The 2016–17 Concert Season at Peabody

Home , Alice Tully Hall, Blair Tindall, Ignaz Pleyel, Johann Peter Salomon

the 2016–17 concert season at peabody

Peabody Symphony Orchestra September 24, 2016 The Peabody Trio September 27, 2016 Peabody Concert Orchestra October 7, 2016 Peabody Wind Ensemble October 8, 2016 Benjamin Pasternack, piano October 19, 2016

WELCOME TO THE 2016-17 CONCERT SEASON AT PEABODY

There are so many things that I’m excited about this year. First, all of our concerts are now free! As Peabody seeks to engage our students and faculty more deeply in the community directly through new curricular initiatives, we hope to welcome even more of the community to campus as our guests. By making all concerts free, we want to reinforce that music has no boundaries, and there is something for everyone here at Peabody. We’re also especially excited this season with the recent completion of phase one of our acoustical improvement project for the wonderful Miriam A. Friedberg Concert Hall, a project that we hope to complete next summer. This first phase included a permanent extension of the Peabody stage in order to improve on-stage hearing for our performers and increase intimacy in this performance space with audiences. Under the leadership of world-renowned acoustician Lawrence Kirkegaard, and thanks to the generous support of the France-Merrick Foundation, we are well on our way with this important project. And it could not come at a more opportune time as we gear up to celebrate the 150th Anniversary of Friedberg Hall in October with a special concert marking the occasion. We are looking forward to all the performances and music that we will hear at Peabody over the next ten months. Our orchestras are unique among conservatories in presenting two world renowned conductors of major American orchestras who will lead three concerts during our season: Marin Alsop, music director of the Baltimore Symphony and director of the Peabody Con- servatory’s graduate conducting program; and Leonard Slatkin, music director of the Detroit Sym- phony Orchestra. Both Maestra Alsop and Maestro Slatkin will conduct works of Aaron Jay Kernis, including his Second Symphony and new flute concerto written for Peabody faculty member Marina Piccinini, to be recorded for the PSO’s second CD in as many years on the international Naxos label. We’re proud to note that our first CD featuring the music of faculty composer Kevin Puts, released this past summer by Naxos, was on the top 25 Billboard Classical charts for several weeks. Other special performances include the Variations on Goldberg series focusing on Bach’s monu- mental Goldberg Variations from a variety of unique perspectives and instrumental confluences, and two fully-staged operas: Engelbert Humperdinck’s Hänsel und Gretel, and Mozart’s Le nozze di Figaro, always a favorite of opera audiences. Peabody has also recommitted itself to music of our time, as this season demonstrates with a rich array of contemporary compositional voices including Michael Torke, John Adams, Christopher Theofanidis, Michael Daugherty, Mason Bates, and others, as well as performances by Peabody’s new contemporary music ensemble, Now Hear This, and guest artists Ensemble Klang. As an educational institution, we are especially excited to welcome great artists to present master classes building on the outstanding work our faculty does each and every day. This year we’ll have classes led by 2016-17 distinguished visiting artists: world-renowned violinist Midori; and bass-baritone Eric Owens, prominent on major opera stages across the world today. Mezzo- soprano Frederica von Stade and baritone Sherrill Milnes are among the other acclaimed performers visiting campus to conduct master classes. And our Dean’s Symposium Series now entering its second season is helping place Peabody at the center of a national conversation about the importance of music. This year we bring four thought leaders: Aaron Dworkin, Blair Tindall, Alex Ross, and Peter Sellars, for these interactive forums. While there are far too many events to even come close to covering in this one letter, I hope this gives you a sense of the scale and scope of our season. Again, welcome to Peabody, and I look forward to seeing you on campus for many great musical events to come.

Fred Bronstein

Dean Ruth Blaustein Rosenberg Series PEABODY SYMPHONY ORCHESTRA

LEON FLEISHER Guest Conductor Andrew W. Mellon Chair in Piano

Saturday, September 24, 2016 Miriam A. Friedberg Concert Hall 8:00 pm

Sinfonia concertante, Op. 8 Franz Joseph Haydn Allegro (1732-1809) Andante Allegro con spirito Teresa Ching Lin, oboe Phillip Kolker, bassoon Shannon Fitzhenry, violin Jiaoyang Xu, violoncello

Triple Concerto, Op. 56 Ludwig van Beethoven Allegro (1770-1827) Largo Rondo alla polacca Violaine Melançon, violin Alan Stepansky, violoncello Sanjay Parimal Mody, piano

INTERMISSION

Symphony No. 1 in E minor, Op. 39 Jean Sibelius Andante, ma non troppo — Allegro energico (1865-1957) Andante, ma non troppo lento Scherzo: Allegro Finale (quasi una fantasia)

Please disable all electronic devices including phones, e-readers, and tablets during performances. The use of cameras and sound recorders during performances is strictly prohibited. Notice: For your own safety, look for your nearest exit. In case of emergency, walk, do not run to that exit. By order of the Mayor and City Council of Baltimore. 2 PROGRAM NOTES

Sinfonia concertante, Op. 8 The Sinfonia Concertante dates from Haydn’s Franz Joseph Haydn first London visit and was composed during the winter of 1792. The genre of sinfonia Born ca. March 31, 1732, in Rohrau, Austria; Died May 31, 1809, in Vienna, Austria. concertante is a unique one. It is a work for more than one soloist with orchestra, having This work was premiered on March 9, 1792, evolved from the similar concerto grosso in London, England, with soloists Johann form of the Baroque period. Haydn’s group of Salomon (violin and conductor), Mr. Har- soloists consists of oboe, bassoon, violin, and rington (oboe), Mr. Holmes (bassoon), and cello. Some believe the work to be a response Mr. Menel (cello). It is scored for solo oboe, to the music of Ignaz Pleyel, a friend and for- solo bassoon, solo violin, solo cello, flute, mer student of Haydn. London newspapers two oboes, two bassoons, two horns, tried to paint them as bitter rivals, but the timpani, and strings. two composers loved the attention and were often in attendance at each other’s concerts. Franz Joseph Haydn had a long and illustrious Throughout the work, Haydn is very sensitive career. Having created the string quartet and to the needs of the four soloists. Except for a the classical symphony, which he elevated moderately flashy violin part — played at the from salon piece to fully developed work for premiere by Salomon — the soloists work as the concert hall, Haydn was recognized in his a separate team but with moments of indi- own day as the foremost innovator in music. vidual flourish. The opening “Allegro” has an He served as court composer to Prince extended introduction, as do most Classical Nikolaus Esterházy for 29 years but found concertos, after which the soloists emerge as himself free to travel after his patron died in a unified group. They pass melodies between 1790. The following year, upon the invitation the four of them but also have solo passages of British impresario Johann Peter Salomon, from time to time. Throughout the move- Haydn made his first journey to London. ment there is a sense of Classical balance The London concerts presented a large and refinement. variety of the composer’s music, but the Haydn’s slow movement, marked “Andante,” core of these offerings was a set of six newly is reminiscent of chamber music with the composed symphonies, later known as Nos. solo quartet doing most of the work and 93 through 98. A second visit followed in the orchestra playing a supporting role. The 1794–95, during which Haydn composed finale, “Allegro con spirito,” is a lively romp symphonies Nos. 99 through 104. Haydn that is interrupted three times for passages relished his newly found artistic freedom and from the solo violin. used it to his advantage. The 12 symphonies composed for the visits, cumulatively called ©2016 Orpheus Music Prose & Craig Doolin the “London” or “Salomon” symphonies, www.orpheusnotes.com call for a larger orchestra than had been at his disposal at Esterháza. London audiences were delighted with Haydn’s presence. He entertained a seemingly endless number of well-wishers. His works were received with adulation, and the London press compared him to Shakespeare in his mastery of his art.

