As we come to the close of the 2014-15 academic year and performance season here at Peabody, I am reflecting on what has been an invigorating and informative first year for me as dean of the Peabody Institute.

Getting to know our students has been one of my great joys over the last 10 months. They are exceptional young people: talented, committed, and caring. They want to be here, and that is the direct result of a faculty that cares deeply and wants the best for our students.

At the same time, we exist in a world that is changing rapidly. In today’s world, the intuitive value of arts in our society is not always apparent. It is increasingly the job of the artist in the 21st century not only to speak truth and create beauty, but also to create connections in all ways possible.

Last fall, we asked the question “What’s Next?” for classical music. The answer truly is that while the art form we call “classical” music is in some ways more challenged than ever, it also has more opportunities to connect and more avenues through which to make those connections than ever before, many of them unconventional. But that can only happen if the artist is open to seeing his art, and its place in the world, perhaps differently than before. Like many other enterprises, we have to be prepared to reinvent ourselves.

Through our “breakthrough” plan, Peabody has set in motion over the past 10 months a number of initiatives that set the stage for new opportunities. As we focus on excellence in musical training at the highest level, we are also questioning how to incorporate in our curriculum the critical skills students will need to navigate the new landscape that awaits them. And as we do this, we have committed ourselves to broadening the vision of the Peabody Institute itself to embrace in the most serious way our interdisciplinary competitive edge with Johns Hopkins University and Medicine. Exciting projects are percolating. At the same time, we are upping our game in the community as exemplified by our growing partnerships with the Henderson Hopkins School and the Baltimore Symphony Orchestra. One direct result of these important partnerships is that the Peabody Symphony Orchestra has the honor of recording its first major-label release with the BSO’s world-renowned music director, Marin Alsop. The CD featuring the music of Pulitzer Prize-winning composer and Peabody composition faculty member, Kevin Puts, will be released on the Naxos label next year.

As we work through our plan, our commitment to enhance the excellence of the Peabody Conservatory while broadening the vision and impact of the Institute can only serve to draw more attention to Peabody. I truly believe the best is yet to come as we deepen our commitment to our surrounding community and articulate and differentiate the unique qualities of the Peabody Institute at the Johns Hopkins University.

Fred Bronstein, Dean PEABODY CONCERT ORCHESTRA PEABODY SINGERS PEABODY-HOPKINS CHORUS

EDWARD POLOCHICK, CONDUCTOR

FRIDAY, APRIL 17, 2015 MIRIAM A. FRIEDBERG CONCERT HALL 8:00 P.M.

Sponsored by the Douglas S. and Hilda P. Goodwin Fund of the Peabody Conservatory.

Mass No. 5 in A-flat major, D. 678 Franz Schubert Kyrie (1797-1828) Gloria Credo Sanctus Benedictus Agnus Dei

Nicole Hodgins, soprano Rebecca Roy, alto Joshua Diaz, tenor John An, bass

Intermission

Symphony No. 1 in C minor, Op. 68 Johannes Brahms Un poco sostenuto; Allegro (1833-1897) Andante sostenuto Un poco allegretto e grazioso Adagio; Allegro non troppo, ma con brio

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- Mass No. 5 in A-flat major, D. 678

Kyrie Kyrie Kyrie eleison Lord, have mercy upon us Christe eleison Christ, have mercy upon us Kyrie eleison Lord, have mercy upon us

Gloria Gloria Gloria in excelsis Deo, Glory be to God on high, et in terra pax hominibus bonae voluntatis. and peace on earth to men of good will. Laudamus te, benedicimus te, We praise Thee, we bless Thee, adoramus te, glorificamus te. we adore Thee, we glorify Thee. Gloria in excelsis Deo. Glory be to God on high. Gratias agimus tibi propter magnam gloriam tuam. We give Thee thanks for Thy great glory. Domine Deus, Rex cælestis, Lord God, heavenly King, Deus Pater omnipotens, God, the Father Almighty. Domine, Fili unigenite, [Jesu Christe]*. Lord [Jesus Christ], the only-begotten Son, Domine Deus, Agnus Dei, Filius Patris, Lord God, Lamb of God, Son of the Father, Qui tollis peccata mundi, Thou, who takest away the sins of the world, miserere nobis; have mercy upon us; [suscipe deprecationem nostram. [receive our prayer. Qui sedes ad dexteram Patris, miserere nobis.] O Thou, who sittest at the right hand of the Father, have mercy on us.] Quoniam tu solus sanctus, For Thou alone art holy, tu solus Dominus, Thou alone art Lord, tu solus altissimus, [Jesu Christe,] Thou alone art most high, [Jesus Christ,] cum Sancto Spiritu in gloria Dei Patris. Together with the Holy Ghost, in the glory of God the Father. Amen. Amen.

Credo Credo Credo in unum Deum, I believe in one God, Patrem omnipotentem, the Father Almighty, Credo in factorem cæli et terræ maker of heaven and earth visibilium omnium et invisibilium. of all things visible and invisible. Credo in unum Dominum Jesum Christum, In one Lord Jesus Christ, Credo in Filium Dei unigenitum; the only-begotten Son of God; et ex Patre natum ante omnia sæcula. and born of the Father before all ages. Deum de Deo, lumen de lumine: God of Gods, Light of Light: Deum verum de Deo vero; True God of true God; [Genitum, non factum; [begotten, not made; consubstantialem Patri,] consubstantial with the Father,] per quem omnia facta sunt; by Whom all things were made; Qui propter nos homines, Who for us men and for our salvation, et propter nostram salutem, descendit de cælis, came down from heaven, et incarnatus est de Spiritu Sancto ex Maria Virgine, and became incarnate by the Holy Ghost of the Virgin Mary, et homo factus est. and was made man. Crucifixus etiam pro nobis He was crucified also for us sub Pontio Pilato, passus et sepultus est, suffered under Pontius Pilate and was buried, Et resurrexit tertia die, secundum Scripturas. And on the third day He arose again according to the Scriptures. Et ascendit in cælum, sedet ad dexteram Patris. And ascended into heaven, and sitteth at the right hand of the Father. Et iterum venturus est cum gloria judicare vivos et mortuos, And He is to come again, with glory, to judge both the living and the dead, Cujus regni non erit finis. Of whose kingdom there shall be no end. Credo in Spiritum Sanctum, I believe in the Holy Ghost, Dominum et vivificantem, the Lord and Giver of life, qui ex Patre Filioque procedit; Who proceedeth from the Father and the Son; qui cum Patre et Filio simul adoratur et conglorificatur; Who, together with the Father and the Son, is adored and glorified; qui locutus est per prophetas. Who spoke by the prophets. [Et unam sanctam catholicam et apostolicam ecclesiam,] [I believe in one holy Catholic and Apostolic Church.] Confiteor unum Baptisma in remissionem peccatorum, I confess one baptism for the remission of sins, [et expecto resurrectionem] mortuorum, [And I expect the resurrection] of the dead, et vitam venturi sæculi. and the life of the world to come. Amen. Amen.

-3- Sanctus Sanctus Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Holy, holy, holy Lord God of Sabaoth. Pleni sunt cœli et terra gloria tua. Heaven and earth are full of Thy Glory. Osanna in excelsis. Hosanna in the highest.

Benedictus Benedictus Benedictus qui venit in nomine Domini. Blessed is he who cometh in the name of the Lord. Osanna in excelsis. Hosanna in the highest.

Agnus Dei Agnus Dei Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, miserere nobis. have mercy upon us. Agnus Dei, qui tollis peccata mundi, Lamb of God, that takest away the sins of the world, miserere nobis. have mercy upon us. Dona nobis pacem. Grant us peace.

* Bracketed words were not set by the composer, but are part of the traditional Mass text.

