Serving the Baltimore / Washington Region March / April 2005

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Somerset Maugham in Life and in The Alien Corn Phyllis Bryn-Julson Page 4

sings her final Peabody celebrates Alan Kefauver and the Pierrot Lunaire 20th anniversary of the Recording Arts & Sciences program By Geoff Himes Page 33

Hajime Teri Murai reflects on Mahler’s tragic Sixth Page 14

Amit Peled performs cello works from Bach to Britten Page 8

Benjamin Pasternack

features Piano Works by Nicholas Maw and ...and Raymond Coffer speaks on “Soap Opera Robert Sirota and Genius” in the Second Viennese School Page 12 2 Peabody News MARCH / APRIL 2005 MARCH / APRIL 2005 Peabody News 3

naud Prize (second over all prize) and the special Prize Nadia and Lili PEABODY Boulanger for the best interpretation of a work written between 1900 and Winners 1950. The award-winning newspaper of the Grammy Nominations for Baltimore/Washington Cultural Corridor Richard Crawley sings Peabody Artists Published by the Peabody Conservatory of Three Peabody alumni have been Cavaradossi with San Music, Baltimore. nominated for Grammys by the Francisco Opera National Acad- Richard Crawley (GPD, ‘96) recently emy of Record- found himself stepping in to sing Circulation:28,000 ing Arts and Cavaradossi with the San Francisco Sciences. They Opera Company opposite Carol Editor: are: violist Vaness as Tosca. Crawley, who is in the Young Artist Program with the Anne Garside Kim Kashkash- Angela Taylor ian, (BM ’73) in company, was covering the role when the lead fell ill. Richard, who keeps a the Yego Chamber Competition. She the category also won the Hankook Symphony Assistant Editor and Designer: “Best Instru- home base in Baltimore in Highland- Kim Kashkashian town, coached the role with Peabody Competition that same year. Kirsten Lavin mental Soloist” for her record- voice faculty member Eileen Cornett. Benjamin Kim and Eric Zuber ing of Mansuri- share First Prize in Yale Editorial Researcher: Damon Ferrante Opera an’s “…And A two-act opera by Damon Fer- Gordon Competition Karen Amrhein Then I was in rante (MM, ’04) titled Jefferson and Poe Benjamin Kim, a student of Leon Time Again,” with libretto by Daniel Epstein pre- Fleisher, and Eric Zuber, a student of on ECM New Publishers Representative: mieres at Theatre Project in Baltimore Boris Slutsky, shared first prize in the Series; pianist on April 21, then goes on to New 2003 Yale Gordon Piano Concerto Network Publications, Inc. Mark Wait, Mark Wait York’s Symphony Space on Broadway Competition at Peabody. 11350 McCormick Road (DMA ’76) in for performances on May 7 and 8. As winners, Kim will perform the the category Executive Plaza One, Suite 900 Plans are for it to be seen at the John Brahms Concerto d minor No. 1 and “Best Classical Hunt Valley, MD 21031 Drew Theatre of Guildhall in East Zuber the Rachmaninoff Concerto in d Album” for Hampton, NY State, in mid-July. minor No. 3 with the Peabody Sym- Elliott Carter’s phony Orchestra in the 2005-2006 Portfolio Manager: Piano Concerto Emerging Artists… season. The second prize was awarded on Naxos; and Carey Scanlan Swift In its January-February issue, Sympho- to Hee Youn Choue, a student of conductor ny Magazine has published its “2005 Alexander Shtarkman. Tel: 410/584-1900, ext. 121 Hugh Wolff, Guide to Fax: 410/584-1998 (MM ’77 piano, Hugh Wolff Emerging MM ’78, con- Email: [email protected] Artists.” Includ- ducting) in the category “Best Classi- ed are Svetoslav cal Crossover Album,” for Turnage- Stoyanov (BM Printed by: Scofield’s Scorched on Deutsche Gram- ’03), Homestead Publishing Co. mophon. marimba/per- cussion; Yael Hyunah Yu is among BBC’s Wess (BM ’94), Chen-Ye Yuan Peabody News is published bi-monthly for Best of 2004 piano; Chen-Ye September/October; November/December; Soprano Hyunah Yu, who received Yuan (GPD ’98), baritone; and Chad both her undergraduate and graduate Freeburg (MM ’01, GPD ’02), tenor. January/February; March/April; and degrees at Peabody, May/June. Each issue mails out at least culminating in an Angela Taylor wins 10 days before the first month of the issue Artist’s Diploma in Songwriting Contest date. 2002, was featured A new song by Angela Taylor (BM in the “BBC Voices ’93, flute, BM ’94, recording arts & Programme’s Best sciences, MM ’97, Electronic/Com- Edited for Peabody/Hopkins faculty, exec- of 2004” for the puter Music) titled “Anything” has utive staff, alumni, donors and friends broadcast of a stu- won the 2004 Mid-Atlantic (Pop) dio recital. She and Baltimore/Washington concertgoers. Songwriting Contest. She performed was in good com- Hyunah Yu the song with Sean Finn (BM ’96, pany. Other “Best of 2004” winners French horn, BM ’97, recording arts, Articles, news items and display ads are included Russian baritone Dmitri MM ’00, recording & acoustics.), bass, accepted at the Editor’s discretion. For edi- Hvorostovsky, the folk group Peter, and Rich Radford, guitar, at the Paul and Mary, and the popular torial information contact: awards ceremony on November 21 at British comedians the Goons. the Hard Rock Café in Washington, D.C. Taylor is a Peabody Preparatory Anne Garside Reto Reichenbach wins faculty member. Director of Public Information French Piano Competition Reto Reichenbach (GPD ’98) won Joy Kippum Lee wins The Peabody Conservatory of Music two prizes at the 2004 International Marbury Comeptition One East Mount Vernon Place 20th Century Piano Competition in Joy Kippum Lee, a student of Victor Baltimore, Maryland 21202 Orléans, France: The Chevillon-Bon- Danchenko, was awarded first prize in Tel. 410/659-8100, ext. 1190 the 2005 Marbury Violin Competi- tion at Peabody and played her prize Fax 410/659-8170 Front Cover Arnold Schoenberg’s painting recital on February 4 in Peabody’s E-mail: [email protected] “Blue Gaze” (ASC 64). Repro- Goodwin Recital Hall. A native of duced courtesy of the Schönberg Korea, Ms. Lee has twice been a fea- Center, Vienna, and Belmont tured soloist with the Seoul Sympho- Music Publishing. In February ny Orchestra. In 1998, she won the 2005, Thames & Hudson released Deajun Orchestra competition, and in a catalogue raisonné of Arnold 1999 the Geumho Young Artist Schönberg’s paintings and draw- Recital Competition. In 2000, her ings. quartet was awarded the silver prize at 4 Peabody News MARCH / APRIL 2005 Somerset Maugham in Life and in The Alien Corn

In the January/February Peabody News, in an article entitled “A Distant Nightingale: Music in The Alien WEDNESDAY, MARCH 9, Corn,” librettist Roger Brunyate dis- 7:30 P.M. cussed the process by which he and THURSDAY, MARCH 10, composer Tom Benjamin turned Som- 7:30 P.M. erset Maugham’s short story into an FRIDAY, MARCH 11, opera. That process is now about to 7:30 P.M. come to fruition as the Peabody SATURDAY, MARCH 12, Opera Theatre presents the world pre- 7:30 P.M. The Peabody Opera Theatre miere of The Alien Corn. Tom Benjamin Roger Brunyate presents the world premiere of Maugham himself would no doubt Encouraged by Somerset, he insists on have been delighted at the turning of going to Munich to pursue his pas- The Alien Corn sion to become a concert pianist. his story into an opera because it was composed by Tom Benjamin in the theatre that he himself first In Munich, George begins to with libretto by Roger Brunyate explore his Jewish roots. When Som- made his mark. Would he also have Garnett Bruce, Stage Director been delighted to find that he figures erset visits him, he presents himself Peabody Symphony Orchestra in a curious old brocade robe with a as a character in the plot? In his JoAnn Kulesza, Conductor short story Alien Corn, Maugham’s fur collar. George tells Somerset that Funded in part by the Maryland he has found the robe in a dusty shop presence is felt only as the Narrator State Arts Council telling the story with detached irony. in the Jewish quarter, along with a Friedberg Hall Jewish prayer shawl, which he has not In the opera, the Narrator becomes $24, $12 Senior Citizens, yet had the courage to wear. Feeling the writer Somerset, a dramatis per- $10 Students with I.D. great sympathy for his young friend, sona based on Maugham himself. Peabody Box Office Somerset talks of the way the writer Therefore, for those attending the Ronald Scarfe cartoon of Somer- 410/659-8100 ext. 1190 premiere, it may be helpful to pro- set Maugham. Used with permission also must create a role for himself in vide a brief biographical sketch of order to discover his true identity. this enigmatic author. It is only in an Epilogue set in William Somerset Maugham writer that decided Winston He wrote his “long” short story Alien Somerset’s rooms in London a few (1874-1965) was born in the British Churchill to send him to the United Corn in 1931 as a social satire, with years later that the audience will learn Embassy in Paris as the sixth and States during the Second World War tragic undertones. Set in England and of the tragic outcome. Somerset mat- youngest son of the embassy’s solici- to carry out propaganda for British Germany from 1928 –1931, the story ter-of-factly tells how George has suf- tor. He learned French as his native interests. The British author found tells of a family of German-Jewish fered a fatal accident. As he mourns tongue but was orphaned at age ten himself dining at the White House origins, living an affluent life as Eng- the boy he has come to love, he slowly and sent to live with his uncle, a with the Roosevelts. lish gentry, with their name changed unwraps the prayer shawl that George humorless Anglican vicar in an Eng- For a couple of decades after the from Bleikogel to Bland. The chief has given him at their last meeting lish country town. The loss of parents war, Somerset Maugham entertained character is the eldest son George. and wraps himself in it. and familiar surroundings induced a the rich and famous at the Villa Mau- George’s mother Muriel (her name Although Somerset Maugham sense of alienation. The young resque, his home on the French Riv- has been anglicized from Miriam) wrote Alien Corn long before Hitler William became an introverted child, iera. The world’s press continued to admits that her husband has traces of and the Holocaust, it will be impossi- afflicted with a stammer. treat him as a celebrity right up until Jewish blood in him, but states that ble for a modern audience to see the As a young man, Maugham first his death at the age of 91. nobody could be more English. In one opera without at least an ironic studied medicine. He qualified as a At the age of 40, Maugham briefly scene, she launches into an aria about awareness of what is going to happen doctor, but opted to devote himself to attempted marriage, but his two most the sanctity of English life, as epito- on the world stage. Maugham’s pow- writing, first achieving success as a enduring relationships were with mized by the Church of England, the erful story of divided ethnic identity dramatist with a string of drawing- men, although the conventions of the Conservative party, and the landed is a precursor of the tragedy to come. room comedies. Maugham had writ- day dictated reticence in that aspect gentry. The parents may deny their ten eight novels before his partly of his life. In the opera, Roger Bruny- heritage but George does not fit into autobiographical Of Human Bondage ate has gently suggested a deepening the life they have chosen for him. (1915), dealing with the infatuation love between Somerset and the main of a lonely young doctor for a lower- character. class woman, attracted major critical For close on a hundred years, “Handel’s Heroes…and Handel’s Ladies” acclaim. He had another big hit with Maugham’s novels, plays and short The Moon and Sixpence (1919), based stories have never gone out of vogue. on the life of the French painter Paul Many have been made into movies, with the Peabody Opera Workshop Gauguin. Maugham even traveled to most recently Being Julia (2004), The Moon and Sixpence (2003), and Up at There has been a tremendous resurgence of interest in recent years in Han- the South Seas to research his subject. del as an opera composer. He wrote 42 in all. The Peabody Opera Work- The theme of the artist who, like the Villa (2000). His short stories often use exotic locales drawn from shop will present scenes and ensembles that feature Handel’s heroes…and Gauguin, feels alienated from his con- Handel’s Ladies on Monday, April 4, at 7:30 p.m. in the Cohen-Davison the author’s own extensive travels, ventional milieu was to resonate Family Theatre. Musical director Webb Wiggins will provide a chamber frequently chronicling the fading again in Alien Corn. ensemble of period instruments. British colonial scene. They are During the First World War, the Handel’s operas are psychologically penetrating, and eminently singable. regarded as masterpieces of the genre. British government employed They are known for their long sequences of arias but this program is built Maugham as a secret agent in Although noted for his wit, upon Handel’s much rarer but nonetheless outstanding vocal ensembles, Switzerland. His experiences as a spy, Maugham had a sardonic view of life. including four duets, two trios, and a quartet. However, each scene will be which reinforced Maugham’s sense of given as a complete dramatic unit: not just the ensemble numbers, but also being an outsider looking in, formed the recitatives and arias for each character that set them up or develop out of the basis of his Ashenden stories, made them. The scenes come from Radamisto (1720), Giulio Cesare (1724), Orlando into a British television mini-series in (1733), and Imeneo (1740). 1991. Yet there was always a certain Recent Handel productions have been presented in a vast range of the- dichotomy about Maugham as out- atrical styles, ranging from the historically authentic to ripped-from-the- sider, because he was himself some- headlines updates. To reflect this range of possibilities, the scenes will be what of a snob, even while he sati- directed by four graduate students—Jason Buckwater, Rebecca Duren, rized the upper class social scene. It Alysia Lee, and Josh Wilson. For an Essay by Roger Brunyate on “Some was Maugham’s excellent social con- Questions of Gender,” visit http://peabodyopera.org/seasons/s0405/eden05/ nections as much as his fame as a JoAnn Kulesza Garnett Bruce MARCH / APRIL 2005 Peabody News 5 PEABODYDateline

The Peabody Chamber Winds premieres Nadel’s Five Scenes for Ten Players The Peabody Chamber Winds, conducted by Harlan The Peabody Trio Parker, give the The Peabody Trio continues world pre- the Beethoven Cycle miere of The Peabody Trio continues the Five Scenes complete cycle of Beethoven Piano for Ten Trios on March 22 in Griswold Hall. Players by The second in the series of three Russell recitals features the Trio in c, Op. 1, Nadel in No. 3, the Sonata for Piano and Cello in Griswold A, Op. 69, and the Trio in D, Op. 70, Hall on Russell Nadel No. 1, “Ghost” March 2. The Peabody Trio has issued a This is the winning work in the 2003 recording of the middle two trios— Peabody Camerata Student Composer the “Ghost” Trio No. 1 and the Trio No. Contest. 2 in E-flat, both numbered Opus 70. This work is the largest to date for It is available from Artek Records the 21-year-old composer in both (direct from Artekrecordings.com) length and instrumentation. It is and online through Amazon, Tower written for a chamber wind ensemble Records or Borders. Review quotes so consisting of combined brass and far have included such encomiums as woodwind quintets. According to the “…the most accomplished Beethoven composer: “Each of the five move- trio playing that I have heard in many ments explores different musical terri- a year. The Peabody ensemble…is tory. A cheerful call-and-response clearly among the best trios on the Antiphonal separates a trio of instru- scene.” (Tully Potter, Strad Magazine) ments from the rest of the ensemble The third recital in the series will and presents them both alone and be on May 9 with the Trio in G, Op. 1, together with the others. A neo- No. 2, Sonata for Piano and Violin in G, Romantic Waltz explores the lush Op. 96, and Trio in B-flat, Op. 97 beauty of the woodwinds, comple- “Archduke.” mented by muted brass (and loud The Cycle will also be given at the brass at the movement’s climax). The Corcoran Gallery in Washington D.C. third-movement Burlesque exploits the on April 15 and 29, and May 13. fabulously comical and grotesque character that the woodwinds and From Camp Meeting to brass are so seldom called to bring Catfish Row out, and uses a Shostakovich-esque The Peabody Concert Orchestra’s manic burlesque to surround the cen- March 24 concert, with Hajime Teri tral section’s contrasting, slow bur- Murai on the podium, features four lesque. A very slow, rather solemn American works. The program starts in rousing form with Joan Tower’s Passacaglia follows, in which the Fanfare for the Uncommon Woman, musical material is put through con- which is “dedicated to women who tinuously developing variations over take risks and are adventurous.” It is an unchanging bass line. A rollicking both inspired by and uses the same Finale finishes off the piece, featuring instrumentation as Copland’s Fanfare exciting contrasts in tempo and meter for the Common Man. and a rip-roaring ending section.” Written in 1901–1904, Ives’ Sym- Nadel is currently a Master’s stu- phony No. 3, is subtitled “The Camp dent, having completed undergradu- Meeting.” After its first performance in ate studies at Peabody, working on 1946, it won Ives the Pulitzer Prize. both a double major in music compo- Says Bob Zeidler: “The Third Sym- sition as a student of Bruno Amato phony is the first of Ives’s symphonies and music education with a minor in to totally break free of the Germano- conducting as a student of Harlan centric traditions….(it) is uniquely Parker. Recent awards include Second ‘American,’ and couldn’t have been Prize in the APSU Young Composer’s written by anyone other than Ives, yet Competition for 2004 for his compo- it lacks the iconoclastic idiosyncrasies sition Serenata a due; a Peabody Devel- usually attributed to Ives….It is cer- opment Grant; First Prize in the 2003 tainly one of his gentlest and most Vancouver Chamber Choir Young serene works, aided in good part by Composers’ Competition (University Ives choosing to lightly score it for category); and Second Prize in the small chamber orchestra.” 2003 Prix d’Été. Gershwin’s Cuban Overture makes a Also on the March 2 program is digression to the Caribbean, but his Brian Drake’s Horizons, Gabrieli’s Catfish Row brings the program right Sonata pian e’ forte and Haydn’s Octet in back home to the land of Porgy and F. Bess. 6 Peabody News MARCH / APRIL 2005 Phyllis Bryn-Julson sings her final Pierrot Lunaire Tuesday, March 29, 2005 will be a Eleven, “Rote Messe,” Pierrot climbs the rare art of vocal date that will enter musical history. upon the altar and displays to the insinuation….Schoenberg’s moonstruck One of Peabody’s true luminaries, communicants his own bleeding heart masterpiece retains its newness. Bryn-Jul- soprano Phyllis Bryn-Julson, has des- as the host. In his book Fin de Siecle son didn’t so much sing the music — with ignated this Artist Recital as the occa- Vienna: Politics and Culture, Carle E. its dazzling, intricate intermix of speech, sion for her final performance of Schorske states: song and the infinity of gradations in Arnold Schoenberg’s Pierrot Lunaire. Schoenberg’s treatment of Pierrot’s sur- between —as carry it into a whole new Phyllis is the most famous living real martyrdom lifts the popular tragic- dimension. She became the moon-possessed exponent of this work. In summer clown theme to a more general level as the idiot of the haunted poetry, her whole body 2003, she gave her last European per- fate both of traditional art and of the agonized within the CE thrice-seven’ formance at the Schoenberg Center in modern artist. In his prime of life as com- straitjackets of Albert Giraud’s obsessive Vienna. In November 2003, she sang media dell’arte figure, Pierrot had known versifications….Eighty-eight years after it it for the last time for Washington how to confront life’s hard realities with a scared the daylights out of its first audi- D.C. audiences. A New York farewell mixture of wit and illusion. Now, in this ence, Pierrot Lunaire in a superior perfor- followed. Singers are notorious for moon-drenched world of rootless modern mance can still be a transforming experi- giving multiple farewell perfor- mummer, his artist’s power of formative ence; this one was. mances, sometimes going on for sev- illusion survives only as hallucination and Reviewing Bryn-Julson’s final eral years, but the chair of Peabody’s surrealist vision. Small wonder that, in D.C. performance for The Washington Voice Department firmly insists that the end, Pierrot takes refuge in reminis- Post, Joseph McLellan is of a similar the March 29 happening at Peabody cence. His final illusion, very Viennese, is opinion: “She sings, recites and acts Phyllis Bryn-Julson really will be her adieu to Pierrot. intoxication with “the old fragrance of the work with the impact of a border- Pierrot Lunaire is scored for Speak- and intellectual ferment of fin de siècle once-upon-a-time.” line madwoman,” he states. er, Flute and Clarinet, and a Trio. Col- Vienna, a time when Sigmund Freud’s Phyllis’s emotional involvement laborating with Bryn-Julson will be psychoanalytic theories and Kokosch- with Pierrot Lunaire is such that she Marina Piccinini, flute, guest artist ka’s tortured paintings were dissolv- has just finished co-authoring, with Charles Neidich, clarinet, Violaine ing the barriers between the “real” Peabody music theory faculty member Melançon, violin, Michael Kannen, world and the inner world. Similarly, Dr. Paul Matthews, a handbook for cello, and Seth Knopp, piano. This in music, Schoenberg was transgress- singers dealing with the theoretical marks a pinnacle in Peabody’s season- ing the boundaries between tradition- and performance style of the work long exploration of the Second Vien- al tonality based on the diatonic scale Early in her career, Bryn-Julson met nese School. and atonality, leading, as he phrased up with Friedrich Cerha, who was Pierrot Lunaire is an extraordinary it, to “the emancipation of the disso- part of an ensemble called Die Reihe. work that originated in the artistic nance.” His chamber song cycle Pier- Die Reihe had given the first perfor- rot Lunaire, written in 1912, repre- mances of works by Schoenberg, Berg sents a culmination of these processes and Webern, so when Phyllis sang of psychic and tonal unraveling. At with the ensemble in the 1970s, she the same time, the work also marked benefited from Cerha’s intimate the dissolution of dividing lines knowledge of the Pierrot score. He was between singing and dramatic recita- an authentic source on what Schoen- Michael Kannen Peabody Explores The tion, creating a new style called in berg wanted, which in turn has vali- Second Viennese School German Sprechstimme. Phyllis Bryn-Julson’s interpreta- Sat. Feb. 26: Peabody Cam- The work sets to music twenty-one tion of the work has sent shock waves erata—Berg’s Chamber Concerto poems from Albert Giraud’s cycle on around the world. Writing in the Los for Piano, Violin, and 13 Wind the commedia dell’arte figure of Pierrot, Angeles Weekly (September, 2000 Instruments. Griswold Hall. who is part clown, part Everyman. issue), Alan Rich affirmed: Pre-concert lecture by Ray- Schoenberg organized Giraud’s poems Certain performances go beyond mere mond Coffer at 6 p.m. in Good- into three groups of seven, correlating greatness; they serve to define both the win Recital Hall. See page 22 of them with the three main parts of the music and the act of perceiving it…I can’t this issue for an article by Coffer Catholic Mass. In song Number imagine any time in the future when I titled “Soap Opera and Genius will hear Schoenberg’s Pierrot Lunaire in the Second Viennese School.” without the memory of the way Phyllis Tues. March 29: Faculty Bryn-Julson performed it …That Bryn- Chamber Music Concert, featur- Julson is of the hardy band of new-music ing soprano Phyllis Bryn-Julson conquerors is, of course, no longer news. in Schoenberg’s Pierrot Lunaire. Recordings — Boulez, Schoenberg, but not Pre-concert colloquium fea- nearly enough, confirm her awesome turing Richard Hoffman at 6 gifts…she has that marvelous ability to Maria Lambros p.m. in Goodwin Recital Hall. find and project the melodic shape in the Wednesday, March 30: most fearsome, jagged vocal line; to vest dated Bryn-Julson’s interpretation of Peabody Colloquium on the Sec- that melody, furthermore, with stunning the work. Her two recordings, issued ond Viennese School, titled immediacy through a flawless command of by GM (GM2030CD) with Robert “Schoenberg’s Row Tables: Tem- Black conducting the New York New porality and the Idea” led by Music Ensemble, and by RCA Joseph Auner from SUNY at (61179) with the Ensemble Modern Stonybrook. 5:30 p.m. Room of Frankfurt, have been highly 308 in the Conservatory. World renowned clarinetist praised. March 7-April 30: An exhi- Charles Neidich is guest artist for The astonishing career of this bition titled “Phyllis Bryn-Jul- Pierrot Lunaire. A native New Peabody artist will be the subject of son, Reigning Diva of 20th-Cen- Yorker of Russian and Greek an exhibition titled “Phyllis Bryn-Jul- tury Music,” in Peabody’s descent, his interests have extend- son, Reigning Diva of 20th-Century Arthur Friedheim Music Library ed beyond the field of music; he Music,” opening in Peabody’s Arthur and Bank of America Mews holds a BA cum laude in Anthro- Friedheim Music Library and Bank of Gallery, contains materials on pology from Yale University. In America Mews Gallery on March 7 Pierrot Lunaire and other Second 1975. He was the first American and running through the end of Viennese works. See page 19. to receive a Fulbright Grant to April. study in the Soviet Union, where he graduated from the Moscow State Conservatory. Marina Piccinini MARCH / APRIL 2005 Peabody News 7 ...from Moonstruck Madness to a Whirl of Waltzes...

In contrast to the moonstruck mad- ness of Pierrot Lunaire, the first part of the March 29 recital has a Viennese waltz theme. The Johann Strauss, Jr. Schatz-Walze, Op. 418 for string quar- tet, piano and harmonium, arranged by Webern, will be performed by Courtney Orlando, violin, Sonya Chung, violin, Maria Lambros, viola, Nicholas Hardie, cello, Donald Sutherland, harmonium, and a pianist Leon Fleisher Katherine Jacobson TBA. The first song from Brahms’ Liebeslieder Watzer, Op. 52, for voices and piano (four hands) will be per- formed by BriAnne Burgess, soprano, Leah Inger, soprano, Marianna Busching, mezzo, Jessica Medina, mezzo, Matthew Heil, tenor, Steven Rainbolt, baritone and William Sharp, baritone with a tenor TBA. The two pianists are Robert Mucken- fuss and Yong Hi Moon. Then Ravel’s La Valse for two Steven Rainbolt William Sharp pianos brings together Leon Fleisher and Katherine Jacobson. Although each has a separate career, this hus- band and wife often play together, most recently in New York at Carnegie Hall on December 30, 2004. The New York Times carried a review by Jeremy Eichler who report- ed that the two pianists “pooled their abundant musicality and refined tech- nique to make Mozart’s Concerto for two pianos (K. 242) a pleasure. Mr Fleisher’s grand return this year to Young Hi Moon Robert Muckenfuss two-handed repertory after decades of injury is a triumphant story in itself, but you would never know it from his performance on Tuesday night, which favored soft-spoken eloquence over ebullience, tone over triumphalism.” At time of going to press, a profile of Leon Fleisher was about to air on CBS’s “Sixty Minutes.” Avoid the stampede at the Peabody Box Office by getting your tickets early for this confluence of stellar talents. Marianna Busching Donald Sutherland 8 Peabody News MARCH / APRIL 2005

