2019–20 concert season at Peabody

Peabody Symphony Orchestra Ruth Blaustein Rosenberg Series Thursday, October 17, 2019 FROM THE DEAN

Welcome to the Peabody Institute of the Johns Hopkins University. We’re delighted you are here and I hope you enjoy this performance. Founded in 1857 as the first major arts and intellectual center in an American city, the Peabody Institute today trains a diverse cohort of musicians and dancers from 30 countries around the world, stages nearly 1,000 concerts and events each year, and extends artistic training and performance throughout the greater Baltimore community. Our faculty are among the finest performing artists and pedagogues anywhere, and our talented students represent the dynamic future of the performing arts. Excellence is at the core of everything we do. So is the commitment to training 21st century artists. With our new Breakthrough Curriculum, Peabody is at the forefront of training emerging artists for a world that is constantly changing, but still rooted in a tradition of great performance. Your attendance here demonstrates why this is important, and inspires us in our work. Thank you for being here.

Fred Bronstein Thursday, October 17, 2019 • 7:30 pm Miriam A. Friedberg Concert Hall PEABODY SYMPHONY ORCHESTRA Miguel Harth-Bedoya, guest conductor Christian Paquette, flute Yale Gordon Competition winner

Johannes Brahms (1833‹1897) Academic Festival Overture, Op. 80

Carl Nielsen (1865‹1931) Concerto for Flute and Orchestra, FS 119 I. Allegro moderato II. Allegretto Christian Paquette, flute

INTERMISSION

Antonín Dvořák (1841‹1904) Symphony No. 7 in D minor, Op. 70 I. Allegro maestoso II. Poco adagio III. Scherzo: Vivace — Poco meno mosso IV. Finale: Allegro

For your own safety, look for your nearest exit. In case of emergency, walk, do not run to that exit. PROGRAM NOTES

Academic Festival Overture, Op. 80 doctorate in 1876, he respectfully Johannes Brahms declined the honor. Three years Born May 7, 1833, in Hamburg, Germany later, the University of Breslau Died April 3, 1897, in Vienna, Austria (now Wroclaw) in present-day Poland o¤ered the composer the This work was first performed on same degree. He accepted. After January 4, 1881, at the University of attending the solemn ceremony, Breslau in present-day Poland with Brahms penned a note of thanks the composer conducting. It is scored for woodwinds in pairs with added to the school. His sentiments were piccolo and contrabassoon, four horns, answered by the director of musical three trumpets, three trombones, tuba, studies in Breslau, Bernhard Scholz, timpani, percussion, and strings. who clarified for his old friend that the University expected a musical In 1853 Robert Schumann lauded work in exchange for the honor. The the 20-year-old Johannes Brahms following summer, in the resort town as the “young eagle” among of Bad Ischl, Brahms composed his composers. From that moment Academic Festival Overture. on, new opportunities presented themselves regularly as demand Brahms’ only experience with the grew for new works from this fresh world of academia had been gained new face on the musical scene. His from a two month stay with his pen flowed with chamber music, violinist friend Joseph Joachim in the piano pieces, choral works, and art University town of Göttingen nearly songs. However, it was not until 1858 30 years earlier. The two became that his first orchestral work, the acquainted with the beer halls, Serenade No. 1, appeared. During learning several student drinking the same period, he composed his songs in the process. It was the First Piano Concerto ¢ a flashy only university experience that the virtuosic work far removed from the composer knew. Brahms included brooding introspection of Brahms’ in his score what he remembered later masterpieces. Reception of the from Göttingen, causing the resulting First Concerto has been described work to be more of a boisterous as ranging from “indi¤erence to potpourri of student songs than revulsion.” The composer had simply a solemn work for a ceremonial not found his musical voice. occasion. Imagine the surprise of the university dignitaries and Twenty years later Brahms was at city o«cials when Brahms himself his creative peak and his music was conducted his celebratory score presented on concert programs in early 1881. Although the faculty worldwide. However, the composer and administrators were perplexed, had an extreme fear of sea travel and the students surely understood the a disdain for public adulation, so any esteemed composer’s wicked sense journeys, except for those carried of humor. out by land, were out of the question. Therefore, when Cambridge University ©2019 Orpheus Music Prose & Craig Doolin in England o¤ered Brahms an honorary www.orpheusnotes.com

