the 2016–17 concert season at peabody

Peabody Symphony Orchestra April 15, 2017 Peabody Concert Orchestra Peabody Singers Peabody-Hopkins Chorus April 21, 2017 Peabody Gospel Concert April 22, 2017

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 member and world renowned flutist Marina Piccinini in Aaron Jay Kernis’ 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, and Peabody-Hopkins Chorus under the direction of Ed Polochick in a program that includes ’ Grand Pianola Music and Mendelssohn’s glorious Lobgesang. We also have the Peabody Conductors Orchestra with director of graduate Marin Alsop’s gifted students on the podium for performances 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. And for something completely unique and wonderful, Peabody’s now annual Gospel Concert featuring The Divine Voices of Praise from Ark Church and The Sanctuary Choir from New Shiloh Baptist Church, along with Peabody Conservatory performers all brought together and inspired by musicology faculty member Andrew Talle’s gospel project. We are thrilled to host this event as a way of celebrating this art form and our community. 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 at Peabody as we go forward in the coming months, and especially as we celebrate the remarkable burgeoning talent that Peabody fosters as we launch 21st century careers and artists that will shape the world with their very distinctive voices.

Fred Bronstein

Dean Ruth Blaustein Rosenberg Series PEABODY SYMPHONY ORCHESTRA LEONARD SLATKIN Guest Conductor MARINA PICCININI Flute

Saturday, April 15, 2017 Miriam A. Friedberg Concert Hall 8:00pm

Russian Easter Overture, Op. 36 Nikolai Rimsky-Korsakov (1844–1908)

Flute Concerto (2015) Aaron Jay Kernis I. Portrait (b. 1960) II. Pastorale-Barcarolle III. Pavan IV. Taran-Tulla Marina Piccinini, faculty artist, flute

INTERMISSION

Variations on an Original Theme, “Enigma,” Op. 36 Edward Elgar Theme: Andante (1857–1934) I. (C.A.E.) L’istesso tempo II. (H.D. S-P) Allegro III. (R.B.T.) Allegretto IV. (W.M.B.) Allegro di molto V. (R.P.A.) Moderato VI. (Ysobel) Andantino VII. (Troyte) Presto VIII. (W.N.) Allegretto IX. (Nimrod) Adagio X. (Dorabella) Intermezzo. Allegretto XI. (G.R.S.) Allegro di molto XII. (B.G.N.) Andante XIII. (***) Romanza, Moderato XIV. (E.D.U.) Finale. Allegro; Presto

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

Russian Easter Overture, Op. 36 mastered every aspect of the musical Nikolai Rimsky-Korsakov arts so completely that he was awarded Born March 18, 1844, near Novgorod, Russia; a position as professor of composition Died June 21, 1908, near St. Petersburg, Russia. at the St. Petersburg Conservatory just 10 years after he began composing. The work was premiered on December 15, Strangely, he also began formal study for 1888, by the Russian Musical Society in the first time, attending classes at the St. Petersburg with the composer conducting. Conservatory while teaching a studio of It is scored for piccolo, three , two young composers including Piotr Ilyich , two , two , four Tchaikovsky. By the time of Rimsky- horns, two , three , , Korsakov’s death in 1908, he had timpani, percussion, harp, and strings. mentored many important composers, among them Alexander Glazunov, Sergei European musical fashion was slow in its Prokofiev, and Igor Stravinsky. eastward exodus into Russian culture. After Napoleon’s failure to conquer the Russian Easter Overture was composed Russian lands in 1812, the arts in the between August 1887 and April 1888 motherland focused on folk culture. and was dedicated to Mussorgsky. It was It was not until Mikhail Glinka’s works premiered in December of 1888, the combined Russian themes and Germanic third of his three orchestral master- musical forms in the mid-19th century pieces, which also included Capriccio that European musical fashion took hold espagnole and Scheherazade. The in Russia. Russian title, Svetlyi prazdnik, translates as “Bright Holiday,” which is the Russian Perhaps it was this delayed acceptance name for Easter. It is also known for the that explains why nearly all of Glinka’s dazzling solos within for violin, cello, most noted disciples came from non- , , and flute. musical professions. Called moguchaya kuchka (the “Mighty Handful”), this Rimsky-Korsakov’s thematic material group of talented armchair composers is drawn from the obikhod, which is was comprised of the chemist Alexander essentially the same in function as the Borodin, the engineer Cesar Cui, the Liber usualis is to Roman Catholics: a government clerk Modest Mussorgsky, collection of chants to be used at specific the leader and only professional musician times throughout the liturgical year. The Mily Balakirev, and the naval officer opening section uses the chants “Let Nikolai Rimsky-Korsakov. This Nationalist God arise” and “An angel wailed. ” “Christ group, who sometimes collaborated on has risen from the dead” appears later in projects, emphasized Russian subjects the overture. Despite its clear religious in their music and often incorporated connotations, the composer stated, folk tunes or stylized melodies meant to “This legendary and heathen side of the conjure Russian imagery. holiday, this transition from the gloomy and mysterious evening of Passion Upon Balakirev’s urging in 1861, the Saturday to the unbridled pagan religious untrained Rimsky-Korsakov taught himself merry making of Easter Sunday, is what I composition and orchestration and, in was eager to reproduce in my overture. ” the decades that followed, produced some of the most advanced orchestrations ©2016 Orpheus Music Prose & Craig Doolin of his day. The most successful of the www.orpheusnotes.com “Mighty Handful,” Rimsky-Korsakov 3 Flute Concerto (2015) “III. Pavan” starts as a gentle, expressive Aaron Jay Kernis line traded between flute and , then Born January 15, 1960, in Philadelphia, Pennsylvania. gradually is intercut with fast outbursts that turn into music of a Bacchic near- This new flute concerto was written frenzy before returning to its opening. especially for Marina Piccinini and Finally, “IV. Taran-Tulla” is a virtuoso inspired by the beauty and elegance of romp, influenced by the flutist-leader Ian her playing. Anderson’s classic rock group, Jethro I consider that the work is in two halves — Tull (but more out of the blues-side of one dark and the other light. The darker their music, less out of the rock...) includes the two longer movements The work is dedicated to Marina Piccinini “I. Portrait” and “III. Pavan” — and the with warmth and admiration. lighter and shorter “II. Pastorale- Barcarolle” and “IV. Taran-Tulla.” —Aaron Jay Kernis The movements are very connected to each other musically and share ideas between them that keeps the musical thread continuous, even with the varied Variations on an Original Theme, “Enigma,” Op. 36 feel of each movement. Some elements Sir Edward Elgar the movements have in common (with the possible exception of the last) are that Born June 2, 1857, at Broadheath, England; each begins calmly and winds up spiraling Died February 23, 1934, at Worcester, England out of control in some way. Three of the movements are based around dance This work was first performed on June rhythms from centuries long past. Pastorale 19, 1899, in St. James Hall in London, is a gentle dance of the land and field, England, with Hans Richter conducting. Barcarolle evokes the undulating music In addition to solo violin, it is scored of a gondola traveling on water, Pavan for piccolo, two flutes, two oboes, two is a slow, dignified dance in double time clarinets, three bassoons, four horns, (though I have set it in triple!), and a three trumpets, three trombones, tuba, Tarantella is a continuously fast dance in timpani, percussion, organ (optional), 6/8 that often accelerates. “Tarantism, and strings. as a ritual, has roots in the ancient Greek Sir Edward Elgar is considered by many myths. Reportedly, victims who had to have been the quintessential English collapsed or were convulsing would composer. His music is filled with the stirring begin to dance with appropriate music themes that make one think of all the and be revived as if a tarantula had pomp and circumstance of coronation, bitten them.” the beauty of the English countryside, “I. Portrait” travels through many moods and the reserved sophistication that and characters. Is it a portrait of the flute represents Britain in the minds of many. or flautist? or of the composer? However, his own countrymen were slow to accept his music. He was nearly 50 “II. Pastorale-Barcarolle” begins as a years of age before his reputation was gentle Italianate dance then repeatedly sealed with the premiere of one work — shifts to faster, more energetic and the “. ” virtuosic music. Mandolin-like strains are heard..... 4 As many have explained, there are actually Variation I (C.A.E.): Caroline three puzzles in this work. Elgar’s main Alice Elgar was the composer’s theme, which returns in various guises wife. The tender and sentimental throughout the work, is entitled “Enigma,” quality of this variation blends but no solution is given as to its meaning. seamlessly with the theme. Most scholars believe that the puzzle is Variation II (H.D. S-P): Elgar’s simply a musical setting of the rhythm of friend Hew David the composer’s own name. Elgar’s other Steuart-Powell was a pianist who two enigmas are perhaps best explained played trios with Elgar (violin) using his own words: and Basil G. Nevinson (cello). The It is true that I have sketched for pianistic type of runs in the violins their amusement and mine the at the opening suggests the idiosyncrasies of 14 of my friends, exercises of Steuart-Powell not necessarily musicians, but this warming up his fingers. is a personal matter and need not Variation III (R.B.T.): Richard have been mentioned publicly. Baxter Townshend was an actor (The initials, however, appear in whose voice was capable of the printed score.) The variations unusual changes of pitch. He should stand simply as a “piece” was also known for incessantly of music. The enigma I will not ringing a bell as he rode a tricycle explain. Its dark saying must be around Oxford. Upper strings and left unguessed and I warn you woodwinds state the variation that the apparent connection followed by growling basses. between the variations and the theme is often of the slightest Variation IV (W.M.B.): R.B.T.’s texture. Further, through and brother-in-law, William Meath over the whole set another and Baker, was a man of great energy larger theme “goes,” but is not and one fiery in argument. His played. So the principal Theme eccentricities, especially his habit never appears, even as in some of slamming doors in anger, are late dramas — e.g. Maeterlinck’s expressed in this musical portrait, L’Intruse and Les Sept Princesses relying on brass and heavy timpani. — the chief character is never on the stage. Variation V (R.P.A.): Richard Penrose Arnold, son of Matthew As to the larger enigma, it remains Arnold, was a man of changing unsolved. However, the smaller puzzle of moods and comic witticisms. His connecting initials to Elgar’s friends was characteristic laugh is heard in cracked by the composer himself when this variation. he revealed the solution in 1920. As Variation VI (Ysobel): Isabel Fitton presented below, each musical variation was a very tall viola student for reflects certain defining characteristics whom Elgar wrote a set of practice of each of its subjects. exercises. Both the exercise and her stature are reflected in this viola-centric variation.