that the cello should be used on stage by one of Greenhouse’s former stu- PEABODY dents. While on a concert tour in Europe in December of 2003, I Dateline stopped by in London to collect the cello and tried the instrument for the Amit Peled performs Cello first time at Wigmore Hall. It was Works from Bach to Britten love at first sight. Two days later I An April 5 recital by Amit Peled was already playing it as a soloist of unaccompanied works for the cello with an orchestra in Sweden! Judy’s will show the development of the only condition was that she must hear instrument from Bach to Britten. the cello at least once a year in con- The program Peled has selected for cert.” his first solo recital at Peabody opens This means that Mrs. Davidson with Bach’s Suite No. 1 in G, contin- may well come to Amit’s Peabody ues with Kodály’s Sonata for Cello Solo, recital. Where better to hear the glo- Op. 8, then returns to Bach with Suite ries of this marvelous instrument No. 3 in C. The program concludes than in a recital of unaccompanied with Benjamin Britten’s Third Suite cello works. The condition for the for Cello Solo, Op. 87. loan of the Guarneri is that Peled can When Peled played all six Bach use the instrument until 2040, his Suites at a recital in Germany a year normal retirement age, and has the or so ago, the newspaper Trierischer option of either buying the cello or Volksfreund reported: “The hall was returning it. filled with a mass of beautiful sound Amit Peled “It’s destiny,” he observes. “I can’t and the visitor had to open his eyes superb instrument, a cello made by explain why I suddenly decided to and look to see if there was really Andrea Guarneri 1689. “This instru- drop out and go to Cape Cod to study only one cellist performing.” ment was already about 30 years old with Greenhouse for a year, or why “The Bach Suites are, of course, when the first set of Bach Cello Suites Judith picked up the ad in the the Bible of Cellists,” Peled affirms was composed,” marvels Amit. “The library. It was just fate.” over tea at Donna’s with the Peabody Guarneri was around my age, when The year on Cape Cod at the age of News editor. “The two Suites I will be Bach introduced this magnificent 22 was obviously a formative experi- playing are the more conventional music to the world.” ence. “I saw Greenhouse two or three parts of the program. But I wanted to There is quite a fateful story times a week,” Amit relates. “We take the public back and forth behind how Amit acquired this cooked together, talked a lot about between Bach, the father of cello solo instrument. At the age of 22, the music and interpetation and went repertoire, and the two composers Israeli cellist decided to spend a year sailing. Lessons would go for about who shaped probably more than oth- studying with Bernard Greenhouse, a three hours. We would then have ers the development of the instru- founding member of the Beaux Arts dinner together and listen to music. ment in the 20th century, Kodaly and That was the way Greenhouse had th Trio and himself a student of Pablo Britten. Both 20 -century works are Casals. As Greenhouse lived on Cape studied with Cassals.” This March among the most difficult of pieces in Cod, this meant living for a year in a Peled will be participating in a big the cello literature.” community about as far removed in celebration for Greenhouse’s 90th The Kodaly Sonata, dating from scenery and climate from the kibbutz birthday at North Carolina Universi- the early 1900’s, will bring an in Israel where Amit grew up as one ty. He will give master classes and authentic Hungarian sound into could imagine. play concerts in his teacher’s honor. Friedberg Hall. Kodaly, like Bartok, “I was looking for a place to stay All this is a far cry from Peled’s incorporated his native folk music in Wellfleet, a little fishing town, on early life in Israel where he was born into his compositions. It is interest- Cape Cod,” Amit recounts,” and put on Kibbutz Yizreel in the north of ing to know that the composer exper- an ad in the local library that a young the country. The kibbutz grows cot- imented for the first time through his cellist was looking for accommoda- ton and corn and raises fish and solo cello sonata with the use of “scor- tion in return for doing some house turkey, but also has a factory that pro- datura” – tuning a string differently work like cleaning, working in the duces robots that clean swimming than usual, creating a whole new garden, shovel snow, etc. A lady pools. “The atmosphere was heaven sound spectrum out of the instru- named Judith Davidson, an amateur for kids,” says Peled, “because on ment. In this case the two low strings violist and a music lover who simply average there were only ten kids in a (G & C) are tuned half a step lower. wanted to get to know the famed cel- class, so the teacher could be very All of Benjamin Britten’s Cello list Bernard Greenhouse, replied to personal. But even in elementary Suites were written for Mstislav Ros- the ad and I ended up living in her school, kids had to go to work one tropovich. “I deliberately chose the house. I shoveled snow a few times, day a week. I used to drive a tractor. Britten Third Suite,” explains Peled, but was lucky enough to be away for “This was a community where “because it was the only one that Ros- concerts whenever a big storm arrived everyone was equal,” Amit goes on, tropovich never recorded. He pre- in town. Also I worked with her hus- “and when I was ten years old, I could miered it, but Britten died shortly band, Arthur, in the garden. Soon pick a musical instrument. I picked after, and it was too emotional for enough we all understood that I’m the cello,” he laughs, “because I was Rostropovich to play it again. Britten not much of a housekeeper and I in love with a girl who played it and I had incorporated Russian folk songs began giving Judy cello lessons, and simply wanted to get close to her. I into it in honor of Rostropovich. It’s helped with the cooking, mainly the studied with a local teacher who a gorgeous Suite. Even among cellists famous Davidson’s apple pie. I now couldn’t even teach me the names of it is not that well known and I very think of both Judy and Arthur as my the notes, but when I was fourteen much wanted to do a work that I’d American parents.” the flute teacher, who came once a never heard in concert. Now after Moreover, as Amit takes up the week from Tel Aviv, told my mother playing it, it’s very evident that there story, it emerges that Judith David- that I had some talent and must go to is a dialogue aspect to the Suite, as son wanted to buy a great instrument the ‘big city’ for serious study. My though Rostropovich and Britten are to help his career. “She had bought conflict then was the fact that I was talking to each other. That helps me a the Guarneri from an old lady in also a very good basketball player and lot when interpreting the piece.” England, who is a great admirer of had to choose. I chose the cello over In addition to Amit Peled’s perfor- Bernard Greenhouse. An unspoken basketball because at that age I was mance of these works, the audience part of the selling deal was that the not tall enough for professional bas- will be hearing the sound of a truly 91-year-old lady in London insisted ketball. Soon after I grew to be 6 MARCH / APRIL 2005 Peabody News 9 foot 5 inches!” at Peabody, his class has already dou- At this point there is a pause in bled in size. From a base at Peabody, the conversation while we both he is continuing a dazzling perform- solemnly reflect on the fact that, if he ing career, with recitals coming up all had gained another couple of inches a over the country this spring. Sum- year or so earlier, the world might mer engagements will take him back have lost a terrific cellist. Fate again! to Germany and Israel as well as to Instead of shooting balls through festivals all over America. Peled start- hoops, Amit enrolled in a special ed out by winning a clutch of presti- school for the arts in Tel Aviv. At age gious international competitions, but 18, that was interrupted by the in the music world it is staying mandatory three years of military ser- power that counts. The list of famous vice in the Israeli Army, “luckily I orchestras he has soloed with, and was in the Army String Quartet pro- renowned concert halls in which he gram that had been established by has given recitals, not to mention the Isaac Stern,” Amit reports happily. “I stellar artists he has collaborated with had to do the basic training but I in chamber music, indicates he has ended up playing string quartets for that staying power….and the stamina all kinds of audiences from prime to perform the challenging program ministers to ordinary soldiers. For of the Peabody recital on April 5. example, Ehud Barak, who later You can learn more about Amit became the prime minister of Israel, Peled’s upcoming performances and was at that time the head of the army. other activities by logging on to As an amateur pianist he always www.amitpeled.com requested specific pieces from our quartet. We had to go through a lot of repertoire in order to please him, and believe me, no one wanted to mess up with this guy…” The army experiences certainly honed his skills of communicating with an audience as evidenced by the reviews he has been receiving ever since. The common thread in all these reviews (and many of them came even before he acquired his Guarneri cello) is that Peled has a wonderful sound. “Simply gorgeous in sound,” Tim Smith of the Balti- more Sun has proclaimed of his play- Sam Rivers ing. Kleine Zeitung wrote: “The warm Sam Rivers guests with and dark sound that Peled created Peabody Jazz Orchestra with his cello expressed deep feelings On April 1, the Peabody Jazz Orches- and the most sensitive musicality.” tra, under Michael Formanek’s direc- Haaretz stated: “His sensitivity and tion, puts the spotlight on Sam beautiful sound were unique.” Kol- Rivers, as guest composer, conductor, Bo newspaper thought that “His and saxophonist. The program will sound is forged in the innermost feature classics by Rivers, including chambers of the soul and is magically his popular Beatrice, as well as some of transferred to the tips of his fingers.” his newer compositions. Helping Between 1999-2003, Amit lived things along will be special guests with his wife Julia in Berlin, study- Doug Matthews on bass and bass clar- ing intensively with the great Russ- inet, and Anthony Cole on drums, ian cellist and mentor Boris Perga- tenor sax, and piano. menschikow: “The time in Berlin was We are indebted to Chris Kelsey’s really amazing,” he reflects, “and is perceptive profile of Sam Rivers for such a big part of my teaching today. the All Music Guide, for the following The Russian school was always some- appreciation: thing I admired and working first at Few, if any, free jazz saxophonists the New England Conservatory in have approached music with the same Boston with Laurence Lesser, who degree of intellectual rigor as Sam studied with Piatigorsky, and finally Rivers, who has maintained an extra- in Berlin with Boris Pergamen- ordinarily high degree of creativity schikow, gave me an unbroken line to over a long life. Rivers’ father was a the Russian romantic school. That’s a church musician, touring with a big part of my understanding of gospel quartet. Rivers started out music.” with piano, violin and trombone And of his teaching. Amit Peled lessons before settling on the tenor was appointed to the Peabody faculty sax. He moved to Boston in 1947 in September, 2003, at the astonish- where he studied at the Boston Con- ingly early age of 29. He loves the servatory of Music and later Boston work with his students, trying to pass University. There he played with on to them what he was so lucky to Herb Pomeroy’s little big band, receive from his famous teachers. “I which, in the early ’50s, featured such see teaching as a big and important players as Jaki Byard, Nat Pierce, part of my life as a musician. Wit- Quincy Jones and Serge Chaloff. nessing the student’s development is It was not long before Rivers the most rewarding experience I have formed his own quartet with pianist had in music. Hal Galper and played on his first In only his second academic year Continued on Page 10 10 Peabody News MARCH / APRIL 2005 miere. Westfield. PEABODY According to the program notes, Trent opens his Peabody recital the work was written to mourn the with J.S. Bach’s Prelude and Fugue in e Dateline death of Barnes’ infant daughter. The minor, BWV 548, “The Wedge” and opening is a slow and dark expression Mozart’s Andante in F, K616. He will of pain, expressed through bitter- Rivers also perform George Walker’s Two sounding chords and sharp contrast in Pieces for Organ. Trent is featured on a Continued from Page 9 styles. The second movement is a forthcoming CD of organ, chamber, Blue Note recording session with satirical view of the world, which song, and piano works by this Pulitzer Barnes thought, in his darkest times, pianist/composer Tadd Dameron. In Prize winning composer. Titled was full of deception and merited con- 1959, he began playing with 13-year- “George Walker: Pianist and Compos- tempt. The third movement is a old Tony Williams. It was about this er,” the CD is available from Albany time that Rivers became involved in chorale, soft and passionate, depicting what the composer thought his life Records at www.albanyrecords.com. the avant-garde, developing a free Louis Vierne’s Finale from Organ Sym- improvisation group with Williams. would have been had his daughter phonie VI is also on the program. In 1964, Rivers moved to New York lived. The fourth and final movement The recital will include three of to be hired by Miles Davis. Later that is a renewal of spirit, giving a brilliant year, Rivers led his own session for finish to the work. Trent Johnson’s own works. Three Blue Note, Fuchsia Swing Song, which Michael Mogensen’s Afterglow: Characteristic Pieces will be performed documented his inside/outside Light Still Shining, Grainger’s Irish by the composer at the organ. His approach. He went on to record with Tune from County Derry and Shepherd’s Quartet for Saxophones, written in 2003 Larry Young, Bobby Hutcheson and Hey, and Gustav Holst’s Hammersmith: for the New Jersey Saxophone Andrew Hill. Prelude and Scherzo complete the pro- Ensemble, embodies, according to In 1970, Rivers, along with his gram. Trent, “a good injection of humor as wife Bea, opened a studio in Harlem Peabody Camerata well as darkness. The passing of which later relocated to a warehouse The Peabody Camerata cannot themes and motives from instrument in the Soho section of New York City. announce all the details of its April 16 to instrument, as well as the baritone Named Studio Rivbea, the space program in advance because this pro- solos create a mood of playfulness. became one of the best known venues gram will feature a new work by Gene The first movement creates a carnival- for the presentation of new jazz. Young, and the winning work in the like atmosphere, much like one would Rivers’ own Rivbea Orchestra 2005 Peabody Camerata Student encounter at the circus. The second rehearsed and performed there, as did Composer Contest. The program will movement is a dark lament full of his trio and his Winds of Change include Ruth Lomon’s Songs from a pain and suffering, but beauty still woodwind ensemble. Rivers’ trio of Requiem and Messiaen’s Couleurs de la permeates its walls. The third move- the time was a free improvisation cité céleste, featuring pianist Matthew ment, with its counterpoint and ensemble in the purest sense. The Odell and the Preparatory Violin development, has an aura of strict for- group used no written music whatev- Choir, directed by Rebecca Henry. er, relying on a stream of conscious- malness yet its themes and motives ness approach. Much of this early-to- Trent Johnson Organ are not to be taken too seriously. mid-’70s music was documented on Peabody prides itself on producing This movement concludes spaciously the Impulse! label. In 1976, Rivers versatile musicians as exemplified by and with fervor.” The work will be began an association with bassist Dave Trent Johnson who gives a recital on performed by students of Peabody fac- Holland. The duo recorded music for Sunday, April 17 at 4 p.m. in Gris- ulty member Gary Louie: Jeremiah two albums released on the Improvis- wold Hall. Trent will be featured both Baker, Cara Salveson, Adam Waller ing Artists label. Opportunities to as organist and composer. However, and Devin Adams. record became more scarce for Rivers one should add that he also has a par- Other guest artists include The in the late ’70s, though he did record allel career as a pianist and conductor. Halcyon Trio, composed of Andrew occasionally, notably for ECM. His In his current position as Director of Lamy, clarinet, Brett Deubner, viola, Contrasts album for that label was a Music and Arts and Organist of the and Gary Kirkpatrick, piano, per- highlight of his post-Blue Note work. First United Methodist Church in forming Trent’s Trio for Clarinet, Viola In the ’80s, Rivers relocated to Orlan- Westfield, New Jersey, Johnson is in and Piano composed in 2001. The do, Florida, where he created a scene charge of a dynamic music program work was commissioned and recorded of his own. He formed a new version and is simultaneously conductor of by the Halcyon Trio who distribute it of his Rivbea Orchestra, using local the Oratorio Singers and Orchestra of on their website at www.Halcyon- musicians who made their living play- trio.com ing in the area’s theme parks and Trent’s ties with Peabody, where he tourist attractions. The ’80s and ’90s studied organ with Donald Suther- found Rivers recording albums on his own Rivbea Sound label, as well as a land, piano with Walter Hautzig, and pair of critically acclaimed big band conducting with Frederik Prausnitz, albums for RCA. have remained close. His cantata The Paschal Lamb, was written for Peabody Polochick leads Peabody faculty member Phyllis Bryn-Julson. Singers in Ravel, Ginastera, Since graduating with a GPD in Brahms organ in 1991, Trent Johnson has The Peabody Singers return on established a major career as an organ April 7 under the baton of Edward recitalist. He has been heard on a cir- Polochick, performing in Griswold cuit of major churches and cathedrals Hall. The program comprises Ravel’s in New York, Washington DC, and Trois Chansons, Ginastera’s Lamenta- tions of Jeremiah, and Brahms’ Zigeuner- other east coast cities, as well as being lieder. invited to perform at the Second International Organ Festival in Kiev The Peabody Wind Ensemble in the Ukraine where he also gave a The Peabody Wind Ensemble con- master class in composition. Since cludes its season on April 13. James 2002, Trent has annually been invited Barnes’ Symphony No. 3, Op. 89, com- to conduct at Lincoln Center’s Avery missioned by the United States Air Fisher Hall in the National Chorale’s Force Band, will receive its local pre- Trent Johnson Messiah Sing-In. MARCH / APRIL 2005 Peabody News 11 12 Peabody News MARCH / APRIL 2005 in Dusseldorf and other German cities PEABODY in the last two weeks of February. “I have certain beautiful, wonderful Dateline events every year with a few concerts that I can really look forward to, “ he Benjamin Pasternack features Piano Works by tells us happily. “I have played The Nicholas Maw and Robert Age of Anxiety all over the world, at Sirota Carnegie Hall, at the Salzburg Festi- The last recital Benjamin Paster- val, and in the last few years I have nack played at Peabody in spring played it several times in Germany 2002 presented his own original tran- and audiences have really appreciated scriptions of works by Leonard Bern- stein. This pianist always likes to it. It’s in the form of a conventional include something new and different piano concerto, but Bernstein had a on his programs. So for his April 20 concept that most of the piece occurs recital Pasternack will feature piano inside the mind of the pianist. It’s works by Peabody composition faculty written in an improvisatory style.” members Nicholas Maw and Robert Sirota: Maw’s Personae 1V, V and VI, We might mention here that and Sirota’s Mixed Emotions. Pasternack, who knew Bernstein per- Balancing the program will be sonally, has received astounding Three Sonatas by Scarlatti (a minor, reviews for his interpretation of this K.54, D Major, K. 443 and b minor, work. For his upcoming performances K.27), Beethoven’s Sonata in c minor, Benjamin Pasternack in Germany, he will have Carl St. Op. 13 “Pathetique,” and Schumann’s Carnaval, Op. 9, making for a very full Sirota’s Mixed Emotions. In his pro- Clair on the podium, who was very musical experience. gram notes for its premiere at close to Bernstein. St. Clair is a regu- When we chat with Ben Paster- Carnegie Hall’s Weill Hall in Novem- lar guest conductor with the Dussel- nack about this program, the first ber 2003, Sirota wrote: dorfer Philharmonic and “has just “Perhaps because I am trained as a thing he wants us to know is that “It’s been appointed General Music Direc- a great pleasure to deal with living pianist, I have always approached composers and learn their works. You writing for solo piano with a combi- tor for the city of Weimar, “Ben says. get something from working with liv- nation of awe and trepidation. After The other big news in this Peabody ing composers that you can’t get from all, we are standing on the shoulders faculty member’s life is the forthcom- any other source. It’s a privilege.” of the likes of Schubert, Chopin, ing release on the Naxos record label Debussy and Ravel. So Pasternack is pleased that he will of his recording of three major piano actually be able to consult with fellow “Mixed Emotions is a set of piano works by Aaron Copland: Variations, faculty member Nicholas Maw on his pieces that emerged from my realiza- interpretations of Personae 1V, V and VI. tion that the piano is the quintessen- Sonata, and Fantasy. “It’s wonderful to Maw needs no introduction to Peabody tial instrument of contrasts and duali- start my association with Naxos with News readers. The world premiere of his ties, as implied by the contradiction that kind of repertoire,” Pasternack opera Sophie’s Choice at Covent Garden in its full name pianoforte: Each of the observes. “These are three tremendous pieces evokes an affect and its oppo- in December 2002 reaffirmed his posi- classics of modern music.” tion as one of the most eminent com- site: agitato/calmo portrays the turmoil posers on the world scene. That opera seething beneath a serene surface; lon- In the meantime, he is looking for- will be performed again in Berlin and tano/vicino is alternatively far and near. ward to his Peabody recital as “a most Vienna this fall. Maw’s Violin Concerto The other two pieces, sweet regrets and satisfying and enjoyable event,” which won a Grammy for Joshua Bell’s record- tender rage, deal in complex and con- we anticipate will be the reaction of flicting emotions. Once I had gath- ing. The Philadelphia Orchestra will the audience as well. soon be premiering an English horn ered the emotional landscape of each This pianist tends to downplay concerto commissioned from Maw. This piece, I was able to conquer its techni- is a very sought-after composer and the cal challenges.” competition wins and reviews as less opportunity to hear any work by Maw Mixed Emotions has not been heard important than the reactions he gets should not be missed. yet in Baltimore so this will be a local from an audience and the judgment of Written in 1985, Nicholas Maw’s premiere. As Sirota is covered so his peers. However, for those who like much in these pages in his adminis- Personae was first heard at the 1986 to know such bio stuff, we can men- Bath Festival in Britain, which com- trative capacity as Director of the missioned the work. Paul Driver, Peabody Institute, it is good to tion that Pasternack won the Grand music critic for the London Financial remind readers that he also has a very Prix of the World Music Masters Times, wrote: “…the pieces caress, rav- active other life as a Guggenheim Piano Competition in Paris in 1989, ish, astound and seriously engage the Award-winning composer. and the top prize in the Busoni in ear.” When Personae was heard in “At Peabody,” Pasternack points out, “we can identify the excellent Italy the year before. After that, he Washington D.C. in 1991, Joseph simply didn’t bother entering any McLellan, reviewing for The Washington composers in our midst, and we have a Post, described it as “…succinct, effec- responsibility to bring their works more competitions. One can gage tive character sketches whose coruscat- before the public and learn to play just why his peers rate him so highly ing arpeggios and great, crashing them well so that the public can by pulling out a sampling of review judge their worth.” chords demand phenomenal technique quotes. His playing reveals “a rich Before joining the Peabody faculty and reward it with phenomenal music.” spectrum, from precise, galloping Fortunately, Ben Pasternack has a few years ago, Benjamin Pasternack long been recognized as having “phe- enjoyed a long association with the rhythms to clear singing tones,” says nomenal technique,” among many Boston Symphony Orchestra under Frankfurter Allgemeine Zeitung. It is other qualities. The Paris newspaper Seiji Ozawa. He went on many world “first class from every point of view— Le Monde has called him “a singular tours with that orchestra, often as mechanically, musically, imaginative- pianist….At times charming, delicate soloist under Ozawa’s baton for Leonard Bernstein’s piano concerto ly, emotionally, according to The and feline, at others, a raging, tran- Boston Globe. “Fascinating not so much scendant technician.” “The Age of Anxiety.” At time of talk- The dichotomy in the adjectives ing with Ben, he was about to leave for its effortlessness, technically, but used in the above quote will serve for Europe, performing that work for its surpassing musicianship,” Pasternack well in performing Robert again with the Dusseldorf Symphony reports The Ottawa Citizen. MARCH / APRIL 2005 Peabody News 13 umphal march that would not have been out of place in Star Wars.” Ancient Babylon appears to be enjoying somewhat of a comeback at present. The Oliver Stone movie Alexander, which opened in November 2004, evokes that biblical city’s orien- tal splendor, not forgetting the fabled hanging gardens. Stone lovingly piled on detail after detail drawn from archaeological remains in re-creating this fabled city. Sadly, notwithstand- ing its lush sets, the three-hour-long movie got scathing reviews. The fact is that Walton’s cantata packs more drive and punch in its 35-minutes than Stone’s meandering epic. It’s a pity that the movie director didn’t Edward Polochick first listen to Belshazzar’s Feast to pick up a few tips on how to build to a cli- Banquets and Babylonian max. Gods in William Walton’s William Walton’s collaboration Belshazzar’s Feast with the Sitwells started in 1920, Edward Polochick will conduct the when, fresh out of Oxford University, Peabody Concert Orchestra, Peabody- he lived with the family in London. Hopkins Chorus, and Peabody Singers The three siblings — Sacheverell, in a performance of William Walton’s cantata Belshazzar’s Feast on April 22. Edith and Osbert —introduced the The baritone soloist will be Ben- young composer to their circle of jamin Park, a student of John Shirley- friends, which included Delius, Quirk. There is no better mentor for Diaghilev and T.S. Eliot. Walton was the role. John Shirley-Quirk was the first inspired by Edith’s poems and soloist for a benchmark 1972 record- they collaborated for his 1922 suite ing with the London Symphony Façade, with Edith as narrator. The Orchestra and Chorus conducted by collaboration with Osbert that pro- Andre Previn. duced Belshazzar’s Feast marked the Bumping into Shirley-Quirk in the close of an extraordinarily productive Peabody cafeteria, the Peabody News decade for Walton. During the World editor asks him if he has any anec- War II years, Walton was to become dotes from his collaborations with known primarily as a writer of film William Walton (JSQ has a marvelous scores, including scores for the Lau- fund of stories.) He thinks for a rence Olivier films of Henry V, moment. Hamlet, and Richard III. “Well, I was doing Belshazzar once The April 22 program will also in Munich with Previn conducting include Cesar Franck’s Symphony in d. and Walton was there at the rehearsal. I wanted to ask him something about The Peabody Renaissance the music, but knowing how formal Ensemble celebrates Spring the Germans are, I addressed him as with Zefiro Torna ‘Sir William.’ He came back at me Mark Cudek, director of the Peabody with: ‘I’m not Sir William to you, Renaissance Ensemble, is building the damn it!’ in his lovely Lancashire ensemble’s concerts on April 28 and accent.” 29 on the theme of Spring. The text for Belshazzar’s Feast, Monteverdi will be represented by which premiered in 1931, was written two spectacular (and difficult) pieces by Osbert Sitwell who based it on the titled Zefiro Torna as well as his O Pri- Book of Daniel and two psalms: mavera and selections from Scherzi Psalm 81 in which the captive daugh- Musicali, contrasted with some more ters of Israel sit down by the waters of “pop” Italian music of the same time Babylon and weep, and Psalm 137 by Gastoldi and others. Mark has also which tells how King Belshazzar thrown in an English set of madigrals, makes a great feast to celebrate his tri- lute songs, and instrumental dances umph over the people of Zion. Bels- by composers like Morley and Hol- hazzar commands that the golden ves- sels of the Jewish Temple be brought borne. From French composer Claude to the banquet so that he and his LeJeune comes Revoicy venir du Print- princes, wives and concubines can emps, published in 1603, and works in drink wine from them. His sacrilege the new musique mesurée style. calls forth divine retribution, with Among the featured performers God proclaiming “Thou art weighed will be Dan Boothe, Renaissance vio- in the balance and found wanting.” lin, Rebecca Duren, soprano, Hunter “Walton’s compact, 35-minute- Fike, recorder, who is playing his last long oratorio reveals the composer’s concert with the ensemble, Andy real gift as a future composer of film Shryock, tenor, and Charles Weaver, music,” asserts critic David Hurwitz. lute. “The wonderful scene when the dis- You can also catch another early embodied hand of God writes the music ensemble from Peabody, the words of judgment on the banquet- Peabody Consort, at St. David’s room wall, is straight-out horror Church in Roland Park on Sunday, movie stuff, while the ‘praise song’ to April 10. The all Spanish program the various Babylonian gods is a tri- will feature lutenist Charles Weaver. 14 Peabody News MARCH / APRIL 2005 …from Alma’s Soaring Melody to Hammer Blows on an Anvil… Hajime Teri Murai reflects on Mahler’s Tragic Sixth The Peabody Symphony Orchestra, conducted by Hajime Teri Murai, will present as its annual Mahler offering the composer’s Sixth Symphony this season. There will be two perfor- mances, one on April 27 in Dekel- boum Hall at the Clarice Smith Per- forming Arts Center, located on the University of Maryland’s College Park Campus, with a repeat in Peabody’s Friedberg Hall on April 30. The performance at Peabody will be dedicated to the memory of Fred- erik Prausnitz, Peabody Conductor Laureate and former Director of the Peabody Conducting Program who died November 12, 2004. In an obit- uary article on December 31 last year, Hajime Teri Murai The Times of London extolled Praus- three movements, where even the mer blows, it seems, are very real. nitz as an “adventurous and forthright Scherzo has a relentless driving quality. “You could do it electronically, I sup- conductor…a champion of a range of The Finale builds to the climax of the pose, “Teri concedes, but one gets the 20th-century music and a gifted and hammer blows, which have also sense that this conductor likes the ida influential teacher.” Prausnitz was proved controversial. There has been a of finding his own original solution. awarded the Mahler Medal for his zeal long-running debate over how many “I used a tree trunk once,” he reflects. in making that composer better hammer blows there should be in the By the time those fateful hammer known in America so this dedication last movement. Alma always insisted blows are struck, the Peabody Sym- seems entirely appropriate. that her husband intended there to be phony Orchestra will have been play- Mahler’s Symphony No. 6 in a minor, three hammer blows, symbolizing ing for a total of nearly one hour and known as the “Tragic,” has had its three mighty blows of fate suffered by twenty minutes.minutes. “The last share of controversies. It was com- the hero, “the third of whch fells him movement alone is nearly thirty min- posed between 1903 and 1905, sup- like a tree.” But in a later revision, utes long, with a lot of intense play- posedly a relatively happy period in Mahler eliminated the third blow, ing. The Mahler Sixth is technically Mahler’s life during which he married apparently because he had a supersti- not very difficult,” observes Murai, Alma and saw the birth of two daugh- tion that putting it in would seal his “but it needs a lot of stamina. You ters. The symphony is notable for a own fate. With the composer safely have to have the endurance.” That is soaring melody, which Alma claimed dead, some conductors take the option why, when Murai starts rehearsals, he as her own theme. The conductor of restoring the third blow to the will begin with the last movement. Bruno Walter insisted that Mahler score. The performances of the Mahler himself bestowed the epithet “Tragic” Murai believes strongly there Sixth at Dekelboum Hall and at on the work. That has been disputed, should be three blows, which should Peabody will also be noteworthy in but Mahler seemingly did not object make “an executioner’s thunk sort of having the participation of students when that epithet was attached to the sound,” he says. “Mahler specified from the Yong Siew Toh Conservatory score. that the sound should be created by in Singapore. Although Peabody stu- The Symphony is written for a some kind of vibrating box with a dents have traveled to Singapore to large orchestra, though unlike several non-metallic beater. “What one really perform in Yong Siew Toh’s inaugural other Mahler symphonies, there are no needs,” Murai continues, warming to concerts, this will be the first time vocal forces. It has four movements. the discussion, “is the kind of special that their students have come here to Mahler changed their order at the effects you get in a Star Wars movie, play in our orchestra. About six or 1906 premiere, placing the Andante like the thud of a bomb falling. I seven students—playing flute, clar- second. However, when a new edition remember when I was a college kid in inet, bassoon, horn, trombone and was published in 1963 which incorpo- Santa Barbara, I was the percussionist percussion—will sit side by side with rated many revisions Mahler had for Wotan’s Farewell and we borrowed their Peabody colleagues. The fact made to the work, the Scherzo a big 30 lb anvil from a machine shop that these young musicians from a remained second, the Andante third. which was on a wooden base that was school that only opened its doors in The editor of that edition claimed stapled to the floor. The blows made July, 2003, can take part in a perfor- Mahler changed his mind again the whole stage vibrate. There was a mance of the Mahler Sixth certainly towards the end of his life about the big sub-bass thud that carried right makes a statement. It speaks to the order, but the matter remains contro- through the orchestration. You need a success and quality of this new Con- versial, with some conductors taking large vibrating platform to strike on.” servatory at the National University the middle movements in the same Murai recollects that “When we did of Singapore, which was started in order as Mahler at the premiere. the Mahler Sixth at Peabody about collaboration with Peabody to serve Hajime Teri Murai , however, will seven yers ago, we actually broke a bit the entire Asia Pacific Region. keep the Scherzo in second place. “It of the stage, cracking the supports of The annual performance of a seems natural to me that the Scherzo the stage extension.” Mahler symphony under Murai’s movement should be second as it It’s not the only damage Teri can baton has become one of the most develops out of the first movement. I recall. deeply satisfying concert experiences don’t think the key progression is as “One year at Aspen, I remember of each season. We have mentioned strong by reversing the order. The the percussionist getting hold of a that the Peabody Symphony Orchestra repeated bass line notes tie it into the huge hammer that was being used to performed the Mahler Sixth about first movement and make a logical drive in the tent poles. Before Aspen seven years ago. Murai had conducted connection. I don’t think I have every did the renovations, they used to erect it before that at the Cincinnati Col- heard a performance where the order a big tent for the Festival. For this lege-Conservatory where he directed was reversed.” performance of the Mahler Sixth, the the orchestra for a number of years. The third movement, the poignant stage crew built a resonating platform He points out: ”You can pick up the Andante, provides a respite from the but the tentpole hammer broke it.” dark, brutal intensity of the other The hazards of producing the ham- Continued on Page 15 MARCH / APRIL 2005 Peabody News 15

