It is always interesting to examine the is present, but Chopin gives the soloist achievements of composers at special the lion’s share of responsibility, filling moments in their lives. When Richard nearly every measure with dazzling Strauss wrote the opera Der Rosenkavalier pianistic figurations. in 1911 at the age of 47, he was thought by The “Larghetto” second movement many to be the world’s most accomplished opens with a brief evocative introduction. composer. However, if we turn back the The piano enters with a theme that is clock twenty years, we find a 20-something reminiscent of his miniature masterpieces. Strauss who had already taken the world Filled with long and luxuriant themes, by storm. By the time he composed his this movement features the luminous epic tone-poem Death and Transfiguration harmonies and rhapsodic ornamentation in 1888, he was already known as an that characterize Chopin’s music at accomplished composer with several its finest. important works to his credit. His symphonic fantasy Aus Italien and the tone-poems Macbeth and Don Juan were already complete, the latter of 10 which had brought great fame and Der Rosenkavalier tells the story accolades to the young composer — of Marie Therese, the wife of a field all by the age of 24. marshal who is always away from Strauss was no stranger to dramatic home. The Marschallin, as Marie music, as he served as apprentice to Therese is known, feels that youth is Hans von Bülow, the noted conductor fleeting and takes a lover — the young who premiered many of Wagner’s Octavian. Octavian’s relative, the operas and was the first husband of older boorish Baron Ochs, has fallen Cosima Wagner. The experience of in love with Sophie, a striking beauty conducting Wagner’s operas, strange as about the age of Octavian. As was the it must have been, under the watchful custom, Ochs asks Octavian to act eye of the composer’s wife’s ex-husband as his proxy and present a silver rose — incidentally, she was also the daughter to the young woman as a token of of Franz Liszt — provided Strauss with engagement. Somewhat predictably, an indispensable opportunity to learn Octavian falls for Sophie at first glance. about writing even more effectively on The opera ends with Octavian and dramatic subjects. Sophie receiving the blessings of the Marschallin, who is forced to sever Inevitably this interest led to the romantic ties with the young man. In a composition of Strauss’s operas — the striking finale of surpassing and tender first of which wasFeuersnot (Fire-Famine) beauty, the three female voices — the in 1901. The same decade would see Marschallin, Sophie, and Octavian the earth-shatteringly controversial (portrayed by a female singer) — sing Salome (1905), based on Oscar Wilde’s of their deepest feelings, their losses play, and Elektra (1909), expanding and gains. upon Sophocles’s tale of revenge. In 1911, Strauss and his librettist, Hugo von Almost immediately after Der Hofmannsthal, turned to the tender Rosenkavalier’s 1911 premiere, Strauss subject of love and self-deception assembled a waltz sequence for concert among eighteenth-century aristocracy performance. However, it is the 1944 in Der Rosenkavalier. It would be the suite attributed to conductor Artur most resounding success of his operatic Rodzinski that is the most frequently career, causing a furor that swept across performed instrumental version of Europe’s artistic establishment. music from the opera. ©2017 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

11 ARTIST BIOGRAPHIES Joseph Young Conductor

Increasingly recognized as “one of the most gifted conductors of his generation,” Joseph Young makes his debut in the 2017–18 season as the Ruth Blaustein Rosenberg Artistic Director of Ensembles at the Peabody Conservatory. In this role, he leads the programming and direction of all Peabody Conservatory instrumental ensembles. In his most recent role as assistant conductor of the Atlanta Symphony, Young conducted more than 50 concerts per season with the Atlanta Symphony and also served as the music director of the Atlanta Symphony Youth Orchestra. Previous appointments have included resident conductor of the Phoenix Symphony, where he made his subscription debut in the 2011–12 season, and League of American Orchestras Conducting Fellow with Buffalo Philharmonic and Baltimore Symphony. Young made his major American orchestral debut in January 2008 with the Baltimore Symphony Orchestra, and has since appeared with Saint Louis Symphony, Buffalo Philharmonic, Colorado Symphony, Charleston Symphony, Phoenix Symphony, Bamberger Symphoniker, Spoleto Festival Orchestra, Orquestra Sinfónica do Porto Casa da Música, Orquesta Sinfonica y Coro de RTVE(Madrid), and Chicago Sinfonietta, among others. In the 2015–16 Season he made his subscription debut with the Atlanta Symphony and Little Orchestra Society. Young is a recipient of the 2015 Solti Foundation U.S. Career Assistance Awards for young conductors, an award he also won in 2008 and 2014. In 2013, Young was a semi-finalist in the Gustav Mahler International Conducting Competition in Bamberg, Germany. In 2011, he was one of six conductors featured in the League of American Orchestras’ prestigious Bruno Walter National Conductor Preview, hosted by the Louisiana Philharmonic. Young earned his bachelor’s degree in music education at the University of South Carolina and completed graduate studies with Gustav Meier and Markand Thakar at the Peabody Conservatory in 2009, earning an artist’s diploma in conducting. He has been mentored by many world-renowned conductors including Jorma Panula, Robert Spano, and Marin Alsop, with whom he continues to maintain a close relationship.

12 Xiouhui Yang Piano

Hailed by Isreali newspaper Haaretz as a “tastefully polished musician,” Chinese pianist Xiaohui Yang has been featured in performances over four continents, including venues such as Ozawa Hall, New Jersey Performing Arts Center, Tel Aviv Museum of Art, and Seoul Arts Center. As the winner of the 2017 edition of the prestigious Naumburg Piano Competition, she will be granted a New York recital debut at Carnegie Hall besides a newly commissioned work written for her. Other highlights of this season include concerts with the Louisiana Philharmonic and the Peabody Symphony, a residency sponsored by Portland Piano International, and a solo recital at the Shriver Hall Concert Series in Baltimore. A dedicated chamber musician, Yang has performed with luminaries such as Peter Wiley and Roberto Diaz, having been in residence at important music festivals in the USA, such as Marlboro, Tanglewood, Ravinia, and Taos. In 2008, Yang moved to the United States to attend the Curtis Institute of Music, where she studied with Ignat Solzhenitsyn, and received the 2013 Festorazzi Prize, awarded to the best graduating piano student. After further studies at the Juilliard School with Robert McDonald, she is currently pursuing her Doctor of Musical Arts degree with Boris Slutsky at the Peabody Conservatory.