5 Variation VII (Troyte): Arthur A delightful story relates how Dan Troyte Griffith was an architect rolled down the bank of the River who designed Elgar’s house at Wye, only to swim upstream to Malvern. He was a man of excitable the shore where he barked loudly. and tempestuous temperament Variation XII (B.G.N.): Basil G. who dabbled as an amateur Nevinson was a cellist who pianist. Elgar gave noble effort to played in Elgar’s trio. Elgar help this dear friend learn to play described this variation as “a tribute the instrument, but these efforts to a very dear friend whose led inevitably to an exasperated scientific and artistic attainments, slam of the keyboard lid. and the wholehearted way they Variation VIII (W.N.): Elgar’s were put at the disposal of his neighbor, Winifred Norbury, is friends, particularly endeared him honored with a variation that to the writer.” pays homage to her gracious old- Variation XIII (***): The original world courtesy. It leads without inscription of a trio of asterisks was pause to the most famous of later found to mask a reference Elgar’s variations. to Lady Mary Lygon, who was at Variation IX (Nimrod): This most the time en route to Australia. For eloquent of all the variations is a the intimate group of friends who tribute to the composer’s close could even hope to understand friend, A.J. Jaeger, editor of The the reference, Elgar inserted a Musical Times and adviser to the clarinet solo with a phrase from firm of Novello, which published Mendelssohn’s Calm Sea and many of Elgar’s compositions. Prosperous Voyage. The pulse of In German, “Jaeger” means drums are said to represent the “hunter” – thus the Biblical hum of the ship’s engines. reference to “Nimrod” the Variation XIV (E.D.U.): The Finale, mighty hunter. elaborate and heavily orches- Variation X (Dorabella): Dorabella trated, is both a self-portrait and refers to Miss Dora Penny, the a musical culmination. (“Edoo” daughter of a local parson. Elgar was the composer’s wife’s nick- favored the nickname “Dorabella” name for her husband.) The work because of the reference to the ends in a broad presentation of bright practicality of Mozart’s the theme in a stately major key. character in Così fan tutte. Even her pronounced stammer is ©2016 Orpheus Music Prose & Craig Doolin reflected in this variation. www.orpheusnotes.com Variation XI (G.R.S.): Dr. George Robertson Sinclair was the organist of Hereford Cathedral, who was also known for his loveable bulldog named Dan. The chordal brass suggests the sound of the organ, while the playful and puckish string writing represents Dan. 6 ARTIST BIOGRAPHIES

Leonard Slatkin Conductor Internationally acclaimed conductor Leonard Slatkin is music director of the Detroit Symphony Orchestra (DSO) and the Orchestre National de Lyon (ONL). He also maintains a rigorous schedule of guest conducting and is active as a composer, author, and educator. Highlights of the 2015–16 season included a three-week Brahms festival in Detroit; engagements with the St. Louis Symphony, Pittsburgh Symphony, Philharmonic, and NHK Symphony in Tokyo; and debuts with Beijing’s China Philharmonic Orchestra and the Shanghai Symphony Orchestra. Summer events included a tour of Japan with the ONL and performances of Barber’s Vanessa in Santa Fe. During the 2016–17 season — in addition to his regular duties in Detroit and Lyon — he returned to St. Louis; toured the U.S. with the ONL; conducted overseas with the WDR Symphony Orchestra in Cologne, Verdi Orchestra in ; and San Carlo Theatre Orchestra in Naples. For the rest of the season, he will tour with the ONL and serve as chairman of the jury and conductor of the 2017 Cliburn Competition. Mr. Slatkin’s more than 100 recordings have garnered seven Grammy awards and 64 nominations. His recent Naxos recordings include works by Saint-Saëns, Ravel, and Berlioz (with the ONL), and music by Copland, Rachmaninov, Borzova, McTee, and (with the DSO). In addition, he has recorded the complete Brahms, Beethoven, and Tchaikovsky symphonies with the DSO (available online as digital downloads). A recipient of the prestigious , Mr. Slatkin also holds the rank of Chevalier in the French Legion of Honor. He has received Austria’s Decoration of Honor in Silver, the League of American Orchestras’ Gold Baton Award, and the 2013 ASCAP Deems Taylor Special Recognition Award for his book, Conducting Business. Mr. Slatkin has conducted virtually all of the leading orchestras in the world. As music director, he has held posts with the New Orleans, St. Louis, and National symphony orchestras, and he was chief conductor of the BBC Symphony Orchestra. He has served as principal guest conductor of London’s Philharmonia and Royal Philharmonic, the Pittsburgh Symphony Orchestra, the at the , and the .

