Welcome to our performance this evening. Peabody presents one of the most vibrant, diverse, and exciting concert seasons in the Baltimore/Washington area. Whether your tastes tend toward contemporary music, jazz, early music, opera, chamber music, or orchestra, you are bound to take pleasure and inspiration from some of the 1,000 concerts presented in Peabody’s halls this year.

This is Peabody’s 155th year, and the Institute has a deep history and long record of success in educating students for the music profession. Our students come from all around the United States and 22 other countries, and they are all united in sharing a passion for the common language and power of music.

Your presence here tonight helps inspire our students and faculty to give their best. You are listening to tomorrow’s professional artists in their formative years, and your thoughtful engagement in the performance is a critical part of enriching their education and making tonight’s experience unique. I hope it also inspires you as you share in the energy of live performance as much as we are delighted to share our music with you.

Yours sincerely,

Jeffrey Sharkey Director Peabody Wind Ensemble Harlan D. Parker, Conductor

Wednesday, October 9, 2013 Miriam A. Friedberg Concert Hall 7:30 p.m.

George Washington Bridge (1950) William Schuman (1910-1992)

Mare Tranquillitatis (2012) Roger Zare (b. 1985)

Suite Française, Op. 248a (1944) Darius Milhaud Normandie (1892-1974) Bretagne Ile de France Alsache-Lorraine Provence

Intermission

Chapter Finál (2006) Michael A. Mogensen (b. 1973)

Sinfonietta (1961) Ingolf Dahl Introduction and Rondo (1912-1970) Notturno Pastorale Dance Variations

Please disable all electronic devices including phones, E-readers, and tablets during performances. The use of cameras and sound recorders during performances is strictly prohibited. Notice: For your own safety, LOOK for your nearest EXIT. In case of emergency, WALK, do not RUN to that EXIT. By order of the Mayor and City Council of Baltimore. -2- HARLAN D. PARKER, Conductor Program Notes

Harlan D. Parker has been the conductor of the Peabody Wind George Washington Bridge Ensemble and coordinator of the music education division at the William Schuman Peabody Conservatory of Music of the Johns Hopkins University since the fall of 1990, and in the fall of 2007 was appointed as There are few days in the year when I do not see George the conductor of the Peabody Youth Orchestra. Under his direction, Washington Bridge. I pass it on my way to work as I drive along the Peabody Wind Ensemble has given over 30 world premieres, the Henry Hudson Parkway on the New York shore. Ever since and has performed at state, regional and national conventions. my student days when I watched the progress of its construction, Considered “among the very top wind bands in the US” (Fanfare), this bridge has had for me an almost human personality, and the Peabody Wind Ensemble has received critical acclaim from this personality is astonishingly varied, assuming different moods contemporary composers such as David Amram, James Syler, Eric depending on the time of day or night, the weather, the traffic Ewazen, Stella Sung, H. O. Reed and Johan de Meij. and, of course, my own mood as I pass by.