PROGRAM NOTES

Mass No. 5 in A-flat major, D. 678 Franz Schubert Born January 31, 1797, in Vienna, Austria Died November 19, 1828, in Vienna, Austria This work was not performed during the composer’s lifetime. It The Mass in A-flat major was one of Schubert’s favorite is scored for soprano, alto, tenor, and bass soloists, SATB choir, works. Written between 1819 and 1822, Schubert revised flute, two oboes, two clarinets, two bassoons, two horns, two the work in 1826 to use in his efforts to secure the position trumpets, three trombones, timpani, organ, and strings. of Court Vice-Kapellmeister. His efforts were thwarted when the Kapellmeister of the Royal Chapel, Josef Eybler, told him In Franz Schubert’s day, just like in modern times, the that the work was too progressive for the Emperor, who had instrumentation of a composer’s music was dictated by musically conservative tastes. availability. Since many of Schubert’s friends were chamber musicians, the vast majority of his works were composed for this The Kyrie begins with choral voice pairings of soprano and tight-knit group of artists who gathered regularly for informal alto answered by the tenor and bass. Continuing in mostly evenings of music-making. The Schubertiad, as this event was homophonic texture, the movement soon gives way to called, combined piano pieces, chamber music, and art song into the Christe eleison. Beginning with the solo soprano, this an intimate concert experience. section introduces the tenor, bass, and alto solos, in that order, in polyphonic imitation. A slightly changed Kyrie Most of Schubert’s orchestral music was composed for a closes the movement. second type of informal gathering. As Schubert developed as a composer, he began to gain more interest in larger works. So The majestic Gloria traverses several keys to illustrate points he could compose for these ensembles, a somewhat extended in the text. Beginning Allegro maestoso e vivace with dotted group of family and friends gathered to play his music. When rhythms and florid flute filigree, the key changes to A major the group started in 1814, they met in the home of the merchant and the tempo slows to andantino for the Gratias agimus tibi, Franz Frischling, but they soon outgrew that venue. Violinist sung by the soloists. At Dominus Deus, Rex cælestis, a series Otto Hatwig offered his large home for rehearsals in 1815 and of modulations begins and the key becomes blurred. The the group began meeting on a weekly basis. Although the group movement ends with a fugue. had a full string section of twenty-one players (small by today’s standards, but typical in Schubert’s day), wind players came and Traditionally, a Credo features a rapid-fire statement of the went. In 1816 Schubert’s orchestra had pairs of oboes, bassoons, longest text of any Mass section. Schubert begins with a and horns, but only one flute player. Schubert’s association with C major chord from horns and trombones, traditionally used such a wide range of musicians gave him an impressive base of to represent the voice of God, followed by an echo one octave talent upon which he could call for virtually any occasion. higher in the oboes, clarinets, and trumpets. The movement is punctuated by these chords to delineate the three sections of Schubert’s sacred works span his entire life. He was a choirboy the text as the singers move from the Credo in unum Deum to as a child and remained there until his voice changed in 1812. the Et incarnatus est, the Et resurrexit, and the final Confiteor Around that time, he started to compose sacred choral music. In in unum baptisma. With the Et incarnatus est, the tempo 1814, at the age of seventeen, he composed his Mass in F major, slows to Grave to linger on the text. The Et resurrexit returns one of his first popular works. His two final masses, the fifth and to the majesty of the opening. sixth, are considered to be among his finest works and proved quite influential to later composers writing in the same genre.

-4- The F major Sanctus is strictly choral with an orchestral Premiered in the small burg of Karlsruhe, the work was not accompaniment that alternates between deftly textured received enthusiastically. Noted critic Eduard Hanslick, that chords and gently undulating arpeggios. An evocative endless font of unfavorable criticism, wrote: “Brahms seems Hosanna for the chorus ends the movement. too willing to sacrifice sensuous beauty to the cultivation of greatness and seriousness, severity, and complexity.” However, The Benedictus features the soloists at the outset, but some important listeners understood. Conductor Hans von sections with the full chorus alternate as the movement Bülow, after hearing the work, recognized it as a logical progresses. It is a lovely A-flat major with running eighth- progression of the symphonic tradition from Beethoven and note patterns in the accompaniment. The Hosanna returns to labeled it “the Tenth”—an obvious reference to the next step complete this section. Beethoven might have taken after finishing the Ninth.

The Agnus Dei is a heartfelt Adagio in F minor beginning with The symphony opens with a grandiose introduction, tinged the four soloists. With the almost whispered Miserere nobis, with deep melancholy. Notice how the highest and lowest the chorus enters and provides a dramatic element. The final sounds converge (the top descending while the bottom ascends Dona nobis pacem returns to the key of A-flat major and in a sort of musical wedge shape), all cemented together by culminates in a subdued and powerful plea for peace. the relentless pulse of the timpani. This leads directly to the main Allegro section, masterfully cast in sonata form. After ©2014 Orpheus Music Prose & Craig Doolin introducing new themes, there is a return of material from the www.orpheusnotes.com introduction. The Andante sostenuto is a placid moment of repose, with solo woodwinds playing a prominent role from the outset, only to be interrupted by stormy moments near the Symphony No. 1 in C Minor, Op. 68 end. The third movement replaces the scherzo of Beethoven Johannes Brahms and the minuet of Haydn and Mozart with a restrained ABA form. Brahms, known for his Beethovenian rustic humor, Born May 7, 1833, in Hamburg, Germany was once asked whether one of the themes from the third Died April 3, 1897, in Vienna, Austria movement was based on a melody composed by Beethoven, to which his answer was: “even an ass can hear that.” After a This work was first performed on November 4, 1876, at the powerful and languid introduction, the finale unfolds with its Grand Ducal Theater in Karlsruhe, Germany, with Otto Dessoff familiar stately theme. After an extensive development section, conducting. It is scored for woodwinds in pairs with added the main theme returns, building in intensity to the wonderfully contrabassoon, four horns, two trumpets, three trombones, overwrought closing measures. timpani, and strings. © 2014 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com After Beethoven’s death in 1827, composers were held to an almost unattainable standard. The shadow cast by his nine symphonies—a monolithic body of work—intimidated many composers, causing some to delay their first efforts in the genre until later in life. Johannes Brahms, although a successful composer in his twenties, did not compose his Symphony No. 1 until he was forty-three. Perhaps he explained it best: “I shall never compose a symphony. You have no idea how it feels to hear behind you the tramp of a giant like Beethoven.”

As early as 1862, Brahms had sketched some of the material he would later use in his first symphony. Granted, the pressure to complete a symphony was always palpable, but the intimidating comparisons to Beethoven that would inevitably be raised gave Brahms little peace. He was expected, like all composers of his day, to contribute to the century-old symphonic tradition. Finally, when he was offered a position in Düsseldorf, he resolved to overcome the barriers and write a symphony as a symbolic capstone to his Viennese experience. Although he ultimately declined the Düsseldorf position and remained in Vienna after all, Brahms completed the symphony.

-5- EDWARD POLOCHICK Mr. Diaz has had success on the operatic stage in the roles of Don José in the concert version of Bizet’s Carmen, as Judge CONDUCTOR Danforth in Robert Ward’s operatic adaptation of The Crucible, and as Le Chevalier de la Force in Poulenc’s Les Dialogues des Edward Polochick is the Carmélites. Recently, he performed the role of Mayor Upford Associate Conductor of the in Albert Herring and the Schoolmaster/Mosquito in Janáček’s Peabody Orchestras, Director The Cunning Little Vixen for the Trentino Music Festival in of Choral Ensembles, and Opera Mezzano, Italy. Most recently, he performed the roles of Beppe Conductor at the Peabody in I Pagliacci, the Witch in Hansel and Gretel, and Pedrillo in Die Conservatory of Music, where Entführung aus dem Serail. he has been a member of the faculty since 1979. He is also Mr. Diaz is also an accomplished singer on the concert stage the artistic director of Concert and in the recital hall. He has performed as soloist with the Artists of Baltimore, which Notre Dame Chorale, Notre Dame Chamber Orchestra, Peabody he founded in 1987, and the Symphony Orchestra, and Concert Artists of Baltimore. A 2014-2015 season marks his highlight of his concert appearances was as the tenor soloist in sixteenth as Music Director of The Defiant Requiem, a concert-drama presentation of Verdi’s the Lincoln Symphony Orchestra Messa da Requiem. in Nebraska. An accomplished pianist and harpsichordist, he has Mr. Diaz received his bachelor’s degree from the University appeared as piano soloist with the Philadelphia Orchestra and the of Notre Dame where he majored in vocal performance and Los Angeles Chamber Orchestra with Sir Neville Marriner conducting. music history, and minored in Italian. Currently he resides in Since winning the coveted Leopold Stokowski Conducting Award Baltimore, where he received his master of music in voice from and, as a result, conducting the Philadelphia Orchestra, Mr. Polochick the Peabody Conservatory in 2013. He is now continuing his has attracted widespread attention as an orchestral, operatic, and post-graduate studies in the studio of Dr. Stanley Cornett as choral conductor. During the summer of 1987, he was conductor of a candidate of the graduate performance diploma in opera Musicisti Americani, a chamber orchestra festival in Sulmona, Italy. performance at Peabody. Mr. Diaz is the recipient of the Douglas In November of that year, he conducted the Peabody Orchestra in and Hilda Perl Goodwin Endowed Scholarship Fund for Opera and concerts of American music in Moscow, and received an ASCAP the Jacques T. Schlenger Scholarship. award for adventuresome programming of American music as a result of that tour. His conducting appearances have included performances with the Baltimore Symphony Orchestra, Houston Symphony NICOLE HODGINS, SOPRANO Orchestra, Chautauqua Symphony, Opera Company of Philadelphia, Soprano Nicole Hodgins, a native of North Carolina, began Northeastern Pennsylvania Philharmonic, Aalborg Symphony of her vocal studies at eight years old. A recent semi-finalist in Denmark, Omaha Symphony Orchestra, Tuscaloosa Symphony, Peabody’s Sylvia Green Competition, her past roles and scenes Abilene Texas Philharmonic, and Jacksonville Symphony Orchestra. include: Charlotte in Pasatieri’s Before Breakfast, Mother in Mr. Polochick resides in Baltimore, where, in addition to his busy Humperdinck’s Hansel and Gretel, Mother in Menotti’s Amahl schedule with Concert Artists, the Peabody Conservatory, and regular and the Night Visitors, Marzelline in Beethoven’s Fidelio, Zweite guest conducting with the Baltimore Symphony, he is often asked to Dame in Mozart’s Die Zauberflöte and Countess Almaviva share his wealth of knowledge and love of music at various lecture in Mozart’s Le nozze di Figaro. Ms. Hodgins has attended series, adjudications, and radio broadcasts. He is the proud recipient summer programs including: Music Theater Bavaria, The Bel of the Peggy and Yale Gordon Achievement Award, and in May of Canto Institute, Interlochen Center for the Arts, and The Boston 2000 was made an honorary member of the Baltimore Music Club. In University Tanglewood Institute where she performed under the the spring of 2002, he was selected as the first Peabody alumnus to direction of John Williams. In the fall of 2011, she performed receive the Johns Hopkins University Distinguished Alumnus Award. Honnegger’s Jeanne D’Arc au Bucher with the Baltimore Symphony Orchestra under the direction of Marin Alsop at Carnegie Hall. Ms. Hodgins is pursuing a bachelor of music JOHN AN, BARITONE degree in vocal performance with Ah Young Hong at The Peabody Baritone John An is currently a fourth-year undergraduate student at Conservatory in Baltimore, Maryland. She is the recipient of the the Peabody Conservatory studying under Dr. Steven Rainbolt. This Claire and Allan Jensen Endowed Scholarship. past spring, Mr. An performed the role of Pasha Selim from Mozart’s Die Entführung aus dem Serail with Peabody Opera Theatre at the REBECCA ROY, MEZZO-SOPRANO Baltimore Lyric Opera House. Previously, he has sung the role of Theseus in A Midsummer Night’s Dream, also with Peabody Opera Mezzo-soprano Rebecca Roy recently appeared in the role of Lady Bertram in the U.S. premiere of Mansfield Park by Jonathan Dove Theatre. Mr. An has performed multiple times as a soloist with the with the Peabody Chamber Opera at the Baltimore Theatre Project. Peabody-Hopkins Chorus and Peabody Singers, namely in their Last fall, in partnership with the Smithsonian Institute, Rebecca performances of the Mozart’s Mass in C minor and Schubert’s premiered the operetta Qadar with performances at the Kennedy Mass in G major. He is excited to be returning as a soloist for Center Millennium Stage and Clarice Smith Performing Arts Schubert’s Mass in A-flat major. Mr. An also studies computer Center. She is a regular soloist with Concert Artists of Baltimore science at the Johns Hopkins University under the Peabody-Hopkins and recently performed Dixit Dominus by Handel. Other past Double Degree program. performances include Pergolesi’s Stabat Mater, Handel’s Messiah, and Peabody Opera Theatre and Baltimore Lyric’s production of Les Dialogues des Carmélites. Rebecca received her undergraduate , JOSHUA THOMAS DIAZ TENOR training at Indiana Wesleyan University, where she earned a Mexican-American tenor Joshua Thomas Diaz is an up-and- bachelor of music degree in vocal performance. She is currently coming talent from Texas praised for his lyrical, italianate voice and pursuing her master of music degree at the Peabody Conservatory sensitive musicality. under the tutelage of Denyce Graves. -6- PEABODY SINGERS PEABODY-HOPKINS CHORUS PEABODY CONCERT ORCHESTRA