3 Triple Concerto, Op. 56 violinist Carl August Seidler, cellist Anton Ludwig van Beethoven Kraft, and a pianist of great importance — the 16-year-old Archduke Rudolf. Son of Born December 16, 1770, in Bonn, Germany; Died March 26, 1827, in Vienna, Austria. Emperor Leopold II, Rudolf was a pupil of Beethoven and the dedicatee of several of This work was most likely first performed the composer’s major works spanning from publicly in May of 1808, in Vienna. However, 1803 until Beethoven’s death. a private reading of an early version was Writing for multiple soloists presents a held in June 1804 at the palace of Prince unique problem for the composer. Among Lobkowitz. It is scored for pairs of flutes, the questions Beethoven faced was: Are the oboes, clarinets, bassoons, horns, and three players really one group of three mem- trumpets with timpani and strings. bers, or are they three separate soloists? His answer is ingenious: both. For instance, Ludwig van Beethoven’s works are grouped in the exposition of the first movement, the into three periods. The Early Period ends soloists act as one group in a concerted about 1802 and includes his works from effort. However, in the slow movement, the his hometown of Bonn and his first decade bulk of solo effort falls upon the cellist. By in Vienna. Music from the Early Period is using the solo group in both ways, Beetho- largely Classical in structure and is much ven creates a much more varied work. like the later works of Haydn and Mozart. Even though the music rarely approaches The first movement uses the Classical double the storminess of his later works, it often exposition in which the orchestra introduces sounds as if dark clouds are threatening all themes before the soloists enter and on the horizon. The Second Period, often reintroduce them. In the development, the called the Heroic Period, includes the first soloists act as three separate players with eight symphonies, all of the concerti, and his individual contributions. Throughout the opera Fidelio. This music often features bold movement, Beethoven expertly balances the contrasts and often deals with revolutionary orchestra’s role with that of the trio. subjects. It was during this time that Beetho- ven faced impending deafness, progressing The “Largo” is an exquisitely lyrical movement from a gifted young composer to a totally emphasizing the cello. No contrasting theme deaf middle-aged genius. The Late Period arises, but the movement plays upon free produced fewer works, but the ones he did variations of the theme. A coda leads without compose were of the most profound nature pause to the final “Rondo alla polacca.” and were often misunderstood by his public. The brisk triple-meter polacca, the national Perhaps most the notable of these were the Polish dance also called the polonaise, is the Missa Solemnis and the Ninth Symphony, principal theme of the large sonata-rondo both from the last year of his life. Beethoven form. This unique form combines the return- faced many personal demons in the Late ing theme of the Classical rondo with the Period, especially his long battle to gain three-part sonata-allegro form usually found guardianship of his nephew, Karl. in first movements of this period. The Triple Concerto was composed largely in 1803 and 1804, but the composer left it ©2016 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com incomplete to concentrate on the “Eroica” Symphony and his sole opera Fidelio. He returned to the work later, completing it in 1806. The concerto is filled with bold har- monies — sometimes shocking — and varied dynamics with many contrasts. Although there could have been a performance in Leipzig in April of 1808 (scholars are not cer- tain because of disagreement among source materials), the work was likely premiered by 4 Symphony No. 1 in E minor, Op. 39 enter with a dramatic theme at an allegro Jean Sibelius tempo and soon gain assistance from the brass. Long pedal tones and fragmented Born December 8, 1865, in Hämeenlinna, Finland; Died September 20, 1957, in Järvenpää, Finland. melodies add to the uneasy atmosphere of this movement. This work was first performed on April 26, Sibelius’s second movement, “Andante,” is a 1899, in Helsinki with the composer con- quiet respite from the turmoil of the open- ducting. It is scored for piccolo, two flutes, ing movement. Muted strings gently state two oboes, two clarinets, two bassoons, four the opening theme. A horn solo adds one of horns, three trumpets, three trombones, the most heartfelt touches to this poignant tuba, timpani, percussion, harp, and strings. movement. The scherzo is rhythmic and dramatic. Brutal drum strokes begin the forceful Jean Sibelius was an adult before he decided and urgent main theme. After the placid trio, to concentrate on a musical career. Although Sibelius’s vicious main theme returns to bring he began piano studies at age nine and a decisive close to the movement. composition at ten, his first intention was to become an attorney. In 1885, he enrolled in Restating material from the introduction the University of Helsinki to study law. Within of the first movement, the finale begins a year, however, he decided to study music with the theme in the strings, under which and left legal studies behind. brass chords impart a sense of agitation. A nervous woodwind theme is heard before He was drawn to folklore. Many of his the violins introduce a lyrical second theme. numerous works for orchestra, stage, Overwhelming in its outpouring of passion, chamber ensembles, and voice and piano the movement’s climax finally arrives, were inspired by stories from the Kalevala, followed by a final punctuation from two the Finnish epic poem of native legends. It is puzzling that such a prolific composer understated chords. abruptly abandoned his compositional career in 1927 to live in retirement, refusing to even ©2016 Craig Doolin, Orpheus Music Prose discuss his music, until his death 30 years www.orpheusnotes.com later at the age of 91. Although Sibelius lived well beyond the middle of the 20th century, his spirit belonged to the 19th. His music reflects the two great driving forces of his public career; he was a Romantic as a composer and an intense nationalist as a citizen. During his early years as a composer, he was influenced by the styles of Tchaikovsky and Brahms. Later he developed his own characteristic style but he remained a Romantic. Sibelius was the authentic voice of Finland, not only to his countrymen but also to the world. Even his works of absolute music express a combination of pastoral moods and outbursts of passionate emotion that seem typical of his native land. The First Symphony is no exception. The slow and stark beginning features a solo clarinet playing softly over a timpani roll to impart a sense of foreboding. As the solo unfolds, anticipation builds until the strings 5 ARTIST BIOGRAPHIES

Leon Fleisher Guest Conductor As a recipient of the Kennedy Center Honors in 2007, pianist Leon Fleisher was recognized as a “consummate musician whose career is a testament to the life-affirming power of art.” The child prodigy began to study the piano at the age of four, and by the age of nine, the leg- endary Artur Schnabel invited him to be his student, first in Lake Como, Italy, and then in New York, where he nurtured and inspired the young Fleisher for the next 10 years as he evolved into one of the great music masters of our time. Mr. Fleisher made his debut with the New York Philharmonic, conducted by Pierre Monteux, when he was 16 years old. Maître Monteux called him “the pianistic find of the century.”

Mr. Fleisher went on to international renown, becoming the first American to win the prestigious Queen Elisabeth of Belgium Competition in Brussels in 1952. He subsequently enjoyed a prolific recording career. Most notably, his recordings with George Szell and the Cleveland Orchestra are recognized as among the great collaborations in the concerto repertoire. In 1965, before a scheduled tour of Russia with the Cleveland Orchestra, Mr. Fleisher began to suffer symptoms of a debilitating condition of his right hand, later diagnosed as focal dysto- nia, a neurological condition that causes the fingers to curl into the palm of the hand. After a period of great despair, Mr. Fleisher channeled his creativity in new directions, mas- tering the piano repertoire for left hand and initiating a career in conducting. He renewed his dedication to teaching at Peabody, where he has been the inspiration to hundreds of students since 1959. Mr. Fleisher holds the Andrew W. Mellon Chair at the Peabody Institute of the Johns Hopkins University. As a teacher, he carries on a tradition that descends directly from Beethoven, handed down generationally through Carl Czerny, Theodor Leschititsky, and Artur Schnabel to Leon Fleisher himself. In the mid-90s, with the combined therapies of Botox injections and Rolfing, he regained sufficient use of his right hand, leading to an extraordinary career renaissance. In 2003, Mr. Fleisher joined forces with his wife, pianist Katherine Jacobson, to form the Fleisher-Jacobson Duo, giving concerts world-wide and recording for Sony Classical. Leon Fleisher released the album Two Hands in 2004, which went on to hold a Top 5 Billboard Chart position and was hailed by critics as one of the best recordings of the year. Two Hands is also the title of the Oscar-nominated documentary film about his amazing life story. In 2013, Sony Classical issued a 23-CD box set of his entire recorded output, and in 2014, Mr. Fleisher released his first solo CD in a decade, the Grammy-nominatedAll the Things You Are. In 2006, in Paris, Mr. Fleisher received the honor of Commander in the Order of Arts and Let- ters by the Minister of Culture of the French government. At age 86, in addition to his teaching at Peabody, Mr. Fleisher continues with an international schedule of master classes, performances, and orchestral guest conducting.