2 Concerto for Flute and Orchestra, FS 119 Both works are widely considered Carl Nielsen to be among the most significant Born June 9, 1865, in Funen, Denmark concertos in the repertoire. Died October 3, 1931, in Copenhagen, Denmark Unfortunately, Nielsen died in 1931 before he could compose similar This work received its premiere with a works for oboe, bassoon, or horn. temporary ending on October 21, 1926, at Maison Gavern by the Orchestre de la Nielsen’s Flute Concerto was Societé des Concerts du Conservatoire composed in 1926 on a vacation with Holger Gilbert-Jesperson as soloist to Germany and Italy. Always a conducted by Nielsen’s son-in-law Emil very quick worker, he completed Telmányi. The complete premiere was the entire concerto in only a few on January 25, 1927, in Copenhagen, months from sketch to premiere. Denmark, by the Copenhagen Music The first movement, allegro Society with Gilbert-Jesperson as soloist. moderato, opens with a flourish It is scored for solo flute, two oboes, two of brass and strings, which passes clarinets, two bassoons, two horns, bass trombone, timpani, and strings. to a sustained trombone chord. Lively and dissonant the soloist Danish composer Carl Nielsen’s Flute enters with a theme drawn from Concerto, Clarinet Concerto, and the opening string figure. After a Wind Quintet resulted from a visit he passage for flute and clarinet, the made during the autumn of 1921 to brass introduces a martial figure the home of his friend, the pianist that is developed at great length. Christian Christiansen. Nielsen The soloist plays a delicate new listened while Christiansen rehearsed theme, but the opening material Mozart’s Sinfonia Concertante with soon returns. A flute cadenza begins four-fifths of the Copenhagen Wind but is soon interrupted by the full Quintet (Mozart’s work does not call orchestra before finishing one of for a flute soloist) and decided to the most dazzling passages of the write a new work for the ensemble. first movement. When the orchestra He completed his own Wind Quintet returns, the soloist continues with the following April and had a private filigree work until the movement performance on April 30. The o«cial ends quietly. public premiere took place six months later. The second movement opens with a bucolic theme, which undergoes Even more pleased with the abilities considerable development. Soon the of the players after the premiere, music becomes more a scurrying Nielsen pledged to compose a solo march during which the flute concerto for each of the players. True launches into soaring flights of fancy. to his word, he composed a Flute Under this is an irresistible melody for Concerto in 1926 for Holger Gilbert- trombone that ends the work with a Jespersen who had since replaced touch of clownish humor. the original flautist Paul Hagemann. ©2019 Orpheus Music Prose & Craig Doolin Nielsen’s Clarinet Concerto was www.orpheusnotes.com written for Aage Oxenvad in 1928.

3 Symphony No.7 in D Minor, Op. 70 This was only one of a number of Antonín Dvořák conflicts between Dvořák and Born September 8, 1841, in Nelahozeves, Bohemia Simrock. For a time the composer Died May 1, 1904, in Prague, Bohemia abandoned the firm entirely for another publisher, Novello, and This work was first performed on April ignored Simrock’s protests that their 22, 1885, by the London Philharmonic contract of 1879 was still valid. At Orchestra with the composer conducting. the root of this conflict ¢ which is It is scored for piccolo, pairs of flutes, interesting today because of the oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, aesthetic argument at its root ¢ was timpani, and strings. Simrock’s insistence that Dvořák’s larger works earned them little Dvořák’s Seventh Symphony, like his money. They wanted him to turn out other compositions at the time, was more songs and piano pieces. published by the powerful firm of Simrock. His friend and inspiration, “I shall simply do what God imparts Johannes Brahms, had introduced me to do,” Dvořák replied, and him to the firm, a real aid to a young calmly went about his composing. composer trying to build a career. By the time Novello had published But, as that career progressed, the brilliant Fourth Symphony Dvořák became dissatisfied with (1892) and the greatly admired his monetary returns. Simrock paid Requiem, Simrock had learned his Brahms 40,000 marks for his Fourth lesson. Thereafter the firm published Symphony. But Simrock would o¤er everything from Dvořák’s pen, Dvořák only 3,000 marks for his including two symphonies that came Second Symphony. While Dvořák out posthumously. did not put himself in the class of The Seventh Symphony, one of his Brahms, musically or financially, he most adventurous works, has found did think he should get at least 6,000 an audience in every generation to marks for the new work. When, after come along since its composition. the London premiere, he informed The first movement, allegro Simrock that the symphony “had an maestoso, opens softly with a theme exceptionally brilliant success,” he for violas and cellos over a pedal was stating fact, and was making a point in basses, horns, and timpani. pointed reminder to the publisher. Clarinets take up the phrase with a The London public and critics tremulous harmony in strings. There literally raved over it. Some listeners is also a more vigorous subsidiary compared it to Schubert’s “Great C theme, developed at length by the Major” Symphony. Others rated it orchestra and leading to a fortissimo above the symphonies of Brahms. climax and the return of the first These judgments, if somewhat on subject. A convoluted development the extreme side, impressed Simrock section follows, full of stormy harmonic and, when Dvořák insisted upon his contrasts. The climax of this intricate 6,000 marks, he got them. and Brahmsian movement gives way to an elaborate coda.