Edward Polochick, Director Edward Polochick, Director Violin Contrabass Patrick Merrill, Rehearsal and Performance Pianist Patrick Merrill, Rehearsal and Performance Pianist Dae Yun Andrew Kwon Kassandra Ferrero Michael Repper, Graduate Conducting Assistant Michael Repper, Graduate Conducting Assistant Concertmaster Principal Paul Faatz, Chorus Manager Paul Faatz, Chorus Manager Shannon Fitzhenry Jihee Kim Associate concertmaster Associate principal Soprano Soprano Arianna Schickel Zola Bridges Rachel Blaustein Grace Srinivasan Principal Nolan Center Section Leader Section Leader Sarah Thomas Paul Thomas Hunt Bailey Jo Hutton Mercy Calhoun Associate principal Alec Kipnes Shayna Jones Yunlang Chen Yea Eun An James Peterson Carolyn McGuigan Katharine Christenbury Nicholas Bentz Sam Shreves Yi-An Esther Tien Kasey Lorelle Cwynar-Foye Nakwon Choi Brandon Smith Louisa Rose Tringali Shurmila Dhar Ledah Finck Flute Norika Zehnder Katie Ewles Sophie Fortunato Emily Barone Rebecca Zuñiga Carly M. Henderson Benjamin Hoertnagl-Pereira Principal Tianrun Long Jerry Hou Grace Tsai Alto Clara Plestis Ben Hoyt Associate principal Rebecca J. Roy Becca Kasdan Louna Dekker-Vargas Section Leader Alto Esther Kim Oboe Constance Kaita Tirzah Hawley Julie Kaeun Kim Peter Morey Tammi Lee Section Leader SoYeong Kim Rongmei An Buyong Lee Principal Emily Pastrana Teresa Lin Danielle Piccinini Francesca D’Uva Hilda Li Katharine Estes Alexis Meschter Associate principal Rebecca Wiles Garrett Hale Wei Guo Maitreyi Muralidharan Tenor Christine Liu Katie Nakamura Clarinet Flavia Pajaro-van de Stadt Peter Dayton Xiaoxiao Ouyang William Fossett Daisy Rho Zhuorai Deng Edwina Picon Principal Kristianne Rulona Aaron Gage Rhonda Robinson Jessica Hiemstra Naomi Schrank Associate principal Thomas Swain Rieko Tsuchida Kathy Walsh Seon Young Seol Sabrina Caminero Rebecca Wuu Kirby Su Alexander Roehl Bass Marika Suzuki Michael Repper Hoi Shuen Tom Bassoon Section Leader (tenors and basses) Jaquain Sloan Tenor Ryo Usami Jacob Bowman Principal Zhe Zhang Madison Van de Wetering Karl Buttermann Rachel Celentano Section Leader Beverly Wu Sean William Calhoun Associate principal Farshid Esmali Robert Feng Alex Carlson Stephen Harrop Viola Eric Meier Jonathan Hugendubler Taylor Tin Contrabassoon Brad Testerman Jason Mulligan Principal Rachel Celentano Ben Wilson Elizabeth Keckeisen James Sheline Horn Associate principal Kelsey Ross Hannah Emigh-Doyle Bass Principal Melina Garibovic Michael Repper Andrew Warfield Christen Hooks Section Leader Associate principal Bronwyn Kure Roderick C. Demmings Jr. Zachary Travis Nicolaus Dulworth Christopher Lock Sze Fong Yeong Alec Green Claudia Malchow Phillip Hagopian Gina Stonikas Trumpet Eric Kantor Ting-An Wei John Ehrenburg Dong Kim Lan Zhang Principal Mitchell Curry Marcus Kramer Associate principal Kyle Krause Cello Cameron Kalemkarian Young Jun Lim Juhyeon Kim Shawn Milloway Principal Trombone Sunglae Park Dorian Latchague Associate principal Ricson Poonin Garrett Pelland Principal David A. Samson Najette Abouelhadi Rebecca Chuang Ian Striedter Matthew G. Sullivan Associate principal Benjamin Walter Soo Hyun Han So Young Jang Carolyn-Leigh Thomas Hang Liu Bass trombone Andrew Shiau Harry Oehler Lydia Sohn Joseph Staten Timpani Ezekiel Yu Bjorn Grina Daniel Raney Assistant Conductor Michael Repper -6- -7- RUTH BLAUSTEIN ROSENBERG SERIES PEABODY SYMPHONY ORCHESTRA HAJIME TERI MURAI, MUSIC DIRECTOR LEON FLEISHER GUEST CONDUCTOR ANDREW W. MELLON CHAIR IN PIANO

MIN YOUNG PARK, PIANO WINNER OF THE HARRISON WINTER PIANO COMPETITION

SATURDAY, APRIL 25, 2015 MIRIAM A. FRIEDBERG CONCERT HALL 8:00 P.M.

Overture to Der Freischütz Carl Maria von Weber (1786-1826)

Piano Concerto No. 25 in C major, K. 503 Wolfgang Amadeus Mozart Allegro maestoso (1756-1791) Andante Allegretto Min Young Park, piano Winner of the Harrison L. Winter piano competition

~Intermission~

Presentation of the Johns Hopkins University Alumni Association Heritage Award to Wilda M. Heiss by Fred Bronstein, Dean, Peabody Institute Matthew Rupcich, President, Society of Peabody Alumni

Don Juan, Op. 20 Richard Strauss (1864-1949)

La valse Maurice Ravel (1875-1937)

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.

-8- PROGRAM NOTES Weber’s overture was the first curtain-raiser to use complete melodies from its opera. After an ominous introduction, a tender melody appears in the horns. Suddenly surging ahead Overture to Der Freischütz at a molto vivace tempo, the music turns to music from Max’s Carl Maria von Weber exclamation of horror when he realizes that he is the victim of a diabolical curse. The largest portion of the overture is Born about November 18, 1786, in Eutin, Germany drawn from the joyous music from Agathe’s aria expressing her Died on June 5, 1826, in London, England undying love for Max.