7 Marina Piccinini Flute A daring artist with diverse musical interests, virtuoso flutist Marina Piccinini is in demand worldwide as a soloist, chamber musician, and recording artist. Internationally acclaimed for her interpretive skills; rich, expansive colors; technical command; and elegant, compelling stage presence, Ms. Piccinini has been hailed by Gramophone as “the Heifetz of the flute. ” Ms. Piccinini’s 2015–16 season featured several engagements of note: with the Detroit Symphony Orchestra and Music Director Leonard Slatkin, she performed the world premiere of Pulitzer Prize–winner Aaron Jay Kernis’ Flute Concerto written for her in January 2016, and gave the New York state premiere with the Rochester Philharmonic and Music Director Ward Stare in early February. Her five state U.S. recital tour with pianist Andreas Haefliger included concerts for Ohio’s Tuesday Musical Association, D.C.’s Washington Performing Arts at The Kennedy Center for the Performing Arts, University of Florida Performing Arts Series in Gainesville, the Peggy Rockefeller Concert Series in , and the Soundings: New Music at the Nasher series in Dallas. With her trio, Tre Voci (violist Kim Kashkashian and harpist Sivan Magen), she tours the East Coast, with stops in Baltimore, Philadelphia, Rochester, and Boston. Her 2016 spring/summer engagements included chamber music performances in , a recital with harpist Anneleen Linaerts in Belgium, a return to the Galway Flute Festival in Switzerland, and the summer festival premiere of the Kernis Concerto with the Chautauqua Symphony Orchestra on August 4, 2016. Highlights of recent seasons include a highly acclaimed tour with the Orchestra, performing the Nielsen Flute Concerto under the baton of Jukka-Pekka Saraste; performances at London’s and Southbank Center; Tokyo’s Casals and Suntory Halls; the Seoul Arts Center; New York’s Weill Hall at Carnegie Hall, Lincoln Center’s Alice Tully Hall, and Town Hall; the Mozartsaal in Vienna’s Konzerthaus; and at the Kennedy Center in Washington, DC. With Tre Voci, she released the trio’s debut CD on the ECM label to acclaim. The list of esteemed orchestras with which Ms. Piccinini has appeared includes the Boston Symphony Orchestra, London Philharmonic, Saint Louis Symphony, Tokyo Symphony, St. Paul Chamber Orchestra, Montreal Symphony, Rotterdam Philharmonic, National Symphony Orchestra, Hannover Symphony, Vienna Symphony Orchestra, Toronto Symphony Orchestra, and Ravenna Chamber Orchestra, among others. She has worked with such celebrated conductors as Alan Gilbert, Esa-Pekka Salonen, Seiji Ozawa, Kurt Masur, , Leonard Slatkin, Myung-whun Chung, and . Her collaborators include distinguished artists such as the Tokyo, Brentano, Mendelssohn, and Takács string quartets, the percussion ensemble Nexus, and the Brasil Guitar Duo. She is a regular partner of Andreas Haefliger and Mitsuko Uchida. A popular figure at international music festivals, she is a frequent guest artist in Japan and has performed (at the personal invitation of Seiji Ozawa) at the Saito Kinen Festival. Ms. Piccinini has also appeared as guest principal flute with both the Boston Symphony and the . 8 While equally at home with contemporary and traditional works, Ms. Piccinini is deeply committed to music of the present, and expanding the repertoire for her instrument. She has given first performances of works by some of today’s foremost composers, including Michael Colgrass, Paquito D’Rivera, Matthew Hindson, Miguel Kertsman, , Michael Torke, John Harbison, David Ludwig, and . An active recording artist with CDs on the Avie, Claves, and ECM labels, Ms. Piccinini is the latest in a distinguished line of virtuosos to make the Paganini Caprices their own. Her new Paganini arrangements can be heard on her recent highly acclaimed recording for Avie. The printed music for Piccinini’s Paganini arrangements was published in autumn 2014 by Schott Music. Other recent recordings include Tre Voci’s acclaimed debut CD of works by Tōru Takemitsu, Claude Debussy and on the ECM label; a DVD of Schoenberg’s Pierrot Lunaire from the Salzburg Festival, along with an accompanying documentary entitled Solar Plexus of Modernism; for Avie, the J.S.Bach’s complete flute sonatas and solo Partita in collaboration with the Brasil Guitar Duo, and the flute sonatas of Prokofiev and Franck with pianist Andreas Haefliger; and for Claves, Belle Époque with pianist Anne Epperson, and sonatas by Bartók, Martinů, Schulhoff, Dohnányi, and Taktakishvili with pianist Eva Kupiec. The first flutist to win the prestigious Avery Fisher Career Grant, Ms. Piccinini’s career was launched when she won first prize in the CBC Young Performers Competition in Canada, and a year later, first prize in New York’s Concert Artists Guild International Competition. Ms. Piccinini is the recipient of numerous awards and grants, including Musical America’s Young Artist to Watch, the McMeen-Smith Award, the NEA’s Solo Recitalist Grant (twice), the BP Artist Career Award, as well as various grants from the Canada Council, among others. Marina Piccinini was born into a family of distinguished scientists. She began her flute studies in Toronto with and later received her Bachelor of Music and Master of Music degrees from The , where she studied with the legendary flutist Julius Baker. She also worked in Switzerland with renowned musicians flutist Aurèle Nicolet and tenor . A staunch supporter of education, Ms. Piccinini regularly gives master classes worldwide around her performance schedule, and is currently on the faculty of the Peabody Conservatory of the Johns Hopkins University and the Hochschule für Musik, Theater und Medien in Hannover, Germany. A 36th-generation Shaolin Fighting Monk, Ms. Piccinini lives with her family in Vienna and New York.

9 Aaron Jay Kernis Composer Winner of the coveted 2002 Grawemeyer Award for Music Composition and one of the youngest composers ever to be awarded the Pulitzer Prize, Aaron Jay Kernis is among the most esteemed musical figures of his generation. With his “fearless originality [and] powerful voice” (), each new work by Mr. Kernis is eagerly awaited by audiences and musicians alike, and he is one of today’s most frequently performed composers. His music, full of variety and dynamic energy, is rich in lyric beauty, poetic imagery, and brilliant instrumental color. His works figure prominently on orchestral, chamber, and recital programs worldwide and have been commissioned from many of America’s foremost performers, including sopranos Renée Fleming and Dawn Upshaw; violinists Joshua Bell, Pamela Frank, Nadja Salerno-Sonnenberg, and James Ehnes (for the BBC Proms); pianist Christopher O’Riley; and guitarist Sharon Isbin. He’s also received commissions from the New York Philharmonic, (for the inauguration of its new home at the Kimmel Center), Walt Disney Company, Rose Center for Earth and Space at New York’s American Museum of Natural History, Ravinia Festival (for James Conlon’s inaugural season), and Singapore Symphonies, Minnesota Orchestra, Lincoln Center Great Performers Series, American Public Radio, Los Angeles and Saint Paul Chamber Orchestras, Aspen Music Festival, and programs from Philadelphia to Amsterdam (, Amsterdam Sinfonietta), Santa Barbara to France (Orchestre National de France), throughout Europe, and beyond. Recent and upcoming commissions include new concerti for cellist Joshua Roman and for violist Paul Neubauer, works for Eighth Blackbird, the Santa Fe Chamber Music Festival, La Jolla Chamberfest, the San Antonio Symphony, Chambermusic Northwest for David Shifrin, the Orion Quartet, and his third string quartet for the Jasper Quartet. Past seasons have included conducting engagements with members of the San Francisco and Minnesota Orchestras, the New York Philharmonic, with major festivals in Chicago and Portland, and for the Pascal Rioult Dance Company.

10 PEABODY SYMPHONY ORCHESTRA Hajime Teri Murai, Music Director Laureate Ruth Blaustein Rosenberg Director of Orchestral Activities Violin Cello Kaleigh Acord Michael Newman Alex Carlson Co-Concertmaster Co-Principal Principal Hangchen Xiao Lichia Chuang Brian Wilson Co-Concertmaster Co-Principal Assistant Principal Andrew Kwon Najette Abouelhadi Kevin Solomowitz Co-Principal Jessica Albrecht Ryo Usami Rebecca Chuang Contrabassoon Co-Principal Aaron Feeney Kevin Solomowitz Nicholas Bentz Matt Gabriel Horn Cong Chang Dou Robert Kaufman Samuel Jones Ledah Finck Juhyeon Kim Co-Principal Sophie Fortunato Dorian Latchague Kelsey Ross Alexander Hardan Andrew Shiau Co-Principal Jerry Hou Ethan Wagner Taryn Lee Hanbing Jia Jiaoyang Xu Assistant Principal Esther Kim Tzu-Jou Yeh Bailey Myers Julia Kim Contrabass Zachary Travis Yeji Kim Jesus Apodaca Anna Kong Co-Principal Gabriel Lee Brandon Sklute Douglas Ohashi Minjin Lee Principal Co-Principal Hilda Li Andy Ezell Zhang Jianze Mengjiao Li Assistant Principal Assistant Principal Natalia Merezhuk John Wagner Jihee Kim Maitreyi Muralidharan James Hamilton Peterson Trombone Katie Nakamura Luke Reilly Ian Striedter Daisy Rho Gabriel Rioux-Boudreau Principal Arianna Schickel Sam Shreves Gabriel Luciano-Carson Naomi Schrank Brandon Smith Marika Suzuki Bass trombone Sarah Thomas Flute Harry Oehler Yuhong Tu Seungmin Oh Yat Sze Wong Principal Tuba Ying-Chen Wu David Le Steven Needham Han Xie Assistant Principal Harp Viola Lily Josefsberg Peggy Houng Yuan Qi Piccolo Principal Co-Principal Lily Josefsberg Erin Baker Xinyi Xu Assistant Principal Co-Principal Oboe Teresa Lin Mandolin Ankit Anil Isaac Greene Hannah Emigh-Doyle Co-Principal Christen Hooks Julia Perry Piano/celeste/organ Phoebe Chia-Chen Hu Co-Principal Hidemi Minagawa Garrett Hale Daniel C. Jacobs Timpani Elizabeth Keckeisen Assistant Principal Nonoka Mizukami Jennifer Kim English horn Arlo Shultis Gavon E. Peck Caleb Bradley Hyun Jung Song Percussion Alexandra Takasugi Clarinet Jisu Jung Jasper Zientek Eric Black Principal Stephanie Zimmerman Co-Principal Randall Chaves Camacho Melissa Lander Nonoka Mizukami Co-Principal Arlo Shultis Juan Carlos Martínez Matthew Stiens E-flat clarinet Assistant conductor Eric Black Alan Buxbaum Juan Carlos Martínez 11 Sponsored by the Douglas S. and Hilda P. Goodwin Fund of the Peabody Conservatory PEABODY CONCERT ORCHESTRA PEABODY SINGERS PEABODY-HOPKINS CHORUS