4 The poco adagio second movement, lyrical and dramatic by turns, opens with a folk tune in woodwinds accompanied by pizzicato strings. The first subject is given to the flutes and oboes. The first violins and cellos play an expressive second subject in octaves, leading to a free development that is not at all in the traditional style. A rich and warm section of cellos bring back the first theme, continuing the richness of orchestration heard throughout the entire movement. In the scherzo, Dvořák uses Czech rhythms in the opening theme. The Trio, with predominant woodwinds and strings, is an idyllic interlude before the return of the first section. With a stern opening phrase that supplies the germ for almost all of the thematic material of the movement, Dvořák launches into the finale. Essentially dramatic in character, the finale unfolds with the craftsmanship of a seasoned master. ©2019 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com

5 ARTIST BIOGRAPHIES

Miguel Harth-Bedoya, guest conductor Celebrating more than 30 years of professional conducting, Miguel Harth-Bedoya is in his seventh season as chief conductor of the Norwegian Radio Orchestra and his 20th and final season as music director of the Fort Worth Symphony Orchestra. Harth-Bedoya regularly conducts the upper level of American orchestras including the Chicago Symphony, Boston Symphony, New York Philharmonic, Atlanta Symphony, Baltimore Symphony, Cleveland, Minnesota, and Philadelphia Orchestras. He has also nurtured close relationships with orchestras worldwide, including the Helsinki Philharmonic, MDR Sinfonieorchester Leipzig, National Orchestra of Spain, New Zealand Symphony, and Sydney Symphony Orchestras. In the 2019‹20 season, he will appear as a guest with the New World Symphony, BBC Scottish Orchestra, National Orchestra of Lyon (France), Brisbane Symphony Orchestra, Melbourne Symphony Orchestra, and National Orchestra of Spain. In 2015, Harth-Bedoya conducted the world premiere performances of Jennifer Higdon’s first opera, Cold Mountain, at Santa Fe. He has also led two productions of Golijov’s Ainadamar, with the Cincinnati Opera and at the New Zealand Festival, as well as productions with the English National Opera, Canadian Opera Company, and Minnesota Opera. June 2020 will be the inaugural season of Harth-Bedoya’s Summer Orchestral Conducting Institute (SOCI), a three-week program with the mission of inspiring talented musicians of all levels to explore the art and craft of orchestral conducting in a rigorous and encouraging environment. He is also the founder and artistic director of Caminos Del Inka, a non-profit organization dedicated to researching, performing, and preserving the rich musical legacy of South America. Harth-Bedoya’s impressive discography includes critically-acclaimed albums on Harmonia Mundi, Deutsche Grammophon, Decca, FWSOLive, LAWO, Naxos, and MSR Classics. Current recordings include an album on the MSR Classics label of orchestral music by Jimmy López Bellido and an upcoming disc devoted to works by Alberto Ginastera to be released on the Norwegian label, LAWO Classics. Born and raised in Peru, Harth-Bedoya received his Bachelor of Music degree from the Curtis Institute of Music and his Master of Music degree from The Juilliard School, both under the guidance of Otto-Werner Mueller.

6 Christian Paquette, flute Christian Paquette is pursuing a Graduate Performance Diploma with Marina Piccinini at the Peabody Conservatory. He has previously studied with Camille Churchfield and Denis Bluteau in Canada, as well as Paula Robison in Boston. He has also worked in flute repairs with Adam Workman, founder of Flutistry Boston. Notable performances include appearances in the Music and Beyond Festival in Ottawa, recitals at the National Arts Centre Fourth Stage, performances of the Ibert and Nielsen Concertos with the University of Ottawa Symphony Orchestra, as well as the Rodrigo Concierto Pastoral with the Ottawa Chamber Orchestra. He completed an orchestral conducting apprenticeship in the 2010 NAC Summer Music Institute with Maestro Kenneth Kiesler and Maestro Pinchas Zukerman. He was also the assistant conductor for the University of Ottawa Choir in 2009, conductor of the University Opera Productions performances of Mozart’s The Marriage of Figaro in 2010 and The Magic Flute in 2011, as well as artistic director of a staged production of Stravinsky’s Histoire du soldat in 2013. He is the recipient of numerous competition awards, such as a first prize at the Canadian Music Competition in 2010, second place at the National Music Festival of Canada in 2012, the NACO Bursary Competition, and many others.

