The 2017–18 Concert Season at Peabody Peabody Wind Ensemble Wednesday, April 11, 2018

the 2017–18 concert season at peabody Peabody Wind Ensemble Wednesday, April 11, 2018

Peabody Chamber Orchestra Friday, April 13, 2018

Peabody Symphony Orchestra Saturday, April 21, 2018

Peabody Symphony Orchestra Peabody-Hopkins Chorus Peabody Singers Saturday, April 28, 2018

Peabody Modern Orchestra Wednesday, May 2, 2018 STEINWAY. YAMAHA. [ YOUR NAME HERE ]

With your gift to thePiano Excellence Fund in honor of Leon Fleisher’s 90th birthday and nearly 60 years of teaching 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. 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 was 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 When I look at our upcoming programs, it’s a challenge to decide where to focus as there is much to talk about. But it’s clear that two highlights in this month’s program inspire a “shout out.” First, we are so excited that David Zinman, internationally renowned conductor who served a 19-year tenure as music director of the Tonhalle Orchester Zurich, and was music director of the Baltimore Symphony Orchestra from 1985 to 1998, returns to perform in Baltimore for the first time in twenty years, conducting our Peabody Symphony Orchestra. This is a fantastic opportunity for our students to learn from one of America’s most influential musicians, a renowned teacher in his own right having led the conducting program at the Aspen Music Festival for many years. Maestro Zinman’s program will include Shostakovich’s final symphonic masterpiece, the Symphony No. 15, along with the Violin Concerto of an equally renowned American composer, Christopher Rouse, who served as visiting guest artist at Peabody on a number of occasions. The program reunites two colleagues, Zinman and violin faculty member Herby Greenberg, who served as the Baltimore Symphony’s concertmaster during Zinman’s tenure. STEINWAY. Also this month, we begin celebrations for Leon Fleisher’s 90th birthday and nearly 60 years of teaching at Peabody with Mr. Fleisher as soloist and conductor YAMAHA. in an all-Mozart concert performed here at Peabody and at the Town Hall in New York. Leon Fleisher is a force of nature. I first knew Leon, as many have, [ YOUR NAME HERE ] through his remarkable recordings including those made with George Szell and the Cleveland Orchestra — the gold standard. Subsequently, I had the honor of having Leon as soloist on a number of occasions when I managed the orchestras With your gift to thePiano Excellence Fund in honor of Leon Fleisher’s in Dallas and St. Louis. And of course, many have known Leon as a teacher and 90th birthday and nearly 60 years of teaching at Peabody, you can add mentor over the six decades since he arrived at Peabody. He continues to have a your name to the quality instruments our outstanding faculty and remarkable career, making beautiful music and offering inspiring leadership on students use for practice and performance every day. making beautiful music. Whether he’s teaching in a master class, talking about his experience with his life-changing early onset of dystonia before anyone had The Piano Department at Peabody has a long tradition of excellence even heard of the affliction, or sitting in front of the orchestra conducting and dating back to the days of Arthur Friedheim, a student of Franz Liszt, teaching music, Leon is an iconic figure, and one of the warmest, most quick- and continuing to this day, with a faculty of world-renowned artists. witted people you will know. What an honor to have him in our midst — here’s to the next decade! 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. Fred Bronstein The Piano Excellence Fund was 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 Dean stages and in classrooms and practice rooms across campus.

Igor Stravinsky (1882–1971) Symphonies of Wind Instruments

Walter Hartley (1927–2016) Concerto for 23 Winds I. Andante - Allegro non troppo II. Vivace III. Lento IV. Allegro molto

INTERMISSION

Alexandra Gardner (b. 1967) Perseids

Dana Wilson (b. 1946) Piece of Mind I. Thinking II. Remembering III. Feeling IV. Being Miriam A. Friedberg Concert Hall Concert A. Friedberg Miriam | 7:30 pm | ENSEMBLE

WIND

PEABODY 11, 2018 April Wednesday, In case of emergency, walk, do not run to that exit. 2 PROGRAM NOTES Symphonies Of Wind Instruments Obviously the sound of a piece for Igor Stravinsky 23 woodwinds is something that the Born June 17, 1882, in Lomonosov, Russia audience at the 1921 London premiere Died April 6, 1971, in New York City, New York of the work (with Serge Koussevitzky at the helm) found quite disconcerting If we discount the tribute that Igor — many audiences today still find it Stravinsky composed in 1908 on the so — but coincident with that textural occasion of the death of his beloved streamlining is an even more significant teacher Rimsky-Korsakov (the work and startling architectural streamlining: was lost during the Revolution), the the entire work is based on a handful composer’s long string of in memoria of sharply defined themes and motives — by which he pays homage to some of that Stravinsky makes little or no attempt the foremost musical, literary, and even to connect in any way; he instead chooses political figures of the 20th century — to isolate them via a very careful and begins in 1920 with the Symphonies almost thematic use of silence. As a of Wind Instruments, dedicated to the result of this trimming of “extraneous” memory of Claude Debussy. detail, the work is extremely brief. Copyright © 2017 by TiVo Corporation. Here Stravinsky consciously used the Used by permission. term symphonies in the old French meaning of a sonorous piece, as in “Symphonies and Fanfares for the King’s Concerto For 23 Winds Supper.” The composition dates from Walter Hartley 1920 and grew from a short chorale-like Born February 21, 1927, in Washington, D.C. work he wrote in Debussy’s memory; Died June 30, 2016, in Charlotte, North Carolina this became the last section of a work about 10 minutes in length, composed Walter Hartley composed his Concerto for a rather large ensemble of 23 winds. for 23 Winds for the Eastman Wind The style and melodism of the work Ensemble in 1957 and it was premiered usually results in its being listed as the by that group during the Eastman last of the composer’s “Russian Period” School’s annual Festival of American works, but because of its austerity this Music in 1958. Hartley sent the writer tends to regard it as being the following comments to conductor first important indication that Stravinsky Frederick Fennell concerning the was ready to shift to an aesthetic that concerto: leaves behind sensual appeal. He would soon find the style of neo-Classicism; “The work is in four movements meantime, there is a sense that the roughly corresponding to those of idea behind the work is the realization the classical symphony or sonata of the harmonic clashes that result in form, but it is textually more from Stravinsky’s usual method of related to the style of the Baroque mixing two separate chords. The work concerto, being essentially a large is of more than just historical interest; chamber work in which different soloists and groups of soloists play Stravinsky was constantly treading new in contrast with each other and ground here, with effective even if not with the group as a whole. The color lovable music. The score was revised in contrasts between instruments 1947, presumably to obtain copyright and choirs of instruments are for the composer in the U.S. sometimes simultaneous, sometimes antiphonal; both homophony and polyphony are freely used.

3 The first and last movements make band of the Milky Way, pulsing the most use of the full ensemble; satellites moving quickly across the the second, a scherzo, features sky, constellations and layers of clouds, the brass instruments, the slow and of course, plenty of shooting third movement, the woodwinds. stars. Beginning with slow, overlapping The harmonic style is freely tonal layers of sound underneath a melody throughout. There is a certain that works its way through the wind three-note motif (ascending instruments, the music gradually G-A-D) which is heard harmonically coalesces into a vigorous, celebratory at the beginning and dominates verse-chorus song structure. the melodic material of the last three movements.” — Alexandra Gardner

— Band Music Notes Piece of Mind Dana Wilson Perseids Born February 4, 1946, in Lakewood, Ohio Alexandra Gardner Born October 20, 1967, in Washington, D.C. Piece of Mind is a musical pun on an old expression. It is composer The Perseids are a meteor shower Dana Wilson’s representation of the visible in the Northern Hemisphere workings of the human mind. The first during the months of July and August. movement, “Thinking,” begins with Each year at that time, the earth passes a very simple four-note idea which through a cloud of debris left from the grows seemingly of its own inertia — as Comet Swift-Tuttle, creating a prolific thinking about something often does display of natural fireworks as the — while sometimes being joined or rubble enters the earth’s atmosphere overwhelmed by other, related ideas. and burns through the sky. For the “Remembering,” the second movement, past several years, a group of friends is structured in a manner similar to the and I have taken a summertime trip way memory serves most of us — not to Ocracoke Island in North Carolina, as complete, logical thought, but as where we spend hours every night abrupt flashes of images or dialogue. watching this natural display of In this case, the flashes provide a fireworks from a crow’s nest deck. Far view of the original four-note ideas from city lights, it is possible to see through various musical styles vividly deeply into the night sky, which is entrenched in the composer’s own punctuated by “shooting stars” from memory and hopefully that of much of every direction. the audience. I am fascinated by the idea of the The third movement, “Feelings,” sky as time machine — that most of explores various states throughout what we are seeing is infinitely old, the emotional spectrum, and the because the light from those stars has final movement, “Being,” addresses a been traveling for eons. By the time it mental state that is rarely considered reaches our eyes, the star may have in our culture. Non-Western — transformed completely, or it might particularly East Indian — musical not exist at all. Perhaps this is why styles are called upon to shape the the fleeting sight of a meteor feels four-note idea so as to conjure up and like a special event: It is science of the celebrate this marvelous attribute (this present moment. piece, this peace...) of mind. The music of Perseids draws upon experiences of those nighttime sky- — Ludwig Music Publishing watching sessions — the glowing