EDWARD POLOCHICK Conductor

Friday, April 21, 2017 Miriam A. Friedberg Concert Hall 8:00 pm

Grand Pianola Music John Adams Part I (b. 1947) Part II: On the Dominant Divide

INTERMISSION

Presentation of the Johns Hopkins Alumni Association Heritage Award to

Phyllis Bryn-Julson and Donald Sutherland

by Fred Bronstein, Dean, Peabody Institute David Yaffe, President, Johns Hopkins University Alumni Association Matthew Rupcich, Second Vice President, Society of Peabody Alumni

12 Lobgesang (Hymn of Praise), Op. 52 Felix Mendelssohn 1. Symphony (1809–1847) Maestoso con moto — Allegro — Maestoso con moto Allegretto un poco agitato Adagio religioso 2. Chorus and soprano I solo: Alles was Odem hat 3. Tenor recitative and aria: Saget es, die ihr erlöst seid 4. Chorus: Sagt es, die ihr erlöset seid 5. Soprano I and II duet and chorus: Ich harrete des Herrn 6. Tenor aria and recitative: Stricke des Todes hatten uns umfangen 7. Chorus: Die Nacht ist vergangen 8. Chorale: Nun danket alle Gott 9. Soprano I and tenor duet: Drum sing’t ich mit meinem Liede 10. Chorus: Ihr Völker, bringet her dem Herrn; Danket dem Herrn

Teresa Ferrara, soprano I Mercy Calhoun, soprano II Jason Berger, tenor

Everyone is invited to a post-concert reception in the Dining Hall, sponsored by the Society of Peabody Alumni.

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. 13 TEXTS & TRANSLATIONS

Lobgesang (Hymn of Praise), Op. 52 Felix Mendelssohn

1. Symphony (instrumental) 2. Chorus and soprano I solo Alles was Odem hat, Let everything that has breath lobe den Herrn! Halleluja! praise the Lord, Halleluia! Lobe den Herrn! Praise the Lord! Lobt den Herrn mit Saitenspiel, Praise the Lord with the sound of the harp: lobt ihn mit eurem Liede. praise him with your songs! Und alles Fleisch lobe seinen heiligen Namen. And let all flesh praise his Holy Name! Alles was Odem hat, lobe den Herrn. Let everything that has breath praise the Lord. Lobe den Herrn, meine Seele, Praise the Lord, O my soul, und was in mir ist seinen heiligen Namen! and all that is within me praise his Holy Name! Lobe den Herrn, meine Seele, Praise the Lord, O my soul, und vergiß es nicht, was er dir Gutes getan! and forget not the good he has done for you! Lobe den Herrn, meine Seele! Praise the Lord, O my soul!

3. Tenor recitative and aria Saget es, die ihr erlöst seid Proclaim it, you who are delivered durch den Herrn, through the Lord, die er aus der Not errettet hat, whom he has saved from want, aus schwerer Trübsal, aus Schmach und Banden, from heavy affliction, from shame and bonds, die ihr gefangen im Dunkel waret, who were held in a dark prison, alle, die er erlöst hat aus der Not. all you whom he has delivered from want. Saget es! Proclaim it! Danket ihm und rühmet seine Güte! Thank him and extol his goodness! Er zählet unsre Tränen in der Zeit der Not, He counts our tears in the time of need, er tröstet die Betrübten mit seinem Wort. he comforts the afflicted with his word. Saget es! Danket ihm und rühmet seine Güte! Proclaim it! Thank him and extol his goodness!

4. Chorus Saget es, die ihr erlöset seid, Proclaim it, you who are delivered von dem Herrn aus aller Trübsal. by the Lord from all affliction. Er zählet unsre Tränen. He counts our tears. Saget es, die ihr erlöset seid, Proclaim it, you who are delivered von dem Herrn aus aller Trübsal. By the Lord from all affliction. Er zählet unsre Tränen in der Zeit der Not. He counts our tears in the time of need.

5. Soprano I and II duet and chorus Ich harrete des Herrn, I waited for the Lord und er neigte sich zu mir and he inclined to me und hörte mein Flehn. and heard my supplication. Wohl dem, der seine Hoffnung setzt Blessed is he who puts his hope auf den Herrn! in the Lord! 14 6. Tenor aria and recitative Stricke des Todes hatten uns umfangen, The bonds of death had held us und Angst der Hölle hatte uns getroffen, and fear of death had come upon us, wir wandelten in Finsternis. we wandered in darkness. Er aber spricht: But he spoke: Wache auf, der du schläfst, Awake, you who sleep, stehe auf von den Toten. arise from the dead, Ich will dich erleuchten. I will give you light. Wir riefen in der Finsternis: We cried out in the darkness: Hüter, ist die Nacht bald hin? Watchman, will the night soon pass? Der Hüter aber sprach: But the watchman said: Wenn der Morgen schon kommt, Though the morning comes, so wird es doch Nacht sein; yet so will come night: wenn ihr schon fraget, so werdet if you ask, so again ihr doch wieder kommen will you return und wieder fragen: and ask again: Hüter, ist die Nacht bald hin? Watchman, will the night soon pass? Die Nacht ist vergangen! The night is gone.

7. Chorus Die Nacht ist vergangen, The night is departed, der Tag aber herbeigekommen. the day is come. So laßt uns ablegen die Werke der Finsternis So let us cast off the works of darkness und anlegen die Waffen des Lichts, and take on the armor of light, und ergreifen die Waffen des Lichts. and take up the armor of light. Die Nacht ist vergangen, The night is gone, der Tag ist gekommen. day is come.

8. Chorale Nun danket alle Gott Now thank we all our God, mit Herzen, Mund und Händen, with hearts, mouth and hands, der sich in aller Not who, in all our need, will gnädig zu uns wenden: will show us his grace, der so viel Gutes tut, who has done such good; von Kindesbeinen an uns hielt from our childhood he held us in seiner Hut und allen wohlgetan. in his protection and showed his goodness. Lob, Ehr’, und Preis sei Gott, Praise, honor and laud be to God. dem Vater und dem Sohne, the Father and the Son und seinem heil’gen Geist and to his Holy Spirit im höchsten Himmelsthrone. on the highest throne of Heaven, Lob dem dreiein’gen Gott, praise to God, three in one, der Nacht und Dunkel who parted night and darkness schied von Licht und Morgenrot, from light and morning, ihm danket unser Lied. to him our song gives thanks.

15 9. Soprano I and tenor duet Drum sing’ ich mit meinem Liede Therefore I sing with my song ewig dein Lob, du treuer Gott! O Gott! ever your praise, true God! Oh God! Und danke dir für alles Gute, And thank you for all the goodness das du an mir getan. that you have wrought for me. Und wandl’ ich in Nacht And I wander in the night und tiefem Dunkel, and deep darkness, und die Feinde umher stellen mir nach, and the enemy is about me: so rufe ich an den Namen des Herrn, so I call on the name of the Lord und er errettet mich nach seiner Güte. and he saves me, through his goodness.

10. Chorus Ihr Völker, bringet her dem Herrn You nations, bring the Lord Ehre und Macht! honor and might! Ihr Könige, bringet her dem Herrn You kings, bring the Lord Ehre und Macht! honor and might! Der Himmel bringe her dem Herrn Let Heaven bring the Lord Ehre und Macht! honor and might! Die Erde bringe her dem Herrn Let the earth bring the Lord Ehre und Macht! honor and might! Alles danke dem Herrn! Let everything give thanks to the Lord, Danket dem Herrn give thanks to the Lord und rühmt seinen Namen and extol his Name und preiset seine Herrlichkeit! and praise his glory! Alles was Odem hat, Let everything that has breath lobe den Herrn. Halleluja! praise the Lord! Halleluia!