7 PEABODY SYMPHONY ORCHESTRA

Miguel Harth-Bedoya, conductor

Violin Viola Oboe Ji-Seong Kim † Josef Fischer * Vivian Tong * Yeji Kim * Daphne Bickley Benjamin Goodly Chia-Yu Chang Andrew Goo Sonia Matheus Angela Che Henry Caleb Ann Ching Maksymillian Krzak Clarinet Cathy Chiu Gwanji Lee Jay Shankar * Tavifa Cojocari Xiaoxuan Liang Andrew Im Yiqing Fu Patrick Marsh Bassoon Claire Hebeisen Flavia Pajaro-van de Stadt Kelsey Tryon * Hongming Hu William Satterfield Xinqi Dong Christopher Jasiewicz Hyunjung Song Qiaoyang Han Elizabeth Jones Megan Wei Jinsol Lee Horn Hio Lam Leng Cello Lily Homma * Zhiqi Liu Zhang Zhang * Jordan Miller Audrey Maxner Runlin Chen Layan Atieh Ting-Hsuan Miao Alexander Cousins Anita Rodriguez Ismael Guerrero Liliya Milcheva Trumpet Ruoying Pan Sua Jo Hang Liu Chase Domke * Yujin Park Samuel Stout Fangming Shen Olivia Raino¤ Yu-Chu Teng Aiden Russell Trombone Jerry Tong Mafalda Sofia Santos Nicholas Bulgarino * Chih-Chun Wang Alvaro Vazquez Osi Joseph Becker Weijia Wang Natalia Vilchis Jahi Alexander Michael Wu Yiyang Xue Pei-Yin Wu Tuba Double bass Quentell Gipson Shiman Yu Patrick Raynard * Yue Zhang William Greenhough Timpani Benjamin Hamilton Colin Crandal April Kim Eion Lyons Percussion Chelsea Strayer Benjamin Giroux Noah Strevell Jacob Gutierrez Yuanyuan Yang Sejeong Pyo Flute Assistant Conductor Hongsuh Cha * Liam Cinningham Ryan Norville † Concertmaster Hannah Tassler * Principal

8 COMING UP NEXT...

OCT COHEN·DAVISON Peabody Jazz Combos FAMILY THEATRE 22 7:30 PM TUE

OCT LEITH SYMINGTON Peabody Singers GRISWOLD HALL 23 7:30 PM WED

OCT MIRIAM A. FRIEDBERG Peabody Wind Ensemble CONCERT HALL 25 7:30 PM FRI

OCT MIRIAM A. FRIEDBERG Peabody Chamber Orchestra CONCERT HALL 26 7:30 PM SAT

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Opera, jazz, orchestral and MUSIC THAT’S choral music, chamber music, dance, new music, early music– EXPRESSIVE, all free. So have a night out with world renowned guest artists, acclaimed faculty, and top-level NOT EXPENSIVE. student performers. Enjoy performance excellence at Peabody for FREE. IT’S ON US!