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 WIND ENSEMBLE Harlan D. Parker, conductor

Flute Saxophone Bass trombone Faith April Robert Brown Jacob Niemann Adam Eydelson Ana Kupstas Euphonium Hannah Silverberg Jonathan Mo Abhinn Malhotra Hannah Tassler Tyrone Page Bladen Maynard Oboe Horn Zheyu Wu Ellen Gruber Marianna Cardon Tuba Sophia Lou Rachel Kristina Jones Samuel Adam Samuel York Yasmeen Richards Kevin Freeman Emma Van Zuyle Clarinet Cole Manel Eric Black Trumpet Piano Sheng Chen Jason Aylward Chelsea De Souza Andrew Im Sam Hughes Scott Johnson Herman Makosky Percussion/Timpani Melissa Lander Ambrose Tang Hio Man Chang Juan Carlos Martinez John Wagner Russell Fisher Juan Esteban Martinez Chenguang Wang Benjamin Giroux Jacob Gutierrez Jay Shankar Trombone Jackson Willis Sejeong Pyo Jon Hutchings Yonatan Rozin Bassoon Sarah Lewandowski Mari Takeda Kathleen Beavers Gabriel Luciano-Carson Qiaoyang Han Ben Magrowski Bass Patrick Quinn Bailey Schmidt Luke Reilly Assistant Conductor Adam Waller

6 LEON FLEISHER GUEST CONDUCTOR AND PIAN0 Andrew W. Mellon Chair in Piano

Wolfgang Amadeus Mozart (1756–1791) Symphony No. 1 in E-flat major, K. 16 I. Allegro molto II. Andante III. Presto

Piano Concerto No. 12 in A major, K. 414 I. Allegro II. Andante III. Allegretto

Leon Fleisher, piano

INTERMISSION Friday, April 13, 2018

Symphony No. 41 in C major, K. 551, “Jupiter” I. Allegro vivace II. Andante cantabile III. Menuetto: Allegretto - Trio IV. Molto allegro | 8:00 pm

Peabody celebrates Leon Fleisher’s 90th birthday, and his nearly 60 years PEABODY CHAMBER ORCHESTRA on the faculty here, with this special concert and a repeat performance on | Miriam A. Friedberg Concert Hall Sunday, April 15, at The Town Hall in New York.

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. 7 PROGRAM NOTES Symphony No. 1 in E-flat major, K. 16 of time with the 29-year-old Christian. Wolfgang Amadeus Mozart They played duets at the keyboard and a Born January 27, 1756, in Salzburg, Austria mentor-student relationship blossomed. Died December 5, 1791, in Vienna, Austria Although the two would only meet a few other times in their lives, the The work dates from September of 1764 importance of that year in London cannot when Mozart was 8 years of age. The date be overestimated. Both composers wrote in of its premiere is not known. It is scored for the same genres with operas, symphonies, two oboes, two horns, and strings. and piano concertos and sonatas being among their most important works. Between 1763 and 1766, the entire Mozart’s mature classical style evolved Mozart family — Leopold, Anna Maria, from J.C. Bach’s version of the stile galant. and their children Wolfgang and Maria Similarly, Mozart’s form, especially in the Anna (called “Nannerl”) — undertook piano concertos, is derived from that of a grand tour of Western Europe. They the London Bach. Several early Mozart set out from Salzburg and traveled to works are reworkings of Bach’s pieces, Munich, Frankfurt, Brussels, and Paris, a gesture that was considered to be a where they spent nearly six months. form of musical homage to a respected From there they went to London for a figure (much in the way that J.S. Bach had year before working their way back to done with works of Vivaldi and Marcello). Salzburg via Paris and Switzerland. In August of 1764, in the fourth month It was in April of 1764 that the Mozarts of the Mozart family’s London stay, arrived in London. This period was among Leopold developed a severe throat the most formative in young Wolfgang’s infection, so the family followed the life, as he ventured into new musical doctor’s suggestion and left London areas and created lasting friendships that for the fresh air of Chelsea. They would influenced his music and career. remain there for nearly two months. Among the most important of these Because of the seriousness of the illness, friendships was that of Johann Christian the Mozart household had to be vigilant Bach, the youngest son of the monumental in meeting Leopold’s needs for rest and composer Johann Sebastian Bach. treatment. The required silence precluded Christian, as he was known, first came to Wolfgang and Nannerl from practicing, London in 1762 after a five-year stay in so they turned to other activities. In Italy. He was only 27 years old and would September, Wolfgang decided to try his take the city by storm. His first successes hand at composing a symphony. there were operas, but then he was His first orchestral work, the Symphony appointed to a highly coveted position No. 1, is simplistic in form and somewhat as music master to Queen Charlotte, immature, but it shows an innate musical the wife of George III. Bach was an talent and an ability to make critical important composer, musician, and decisions. Having only three movements, court personage. like an Italian opera overture, the symphony Bach’s influence on Wolfgang was echoes the form of several works from immense. The melodic shape, harmonic the same period by established composers. palette, and musical form of Mozart’s The structure of the symphony as a music are highly informed by the music generic form had not yet been codified of J.C. Bach. During the 1764–65 London as a four-movement work, so Mozart trip, the 8-year-old Mozart spent plenty looked to J. C. Bach’s Opus 3 for inspiration.

8 Mozart begins with an “Allegro molto” Mozart’s Piano Concerto No. 12 was featuring a principal theme constructed composed nearly 20 years later at the from a rising triadic figure and followed end of 1782. The previous January by a descending chain of harmonic brought news of J.C. Bach’s death. suspensions that return to the tonic chord. Mozart chose to memorialize the elder Because the movement is in a binary composer in the second movement of form, there is no development section. the concerto. Between Bach’s death However, Mozart adds variety by and the writing of the concerto, Mozart’s restating the opening theme in the had a very successful premiere of his dominant and then presenting the first opera Abduction from the Seraglio. theme group in the relative minor. The Although his piano concertos were second theme group rounds out the composed for his own performances, movement in the tonic. this surge in popularity led to his The central “Andante” is a young attempt to sell the 12th, 13th, and composer’s examination of musical 14th concertos by subscription, but texture and harmonic progressions. this then-novel method of marketing Thematically, there is not much activity, resulted in almost no sales. Instead, but the repeating triplets seem almost Mozart turned to the Viennese a tribute to Baroque stateliness. Listen publishing firm Artaria to print the for the familiar (and completely works. They were his only published coincidental) early use of the do-re- piano concertos. fa-mi “Jupiter” motto that would recur The composer wrote to his father in at the other end of Mozart’s life. December of 1782: The finale features an arpeggiated 3/8 “These concertos are a happy theme in the character of an opera medium between too heavy and buffa aria. Even at the age of 8, Mozart too light. They are very brilliant, could expertly delineate musical pleasing to the ear, and natural, sections and bring even a piece of without being insipid. There are juvenilia to a convincing conclusion. parts here and there from which connoisseurs alone can derive ©2017 Orpheus Music Prose & Craig Doolin satisfaction, but these passages are www.orpheusnotes.com written in such a way that the less learned cannot fail to be pleased, albeit without knowing why.” Piano Concerto No. 12 in A major, K. 414 Mozart’s Piano Concerto No. 12 begins The work dates from the autumn of 1782 and with the usual orchestral introduction was first performed during the Lenten season of 1783. It is scored for solo piano, two oboes, that introduces all themes. The first two bassoons, two horns, and strings. theme rises gently and falls rhythmically. Gentler in character, the second theme The story of Mozart’s Piano Concerto is almost skeletal by comparison but is No. 12 begins in 1763 when the Mozart also more contrapuntal. As expected, family went on their grand tour of the piano enters and expounds on the Europe. During their year-long stay in first theme with many scalar flights of London, Wolfgang met Johann Christian fancy and excursions into not-too-distant Bach, who exerted a huge influence keys. A brief development section leads on the youngster. Perhaps the weight to the recapitulation, which is largely of that friendship is best shown in straightforward and leads to a brilliant Mozart’s piano concertos, which reflect cadenza. The movement ends with an Bach’s galant style. eight-measure tutti.