This work was premiered on June 18, 1821, at the ©2014 Orpheus Music Prose & Craig Doolin Konzerthaus in Berlin, Germany. It is scored for pairs of www.orpheusnotes.com woodwinds, four horns, two trumpets, three trombones, timpani, and strings. Piano Concerto No. 25 in C major, K. 503 Although the name of Carl Maria von Weber seldom arises in Wolfgang Amadeus Mozart discussions of musical innovators, he is the undoubted father of German Romantic opera. In other words, it was upon Born January 27, 1756, in Salzburg, Austria his foundation that later German operatic developments Died December 5, 1791, in Vienna, Austria were built, making Weber the enabler of Wagner’s earth- shattering music dramas nearly a half century after the elder This work was completed on December 4, 1786, and was composer’s death. Having only ten operas to his credit (and performed on an uncertain date later that month as part of an several of them incomplete), Weber’s impact on the music Advent concert series in Vienna with the composer as soloist. world is even more amazing. It is scored for piano solo, flute, two oboes, two bassoons, two horns, two trumpets, and strings. Weber was born into a family of traveling musicians who trekked across Bavaria and presented Singspiele (folk operas) Much has been written about Mozart in Vienna. History tells us to villagers. His education was scant, mostly gained during how he came to the immense capital at the age of twenty-five his family’s brief stops in cities along the road, usually for no to seek fame and fortune away from his provincial hometown of longer than three or four months at a time. To his advantage, Salzburg. It is widely accepted that he did well at first, earning some of these towns offered noted musicians. Perhaps a salary that few Viennese surpassed. Recent studies show that most significant was Michael Haydn in Salzburg with whom he was once in the top five percent of wage earners in that city, young Carl studied when the troupe was stranded there only to become destitute later in life due to his poor skills in during Napoleon’s campaign of 1797. After six more years of financial management. traveling and the composition of three operas, Weber settled in Vienna in 1803, but he left after just one year to assume To have been such a gifted composer, recognized across duties as Kapellmeister at a theater in Breslau (in modern-day Europe during his younger years as a musician par excellence, Poland). It seems that his professional life suffered from the Wolfgang Amadeus Mozart entered his thirties as a fading same wanderlust that affected his parents, as Weber quickly star. The young prodigy was now a full-fledged adult. He moved from one job to the next. Between 1804 and 1810, was no longer a precocious youth with abilities beyond his he held three different positions and, after being fired from years. Mozart was now expected to hold his own against more the last one (a diplomatic position in Stuttgart), resumed famous composers such as Porpora, Dittersdorf, Vanhal, and his familial vagabond music-making for three more years. Salieri. In order to counter the fickle public’s most recent He settled in Prague for a time and then took a position in harsh judgment, Mozart simply tried harder, producing some Dresden, a job that lasted from 1816 until his death in 1826 at of his most enduring works in his early thirties. Four late piano just thirty-nine years of age. concertos, the Kegelstatt Trio, Eine Kleine Nachtmusik, the opera Don Giovanni, and the final four symphonies all date from In Dresden, Weber’s fame became far-reaching. In 1821 the the years 1786-88, when Mozart was between thirty and thirty- Dresden Court Opera premiered Weber’s Der Freischütz (The two years old. Although each successive work was of greater Free-Shooter), which is generally recognized as the seminal clarity and mastery, the young composer had begun to wane in German Romantic opera. While Romanticism, in general, the eyes of the public, never to rise to such levels again. drew upon human emotion as the core of its subject matter, German Romanticism often concentrated on supernatural During his composition of Le nozze di Figaro, Mozart wrote topics. In Der Freischütz, the character of Max must prove many other pieces, sometimes interrupting a larger work for a himself an able marksman to win the hand of his beloved much-needed smaller one. During the winter of 1786, he must Agathe. Max’s friend, Caspar, suggests that seven magic have also been active as a performer, as three piano concertos bullets will do the trick but since Caspar has sold his soul to are among the non-Figaro pieces dating from that period. The the devil (named Samiel), the plan is doomed. To escape his next concerto would follow nearly a year later and is in some contract, he must offer another soul in his place. In the end, ways a response to the previous C minor concerto. Written in a the same bullet kills Caspar and wounds Agathe. Samiel bright C major, the twenty-fifth concerto acts as a resolution to takes Caspar’s soul and the two lovers are married. the dark atmosphere of the twenty-fourth concerto. This is not the somber world of Don Giovanni, but is closer to Figaro in its charm, freshness, and innovation.

-9- The work begins Allegro maestoso with a chordal fanfare outlining Strauss’s experience with orchestras was quite extensive the tonic key of C major, which builds in simmering energy after the for a young man in his early twenties. His father’s first theme is heard softly in thirds alternating between the oboes connection to the Court Orchestra provided Richard and bassoons. Clearly influenced by the Mannheim composers, with opportunities that were unavailable to most young Mozart proceeds with figures that imitate sighing and the more composers. His unparalleled mastery of orchestration is famous rising “rocket” figure. The solo enters unobtrusively with due largely to the experience of having a full orchestra a simple triplet pattern but soon asserts itself with dazzling runs available to play his newest music when he was barely a that span much of the range of the piano. For the remainder of teenager. At just twenty years of age, Strauss was named the movement, the soloist and orchestra engage in a give-and- assistant to the eminent conductor Hans von Bülow, take relationship, sometimes as equal partners but with the piano who had championed and premiered many of Wagner’s always gaining prominence in the end. The movement ends with an masterpieces. Through detailed studies with the composer assertive tutti. Alexander Ritter at Meiningen, Strauss gained an intimate knowledge of the music of Wagner, Liszt, and Berlioz, each Mozart’s second movement Andante is a two-part movement that of whom would influence his music in a profound way. In begins without the soloist, unlike the vast majority of Classical 1889 he would become Kapellmeister to the Grand Duke concertos. The piano enters for the second statement of the theme. of Saxe-Weimar-Eisenach, taking the position held by Liszt In this charming movement, the ornamentation of the piano part upon his death three years earlier. It was there that Don contrasts with the simplicity of the orchestral statements. Juan received its premiere that autumn.

The final rondo is lively and based on a gavotte from his opera The legend of Don Juan held great appeal for Romantic Idomeneo. Like any rondo, a signature melody returns between artists. On the surface, it is a simple story of the contrasting themes, but there is far more at play here. Where many womanizing nobleman and his comeuppance, familiar rondos allow the listener to simply enjoy the excitement with no to many as portrayed in Mozart’s masterful opera interruption, this one includes a poignant interlude that shades Don Giovanni. However, the story can also be seen the proceedings with a deep sense of meaning. The piano is joined as a relentless and futile search for perfection and the by cellos and basses, then oboe, flute, and bassoon as the melody willingness to sacrifice everything in its pursuit. As a grows to create a moment of utmost importance. Then, as if the young twenty-four year old composer/conductor who diversion had never happened, Mozart ends the work with a brilliant was poised to explode upon the international musical and lively conclusion. scene, Strauss likely found the tale, familiar to him in a poetic version by Nikolaus Lenau, to represent the world of ©2014 Orpheus Music Prose & Craig Doolin endless possibilities. www.orpheusnotes.com Musically speaking, Strauss’s Don Juan is a tone-poem, or Tondichtung in German. In most cases, these are Don Juan, Op. 20 single-movement works designed to convey a story or Richard Strauss philosophical idea. Many portray characters or ideas by means of musical motifs that are transformed to Born June 11, 1864, in Munich, Germany trace some sort of dramatic development. In order for Died September 8, 1949, in Garmisch-Partenkirchen, Germany a composer to write successful tone-poems, he has to possess a surety of orchestration and a gift for thematic The work was premiered on November 11, 1889, by the Weimar development. Strauss was the best equipped of both Court Orchestra with the composer conducting. It is scored for faculties of any composer of his generation. piccolo, three flutes, two oboes, English horn, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, three The vibrant and tempestuous opening section, so often trombones, tuba, timpani, percussion, harp, and strings. mimicked in swashbuckling movie music, is a perfect portrait of the idealistic Don. Although Strauss provided When Richard Strauss began composing Don Juan in May of 1888, no program for Don Juan, it is not difficult to imagine he was a composer on the verge of greatness. Behind him were amorous adventures in the sensuous chromatic harmonies a series of smaller works—piano pieces, songs, a horn concerto, that pervade the more tender sections of the work. A and some short orchestra works— that were anything but juvenile gentle oboe solo, marked tranquillo, provides a central in content. Ahead was the series of immortal tone poems—Till section of lyrical contrast. Of particular importance Eulenspiegel’s Merry Pranks, Death and Transfiguration, and throughout is Strauss’s fearless writing for the virile Don Quixote to name but a few­—that would establish him as sounds of the horn. The final measures are a carefully the foremost young composer of his day. His magnificent and crafted denouement (reminiscent of the ending of iconoclastic operas Salome and Elektra were more than two decades Strauss’s later Death and Transfiguration) that ends this away. Strauss’s training had been conservative in nature and was magnificent work with a whisper. influenced more than anything else by his own father’s traditionalist musical background. Franz Strauss was the leading hornist of ©2014 Orpheus Music Prose & Craig Doolin the day, holding the principal seat in the Munich Court Orchestra. www.orpheusnotes.com Richard was undoubtedly well-trained, but few realized that the youngster’s unique direction was destined to be so iconoclastic.

