The 2016–17 Concert Season at Peabody

the 2016–17 concert season at peabody

Peabody Conductors Orchestra April 26, 2017 Peabody Wind Ensemble April 28, 2017 STEINWAY. YAMAHA. [ YOUR NAME HERE ]

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

To learn more about naming a piano and other creative ways to support the Peabody Institute, contact: Jessica Preiss Lunken, Associate Dean for External Affairs [email protected] • 667-208-6550 It is almost impossible to imagine that we are entering the final weeks of the 2016–17 academic year and concert season. As we do so, we eagerly anticipate the launch this fall of the new Breakthrough Curriculum and reimagined ensembles program here at Peabody. Even as we look forward, we celebrate the many wonderful performances that have occupied these stages at Peabody this year and will continue in the weeks ahead. For example, it is hard to imagine a more exciting event than the Peabody Symphony Orchestra performance with guest conductor Leonard Slatkin leading Peabody faculty artist and world renowned flutist Marina Piccinini in Aaron Jay Kernis’ Flute Concerto, co-commissioned by the Peabody Institute and the Detroit Symphony Orchestra, among others. The PSO has the distinct honor of doing the world premiere recording of this work — which is to be paired with the composer’s Second Symphony, recorded this past fall under the direction of Marin Alsop — on the PSO’s upcoming Naxos recording, our second in as many years. Other performances feature the Peabody Concert Orchestra, Peabody Singers, STEINWAY. and Peabody-Hopkins Chorus under the direction of Ed Polochick in a program that includes John Adams’ Grand Pianola Music and Mendelssohn’s glorious YAMAHA. Lobgesang. We also have the Peabody Conductors Orchestra with director of graduate conducting Marin Alsop’s gifted students on the podium for performances [ YOUR NAME HERE ] of Haydn, Beethoven, and Stravinsky. In addition, we hear from the Peabody Wind Ensemble under the direction of Harlan Parker for one final concert this season. With your gift to the Piano Excellence Fund at Peabody, you can add your And for something completely unique and wonderful, Peabody’s now annual name to the quality instruments our outstanding faculty and students use Gospel Concert featuring The Divine Voices of Praise from Ark Church and The for practice and performance every day. Sanctuary Choir from New Shiloh Baptist Church, along with Peabody Conservatory performers all brought together and inspired by musicology faculty member The Piano Department at Peabody has a long tradition of excellence dating Andrew Talle’s gospel project. We are thrilled to host this event as a way of celebrating back to the days of Arthur Friedheim, a student of Franz Liszt, and continuing this art form and our community. to this day, with a faculty of world-renowned artists including the eminent Leon Fleisher, who can trace his pedagogical lineage back to Beethoven. I hope you’ll join us for all these concerts, of course, free and open to everyone. And I hope you’ll stay tuned to the many exciting initiatives and projects happening Peabody piano students have won major prizes in such international at Peabody as we go forward in the coming months and especially as we celebrate competitions as the Busoni, Van Cliburn, Naumburg, Queen Elisabeth, the remarkable burgeoning talent that Peabody fosters as we launch 21st century and Tchaikovsky, and enjoy global careers as performers and teachers. careers and artists that will shape the world with their very distinctive voices. The Piano Excellence Fund is a new philanthropic focus, created to support this legacy of excellence by funding the needed replacement of more than 65 pianos and the ongoing maintenance and upkeep of nearly 200 pianos on stages and in classrooms and practice rooms across campus. Fred Bronstein

To learn more about naming a piano and other creative ways to support the Peabody Institute, contact: Dean Jessica Preiss Lunken, Associate Dean for External Affairs [email protected] • 667-208-6550 2 PEABODY CONDUCTORS ORCHESTRA

MARIN ALSOP Director of Graduate Conducting

Ryan Tani, conductor Alan Buxbaum, conductor Nell Flanders, conductor Thomas Fortner, conductor

Wednesday, April 26, 2017 Miriam A. Friedberg Concert Hall 2:30pm

Overture to Egmont, Op. 84 Ludwig van Beethoven (1770–1827) Ryan Tani, conductor

Symphony No. 104 in D major, H. 1/104, “London” Franz Joseph Haydn Adagio—Allegro (1732–1809) Andante Menuet—Allegro Spiritoso Alan Buxbaum, conductor Nell Flanders, conductor

The Firebird Suite (1919) Igor Stravinsky Introduction (1882–1971) Kastchei’s Enchanted Garden and Dance of the Firebird Round of the Princesses Infernal Dance of Kastchei and His Subjects Berceuse Finale Thomas Fortner, conductor

This concert is Octava-enabled. In consideration, please mute electronic devices when using Octava during performances. The use of cameras and sound recorders during performances without the express prior written permission of Peabody is strictly prohibited. Notice: For your own safety, look for your nearest exit. In case of emergency, walk, do not run to that exit. 3 PROGRAM NOTES

Overture to Egmont, Op. 84 Egmont is set in 16th century Holland Ludwig van Beethoven and deals with Spain’s annexation of Born December 16, 1770, in Bonn, Germany; that country. The Spanish Duke of Alba Died March 26, 1827, in Vienna, Austria. has imprisoned the Dutch hero, Egmont, and plans to kill him to prevent the This work was first performed on independence of Holland. As Egmont June 15, 1810, at the Hoftheater in marches off to his execution, he remembers Vienna with Beethoven conducting. It a dream in which his love, Clärchen, is scored for woodwinds in pairs with appeared to him revealing that his added piccolo, four horns, two trumpets, death would be the catalyst of Dutch timpani, and strings. rebellion and freedom. This nationalist Despite the common belief that Ludwig triumph through personal defeat van Beethoven was a leading proponent strangely foreshadows the Wagnerian of the Classical idiom of balance and ideal of redemption through personal symmetry, quite early in his career his sacrifice. In this scene, Goethe calls for music began to display the full-fledged a “symphony of victory.” Romantic tumult and storminess that In the overture, Beethoven summarizes would spark the creativity of more than a the entire action of the play in microcosm; century of composers. Beethoven’s style from its measured and heavy minor-key of orchestration, with its use of string introduction, representing the malevolent tremolos, shocking dynamic contrasts, Duke, through the tumultuous and and solo lines for wind instruments, churning “allegro” of the exposition, displays the revolutionary spark he showing Egmont’s tribulations, to the gained, as a teenager, from hearing triumphant and victorious ending. music of French political refugees passing through his hometown of Bonn. ©2016 Orpheus Music Prose & Craig Doolin Nowhere is this more evident than in his www.orpheusnotes.com music for the stage. Beethoven’s overtures were mostly for use in theatrical productions, with four Symphony No. 104 in D major, of them — Fidelio and Leonore Nos. 1–3 — H. 1/104, “London” composed at various times for different Franz Joseph Haydn productions of his opera Fidelio. Most Born ca. March 31, 1732, in Rohrau, Austria; of the other overtures were from stage Died May 31, 1809, in Vienna, Austria. plays — Coriolanus, Ruins of Athens, and Egmont. These miniature masterpieces The work was premiered on May 4, 1795, are filled with intense drama in their brief at King’s Theater in London, conducted duration of 10 to 15 minutes. Nearly all by the composer. It is scored for pairs of of this music was associated with a single flutes, oboes, clarinets, bassoons, horns, performance of its associated play. and trumpets, with timpani, and the Beethoven’s incidental music to Johann usual complement of strings. Wolfgang von Goethe’s play Egmont Franz Joseph Haydn lived in a quickly dates from the winter and spring of changing world. In his 77 years, he 1809–10 for a production of the play on experienced the rise of the Age of May 24. The most popular of the several Enlightenment, the French and American pieces in the score, the overture, was Revolutions, and the beginnings of the written in June — too late for its Industrial Revolution in England. intended performance. Musically, he lived from just after the