9 CONCERTMASTER’S CIRCLE DIRECTOR’S CIRCLE D.L. Langdon THE GEORGE PEABODY SOCIETY $5,000$9,999 $1,000$2,499 Linda and Julian Lapides $1.4 million and above ALH Foundation Inc Iris Albstein Cecile and Ulysses Lupien Stanley Altan Lisa Alexander Carol Macht We recognize those philanthropic visionaries whose lifetime cumulative giving Aurelia Bolton Annapolis Musicians Fund Valerie and Michael Marcus has matched or exceeded George Peabody’s founding gift of $. million. William R. Brody for Musicians Deborah and Paul Mathews Their generosity has expanded and transformed the Peabody Institute of the Johns Hopkins University. Anonymous Carol and Paul Matlin The names are ordered by the date when they joined this elite group of donors. Liz and Fred Bronstein Lydia Duff Pod and Charles Duff Avedis Zildjian Company Audrey McCallum George Peabody Elizabeth J. and Richard W. Case John L. Due Maria Figueroa Bodner+ Susan Baisley Cynthia and Michael McKee Sidney M. Friedberg Florence H. and Charles R. Austrian Taylor A. Hanex Sandra Levi Gerstung Baltimore Homecoming Inc. Terry Meiselman Shuch and Charitable Trust Michael R. Bloomberg Rheda Becker and Neal Meiselman Isidore Grossman Foundation Carol and Steven Batoff The Blaustein-Rosenberg- Anonymous Robert E. Meyerhoff Sharon and Andrew Nickol Thalheimer Philanthropic Group Barbara S. Hawkins, Ph.D. Anders V. Borge Tristan W. Rhodes Laifun Chung and Ted Kotcheff Eleanor Simon and Patrick O’Neall Eric and Edith Friedheim Hecht-Levi Foundation Victoria Bradley and Hilda P. and Douglas S. Goodwin Sandra Levi Gerstung and Joseph Coons Elizabeth and Jonathan Peress Loretta Ver Valen the Levi Family Fund II of the Jephson Educational Trusts Claire S. and Allan D. Jensen Susan and John Brantley Michael Pham Arabella Leith Baltimore Community Foundation Koret Foundation Marc C. von May Helene Breazeale Anthony Piccolo Symington Griswold Cynthia and Paul Lorraine Barbara Leons Thomas H. Powell Anne Brodsky Townsend and Kimberly Plant Wendy G. Griswold and Nancy S. Grasmick Clara Juwon Ohr Benjamin H. Griswold IV Anonymous Alice and Lawrence Brown Thomas Pozefsky Peabody Institute Fund of The Baltimore Community Foundation Phyllis Bryn-Julson and Joseph Rooney and Ian Tresselt Donald Sutherland Edythe and Charles Rock Vivian Adelberg and David Rudow Annamaria Calabro and Judi and Burr Short THE 201819 FRIEDBERG SOCIETY Patricia Skurzynski Shankar Subramaniam Thomas Silverman This society is named in honor of Sidney and Miriam Friedberg, whose generosity launched a new era Lisa and Christopher Smith Jr. Mary Morgan and David Callard Barbara and Joseph Skillman of philanthropic leadership at the Peabody Institute. Friedberg Society donors sustain and enhance Speedwell Foundation Carol Cannon Edith Stern and Allan Spradling Peabody by giving $, or more over the course of a fiscal year. The donors listed below have made Anne Luetkemeyer Stone The Denise Caves Trust outright gifts or pledges at the Friedberg Society level between July , ‡ ˆ, and June ‰ , ‡ Š. Angela and Daniel Taylor Sharon and Edwin S. Toporek L. Chinsoo Cho Sheila and Erick Vail CHAIRMAN’S CIRCLE MAESTRO’S CIRCLE Laura and Edward Asher Barbara and Martin Wasserman Heasoon and Young Chung Beverly and Richard Weber* $100,000 AND ABOVE $25,000$49,999 Peggy and Yale Gordon Kathleen Whalen and Charitable Trust PRINCIPAL’S CIRCLE Frederick Cohen Susan Weiss, Ph.D. Anonymous Paul M. Angell Family Foundation Amy Gould and Matthew Polk Jr. $2,500$4,999 Sarah Whalen-Cohen and Susan Wolman Barbara and Thomas Bozzuto Jacob and Hilda Blaustein Michael Greenebaum the Harry & Helen Cohen Ireneus Bohdan Yaromyr Zuk Jack R. Byrd* Foundation, Inc. Frances and George Alderson Charitable Foundation Wilda Heiss Jane and Larry Droppa Brown Advisory Inc. Marin Alsop Joanna Coogan Nina