9 The second movement quotes J.C. Bach’s It is quite unusual for the premiere of Overture to the opera La calamita de such a staple of the repertoire to be cuori. It is Mozart’s tribute to his friend. shrouded in such mystery. Mozart’s Beginning with a long orchestral letters refer to several concerts introduction, the movement is soon throughout Germany and Austria taken over by the soloist who provides between 1788 and 1791. Although he extensive ornamentation. The middle mentions performances of symphonies, section of the movement strays into there is no evidence that he is writing the key of A minor very briefly before about the Symphony No. 41. The playing a gentle cadenza. This lovely April 16 and 17, 1791, benefit concerts movement ends with a quiet tutti. for the Vienna Society of Musicians, Mozart’s finale begins again with an conducted by Antonio Salieri, featured orchestral introduction. The rondo “a grand symphony by Mozart.” The proceeds as expected with the return of “Jupiter” would have been the grandest the opening theme between contrasting of his most recent works. However, episodes. With the exception of the the term “symphony” in 1791 did not opening, the soloist plays almost always refer to a work by that title for constantly and is given very impressive orchestra. Quite often, the word was scales, arpeggios, and creative figurations. a general term for any musical work. Again, there is a dazzling cadenza before To complicate matters further, the title the final flourish for full orchestra. “Jupiter” is not Mozart’s own and has been attributed to numerous impresarios ©2017 Orpheus Music Prose & Craig Doolin from the early 19th century. www.orpheusnotes.com The first movement opens boldly without introduction, but with the main theme Symphony No. 41 in C major, comprised of two vigorous measures K. 551, “Jupiter” answered by two lyrical ones. The main theme unfolds further with the entire Although the actual date of the premiere orchestra joining in a sturdy dance. A is uncertain, this work was possibly first contrasting second theme enters in the performed on April 16, 1791, at a benefit strings. The development section soon concert in Vienna conducted by Antonio follows after the restatement of thematic Salieri. It is scored for flute, two oboes, material. Strangely, Mozart first develops two bassoons, two horns, two trumpets, the codetta (a short linking theme) timpani, and strings. instead of the main theme, although he Mozart’s last three symphonies may does do so later in this section. After the be viewed as a summing up of his work customary recapitulation, a brief four- in that genre. Composed in a six-week measure coda ends the movement. period in the summer of 1788, these The “Andante cantabile” second are among the best crafted and most movement is quiet and meditative. frequently performed of his works. This is Particularly notable is Mozart’s choice of a strange contrast to the steady decline the minor dominant key for the second of Mozart’s fortunes, a trend that would theme — a gesture that is powerful, yet continue until his untimely death in 1791 tender. A short development leads to a at age 35. The symphonies were most brief recapitulation. The movement closes certainly composed in hopes of earning with a coda built on the main theme. some profit or expanded notoriety, but no concrete evidence exists of either.

10 The “Menuetto” is chaste and refined Interestingly, Mozart introduces a with violins leading the stately dance. The few seemingly new themes in the full orchestra joins for cadences, but the development section. However, closer bulk of the work is given to strings. After examination reveals that they are actually the first statement, the Trio alternates upside-down versions of the original between statements by the winds and themes. Perhaps the most exciting strings. As is customary, the “Menuetto” moment in the work is the final coda, in returns to close the movement. which Mozart combines all the themes The finale is one of Mozart’s greatest of the finale into a dazzling display of movements. Full of contrapuntal felicities, contrapuntal skill. the movement is in sonata form and is ©2017 Orpheus Music Prose & Craig Doolin simple to follow in its formal scheme, www.orpheusnotes.com because of its well-defined structure.

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11 ARTIST BIOGRAPHIES Leon Fleisher Guest Conductor and Piano

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 4 and by the age of 9, the legendary Artur Schnabel invited him to be his student, first in Lake Como, Italy, and then in New York, where Schnabel nurtured and inspired the young Fleisher for the next 10 years as he evolved into one of the great music masters of our time. Leon 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.” 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 with George Szell and the Cleveland Orchestra, recordings recognized as among the great collaborations in the concerto repertoire. In 1965, before a scheduled tour of Russia with the Cleveland Orchestra, Leon Fleisher began to suffer symptoms of a debilitating condition of his right hand, later diagnosed as focal dystonia, a neurological condition that causes the fingers to curl into the palm of the hand. After a period of great despair, Fleisher channeled his creativity in new directions, mastering 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. Fleisher holds the Andrew W. Mellon Chair at the Peabody Institute of the Johns Hopkins University. As a teacher, he has carried on a tradition that descends directly from Beethoven himself, handed down generationally through Carl Czerny, Theodor Leschititsky, Artur Schnabel, and 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, Fleisher joined forces with his wife, pianist Katherine Jacobson, to form the Fleisher-Jacobson Duo, giving concerts world-wide and recording for Sony Classical. 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, Fleisher released his first solo CD in a decade, the Grammy nominatedAll The Things You Are. In 2006, in Paris, Leon Fleisher received the honor of Commander in the Order of Arts and Letters by the Minister of Culture of the French government. Approaching his 90th birthday, in addition to his teaching at Peabody, Fleisher continues with an international schedule of master classes, performances, and orchestral guest conducting.

12 PEABODY CHAMBER ORCHESTRA Joseph Young, Ruth Blaustein Rosenberg Artistic Director of Ensembles Leon Fleisher, guest conductor

Violin Cello Horn Nicholas Bentz † Michael Newman * Bailey Myers * Alexander Hardan * Soo Hyun Han Christopher Frick Sheila Esquivel Robert Kaufman Lily Homma Esther Kim Bass Trumpet Brenda Koh Alec Kipnes * Andrew Ezell * Natalie Koh Andrew Butts Todd Oehler Phoebe Leng Wang Liang Flute Timpani Maitreyi Muralidharan Hongsuh Cha Arlo Shultis Yan Qiao Oboe Assistant Conductor Daisy Wang Gabriella Alberico * Todd Craven Chieh-An Yu Mengying Han Viola Sonia Matheus * Principal † Concertmaster Jennifer Kim * Bassoon Ankit Anil Brian Wilson * Flavia Pajaro-van de Stadt Cindy Dong Lan Zhang

13 DAVID ZINMAN GUEST CONDUCTOR HERBERT GREENBERG VIOLIN

Christopher Rouse (b. 1949) Violin Concerto I. Barcarolle II. Toccata

Herbert Greenberg, violin

INTERMISSION

Dmitri Shostakovich (1906–1975) Symphony No. 15 in A major, Op. 141 I. Allegretto II. Adagio – Largo – Adagio – Largo III. Allegretto IV. Adagio – Allegretto – Adagio – Allegretto Miriam A. Friedberg Concert Hall Concert A. Friedberg Miriam | pm 8:00 |