16 PROGRAM NOTES

Grand Pianola Music love–hate relationship. Since the composer John Adams is also quite impressive in his verbal Born February 15, 1947, in Worcester, Massachusetts. abilities, we shall allow him to explain his music: This work was premiered on February 26, When Grand Pianola Music was 1982, by the first performed in New York (in with solo pianists Robin Sutherland 1982 in a festival of contemporary and Julie Steinberg, conducted by John music organized and conducted by Adams. The score calls for two solo the composer ) , two piccolos, two flutes, two the audience response included a oboes, two clarinets, bass clarinet, two substantial and (to me) shocking bassoons, two horns, two trumpets, two number of “boos. ” True, it was a trombones, tuba, percussion, and three very shaky performance, and the amplified female voices. piece came at the end of a long concert of new works principally American composer John Adams is one by serialist composers from the of the most prolific and widely traveled Columbia-Princeton school. In the musicians of our time. From 1979 until context of this otherwise rather 1985, Adams was composer-in-residence sober repertoire, Grand Pianola for the San Francisco Symphony. Since Music must doubtlessly have the early 1980s when he composed seemed like a smirking truant and , he with a dirty face, in need of a has been regarded as a composer of severe spanking. To this day, it international significance. Credited by has remained a weapon of choice many with revitalizing opera in our time, among detractors who wish to Adams has contributed several works hold up my work as exemplary to the genre, including the politically of the evils of Postmodernism charged (1991) or — even more drastic — the that examines the subject of terrorism; his pernicious influences of American Broadway style musical/opera titled consumerism on high art. In truth I Was Looking at the Ceiling and Then I Saw I had very much enjoyed composing the Sky (1995); the sometimes-staged the piece, doing so in a kind of Nativity oratorio El Niño (2000); an trance of automatic recall, where opera based on the life of atomic bomb almost any and every artifact from my musical subconscious was creator Robert J. Oppenheimer, titled allowed to float to the surface and (2005); and The Flowering encouraged to bloom. The piece Tree (2006) based on a southern Indian could only have been conceived folktale; and, predating all of the others, by someone who had grown up Adams’s character study of President surrounded by the detritus of Richard M. Nixon’s 1972 trip to China mid-20th century recorded music. entitled, appropriately enough, Nixon in Beethoven and Rachmaninoff China (1987). soak in the same warm bath with One of Adams’s earliest scores was the Liberace, Wagner, the Supremes, ambitious and impressive Grand Pianola Charles Ives, and John Philip Sousa. Music with which he has a complicated

17 But Grand Pianola Music genuinely thwacking bass drums, gospel upset people, doubtless due to the triads, and a Niagara of cascading bombastic finale, “On the Dominant flat keys all learned to cohabit as I Divide,” with its flag-waving, wrote the piece. gaudy tune rocking back and … Grand Pianola Music … started forth between the pianos amid with a dream image in which, while ever-increasing cascades of B-flat driving down Interstate Route 5, I major . I meant it neither was approached from behind by as a joke nor a nose-thumbing at two long, gleaming, black stretch the tradition of earnest, serious limousines. As the vehicles drew contemporary music nor as an up beside me they transformed intended provocation of any kind. into the world’s longest Steinway It was rather, in its loudest and pianos…20, maybe even 30 feet most hyperventilated moments, long. Screaming down the highway a kind of Whitmanesque yawp, at 90 m.p.h., they gave off volleys an exhilaration of good humor, of B-flat and E-flat major arpeggios. certainly a parody and therefore I was reminded of walking down ironic. But it was never intended, the hallways of the San Francisco as has since been intimated, as a Conservatory, where I used to “political” statement about the teach, hearing the sonic blur of 20 state of “new music.” Nevertheless, or more pianos playing Chopin, I was alarmed by the severity of the “Emperor” Concerto, Hanon, its reception, and for years I found Rachmaninoff, the “Maple Leaf myself apologizing for it (“I’ve got Rag” and much more. to take that piece down behind the barn and shoot it”). Now, … Despite the image that inspired though, I’m impressed by it, and despite the heft of its its boldness … instrumentation (winds, brass, percussion, two bass drums, and, … Of all my works, Grand Pianola of course, the grand pianos), Music has the most checkered Grand Pianola Music is, for the past. It suffered through a tortured most part, a surprisingly delicate beginning, endured endless piece. The woodwinds putter rewrites, has on all too many along in a most unthreatening occasions been subjected to fashion while waves of rippling excruciatingly bad performances, piano arpeggiation roll in and out and continues, even after 10 years, like tides. Three female voices (the to arouse the most divided sirens) sing wordless harmony, responses from audiences. The sometimes floating above the piece, as the saying goes, seems band in long sostenuto triads, to have something to offend while at other times imitating the everybody. Even so, and without being coy, I can say quite frankly crisp staccato of the winds and brass. that I wrote the piece not to épater The principal technique of the les bourgeoisie, but rather for the piano writing was suggested to sheer pleasure of hearing certain me by tape and digital delays, musical “signals” — one could where a sound can be repeated even call them clichés — piled up in a fraction of a second. The against one another. Dueling pianos, two-piano version of this kind of cooing sirens, Valhalla brass, delay was accomplished by having 18 both pianists play essentially revised version was first heard on the same material, but with one December 3, 1841, in Saxony. It is scored slightly behind the other, usually for two flutes, two oboes, two clarinets, two a 16th or an eighth note apart. bassoons, four horns, two trumpets, three This gives the piano writing its trombones, timpani, organ, and strings. The unique shimmer. vocal contingent consists of one tenor and two soprano soloists with mixed chorus. Grand Pianola Music is in two parts, the first being, in fact, two movements, Felix Mendelssohn’s musical style is quite joined together without pause, that conservative when judged alongside end up in a slow serene pasture with other works written in the same period. a grazing tuba. The shorter second For instance, 1833 was the year that part, “On the Dominant Divide,” was Mendelssohn composed his Italian an experiment in applying my mini- Symphony, a work familiar to most malist techniques to the barest of all concertgoers. The same year Wagner possible chord progressions, I–V–I. composed his first opera (The Fairies) I had noticed that most “Classical” and Chopin was active writing imaginative minimalist pieces always progressed piano works. Berlioz had composed his by motion of thirds in the bass and outlandish three in all cases strictly avoided tonic– years before. Borodin and Brahms were dominant relations, which are too fraught with a pressing need for res- born in 1833, and Beethoven had already olution. What resulted was a sway- been dead for six years. Compared to ing, rocking oscillation of phrases his colleagues, Mendelssohn was not a that gave birth to a melody. This visionary or an iconoclast, but he pushed tune, in the hero key of E-flat major, the boundaries in his own way by being is repeated a number of times, and the most complete musician of his day. with each iteration it gains in gaud- He was known as a conductor, teacher, iness and Lisztian panache until it and composer, but was also active as a finally goes over the top to emerge man of letters and festival administrator. in the gurgling C major of the lowest Much attention is given to the remarkably registers of the pianos. From here young age at which Mozart composed on it is a gradually accelerating race to the finish, with the tonalities flip- his earliest works, overshadowing the ping back and forth from major to equally amazing talents of the young minor, urging those gleaming black Mendelssohn a few generations later. vehicles on to their final ecstasy. Mozart was forced to tour Europe as a young child, playing for kings, popes, ©2016 Orpheus Music Prose & Craig Doolin and princes. Mendelssohn showed his www.orpheusnotes.com talent at a similarly young age, so his wealthy father invested in the best music teachers available for him and his musi- Lobgesang, (Hymn of Praise) Op. 52 cally gifted sister Fanny, who composed Felix Mendelssohn even after she was married, despite the Born February 3, 1809, in Hamburg, Germany; social expectations of the time. Young Died November 4, 1847, in Leipzig, Germany. Mendelssohn regularly heard his music performed by the private orchestra that This work was first performed on played in the Mendelssohns’ Berlin home June 25, 1840, in Leipzig with the composer every Sunday. This invaluable advantage conducting. The final expanded and allowed the composer to develop musical 19 identity and adeptness for orchestration Mendelssohn’s Second Symphony (he before his age reached double digits. called it a symphony-cantata) begins Thirteen early “string symphonies” date with a three-part instrumental symphony from this period — all written before he consisting of the three movements he composed his first numbered symphony had composed before deciding to add at the age of 15. voices. The first movement opens with a majestic brass-laden introduction full of To complicate matters further, the dotted rhythms, but soon gives way to a symphonies we know today as num- Classically balanced and festive “Allegro” bers one through five are numbered in that is measured and deliberate. A order of publication, not of composition. contrastingly tender middle section Actually these works were composed in provides a moment of pastoral respite the following order: No. 1 (1824), No. 5 from the brisk “Allegro.” After a reprise Reformation (1830), No. 4 Italian (1833), of the festive mood, the dotted rhythms No. 2 Lobgesang (1840), No. 3 Scottish of the opening return. A clarinet cadenza (1842). leads to the second movement, a 6/8 Mendelssohn’s least-performed symphony meter section that would be described is undoubtedly No. 2, titled Lobgesang as pastoral if it were just a bit slower in (Hymn of Praise). This work’s origin has one tempo. The third movement, “Adagio of the strangest beginnings of any work of religioso,” is hymn-like and reflective art. In the late 1830s, Germany organized and prepares the listener for the joyous a huge celebration to commemorate the choral movement that follows. 400th anniversary of Johannes Gutenberg’s The nine vocal movements (the cantata printing press. Mendelssohn’s home city portion) require little explanation as of Leipzig was the center of the German they are perfect settings of their various publishing business, so naturally the city’s texts. Mendelssohn, always strongly most important composer was expected connected to tradition, relies upon his to contribute a festive work for the event. thorough knowledge of counterpoint to He decided to compose a new symphony, pepper the work with imitative writing purely instrumental in its forces. However, much in the manner of Mozart, Haydn, he was also asked to provide some choral and Bach before him. He also uses text music for the unveiling of a new statue painting (a practice in which the text of Gutenberg. Mendelssohn decided that is reflected in the music), one example he had enough material to turn the new of which is found in the tenor soloist’s symphony into a massive choral work “Watchman scene” when the word with orchestra. He augmented the three “arise” is set to an upwardly leaping instrumental movements he had already interval. Mendelssohn’s finale uses both completed with nine additional choral of the techniques mentioned, along with sections built upon biblical scripture. To pro- a triumphant return of the dotted-rhythm vide a tenuous connection to the invention theme from the opening of the first of printing, Mendelssohn used texts that movement, transformed here into a dealt with the enlightenment of the masses majestic lobgesang. by the dissemination of God’s word — the primary purpose of Gutenberg’s press in its ©2016 Orpheus Music Prose & Craig Doolin early days. www.orpheusnotes.com