Their debut CD, From an Antique Land, has been praised as one of I have walked across it late at night when it was shrouded in fog, the most exciting wind ensemble recordings in recent times and the and during the brilliant sunshine hours of midday. I have driven second CD, Orff, Bird and Reed, was re-released in August 2006 over it countless times and passed under it on boats. Coming to on the Naxos label. Of the performance of La Fiesta Mexicana New York City by air, sometimes I have been lucky enough to fly on the second CD, composer H. Owen Reed, in a letter to Dr. right over it. It is difficult to imagine a more gracious welcome or Parker wrote, “I have just listened, twice, to your brilliant recording dramatic entry to the great metropolis. of my La Fiesta Mexicana, and I must tell you that it was a thrill – William Schuman to hear my music performed exactly as I always hoped for. Your total understanding of the work showed up on all parameters. Mare Tranquillitatis Your tempos were on the mark, and the overall conception of Roger Zare the work was superb.” The Orff, Bird and Reed CD was also listed on the “Best of the Year Discs for 2006” by Audiophile Mare Tranquillitatis translates to “Sea of Tranquility,” and is the Audition. Their second CD for Naxos, Collage: A Celebration famous location on the moon where Apollo 11 landed and the of the 150th Anniversary of the Peabody Institute: 1857 - 2007, first man set foot on the lunar surface. The music seeks to capture was the top classical music download (out of more than 12,000 a dichotomy of emotions – tranquil beauty and restless isolation. CDs) on eMusic.com for the first half of April 2007. Their third All of the musical material is derived from only two ideas – the CD for Naxos, Trendsetters, was released in the summer of 2009. descending fourth heard in the opening bar, and the flowing and The Peabody Wind Ensemble continues recording, and recently surging melody heard not long after. These two ideas trade back completed recording the symphonies of Johan de Meij for release and forth within a contrapuntal texture, swelling and flowing as on Naxos. they interact with each other. The music recedes into a quieter realm and solo instruments emerge, juxtaposing the lush full As well as his duties at Peabody, Dr. Parker has a very active textures with a delicate and intimate passage. musical life outside of the Conservatory. He is a past-president of the Conductors Guild, an international service organization After many peaks and dips, the emotional arc of the piece dedicated to encouraging and promoting the highest standards culminates in the long-awaited return of the second theme. It grows in the art and profession of conducting. Dr. Parker is also a and transforms into a sweeping gesture, bringing closure to the member the American Bandmasters Association, an organization pent-up tension from before. What follows is an epilogue, and the whose membership is by invitation and recognizes “outstanding piece ends with one final tender moment with the solo oboe. achievement in the field of the concert band and its music.” He – Roger Zare is active regionally, nationally and internationally as a guest conductor, conducting pedagogue, clinician and adjudicator, having worked with professional musicians and students from all Suite Française 50 states and over 40 countries. Darius Milhaud Darius Milhaud had been thinking of composing a piece for high In his first year as a faculty member at Peabody, Dr. Parker school students when in 1945, Leeds Music asked him to compose reorganized the Peabody Wind Ensemble into its present format and a significant work for high school band. TheSuite Française is was awarded the Peabody Student Council Faculty/Administration one of a number of works celebrating the Allied victory and end Award for outstanding contributions to the Peabody community. In of World War II. An additional purpose was to familiarize the the fall of 2000, Dr. Parker accepted the first graduate class of wind students with folk melodies of “those parts of France where their conducting students. Graduates and students of the program are fathers and brothers fought to defend the country from the German teachers and conductors in high schools and colleges and conductors invaders.” The suite is in five contrasting movements, each named of military bands, with two recent masters students accepting positions for a French province. Melody, always important for Milhaud, is as conductors with the United States Air Force. Dr. Parker received especially so. Of the 18 melodies, seven have not been identified. his bachelor of music from Emporia State University and his master of Regarding folk music, he recommended: “...using a folk melody music and doctor of philosophy in music education with an emphasis with all possible freedom...and mixing it with original themes in conducting from the University of Kansas and has completed post- that seem like folk music but are not.” It seems highly likely the doctoral work at the Laban/Bartenieff Institute of Movement Studies in unidentified melodies fall into this latter category. Various sectional New York. forms are utilized in the individual movements, melodies playing a leading role regarding structure. Harmonic language is rich and typical of the composer, including bitonality, quartal harmony, parallelism, and abundant cross relations. Keen use of instrumental -3- color also gives the work variety and vitality. The spirited first The tonal idiom of the work grows out of the acoustical properties movement, Normandie, utilizes two folk tunes in major mode and of the symphonic band: a wealth of overtones. Thus I feel that one unidentified minor mode melody. The subject of the main tune, bands call for music with more open and consonant intervals Germaine, is the homecoming of the warrior. In La bergère de than would a string ensemble or a piano. The Sinfonietta is tonal, France et le Roi d’Angleterre (The French Shepherdess and the King and centered around A-flat major. At the same time, however, its of England), initial hostility ends in embrace. Bretagne (Brittany) is corner movements are based on a series of six tones (A-flat, E-flat, the quietest and most expressive movement. Three folk songs (mostly C, G, D, A) which, through various manipulations, provide most in minor mode) are used in an arch form. La paimpolaise (The Maid of the work’s harmonic and melodic ingredients and patterns. The of Paimpol) and Les marins de Groix (The Sailors of Groix) are six tones were chosen to permit all kinds of triadic formations. appropriately maritime songs, the first by a homesick fisherman, Furthermore, their inversion at the interval of the major sixth yields the second lamenting the death of a shipmate. In La chanson des a second six-tone set which comprises the remaining six tones of métamorphoses (Song of Metamorphosis), a lover won’t let his girl a complete twelve-tone row. leave him: should she turn into a rosebud, he’ll pick her, and so on. Love is the theme in the quickest movement, Ilse de France. Melodies The six-tone set is introduced tone by tone by the opening back- are basically in the major mode and often fragmented. À ma main stage trumpets, and as it reappears in its original form and droite j’ai un rosier (On My Right I’ve a Rosebush) is an amorous ring in transpositions, it constitutes the entire tonal content of this dance; lovers meet at the village fair in Voice la St-Jean (This Is St. fanfare. Throughout the two corner movements, the set appears John’s Day). La belle au rosier blanc (The Girl at the White Rosebush) in various guises, from the blunt unison statement which opens tells of the death of a young beauty courted by three young the last movement to the almost unrecognizable metamorphoses gentlemen. The longest movement, the slow Alsace-Lorraine, employs elsewhere. It also provides melodic as well as harmonic a modified arch form, mixing Dorian/minor and major modes. frameworks. Thus in the first movement, it serves as focal point Voice le moi de Mai (Here’s the Month of May) is a happy love in the march tune which opens the principal rondo section; it song and Le moi de Mai (The Month of May) is a chant de quête, also motivates the succession of tonalities in the cadenza-like a song of quest or alms. The lively Provence ends the suite. There is modulatory episode for the clarinet section, which goes from only one identified tune out of five:Magali , a well-known Provençal A-flat via E-flat and C major, and so forth, to A major, i.e., to the “transformation” song (see Bretagne). It is never heard by itself, only key farthest removed from the initial A-flat. (When the cadenza fragmented or as a counter melody. reaches the A, the rondo section returns.) – Neil Cardew-Fanning © 2013 by Rovi Corporation. Used by permission. The first movement,Introduction and Rondo, proceeds by simple alternation between marchlike refrains and rhythmically looser episodes. A culmination is reached at the point at which the Chapter Finál entire clarinet section, punctuated by brass and percussion, Michael A. Mogensen breaks into the brilliant cadenza mentioned above. The movement closes in full tutti and with a drum pattern which Originally commissioned and premiered in 2006 by the Maryland traditionally would stand at the beginning of a march, but which Classic Youth Philharmonic, Chapter Finál is an adward winning here ends it. composition that commemorates the 12 year tenure of then-retiring MCYO conductor, Olivia Gutoff. Challenging and exciting in scope, The second movement, Notturno Pastorale, consists of Chapter Finál features a unique blend of musical styles, offering the alternations and superimpositions of several musical forms in listener a varied and distinctive aural experience. a single movement. These forms are: a fugue, a waltz, and a gavotte. The fugue subject first hides in a lyrical saxophone The work opens with rhythmic energy and robust brass lines, solo. It derives from the tetrachord E-flat, F, G-flat, A-flat, but followed by a slower, more expressive section featuring solo and through octave displacements and rhythmic shifts, etc., each of chamber playing, resonant harmonies, and soaring melodies. After its appearances is slightly different from all others, as if it were building to an emotional climax, the slow section ends, and the refracted by different lenses at each entry. Superimposed upon composition transitions back to a recap of the original thematic the fugue is the waltz which alternately recedes into the distance material. Finally, the music drives towards dynamic conclusion with and returns to the foreground. By contrast, the middle section powerful playing punctuated by aggressive percussion and full – Gavotte – is of a much simpler fabric: a lightly accompanied symphonic sound. oboe tune. It will be noted that the second movement, unlike The orchestral version of Chapter Finál was granted a Masterworks the first, avoids most of the “conventional” band sounds. There Prize by ERMMedia and was professionally recorded by the Kiev is no tutti, and the texture is often densely polyphonic or, as in Philharmonic in 2007. It was transcribed and adapted for wind the Gavotte, uncommonly thin and airy. The tonality is D-flat – ensemble in June, 2012. the classical sub-dominant key – relative of the first movement. – Michael A. Mogensen Throughout, there is a gravitational temptation toward further sub-dominants: to G-flat, then to C·flat, and so on. Sinfonietta The third movement, Dance Variations, begins with the most Ingolf Dahl straightforward presentation of the six-tone set. Thereupon The form of this Sinfonietta is akin to an arch or to the span of the set, serving as the basso ostinato of this passacaglia-like a large bridge: the sections of the first movement correspond, in movement, undergoes countless set-derived transformations. reverse order and even in some details, to the sections of the last. (The term “variations” here refers to the ostinato.) Appearing For example, the opening fanfares of the back-stage trumpets are above these bass variations we hear a multitude of different little balanced by those at the close of the work; the thematic material tunes in shifting colors. And all this proceeds along a key-scheme that ends the first movement opens the last, although in altered form. that goes through most of the circle of fifths, beginning several The middle movement is itself shaped like an arch: it begins with an times over on the key level of A-flat. A lyrical middle section unaccompanied line in the clarinets and ends with a corresponding provides contrast. Toward the end, after a rhythmic tutti, the solo in the alto clarinet. The center of the middle movement which is instruments, in commedia dell’ arte fashion, bow out one by one. the center of the whole work – a gavotte-like section, and the lightest – Ingolf Dahl music of the entire Sinfonietta – is the “keystone” of the arch.