Ruth Series Blaustein Rosenberg ORCHESTRA SYMPHONY PEABODY 21, 2018 April Saturday, In case of emergency, walk, do not run to that exit. 14 PROGRAM NOTES Violin Concerto The Violin Concerto is an early work Christopher Rouse that was composed in 1991 and Born February 15, 1949, in Baltimore, Maryland premiered the following year. The composer wrote the following This work was premiered on July 2, 1992, description: in Aspen, Colorado, by the Aspen Festival “I completed my Violin Concerto Orchestra conducted by Leonard Slatkin on August 18, 1991, in Fairport, with Cho-Liang Lin as soloist. It is scored New York. This 20 minute score for solo violin, piccolo, two flutes, two was composed for Cho-Liang Lin oboes, English horn, two clarinets, bass via a commission from the Aspen clarinet, two bassoons, contrabassoon, four Music Festival and funded in horns, two trumpets, three trombones, tuba, part by a grant from the National timpani, percussion, harp, celesta, and strings. Endowment for the Arts. Christopher Rouse is one of America’s most I have long been drawn to the original and inventive composers. Born in two-movement concerto form Baltimore, he became a percussionist, as exemplified by Bartok’s Violin but an interest in composition led him Concerto No. 1, and I resolved to structure my own concerto with a to his present path. As a young composer, generally similar architecture. The he received a Bachelor of Music degree opening movement is an elegiac in 1971, after which he studied privately barcarolle which begins with the with the visionary and innovative composer soloist alone; gradually he is joined George Crumb. After doctoral studies, by other first desk string players he joined the faculty of the University from the orchestra until a string of Michigan. Since 1981, he has taught quartet has been formed. The at the Eastman School of Music in ‘rocking motion’ which typifies the Rochester, New York, which led to his barcarolle intensifies following the acceptance of a simultaneous position sudden entrance of the entire at the Juilliard School in Manhattan. orchestra as the solo violin weaves In 1993 he received the Pulitzer Prize an increasingly florid line over it. for his Trombone Concerto, which was The movement’s central section dedicated to the memory of Leonard offers a contrast through a seemingly Bernstein and established him formally heightened metabolic rate (although as a leading composer on the present the fundamental tempo remains musical scene. unchanged), and it is followed by an extended passage for soloist Rouse’s style is somewhat enigmatic. and orchestral strings which gradually While exhibiting a reverence for early lowers the musical metabolism music, his scores tend to be rhythmic again before yielding to an altered and dissonant with mechanistic energy recapitulation of material heard and dynamic extremes of volume. He earlier in the movement. The is equally influenced by Led Zeppelin movement concludes with a somewhat and other rock-and-roll music of the spectral passage featuring the soloist 1960s and '70s. Although this mélange accompanied by timpani and of influences might sound overly plucked low strings, with occasional challenging to listener and player alike, interjections from harp and celesta. Rouse’s music is full of wondrous The second movement, a toccata, orchestral textures that draw the follows without pause and requires listener deeply into his music. enormous virtuosity of the soloist. It is cast in a rondo form (A-B- A-C-A) and is characterized by a more colorful orchestration as well as by its often extremely quick tempi. 15 Most of the important musical Symphony No. 15 in A major, Op. 141 material is presented in the A Dmitri Shostakovich sections, with the B and C sections Born September 25, 1906, in St. Petersburg, Russia furnishing variations upon it, Died August 9, 1975, in Moscow, USSR the former being a rather fast, capricious waltz and the latter a breathlessly racing prestissimo. An The work was given its earliest performance interpolated reminiscence of the on January 8, 1972, in Moscow by the barcarolle delays the appearance All-Union Radio and Television Symphony of the final A section, and this Orchestra, conducted by Maxim Shostakovich. in turn gives way to a perpetual It is scored for piccolo, two flutes, two oboes, motion cadenza which makes two clarinets, two bassoons, four horns, two extraordinary demands upon the trumpets, three trombones, tuba, timpani, soloist’s technique. A few bars of percussion, celesta, and strings. orchestral coda bring the concerto After the Soviet artistic blockade had to a close. somewhat lifted after Stalin’s death As I was working on the piece, I in 1953, Dmitri Shostakovich found became increasingly aware that it himself free to criticize the previous was conceived very much in the regime, but only within reason. A series grand manner of romantic concerti of symphonies (numbers 11 through 13) from Brahms to Szymanowski praised Soviet history as a triumphant and as a result felt little need to movement of the people, complete with exploit various even mildly unusual poignant sacrifices and brutal oppression. performing techniques. The entire His last two symphonies (numbers approach to the handling of the 14 and 15) are reflections of his own solo part was derived from this mortality, incorporating vocal soloists in tradition, and even the notion the Fourteenth, but relying entirely on of utilizing a musical manner drawn from gondolier songs the orchestra for his final symphony. (barcarolle) and virtuoso display The Fifteenth Symphony is an obtuse music (toccata) seems ‘romantic’ and complicated work that speaks to in retrospect. The language of the intellect as directly as it touches the the concerto is, of course, more heart. Shostakovich knew that his life dissonant than that found in was nearly over, especially with recent 19th century counterparts, though health problems, and saw this work there are areas of traditional as a farewell of sorts. He understood tonality in my concerto, and an that life is a series of contrasts and overall orientation of C minor compromises and wrote them into (first movement) and D minor his score — old vs. new, serious (second movement) is detectable. vs. ironic, and major vs. minor. The I also find this to be one of my more ‘objective’ compositions, first movement begins as a childish lacking as it does any stated or “Allegretto” with pealing bells and a unstated program, though I hope playful flute solo. Pizzicato strings that the use of a term such as give way to bassoon and trumpet ‘objective’ will not lead the listener solos. However, the most puzzling to conclude that my aim was an element of this movement is his use inexpressive one. of musical quotations from Rossini’s William Tell Overture. The familiar “Lone The concerto is dedicated to Ranger” theme intrudes several times, Cho-Liang Lin.” adding an even more sardonic twist to the texture than is usually heard in — Christopher Rouse Shostakovich’s scores. A central string soli (later heard in the woodwinds)

16 presents the complicated rhythmic Shostakovich’s finale is a harrowing textures much like the composer used glimpse into the mind of a dying in his earliest symphonies. A reference man. He once said that each of his to the trumpet call that opens Mahler’s symphonies were tombstones for Fifth Symphony occurs just before a return those who had faced criticism, and to material from early in the movement. often death, at the hands of the The second movement begins with Soviet bureaucracy. This symphony, a lugubrious brass chorale. Soon a particularly this movement, functions cello solo begins in the lowest reaches as his tombstone. It begins with of its range only to climb to the an introduction based on of three stratosphere within a few measures. statements of the “Annunciation of Two violins accompany the solo, but Death” leitmotif from Wagner’s The their pitches remain lower than the Ring of the Nibelungs. This gives way cello. About halfway through the to the movement’s first theme, filled movement, the solo trombone ushers with innocence and sounding more in a gentle funeral march, alternating like Elgar than Shostakovich. However, with chords played by a pair of flutes the first three notes are taken from voiced in sixths. This is the same Wagner’s Prelude to Tristan and voicing Shostakovich used to end his Isolde — a metaphysical tale of love’s monumental Thirteenth Symphony. glorification. The movement builds An overwhelming fortissimo eruption to a monumental climax, including a by the full orchestra forms the climax sinewy quotation from Haydn’s final of this movement, which ends with a symphony, only to be halted by a subdued and metallic texture that is brutally dissonant chord at the height perhaps best described as ethereal. of its glory. A deconstruction process begins. Eventually the “Annunciation Fleet and loaded with nervous tension, of Death” returns and the principal the third movement “Scherzo” begins theme of the finale returns in a tattered with a scurrying theme in the clarinet form. Once again we hear the metallic that is eventually passed throughout music of the first movement as the the orchestra. A solo violin introduces coda begins. Sounding somewhat like the middle section, a sort of lopsided damaged clockworks, the percussion dance punctuated by military fanfares. instruments bring the piece to a close, The opening music returns to end as the death process ends. the movement. ©2017 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

17 ARTIST BIOGRAPHIES David Zinman Guest Conductor

A regular guest with the world’s leading orchestras, this season includes appearances with NDR Elbphilharmonie Orchester, conducting Sciarrino’s La Nuova Euridice with Barbara Hannigan; Rotterdam Philharmonic Orchestra for their 100th anniversary season; Netherlands Radio Philharmonic Orchestra following their critically-acclaimed performances of Strauss’ Intermezzo last season; as well as engagements with Deutsche Kammerphilharmonie Bremen, SWR Radio- Sinfonieorchester, Deutsches Symphonie-Orchester Berlin, Orchestre de Paris, and performances at the Lugano Festival. Zinman also returns to the Tonhalle- Orchester Zürich for concerts and his now world-renowned master classes. He is conductor laureate of the Tonhalle-Orchester Zürich, having completed his 19-year tenure as music director in summer 2014. He has held positions as music director of the Rotterdam, Rochester Philharmonic, and Baltimore Symphony orchestras and more recently at the Orchestre Français des Jeunes; principal conductor of the Netherlands Chamber Orchestra and music director of the Aspen Music Festival and School, and American Academy of Conducting.

Herbert Greenberg Violin

Herbert Greenberg has appeared throughout the world as concertmaster, soloist, and chamber musician. He was concertmaster of the Aspen Festival Orchestra for 16 seasons and has served as guest concertmaster for the Houston, St. Louis, Oregon, San Diego, National Arts Centre of Canada, Japan Virtuosi, Prague Symphony, and Bergen Philharmonic orchestras. He served 20 years as concertmaster of the Baltimore Symphony Orchestra, was a member of the Minnesota Orchestra, and associate concertmaster of the Pittsburgh Symphony. Greenberg has collaborated as a soloist with many of the world’s leading conductors including William Steinberg, Leonard Slatkin, Andre Previn, Sergiu Comissiona, Günther Herbig, Alan Gilbert, and David Zinman. He was featured in Strauss’ Ein Heldenleben during the nationally telecast opening concert at Baltimore’s Joseph Meyerhoff Symphony Hall and has performed over 50 concerti from the Baroque to present day American composers such as Adams and Rouse. He has concertized throughout North America, Europe, and Asia; toured with Denmark’s Aalborg Symphony Orchestra; and led both the New Arts Ensemble of Taipei and the Singapore Symphony as violinist-conductor. An avid chamber musician, Greenberg was a founding member of the Previn- Greenberg-Williams Trio and the Baltimore String Quartet, and has collaborated with many notable musicians including William Primrose, Yo-Yo Ma, and Pinchas Zukerman. Greenberg has been a member of the violin faculty at the Peabody Conservatory since 1987. Many of his former students hold concertmaster and principal positions with major symphonies worldwide. He has recorded for Argo, Delos, and Telarc, and performs on the 1685 “Jean Becker” Stradivarius.