CAN WE SAVE YOU A SEAT? È

Friedberg Society members may reserve specific seats for performances in Miriam A. Friedberg Concert Hall.

Contact the box office at 667-208-6620, or email [email protected].

The Friedberg Society honors Peabody’s annual donors of $1,000 or more. To learn more, contact Anni Leff, Assistant Director of Development, at 667-208-6553 or [email protected].

13 PEABODY SYMPHONY ORCHESTRA Joseph Young, conductor Ruth Blaustein Rosenberg Artistic Director of Ensembles

Violin Cello Horn Shannon Fitzhenry † Elías Leceta * Scott Campbell Nicholas Bentz * Najette Abouelhadi Christopher Frick Angela Che Ismael Guerrero Lily Homma Winnie Chen Irene Han Rachel Kristina Jones Ann Ching Dorian Latchague Bailey Myers Cheng-Chia Chiu Hang Liu Szymon Rywalski Tavifa Cojocari Rahel Lulseged Trumpet Ledah Finck Ethan Sandman Jason Aylward Alexander Hardan Mafalda Santos Andrew Ezell Jerry Hou Kahler Suzuki Todd Oehler Wei-Ling Hu Bass Brandon Sklute Jennifer Jeon Jianze Zhang * Esther Kim Trombone Sam Dugo Brenda Koh Jon Hutchings Winston Harris Minjin Lee Bailey Schmidt Alec Kipnes Phoebe Leng Eion Lyons Bass trombone Wang Liang Antonin Ostrovsky-Petion Jahi Alexander Andrew Lu James Peterson Maitreyi Muralidharan Tuba Brandon Smith Yu-Chu Teng Austin Lingerfeldt Hoi Shuen Viola Tom Flute Harp Jerry Tong Guilherme Andreas Erin Baker Daisy Wang Hongsuh Cha Melody Leung William Wang Drew Dardis Jessica Sudarta Trista Wong Victor Hernandez Ramirez Kimberlyn Wu Natalie Jefferson Percussion/Timpani Ae-Lin Youn Taylor Davis Oboe Jacob Gutierrez Chieh-An Yu Gabriella Alberico Mei Zhan Zachary Gutierrez Niall Casey Robert Rocheteau Viola Andrea Copland Arlo Shultis Molly Wilkens-Reed * Hannah Staudinger Mari Takeda Keegan Donlon Clarinet Andrew Goo Piano/Celeste Sheng Chen Sherry Du Hyejin Kim Melissa Lander Jennifer Kim Jay Shankar * Principal Guanlun Li Jackson Willis † Concertmaster Jonathan Milord Gavon Peck Bassoon Hyungjung Song Cindy Dong Amy Tan Clifton Guidry Lehan Wang Jayyne Kao Jasper Zientek

14 HARLAN D. PARKER CONDUCTOR TYRONE PAGE ASSISTANT CONDUCTOR

Samuel Barber (1910–1981) Overture to The School for Scandal (1931) Arranged for concert band by Frank Hudson

Charles Ives (1874–1954) Variations on “America” (1891–92 rev. 1901, 1949, 1964) Based on the orchestral version by William Schuman; transcribed for band by William E. Rhoads

Alfred Reed (1921–2005)

El Camino Real (1985) Wednesday, February 7, 2018

Tyrone Page, conductor

INTERMISSION

Joaquín Rodrigo (1901–1999) Adagio for Wind Orchestra (1966)

Vittorio Giannini (1903–1966) Symphony No. 3 (1961)

I. Allegro energico | II. Adagio 7:30 pm III. Allegretto IV. Allegro con brio | Miriam A. Friedberg Concert Hall PEABODY

WIND

ENSEMBLE

Although this concert overture has no Even after his move in 1899 from connection to any music for the stage, Connecticut to Manhattan — to become it was inspired by the comic spirit of an insurance actuary, and, nine years Richard Brinsley Sheridan’s classic play later, to co-found a trailblazing agency of the same title. The work was composed — Ives continued to play the organ in 1931 as a graduation “thesis” at the in Protestant churches until 1902. A Curtis Institute of Music. It was transcribed generation later, Virgil Thomson and Leo by Frank Hudson while he was a freshman Sowerby followed his lead, by no means at Ohio State University and was dedicated common among American composers. to the OSU Band and its conductor, Although Ives composed for the organ Donald E. McGinnis. as a young man, including a sonata The brilliance and impeccable craftsmanship he once likened to Mendelssohn’s, only of this sonata-form overture have earned four works survived — all written it a permanent place in the international between 1888 and 1897. The 17-year- repertoire. Following a short, scintillating old composer introduced the second introduction, the lengthy and rhythmically of these, originally called “Variations quirky first theme is presented and Etc. on National Hymn,” at Brewster, elaborated. A lyrical pastoral theme for New York on July 4, 1891. Before he oboe provides contrast, after which the submitted it for publication, young development relates almost exclusively Ives jettisoned the “Etc.” (a band-like to the first theme and its variants. The introduction, a roller-coaster coda, and recapitulation is regular, leading to a two bitonal Interludes), but retained virtuosic coda based partly on a fugal five tongue-in-cheek variations that treatment of the principal variant of the follow a soft, solemn statement of first theme. The final reference to the “America” (aka, “God Save the Queen”). opening material closes the work. When publishers predictably rejected it, the piece went into a drawer with — Program Notes for Band a great deal else composed between 1890 and 1928 — some works finished, many more incomplete. By 1930, heart disease, diabetes, and a progressive deterioration of the nervous system left Ives unable any longer to hold a pen. In 1949, with the composer’s cooperation, organist E. Power Biggs reassembled all the materials for publication. In December 1962, he included Variations on “America” — now the official title — on a program dedicating the new organ in Lincoln Center’s Philharmonic Hall (since rebuilt inside and renamed Avery Fisher Hall, now David Geffen Hall). Enter William Schuman, who had