20 ARTIST BIOGRAPHIES

Edward Polochick Director 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 2016–17 season marks his 18th 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 Conducting Award and, as a result, conducting the Philadelphia Orchestra, Mr. 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. Mr. 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, adjudcations, 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.

Jason Berger Tenor Tenor Jason Berger is a first year GPD student studying with Stanley Cornett. In March, Mr. Berger performed the roles of Don Basilio and Don Curzio in Le nozze di Figaro with Peabody Opera Theatre. He also performed with Peabody Opera Outreach as Tamino in Papageno and covered the Witch in Hansel and Gretel. He is currently a member of Concert Artists of Baltimore. Mr. Berger has performed in numerous operas, opera scenes, concerts, recitals, and choral ensembles. Other operatic roles performed include: Parpignol in La Bohème, Notary in Gianni Schicchi, and Sailor in Dido and Aeneas. Opera roles studied include: Nemorino in L’elisir d’amore, Flute in A Midsummer Night’s Dream, Vasek in The Bartered Bride, and Pedrillo in The Abduction from the Seraglio. Mr. Berger spent two summers as a member of the Aspen Opera Center at the Aspen Music Festival and School.

21 He received his Master of Music from University of Michigan in Ann Arbor under the tutelage of Stanford Olsen and his Bachelor of Music from Boston University under the tutelage of Phyllis Hoffman.

Mercy Calhoun Soprano Soprano Mercy Calhoun is a junior voice major at the Peabody Conservatory, studying under Ah Young Hong. She has previously studied with Mariel van-Dalsum. In 2016, she performed the role of Susanna from Le nozze di Figaro at the Narni Arts Festival, and the role of Giunone in Cavalli’s La Calisto with the Peabody Opera Theatre. In 2015, she performed the role of Dorinda from Orlando by Handel with the Peabody Opera Theatre. She has attended the Interlochen Center for the Arts and Brevard Music Center. She has also been a guest artist with the West Virginia Symphony Orchestra and with the Appalachian Children’s Chorus during their Italy tour. In 2014, she was a Solo and Ensemble Recital and Arts Alive winner through the West Virginia Educators Association. She won the West Virginia Christian Educators Association Female Voice competition for four years (2010–2014) and went on to receive superior scores at the American Association of Christian Schools’ national competition every year. In addition to solo work, she has had a vast choral performing background with the Appalachian Children’s Chorus. In the spring 2017, she performed as a bridesmaid in Le nozze di Figaro with the Peabody Opera Theatre.

Teresa Ferrara Soprano Soprano Teresa Ferrara is a first-year master’s student in the studio of Stanley Cornett. A native of Washington, D.C., Ms. Ferrara has performed at the Kennedy Center many times, including solo appearances on the Millennium Stage and in the Terrace Theater. Her chorus work has allowed her to perform often with the National Symphony Orchestra, and she has also worked as a supernumerary with the Washington National Opera. She has earned many awards for her singing, including the Award for Excellence in the Arts from the National Society of Arts and Letters, Music and Dance Scholarship Award, and third place in the Friday Morning Music Club Sue Goetz Memorial Competition for Singers two years in a row. Her studies at Peabody are supported by the Dorothy Fahey Stanley Endowed Scholarship. Ms. Ferrara received her BM from the University of Maryland in 2012, where she played the role of Young Pip in Dominic Argento’s Miss Havisham’s Fire. Her local opera credits include Mozart’s Bastien and Bastienne (Bastienne), Così fan tutte (Despina), and Don Giovanni (Zerlina cover/Chorus), as well as Donizetti’s L’elisir d’amore (Giannetta). Ms. Ferrara made her Peabody premiere this past March, in the Opera Department’s production of Mozart’s Le nozze di Figaro (Countess Almaviva).

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

Violin Cello Bassoon Shannon Fitzhenry Kahler Suzuki Clifton Guidry Concertmaster Principal Co-Principal Rebecca Kasdan Julia Dover Mateen Milan Principal Ismael Guerrero Co-Principal Angela Che Irene Han Horn Wan-Tzu Chen Soo Hyun Han Noah Tingen Cheng-Chia Chiu Marcella Kolacki Co-Principal Gyuwon Choi Hang Liu Zachary Travis Tavifa Cojocari Xingqiao Ren Co-Principal Benjamin Hoertnagl-Pereira Ethan Sandman Jordan Dinkins Jennifer Jeon Joseph Staten Christopher Frick Elizabeth Jones Jonathan Terry Scott Ullman Erin Kim Ezekiel Yu Grace Kim Trumpet Hio Lam Leng Contrabass Jong Hwan Yun Hyun Ji Lim Sam Dugo Principal Audrey Maxner Principal Chenguang Wang Andrew Butts Yujing Ming Trombone Zhixin Ouyang Brock Drevlow Winston Harris Jon Hutchings Flavia Pajaro-van de Stadt Co-Principal Ruoying Pan Rachel Keene April Kim Sarah Lewandowski Yujin Park Co-Principal Camille Poirier-Lachance Antonin Ostrovsky Petion Eliann Reinhardt Noah C. Strevell Bass trombone Fangming Shen Harry Oehler Flute Yu-Chu Teng Drew Dardis Tuba Hoi Shuen Viola Tom Principal Jisang Lee Jerry Tong Louna Dekker-Vargas Madison Van de Wetering Piano Gyuri Kim Weijia Wang Teodora Adzharova Helen Wong Principal Piccolo Patrick Merrill Mei Zhan Drew Dardis Louna Dekker-Vargas Voice Viola Camille Crossot Lan Zhang Oboe Katherine Holobinko Principal Jing Dai Tammi Lee Madelynn Brightbill Co-Principal Anita Chan Hannah Staudinger Timpani Alexandra D’Amico Co-Principal Wanyue Ye Victoria Gange Gabriella Alberico Percussion Melina Garibovic Mengying Han Randall Chaves Camacho Zoe Hartenbaum Clarinet Matthew Stiens Bronwyn Kure Wanyue Ye Guanlun Li Andrew Im Christopher Lock Co-Principal Assistant conductor Claudia Malchow Juan Esteban Martínez Paul McShee Setareh Parvaresh Co-Principal William Satterfield Yuyang Zi Gina Stonikas Bass clarinet Ting-An Wei Juan Esteban Martínez Molly Wilkens-Reed

23 PEABODY SINGERS Edward Polochick, Director Teodora Adzharova, Rehearsal and Performance Pianist Paul McShee, Graduate Conducting Assistant Paul Faatz, Chorus Manager

Soprano Alto Tenor Bass Camille Crossot Tammi Lee Jason Berger Christopher Edwards Section Leader Section Leader Section Leader Section Leader Charlotte Bagwell Jamie Leidwinger Bhaskar Balaji Rahze Cheatham Mercy Calhoun Alyce McNulty Steven Crino Robert Ellsworth Feng Kasey Cwynar-Foye Haley Olson Richard Drehoff Jr. Christopher J. Hartung Shurmila Dhar Lauren Reddit JT Hassell Hsiang Hsu Marie Herrington Yuting Tan Daveen Rim Paul McShee Katherine Holobinko Esther Yi-An Tien David Sexton Matthew Pellegrino Claire Iverson Meimei Zhu David-Andrew Samson Savannah McElhaney Lorenzo Zapata Morgan Sanchez Zoe Woodaman