Houghton Margaret and Robert Fisher Marian Buck-Lew* Alsop Family Foundation Barbara J. and William H. Cowie Jr. Michiko and Jay Jones Nancy Grasmick Doris Davis Abra Bush Ruth and Arno* Drucker Christopher Kovalchick Wendy and Benjamin Griswold IV Jane W.I. and Larry D. Droppa Constance Caplan Hildegard and Richard Eliasberg Judith and Randall Krum The Hearst Foundations Taylor Hanex Lewis Diuguid Ernst & Young Foundation++ Abbe Levin * Deceased J. Michael Hemmer and Laifun Chung and Ted Kotcheff Abigail Ochs and Ryan Frederick Kimberly and Donald Evans Jan and Kris Loeber + In-Kind Gift Lorraine Raphael Hank Sopher Kathryn and Jon Inglefield Lisa Flanagan and Edwin Monuki Catharine and Charles McClure ++ Matching Gift Claire and Allan Jensen Sonja Inglefield Carole and Hang Fung VIRTUOSO’S CIRCLE Bruce McEver The Estate of C. Albert Kuper III* Johnson & Johnson Family Patricia Gallagher $10,000$24,999 Maria and Vanda McMurtry of Companies++ The Estate of Paul McAdam* Wendy and Robert Ginsburg A. Wallace Moore* Patricia E. Kauffman Mary and James Miller Laura B. Garvin-Asher and Google Inc.++ Edward J. Asher Misha Petkevich+ The Links, Inc. Columbia Clarence and Audrey Plitt Trust Suruchi Mohan and Prabhat Goyal Liza Bailey and Michael Musgrave Presser Foundation Maryland Chapter Carolyn J. and Mark J. Sienkiewicz Janet and Tyrone Greive Rheda Becker Rockjensen Foundation Cynthia and Paul Lorraine Halle Family Foundation COMPOSER’S CIRCLE Christina M. Holzapfel and Roland Corporation U.S.+ Thomas MacCracken Ruby and Robert Wesley Hearn $50,000$99,999 William Bradshaw Barbara and David Roux Barbara and John McDaniel Hyun Joo Park and Gary Melick Lynnie and Ian Hoffman Robert Austrian* Christine and Robert Schmitz Sangyun Choung Lloyd E. Mitchell Foundation Trust Daniel Holik The Brookby Foundation Adam G. Shapiro Lynne Church and James Skiles Donald Regier Cynthia and Roland* Hoover Ann Schein Carlyss John W. Skouge, M.D. The Charles Delmar Foundation Turner B. and Judith R. Smith Su-Ting Hsu Diantha Johnson Solomon H. Snyder, M.D. Helen P. Denit Charitable Trust Linda and Richard Snurr Nancy and Robert Huber Jill McGovern T. Rowe Price Foundation Estelle Dennis Scholarship Trust Martha Stein Donna and Eric Kahn John Merrill* Trust For Mutual Understanding Slyvia Dodd* Marguerite VillaSanta Nancy Kass and Sean Tunis Thomas Powell Esther C. Viros Evergreen House Foundation Inc. Margaret and Patrick Walsh Harris Kempner Jr. Reba A. Will Foundation Wells Fargo Foundation Ira Fader Jr. Jennifer Widom and Alex Aiken Irene Kitagawa and Stephen McCall Marc von May Thomas Wilson Sanitarium for Edith Hall Friedheim and the Children of Baltimore City the Eric Friedheim Foundation Shirley S. L. Yang The students, faculty, and sta‹ of the Peabody Institute would also like to acknowledge the more than , dedicated donors whose gifts of $ to $ŠŠŠ helped to realize Peabody’s ‡ ˆ–Š academic year. CONCERTMASTER’S CIRCLE DIRECTOR’S CIRCLE D.L. Langdon THE GEORGE PEABODY SOCIETY $5,000$9,999 $1,000$2,499 Linda and Julian Lapides $1.4 million and above ALH Foundation Inc Iris Albstein Cecile and Ulysses Lupien Stanley Altan Lisa Alexander Carol Macht We recognize those philanthropic visionaries whose lifetime cumulative giving Aurelia Bolton Annapolis Musicians Fund Valerie and Michael Marcus has matched or exceeded George Peabody’s founding gift of $. million. William R. Brody for Musicians Deborah and Paul Mathews Their generosity has expanded and transformed the Peabody Institute of the Johns Hopkins University. Anonymous Carol and Paul Matlin The names are ordered by the date when they joined this elite group of donors. Liz and Fred Bronstein Lydia Duff Pod and Charles Duff Avedis Zildjian Company Audrey McCallum George Peabody Elizabeth J. and Richard W. Case John L. Due Maria