16 become the new Center’s president in El Camino Real January 1962. He wrote later on that Alfred Reed “by the time the piece was over, I knew Born January 25, 1921, in New York City, New York. I simply had to transcribe it ... to make Died September 17, 2005, in Miami, Florida. as effective an orchestral piece as I could devise without changing any of El Camino Real (literally “The Royal the musical materials.” Broadcast Music Road” or “The King’s Highway”) was Inc. commissioned the task, and it was commissioned by, and is dedicated to, introduced on May 20, 1964, by the the 581st Air Force Band (AFRES) and New York Philharmonic conducted by its Commander, Lt. Col. Ray E. Toler. André Kostelanetz. Composed during the latter half of 1984 Schuman stated that he took no liberties and completed in early ’85, it bears the with Ives’ harmonies or melodies: subtitle “A Latin Fantasy.” “all remain exactly as they were in The music is based on a series of chord the original.” But he needed to invent progressions common to countless percussion parts and, since the original generations of Spanish flamenco (and registration “was rather inexact,” chose other) guitarists, whose fiery style “registers which would fit the orchestral and brilliant playing have captivated timbres I had selected.” He did not, millions of music lovers throughout however, consider his orchestral version the world. These progressions and to be “Ives transcribed by Schuman” the resulting key relationships have but rather “Ives/Schuman.” become practically synonymous with After a rollicking introduction based on what we feel to be the true Spanish segments of the melody, “America” is idiom. Together with the folk melodies played very softly by the brass with col they have underscored, in part derived legno strings and percussion. The winds by a procedure known to musicians dominate an étude-like first variation, as the “melodizing of harmony,” they complete with flute descants. Variation have created a vast body of what 2 is woozily sentimental until a barber- most people would consider authentic shop cadence appears midway and Spanish music. again at the end. Variation 3 contains The first section of the music is based the first surviving example of Ives’ upon the dance form known as the polytonality, a loopy pizzicato waltz in Jota, while the second, contrasting 6/8 time. Variation 4 is a kind of minor- section is derived from the Fandango, key polonaise, except that tambourine but here altered considerably in both and castanets add a Latin flavoring. time and tempo from its usual form. Variation 5 is brief and quasi-Baroque Overall, the music follows a traditional before giving way to a marching band three-part pattern: fast-slow-fast. and the restored coda. The first public performance ofEl — Roger Dettmer Camino Real took place on April 15th, Copyright © 1992–2008 All Media Guide, LLC. 1985, in Sarasota, Florida, with the Used by permission. 581st Air Force Band under the direction of Lt. Col. Ray E. Toler.

— Alfred Reed

17 Adagio for Wind Orchestra Symphony No. 3 Joaquín Rodrigo Vittorio Giannini Born November 22, 1901, in Sagunto, Spain. Born October 19, 1903, in Philadelphia, Pennsylvania. Died July 6, 1999, in Madrid, Spain. Died November 28, 1966, in New York City, New York.

Composed on a commission by The Symphony No. 3 was composed on Robert Boudreau and the American a commission by the Duke University Wind Symphony, Adagio for Wind Band and its conductor, Paul Bryan, Orchestra is Joaquín Rodrigo’s first during the summer of 1958, in Rome work for winds. Two major moods are Italy, where I was spending my vacation. presented in a series of contrasting It is my second work for band; the first, and alternating sections, A-B-A-B-A. Preludium and Allegro, was commissioned During the opening, middle, and by Richard Franko Goldman. closing sections, the mood is quiet and I can give no other reason for choosing tranquil, with a flowing melody that is to write a symphony to fulfill this woven through the upper woodwinds. commission than that I “felt like it,” The second and fourth section are more and the thought of doing it interested angular and fanfare-like, with the brass me a great deal. I will not go into the and percussion supplying the drive. The technical details of the work. Basically, work concludes with a soft sigh from the listener is not concerned with them the lower voices and the timpani. beyond what they can hear for themselves. I follow no ‘isms’ when I compose; I try — Nikk Pilato on The Wind Repertory Project www.windrep.org to project and communicate a feeling, a thought that is in me at the time, using whatever technique is suggested by my mood to achieve this communication. The form of the movements is this: first movement – sonata allegro; second movement – A B A; third movement – A B A B; fourth movement – sonata allegro. There is no program – only what I heard and felt at the time. I hope it makes music.

— Vittorio Giannini

18 ARTIST BIOGRAPHIES Tyrone Page Assistant Conductor

Tyrone Page Jr., an accomplished saxophonist and educator, has had tremendous success working with composers and other musicians to expand contemporary saxophone repertoire. Actively involved in the performance of new works, Page performs regularly in the Baltimore area and across the Eastern United States as a soloist, chamber, and orchestral musician. This season, Page will premiere a new and extended version of Fluorescent Skeleton (after Jasper Johns’ Regrets), which was written by James Young and premiered last spring. Page placed as a semi-finalist and finalist, winning 1st place in the Elizabeth Harper Vaughn Concerto Competition. He was also a finalist in the Eastern Connecticut Symphony Orchestra Concerto Competition, and won 3rd place in the 2016 Peggy and Yale Gordon Concerto Competition. Additionally, he has been featured in recent performances with the Peabody Concert Orchestra, Peabody Modern Orchestra, and regularly plays with the Peabody Wind Ensemble. As a teaching artist with the OrchKids and the Baltimore School for the Arts TWIGS programs, he performs with, teaches, and mentors young students. Page is a graduate of the Baltimore School for the Arts, where he studied with Dr. Chris Ford. He holds degrees in saxophone performance and music education from the Peabody Conservatory of the Johns Hopkins University. Page currently studies saxophone with Gary Louie and conducting with Dr. Harlan Parker at the Peabody Conservatory.

Harlan D. Parker Conductor See page 5.