6 Phillip Kolker Bassoon Phillip Kolker began his professional career at the age of 14 as second bassoon in the Albany Symphony, where he played until he graduated from high school. In the fall of 2010, he retired as principal bassoon of the Baltimore Symphony after 38 years. In MUSIC THAT’S between those first and last jobs, he served as principal in the Milwaukee Symphony, associate principal in the Minnesota Orchestra, and principal in EXPRESSIVE, both the Santa Fe Opera and St. Paul Opera orchestras. Mr. Kolker has appeared as soloist with the NOT EXPENSIVE. Baltimore Symphony as well as with the Minnesota Orchestra, the Baltimore Chamber Orchestra, and, internationally, with orchestras in Spain and Taiwan. Over the years, he has worked with conductors including Stanislaw Skrowaczewski, Sergiu Commis- Enjoy performance siona, David Zinman, Yuri Temirkanov, Marin Alsop, excellence at Peabody Leon Fleisher, Eugene Ormandy, Leopold Stokowski, Pierre Monteux, Erich Leinsdorf, Antal Dorati, Howard for FREE this year. Hansen, Frederick Fennell, Alexander Schneider, and Jean Martinon. He has performed chamber music Opera, jazz, orchestral and throughout the United States, Europe, and Asia, appear- choral music, chamber music, ing with such players as flutists Robert Willoughby and dance, new music, early music- Marina Piccinini, oboist John Mack, English horn all free. So have a night out with player Thomas Stacy, clarinetists Anthony Gigliotti, world renowned guest artists, Franklin Cohen, and Larry Coombs, pianist Malcolm acclaimed faculty, and top-level Frager, violinist Hilary Hahn, and cellist Anner Bylsma. student performers. Mr. Kolker is a member of the artist faculty of the Peabody Conservatory where he serves as chair of IT’S ON US! the Department of Orchestral Instruments. In the summer of 2017, he will host the seventh Peabody Bassoon Week, an intense camp for college and high school students. Mr. Kolker has also been a visiting Reserve your seats by calling professor at the Eastman School of Music and has 667-208-6620 or visiting presented master classes at the Curtis Institute, the peabody.jhu.edu/events. Eastman School of Music, the National Orchestral Institute, the Glickman-Popkin Bassoon Camp, where he was guest faculty, the Interlochen National Music Camp, and in Korea and Taiwan. He has been a featured recitalist at several International Double Reed Conventions and has served on the Execu- tive Committee of the International Double Reed Society. For many years Mr. Kolker was a fixture at Music from Gretna. Orchestral recordings with the Baltimore Symphony include the Vanguard, Telarc, London, Sony, Argo, and Naxos labels. 7 Violaine Melançon Violin An artist deeply dedicated to the range of violin and chamber music repertoire, violinist Violaine Melançon serves on the violin and chamber music faculties of the Peabody Conservatory, where the Peabody Trio, of which she is a founding member, has been ensemble-in-residence since 1987. Since winning the prestigious Naumburg Chamber Music Award in 1989, the Peabody Trio has established itself as an impor tant presence in the chamber music world as vivid interpreters of the classics of the repertoire, advocates for new music, and dedicated teachers and mentors to a generation of young musicians. As a member of the Peabody Trio, Ms. Melançon gave a New York debut in 1990 at Alice Tully Hall and has since performed in the most important chamber music series in North America, including New York, Washington, D.C., Chicago, Denver, Vancouver, Montreal, Seattle, San Francisco, Los Angeles, San Diego, Indianapolis, Dallas, Honolulu, Memphis, Minneapolis, New Orleans, Portland, St. Louis, Boston, and Philadelphia. With them, Ms. Melançon tours internationally, frequently performing in England, making repeat appearances at London’s Wigmore Hall, Japan, and Israel. She has a special affection for the music of today and is a serious interpreter of works of György Kurtág, Mauricio Kagel, and Zhou Long. The Israeli composer Shulamit Ran wrote a violin concerto for her, and she has premiered several works by other leading composers. Among the artists with whom she enjoys collaborating are pianists Leon Fleisher, Gilbert Kalish, and Peter Frankl, soprano Phyllis Bryn-Julson, and violist Roger Tapping. During the spring of 2012, she presented the complete works for solo violin by J. S. Bach. Ms. Melançon is from Québec, Canada. After receiving first prize in violin at the Conservatoire de Musique, she continued her studies with Ivan Galamian at the Curtis Institute of Music, Isadore Tinkleman at the San Francisco Conservatory, and Arthur Grumiaux in Belgium. While at Curtis, she was a member of the Nisaika Quartet, prize winner of the eighth International String Quartet competition in Evian, France. Ms. Melançon is also the recipient of many awards for solo performance, including the 1984 Prix d’Europe. In 1983, she formed the Knopp-Melançon Duo, an artistic collaboration which would eventually expand to become the Peabody Trio. In 1987, as a result of having been appointed USIA Artistic Ambassadors, the duo toured abroad extensively and made their Washington, D.C., debut at the Kennedy Center. Since then, her activities as a chamber musician, soloist with orchestras, and teacher have taken her to major music centers in the United States, Canada, Europe, the Middle East, and Japan. She has participated in many summer festivals as violinist, teacher, and guest artist, including those of Tanglewood, Ravinia, Skaneateles, Rockport, Orford, and Domaine Forget. She gives yearly master classes at the Green Mountain Chamber Music Festival and teaches regularly at the National Orchestral Institute and Festival. For many years, she has served on the faculty of Yellow Barn, an international gathering of artists who meet each summer to explore the vast riches of the chamber music repertoire. Violaine Melançon’s performances can be heard on the Naxos, Artek, CRI, and New World Records labels.

8 Alan Stepansky Violoncello Alan Stepansky is recognized as one of the most gifted and versatile cellists of his generation. After a distinguished orchestral career playing with the Boston Symphony Orchestra, serving as principal cellist of the Boston Pops, and culminating in a 10-year tenure as associate principal cellist of the New York Philharmonic, he is in demand as a soloist, chamber musician, principal cellist, and recording artist. He is currently on the faculty at the Peabody Institute of the Johns Hopkins University, the Manhattan School of Music, and is the newly appointed director of chamber music at Rutgers University’s Mason Gross School of the Arts. A guest at many summer festivals, he returns each year as faculty artist of the Music Academy of the West in Santa Barbara, California. He has performed as a guest artist of the Chamber Music Society of Lincoln Center, the Mostly Mozart Festival, and Jazz at Lincoln Center, and has appeared in concert with a diverse array of artists including the Takacs and American String Quartets. He has recorded a series of chamber music and solo discs for EMI, which were honored by Gramophone magazine, BBC Magazine, The New York Times, and the British Music Industry Association, and has been engaged as the solo cellist for numerous major motion picture soundtracks. He has also appeared on the albums of many noted recording artists across many genres, including Bruce Springsteen, Natalie Merchant, David Byrne, Audra McDonald, Joss Stone, and Sting, with whom he has also appeared in concert. Recently, he served as the principal cellist for five major fundraising events held at Carnegie Hall, Beethoven’s Symphony No. 9 for South Asia, Requiem for Darfur, Mahler for the Children of AIDS, Beethoven for the Indus Valley, and Shostakovich for the Children of Syria, which featured an international orchestra drawn from leading symphonic, chamber music, and solo artists from around the world. He has appeared as soloist with many orchestras and frequently as guest principal cellist of the St. Paul Chamber Orchestra. After studies at the Curtis Institute of Music and the University of Pennsylvania, Mr. Stepansky graduated from Harvard University with the Horblit Prize, conferred for his outstanding musical accomplishments. Alan Stepansky’s students have won positions in numerous orchestras around the world, including the Philadelphia Orchestra, Seattle Symphony, St. Louis Symphony, Montreal Symphony, and the Los Angeles Philharmonic, and have successful careers as soloists, chamber musicians, and teachers.

STRENGTHENING OUR COMMITMENT TO THE BALTIMORE COMMUNITY, ALL CONCERTS AT PEABODY ARE FREE. PLEASE CONSIDER A GIFT TO SUPPORT PEABODY. SECURE.JHU.EDU/FORM/PEABODYCONCERT

9 Shannon Fitzhenry Violin Shannon Fitzhenry is currently a junior violin performance student at the Peabody Conserva- tory in the studio of Herbert Greenberg. Ms. Fitzhenry was raised in Charleston, S.C., and has performed with the Charleston Symphony Orchestra, Piccolo Spoleto Orchestra, and the Hilton Head Symphony Orchestra, among others. She is a recipient of the Ida Rubin Term Scholarship and the Carl Holzapfel Violin Shop Endowed Scholarship at Peabody, and was awarded full scholarships to the Aspen Music Festival and School in 2012 and 2013. Ms. Fitzhenry was also awarded second prize in the Marbury Competition at Peabody. In February 2016, she was invited to perform as part of the Moscow Symphony Orchestra, where she also played at the U. S. Embassy.

Teresa Ching Lin Oboe Teresa Ching Lin is currently a senior oboe student at the Peabody Conservatory in the studio of Katherine Needleman. Ms. Lin was born and raised in Taiwan until her family moved to Surrey, British Columbia, when she was 14. She is a Peabody scholarship recipient. As winner of the Pacific Symphonic Wind Ensemble Young Soloist Competition, she performed James Barnes’ Autumn Soliloquy as a guest soloist. In 2015, Ms. Lin performed as a guest soloist for Taiwanese composer Maestro Tyzen Hsiao’s vocal work Do Not Reject Taiwan. She has participated in master classes with Los Angeles Philharmonic principal oboist Arianna Gehz, New York Metropolitan Orchestra principal Elaine Douyas, and Richard Woodhams, principal oboist of the Philadelphia Orchestra.

Sanjay Parimal Mody Piano Born in Delaware, Sanjay Parimal Mody began his musical studies in Michigan at the age of six. As a child, Mr. Mody spent his summers at the St. Petersburg Conservatory and Gnessin Institute. When he was 15, he moved to France and studied with Nicholas Angelich at the Paris Conservatory. Having met Leon Fleisher at a master class in 2012, Mr. Mody was invited to study at the Peabody Institute. He has performed as a soloist in prestigious halls, such as the Concertgebouw in Amsterdam and the Parisian Salle Pleyel. Among his most recent appearances was a concert in Paris at the Grand Amphitheatre of the Sorbonne, performing Rachmaninoff’s Concerto No. 3 under the direction of Johan Farjot. Mr. Mody is currently a DMA student at the Peabody Conservatory where he continues his studies with Leon Fleisher and has been a recipient of the Marion Savage Rosette Piano Scholarship and the Leon Fleisher Studio Scholarship.

Jiaoyang Xu Violoncello Jiaoyang Xu is currently a first-year GPD student in Amit Peled’s studio and holds a bachelor’s degree in cello from Peabody Conservatory. Originally from Beijing, China, Ms. Xu was a semi-finalist in the Schoenfeld International String Competition. She has performed in master classes with Zuill Bailey, Daniel Müller-Schott, Thomas Demenga, the St. Lawrence String Quartet, and the Shanghai String Quartet. Ms. Xu has performed side-by-side with Steven Doane and Rosemary Elliot, taken the stage at the Kennedy Center for the Iberian Suite: Tres Pablos: Casals, Neruda, and Picasso—A Multimedia Celebration with Mr. Peled, and played at numerous festivals, including Piatigorsky Festival Fellowship.