18 PEABODY SYMPHONY ORCHESTRA Joseph Young, Ruth Blaustein Rosenberg Artistic Director of Ensembles David Zinman, guest conductor

Violin Cello Horn Shannon Fitzhenry † Renee Delgado * Scott Campbell Ledah Finck * Irene Han Jordan Dinkins Yangying Chen Jerram John Szymon Rywalski Cheng-Chia Chiu Marcella Kolacki Noah Tingen Huan Ci Dorian Latchague Scott Ullman Tavifa Cojocari Elias Leceta Trumpet Ben Hoertnagl-Pereira Hang Liu Jason Aylward Jerry Hou Rahel Lulseged David Sayers Wei-Ling Hu Soyoon Park Mu-Ning Huang Xingqiao Ren Trombone Jennifer Jeon Joseph Staten Gabriel Luciano-Carson Hanbing Jia Ethan Wagner Ben Magrowski Bailey Schmidt Elizabeth Jones Bass Becca Kasdan Douglas Ohashi * Bass trombone Erin Kim Brock Drevlow Harry Oehler Grace Kim Sam Dugo Yeji Kim Tuba Winston Harris Hyun Ji Lim Osi Atikpoh Rachel Keene Andrew Lu Josephine Kim Celeste Bella Ming Antonin Ostrovsky-Petion Soo Jung Kim Zhixin Ouyang Gabriel Rioux-Boudreau Yujin Park Harp Brandon Smith Fangming Shen Olivia Castor Jianze Zhang Yu-Chu Teng Percussion/Timpani Sarah Thomas Flute Randall Chaves Camacho Hoi Shuen Tom Yerim Choi Taylor Davis Jerry Tong Lily Josefsberg Zachary Gutierrez Yuhong Tu Gyuri Kim Matthew Overbay Chih-Chun Wang Hea Ri Kim Robert Rocheteau William Wang Oboe Yonatan Rozin Madison van de Wetering Caleb Bradley Trista Wong Assistant Conductor Niall Casey Jisoo Kim Kimberlyn Wu Andrea Copland Ae-Lin Youn Samuel York * Principal Pei-Shan Yu † Concertmaster Mei Zhan Clarinet Eric Black Viola Melissa Lander Gavon Peck * Juan Carlos Martinez Andrew Goo Phoebe Hu Bassoon Carrie Jones Clifton Guidry Hyejin Kim Mateen Milan Jonathan Milord Patrick Quinn Hyungjung Song Lehan Wang Ting-An Wei Molly Wilkens-Reed Jasper Zientek

19 EDWARD POLOCHICK CONDUCTOR

Gabriel Fauré (1845–1924) Requiem in D minor, Op. 48 I. Introit et Kyrie II. Offertory III. Sanctus IV. Pie Jesu V. Agnus Dei et Lux Aeterna VI. Libera me VII. In Paradisum

Charlotte Bagwell, soprano Ross Tamaccio, baritone PEABODY SINGERS PEABODY INTERMISSION

Nikolai Rimksy-Korsakov (1844–1908) Scheherazade, Op. 35 I. The Sea and Sinbad’s Ship II. The Kalandar Prince III. The Young Prince and the Young Princess IV. Festival at Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman CHORUS PEABODY-HOPKINS Miriam A. Friedberg Concert Hall Concert A. Friedberg Miriam | pm 8:00 |

Ruth Series Blaustein Rosenberg ORCHESTRA SYMPHONY PEABODY 2018 28, April Saturday, In case of emergency, walk, do not run to that exit. 20 PROGRAM NOTES Requiem in D minor, Op. 48 end of his life. His most prestigious Gabriel Fauré appointment was as director of the Born on May 12, 1845, in Parmiers, France Paris Conservatoire in 1905, which he Died on November 4, 1924, in Paris, France held until 1920. Fauré’s music consists of captivating This work received its premiere on January and sensible melodies. The excesses 16, 1888, in La Madeleine in Paris. However, of Wagner and Italian opera are Fauré revised the work, expanding the absent and have no place in Fauré’s orchestration, and a second premiere took reserved style. However, this approach place in 1893. It is scored for pairs of flutes, is revolutionary in its modesty. By clarinets, and bassoons, four horns, two stripping away the chaff, he presents trumpets, three trombones, timpani, organ, emotion in a carefully measured, yet and strings, with soprano and baritone disarmingly direct form. It should be of soloists, and SATB chorus. no surprise that Fauré’s output consists Gabriel Fauré’s life was a series of very largely of chamber music, vocal works, fortunate events. Born to a wealthy and keyboard pieces. family in the south of France, near the Fauré’s 1888 Requiem is, if you will, Pyrenees, he enjoyed the comforts a kinder and gentler Requiem. His of a foster-nurse, never wanting for approach is perhaps more notable a child’s necessities. When his father for the portions of the traditional became director of a school in a nearby text that he removed than it is for the town, Fauré was allowed to play on the sections he chose to include. Perhaps chapel’s harmonium. Such experience his reason for doing so centered on eventually led him to Paris, at age the recent loss of his father, and his 8, to enter composer/teacher Louis mother’s death while he composed Niedermeyer’s newly-opened Ecole de the work. References to saints are Musique Classique et Religieuse (School gone. The agnostic composer, likewise, of Classic and Religious Music), later saw no reason to include the graphic known as the Ecole Niedermeyer. For portrayals of judgment day in the “Dies 11 years, Fauré studied Gregorian chant, Irae” section of the ancient text (the as well as the organ and composition. section where most composers display Upon Niedermeyer’s death in 1861, orchestration skills). Fauré opted instead Fauré was fortunate enough to begin to write a comforting work, as much a studies with Camille Saint-Saëns, the balm for the living mourners as it is for eminent composer who inspired the deceased. In all, he excised over half several generations of young musicians. of the Requiem text, leaving a work of Through Saint-Saëns, he learned the surpassing, yet unimposing, beauty. newest music by the most recent The orchestra is quite large, perhaps composers, including the controversial more sizeable than would be expected. Richard Wagner. Over the next 30 However, Fauré’s original orchestration years, Fauré would become the most did not include woodwinds or brass sought-after organist in Paris, holding instruments. Only after five years appointments at the most prestigious did he add the extra parts and cathedrals. Paradoxically, he never then as a way to reinforce certain accepted the dogma of the Church important passages. Interestingly, the but remained agnostic until the accompaniment sounds surprisingly

21 small due to Fauré’s creative scoring, leader and only professional musician), and almost never using the entire orchestra Nikolai Rimsky-Korsakov (a naval officer). at the same time. This Requiem is a This Nationalist group emphasized far cry from the bombast of Giuseppe Russian subjects in their music, often Verdi’s apocalyptic setting or Mozart’s incorporating folk melodies or stylized finely balanced work. Perhaps this was melodies meant to conjure Russian imagery. explained best by author Melvin Berger: Upon Balakirev’s urging in 1861, the “In their Requiems, Berlioz and untrained Rimsky-Korsakov taught Verdi erected huge, overwhelming himself composition and orchestration cathedrals of sound designed to and produced some of the most overcome doubt and deepen faith. advanced orchestrations of his By comparison, Fauré fashioned an day — Capriccio Espagnol, Russian exquisite, intimate, candlelit side Easter Overture, and Scheherazade. chapel where warmth and deeply The most successful of the “Mighty felt emotion are allowed to bring Handful,” Rimsky-Korsakov mastered peace and solace.” every aspect of the musical arts so ©2017 Orpheus Music Prose & Craig Doolin completely that he was awarded a www.orpheusnotes.com position as professor of composition at the St. Petersburg Conservatory just ten years after he began composing. Scheherazade, Op. 35 Strangely, he also began formal study Nikolai Rimsky-Korsakov for the first time, attending classes Born March 18, 1844, near Novgorod, Russia at the Conservatory while teaching a Died June 21, 1908, near St. Petersburg, Russia studio of young composers, including Piotr Ilyich Tchaikovsky. By the time The work was premiered on November 12, of Rimsky-Korsakov’s death in 1908, 1888, by the Russian Musical Society, in St. he had mentored many important Petersburg, with the composer conducting. composers who shaped the musical It is scored for piccolo, three flutes, two landscape of the following century, oboes, English horn, two clarinets, two among them Alexander Glazunov, bassoons, four horns, two trumpets, three Sergei Prokofiev, and Igor Stravinsky. trombones, tuba, timpani, percussion, harp, and strings. Scheherazade (1888) celebrates the exotic locale of Arabia. The tales of the European musical fashion was slow in its 1001 Arabian Nights date to as early eastward exodus into Russian culture. as the 10th Century and give us the After Napoleon’s failure to conquer the stories of Sinbad, Ali Baba, and Aladdin. Russian lands in 1812, the arts in the In order to link several of these together Motherland focused on folk culture. It into one unified symphony, Rimsky- was not until Mikhail Glinka’s works Korsakov prefaced the published score combined Russian themes and Germanic as follows: musical forms in the mid-19th century “The Sultan Shakriar, convinced that European musical fashion took of the falsehood and inconstancy hold in Russia. of all women, had sworn an oath Perhaps it was this delayed acceptance to put to death each of his wives that explains why nearly all of Glinka’s after the first night. However, the most noted disciples came from non- Sultana Scheherazade saved her musical professions. Called moguchaya life by arousing his interest in the kuchka (the “Mighty Handful”), this group tales, which she told during the of talented armchair composers was 1001 nights. Driven by curiosity the comprised of Alexander Borodin (a chemist), Sultan postponed her execution from day to day and at last Cesar Cui (an engineer), Modest Mussorgsky abandoned his sanguinary design.” (a government clerk), Mily Balakirev (the

22 “Scheherazade told miraculous stories to the Sultan. For her tales, she borrowed verses from the poets and words from folksongs combining fairy tales with adventure.” Insisting that listeners form their own unique narrative, Rimsky-Korsakov provided only fragmentary titles for the four exotic and evocative movements: I. The Sea and Sinbad’s Ship

II. The Kalandar Prince

III. The Young Prince and the Young Princess

IV. Festival in Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman Individual demands on each player are extreme. Excerpts from this work are regularly requested on orchestra auditions. The score is filled with strikingly original orchestration using creative and subtle combinations of instruments. It has been noted that Scheherazade sounds amazingly eastern — no mean feat for an ensemble comprising only western instruments.