4 composition of Bach’s Brandenburg composed symphonies Nos. 99 to 104. Concertos until just after Beethoven’s Haydn relished his newly found artistic Pastoral Symphony. Of course, as musical freedom and used it to his advantage. fashion changed so did instrumentation. The 12 symphonies composed for the In Haydn’s youth, before the orchestra visits, cumulatively called the “London” gained a standardized instrumentation, or “Salomon” symphonies, call for a instrumental ensembles usually consisted larger orchestra than had been at his of very small forces that could be contained disposal at Esterháza. London audiences in the reception area of an aristocrat’s were delighted with Haydn’s presence. home. As a mature composer, Haydn He entertained a seemingly endless composed for a standard ensemble of number of well-wishers. His works were winds in pairs, timpani, and strings that received with adulation, and the London performed in large public theaters and press compared him to Shakespeare in concert halls. his mastery of his art. In 1759, Haydn accepted his first musical While the final dozen Haydn symphonies appointment as Kapellmeister to the are referred to as the “London” symphonies household of Count Ferdinand Maximilian (plural), the Symphony No. 104 is the von Moritz. For two years, he managed “London” symphony (singular). It opens the daily musical activities at court, in with an imposing slow introduction with what proved to be perfect training for the character of a restrained minor-key the Herculean tasks required by his next fanfare, followed by a brisk monothematic position. On May 1, 1761, Haydn signed sonata-allegro form in D major in which a contract with the Hungarian Esterházy the first theme does double duty by family requiring him to lead all orchestra appearing also as the second theme.The and chamber music rehearsals and extensive development section explores performances at their palace in Eisenstadt, minor keys, but the tonic of D major Austria. They would later build the prevails at the end of the movement. luxurious Esterháza estate in Hungary. Despite the daunting schedule, Haydn Haydn’s “Andante” is a lyrical A-B-A form was never allowed to resign, and all of that uses variation techniques for melodic his compositions became property of the and harmonic variety. The minuet is full of court. Although Haydn sacrificed much boisterous Haydnesque humor, featuring of his personal and artistic freedom, syncopation and comical instrumental he found the position to be a priceless effects. A contrasting trio is scored for a opportunity to build widespread fame lighter instrumentation of flute, oboe, and as a composer. Having served as court bassoon solos with strings. composer to Prince Nicolaus Esterházy The finale is in sonata form and begins for 29 years, Haydn found himself free with a low D drone that continues for to travel after his patron died in 1790. 18 measures. Haydn’s theme is derived The following year, upon the invitation of from a rustic Croatian folk tune full of British impresario Johann Peter Salomon, spirit and life. This movement also shows Haydn made his first journey to London. Haydn’s sense of humor through its The London concerts presented a large drastic dynamic changes and spirited variety of the composer’s music, but mood. The drone returns at the end, but the core of these offerings was a set of it is now transformed into an exuberant six newly composed symphonies, later gesture of triumph. known as Nos. 93 to 98. A second visit ©2016 Orpheus Music Prose & Craig Doolin followed in 1794–95, during which Haydn www.orpheusnotes.com

5 The Firebird Suite (1919) A Neoclassical style occupied his works Igor Stravinsky from the 1920s through the early 1950s. Born June 17, 1882 in Oranienbaum During this period he found inspiration (now Lomonosov), Russia; in Baroque musical forms and textures. Died April 6, 1971 in New York, New York. Stravinsky’s final period, spanning from the early 1950s until his death in 1971, The ballet from which the composer embraced a form of serialism loosely extracted this suite received its premiere modeled on Arnold Schoenberg’s 12-tone on June 25, 1910, at the Théâtre National techniques, in which musical materials de l’Opéra in Paris, conducted by Gabriel are determined by the manipulations of Pierné. It is scored for piccolo, two flutes, numerical formulas. two oboes, English horn, two clarinets, Stravinsky’s first major success wasThe two bassoons, four horns, two trumpets, Firebird from 1910, an exotic ballet that three trombones, tuba, timpani, percussion, he wrote for the Russian impresario harp, piano, celesta, and strings. Sergei Diaghilev’s Ballets Russes. This Igor Stravinsky maintained that music is magnificent company introduced many not a language for the communication of stage works by the period’s foremost emotion but exists solely to establish order composers — Claude Debussy and among sounds. It is surprising to many Manuel de Falla among them. Diaghilev that Stravinsky regarded himself as a had discovered Stravinsky’s music and conservative and sought for clarity and began to promote him. This partnership simplicity above all else. One consequence brought the young composer’s works to to his devotion to tradition has been an the ears of European listeners and was unparalleled ferocity of attack against responsible for elevating Stravinsky’s him by those who regarded him as an music to the world stage. Their first anarchist who was out to destroy the large-scale collaboration, The Firebird, very foundations of music. was commissioned for the 1910 season of the Russian Ballet at the Paris Opera. Stravinsky’s career spanned over 70 years. Michel Fokine was the choreographer In that time he witnessed the ever-changing and Thamar Karsavina performed the reaction — often resistance — to his principal role. Gabriel Pierné conducted. newest pieces. Despite the opinions of those who found his music to be cacophonous The action of the ballet tells the story (an accusation that seems ridiculous of Ivan and Tsarevna and their fantastic today), Stravinsky’s allure is found in his adventures with the ogre Kastchei. Ivan eruptions of dazzling colors and in his has discovered a marvelous golden bird inventive rhythms, stark harmonies, and picking golden apples from a silver tree. barren beautiful melodies. He seeks to capture the bird but releases her after much pleading. In return the His early style descends from the music bird leaves one of her feathers. Ivan finds of Mussorgsky and Rimsky-Korsakov. himself at Kastchei’s palace where he From the former he learned to be fearless discovers 13 lovely princesses who warn in the manipulation of his harmonies and him to leave before Kastchei turns him rhythms; from the latter he learned colorful to stone. But he falls in love with the 13th orchestration. As he matured and studied princess and will not leave. He opens Classical and Baroque music, his style the gates of the castle and confronts a underwent many changes. He reached grotesque throng of monsters, slaves, and back into the remote past for old ideas Kastchei himself. The golden feather that he incorporated into his own system. prevails against Kastchei’s black magic, and