10 PEABODY SYMPHONY ORCHESTRA Hajime Teri Murai, Music Director Laureate Ruth Blaustein Rosenberg Director of Orchestral Activities Violin Viola (continued) Clarinet Hangchen Xiao Hyun Jung Song Melissa Lander Concertmaster Alexandra Takasugi Principal Nicholas Bentz Taylor Tin Eric Black Associate Concertmaster and Lin Wang Associate Principal Assistant Principal Mengwen Zhao Ryo Usami Jasper Zientek Bassoon Assistant Concertmaster Stephanie Zimmerman Alex Carlson Yat Sze Wang Co-Principal Principal Violoncello Brian Wilson Kaleigh Acord Lichia Chuang Co-Principal Associate Principal Co-Principal Horn Nikita Borisevich Juhyeon Kim Samuel Jones Cong Chang Dou Co-Principal Principal Ledah Finck Najette Abouelhadi Bailey Myers Sophie Fortunato Jessica Albrecht Associate Principal Alexander Hardan Rebecca Chuang Taryn Lee Jerry Hou Drew Dahms Assistant Principal Ben Hoyt Aaron Feeney Sam Bessen Hanbing Jia Matt Gabriel Kelsey Ross Esther Kim Robert Kaufman Kaeun Julia Kim Michael Newman Andrew Shiau Trumpet Yeji Kim Buddy Deshler Anna Kong Ethan Wagner Tzu-Jou Yeh Principal Gabriel Lee Brandon Sklute Minjin Lee Contrabass Associate Principal Hilda Li Douglas Ohashi Shane Coughlin Mengjiao Li Principal Jong Hwan Yun Natalia Merezhuk Sam Shreves Cassidy Moore Associate Principal Trombone Maitreyi Muralidharan Jihee Kim Ricson M. Poonin Katie Nakamura Assistant Principal Principal Yan Qiao Alec Kipnes Sarah Lewandowski Eliann Reinhardt James Hamilton Peterson Daisy Rho Luke Reilly Bass trombone Arianna Schickel Gabriel Rioux-Boudreau Harry Oehler Naomi Schrank Eric Scholes Marika Suzuki Zhang Jianze Tuba Sarah Thomas Michael Minor Flute Yuhong Tu Seungmin Oh Harp Ying-Chen Wu Principal Erin Baker Han Xie David Le Principal Viola Associate Principal Thea Kammerling Lilly Josefsberg Yuan Qi Timpani Co-Principal Piccolo Jisu Jung Xinyi Xu Lilly Josefsberg Co-Principal Seungmin Oh Percussion Ankit Anil Russell Fisher Oboe Christen Hooks Arlo Shultis Phoebe Chia-Chen Hu Caleb Bradley Elizabeth Keckeisen Co-Principal Assistant conductor Jennifer Kim Garrett Hale Alan Buxbaum Bronwyn Kure Co-Principal Gavon E. Peck Jing Dai Julia Perry 11 Sylvia Adalman Chamber Series THE PEABODY TRIO

Violaine Melançon, violin Natasha Brofsky, violoncello Seth Knopp, piano

Tuesday, September 27, 2016 Leith Symington Griswold Hall 8:00 pm

Romantic Pieces for Violin and Piano, Op. 75 Antonín Dvořák Allegro moderato (1841–1904) Allegro maestoso Allegro appassionato Larghetto

Trio for Violin, Cello, and Piano Charles Ives Moderato (1874–1954) TSIAJ (This Scherzo is a Joke): Presto Moderato con moto

INTERMISSION

Piano Trio No. 3 in F minor, Op. 65 Antonin Dvořák Allegro ma non troppo (1841–1904) Allegro grazioso Poco adagio Finale: Allegro con brio

The Peabody Trio Violaine Melançon, violin Natasha Brofsky, violoncello Seth Knopp, piano Since winning the prestigious Naumburg Chamber Music Award in 1989, the Peabody Trio has established itself as an important presence in the chamber music world as vivid interpreters of the classics of the repertoire, advocates for new music, and dedicated teachers and mentors to a generation of young musicians. They bring to their music-making what the Washington Post calls “the romantic fervor of the 20th-century greats.” The Peabody Trio gave its New York debut in 1990 at Alice Tully Hall and has since performed in the most important chamber music series in North America, including New York, Washington, Chicago, Denver, Vancouver, Montreal, San Francisco, Los Angeles, and San Diego. Internation- ally, they tour frequently in England, making repeat appearances at London’s Wigmore Hall, and in Japan and Israel. Their reputation as champions of new music garnered them an invitation to the first biennial for contemporary music, Tempus Fugit, in Tel Aviv. Festivals including Tanglewood, Skaneateles, Cape and Islands, and Rockport have played home to their summer performances. Their radio broadcasts include performances on Saint Paul Sunday Morning, NPR’s Performance Today, Morning Pro Musica, CBC, Radio-Canada, WGBH in Boston, and WQXR in New York. The Peabody Trio collaborates frequently with such eminent artists as clarinetist Charles Neidich, violists Roger Tapping and Maria Lambros, soprano Phyllis Bryn-Julson, and actor Andre De Shields. Working with Walter van Dyck and Elizabeth Mansfield, the Peabody Trio is at the forefront of chamber music theatre with a series of innovative, collaborative projects involving piano trio and actor. The Peabody Trio currently serves as the resident faculty ensemble of the Peabody Conservatory in Baltimore, a position they have held since 1989. They are frequently asked to perform educational residencies for chamber music organizations and have served as visiting professors at universities and conservatories both in the United States and abroad. They spend summers as ensemble-in-residence at the Yellow Barn Music School and Festival in Putney, Vermont. The Peabody Trio celebrated its 20th season in 2007–08 with the release of the Beethoven Trios, Op. 1, Nos. 1 and 3 on Artek Records, the second in their series of the complete piano trios of Beethoven. Gramophone magazine called this recording a “bold, flexible and vibrant” performance in which Beethoven’s music received “consummate consideration.” In 2004, the Trio released their recording of the Beethoven Op. 70 Trios on Artek, praised by The Strad magazine as “some of the most accomplished Beethoven Trio playing… heard in many a year.” Previously they have recorded for New World Records and CRI.

Violaine Melançon Violin The three musicians of the Peabody Trio come from diverse musical backgrounds. Violaine Melançon serves on the violin and chamber music faculties of the Peabody Conservatory. An artist deeply dedicated to the range of violin and chamber music repertoire, she has a special affection for the music of today. The Israeli composer Shulamit Ran wrote a violin concerto for her, and she has premiered several works by other leading composers. During the spring of 2012, she presented the complete works for solo violin by J. S. Bach. Continued on next page 13 Ms. Melançon is from Québec, Canada. After receiving first prize in violin at the Conservatoire de Musique, she continued her studies with Ivan Galamian at the Curtis Institute of Music, Isadore Tinkleman at the San Francisco Conservatory, and with Arthur Grumiaux in Belgium. While at Curtis, she was a member of the Nisaika Quartet, prize winner of the eighth Inter- national String Quartet Competition in Evian, France. Ms. Melançon is also the recipient of many awards for solo performance including the 1984 Prix d’Europe. In 1983, she formed the Knopp-Melançon Duo, who were appointed USIA Artistic Ambassadors in 1987, toured abroad extensively, and made their Washington, D.C. debut at the Kennedy Center. Since then, her activities as a chamber musician, soloist with orchestras, and teacher have taken her to major music centers in the United States, Canada, Europe, the Middle East, and Japan. During the summer, she serves on the faculty of the Yellow Barn Music School and Festival. Her performances are heard on the Naxos, Artek, CRI, and New World Records labels.

Natasha Brofsky Violoncello Cellist Natasha Brofsky has enjoyed a career in both the United States and Europe. In addition to her work with the Peabody Trio, Ms. Brofsky has performed as a guest with numerous ensembles, including the Takács, Prazak, Norwegian, Borromeo, Jupiter, and Ying Quartets. During nearly a decade in Europe, Ms. Brofsky held principal positions in the Norwegian Radio Orchestra and the Norwegian Chamber Orchestra under Iona Brown. In addition, she was a member of the Serapion Ensemble, performing with them in Germany and Austria, and the string trio Opus 3, which performed throughout Norway. She recorded Olav Anton Thommes- sen’s Concerto for Cello and Winds for Aurora Records and was a regular participant at Open Chamber Music in Prussia Cove, England. A sought-after teacher, Ms. Brofsky serves on the cello faculties of the New England Conser- vatory and The Juilliard School. Since 2001, she has been on the faculty at the Yellow Barn Festival in Vermont. She was previously on the faculty of the Barratt-Due Musikk Institutt in Oslo, Norway, and she has given master classes at many colleges and conservatories in the United States and abroad, including for El Sistema in Venezuela. She gave a featured master class at the 2013 American String Teachers Association National Conference.

Seth Knopp Piano Pianist Seth Knopp is a founding member of the Peabody Trio and serves on the piano and chamber music faculties of the Peabody Conservatory where the trio has been ensemble-in-residence since 1987. In 2000, he was named artistic director of Yellow Barn, an international gathering of artists who meet each summer to explore the vast riches of the chamber music repertoire. Mr. Knopp studied at the New England Conservatory with Leonard Shure, at the San Francisco Conservatory with Nathan Schwartz, and with Leon Fleisher. In 1983, Mr. Knopp formed the Knopp-Melançon Duo, an artistic collaboration which would eventually expand to become the Peabody Trio. In 1987, the duo made their Washington, D.C., debut at the Kennedy Center and subsequently toured throughout the United States, Canada, Europe, Japan, and Egypt. Mr. Knopp’s solo and chamber music performances can be heard on the Albany Records, Analekta, Artek, CRI, Koch, and New World Records labels. Since 2010, he has been curator of Soundings, a concert series presented at the Nasher Sculpture Center in Dallas, Texas, drawing on the relationship between musical traditions and innovation and the unique lens through which music helps us to better understand the world.