Mahler was intended to be the ending of the Third Symphony, as a concept of heav- Continued from Page 14 enly life. In it’s own way the Fourth is study of the piece from where you left a perfect piece.” off last time, but we are different peo- The later symphonies include, of ple as we go through life. I am sure course, Mahler’s Das Lied von der Erde, that subconsciously I will be reacting which the composer described as a differently this time. If you are trying symphonic song cycle. “He was afraid to discover a way to make a perfor- to call it the Ninth,” Murai reminds mance exciting, you are always react- us, “because Mahler was very supersti- ing to and using the energy of the tious and thought that if he called it orchestra at that moment.” the Ninth, he would then die, as When asked if he has a personal Beethoven did, after his Ninth Sympho- favorite among the Mahler sym- ny.” phonies, his first response is “In Mahler’s hands,” concludes “whichever one I’m involved with at Murai, “every symphony had the pos- the moment.” Then on giving the sibility of being whatever he wanted matter more thought, he admits that to make it.” his favorites might be the Third, Sev- The Ruth Blaustein Rosenberg enth and Ninth, all for different rea- Music Director of Orchestral Activi- sons. “But then I’d have to put the ties at Peabody has received glowing Fourth in there,” he adds. As the list reviews both for his conducting and of his “favorites” grows longer, it the amazing professionalism of the becomes quite obvious that, in fact, Peabody student players, which is a this Music Director is deeply involved tribute to his leadaership. In the last emotionally in all of Mahler’s work. year alone, The Washington Post has He has conducted all the symphonies, commented: “Under conductor except the Eighth, which requires such Hajime Teri Murai, the ensemble elo- massive forces that it is beyond the quently lent the [Concert Suite from resources of most musical organiza- Sophie’s Choice] an impassioned sense of tions. foreboding, appropriate to Maw’s “All the symphonies are asking edgy shifts of tonal dissonance and existential questions in different texture; the climax seemed a shadowy ways,” Murai believes. “The early ones transfiguration.” Those were the accept the resurrection-type ending, words of Cecelia Porter reviewing the on the lines of Beethoven’s Fifth. Then Peabody Symphony Orchestra’s Grand there’s the middle period. The Fourth Celebration concert on April 24, Symphony is a jewel, with a song that 2004. 16 Peabody News MARCH / APRIL 2005 The Peabody Dance Spring Showcase presents Original Ballets, Re-Stagings, Dance/Music Collaborations, and Pennsylvania Ballet II The Peabody Dance Spring Showcase at BSA High School for another three, takes place on Saturday, April 9 at where he was a stand-out in several of 7:30 p.m. and Sunday, April 10, at 3 their productions. In his senior year, p.m. in Friedberg Hall. The Prepara- Jermel was selected to study in New tory Dance Department will present a York at the School of American Ballet, richly diverse program that reflects with New York City Ballet’s Artistic the exciting new directions that the Director Peter Martins, Peter Boal department has been taking over the and other renowned teachers and past few years. choreographers, before joining Penn- Artistic Director Carol Bartlett, as sylvania Ballet II in September 2003. in previous years, will present the In June 2004, though named an school’s upper level students and guest apprentice to the main company just dancers in her own works as well as in one month earlier, he was invited to original ballets and re-stagings of dance the coveted male solo in the existing repertory by Melissa Stafford perennial classic Pas de Trois during and other Peabody Dance faculty. the Pennsylvania Ballet’s premiere In a distinctive way, Director performances of Christopher Wheel- Bartlett has opened doors through don’s acclaimed Swan Lake. Jermel which she and other choreographers will repeat that role in the Peabody and students have had the opportunity April Showcase. to explore – and audiences to view – The annual Spring Showcases are fascinating music/dance collaborations Peabody Dance’s only public perfor- with Peabody-based composers and mances. General admission tickets musicians. This year is no exception. may be obtained by calling the Bartlett has reached out to the Con- Peabody Box Office at 410/ 650- servatory’s Jazz Department, whose Pennsylvania Ballet II. Far right: William DeGregory, Artistic Director. 8100, ext. 2, or online at reputation is rapidly gaining momen- www.peabody.jhu.edu. General tum, to create a Classical/Cuban for her prized protégé, Peabody Dance pas de deux staged by Melissa Admission is $14 and admission for soundscape with keyboard, double student Sara Paul, who will be gradu- Stafford. In addition, Bartlett will Senior Citizens, Children & Students bass and percussion, for a new chore- ating this year. Sarah will be part- debut a new work for twelve dancers with I.D is $7. Groups of ten or more ography. The jazz players will be nered by Pennsylvania Ballet II to recorded music by the popular gui- can receive a 25% discount off the full coached by Tim Murphy, a Peabody dancer, Keith Mearns, in Bartlett’s tarist and Peabody alumnus Michael price ticket. The gratifying response Conservatory jazz faculty member. piece and by Ian Hussey, also from Hedges who was tragically killed in a to last year’s initiation of a Showcase Bartlett is setting this vibrant piece Pennsylvania Ballet II, in a classical car accident some years ago.Melissa Patron level has encouraged Peabody Stafford and another Peabody Dance Dance to continue this offer. Once faculty member Katherine Morris will again, Patron tickets, this year priced set a new work to a three movements at $40 per person, will include VIP of a Mozart string quartet to be per- seating at either performance and an formed live by musicians in the Con- invitation to meet the artists at a post- servatory Chamber Music program. performance reception on Saturday A special gift for those in front of evening, April 9 only. All net pro- and behind the footlights will be the ceeds from Patron ticket sales will guest appearance of Pennsylvania Bal- benefit the Peabody Dance production let II, the shining second company of and guest artist fund. the Philadelphia-based, nationally esteemed Pennsylvania Ballet. The eight-member troupe of gifted young professionals, which is led by William DeGregory, the Ballet’s Principal Dancer who retired in 2001 after a brilliant 26- year career, will perform in each of the Showcase’s three acts: first in excerpts from the Balanchine/Stravinsky masterpiece Agon; then the famous Pas de Trois from the Petipa/Tchaikovsky Swan Lake; and finally, the entire company closes in Cricket Dances, an original work by Jeffrey Gribler, another for- mer Pennsylvania Ballet principal dancer, now that company’s Ballet Master. His delightful, high-flying ballet takes off on pointe to the sway of Irish step dancing and the sound of an original musical score by Mark O’Connor. The good news doesn’t end there. Baltimoreans in particular will be pleased to note, among the guest com- pany’s sensational five women and three men, their own Jermel Johnson. Now a rising star in the professional dance world, young Mr. Johnson began his dance training at the Balti- more School for the Art’s after-school Carol Bartlett program for four years and continued PHOTO: KEVIN WEBER MARCH / APRIL 2005 Peabody News 17 fresh and timely new training model: a full day Choreography Workshop for PEABODY gifted ballet students and contempo- rary dance students with substantial Dateline ballet training, ages 14 to college age, THE PREPARATORY selected from a national pool. The Dance Master Class with afternoon Choreography Workshop William DeGregory and schedule will be added to the now Rhodie Jorgenson established and popular morning Pre- Happily, the second of this season’s Season Technique Intensive. traditional Master Class Days has been For further information about the scheduled to coincide with the Sun- April 2005 Peabody Dance Showcase, day, April 10 Showcase performance. the next Day of Master Classes, Sum- Classes, open to intermediate and mer Dance programs, or the regular advanced ballet students, ages 12 to 2005 -2006 Fall/Spring seasons, young adult, will take place at please call 410/ 659-8100 ext 1125, Peabody’s Downtown studios from 10 e-mail [email protected], or a.m. to 1:30 pm, allowing the partici- visit www.peabody.jhu.edu/dance pants enough time to attend the 3 Hale Smith’s Beyond the Rim p.m. matinee. The distinguished of Day featured on recital guest teachers are: Pennsylvania Ballet A Faculty Recital on March 6 fea- II’s Artistic Director, William DeGre- tures Cathleen Jeffcoat, violin, Carol gory, and local master teacher, Rhodie Prochazka, piano, Bai-Chi Chen, cello, Jorgenson, of Maryland Youth Ballet Devonna Rowe, soprano, and William in Bethesda. Master class student are Griggsby, piano, in Ravel’s Sonata for invited to attend the April 10 Show- Violin and Piano in G, Hale Smith’s case performance at student ticket Beyond the Rim of Day and other works. rates. Those students who also African-American composer Hale attended last October’s Master Class Smith saw the premiere of his song Day will be guests of Peabody Dance. cycle Beyond the Rim of Day in 1955 Summer Dance Program and it has since worked its way into Peabody Summer Dance 2005, set the repertoire. The cycle is based on for June 20 to August 20, will keep three poems by Langston Hughes: students dancing and gaining ground. “March Moon,” “Troubled Woman,” The program options, designed for and “To a Little Lover-Lass, Dead.” pre-schoolers to mature students, are The poems chronicle one woman’s life bountiful. This August 8-20, Peabody journey from youth to defeat and Dance extends its horizons with a death. Soprano Devonna Rowe is soloist for the Peabody performance. 18 Peabody News MARCH / APRIL 2005 Welcome to “Hotel Eden” and “Singing Shakespeare”

By Roger Brunyate first act of the completed opera. The his time and transformed it to his second act deals with the tired, twen- own ends, creating a work which is Welcome to the Hotel Eden— Peabody Opera at ty-year marriage between Noah and fun to listen to, but whose end result A happy day, Shalom! Theatre Project his wife. The final act, about Abra- is serious and deeply moving. And It’s really just like Paradise— ham and Sara, shows a couple in their Hotel Eden certainly is fun! Born in You’ll feel like you’re at home. Roger Brunyate, Director golden years. The full opera was pre- 1946, Henry Mollicone is witty, and FRIDAY, APRIL 29, 8:00 P.M. miered by Opera San Jose, California, irrepressibly irreverent. The score The Peabody Opera Theatre last per- SATURDAY APRIL 30, 8: P.M. in 1989. abounds with markings such as formed Henry Mollicone’s Hotel Eden SUNDAY, MAY 1, 3:00 P.M. By the start of the Mrs. Noah act, THURSDAY, MAY 5, 8:00 P.M. “Miami Beach tempo”, “Ipanema in spring 1992. That production was the Hotel Eden is in disrepair. The feel”, and “Quiet hospital blues”. The SATURDAY, MAY 7, 8:00 P.M. tarnished Angels—a Repairman who in Friedberg Concert Hall. This time final page bears a happy face with The Peabody Chamber Opera doesn’t do any work, a Chef who tells the Peabody Chamber Opera will be Henry Mollicone: Hotel Eden ears, and the inscription “3/14/88, presenting the work at Theatre Pro- the guests to send out for Chinese, (A Music Theater Piece in Three and an Emcee concerned only with San Jose, Calif., Home of the Prune”! ject. In a way the smaller, more inti- Acts) Judith Fein’s libretto matches the mate space will make the perfect her fingernails—sit around reading Matthew Brown, Conductor People and the National Enquirer. It is music in wit. venue, since in this opera the bible FRIDAY, MAY 6, 8:00 P.M. New Year’s Eve. Admiral Noah, Mollicone can write tunes of all stories are reduced down to a very SUNDAY, MAY 8, 3:00 P.M recently retired from the navy is kinds. Oddly enough, though, it is human scale indeed. The underlying Peabody Opera Workshop not the upbeat pop numbers of the “Singing Shakespeare” brought to the hotel by his wife for theme is marriage, and the redefini- jazz Angels that stick in the memory, Theatre Project what she clearly intends to be a tion of the relationship between mar- romantic second honeymoon. But but the moments of pure singing, ried couples. This music theater 45 West Preston Street Hotel Eden: $24, $12 Senior Citi- things go from bad to worse. Noah when everything seems to stop. The piece in three acts, with text by the hits the bottle, and his exasperated miracle of the rainbow when Noah Hollywood scriptwriter Judith Fein, zens, $10 Students with I.D. “Singing Shakespeare”: $18, wife goes down alone to party with and Rosalind are reconciled goes far is a feminist work, centered around $10 Senior Citizens, $8 Students with the Angels. Tired of always being beyond a mere trick of lighting; it is strong women, women who realize I.D. referred to as “Mrs. Noah,” she a musical miracle also—a love duet that they can be strong, or women Tickets from Theatre Project Box insists that they use her real name: of such simplicity that it catches at who discover that they must be Office only, 45 West Preston St. Rosalind. A disco rock scene ensues the heart. Out of this develops one of strong. Call 410/ 752-8558 or visit (“Roz is hot!”), which is interrupted those reflective ensembles at which Hotel Eden began life as a short www.theatreproject.org by water dripping through the ceil- this composer excels. “Did the Direc- one-act piece, Lilith, completed in ing; the Admiral, above, is almost tor know this would happen?” asks 1985. The story is that of Adam and drowning in his bath. They all rush the Repairman; “I wonder…” Eve, on a perpetual honeymoon in the luxurious Hotel Eden (“It’s Par- up to save him, but the water shorts I wonder if He knows adise here!”). It starts as a male chau- the electrical circuits and the hotel is vinist’s dream. Theirs is the perfect plunged into darkness. Then a stroke How hard a task it is love, proclaimed in a lyrical opening of magic: the emergency lighting To bare our hearts and live a life duet. Eve is the perfect wife, catering comes on, refracted by the water into That’s modeled after His?… to Adam’s every need. They are wait- rainbow hues. In the hush that fol- I wonder why it takes ed on by three Angels, in the incar- lows, Noah approaches Rosalind with All our years upon the earth nations of waitress, cleaning girl, and new respect, and they agree to start To open up our hearts to love, bellhop. But there is a snake in this again. Meanwhile, the Angels get to And truly know its worth? garden: Adam has been married work straightening out the hotel. The unforgettable melody to before. The idea comes from Jewish The third act, Sara, is less about which this is set recurs in the third legend, in the Kabbalah. Adam’s first the relationship between Sara and act as Abraham recalls the early days wife, Lilith, refusing to accept her Abraham than that between Sara and of marriage. From there to the end of subordinate role, has been banished her maid, Hagar. As in the Bible, the opera, it reverberates as a touch- from the garden, and the more com- Sara has been childless and has stone of humanity, simplicity, and pliant Eve created in her stead. But agreed that Abraham should father a love regained after so much turmoil. now Lilith comes to visit Eve in the child on Hagar, who worships him. Eden Hotel. She has become a prosti- Although still ambivalent about her Singing Shakespeare tute, preying on men, maltreating feelings, Sara agrees to make Hagar’s Music has always played a special her children as Adam had maltreated son, Ishmael, their only heir. But part in Shakespeare’s works, from the her. Eve’s sympathies go out to then the Angels—now a doctor and music of the poetry itself, through Lilith; her paradise is shattered. She two nurses—enter and announce that Shakespeare’s frequent use of songs, leaves the hotel. Adam is told that Sara is pregnant. In a rapid-fire farce and extending to the numerous set- his room is no longer available, and sequence, Sara and Abraham choose a tings of his words by composers of leaves also. The Angels contrive a name for the boy—Isaac—and before the past four centuries. In a unique reunion between the couple, but the we know it she is in the midst of presentation, the Peabody Opera rest is up to them. Somehow they labor! Suddenly the proceedings are Workshop will combine spoken have to piece together a new relation- interrupted by Hagar. Isaac cannot be excerpts with musical settings, ship based upon honesty, equality, born and take Ishmael’s heritage including short operas written for the and the knowledge of the good and from him. In the Bible, as we know, program by three Peabody com- evil in themselves. Isaac is born, to become the founder posers. These are a highly original Lilith came to the attention of of the Jewish people, while Ishmael Robert Darling, who, as director of is banished to the wilderness—where compression of the Beatrice and the Central City Opera Festival in tradition names him as the ancestor Benedick story by Kevin Clark; a Colorado, had commissioned Henry of the Arab race. In the opera, how- feminist dissection of Ophelia by Mollicone’s first opera, The Face on the ever, the Angels bring about an Amy Beth Kaye, in which three Barroom Floor, in 1976. He suggested understanding between the two singers portray different aspects of that composer and librettist add two women, and at least the possibility of the character; and a dramatic setting other stories from Genesis to that of peaceful coexistence between Isaac, of five of the Sonnets by George Lam, Adam and Eve, and set them all in Ishmael, and their descendants. exploring questions of sexuality and the Eden Hotel. Lilith, with its Like Mozart before him, Molli- the passage of time. young married couple, became the cone has taken the popular music of MARCH / APRIL 2005 Peabody News 19 An Exhibition “Phyllis Bryn-Julson—Reigning Diva of 20th-Century Music” opens at Peabody PBJ: This is a piece by Heinz Hol- “Firmly dedicated to cutting-edge music and spectacularly equipped to ted to recording American Jewish liger, the famous Swiss oboist, con- interpret it, she has enjoyed a career spanning continents and venturing music and they have been doing this ductor and composer. It is a piece that into musical realms that few singers dare approach.” on a regular basis and they now have he wrote for me—it is dedicated to quite a collection. A few years back, me—called “Not I” or Pas Moi in —Joseph McLellan, Washington Post my friend Sam Adler asked me to French. It is a mono-drama for voice record this Hugo Weisgall piece, A and tape, based on the play of the From the back of a Motorcycle to a Plugged-in Dress, Phyllis Bryn-Julson’s Garden Eastward, with Sam conduct- same name by Samuel Beckett, con- reminiscences of her four decades of collaborations with contemporary com- ing. We did this in Germany. A beau- ceived and commissioned by IRCAM posers are in process of being recorded for posterity by Peabody Archivist tiful piece, completely individual in Paris. The first performance was at Elizabeth Schaaf. style. There’s nothing (in it) that the festival at Avignon in 1980, They will accompany a fabulous collection of memorabilia that this reminds me of another composer, but which I did. incomparable soprano has donated to the Peabody Archives. The collection (it’s) very singable and extremely ded- ES: What was your introduction to includes autographed and edited scores, letters, photographs, programs and icated as to how to set the text. He this piece? makes things so dramatic in a good PBJ : I knew Holliger was com- other materials pertaining to composers like Pierre Boulez, Elliott Carter, way, without going to extremes…. posing it. He had taken my voice, Richard Felciano, David del Tredici, Messi- Anyway, I wanted to bring this in snippets of it, and put it on a 16-track aen, Ligeti, Ned Rorem, Gunther Schuller, because he is a Peabody former faculty tape, so the accompaniment is tape of Charles Wuorinen and many others dating member and, I believe, a student - I’m me. You hear me all around the room. from the 1960s to the present. The research not sure about that. You can’t escape. If you don’t like my value for performers and scholars is immense. ES: He was indeed. Did you ever voice, don’t listen to this piece. It is An exhibition “Phyllis Bryn-Julson— meet Mr.Weisgall? 35 minutes long. The Beckett play Reigning Diva of 20th-Century Music,” PBJ: Yes, I did, ages ago, it must was originally done by Billy which will open to the public in Peabody’s have been in Tanglewood some time Whitelaw, who is a famous actress in Arthur Friedheim Music Library and Bank of ago. I think he had already sent some England. The stage lighting was only things for me to look at a long time focused on her mouth, as she read the America Mews Gallery on March 7 and run ago, but I never got a chance to do it text. You couldn’t see anything else on through the end of April, has been drawn until now. Very nice cantata for high the stage. The text was meant to be from the collection to celebrate Bryn-Julson’s voice and orchestra and it’s from the spoken with a very intense, or tense final performance of Schoenberg’s Pierrot Hebrew of Moses Ezra, who wrote the looking mouth. But a singer cannot Lunaire at Peabody on Tuesday, March 29. text. So I just mention that as some- keep the mouth tense and still func- One of this writer’s most enduring mem- thing it would be good to have in the tion in the way that Heinz wrote this. An early publicity photo. ories of Phyllis was seeing her in Moscow’s Peabody Archives. I could not possibly have sung it Tchaikovsky Hall on a dark November evening in 1987, singing Gershwin’s ES: I am glad you included that. showing despair, anger and all of the “Summertime” for a deliriously appreciative audience. As the old Soviet PBJ: Here we have Aaron Copland. things that he wanted and keep my I have to admit that I didn’t like his mouth tense. Union crumbled under the fresh spring breezes of Mikhail Gorbachev’s glas- music at the beginning. But then I Samuel Beckett claimed that the nost, it really seemed that the winter of 1987 would thaw into a glorious thought I knew everything then. At the text had no meaning behind it, but summer of freedom. Phyllis seemed a harbinger of that hope. With her corn same time, I was willing to sing his it’s hard to read it and not get a mean- gold hair, dazzling smile, and luscious voice, it’s easy to associate Phyllis with piece for him, As it Fell Upon a Day. It ing behind it. It is about a child who’s summer. turned out I was quite happy with born without love, probably through a In her interviews with Elizabeth Schaaf, Bryn-Julson, who chairs the this piece. It was just the orchestra rape. All you see is the rapist running Peabody Voice Department, has supplied a wealth of stories, sometimes pieces I wasn’t so happy with. I had to poignant, often hilarious, that provide a fascinating oral history. This is just listen to so many to graduate from a small, edited sampling from an interview conducted on January 12, 2005: college. Now, of course, it is a plea- sure—an honor even to have had this piece and to have had Aaron Copland like that, with all just broken speech. 35 minutes long, without getting hear me. He also heard me sing the Very, very moving, very beautiful. So involved and feeling for this person…. cycle that he wrote. I believe he also that was the problem—trying to do ES: Well, Holliger obviously had heard (former Peabody faculty member) that. They did not just show my considerable faith in your abilities as a Ruth Drucker sing it as well. He mouth in the production. They musician to put this in your hands. made a few changes in it, which I showed my whole face, but Heinz still PBJ: Heinz set two Beckett plays have marked in my score — it’s very much wanted to have that inten- to music. One was called Va et vient upstairs [in her studio at Peabody] sity visible….Later I did it at the and (the other was) Pas moi and that which will some day come here to the Kennedy Center with the Theatre was the program for the evening. I Archives. This was in 1969 when I Chamber Players [in June, 1981] and still have a poster for that in my stu- sang this — it was at Syracuse—for they built me a box. I stood in a box dio. Pas moi, “Not I” and Va et vient, him. Copland had come up there to and I had a stocking on my head so coming and going, going and com- conduct. I think it was probably the For Hollinger’s Pas Moi, Phyllis that no hair showed. It was just my ing…. first time, I think, he heard me. Then, was enclosed in a box with just face. Later on Heinz wrote a piece called of course later, we were at Tanglewood her face showing. Heinz and I knew each other for Schwarzgewobene trauer, which I also together a lot. He was friends with away through the curtains of the win- many years through, of all things, did. So he’s a prolific composer and a Lucas Foss and Leonard Bernstein. dow. The child grows up without love playing the Elliott Carter piece, A very, very good composer and, of They all sort of hung out together at and without speaking. One day she is Mirror in Which to Dwell, which calls course, brilliant man. I actually chal- the famous Seven Hills Bar or restau- apparently caught shoplifting and for a fabulous oboist, and again later lenged him one night, after a beer, to rant, whichever you wish. taken before a judge to explain. She we worked together, with Heinz as a breathing contest because he invent- ES: Those gatherings must have can’t explain. She can only speak in conductor, doing Berg’s Seven Early ed a way to do circular breathing and been... spurts because she had never spoken Songs with the Basle Chamber Orches- I won as to how long we could expel PBJ: …pretty powerful stuff. I to anybody all of her life, and she has tra in Basle, Switzerland. We’ve been air! remember Babbit was there, Menotti, to decide what was her life. So it’s sort good friends. ES: That’s incredible! just about every composer you would of [Phyllis here speaks haltingly] …. ES: A piece like this, with all of PBJ: Anyway, that’s that piece. ever know. Of course to me, the only “out into this word this world think the heaviness attached, did you find it Should we go on to something else? one that mattered was David del before it’s time god forsaken hole what girl hard to shake? ES: Would you? Tredici because I had just met him yes tiny little girl into this before her time PBJ: It is an emotional text. Beck- PBJ: The Garden Eastward. I don’t and he was my age. We were fast god forsaken hole,” etc. ett said there is no story in the play, know if you know the Milken Foun- It goes on and on for 35 minutes but there’s just no way I can sing it for dation in New York which is commit- Continued on Page 20 20 Peabody News MARCH / APRIL 2005

Bryn-Julson page turner. So I had the very best 18th century Quebec, where the only Continued from Page 19 right there in my little room. I fortu- way for someone under sentence of nately did tape the rehearsal but can- friends and I was singing his music, death to escape hanging was for a man not find the tape. I had loaned it to a to become a hangman or for a woman and I thought he was the important couple of people and I think I didn’t one. Who were these other guys? It to marry one. A woman named Fran- get it back. coise Laurent, sentenced to hang for didn’t matter. I asked someone, ES: Oh, no! “Who’s that over there?” He said, well stealing, persuaded Jean Corolere (a PBJ: Anyway, I can’t really read his condemned man) in the next cell to that’s Samuel Barber, and I’m going writing. He says “thank you Phyllis” “Oh, okay,” and I’m going back to apply for the post of executioner and in French, “who sings the poem so marry her. That’s the whole picture David. My composition teacher at marvelously.” I can’t really make out home had written out a list of a whole there. The only thing I had was a set the next word…something “musical of keys - -the old ancient keys to open bunch of composers that I should pay and at the same time as great as an attention to meeting. I threw away the cell door— and that’s all I had to organ. Bravo, all my admiration.” He change character with. I had to go that list, but almost every one of them singled me out in a book that was was there. I mean Kodaly was just from there to the next character, to the being written about him as being one next character, and then to myself. I amazing. So here is (the score for) As of the good singers of the piece. So we It Fell Upon a Day and Copland writes would put the keys down, throw them toured that. Actually that was with down, or whatever. We did this work “for Phyllis Bryn-Julson,” and he even [Elliott] Carter. It was both their 80th spells it right, “after a beautiful per- several times in California. It was birthdays, Messiaen and Carter. I was about four years ago. It was composed formance of It Fell, Aaron Copland, touring with Messiaen, Carter and 1969, Syracuse.” for a group called Psappha, a group David del Tredici Boulez. The downfall was I was proba- from England who had come over to ES: That is a treasure. bly 30 or 35 years old. They would PBJ: The score is Boosey & do it. Ron, good job! Very wonderful pening where I had to dress in an elec- stay up and talk until three or four in Hawkes and it cost $1.50. work. He says it is for mezzo. It can tric dress that had panels of light and the morning, no problem. I was sup- ES: Well, they’ve fixed that! be mezzo or soprano. He’s got a huge I was plugged into the wall, and as I posed to dutifully sit there and be PBJ: Exactly. Now it would be a piece. sang it set off lights that would match with them. But by two o’clock I have gazillion. Oh, one of the first chal- Lastly, I have all the (Pierre) Boulez the pitch. So way before Messiaen’s to get to bed. We have to get a plane lenges I ever had which I thought was music with me. I first met Boulez time, Morris was writing music in the morning to go to the next city enormously fun — that was back through Arthur Weisberg in New according to color, and so was Schoen- and I need to sleep for my voice to when difficulties were fun for me — York, and Boulez had asked him for berg. But here was Franklin Morris function. So I would inevitably get up was a piece written for me called Lines the name of somebody who might do doing it with real light. I threw the as soon as I could, reasonably. We for the Fallen by Donald Lybbert. his Improvisations on the then famous dress away. would be eating dinner at that hour, ES: How did that come about? “Rug Concerts” at Lincoln Center. So ES: Darn! 11:30 or 12. I would get up, excuse PBJ: I am not sure why, except he gave him my name and I got called PBJ: That was a really bad idea. myself, go to bed, and after a few days that he had heard me sing in New and I learned the Improvisations, which Bad, bad Phyllis! I also took part in an after that kind of schedule, I am get- York already with Weisberg and the were two little books, beautiful little event with Franklin Morris again, ting pretty peeked. I get to the airport Contemporary Chamber Ensemble. I books. They’re in my briefcase because where I was dressed in an orange one morning and Helen Carter, who made my debut in New York at my students are singing them in Feb- motor cycle outfit head to foot with had to be 89 or 90 at that point, said Carnegie Hall doing Lucas Foss’s Time ruary…. So anyway, I learned them, goggles so you really couldn’t see who to me, “Oh Phyllis, you look so tired, Cycle and I think Donald (Lybbert) and Boulez was conductor of the New I was, and I had to ride a motorcycle let me carry your bags for you” and met me there… Donald and I were York Philharmonic at the time and we around town while he filmed me and she grabbed them and walked up the good friends….Lines for the Fallen is did many programs together. I did a then he basically put all this together. steps of the airplane. I’m going “Wait! written for two pianos that are tuned a lot of Rug Concerts. I did works of Now I never saw the film because I I’m the young one!” So I knew I must quarter tone apart, which I know Jacob Druckman with him, Elliott was always in it. So what the audience have looked pretty tired, but that was would scare any technician, but it Carter, just a lot of stuff and the saw, I have no idea, except that they a fantastic mini-tour. I don’t remem- really is okay, you can do it. It is only Improvisations. Boulez was in his very were looking at me in my electric ber all of the cities, but they’re in the eight minutes long and was a reaction speedy days back then. He took things dress and me with my orange motor- programs somewhere. to the Vietnam War. It is set to a text a lot faster then than he does now and cycle outfit. So that was going on and ES: My goodness, what an incredi- by William Blake and the Mass for the so I thought it was a whirlwind thing. the quarter tones didn’t seem to bat an ble experience. Dead. This was Lybbert’s way of I remember my teacher came to hear eye. The tuner went and tuned two PBJ: The Carters and the Messi- opposing what we were doing in Viet- me, Helen Boatwright. Meanwhile, pianos and they were very, very good aens! The last time I saw Olivier was nam at that point. Very difficult. I did Boulez apparently had them scheduled pianos. Only the best and they lasted. at the premiere of Berio’s Un Rei in not get my pitch before I had to sing for the Proms in 1976, I believe. I’m I am sure there are reasons not to do Ascolta at the Paris Opera and we were it. I had to leap between the two not positive. The person who was to that, but I don’t know what they are seated together. Somebody took a pic- pianos and hope I was going to hit the sing it was Lakomska, Mme. Lakoms- anyway. ture of us. That’s coming to the right pitch. But then Donald didn’t ka from Warsaw, and she had pre- ES: And here we are with Messi- Peabody Archives, too. know what I was able to do in quarter miered the piece, I think, and she had aen. ES: Well, where do we go from tones and nor did I, so I just did it, also sung it with him through the PBJ: This is Messiaen’s Poème pour here? and we recorded it on a long-playing ‘fifties, at least. Anyway, he knew that Mi which I’ve done many, many PBJ: From Boulez? Well, let me record….The recording is on Odyssey I could sing everything and she appar- times. I was given this score initially hit America first, one more time. [32-16-0162]. It got pretty good ently could not correct some of the by Ruth Pinnell who was a teacher at Marrying the Hangman I did just a few reviews here. Not bad from High things she had learned wrong. So he Syracuse, a voice teacher, and she years ago. (It was) by our own Ronald Fidelity, The American Record Guide, fired her and called me to see if I thought they were too contemporary Caltabiano, who was a teacher at Time Magazine, New York Times - “...a could come and sing this piece. I said for her. So she gave them to me. Even- Peabody. He wrote this piece some dewy fresh evening..the quarter-tones I was very, very busy and I had a lot of tually Donald and I started doing time ago. I did not premiere it, but it did their work. They were enriching concerts and I would not be able to them because, of course, Messiaen was was my last go at an opera, my last go and refreshing.” Hah! look at the music until practically the a great organist and Donald and I had at memorizing. I’m never going to ES: I have to ask you, who was the airplane ride. So he said, “I’ll send you heard him play many times. Messiaen memorize anything again, because it piano tuner? the scores.” He sent the scores and this came to the Shrine in Washington at was so difficult . As I pointed out, it is PBJ: Joe Metzger was the piano is what he sent. (Here Phyllis spreads her one point. By that time I had met him a fantastic story. It is a text by Mar- tuner and he didn’t bat an eye. There hands wide) This size. and had sung for him. This perfor- garet Atwood called “Marrying the was so much going on in Syracuse ES: That’s more than a meter long! mance took place in ‘89. I don’t Hangman” and it’s based on four char- (where Phyllis was doing student teaching PBJ: At least, and there’s one more remember if that was his birthday or acters. It says first, the soprano has to at Syracuse University and her husband like this, plus this, plus the two little not, but I did his birthday celebra- play Francoise, then has to be the Donald Sutherland was on the faculty as th ones which I already had. tions throughout Europe with Boulez 18 -century narrator, then has to be well as being organist of the First Univer- th ES: Which are still the size of full and we toured this piece. So I got to the 20 -century narrator, and then salist Church in Syracuse.) It is interest- size scores. work on this piece with Messiaen. has to be herself. So with those four ing how many things got done there PBJ: I am, of course in those days, Messiaen was playing the piano for the characters, to go through this hour of without questioning. “Happenings,” in economy class (on the plane), piano rehearsal. Boulez was the obedi- music and have to change characters for example. Franklin Morris did a which, I think, was even smaller then ent pupil, who did what he wanted four times without costumes, just by regular series called Happenings and I than it is now, and I’ve got this huge and conducted. Yvonne Lorio was the myself, wasn’t easy. It is set back in took part in that. I was in one Hap- score and I have to get it open in MARCH / APRIL 2005 Peabody News 21