23 TEXTS & TRANSLATIONS Requiem in D minor, Op. 48 Gabriel Fauré Introit Requiem aeternam dona eis, Domine. Grant them eternal rest, O Lord. Et lux perpetua luceat eis. And let perpetual light shine upon them. Te decet hymnus, Deus, in Sion, There shall be singing unto Thee in Zion, Et tibi reddetur votum in Jerusalem. And prayer shall rise to Thee in Jerusalem. Exaudi orationem meam. Hear my prayer. Ad te omnis caro veniet. Unto Thee all flesh shall come.

Kyrie Kyrie eleison. Christe eleison. Lord have mercy, Christ have mercy. Kyrie eleison. Lord have mercy.

Offertory Domine Jesu Christe, Rex gloriae, Lord Jesus Christ, King of glory, Libera animas defunctorum Deliver the souls of the faithful departed De poenis inferni From the pains of hell Et de profundo lacu. and the bottomless pit. Libera eas de ore leonis, Deliver them from the jaws of the lion, Ne absorbeat eas tartarus, Lest hell engulf them, Ne cadant in obscurum; Lest they be plunged into darkness; Hostias et preces tibi, Domine, Lord, in praise we offer to Thee Laudis offerimus, Sacrifices and prayers. Tu suscipe pro animabus illis, Receive them for the souls of those Quarum hodie memoriam facimus: Whom we remember this day: Fac eas, Domine, de morte Lord, make them pass Transire ad vitam, From death to life, Quam olim Abrahae promisisti As Thou didst promise Abraham Et semini ejus. And his seed.

Sanctus Sanctus, sanctus, sanctus, Holy, holy, holy, Dominus Deus Sabaoth! Lord God of hosts! Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy glory. Hosanna in excelsis! Glory to God in the highest!

Pie Jesu Pie Jesu Domine, Merciful Lord Jesus, Dona eis requiem, Grant them rest, Requiem sempiternam. Rest everlasting.

Agnus Dei Agnus Dei, Lamb of God, qui tollis peccata mundi, That takes away the sins of the world, dona eis requiem sempiternam. Grant them eternal rest.

24 Lux Aeterna Lux aeterna luceat eis, Domine, May eternal light shine upon them, O Lord, Cum sanctis tuis in aeternam, with Thy saints forever, Quia pius es. For Thou art good. Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, Et lux perpetua luceat eis. And let perpetual light shine upon them.

Libera Me Libera me, Domine, de morte aeterna Deliver me, O Lord, from eternal death in die illa tremenda, On that awful day quando coeli movendi sunt et terra, When the heavens and earth shall be shaken, dum veneris judicare When Thou shalt come to judge saeculum per ignem. the world by fire. Tremens factus sum ego et timeo, I am seized with fear and trembling, dum discussio venerit Until the trial shall be at hand atque venture ira: and the wrath to come: Dies illa, dies irae, That day, that day of wrath, calamitatis et miseriae, Of calamity and misery, dies magna et amara valde, A great day and exceedingly bitter, Requiem aeternam dona eis, Grant them eternal rest, O Lord, Domine, et lux perpetua luceat eis. And let perpetual light shine upon them.

In Paradisum In paradisum deducant te angeli, May the angels lead you into paradise, In tuo adventu May the martyrs receive you Suscipiant te martyres, In your coming, Et perducant te And may they guide you In civitatem sanctam Jerusalem. Into the holy city, Jerusalem. Chorus angelorum May the chorus of angels Te suscipiat, receive you Et cum Lazaro quondam paupere And with Lazarus once poor Aeternam habeas requiem. May you have eternal rest.

25 ARTIST BIOGRAPHIES Edward Polochick Conductor

Edward Polochick is the associate conductor of the Peabody orchestras, director of choral ensembles, and opera conductor at the Peabody Conservatory, where he has been a member of the faculty since 1979. He is also the artistic director of Concert Artists of Baltimore, which he founded in 1987, and the 2017–18 season marks his 19th as music director of the Lincoln Symphony Orchestra in Nebraska. An accomplished pianist and harpsichordist, he has appeared as piano soloist with the Philadelphia Orchestra and the Los Angeles Chamber Orchestra with Sir Neville Marriner conducting. Since winning the coveted Leopold Stokowski Conducting Award and, as a result, conducting the Philadelphia Orchestra, Polochick has attracted widespread attention as an orchestral, operatic, and choral conductor. During the summer of 1987, he was conductor of Musicisti Americani, a chamber orchestra festival in Sulmona, Italy. In November of that year, he conducted the Peabody Orchestra in concerts of American music in Moscow and received an ASCAP award for adventuresome programming of American music. His conducting appearances have included performances with the Baltimore Symphony Orchestra, Houston Symphony Orchestra, Chautauqua Symphony, the Opera Company of Philadelphia, Northeastern Pennsylvania Philharmonic, the Aalborg Symphony of Denmark, Omaha Symphony Orchestra, Tuscaloosa Symphony, Abilene Texas Philharmonic, and Jacksonville Symphony Orchestra. Polochick resides in Baltimore, where, in addition to his busy schedule with Concert Artists, the Peabody Conservatory, and regular guest conducting with the Baltimore Symphony, he is often asked to share his wealth of knowledge and love of music at various lecture series, adjudications, and radio broadcasts. He is the proud recipient of the Peggy and Yale Gordon Achievement Award and in May of 2000 was made an honorary member of the Baltimore Music Club. In the spring of 2002, he was selected as the first Peabody alumnus to receive the Johns Hopkins University Distinguished Alumnus Award.

26 Charlotte Bagwell Soprano

Charlotte Bagwell, a third-year undergraduate student at the Peabody Conservatory, is thrilled to make her solo orchestral debut with the Peabody Symphony Orchestra. She has soloed in other choral works such as Vivaldi’s Gloria and Debussy’s Trois Chansons de Charles d’Orléans. Bagwell has attended the Redwoods Opera Workshop, where she participated in master classes led by Elizabeth Vrenios and performed in scenes as Adina from L’elisir d’amore and Gretel from Hänsel und Gretel. This summer she will sing the role of Erste Knabe in Mozart’s Die Zauberflöte at Prague Summer Nights before heading to Florence, Italy, to attend Bel Canto in Tuscany. Bagwell is pursuing her Bachelor of Music under the tutelage of Stanley Cornett.

Ross Tamaccio Baritone

Ross Tamaccio is a native of Herndon, Virginia. During his graduate studies at Peabody with Stanley Cornett, he has performed as Count Almaviva, Mozart’s Le nozze di Figaro; Papageno, in the outreach program of The Magic Flute; and most recently Manfred in the east coast premiere of Jake Heggie’s Out of Darkness: Two Remain. As an oratorio soloist he has been featured in Handel’s Messiah with the Frederick Chorale, Fauré’s Requiem with Baltimore Choral Arts Society, and Brahms’ Ein deutsches Requiem with Maryland Choral Society. Additionally, Tamaccio has performed in Bach’s B Minor Mass and Carl Orff’s Carmina Burana with the Baltimore Symphony Orchestra. As a highly sought-after professional chorister, Tamaccio has also sung with the Basilica of the National Shrine Choir in Washington, the National Symphony Orchestra, and the Bridge Ensemble in Baltimore, a sixteen-member professional choir that specializes in both renaissance polyphony and 21st century choral music.

27 PEABODY SYMPHONY ORCHESTRA Joseph Young, Ruth Blaustein Rosenberg Artistic Director of Ensembles Edward Polochick, conductor

Violin Cello Bassoon Maitreyi Muralidharan † Michael Newman * Cindy Dong Daisy Wang * Justin Cheung Brian Wilson Angela Che Lindsey Choung Horn Winnie Chen Esther Cook Marianna Cardon Yung-Tzu Chen Soo Hyun Han Rachel Kristina Jones Ann Ching Sua Jo Bailey Myers Sheila Esquivel Robert Kaufman Yasmeen Richards Yiqing Fu Ethan Sandman Claire Hebeisen Mafalda Santos Trumpet Christopher Jasiewicz Julia Solomon Brandon Sklute John Wagner Esther Kim Bass Brenda Koh James Peterson * Trombone Natalie Koh Andrew Butts Jon Hutchings Minjin Lee Benjamin Hamilton Sarah Lewandowski Phoebe Leng Sophia Kelsall Wang Liang Bass trombone April Kim Audrey Maxner Jahi Alexander Alec Kipnes Ruoying Pan Eion Lyons Tuba Elle Park Noah Strevell Austin Lingerfeldt Yan Qiao Zili Sha Flute Organ Sayer Stewart Guilherme Andreas J.T. Hassell Angela Yang Drew Dardis Harp Chieh-An Yu Adam Eydelson Thea Kammerling Christian Paquette Viola Jessica Sudarta Yang Yang * Oboe Percussion/Timpani Brian Anderson Gabriella Alberico Hio Man Chang Daphne Bickley Hannah Staudinger Colin Crandal Vicky Gange Clarinet Russell Fisher Hannah Jung Sheng Chen Jacob Gutierrez Bronwyn Kure Andrew Im Nonoka Mizukami Mark Liu Scott Johnson Arlo Shultis Kate Moran Chadwick Thomas Setareh Parvaresh Assistant Conductor Will Satterfield Hilo Carriel * Principal † Concertmaster