14 PEABODY CONCERT ORCHESTRA

JOSEPH YOUNG Guest Conductor

Friday, October 7, 2016 Miriam A. Friedberg Concert Hall 8:00 pm

Pohjola’s Daughter, Op. 49 Jean Sibelius (1865-1957)

Symphony No. 6 in D major, “Le matin” Franz Joseph Haydn Adagio — Allegro (1732-1809) Adagio — Andante — Adagio Menuet Allegro

INTERMISSION

Symphony No. 7 in A major, Op. 92 Ludwig van Beethoven Poco sostenuto — Vivace (1770-1827) Allegretto Presto Allegro con brio

Pohjola’s Daughter, Op. 49 initially called Luonnotar. He eventually used Jean Sibelius the title for a later work for soprano and orchestra but changed the name to Pohjola’s Born December 8, 1865, in Hämeenlinna, Finland; Daughter sometime before he completed Died September 20, 1957, in Järvenpää, Finland. the piece in June of 1906. Sibelius also drew upon music for a scrapped oratorio project This work was first performed on December based on the story of Marjatta from the 29, 1906, in St. Petersburg, Russia, by the Kalevala, which involves a Christ-like figure Orchestra of the Mariinsky Theatre conducted being born after his mother eats a cowberry by the composer. It is scored for piccolo, two in the woods and thus becomes pregnant. flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, Pohjola’s Daughter begins in the depths of four horns, two cornets, two trumpets, three the orchestra with a low recitative in the trombones, tuba, timpani, harp, and strings. cellos. Woodwinds respond and the entire orchestra paints an image of a lonely winter Jean Sibelius’s interest in the Kalevala sleigh ride. An abrupt key change and spanned his entire life and passages from its masterful woodwind writing depict Pohjola’s pages find their way into many of his works. daughter weaving on a rainbow. A develop- The Finnish epic poem was assembled in ment section follows in which Väinämöinen 1835 by Elias Lönnrot and expanded in 1849 attempts to convince the daughter to from stories that had been passed down accompany him on his journey. Sibelius uses by oral tradition for hundreds of years. Its his considerable skills of orchestration to 22,795 verses tell the story of creation, the depict the labors of Väinämöinen. The daugh- formation of society, and many accounts of ter’s mockery is expertly drawn through romance and betrayal over time. dissonant woodwind and string figurations. In 1906, Sibelius turned to the Kalevala for his Hyper-Romantic climaxes abound with soar- tone poem Pohjola’s Daughter. It depicts an ing string lines and brass punctuation, but episode in which the first man, Väinämöinen, the work ends quietly. After he fails the final is riding a sleigh and sees the daughter of task, Väinämöinen’s opening music returns the North (the Finnish word for the North and he continues on his way. is “Pohjola”) perched upon a rainbow. He invites her to join him on his journey, but ©2016 Orpheus Music Prose & Craig Doolin she presents him with a series of tasks to www.orpheusnotes.com complete in order to win her. Just when he is about to complete the final task, evil spirits intervene and he injures himself with an axe. Väinämöinen continues on his journey without her. The first sketches for the work appeared in March of 1901 during a trip to Italy. Sibelius was then working on his Second Symphony and jotted down a few ideas that were not intended for that work. Although he likely had no title in mind at the time, the composer returned to these ideas four years later when Pohjola’s Daughter began to take shape. In late 1905, Sibelius referred to a manuscript for a tone poem that was then untitled. Scholars believe that this was the first draft of the work on this program,

16 Symphony No. 6 in D major, “Le Matin” died in 1790. The following year, he made his Franz Joseph Haydn first of two journeys to London, where he finally achieved the popularity he deserved. Born ca. March 31, 1732, in Rohrau, Austria; Died May 31, 1809, in Vienna, Austria. Haydn’s final years were spent in Vienna experiencing life in the city after nearly 30 The first performance was in 1761 at years at the rural retreat of Esterháza. He Esterházy palace in Vienna. This work is concentrated on composing the String Quar- scored for flute, two oboes, bassoon, two tets, Op. 76 and 77, but after the Trumpet horns, strings, and continuo. Concerto of 1796, he wrote no more instrumental music. All of his efforts went into Franz Joseph Haydn lived in a quickly chang- sacred choral music —the Lord Nelson Mass, ing world. In his 77 years, he experienced the Mass in Time of War, Theresienmesse, and rise of the Age of Enlightenment, the French Harmoniemesse. Also from the period are and American Revolutions, and the begin- the oratorios The Creation and The Seasons. nings of the Industrial Revolution in England. Musically, he lived from just after the compo- Soon after signing the Esterházy contract in sition of Bach’s Brandenburg Concertos until 1761, Haydn was asked to compose sym- just after Beethoven’s “Pastoral” Symphony. phonies to reflect three different times of Of course, as musical fashion changed so did day — morning, noon, and night. “Le Matin” instrumentation. In Haydn’s youth, before (Morning) is an excellent snapshot of a the orchestra gained a standardized instru- composer struggling with a new type of mentation, instrumental ensembles usually music. The symphony, as a genre, was newly consisted of very small forces that could be invented and experimentation was the rule. contained in the reception area of an aristo- Many characteristics of the Baroque style crat’s home. As a mature composer, Haydn remained, but numerous innovations were composed for a standard ensemble of winds tested, some of which became standard. in pairs, timpani, and strings that performed Others were rejected. In “Le Matin,” there in large public theaters and concert halls. are remnants of the concerto grosso and dance suite, soon to be rejected by compos- In 1759, Haydn accepted his first musical ers in the Classical period. Haydn also used appointment as Kapellmeister to the house- extended sections featuring solo instruments, hold of Count Ferdinand Maximilian von emulating the solo concerto. Moritz. For two years, he managed the daily musical activities at court in what proved to “Le Matin” begins with a slow introduction, be perfect training for the Herculean tasks the first time Haydn used this feature that required by his next position. On May 1, 1761, would figure prominently in his late sym- Haydn signed a contract with the Hungarian phonies. With its dotted rhythms, this short Esterházy family requiring him to lead all section brings to mind the Baroque suite, orchestra and chamber music rehearsals and in which this type of rhythm plays a promi- performances at their palace in Eisenstadt, nent role. The main body of the movement Austria. They would later build the luxurious is quicker and in 3/4, a meter uncommon Esterháza estate in Hungary. Despite the in Classical period first movements. Wind daunting schedule, he was never allowed to parts play a prominent role, but perhaps the resign, and all of his compositions became most important aspect is the way Haydn uses property of the court. Although Haydn dynamics. In mature Classical works from 20 sacrificed much of his personal and artistic years later, volume changes are often gradual, freedom, he found the position to be a price- using crescendos to tell the players what less opportunity to build widespread fame as a volume to play. In this work, almost without composer. Having served as court composer to exception, Haydn uses the Baroque method Prince Nikolaus Esterházy for 29 years, Haydn known as terraced dynamics, in which volume found himself free to travel after his patron changes are abrupt and without preparation. 17 The second movement is for strings alone. Symphony No. 7 in A major, Op. 92 In three sections, this movement acts as a Ludwig van Beethoven miniature double concerto for violin and Born December 16, 1770, in Bonn, Germany; cello. Violin dominates the first section Died March 26, 1827, in Vienna, Austria. with challenging runs and tremolos. In the “Andante” middle section, the accompani- This work was first performed on December ment uses pizzicato strings with the solo 8, 1813, in the Hall of the University of Vienna. violin playing a series of triplets. The cello It is scored for pairs of woodwinds, horns, and soloist joins, forming a lovely duet with trumpets with timpani and strings. the violinist. To end the movement, Haydn returns to the “Adagio” tempo of the move- The nine symphonies of Beethoven are ment’s opening. for many the cornerstone of the Western symphonic tradition. Written three full years The “Menuet” brings back the winds, fea- after the “Pastoral” Symphony, the Sym- turing an intricate flute solo. A central trio phony No. 7, composed in 1811–12, is one of section uses the solo bassoon and double the last major works of the Heroic Period. Its bass along with pizzicato strings. Haydn’s premiere took place on December 8, 1813, at finale brings back all the solo instruments a benefit concert for Austrian and Bavarian for an effervescent romp. Like many other soldiers wounded in the Battle of Hanau while movements he would compose in later years, fighting against Napoleon. The orchestra Haydn concentrated on one theme through- included many musical luminaries, including out this movement, shifting entire sections Louis Spohr, Domenico Dragonetti, Johann to new keys to create a coherent symphonic Nepomuk Hummel, Giacomo Meyerbeer, movement. Earlier in the 18th century, Ignaz Moscheles, and Antonio Salieri. The composer Domenico Scarlatti used a similar other major figure on the program was the process in his numerous harpsichord sonatas. inventor Johann Nepomuk Maelzel, who was However, this music does not feel derivative the inventor of the first reliable metronome in any way as it is brilliant, almost rowdy, in but also devised many musical devices. Mael- its exuberance and inventiveness. zel’s mechanical trumpeter, although just a curiosity for musicians, wowed the audience ©2016 Orpheus Music Prose & Craig Doolin by playing works by Dussek and Pleyel. www.orpheusnotes.com Interestingly, Symphony No. 7 received a less enthusiastic ovation at its premiere than did another work on the program, Beethoven’s “Battle Symphony,” Wellington’s Victory, a work revived only occasionally today as a historical curiosity. The Seventh Symphony is now universally regarded as one of Beetho- ven’s most significant works. Spohr wrote about the event: Beethoven had accustomed himself to indicate expression to the orchestra by all manner of singular body movements. So often as a sforzando occurred, he tore asunder his arms, which he had previously crossed upon his breast, with great vehemence. At piano, he crouched down lower and lower as he desired the degree of softness. If a crescendo then entered he gradually rose again and at