kind of ending. But there was that reviews and it sounded like the critic opening twelve-tone chord. just swooned! The BBC Symphony, unbeknownst PBJ: They liked the program. to us, made a plan on the way to ES: They sure did! France, because in France we were PBJ: Berio commissioned a piece doing the last performance after this by Felciano and I did - -sometimes I marathon recording and our heads did the Cage aria with it, but usually were just saturated with twelve tone. not. The Kurtag is sort of the Schu- The BBC orchestra members made man of it. So I kept it serious to this agreement on the airplane ride lighter and ended with the Berberian over the next morning, what to do Stripsody. So Le Soleil des Eaux, that was when we started the rehearsal. Pierre that. And the other piece I’ve done of was back in France, so then he always Boulez is Le Marteau and that’s pretty gets very “alright, just touch this. much it for his music. Marteau is for We’ll just start the opening and then alto. He autographed my score, which we go and we only just take a half I can’t read. A grand something of hour for the rehearsal. We know this Marteau. We did this in Russia. It is piece.” So he does the opening down- probably the most complicated piece Pierre Boulez and Phyllis Bryn-Julson rehearsing in 1987. beat expecting to hear this opening I’ve ever done in my life. chord and he gets a C-major chord. economy class. So I was jammed in my PBJ: I learned a lot, though. For ES: Where in Russia did you do High to bottom. We almost fell off seat and I couldn’t hardly read it. It example, he would get two months this? the stage. We almost fell off! He and I looked like a lot of improvisation and with the Los Angeles Philharmonic. PBJ: Moscow at the Tchaikovsky that is what it was, of course. It They would hire him for two months were the only ones out of the loop and I’m afraid Daniel Barenboim was there Hall. When we finished, you could looked beautiful but it is in quarter- to be teacher, mentor, everything. I hear a pin drop and we heard people tones. So I’m having a nervous break- went to the rehearsals, even when they listening. I mean we were just beside ourselves. Well then, of course, just sigh, [PBJ sighs], like that. He down on the airplane ride, thinking were just instrumental rehearsals. had about five hundred composers just how am I going to get this ready for Sometimes I would sit and just be (Barenboim) sat and worried, “what if they do it again? We need to get following him around wherever he the concert? Furthermore, there look quiet. But I went and I started writ- went. This was still very much when to be repeats, there are huge double ing down what he was teaching. The through this tonight, you know. We have to do this piece tonight!” It was the communists were in power and bar lines. Of course Pierre knows the schedule was so clear. Only the neces- here it was, we’d done it all over whole thing from memory and can sary people would come for the first the funniest thing and Pierre wrote out the C major chord and gave it to Europe. It’s a low piece, but it’s very whistle in any pitch you need — in hour and they might be all over the beautiful. The funny part — and he tune — but the quarter tones were orchestra. It could be you, you, you, the BBC, which is still on the wall there. The only C major chord he ever bases this, I guess there’s so much per- quite something. You know, after you, you, you — six of you. You all cussion in it — he bases this on the doing it, after learning it, the other play together. So they began to be a wrote in his life. ES: It must have been like running rocks that he saw in Bruges, Belgium. instruments were also in quarter tone. unit, whereas, like any piece of music, There are all of these various sizes of A lot of the flute was in quarter tone, he took it apart and I wrote down into an iceberg! rocks. Sophie Cherrier, the flutist with for example, and a lot of the times the what instruments were supposed to be PBJ: So that’s pli selon pli, the the ensemble….was part of the Hol- voice and flute are duets, so you can- together and what are not in this biggest piece I’ve ever done and the Va et vient not be inaccurate. You have to try to mammoth work, which I couldn’t pos- most wonderful, wonder music. It is liger so we were good be as accurate as possible. I think the sibly see on that whole page in a split just beautiful. The Le Visage Nuptial is friends…Anyway, she’s the famous lesson Boulez learned, though, was second. I learned how the piece was the Vision of a Wedding and it got flutist for these performances that I do that I cannot get all those quarter put together. It means pleat on pleat, revised and I did that with him a lot. I there. There’s a spot in here that tones right either. I think in another or fold upon fold — pli selon pli. It is did the premiere of the revision. Le Pierre did not mark in the score, hundred years, the singers will learn like a braid and he likes the ornamen- Soleil Des Eaux also got revised and I where the soprano is supposed to sit to do that, but we’re going to have to tation to be lacy rather than Baroque. did that premiere also. and the flutist is supposed to take over work hard on the voice. So he’s made I suppose lacy could also be Baroque, With the Le Soleil Des Eaux I had as the soloist all the way to the end, some markings in here and some but he wanted it to be decorative and talked to (Boulez) at one point and he even though the singer still sings. But changes. Eventually... when we got to recording it, by that told me that it was originally meant it’s not marked in the score. So here it ES: What precipitated the time I had sung it many, many, many to be an unaccompanied vocalize. So is, on page 82. In rehearsals, neither changes? When did these happen? times and I told him, if you want it, later on, Karsten Witt, who was at one of them told me that I was sup- Were these in the early part of the it’s got to be in the next couple of that point managing the Wein Mod- posed to sit there during the perfor- rehearsals? years while my voice is still able to do ern series concerts — it’s a huge pro- mance. Nobody ever told me! So I PBJ: No, it was after several per- all this. And he did. We had three duction — invited me to do an all stayed standing and Sophie was trying formances, I think, that he decided to days of nine hours a day of recording, unaccompanied voice recital. Of to whisper away from her flute “Sit” to switch, change, and he kept sending three days in a row. I was pooped! But course, he can talk me into anything. me. I thought she was saying “shit.” me pieces like this that would be the we had done it! We had rehearsed Carson has been a lot in my life at var- I’m going “Oh, my god! She’s furi- changes involved. Here is one - Impro- many times with the BBC Symphony. ious stages. I thought well, okay, yes. ous,” and she said it twice, “Sit.” visation 3. I don’t know if he’s written They knew it cold and they played it I’ll do that unaccompanied recital. Of What is wrong? I didn’t know what I anything in here, but usually he perfectly. It was as good as we can get, course, the more I thought about it — did. I tried to look at my score but what in the world am I going to do for would do it in red. Le Soleil Des Eaux, for now — until somebody else comes we’re in front of the audience. I an unaccompanied — who wants to he did a lot of changes to that. He’s along that can do it better. But it was thought I didn’t do anything wrong! I hear a solo voice for an hour! Alright, always revising things. Here’s another a great experience and, of course it’s sang that right. I must be right. Well, — Mallarme 3. He wrote my name on all atonal and this opening chord of it has to be just an hour. It’s going to be short and sweet. I finally came up Sophie said it a third time, “Sit,” and I it. So this is where the changes began. the piece in the first movement is the thought, “Oh man, she’s furious!” ES: Oh wow! Look at all of that! entire orchestra, which gives every with a program that turned out to be pretty good, but I kept remembering Finally, Pierre looked at me and just PBJ: At first he was going to note fortissimo. From the highest to told me to sit down. Oh man! I must change me with the flute part — he the lowest, as loud as possible. That’s that Le Soleil des Eaux could be done as a solo. So I wrote to Pierre and asked really be doing something horrible. did some of that but it didn’t make it how it starts and then everything He just told me to sit down! Well, he any easier. The flute part was harder. becomes unraveled and he gives these could I do it as an unaccompanied piece for this solo recital. He finally cues me the next spot to come in, I The flute got the easy part! So basical- little statements for each instrument. sing it to the end, finish, get up, take ly, all of this got added later in his They all get to speak what they are wrote back and he said, “well, while I conceived it as a — you are right— I a bow. I got off stage and he said, hand. But again, I don’t like to be going to speak. What tones they are “Phyllis, what happened? What was without a full score. Can’t do it. So I having and then eventually, as you get did conceive it as a solo piece, I did not write all that orchestration for wrong? You have to sit down there,” had to use this, which meant two into the improvisations, he improvises and I said I didn’t know that! (laugh- music stands, always. And that’s how on it and everything gets pulled nothing! But if you really have to do it, you can.” So I had permission, but I ter) we got that piece performed a lot. together into one big piece and then it ES: That’s great. Your observations ES: Boulez has this phenomenal begins to unravel again, ending with decided not to do it in Vienna, in such on these works that are coming into ear! this very loud, in the 5th movement, a powerful place, just because of his the Peabody Archives will be an PBJ: Yup, he knows when it’s right solo of both the soprano going as high anxiousness about the piece. I did it or wrong. as possible and the French horn high- later on another venue. I did it in Cal- invaluable addition. They’re like a ES: Exactly! er, both going up into this joyous ifornia but I kept it off their program. dowry accompanying them. Thank ES:: I remember reading the you so much. 22 Peabody News MARCH / APRIL 2005 Soap Opera and Genius in the Second Viennese School

By Raymond Coffer this image was not to be lost). In his On 9 February 1925, his 40th birth- At time of going to press, the Peabody Camerata was scheduled to give a performance own words, he outlined Ein Bild [an day, Alban Berg sat down at his desk of Alban Berg’s Chamber Concerto for Piano, Violin, and 13 Wind Instruments, image], Auf Höhepunkt (Angelpunkt) in his small Viennese apartment in Gene Young conducting, on Saturday, February 26, at 7:30 p.m. in Griswold [at the turning point (pivot)], when a Trauttmansdorffgasse and concluded a Hall. British scholar Raymond Coffer, a doctoral student at the Institute of Ger- Klavier Baß [bass piano] enters, dazu manic and Romance Studies, the postgraduate school at London University, was letter, dedicating his nearly completed Math Thema [in addition to the Math invited to give a pre-concert lecture. The lecture will detail fascinating evidence on Chamber Concerto to his teacher and theme], which is Ahde, or, reversed the tangled sexual liaisons that give hidden meanings to the Chamber Concerto. Cof- friend, Arnold Schönberg. Berg then after the turning point, edhA. fer has graciously allowed Peabody News to publish an in-depth account of his dis- The message is clear. If the first chose to have the letter published, for coveries. movement spoke openly of Schönberg, all to read, in Pult und Taktstock, the Raymond Coffer has an unusual background for an academic. He has been for his friends and circle, then the musi- house journal of his publishers, Uni- over twenty years a successful manager of such “alternative” Rock bands as Smashing versal Edition. Berg began: Pumpkins, Cocteau Twins, The Sundays, Love and Rockets, and Ian McCulloch cal language of the elegiac Adagio has, Dear esteemed Friend, Arnold Schön- amongst many others. His lifelong fascination with fin-de-siècle Vienna has led him as its covert central focus, none other berg, Composition of this concerto, which I to research the Expressionist artist Richard Gerstl and Gerstl’s relationship with than Mathilde Schönberg, the wife of dedicate to you on your fiftieth birthday, Arnold and Mathilde Schönberg. This will be the subject of both his thesis and a Arnold himself. was finished only today, on my fortieth. forthcoming book. During his research, Coffer has translated thousands of letters and In retrospect, perhaps this discov- Overdue though it is, I ask that you documents, many hitherto unseen, resulting in the discoveries outlined below. ery should not come as a surprise, for, nonetheless accept it kindly; all the more so at the end of his ”Pult und Taktstock” as – dedicated to you since its inception – In a musical motto preceding the first Concerto, of which, perhaps, the most letter, Berg’s typically impish humour it is also a small monument to a friendship movement three themes (or rather motives), intriguing lie buried in the its slow, could not resist a hint of further now numbering 20 years. which play an important role in the melod- lyrical second movement, the Adagio, secrets held within his Concerto: Berg thereby belatedly commemo- ic development of the piece, contain the let- “Liebe.” As an author it is much easier to speak rated a “trinity of events,” Schönberg’s ters of your name as well as Anton Berg happily announced the Adagio of . . . external matters than of inner th 50 birthday on 13 September 1924, Webern’s and mine, so far as musical nota- as a musical palindrome, a favoured processes, in which this concerto is certainly his own 40th, and the 20-year friend- tion permits. * mechanism of Berg’s, the second half no poorer than any other music. I tell you, ship between Berg, Webern and their *Namely: A-D-S-C-H-B-E-G, A-E- of the movement being effectively a dearest friend, if it were known exactly teacher. To avoid any doubt, Berg B-E and A-B-A-B-E-G” mirror image of the first, and both, what I have smuggled in the way of inscribed the first movement with the (This uses German notation i.e. H unsurprisingly, divisible by three. human-spiritual references into these three German adage “Aller guten Dinge…” = B natural and S = E flat, conse- Conversely, though, having provided movements of friendship, love, and world, meaning “all good things (come in quently - ArnolD SCHönBErG, explicit, albeit partial, acknowledge- the adherents of program music—if indeed threes),” at the same time betraying his Anton wEBErn, AlBAn BErG) ments of the characters he had por- there still are such—would be most well-known fixation with numbers. Berg then paid Schönberg a further trayed in “Freundschaft,” Berg gave delighted and the “linearists” and “physi- The Chamber Concerto would not tribute, orchestrating the work for absolutely none for “Liebe,” but, ologists,” the “contrapuntists” and “for- be finished until July of that year, piano, violin and 13 wind instru- interred in the music of the Adagio, a malists” would attack me, incensed at this although Berg had commenced it ments, describing this ensemble as: “a secret and deliberate programme “romantic” inclination . . . around March 1923, having aired the chamber orchestra of 15 (divisible, of emerges. Dalen discovered that, with- With Berg’s intimation of “smug- idea for a “trinity” piece as early as course, by 3), a sacred number for this in his handwritten notes and musical gled references” one can understand Spring 1922. Naturally, Berg con- type of scoring ever since your Opus 9”, sketches for the Adagio, Berg repeat- how Dalen and others came to con- structed the concerto in three continu- Schönberg’s own 1906 Chamber Sym- edly marked out a theme, which he strue the Adagio and its title, “Liebe,” ous movements, giving each a title. phony Nr. 1 for 15 solo instruments. called the “Math Thema”, and to to represent the life and love that The first, “Freundschaft” (Friendship), Having made his intentions con- which he gave the musical notation of existed between Mathilde and Schön- he described as a “Thema scherzoso con cerning the first movement clear, Berg A-H-D-E. By integrating the abbrevi- berg. varazioni”, the second, “Liebe” (Love), chose to reinforce the element of “Fre- ation, “MATH” with the cipher A-H- However, this love had to over- as an Adagio, and the third, “Welt,” or undschaft,” for within the following D-E, ignoring duplications, a substan- come a tragic affair that Mathilde had (World), as a Rondo ritmico, and “a com- five variations, he makes musical ref- tial portion of the name Mathilde undertaken with the brilliant Vien- bination of the two preceding ones.” erence to other members of Schön- materializes. Several of Berg’s sketches nese expressionist artist Richard Ger- Thus, in an era when programme berg’s circle —- Eduard Steuermann, confirm this, one discarded manu- stl, an event with considerable rele- music had become passé, Berg con- Josef Polnauer, Rudolf Kolisch, who, script going so far as to have the actu- vance to the Chamber Concerto. ceived the work as undeniably and in 1924, was to become Schönberg’s al name, Mathilde, represented in four Mathilde was pregnant with her sec- defiantly programmatic. Berg admit- brother-in-law, and Erwin Stein —- separate segments – “Ma”, “thil”, “d” ond child when Schönberg invited the ted so himself, stating in his open let- but, as opposed to his public pro- and “e”, and another tying the young artist into his household in ter: nouncement that the three opening Mathilde cipher inextricably to the Spring 1906. Here, Gerstl produced motives signified Schönberg, Webern Schönberg cipher, by using the “A” portraits of Schönberg and Mathilde, and himself, these four names and “H” and “D” and “E’ in A-D-S-C- and also taught the composer himself remained Berg’s secret. Credit for H-B-E-G to create the “Mathilde how to paint. The two men became their discovery, and several others con- motif” itself. friends, leading to Gerstl spending cerning the Chamber Concerto, must The “turning-point” of the move- the long Austrian summer holidays of go to Dr. Brenda Dalen, a musicolo- ment also plainly has significance as, 1907 and 1908 with the Schönberg gist who unveiled their existence in deep at the precise epicentre of the circle at the lakeside spa of Gmunden. her 1989 article, “Freundschaft, Liebe, palindrome, lie 12 mysterious strokes At some point, Gerstl and Mathilde und Welt: The Secret Programme of the of the piano, all in low C-sharp, Berg became lovers, the affair reaching a Chamber Concerto.” instructing that these be played dénouement in late August 1908 To this end, Dalen was able to “möglichst unmerklich” - “as impercepti- when the two were found in flagrante examine the trove of letters and papers bly as possible”. With the Mathilde delicto. Mathilde fled with her lover that Berg scrupulously retained, many motif played on the horn, just before back to Vienna, but was eventually of which have only become available the piano chimes, there can be few persuaded to return to Schönberg, since the death in 1976 of Berg’s more dramatic moments in music, as only for Gerstl, having lost Mathilde widow, Helene, who held tight con- though the 12 strokes sound mid- and been excluded that afternoon trol over Berg’s legacy. Since then, night in the dead of night. from a concert of Schönberg’s stu- however, Berg’s archive has disgorged Berg’s ideas are clearly revealed in a dents, to stab and hang himself in his a wealth of rich detail, including his so-called “envelope sketch” of the studio on the evening of 4 November notes and musical sketches which, in Adagio. In his difficult Gothic scrawl, 1908, aged just 25. Thereafter, Richard Gerstl’s Selfportrait turn, have divulged secret pro- on the back of a disused envelope, Mathilde was portrayed as a mousy, “Lachendes Selbstbildnis” (ca. grammes that Berg embedded in his Berg scribbled his notion of the piv- withdrawn Hausfrau, remaining 1907). Courtesy of the Österre- compositions. Amongst these are the otal moment in the Adagio, (later insignificantly in the background ichische Galerie Belvedere, Vienna hidden mysteries of Berg’s Chamber insisting that, in all performances, until her painful death from cancer, MARCH / APRIL 2005 Peabody News 23 aged 46, in October 1923. Mathilde the book’s publisher or editor, but had been dead for only 10 months most probably by Helene and exami- when Schönberg remarried, and this nation of the original letter discloses has raised the suggestion that Berg, in that “X“ was simply a code to dis- his “Pult und Taktstock” letter, kept his guise an obliterated name, one begin- programme for “Liebe” secret so as not ning with “B“. From letters that to upset Schönberg and his second Helene sent to her husband during wife, Gertrud Kolisch, by making ref- January and February 1920, it tran- erence to his marriage to Mathilde. spires that the mystery of “X“, and In considering the evidence —- the object of Mathilde’s attention, Berg’s open letter; his references to the turns out to be a 20 year-old student Mathilde theme in his drafts and of Schönberg’s, a young bass singer by sketches; the palindrome of the Ada- the name of Hugo Breuer, the “B” of gio; and the possibility that the twelve the original letter, born in 1899, to a blows of the piano represent Gerstl’s family of bicycle manufacturers, 22 suicide —- it is hard to argue with years junior to Mathilde Schönberg, Dalen’s interpretation: and who, together with his older The Adagio’s musical symbolism can be brother, Otto, had taken Schönberg’s reinterpreted in terms of Mathilde’s ill- tuition the previous September. fated affair with Gerstl. The palindrome On 27 January, Helene had written symbolizes the Schoenbergs’ estrangement to Alban reporting the sensational sit- and eventual reconciliation as well as Gerstl’s Double Portrait of uation. Apparently, Helene, suffering Mathilde’s spiritual death and gradual Mathilde and Trude Schönberg from influenza, had risen at 9.30am retreat from the world following Gerstl’s (1906). Courtesy of the Österre- the previous morning, to find suicide. ichische Galerie Belvedere, Vienna Mathilde standing before her. Thus the Adagio, “Liebe,” is an Mathilde had immediately snatched at which Schönberg was to be guest homage to Schönberg and his love for the telephone and, pretending to be conductor. However, darker events Mathilde. Helene, called Hugo Breuer! Helene concerning Schönberg’s wife and Perhaps not, for new evidence has was naturally offended that Mathilde daughter had occurred over the previ- emerged that the Gerstl affair may not would compromise her “by pretending ous few weeks, and, as a result, Berg have been the only one that Mathilde to be Frau Berg,” describing her, and Webern feared that Schönberg pursued. Both Schönberg, and, equal- amongst several disparaging terms, as might leave Vienna for good. ly significantly, Berg were aware of man-mad too, deeply worried that These events would have remained Mathilde’s activities, consequently Schönberg might find out about her secret, like many others within Schön- suggesting that alternative interpreta- complicity. Schönberg had already berg’s circle, if, during the early tions for the Adagio’s secret pro- caused alarm by insisting that months of 1920, Berg had remained gramme should now be considered. Mathilde accompany him to Prague, in Vienna. However, he had decamped * * * * * only for Mathilde to admit to Helene to his Carinthian family home and so Five years before Berg’s open letter, that, because of Hugo, this was now Alban and Helene exchanged long, on 27 February 1920, the Schönberg not possible. Evidently, Mathilde’s narrative letters, in which Helene family was about to leave Vienna, for pursuit of young Hugo had been described life in the city. It is thanks the start of a three-month journey going on for a while, as Helene to these letters that the sequence of across Europe. Life was hard, the war recounts that Mathilde was upset that events that occurred in the Schönberg having left Austria in dire economic both Hugo and Otto had personally family in 1920 have come to light, a straits, and Schönberg, once again, requested that their lessons with “soap opera” within the 2nd Viennese earning his living as a teacher. The Schönberg be discontinued. Neverthe- School, for it emerges that Mathilde, superficial reason for the Schönbergs’ less, Mathilde demanded that Hugo at the age of 42, and perhaps not for departure was four concerts in Prague wait for her in Gloriettegasse, 400 the first time, may have embarked on metres away and, having “titivated another sexual adventure, repeating herself endlessly,” left for her ren- her conduct of the 1908 Gerstl affair. dezvous, but not before she had per- Little published material can be suaded Helene to promise to lie to traced regarding these events, Arnold about her whereabouts when although a few clues exist. One can be he telephoned. found in Alma Mahler’s diary around Berg wrote back dismissively: “I 21 February 1920: “Schönberg’s would like to bet that young Breuer didn’t daughter has taken poison - was turn up at the rendezvous.” Nevertheless, saved, his wife was man mad for a few by not telling Schönberg, both Helene weeks, has found herself again . . . a and Berg had become accomplices in crazy merry-go-round!” Mathilde’s deceit. Another lies in a letter dated 10 Helene’s letter to Berg of 7 Febru- February 1920, written by Berg from ary 1920 soon testified to a dramatic Café Parkhotel in Villach to Helene in turn of events. The Schönbergs’ 18- Vienna. According to the version pub- year-old daughter, Trude, apparently lished in the 1965 book “Briefe an having had an argument with her seine Frau,” the authorised edition of father, had taken sleeping pills and Berg’s letters to his wife, the letter had been found by chance, uncon- gives an oblique indication of strange scious, with a suicide note beside her. events in the Schönberg household, Schönberg was unsurprisingly upset. confirming Alma’s diary entry, but using an “X” to conceal the name of Mathilde, however, suggesting a case an anonymous person. Berg wrote: of teenage hysteria, refused to take the I did mean to write to Schönberg as suicide attempt seriously, being more well, but really don’t know what attitude interested in her pursuit of Hugo and to adopt. Am I supposed to know anything confiding to Helene that Otto Breuer of his family affairs? Is Schönberg aware had tried, presumably unsuccessfully, that you know about the X affair? Or of to force her to leave his brother, Hugo, alone. Nothing, however, Arnold Schönberg portrait of Trude’s attempted suicide? Alban Berg. Courtesy of the His- However, this letter, together with would stop Mathilde and in order to torisches Museum der Stadt Wien. others, had been censored, perhaps by Continued on Page 24 24 Peabody News MARCH / APRIL 2005 Viennese “She dominated him. And he did every- importantly, the Breuer affair demon- Continued from Page 23 thing that she wanted. He revenged himself strates that Mathilde’s withdrawal through his amours,” this most famously from life was anything but that, and tempt Hugo from his flat, she asked in 1925 when Berg commenced an whilst it cannot be said that she had poor, complicit Helene to telephone affair in Prague with Hanna Fuchs- other, earlier affairs, ruling out such a the young man and pretend that she Robertin. Once again Helene was sus- possibility would be injudicious. had something important to give him, picious but Berg lied floridly to her: Moreover, as often with Berg, irony knowing that he would not come to “It goes against the grain . . . to ‘reassure’ may never be far from the surface, and the Berg’s apartment otherwise. Seem- you about me and Mopinka (Hanna). if this is so with the Chamber Concer- ingly, Helene acceded, but not with- Perhaps I’ll just say that faithfulness is to, a number of alternative interpreta- out remonstrating that, in Helene’s one of my main qualities,” a questionable tions can lend themselves to its pro- words, the reason that Mathilde want- statement, for Berg promptly wrote grammatic content. For example, it ed to force a meeting at the Berg’s his Lyric Suite, in which another could be suggested that “Liebe” may dwelling was, possibly, to rape Hugo secret programme, this time dedicated loosely refer to Mathilde’s love of (vergewaltigen) on their divan!!! to Hanna, was discovered in 1977 by younger, tall, bohemian men, not nec- Helene had now exposed the scan- George Perle. Moreover, Berg again dalous situation to Alban: Mathilde’s essarily characteristics that entirely utilised a palindrome, prompting par- applied to her husband, but which predatory behaviour; her daughter’s allels to the Chamber Concerto, and suicide attempt; the move from Vien- certainly did to Gerstl and Berg and, for Brenda Dalen to comment “Berg’s possibly Breuer too. And, without na; and it was to this letter that Berg Arnold Schönberg portrait of annotated score reveals that the retrograde making false accusations, could it just had replied from Café Parkhotel. Helene Berg, 1910 (Ritter 101) . in the third movement of the Lyric Suite Courtesy of the Historisches Muse- be possible that Berg was one of those A few days later, obviously con- commemorates Berg’s first meeting with cerned, Berg begged Helene “not to um der Stadt Wien and that a, perhaps, innocent liaison Hanna.” between him and Mathilde created fall out with Schönberg.” Helene, personal events in Schönberg’s life, Consequently, one may speculate though, became exasperated: “The tele- including the Gerstl affair, before the clandestine rationale behind the that an indeterminate and unique liai- Adagio? The palindrome, too, could phone bill for Mödling arrived. 9 Kroner adding an enigmatic postscript: son did exist between Mathilde and for just one conversation! I’ve had to tele- “Mathilde Wahrsager(in), einer durch be construed in a number of ways. Berg, although it should be stressed Perhaps the Gerstl and Breuer affairs phone crazy Mathilde untold times because Selbstmord u. einer durch Krankheit. that there is absolutely no firm proof of this fellow!!” Soon after, caught in (Stechmücken).” A translation would can be considered as the bookends. that there was ever an illicit or sexual The 12 piano blows may not then the middle, she precipitated the end be: “Mathilde Fortune-teller, one by relationship between them. However, of Mathilde’s affair, writing: “I had to suicide and one through illness (mos- necessarily symbolise Gerstl’s suicide, Gertrud’s stinging “mosquito” endnote but could represent a variety of events have a word with Schönberg concerning quito)” may now create a soupçon of doubt, Breuer,” and in a separate letter to It is reasonable to ask why she - the war, which Berg hated; Berg’s and therefore, particularly in terms of rifts with Schönberg, especially Berg, dated around 20 February 1920, chose to single out these two specific the Adagio, it remains perfectly legiti- then confirmed, albeit without much events in a selective, seemingly accu- between 1915 and 1918; perhaps even mate to pose the question. an unknown situation regarding Berg, confidence, that “Mathilde had confessed rate biography. Whilst her note could On the other hand, there can be Mathilde or both, especially since everything to Schonberg and there was now be open to misinterpretation, it can be little doubt regarding Berg’s predilec- Mathilde appears to have had some peace,” precisely as reported in Alma’s taken to suggest a visit by Mathilde to tion to secretly represent personal sort of nervous breakdown around contemporaneous diary entry. a fortune-teller, who, perhaps speak- events in his works, and the use of 1915, midway between the two One can only speculate whether ing of her lovers, foretold that one palindromes to do so. As a result, and affairs. The turning point may even Hugo was able to resist Mathilde’s would commit suicide. Could this irrespective of any suggestion of a liai- represent the Breuer affair itself, advances. However, a comment in a refer to Gerstl? Or, perhaps, Hugo son between Mathilde and Berg, it is something that may be proved should typewritten biography of Schönberg, Breuer, who emigrated to England in difficult to envisage that Berg could August 1938, and, depressed, also musicological analysis discover a attributed to his second wife, Gertrud, have written the Adagio without tak- killed himself six months later? clearly refers to Mathilde having “an ing cognisance of the relatively recent cipher for Hugo Breuer in Berg’s Ada- It might then be assumed that it affair with someone else,” and it is not Breuer affair, caught up as he was gio. was foretold to Mathilde that the sec- unreasonable, although by no means with its concealment. Thus reserva- If any of these hypotheses are true, ond man would die from a mosquito certain, to infer from this that Hugo tions arise concerning the existing, then the whole Chamber Concerto bite. If so, it is too much of a coinci- may have succumbed, and that albeit persuasive, interpretation of takes on a new cloak, and if “Liebe” dence to ignore the fact that Alban Mathilde may have got her way. The “Liebe’s” secret programme, being that now resonates with irony, perhaps it is Berg was the only one in Schönberg’s extract reads: it epitomises the love between not beyond imagination that “Freund- circle to suffer such a fate. In July When he [Schönberg] went to his wife Mathilde and Schönberg; the 12 piano schaft,” described by Berg as “scher- 1935, Berg was bitten by a mosquito in the country . . .Trude (his daughter) blows represent Gerstl’s death; and zoso” or playful, was a case of Berg and, having an innate fear of doctors, told him that his friend, a painter [Ger- the palindrome is a metaphor for the exercising some sort of sardonic exor- refused to have the bite treated. It stl], was going around with his wife. The Schönbergs’ marriage before and after cism on his teacher, from whom he became septic, spreading blisters friend killed himself afterward. . . Later the Gerstl affair, through Mathilde’s had received such frequent opprobri- at Berg’s house Schönberg’s wife had an across his body. Berg, with Helene, um. attempted to lance the boils with scis- withdrawal from life and her eventual affair with someone else [Breuer]. death; and it is appropriate that these It is categorically not the purpose of Probably written around 1950, sors, poisoning his bloodstream. the foregoing to discredit previous, When he finally sought treatment it reservations should now be properly these recollections are likely to have perfectly valid, interpretations but was too late and he died of septi- aired. come from Schönberg himself. They rather, by presenting new unconsid- caemia on 23 December 1935. One Firstly, it is also almost certain that provide the first suggestion of the ered evidence, to illustrate the artistic might argue that it is therefore Berg established the structure of the Bergs’ complicity in the Breuer affair, implications of the alternative scenar- unlikely that Gertrud was referring to Concerto some months before and an indication, too, that Schönberg ios that may have made up Berg’s anyone else other than Berg. Mathilde’s death, and whilst there was was fully aware of Mathilde’s indiscre- intentions. There can be no doubt, As a result of Gertrud’s juxtaposi- concern about Mathilde’s health tions. however, of Berg’s extraordinary cre- tion of the two “deaths,” is it also toward the end, it was only in the last ative power, as he took a series of sen- Moreover, although essentially sec- valid to examine the possibility that a weeks that the prospect of her dying sational events, worthy of any soap ond-hand and written many years liaison beyond anything of which we became an issue. Whilst it is possible opera, and by a brilliant process of after the event, the majority of currently know had existed at some that Berg later modified his intentions transition, transformed these, whatever Gertrud’s information can be cross- time between Mathilde Schönberg to take in Mathilde’s demise, the ideas they might have been, into a work of referenced to other evidence, and it is and Alban Berg? It is not beyond for the work must have been original- tempting to assert a generous degree imagination since, whilst Mathilde’s ly conceived without any anticipation such imaginative and affecting genius of credence to her recollections. This acts of manic unfaithfulness need no of her death. Worth asking too is, that and, irrespective of whether the work applies equally to a second, intriguing further amplification, Berg, too, was if Gerstl was central to the Adagio, is taken on pure musical terms, or as précis of Schönberg’s life, this time notoriously capable of infidelity and why did Berg choose not to use Ger- an opus of self-representation, it is to written in Gertrud’s scrawled hand- routinely deceived Helene. Berg’s stl’s musical cipher, in addition to be hoped that anyone who now listens writing, and also probably gleaned nephew, Erich Alban Berg, summed Mathilde’s? Schönberg had done so in to Berg’s Chamber Concerto, can do so from Schönberg towards the end of his up Alban and Helene’s relationship: his works around 1908, at the time of from a newly informed, and challeng- days. Here Gertrud recorded many his wife’s affair. And, perhaps most ing biographical perspective. MARCH / APRIL 2005 Peabody News 25 www.baltchamberorch.org