-10- La valse LEON FLEISHER Maurice Ravel GUEST CONDUCTOR Born March 7, 1875, in Ciboure, Basses-Pyrénées, France American pianist and Died December 28, 1937, in Paris conductor Leon Fleisher started studying the This work was first performed in a version for two pianos piano at age four. He on October 23, 1920, in Vienna by Alberto Casella and the made his public debut composer. The orchestra version was premiered on December at age eight and played 12, 1920, in Paris by the Lamoureux Orchestra conducted by with the New York Camille Chevillard. The score calls for piccolo, three flutes, two Philharmonic Orchestra oboes, English horn, two clarinets, bass clarinet, two bassoons, under Pierre Monteux at contrabassoon, four horns, three trumpets, three trombones, sixteen. He studied with tuba, timpani, percussion, two harps, and strings. Artur Schnabel.

In 1906 Maurice Ravel resolved to compose a work in memory Mr. Fleisher made a memorable series of recordings of Johann Strauss, Jr. To be titled Wien, this work was to be “an with George Szell and the Cleveland Orchestra before apotheosis of the Viennese waltz.” For some reason, Ravel did not losing the use of his right hand due to focal dystonia. He complete the work, but he revisited the idea in 1919 when Serge continued performing the left-handed repertoire until he Diaghilev, the Russian impresario who had premiered his Daphnis quite recently regained the use of his right hand through et Chloé with the Ballets Russes de Monte Carlo in 1912, asked the injection of botox. He also undertook conducting for a new work. However, much had changed since 1906 with during this time, serving at one time as Music Director the old regimes of nineteenth-century Europe being dismantled of the Annapolis Symphony Orchestra in Maryland. He and redistributed during World War I. Ravel felt that the Viennese is particularly well-known for his interpretations of the waltz was the perfect musical symbol for all that was lost in the piano concerti of Johannes Brahms and Beethoven. In war—a memory of a bygone era that was destined to fade from 2004, Vanguard Classics released Mr. Fleisher’s first memory. Diaghilev refused to produce La valse, saying it was not “two-handed” recording in over forty years, entitled Two a true ballet. However, Ravel published the work anyway, calling Hands, to critical acclaim. Two Hands is also the title of it a “choreographic poem.” It was eventually produced in Antwerp a short documentary on Mr. Fleisher by Nathaniel Kahn, and Paris before the decade was finished. which was nominated for an Academy Award for best short subject on January 23, 2007. Historians never fail to mention that a century is usually not just a

100-year stretch on a timeline. Another way of viewing a century Mr. Fleisher’s musical interests extend beyond the central is by considering historical events that dictate a historical change, German Romantic repertory. The American composer often resulting in “long” or “short” centuries. In this case, World William Bolcom composed his Concerto for Two Pianos, War I brought an abrupt end to the nineteenth-century political Left Hand for Fleisher and his close friend Gary Graffman, division of Europe and changed nearly every aspect of life. The who has also suffered from debilitating problems with his twentieth century can be seen as beginning with this conflict. In right hand. It received its first performance in Baltimore this way, La valse straddles two centuries and, by doing so, also in April 1996. The concerto is constructed in such a way uses two different approaches to music. Ravel described his work that it can be performed in one of three ways, with either in this manner: piano part alone with reduced orchestra, or with both piano parts and the two reduced orchestras combined “Viennese waltz rhythm. Drifting clouds allow a restricted view into a full orchestra. of waltzing couples. The clouds gradually disperse and we see

an immense room filled with a whirling crowd. As the rhythm Mr. Fleisher has continued to be involved in music, both becomes clear the scene becomes more illuminated, until the conducting and teaching at the Peabody Conservatory light of the chandeliers bursts forth. An imperial court, about of Music, the Curtis Institute of Music, and the Royal 1855 . . .” Conservatory of Music in Toronto. As a teacher, he has carried on a tradition that descends directly from Ravel’s impressionistic opening is rooted in the misty world of Beethoven himself, handed down generationally through Claude Debussy, who had died just a year before this work was Carl Czerny, Theodor Leschititsky, Artur Schnabel, composed, causing a pre-war musical style to begin its demise. Leon Fleisher himself, and then to hundreds of Mr. As Ravel’s ballroom comes into focus, it becomes apparent that Fleisher’s own piano students over nearly half a century. the memory is not a perfect recollection, but a grandiose and His influence on classical pianists of the current day, exaggerated reminiscence of a golden age that died with society’s especially in North America, is enormous. Today his innocence in the Great War. students are among piano faculty members at major ©2014 Orpheus Music Prose & Craig Doolin music schools. www.orpheusnotes.com

-11- MIN YOUNG PARK PIANO

Korean pianist Min Ms. Park graduated from Yewon School, Seoul Arts Young Park is an active High School, and summa cum laude from Seoul soloist and chamber National University. She received her bachelor’s musician. Ms. Park has degree at Seoul National University under the won numerous national instruction of Ick Choo Moon in 2011 and was and international awarded an Outstanding Performer scholarship competitions, including from the alumni association of Seoul National the Harrison L. Winter University. In 2013, she completed her master Piano Competition at of music at The Juilliard School with Choong Mo The Peabody Institute Kang, holding the Etta Fischbach Feinberg, K. of Johns Hopkins Bacon Memorial, Arthur Gold, and Robert Fizdale University, the Asia Chopin International Competition in Scholarships. She is currently pursuing a graduate Japan, the St. Petersburg Competition, the Kumho Young performance diploma on scholarship at The Artist Audition, the Chopin Junior Competition, the Peabody Institute of Johns Hopkins University, Korean Times Competition, the EumYoun Competition, studying with Yong Hi Moon. the Ehaw & Kyunghyang Competition, and the Busan MBC Competition.

Ms. Park has given a number of solo recitals under presenters including Kumho Young Artist Concert Series at Kumho Art Hall, Rising Talent of Young Pianists concert at Sejong Chamber Hall, The Juilliard School, and Seoul National University. She has appeared with Prime Orchestra (Korea) in 2005, Seoul Arts High School orchestra in 2006, and Seoul National University Symphony Orchestra at Seoul Arts Center as a representative of the university in 2008. As an avid chamber musician, she has performed at The Carnegie Weill Hall, The Juilliard School, St. Paul’s Church of Columbia University in New York, Wooin Art Hall, Young- San Art Hall, and Seoul National University in Korea. She has been featured in many concerts, such as Artist of Tomorrow Concert Series at Studzinski Recital Hall, Festival Fridays Concert at Crooker Theater in Brunswick, Thursday Noon Concert at Miriam A. Friedberg Hall, Wednesday at One Concert at Alice Tully Hall of Lincoln Center, and Tuesday Chamber Concert at Concert Hall of Seoul National University.

Ms. Park has attended music festivals including Beethoven Boot Camp at Irish Royal Music Academy, San Francisco Summer Music Festival, and International Music Festival at Seoul National University. There she received further training from John O’Conor, Naum Grubert, Matti Raekallio, and Mack McCray. As a recipient of a Kaplan Fellowship, Ms. Park was invited to Bowdoin International Music Festival in 2014 under the guidance of Boris Slutsky, Yong Hi Moon, and Phillip Ying. She has been honored to appear in master classes for Leon Fleisher, Richard Goode, Arie Vardi, John Perry, Oliver Kern, and Alexander Toradze.