19 PEABODY WIND ENSEMBLE Harlan D. Parker, conductor Tyrone Page, assistant conductor

Flute Saxophone Bass trombone Katherine Lee Althen Robert Brown Jacob Niemann Faith April Helgeson Kyle Jones Euphonium Lily Josefsberg Daniel Kamon Abhinn Malhotra Christian Paquette Tyrone Page Bladen Maynard Oboe Horn Zheyu Wu Ellen Gruber Marianna Cardon Tuba Sophia Lou Yasmeen Richards Samuel Adam Sonia Matheus Scott Ullman Kevin Freeman Emma Van Zuyle Clarinet Cole Manel Sheng Chen Trumpet Piano Andrew Im Sam Hughes Soo Jung Kim Scott Johnson Herman Makosky Seunghyung Ryu Joshua Olariu Harp Chadwick Thomas David Sayers Kelly Wells Yuyang Zi John Wagner Timpani Chenguang Wang Bassoon Colin Crandal Ryan Yacos Kathleen Beavers Percussion Qiaoyang Han Trombone Randall Chaves Camacho Brian Wilson Gabriel Luciano-Carson Hio Man Chang Sarah Lewandowski Benjamin Giroux Steven Wyrick Matthew Overbay Sejeong Pyo Yonatan Rozin Bass Benjamin Hamilton

20 MARIN ALSOP CONDUCTOR AMIT PELED VIOLONCELLO

Dmitri Shostakovich (1906–1975) Cello Concerto No. 1 in E-flat major, Op. 107 I. Allegretto II. Moderato III. Cadenza IV. Allegro con moto

Amit Peled, violoncello

INTERMISSION Saturday, February 17, 2018

Ludwig van Beethoven (1770–1827) Symphony No. 3 in E-flat major, Op. 55, “Eroica” I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace – Trio IV. Finale: Allegro molto | 8:00 pm PEABODY | Miriam A. Friedberg Concert Hall

CHAMBER

ORCHESTRA

Please disable all electronic devices including phones and tablets during performances. The use of cameras and sound recorders during performances without the express prior written permission of Peabody is strictly prohibited. For your own safety, look for your nearest exit. In case of emergency, walk, do not run to that exit. 21 PROGRAM NOTES Cello Concerto No. 1 in E-flat major, Op. 107 (1937), is grandiose and triumphant, Dmitri Shostakovich representing what the Soviet authorities Born September 25, 1906, in St. Petersburg, Russia. believed was a glorification of their Died August 9, 1975, in Moscow, USSR. doctrine. However, most of the world saw it as the composer’s victory over The work was given its earliest performance oppression. In 1948, the Union of Soviet on October 4, 1959, by the Leningrad Composers, under pressure from Stalin, Philharmonic with Yevgeny Mravinsky denounced Shostakovich, Prokofiev, conducting and Mstislav Rostropovich as Khachaturian, and several less famous soloist. It is scored for solo cello, piccolo, composers. Shostakovich, whose two flutes, two oboes, two clarinets, two relatively happy Ninth Symphony (1946) bassoons, contrabassoon, horn, timpani, had newly angered Party officials, was celesta, and strings. forced to present a humiliating speech The final sentence of Dmitri Shostakovich’s of self-abasement to the full body of autobiography, entitled Testimony, is: the Union the following year. From that “I wanted to put this down in order moment on, Shostakovich lived on the to save future generations from edge, fearing for his life while extolling the bitterness which has turned the deeply secret truth behind the my whole life grey.” Soviet arts scene in each of his works. Miraculously, he lived in the USSR until Coming of age during the earliest years his death of natural causes in 1975. of the Soviet Union, he was indoctrinated with a distrust of the former Tsarist Shostakovich’s Cello Concerto No. 1 regime that had ruled Russia for over was composed in 1959 for cellist three centuries. As his precocious Mstislav Rostropovich, who would musical gifts led him to occasional defect to the United States as a political glimpses of the outside world during refugee in 1974. Opening with a jolly his teenage years, Shostakovich began march, the first movement becomes to see his government’s deception and increasingly menacing as it progresses. he lost faith in Josef Stalin, who was the A lone horn solo gives a plaintive leader of the USSR from 1924 to 1953. atmosphere, which continues with the Shostakovich was well aware of the second theme pitting the cello against events happening around him. He knew nattering woodwinds. The second that the price of dissent was often paid movement, “Moderato,” is lyrical and with one’s life, but he had a unique elegiac with an eerie duet near the end solution to his plight. While composing for celesta and solo cello. Designated as works that publicly glorified the Soviet a separate third movement, Shostakovich’s leadership — among the titles are cadenza uses material from the first Glory to Our Soviet Homeland and The two movements to prepare the mood Sun Shines Over Our Motherland — he for the finale. Connected to the cadenza secretly wrote works that were critical without pause, the finale is mechanistic of Stalin. and savage — complete with a satirical quotation from Stalin’s favorite song, Despite his plan, Shostakovich still ran “Suliko” (a Georgian folk song about the afoul of the Soviet authorities on two fitting subject of concealed identities). occasions. In 1936, Stalin attended a Remaining ferocious until the final flurry performance of Shostakovich’s Lady of seven timpani notes, this music is filled Macbeth of the Mtsensk District and with an exhilarating spirit that could not denounced the opera in Pravda as be dampened by a government that “Muddle Instead of Music. ” Performances thought artistic creativity should exist of Shostakovich’s music all but stopped only to celebrate its own sinister agenda. and the composer was so distraught he became suicidal. His famous “response ©2017 Orpheus Music Prose & Craig Doolin to just criticism,” the Fifth Symphony www.orpheusnotes.com 22 Symphony No. 3 in E-flat major, ‘Bonaparte’ at the extreme top of Op. 55, “Eroica” the title page, and at the extreme Ludwig van Beethoven bottom ‘Luigi van Beethoven,’ but not another word. Whether and Born December 16, 1770, in Bonn, Germany. with what the space between was Died March 26, 1827, in Vienna, Austria. to be filled out, I do not know. I was the first to bring him the The work was premiered in a private intelligence that Bonaparte had concert at Prince Lobkowitz’s Vienna proclaimed himself Emperor, palace in late 1804. It was first performed whereupon he flew into a rage publicly on April 7, 1805, at the Theater and cried out: ‘Is he then, too, an der Wien in Vienna with the composer nothing more than an ordinary conducting. It is scored for pairs of human being? Now he, too, will woodwinds, three horns, two trumpets, trample on all the rights of man timpani, and strings. and indulge only his ambition. He When the French Revolution exploded will exalt himself above all others, in 1789, Beethoven resided in his birth become a tyrant!’ Beethoven went city of Bonn. As an artistic and politically to the table, took hold of the title aware young man, he was attuned to page by the top, tore it in two, and the revolutionary cause because of the threw it on the floor. The first page was rewritten and only then did large number of French refugees that the symphony receive the title passed through the city. The triumph ‘Sinfonia eroica’.” of the common man over aristocratic oppression is a theme that resounds in Reis was mistaken about the addition of much of Beethoven’s music. the title “Sinfonia eroica,” as musicologists know that this description was not Probably the most familiar story of the attached to the work until its publication composer’s association with this cause two years later. At the same time, the centers on his Eroica Symphony. The dedication was changed to, “Composed work was originally to be dedicated to to Celebrate the Memory of a Great Man.” Napoleon — an idea first suggested to him in 1798 by General Bernadotte, While “Eroica” (Heroic) describes the the French ambassador to Austria. subject of Beethoven’s work, it could Prior to crowning himself Emperor also refer to the revolutionary character on May 18, 1804, Napoleon was of his music. Lasting nearly twice as widely regarded as a champion of the long as any other symphony to date, peasant and as an advocate of the this work shatters any premise of rights of man. The Eroica Symphony Classical style. The symphony opens was completed in the spring of 1804 with two accented fortissimo E-flat and was destined to be the Bonaparte major chords, violently stabbing the Symphony, until Beethoven heard of silence and leaving no doubt as to the Napoleon’s egotistic and tyrannical tonality of the work. The unpredictable accession to the throne. The traditional mammoth first movement unfolds tale, as recorded by Beethoven’s pupil with a triadic theme in the lower Ferdinand Ries, recounts that the strings, giving way to a long and stormy composer ripped apart the title page. transition section. The clarinets and oboes present the lyrical second theme. “In this symphony Beethoven had To close the exposition, Beethoven Bonaparte in mind, but as he introduces yet another melody, this was when he was First Consul. time in the guise of a codetta. In the Beethoven esteemed him greatly at the time and likened him to the development section, longer than most greatest Roman consuls. I as well entire first movements of Beethoven’s as several of his more intimate time, new material again turns up friends saw a copy of the score and extensive fragmentation of the lying upon his table with the word previous themes fills this section. 23 Harmonic clashes and seemingly wrong Almost mismatched in character to notes occur with some frequency. all that came before, the finale is a After the customary recapitulation, theme and variations drawn from Beethoven launches an enormous coda Beethoven’s own ballet, The Creatures that lasts nearly as long as the entire of Prometheus. The 12 variations span symphony to this point and acts as a nearly every style of Beethoven’s second development section. day and grow in complexity as the The funeral march in rondo form movement progresses. A surprise when is military in nature with its dotted it occurs, the central fugue is proof of rhythms and resembles the music of Beethoven’s mastery of contrapuntal French Revolution composers. The technique and provides increasing lively “Scherzo” begins with pianissimo tension. The coda is a triumphant final strings and shifting rhythmic patterns. statement of heroism — both historical Beethoven’s rousing trio features a and musical. noble fanfare played by three horns. ©2017 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