6 after the Firebird advises Ivan of Kastchei’s IV. “Infernal Dance of Kastchei secret — he keeps an egg which, if broken, and His Subjects” will destroy him — Ivan rescues the This, the longest section of the princess, the castle comes tumbling down, suite, is one of Stravinsky’s most and the captive knights who have been characteristic masterpieces of turned to stone are restored. his early style. It abounds in ferocious and dazzling effects The Firebird started Stravinsky on his of melody, harmony, and rhythm. international career. Debussy and Ravel The main dance figure is driven greeted the young composer as a powerful forward, interrupted by a secondary new voice. Public enthusiasm ran high. subject, returned more insistently, The success of the production led Stravinsky again interrupted by a second to subsequently extract three suites from dance figure which is treated half the score for concert performance — one lyrically, half percussively, and in 1916, a second in 1919, and a third in finally returned for a shattering close. 1945. It is the 1919 version that is performed most frequently. V. “Berceuse” A brief outline follows: Bassoon sings a plaintive tune over a persistently repeated I. “Introduction” sequence in harp and muted Muted strings glide back and forth violas. The section comes to a over a thematic fragment. Bass shimmering close. drum, trombones, woodwinds, and horns add soft fragments. An eerie VI. “Finale” passage for strings, in harmonics, a Horns begin the theme, a repeat of the gliding theme and the haunting, dirge-like melody over introduction is over. tremolo strings. It is built up to an impassioned, full statement II. “Kastchei’s Enchanted Garden then altered rudely by a squarely and Dance of the Firebird” rhythmed presentation that is The dance at first is rapid but a supposed to suggest victory over variation slows the tempo for a the evil Kastchei. The ending while. The ballet at this point found broadens out with a series of the Firebird pecking at the golden tremendous, slashing chords. fruit, frightened away, but caught by Ivan. ©2016 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com III. “Round of the Princesses” Three melodies are used, the first by woodwinds over a sustained sound in horns, the second by oboe over harp arpeggios, and the third by the strings.

7 ARTIST BIOGRAPHIES Marin Alsop Conductor Marin Alsop is an inspiring and powerful voice in the international music scene, a music director of vision and distinction who passionately believes that “music has the power to change lives.” She is recognized across the world for her innovative approach to programming, for her deep commitment to education, and to the development of audiences of all ages. Her outstanding success as music director of the Baltimore Symphony Orchestra since 2007 has been recognized by two extensions in her tenure, now confirmed until 2021. As part of her artistic leadership in Baltimore, Ms. Alsop has created bold initiatives that have contributed to the wider community and reached new audiences. In 2008 she launched OrchKids, which provides music education, instruments, meals, and mentorship of the city’s neediest young people. Engaging the local community, the BSO Academy and Rusty Musicians schemes also allow adult amateur musicians the chance to play alongside members of the orchestra under Ms. Alsop’s baton. Ms. Alsop took up the post of principal conductor of the São Paulo Symphony Orchestra (OSESP) in 2012 and became music director in July 2013, with her contract now extended to the end of 2019. She continues to steer the orchestra in its artistic and creative programming, recording ventures, and its education and outreach activities, including the annual Campos do Jordão International Winter Festival. Ms. Alsop led the orchestra on a European tour in 2012, with acclaimed performances at the BBC Proms in London and at the Concertgebouw in Amsterdam. The orchestra returned to Europe in October 2013, with concerts in Berlin, London, Paris, Salzburg and Vienna. In 2016, Ms. Alsop celebrated her 25th and final season as music director of California’s Cabrillo Festival of Contemporary Music, where she has built a devoted audience for new music. Building an orchestra is one of Ms. Alsop’s great gifts, and she retains strong links with all of her previous orchestras – Bournemouth Symphony Orchestra (principal conductor 2002–08; now conductor emeritus), Eugene Symphony Orchestra (music director 1989–96; now conductor laureate) and Colorado Symphony Orchestra (music director 1993–2005; now music director laureate). Ms. Alsop has guest-conducted the great orchestras of the world: Philadelphia, Cleveland, Los Angeles Philharmonic, Royal Concertgebouw, La Scala Philharmonic, Orchestre de Paris, and Bavarian Radio Symphony. In Europe, she regularly returns to the Frankfurt Radio Symphony, Royal Stockholm Philharmonic, and the Czech Philharmonic. Ms. Alsop has a close relationship with the London Symphony and London Philharmonic, appearing with both orchestras most seasons, as well as with the Orchestra of the Age of Enlightenment. She is also artist-in-residence at the Southbank Centre in London.

8 In September 2013, Ms. Alsop made history as the first female conductor of the BBC’s Last Night of the Proms in London. She returned to the Proms in 2015 to conduct the Last Night and an all-Brahms program with the OAE. She also made an historic return for an American musician to Cuba, conducting Lang Lang and the National Symphony Orchestra of Cuba. In March 2016, Ms. Alsop celebrated Carnegie Hall’s 125th anniversary conducting Bernstein’s West Side Story in the Knockdown Center, a restored factory in Queens. Ms. Alsop is the recipient of numerous awards and is the only conductor to receive the prestigious MacArthur Fellowship, given to U.S. residents in recognition of exceptional creative work. She was the only classical musician to be included in the Guardian’s “Top 100 Women,” celebrating the centenary of International Women’s Day in 2011. Ms. Alsop is an honorary member of the Royal Academy of Music and the Royal Philharmonic Society, and was recently appointed director of the graduate conducting program at Peabody. Her newest CD, released in August 2016 on the Naxos label, features the music of Pulitzer Prize–winning composer and Peabody Conservatory faculty member Kevin Puts, as performed recorded by the Peabody Symphony Orchestra. The disc includes Dr. Puts’ Symphony No. 2 and his Flute Concerto, featuring the London Symphony Orchestra’s celebrated principal flutist, Adam Walker. This marked the first major- label release for the Peabody Symphony Orchestra. The recording entered the Billboard charts at No. 3 for Traditional Classical Albums and at No. 20 for overall Classical Albums, including crossover CDs. Ms. Alsop’s extensive discography on Naxos includes a notable set of Brahms symphonies with the LPO, Brahms’ Ein deutsches Requiem with the MDR Leipzig Radio Choir and Symphony Orchestra, and a highly-praised Dvořák series with the Baltimore Symphony Orchestra. Other award-winning recordings include Bernstein’s Mass (Editor’s Choice, Gramophone Awards 2010) and Jennifer Higdon’s Percussion Concerto (Grammy Award 2010). Ms. Alsop has also recorded for Decca Classics, Harmonia Mundi and Sony Classical. Born in New York City, Ms. Alsop attended Yale University and received her master’s from the Juilliard School. Her conducting career was launched when, in 1989, she was a prize winner at the Leopold Stokowski International Conducting Competition, and in the same year, was the first woman to be awarded the Koussevitzky Conducting Prize from the Tanglewood Music Center, where she was a pupil of Leonard Bernstein.