Figueroa Bodner+ Susan Baisley Cynthia and Michael McKee Sidney M. Friedberg Florence H. and Charles R. Austrian Taylor A. Hanex Sandra Levi Gerstung Baltimore Homecoming Inc. Terry Meiselman Shuch and Charitable Trust Michael R. Bloomberg Rheda Becker and Neal Meiselman Isidore Grossman Foundation Carol and Steven Batoff The Blaustein-Rosenberg- Anonymous Robert E. Meyerhoff Sharon and Andrew Nickol Thalheimer Philanthropic Group Barbara S. Hawkins, Ph.D. Anders V. Borge Tristan W. Rhodes Laifun Chung and Ted Kotcheff Eleanor Simon and Patrick O’Neall Eric and Edith Friedheim Hecht-Levi Foundation Victoria Bradley and Hilda P. and Douglas S. Goodwin Sandra Levi Gerstung and Joseph Coons Elizabeth and Jonathan Peress Loretta Ver Valen the Levi Family Fund II of the Jephson Educational Trusts Claire S. and Allan D. Jensen Susan and John Brantley Michael Pham Arabella Leith Baltimore Community Foundation Koret Foundation Marc C. von May Helene Breazeale Anthony Piccolo Symington Griswold Cynthia and Paul Lorraine Barbara Leons Thomas H. Powell Anne Brodsky Townsend and Kimberly Plant Wendy G. Griswold and Nancy S. Grasmick Clara Juwon Ohr Benjamin H. Griswold IV Anonymous Alice and Lawrence Brown Thomas Pozefsky Peabody Institute Fund of The Baltimore Community Foundation Phyllis Bryn-Julson and Joseph Rooney and Ian Tresselt Donald Sutherland Edythe and Charles Rock Vivian Adelberg and David Rudow Annamaria Calabro and Judi and Burr Short THE 201819 FRIEDBERG SOCIETY Patricia Skurzynski Shankar Subramaniam Thomas Silverman This society is named in honor of Sidney and Miriam Friedberg, whose generosity launched a new era Lisa and Christopher Smith Jr. Mary Morgan and David Callard Barbara and Joseph Skillman of philanthropic leadership at the Peabody Institute. Friedberg Society donors sustain and enhance Speedwell Foundation Carol Cannon Edith Stern and Allan Spradling Peabody by giving $, or more over the course of a fiscal year. The donors listed below have made Anne Luetkemeyer Stone The Denise Caves Trust outright gifts or pledges at the Friedberg Society level between July , ‡ ˆ, and June ‰ , ‡ Š. Angela and Daniel Taylor Sharon and Edwin S. Toporek L. Chinsoo Cho Sheila and Erick Vail CHAIRMAN’S CIRCLE MAESTRO’S CIRCLE Laura and Edward Asher Barbara and Martin Wasserman Heasoon and Young Chung Beverly and Richard Weber* $100,000 AND ABOVE $25,000$49,999 Peggy and Yale Gordon Kathleen Whalen and Charitable Trust PRINCIPAL’S CIRCLE Frederick Cohen Susan Weiss, Ph.D. Anonymous Paul M. Angell Family Foundation Amy Gould and Matthew Polk Jr. $2,500$4,999 Sarah Whalen-Cohen and Susan Wolman Barbara and Thomas Bozzuto Jacob and Hilda Blaustein Michael Greenebaum the Harry & Helen Cohen Ireneus Bohdan Yaromyr Zuk Jack R. Byrd* Foundation, Inc. Frances and George Alderson Charitable Foundation Wilda Heiss Jane and Larry Droppa Brown Advisory Inc. Marin Alsop Joanna Coogan Nina Houghton Margaret and Robert Fisher Marian Buck-Lew* Alsop Family Foundation Barbara J. and William H. Cowie Jr. Michiko and Jay Jones Nancy Grasmick Doris Davis Abra Bush Ruth and Arno* Drucker Christopher Kovalchick Wendy and Benjamin Griswold IV Jane W.I. and Larry D. Droppa Constance Caplan Hildegard and Richard Eliasberg Judith and Randall Krum The Hearst Foundations Taylor Hanex Lewis Diuguid Ernst & Young Foundation++ Abbe Levin * Deceased J. Michael Hemmer and Laifun Chung and Ted Kotcheff Abigail Ochs and Ryan Frederick Kimberly and Donald Evans Jan and Kris Loeber + In-Kind Gift Lorraine Raphael Hank Sopher Kathryn and Jon Inglefield Lisa Flanagan and Edwin Monuki Catharine and Charles McClure ++ Matching Gift Claire and Allan Jensen Sonja Inglefield Carole and Hang Fung VIRTUOSO’S CIRCLE Bruce McEver The Estate of C. Albert Kuper III* Johnson & Johnson Family Patricia Gallagher $10,000$24,999 Maria and Vanda McMurtry of Companies++ The Estate of Paul McAdam* Wendy and Robert Ginsburg A. Wallace Moore* Patricia E. Kauffman Mary and James Miller Laura B. Garvin-Asher and Google Inc.