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24 ARTIST BIOGRAPHIES Marin Alsop Conductor

Her outstanding success as music director of the Baltimore Symphony Orchestra (BSO) since 2007 has been recognized by two extensions in her tenure, now confirmed until 2021. As part of her artistic leadership in Baltimore, Alsop has created bold initiatives that have contributed to the wider community and reached new audiences. In 2008 she launched OrchKids, which provides music education, instruments, meals, and mentorship of the city’s neediest young people. Alsop serves as principal conductor of the São Paulo Symphony Orchestra (OSESP). She continues to steer the orchestra in its artistic and creative programming, recording ventures, and its education and outreach activities. Alsop led the orchestra on European tours in 2012, 2013, and 2016, with critically acclaimed performances at the BBC Proms, the Edinburgh International and Lucerne festivals, the Concertgebouw Amsterdam, and further concerts in Berlin, Paris, Salzburg, and Vienna. Marin Alsop now conducts the world’s major orchestras, with recent and forthcoming highlights including the Gewandhausorchester Leipzig, Royal Concertgebouw Orchestra, Filarmonica della Scala, Orchestre National de France, London Symphony Orchestra (LSO), London Philharmonic Orchestra (LPO), and Royal Philharmonic Orchestra. In the U.S., Alsop regularly conducts the Philadelphia, Cleveland, and Chicago Symphony orchestras, including at their summer residencies at Saratoga, Blossom, and Ravinia. As one of Leonard Bernstein’s best known pupils, Alsop is central to his 100th anniversary global celebrations in 2018: she opens the LSO’s tribute, an orchestra with whom she has a close and long-standing relationship and conducts performances of Bernstein Mass at the Ravinia Festival, where she has been appointed musical curator for 2018 and 2019, and at Southbank Centre, where she is artist in residence. She conducts the Orchestra of the Age of Enlightenment most seasons, including at the BBC Proms with recent performances of Brahms, Schumann, and Verdi on period instruments. In September 2013, Alsop made history as the first female conductor of the BBC’s Last Night of the Proms, which she returned to conduct in 2015. Her extensive discography has led to Grammy and Gramophone awards and includes highly praised Naxos cycles of Brahms with the LPO and MDR Leipzig, Dvořák with the BSO, Prokofiev with OSESP, and further recordings for Decca Classics, Harmonia Mundi, and Sony Classical. She is dedicated to new music, borne out in her 25-year tenure as music director of California’s Cabrillo Festival of Contemporary Music. Among her many awards and academic positions, Marin Alsop is the only conductor to receive the prestigious MacArthur Fellowship, is an honorary member of the Royal Academy of Music and Royal Philharmonic Society, and was recently appointed director of graduate conducting at the Peabody Conservatory. She attended the Juilliard School and Yale University, who awarded her an honorary doctorate in 2017. Her conducting career was launched in 1989, when she won the Leopold Stokowski International Conducting Competition and was the first woman to be awarded the Koussevitzky Conducting Prize from the Tanglewood Music Center.