-12- PEABODY SYMPHONY ORCHESTRA HAJIME TERI MURAI, MUSIC DIRECTOR

Violin Heidi Bauer Bassoon Jeongmin Lee Lichia Chuang Alexander Carlucci Co-concertmaster Catarina Ferreira Co-principal Michelle Shin Chentian Gu Hanul Park Co-concertmaster Joe Isom Co-principal Jisoo Hong William Kass Elizabeth Massey Associate concertmaster Jessica Korotkin Assistant principal Nikita Borisevich Suzie Lee Assistant concertmaster Emily Austin Smith Contrabassoon Lucinda Chiu Julia Wen Alexander Carlucci Co-principal Jiaoyang Xu Hanul Park Gabriel Meza Tzu-Jou Yeh Co-principal Horn Ki Won Kim Contrabass Frank Hammarin Associate principal Kathryn Bradley Co-principal Alan Choo Co-principal Stephen A. Slater Assistant principal Brandon Smith Co-principal Cong Chang Dou Co-principal Jenny Smoak Hanbing Jia Sam Brown Associate principal Austin Hansen Associate principal Peter Morris Alexander Hardan Brandon Harris Assistant principal Wen-wen Hou Chia-Shan Hsu Paul Thomas Hunt Sarah Knapp Annie Jeong Hojung Jung Song Eun Jung Sam Shreves Trumpet Nahyun Kim Vincent Trautwein Yanbin Chen Jeongmin Lee Principal Yen-Chen Lin Flute Shane Coughlin Jiyoung Moon Amir Hoshang Farsi Associate principal Sooyeon Park Co-principal Brandon Cave Renyu Martin Peh Kah Yun Song Assistant principal Yan Qiao Co-principal Shengduo Chen Eliann Reinhardt Nicholas Fitton Conrad Thomas Assistant principal Trombone Ming-ching Tseng An-Chi Ling Terra Warger Piccolo Principal Yat Sze Wong Nicholas Fitton Sarah Manley Yuqi Zhang Assistant principal Yinglin Zhou Oboe Niall Casey Bass trombone Viola Co-principal Joe Buono Eric D’Alessandro Derek Thompson Co-principal Co-principal Tuba Peter Kwon Jessica Blackburn Marilyn Iparraguirre Co-principal Associate principal Deirdre DeStefano Zoe Fried Harp Associate principal Assistant principal Jordan W. Thomas Sun Young Lee Principal Assistant principal English horn Tianyang Chen Alyssa Bell Jessica Blackburn Kuan-Hua Chen Zoe Fried Percussion Joseph German Jisu Jung Daniel Jacobs Clarinet Principal Jennifer Kim Alex Clark Bjorn Grina Hyobi Sim Co-principal YoungKyoung Lee Elise Skaggs Brian Tracey Joachim Theodore Lim Co-principal Nonoka Mizukami Cello Minzo Kim Melissa Lander Co-principal Assistant principal Timpani Elliot Yang Yi-Hsien Chen Jisu Jung Co-principal YoungKyoung Lee Jacques-Pierre Malan Bass clarinet Joachim Theodore Lim Associate principal Alex Clark Jingchen Sun Maurico Rey Gallego Assistant principal Assistant Conductor Karlo Flores -13- PEABODY WIND ENSEMBLE HARLAN D. PARKER, CONDUCTOR

ISMAR GOMES, CELLO ALUMNI ARTIST

WEDNESDAY, APRIL 29, 2015 MIRIAM A. FRIEDBERG CONCERT HALL 7:30 PM

Asimov’s Aviary (2012) Joel Puckett (b. 1977)

Concerto for Violoncello and Wind Orchestra (1989) Friedrich Gulda I. Overture (1930-2000) II. Idyll III. Cadenza IV. Menuet V. Finale Alla Marcia

Ismar Gomes, Cello

Intermission

A Child’s Garden of Dreams (1981) David Maslanka I. There is a desert on the moon where the dreamer sinks (b. 1943) so deeply into the ground that she reaches hell. II. A drunken woman falls into the water and comes out renewed and sober. III. A horde of small animals frightens the dreamer. The animals increase to a tremendous size, and one of them devours the little girl. IV. A drop of water is seen as it appears when looked at through a microscope. The girl sees that the drop is full of tree branches. This portrays the origin of the world. V. An ascent into heaven where pagan dances are being celebrated; and a descent into hell where angels are doing good deeds.

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.

-14- PROGRAM NOTES

Asimov’s Aviary Joel Puckett

In 1974, Isaac Asimov (creator of the three laws of robotics and Specifically, the first movement of the concerto presents father of modern technology based science fiction) predicted completely new challenges to the cellist. Besides the in his short story “That thou art mindful of them” that before immensely difficult techniques involved, the aggressive rock humanoid androids would be accepted into mainstream society, rhythm needs to be mastered. It must be played exactly, robotic birds and insects would be created to desensitize the without vibrato and other things which might be considered population. While writing this piece, I frequently imagined bad habits of classical music in this context. I was happy, Asimov dreaming of an aviary far in the future where robotic and Gulda was maybe somewhat surprised that I succeeded insects and birds were given life and flew around in constant at this task. Three times two choruses interrupted by two electronic swarms. gentle lyrical interludes (or second themes) not only fulfilled my dream for cello playing in the idiom of jazz and rock, but Amazingly, this work has begun. At the Air Force Research Lab they also excite the listener with their rock-hard tension. To at Wright-Patterson’s “Micro-Aviary,” these robotic insects and that, almost surprisingly, the second movement forms the birds—or micro-drones as the press has dubbed them—are being complete opposite. developed and put in the field as part of a whole host of projects including weather management and environmental monitoring. “Idylle” precisely describes the Austrian Salzkammergut as the source of the beauty, the greatness, and the simplicity However, as anyone who has read I, Robot or The Naked Sun of this music. (The fact that I myself was born in this region will know, where there is potential for light in technological is pure coincidence and meant an additional challenge to innovation, there is also potential for darkness. I often find myself me.) A spread-out simple melody expresses everything we thinking about the excitement that the researchers at the Micro- often miss and search for. Just that any listener will find, if Aviary would feel if they were able to show their creations to he is able to feel the strength of this music freely. The jovial Asimov and how amazed he would have been to see how quickly middle part of this movement brings happy country-like these artificial insects and birds have become a reality. relaxation and its centre is a tribute to the cellist, who may excel, like a tenor, in the best register of his instrument. The piece features tightly woven canonic lines that form a furious web (swarm?) of contrapuntal activity over very slow moving The cadenza—the central point of the concerto—develops (inevitable?) metallic drones. Asimov’s Aviary was commissioned out of the last B-flat major chord of the second movement. by The United States Air Force Band “The Chief’s Own” and is The two improvised sections are easily recognizable. dedicated to the men and women at the Air Force Research Lab The first one, with its wild double stops, and the second at Wright-Patterson and premiered at the 2012 Midwest Band and (according to Gulda) with “Iovingly whistling” harmonics, Orchestra Clinic. both contrast charmingly with thoughtful and hesitating monologues, as well as with wild rhythmic memories of —Joel Puckett the time before the “Idylle.” (Thanks to the composer for making use of the lower strings as well!) The listener then Concerto for Violoncello and Wind Orchestra finds himself calmed, as if in a dream, in the fantastically Friedrich Gulda unreal minuet, which seems to have glided from its Central European origins into an oriental reverie; the wonderful On a rainy summer day a few years ago, I first visited Friedrich maggiore-trio seems to float in space. Gulda with a thumping heart. At the time I didn’t dare imagine how fruitful our musical cooperation would soon become. My respect The last movement overwhelms with earthly happiness. for this man and his many-sided talents reaches far back to my It does not flirt but identifies itself completely with alpine musical childhood; it is to him that I owe the first intense stimuli brass music. The cello gets its chance to excel on this for expanding and breaking down my “classical” musical barriers. rustic basis; even the beloved and well-respected star- tenor of the health-resort (Bohemia?) may twice show how Quite naturally, Gulda’s clavichord with its infinite spectrum of frighteningly beautiful and full of emotion is his singing. sounds and my cello led to our first musical approaches between Extremely agitated, like a thunderstorm In the Austrian us after only a few preliminary words. I believe that the first Salzkammergut, a jazz-like middle part develops once thoughts and ideas for the cello concerto date from our original, more. It is followed by a “coda par excellence” which, first almost coincidental encounter. Other meetings during the smilingly, then outright laughingly, stimulates the now following months intensified our mutual understanding, at least in already breathless soloist to reach a magnificent end. the sense that Gulda got more and more acquainted with my cello and me. Furthermore, I received impulses for my playing, which —Heinrich Schiff, translated by Dr. David Gulda became useful two years later in 1980, when the cello concerto materialized. Impulses of such far-reaching effects leave me forever personally and musically indebted to this man.