++ Edward J. Asher Misha Petkevich+ The Links, Inc. Columbia Clarence and Audrey Plitt Trust Suruchi Mohan and Prabhat Goyal Liza Bailey and Michael Musgrave Presser Foundation Maryland Chapter Carolyn J. and Mark J. Sienkiewicz Janet and Tyrone Greive Rheda Becker Rockjensen Foundation Cynthia and Paul Lorraine Halle Family Foundation COMPOSER’S CIRCLE Christina M. Holzapfel and Roland Corporation U.S.+ Thomas MacCracken Ruby and Robert Wesley Hearn $50,000$99,999 William Bradshaw Barbara and David Roux Barbara and John McDaniel Hyun Joo Park and Gary Melick Lynnie and Ian Hoffman Robert Austrian* Christine and Robert Schmitz Sangyun Choung Lloyd E. Mitchell Foundation Trust Daniel Holik The Brookby Foundation Adam G. Shapiro Lynne Church and James Skiles Donald Regier Cynthia and Roland* Hoover Ann Schein Carlyss John W. Skouge, M.D. The Charles Delmar Foundation Turner B. and Judith R. Smith Su-Ting Hsu Diantha Johnson Solomon H. Snyder, M.D. Helen P. Denit Charitable Trust Linda and Richard Snurr Nancy and Robert Huber Jill McGovern T. Rowe Price Foundation Estelle Dennis Scholarship Trust Martha Stein Donna and Eric Kahn John Merrill* Trust For Mutual Understanding Slyvia Dodd* Marguerite VillaSanta Nancy Kass and Sean Tunis Thomas Powell Esther C. Viros Evergreen House Foundation Inc. Margaret and Patrick Walsh Harris Kempner Jr. Reba A. Will Foundation Wells Fargo Foundation Ira Fader Jr. Jennifer Widom and Alex Aiken Irene Kitagawa and Stephen McCall Marc von May Thomas Wilson Sanitarium for Edith Hall Friedheim and the Children of Baltimore City the Eric Friedheim Foundation Shirley S. L. Yang The students, faculty, and sta‹ of the Peabody Institute would also like to acknowledge the more than , dedicated donors whose gifts of $ to $ŠŠŠ helped to realize Peabody’s ‡ ˆ–Š academic year. JOHNS HOPKINS PEABODY INSTITUTE ADVISORY BOARD UNIVERSITY Rheda Becker Abbe Levin ADMINISTRATION Paula E. Boggs Jill E. McGovern, Chair Ronald J. Daniels Barbara M. Bozzuto Christine Rutt Schmitz President Richard Davison Solomon H. Snyder Sunil Kumar Larry D. Droppa Ci-Ying Sun Provost and Senior Vice President for Academic A‹airs Leon Fleisher Marc von May Nancy S. Grasmick, Vice Chair David L. Warnock PEABODY INSTITUTE Michael Greenebaum Shirley S. L. Yang ADMINISTRATION Taylor A. Hanex EMERITUS MEMBERS Allan D. Jensen Fred Bronstein Dean Michiko S. Jones Pilar Bradshaw Laifun Chung Kotche‹ Benjamin H. Griswold IV Susan Baisley Interim Associate Dean Christopher Kovalchick Turner B. Smith for External Relations Abra Bush Senior Associate Dean of Institute Studies Sarah Hoover Associate Dean for Innovation, Interdisciplinary Partnerships, and Community Initiatives Townsend Plant Associate Dean for Enrollment and Student Life Joe Rooney Associate Dean for Finance and Administration

PEABODY PRODUCTION STAFF David Blachowicz Ben Johnson Adam Scalici Production Services Manager Senior Graphic Designer Production Assistant, Audiovisual Caleb Bradley Renee Kelsey Ensemble Librarian Piano Technician Mary Schwendeman Senior Piano Technician Chelsea Buyalos Andrew Kipe Concert Series Coordinator Director of Concert and Amelia Stinnette Ensemble Operations Communications Coordinator Natalie Colony for Concert Programs Production Assistant, Lighting Yuriy Kosachevich Piano Technician Elizabeth Digney Box O ce Coordinator Dennis Malat Production Coordinator Melina Gajger Ensemble Program Manager Harry Oehler Ensemble Coordinator Strengthening our Please consider a gift commitment to the to support Peabody. Baltimore community, peabody.jhu.edu/giving all concerts at Peabody are FREE.