25 Amit Peled Violoncello

From the United States to Europe to the Middle East and Asia, Israeli cellist Amit Peled, a musician of profound artistry and charismatic stage presence, is acclaimed as one of the most exciting instrumentalists on the concert stage today. At 6’5” tall, Peled started life as a basketball player and was called “larger than life” when he enveloped his cello and “Jacqueline du Pré in a farmer’s body. ” Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences. Tim Smith of The Baltimore Sun reflected on a recent performance: “Peled did a lot of joking in remarks to the audience. His amiable and inviting personality is exactly the type everyone says we’ll need more of if classical music is to survive. ” During the 2017–18 season, Peled will continue to share with audiences around the globe the sound of the historic cello of Pablo Casals. Mrs. Marta Casals Istomin, the widow of Maestro Casals, personally handed him this historic instrument, a Goffriler ca. 1733. Some of the upcoming highlights include Bach Suite cycles in the USA, Europe, and Israel; a new Naxos installment with the Tempest Trio; this debut collaboration with Maestra Marin Alsop, performing the Shostakovich Concerto; Penderecki’s Second Cello Concerto conducted by the legendary composer himself; a release of the Brahms Cello Sonatas; Schubert’s Arpeggione Sonata recorded on the Casals cello; and a musical celebration of Beethoven’s cello/piano sonatas around the world to commemorate his 250th anniversary. Peled has performed as a soloist with many orchestras and in the world’s major concert halls such as: Carnegie Hall and Alice Tully Hall, New York; Salle Gaveau, Paris; Wigmore Hall, London; Konzerthaus, Berlin; and Tel Aviv’s Mann Auditorium. Following his enthusiastically received Alice Tully Hall concerto debut playing the Hindemith cello concerto, The New York Times stated: “Glowing tone, a seductive timbre and an emotionally pointed approach to phrasing that made you want to hear him again. ” Peled’s extensive discography includes critically acclaimed CDs on the Naxos, Centaur, and Delos Labels. His recent release of Casals Homage which features the legendary 1915 Pablo Casals program was a best-selling feature on the iTunes Store. In 2017, he recorded the unknown music of Nadia Boulanger, which has awarded him a Grammy nomination! As an active chamber musician, Peled is a founding member of the famed Tempest Trio with pianist Alon Goldstein and violinist Ilya Kaler. Their Dvorak CD on Naxos has been described as “The best ‘Dumky’ on disk ever!” The Tempest Trio returns to the recording studio this fall to record another CD for Naxos. Peled is also a frequent guest artist, performing and giving master classes at prestigious summer music festivals such as the Marlboro Music Festival, Newport Music Festival, Seattle Chamber Music Festival, Heifetz International Music Institute, Schleswig Holstein and Euro Arts Festivals in Germany, Gotland Festival in Sweden, Prussia Cove Festival in England, The Violoncello Forum in Spain, and Keshet Eilon Festival in Israel, among others. One of the most sought-after cello pedagogues, Peled is a faculty artist at the Peabody Conservatory. As difficult as it was to leave the professional basketball behind, he enjoys following fanatically the NBA league and playing hoops with his children.

26 PEABODY CHAMBER ORCHESTRA Joseph Young, Ruth Blaustein Rosenberg Artistic Director of Ensembles Marin Alsop, conductor

Violin Viola Oboe Nicholas Bentz † Gavon Peck * Caleb Bradley Maitreyi Muralidharan * Andrew Goo Niall Casey Yangying Chen Hyejin Kim Andrea Copland Huan Ci Guanlun Li Samuel York Ledah Finck Jonathan Milord Clarinet Ben Hoertnagl-Pereira Amy Tan Melissa Lander Jerry Hou Lehan Wang Juan Esteban Martinez Wei-Ling Hu Ting-An Wei Bassoon Mu-Ning Huang Cello Esther Kim Clifton Guidry Soyoon Park * Brenda Koh Mateen Milan Renee Delgado Minjin Lee Jerram John Horn Wang Liang Robert Kaufman Scott Campbell Hyung Ji Lim Marcella Kolacki Jordan Dinkins Audrey Maxner Ethan Wagner Szymon Rywalski Yan Qiao Noah Tingen Bass Yuhong Tu Scott Ullman Daisy Wang Gabriel Rioux-Boudreau * William Wang James Peterson Trumpet Kimberlyn Wu Brandon Smith Jason Aylward Ae-Lin Youn Jianze Zhang Chenguang Wang Flute Piano Yerim Cho Soo Jung Kim Lily Josefsberg Percussion/Timpani Christian Paquette Colin Crandal Arlo Shultis * Principal † Concertmaster

27 MARINA PICCININI FLUTE AMIT PELED VIOLONCELLO ALEXANDER FITERSTEIN CLARINET ALON GOLDSTEIN PIANO

Claude Debussy (1862–1918) Syrinx for flute solo Arranged by Michael Webster

Marina Piccinini, flute

Johannes Brahms (1833–1897) Clarinet Trio in A minor, Op. 114 Allegro Adagio Andantino grazioso Allegro

Alexander Fiterstein, clarinet Amit Peled, violoncello Alon Goldstein, piano

INTERMISSION

Joachim Stutschewsky (1891–1982) Hassidic Fantasy

Alexander Fiterstein, clarinet Amit Peled, violoncello Alon Goldstein, piano Leith Symington Griswold Hall Griswold Symington Leith |

Felix Mendelssohn (1809–1847) Trio for flute, cello, and piano in D minor, Op. 49

pm 8:00 Molto allegro agitato

| Andante con moto tranquillo Scherzo: leggiero e vivace Finale: allegro assai appassionato

Marina Piccinini, flute Amit Peled, violoncello Alon Goldstein, piano SHOWCASE

Sylvia Adalman Chamber Series Chamber Adalman Sylvia FACULTY 2018 26, February Monday, In case of emergency, walk, do not run to that exit. 28 ARTIST BIOGRAPHIES Alexander Fiterstein Clarinet

Clarinetist Alexander Fiterstein is considered one of today’s most exceptional artists. Fiterstein has performed in recital, with distinguished orchestras, and with chamber music ensembles throughout the world. He won first prize at the Carl Nielsen International Clarinet Competition and received the prestigious Avery Fisher Career Grant Award. The Washington Post has described his playing as “dazzling in its spectrum of colors, agility, and range. Every sound he makes is finely measured without inhibiting expressiveness,” and The New York Times described him as “a clarinetist with a warm tone and powerful technique. ” Fiterstein is Clarinet faculty artist and Chair of Winds at the Peabody Conservatory.