BALTIMORE Baltimore Choral Arts Society Tom Hall conducts: Dateline March 13, 3 p.m.— Chamber Orchestra of Paris joins BCAS for An Die Musik Vivaldi’s Gloria, with Peabody alumni Jazz sets at 8 p.m. and 10 p.m. Sarah Berger and Ah Hong, sopranos; Other concerts at 8 p.m., unless noted Lekeu’s Adagio (Baltimore premiere); otherwise: Leclair’s Violin Concerto, with Kyung March 4— Henry Grimes, double Sun Lee; Mendelssohn’s String Sympho- bass, and Marshall Allen, saxophone. ny No. 10. Kraushaar Auditorium, Jazz. Goucher College. March 5— Claire Lise, vocalist. April 9, 8 p.m.— Verdi’s Requiem, French Cabaret. Co-sponsored with with the Arlington Symphony the Embassy of France. Orchestra and Kelly Nassief, soprano, March 6— Baltimore Opera Com- Carmella Jones, alto, Jeffrey Springer, pany Young Artists Studio. tenor, and Mark Doss, bass. Meyer- March 7— Peabody Jazz Orches- hoff. tra. Call 410/523-7070 or 800/750- March 11, 7:30 p.m. & 9:30 0875 or visit www.baltimore- p.m.— Robin Bullock and Steve choralarts.org Baughman, celtic guitar duo. March 14— Peabody Jazz Orches- Baltimore Classical Guitar tra. Society March 18— Bobby Previtte, April 15, 8 p.m.— John Williams, drums and electronics, and Elliott whom Andrés Segovia named “a Sharp, guitar. Jazz. prince of the guitar,” and The New March 20, 3 p.m.— Baltimore York Times has called “…the finest Mandolin Quartet. guitarist before the public today.” March 21— Peabody Jazz Orches- Williams’ repertoire ranges from tra. Renaissance music to contemporary March 22, 7:30 p.m.— Susanna music from around the world. Fried- Hubbert, flute, and Paul Huppert, berg Hall, Peabody. violin. Call 410/247-5320 or visit March 28— Peabody Jazz Orches- www.bcgs.org tra. April 2— Borah Bergman, jazz Baltimore Opera Company piano. March 12, 16, 18, 20— Mozart’s April 3— Mark Williams and Le Nozze di Figaro stars Robert Gier- Keith Kramer, composers. lach as Figaro, Susan Patterson as April 4— Peabody Jazz Orchestra. Countess Almaviva, Madeleine Gray April 8— John Hicks Trio. Jazz. as the conniving Marcellina, Korliss April 9, 3 p.m.— Hanna Schmidt Uecker as Susanna, Nicole Biondo as Weiss, piano. Co-sponsored with the Cherubino, Sebastian Catana as Count Embassy of Switzerland. Almaviva, and Peter Strummer as April 9— Ingrid Jensen, trumpet. Bartolo. Bernard Uzan will direct this April 10— Baltimore Opera Com- comedy of mistaken identities and pany Young Artists Studio. secret rendezvous. April 11— Peabody Jazz Orches- April 30, May 4, 6, 8—Offen- tra. bach’s Les Contes d’Hoffmann features April 17— Baptiste Trotignon Roberto Aronica in the title role, Trio. French Jazz. Co-sponsored with Valeria Esposito as Olympia, Renata the Embassy of France. Lamanda as Guilietta, Antonia April 18— Peabody Jazz Orches- Cifrone as Antonia, Pierre Lefebvre as tra. the four servants, and Ning Liang as April 22— George Colligan Trio. Nicklausse. Christian Badea conducts. Jazz. The opera opens in the tavern April 23— ECM Recording Artist adjoining the opera house, where the Pord Gustavsen, Jazz piano. poet Hoffman spins his tales, encour- April 25— Peabody Jazz Orches- aged with wine and his friends’ tra. enthusiasm. As Hoffman pines for the April 28, 7:30 p.m. & 9:30 p.m.— diva Stella, who will have nothing to Paul and Kerena Moeller Guitar and do with him, he recounts his three Cello Duo. prior loves: Olympia the mechanical April 29— Dom Minasi, guitar, doll, Guilietta the courtesan, and Ken Filiano, double bass, Jackson Antonia the sickly songbird. Krall, drums. Jazz. All performances have English sur- Call 410/385-2638 or visit titles and take place at the Lyric www.andiemusik.com Opera House. Call 410/727-6000 or visit Baltimore Chamber www.baltimoreopera.com Orchestra April 6, 7:30 p.m.— Markand Baltimore Symphony Thakar conducts Purcell/Britten’s Yuri Temirkanov conducts at the Chacony in g minor; Haydn’s Cello Con- Meyerhoff unless otherwise indicated: certo in D Major, with Ilya March 4-5, 8 p.m.—Eri Klas con- Finkelshteyn; Bach’s Brandenberg Con- ducts Smetana’s Overture to “The certo No. 3; Mozart’s Symphony No. 29 Bartered Bride;” Gershwin’s Concerto in in A Major. Kraushaar Auditorium, F, with Arnaldo Cohen, piano; Cop- Goucher College. land’s Appalachian Spring; Call 410/426-0157 or visit Tchaikovsky’s Capriccio italien. 26 Peabody News MARCH / APRIL 2005 Monteverdi’s Canzonette a tre; Holst’s raczewski, cello; Sulkhan Tsintsadze’s BALTIMORE Songs from the Princess; two spirituals Miniatures for String Quartet with by Dawson and Noble. Old Saint Andrew Wasylusko and Christian Dateline Paul’s Episcopal Church. Colberg, violins, Jonathan Carney, Call 410/321-9173 or 410/592- viola, Dariusz Skoraczewski, cello; March 10-11, 8 p.m., March 12, 6059. Brahms’ Quintet No. 2 in G Major, Op. 11 a.m.—Yan Pascal Tortelier con- 111, with Jonathan Carney and CenterStage ducts Sibelius’ Pohjola’s Daughter Wonju Kim, violins, Mary Woehr and Feb. 11-March 27—Irene Lewis (March 10-11 only); Hindemith’s Jeffrey Stewart, viola, Bo Li, cello. Symphonic Metamorphosis on Themes by directs Shakespeare’s Two Gentlemen of Verona. See article, page 30. April 3—Hindemith’s String Trio Carl Maria von Weber; Rachmaninoff’s No. 2, with Jonathan Carney, violin, Piano Concerto No. 2, with Leif Ove March 11-April 10—Thomas Gib- bons’ Permanent Collection, a provoca- Karin Brown, viola, Bo Li, cello; Mark Andsnes. O’Connor’s String Quartet, with Ellen March 19, 10 a.m., 11:30 a.m.— tive examination of the politics of race Pendleton and Ivan Stefanovic, vio- Dancers from the Baltimore School for set against the backdrop of a privately lins, Christian Colberg, viola, Dariusz the Arts join the BSO for a family owned and individually styled art col- concert “The Three Bears Dance with lection was inspired by the real-life Skoraczewski, cello; Bartok’s Contrasts, the BSO.” controversy at Philadelphia’s Barnes with Kenneth Goldstein, violin, Bill March 31, 8 p.m., April 2, 8 Foundation. David Schweizer, director. Jenken, clarinet, Sylvie Beaudoin, p.m.—Bobby McFerrin conducts and Call 410/332-0033 or visit piano. Mendelssohn’s Trio in D Major, improvises on the music of Mozart, www.centerstage.org with Kenneth Goldstein, violin, Dar- including Symphony No. 7a “Old Lam- iusz Skoraczewski, cello, Amy bach;” Symphony No. 38 “Prague;” Piano Chamber Jazz Society of Klosterman, piano. Concerto No. 22, with Christopher Baltimore Call 410/744-4034 or visit O’Riley. March 13, 5 p.m.—Dave Liebman www.communityconcertsatsecond.org April 1, 3 p.m.—Darin Atwater Quintet, Dave Liebman, saxophones. conducts the Soulful Symphony. April 10, 5 p.m.—Harold Mabern Community Concerts at Richard Smallwood’s Journey. Trio, with Eric Alexander. With a per- Second April 7-8, 8 p.m., April 10, 3 cussive left hand that alternates March 6, 3:30 p.m.—Peabody Jazz p.m.—Beethoven’s Piano Concerto No. between stride and boogie-woogie, Ensemble, Michael Formanek, director. 4, with Elisso Virsaladze; Mahler’s pianist Mabern has a love for the clas- April 24, 3:30 p.m.—Russell Won- Symphony No. 4. sic standards but always manages to derlic Vocal Competition Winner. April 15-16, 8 p.m., April 17, 3 give them a new twist, be it harmon- Second Presbyterian Church. ic, rhythmic or melodic. Mabern’s p.m.—Saint-Saën’s Violin Concerto No. Call 410/744-4034 or visit Trio is joined by tenor saxophonist 3, with Stefan Jackiw; Franck’s Sym- www.communityconcertsatsecond.org phony in d minor. Eric Alexander. April 21-22, 8 p.m.—Mus- Baltimore Museum of Art. Concert Artists of Baltimore sorgsky’s Boris Godunov (excerpts); Call 410/385-5888 or visit April 17, 2:30 p.m.—QuinTango, Debussy’s La Mer; Ravel’s La Valse. www.baltimorechamberjazz.org a quintet of two violins, cello, bass April 23, 11 a.m.—Rimsky-Kor- Chamber Music by and piano, brings a century’s worth of sakov’s Prelude to “The Legend of the tango repertoire to the concert stage Candlelight Invisible City of Kitezh;” Debussy’s La with music by Carlos Gardel, Astor Mer; Ravel’s La Valse. Concerts on Sunday evenings at 7:30 p.m. at Second Presbyterian Piazzolla, and the masters of the Call 410/783-8000, or toll free 1- Golden Age. Garrett-Jacobs Mansion 800-442-1198, or visit www.balti- Church: (Engineers Club), Mount Vernon moresymphony.org March 13—Vincent Persichetti’s Serenade No. 6, with Jonathan Carney, Place. Canticle Singers violin, Ilya Finkelshteyn, cello, Chris April 23, 7:30 p.m.—Rossini’s April 17, 3 p.m.—Debussy’s Salut Dudley, trombone; Ravel’s String Petite Messe Solennelle. St. Ignatius Printemps; Boulanger’s Les Sirenes, with Quartet in F Major, with Rebecca Church, 740 N. Calvert St. Cecile Audette, soprano; a collection Nichols and Gregory Mulligan, vio- Call 410/625-3525 or visit of folk songs from around the world; lins, Karin Brown, viola, Dariusz Sko- www.cabalto.org Tour de Clay in Mount Vernon By Lisa Keir Institute. Jeffrey Dalton sculpture. tion Gallery: Maryland Clay, featur- Tour de Clay, the largest art exhibi- Contemporary Museum: Swiss ing functional and sculptural work tion ever held anywhere in the world, Contemporary Ceramics. by Maryland residents. will be in Baltimore February 19 Enoch Pratt Free Library hosts Maryland Historical Society: through April 3, 2005. Tour de Clay three exhibitions: Life and Times: American Fancy, Exuberance in the Arts, features 878 ceramic artists in 160 David Packer, featuring realistic 1790-1840. exhibitions throughout the greater industrial sculpture and schematic Walters Art Museum: Tour of His- Baltimore region; 15 of the exhibi- drawings. Small Poems: Mary K. torical Ceramics, Self-guided tour of tions will be held at Mount Vernon Cloonan, Ceramic Books, Sugar and ceramic highlights of the Walters Cultural District member institu- Spice: Bits and Pieces from Childhood, permanent collection. tions. four sculptors who explore childhood There is more. In Mount Vernon, Mount Vernon Cultural District memories. Maryland Institute College of Art members hosting exhibitions Eubie Blake Cultural Center hosts has 16 exhibitions, the Baltimore include: four exhibitions: Honoring Our Roots, Symphony Orchestra has one, The- Alcazar Gallery at the Baltimore Eight New York artists exhibit func- ater Project has two, First Unitarian School for the Arts: Transformation: tional and sculptural work. Interac- Church’s parish hall has one, and all Contemporary Work in Ceramic, featur- tions: Keith Wallace Smith Solo, sculp- the galleries on Charles Street have ing sculptural work that deals with ture that deals with the African one. issues of Transformation. American urban male. Nature and For dates and a complete listing Center Stage hosts three exhibi- Nature: Myung Jin Choi.Taichi 66, a of all exhibitions and events visit tions: Above the Arctic Circle: Aaron group of fifteen emerging Taiwanese www.tourdeclay.com or call Balti- Benson, figurative sculpture. Export artists. more Clayworks, exhibition organiz- China: Jingdezhen Sanbao Ceramic Art George Peabody Library Exhibi- er, at 410-578-1919. MARCH / APRIL 2005 Peabody News 27 CenterStage’s Musical of Two Gentlemen of Verona makes Shakespeare Groovy

By Mike Giuliano In his massive scholarly book Shakespeare: The Invention of the Human, literary critic Harold Bloom states that Two Gentle- men of Verona is “the weakest of all Shakespeare’s comedies.” One of the Bard’s earliest plays, it concerns the misadven- tures of two friends, Proteus and Valentine, and takes them into situations that don’t work very well in terms of either plausibility or poetry. The play was not popular in its own day and has not been given many productions in the 400 years since then. Thank goodness this is not the Two Gentlemen of Verona that is being produced at Center Stage from Feruary 11 to March 27. Shakespeare’s play was adapted by John Guare and Mel Shapiro, who retained dialogue from the play within the context of a hippie era musical. Indeed, the score was done by Galt MacDermot, a composer whose lasting claim to fame is the quintessential 1960s musical Hair. This revamped version of Two Gentlemen of Verona was a hit and won the Tony Award for Best Musical in 1972. Rehearsing Two Gentlemen of Verona. Ironically, the hipper Two Gentlemen of Verona itself slipped into near-obscurity after its initial run. The Center early ‘70s, Magruder adds that its statements about war and Stage production qualifies as an opportunity for older the- peace also seem to speak to the American political scene atergoers to rediscover a once-familiar work and younger today: “The only difference between 1972 and 2005 is that theatergoers to discover a cultural artifact from the now- there is not a draft now.” distant countercultural movement’s musical theater divi- Magruder has wondered why such an appealing and rele- sion. vant show largely disappeared after its original production. It’s appropriate for Center Stage to do the show now, He speculates that one reason may be that “there is an according to the dramaturg for this production, James openness of spirit to it that can be embarrassing. There is a Magruder, because this theater’s artistic director, Irene larky innocence to it,” adding that many theatergoers have Lewis, loves to do Shakespeare and she also has been staging no qualms about enjoying the naive charm of a musical musicals in recent seasons. Two Gentlemen of Verona obvious- from the 1940s or ‘50s, but feel a bit uneasy about a musi- ly hits the right scheduling buttons. cal from the early ‘70s whose non-ironic, optimistic tone A dramaturg by definition researches the history of a seems out of tune with the pessimism-tinged irony that play and the cultural context within which it was written. took hold within American culture in subsequent decades. This musical version of a Shakespeare play upped the ante Such middle-aged theatergoers might nervously wonder: for Magruder in that he needed to research both the source Were we that naive in our youth? play and also the social and cultural underpinnings behind Another reason is that when Two Gentlemen of Verona won the musical. One of the major lines of dramaturgical the top musical Tony Award in 1972, it beat out Stephen research involved exploring the reasons for this show’s rela- Sondheim’s highly regarded Follies. Sondheim fanatics have tive obscurity today. Basically, Magruder found it’s easy to long memories about such things. account for the play’s bad reputation and not as easy to Agreeing with Magruder that these are possible reasons decide why the musical is so rarely produced. for the show’s relative neglect is the music director of the The Tony-winning team that resurrected Two Gentlemen Center Stage production, Eric Svejcar, 30, who wasn’t even of Verona in New York City in the early 1970s worked very born when the show was first produced. “Some resent the much within the improvisational spirit of that age. During fact that this dippy little hippie show” won over Sondheim, a fast three-month collaboration overseen by theater pro- Svejcar notes with a laugh. ducer Joseph Papp, the team started off writing a revised If Svejcar is any indication, younger audiences may want theater version of Shakespeare’s play that was to have to lend this musical an ear. Growing up in suburban Chica- included incidental music, and then kept adding more go, the teen-aged Svejcar was a musical theater buff with a songs by Galt MacDermot to the point where it became a keen interest in MacDermot’s 1968 “tribal rock” musical mostly sung show filled with 35 short songs. These songs Hair. He observes that it was “something completely differ- were quickly composed with specific actors in mind, and ent from any musical I’d heard, but also different from any thus musically reflected the cultural backgrounds of the rock music I’d heard.” In terms of being drawn to rock African-American, Latino and other ethnic groups involved musicals of the late ‘60s and early ‘70s, he says: “I was aware of the fact that I was out of the loop, but it didn’t in the casting of the show. bother me too much.” Although the dialogue comes directly from Shakespeare’s Svejcar was music director for a recent national tour of Two Gentlemen of Verona, the script by Guare and Shapiro, as the Broadway musical Big River, and as a composer he well as Guare’s lyrics, also used lines from another Shake- recently staged an original musical in New York, Caligula, speare play, Anthony and Cleopatra, and even lifted from a which was set in ancient Rome but done in the glam rock couple of the sonnets. style of the 1970s. All this creative tinkering was in the freewheeling spirit Svejcar got to personally know the composer of Hair and of the period, and so the two friends in the story investigate Two Gentlemen of Verona when he staged a musical theater life’s amorous possibilities much as flower children would; revue of songs by MacDermot from his now-obscure other the secondary characters are given topical reworkings, such shows. as the Duke of Milan being made to resemble then-Presi- Incidentally, audiences will see as well as hear music dent Richard Nixon; and thematically, the show has a mes- director Eric Svejcar in the Center Stage production. Its six sage about racial harmony. musicians, including Svejcar on keyboards, will be posi- “They improved it,” Magruder says about the team tioned on two moving platforms on a stage whose design behind the musical version. “This is a musical forged in the includes surfaces painted with Peter Max-evocative psyche- Zeitgeist of the ‘60s and early ‘70s. It’s about love, but also delic colors. You may come away with the impression that about moving to the city. It’s about the promise that urban Shakespeare is groovy, man. living holds out to people. There is a rainbow coalition (in For tickets, call Center Stage at 410-332-0033 or visit the characters and music) that was 20 years before ‘multi- www.centerstage.org. cultural’ became a buzz word.” Although the show reflects the Vietnam War era of the 28 Peabody News MARCH / APRIL 2005 Ave. www.ndm.edu Call 410/329-6874 or 410/448- BALTIMORE 0745 or visit www.muniopera.org Opera Vivente April 8, 7:30 p.m., April 10, 2 Dateline Murphy Fine Arts Center p.m., April 14 & 16, 7:30 p.m.— March 3–6— Suzan-Lori Parks’ in John Bowen directs Handel’s Tam- Evergreen House the blood, directed by Shirley Basfield burlaine, with Joseph Gascho, conduc- March 4, 8 p.m.—Randall Scarlat- Dunlap. A dramatic theatrical work tor, Peabody alumnus Ryan de Ryke ta, baritone, and Jeremy Denk, piano. written by the Pulitzer Prize-winning as Tamburlaine, Ken Gayle as Beethoven’s Piano Sonata No. 26 in E- playwright tells the tale of a family Bajazeth, Peabody alumna Ah Hong flat Major, Op. 81a, “Les Adieux;” living beneath an overpass—strug- as Asteria, John Carden as Androni- Schubert’s Die schöne Müllerin, Op. 25, gling against the stigma of homeless- cus, Michelle Rice as Irene, and D. 795 (complete). ness. Loosely based on Nathaniel Christopher Austin as Leone. Tam- April 15, 8 p.m.—Ensemble Hawthorne’s The Scarlet Letter, in the burlaine explores the profound tragedy Galilei: Liz Knowles, fiddle, Deborah blood is a tragic social portrait of Hes- that ensues when political power is Nuse, Scottish small pipes & fiddle, ter, La Negrita, a homeless woman wielded for personal gain. As the rela- Sue Richards, Celtic harp, Carolyn with five children from different tionship between Tamburlaine, Anderson Surrick, viola da gamba, men—who, one-by-one, have deserted emperor of the Tartars, and Bajazeth, Kathryn Montoya, oboe & recorder. her. conquered king of Persia, worsens, Ensemble Galilei performs traditional March 4, 8 p.m.— Urban Comedy fanatical egotism on both sides Celtic music and medieval music from Showcase starring Tommy Davidson, destroys the innocent lives of those Italy: Turlough O’Carolan’s Dr. John Sorab Wadia as the Persian featuring Rickey Smiley, hosted by who are caught between. Tamburlaine Hart, Morgan Magan, Arthur Shaen, Pedler Ali Hakim and Carrie Love Damon Williams. will be performed on period instru- Planxty Drew, and Loftus Jones; Edward as Ado Annie Carnes in the April 8-10; April 15–17— Raisin, ments in this Baltimore premiere. Gibbons’ What Strikes the Clocke?; national tour of Rodgers and the Musical! Book by Robert Nemiroff Call 410/547-7997 or visit Rameau’s Tambourin; Francisco de la Hammerstein’s Oklahoma! com- and Charlotte Zaltzberg, music by www.operavivente.org Torre’s Alta (La Spagna); Niel Gow’s ing to the Hippodrome in March. Judd Woldin, lyrics by Robert Brit- Bonnie Jean of Aberdeen; Nicola Mat- Sorab holds his Bachelor’s and tan, directed by Shirley Basfield Dun- teis’ Ground after the Scotch Humour; Master’s degrees in piano from lap, music direction by Melvin N. and Marin Marais / Corelli’s La Folia. Peabody but has found a career Miles. The season’s grand finale fea- Carriage House. in singing and acting. PHOTO: JOAN MARCUS tures the Morgan State University Call 410/516-0341 or visit Choir, MSU Band, and MSU Dance www.jhu.edu/historichouses in D, Op. 61, with Kai Gleusteen. April 3, 3 p.m.—Julien Benichou Ensemble. Based on Lorraine Hans- Garret Jacobs Mansion (‘01 GPD) conducts the chamber berry’s A Raisin in the Sun, this pro- The French Embassy and An die orchestra in Mahler’s Adagietto from duction follows on the heels of the Musik join in presenting concerts of Symphony No. 5; Milhaud’s Le boeuf sur Broadway revival. French Baroque music, Sundays at 2 le toit, Op. 58. SDS Room, Mattin April 24, 6 p.m.— Morgan State Petanova Kuropaczewski p.m.: Center, Homewood. University Symphonic Band Annual March 13—Le Poème Har- April 16, 8 p.m.—Schumann’s Concert, Melvin N. Miles, director. Peabody at Homewood monique. Introduction and Allegro Appassionato, Call 443/885-4440. The historic Homewood House April 24—L’Ensemble Baroque de Opus 92 and Piano Concerto in a minor, Museum on the Homewood Campus Music in the Great Hall – Limoges. Op. 54, with Enrico Elisi (MM ’99); of Johns Hopkins University has a March 11, 8 p.m., March 13, 3 11 W. Mt. Vernon Pl. Hindemith’s Symphony: Mathis der spring series presenting young p.m.— Eric Beach, marimba. The Call 410/385-2638 or visit Maler. Peabody artists on Friday evenings, 2003-04 winner of Peabody’s Yale www.andiemusik.com Call 410/516-6542 or visit beginning at 5:45 p.m. with a wine Gordon Competition performs Yasuo www.jhu.edu/~jhso and cheese reception following. Sueyoshi’s Mirage and Jacob Druck- Hippodrome March 4—Anastasia Petanova, man’s Reflections on the Nature of Water. Feb. 22 - March 6—Frank Gorshin Maryland State Boychoir flute. Music by Bach, Debussy, April 15, 8 p.m., April 17, 3 stars in Say Goodnight, Gracie, a new Frank Cimino directs: Takemitsu, Hindemith, Maw and Fer- p.m.— Tao Chang Yu, violin, Antho- play that invites you to spend an March 16, 6:30 p.m.— Choral even- roud. ny Cecere, horn, Lucasz Szyrner, cello, evening with George Burns. song. Canticles by Charles V. Stanford, April 1—Lukasz Kuropaczewski, Virginia Reinecke, piano. Works by March 15-27—Rodgers & Ham- music by John Ireland, Rene Clausen, guitar. E. S. de la Maza’s Platero; A. Haydn and R. Strauss; Mendelssohn’s merstein’s Oklahoma! On the heels of and David Hogan. Cathedral Church of Tansman’s Passacaglia and Hommage a Trio in c minor, Op. 66; Peabody faculty the acclaimed London and Broadway St. Matthew, 3400 Norman Ave. Chopin; Albeniz’s Asturias; Bach’s Pre- member Thomas Benjamin’s Apéritif revivals, this sparkling new touring April 3, 4 p.m.— Mount Lebanon lude, Fugue and Allegro; M. Giuliani’s for piano trio; Ohio composer Jack production is adapted from Cameron Baptist Church. 2812 Reisterstown Rossiniane No. 3. Gallagher’s Heritage Music for violin, Mackintosh’s presentation of the Road. Call 410/516-8645 or visit cello, piano, and horn. Royal National Theatre production. April 17, 4 p.m.— Spring Concert. www.jhu.edu/historichouses April 19 - May 1—Little Shop of Cathedral Church of Saint Matthew. Towson Unitarian Universalist Horrors. From the producers of Hair- Call 410/668-2003 or visit Church, 1710 Dulaney Valley Road. Pro Musica Rara spray and The Producers comes this www.marylandstateboychoir.org Call 410/813-4255 or visit April 3, 3:30 p.m.—Haydn’s String musical comedy about a loser, the girl www.migh.org Quartet Op. 77; quartets by Boccherini, he loves, and the man-eating plant Morgan State University Scarlatti, and Saint-Georges. Greg Notre Dame that is about to change their lives for- Choir Mulligan, and Ivan Stefanovic, vio- March 3, 7 p.m.— Global Percus- ever. Humor, romance and horticul- Eric Conway, interim director. lins; Sharon Pineo Myer, viola; Allen sion Trio. The Trio, comprised of ture combine in this new production. March 6, 4 p.m.— Church Benefit. Whear, cello. Towson Presbyterian founder Barry Dove, John Thomakos, 12 N. Eutaw Street. St. Anne’s Episcopal Church, Church Church, 400 W. Chesapeake Ave. and Peabody student Svetoslav Stoy- Call 410/547-SEAT or visit Circle, Annapolis. Call 410/728-2820 or visit anov, has performed at the Kennedy www.france-merrickpac.com or April 2, 6 p.m.— Miracle Temple www.promusicarara.org Center, with the Baltimore Symphony, www.ticketmaster.com Seventh Day Adventist Church. 100 S. Rock Glen Rd. and as part of the Shriver Hall Concert Saint David’s Church Hopkins Symphony April 10, 6 p.m.— St. Michaels Series. Doyle Formal Lounge. April 10, 6 p.m.—The Peabody March 12, 7 p.m.— Ernest Orchestra and All Angels Church. 2013 St. Paul Consort, Mark Cudek, director, Jed Gaylin conducts in Shriver St. Ragogini, piano. Works by Copland, Charles Weaver, lute, performs music Hall, unless noted: Call 410/ 443/885-4336 or visit Canal, Mozart and Schumann. LeClerc from Renaissance Spain. 4700 Roland March 5, 1 p.m.—Annual children www.morgan.edu/community/choir/m Auditorium. Avenue.Call 410/467-0476. and families concert. suchoir.asp April 21, 7 p.m.— Music for March 6, 3 p.m.—Carlos Sanchez- Spring. Student artists, solo and Shriver Hall Gutierrez’s (MM ’89) Five Pieces for Municipal Opera Company ensemble, perform. Marikle Chapel. March 20, 5:30 p.m.— Nelson Orchestra; Sibelius’ Symphony No. 5 in E April 17, 4 p.m.— Benefit concert May 1, 3 p.m.— Concert Choir Freire, piano, performs Mozart’s flat, Op. 82; Beethoven’s Violin Concerto with Alvey Powell, baritone. Lochearn spring concert. Marikle Chapel . Sonata No. 5 in G Major, K. 283; Presbyterian Church, 3800 Patterson Call 410/532-5386 or log onto Schumann’s Carnaval, Op. 9; Villa- MARCH / APRIL 2005 Peabody News 29 Lobos’ Cirandas for Piano, W 220 ily had gotten hold of them? To phony. The program will feature the (excerpts); Chopin’s Sonata in B-Flat answer this burning question the Tra- winners of the High School Concerto Minor, Op. 35, No. 2 (B 128) “Funeral chtenburgs (dad Jason, mom Tina, Competition and the Department of March;” Dmitry Kabelevsky’s Sonata and daughter Rachel, age 10) take Music Concerto Competition in a pro- No. 3 in F Major, Op. 46. slides found in thrift stores and yard gram that will include Mozart’s Sym- April 17, 7:30 p.m.— Natalia sales and narrate them as they perform phony No. 29. Gutman, cello, Elizo Virzaladze, their original pop tunes. April 2, 7 p.m.— Vocal Arts piano. Beethoven’s Sonata for Cello and April 29-30, 8 p.m., May 1, 3 Ensemble, David Smith, conductor. Piano No. 3 in A Major, Op. 69; R. p.m., May 5 & 7, 8 p.m.— Peabody Their Opera Gala will feature scenes Strauss’ Sonata for Cello and Piano in F Chamber Opera presents Henry Mol- from Carmen, La Bohème, Così Fan Major, Op. 6; Rachmaninoff’s Sonata licones’s Hotel Eden (see article page Tutti, The Marriage of Figaro, Elixir of for Cello and Piano in g minor, Op. 19. ???) Love, A Hand of Bridge, and The Gondo- 3400 N. Charles Street. 45 W. Preston St. Damocles Trio liers. Call 410/516-7164 or visit Call 410/752-8558 or visit April 3, 3 p.m.— Troy King, gui- ford, soprano, David Stambler, saxo- www.shriverconcerts.org. www.theatreproject.org tar, performs works by Augustin Bar- phone, Ruth Neville and Daniel Kop- rios, Sylvius Leopold Weiss, Manuel pelman, piano, performs Peabody Susquehanna Symphony Towson University Ponce, Jorge Morel, and Radames alumnus Jonathan Leshnoff’s Sonata Orchestra Performances are held in Stephens Gnattali. for saxophone and piano; William March 13, 3 p.m.—Sheldon Bair Hall Theatre, Center for the Arts, April 12— Ruckus performs Kleinsasser’s Innocent Proteins (pre- conducts Glinka’s Russlan and Ludmilla unless noted otherwise: Elliott Carter’s Triple Duo; James miere); and more. Kaplan Concert Overture; Sean O’Boyle’s She Moved March 1, 8:15 p.m.— Student Erber’s The Ray and its Shadow; a new Hall. Through the Fair with Wendy Bohdel, Brass Ensemble, Peabody alumnus work by Anneliese Wiebel; a work by March 10, 8:15 p.m.— TU Big violin, The Pretty Maid Milking Her Ben Chouinard, director, performs Mark Osborn; and Thomas DeLio’s so, Band, Jim Snidero, guest artist. Cow (Snapshot English Horn Concerto) works by Bach, Bartok, Cheetham, between and e,nm. Kaplan Concert Hall. (world premiere), with Barbara Bair, Gabrieli and Wagner. Kaplan Concert April 14— Callithumpian Con- March 11, 8 p.m.— Dance Troupe English horn, and RiverSymphony (Suite) Hall. sort, Stephen Drury, director, per- and Music Ensemble of Cambodian- (U.S. premiere); Rimsky-Korsakov’s March 2, 8:15 p.m.— TU Sym- forms Peter Maxwell Davies’ music- American Heritage, Sam-Oeum Tes Scheherazade, Op. 35, with Wendy phonic Band, Dana Rothlisberger and theatre work Miss Donnithorne’s and Chum Mget, artistic directors, Bohdel, violin. John Carroll School, John Miliauskas, conductors, performs Maggot. perform Cambodian religious and 703 E. Churchville Road, Bel Air. marches by Sousa and Henry Fillmore; April 21— Marc Ponthus, piano, court ceremonial music and dance Call 410/838-6465 or visit Grainger’s Molly on the Shore; Vaughan performs Pierre Boulez’s Piano Sonatas dating back to the 7th century. www.ssorchestra.org Williams’ Toccata Marziale. Kaplan Nos. 2 and 3. Sunday, March 13, 7:30 p.m.— Concert Hall. April 28— UMBC Jazz Ensemble, The Baltimore Trio, Zoltan Szabo, Theatre Hopkins March 3, 11 a.m.— Student win- Jari Villanueva, director. violin, Cecylia Barczyk, cello, Reynal- Feb. 18 - March 13— William ners of the Dr. Sidney Lieberman Call 410/455-MUSC or 410/455- do Reyes, piano, performs Nicholson’s Shadowlands. “It’s the Music Competition perform in recital. 2942 or visit www.umbc.edu/music sheer availability of happiness that Kaplan Concert Hall. Mendelssohn’s Trio in c minor, Op. 66; takes my breath away.” For most of his March 3, 8:15 p.m.— TU Chorale Brahms Trio in c minor, Op. 101. life, British author C. S. Lewis was and TU Choral Society, Paul Rardin, Kaplan Concert Hall. considered a man whose formidable director, perform works by American March 14, 8:15 p.m.— Quintigre, intellect could contend with life’s poets set by American composers: the TU Faculty Woodwind Quintet, moral riddles. But in his fifties, for Corigliano’s Fern Hill (poems by performs Vincent Persichetti’s Pas- the first time, he fell in love. The Dylan Thomas), Barber’s Reincarna- torale; John Steinmetz’s Quintet; Bar- author of The Chronicles of Narnia tions (James Stephens), Cary John ber’s Summer Music; Eric Ewzsen’s became a child himself, with only his Franklin’s The Uncertainty of the Poet Roaring Fork. Kaplan Concert Hall. heart to guide him. (Wendy Cope), Libby Larsen’s A Cree- April 23, 7 p.m.— Kazue Sawai April 15 - May 8— Bella and Sam ley Collection (Robert Creeley), and and the Sawai Koto Ensemble, pro- Spewack’s Boy Meets Girl, a mid-1930s Halsey Stevens’ Go Lovely Rose duced by the Freer Gallery of Art and satire of Hollywood. (Edmund Waller). Kaplan Concert Arthur M. Sackler Gallery, Smithson- Merrick Barn, Homewood campus, Hall. ian Institution. 3400 N. Charles St. March 9, 8:15 p.m.— TU New April 22-23, 8 p.m., April 24, 2 Call 410/ 516-7159 or visit Music Ensemble, with Leneida Craw- p.m., April 27-30, 8 p.m.— Peter www.jhu.edu/~theatre Weiss’ Marat/Sade/Camp: The Persecu- tion and Assassination of Jean-Paul Theatre Project Marat as Performed by The Inmates of March 3-13— Michelle Milne’s Charenton Under the Direction of the Looking for Lulu, an exploration of Marquis de Sade. Main Stage Theatre. escapism. April 29-30, 8 p.m., May 1, 3 March 24 - April 3— MumPup- p.m.— TU Dance Company, Cather- pettheatre presents Robert Smythe’s ine Horta-Hayden, artistic director, Séance. Fantastic discoveries of the late performs Raymonda Pas De Dix 19th century suggested an unseen restaged by Karena Brock-Carl, Balan- world of energies like electro-magnet- chine’s Valse Fantasy; Paul Taylor’s ism and x-rays. At a crossroads of faith Aureole; Stephanie Powell’s Tapestry; and facts, some people hoped for a works by faculty members Jaye Knut- direct connection to the spirit world. son, Jayne Bernasconi and Susan Smythe wrote this Barrymore Award- Mann. winning play-without-words. Masks, The above is a partial listing. For life-sized puppetry, and aerial gym- complete information, call 410/704- nastics are just some of the techniques 2787 or visit wwwnew.towson.edu/ that propel this beautifully mysterious centerforthearts/ narrative. An ethereal original score and an actual seance complete the UMBC atmosphere through which a young Concerts take place at 8 p.m. in the woman reaches towards healing. Fine Arts Recital Hall, unless other- March 26— MumPuppettheatre wise noted: will also present Margarey Williams’ March 3— Damocles Trio performs children’s classic The Velveteen Rabbit. Brahms Trio No. 2 in C Major, Op. 87; April 7-10— Trachtenburg Family Joaquín Turina’s Trio No. 2 in b minor, Slideshow Players. How would your Op. 76; Ravel’s Trio in a minor. uncle’s old vacation slides look if Dance Troupe and Music Ensemble March 6, 3 p.m.— Wayne Andy Warhol and The Partridge Fam- of Cambodian-American Heritage Cameron conducts the UMBC Sym- 30 Peabody News MARCH / APRIL 2005