-4- Peabody Wind Ensemble Personnel Harlan D. Parker, Conductor Rich Lauver, Manager

PICCOLO BASS CLARINET TROMBONE Ming-hsuan Tsai Robert Kahn Michael Carter Emily Barone Shuai Tong Sarah Manley Carolyn Leigh Thomas FLUTE BASSOON Amir Hashang Farsi Rachel Celentano BASS TROMBONE Principal Principal William G. Holt Emily Barone Alex Carlson Assistant Principal Xinqi Dong EUPHONIUM EunSil Kang Kevin Solomowitz Catriona Barr Yanghee Kim Hyo Jin Park ALTO SAXOPHONE TUBA Ming-hsuan Tsai Kenny KyungWon Baik Marilyn Iparraguirre Andrew Landau Jarrel Garner OBOE Sean Meyers Jisang Lee Garrett Hale Susan Summers Matthew Ordille Principal Jessica Blackburn TENOR SAXOPHONE STRING BASS Associate Principal Ava Oaxaca Alex Edwards Stacy Ford Tyrone Page Jr. Ching Teresa Lin PERCUSSION BARITONE SAXOPHONE Wanlu Ma ENGLISH HORN Ji Woong Kim Principal Jessica Blackburn Brad Testerman Nonoka Mizukami Bjorn Grina E-FLAT CLARINET HORN Daniel Raney Alexander Roehl Peter Morris Seo Young Catherine Lee Principal Wanyue Ye CLARINET John Craddock Robert Kahn Zach Travis Concertmaster Joel Watts Yi-Hsien Chen Co-principal TRUMPET YiFei Li Eliza Minster Assistant Principal Principal Erin Kim Shane Coughlin Lea Pandy Shengduo Chen Hyun Sung Park Nicholas Duncan Alexander Roehl Cameron Kalemkarian Shuai Tong Jong Ho Kim Jackson Willis Haolan Liu

-5- Ruth Blaustein Rosenberg Series Peabody Symphony Orchestra

Hajime Teri Murai, Music Director

Denyce Graves, Mezzo-Soprano

Saturday, October 19, 2013 Miriam A. Friedberg Concert Hall 8:00 p.m.

Overture to “I vespri siciliani” Giuseppe Verdi (1813-1901)

Kindertotenlieder Gustav Mahler Nun will die Sonn’ so hell aufgeh’n (1860-1911) Nun seh’ ich wohl Wenn dein Mütterlein Oft denk’ ich, sie sind nur ausgegangen In diesem Wetter

Denyce Graves, mezzo-soprano, faculty artist

Intermission

The Miraculous Mandarin Suite, Op. 19 Béla Bartók (1881-1945)

Please disable all electronic devices including phones, E-readers, and tablets during performances. The use of cameras and sound recorders during performances is strictly prohibited. Notice: For your own safety, LOOK for your nearest EXIT. In case of emergency, WALK, do not RUN to that EXIT. By order of the Mayor and City Council of Baltimore.

-6- Text and Translation

Nun will die Sonn’ so hell aufgeh’n Now the sun wants to rise as brightly Nun will die Sonn’ so hell aufgeh’n Now the sun will rise as brightly als sei kein Unglück die Nacht gescheh’n. as if no misfortune had occurred in the night. Das Unglück geschah nur mir allein. The misfortune has fallen on me alone. Die Sonne, sie scheinet allgemein. The sun - it shines for everyone.

Du musst nicht die Nacht in dir verschränken You must not keep the night inside you; musst sie ins ew’ge Licht versenken. you must immerse it in eternal light. Ein Lämplein verlosch in meinem Zelt, A little light has been extinguished in my household; Heil sei dem Freudenlicht der Welt. Light of joy in the world, be welcome.

Nun seh’ ich wohl, warum so dunkle Flammen Now I see well, why with such dark flames Nun seh’ ich wohl, warum so dunkle Flammen Now I see well, why with such dark flames ihr sprühtet mir in manchem Augenblicke. your eyes sparkled so often. O Augen, gleichsam, um in einem Blicke O eyes, it was as if in one full glance zu drängen eure ganze Macht zusammen. you could concentrate your entire power.

Doch ahnt’ ich nicht, weil Nebel mich umschwammen, Yet I did not realize - because mists floated about me, gewoben vom verblendenden Geschicke, woven by blinding fate - daß sich der Strahl bereits zur Heimkehr schicke, that this beam of light was ready to be sent home dorthin, von wannen alle Strahlen stammen. to that place whence all beams come.

Ihr wolltet mir mit eurem Leuchten sagen: You would have told me with your brilliance: Wir möchten nah dir immer bleiben gerne! we would gladly have stayed near you! Doch ist uns das vom Schicksal abgeschlagen. But it is refused by Fate.

Sieh’ recht uns an, denn bald sind wir dir ferne! Just look at us, for soon we will be far! Was dir noch Augen sind in diesen Tagen: What to you are only eyes in these days - In künft’gen Nächten sind es dir nur Sterne. in future nights shall be stars to us.

Wenn dein Mütterlein When your mother Wenn dein Mütterlein When your mother tritt zur Tür herein, steps into the doorway und den Kopf ich drehe, and I turn my head ihr entgegen sehe, to see her, fällt auf ihr Gesicht my gaze does not alight erst der Blick mir nicht, first on her face, sondern auf die Stelle, but on the place näher nach der Schwelle, nearer to the threshold; dort, wo würde dein there, where lieb Gesichten sein. your dear face would be Wenn du freudenhelle when you would step in trätest mit herein, with bright joy, wie sonst, mein Töchterlein. as you used to, my little daughter.

Wenn dein Mütterlein When your mother steps tritt zur Tür herein, into the doorway mit der Kerze Schimmer, with the gleam of a candle, ist es mir, als immer it always seems to me as if kämst du mit herein, you came in as well, huschtest hinterdrein, slipping in behind her, als wie sonst ins Zimmer! just as you used to come into the room! O du, des Vaters Zelle, O you, a father’s cell, ach, zu schnell alas! too quickly erlosch’ner Freudenschein! you extinguish the gleam of joy! -7- Oft denk’ ich, sie sind nur ausgegangen Often I think that they have only stepped out Oft denk’ ich, sie sind nur ausgegangen, Often I think that they have only stepped out - bald werden sie wieder nach Hause gelangen. and that soon they will reach home again. Der Tag ist schön, o sei nicht bang, The day is fair - O don’t be afraid - sie machen nur einen weiten Gang. They are only taking a long walk.

Ja wohl, sie sind nur ausgegangen, Yes: they have only stepped out und werden jetzt nach Hause gelangen. and will now return home. O, sei nicht bang, der Tag is schön, O don’t be anxious - the day is fair. sie machen einen Gang zu jenen Höh’n. They are only taking a walk to those hills.

Sie sind uns nur voraus gegangen, They have simply gone on ahead: und werden nicht wieder nach Hause verlangen. they will not wish to return home. Wir holen sie ein auf jenen Höh’n We’ll catch up to them on those hills. im Sonnenschein, der Tag ist schön. In the sunshine the day is fair.

In diesem Wetter In this weather In diesem Wetter, in diesem Braus, In this weather, in this windy storm, nie hätt’ ich gesendet die Kinder hinaus; I would never have sent the children out; man hat sie getragen hinaus, They were carried outside - ich durfte nichts dazu sagen! I could say nothing about it!

In diesem Wetter, in diesem Saus, In this weather, in this roaring storm, nie hätt’ ich gelassen die Kinder hinaus; I would never have let the children out. ich fürchtete sie erkranken, I was afraid they had fallen ill, das sind nun eitle Gedanken. but these thoughts are now idle.