9 Alan Buxbaum Conductor Alan Buxbaum is currently assistant conductor of the Peabody Symphony Orchestra, where he has covered concerts for both Marin Alsop and Leon Fleisher. Mr. Buxbaum also serves as assistant for the Peabody Youth Orchestra and the Baltimore Symphony Youth Orchestra. He is an avid proponent of both contemporary music and mainstream repertoire. In October, he put on a concert featuring Ligeti’s Chamber Concerto and several Peabody composers’ works. He will also be conducting Georg Friedrich Haas’ in vain on the May 6 concert by Peabody’s Now Hear This ensemble. Mr. Buxbaum currently studies with Marin Alsop and Markand Thakar and will be receiving his master’s degree in music in May 2017. He holds a double degree in percussion performance and composition, along with a minor in microtonality under the tutelage of the late Dean Drummond, from Montclair State University. Mr. Buxbaum studied conducting with Paul Hostetter, Jeffrey Grogan, and Ken Lam. Nell Flanders Conductor Nell Flanders’ conducting credits include performances with the Buffalo Philharmonic Orchestra, the Mannes Orchestra at Alice Tully Hall, the Secret Opera Company, Peabody’s Now Hear This ensemble, the Mannes American Composers Ensemble, and the Riverside Orchestra. This year she is the assistant conductor for the Peabody Opera productions of Hänsel und Gretel and Le nozze di Figaro, and, in 2014–15, she served as a cover conductor for the Buffalo Philharmonic. In May 2016, she conducted the premiere of Jochem Le Cointre’s opera Steppenwolf at The New School in New York. A dedicated teacher, Ms. Flanders has conducted the Repertory Orchestra of the Manhattan School of Music Precollege Division since 2014. She taught violin, viola, and string pedagogy and coached chamber music at the University of Chicago, Vandercook College of Music, Utah State University, and the Hoff-Barthelson Music School. She currently maintains a private violin studio in New York City. In January 2016, Ms. Flanders had the privilege of conducting the advanced orchestra of the Youth Music Camp of the Asociación Nacional de Conciertos in Panama City, Panama. In 2015, she was a teaching assistant for the course Music and Mind at the New School. Ms. Flanders has been featured as violin soloist with the Chelsea Symphony and the Philharmonisch Orkest Mozart in Amsterdam. As an orchestral player, she has performed with the Netherlands Philharmonic Orchestra and Chicago Opera Theater among many others. A musician of great versatility, she plays in many genres, including classical, Baroque, blues, and contemporary, with ensembles including Corky Siegel’s Chamber Blues, Dorian Baroque, Pocket Opera Players, and the University of Chicago Piano Trio. A graduate of Oberlin Conservatory with a major in violin performance and a minor in piano performance, Ms. Flanders also received a MM degree in orchestral conducting from Mannes College of Music. She is currently pursuing a doctoral degree in orchestral conducting with Marin Alsop and Markand Thakar at the Peabody Conservatory.

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

Ryan Tani Conductor Conductor Ryan Tani currently serves as the assistant conductor for the Chesapeake Youth Symphony in Annapolis. Mr. Tani recently made his conducting debut at Carnegie Hall with the Manhattan Chorale. In 2015, won the Undergraduate Student Conducting Competition at the American Choral Directors Association national conference in Salt Lake City. In 2011, Mr. Tani co-founded the USC Concerto Chamber Orchestra and served as its music director until 2015. Mr. Tani is currently pursuing his master’s degree in conducting at the Peabody Conservatory, studying with Marin Alsop and Markand Thakar. He also holds a bachelor’s degree in vocal performance from the University of Southern California, where he studied conducting with Larry Livingston and Jo-Michael Scheibe.

11 PEABODY CONDUCTORS ORCHESTRA Marin Alsop, Director of Graduate Conducting

Violin Contrabass Horn Ryo Usami Jihee Kim Samuel Jones Concertmaster Principal Principal Fangming Shen Douglas Ohashi Sam Bessen Principal Brandon Smith Taryn Lee Kaleigh Acord Flute Kelsey Ross Cheng-Chia Chiu Seungmin Oh Trumpet Shannon Fitzhenry Principal Buddy Deshler Kaeun Julia Kim David Le Co-principal Minjin Lee Jong Hwan Yun Katie Nakamura Piccolo Co-principal Marika Suzuki David Le Andy Ezell Yuhong Tu Oboe Assistant principal Madison Van de Wetering Garrett Hale Brandon Sklute Helen Wong Co-principal John Wagner Yat Sze Wong Julia Perry Trombone Viola Co-principal Ricson M. Poonin Alexandra Takasugi Caleb Bradley Principal Principal Assistant principal Gabriel Luciano-Carson Ankit Anil Jing Dai Daniel C. Jacobs Teresa Lin Bass trombone Jennifer Kim English horn Harry Oehler Ting-An Wei Teresa Lin Tuba Jasper Zientek Clarinet Thomas D. Sims Cello Eric Black Harp Jiaoyang Xu Principal Erin Baker Principal Juan Esteban Martínez Ismael Guerrero Timpani Marcella Kolacki Bassoon Nonoa Mizukami Joseph Staten Brian Wilson Wanyue Ye Principal Percussion Kevin Solomowitz Nonoka Mizukami Matthew Overbay Arlo Shultis

12 UPCOMING EVENTS

ENSEMBLE KLANG Saturday, April 29, 2017 8:00 pm Miriam A. Friedberg Concert Hall

CONTEMPORARY AMERICAN MUSIC THAT’S OPERA SCENES Monday, May 1, 2017 EXPRESSIVE, 7:30 pm NOT EXPENSIVE. Miriam A. Friedberg Concert Hall

PEABODY PERCUSSION GROUP Enjoy performance Tuesday, May 2, 2017 excellence at Peabody 7:30 pm Miriam A. Friedberg Concert Hall for FREE this year.

Opera, jazz, orchestral and choral music, chamber music, PEABODY JAZZ ENSEMBLE dance, new music, early music— Friday, May 5, 2017 all free. So have a night out with 7:30 pm world-renowned guest artists, Joe Byrd Hall acclaimed faculty, and top-level student performers.