Annapolis Opera The Horses of George Stubbs MARYLAND March 18, 8 p.m., March 20, 3 p.m.— Puccini’s Madama Butterfly. WASHINGTON Maryland Hall for the Creative Arts, ride into the Walters Annapolis. Dateline April 22 & 24, 7 p.m.— “Pasta and Puccini,” an evening of Italian Alexandria Choral Society opera arias and dining. Location TBA. The ACS’s new artistic director April 30, 10:30 a.m.— Children’s Philip Cave presents: opera. Maryland Hall. March 12, 8 p.m.— ACS with Call 4l0/267-8l35 or visit Children’s Chorus, Bel Canto Tier per- www.annapolisopera.org form 20th century American classics including Bernstein’s Chicester Psalms Annapolis Symphony and works by Barber. Orchestra April 17, 5 p.m.— ACS Children’s March 6, 2 p.m. & 3:30 p.m.— Chorus performs Dvorak’s Moravian Scott Speck conducts Prokofiev’s Peter Duets; Vaughan Williams’ Linden Lea; and the Wolf with Jonathan Palevsky, Britten’s Jazz Man; Handel’s O Lovely narrator, and the Bob Brown Puppets. Peace; Schubert’s The Trout and Holst’s Maryland Hall. Corn Song. April 16, 8 p.m.— Glen Cortese Fairlington United Methodist conducts the spring pops concert. Church, 3900 King Street, Alexan- Maryland Hall. dria, VA. April 29, 7 p.m.— “Black and Call 703/548-4734 or visit White Ball” Benefit. Loews Annapolis www.alexchoralsociety.org Hotel. Call 410/263-0907 or visit Annapolis Chorale www.annapolissymphony.org J. Ernest Green conducts: April 2, 8 p.m.— Pergolesi’s Stabat Arlington Symphony The Prince of Wales’s Phaeton, with the Coachman Samuel Thomas and a Mater; Vivaldi’s Gloria; Vaughan Ruben Vartanyan conducts: Tiger-Boy, painted in 1793. Williams’ The Lark Ascending, with March 5, 8 p.m.— R. Strauss’ Don National Symphony Orchestra con- Quixote, with Nathaniel Rosen, cello, A magnificent equine display is at stallions to create the thoroughbred. certmaster Nurit Bar Josef. St. Anne’s Osman Kivrak, viola, Irina Garkavi, the Walters Art Museum from March The 18th century was the golden age Episcopal Church. violin; Mussorgsky’s Pictures at an 13 to May 29. “Stubbs and the of horse breeding and racing in April 30, 8 p.m.— Mendelssohn’s Exhibition. Horse” features canvases by British Britain. Elijah, with full orchestra, chorus, and April 8, 8 p.m.— Verdi’s Requiem, artist George Stubbs (1724-1806), Among Stubbs’s patrons was Vis- eight soloists. Maryland Hall for the with the Baltimore Choral Arts Soci- who is widely considered the greatest count Bolingbroke, owner of Gim- Creative Arts. ety and soloists Kelley Nassief, sopra- painter of horses in the history of art. crack. The portrait that resulted, Gim- Call 410/263-1906 or visit no, Carmella Jones, mezzo soprano, Although Stubbs treated a variety of crack on Newmarket Heath, with a www.annapolischorale.org Jeffrey Springer, tenor, David Arnold, subjects, this exhibition will focus on Trainer, a Stable-Lad, and a Jockey, is bass. the work for which he is most cele- painted on a long horizontal canvas, a brated — his sophisticated and deeply favorite form for Stubbs. It shows the beautiful equestrian images. Stubbs horse winning a race in the right was an artist-scientist who has been background and a stable-lad brushing compared to Leonardo da Vinci. The him down in the left foreground. exhibition includes some 40 major Curiously absent are any crowds paintings, 35 drawings, and three showing the rough-and-tumble of the copies of The Anatomy of the Horse, a races. rare book by Stubbs. Another patron, the Marquess of Among the paintings are portraits Rockingham, commissioned the first of famous racehorses, scenes of mares of Stubbs’s remarkable paintings of and foals at stud farms, and draft ani- horses against plain backgrounds, of mals from the carriage horse to the which Whistlejacket is the most carthorse, as well as dramatic scenes of famous. mortal combat between wild horses Toward the end of his career, and lions. The centerpiece will be the Stubbs enjoyed a spate of patronage monumental Whistlejacket, over nine from the Prince of Wales (later feet tall and never before seen outside George IV), who commissioned 14 of Britain since it was acquired by the paintings celebrating the pleasures of National Gallery in 1997. the outdoors. The accompanying J. Ernest Green (back row center) with his parents, Rachel and Ernest “It may seem odd to refer to illustration shows one of them, Green, and his cousins Al and Michelle Zentgraf. PHOTO: NANCY GRISHAM Stubbs’ paintings as portraits,” com- depicting The Prince of Wales’s Phaeton, ments Eik Kahng, Walters curator of with the Coachman Samuel Thomas and a Celebrating J. Ernest Green 18th- and 19th-centiry art. “Howev- Tiger-Boy, painted in 1793. The Annapolis Chorale saluted Music Director J. Ernest Green’s 20th er, Stubbs did not create generic rep- A series of classic films about hors- anniversary season with a roast at its annual gala on January 15 at the Loews resentations of the nobler horse associ- es will be shown in the Graham Audi- Annapolis Hotel. The 230 guests enjoyed a cocktail reception that included a ated with royalty and power. Instead, torium on: video tribute to Mr. Green featuring members of the Chorale, the regional he captured the look and personality April 15—Seabiscuit: The Lost Docu- arts community and National Symphony Orchestra Pops Conductor Marvin of each individual steed.” mentary Hamlisch. A gourmet dinner followed with entertainment. Performers His work was founded on the April 22: A Day at the Races, a included Master of Ceremonies Tony Spencer, Stef Scaggiari, Sue Matthews, meticulous anatomical research he did 1937 Marx Brothers’ film Mack Bailey, Susan Fleming, Laurie Hays, Tom Magette, Steve Markuson, on horses early in his career at a April 29: The Black Stallion, the Carolene Winter, Scott Root, Peabody alumni Sarah Blaskowsky, Ryan remote farmhouse in northern Eng- beloved 1979 classic about a boy and DeRyke, and Christopher Rhodovi, and the Annapolis Chorale. land. Settling in London at the end of his friendship with an Arabian stal- Many chose humorous songs and even outlandish presentations. Steve the 1750s, where he lived for the rest lion. Markuson sang a special version of Being Green in goggles and flippers. of his life, Stubbs worked mostly for Call 410/547-9000 or visit Another highlight was a surprise by Molly Moore Green, who serenaded her the horse-loving British nobility and www.thewalters.org husband with “Unforgettable.” gentry in an age that saw the import Maryland Speaker of the House Michael Busch closed the evening. The of Middle-Eastern and North African event raised $10,000 for the Annapolis Chorale. MARCH / APRIL 2005 Peabody News 31

Schlesinger Concert Hall, Northern porary music, and narrative to illus- Sonata” Quartet No. 1; Brahms’ Quartet Maryland Symphony Virginia Community College, Alexan- trate the writings of Federico Garcia in B Major, Op. 67. Orchestra dria. Lorca and Wallace Stevens. Program April 15, 8 p.m.—Peabody Trio Elizabeth Schulze conducts: Call 703/528-1817 or visit includes Schoenberg’s Pierrot lunaire. performs Beethoven’s “Kakadu” Varia- March 5, 5 p.m.—Potomac Classi- www.arlingtonsymphony.org Kogod Theatre. tions in G Major; Piano Trio in Eb cal Ballet joins the MSO for a family March 18, 8 p.m.— Ballet Folk- Major, Op. 1, No. 1; Piano Trio in Bb concert featuring Saint-Saens’ Carnival Ballet Theatre of Maryland lórico Cutumba. Caribbean music and Major, Op. 11; Piano Trio in Eb Major, of the Animals. April 9, 8 p.m., April 10, 2 p.m.— dance. Kay Theatre. Op. 70, No. 2. April 2, 8 p.m., April 3, 3 p.m.— Artistic Director Dianna Cuatto pre- April 2, 8 p.m.— Niklas Eppinger, April 29, 8 p.m.—Peabody Trio Rossini’s Cinderella Overture; Mozart’s sents Bizet’s Carmen, set in the historic cello, Hae-Seung Shin, piano. Kodaly’s performs Beethoven’s Piano Trio in c Violin Concerto No. 5 in a minor, K.219, Southwest and featuring the stories of Sonata for solo cello, Op. 8; Dvorak’s minor, Op. 1, No. 3; Sonata for Cello and with Sandra Wolf-Meei Cameron; three Hispanic women. In cooperation Rondo; Paganini’s Moses Variations; Piano, Op. 69; Piano Trio in D Major, Beethoven’s Symphony No. 7 in A with the Hispanic Heritage commit- Op. 70, No. 1. Major, Op. 92. works by Schumann and Beethoven. th tee, Annapolis High School and Bates Gildenhorn Hall. 500 17 St., N.W. April 30, 8 p.m., May 1, 3 p.m.— Middle School. Maryland Hall for the April 3, 8 p.m.— Phil Woods Call 202/639-1770 or visit Gershwin’s An American in Paris; Creative Arts, Annapolis. Quintet. Jazz. Dekelboum Hall. www.corcoran.org Ravel’s Bolero; Gershwin’s Rhapsody in Call 410/263-5544 or visit April 5, 8 p.m.— Catrin Finch, Blue and Ravel’s Piano Concerto in G www.balletmaryland.org Folger Consort Major, with Jeffrey Siegel. harp, Antoine Tamestit, viola, Eugenia The Folger Consort and special Maryland Theatre, 21 S. Potomac Zukerman, flute. Bach’s Prelude and guests perform in the Folger Shake- Candlelight Concert Society St., Hagerstown. Fugue in d minor; Debussy’s Trio for speare Library on Fridays at 8 p.m., April 9, 8 p.m.— Onyx Brass Call 301/797-4000 or visit flute, viola, and harp, L. 137. Gilden- Saturdays at 5 and 8 p.m., and Sun- Quintet. James Maynard’s Fanfare; horn Hall. www.marylandsymphony.org Holborne’s Elizabethan Dance Suite; days at 2 p.m: April 7, 8 p.m.— Ladysmith Black March 4-6—Recorder virtuoso Montgomery College Tallis’ Hymn Tune; Berkeley’s Music Mambazo. South African music. from Chaucer; Jackson’s Fantasia on a Marion Verbruggen and Peabody fac- March 12, 8 p.m.—Gay Men’s Dekelboum Hall. ulty harpsichordist Webb Wiggins Chorus of Washington, D.C. theme of Thomas Tallis; Handel’s Music April 8-9, 8 p.m.— Sara Pearson / from the Royal Fireworks and Eternal perform a concert of Baroque master- March 15, 8 p.m.—St. Petersburg Patrik Widrig and Company, The pieces with viol and continuo. Music State Ballet Theatre performs Source of Light Divine; Civil’s Dance Return of Lot’s Wife. Carter Burwell, Suite; Sir Malcolm Arnold’s Quintet; by Bach and Marin Marais. Tchaikovsky’s Romeo and Juliet. music, Hafiz, poetry. Dance Theatre. April 1-3—Lively songs and Robert E. Parilla Performing Arts show tunes by various composers. April 9, 8 p.m.— Amadeus Trio: April 30, 8 p.m.— American instrumental pieces of Trecento and Center. Timothy Baker, violin, Jeffrey Solow, early Renaissance Italy, with vocalists Chamber Players: Sara Stern, flute; Call 301/279-5301 or visit cello, and Peabody faculty member Johana Arnold and Mark Rimple. Joanna Maurer, violin; Miles Hoffman, www.montgomerycollege.edu/PAC Marian Hahn, piano. Arensky’s Trio, Call 202/544-7077 or visit viola; Alberto Parrini, cello; Jean- Op. 32; Shostakovich’s Trio in e minor; www.folger.edu Musical Arts International Louis Haguenauer, piano. Beethoven’s Tchaikovsky’s Trio, Op. 50. Dekelboum March 12, 8 p.m.—Hasse Borup, Variations on “La ci darem la mano;” Hall. George Mason University violin, Lisa Ponton, vila, Peabody Gaubert’s Three Watercolors for flute, Call 301/405-ARTS (2787) or visit Events are 8 p.m. in the Concert alumna Amy Leung, cello, Li-Ly cello, and piano; Bridge’s Phantasie www.claricesmithcenter.umd.edu Hall, unless otherwise noted: Chang, piano. Latvian Lutheran Piano Quartet in f-sharp; Dutilleux’s March 5—Andrea Marcon conducts Church, 400 Hurley Ave., Rockville. Sonatine for flute and piano; Schu- Columbia Orchestra the Venice Baroque Orchestra with Call 301/933-3715 or visit mann’s Quartet for Piano and Strings in Jason Love conducts: Katia and Marielle LaBeque, duo www.geocities.com/musicalartsinter- Eb Major, Op. 47. March 5, 7:30 p.m.— Samuel piano, in Bach’s Concerto in C Minor, national Smith Theatre, Howard Communi- Coleridge-Taylor’s “Danse Negre” from BWV 1062; Concerto in C Major, BWV ty College, Columbia. African Suite; William Levi Dawson’s O 1061; and Concerto in C Minor, BWV National Gallery Concert Call 410/480-9950 or visit Le’ Me Shine, Shine Like the Morning 1060; Vivaldi’s Concerto in C Major, RV Series Concerts at 6:30 p.m. in the West www.candlelightconcerts.org Star; Elgar’s Enigma Variations. Featur- 114; Concerto in G Minor, RV 156; and Garden Court at the National Gallery ing 2005 Young Artist Competition Concerto in D Minor, RV 127. Cathedral Choral Society April 2—Valery Gergiev conducts of Art: winners. March 6—Takacs String Quartet J. Reilly Lewis presents: April 9, 7:30 p.m.— Pops concert the Kirov Orchestra in Prokofiev’s March 6, 4 p.m.— Tchaikovsky’s Piano Concerto No. 1, with Yefim performs quartets by Bartok and featuring music from Phantom of the Beethoven. Festival Overture “1812;” Rachmani- Opera and Les Miserables and music by Bronfman; Tchaikovsky’s Francesca da noff’s The Bells; Taneyev’s St. John of Rimini; Rimsky-Korsakov’s Capriccio March 13—National Gallery the Beatles. Chamber Players Wind Quintet per- Damascus. Jennifer Welch-Babidge, Jim Rouse Theatre, Wilde Lake Espagnol; Mussorgsky/Ravel’s Pictures soprano, David Ossenfort, tenor, Sergei at an Exhibition. forms music by Antonin Reicha and H.S., 5460 Trumpeter Rd. other Hungarian composers. Leiferkus, baritone. April 3, 4 p.m.— Call 410/381-2004, or visit April 16—St. Petersburg Ballet Theatre, “Russian Seasons.” Concerts in honor of the exhibition British Choir Festival: The Choir of www.columbiaorchestra.org New College, Oxford, Edward April 22, 8 p.m., April 24, 2 Toulouse-Lautrec and Montmartre: Higgenbottom, director. Columbia Pro Cantare p.m.—Virginia Opera, Gounod’s March 20—L’Orchestre de Cham- Washington National Cathedral. March 12, 8 p.m.— Frances Daw- Faust. bre Français performs music by Ravel, Call 202/537-5527 or visit son presents Call 703/993-2787 or visit Magnard, and other early 20th-century www.cathedralchoralsociety.org “Light and Shad- www.gmu.edu/cfa French composers. ows,” featuring a March 27—Philippe Entremont, Choral Arts Society of newly commis- Heritage Signature Chorale piano, performs music by Debussy and April 2, 8 p.m.—Stanley J. Washington sioned work from Ravel. Thurston presents the Chorale as they Norman Scribner presents: Peabody faculty April 3—Rosa Lamoreaux, soprano, join the Prince George’s Philharmonic March 20, 3 p.m.— Bach’s St. composer Tom Betty Bullock, piano, perform a con- for Beethoven’s Ninth Symphony. Dekel- Benjamin, based cert of French cabaret music. Matthew Passion, with Alan Bennett, boum Hall, Clarice Smith Performing on the Emily Concerts in honor of the exhibition tenor (Evangelist), Christopheren Arts Center. Dickenson poem Gilbert Stuart: Nomura, baritone (Jesus), Ellen Har- Alison Matuskey Call 202/ 310-3283 or visit gis, soprano, Stacey Rishoi, mezzo- Hope with April 10—Christ Church Cathedral www.HeritageSignatureChorale.org Choir, Oxford, England, presents soprano, Stanford Olsen, tenor, Peabody alumna Alison Matuskey as music by Attwood, Crotch, Billings, Michael Dean, bass-baritone. Kennedy soloist; Giacomo Carissimi’s oratorio Jezic Ensemble and other British and American com- Center Concert Hall. Jephte; Sir Michael Tippett’s Five Negro March 6, 4 p.m.—Music Director posers of Stuart’s time. Spirituals from A Child of Our Time; Margie Farmer presents the Diane Pea- Call 202/244-3669 or visit April 17—National Gallery music of Thomas Tallis. Christ Episco- cock Jezic Memorial Concert. The www.choralarts.org Orchestra, Stephen Simon, guest con- pal Church. Ravel Trio joins the ensemble. Marikle ductor, offer music by Haydn, Boyce, Clarice Smith Performing Arts Call 410/799-9321 or 410/465- Chapel, College of Notre Dame, Balti- and other Stuart contemporaries. 5744 or visit www.cpcchorus.info/ more. Center April 24—Penelope Crawford, March 4-5, 8 p.m., March 6, 3 p.m. Call 410/374-9059 or visit Corcoran Gallery of Art fortepiano, Stephen Ackert, organ. www.jezicensemble.org — Blair Thomas & Co., featuring March 17, 8 p.m.—Prazak Quartet Call 202/842-6941 or visit eighth blackbird and Lucy Shelton, performs Haydn’s Quartet in g minor, www.nga.gov/programs/music soprano, combine puppetry, contem- Op. 74, No. 3; Janacek’s “Kreutzer 32 Peabody News MARCH / APRIL 2005 April 10, 3 p.m.—Kennith Slowik, Mescheriakova, soprano, Olga Borodi- Holberg Suite; Mozart’s Symphony No. Broadwood piano, James Weaver, bari- na, mezzo-soprano, Marcus Haddock, 29; Haydn’s Scena di Berenice and Bar- MARYLAND tone. Schumann’s Dichterliebe (com- tenor, Ildar Abdrazakov, bass, and the ber’s Knoxville, Summer of 1915, with WASHINGTON plete) and Liederkreis (selections). National Symphony Orchestra. Barbara Bonney, soprano. Strathmore. Strathmore’s “Signature Series” Kennedy Center Concert Hall. April 2, 4:30 p.m.— Lang Lang, Dateline beginning at 8 p.m., unless noted oth- Call 202/342-6221 or visit piano. erwise: www.thewashingtonchorus.org April 6, 8 p.m.— Evgeny Kissin, National Symphony March 4—Peking Acrobats. piano, performs Chopin polonaises; Washington Concert Opera Orchestra March 9—Bonnie Rideout, fiddle, Medtner’s Sonata “Reminiscenza” in a March 24, 7 p.m., March 25 & 26, with the City of Washington Pipe April 8, 7:30 p.m.—Antony Walk- minor; Stravinsky’s Petrushka Suite. 8 p.m.—Stéphene Denevè conducts Band. Jigs and reels. er conducts Massenet’s rarely per- Strathmore. Verdi’s Requiem, with Marina March 11—China Philharmonic formed Esclarmonde, written as a result April 11, 8 p.m.— Yo-Yo Ma and Mescheriakova, soprano, Olga Borodi- with Yujia Wang, piano. of his infatuation with an American the Silk Road Ensemble. na, mezzo-soprano, Marcus Haddock, April 8—Peter Cincotti, jazz soprano. Esclarmonde recounts the tale April 27, 7:30 p.m.— Artemis tenor, Ildar Abdrazakov, bass, The pianist. of a medieval Byzantine princess and Quartet performs Mendelssohn’s Quar- Washington Chorus, Robert Shafer, April 10, 3 p.m.—Boys Choir of her knight, Roland de Blois. Lisner tet in a minor; Bartok’s Quartet No. 2; music director. Harlem. Auditorium, George Washington Uni- Schumann’s Quartet in A Major, No. 3. March 31, 7 p.m., April 1 & 2, 8 April 17, 2 p.m. & 7 p.m.—Savion versity. Kennedy Center Terrace Theater. p.m.—Pops concert: Marvin Ham- Glover, tap dancer. Call 202/364-5826 or visit April 30, 2 p.m.— Giovanni Bel- lisch, conductor, Barbara Cook, vocal- April 20—Seldom Scene, with Sam www.concertopera.org lucci, piano. Kennedy Center Terrace ist. Bush, mandolin, and Natalie MacMas- Washington National Opera Theater. April 21, 7 p.m., April 22, 8 p.m., ter, fiddle. Bluegrass music. March 26, 31, April 3m, 5, 8, 11— Call 202/785-WPAS (9727) or visit April 24, 7 p.m.—Mahler’s Symphony April 21—Dee Dee Bridgewater, Soprano Mirella Freni will make her www.wpas.org No. 9 in D Major. jazz vocalist. U.S. debut as Joan of Arc, a role she Wolf Trap April 28, 7 p.m., April 29 & 30, 8 Call 301/581-5100 or visit has made her own, in the company’s p.m.—John Williams conducts his www.strathmore.org March 11, 8 p.m.— Nina Kotova, premiere presentation of Tchaikovsky’s cello. own concert works: Soundings; Violin The Maid of Orleans. Washington Concerto and Tree Song, with Gil Sha- United States Naval April 1, 8 p.m.— Claremont Trio. Academy Opera will mount the celebrated April 29, 8 p.m.— Wolf Trap ham; American Journey (selections). Teatro Regio di Torino production cre- Kennedy Center Concert Hall. March 1, 7:30 p.m.—Opera Verdi Opera Company artist, Nathan Gunn, Europa, Ivan Kyurkchiev, artistic ated for Ms. Freni with its original cre- baritone, with Kim Pensinger Wit- Call 202/467-4600 or 1-800/444- ative team of conductor Stefano Ran- 1324 or visit www.kennedy-center.org director, presents Verdi’s Aida. Alum- man, piano. ni Hall. zani, director Lamberto Puggelli, and Call 703/218-6500 or visit designer Luisa Spinatelli. Russian Prince George’s Philharmonic March 29, 7:30 p.m.—St. Peters- www.wolftrap.org April 2, 8 p.m.—Charles Ellis con- burg Ballet, Yuri Petukhov, artistic baritone Sergei Leiferkus returns as the ducts Beethoven’s Symphony No. 9 with director, presents Prokofiev’s Romeo and Burgundian knight Lionel who cap- Marilyn Moore Brown, soprano, Juliet. Alumni Hall. tures Joan’s heart. Two Washington Delores Ziegler, mezzo-soprano, Keith April 3, 3 p.m.—Spring Organ Opera debuts include Kirov baritone Craig, tenor; Eric Johnson, bass, The Concert. Monte Maxwell, organ. Main Evgeny Nikitin as Joan’s father, Chesapeake Chorale, Jesse Parker, Chapel. Thibaut, and Ukranian tenor Viktor WEST VIRGINIA, Artistic Director, The Heritage Signa- April 15, 8 p.m.—Men’s Glee Club Lutsiuk as Charles VII. ture Chorale, Stanley Thurston, Music Tour Concert / Annapolis Music Festi- April 2, 4, 6, 9, 12, 15, 17m— PENNSYLVANIA Director, The High Point High School val. Alumni Hall. Mozart’s comic masterpiece Die Concert Choir, Ned Lewis, Director. April 23, 7:30 p.m.—Annapolis Zauberflöte is presented in an inventive and beyond Dekelboum Hall, Clarice Smith Per- Symphony Orchestra and USNA Glee Los Angeles Opera production forming Arts Center, College Park. Club with Smith College Glee Club designed by Gerald Scarfe. Coolfont Call 301/454-1462 or visit and Goucher College Chorus present Kennedy Center Opera House. March 13, 8:30 p.m.—Towson Uni- www.pgphilharmonic.org Verdi’s Requiem, conducted by John Call 202/295-2400 or 1-800-876- versity Cello Ensemble. Treetop Barry Talley. Alumni Hall. 7372 or visit www.dc-opera.org House. Strathmore Music Center Call 410/293-8497 (TIXS) or visit April 10, 8:30 p.m.—Sue Baltimore Symphony Orchestra Washington Performing Arts www.usna.edu/Music Society Richards, harp, Mark Jaster, mime. Yuri Temirkanov conducts concerts Treetop House. at 8 p.m., unless otherwise noted: University of Maryland Events takes place in the Kennedy Center Concert Hall unless otherwise For information on the Coolfont March 3—Eri Klas conducts Symphony Orchestra Resort, Conference, Spa and Wellness Smetana’s Overture to “The Bartered March 17, 8 p.m.— James Ross indicated: March 5, 4:30 p.m.— Masters of Center and its cultural programs, call Bride;” Gershwin’s Concerto in F, with conducts Beethoven’s Leonore Overture 304/258-4500, 800/888-8768 or No. 3; Rachmaninoff’s Piano Concerto Persian Music. Arnaldo Cohen, piano; Copland’s visit www.coolfont.com Appalachian Spring; Tchaikovsky’s No. 1; Respighi’s Festa Romana. Dekel- March 7, 8 p.m.— André Previn conducts the Oslo Philharmonic in Capriccio italien. boum Concert Hall.. Strand-Capitol Performing April 15, 21, 23, 7:30 p.m., April Ravel’s Alborado del gracioso and Daph- April 1, 8 p.m.—Bobby McFerrin Arts Center 17, 3 p.m.— Handel’s Julius Caeser, nis et Chloë, Suite No. 2; Gershwin’s conducts and improvises on the music March 15-17, 7:30 p.m.—Triple Leon Major, director. UMSO and Piano Concerto in F, with Previn at the of Mozart, including Symphony No. 7a Espresso. Vaudeville-style comedy. Choirs. Kay Theatre. piano; Previn’s Honey & Rue, with “Old Lambach;” Symphony No. 38 March 22, 7:30 p.m.—Bizet’s Car- “Prague;” Piano Concerto No. 22, with April 16, 20, 22, 7:30 p.m., April Denyce Graves, mezzo-soprano. 24, 3 p.m.— Puccini’s La Bohème, Pat March 15, 8 p.m.— The Chief- men in a production by Teatro Lirico Christopher O’Riley. D’Europa. Piano Concerto Diamon director. UMSO and Choirs, tains. April 9—Beethoven’s March 29 – April 3—Riverdance. No. 4, with Elisso Virsaladze; Mahler’s Jeffrey Rink, conductor. Kay Theatre. March 18, 8 p.m.— Kodo Drum- April 8, 7:30 p.m.—Pilobolus. Symphony No. 4. Clarice Smith Performing Arts mers. Japanese music. DAR Constitu- Modern dance, gymnastics, perfor- April 14—Saint-Saën’s Violin Con- Center, College Park. tion Hall. mance art. certo No. 3, with Stefan Jackiw; Call 301/405-ARTS (2787) or visit March 19, 4:30 p.m.— National Franck’s Symphony in d minor. www.claricesmithcenter.umd.edu Acrobats of Taiwan. April 9, 2 p.m.—Fred Garbo’s April 1—Bobby McFerrin conducts March 22, 7:30 p.m.— DaXun Inflatable Theatre Company. and improvises on the music of Washington Ballet Zhang, double bass, with Tomoko April 10, 2 p.m.—Spring Garden Mozart, including Piano Concerto No. April 13-17— Prokofiev’s Romeo and Kashiwagi, piano, perform Misek’s Band. 22, with Christopher O’Riley. Juliet, Septime Webre, director. Eisen- Concert Polonaise; Beethoven/Zhang’s April 24, 7:30 p.m.—Michael Strathmore’s “Music in the Man- hower Theater, Kennedy Center. Cello Sonata in A Major; Hua’s Moon Amante and Susan Lucci perform sion” series: Visit Call 202/467-4600 or Reflected in an Erquan Pool; Sarasate’s pop, jazz standards, and Broadway March 3, 7:30 p.m.—Imani Winds. 202/362-3606 or visit www.washing- Zigeunerweisen. Kennedy Center Terrace tunes. Wind quintet music by Bozza, Falla, tonballet.org Theater. April 29-30, 7:30 p.m., April 30, March 26, 2 p.m.— Alexandre 2 p.m.—Smokey Joe’s Cafe. Valerie Coleman, and Jeff Scott. Washington Chorus March 10, 7:30 p.m.—Steve Tharaud, piano. Kennedy Center Ter- 50 N. George St., York, PA. March 24, 7 p.m. March 25 & 26, 8 race Theater. Baughman and Robin Bullock, gui- p.m.— Stéphene Denevè conducts Call 717/846-1111 or visit tars. Celtic music. March 30, 8 p.m.— Orpheus www.strandcapitol.org Verdi’s Requiem, with Marina Chamber Orchestra perform Grieg’s MARCH / APRIL 2005 Peabody News 33 Where Violins and Vector Analysis Meet— Peabody celebrates Alan Kefauver and the 20th Anniversary of Peabody’s Recording Arts and Sciences Program with a Symposium on the Future of the Sound Recording Industry