In diesem Wetter, in diesem Graus, In this weather, in this cruel storm, Nie hätt’ ich gelassen die Kinder hinaus; I would never have let the children out; ich sorgte, sie stürben morgen, I was worried they would die the next day - das ist nun nicht zu besorgen. but this is now no concern.

In diesem Wetter, in diesem Graus! In this weather, in this cruel storm, Nie hätt’ ich gesendet die Kinder hinaus! I would never have sent the children out; Man hat sie hinaus getragen, They were carried outside - ich durfte nichts dazu sagen! I could say nothing about it!

In diesem Wetter, in diesem Saus, in diesem Braus, In this weather, in this roaring, cruel storm, sie ruh’n als wie in der Mutter Haus, they rest as they did in their mother’s house: von keinem Sturm erschrecket, they are frightened by no storm, von Gottes Hand bedecket. and are covered by the hand of God.

-8- HAJIME TERI MURAI, Music Director, Conductor Opera, Opéra National de Paris, Lyric Opera of Chicago, The Washington Opera, Bayerische Staatsoper, Arena di Hajime Teri Murai was appointed in 1991 as the Ruth Verona, Deutsche Oper Berlin, Opernhaus Zürich, Teatro Blaustein Rosenberg Director of Orchestral Activities and Real in Madrid, Houston Grand Opera, Dallas Opera, Teatro serves as the Music Director of the Peabody Symphony and Colón in Buenos Aires, Los Angeles Opera, and the Festival Concert Orchestras. This endowed position was established Maggio Musicale in Florence. in the summer of 1990 as a result of a significant leadership gift to the Peabody Endowment Fund from the Blaustein- Ms. Graves appears continually on the stages of leading Rosenberg-Thalheimer Family Group in memory of Ruth theaters in North America, Europe, and Asia. Highlights Blaustein Rosenberg. have included a Robert Lepage production of The Rake’s Progress at San Francisco Opera, the title role in Richard Mr. Murai has made guest conducting appearances with Danielpour’s Margaret Garner in the world premiere the Baltimore Symphony, Cincinnati Symphony, Detroit performances at Michigan Opera Theater with further Symphony, Florida Symphony, Phoenix Symphony, Fort performances at Cincinnati Opera, Opera Carolina, and Wayne Philharmonic, San Jose Chamber Orchestra, Indiana the Opera Company of Philadelphia, the role of Charlotte Chamber Orchestra, the Diablo Music Festival, and the in Werther for Michigan Opera Theater opposite Andrea Summer Opera Theatre Company of Washington, DC. He Bocelli in his first staged operatic performances, and the served on the faculty of the College-Conservatory of Music at role of Judith in a William Friedkin production of Bartok’s the University of Cincinnati from 1976-1991 and was Music Bluebeard’s Castle in her return to Los Angeles Opera; she Director and Conductor of the Cincinnati Youth Orchestra also has sung Judith at the Washington National Opera and from 1979-1991. for the Dallas Opera. Recent appearances include the world premieres of Doubt at Minnesota Opera and Champion at Mr. Murai has been awarded eleven ASCAP Awards for the Opera Theatre of St. Louis as well as the role debuts of the Adventuresome Programming of Contemporary Music, Katisha in The Mikado for Lyric Opera of Kansas City and including six awards with the Peabody Symphony and Herodias in Salome for Palm Beach Opera. Concert Orchestras. In addition to premiering many new works, Mr. Murai gave the first performance in English Denyce Graves has worked with the finest symphony of Dmitri Shostakovich’s Symphony No.13, “Babi Yar” orchestras and conductors in a wide range of repertoire. (translation by Dr. Robert Evans). In 1987, he was a semi- She has performed with Riccardo Chailly, Myung-Whun finalist in the Leopold Stokowski Conducting Competition. Chung, Charles Dutoit, Christoph Eschenbach, James Levine, Zubin Mehta, Lorin Maazel, Kurt Masur, Riccardo Muti, Mr. Murai was born in San Francisco and began his and Mstislav Rostropovich. One of the music world’s most conducting studies while attending Lowell High School. sought-after recitalists, Ms. Graves combines her expressive He received his BA and MA degrees from the University of vocalism and exceptional gifts for communication with her California, Santa Barbara, where he studied with Ronald dynamic stage presence. Her programs include classical Ondrejka. He attended the California Institute of the Arts repertoire of German lieder, French mélodie, and English art to study with Gerhard Samuel and has also worked with song, as well as the popular music of Broadway musicals, Richard Lert. crossover and jazz together with American spirituals. For her New York recital debut, the New York Times wrote, “Her voice is dusky and earthy. She is a strikingly attractive stage DENYCE GRAVES, Mezzo-Soprano presence and a communicative artist who had the audience with her through four encores.” Recognized worldwide as one of today’s most exciting vocal stars, Denyce Graves continues to gather unparalleled In 2001 Ms. Graves gave a series of appearances in popular and critical acclaim in performances on four response to the tragic events in New York City, Washington, continents. USA Today identifies her as “an operatic D.C., and Shanksville, Pennsylvania on September 11, superstar of the 21st Century,” and the Atlanta Journal- 2001. Ms. Graves was invited by President Bush to Constitution exclaims, “if the human voice has the power to participate in the National Prayer Service in Washington’s move you, you will be touched by Denyce Graves.” National Cathedral in which she sang “America, the Beautiful” and “The Lord’s Prayer.” This event was televised Her career has taken her to the world’s great opera houses worldwide and was followed by Ms. Graves’s appearance and concert halls. The combination of her expressive, rich on The Oprah Winfrey Show in a live musical program vocalism, elegant stage presence, and exciting theatrical of “Healing through Gospel Music.” Ms. Graves appears abilities allows her to pursue a wide breadth of operatic regularly on radio and television as a musical performer, portrayals and to delight audiences in concert and recital celebrity guest, and as the subject of documentaries and appearances. Denyce Graves has become particularly well- other special programming. In 1997 PBS Productions known to operatic audiences for her portrayals of the title released a video and audio recording titled Denyce Graves: roles in Carmen and Samson et Dalila. These signature roles A Cathedral Christmas, featuring Ms. Graves in a program have brought Ms. Graves to the Metropolitan Opera, Vienna of Christmas music from Washington’s National Cathedral. Staatsoper, Royal Opera, Covent Garden, San Francisco This celebration of music including chorus and orchestra is shown each year on PBS during the Christmas season.