Alon Goldstein Piano

Pianist Alon Goldstein is one of the most original and sensitive artists of his generation, admired for his musical intelligence and dynamic personality. He has performed with orchestras throughout the world including the Philadelphia, Chicago, San Francisco, Toronto, Vancouver, and St. Louis Symphonies as well as the Los Angeles, London, and Israel Philharmonics. He recently toured Latin America with the Israel Chamber Orchestra performing 17 concerts in all major concert halls — Teatro Colon, Bellas Artes, Teatro Solis, etc. A passionate advocate of chamber music, Goldstein toured with the Tokyo Quartet as well as the Jerusalem and Fine Arts quartet, with whom he recently released a best- seller CD on Naxos. Other recent highlights include performances at New York’s International Keyboard Festival, Ravinia Festival, concert tour in China, and two world premieres of concerti that were written for Goldstein. His recent teaching engagements have included The Steans Institute of the Ravinia Festival, Gijon Academy in Spain, IKIF in New York, and Music@Menlo.

Amit Peled Violoncello See page 26.

29 Marina Piccinini Flute

A daring artist with diverse musical interests, flutist Marina Piccinini is in demand worldwide as a soloist, chamber musician, and recording artist. Internationally acclaimed for her interpretive skills, rich, expansive colors, technical command, and elegant, compelling stage presence, Piccinini has been hailed by Gramophone as “the Heifetz of the flute.” The list of esteemed orchestras with which Piccinini has appeared includes the Boston Symphony Orchestra, London Philharmonic, Vienna Symphony Orchestra, Rotterdam Philharmonic, Saint Louis Symphony, Tokyo Symphony, St. Paul Chamber Orchestra, Montreal Symphony, National Symphony Orchestra, Hannover Symphony, Toronto Symphony Orchestra, and Ravenna Chamber Orchestra, among others. She has worked with such celebrated conductors as Alan Gilbert, Esa-Pekka Salonen, Seiji Ozawa, Kurt Masur, Pierre Boulez, Leonard Slatkin, Myung-whun Chung, Gianandrea Noseda, Andres Orozco-Estrada, and Jukka-Pekka Saraste, and collaborated with such distinguished artists as the Tokyo, Brentano, Mendelssohn, and Takacs string quartets, with the percussion ensemble Nexus, the Beijing and Brasil Guitar Duos, and is a regular partner of pianists Andreas Haefliger and Mitsuko Uchida. A popular figure at international music festivals, she is a long-time resident artist at the Marlboro Festival and has performed (at the personal invitation of Seiji Ozawa) at the Saito Kinen Festival. Piccinini has also appeared as guest principal flute with both the Boston Symphony and the New York Philharmonic. This season, Piccinini returns to the London Philharmonic for a recording of Miguel Kertsman’s Flute Concerto under Dennis Russel Davies and tours with Musicians from Marlboro across the Eastern U.S., including concerts at Carnegie Hall’s Weill Hall, Philadelphia’s Kimmel Center, the Smithsonian Institution in Washington, D.C., and Boston’s Gardner Museum. Other collaborations include a U.S. tour with the Brentano String Quartet, Mozart’s Flute and Harp Concerto with Anneleen Lenaerts and Bruno Weill in Vienna, and recitals in the U.S., France, Germany, Hungary, Switzerland, and Austria. In addition, she will perform with her trio Tre Voci at London’s Wigmore Hall, in Philadelphia, Boston, and at the Accademia Chigiana in Siena, Italy, featuring the world premiere of a new piece written for the trio by Toshio Hosokawa.

