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’ 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, and Peabody-Hopkins Chorus under the direction of Ed Polochick in a program that includes John Adams’ Grand Pianola Music and Mendelssohn’s glorious Lobgesang. We also have the Peabody Conductors Orchestra with director of graduate conducting 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 flutes, two young composers including Piotr Ilyich oboes, two clarinets, two bassoons, four Tchaikovsky. By the time of Rimsky- horns, two trumpets, three trombones, tuba, 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- trombone, clarinet, 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 oboe, 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.