28 PEABODY SINGERS PEABODY-HOPKINS CHORUS Edward Polochick, director Edward Polochick, director J.T. Hassell, rehearsal and performance pianist J.T. Hassell, rehearsal and performance pianist Hilo Carriel, graduate conducting assistant Hilo Carriel, graduate conducting assistant Ryan Tani, chorus manager Ryan Tani, chorus manager

Soprano Soprano Tenor Camille Crossot * Katelyn Aungst * Benjamin Gascon * Marcella Astore Samantha Albstein (tenors and basses) Charlotte Bagwell Alex Borden Tim Jones Sara Buggy Nancy Fallon Jonathan Rush Xiaxun Ding Hyun Joo Kang Jonathan Valente Tzu-Chin Hsu Lexie Modica Jose Vargas Claire Iverson Isabella Xie Bass Savannah McElhaney Alto Liam Ashwill Morgan Sanchez Madilyn Crossland * Ian Blanchardon Mafalda Santos Camila Agosto Andrew Bohman Maggie Wang Hyunsu Choi Haoyuan Chen Alto Tess Clark Hongtai Chi Emma Dickinson * Yuan Gu Kyle Puebla Dubin Marie Herrington Heidi Hansen Yi-chen Feng Rung-Jiuan Huang Emma Anne Hils Samuel Garrett Winona Liao Caroline Lacy Yunhan Gu Alyce McNulty Serena Miller Samuel Hoch Lauren Redditt Flavia Pajaro-van de Stadt Junhong Kuang Meimei Zhu Doyoung Park Tenson Liang Tenor Rhonda Robinson Sojourner McClure Jung Min Suh Joseph Miller Ryan Ayres Kathy Walsh Sunglae Park Bhaskar Bálaji Infinity Willner Alexander Ringo Jasper Cox Alexandria Zallo Kevin Sherman Maxime Daigneault Yunling Zhang Shon Stelman Jeremy Earnest Yunsi Zhang William Won Ik Suh Scott Kehoe Jackson Willis Mofan Lai Daveen Rim * Section Leader David Sexton Patrick Thompson Timothy Witbeck Bass Jared Hancock * (tenors and basses) Matteo Belli Rahzé Cheatham Christopher J. Hartung Shaul Leket-Mor Misael Elahrens Tambuwun Lorenzo Zapata * Section Leader

29 JOSEPH YOUNG CONDUCTOR Ruth Blaustein Rosenberg Artistic Director of Ensembles

Wojciech Kilar (1932–2013) Orawa for string orchestra

Jessie Montgomery (b. 1981) Banner for string orchestra

Pei-Shan Yu, violin Sarah Thomas, violin Amy Tan, viola Najette Abouelhadi, violoncello

INTERMISSION

Bryce Dessner (b. 1976) Quilting

Witold Lutosławski (1913–1994) Symphony No. 4 Miriam A. Friedberg Concert Hall Concert A. Friedberg Miriam | 7:30 pm | ORCHESTRA

MODERN

PEABODY 2, 2018 May Wednesday, In case of emergency, walk, do not run to that exit. 30 PROGRAM NOTES Orawa for string orchestra Orawa is characterized by use of Wojciech Kilar repeated figures played off against Born July 17, 1932, in Lviv, Ukraine one another, with its texture varying Died December 29, 2013, in Katowice, Poland in dynamics and rhythms for dramatic effect. It is the most popular of Kilar’s While Chopin is usually the first name works, and has lent itself to a variety of to come to mind when speaking of arrangements, including, at various Polish composers, there are a number times, for string quartet, for twelve of contemporary Polish figures who saxophones, accordion trio, and eight cellos! have distinguished themselves by In an interview in Krakow in 1997, Kilar incorporating Poland’s indigenous said of his most famous work, culture and landscape into their music. “Orawa is the only piece in which One of these is Wojciech Kilar, now I wouldn’t change a single note, recognized as Poland’s leading though I have looked at it many composer of symphony, oratorio and times… What is achieved in it is chamber music, as well as numerous what I strive for - to be the best sound tracks. He was trained in Krakow, possible Kilar.” then in Paris, studying under some of the greatest modern tutors of the 20th — Beryl McHenry century and perfecting and adopting his distinctive neo-classical style. He performed regularly in concert halls and also accepted a number of Banner for string orchestra commissions from film directors. Jessie Montgomery Commissions included The Truman Show, Dracula, Portrait of A Lady, and Born December 8, 1981, in New York City The Pianist, among many others. After a period of particularly avant-garde Banner was commissioned by the productions, he settled into a strongly Sphinx Organization as a tribute for the nationalistic style, showing elements of 200th anniversary of the Star Spangled his country’s folk and religious music. Banner, the American national anthem. Banner is a rhapsody on the Star His composition Orawa, completed in Spangled Banner theme. Drawing on 1986, takes its title from the Carpathian musical and historical sources from region of the Polish-Slovak border. It various world anthems and patriotic also refers to mountainous terrain and songs, I’ve made an attempt to answer grass-covered mountain pastures with the question: “What does an anthem for rivers running through. It is the final the 21st century sound like in today’s work in Kilar’s “Tatra Mountain works” multi-cultural environment?” The for string orchestra and has been structure is loosely based on traditional suggested to depict the potent forces marching band form where there are of nature and an exuberant folk festival several strains or contrasting sections; I at harvest time. have drawn on the drum line chorus as a source for the rhythmic underpinning in the finale.

31 As a culture, we Americans are perpetually As the score for my new work began in search of ways to express our ideals to take shape, I started thinking about of freedom, to proclaim, “we’ve made the manuscript itself as an object, its it!” as if the very action of saying it vertical and horizontal planes create aloud makes it so. And for many of a kind of patterned geometry of their our nation’s people, that was the case: own. Visually the way a musical score is through work songs and spirituals, woven together like patchwork brought enslaved Africans promised themselves to mind quilts and the great American a way out and built the nerve to endure tradition of quilting. I imagined about the most abominable treatment for how conducting an orchestra can the promise of a free life. Immigrants feel like stitching a piece together, or from Europe, Central America, and the sewing together a large number of Pacific have sought out a safe haven musical ideas and musicians into a here and though met with the trials of coherent and transcendent whole. building a multi-cultured democracy, Quilting was an integral part of continue to find roots in our nation and American vernacular in the 18th make significant contributions to our and 19th centuries, the African- cultural landscape. A tribute to the U.S. American quilting tradition is especially national anthem means acknowledging fascinating, and the quilts tell the the contradictions, leaps and bounds, stories of the women and communities and milestones that allow us to who made them. The names of the quilt celebrate and maintain the tradition of patterns themselves can have their our ideals. own sense of narrative: jacobs ladder, ©2017 Jessie Montgomery drunkards path, solomon’s puzzle, and (my favorite for its relevance to this piece) “the road to California.”

— Bryce Dessner Quilting Bryce Dessner Born April 23, 1976, in Cincinnati, Ohio Symphony No. 4 Quilting, co-commissioned by the Witold Lutosławski BBC Symphony Orchestra and the Los Born January 25, 1913, in Warsaw, Poland Angeles Philharmonic, is my first stand Died February 7, 1994, in Warsaw, Poland alone work for orchestra and is loosely inspired by the American tradition of One current view of Lutosławski’s quilt making. I composed Quilting while stylistic development suggests four living most of last year in Paris. During style periods. Of the early works to my time there, I thought a lot about about 1948, often summarized under what it means to compose symphonic the inadequate label “neoclassical” music as a young American in the 21st of which the Paganini Variations for century, when so many of the many two pianos is best known. During masterworks which are programmed a middle period from 1949 to 1960, year in and out by orchestras across he pursued two independent styles, the country are European. I considered one for functional music, often folk- which artistic traditions defined the inspired (Concerto for Orchestra), the American 19th-century. I began to think other experimental and driven by an of the American crafts-tradition of insatiable urge to perfect his own quilting as a foil to the high-art tradition personal, modernist musical language of European orchestral composition. (Musique Funèbre). Beginning in 1960,