IT’S ON US! NOW HEAR THIS Saturday, May 6, 2017 7:30 pm Reserve your seats by calling Leith Symington Griswold Hall 667-208-6620 or visiting peabody.jhu.edu/events. For FREE tickets, call 667-208-6620 or visit peabody.jhu.edu/events

13 PEABODY WIND ENSEMBLE HARLAN D. PARKER Conductor SVET STOYANOV Percussion ADAM WALLER Assistant Conductor

Friday, April 28, 2017 Miriam A. Friedberg Concert Hall 7:30 pm

Bizarro (1993) Michael Daugherty (b. 1954)

Sideman (2015) Mason Bates (b. 1977) Svet Stoyanov, solo percussion

INTERMISSION

Spiel für Blasorchester, Op. 39 (1926) Ernst Toch Ouvertüre (1887–1964) Idyll Buffo Adam Waller, conductor

Lincolnshire Posy (1905–1937) Percy Grainger Lisbon (Dublin Bay) (1882–1961) Horkstow Grange Rufford Park Poachers The Brisk Young Sailor Lord Melbourne The Lost Lady Found

Country Band March (1903) Charles Ives (1874–1954) Arranged for concert band by James Sinclair Please disable all electronic devices including phones, e-readers, and tablets during performances. The use of cameras and sound recorders during performances without the express prior written permission of Peabody is strictly prohibited. Notice: For your own safety, look for your nearest exit. In case of emergency, walk, do not run to that exit. 14 PROGRAM NOTES

Bizarro (1993) Sideman (2015) Michael Daugherty Mason Bates Born April 28, 1954, in Cedar Rapids, Iowa. Born January 23, 1977, in Richmond, Virginia.

Bizarro for symphonic wind ensemble Featuring percussion as a solo instrument was commissioned by Jerry Junkin on is akin to showcasing a chameleon. The behalf of the University of Texas Wind basic premise of “one instrument per Ensemble. Its first performance was human” shatters when the soloist is able given by that ensemble, conducted by to jump from one sound to the next, and Jerry Junkin, in Bates Recital Hall, this gives rise to novel musical possibilities Austin, Texas, on May 6, 1992. Revised regarding foreground and background. in 1993, the first performance of the While we often think of percussion final version of Bizarro was given by bombastically (hence “percussion battery”), the Baltimore Symphony Orchestra, the opportunities to blend in abound, conducted by David Zinman, at the whether through quiet instruments or Meyerhoff Symphony Hall, Baltimore, gentle playing. Md., on July 8, 1995. That promise underlies Sideman, which Like my Metropolis Symphony, Bizarro is begins with the percussionist residing in based on characters of the Superman that wonderful ‘midground’ grey area. comics from the 1950s and 60s. Superman’s The opening metallic percussion evolves nemesis, the evil genius Lex Luthor, used to a miniature ‘woodblock drumset’ — his duplicating ray to create Bizarro: persistent yet quiet — and it is not until an imperfect copy of Superman with a third of the way into the piece that the spiky black hair and Frankenstein-like player becomes more assertive. Fractured features, yet a formidable foe whose jazz harmonies explode out of the band powers rivaled those of Superman. in tight coordination with the soloist. The calmer middle movement features a My musical Bizarro inhabits a sound lyrically virtuosic passage for vibraphone world without strings, reveling in the and crotales simultaneously, with the brash energy of rock and big band prayer bowls of the opening returning jazz. Melodic fragments contrapuntally meditatively. A seamless transition on coalesce into a swinging yet menacing tapan, a Bulgarian drum that is one little theme that is previewed by the of the amazing Svet Stoyanov’s piccolo and flutes, gets taken up by the specialties, takes us to the frenetic solo trumpet, and is finally performed in finale, when rhythms inspired by drum virtuosic canons by the entire ensemble. and bass electronica overtake both Propelled on a zany course by a fast tempo soloist and ensemble. and atonal polyrhythmic excitement, the volume and intensity keep building Many thanks to the legendary Gary until the monstrous Bizarro careens out Green, who has been a crucial mentor of control. for me in band music over many years. Writing a new piece for his final concert — Michael Daugherty with the Frost Ensemble inspired me to explore head-on the funk, big-band, and jazz that underpin much of my music, and I sincerely thank Gary, Svet, and the players for bringing this piece to life.

— Mason Bates

15 Spiel für Blasorchester, Op. 39 (1926) seeking out folk singers and painstakingly Ernst Toch transcribing their art. In this, he was at Born December 7, 1887, in Leopoldstadt, Vienna, Austria; odds with other collectors, such as Cecil Died October 1, 1964, in Santa Monica, California. Sharp and the young Ralph Vaughan Williams, whose transcriptions of folk songs Ernst Toch was one of the most important aimed at offering the urban public definitive contemporary composers of the late versions that could be repeated strophically 1920s and ’30s. He was active in Berlin — folk songs in the abstract — where and, after 1933, in Los Angeles. As well Grainger sought to capture the endless, as being a composer he was mainly a peculiar variations his singers brought to teacher. Spiel, Op. 39, for symphonic a given melody. wind ensemble was composed at the In a preface to Lincolnshire Posy, Grainger instigation of Paul Hindemith and noted, “No concert singer I have ever received its first performance in 1926 heard approached these rural warblers in directed by Hermann Scherchen at the variety of tone-quality, range of dynamics, Donaueschingen Chamber Music Festival. rhythmic resourcefulness and individuality Toch himself wrote an alternative of style... our folksingers were lords of arrangement of the work for the wind their own domain—were at once performers section of a symphony orchestra. and creators. For they bent all the songs This version has been adapted for the to suit their personal artistic tastes instruments usually found in a wind band and personal vocal resources...” When today, with regard to the clarinets and Grainger was commissioned in 1937 by trumpets, without altering the musical the American Bandmasters Association substance of the work. There is no part to compose a piece for that year’s for saxophone as in the original. Today, convention in Milwaukee, it is hardly Spiel is still considered by many to be surprising to find him, by then long an one of the best compositions of concert American citizen ensconced in White music for winds. Plains, New York, looking back and rendering a loving tribute to the era in — Schott Music GmbH & Co. which he was in closest touch with the song of the earth. Of the six parts making his “bunch of musical wildflowers,” Grainger wrote, Lincolnshire Posy (1905–1937) “Each number is intended to be a kind of Percy Grainger musical portrait of the singer who sang Born July 8, 1882, in Melbourne, Australia; its underlying melody... a musical portrait Died February 20, 1961, in White Plains, New York. of the singer’s personality no less than of his habits of song...” The upshot is not In the same years (1905–06) that Bartók folk song “arrangements,” but small tone and Kodály began roaming the Hungarian poems, evocations at once modally archaic and Transylvanian countryside in search and briskly modern, ranging from the of a genuine Magyar heritage of folk song, laconic fanfare of “Lisbon (Dublin Bay)” Percy Grainger was similarly engaged in through the noble poignance of “Horkstow the English and Scandinavian hinterlands. Grange,” the eerie drama of “Rufford He met Grieg — much of whose work may Park Poachers,” to the blithe insouciance be said to valorize Norwegian folk songs of “The Brisk Young Sailor,” the volatile — in 1906, while the previous year he had narrative grandeur of “Lord Melbourne,” begun to rummage through Lincolnshire, and the dancing tumult of “The Lost