-15- A Child’s Garden of Dreams HARLAN D. David Maslanka PARKER, CONDUCTOR Harlan D. Parker has A Child’s Garden of Dreams was commissioned by John and been the conductor Marietta Paynter for the Northwestern University Symphonic of The Peabody Wind Ensemble. It was composed in the summer of 1981 and Conservatory Wind premiered by Northwestern in 1982. Ensemble and coordinator of the music education The following is from Man and His Symbols by Carl Jung: division at the Peabody “A very important case came to me from a man who Conservatory of Music of The Johns Hopkins University since the was himself a psychiatrist. One day he brought me a fall of 1990. In the fall of 2007, he was appointed as the conductor of the Peabody Youth Orchestra. Under his direction, the Peabody handwritten booklet he had received as a Christmas Wind Ensemble has given over 40 world premieres and has present from his 10-year-old daughter. It contained a performed at state, regional, and national conventions. Considered whole series of dreams she had had when she was 8. They “among the very top wind bands in the US” (Fanfare), the Peabody made up the weirdest series of dreams I have ever seen, Wind Ensemble has received critical acclaim from contemporary and I could well understand why her father was more composers such as David Amram, James Syler, Eric Ewazen, H. O. Reed and Johan de Meij. Dr. Parker was appointed the Conductor of than just puzzled by them. Though childlike, they were Peabody’s newly formed Peabody Modern Orchestra in 2013. uncanny, and they contained images whose origin was wholly incomprehensible to the father...In the unabridged The Peabody Wind Ensemble’s CD, From an Antique Land, has been praised as one of the most exciting wind ensemble recordings German original, each dream begins with the words of the in recent times and the second CD, Orff, Bird and Reed, was re- old fairy tale: ‘Once upon a time.’ By these words the little released in August 2006 on the Naxos label. Of the performance dreamer suggests that she feels as if each dream were a of La Fiesta Mexicana on the second CD, composer H. Owen Reed, sort of fairy tale, which she wants to tell her father as a in a letter to Dr. Parker writes, “I have just listened, twice, to your Christmas present. The father tried to explain the dreams brilliant recording of my La Fiesta Mexicana, and I must tell you in terms of their context. But he could not do so because that it was a thrill to hear my music performed exactly as I always hoped for. Your total understanding of the work showed up on there appeared to be no personal associations to them... all parameters. Your tempos were on the mark, and the overall The little girl died of an infectious disease about a year conception of the work was superb.” The Orff, Bird and Reed CD was after that Christmas... The dreams were a preparation for also listed on the “Best of the Year Discs for 2006” by Audiophile death, expressed through short stories, like the tales told Audition. Their second CD for Naxos, Collage: A Celebration of the at primitive initiations... The little girl was approaching 150th Anniversary of the Peabody Institute: 1857 - 2007, was the top classical music download (out of more than 12,000 CDs) on puberty, and at the same time, the end of her life. Little eMusic.com for the first half of April 2007. Their third CD for Naxos, or nothing in the symbolism of her dreams points to the Trendsetters, was released in the summer of 2009. The fourth CD beginning of a normal adult life. When I first read her on Naxos, Johan de Meij: The Symphonies, was released to critical dreams, I had the uncanny feeling that they suggested acclaim in June 2013. impending disaster. These dreams open up a new and As well as his duties at Peabody, Dr. Parker has a very active rather terrifying aspect of life and death. One would musical life outside of the Conservatory. He is a past-president expect to find such images in an aging person who looks of the Conductors Guild, an international service organization back on life, rather than to be given them by a child. dedicated to encouraging and promoting the highest standards Their atmosphere recalls the old Roman saying ‘Life is a in the art and profession of conducting. Dr. Parker is also a member the American Bandmasters Association, an organization short dream,’ rather than the joy and exuberance of its whose membership is by invitation and recognizes “outstanding springtime. Experience shows that the unknown approach achievement in the field of the concert band and its music.” He of death casts an ‘adumbratio’ (an anticipatory shadow) is active regionally, nationally, and internationally as a guest over the life and dreams of the victim. Even the altar in conductor, conducting pedagogue, clinician, and adjudicator, Christian churches represents, on one hand, a tomb and, having worked with professional musicians and students from all 50 states and over 40 countries. on the other, a place of resurrection—the transformation of death into eternal life.” In his first year as a faculty member at Peabody, Dr. Parker reorganized the Peabody Wind Ensemble in its present format after several years of non-existence and was awarded the Peabody Student Council Faculty/Administration Award for outstanding contributions to the Peabody Community. In the fall of 2000, Dr. Parker accepted the first graduate class of wind conducting students. Graduates and students of the program are teachers and conductors in high schools and colleges and conductors of military bands, with two recent masters students accepting positions as conductors with the United States Air Force. Dr. Parker received his bachelor of music from Emporia State University and his master of music and doctor of philosophy in music education with an emphasis in conducting from the University of Kansas and has completed post-doctoral work at the Laban/Bartenieff Institute of -16- Movement Studies in New York. ISMAR GOMES, CELLO PEABODY WIND ENSEMBLE HARLAN D. PARKER, CONDUCTOR An accomplished orchestral and chamber RICH LAUVER, MANAGER musician, Ismar Gomes has performed with the Lancaster Symphony, the FLUTE & PICCOLO TRUMPET Annapolis Symphony, the Towson New Emily Barone Brandon Sklute Music Ensemble, and the Black Pearl Gyuri Kim Co-principal Chamber Orchestra. He serves as assistant Elizabeth Milligan Jong Hwan Yun principal of the Mid-Atlantic Symphony Megan Thoreson Co-principal and principal of Bel Cantanti Opera. Ping-Hsin Wu Samuel Hughes Mr. Gomes has commissioned and Haolan Liu premiered many works by emerging OBOE Bethany Nette composers and is the dedicatee of a Gabriella Alberico Joshua Olariu solo sonata by Pulitzer Prize-nominated Jing Dai composer P. Kellach Waddle. He has Man Hong Tang Ambrose performed throughout the US and Europe, including two tours of Hannah Staudinger Ryan Yacos the Netherlands in addition to concerts in France and Canada. Most recently he has performed at the Kennedy Center, Severance Hall, CLARINET TROMBONE Amsterdam City Hall, Château de Fontainebleau, Harris Hall, the Barnes YiFei Li Michael Carter Museum in Philadelphia, and the Smithsonian. In 2012, he served as Concertmaster Randal Moore acting cellist with the Harlem String Quartet; together they toured Weily Shay Bo Xu throughout the US and received enthusiastic reviews at every stop. Principal Yi-Ting Hsieh BASS TROMBONE Recently, Mr. Gomes cofounded the Suda Quartet, as well as the Andrew Im Christian Hizon baroque ensemble Arisoso Furioso; both groups regularly perform Scott Johnson concerts along the East Coast. With an increasing number of Robert Kahn appearances to their credit, Mr. Gomes and his duo partner, pianist EUPHONIUM Wan-Chi Su, collaborate in a variety of programs. Just this season Erin Kim Catriona Barr he has appeared as guest artist at the Walla Walla Chamber Music Juan Carlos Martinez Ray Fisk Festival, Evolution Contemporary Music Series, Le Petit Salon, and on Juan Esteban Martinez Abhinn Malhotra the Bonita Lestina Series, with upcoming appearances across the US, Lea Pandy in addition to venues in Italy and England. Seunghyun Ryu TUBA Jackson Willis Osi Atikpoh Mr. Gomes savors every opportunity to pass along what he has learned Jinju Yeo Jisang Lee working closely with the Vermeer and Jerusalem Quartets, as well as Robert Austin Lingerfeldt with members of the Cleveland, Juilliard, Brentano, Emerson, and Tokyo BASSOON Matthew Ordille Quartets. Apart from his studies as a modern cellist, he has enjoyed Kevin Solomowitz cultivating his broader interests, among them the cello’s performance Co-principal history. As a baroque cellist, Mr. Gomes has been guided by Arthur HARP Haas, Jeanette Sorrell, and Gwyn Roberts, in addition to private study Trevor Ward Tianyang Chen with John Moran of REBEL and René Schiffer. He has performed with Co-principal the Baltimore Baroque Band and the Baroque Orchestra at Stony Brook. Rachel Celentano GUITAR Xinqi Dong Nick Saia With such a wide-ranging scope of interests—including studies in early music, period performance, and adventures in commissioning SAXOPHONE PIANO and premiering works—he has developed a unique and broad-based Taylor S. Brooks Moni Guo approach to both performing and teaching. As a performing associate Ji Woong Kim at the Bowdoin Festival in 2012, Mr. Gomes taught private lessons Anastasia Kupstas ORGAN and coached chamber music to both undergraduate and graduate Andrew Landau Peter Morey students. He previously spent three summers coaching chamber music Benjamin Learish at the Cleveland Institute of Music’s Summer Festival. Until recently, he taught cello and chamber music at Stony Brook University. Mr. Gomes Sean Meyers STRING BASS has given master classes at Towson University, Stony Brook University, Tyrone Page Jr Alex Fournier Walla Walla University, and Whitman College. Brad Testerman PERCUSSION Originally from Cleveland, Mr. Gomes has participated in major HORN Benjamin Mapes festivals including Aspen, Bowdoin, Toronto Summer Academy, and Dominic Brancazio Principal the Zeist Music Days, where he has had the opportunity to play for the Principal Mark DeMull likes of Janos Starker, Steven Doane, Steven Isserlis, and Paul Katz. Christopher Frick YoungKyoung Lee While earning his bachelor’s degree and later his master’s degree from Associate Principal Christopher Salvito the Peabody Conservatory, he was a student of Alison Wells and Amit Rachel Kristina Jones Matthew Overbay Peled. Prior to his work at Peabody, Mr. Gomes was a student of Marc Natalie Merino Johnson, cellist of the Vermeer Quartet, at Northern Illinois University. Karen Toney Currently pursuing doctoral studies at Stony Brook University, Mr. Anthony Valerio Gomes is a student of Colin Carr. Mr. Gomes performs on a Gand Freres cello made in Paris, 1852.

-17- George Peabody Society 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 Anonymous Thomas H. Powell Sidney M. Friedberg Charitable Trust Loretta Ver Valen Anonymous Eric Friedheim Elizabeth J. and Richard W. Case John Due The Blaustein-Rosenberg-Thalheimer Florence H. and Charles R. Austrian Taylor Hanex Philanthropic Group Tristan W. Rhodes Rheda Becker and Robert E. Meyerhoff Michael R. Bloomberg Hilda P. and Douglas S. Goodwin Laifun Chung and Ted Kotcheff Arabella Leith Symington Griswold Claire S. and Allan D. Jensen Sandra Levi Gerstung and the Levi Family Fund II Wendy G. Griswold and Benjamin H. Griswold IV Marc von May of the Baltimore Community Foundation The 2013-2014 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, 2013 and June 30, 2014.