-9- Ms. Graves was seen on the Emmy-award winning Program Notes BBC special “The Royal Opera House,” highlighting her debut performances there and she has been a frequent guest on television shows including Sesame Overture from I vespri siciliani (The Sicilian Vespers) Street, The Charlie Rose Show, and Larry King Live. In Giuseppe Verdi 1996 Ms. Graves was the subject of an Emmy-award winning profile on CBS’s 60 Minutes. Born October 9, 1813, in La Roncole, near Parma, Italy Died January 27, 1901, in Milan, Italy In 1999 Denyce Graves began a relationship with BMG Classics/RCA Red Seal. That same year Voce di The work was premiered on June 13, 1855, at the Paris Donna, a solo recording of opera arias, was released Opéra. It is scored for pairs of woodwinds with added on RCA Red Seal. The Lost Days, a recording with jazz piccolo, four horns, two trumpets, three trombones, tuba, musicians of Latin songs in the Spanish and Portuguese timpani, percussion and strings. languages, was released in January 2003. In June 2003 Church was released this recording, developed Giuseppe Verdi was a political artist. In the 1840s there by Denyce Graves, brings together African-American was no unified country of Italy. Instead, Italian geography divas from various forms of music, all of whom were was divided into several city-states, with much of Northern first exposed to music through their upbringing in Italy controlled by Austria. Across Europe, in the wake church. Participants recorded music of their choice of Napoleon’s conquests and the collapse of the French and include Dr. Maya Angelou, Dionne Warwick, monarchy, nationalist interest grew as many areas strove to En Vogue, Patti LaBelle, and others. Other recordings embrace their local identities. In Italy, a movement called of Ms. Graves include NPR Classics’ release of a the Risorgimento sought to unify all Italians under the only recording of spirituals, Angels Watching Over Me, native Italian King, Vittorio Emanuele, of the small Northern featuring the mezzo-soprano in performance with Italian country of Piedmont. Because of Verdi’s political bent, her frequent partner, Warren Jones, and an album supporters of the cause took up the rallying cry of “Viva of French arias, Héroïnes de l’Opéra romantique VERDI.” the composer’s name here became an acronym for Français, with the Orchestre Philharmonique de Monte- “Vittorio Emanuele, Re D’ Italia” (Victor Emanuel, King of Italy). Carlo under Marc Soustrot. Her full opera recordings include Gran Vestale in La vestale, recorded live After the 1847 success of Verdi’s Jerusalem at the Paris Opéra, from La Scala with Riccardo Muti for Sony Classical; the management signed him to write another work. Because of Queen Gertrude in Thomas’s Hamlet for EMI Classics; a significant delay caused by the 1848 Revolution, it was not Maddalena in Rigoletto with the Metropolitan Opera until 1852 that Verdi was finally paired with librettist Eugéne Orchestra under James Levine; and Emilia in Otello Scribe, who had written many works for the Opéra and was with Plácido Domingo and the Opéra de Paris, Bastille widely regarded as the leading librettist in French Grand Orchestra under Myung-Whun Chung, both for Opera. Only in 1855 did it reach the Paris stage as part of Deutsche Grammophon. the Great Exposition.

Denyce Graves is a native of Washington, D.C., Originally entitled in French as Les vêpres siciliennes, the opera where she attended the Duke Ellington School for did not transfer well to the Italian stage, as the censors were the Performing Arts. She continued her education very strict in the wake of the Risorgimento. Many of Verdi’s at Oberlin College Conservatory of Music and the operas include thinly veiled political statements by characters New England Conservatory. Ms. Graves is the under the rule of oppressive foreign forces, and this work is no recipient of many awards, including the Grand Prix exception. I vespri siciliani is built around the Easter uprising du Concours International de Chant de Paris, the in Palermo in the year 1282 against French occupying forces. Eleanor Steber Music Award in the Opera Columbus The title refers to the ringing of the bells for the prayers at Vocal Competition, and a Jacobson Study Grant from Vespers – a sound that served as the signal for the Sicilians the Richard Tucker Music Foundation. In 1991, she to attack. received the Grand Prix Lyrique, awarded once every three years by the Association des amis de l’opéra Verdi’s overture is the longest he ever composed and is de Monte-Carlo, and the Marian Anderson Award, constructed in sonata form with an added slow introduction. presented to her by Miss Anderson. In addition she has Comprised of themes from the opera, it begins with a Largo received honorary doctorates from Oberlin College, section that explores the theme of death that pervades the the College of Saint Mary, and Centre College. drama. A lively Allegro agitato follows, based on a duet from Ms. Graves’s dedication to the singers of the next Act III. A coda, marked prestissimo ends the overture with a generation continues to be an important part of her dazzling flourish. career and recently she joined the voice faculty of the Peabody Conservatory of Music in Baltimore. ©2013 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