16 Lady Found. ” The Grainger-led premiere From the “out of tune” introduction of Lincolnshire Posy was given by the to the pandemonium which reigns at American Bandmasters Association the close, the Country Band March is on March 7, 1937, and has come to be a marvelous parody of the realities of regarded as his finest work. performance by a country band. While the main march theme is probably Ives’ — Adrian Corleonis own, the march features an impressive Copyright © 2012 by Rovi Corporation. list of quotations that includes Arkansas Used by permission. Traveler, Battle Cry of Freedom, British Grenadiers, The Girl I Left Behind Me, London Bridge, Marching Through Georgia, Country Band March Massa’s in de Cold Cold Ground, My Old Charles Ives Kentucky Home, Violets, Yankee Doodle, May Day Waltz and Semper Fidelis. Born October 20, 1874, in Danbury, Conneticut; Died May 19, 1954, in New York City, New York. There is rarely anything straightforward about the use of this material; the tunes Country Band March was composed are subject to Ives’ famous techniques of around 1903, four years after Ives’ grad- “poly-everything.” Of particular interest is uation from Yale and five years prior to Ives’ use of ragtime elements to enliven his lucrative insurance partnership with this already spirited march. Julian Myrick. Ives had just resigned as organist at Central Presbyterian Church, — James Sinclair New York, thus ending 13 and a half years as organist at various churches. He was, according to Henry Cowell, “exasperated... by the routine harmony for hymns.” During this period Ives finished his Second Symphony (1902), composed three organ pieces that were later incorporated into his Third Symphony (1904), composed the Overture and March: “1776” and various songs and chamber pieces. Apparently the Country Band March received no performances, and only a pencil score-sketch is in evidence today. Later, Ives seemed very much interested in this music, since he incorporated nearly all of it, in one form or another, into the “Hawthorne” movement of Sonata No. 2 (Concord), The Celestial Railroad, the Fourth Symphony (second movement), and especially “Putnam’s Camp” from Three Places in New England.

17 ARTIST BIOGRAPHIES

Harlan D. Parker Conductor Harlan Parker has been the conductor of the Peabody Conservatory Wind Ensemble and coordinator of the music education division at the Peabody Conservatory of the Johns Hopkins University since the fall of 1990. From 2007 to 2016, he served as the conductor of the Peabody Youth Orchestra. Under his direction, the Peabody Wind Ensemble (PWE) has given over 40 world premieres and has performed at state, regional, and national conventions. Considered “among the very top wind bands in the U.S.” (Fanfare), the PWE has received critical acclaim from contemporary composers such as David Amram, James Syler, Eric Ewazen, H. O. Reed, and Johan de Meij. Dr. Parker is also the music director and founding conductor of the Conservatory’s Peabody Modern Orchestra, which was founded in 2013. The PWE’s debut CD, From an Antique Land, has been praised as one of the most exciting wind ensemble recordings in recent times, and the second CD, Orff, Bird, and Reed, was re-released in August 2006 on the Naxos label. Of the performance of La Fiesta Mexicana on the second CD, composer H. Owen Reed, writes in a letter to Dr. 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. Dr. Parker has a very active musical life outside of the Conservatory. He is a past president of the Conductors Guild, an international service organization dedicated to encouraging and promoting the highest standards in the art and profession of conducting. Dr. Parker is also a member the American Bandmasters Association, an organization whose membership is by invitation and recognizes “outstanding achievement in the field of the concert band and its music.” He is active regionally, nationally, and internationally as a guest conductor, conducting pedagogue, clinician, and adjudicator, having worked with professional musicians and students from all 50 states and over 40 countries. In his first year as a faculty member at Peabody, Dr. Parker reorganized the Peabody Wind Ensemble in its present format after several years of non-existence and was awarded the Peabody Student Council Faculty/Administration Award for outstanding contributions to the Peabody community. In the fall of 2000, Dr. Parker accepted the first graduate class of wind conducting students. Graduates and students of the program are teachers and conductors in high schools and colleges and conductors of military bands, with two recent master’s students accepting positions as conductors with the United States Air Force. 18 Dr. Parker received his Bachelor of Music from Emporia State University and his Master of Music and Doctor of Philosophy in music education with an emphasis in conducting from the University of Kansas and has completed post-doctoral work at the Laban/Bartenieff Institute of Movement Studies in New York.

Svet Stoyanov Percussion Svetoslav Stoyanov is the director and associate professor of percussion studies at the Frost School of Music, University of Miami, where he has collaboratively built a most unique and innovative modern percussion program. Praised by The New York Times for his “understated but unmistakable virtuosity” along with a “winning combination of gentleness and fluidity,” Mr. Stoyanov is a driving force in modern percussion. Winner of the prestigious Concert Artists Guild International Competition, Mr. Stoyanov was most recently presented with the Johns Hopkins University Alumni Award. His career highlights feature solo concerto appearances with the Chicago, Seattle, and the American Symphony Orchestras, as well as solo performances in Lincoln Center, Carnegie Hall, Kennedy Center, and Taiwan National Concert Hall amongst many others worldwide. Some of the conductors he has performed with include James Conlon, Gerard Schwarz, Oliver Knussen, Marin Alsop, and Pierre Boulez. Mr. Stoyanov has recorded with numerous labels, featuring Telarc, Naxos, and Bridge Records. His recent albums Percussive Counterpoint, and Textures and Threads were broadcast internationally and applauded for their artistic integrity, virtuosic ingenuity, and excellent quality. Mr. Stoyanov’s upcoming recording projects feature an original concept audio-visual album, as well as a record, celebrating the music of his native country Bulgaria. A passionate advocate for contemporary music, Mr. Stoyanov has commissioned a significant body of solo and chamber works. American Rome Prize winner Andy Akiho completed a work for Mr. Stoyanov and his Time Travelers Percussion Project, called Pillar IV. The work was recently premiered to great acclaim in New York’s National Sawdust. A significant recent collaboration of Mr. Stoyanov is the commission of Sideman — a percussion concerto written for him by the composer and musical mastermind Mason Bates. The concerto was already performed in Miami and at the Kennedy Center in Washington, D.C. This season Mr. Stoyanov will perform the piece again in Miami, Kansas, and Baltimore and will also record it for upcoming release. Mr. Stoyanov endorses some of the finest percussion instruments and products today, namely Adams, Remo, Zildjian, Pearl, and Vic Firth. He has performed in more than 1,000 recitals and has presented over 100 master classes worldwide. His artistic mission is committed to the purity, quality, and virtue of music.