32 the experimental track bore full fruit by the Berlin Philharmonic with the in a mature third period, producing composer conducting; and by the works which combine limited use of Chicago Symphony under Daniel chance techniques with a rich harmony Barenboim) and literally hundreds of based chiefly on twelve-note chords, live performances all over the world. and in which texture and colour often Undoubtedly public acceptance assume leading roles. Both Mi-parti has been sped along by the Third and the Cello Concerto are outstanding Symphony’s spectacular orchestration, examples of the music of the third its big, memorable tune, and its period. Since about 1979, Lutosławski moments of high drama. The Fourth has adopted still another approach, Symphony is quite different; it is now stressing thinner, simpler textures much shorter, and its rhetoric is less and harmonies and lucid, even extrovert, its colours darker, its drama neoclassic melodic and rhythmic more somber. The Fourth Symphony lines – elements that create obvious is equally as compelling, however, connections with his early works. through its sheer eloquence and its Lutosławski’s four symphonies reflect almost elegiac gravity. the course of his development rather Lutosławski was asked in a 1992 neatly. The First Symphony, composed interview for the German monthly from 1941 to 1947, closes his first style NZ, how his symphonies relate to the period; it became a cause célèbre symphonic tradition. He replied “It is a when Lutosławski was criticized by the question of form. I have thought a lot Soviet-dominated Polish government about large-scale closed forms. I was for “formalism” (i.e. music that is not always happy with the … Brahmsian modern, or that dares to think for tradition. In Brahms there are two main itself, or that dullard politicians can’t movements, the first and the fourth. In understand at first hearing). The work my experience as a listener, that is too was banned in 1949 and was not much. Too much substance within [a heard again for ten years. Lutosławski short span of] time. I believe that the waited twenty years to write another ideal relationship is achieved in Haydn’s symphony, and then he used the symphonies. And I thought that Second Symphony (1966–67) to perhaps I could find some other way to consolidate the discoveries of his third achieve this balance. My solution is to period on a large orchestral scale. The view the first movement as preparation Third Symphony (1981–83) was the first for the main movement. The first major work in the late style period to movement must engage, interest, capture public attention. The Fourth it must — ‘intrigue,’ as they say in Symphony, arriving after more than English. But it must not give complete decade of refining this late manner, satisfaction. It must make us hungry reflects the lessons of the intervening and, finally, even impatient. That is the works, especially such gems as the right moment to introduce the main Partita for violin and piano (1984), movement. That is my solution, and I Chain 2 for violin and orchestra (1984– think it works rather well.” 85), and the Piano Concerto (1988). In one way or another, this two- In its first decade of existence, the part format — preparation, main Third Symphony has enjoyed an event — lies at the heart of many of almost unheard-of level of public Lutosławski’s works over the past success for a modern work: three thirty years, including the Second recordings (by Esa-Pekka Salonen Symphony (whose two movements and the Los Angeles Philharmonic; bear the explicit titles “Hesitant” and

33 “Direct”) and the Third Symphony As promised, just at the moment when (introduction, preparatory first we grow impatient with the preparatory movement, large main movement, first movement, the main second third movement comprising lyrical movement arrives. This movement aftermath, brief coda). The Fourth unfolds in three stages. The first section, Symphony presents an example that dominated by running sixteenth-note is both clear-cut in its two-movement figures, introduces a grave cantibile layout and unprecedentedly subtle in theme that will return for later the way in which the two movements development. The middle section is relate to each other to create a single, a sparkling orchestral texture that overarching musical experience. Its begins at the top of the orchestra and first movement adopts a favourite swells down through the ranks until, ploy for engaging our attention while heralded by solo trumpet and a trio of at the same time frustrating our trombones, it yields to the third section. desire for continuity: alternating two Now the cantibile idea heard earlier contrasting kinds of music. The first returns in full force, gaining in urgency of these, a lyrical melody against a until it culminates in a powerful unison gentle, chordal background, is first statement by the massed strings exposed by the clarinet, later by flute and brasses. As if there were no way and clarinet together. Interposed forward from this frankly emotional between statements of this unfolding climax, the music dissolves in dreamlike melody are mercurial interludes of recollections, dwindling to a single faster, less predictable music. On its last note in the violas. A brief, brilliant coda appearance the lyrical music is taken brings the symphony to a close. up and extended by the strings until it Lutosławski’s Fourth Symphony was culminates in an abortive attempt at a commissioned by the Los Angeles grand climax. Philharmonic. The score bears the completion date 22 August 1992.

— Steven Stucky

34 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 has 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.

35 PEABODY MODERN ORCHESTRA Joseph Young, conductor Ruth Blaustein Rosenberg Artistic Director of Ensembles

Violin Cello Trumpet Nicholas Bentz Najette Abouelhadi Jason Aylward Yangying Chen Renee Delgado Sam Hughes Cheng-Chia Chiu Ismael Guerrero Herman Makosky Huan Ci Irene Han Todd Oehler Tavifa Cojocari Jerram John David Sayers Shannon Fitzhenry Marcella Kolacki Ambrose Tang Ben Hoertnagl-Pereira Hang Liu Trombone Jerry Hou Soyoon Park Gabriel Luciano-Carson Wei-Ling Hu Joseph Staten Ben Magrowski Mu-Ning Huang Kahler Suzuki Bailey Schmidt Jennifer Jeon Ethan Wagner Bass trombone Hanbing Jia Bass Elizabeth Jones Harry Oehler Brock Drevlow Becca Kasdan Sam Dugo Tuba Erin Kim Josephine Kim Osi Atikpoh Grace Kim Douglas Ohashi Yeji Kim Harp Luke Reilly Hyun Ji Lim Esther Chung Gabriel Rioux-Boudreau Andrew Lu Melody Leung Brandon Smith Bella Ming Jianze Zhang Percussion/Timpani Zhixin Ouyang Randall Chaves Camacho Yujin Park Flute Taylor Davis Fangming Shen Victor Hernandez Ramirez Matthew Overbay Yu-Chu Teng Natalie Jefferson Robert Rocheteau Sarah Thomas Gyuri Kim Mari Takeda Hoi Shuen Tom Oboe Jerry Tong Piano Mengying Han Chelsea De Souza Yuhong Tu Sonia Matheus Chih-Chun Wang Amelia Wingard Celesta William Wang Sherry Du Trista Wong Clarinet Ae-Lin Youn Eric Black Assistant Conductor Pei-Shan Yu Melissa Lander Jamie Reeves Mei Zhan Jay Shankar Jackson Willis Viola Ankit Anil Bassoon Will Church Kathleen Beavers Alexandra D’Amico Clifton Guidry Phoebe Hu Mateen Milan Flavia Pajaro-van de Stadt Horn Amy Tan Scott Campbell Ting-An Wei Jordan Dinkins Molly Wilkens-Reed Christopher Frick Sebastian Wintsch Lily Homma Jasper Zientek Emma Van Zuyle

36 UPCOMING EVENTS A RITE OF SPRING Thursday, April 19 8:00 pm Peabody Renaissance Ensemble Friday, April 20 and Baltimore Baroque Band BERNSTEIN AND FRIENDS Monday, April 30 7:30 pm An evening of scenes and songs of Leonard Bernstein PEABODY JAZZ ENSEMBLE Friday, May 4 7:30 pm

BRASS BASH Saturday, May 5 8:00 pm Peabody Brass PEABODY DANCE! FESTIVAL Thursday, May 10 7:30 pm A community celebration of movement

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

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].

37 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 38 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. 39 JOHNS HOPKINS UNIVERSITY ADMINISTRATION PEABODY INSTITUTE ADVISORY BOARD Ronald J. Daniels Liza Bailey Jill E. McGovern President Rheda Becker Christine Rutt Schmitz Sunil Kumar Paula Boggs Solomon H. Snyder Provost and Senior Vice President for Academic Affairs Barbara Bozzuto David Tan Laifun Chung Shirley S. L. Yang PEABODY INSTITUTE Richard Davison ADMINISTRATION Larry Droppa Leon Fleisher Fred Bronstein Nancy Grasmick EMERITUS MEMBERS Dean Taylor A. Hanex, chair Pilar Bradshaw Abra Bush Senior Associate Dean Allan D. Jensen Tony Deering of Institute Studies Christopher Kovalchick Benjamin H. Griswold IV Maureen Harrigan Abbe Levin Turner B. Smith Senior Associate Dean for Finance and Administration Sarah Hoover Associate Dean for Innovation, Interdisciplinary Partnerships, and Community Initiatives Jessica Lunken Associate Dean for External Relations Townsend Plant Associate Dean for Enrollment and Student Life

PRODUCTION STAFF

Chelsea Buyalos Yuriy Kosachevich Mary Schwendeman Concert Series Coordinator Piano Technician Senior Piano Technician Daniel Chaloux Dennis Malat Matthew Stiens Stage Coordinator Technical and Stage Consultant Ensemble Coordinator Elizabeth Digney Douglas Nelson Amelia Stinnette Box Office Coordinator Technical Coordinator Communications Coordinator for Concert Programs Melina Gajger William Racine Ensemble Program Manager Audiovisual Coordinator Ryan Tani Ensemble Coordinator Ben Johnson Jessica Satava Senior Graphic Designer Concert Operations Supervisor Adam Scalici Stage Coordinator and Audiovisual Assistant

40 10% off dinner

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904 N. Charles street, Baltimore, mD 21201 phone: 410.385.9946 fax: 410.385.9958

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.