-10- Kindertotenlieder (Songs on the Death of Children) “Nun will die Sonn’ so hell aufgeh’n” (“Now the sun will Gustav Mahler rise as brightly [as if no misfortune had occurred in the night]”) opens with two solo instruments – oboe and horn – in Born July 7, 1860, in Kalischt, Bohemia counterpoint. The soloist enters with a text about sunrise, but Died May 18, 1911, in Vienna, Austria the solo line descends as if a psychological darkness holds sway. As the movement progresses, there are two different This work was first performed on January 29, 1905, by sound worlds that become clear – representing night and the orchestra of the Vienna Opera and baritone Friedrich day, grief and consolation. Perhaps most poignant is the use Weidemann with the composer conducting. It is scored of the glockenspiel to sound a death knell and simultaneously for baritone or mezzo-soprano soloist, piccolo, two flutes, represent the bells found in an infant’s crib. two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, timpani, percussion, “Nun seh’ ich wohl, warum so dunkle Flammen” (“Now I see harp, and strings. well why with such dark flames [your eyes sparkled so often]”) presents a different side of sorrow. There is little harmonic Deaths of children, although horrifying, were common resolution and plenty of unrest. The opening of this song is occurrences until well into the twentieth century. During very similar to that of the first song and with the use of horn Mahler’s childhood, seven of his thirteen siblings died in with the soloist, and both poems deal with images of light. infancy. His younger brother, Ernst, died when Gustav was fourteen. On July 12, 1907, Gustav and Alma Mahler’s five “Wenn dein Mütterlein” (“When your mother [steps into year old daughter, Maria, succumbed to scarlet fever and the doorway and I turn my head to see her, my gaze does diphtheria. That Mahler was drawn to Friedrich Rückert’s set not alight first on her face, but on the place nearer to the of 428 poems entitled Kindertotenlieder is not surprising. threshold there, where your dear face would be”) depicts the child’s mother wandering in grief. Pizzicato bass notes may Rückert was born in 1788 – seventy-two years before be heard as footsteps, but the ascending melody always turns Mahler – and never reached the level of fame of Goethe, around and descends to the same note at the end of each Schiller, or Heine. However, his work was a favorite of phrase and, therefore, covers no ground. This feeling of Schubert, Schumann, and Mahler. The Mahler work known stasis adds a poignancy that no text could convey. as Rückert Lieder represent his first setting of the poet’s work and are disparate in subject matter. He then turned to the “Oft denk’ ich, sie sind nur ausgegangen” (“Often I think that Kindertotenlieder cycle in 1901, a year before he married they have only stepped out [and that soon they will reach Alma Schindler. The first two songs were completed before home again.]”) is a song of denial in a bright major key. the wedding. The completed cycle would be his final vocal More than one musicologist has written that this song is about work, except for the Eighth Symphony and Das Lied von der a failed attempt to return to normal life after such a terrible Erde. By the time the piece was finished in 1904, the couple tragedy. The hopeful music of the opening cannot continue had two daughters. after the soloist enters. Happiness is not possible. Only on the final verse can the soloist finish the last line of text. Alma Mahler’s memoirs provide an interesting window into life in the Mahler household, although it paints a more- “In diesem Wetter!” (“In this weather, in this windy storm sympathetic-than-life picture of its author. She claimed that [I would never have sent the children out]” makes the she was furious that Gustav could write such a piece with two listener wonder if the storm is a meteorological one or a children of his own. psychological one. Mahler’s full orchestra rages with gale force. This is music of forced resolution, because one must “I can understand setting such frightful words to music emerge from the experience or be conquered by it. Of if one had no children, or had lost those one had. course, the implication here is that the soon-to-be buried child Moreover, Friedrich Rückert did not write these harrowing will be “in this weather” once in the grave. At the bleakest elegies out of his imagination: they were dictated by the moment, when to soloist sings the last statement of the line cruelest loss of his whole life. What I cannot understand is “They were carried outside - I could say nothing about it,” the bewailing the deaths of children, who were in the best of work undergoes an incredibly poignant transformation. A health and spirits, hardly an hour after having kissed and shimmering ray of musical light – depicted by glockenspiel, hugged them. I exclaimed at the time, ‘For heaven’s sake, piccolo, harp and cello harmonic playing – shines through don’t tempt Providence!’” like a beacon of hope. The storm departs and the work ends with a lullaby on the words, “In this weather, in this roaring, Maria Mahler died three years later. cruel storm, they rest as they did in their mother’s house: they are frightened by no storm, and are covered by the hand of The Kindertotenlieder are remarkable in many ways. God.” Mahler’s orchestra here is one of the smallest he ever used – his only brass is a pair of horns. It is essentially a chamber ©2013 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com orchestra. Mahler’s vast harmonic palette is reduced to a relatively small range of keys, perhaps to represent the stagnant psychological nature of grief. Each of the five songs include elements of symbolism that show the parents’ struggle to cope with the loss of a child (or children, as four of the songs imply). -11- Suite from The Miraculous Mandarin Bartók’s suite follows the original score up to the point Béla Bartók where the crooks decide to attack the Mandarin. Played without interruption, it falls into six sections: Born March 25, 1881, in Nagyszentmiklós, Hungary (now I. “Introduction: The Orders of the Tramps to the Sînnicolau Mare, Romania) Girl” - The music suggests the raucous noises of Died September 26, 1945, in New York city traffic. Brass fanfares indicate the accomplices loitering in the street below the room. Gradually This full version of this work was first performed on the music subsides into the dark back-street setting. November 27, 1926, in Cologne conducted by Eugen Szenkár. The suite on this program was premiered on II. “First Call of Seduction” - A clarinet solo depicts October 15, 1928, by the Budapest Philharmonic conducted the sexiness of the girl as she lures her first victim, by Ernö Dohnányi. It is scored for piccolo, three flutes, three the old cavalier, who hobbles in to a comic English oboes, English horn, E-flat clarinet, three clarinets, bass horn tune. The orchestra rises to a violent climax as clarinet, three bassoons, contrabassoon, four horns, three the crooks throw him out. trumpets, three trombones, tuba, timpani, percussion, celesta, piano, harp, and strings. III. “Second Seduction Call” – Now the clarinet solo entices the poor youth. Dance music, sentimental Hungarian composer Béla Bartók combined elements of folk at times, suggests the mutual attraction, before he is music with the newest advances in experimental music of ousted. the early twentieth century. Beginning in 1906, he traveled throughout Hungary and the Transylvania region with IV. “Third Seduction Call. The Mandarin Appears” fellow Hungarian composer Zoltán Kodály collecting folk – The siren song of the clarinet is heard for the music, much of which found its way into the works of these third time. Now it is answered by a brassy oriental revolutionary composers. When not using folk material, passage, suggesting the sinister and powerful Bartók often relied upon original themes using characteristics Mandarin. of peasant melodies, most readily heard in the odd meters, snapping (short-long) rhythms, and unique scales that are V. “The Seduction Dance of the Girl for the common in this indigenous music. Mandarin” – The girl dances a waltz, at first languorous but growing steadily livelier as the The Miraculous Mandarin dates from 1919 and was mandarin remains impassive. orchestrated in 1924. Composed as a pantomime ballet based on Menyhért Lengyel’s one-act play, Bartok extracted VI. “The Mandarin Catches Up with the Girl” – The a suite of music in 1927 to be performed in the concert Mandarin’s passion is finally aroused. He pursues hall. Using the most advanced compositional techniques of the girl, to the accompaniment of an intense string the day, this music approaches the emotional extremes of passage, with brasses rising in volume to reach the German expressionism in its depiction of the violent nature of climax of the work. The music is marked throughout society. The composer provides this description of the stage by primitive rhythms and sharp dissonances. action in the score: Any examination of The Miraculous Mandarin must take “In a shabby room in the slums, three tramps, bent on note of its symbolism as well as its psycho-sexual story. robbery, force a girl to lure prospective victims from The theme is the anguish of the individual human soul, the street. A down-at-heel cavalier and a timid youth, seeking, often in vain, to satisfy its desire but finding only who succumb to her attractions, are found to have thin emptiness when that desire is finally satisfied. During the wallets and are thrown out. The third “guest” is the period of composition, 1918-1919, Bartok was reflecting eerie Mandarin. His impassivity frightens the girl, who the pessimism, cynicism, and grotesque fantasy that tries to thaw him by dancing — but when he feverishly followed defeat in Central Europe after World War I and embraces her, she runs from him in terror. After a wild provided an ideal breeding ground for Expressionism in chase he catches her, at which point the three tramps drama and painting as well as music. leap from their hiding place, rob him of everything he has, and try to smother him under a pile of cushions. ©2013 Orpheus Music Prose & Craig Doolin But he gets to his feet, his eyes fixed passionately on the www.orpheusnotes.com girl. They run him through with a sword; he is shaken, but his desire is stronger than his wounds, and he hurls himself on her. They hang him up, but it is impossible for him to die. Only when they cut him down, and the girl takes him into her arms, do his wounds begin to bleed and he dies.”