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

20 PEABODY WIND ENSEMBLE Harlan D. Parker, Conductor Adam Waller, Assistant Conductor Rich Lauver, Manager Flute Saxophone Trombone Guilherme Andreas Sean Campbell Michael Carter Ben Costello Tae Ho Hwang Sarah Manley Hanna Kim Kyle Jones Ricson Poonin Oboe Anastasia Kupstas Euphonium Jonathan Mo Sonia Matheus Abhinn Malhotra Téa Mottolese Amelia Wingard Bladen Maynard Tyrone Page Samuel York Zheyu Wu Clarinet Horn Tuba Eli Pandolfi YiFei Li Samuel Adam Principal Concertmaster Ositadinma Atikpoh Gregory Goldberg James Duncan Robert Austin Lingerfeldt Lily Homma Principal Michael Minor Rachel K. Jones Scott Johnson Jr Ngiam Xing Hao Brian Swihart Associate Principal Matthew Ordille Joshua Broussard Trumpet Thomas D. Sims Erin Kim Shane Coughlin Piano Seunghyun Ryu Sam Hughes SooJung Kim Jackson Willis Todd Hansell Oehler Yuyang Zi Joshua Olariu String Bass Lawrence Hutfles Bassoon Darren Stanger Ambrose Tang Xinqi Dong Percussion Ryan Yacos Han Qiaoyang Russell Fisher Bri Waterson Christina Manceor Matthew Overbay Yonatan Rozin Mari Takeda

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

21 THE GEORGE PEABODY SOCIETY $1.4 MILLION AND ABOVE We recognize those philanthropic visionaries whose lifetime cumulative giving has matched or exceeded George Peabody’s founding gift of $1.4 million. Their generosity has expanded and transformed the Peabody Institute of the Johns Hopkins University. The names are ordered by the date when they joined this elite group of donors. George Peabody Elizabeth J. and Richard W. Case Anonymous Sidney M. Friedberg Florence H. and Charles R. John L. Due Charitable Trust Austrian Taylor A. Hanex The Blaustein-Rosenberg- Michael R. Bloomberg Rheda Becker and Robert E. Thalheimer Philanthropic Group Anonymous Meyerhoff Eric and Edith Friedheim Tristan W. Rhodes Laifun Chung and Ted Kotcheff Loretta Ver Valen Hilda P. and Douglas S. Goodwin Sandra Levi Gerstung and the Arabella Leith Symington Claire S. and Allan D. Jensen Levi Family Fund II of the Griswold Baltimore Community Marc C. von May Wendy G. Griswold and Foundation Benjamin H. Griswold IV Thomas H. Powell THE 2015–16 FRIEDBERG SOCIETY This society is named in honor of Sidney and Miriam Friedberg, whose generosity launched a new era of philanthropic leadership at the Peabody Institute. Friedberg Society donors sustain and enhance Peabody by giving $1,000 or more over the course of a fiscal year. The donors listed below have made outright gifts or pledges at the Friedberg Society level between July 1, 2015 and June 30, 2016. CHAIRMAN’S CIRCLE Brookby Foundation Marc C. von May $100,000 AND ABOVE Jane W. I. and Larry D. Droppa Andrew Yang Fred and Sandra Hittman Shirley S. L. Yang Adalman-Goodwin Foundation Philanthropic Fund Anonymous Helen J. Iliff * VIRTUOSO’S CIRCLE Robert Austrian * Beth G. Pierce * $10,000–$24,999 Meta Packard Barton * Howard and Geraldine Polinger Ruth and Ted Bauer Family Foundation Jacob and Hilda Blaustein Family Foundation Thomas H. Powell Foundation Rheda Becker Henry and Ruth Blaustein Tammy L. Bormann and and Robert E. Meyerhoff Rosenberg Foundation Mark J. Paris France-Merrick Foundation Alexandra L. Clancy Sandra Levi Gerstung and the MAESTRO’S CIRCLE Stephanie Cooper-Greenberg and Levi Family Fund II of the Erwin L. Greenberg Baltimore Community Foundation $25,000–$49,000 Charles Delmar Foundation Hilda P. and Douglas S. * Goodwin Anonymous Helen P. Denit Charitable Trust Janet Rayburn Greive and Barbara and Thomas Bozzuto Evergreen House Foundation Tyrone Greive Phyllis Bryn-Julson and Nancy Grasmick Wendy G. Griswold and Donald Sutherland + Wilda M. Heiss Benjamin H. Griswold IV Elana R. Byrd Christina M. Holzapfel and Hecht-Levi Foundation Cape Foundation William E. Bradshaw Claire S. and Allan D. Jensen Charlesmead Foundation Nina Rodale Houghton Evelyn Johnson Laifun Chung and Ted Kotcheff Charlene and Michael Kass Charitable Foundation Rosalee and Richard Davison C. Albert Kuper III Jill E. McGovern Lynn and Anthony W. Deering Audrey C. McCallum Glenn E. Mortimore * + Estelle Dennis Scholarship Trust Dae-Won Moon Dorothy and Louis Pollack Jephta and Daniel Drachman Israel and Mollie Myers Julie A. Walters and Foundation Samuel G. Rose Peggy and Yale Gordon Charitable Trust Susan Perl + COMPOSER’S CIRCLE Amy L. Gould and Barbara and David Roux Matthew S. Polk Jr. Sheridan A. L. and $50,000–$99,999 Taylor A. Hanex John W. Skouge Anonymous T. Rowe Price Foundation Speedwell Foundation Liza Bailey and Michael Musgrave Adam G. Shapiro Dorothy Richard Starling Foundation Herman C. Bainder * Judith and Turner Smith 22 Esther Carliner Viros Helen Stone Tice Nathalie Irvine and Barbara P. and Martin P. Marguerite M. VillaSanta Bruno Latchague Wasserman Charles Emerson Walker Nikolai Isayev Thomas Wilson Sanitarium for Margaret C. and Patrick C. Walsh Donna and Eric Kahn Children of Baltimore City Patricia E. Kauffman DIRECTOR’S CIRCLE Harris L. Kempner Jr. CONCERTMASTER’S CIRCLE Irene T. Kitagawa and $5,000–$9,999 $1,000–$2,499 Stephen S. McCall Anita and Marc Abramowitz Myron Terry Koenig A L H Foundation Elizabeth Adams Fund for Waverly Bank of America Foundation ** Anonymous (2) Christopher Kovalchick Liz and Fred Bronstein Edith Andre-Bjork Galan Kral C. Sylvia Brown and Susan and Jeffrey Krew Eddie C. Brown Kristin Bacchiocchi-Stewart Cynthia and Paul Lorraine Robert T. Foley Missy and Rick W. Baker Carol and Steven Batoff Lois & Philip Macht Family Edith Hall Friedheim and the Philanthropic Fund Eric Friedheim Foundation Larraine Bernstein and Ellen Mack Ruby and Robert Wesley Hearn Kenneth D. Hornstein Paul B. Mathews Jephson Educational Trusts Patricia and David Bernstein Carol and Paul Matlin Robert Wood Johnson Lisa Di Julio Bertani Foundation ** Carol A. Bogash Barbara and John McDaniel Akemi Kawano-Levine and Aurelia G. Bolton Cynthia and Michael McKee David Levine Anders V. Borge Gary Melick Helen C. Kielkopf and Microsoft Corporation ** John F. Kielkopf Paula Borge Marjorie and Howard Mitchell Koret Foundation Amy Boscov and Terrence Ellen Helene Breazeale Suruchi Mohan and John J. Leidy Foundation Prabhat K. Goyal Laura R. Burrows Abbe Levin Mary C. R. S. Morgan and Charles and Margaret Levin Carol Cannon David J. Callard Family Foundation Denise Caves Trust Federico A. Musgrove Stetson Terry H. Morgenthaler and L. Chinsoo Cho Thomas R. Nathan Patrick J. Kerins Georgia R. Crompton NYC Classical Guitar Society Clara Juwon Ohr Margaret O. Cromwell Kimberly and Townsend Plant Peabody Institute Fund of the Family Foundation Baltimore Community Foundation Melissa and Charles Reuland D’Addario Music Foundation Lori Raphael and Joanne Rosen and Ronald Daniels Russell Davidson Foundation J. Michael Hemmer Matthew W. Rupcich Ruth L. and Arno P. Drucker Sonia Robbins and Oscar Schabb David H. Schwartz Lydia and Charles Duff Suzanne J. Schlenger Lisa Smith and Phillip T. Dunk Jr. Tracey Pullo Schutty W. Christopher Smith Jr. Hildegard and Richard Eliasberg Marian and Abraham Sofaer Terry Meiselman Shuch and Anna Else and Joshua D. Else Neal Meiselman Carol J. and Roy R. Thomas Kimberly and Donald Evans Carolyn J. Sienkiewicz Susan F. Weiss Brook E. Ferguson Thomas R. Silverman Sally A. White Exelon Foundation ** Eleanor Simon and Patrick O’Neall Wenbin Feng and Renjie Yang PRINCIPAL’S CIRCLE Jan K. Smeets Brook E. Ferguson Linda B. and Richard Q. Snurr $2,500–$4,999 Google, Inc. ** Rochelle Stanfield and Frances K. and George Alderson David B. Grossman and the Edward Grossman Bill Grossman Fund of the Edward Steinhouse Ira J. and Mary K. Basler Isidore Grossman Foundation Foundation Kenneth R. Talle Ellen Halle and the Halle Family Basil Gordon * Philanthropic Fund Andrea Trisciuzzi and Charles Gannon Korean Chapter of the Maureen Harrigan and Society of Peabody Alumni David McDowell Sheila and Erick Vail Sara W. Levi Barbara S. Hawkins Beverly Dietrich Weber Links, Inc. Todd Hodes Wolman Family Foundation Thomas MacCracken Kris Hoffman and Paul D. Raschke Avedis Zildjian Company Lloyd E. Mitchell Foundation Trust Alma D. Hunt/VCM Charitable Trust + In-Kind Gift Christine Rutt Schmitz and Thomas E. Hunt * Deceased Robert Schmitz Indian Spring Academy of Music ** Matching Gift Angela and Daniel Taylor The students, faculty, and staff of the Peabody Institute would also like to acknowledge the more than 1,000 dedicated donors whose gifts of $1 to $999 helped to realize Peabody’s 2015–16 academic year. 23 JOHNS HOPKINS UNIVERSITY Mr. George Peabody believed in the power ADMINISTRATION PEABODY NATIONAL ADVISORY COUNCIL Ronald J. Daniels Liza Bailey Jill E. McGovern of the arts to open minds and enrich lives. President Rheda Becker Christine Rutt Schmitz