By Geoffrey Himes program. At the same time, the stu- Warner is head of Audio-Visual If you taught violin during the 1983- dent would have to pass electrical Design for the international design 1984 school year and you’re still engineering courses at Johns Hop- firm RTKL. Neil Tevault is the tech- teaching today, not much has kins’ Whiting School and Kefauver’s nical director for music and entertain- changed. It’s still the same instru- own special classes and practicum in ment programs at National Public ment played with pretty much the recording. At the end of the five-year Radio. Jason Harlow helped design same technique. program, the graduate would have a the noise-canceling headphone for If, on the other hand, you’ve rare combination of music training, Bose. Brian Schmidt is an engineer at taught recording for 20 years, as Alan science education, and hands-on stu- Dolby Labs and works on streaming Kefauver has, much has changed. dio experience. system for internet music among When he began the Peabody Record- “My idea,” Kefauver explains, “was other things. And so on. ing Arts and Sciences Program in that a graduate of this program could “One of our music graduates who 1983, almost all recording was done perform on either side of the window. worked for me in the studios before on analogue tape; now most recording When a violinist says, ‘I want a dark- the program actually started, William is done to digital hard drives. Almost er sound,’ it almost takes another Moylan, runs the recording program all the equipment is different, and musician to understand what that at the University of Lowell in Massa- most of it is smaller and more power- means. It’s like the chicken-or-the- chusetts,” Kefauver points out. ful. egg argument—what comes first, the “Another graduate, Bernd Gottinger, A recording professor has to music or the science? Most musicians runs the audio program at SUNY at relearn his subject matter every three can’t run equipment, and most engi- Fredonia. It tickles me that some of years or so. A strings professor would neers can’t follow a score. My stu- my graduates have become my com- face a similar situation only if the vio- dents know enough electrical engi- Alan Kefauver petition at other schools. It’s funny lin suddenly changed into an instru- neering to design a unit and operate how their curricula become more and ment with seven strings, a miniature it and enough music to perform in be sitting next to a totally left-brain more like Peabody’s as the years go body, two knobs, a brass neck and a front of it. “ engineer whose circuit board was very by. I guess imitation is the sincerest bow made of magnetic tape. “Anybody who’s going to work neat and tidy. By contrast, mine form of flattery.” “My wife will tell you,” Kefauver with music in a studio needs to be a looked like an octopus, but it worked Many of these alumni returned to says, “that I’m up every night reading totally qualified musician,” argues and it was a very creative solution to Peabody on January 29 for a day-long magazines and manuals, trying to Peabody director Bob Sirota. “So to the problem. Marrying those two “Peabody Recording Arts and Sci- stay on top of it. I’m always calling be a recording major here you have to sides of the brain is very important. ences Program 20th Anniversary Cel- my former students to find out what’s pass your performing audition, just That’s why when I hire a studio engi- ebration, honoring Alan P. Kefauver.” happening out there. And you can like any other student. You have to neer, I almost insist that they have a They were joined by many current never learn too much about comput- have the ears that training gives you. music background, and most of them students and staff from the school. ers.” As a result, the program often That’s very different from other have had some connection to Also on hand were an impressive resembles the department at a science recording arts programs. The core is Peabody.” array of audio-industry heavyweights school more than one at a music con- still the traditional courses; every- This unusual blend of skills has who had befriended Kefauver over the servatory. thing springs from that. Another way led Peabody’s recording-program years and had now come to pay trib- And yet, the most crucial talent of of saying that is we’ve too long let graduates into some very interesting ute—everyone from Grammy Award- any recording engineer—the ability people who aren’t musicians run our jobs. Like de Freitas, David Patschke winning producers George Massen- to recognize the best music, to distin- business.” has produced award-winning docu- burg and John Eargle to Charles guish better sounds from the merely “In the 20 years of the program,” mentaries for the Soundprint radio Thompson, the overall technical good—is timeless. It’s the same Kefauver explains, “we’ve had 590 series. Lawrence Manchester has engi- director at National Public Radio, skill—a good ear—that any sym- applicants; 260 were accepted, and neered the soundtracks for such from Matthew Polk, the co-founder of phonic, jazz or bluegrass musician 100 graduated. The rest of the school movies as The Red Violin and Frida. Polk Audio, to Bob Goldstein, the must have. That talent is pretty much has a graduation rate of 90%. Ours is Sheldon Steiger has produced records founder of Maryland Sound, from the same today as it was in 19th-cen- lower because this program is really for Joe Jackson and has composed Josiah Gluck, the associate music tury Vienna, when sheet-music tran- hard; it’s self-weeding. But my guys music for such films as American Psy- engineer at “Saturday Night Live,” to scribers and ballroom architects were get real jobs that make real money cho. jazz producer Michael McDonald. as obsessed with preserving and pre- when they get out.” Harold Chambers is the senior “The students are talented enough senting music as today’s audio engi- “When I was coming out of high music-production engineer at when they’re here,” Kefauver insists, neers and acoustic designers are. school,” remembers alumna Anna WQXR-FM in New York. Xiadong “that I’m not surprised when they go These two competing pressures— Maria de Freitas, now a vice president Zhou is the senior audio engineer at on to do ‘Saturday Night Live’ or the the drive to keep up with ever- at Soundprint, “going to Peabody was Beijing Radio in China. Lisa Wein- soundtrack from Red Violin. I expect improving equipment and the need a hard decision, because I was very hold is the principal flutist at the that.” to capture the timeless values of the interested in science and math and I Alabama Symphony. Angela Taylor The day began with a brunch at music itself—make audio engineers a didn’t want to give up the analytic runs her own record company in Bal- the Mount Vernon Club, that gem of hybrid breed. And it makes the train- part of my life and commit myself timore and is an audio engineer for 1840s neo-classical architecture. It ing of audio engineers a hybrid pro- solely to the flute. So when I heard ABC News in Washington. Matt had the air of a college reunion with gram. No American school has made about the recording arts program, I Lyons is a former engineer at Polk folks strolling around with mimosas an earlier or fuller commitment to a was very excited because it gave me a Audio now teaching at Peabody who in their right hands and blue-and- truly balanced recording curriculum chance to marry these interests. I’ve is design engineer and part owner of white name tags on their left lapels as than Peabody. always been someone who had to do a the Adcom company. they periodically cried, “I haven’t In September, 1984, Kefauver lot of different things to keep balance Atau Tanaka is a co-founder of the seen you since ….” launched the conservatory’s innova- in my life. art-rock Sensorband {cq} and has It also had the air of a techno-geek tive Recording Program, an unusual “The Peabody program gave me done research on interactive music convention as you overheard people approach that demanded that each both right-brain creative skills and technology for Apple and IRCAM as heatedly arguing about the relative incoming student audition for a left-brain technical skills,” she adds. well as his day job as Researcher at merits of this microphone and that music-performance slot at Peabody “When I stayed on at Whiting to get the Sony Computer Science Lab, pre-amp. In the midst of it all was and then successfully complete that a masters in electrical engineering, I’d Paris, in Future Music Systems. Tony Continued on Page 34 34 Peabody News MARCH / APRIL 2005 Recording Arts already lost information that you can’t get back. If most music ends up Continued from Page 33 being stored this way, we’ll be losing Kefauver, flushed with the slightly a lot of our musical heritage; it’s embarrassed pleasure of someone who already being lost.” has to absorb compliments and The challenge for Kefauver and his thank-yous all day long. program is to keep abreast of the At 2 p.m. the action moved to the ever-accelerating cutting-edge of Cohen-Davison Theatre, a new hall innovation without losing a sense of created as part of the Institute’s what makes music worth recording recent renovations, for a panel discus- and replaying in the first place. In sion on “The State of the Art: Look- other words, they need the expertise ing Ahead to the Next 20 Years.” to create the best sound possible, but Panel moderator Matthew Polk set they also need to keep in mind that the mood with his declaration, “An music “is an emotional art,” in ancient Chinese curse was, ‘May you Thompson’s words. They need to sus- live in interesting times.’ I’m won- tain that emotional connection with dering, ‘Who did we in the audio the listener if they are ever to answer industry offend?’ Polk’s question, “Does anyone care?” “What is going on around us is We live in an era when recording truly amazing,” he continued. “Since equipment has become so widely the founding of the recording arts available and affordable that any program, 85 years of analogue record- Acknowledged leaders in the Sound Recording field brought their exper- musician can buy it, set it up in his tise to the Peabody panel discussions. Front Row: Lawrence Manchester, ing technology has been completely basement and make an album. In a overturned by digital technology. Matthew Polk, chair, John Eargle, Bob Goldstein. Back Row: Tony Warn- world such as this, what is the role of er, Michael MacDonald, Josiah Gluck, Alan Kefauver, George Massen- Now it’s happening to video before the highly trained audio engineers berg, and Charles Thompson. our very eyes. There have been graduating from Peabody? don’t know how to make something design and acoustic firms respectively tremendous advances in the state of “It has never been easier to say sound that bad.” in addition to their teaching at the art of recording, reproduction, you’re an audio engineer,” said alum- “There’s no real apprenticeship,” Peabody. “It’s good to have practical content delivery. nus panelist David Patschke, “but it’s he added, “no real learning about how examples of how to apply the theory “So here we are, all of us striving never been harder to be a good one…. to do good sound, where to place the you’re talking about,” says Shade. “In to create a great audio experience, and Fifteen years ago when desktop pub- mike, how to make a saxophone acoustics class, we derive the rever- yet most of the world seems content lishing and Photoshop software sound like a particular player playing beration time equation to describe to listen to their music in the form of became widely available, everyone that saxophone on a particular day. the build-up and decay of sound in a highly compressed MP3 bit streams. thought they could be a graphic These kids come in and say, ‘We don’t room. When the question inevitably Does anyone care about what we do designer and there was a fear that want to be a slick corporate band,’ arises, ‘Why do I need to know this?’ or are we unrecognized geniuses dis- there would be no need for profes- when actually they don’t know how I can describe my experience design- connected from reality?” sional designers. But lo and behold, to make it sound any better. They ing an auditorium and how I use the Polk was describing the very odd there are still professional graphic hide their lack of ability and lack of results of that equation. That makes situation we find ourselves in today. designers out there, because people experience behind their rhetoric. it seem more real. On the one hand, the technology for realized they need people who are Then, if that record somehow “On the other hand, teaching capturing and replaying a musical trained and know what they’re doing. becomes a hit, that lack of profession- keeps me honest in my professional performance has never been better. The same will be true of audio engi- alism becomes the new standard.” life. A lot of the design work I do on With 5.1 surround sound, the experi- neers.” “There’s a reason that CD handed a daily basis isn’t intellectually chal- ence is so convincing spatially that “We’ve made it possible for every- to Josh is so crappy,” Massenburg lenging; it can become rote. Students you can close your eyes and believe one to make an album,” Nashville added. “The problem has been the are always asking questions that you that you’ve pulled up a chair between producer George Massenburg noted incremental dumbing down of audio. don’t have answers to, and it’s good to the second violinist and the violist in after the panel, “and everyone has. It’s comparing two pieces of equip- be stimulated.” a string quartet or between the saxo- We’re overwhelmed by product and ment and just picking whatever’s This versatility of faculty and cur- phonist and the trumpeter in a jazz we’ve lost the ability to tell the good cheaper or louder or more convenient riculum in the Peabody recording combo. And yet most people under from the bad.” and eliminating any other considera- program yields alumni who can make 30 download their music from the Josiah Gluck gave an example tions. Incrementally, the sound gets a decided difference in the quality of internet, where the performances have from his work on “Saturday Night worse and worse until the outcome is music reproduction. But in a world been compressed into MP3 or other Live.” He’ll be given an album from a your crappy CD.” where many people listen to music on files. new band and be told that the TV Decisions about equipment and tiny, tinny TV speakers or on cheap, “Once you’ve made an MP3 file,” sound should resemble the CD’s technique are made at each step of the flimsy headphones, does anyone care Kefauver said beforehand, “you’ve sound. And his reaction will be, “I chain between the live performer and about that difference? What is the the live listener—in the actual role of expert audio engineers in the recording of the performance, in the 21st century? transfer of that recording to a con- Panelist Eargle, who won the 2000 sumer commodity (a CD, DVD, a Grammy Award for Best Engineered download file, a radio signal, a live- Classical Album (Zdenek Macal’s concert mix, etc.), in the system that Dvorak Requiem), suggested that a big plays back that commodity and in the part of the problem is that we live in arrangement of the room where the an increasingly visual world. That’s sound is heard. There are so many inevitable, he concedes, because the places the sound can go wrong that visual cortex in our brain is 10 times it’s a miracle it ever emerges with any the size of our audio cortex. But with quality at all. music increasingly married to film, The Peabody recording program television and video, audio considera- covers every phase of that process, tions often become an afterthought. both in studio and concert perfor- “When the two centers of the mances. Kefauver teaches all the brain,” he points out, “are excited at recording courses; Matt Lyons teaches the same time by entertainment, for the equipment design courses, and example by television, you’re apt to Neil Thompson Shade teaches the look at the picture very carefully. Any acoustics courses. “Alan does tape,” part of the picture that isn’t right, Left to right: Peabody Recording alumni, Neil Tevault, David Patschke, Lyons says; “I do boxes, and Neil does any flicker, will bother you, and yet Angela Taylor, and Matthew Lyons, chair, provided insight from their rooms.” you will sit there and tolerate the own professional experiences. Lyons and Shade both run audio- worst possible sound. In other words, MARCH / APRIL 2005 Peabody News 35 we’ve become slaves to television. “Because of a nasty, cheap device “Every major loud-speaker compa- called the portable transistor radio. It ny today is making more money on allowed teenagers in the ‘60s to hear automotive products and video prod- the music they wanted to hear instead ucts than they are on those fancy of having to go into that giant Philco lovely, five-foot loud speakers selling set in the living room and having at a high-ticket price to the audio- their parents tell them to turn that phile. The high-end part of the mar- awful music off. Sure, the transistor ket has become so attenuated that it’s had horrible sound, but it created a practically a cottage industry. What whole new generation of music lovers, saddens me is all the great hi-fi salons which led to a whole revolution in that I used to go to 25 years ago, music technology. where I could sit down with friends “Today people are fascinated by a and lose myself in the music, are all device that carries 10,000 songs in a about video now.” compressed format. Once the novelty “As engineers and classical musi- wears off, they’ll still love music but cians,” alumnus panelist Tony Warner they’ll want better sound and that suggested, “we represent a very small will lead them to better audio. It’s fraction of the general public. Most just like people who buy a cheap people don’t sit and evaluate music model as their first car and graduate the way we do. Most people listen to to better and better cars.” music in their cars, while they’re Massenburg—a Baltimore native Alan Kefuaver shows George Massenburg, Brian McGovern, and Greg cooking, on their clock radios. To say who went on to produce records for Lukens the new, state-of-the-art recording studio. that their quality of life is somehow Bonnie Raitt, James Taylor, Little inferior because they’re not experienc- Feat and Linda Ronstadt—countered mass phenomenon and concentrate on assistant. When Thompson got draft- ing music the way they need to be is by claiming that the high-end tier of a small but devoted audience. You ed into the army in 1970, Kefauver to miss the mark. We need to accept audio is endangered today as never have to serve that audience very well took over as director. He’s been in the how people use music in their life and before. The record companies and the and you have to make it easy for new- studio ever since. figure out how we can better that or audio manufacturers, he maintained, comers to join the club. “I’m a French horn player,” he in 20 years we’re going to be sitting have pretty much abandoned invest- “It’s an illusion to call anything says. “I don’t play much any more, on this stage again wondering how ment and marketing of audiophile broadcasting anymore,” claimed but for many years I played profes- we missed the mark.” systems. NPR’s Charles Thompson. “Every- sionally—in the pit at the Mechanic, At a certain point this discussion At a time when multi-channel thing is niche. Niche marketing is as the seventh horn in the Bruchner of the crisis in audio began to sound recordings are not only feasible but driving places like XM radio with its symphony at the BSO, with the cir- very familiar. It began to sound like also provide an unprecedented sonic 100 channels, cable TV with its 100 cus, anything that paid. There’s noth- every discussion one has ever heard experience, he contended, they’re not channels, Amazon giving you your ing like six weeks of Fiddler on the about the crisis of classical music or being made. A whole generation of personality profile. Ultimately what Roof, eight shows a week, to make the crisis of jazz. The arguments are multi-channel performances could be we can affect is our portion of that. you appreciate academia. At one the same: We have this wonderful lost before the industry rediscovers Whether we’re making a rock record point, in the early ‘80s, I was in the experience—it might be Bartok the format, unless producers and or a classical record, whether we’re pit at the Mechanic, running the pro- string quartet, a Charlie Parker solo, engineers take the initiative to stock- presenting live jazz on the radio or on gram here and recording the or a 5.1 surround sound system—that pile the recordings to build a cata- TV, what we can do it make those Philadelphia Symphony Orchestra people would really love if they could logue for the future. experiences sound as good as we can. five times a week for broadcast. I had just be exposed to it and learn how to Michael McDonald, who has engi- What happens after that is called dis- to give that up, because I never saw appreciate it. Instead we are faced neered CDs for Fred Hersch and other tribution, and we don’t have control my family. with smaller and grayer audiences. jazz artists, insisted that the high-end over that. But we do know what we “In 1978, I met a remarkable man, What do we do? tier was alive and healthy in the most do have control over.” Harold Boxer, Music Director of The “Hasn’t there always been within logical place to look for it—amid the “Part of the answer,” Massenburg Voice of America in Washington D.C the industry a two-tier system?” classical and jazz audiences composed offers, “is you have to do what you do who wanted to start an Audio Insti- alumnus panelist Lawrence Manches- of the older, better educated, more very well. Our job as technologists is tute at The Aspen Music Festival.. He ter asked. “Hasn’t there always been a affluent listeners most likely to care to retain the artists’ intent. There’s a asked if I would go out to Colorado cheap, convenient, easily accessible about audio quality. The small jazz place in the world for that; it’s not a with him to record some of the festi- delivery system, whether it was the labels he works for are eager to pursue big place, but there’s a place for it.” val’s performances. And while I was Walkman, cassettes or now the iPod? SACD and multi-channel sound Back in the late ‘60s, Massenburg there, he added, would I talk to some Hasn’t there always been an expensive because that’s the way they can differ- ran Recordings Inc., just about the students? I went back to Aspen every high-end system, whether it was hi-fi entiate themselves from the big com- only decent studio in Baltimore, and summer, and the students would stereo, half-speed mastering or now panies and cement their ties to a spe- Thompson and Kefauver were always say, ‘Where can we go to col- 5.1 surround sound? Hasn’t that cialized audience. Peabody undergraduates who got bit lege and study recording?’ There were always been the case? Won’t that McDonald’s experience implies by the recording bug. Thompson was trade schools, but the only college always be the case?” that high-end audio will have to take working in the school library, and he program was at the University of “Why are we all doing what we’re the same path as jazz and classical soon realized that the tape archives, Miami and there was nothing at a doing today?” Polk afterward asked of music. It will have to abandon the recorded in lo-fi mono, weren’t very conservatory. What we needed was his fellow baby-boomers on the panel. dream of becoming a broad-based good. Though he was still an under- something like the Tonmeister pro- grad, he started agitating for the gram in Germany and Austria, so I school to build a real studio that got hold of their curriculum. could record and mix in stereo. “If I hadn’t had a courageous dean, Charles Kent, the school’s director Irving Lowens, on my side, this pro- at the time, was very interested in gram never would have happened,” technology—he had bought one of Kefauver continues. “He thought it Robert Moog’s first synthesizers for was a good idea, and he helped me the school in 1965—and gave get an academic program started. At Thompson and Kefauver the OK to first there were some piano and other create the studio themselves. Thomp- faculty who thought students son was already apprenticing for couldn’t put enough time into their Massenburg on Cold Spring Lane, so instruments if they took math and he had a role model for building science courses, so they wouldn’t equipment from scratch. When teach recording majors. That’s Thompson graduated in 1969, he was changed. Once people realized we Musica Brainious: When the program began in 1983, cartoonist Mike hired as the first director of the were going to be sensitive to their Lane perfectly captured the rare bird for whom it was designed — the Peabody Recording Studio, with needs, they began to cooperate.” musician with very high math scores. Kefauver, still an undergrad, as his On a weekday in January, Kefauver 36 Peabody News MARCH / APRIL 2005 sits at his favorite place—in the a team; in the second semester they padded swivel chair behind the giant might move up to a duo or trio. By console in Peabody’s Studio 220. He’s the third year, they’re handling a round Buddha of a man with salt- ensembles, not just classical but also and-pepper hair and a bushy mus- jazz and pop. By the fourth year, tache. On this day he wears a maroon they’re handling projects on their shirt, gray slacks, glasses and the own. And in the fifth year, they have skeptical smile that hints at Gluck’s to organize and complete a major description of his mentor as someone recording project in the jazz or pop who “does not suffer fools lightly.” fields entirely on their own. The console is a million-dollar “My years at Peabody were machine, a Sony Oxford OXF-3 board exhausting,” remembers Manchester. with 120 inputs and 96 outputs, a “The day started at 7 a.m. so you state-of-the-art tool that can handle could be in theory class at 8:30 and it multi-channel digital recording. It didn’t end till 11:30 at night. You was purchased and installed as part of didn’t have classes on weekend, but Peabody’s major renovations of 2003- there were always rehearsals for one 2004. The console is wired to all four thing or another. At the end of the of Peabody’s concert halls—Fried- day I was pretty whipped, but I’m berg, Griswold, Cohen-Davison and The Cohen-Davison Family Theatre was packed for the panel discussions. not complaining, because I loved East—and can record performances Studio 2002, a two-year-old digital taking a digital picture of it and only every minute of it.” from any of them. studio that handled the main brunt of keeping the necessary bytes.” “And I apply the education I got “This console is going to be here the load while Studio 220 was being Students in the Peabody recording at Peabody in so many ways,” he for a while,” Kefauver promises. “You renovated. Also downstairs is Studio program have to pursue three differ- adds. “Because I was a musician at have to be careful to distinguish inno- 3036, which gives students a chance ent courses of study—the usual con- Peabody, there’s no need for a middle vations from fads. Students come in to work on vintage analogue equip- servatory path of mastering a particu- man when I’m working with another and say the latest hit record was made ment, which is still preferred by some lar instrument, ear training and musician in the studio, because we with so-and-so’s pre-amp; it’s the engineers. ensemble playing; the standard Hop- both speak the same language. greatest thing since sliced bread and All four studios are kept busy. “We kins courses in electrical engineering; “When I’m working on a film we have to have one. Then it’s my job do 800 events a year at the school,” and the special classes and internships score, both the composer and the to investigate and make an evalua- Kefauver explains, “and we record designed by Kefauver and his staff. director rely on me to capture the tion. Was it really so-and-so’s pre- them all. There are twice as many The classes cover every link in the music in a way that reflects their amp or was it a really good engineer recitals in the second semester as in recording and playback chain. artistic vision but at the same time who just happened to use that pre- the first, and in April we have as But even as they’re studying that works on a technical level so it syncs amp? If it really was the equipment, many as six recitals a day. Basically, if theory, students are already applying up with the visuals and sounds really we’ll get it.” it moves, we record it. And every- it. As freshmen they begin recording good. So when they say, they want it Through the glass window above thing gets put in the archives.” Peabody concerts as assistants to to sound full and warm here, that the console, one can look out from the Kefauver tries to save everything upperclassmen. They don’t get paid could mean many things but I can control room into the main room of he records on both digital tape and for class projects, but they do get paid translate that into musical terms and Studio 220. It’s there that up to 20 digital hard drives. One of the great for working on Peabody recitals and tweak the knobs to make it happen.” musicians can gather for a recording ironies of the digital revolution, concerts. Moreover, they are required “What I learned from Alan,” session. This room too was complete- which was supposed to make data to work an average of 10 hours a recalls Gluck, “was to not be afraid of ly redone in the renovations, and now storage easier, is that it often makes it week—both to build up their experi- the equipment. Treat it with respect, its walls are covered by blond-wood harder. A storage medium is only as ence and to guarantee that every yes, but get in there and do it. We quadratic diffusers and gray-cloth good as its playback mechanism and Peabody event gets recorded use equipment that can be measured abflectors to create as neutral and with those mechanisms changing so “I spend my days in a recording to the most precise parameters, and even a sound as possible. The dif- frequently, it’s not always easy to find studio at a control board,” explains yet we use it to capture music, which fusers and abflectors were designed by a working machine to handle your old New York producer Sheldon Steiger, is the most emotional and personal of Peter D’Antonio of RPG Acoustics tapes and discs. And the discs them- “working with the same kind of the arts. It’s to Alan’s credit that I and installed by Peabody students selves are suspect. equipment I used at Peabody. I’m try- never lost sight of the art while carry- under his guidance. “Sometimes we have to archive the ing to get the best sound possible ing out the science.” Studio 220 is the jewel of the machines with the tapes,” Kefauver from the musicians and from the Peabody recording program, but it’s notes, “so we have something to play equipment, and how I do that is a just one of four recording studios at them back on. Tape is still the most result of the hands-on experimenting ACKNOWLEDGMENT the conservatory. Down the hall is stable medium we have; if I put a reel I did at Peabody. Being a classically The Recording Arts and Sci- Studio 203, where the five-year-old, of tape on a shelf, I know it’s still trained musician helps me immeasur- ences Program 20th Anniversary digital two-track equipment is most- going to work whenever I pull it back ably in bridging the gap between the Celebration was made possible in ly used for mastering. Downstairs is down. The one thing we know about intention of a musical performance part by gifts from Sennheiser Elec- hard drives is that sooner or later they and the actual result. The excitement tronic Company, as well as from crash. It’s scary the way tape is disap- of a performance is more interesting Tannoy and TC Electronic. pearing.” to me than knowing what button to “You have to be concerned about push, and I got that at Peabody.” the quality of information on a disc,” “To be a good musician, you have agrees Lyons. “No one knows how a to have life experience,” de Freitas hard drive will hold up over a hun- insists. “If you listen to someone who dred years, because they haven’t been sits in a practice room eight hours a around that long. Hopefully record day, they may be an excellent techni- companies, recording studios and cian but their music has no life, music schools will see the financial because they don’t have the life expe- advantage of their archives and start rience. The recording program forced to take better care of them. us to work as team and to develop the “Storage capacity keeps increas- social skills to work with tempera- ing,” he adds, “but the problem is mental musicians, and that gave us how to fit that information through life experience. The radio production John Eargle (Left) and Alan P. the narrow pipeline of the internet. I do now is also collaborative, like Kefauver chuckle over how far That leads to compression, and as an being part of a symphony orchestra or the field has come as they look at acoustic scientist you also have to be a recording team.” a photo in the exhibit. concerned about the loss of informa- In the second year, the students tion that entails. It’s as if someone can record a small recital—such as a said, ‘We can preserve a painting by solo singer or solo pianist—as part of MARCH / APRIL 2005 Peabody News 37