18 the entrance of the forte he jumped in the air. Sometimes, too he uncon- UPCOMING EVENTS sciously shouted to strengthen the forte. It was obvious that the poor man Thursday, October 13 could no longer hear the piano pas- 8:00 pm sages of his music. Despite Beethoven’s uncertain and sometimes ludicrous Variations on Goldberg I conducting, the execution of the sym- Felix Hell, Organ phony was quite masterly. Leith Symington Griswold Hall This symphony is in the usual four movements. Beginning with a slow introduction, Friday, October 28 the opening is quite extensive and features a famous oboe solo and an extended tran- 8:00 pm sition to the quicker main section of the Ruth Blaustein Rosenberg Series movement. Beethoven, showing one of his Peabody Symphony trademark gestures, begins the transition to the fast section 10 measures before it actu- Orchestra ally occurs. When it finally arrives, the lively Marin Alsop, Conductor theme is presented by the flute and oboe. 150th Anniversary of The slow dirge-like beginning of the second Miriam A. Friedberg Concert Hall movement, set in variation form, begins with one of Beethoven’s most skillful gestures. The For FREE tickets, call 667-208-6620 listener struggles to find the melody, but it is or visit peabody.jhu.edu/events elusive. The repeated monotone acts as a kind of anti-melody. The result is one of the most electrifying moments in Beethoven’s output. PEABODY OPERA THEATRE and The scherzo, marked “Presto,” is an example PEABODY SYMPHONY ORCHESTRA of the composer’s fondness for unsophis- present ticated humor with its lumbering opening theme contrasting with the response in the Engelbert Humperdinck’s high woodwinds. There are abrupt shifts in the harmony that add an almost boorish effect. An elegant trio interrupts the festi und vities, only to be overpowered by a return of the main theme of the scherzo. The finale uses a traditional sonata form with a coda but is progressive in its shifting of emphasis to the second beat of the measure TARA FAIRCLOTH, stage director SIMEONE TARTAGLIONE, guest conductor to end the symphony with an overwhelming burst of energy. FRIDAY, NOVEMBER 18 at 7:3O pm ©2016 Orpheus Music Prose & Craig Doolin SUNDAY, NOVEMBER 20 at 3:0O pm www.orpheusnotes.com Miriam A. Friedberg Concert Hall

For FREE tickets, call 667-208-6620 or visit peabody.jhu.edu/events

Sponsored by Claire and Allan Jensen

19 ARTIST BIOGRAPHIES

Joseph Young Guest Conductor Increasingly recognized as “one of the most gifted conductors of his generation,” Joseph Young is currently the Assistant Conductor of the Atlanta Symphony. In his role, Mr. Young conducts more than 50 concerts per season with the Atlanta Symphony, which include programs on the Delta Classical Series, Concerts for Young People and Families, and various other concerts geared towards specific audiences in the community. Mr. Young also serves as the Music Director of the Atlanta Symphony Youth Orchestra, where he is the driving force behind the ensemble’s artistic growth. Previous appointments have included Resident Conductor of the Phoenix Symphony, where he made his subscription debut in the 2011-12 season, and the League of American Orchestras Conducting Fellow with Buffalo Philharmonic and Baltimore Symphony.

Mr. Young made his major American orchestral debut in January 2008 with the Baltimore Sym- phony Orchestra, and has since appeared with the Saint Louis Symphony, Buffalo Philharmonic, Colorado Symphony, Charleston Symphony, Phoenix Symphony, Bamberger Symphoniker, Spo- leto 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 Orchestra. The 2016-17 season includes debuts with the Guanajuato Symphony Orchestra (Mexico), New World Symphony Orchestra, and Fay- etteville Symphony; he will also return to the Orquesta Sinfonica y Coro de RTVE (Madrid), Little Orchestra Society and the Atlanta Symphony in subscription performances. Mr. Young is a recipient of the 2015 Solti Foundation U.S. Career Assistance Award for young conductors, an award he also won in 2008 and 2014. In 2013, Mr. Young was a semi-finalist in the Gustav Mahler International Conducting Competition. In 2011, he was one out of six conductors featured in the League of American Orchestras' prestigious Bruno Walter National Conductor Preview, hosted by the Louisiana Philharmonic. Mr. 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.

20 PEABODY CONCERT ORCHESTRA Hajime Teri Murai, Music Director Laureate Ruth Blaustein Rosenberg Director of Orchestral Activities

Violin Violoncello Bass clarinet Shannon Fitzhenry Marcella Kolacki Jay Shankar Concertmaster Co-Principal Rebecca Kasdan Joseph Staten Bassoon Assistant Concertmaster Co-Principal Jayyne Kao Fangming Shen Julia Dover Principal Principal and Ismael Guerrero Mateen Milan Associate Concertmaster Irene Han Associate Principal Benjamin Hoertnagl-Pereira Soo Hyun Han Xinqi Dong Associate Principal Hang Liu Angela Che Xingqiao Ren Contrabassoon Cheng-Chia Chiu Ethan Sandman Mateen Milan Gyuwon Choi Kahler Suzuki Tavifa Cojocari Jonathan Terry Horn Jennifer Jeon Ezekiel Yu Christopher Frick Elizabeth Jones Principal Erin Kim Contrabass Jordan Dinkins Grace Kim Sam Dugo Associate Principal Hio Lam Leng Principal Zachary Travis Hyun Ji Lim Winston Harris Assistant Principal Audrey Maxner Assistant Principal Noah Tingen Yujing Ming Zola Bridges Scott Ullman Zhixin Ouyang Andrew Butts Flavia Pajaro-van de Stadt Brock Drevlow Trumpet Ruoying Pan Lawrence Hutfles Sam Hughes Yujin Park Rachel Keene Principal Camille Poirier-Lachance April Kim Joshua Olariu Kirby Su Antonin Ostrovsky Petion Darren Stanger Yu-Chu Teng Noah C. Strevelle Hoi Shuen Viola Tom Cornet Jerry Tong Flute Kate Amrine Madison Van de Wetering Hanna Kim Principal Weijia Wang Co-Principal Sam Hughes Helen Wong Guilherme Andreas Maciel Nascimento Chieh-An Yu Co-Principal Trombone Ian Striedter Mei Zhan Piccolo Principal Viola Louna Dekker-Vargas Gabriel Luciano-Carson Hannah Emigh-Doyle Co-Principal Oboe Bass trombone Jahi Alexander Ting-An Wei Teresa Lin Principal Co-Principal Tuba Lan Zhang Hannah Staudinger Ositadinma Atikpoh Madelynn Brightbill Associate Principal Anita Chan Gabriella Alberico Assistant Principal Harp Alexandra D’Amico Olivia Castor Victoria Gange Melina Garibovic English horn Samuel York Harpsichord Zoe Hartenbaum Bozena Jedrzejczak Brown Guanlun Li Christopher Lock Clarinet Juan Esteban Martínez Timpani Claudia Malchow Matthew Stiens Setareh Parvaresh Principal Andrew Im William Satterfield Assistant conductor Gina Stonikas Ryan Tani Molly Wilkens-Reed 21 PEABODY WIND ENSEMBLE

HARLAN D. PARKER Conductor ADAM WALLER Assistant Conductor

Saturday, October 8, 2016 Miriam A. Friedberg Concert Hall 7:30 pm

Fiesta del Pacifico (1960) Roger Nixon (1921-2009)

Venetian Spells (1984) Martin Ellerby Concertante (Antonio’s Allegro) (b. 1957) Pas de Deux (Igor’s Lament) Vespers (Claudio’s Sunset) Festivo (Giovanni’s Canon) Adam Waller, Conductor

INTERMISSION

Sketches on a Tudor Psalm (1971) Fisher Tull (1934-1994)

Symphony No. 4, “American Visionary” (2005) Dan Welcher Machines (b. 1948) Family Community

Fiesta del Pacifico The music embodies a good deal of Roger Nixon imagery related to these festivals, and in a sense the work might be consid- Born August 8, 1921, in Tulare, California; ered a tonal fresco. The concept is Died October 13, 2009, in Burlingame, California. similar to that of the tone poem, or that of the music drama, in that some Fiesta del Pacificois Roger Nixon’s most of the musical ideas have extra-musi- popular and oft-performed work and has cal connotations. It is impressionistic become a standard work for wind ensemble. It in that the aim is to create descriptive was composed in 1958 and 1959 while Nixon impressions rather than to tell a story.” was on the faculty at Modesto Junior College. Even with this very direct intent to invoke Taking inspiration from his former teacher California imagery, Nixon does not use actual Roger Sessions, he chose to write a work folk materials to bring his view of Califor- using the concept that a composition was not nia forward. All of the various melodies are geared to practical goals but rather to an ideal original. The form of Fiesta del Pacifico is representing concepts about which he firmly episodic, a variant of a rondo. The various believed. Nixon says: sections, or episodes, are clearly defined, “Fiesta del Pacifico is held in San Diego and many return, although sometimes in a each summer and features a play on varied way. Although not indicated in the the history of the area, a parade, a score, each episode is associated with a par- rodeo, and street dances. It is one of ticular image. The large formal construction several festivals held annually in various as well as Nixon’s manipulation of particular communities in California which cele- motives within represents a central feature brate the old Spanish days of the state, of the piece. and I chose its name as representative — William Berz of the spirit of these occasions. [Retrieved from The Wind Repertory Project, www.windrep.org]