Sunil Kumar Paula Boggs Solomon H. Snyder His vision inspired Mr. Johns Hopkins to establish Provost and Senior Vice President for Academic Affairs Barbara Bozzuto David Tan Laifun Chung Shirley S. L. Yang the Johns Hopkins University, and in 1977 PEABODY INSTITUTE Richard Davison ADMINISTRATION Larry Droppa the Peabody Institute became part of the University. Leon Fleisher EMERITUS MEMBERS

Fred Bronstein Sandra Levi Gerstung Dean Pilar Bradshaw Nancy Grasmick Abra Bush Tony Deering What Will Your Legacy Be? Senior Associate Dean Taylor A. Hanex, chair Hilda Perl Goodwin * As George Peabody and Johns Hopkins of Institute Studies Sandra Hittman * Benjamin H. Griswold IV did more than a century ago when they Maureen Harrigan Allan D. Jensen Turner B. Smith Senior Associate Dean Christopher Kovalchick founded world-renowned institutions, for Finance and Administration Abbe Levin * Deceased you can help future generations of Sarah Hoover Special Assistant to the Dean aspiring musicians by making a gift to for Innovation, Interdisciplinary support Peabody’s future. Consider Partnerships, and Community these opportunities to leave a Initiatives Jessica Lunken meaningful legacy while taking into Associate Dean account your personal goals. for External Relations Townsend Plant From Your Will or TrusT Associate Dean for Enrollment and Student Life Gifts that cost nothing in your lifetime. reTiremenT Plan DesignaTion Avoid the double taxation incurred if designated to heirs.

liFe income giFT PRODUCTION STAFF Receive annual income and an immediate tax deduction with Linda G. Goodwin Melina Gajger Douglas Nelson a charitable gift annuity or charitable Executive Director Orchestra Coordinator Technical Coordinator of Ensemble Operations remainder trust. Ben Johnson William Racine Chelsea Buyalos Design and Publication Specialist Audiovisual Coordinator Concert and Box Office Assistant To learn more about these Alex King Jessica Satava and other creative ways to support Daniel Chaloux Stage Coordinator Concert Series Coordinator Concert Production Coordinator the Peabody Institute, contact: Yuriy Kosachevich Mary Schwendeman Elizabeth Digney Piano Technician Chief Piano Technician Box Office Coordinator Rich Lauver Amelia Stinnette Office of Gift Planning Paul Faatz Ensemble Coordinator Communications Coordinator [email protected] Senior Ensemble Coordinator Dennis Malat 800-548-1268 Technical and Stage Consultant rising.jhu.edu/giftplanning Photo: Michael Dersin 24 Mr. George Peabody believed in the power of the arts to open minds and enrich lives. His vision inspired Mr. Johns Hopkins to establish the Johns Hopkins University, and in 1977 the Peabody Institute became part of the University.

What Will Your Legacy Be? As George Peabody and Johns Hopkins did more than a century ago when they founded world-renowned institutions, you can help future generations of aspiring musicians by making a gift to support Peabody’s future. Consider these opportunities to leave a meaningful legacy while taking into account your personal goals.

From Your Will or TrusT Gifts that cost nothing in your lifetime. reTiremenT Plan DesignaTion Avoid the double taxation incurred if designated to heirs. liFe income giFT Receive annual income and an immediate tax deduction with a charitable gift annuity or charitable remainder trust.

To learn more about these and other creative ways to support the Peabody Institute, contact:

Office of Gift Planning [email protected] 800-548-1268 rising.jhu.edu/giftplanning Photo: Michael Dersin