30 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. Austrian John L. Due Charitable Trust Michael R. Bloomberg Taylor A. Hanex The Blaustein-Rosenberg- Anonymous Rheda Becker and Thalheimer Philanthropic Group Tristan W. Rhodes Robert E. Meyerhoff Eric and Edith Friedheim Hilda P. and Douglas S. Goodwin Laifun Chung and Ted Kotcheff Loretta Ver Valen Claire S. and Allan D. Jensen Sandra Levi Gerstung and the Arabella Leith Levi Family Fund II of the Symington Griswold Marc C. von May Baltimore Community Wendy G. Griswold and Thomas H. Powell Foundation Benjamin H. Griswold IV THE 2016–17 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, 2016 and June 30, 2017. CHAIRMAN’S CIRCLE COMPOSER’S CIRCLE VIRTUOSO’S CIRCLE $100,000 AND ABOVE $50,000–$99,999 $10,000–$24,999 Stanley Altan Anonymous Anonymous Rheda Becker and Liza Bailey and Michael Musgrave Laifun Chung and Ted Kotcheff Robert E. Meyerhoff Barbara and Thomas Bozzuto Alexandra L. Clancy Brookby Foundation Elana R. Byrd Charles Delmar Foundation Phyllis Bryn-Julson and David Wayne Helsley * Helen P. Denit Charitable Trust Donald Sutherland Evelyn Johnson Estelle Dennis Scholarship Trust Margaret H. Cooke * Charitable Foundation Evergreen House Foundation Tammis A. Day * + Thomas H. Powell Edith Hall Friedheim and Jane W. I. and Larry D. Droppa Jean and Steve Robinson + the Eric Friedheim Foundation Phillip T. Dunk Jr. * Amy L. Gould and Sandra Levi Gerstung and MAESTRO’S CIRCLE Matthew S. Polk Jr. the Levi Family Fund II of the Tamera and Brian Hays Baltimore Community Foundation $25,000–$49,999 Sallie Harper Helm * + Wendy G. Griswold and Pennie and Gary Abramson Benjamin H. Griswold IV Nina Rodale Houghton Paul M. Angell Foundation In Memory of Hae-Kyung Ko-Im and Dwight Im Michela Mitchell Halpern + Robert Austrian * Abbe Levin Taylor A. Hanex Peggy J. Decker + Marshall Macks + Hecht-Levi Foundation Peggy and Yale Gordon Paul E. McAdam Charitable Trust Claire S. and Allan D. Jensen Dae-Won Moon Nancy Grasmick C. Albert Kuper III * Peabody Court Hotel + Sumati Murli and Sunil Kumar Jill E. McGovern Neil D. Pennington + Mildred S. Perlow + Dorothy and Louis Pollack T. Rowe Price Foundation Howard and Geraldine Polinger Julie A. Walters and Samuel G. Rose Family Foundation Barbara and David Roux Adam G. Shapiro Carol J. * and Roy R. Thomas Soo-Jung Shin Marc C. von May Andrew Yang Carolyn J. Sienkiewicz Shirley S.L. Yang Sheridan A. L. and John W. Skouge Speedwell Foundation Esther Carliner Viros John Walker Barbara P. and Martin P. Wasserman 31 Kurt Weill Foundation for Music DIRECTOR’S CIRCLE Harris L. Kempner Jr. Thomas Wilson Sanitarium for Irene T. Kitagawa and Children of Baltimore City $1,000–$2,499 Stephen S. McCall Marin Alsop Galan Kral CONCERTMASTER’S CIRCLE Anonymous (4) Beth Kronenwetter $5,000–$9,999 Carol and Steven Batoff Sara W. Levi Larraine Bernstein and Jessica Preiss Lunken and A L H Foundation Kenneth D. Hornstein David A. Lunken Herman C. Bainder * Aurelia G. Bolton Lois & Philip Macht Family Bank of America Foundation ** Anders V. Borge Philanthropic Fund Liz and Fred Bronstein Paula Borge Lauren and Flemming Madsen C. Sylvia Brown and Eddie C. Brown Helene Breazeale Paul B. Mathews Margaret Glasser + Laura R. Burrows Carol and Paul Matlin Ruby and Robert Wesley Hearn Carol Cannon Audrey C. McCallum Jephson Educational Trusts W. P. Carey Foundation Hugh P. McCormick Jr. * Robert Wood Johnson Foundation ** Linda P. Carter Cynthia and Michael McKee Jane B. McKewen * Denise Caves Trust Gary Melick Wilbur O. Nelson Jr. * L. Chinsoo Cho James L. Meyerhoff Clara Juwon Ohr Georgia R. Crompton Suruchi Mohan and Prabhat K. Goyal Peabody Institute Fund of the Russell Davidson Foundation Mary C. R. S. Morgan and Baltimore Community Foundation David J. Callard Nijole Boguta Dedinas Lori Raphael and J. Michael Hemmer Cynthia W. Murray + Ruth L. and Arno P. Drucker Rock Family Foundation Margaret B. Otenasek Lydia and Charles Duff Christine Rutt Schmitz and Kimberly and Townsend Plant Harriet J. Eaton Robert Schmitz Donald Regier Hildegard and Richard Eliasberg Lisa Smith and Tracey Pullo Schutty W. Christopher Smith Jr. Kimberly and Donald Evans Burdette Short Elaine B. and Solomon H. Snyder Patrick Fraser Terry Meiselman Shuch and Dorothy Richard Starling Foundation Christine and John Fraser Neal Meiselman Vivian Thompson-Goldstein and Hang Fung Thomas R. Silverman Robert Goldstein Mary Jo and James Gary Eleanor Simon and Patrick O’Neall PRINCIPAL’S CIRCLE Alison Matuskey Gatwood Linda B. and Richard Q. Snurr Wendy and Robert Ginsburg $2,500–$4,999 St. Patrick Celebrations Cyrus Ginwala Rochelle Stanfield and Anthony Accurso + Basil Gordon * Edward Grossman Frances K. and George Alderson Janet Rayburn Greive and Edward Steinhouse Edward J. Asher Tyrone Greive Kenneth R. Talle Ira J. and Mary K. Basler Foundation David B. Grossman and the Angela and Daniel Taylor Bill Grossman Fund of the Abra Bush Isidore Grossman Foundation Sheila and Erick Vail Constance R. Caplan Ellen Halle and the Halle Family Phyllis H. Vogel Exelon Foundation ** Philanthropic Fund Yuh-Wen Wang Abigail and Ryan Frederick Maureen Harrigan and Beverly Dietrich Weber David McDowell Christopher Kovalchick Susan F. Weiss Barbara S. Hawkins and Kenneth Whittington Links, Inc. Stephen W. Singer Wolman Family Foundation Cynthia and Paul Lorraine Wilda M. Heiss Avedis Zildjian Company Thomas MacCracken Kris Hoffman and Paul D. Raschke Ireneus Bohdan Yaromyr Zuk Barbara and John McDaniel Lynnie and Ian Hoffman Lloyd E. Mitchell Foundation Trust Nancy and Robert Huber + In-Kind Gift Edward Mortimore + Thanh V. Huynh and * Deceased Helen Stone Tice Jeremy Nathans ** Matching Gift Marguerite M. VillaSanta Alma D. Hunt/VCM Charles Emerson Walker Charitable Trust Margaret C. and Patrick C. Walsh Indian Spring Academy of Music Patricia E. Kauffman

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 2016–17 academic year. 32 STRENGTHENING OUR COMMITMENT TO THE BALTIMORE COMMUNITY, ALL CONCERTS AT PEABODY ARE FREE.

PLEASE CONSIDER A GIFT TO SUPPORT PEABODY.

PEABODY.JHU.EDU/GIVING

COMING IN FALL 2018 LEO M SS NARD OCTOBER 26, 2018 A Theatre Piece for Singers, Players and Dancers by Leonard Bernstein BERN libretto from the liturgy of the Roman Mass with additional texts by Stephen Schwartz and the composer Marin Alsop music director and conductor

By arrangement with Boosey & Hawkes, Inc., Sole Agent for STEIN Leonard Bernstein Music Publishing LLC, publisher and copyright owner.

Peabody joins the celebration of Leonard Bernstein’s centennial with a full staging of his dramatic, musically eclectic MASS performed in Baltimore’s New Psalmist Baptist Church.