23 Venetian Spells Sketches on a Tudor Psalm Martin Ellerby Fisher Tull

Born 1957, in Worksop, England. Born September 23, 1934, in Waco, Texas; Died August 23, 1994, in Huntsville, Texas. Venetian Spells was commissioned by Timothy Reynish and is dedicated to him on Sketches on a Tudor Psalm, composed in the occasion of his sixtieth birthday. Rather 1971, is based on a sixteenth century setting like my earlier Paris Sketches the work pays of the Second Psalm by Thomas Tallis. The tribute to a great city, and in particular, to original version was in the Phrygian mode various composers associated with it. This with the melody in the tenor voice. A modern is essentially a fun piece and makes use of adaptation is still used today in Anglican ensembles drawn from the larger body of services. Its popularity is evidenced by its the symphonic wind orchestra. It falls into employment by Ralph Vaughan Williams for four movements: the basis of his Fantasia for String Orchestra in 1910. I. Concertante (Antonio’s Allegro): A large brass ensemble is foiled by a more intimate The introduction sets the harmonic char- group which plays various interludes in a acter by emphasizing the juxtaposition of style akin to that of Vivaldi. The percussion major and minor triads. The theme is first section consists entirely of assorted drums presented by solo alto saxophone, continued with cymbals. Ideas are developed by the by horns, and followed by a fully harmonized two main groups culminating in a grand and version from the brass. The variations begin noble conclusion, though not without a to unfold in an Allegro section with a melody gentle sting in the tail. in the clarinets which was constructed from II. Pas de Deux (Igor’s Lament): Buried in the retrograde of the theme. Subsequently, the island cemetery of San Michele are both fragments of the theme are selected for the composer Stravinsky and the impresa- rhythmic and melodic transformation. rio Diaghilev. Scored for all the orchestra, Finally, the opening harmonic sequence this is a full-bodied and passionate waltz, returns in highly punctuated rhythms to her- interrupted by some delicate interludes all ald the recapitulation of the theme beginning alluding to one of their great collaborations, in the low woodwinds and culminating in a hinted at but not quoted. fully- scored setting of the climactic mea- III. Vespers (Claudio’s Sunset): Scored for sures. A coda continues the development as winds alone and featuring the subtle shades the music builds to a triumphal close on a of cor anglais, alto clarinet, and double major chord. bassoon, with a single percussionist playing — Fisher Tull tubular bells, the work’s slow movement evokes a church organ playing in the early evening. Although the style is not that of Monteverdi, the spirit is. IV. Festivo (Giovanni’s Canon): The finale is a celebration of the great city in festival time. Things canonical make up the material of the movement. Scored for full forces, with some transparent moments, it builds to an epic conclusion of which Gabrieli would have been thoroughly ashamed.

— Martin Ellerby

24 Symphony No. 4, His teaching was about vision … but his life “American Visionary” was about family. He said, “Whatever I have Dan Welcher accomplished is the result of being an Ameri- can, plus great good fortune. I had wonderful Born 1948, in Rochester, New York. parents. I have had a wife and children who were always with me, an excellent education, This work was commissioned in honor of wise mentors, and friends who inspired and George Kozmetsky by the College of Fine supported me.” Arts at the University of Texas. It premiered in November, 2005. To be close to George was to be part of his family. Machines Community “Texas — think beyond cattle, cowboys, oil. “It is a time of turbulent dislocation and To see the future, Texas, link intellect, tech- unheralded opportunity,” he said. “Univer- nology, and enterprise.” George Kozmetsky sity, business, government — reform them, said that, and in a lifetime of insight and restructure them, reshape them, revitalize passion he gave us new ways of seeing the them… Competition cannot be averted and contemporary world. “Shrinking the planet, cooperation cannot be avoided — value and technology draws us together,” he said. fear this paradox. The process of change is “Unifying humanity, that’s what science can accelerating.” do… Basic research drives science, science drives technology — that’s why academia George knew about change, and about and industry must collaborate.” A pioneer challenge. He relished cutting-edge projects, of creative and innovative thinking, George and he loved people of talent, especially inspired and energized all whom he touched. entrepreneurial talent — those with the Ideas burst forth from him, ideas rooted in perception, dedication, drive, and tenacity purpose for people. “Think backward and to see things new and to make new things move forward” was his motto. — those who change the world. As he said, “Talent without ideas is like seeds without “Microelectronics, software, telecommu- water… The days of a single lifelong career nications, biotechnology, lasers, robotics, are disappearing. Reinvest yourself; expand new materials — this is the Fourth Industrial your horizons; imagine your future; fulfill Revolution,” he said. “But technologies are your potential.” When accepting the National not for the grandeur of machines, but for the Medal of Technology Award, he said, “Mrs. glory of humans… Technology is not simply Kozmetsky and I feel very strongly that an engineering ‘thing,’ a gadget, or a process. individuals who have been so privileged It is a body of knowledge, an engine of eco- ought to contribute to society. To be hon- nomic growth, it is an intellectual energy that ored for simply being a responsible citizen enriches society. Technology is the bright, is overwhelming, and I am deeply grateful.” shining star in the new economic firmament.” George’s commitment to the community It all started with machines… was all-encompassing, and his was a grand vision. “Each nation’s strengths are linked Family with other nation’s needs,” he said. “In no From 4:00 am George created, adorning case is one country wholly insulated from blackboards with ideas that formed like art other countries. We have no choice but to and flowed like verse, mentoring genera- participate in the global community. This is tions of leaders in academia, business, and what the 21st Century is all about.” government. A warm personality with an unassuming presence, a demanding advisor And this was what he was all about. Inspired who loved good judgement, George never by machines. Nurtured by family. Honoring met a challenge too difficult nor an idea too the community. George Kozmetsky, grand. He was a creative wellspring with a American Visionary. scintillating intellect, an irrepressible optimist, — Robert Lawrence Kuhn and a loyal friend.

25 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 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, 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.

26 Adam Waller Assistant Conductor Adam Waller is the director of the Johns Hopkins Wind Ensemble and currently serving as graduate assistant and assistant conductor of the Peabody Wind Ensemble. From 2005 to 2015 Adam Waller was the director of bands at Tabb High School in Yorktown, Virginia. Under his direction, ensembles at Tabb consistently received superior ratings and were awarded the Virginia Honor Band and blue ribbon awards. In addition to public school teaching commitments, he served as music director at North Riverside Baptist Church and orchestra director at the Liberty Academy of the Arts. He is frequently called on to adjudicate state and local assessments at festivals in Virginia and Maryland. Adam Waller holds a Bachelor of Music in music education and a Master of Music in wind conducting from the Peabody Conservatory of Music.

PEABODY WIND ENSEMBLE Harlan D. Parker, Conductor Adam Waller, Assistant Conductor Rich Lauver, Manager

Flute & Piccolo Saxophone Bass Trombone Drew Dardis Taylor S. Brooks Harry Oehler Rachel Ho Sean Campbell Chae-Young Lee Tae Ho Hwang Euphonium Kyle Jones Abhinn Malhotra Oboe Anastasia Kupstas Bladen Maynard Mengying Han Jonathan Mo Zheyu Wu Principal Téa Mottolese Tuba Travis Leadbetter Tyrone Page Sonia Matheus Samuel Adam Amelia Wingard Horn Robert Austin Lingerfeldt Eli Pandolfi Steven Needham Clarinet Principal Thomas D. Sims Adam Trinkoff Gregory Goldberg Harp Concertmaster Lily Homma Tianyang Chen James Duncan Rachel K. Jones Melody Leung Principal Brian Swihart Scott Johnson Jr Jessica Sudarta Associate Principal Trumpet String Bass Joshua Broussard Andy Ezell Zola Bridges Erin Kim Co-principal YiFei Li John Wagner Percussion Kristen Park Co-principal Randall Chaves Camacho Sounghyun Ryu Chenguang Wang Russell Fisher Jackson Willis Associate Principal Christina Manceor Yuyang Zi Ambrose Tang Nonoka Mizukami Assistant Principal Bassoon Mizuki Morimoto Todd Hansell Oehler Mari Takeda Sonali Singh Ryan Yacos Yonatan Rozin Principal Han Qiaoyang Trombone Bri Waterson Michael Carter Clifton Guidry Jon Hutchings Jacob Niemann 27 Sylvia Adalman Chamber Series BENJAMIN PASTERNACK Piano

Wednesday, October 19, 2016 Miriam A. Friedberg Concert Hall 8:00 pm

Sonata in D, Hob. XVI/42 Franz Joseph Haydn Andante con espressione (1732-1809) Vivace assai

Sonata in B-flat, Op. 106, “Hammerklavier” Ludwig van Beethoven Allegro (1770-1827) Scherzo: Assai vivace Adagio sostenuto Introduzione: Largo -- Fuga: Allegro risoluto

INTERMISSION

Klavierstucke, Op. 119 Johannes Brahms Intermezzo: Adagio (1833-1897) Intermezzo: Andantino un poco agitato Intermezzo: Grazioso e giocoso Rhapsody: Allegro risoluto