PEABODY-HOPKINS CHORUS Edward Polochick, Director Teodora Adzharova and Patrick Merrill, Rehearsal Pianists Paul McShee, Graduate Conducting Assistant Paul Faatz, Chorus Manager

Soprano Alto Tenor Bass Amelia Gil-Figueroa Emily Brown Zhe Zhang Evan Michael Gutierrez Section Leader Section Leader Section Leader Section Leader Samantha Albstein Hyunsu Choi Brant Barthle Winfield B. Carson V Marcella Astore Winnie Liao HaoYuan Chen Jun An Chew Sara Buggy Cixian Lu Benjamin Gascon Yi Chen Feng Yunlang Chen Emily Newman Timothy Jones Wei Gu Xiaxun Ding Doyoung Park Mofan Lai Yunhan Gu Nancy Fallon Rhonda Robinson Jonathan Valente Atticus Hebson Lin Jia Jung Min Suh José Vargas Dingchao Huang Jessie Li Cynthia Sun Junhong Kuang Kathleen Walsh Terrence Martin Jiaying Wei Sojourner McClure Infinity Willner Mick Bing Nan Lim Yunling Zhang Kevin Sherman Shon Stelman Gen Tanaka Pirapat Tokiatrungruang Martin Walters Guangda Yang Hangrui Zhang

24 ENSEMBLE KLANG AH YOUNG HONG, SOPRANO MICHAELA RIENER, MEZZO-SOPRANO BERGAMOT STRING QUARTET

Michael Hersch: cortex and ankle (US Premiere) Oscar Bettison: Presence of Absence (World Premiere)

Saturday, April 29 at 8:00 pm Miriam A. Friedberg Concert Hall All concerts at Peabody are FREE! For tickets, call 667-208-6620 or visit peabody.jhu.edu/events.

REMKE SPIJKERS

PEABODY PREPARATORY SUMMER SEMESTER Registration now open

Music and dance instruction for children and adults, including:

Viva Voce! choral program Summer Guitar Institute Peabody Piano Week and Piano @ Peabody Summer Band Splash Summer Dance Intensive

For a complete list or to register, visit peabody.jhu.edu/prepsummer, or call 667-208-6640 Sponsored in part by Paula Boggs PEABODY GOSPEL CONCERT THE DIVINE VOICES OF PRAISE, ARK CHURCH Marcus D. Smith, minister of music THE SANCTUARY CHOIR, NEW SHILOH BAPTIST CHURCH W. Patrick Alston Sr., worship music consultant PEABODY CONSERVATORY GOSPEL STUDENTS Andrew Talle, musicology faculty

Saturday, April 22, 2017 Miriam A. Friedberg Concert Hall 5:00 pm

Stay With God Ricky Dillard

Take it to the Lord in Prayer Nolan Williams

The Divine Voices of Praise from Ark Church Accompanied by Solid Rock Free Will Baptist Church Choir

Oh Give Thanks Unto the Lord Derrick Jackson

What He’s Done for Me Eddie Robinson

The Sanctuary Choir from New Shiloh Baptist Church

Let the People Praise Him William Johnson

Healing Richard Smallwood

Thank You Walter Hawkins

That Name Richard Smallwood

Better Hezekiah Walker

Combined Choirs

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. 26 The Divine Voices of Praise, Ark Church

The Sanctuary Choir, New Shiloh Baptist Church

27 ARTIST BIOGRAPHIES

W. Patrick Alston Sr. Worship Music Consultant, New Shiloh Baptist Church A native Baltimorean, W. Patrick Alston Sr., has performed throughout the and abroad as both a solo artist and an accompanist in prestigious venues including the White House, Carnegie Hall, the Mormon Tabernacle, and the Auditorium De Milan. He has served as organist, pianist, and music administrator for various churches in Baltimore City and has been active in church music for 30 years. He currently serves as the worship music consultant for New Shiloh Baptist Church. Mr. Alston holds the following degrees, certificates, and honors: Master of Music in music education from the Peabody Conservatory, honorary doctorate in sacred music from the Eastern Theological Seminary, Bachelor of Arts in piano performance from the University of Maryland Baltimore County, Colleague Certificate from the American Guild of Organists As a certified music educator in the state of Maryland, Mr. Alston teaches keyboard and international baccalaureate music theory at Baltimore City College High School. He is the principal accompanist for the renowned Baltimore City College High School Choirs under the direction of Linda R. Hall (1999–2013) and currently under the direction of Marcus Smith. He taught piano and organ at the Nathan Carter School of Music (1996–2007).

Marcus D. Smith Minister of Music, Ark Church Baltimore native Marcus Smith is a pianist, composer, arranger, teacher and director. He currently serves as the minister of music at Ark Church and as the choral director at Baltimore City College High School. Mr. Smith earned his high school diploma from Baltimore City College High School, holds a Bachelor of Arts degree in piano performance from , and a Master of Science degree in music education from Towson University. Mr. Smith has taken post-graduate classes from Westminster Choir College and The United Theological Seminary College. Mr. Smith has studied music under the leadership of pioneers such as Linda R. Hall, Robert Jordan, William Patrick Alston, Lawrence Crawford, Reynaldo Reyes, and Nathan M. Carter. He was awarded the Mary Shy Scott Advancements in Arts Education Award from the Charm City Pearl Foundation Inc., Alpha Kappa Alpha Sorority Inc., Psi Phi Omega Chapter. Mr. Smith was honored to play with the Philadelphia Symphony Orchestra and Ithaca College Orchestra under acclaimed musician Nolan Williams. Most recently, the Iota Phi Lambda, Kappa Chapter, awarded Mr. Smith with the Living Maker of Black History award in February 2017. Mr. Smith has a passion for music. Mr. Smith strongly believes that if you use your gifts to glorify God, the blessings will pour down upon you. 28 UPCOMING EVENTS Andrew Talle Musicology Faculty PEABODY CONDUCTORS ORCHESTRA Wednesday, April 26, 2017 Andrew Talle studied 2:30 pm at Northwestern Miriam A. Friedberg Concert Hall University from 1990 to 1995, earning a bachelor’s PEABODY WIND ENSEMBLE degree in cello Friday, April 28, 2017 performance as well as bachelor’s and 7:30 pm master’s degrees in linguistics. From Miriam A. Friedberg Concert Hall 1995 to 2003, he was a PhD student at Harvard University, earning master’s and doctoral degrees in musicology. Dr. Talle spent one year lecturing at Harvard ENSEMBLE KLANG before moving to Baltimore in 2004 Saturday, April 29, 2017 to join the musicology faculty at the 8:00 pm Peabody Conservatory. In 2011, he was Miriam A. Friedberg Concert Hall named a Gilman Scholar of the Johns Hopkins University, a distinction reserved for less than 20 faculty members across all nine divisions. Dr. Talle’s research AMERICAN OPERA SCENES focuses on musical culture in the time of Monday, May 1, 2017 Johann Sebastian Bach (1685–1750). 7:30 pm He has published articles in the Bach Miriam A. Friedberg Concert Hall Jahrbuch, the Cöthener Bach-Hefte, and Mitteilungen des Leipziger Geschichtsvereins, among others. He is the editor of a collection of essays PEABODY PERCUSSION GROUP by leading scholars entitled Bach and Tuesday, May 2, 2017 His German Contemporaries published 7:30 pm by the University of Illinois Press. The Miriam A. Friedberg Concert Hall same publisher has just produced his monograph, Beyond Bach: Music and Everyday Life in the Time of J. S. Bach. For FREE tickets, Dr. Talle’s current projects include a book about popular music in Bach’s time call 667-208-6620 or and a collection of accounts of the city of visit peabody.jhu.edu/events Leipzig written by 18th century travelers.