-12- Peabody Symphony Orchestra Hajime Teri Murai, Music Director

Violin Cello Clarinet Bass trombone Michelle Skinner Renée Delgado Alex Clark William G. Holt Concertmaster Principal Principal Jeongmin Lee Sarah Berger Trevor Roche Tuba Associate concertmaster Associate principal Assistant principal Jeffrey Hudson Nikita Borisevich Mauricio Rey Gallego James Duncan Assistant concertmaster Assistant principal William Fossett Harp Alan Choo Heidi Bauer Jordan Thomas Principal Allison Drenkow E-flat clarinet Principal Michelle Shin Ana Ferreira William Fossett Zoë Coppola Associate principal Melody Giron Melody Swen Dian Zhang Chentian Gu Bass clarinet Assistant principal A Ra Hwang James Duncan Piano McKenzie Bauer Javier Iglesias Martin John Wilson Brandon Buckmaster Yun Ju Lee Bassoon Chi-Yin Chen Tobias Morris Alexander Carlucci Celeste Lucinda Chiu Emily Austin Smith Principal John Wilson HyunJee Chung Jonathan Terry Jonathan Nitz Michael Yun Margaret Dixon Tzu-Jou Yeh Associate principal Congchang Dou Jiaoyang Xu Dillon Meacham Timpani Austin Hansen Assistant principal Yifei Fu Jisoo Hong Contrabass Kramer Milan Kyung Ri Kim Vincent Trautwein Contrabassoon Jeff Stern Won Kim Principal Dillon Meacham YeJi Kim Jason Thompson Percussion Kenneth Kwan Associate principal Horn Milan Kramer Orin Laursen Mas Podgorny Stephen A. Slater Principal Gabriel Meza Assistant principal Principal Yifei Fu Atticus Mulkey Alex Edwards Shona Goldberg-Leopold Jisu Jung Ko-En Shih Kimberly Parillo Associate principal Seo-Young Lee Ethan Siegel Kathryn Bradley Frank Hammarin Jeff Stern Erynn Spencer Brandon Smith Assistant principal Terra Warger Hojung Jung Jacob Poulos Assistant Conductor Patricia Wnek Jenny Smoak Andre Filipe Lousada Elizabeth Yang Flute Hojean Yoo Chun-Jan Young Trumpet Duomi Zhang Principal Yanbin Chen Yuqi Zhang Jared Harrison Principal Tian Zhao Associate principal Josh Ganger Meghan Bennett Assistant principal Viola Assistant principal Eliza Minster Dae Sul Peter Kwon Annaliese Perrett Principal Piccolo Eric D’Alessandro Vanessa Miller Cornet Associate principal Annaliese Perrett Joelle Arnhold Oboe Principal Deirdre DeStefano Qiuzi Hu Yanbin Chen Joseph German Principal Daniel Jacobs Lauren Longacre Trombone Ya-Nu Ko Assistant principal Ian Striedter Nannan Li Jared Laws Principal Caitlin Perdue Harry Oehler Elisabeth Skaggs English horn Assistant principal Taylor Tin Jared Laws Dmitri Yevstifeev

-13- George Peabody Society $1.4 million and above We recognize those philanthropic visionaries whose lifetime cumulative giving has matched or exceeded George Peabody’s founding gift of $1.4 million. Their generosity has expanded and transformed the Peabody Institute of The Johns Hopkins University. The names are ordered by the date when they joined this elite group of donors. George Peabody Wendy G. Griswold and Tristan W. Rhodes Sidney M. Friedberg Charitable Trust Benjamin H. Griswold IV Hilda P. and Douglas S. Goodwin The Blaustein-Rosenberg-Thalheimer Elizabeth J. and Richard W. Case Claire S. and Allan D. Jensen Philanthropic Group Florence H. and Charles R. Austrian Marc von May Anonymous Eric Friedheim Thomas H. Powell Anonymous Loretta Ver Valen Anonymous The 2012-2013 Friedberg Society This society is named in honor of Sidney and Miriam Friedberg, whose generosity launched a new era of philanthropic leadership at the Peabody Institute. Friedberg Society donors sustain and enhance Peabody by giving $1,000 or more over the course of a fiscal year. The donors listed below have made outright gifts or pledges at the Friedberg Society level between July 1, 2012 and June 30, 2013.

CHAIRMAN’S CIRCLE Wendy G. Griswold and Benjamin H. Griswold IV PRINCIPAL’S CIRCLE Marian E. Hahn $100,000 AND ABOVE Fred and Sandra Hittman Philanthropic Fund $2,500–$4,999 Ellen Halle Anonymous Nina Rodale Houghton Frances K. and George Alderson Maureen Harrigan and David McDowell Adalman-Goodwin Foundation Amy H. and Dwight D. Im Woodbury H. Andrews Ruby and Robert Wesley Hearn Ruth and Ted Bauer Family Foundation Jephson Educational Trusts Meta Packard Barton Fund of Baltimore Hess Corporation ** Rheda Becker and Robert E. Meyerhoff Charlene and Michael Kass Community Foundation Kris Hoffman and Paul Raschke Paula Boggs Dale R. Kellenberger Robert E. Benson Jr. + Alma D. Hunt/VCM Charitable Trust Tammy L. Bormann and Mark J. Paris Ji-Na Kim Brown Advisory Inc. Evelyn H. Johnson * + Elana R. Byrd Lynn and John Lazzaro The Eddie C. and C. Sylvia Brown Donna and Eric Kahn Jack Kent Cooke Foundation Lois and Philip Macht Family Philanthropic Fund Family Foundation Mary L. Kelly and Thomas J. Kelly Jr. Jephta and Daniel Drachman Julian Mazor Phyllis Bryn-Julson and Donald S. Sutherland Harris L. Kempner Jr. Mary M. Freeburne * Joseph and Harvey Meyerhoff Family Charitable Funds Constance Caplan Myron Terry Koenig Fund for Waverly Sandra Levi Gerstung and the Levi Family Terry H. Morgenthaler and Patrick J. Kerins Michael Cassasa Christopher Kovalchick Fund II of the Baltimore Community Foundation Thomas H. Powell Elliot Cattarulla and Kay Hartell Cattarulla Galan Kral Hilda P. and Douglas S. * Goodwin Presser Foundation Eastman Wind Instruments Susan and Jeffrey Krew Basil Gordon * Rosemary Quinn + Thanh Huynh and Jeremy Nathans Ben Lee Taylor A. Hanex Lori Raphael and J. Michael Hemmer Indian Springs Academy of Music Stephane M. Lemelin Hecht-Levi Foundation Inc. Elaine B. and Solomon H. Snyder Barbara and Paul Krieger Victor Y. Li Akemi Kawano-Levine and David Levine T. Rowe Price Association Foundation Inc. Sara W. Levi Cynthia and Paul Lorraine Charles and Margaret Levin Family Foundation Deloris and Neville Williams The Links Inc. Ellen Mack Andrew W. Mellon Foundation Andrew Yang Thomas MacCracken Paul E. McAdam Samuel G. Rose Shirley S.L. Yang Dr. Frank Marino Foundation Inc. Stephen S. McCall and Johanna Hawkins Len D. Singer Audrey C. McCallum Memorial Institute Mary C. Walker CONCERTMASTER’S CIRCLE John S. McDaniel III Jill E. McGovern Gladys W. Winter * $5,000–$9,999 Lloyd E. Mitchell Foundation Trust Cynthia W. and Michael J. McKee Kerry Alt + Clara Juwon Ohr Suruchi Mohan and Prabhat Goyal COMPOSER’S CIRCLE The Bank of America Foundation ** The Rock Family Foundation Mellasenah Morris $50,000–$99,999 Ira Basler Jr. and Mary Basler Foundation Mitchell Schneider + Margaret B. Otenasek Jacob and Hilda Blaustein Foundation Lisa D. Bertani Susan Somerville-Hawes and Gregg W. Hawes Olga V. H. Owens Henry and Ruth Blaustein Rosenberg Foundation Barbara and Thomas Bozzuto Helen Stone and Gregory Tice M. Catherine Petrich Claire S. and Allan D. Jensen John F. Cahill Sheila and Erick Vail Liliane Questel Howard and Geraldine Polinger Family Foundation Cape Foundation Inc. Marguerite M. VillaSanta Ruth B. Renneburg Rouse Company Foundation Inc. The Casement Fund Ltd. Sally A. White Oscar Schabb Laifun Chung and Ted Kotcheff Carol Jean and John R. Young Suzanne J. Schlenger MAESTRO’S CIRCLE Helen S. and H. Chace Davis Christine Rutt Schmitz and Robert W. Schmitz $25,000–$49,000 The Charles Delmar Foundation DIRECTOR’S CIRCLE Debbie and Vincent Sergi Janet Sessions Anonymous Estelle Dennis Scholarship Trust $1,000–$2,499 Terry Shuch and Neal Meiselman A L H Foundation Inc. Larry D. Droppa Anonymous Thomas R. Silverman Robert Austrian * Edith Hall Friedheim and Eric Friedheim Foundation Gayle E. and David Ackley Eleanor Simon and Patrick O’Neall Cathedral of Mary Our Queen The Jocelyn Sara Glassman Scholarship Endowment Fund Joyce and Michael Axelrod Mary E. Sklarevski Rosalee and Richard Davison Nancy Grasmick Robert Scott Beard Linda B. and Richard Q. Snurr Jane R. Dummer Lillian and Willard Hackerman Carol A. Bogash Edward Steinhouse Peggy and Yale Gordon Charitable Trust Lori Laitman and Bruce E. Rosenblum Aurelia G. Bolton Kenneth R. Talle Hoffberger Family Foundation John J. Leidy Foundation Inc. Esther B. Bonnet Andrea Trisciuzzi and Charles Gannon Middendorf Foundation Hugh J. Marbury Laura R. Burrows Mary Jo Wagandt and Charles Wagandt II Francis Mondimore and Jay Rubin H. Bruce McEver David J. Callard Margaret C. and Patrick C. Walsh David Paulsen + James and Mary Miller Charitable Fund Campbell Foundation Inc. Yan Wang and Ying Zhang Mary and Michael Silver Lynne and Edward Miller Carol Cannon Barbara P. and Martin P. Wasserman David Tan Dae-Won Moon William Polk Carey * Peabody Institute Fund of the Baltimore Linda P. Carter Beverly Dietrich Weber Community Foundation Kay and Thomas Chan Alison J. Wells and Jeffrey Sharkey VIRTUOSO’S CIRCLE Kathleen Whalen and Frederick Cohen $10,000–$24,999 Richard Pearlstone and the Pearlstone Constellation Energy Group Foundation ** Family Fund Inc. Wolman Family Foundation The Abell Foundation Marta A. Dabezies Joan M. Pristas * Avedis Zildjian Company Robert J. Abernethy Russell Davidson Foundation Richard Schwartz Family Foundation Ireneus Bohdan Yaromyr Zuk Liza Bailey and Michael Musgrave Ruth L. and Arno P. Drucker Sheridan A. L. and John W. Skouge Brookby Foundation Phillip T. Dunk Jr. Judy and Turner Smith Bunting Family Foundation Early Music America Cherie Stellaccio + In-Kind Gift Rebecca A. Byrd + Mr. and Mrs. Richard A. Eliasberg Carol and Roy Thomas * Deceased Evergreen House Foundation Fox Products Corporation Francis H. Thomas * Amy L. Gould and Matthew S. Polk Jr. Daniel M. Graham **Matching Gift Dorothy W. Wallis Charitable Trust Janet Rayburn Greive and Tyrone Greive Thomas Y. Wong Edward Grossman Robert Wood Johnson Foundation -14- Peabody Improvisation & Multimedia Ensemble Fri, October 11, 2013, 7:30pm East Hall Gary Thomas, Director Alex P. Norris, Guest Conductor Peabody Camerata Sat, October 12, 2013, 7:30pm Leith Symington Griswold Hall Gene Young, Conductor Peabody Jazz Orchestra Fri, October 18, 2013, 7:30pm East Hall Michael Formanek, Director Peabody Singers Thu, October 24, 2013, 7:30pm Leith Symington Griswold Hall Edward Polochick, Conductor Peabody Opera Workshop Mon, October 28, 2013, 7:30pm