Two Elegies Ferrucio Busoni Berceuse (1866-1924) Turandots Frauengemach

Mephisto Waltz Franz Liszt (1811-1886) arranged by Busoni

Benjamin Pasternack Piano Pianist Benjamin Pasternack is recognized as one of the most experienced and versatile musicians in the world. He has performed as a soloist, recitalist, and chamber musician on four continents. His orchestral engagements have included appearances as soloist with the Boston Symphony Orchestra, the Philadelphia Orchestra, the Orchestre Symphonique de Quebec, the Tonhalle Orchestra of Zurich,

MICHAEL PASTERNACK the New Japan Philharmonic, the Pacific Symphony, the New Jersey Symphony, the Orchestre National de France, the SWR Orchestra of Stuttgart, the Bamberger Symphoniker, and the Orquesta Nacional de Costa Rica. Among the many illustrious conductors with whom he has collaborated are Seiji Ozawa, Erich Leinsdorf, David Zinman, Gunther Schuller, Leon Fleisher, Carl St. Clair, and Marin Alsop. He has performed as soloist with the Boston Symphony on more than a score of occasions, at concerts in Carnegie Hall, the Kennedy Center, in Athens, Salzburg and Paris on their European tour of 1991, and in São Paulo, Buenos Aires, and Caracas on their South American tour of 1992. He has been guest artist at the Tanglewood Music Center, the Seattle Chamber Music Festival, the Minnesota Orchestra Sommerfest, the Festival de Capuchos in Portugal, the Festival de Menton in France, and the Festival of Two Worlds in Spoleto, Italy. He has been featured as soloist twice on National Public Radio’s nationally syndicated show Symphony Cast. His recording on the Naxos label of the three major piano works of Copland has been singled out for praise in The New York Times and the London Times Literary Supplement among many other publications. Mr. Pasternack has performed dozens of works by composers of his own lifetime, very often in their presence and with their collaboration. Among those with whom he has worked per- sonally are Leonard Bernstein, Gunther Schuller, George Perle, Frederic Rzewski, Peter Lieb- erson, Nicholas Maw, Pierre Boulez, Alfred Schnittke, Toru Takemitsu, Hans Werner Henze, and Oliver Knussen. A native of Philadelphia, Mr. Pasternack entered the Curtis Institute of Music at the age of 13, studying with Mieczyslaw Horszowski and Rudolf Serkin. He was the Grand Prize winner of the inaugural World Music Masters Piano Competition held in Paris and Nice in July 1989. Bestowed by the unanimous vote of a distinguished panel of judges, the honor carried with it a $30,000 award and engagements throughout Europe and North America. After 14 years on the piano faculty of Boston University, he joined the faculty of the Peabody Institute of the Johns Hopkins University in September 1997.

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 Adalman-Goodwin Foundation Fred and Sandra Hittman Shirley S. L. Yang 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 Jacob and Hilda Blaustein Ruth and Ted Bauer Family Foundation Foundation Family Foundation Thomas H. Powell Tammy L. Bormann and Rheda Becker Mark J. Paris and Robert E. Meyerhoff Henry and Ruth Blaustein Rosenberg Foundation Alexandra L. Clancy France-Merrick Foundation Stephanie Cooper-Greenberg and Sandra Levi Gerstung and the MAESTRO’S CIRCLE Erwin L. Greenberg Levi Family Fund II of the 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 + Amy L. Gould and Barbara and David Roux COMPOSER’S CIRCLE Matthew S. Polk Jr. $50,000–$99,999 Sheridan A. L. and Taylor A. Hanex John W. Skouge Anonymous T. Rowe Price Foundation Speedwell Foundation Liza Bailey and Michael Musgrave Adam G. Shapiro Dorothy Richard Starling Herman C. Bainder * Judith and Turner Smith Foundation 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 Harris L. Kempner Jr. CONCERTMASTER’S DIRECTOR’S CIRCLE CIRCLE $5,000–$9,999 $1,000–$2,499 Irene T. Kitagawa and Stephen S. McCall Anita and Marc Abramowitz A L H Foundation Myron Terry Koenig Elizabeth Adams Bank of America Foundation ** Fund for Waverly Anonymous (2) Liz and Fred Bronstein Christopher Kovalchick Edith Andre-Bjork C. Sylvia Brown and Galan Kral Eddie C. Brown Kristin Bacchiocchi-Stewart Susan and Jeffrey Krew Robert T. Foley Missy and Rick W. Baker Cynthia and Paul Lorraine Edith Hall Friedheim and the Carol and Steven Batoff Lois & Philip Macht Family Eric Friedheim Foundation Larraine Bernstein and Philanthropic Fund Ruby and Robert Wesley Hearn Kenneth D. Hornstein Ellen Mack Jephson Educational Trusts Patricia and David Bernstein Paul B. Mathews Robert Wood Johnson Lisa Di Julio Bertani Carol and Paul Matlin Foundation ** Carol A. Bogash Barbara and John McDaniel Akemi Kawano-Levine and Aurelia G. Bolton David Levine Cynthia and Michael McKee Anders V. Borge Helen C. Kielkopf and Gary Melick John F. Kielkopf Paula Borge Microsoft Corporation ** Koret Foundation Amy Boscov and Terrence Ellen Marjorie and Howard Mitchell John J. Leidy Foundation Helene Breazeale Suruchi Mohan and Abbe Levin Laura R. Burrows Prabhat K. Goyal Charles and Margaret Levin Carol Cannon Mary C. R. S. Morgan and Family Foundation Denise Caves Trust David J. Callard Terry H. Morgenthaler and L. Chinsoo Cho Federico A. Musgrove Stetson Patrick J. Kerins Georgia R. Crompton Thomas R. Nathan Clara Juwon Ohr Margaret O. Cromwell NYC Classical Guitar Society Peabody Institute Fund of the Family Foundation Kimberly and Townsend Plant Baltimore Community Foundation D’Addario Music Foundation Melissa and Charles Reuland Lori Raphael and J. Michael Hemmer Russell Davidson Foundation Joanne Rosen and Ronald Daniels Sonia Robbins and Ruth L. and Arno P. Drucker Matthew W. Rupcich David H. Schwartz Lydia and Charles Duff Oscar Schabb Lisa Smith and Phillip T. Dunk Jr. Suzanne J. Schlenger W. Christopher Smith Jr. Hildegard and Richard Eliasberg Tracey Pullo Schutty Marian and Abraham Sofaer Anna Else and Joshua D. Else Terry Meiselman Shuch and Carol J. and Roy R. Thomas Kimberly and Donald Evans Neal Meiselman Susan F. Weiss Brook E. Ferguson Carolyn J. Sienkiewicz Sally A. White Exelon Foundation ** Thomas R. Silverman Wenbin Feng and Renjie Yang Eleanor Simon and Patrick O’Neall PRINCIPAL’S CIRCLE Jan K. Smeets $2,500–$4,999 Brook E. Ferguson Google, Inc. ** Linda B. and Richard Q. Snurr Frances K. and George Alderson David B. Grossman and the Rochelle Stanfield and Ira J. and Mary K. Basler Bill Grossman Fund of the Edward Grossman Foundation Isidore Grossman Foundation Edward Steinhouse Basil Gordon * Ellen Halle and the Halle Family Kenneth R. Talle Korean Chapter of the Philanthropic Fund Andrea Trisciuzzi and Society of Peabody Alumni Maureen Harrigan and Charles Gannon Sara W. Levi David McDowell Sheila and Erick Vail Links, Inc. Barbara S. Hawkins Beverly Dietrich Weber Thomas MacCracken Todd Hodes Wolman Family Foundation Lloyd E. Mitchell Foundation Trust Kris Hoffman and Paul D. Raschke Avedis Zildjian Company Christine Rutt Schmitz and Alma D. Hunt/VCM Charitable Trust Robert Schmitz Thomas E. Hunt + In-Kind Gift Angela and Daniel Taylor * Deceased Indian Spring Academy of Music ** Matching Gift

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 Abbe Levin President Rehda Becker Jill E. McGovern Sunil Kumar Provost and Senior Vice President Paula Boggs Christine Rutt Schmitz for Academic Affairs Barbara Bozzuto Solomon H. Snyder Laifun Chung David Tan PEABODY INSTITUTE Richard Davison Shirley S. L. Yang ADMINISTRATION Larry Droppa Fred Bronstein Leon Fleisher Dean Sandra Levi Gerstung EMERITUS MEMBERS

Abra Bush Nancy Grasmick Pilar Bradshaw Senior Associate Dean of Institute Studies Taylor A. Hanex, chair Tony Deering Maureen Harrigan Sandra Hittman HIlda Perl Goodwin

Senior Associate Dean Allan D. Jensen Benjamin H. Griswold IV for Finance and Administration Sarah Hoover Christopher Kovalchick Turner B. Smith Special Assistant to the Dean for Innovation, Interdisciplinary Partnerships, and Community Inititatives 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 Alex King William Racine Chelsea Buyalos Production Assistant Audiovisual Coordinator Concert and Box Office Assistant Yuriy Kosachevich Jessica Satava Daniel Chaloux Piano Technician Concert Series Coordinator Concert Production Coordinator Rich Lauver Mary Schwendeman Elizabeth Digney Ensemble Coordinator Chief Piano Technician Box Office Coordinator Dennis Malat Paul Faatz Technical and Stage Consultant Senior Ensemble Coordinator 32