29 THE GEORGE PEABODY SOCIETY $1.4 MILLION AND ABOVE We recognize those philanthropic visionaries whose lifetime cumulative giving has matched or exceeded George Peabody’s founding gift of $1.4 million. Their generosity has expanded and transformed the Peabody Institute of the Johns Hopkins University. The names are ordered by the date when they joined this elite group of donors. George Peabody Elizabeth J. and Richard W. Case Anonymous Sidney M. Friedberg Florence H. and Charles R. John L. Due Charitable Trust Austrian Taylor A. Hanex The Blaustein-Rosenberg- Michael R. Bloomberg Rheda Becker and Robert E. Thalheimer Philanthropic Group Anonymous Meyerhoff Eric and Edith Friedheim Tristan W. Rhodes Laifun Chung and Ted Kotcheff Loretta Ver Valen Hilda P. and Douglas S. Goodwin Sandra Levi Gerstung and the Arabella Leith Symington Claire S. and Allan D. Jensen Levi Family Fund II of the Griswold Baltimore Community Marc C. von May Wendy G. Griswold and Foundation Benjamin H. Griswold IV Thomas H. Powell THE 2015–16 FRIEDBERG SOCIETY This society is named in honor of Sidney and Miriam Friedberg, whose generosity launched a new era of philanthropic leadership at the Peabody Institute. Friedberg Society donors sustain and enhance Peabody by giving $1,000 or more over the course of a fiscal year. The donors listed below have made outright gifts or pledges at the Friedberg Society level between July 1, 2015 and June 30, 2016. CHAIRMAN’S CIRCLE Brookby Foundation Marc C. von May $100,000 AND ABOVE Jane W. I. and Larry D. Droppa Andrew Yang Fred and Sandra Hittman Shirley S. L. Yang Adalman-Goodwin Foundation Philanthropic Fund Anonymous Helen J. Iliff * VIRTUOSO’S CIRCLE Robert Austrian * Beth G. Pierce * $10,000–$24,999 Meta Packard Barton * Howard and Geraldine Polinger Ruth and Ted Bauer Family Foundation Jacob and Hilda Blaustein Family Foundation Thomas H. Powell Foundation Rheda Becker Henry and Ruth Blaustein Tammy L. Bormann and and Robert E. Meyerhoff Rosenberg Foundation Mark J. Paris France-Merrick Foundation Alexandra L. Clancy Sandra Levi Gerstung and the MAESTRO’S CIRCLE Stephanie Cooper-Greenberg and Levi Family Fund II of the Erwin L. Greenberg Baltimore Community Foundation $25,000–$49,000 Charles Delmar Foundation Hilda P. and Douglas S. * Goodwin Anonymous Helen P. Denit Charitable Trust Janet Rayburn Greive and Barbara and Thomas Bozzuto Evergreen House Foundation Tyrone Greive Phyllis Bryn-Julson and Nancy Grasmick Wendy G. Griswold and Donald Sutherland + Wilda M. Heiss Benjamin H. Griswold IV Elana R. Byrd Christina M. Holzapfel and Hecht-Levi Foundation Cape Foundation William E. Bradshaw Claire S. and Allan D. Jensen Charlesmead Foundation Nina Rodale Houghton Evelyn Johnson Laifun Chung and Ted Kotcheff Charlene and Michael Kass Charitable Foundation Rosalee and Richard Davison C. Albert Kuper III Jill E. McGovern Lynn and Anthony W. Deering Audrey C. McCallum Glenn E. Mortimore * + Estelle Dennis Scholarship Trust Dae-Won Moon Dorothy and Louis Pollack Jephta and Daniel Drachman Israel and Mollie Myers Julie A. Walters and Foundation Samuel G. Rose Peggy and Yale Gordon Charitable Trust Susan Perl + COMPOSER’S CIRCLE Amy L. Gould and Barbara and David Roux Matthew S. Polk Jr. Sheridan A. L. and $50,000–$99,999 Taylor A. Hanex John W. Skouge Anonymous T. Rowe Price Foundation Speedwell Foundation Liza Bailey and Michael Musgrave Adam G. Shapiro Dorothy Richard Starling Foundation Herman C. Bainder * Judith and Turner Smith 30 Esther Carliner Viros Helen Stone Tice Nathalie Irvine and Barbara P. and Martin P. Marguerite M. VillaSanta Bruno Latchague Wasserman Charles Emerson Walker Nikolai Isayev Thomas Wilson Sanitarium for Margaret C. and Patrick C. Walsh Donna and Eric Kahn Children of Baltimore City Patricia E. Kauffman DIRECTOR’S CIRCLE Harris L. Kempner Jr. CONCERTMASTER’S CIRCLE Irene T. Kitagawa and $5,000–$9,999 $1,000–$2,499 Stephen S. McCall Anita and Marc Abramowitz Myron Terry Koenig A L H Foundation Elizabeth Adams Fund for Waverly Bank of America Foundation ** Anonymous (2) Christopher Kovalchick Liz and Fred Bronstein Edith Andre-Bjork Galan Kral C. Sylvia Brown and Susan and Jeffrey Krew Eddie C. Brown Kristin Bacchiocchi-Stewart Cynthia and Paul Lorraine Robert T. Foley Missy and Rick W. Baker Carol and Steven Batoff Lois & Philip Macht Family Edith Hall Friedheim and the Philanthropic Fund Eric Friedheim Foundation Larraine Bernstein and Ellen Mack Ruby and Robert Wesley Hearn Kenneth D. Hornstein Paul B. Mathews Jephson Educational Trusts Patricia and David Bernstein Carol and Paul Matlin Robert Wood Johnson Lisa Di Julio Bertani Foundation ** Carol A. Bogash Barbara and John McDaniel Akemi Kawano-Levine and Aurelia G. Bolton Cynthia and Michael McKee David Levine Anders V. Borge Gary Melick Helen C. Kielkopf and Microsoft Corporation ** John F. Kielkopf Paula Borge Marjorie and Koret Foundation Amy Boscov and Terrence Ellen Helene Breazeale Suruchi Mohan and John J. Leidy Foundation Prabhat K. Goyal Laura R. Burrows Abbe Levin Mary C. R. S. Morgan and Charles and Margaret Levin Carol Cannon David J. Callard Family Foundation Denise Caves Trust Federico A. Musgrove Stetson Terry H. Morgenthaler and L. Chinsoo Cho Thomas R. Nathan Patrick J. Kerins Georgia R. Crompton NYC Classical Guitar Society Clara Juwon Ohr Margaret O. Cromwell Kimberly and Townsend Plant Peabody Institute Fund of the Family Foundation Baltimore Community Foundation Melissa and Charles Reuland D’Addario Music Foundation Lori Raphael and Joanne Rosen and Ronald Daniels Russell Davidson Foundation J. Michael Hemmer Matthew W. Rupcich Ruth L. and Arno P. Drucker Sonia Robbins and Oscar Schabb David H. Schwartz Lydia and Charles Duff Suzanne J. Schlenger Lisa Smith and Phillip T. Dunk Jr. Tracey Pullo Schutty W. Christopher Smith Jr. Hildegard and Richard Eliasberg Marian and Abraham Sofaer Terry Meiselman Shuch and Anna Else and Joshua D. Else Neal Meiselman Carol J. and Roy R. Thomas Kimberly and Donald Evans Carolyn J. Sienkiewicz Susan F. Weiss Brook E. Ferguson Thomas R. Silverman Sally A. White Exelon Foundation ** Eleanor Simon and Patrick O’Neall Wenbin Feng and Renjie Yang PRINCIPAL’S CIRCLE Jan K. Smeets Brook E. Ferguson Linda B. and Richard Q. Snurr $2,500–$4,999 Google, Inc. ** Rochelle Stanfield and Frances K. and George Alderson David B. Grossman and the Edward Grossman Bill Grossman Fund of the Edward Steinhouse Ira J. and Mary K. Basler Isidore Grossman Foundation Foundation Kenneth R. Talle Ellen Halle and the Halle Family Basil Gordon * Philanthropic Fund Andrea Trisciuzzi and Charles Gannon Korean Chapter of the Maureen Harrigan and Society of Peabody Alumni David McDowell Sheila and Erick Vail Sara W. Levi Barbara S. Hawkins Beverly Dietrich Weber Links, Inc. Todd Hodes Wolman Family Foundation Thomas MacCracken Kris Hoffman and Paul D. Raschke Avedis Zildjian Company Lloyd E. Mitchell Foundation Trust Alma D. Hunt/VCM Charitable Trust + In-Kind Gift Christine Rutt Schmitz and Thomas E. Hunt * Deceased Robert Schmitz Indian Spring Academy of Music ** Matching Gift Angela and Daniel Taylor The students, faculty, and staff of the Peabody Institute would also like to acknowledge the more than 1,000 dedicated donors whose gifts of $1 to $999 helped to realize Peabody’s 2015–16 academic year. 31 JOHNS HOPKINS UNIVERSITY 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? Taylor A. Hanex, chair Senior Associate Dean 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 aspiring musicians by making a gift to Special Assistant to the Dean for Innovation, Interdisciplinary support Peabody’s future. Consider Partnerships, and Community these opportunities to leave a Initiatives meaningful legacy while taking into Jessica Lunken Associate Dean account your personal goals. for External Relations Townsend Plant From Your Will or TrusT Associate Dean Gifts that cost nothing in your lifetime. for Enrollment and Student Life reTiremenT Plan DesignaTion Avoid the double taxation incurred if designated to heirs.

liFe income giFT Receive annual income and an PRODUCTION STAFF 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 To learn more about these Concert and Box Office Assistant 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 32 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