Opera House in mid-November. ference of the Association of Anglican Musicians held in Cincinnati, Northern American Liszt Society PHYLLIS FREEMAN (MM ’89) was ALLA Kentucky, and Lexington, Ky. the week Baltimore-Washington Chapter viola soloist in performances by the Mary- of June 13, 2004. Approximately 200 Nancy Roldán, President land Symphony Orchestra on February 12 Breve Episcopal Church musicians from across PO BOX 26288, Baltimore, MD and 13, in the Maryland Theatre in the country attended. The 2005 confer- 21210 Hagerstown, of Berlioz’s Harold in Italy. Alumni News from ence will be held in Baltimore. JOSH FRIEDMAN’s (BM ’96) firm, Presents Around the World Nevada Élan Artists, which offers “musicians, THE WILLIAM GARRISON bands & DJ’s – video & photo docu- For the second year, MARJORIE LISS Alabama MEMORIAL FESTIVAL AND Violist MAGGIE SNYDER (MM ’99, mentary,” now has an office of eleven (TC ’64, BM ’66) was invited to serve on GPD ’01) is Assistant Professor of staff in the Mill Center in Baltimore. the faculty of the World Piano Pedagogy PIANO COMPETITION Music at the University of Alabama in Conference. She presented a session on JOSEPH GASCHO (MM ’01) conduct- October 29 in Las Vegas called The Open to American pianists ages Tuscaloosa. She is also Principal Viola of ed performances of Antonio Vivaldi’s the Tuscaloosa Symphony Orchestra. Adult Student Phenomenon. She also will 19 through 35 chamber opera Eurilla e Alcindo on Janu- be writing a column for WPPC Webzine ary 28 and 29 in the Tawes Fine Arts California joining a host of world renowned faculty PRIZES Building at the University of Maryland GREG PARKER (MM ’80, MM ’82) and medical professionals. Her interactive Monetary Awards & Perfor- College Park. The accompanying just returned from Yosemite National can be found under “Ask The Expert” mance Opportunities ensemble included CHRISTOF Park where he performs for the Brace- under Pianovision.com. First prize: $2,000.00 RICHTER (BM ’85, MM ’86), Direc- bridge Christmas Dinners. He just fin- Second prize: $500.00 tor, WILLIAM SIMMS (MM ’91) and ished a performance of Banalites of New Hampshire Other Prizes To Be Announced DANIEL RIPPE (GPD ’00). Poulenc for the Canyon House Perfor- DANIEL WEISER (MM ’93, DMA ’98) mance Series in Los Angeles. The J. ERNEST GREEN (MM ’03) con- is on the piano faculty at Dartmouth Application deadline: design business is thriving and he will ducted a performance of the Teatro Liri- College in Hanover. He is also Artistic June 15, 2005 be designing the living room for the co D’Europa’s production of Mozart’s Director of Classicopia, a music center Semifinal and Final Rounds: Pasadena Showcase House (largest Don Giovanni in the Hippodrome The- in Hanover, which offers a series of September 24, 2005 showcase house in the US) where a 7 ft atre in Baltimore on January 26. chamber concerts in various venues in Schimmel grand will be featured. He New Hampshire and Vermont with Mr. Additional information may be will be planning a series of chamber On March 5 in Hagerstown, the Mary- Weiser as pianist. This year’s series obtained by visiting our website concerts to coincide with the Showcase land Symphony Orchestra will premiere included TIMOTHY SCHWARZ (MM www.garrisonpianocompeti- House Living Room. The Story of Molly Pitcher, the fourth in ’93)0. tion.org composer ROBERT LICHTENBERG- or you may contact the audition Florida ER’s (BM ’69, MM ’70) “American Folk New Mexico coordinator, Patricia Graham at On December 29, saxophonist BRIAN Legend” series of works for narrator & RICHARD WHITE (BM ’96) is Princi- [email protected] * Phone 410 SACAWA (GPD ’04) performed in The orchestra. Additionally, on July 4 the pal Tuba in the New Mexico Symphony 889 5523 * Fax 410 833 5782 Emperor of Atlantis, a one-act opera writ- same forces will perform Variations on Orchestra in Albuquerque. ten by Czech composer Viktor Ullmann Yankee Doodle during the MSO’s annual New York City for Stan Brakhage’s film Interim on the in the Terezin concentration camp dur- concert at Antietam National Military Soprano ELIZABETH BABER (BM MOMA Premiers Series in the Titus ing World War II. The performance Park; this event typically draws about ’01) performed on the New York Early Theater in the newly renovated Museum was presented by the Concert Associa- 30,000 listeners. Music Series at St. Luke’s Lutheran of Modern Art. tion of Florida, in Miami. On February 12 at a Baltimore Com- Church on December 11 in a program The Ritz Chamber Players, with clar- posers Forum Concert at An Die Musik, Georgia titled, “From Desdemona to Dido: inetist and Artistic Director TER- VIVIAN ADELBERG RUDOW (TC Music from the 17th Century.” RANCE PATTERSON (PC ’89), vio- In early November, CLARA PARK (BM ’57, BM ’60, MM ’79) presented a most- ’89, MM ’91) presented a lecture/recital On December 9 and 10, pianist INNA linist MELLASENAH EDWARDS ly electronic musical work in memory of (DMA ’99), and cellist TROY STU- entitled “Theodor Leschetizky: Peda- DAWN CULBERTSON (MM ’81). FALIKS (BM ’99, MM ’01, GPD ’03) gogue and Pianist” at the Georgia Music presented a solo recital of music by ART (GPD ’94), were heard on FM sta- Teachers Association Conference held at Michigan Chopin, Schumann, and Brahms on the tion WNYC in New York City on Brenau University in Gainsville. MARIA FLURRY (BM ’87, Music Edu- Barge Music series in Brooklyn. December 4 on “Music Party,” one in a series of one-hour special programs pro- cation, BM ’87, Percussion Instruments) Mezzo-soprano THEODORA Illinois Performed Tan Dun’s Water Concerto for duced by WNYC and the BBC World Dr. SVETLANA BELSKY (BM ’86, HANSLOWE (AD ’94) is scheduled to Service. The BBC will broadcast the Water Percussion and Orchestra with the sing Rosina in Il Barbiere di Siviglia with MM ’87) was recently appointed the Flint Symphony, on January 15. specials in over 40 countries; and Coordinator of Piano Studies at the the Metropolitan Opera in New York WNYC, in addition to carrying them University of Chicago. The new music duo Non-Zero – saxo- City this season, but on December 18 she locally in New York, will distribute phonist BRIAN SACAWA (GPD ’04) was called in for the ailing countertenor them to stations across the U.S. in As of June ’04, ELIZABETH BRAUSA and percussionist Timothy Feeney – Benjun Mehta to sing the solo role of 2005. In the Ritz Chamber Players’ spe- BRATHWAITE (BM ’99, Violin) is the made its debut on December 9 in Ker- Unulfo in a sold-out performance of Han- cial, listeners are transported, literally, assistant principal of the Elgin Sympho- rytown Concert House in Ann Arbor, del’s Rodelinda. The cast included Renée to a historic brownstone in Harlem – ny and her husband, CHRISTOPHER with five world premieres. Non-zero Fleming and mezzo-soprano Stephanie the broadcast was recorded live on BRATHWAITE (BM ’97, Violin), is a repeated the program on December 11 Blythe. Also Ms. Hanslowe is singing the October 19 in the former residence of senior consultant at Piper Jaffray. They as ensemble in residence with the Uni- lead role of Sister Helen Prejean in Dead African American composer Coleridge- live in Chicago. versity of Michigan Contemporary Man Walking with the Baltimore Opera Taylor Perkinson. www.ritzchamber- BOB YOON (PC ’03, clarinet) con- Directions Ensemble. Company in March of 2006. players.org. ducted on a Halloween concert of the JASON HARDY (MM ’00, AD ’04), In December, SVETOSLAV STOY- Quad City Symphony Orchestra, where Missouri bass, and pianist JEROME TAN (BM ANOV (BM ’03) was soloist with the he is a cover conductor for the next two CAROLYN REIDY (MM ’02) is work- ’98, MM ’03) performed in a recital in Brooklyn Symphony Orchestra in St. years. Mr. Yoon is currently in the Mas- ing as a development assistant with the Weil Recital Hall in Carnegie Hall on Ann’s Church in Brooklyn. ter’s program at the University of Illi- Saint Louis Symphony Orchestra and freelance flutist in the St. Louis area. January 26, sponsored by the Weill nois at Urbana-Champaign majoring in Music Institute at Carnegie Hall in part- Scenes from Cain, a chamber opera by orchestral conducting. He regularly nership with the Marilyn Horne Founda- MARK STAMBAUGH (MM ’86, conducts the three orchestras there. Ohio DMA ’92), were recently performed at JOHN A. DEAVER, D.M.A. (MM ’76, tion. the Manhattan School of Music. Kentucky Organ) was co-chair for the annual con- CAROLYN KUAN (GPD ’04) was guest JOHN NARDOLILLO (MM ’95, MM conductor in two performances of The On January 15, in Weill Recital Hall at Carnegie Hall, clarinetist SOO ’97) is Director of the University of Ken- Mark Your Calendar! Nutcracker by the New York City Ballet tucky Symphony Orchestra in Lexington. in Lincoln Center on December 14 and YOUNG YOON (MM ’03) performed Plan to spend the evening with in her Artists International Special Pre- fellow alumni 16. On January 26 and 29 she conducted Maryland April 30, 2005 performances of Prokofiev’s Prodigal Son sentation Award Debut Recital. SUZANNE CHADWICK (BM ’86, also for the New York City Ballet. MM ’88) sang the role of Enrichetta in Details to follow in the Alumni New York State the Baltimore Opera Company produc- Newsletter On January 10, pianist JENNY LIN YOUNG-HYUN CHO (MM ’01, GPD tion of Bellini’s I Puritani in the Lyric DON’T MISS IT! (AD ’98) performed James Tenny’s score ’02) is completing her DMA at the 38 Peabody News MARCH / APRIL 2005

Eastman School of Music under Dr. music by Schubert, Mendelssohn, and Michael Kannen, Cello, Chamber Music NELITA TRUE (DMA ’76). Ms. Cho Brahms on a set of Amati string instru- Chair was the soloist performing the ments on January 15-16 at the Hall of CONCERT Seth Knopp, Piano Beethoven Concerto No. 1 with the Musical Instruments in the National Maria Lambros, Viola Eastman School Symphony Orchestra in Museum of American History in Wash- Calendar Violaine Melançon, Violin March of ’04, a result of winning the ington, D.C. WEDNESDAY, MARCH 2, 7:30 P.M. Yong Hi Moon, Piano concerto competition at Eastman. Peabody Chamber Winds Robert Muckenfuss, Piano Canada Harlan Parker, Conductor Charles Neidich, Clarinet, Guest Artist Oregon PIERRE SIMARD (MM ’97) has been Brian Drake: Horizons Marina Piccinini, Flute NANCY ANDREW (DMA ’94) is the appointed as the new Resident Conduc- Steven Rainbolt, Baritone new flute professor at the University of tor of the Calgary Philharmonic Orches- Gabrieli: Sonata pian e’ forte Russell Nadel: Five Scenes for Ten Play- William Sharp, Baritone Oregon in Eugene. She performed the tra in Calgary, Alberta, Canada. Mr. Donald Sutherland, Harmonium Mozart Concerto in D Major with the UO Simard is currently the Artistic Director ers (World Premiere) and Conservatory students: BriAnne orchestra in November and will be pre- of À tout chant Music Society and the Haydn: Octet in F senting a “Flute and Friends” chamber Music Director of Choeur Laval. He will Griswold Hall Burgess,Sonya Chung, Violin,Nicholas music recital on the Faculty Artist Series join the CPO as its full-time Resident FREE ADMISSION Hardie, Cello, Matthew Heil, Tenor, in February. She will also be the guest Conductor in September 2005; to coin- Leah Inger, Soprano, Jessica Medina, artist for the Utah State Flute Festival in cide with the start of the CPO’s SUNDAY, MARCH 6, 3:00 P.M. Mezzo-Soprano, Courtney Orlando, Vio- March. Nancy enjoys having an office 2005/2006 Season. Preparatory Faculty Recital lin, Kenneth Osowski, Piano across the hall from another Peabody Cathleen Jeffcoat, Violin Strauss, Jr. (arr. Webern): Schatz- alum, ANN TEDARDS (DMA ’97) England Carol Prochazka, Piano Walzer, Op. 418 REECE DANO’s (MM ’01) composition Bai-Chi Chen, Cello Brahms: Liebeslieder Walzer, Op. 52 Pennsylvania for viola and turntables was presented by Devonna Rowe, Soprano Ravel: La Valse The Mühlenberg Piano Quartet, with Dr. Elizabeth Tolbert, a Peabody musi- William Griggsby, Piano Schoenberg: Pierrot lunaire SHELLEY BEARD (BM ’99), viola, cology professor, for a colloquium at Ravel: Sonata for Violin and Piano in G Sylvia Adalman Artist Recital Series presented the world premiere of a new Cambridge University this February. His Hale Smith: Beyond the Rim of Day Friedberg Hall Piano Quartet by Eric Sessler on Decem- chamber piece entitled Boulez is dead for (text by Langston Hughes) $18, $10 Senior Citizens, $8 Students ber 19 in Bomberger Hall at Ursinus 11 instruments and narrator was also per- Other works TBA with I.D. College in Collegeville. formed by the Analog Arts Ensemble on Goodwin Recital Hall September 11 in Omaha, Nebraska. ELLEN FISHMAN-JOHNSON (DMA FREE ADMISSION Associated Events Reece currently lives in Portland, Oregon ’95, Composition) recently held a 12- Tuesday, March 29, 6 p.m.: Free and is at work recording an album enti- week composition workshop for girls WEDNESDAY, MARCH 9, 7:30 P.M. pre-concert lecture by Richard Hoff- tled Fugue on Fire: The New Opera with aged 11 to 19, which was designed to THURSDAY, MARCH 10, 7:30 P.M. man. Goodwin Recital Hall. RYAN MESSMORE (BM ’03). encourage young women to write FRIDAY, MARCH 11, 7:30 P.M. Wednesday, March 30, 5:30 p.m.: Peabody Colloquium on the Second music. A piano trio from Astral Artis- Italy SATURDAY, MARCH 12, 7:30 P.M. tic Services performed student composi- The Peabody Opera Theatre Viennese School, titled “Schoenberg’s Richard Rosenberg (DMA ’81, Instru- Row Tables: Temporality and the tions and a new commissioned work by mental Conducting), Artistic Director Garnett Bruce, Stage Director Idea” led by Joseph Auner. Room 308 Fishman-Johnson at a public concert. of the Hot Springs Music Festival, con- Peabody Symphony Orchestra in the Conservatory. The workshop was supported by the ducted two performances of Gustav JoAnn Kulesza, Conductor American Composers Forum, Philadel- Mahler’s Symphony no. 3 in December Tom Benjamin/Roger Brunyate: March 7-April 30: An exhibition phia Chapter and funded by the Samuel The Alien Corn (World Premiere) titled “Phyllis Bryn-Julson, Reigning with the Orchestra Sinfonica della Fon- th S. Fels Fund and the William Penn dazione “Tito Schipa” di Lecce in Italy, Friedberg Hall Diva of 20 -Century Music,” in Foundation. and he has been invited to return to $24, $12 Senior Citizens, $10 Stu- Peabody’s Arthur Friedheim Music direct the premiere of the “Cantata dents with I.D. Library and Bank of America Mews GENEVIEVE CODE TWOMEY (MM Gallery, contains materials on Pierrot ’94, GPD ’96) is now General Manager Sacra” of Nicola Scardicchio in March Funded in part by the Maryland State Lunaire and other Second Viennese of the Pittsburgh Symphony Orchestra and April 2005. He performs Mahler’s Arts Council after her promotion from Orchestra 3rd again on 12 June as the Festival works. Manager in September 2004. In her finale in Hot Springs National Park. TUESDAY, MARCH 22, 8:00 P.M. new position, she is responsible for all The Peabody Trio FRIDAY, APRIL 1, 7:30 P.M. orchestra personnel management, con- Mexico The Complete Beethoven Piano Peabody Jazz Orchestra cert production, touring, electronic KATHARINE CALVEY (BM ’91, flute) Trios - Part II Michael Formanek, Director media activities, and scheduling. is currently principal flute in The Chi- Violaine Melançon, Violin Sam Rivers, Saxophone, Guest Composer, huahua State Philharmonic Orchestra in Natasha Brofsky, Violoncello Conductor Tennessee northern Mexico. She performed as the Seth Knopp, Piano Doug Matthews, Bass, Bass Clarinet, Forgotten Chants and Refrains: Symphony concerto soloist with them on February Trio in c, Op. 1, No. 3 Guest Artist No. 1, by JONATHAN LESHNOFF 11, with works by Faure and Chaminade. Sonata for Piano and Cello in A, Op. 69 Anthony Cole, Drums, Tenor Saxophone, (BM ’95, MM ’97) was premiered by In addition she teaches at the conservato- Trio in D, Op. 70, No. 1, “Ghost” Piano, Guest Artist the IRIS Chamber Orchestra in the ry there and just completed her latest CD Sylvia Adalman Artist Recital Series Featuring classics by Sam Rivers, Germantown Performing Arts Center in of solo flute works, which was recorded in Griswold Hall including his popular Beatrice, as well Germantown, on December 4-5. Dr. Namurachi Canyon Mexico $18, $10 Senior Citizens, $8 Students as newer compositions. Leshnoff is the fifth composer to receive with I.D. Jazz Series the orchestra’s annual commission. Taiwan East Hall ALTON THOMPSON (DMA ‘99) Also, Dr. Leshnoff has been commis- $18, $10 Senior Citizens, $8 Students enjoyed a successful Asian debut in THURSDAY, MARCH 24, 8:00 P.M. sioned by a consortium of five orches- Peabody Concert Orchestra with I.D. tras to write a violin concerto for 10 November when he conducted the pro- fessional Tempest Performing Arts Hajime Teri Murai, Music Director international performances in the 05-06 Joan Tower: For the Uncommon Woman MONDAY, APRIL 4, 7:30 P.M. and 06-07 seasons. Orchestra in two concerts at Sun Yat- Sen Memorial Hall in Taipei. Now a Ives: Symphony No. 3 Peabody Opera Workshop resident of Taiwan, Thompson serves on Gershwin: Cuban Overture and Catfish Webb Wiggins, Music Director Virginia Roger Brunyate, Stage Director MARLEIGH MORLAND BARATZ’s the faculty of the Chung Kuo Institute Row Handel’s Heroes…and Handel’s (’79) Tuesday Night series in her Studio and is in demand as a conductor and Friedberg Hall Ladies at Keswick in Keswick, Virginia, runs adjudicator. He is writing a music refer- $18, $10 Senior Citizens, $8 Students from July 5 to August 16, and includes ence book for Scarecrow Press; the with I.D. Scenes from Radamisto, Giulio Cesare, a wide range of offerings from opera, to research is supported by grants from the Orlando, and Imeneo, sung in their dance to a family concert. Chung Kuo Institute and Peabody. TUESDAY, MARCH 29, 8:00 P.M. original languages, with chamber Faculty Chamber Music Concert accompaniment of period instru- Washington D.C. Submit professional news to the Alumni “Phyllis Bryn-Julson’s Farewell to ments. MICHAEL HALL (BM ’96) was Office via e-mail: peabodyalumni@ the Stage” Friedberg Hall appointed principal horn of the Nation- jhu.edu, U.S. mail: Peabody Alumni Phyllis Bryn-Julson, Soprano FREE ADMISSION al Philharmonic for the 2004-05 season. Office, 1 E. Mount Vernon Place, Balti- Marianna Busching, Mezzo-Soprano Cellist KENNETH SLOWIK (DMA more, MD 21202, or fax: 410-659- Leon Fleisher, Piano ’99) and other members of the Smith- 8170, attn: Debbie Kennison. Deadline Katherine Jacobson, Piano sonian Chamber Players performed for the next issue is March 15. MARCH / APRIL 2005 Peabody News 39 TUESDAY, APRIL 5, 8:00 P.M. Maryland at College Park. Sylvia Adalman Artist Recital Series Amit Peled, Cello, Faculty Artist Baltimore Classical Guitar $18, $10 Senior Citizens, $8 Students Griswold Hall J.S. Bach: Suite No. 1 in G Society with I.D. $18, $10 Senior Citizens, $8 Students Kodály: Sonata for Cello Solo, Op. 8 APRIL 15, 8:00 P.M. Call 301 405-ARTS (405-2787) with I.D. J.S. Bach: Suite No. 3 in C John Williams, Guitar Online tickets are available at Britten: Third Suite for Cello Solo, Op. 87 $45 general admission, $35 for www.claricesmithcenter.umd.edu MASTER CLASSES Sylvia Adalman Artist Recital Series BCGS Members, Senior Citizens, Dance Friedberg Hall Students with I.D. THURSDAY, APRIL 28, 12 NOON SUNDAY, APRIL 10 $18, $10 Senior Citizens, $8 Students For tickets contact BCGS at Prix d’Été Recital Rhodie Jorgenson, Former Principal with I.D. http://www.bcgs.org or email Dancer, American Ballet Theatre [email protected] or call 410- The Computer Music Consort pre- William DeGregory, Artistic Direc- THURSDAY, APRIL 7, 2005 8:00 247-5320. sents a program of the winning works tor, Pennsylvania Ballet II P.M. in the Prix D’Été Composition Com- 10:00-11:30 a.m.: Advanced & Inter- Peabody Singers petition established by Walter Sum- mediate Ballet Technique 12:30-1:30 p.m.: Intermediate Edward Polochick, Choral Director SUNDAY, APRIL 17, 4:00 P.M. mer. Ravel: Trois Chansons Friedberg Hall Pointe & Advanced Variations & Part- Trent Johnson, Organ nering Ginastera: Lamentations of Jeremiah Halcyon Trio FREE ADMISSION Brahms: Zigeunerlieder, Op. 103 For further information, fees, and to Jeremiah Baker, Soprano Saxophone reserve a space, call 410/ 659-8100 Griswold Hall Cara Salveson, Alto Saxophone THURSDAY, APRIL 28, 7:30 P.M. $18, $10 Senior Citizens, $8 Students FRIDAY, APRIL 29, 7:30 P.M. ext. 1125 or email Adam Waller, Tenor Saxophone [email protected] with I.D. Devin Adams, Baritone Saxophone Peabody Renaissance Ensemble Mark Cudek, Director J.S. Bach: Prelude and Fugue in e, BWV Organ SATURDAY, APRIL 9, 7:30 P.M. 548, “The Wedge” Dan Boothe, Renaissance violin SUNDAY, APRIL 10, 3:00 P.M. Rebecca Duren, soprano SATURDAY, APRIL16, 3:00 P.M. Mozart: Andante in F, K616 Trent Johnson Peabody Dance Spring Showcase Trent Johnson: Three Characteristic Hunter Fike, recorder Carol Bartlett, Artistic Director Andy Shryock, tenor Griswold Hall Pieces FREE ADMISSION Barbara Weisberger, Artistic Advisor George Walker: Two Pieces for Organ Charles Weaver, lute Featuring a guest appearance by Louis Vierne: Finale from Organ Sym- A Celebration of Spring, featuring Pennsylvania Ballet II, in excerpts phonie VI Monteverdi’s Zefiro Torna, madigrals, from the Balanchine/Stravinsky Agon; lute songs, and instrumental dances. THURSDAY NOON SERIES Trent Johnson: Quartet for Saxophones During the school year, the Conserva- the Pas de Trois from the (2003) Griswold Hall Petipa/Tchaikovsky Swan Lake; and $18, $10 Senior Citizens, $8 Students tory students and ensembles give free Trent Johnson: Trio for Clarinet, Viola recitals on Thursdays at Noon. Enter the entire company in Cricket Dances, and Piano (2001) with I.D. an original work by Jeffrey Gribler. at 21 East Mount Vernon Place where Griswold Hall a Campus Officer will direct you. The program includes Original Bal- $18, $10 Senior Citizens, $8 Students Peabody Opera at Theatre Project lets and Re-Stagings by Carol with I.D. Roger Brunyate, Director Bartlett, Melissa Stafford, Katherine FRIDAY, APRIL 29, 8:00 P.M. PEABODY BOX OFFICE Morris, and other dance faculty mem- APRIL 17, 7:30 P.M. SATURDAY APRIL 30, 8: P.M. 410/659-8100 EXT. 2 bers; Dance/Music Collaborations Preparatory Recital SUNDAY, MAY 1, 3:00 P.M. www.peabody.jhu.edu with the participation of the Peabody Part-Recital Competition Winners THURSDAY, MAY 5, 8:00 P.M. Jazz Department in a Classical/Cuban Goodwin Hall SATURDAY, MAY 7, 8:00 P.M. The Peabody Box Office is now locat- Soundscape, coached by Tim Murphy; FREE ADMISSION Peabody Chamber Opera ed in the Grand Arcade and is open and student musicians from the Matthew Brown, Conductor Monday through Friday from 10 a.m. Peabody Conservatory Chamber Music WEDNESDAY, APRIL 20, 8:00 P.M. Henry Mollicone: Hotel Eden to 4 p.m. and one hour prior to all program, coached by Michael Kannen. Benjamin Pasternack, Piano (A Music Theater Piece in Three Acts) ticketed events, while school is in ses- Friedberg Hall Scarlatti: Sonata in a, K.54, Sonata in FRIDAY, MAY 6, 8:00 P.M. sion. Enter at 17 East Mount Vernon $14, $7 Senior Citizens, Children, D, K. 443, Sonata in b, K. 27 SUNDAY, MAY 8, 3:00 P.M Place where a Campus Officer will Students with I.D. Nicholas Maw: Personae IV, V and VI Peabody Opera Workshop direct you. Tickets may be ordered by Beethoven: Sonata in c minor, Op. 13, “Singing Shakespeare” phone, in person during Box Office WEDNESDAY, APRIL 13, 7:30 P.M. “Pathetique” Theatre Project hours, or online at Peabody Wind Ensemble Robert Sirota: Mixed Emotions 45 West Preston Street www.peabody.jhu.edu. Tickets for Harlan Parker, Conductor Schumann: Carnaval, Op. 9 Hotel Eden: $24, $12 Senior Citizens, many programs are also available Michael Mogensen: Afterglow: Light Sylvia Adalman Artist Recital Series $10 Students with I.D. through Connect Baltimore at 1-877- Still Shining Friedberg Hall “Singing Shakespeare”: $18, $10 Baltimore or www.baltimore.org. Pro- Grainger: Irish Tune from County Derry $18, $10 Senior Citizens, $8 Students Senior Citizens, $8 Students with I.D. grams are subject to change without and Shepherd’s Hey with I.D. Non-subscription events. notice. Use of cameras and video or Holst: Hammersmith: Prelude and Scherzo Tickets from Theatre Project Box tape recorders during performances is James Barnes: Symphony No. 3, Op. 89 FRIDAY, APRIL 22, 8:00 P.M. Office only. strictly prohibited. Friedberg Hall Peabody Concert Orchestra Call 410/ 752-8558 $18, $10 Senior Citizens, $8 Students Peabody-Hopkins Chorus with I.D. Peabody Singers SATURDAY, APRIL 30, 8:00 P.M. Parking Edward Polochick, Associate Conductor Peabody Symphony Orchestra Parking is available weeknights after SATURDAY, APRIL 16, 7:30 P.M. and Choral Director Hajime Teri Murai, Music Director 4:00 p.m. for $5.00 and weekends for Peabody Camerata Benjamin Park, Baritone Ruth Blaustein Rosenberg Series $4.00 in the Peabody Garage, subject Gene Young, Conductor Berlioz: Carnaval romain Mahler: Symphony No. 6 in a,“Tragic” to availability, with entrance in the Matthew Odell, Piano Cesar Franck: Symphony in d Dedicated to the memory of Frederik 600 block of Saint Paul Street on the Preparatory Violin Choir, Rebecca Henry, William Walton: Belshazzar’s Feast Prausnitz right-hand side just before Centre Director Sponsored by the Douglas S. and Hilda P. Friedberg Hall Street. Ruth Lomon: Songs from a Requiem Goodwin Fund at the Peabody Conserva- $18, $10 Senior Citizens, $8 Students Gene Young: TBA tory with I.D. Winning Work in the 2005 Peabody Friedberg Hall Camerata Student Composer Contest $18, $10 Senior Citizens, $8 Students MONDAY, MAY 9, 8:00 P.M. Messiaen: Couleurs de la cité céleste with I.D. Peabody Trio Griswold Hall The Complete Beethoven Piano Trios FREE ADMISSION WEDNESDAY, APRIL 27, 8:00 P.M. - Part III Peabody Symphony Orchestra Violaine Melançon, Violin SUNDAY, APRIL 17, 2:00 P.M. Hajime Teri Murai, Music Director Natasha Brofsky, Violoncello Young People’s String Program Mahler: Symphony No. 6 in a, “Tragic” Seth Knopp, Piano Janet Melnicoff-Brown, Director Ruth Blaustein Rosenberg Series Trio in G, Op. 1, No. 2 Friedberg Hall Dekelboum Hall, Clarice Smith Per- Sonata for Piano and Violin in G, Op. 96 FREE ADMISSION forming Arts Center, University of Trio in B-flat, Op. 97 “Archduke” 40 Peabody News MARCH / APRIL 2005

Non-Profit Organization U.S. Postage PAID The Peabody Institute of the The Peabody Institute of The Johns Hopkins University Johns Hopkins University One East Mount Vernon Place Baltimore, Maryland 21202 Dr. Robert Sirota, Director

16 Peabody Dance Showcase presents original ballets, dance/music collaborations and Pennsylvania Ballet II, page 16.