CHAIRMAN’S CIRCLE Esther Carliner Viros Hugh J. Marbury Janet Rayburn Greive and Tyrone Greive $100,000 AND ABOVE Laifun Chung and Ted Kotcheff Audrey C. McCallum Marian E. Hahn Adalman-Goodwin Foundation Alexandra Clancy Terry H. Morgenthaler and Patrick J. Kerins Ellen Halle and the Halle Family Ruth and Ted Bauer Family Foundation Amy L. Gould and Matthew S. Polk Jr. Peabody Institute Fund of the Baltimore Philanthropic Fund Rheda Becker and Robert E. Meyerhoff Akemi Kawano-Levine and David Levine Community Foundation Maureen Harrigan and David McDowell Paula Boggs Eda Joan Scheir Rubin The Rock Family Foundation Barbara S. Hawkins Brookby Foundation Mary and Michael Silver Lisa Smith and W. Christopher Smith Jr. Ruby and Robert Wesley Hearn Phyllis Bryn-Julson and Donald S. Sutherland Judy and Turner Smith Elaine B. and Solomon H. Snyder Lynn T. Hebden * Jack Kent Cooke Foundation Surdna Foundation Inc. David Tan Hess Corporation ** Rosalee and Richard Davison Sally A. White Alma D. Hunt/VCM Charitable Trust John Due VIRTUOSO’S CIRCLE Donna and Eric Kahn Jayne Kaiser Sandra Levi Gerstung and the Levi Family Fund II $10,000 - $24,999 PRINCIPAL’S CIRCLE Patricia E. Kauffman of the Baltimore Community Foundation Robert J. Abernethy $2,500 - $4,999 Francis R. Kemper *+ Hilda P. and Douglas S. * Goodwin Liza Bailey and Michael Musgrave Frances K. and George Alderson Galan Kral Campbell Foundation Inc. Peggy and Yale Gordon Charitable Trust Patricia Bovers + Susan and Jeffrey Krew Karen and Thomas Dunlap Daniel M. Graham The Charles Delmar Foundation Sara W. Levi Taylor A. Hanex Helen P. Denit Charitable Trust Thanh Huynh and Jeremy Nathans Cynthia and Paul Lorraine Hecht-Levi Foundation Inc. Estelle Dennis Scholarship Trust Christopher Kovalchick Paul B. Mathews Gabrielle T. Hill + Larry D. Droppa Lynn and John Lazzaro Carol and Paul Matlin Claire S. and Allan D. Jensen Evergreen House Foundation The Links Inc. Stephen S. McCall and Johanna Hawkins C. Albert Kuper III Edith Hall Friedheim and Eric Friedheim Foundation Thomas MacCracken Memorial Institute Charles and Margaret Levin Family Foundation Basil Gordon * Paul E. McAdam McFeely-Rogers Foundation Jill E. McGovern Wendy G. Griswold and Benjamin H. Griswold IV John S. McDaniel III Gary Melick Presser Foundation Jane Heine + Lloyd E. Mitchell Foundation Trust James L. Meyerhoff Lori Raphael and J. Michael Hemmer Hoffberger Family Foundation Clara Juwon Ohr Harvey M. Meyerhoff Fund Inc. Samuel G. Rose Nina Rodale Houghton Meta Packard Barton Fund of Margaret B. Otenasek Dorothy Richard Starling Foundation Charlene and Michael Kass Baltimore Community Foundation Liliane Questel Marc von May Deborah McGuire + Oscar Schabb Mitra and Ramaswamy Rangarajan Francis Mondimore and Jay Rubin Susan Somerville-Hawes and Gregg W. Hawes Jim and Patty Rouse COMPOSER’S CIRCLE Dae-Won Moon Carol and Roy Thomas Charitable Foundation $50,000 - $99,999 T. Rowe Price Association Foundation Inc. Sheila and Erick Vail Matthew W. Rupcich Anonymous Ann Schein and Earl Carlyss Marguerite M. VillaSanta Christine Rutt Schmitz and Fred and Sandra Hittman Philanthropic Fund George L. Shields Foundation Margaret C. and Patrick C. Walsh Robert W. Schmitz Elana R. Byrd Sheridan A. L. and John W. Skouge Matthew Sekerke Rebecca A. Byrd + Charles Emerson Walker DIRECTOR’S CIRCLE Janet Sessions Charlesmead Foundation Inc. Andrew Yang $1,000 - $2,499 Terry Shuch and Neal Meiselman Thomas R. Silverman Lynn and Anthony W. Deering Shirley S.L. Yang Elizabeth M. Adams Carol A. Bogash Eleanor Simon and Patrick O’Neall Jephta and Daniel Drachman Carol Jean and John R. Young Aurelia G. Bolton Linwood C. Simpler Nancy Grasmick Amy and Terrence Boscov Linda B. and Richard Q. Snurr Charles J. Justice CONCERTMASTER’S CIRCLE David J. Callard St. Patrick Celebrations Inc. Howard and Geraldine Polinger Family Foundation $5,000 - $9,999 Carol Cannon Edward Steinhouse Thomas H. Powell Anonymous (2) Linda P. Carter Helen Jean Talbott Henry and Ruth Blaustein Rosenberg Foundation A L H Foundation Inc. Denise Caves Trust Kenneth R. Talle Adam G. Shapiro The Bank of America Foundation ** Georgia R. Crompton Andrea Trisciuzzi and Charles Gannon Barbara and Thomas Bozzuto Marta A. Dabezies Phyllis H. Vogel MAESTRO’S CIRCLE Ira Basler Jr. and Mary Basler Foundation Russell Davidson Foundation Tian-Li Wang and Ie-Ming Shih $25,000 - $49,000 Grace United Methodist Church Beverly Dietrich Weber Barbara P. and Martin P. Wasserman Robert Austrian * Jephson Educational Trusts Ruth L. and Arno P. Drucker Wolman Family Foundation Sara A. Berger + Dorothy B. Jones + Phillip T. Dunk Jr. Avedis Zildjian Company Jacob and Hilda Blaustein Foundation Tracy Lau and Edwin Lo Eastman Wind Instruments Ireneus Bohdan Yaromyr Zuk Tammy L. Bormann and Mark J. Paris John J. Leidy Foundation Inc. Kimberly and Donald Evans + In-Kind Gift Cape Foundation Inc. Anne Luetkemeyer Stone Exelon Foundation ** * Deceased -18- ** Matching Gift THE JOHNS HOPKINS UNIVERSITY ADMINISTRATION PEABODY NATIONAL ADVISORY COUNCIL

Ronald J. Daniels Robert J. Abernethy President Liza Bailey Robert C. Lieberman Rheda Becker Provost and Senior Vice President for Academic Affairs Paula Boggs Barbara Bozzuto THE PEABODY INSTITUTE ADMINISTRATION Laifun Chung Fred Bronstein Richard Davison Dean Larry Droppa Leon Fleisher PRODUCTION STAFF Sandra Levi Gerstung Linda G. Goodwin Nancy Grasmick Executive Director of Ensemble Operations Taylor A. Hanex

Susan Samuels Sandra S. Hittman Concert and Publications Coordinator Allan D. Jensen, Vice Chair Christopher Kovalchick Jessica Hanel Satava Jill E. McGovern Concert Series Coordinator Mark J. Paris, Chair Paul Faatz Matthew S. Polk Jr. Senior Ensemble Coordinator Christine Schmitz Rich Lauver Solomon H. Snyder Ensemble Coordinator David Tan Sally A. White Melina Gajger Shirley S. L. Yang Orchestra Coordinator

Douglas Nelson EMERITUS MEMBERS Technical Coordinator

Darryl E. Carr Pilar Bradshaw Stage Manager Tony Deering Hilda Perl Goodwin Alex King Production Assistant and PIME Manager Benjamin H. Griswold IV Turner B. Smith 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 and Cover Design by Susan Samuels in collaboration with Elizabeth Digney Cover Photograph: Chelsea Buyalos

-19- UPCOMING EVENTS Spring Opera Scenes: Conception, Perception, Deception Mon, April 20, 2015, 7:30pm Miriam A. Friedberg Concert Hall JoAnn Kulesza, Music Director

Peabody Improvisation & Multimedia Ensemble Fri, April 24, 2015, 7:30pm Joe Byrd Hall Alex Pope Norris, Director

Peabody Percussion Group Sun, April 26, 2015, 7:30 PM Leith Symington Griswold Hall Robert van Sice, Director

Peabody Renaissance Ensemble Fri, May 1, 2015, 7:30 PM Sat, May 2, 2015, 7:30 PM Leith Symington Griswold Hall Mark Cudek, Director

VISIT WWW.PEABODY.JHU.EDU FOR ADDITIONAL PROGRAM DETAILS AND TICKETS. PEABODY BOX OFFICE 410.234.4800 HOURS: MONDAY–FRIDAY, 10:00AM - 4:00PM Concert programs are subject to change without notice. Cinderella PEABODY DANCE End-of-Season Performance

Sunday, May 17 1:00 and 4:30 pm Miriam A. Friedberg Concert Hall

Advance Tickets Required $9 all seats Call 410-234-4626 for tickets.

photo: Errol Webber