upcoming events In collaboration with the Peabody Early Music Dept. Miriam A. Friedberg Concert Hall Adam Pearl, Music Director Jennifer Blades, Stage Director Claudio Monteverdi: L’incoronazione di Poppea Sylvia Adalman Chamber Series Tue, October 29, 2013, 8pm Miriam A. Friedberg Concert Hall Brian Ganz, Piano Peabody Modern Orchestra Fri, November 1, 2013, 7:30pm Miriam A. Friedberg Concert Hall Harlan D. Parker, Conductor Peabody Concert Orchestra Sat, November 2, 2013, 8pm Miriam A. Friedberg Concert Hall Hajime Teri Murai, Music Director Sylvia Adalman Chamber Series Tue, November 5, 2013, 8pm Miriam A. Friedberg Concert Hall Hyunah Yu, Soprano, Guest Artist Soovin Kim, Violin Violaine Melançon, Violin Keng-Yuen Tseng, Violin Victoria Chiang, Viola Maria Lambros, Viola Michael Kannen, Violoncello Alan Stepansky, Violoncello Alison Wells, Violoncello Peabody Latin Jazz Ensemble Fri, November 8, 2013, 7:30pm East Hall Tim Murphy, Director Peabody Box Office Organ Concert: Donald Sutherland 410.234.4800 Sun, November 10, 2013, 4pm Hours: Monday–Friday, 10:00am - 4:00pm Leith Symington Griswold Hall www.peabody.jhu.edu Peabody Symphony Orchestra & Peabody Opera Theatre PROGRAM CHANGES Fri, November 15, 2013, 7:30pm Concert programs are subject to change without notice. Sun, November 17, 2013, 3pm Patricia & Arthur Modell Performing Arts Center at The Lyric Steven White, Guest Conductor Patrick Diamond, Stage Director Tickets may be purchased through the Lyric Box Office lyricoperahouse.com 410.900.1150

-15- -14- Administration

Ronald J. Daniels President, The Johns Hopkins University

Robert C. Lieberman Provost and Senior Vice President for Academic Affairs

Jeffrey Sharkey Director, Peabody Institute

Mellasenah Y. Morris Dean of the Conservatory/Deputy Director

Gavin Farrell Interim Dean of the Preparatory

Andrea Trisciuzzi Associate Dean for External Relations

Maureen Harrigan Associate Dean for Finance and Administration

Paul Mathews Associate Dean for Academic Affairs

Katsura Kurita Associate Dean for Student Affairs

Production Staff

Linda G. Goodwin Executive Director of Ensemble Operations

Susan Samuels Concert and Publications Coordinator

Jessica Hanel Satava Concert Series Coordinator

Paul Faatz Senior Ensemble Coordinator

Rich Lauver Ensemble Coordinator

Melina Gajger Orchestra Coordinator

Douglas Nelson Technical Coordinator

Darryl E. Carr Stage Manager

Alex King Production Assistant and PIME Manager

Dennis Malat Technical and Stage Consultant

Elizabeth Digney Box Office Coordinator

Chelsea Buyalos Concert and Box Office Assistant

Mary Schwendeman Chief Piano Technician

William Racine Audio-Visual Coordinator

Program Cover Design by Susan Samuels

administration & production staff in collaboration with Elizabeth Digney